#different... all aspects of her and her culture being taken away from her (whether its from her own will or not) and she has to learn who

[swordmaid]

think i want to make shri'iia half illithid ... not bc she looks really hot (!!) but i think it's kind of fitting for her since she's very the type to do whatever it takes to win in the end and at that point she already knows how useful the illithid powers are. the thing is, she doesn't like the emperor since she's had enough of people using her but she does appreciate a good deception, even if it's done on her. she does come from menzoberranzan where deceit and manipulation is like, their bread and butter there lol but anyway im kinda thinking of making her half illithid now also i like the dialogue when you try to break up with spawn astarion bc ur turning into something worse and he refuses.

[bennyswhims]

Pocahontas Was a Mistake, and Here's Why! (Lindsay Ellis, 2017)

Or, cultural appropriation, representation and the importance of language.

So Disney has been, for a while, on a bit of a long haul endeavor to diversify its repertoire of characters. Whether it be because of an earnest desire for positive social impact, or simply for the cynical race to put their hands in every culture's pockets, this is besides the point. The fact is, over the past 25 years, the storytelling at the mouse house has often been interested in tapping into different cultures and telling stories from their perspective.

The degree of success to which this has been achieved is... inconsistent. It's no secret that this push coincided, for better and for worse, with several big shakeup in the company structure and production pipeline, shuffling between studio heads like there's no tomorrow, refocusing their animation methodology, fully embracing CG and tossing all their light tables down the garbage disposal, et cetera. This has meant a lot of fumbled bags in terms of their projects, which often shows in their muddled final product, displayed pretty ironically by the reoccurring trend of choosing to portray a story with characters of color, only to turn them into a small marketable raceless inhuman creature of some kind for 70% of the duration of the movie they're supposed to star in (frogs, bears, llamas, blue blob spirit things, face painted ghosts/skeletons, to an extent red pandas, among others).

However, one of their more recent endeavors, Moana, is a pretty clear standout in terms on how it showcases a heavily culture-dependent storyline: she is a chief's daughter, descended from seafaring voyagers, who found their way across the pacific in a fashion never conceived before or after. This story cannot work without Moana, without her setting, without her culture. This, however did not come from thin air. Many have pointed out, as does Ellis, this movie has much to thank its predecessors for, with special regards to Pocahontas, of all films.

To say Pocahontas was received negatively is a bit of an understatement. It was conceived within the studio as an artful love story, Titanic-esque, a straight shot at best picture, only saved for the best of the best. The end result, however, landed in theaters with a thud, only picked up by lambasting reviews which just could not seem to give the film any sort of a break. Boring, pretentious, incredibly insensitive, obvious in its desire for cheap marketing ploys, this movie is one of few often credited for being a major cause for the 00s slump that came after the golden Renaissance, which it also is credited for killing. Tanking the careers of involved activists, hard pivoting the company away from drama-based movies for decades, it was kind of the flop of a generation.

This, though, did not give Disney the lesson one might think it did. As the essay points out, the obvious answer for Disney after being panned for poorly characterizing indigenous cultures would have been to, well, avoid the fire by avoiding the cabin. However, they, somewhat thankfully, for some reason decided to take the more nuanced and less corporately safe approach of simply getting better at how they portray these stories, centering the characters whose cultures they are choosing to depict, and not just centering it on the perceived white western viewer.

Ellis, a media student and writer of her own, emphasizes something which I find to be incredibly important. Any sort of borrowing of aspects of a culture, by someone from a different culture, is, by definition, cultural appropriation. This is simply what this term means. Vitriolic online spaces have singlehandedly taken this piece of very neutral, dry english major jargon and turned it into a pejorative that signifies a breach of power, an imbalance, or a form of co-opted membership, which, is just not what this term means. It is very important to respect this, as simply using it as a means of debasement is the perfect way to flatten a very important and complex set of discussions, which, to my knowledge, most people seem very eager to have.

From Lilo, to Tiana, to Miguel, to Ariel, these are all pieces of work entirely based on cultural appropriation. Walt Disney was not Hawaiian, just as much as he was not Danish. Is there a difference in the effect that occurs depending on the level of cultural, historical colonial power of one of the groups over the other? Yes, there very much is! This, however, is not the appropriate terminology to be used (and neither is the attempted binary opposite of cultural appreciation, by the by), and it is important to recognize why this effect occurs, and how to target it and aim to mend it over time, but this cannot be effectively achieved by way of trying to paint the conversation with the widest brush possible.

For all the grief that can be found in the efforts of Disney to grasp into any culture they can find to try to sell it back to its members, I truly believe the work being done in terms of achieved representation is incredibly important. From cousins who no longer have Dora as their only relatable face, to friends and siblings who grew up learning Colors of the Wind in many languages and instruments, the reason we have these discussions should always be with the intent of achieving improvement in the media we want to see, and to respect it, treat its creation with respect, and care for those who finally can se themselves reflected on the cartoon. We're all in cartoon school, after all.

Thank you for everything Kendall, you're a fantastic teacher, I hope we get the pleasure to have you again. Happy holidays!

[vivelareine]

Hi! I was hoping you could answer something for me because I'm debating about it somewhere. Did Marie Antoinette pretend to be a peasant/farmer at the hameau at the Petit Trianon?

She didn't. There is no evidence that Marie Antoinette ever pretended to be a farmer, milkmaid/dairymaid, shepherdess, peasant, and so on at the hameau de la reine.

The idea that she and her entourage were playing "village" can be traced to the non-contemporary names given to the buildings during the First Empire period. These building names (vicar's house, etc) gave the false impression that they were pretend "houses" used to simulate a fake village. Whereas in reality, the buildings all had specific purposes, whether they were recreational buildings intended for the elite people or practical buildings intended for the workers.

Like other historical myths, it gets repeated enough times and suddenly it's "true," showing up in books as fact without vetting, being depicted in film (La Revolution Francaise where she milks cows, etc).

But when you go back to the sources, there's no evidence for it. Only evidence that she treated the hameau de la reine like any elite woman would have treated a country estate: she was the mistress who hired employees to do the labor, and "managed it" like an elite woman would manage a country house, and enjoyed its recreations. Approving livestock orders that the head farmer requested, asking for reports on the status of crops, etc. Hosting dinners there, taking walks, tasting the dairy products made in her name, etc.

Another common myth is that she was milking perfumed cows, petting beribboned sheep, etc. Again, all false. I also sometimes see people deride the fact that she asked for a goat that had a good temper, which such an odd thing to pick on. The head farmer complained about the original goat because the original goat was an asshole (not his contemporary words, of course) so wanted to make sure the next goat wasn't Black Philip incarnate.

IMO, the hameau is novel in a different sense; because Marie Antoinette chose to include both practical and recreational buildings integrated into the same space, she created a unique type of estate which didn't hide away the practical labor used to create elite recreation; unlike similar "hameau" estates, which relied on practical production in other spaces (either out of necessity due to lack of space/ability, or specifically done in order to remove the visual of the labor) the hameau de la reine did not shy away from the practical aspect.

With this in mind, though, the hameau in general has taken on an additional mythical quality thanks largely to the aesthetics of the Sofia Coppola film, which depicts Marie Antoinette and her entourage laying in the grass, petting sheep, skipping around, digging in the dirt for strawberries, etc. It's important to remember that these are modern interpretations of how the estate was enjoyed, and not necessarily based in reality. But it has definitely made an impression on pop culture--see how the Secret Versailles of Marie Antoinette docudrama portrayed the Petit Trianon as a whole as if it came out of the Coppola film.

Back to the hameau as a fake village/fake farm, Marie Antoinette pretending to be a peasant in a blissful surrounding myth: It's a myth which developed in the 1800s, after her death, around the same time that "Let them eat cake" began to stick to Marie Antoinette. Rhe contemporary criticism of the hameau was about its secrecy and privacy, about the supposed sexual and then political dealings going on there, about its expense.

Which was, of course, extraordinary compared to any amount of income the average person would make in their lifetime, though it wasn't statistically notable when it came to French finances--and as I've pointed out before, other royals spent far more but received none of the vehement criticism and dangerous dehumanization for it. Mesdames chateau & hameau at Bellevue cost 96% more than Marie Antoinette’s Petit Trianon chateau & hameau de la reine, and they were not dehumanized and degraded like MA for it, by contemporaries or later historians/writers. One of Mesdames even wrote a letter romanticizing the sounds of the servants at their hameau, and no one’s ever really made a big deal of it.

Both myths (fake village, pretend villager) served in the 19th century to develop the concept of Marie Antoinette as someone who thought that the peasants had a pretty sanitized lifestyle., either out of naivety or maliciousness.

While the real Marie Antoinette certainly couldn't empathize with what it was like to be poor, she expressed sympathy throughout her life and had a surprisingly astute understanding of the impact of a lack of bread (see the letter written they day after the October 1793 march on Versailles) on people's behavior and actions. She didn't think that their lives were represented by the hameau de la reine.

The hameau de la reine was a romanticized notion of a secluded countryside elite estate combined with a mixture of whimsical fantasy, the faux cracks & weathering designed to make it appear when you approached as if it was a mysterious place that had always been there.

Marie Antoinette did not imagine she was a peasant or that this was peasant life, nor was this an attempt to create a sanitized version of peasant life sans poverty and real peasants. I think people often confuse the notion of Marie Antoinette wanting a "simpler" life with Marie Antoinette trying to pretend she wasn't a queen; this was not the case. She never forgot she was an elite woman; she simply wanted to enjoy the type of less-rigid elite life that wasn't uncommon in other European royals, but which was considered unusual and in Marie Antoinette's case, unforgivable for a queen of France.

Some further reading:

Pierre de Nolhac, The Trianon of Marie Antoinette (1925)

Meredith Martin, Dairy Queens: The Politics of Pastoral Architecture from Catherine de' Medici to Marie-Antoinette (2011)

Simone Bertière, The Indomitable Marie-Antoinette (2014)

And to recommend something I wrote, Let's Visit! The Laiterie de Préparation at the Hameau de La Reine, I talk a bit about the practical/working dairy and my thoughts on the novel integration of the working dairy into the hameau as a whole.

[the-ghost-king]

wait Apollo isn’t originally greek? thats so interesting 👀👀

Where ever did you hear that? /ij

Definitely putting all of this under a read more, it’s a long one!

Cw: Greek statues, they're naked :/

But yeah, Apollo was actually an inherited god, it’s likely that because of this as well he was a blending of multiple different gods to some extent. It’s also good to note that Apollo’s name is unknown, meaning that nobody really knows what exactly Apollo means, which is pretty weird all things considered about the Greeks who placed such importance on the god’s forenames (ie, phoebeus, acestor, age’tor, etc). 

"Though Apollo was the most Hellenic of all gods, he derived mostly from a type of god that originated in Anatolia and spread to Egypt by way of Syria and Palestine." (X)

There’s a couple of different things which point to Apollo being a Anatolian god (or being of, coming from him) named Appaliunas, and it is said they were on opposite sides of a war most beloved of their people during the fight. It’s important to note that it’s believed Appaliunas means “father light” and that he shows some level of importance over drafting peace treaties (which Apollo has some reputation in as the bringer of civilized order). We don't know too much about their connections however, because the documents are incomplete.

This theory also makes sense, because the name Leto (Apollo’s mother) is Lydian in origin, and there’s decent connections to her having been worshiped on the coast's of Asia Minor. And it is known the Greeks have adopted Anatolian gods into their religion before, see Cybele (sometimes called Cybele-Rhea), and the origin of Kore (later Persephone). There's stuff which points also to an Anatolian goddess called "Artimu" (Artemis) who is often confused to Cybele for some reason, and again this bears connections to the Lydians which worshipped Leto. There's information which points to Hekate being a goddess from Anatolia as well, which shows significance considering she is Apollo and Artemis's cousin (leading to my personal question of was Phoebe Anatolian in origin?). Apollo's divine number being 7 shows Babylonian or at least Mesopotamian Origin.

The Geographical location of these two places also bears similarities, they are close to one another, and it's known the Greeks had decent travel capabilities over water. There's also the fact that both of these lands border Troy, which is shown to have significant values in Greek culture and mythology, as well as the Greek belief that the Anatolian gods were present at Troy as well as the Greek gods.

(It's also notable the similarities in naming traditions, Alaksandu for one such example, does not sound too far off from the later Latin name Alexander, which came from the Greek name Aléxandros).

The other possible origin given for Apollo is Aplu (Apulu), a Hurrian god (of people who lived in Anatolia, Syria, and Northern Mesopotamia). Aplu and Apollo bear semblance to one another in more than name, Aplu was the god of plague (bringer of the plague more specifically) and he bears a large amount of resemblance to Apollo Parno'pius/Smitheus and Aplu's main story provides reasoning as to why Apollo may also be the god of healing and Medicine.

The story of Aplu involves the idea that the individual which brings the plague, must also be the one to banish it. This makes Aplu both bringer of plague(s) but also, protector from plague(s). From this we learn Aplu's name means "son of" (please note here Apollo's iconographic connections to "youth" and "sonship" among the Greeks, as the god of kouros), but the connection of "the son of" was a title granted also to the god Nergal (worshiped by many different people(s) across Mesopotamia) who is at least in part someone who holds power over the sun, and holds connection to Shamash (Utu).

Aplu is also often depicted naked (ya know) but wearing a laurel leaf, and part of a cloak... It's funny how these images are Apollo though:

Aplu is also symbolized by a staff and laurel a twig(s), while we know Apollo to be associated closely with the laurel because of Daphne, and Apollo having iconography related to staffs involves him giving his away to Hermes- which perhaps has to do with the caduceus being interpreted as the symbol for medicine, or the connection of Apollo to Asclepius and the rod of Asclepius.

Aplu isn't isolated necessarily either, there is also the Etruscan goddess Aritimi (Artume, Artames, or Artumes) and she oversees animals, human assemblies, and is considered a hunting deity. As well as scrolling through this list, you'll note more than one Greek/Roman mythological figure.

There's also a ton of stuff from Etruscan mythology (Hurrian mythology is just a subsect of Etruscan mythology) which overlaps with Greek mythology, some sources even state Etruscan -> Greek -> Roman mythology (I wont comment on that because I don't know well enough).

There's some other places Apollo's name might have come from, but those are probably the two most likely under the assumption that Apollo is a collective of many gods.

These are the specifics of the Anatolian god's Apollo may be born of/from, but there's a variety of things which point to him and mythology around him being of other origins as well (Minoan, Dorian, and Proto-Indo-European... yeah)

You may have heard one of Apollo's sacred animals is dolphins, Apollo Delphinios/Delphidios, this is because of a Minoan god named Paiawon (Paion) who was worshiped on Crete and also originated in Delphi. In the second part of Homeric hymn to Apollo, Apollo would transform his shape into that of a dolphin and carry the new priests to Delphi for the transfer of religious practices:

"Phoebus Apollo pondered in his heart what men he should bring in to be his ministers in sacrifice and to serve him in rocky Pytho. And while he considered this, he became aware of a swift ship upon the wine-like sea in which were many men and goodly, Cretans... Phoebus Apollo met them: in the open sea he sprang upon their swift ship, like a dolphin in shape, and lay there, a great and awesome monster, and none of them gave heed so as to understand but they sought to cast the dolphin overboard. But he kept shaking the black ship every way and making the timbers quiver. So they sat silent in their craft for fear, and... so they kept sailing on; for a rushing south wind hurried on the swift ship from behind... They wished to put their ship to shore, and land and comprehend the great marvel and see with their eyes whether the [dolphin] would remain upon the deck of the hollow ship, or spring back into the briny deep where fishes shoal. But the well-built ship would not obey the helm, but went on its way all along Peloponnesus and the lord, far-working Apollo, guided it easily with the breath of the breeze..." (X)

Apollo Delphinios was largely only worshiped by people of Crete and surrounding islands, but this is also largely where Paiawon was worshiped as well. There's also many things from early Grecian history which simply state Apollo to be Paiawon or of Paiawon, or at least doesn't bother to specify which god is being talked about.

In the earlier parts of Greek history, seventh-sixth century, there was distinctions made between the pair:

"and in Solon's opinion it is Apollo who makes a man a μάντις (soothsayer) but healers do the work of Paion" (X)

The whole thing with Apollo being descended from Paiawon however, is that Paiawon may not be Minoan but Mycenaean in origin, which means even if Apollo is originated in Minoan culture one of the gods who has influenced that origin wasn't even necessarily Minoan but taken in. Others believe Paiawon was Minoan or Aegean in origin but very far in the past, since his songs used a meter of pre-Greek origin.

You'll also not the commonalities between Paion (a spelling of Paiawon) and Paean (also spelled Paian), Apollo's original name according to Homer. It could mean a variety of things but "who heals illnesses through magic" and "pre-greek" are the most common translations of the word Paean, but it is also associated with music (most specifically a song sung by Thetlas who cured the Spartans) and is said to denote hymns for Apollo.

"PAEAN, that is, "the healing," is according to Homer the designation of the physician of the Olympian gods, who heals, for example, the wounded Ares and Hades. After the time of Homer and Hesiod, the word Paian becomes a surname of Asclepius, the god who had the power of healing. The name was, however, used also in the more general sense of deliverer from any evil or calamity, and was thus applied to Apollo and Thanatos, or Death, who are conceived as delivering men from the pains and sorrows of life... From Apollo himself the name Paean was transferred to the song dedicated to him, that is, to hymns chanted to Apollo for the purpose of averting an evil, and to warlike songs, which were sung before or during a battle." (X)

In regards to the possibility of Apollo having been of Minoan origin, one must consider not only his origins but the origins of the gods and goddesses around him and how they may have developed over time.

In this case Britomartis (Diktynna) is of particular interest, she was the Minoan "mistress of animals", she was a goddess (or sometimes nymph, or oread) of the mountains and the hunt. There's points to the name meaning "sweet maiden" or other similar things, but it is debatable.

Eventually Britomartis would become the goddess of nets in Hellenic myths, and would simply be closely identified with the goddess of Artemis. However, to the Minoans Britomartis wandered alongside a bow-wielding male hunter who's name has been lost, it is likely that aspects of this hunter were absorbed into Apollo; when the introduction of worshiping Artemis was brought to the island of Crete where Britomartis was also worshiped they were compared and quickly said to be of one another.

It is also said in some variations the myths of Britomartis that she was taken to the mainland in the nets of men after fleeing Minos, this seems like a euphemism for her as a goddess of worship being brought by fisherman to mainland and taken into their culture and worship, more so than it sounds like a goddess's story. Perhaps this led to her becoming Artemis, although most myths seem to agree Artemis gave Britomartis immortality... So who knows, but it's a point of particular interest for me.

Also I know I mentioned proto-indo-european origins for Apollo and I could analyze gods and goddesses relating to Apollo being a Minoan god like Aphaea, but I am not going to lie I am rather sick mostly of sourcing everything and I don't like to talk about stuff without stuff to back me up because I don't want to come across like I'm pulling information or ideas out of thin air because that's how misinformation spreads... But yeah, here's a somewhat simplified piece on Apollo's possible origins as a pre-Hellenistic god, and I hope you enjoy because I know you sent the ask a bit ago <3

[rwby-redux]

Deconstruction

Worldbuilding: The Faunus I

Good grief, where to even start?

The Faunus are what I would consider one of the potentially most fascinating, and simultaneously one of the most infuriating, aspects of the series. Questions like Where did they come from? and What are they? are left largely unanswered by the show and its writers alike. Whenever the story does bother to make Faunus the focal point, it sloppily mishandles all relevant commentary on social justice, by turning a civil rights group into a terrorist organization, and framing Adam as the racist’s bogeyman—a radicalized minority who wants to commit genocide against his oppressors. Each and every one of these talking points is worthy of a post on its own, but today is not that day.

Instead, I’d like to discuss the Faunus from a cultural perspective, because believe it or not, there’s a lot to unpack here. How the show has depicted them thus far (that depiction being blisteringly awful) pales in comparison to the absolute goldmine of ideas buried here, had RWBY taken to time to properly excavate them, rather than apply the worldbuilding equivalent of a stick of dynamite.

As it currently stands, the writers didn’t care about giving the Faunus any sort of nuanced cultural identities.

How do I know? Because they pretty much told us.

“Monty really wanted a character with cat ears,” admits Miles Luna. Shawcross expands on how Blake Belladonna’s look resulted in a cornerstone of the show’s lore. “So if Blake has cat ears, does that mean anyone can have cat ears? Could they have other animal traits? It’d be cool to see someone with scales or a fox tail…” [1]

And again, as stated by one of the lead writers:

Miles Luna: So, yeah. We wrote in Velvet just kind of as a small demonstration of what it meant to be a Faunus. And the fans immediately loved her. We just needed a girl with bunny ears. [2]

Let’s, for the moment, ignore that the sole purpose for Velvet’s existence was to be a vehicle for systemic racism. Strip away the layers of tone-deafness, and the inclusion of the Faunus can be largely summarized as an aesthetic choice. In principle that’s not a bad thing, per say. But as I’ve reiterated time and time again, you can’t just introduce a concept to a story and proclaim “it’s like our world but with animal-people.” Because if your story does in fact have animal-people, then it wouldn’t be anything like our world.

The first glaring difference is in their biology. Wings, tails, and horns would doubtless have an influence on the Faunus’ various ethnocultures.

That biology, in turn, has a bearing on how humans treat the Faunus—which by itself is yet another factor that should have shaped the cultural disparity between these two groups. For the majority of Remnant’s history, humans and Faunus have remained disassociated, a trend that was reinforced by humans’ persecution of a race that “looks like you and acts like you” [3] but has a pair of fangs. Isolation—or an absence of cultural interchange—would have driven the cultural evolution of these two groups along separate trajectories.

“Like most things man doesn't understand, all sorts of rumors and stories surround the Faunus. People avoided them like the plague, pushing them out of settlements and sometimes even hunting them down.” | Source: World of Remnant, Volume 4, Episode 6: “Faunus.”

However, what we’re presented by the canon is rather the stark opposite. Not only does Faunus culture generally lack recognizable traits that would distinguish them from humans—customs, languages, fashion, holidays, architecture—but the canon tends to homogenize all Faunus across Remnant, regardless of any meaningful differences between them: whether they live in Vale or Menagerie; whether they have bird wings or a monkey tail; whether they grew up in a mixed community or Faunus-only community; and so on.

These things matter. Holy shit, do these things matter. No two Faunus—no two people—will have the same life experience, due to all of the aforementioned factors.

That the Faunus have no cultural identity unique to them—let alone any sort of inter-group diversity amongst each other—is the smoking gun which tells us, in no uncertain terms, that the writers didn’t think about the implications of their lore.

Which is a shame, because as I said before, the Faunus have a lot of potential. Before we can talk about that potential, however, we first need to parse the flaws.

The Homogeneity of the Faunus

“Don’t generalize an entire group of people” feels like one of those things I shouldn’t have to say, and yet here we are.

The earliest example of this trend starts with Remnant’s last armed conflict: the Faunus Rights Revolution.

The aftermath of a battle between humans and Faunus. | Source: Volume 1, Episode 16: “Black and White.”

Despite this being a fairly recent war, historically speaking, there’s not much we know about it, beyond what we’re initially told by Oobleck:

Oobleck: Yes, prior to the Faunus Rights Revolution—more popularly known as the Faunus War—humankind was quite, quite adamant about centralizing Faunus population. [4]

The same information was later reiterated by The World of RWBY: The Official Companion:

The Faunus Rights Revolution occurred after the Great War in response to humanity’s efforts to confine the Faunus to Menagerie and curtail their freedoms everywhere else. On paper, the struggle was a win for the Faunus, but everyday life in the Four Kingdoms is a drumbeat of whispered suspicion and blatant injustice. [1]

Other than the brief mention of a pivotal Faunus victory at Fort Castle, the details of this war remain vague, namely who the key participants were, and where the war was fought. Although, if we take Oobleck’s map at face value…

The map that Oobleck uses when lecturing about the Faunus Rights Revolution. | Source: RWBY Wiki contributor user:Maki Kuronami.

…then the answer seems to be everyone and everywhere.

Here’s where we’ve hit our first snag: the idea that all of humanity would collectively participate in this war against the Faunus, or that all Faunus on Remnant would be equally impacted by it.

The show has made it transparently clear that Vale, prior to the Great War, vocally condemned Mistral’s and Mantle’s enslavement of the Faunus. [5] Vacuo, meanwhile, has always been portrayed as a multicultural society that was openly welcoming and accepting of those with the capacity to survive, regardless of their race. [6] World of Remnant even goes so far as the depict Vacuo’s leader during the Great War as a woman with horns.

Vacuo under Mistrali-Mantic occupation, before it expelled them from the territory and openly allied itself with Vale. | Source: World of Remnant, Volume 4, Episode 8: “The Great War.”

Why the ever-loving fuck would a country that accepted a Faunus as their leader be involved in the Faunus Rights Revolution? It makes no sense. You can’t broadly declare that all of humanity, even the humans in Vacuo, wanted to confine the Faunus to Menagerie. You can’t tell your audience that “everyday life in the Four Kingdoms” is rife with racial tension, when at least two of those kingdoms have established track records of being pro-Faunus.

And yes, this is absolutely relevant to Faunus culture across Remnant. Prejudice toward groups of people affects the way their cultures are expressed. Take, for example, a hypothetical Faunus in Vacuo who would likely face minimal pressure (or perhaps even none) to assimilate into the local human culture. There’s a high probability that individual would know how to speak the language that their grandparents spoke, by virtue of there being no social repercussions for passing that knowledge along. By contrast, a Faunus living in Atlas might be disconnected from their heritage, due to the kingdom’s rampant xenophobia. That Faunus might not know how to speak their grandparents’ language because they were actively dissuaded against learning it, in an effort to conform to the cultural expectations of their human peers, and to minimize harassment.

There’s even a term for this phenomenon: language shift. One-way bilingualism (minorities learn the dominant language, but speakers of the dominant language don’t learn the minoritized language) leads to members of an ethnic group gradually abandoning their native language, and over time, that language faces risk of extinction.

And keep in mind, language is just one aspect of culture.

The interchangeability of Faunus across Remnant, as a consequence of RWBY’s generalizing, erases the experiences of these communities. Not only does this homogeneity omit realism, but it undercuts any sort of complex discussion on how bigotry (or a lack thereof) would dynamically shape Faunus culture, from country to country.

And that’s just how RWBY treats Faunus culture from a discrimination perspective. That’s not even getting into what little definitive culture the canon does provide, which, for the record, is also a gross generalization.

I’m speaking, of course, about RWBY’s fairy tales: The Shallow Sea and The Judgment of Faunus.

The Faunus’ arrival in Menagerie, and their transformation from humans. | Source: RWBY Wiki contributor user:ChishioKunrin.

To recap: In The Shallow Sea, a shapeshifting deity known as the God of Animals wished to invite humans to their homeland of Menagerie. They decided to tour Remnant’s surface, looking for those who were special and that they deemed worthy. They constructed a ship that sailed their chosen to Menagerie, and upon arrival, instructed the humans to leap into the water. The price they paid for living on the island was their humanity; in forfeiting it, those that jumped and waded through the shallow sea were transformed into the Faunus. The God of Animals washed away the humans who lacked faith and refused to join the others.

The second story (The Judgement of Faunus) once again features the God of Animals as an arbiter. Humanity and the remainder of the animal kingdom waged war against each other, one of envy, hatred, and jealousy. The God of Animals offered to intervene and declare once and for all which group was superior. The two parties agreed, convinced that the God of Animals would rule in their favor. A fog was cast over them, and when it cleared, the humans and animals were revealed to have transformed into the Faunus—a race that was better than their previous forms, yet retained the positive qualities of both.

According to Ozpin’s commentaries, these accounts are shared by the majority of Faunus. [7] Not “Faunus in Vale” or “Faunus in Mistral.” Literally all Faunus, as the book doesn’t distinguish between them.

We know for fact that Remnant has dozens of belief systems, as Qrow acknowledges their existence during “A Much Needed Talk.” But take careful note of the fact that the Faunus are the only ones consistently portrayed as belonging to the same religion. Each of the different human-governed kingdoms has its own source of real-world inspiration, like Vale drawing upon Western Europe, and Mistral upon East Asia.

The Faunus, however, are treated as a monoculture, and this universally-shared religion epitomizes that.

And it’s ridiculous. Why would a Faunus whose family has lived in Vacuo for generations necessarily hold the same beliefs as a Faunus in Mistral, a culture that’s an entire continent away? The Faunus aren’t, as far as we know, a diasporic group, so apart from being members of a vaguely-defined ethnicity, they shouldn’t all adhere to identical beliefs.

For that matter, why should we assume that the Faunus see themselves as divided by nationality or race? What if their cultures (and by extension, religions) were aligned with Faunus-specific demographics? Like a group of avian Faunus who live in the mountains and venerate a god of the sky. Or Faunus with gills, fins, and webbed appendages, who live on coral reefs and worship the ocean.

Words can’t even begin to describe how much I seethed when I first read these stories. Not because I’m inherently opposed to a shapeshifting anthropomorphic god, but because its creation is so slapdash. To say nothing of how these fables reek of retconning and revisionist history.

There are infinitely more interesting ways RWBY could have distinguished Faunus from each other, and in turn, derived cultures from them. Perhaps there are mixed neighborhoods whose culture is a blend of Faunus and humans of the same nationality. Maybe there are human-passing Faunus that are estranged from the local Faunus culture because they have a perceived privilege that isolates them from their peers. Maybe there are communities which self-identify according to shared traits, like avian Faunus (feathered wings and beaks) versus arthropod Faunus (chitinous appendages and spinnerets).

All of these ideas (and more) we’ll discuss in greater depth when we reconvene. In Part II, we’ll be talking about the influence of Faunus biology on culture, and how their anatomy shapes ideological discourse.

-

[1] Wallace, Daniel. The World of RWBY: The Official Companion. VIZ Media LLC, 2019, page 42.

[2] “RWBY Volume 2: Production Diary 1 | Rooster Teeth.” YouTube video. Rooster Teeth. March 13, 2014. 5:27 - 5:52. [https://youtu.be/8kPTh4ZAQ4g?t=327]

[3] World of Remnant, Volume 4, Episode 6: “Faunus.”

[4] Volume 1, Episode 12: “Jaunedice - Part 2.”

[5] World of Remnant, Volume 4, Episode 8: “The Great War.” Qrow: “The people of Vale had a problem with this. Well, they had a problem with a lot of things Mistral and Mantle had been up to—treatment of their citizens, use of slave labor, and their constant insistence that their way of life was what was best for everyone.”

[6] World of Remnant, Volume 4, Episode 4: “Vacuo.” Qrow: “Vacuo may not be as prim and proper as the other three kingdoms, but it's still standing. And the people there have a mutual respect for one another. See, there's only really one, unspoken rule in Vacuo: If you can survive here, then you're welcome here.”

[7] Myers, E. C. RWBY: Fairy Tales of Remnant. Scholastic Inc, 2020.

[7.1] Page 31: “Although this fable once was among the most common stories told to Faunus children, it has never been written down before its appearance here, not by Faunus and certainly not by Humans.”

[7.2] Page 59: “Unsurprisingly, Faunus always cast their god as a wise and noble figure, while Human stories portray the same god as a trickster, not to be trusted.”

[mindibindi]

Beyond disappointed in Ted Lasso. What were they thinking?!

The writing is a complete betrayal and insult to Rebecca’s character and Hannah’s skills as they’re being seriously underused. It’s also insulting Sam’s character.

Hoping someone pulls Rebecca’s head out of her ass tbh. Sam shouldn’t be getting caught in the crossfire of her looking for romance. I know he showed up at her doorstep but she still should’ve turned him away, and not even messaged him in the first place.

Hey, I'm with you, Anon, though we do seem to be in the minority. Sam is definitely not blameless here, he is also in the wrong. But if one of them is more in the wrong, it is Rebecca. I can't speak to whether her head has left her arse as yet because I have quit watching (at least for now). I hear she called it off with Sam in the most recent ep, though not because of any major crisis of conscience or because anyone in her inner circle expressed any reasonable reservations in response to her bad behaviour. And to be honest, I'm not sure we should need to hope and pray that Rebecca's precocious god-daughter, her slimy ex-husband, or the brutal British press will act as a moral compass on this ill-advised relationship. Both Rupert and the press have been set up to some extent as the villains of the piece. And a 14 year old should never have to school her elders on what is and isn't acceptable. Nora's needs have already been neglected by Rebecca for far too long.

If a moral position is to be taken on this, it needs to be taken by the show (because stance matters) and/or by its characters. But the show has for the most part depicted this relationship as ill-advised but ultimately hot, sweet, funny and romantic. As for the characters themselves, Sam has shown at least once that he has some moral backbone but seems to be adorably clueless when it comes to fucking his boss who keeps trying to set boundaries with him. Meanwhile, Rebecca's whole arc in s1 was about learning not to misuse her power for her own selfish ends. In season one, she misused her power within the club in order to exact revenge. In season 2, we have seen her misuse her sexual power, though I still cannot see to what end. I'm a bit at a loss as to what exactly she gets out of this 'relationship' but then I'm a grown woman so I have absolutely no interest in sleeping with a Harry Potter enthusiast barely out of his teens. I couldn't think of anything less sexy and more ick. I was certainly hoping for better character development for her this season.

As to what the writers were thinking, obviously I was not in the writer's room, but I would guess that they were thinking that any drama is good drama, people are stupid and fan devotion will trump any meaningful critique. In other words, they were thinking exactly how every other television writer thinks, despite the fact that this show posited itself as 'not like other TV shows'. This, to me, is where the blame really lies. Not with the characters or with the actors who are doing their best to sell this ludicrous turn of events. It must be noted, however, that both actors were completely blindsided by this relationship that had supposedly been so cleverly foreshadowed. Newsflash: if the people actually living these stories did not see this coming then you haven't foreshadowed shit. Sure, there were a handful of people that paired Rebecca with Sam but this does not constitute proof either. Fans have free-range to imagine and re-imagine characters. In some cases this may extend to imagining relationships between characters who have barely, if ever, interacted. There may be little to no evidence that these characters have even clocked each other's existence and some fans will still ship it. The existence of a handful of shippers does not legitimise such a problematic and divisive plotline making it onscreen.

But wait!, you might argue, this may not be a case of a popular show seeing just how far they can stretch fan devotion. This may not be a case of fan service to a handful of shippers. After all, the creators mapped out the entire three-season arc of Ted Lasso before they even pitched it to Apple. This was their brilliant plan all along! To which I would say: then maybe they should've rethought their second act based on people's strong reactions to their first. Ted Lasso was touted as the show we all needed in 2020. The writers and creators have all marveled at the chord it struck considering it was conceived prior to the pandemic and all the chaos it wrought. And while there is something to be said for having/sticking to a creative vision, there is also something to be said for being flexible and responsive to your audience and the cultural zeitgeist with which you're engaged. Season 1 of Ted Lasso told its story so gently, without creating distrust, division or unnecessary anxiety. It did not treat its audience like a gaggle of stupid lemmings to be led over a succession of narrative cliffs. THIS is what I mean when I say the show has broken with its brand. And look, this whole dark forest thing would be okay if the narrative arc was as well-crafted as s1. Season 1 gave us meaning, cohesion, comfort, sense in a senseless time. It was an almost perfectly crafted season of television. And I kept the faith for 6 episodes, despite the first half of s2 being pretty damn wobbly. But the follow-up to this stellar debut has been less than extraordinary so yeah, perhaps they should've thought a little harder about what made s1 so special before throwing it all out the window.

But wait!, I hear the faithful say, you don't know how things will pan out yet! Wait until the season is over and everything will make sense! But -- wearily and once again, I say -- we should not need to wait until the end of the season to understand what the hell is happening. By this point (over halfway through the season and show) we should have a v clear idea of the show's themes and the characters' arcs. And tbf, from what I can tell there are some fab things happening in other aspects of the show that I wish I could watch and enjoy. But my biggest fear at this point is that they are going to use Sam to solve Rebecca's childlessness. That, like Rupert (because the parallel cannot be avoided), she will become pregnant with a young fling and the show's attitude to this relationship will ultimately be: oh well, it was a bad idea and didn't work out for them but it was all for the best in the end cos who can be mad about a cute lil baaaayyybbbeeee??!! If they do go down this path then I will definitely be abstaining from the rest of the show. I will simply recall my repeated viewings of s1 with fondness tinged with regret at just how badly they fucked up a good thing.

Ultimately, Anon, I think this may be a case of there simply not being a diverse enough perspective in the writer's room. I am not saying that every single woman or every single person of colour will necessarily object to this relationship. I am simply saying that women and people of colour will be more sensitive to the issues of gender and race that are relevant here but that have not been fully or sensitively acknowledged in the writing of this plotline. Neither am I saying that Rebecca is the first woman to sleep with a man much (much, much, MUCH) younger than herself or indulge in an ill-advised relationship. But the comparison with Rupert both works here and doesn't because Rebecca is not being written like a white woman, she is being written like a white man. Realistically, only a white man can engage in this kind of hugely imbalanced relationship seemingly without any major moral qualms or societal ramifications. Not to put too fine a point on it, but this kind of relationship is reserved for all the Bills and Joes and Brendans and Jasons out there -- not for the Rebeccas and definitely not for the Sams. We are way beyond the point in feminism where we believe that liberation is simply the right for a white woman to behave as badly as a white man. The truth is that whatever wealth, power and privilege Rebecca has, the rules are different for men and women. She will not be treated the same as Rupert if and when this affair is uncovered. She will be treated far more savagely than Rupert ever was and Sam will be treated far more savagely than Bex was. This is not an argument for the equal treatment of these two relationships. It is an argument against how the relationship between Rebecca and Sam has been envisaged, i.e. through the wrong perspective. In writing from a 'neutral' white male pov, the show has invisiblised all the many issues activated by this storyline and revealed a blindspot that was always there.

As much as I loved and still love season 1 of this show, it has definite blindspots when it comes to representations of race and gender. There are at least two moments in s1 that stand out for me as being so obviously written by a man. Not necessarily because of what they do but because of what they don't do: what is missed, absent, unacknowledged. I was willing to overlook such minor failings in a debut season for many reasons. But s2 seems to have exacerbated these minor flaws rather than correcting them. And here I can't help thinking of Tina Fey speaking of the diversification of the writer's room at SNL during her tenure as co-headwriter. This notoriously male-dominated environment only began to shift and produce better work when a greater diversity of minds, voices and persepectives was allowed in the room. In this richer environment, she notes, different jokes played differently. Different sketches made it to air. Different perspectives were represented and different performers were celebrated. I can't help wondering if this plotline would have made it to air if there had been a female writer, a writer of colour or both further up the chain of command to challenge the ideas of the straight white dudes in charge.

One of the reasons I didn't think Ted Lasso was for me was that it centred a straight, white, cis-het, able-bodied man who rose to a position he didn't earn. That is just not a pov I would normally choose for myself, especially now that there is such a rich array of alternative perspectives through which to view the world. But I think the show won a lot of females fans with its first season largely due to its portrayal of Rebecca. She is the first person we meet. She is arguably the protagonist of s1. And while she would have been figured as a villain in previous pieces, the show never took that stance with her (because again, stance matters). Other elements like the depiction of female friendships, all centred around Rebecca, made this show female-friendly viewing. But imo, the major reason this show won over female fans (this one, at least) is because, in this post-MeToo, post-TimesUp era, it stood up and said: domestic violence is not okay, we stand with women and all victims of abuse, we will defend you, we know words can hurt, we know it can happen to anyone, we know all about toxic masculinity, we do not take this lightly and we will support you in your healing. Needless to say, this is how women hope men will act when they speak of their most difficult experiences but it is not how they always do.

The shift away from Rebecca this season has however meant that the white male experience is more centred than it was in s1. Rebecca's journey to recovery, health and happiness has been trivialised and sidelined, reduced to a highly questionable sexcapade. Meanwhile, we get overwrought manpain at every turn. We get Beard wandering around London (no, I haven't seen it and no, I don't need to. We've all been raised on white dudes thinking they're genuises when they have a figurative wank all over our screens). We get NO queer represention at all. And the only other female characters on screen are in care/service roles to men. The father/son, mentoring and toxic masculinity themes are all still there but they're no longer balanced out by ANY other competing perspective. One of the reasons I was okay with Ted failing upwards in s1 was that he used his power and privilege to lift up others. He was the one in service. He used his enormous privilege for good, as anyone with such privilege must. (Admittedly, it could be argued that this is just another version of a white savior narrative).

My point here is that I'm not sure that peeking behind the mask at the sad clown is as revolutionary as some might believe. We love it because it's familiar. But this is a narrative with a long and problematic history. Do I believe in tearing down toxic masculinity in all its forms? You bet. Do I believe that patriarchy traumatises men as well as women and every other minority in existence? I mean...nowhere near as much, but absolutely. Do I believe in men expressing their feelings and going to therapy? Wholeheartedly. But I am also aware that 100 or so years ago, we were in a very similar place with our narratives. Everyone is looking for a recapitulation of modernism and frankly, this might be an indicator of just that. Whenever women and people of colour have demanded rights and recognition, there has always been a resurgence of tales about just how frickin' hard it is to be a white man. Minority genders and non-white people have never in western history been as visible or vocal as they are now. So forgive me (or don't, I don't care) if I critique a show not only for centering fathers, sons, boys and men but for blindly and boldly writing one of its only female characters and one of its only black characters as if their gender and race just do not exist. There are many other power differentials at play in this relationship, including age, experience, wealth and position, but race and gender are the two that patriarchy is most invested in invisiblising. So I don't care how brilliant they think they are, I will not trust the writing of a bunch of white dudes trying to tell me that race and gender are irrelevant.

[activelytaemin]

growing pains [lee taemin]

◇ lee taemin x fem! reader

angst-ish? | college!au | non-idol!au

warnings: mature language, unedited

2.0k April 8th, 2021

everything written in this story is completely FICTION. i personally do not believe that this story aligns with any of the idol’s real lives. ultimately, this story is not meant to intentionally defame any idol in any way.   

chapter one [congratulations, but not really]

Dear {Y/N},

Congratulations! I am pleased to offer you admission to the University of California, Riverside for fall 2021.

the golden word congratulations lit up y/n’s eyes as she screamed falling into her brother’s arms.  tears emerged from her eyes realizing that she would finally leave the colorful city of busan for the sunny shores of california; this was a cultural reset that guaranteed her an infinite amount of memories to come.  

“i did it! jimin, i studied so hard”, she sobbed, grasping onto his slim frame.  “it feels worth it like—“, she paused to wipe her tears with her sleeves, “all my late nights, immense sacrifices, and good grades have made this worth it.”  

jimin rolled his eyes playfully and lightly pushing her off of him. “yeah, of course you made it in”, he scoffed jokingly, “we’re a family geniuses. you weren’t raised to be a dumbass.” he ruffled her hair before y/n grabbed his wrist.  

“i guess that’s why both of my brothers are stuck here—“, y/n held his hand lovingly before sarcastically stabbing his back, “especially the one named park jimin, he didn’t get accepted into any ivy’s or safety’s. now he’s stuck going to an online university.” she released his hand before smiling to truly appreciate him, “but all jokes aside, i couldn’t have done this without you.”

her mind wandered to the thought of sunny california. the excitement built up in her like air filling a balloon. there were nerves trapped within because this sense of curiosity and control was foreign.

would there be snow? 

what types of people would there be? 

how perfect does my english have to sound?

there were several wonders because south korea was engrained to her memory.  for the past eighteen years, korea was her home. there would be no more hanboks on seoullal, honorifics for friends, and (most importantly) her beloved family.  without her family, she wanted to venture on the outside on her own. yet, there would always be a yearn for the feeling of home. the universe finally served her freedom on a platter. she could finally leave the nest to fly.

was she ready for it?

“y/n, don’t forget that you won’t be alone. taemin goes to riverside too”, jimin’s loud mouth interrupted y/n’s thoughts.  soon enough, all her freedom had crashed and burned. she was caged once again. 

her imagination was left to torment her. when she heard his name, a roaring fire lit up within her because of her discomfort; the fire will never go out.

scars can heal, but y/n’s are deep as ever.  like an evergreen, scars can everlasting.

“taemin—i thought he was in new york?”, she questioned with a sense of worry. “i haven’t seen him since he graduated, and i don’t really like him at all. are you guys still friends? ”, an awkward laugh slipped out. she was quite uncomfortable at the mention of taemin, and her confession proved it all.

there was something about taemin that irked her soul. whether it was the memory of his being or thought of him physically, taemin would forever be an uncomfortable and undesirable person to talk about.

she remembers the day taemin walked in and out of her life.  

it seemed so sudden.

he never wanted to cause pain, but he left her with the sharpness of his trauma.  whatever was rooted in his cruel being had isolated her from her well being.

it was one thing for taemin to make y/n happy in secrecy. however, y/n had to suffer in secrecy once taemin had walked out because nobody knew the depth of her adoration for him.

jimin groaned before taking a deep breath to keep his composure. “one, taemin has been my best friend since 2015. two, he had to transfer because he had a change of mind—”, he let out a brief laugh, “well, that’s what he says—and three, it’s him or mom watching you.” 

he was taken aback by her dislike for his friend.  in his mind, he believed that y/n would be quite fond of a familiar face.  however, he let it go believing it was just another “girl problem.”

little did he know, taemin was a disaster that filled y/n’’s life with hundreds problems. 

jay-z once said, “i got 99 problems, but a bitch ain’t one.” for y/n, taemin was the 99 problems and she was “the bitch.”

the seriousness in jimin’s tone was irritating to y/n, almost strangle-worthy. he doesn’t understand her dislike for him. in fact, he has a “bromance” with taemin.

to others, taemin is a cool and collected young man that seemed shy to the world while being confident to his friends.  jimin often saw his confident side, and that allowed jimin’s mind to feel as if taemin was heavenly.

to jimin, taemin had an aura about him that he couldn’t explain.  it drew him in. 

maybe it was because he was simply older than jimin.  or, he could’ve just been build with extra charm.

as much as y/n didn’t like jimin’s praise for taemin, she didn’t want her mom babysitting her because she is simply too grown to have her around. sometimes mother’s can be suffocating; they can control many aspects of your life.  it was a valid fear for y/n to have, and she was scared that jimin was going to follow in those footsteps.

jimin didn’t know any history between taemin and y/n.  he doesn't know she constructs taemin to be evil because he took advantage of her innocence. sadly in her heart, she believes the thought of him is bad for her health because he hurt her.

taemin is a monster. an emotionless, compassionless man who does not know how to love.

but, everyone is naive because they don’t understand his evil like y/n does.  

taemin does put up a front to the world, while y/n gets to see all of him at her own risk.

“i love mom, but you’re right”, she laughed in agreement. for jimin’s sake, y/n lied to him and herself, “i’ll take taemin any day.”

“yeah, but don’t forget to wear a mask. nobody wants covid in the states. you don’t have insurance”, jimin scoffed before y/n hit his back playfully.

jimin yelped in pain, “literally what the fuck? you’re a demon.”

 september 20th, 2021

the plane to california was unbearably long and did not comfort her senses.  although she did not mind wearing a mask, the uncertainty of her health on that flight kept her up the full thirteen hours. everyone was spaced out, but the enclosed space made her claustrophobic. normally, her senses are grounded. however, the pandemic blows everyone out of proportion and brings out a little bit of paranoia as well.

y/n was wearing a pink surgical mask to contrast with her plain wardrobe. before she left for california, she chose a long black coat, oversized uc riverside hoodie, and black jeans with her basic converse. she was trying to blend in with every other college freshman on move-in day.

a memory flew into her mind. while on the plane, the remembrance of what home felt like tugged at her.  the pain of missing someone never settled inside of her; the feeling was foreign because the past experiences weren’t genuine. or maybe, she is uncomfortable with missing someone or something because of insecurity within.

before y/n left, her mom hugged her tightly before sending her off with tears; love can be unconditional when it comes to your family.  on the other hand, y/n heard jimin laugh at his mom while giving a wave goodbye; hiding your worries with comedy makes you more worried at times. jimin was obviously good at hiding himself, but he made himself overly awkward this time.

when she knew she was saying goodbye, y/n didn’t feel anything because leaving was thought out to be normal. her mind didn't think her immigration would be sad. it was surprising to see her mother sad, but also the uncomfortable atmosphere jimin brought.

a ding from the intercom sounded off, “we will be beginning our decline to los angeles.  the fastened seat belt sign is now on for your personal safety. please remain seated during this time”, the voice was followed by another ding via the intercom.

as the plane began its descent, y/n gripped one of her armrests while closing her eyes. sadly, the feeling of traveling alone was brand new, not in a bad way. perhaps, the butterflies her stomach arose because she was going to be around a familiar face that makes her uncomfortable.

y/n wishes to hide away the memories of the two of them as if their world's never collided. in her mind, lee taemin was just another problematic teenage memory to get rid of

in summer 2018, the air was different. it was heavy, and the atmosphere was lethargic.  in the moment, y/n felt specifically upset as if the universe decided to rip out a significant amount of reality; the universe ripped something out, indeed.

lee taemin, long-term lover, graduated early behind her back.  suddenly, he is getting up to leave for new york. 

“i can’t believe you are leaving for college already”, her teeth bit her bottom lip before she felt his warmth encase her. tears were pouring down her face while creating a hurricane of bleeding makeup and anger.  “you can’t keep doing this to me. you told me no more fucking secrets!”, she gripped onto his waist before silently crying into him.

“i think you knew that this was bound to happen”, taemin brought a hand to her face, caressing her cheek to wipe away the tears. “the only difference between you and i is that we’ll be boarders apart.”

“i didn’t know this was your plan. you just dropped this huge ass bomb on me today!”, she aggressively pulled his hand down to suddenly push him away.  “taemin, this isn’t just about you. my love for you is real.”, she took a breath to let out a sarcastic laugh. 

“i love you”, her heart ached saying those words.  more tears came out of her eyes before she quietly croaked out with a general shakiness in her demeanor, “do you feel the same way at all?”

taemin shook his head, scoffing slightly. he grazed the back of her hand with his lips. no words were exchanged between them.

y/n was standing there confused, waiting for him to say something. even if the words were, "i don't love you."

however, his response never came, and his thoughts seemed distant. it was like taemin resisted y/n's desire and compassion for him.

the silence between the two filled the air. it finally hit her that his love was no longer apparent, and his place in their relationship became nonexistent.

just like that, taemin walked out the door breaking y/n’s heart as if it was glass. from her eyes, it truly didn’t feel as if he gave a damn to begin with. 

it was unreal, but most definitely her reality.

in her mind she is screaming because taemin makes her feel alive in the worst way possible. he is unbearable to think about because he is a reminder of everything that has gone wrong with love.

he is only a distant memory that she wishes to burn.

fuck love.

but most importantly— fuck you, lee taemin.

[bookaddict24-7]

I said at the beginning of the year that I would share my reviews more on my blog instead of just on Instagram and Goodreads. I’ve been reading a lot so far this year, so my reviews will be delayed on here.

Friend me on Goodreads here to read my reviews in real-time!

___

107. Amari and the Night Brothers by B.B. Alston--⭐️⭐️⭐️⭐️⭐️

Wow, this book had more of a punch than I anticipated! I think books like this one are super important--not just because of the content, but because of the audience it's geared towards. Young readers now are learning more and more about society than a lot of us did at their age, so I think it's perfectly fitting that a book like this one is out there for kids to devour. One of the things I liked the most about this book was the allegory of racism in a magical community. Usually in fantastical novels for kids (older ones, anyway), there's this belief that no matter what you look like, the moment you go to another magical place all of your worries about racism goes away because MAGIC. But in this one, not only did our MC have to contend with the racism in her normal life, she had to face more racism in her new life, just with a new title. So many of the actions taken against her by those around her, and the comments (like putting her brother on a pedestal because he was the star of the school and calling him the exception to the rule, or one girl actively telling her that "You can take the girl out of the ghetto, but not the ghetto out of the girl) really made me think that this poor kid went from one ignorant situation to another. Not only is she trying to find her brother and solve the mystery of his disappearance, but she also has to deal with racist and ignorant people around her. Imagine calling a child evil because of something they can't control. Imagine going out of your way to ensure that they fail. Imagine you or your child hearing the things this child heard while trying to just do her best in a system that's always been made to be against her, both in the human world and in the magic world. Imagine, imagine, imagine. Another thing I loved about this book was her resilience. She is brave, and smart, and has such a big future in this new world of hers. I'm so excited to read the rest of this series as it comes out. This book was POWERFUL and I highly recommend it. Not just for the young readers in your life, but I think parents and other readers would highly benefit from reading Amari's story.

___

108. Mindy Kim & the Yummy Seaweed Business by Lyla Lee--⭐️⭐️⭐️⭐️⭐️

Okay, this book was ADORABLE. I haven’t read a 6-8 book in a long time and I’m thankful to my friend on Instagram who recommended these books! Mindy has to deal with not only her grief about losing her mom and her dad’s busy schedule (as well as his own grief), but she’s also at a new school in a new State where she is the only Asian student. I’ve mentioned this in some of my most recent reviews, but I love that these important topics are being discussed in children’s books. We see moments of racism in this book where Mindy is left upset, even if she doesn’t fully understand just why certain comments and actions are so hurtful. And even if she doesn’t dwell on it, a parent reading this with their little one would notice and hopefully learn if they see their own behaviours mirrored in the actions of some of these adults. But we also see moments of kindness and love as a young girl tries her best to find ways to make her dad happy. Despite the heavier undertones in this book, there was an overall feel of sweetness and childhood innocence. The ability to apologize when you know you’re in the wrong, the innocence of emotions getting away from you, and the sweetness of a daughter loving her father. This was a great read and I highly recommend it for everyone, but especially the little ones in your life who will be entering situations where books like these and their lessons are really important.

___

109. The Dead Zone by Stephen King--⭐️⭐️⭐️⭐️

This one, I felt, held more of an emotional punch rather than a creepy feeling. I really enjoyed it! I loved the psychic angle and the MC proving the people who didn’t believe him or mocked wrong. Also, this was a King book that actually made me want to cry at the end. I didn’t give it a 5 because of some really slow moments. While I love that his stories always have a way of coming together at the end, certain scenes sometimes feel long, boring, or confusing. I’d recommend this for anyone who wants to read a King book that isn’t scary and if you’re a fan of 11/22/63!

___

110. Takane & Hana Vol. 1 by Yuki Shiwasu--⭐️⭐️⭐️

This one took me a while to read. I found that I wasn’t really in the mood to read it every time I picked it up—which is so different from when I pick up a manga I really want to read. The story had some funny bits and the artwork was gorgeous, but it really bugged me how every new chapter re-introduced the love interest. Over and over and over again. I get it: he’s rich, arrogant, and an asshole. Can’t you trust us to remember these key personality traits? But it wasn’t even just that. We were constantly re-introduced to the premise of the story. I don’t know how common this is WITHIN the same volume, but I haven’t encountered it yet—and if I have, it wasn’t as annoying as this one. I’ll keep reading the story because I’m curious, but this first volume was a bit of a rougher read for me.

___

111. You Have A Match by Emma Lord--⭐️⭐️⭐️.5

I think the thing with this book is that the cover tells a different story than what really matters in this book. Yes, there’s a friends to more relationship in this, but the main storyline is about two girls who find out they’re sisters and are trying to solve that mystery. This isn’t a romcom—the romance is a super side story to the main storyline. And to be honest, I really enjoyed it. I wanted to see why these two sisters lived their whole life separated. I enjoyed the process and the friendships created along the way. I felt for the parents, but at the same time, I felt more for the girls. There were instances where I wanted to yell at the parents because they kept putting the reveal off. This was enjoyable overall—a great summer read. Not particularly memorable, but it does what it sets out to do: makes you question the strength of friendships and what they can overcome. Also, Instagram.

___

112. Patron Saints of Nothing by Randy Ribay--⭐️⭐️⭐️⭐️⭐️

When my friend raved about this book I was both excited and intimidated. I usually try to avoid hypes surrounding books because I go in with too-high expectations and a lot of the time, the expectations crush me while I’m reading. Thankfully, the hype is very well-deserved with this one. For me, the most important aspect of this book that stuck with me wasn’t the mystery surrounding the MC’s cousin’s death, but the character growth the MC himself experiences during the time of his investigation. Identity sounds like a pretty clear cut thing sometimes, but it’s a lot harder to know your own when you’re the child of an immigrant family. You live in a new country, get accustomed to new expectations and customs, and inevitably feel a culture shock when you’re re-introduced to the culture your parents grew up in. I saw myself so much in this MC. From my childhood to my current adult years, people have thought that they could define me and who I am simply because I say I’m this or this. But while others make a quick judgment, they don’t see the internal struggle. They don’t see you questioning yourself on whether you’re enough of this, or whether you’re enough of that. I think teenage me would have loved this book even more. The MC is constantly faced with criticism about his father choosing to move them to the States from the Philippines. The judgments and the preconceived notions of him and his family make him not only weary because he recalls how his uncle treated his father the first time he visited, but also wary because it sets him down this road of self-reflection. I haven’t read many (if any, unfortunately) books where a character goes to the Philippines. I’m so thankful to this book. I learned so much about the culture, the foods, and the struggles faced not just financially, but politically as well. I remember reading about some of the topics brought up in this book and it was extremely eye-opening. It’s so easy for us to look away because we have that privilege, but this book says, “No, look at me. I exist.” The MC, in his journey, also learns to speak up and use his voice. Not just against ignorant friends, but an annoyingly smug and verbally abusive uncle (who I hated to all hell). He also learns to listen. He learns that though not every story is perfect, they still have power. I think this is a great read for those who have one foot in two different worlds (hands and arms can be in other worlds, too). Especially if you’re trying to understand this part of you that wasn’t developed as you grew up. I’d also recommend it to readers who want to learn more about this struggle, learn more about a different culture that is more than its stereotypes, and/or want to read about a young teenager trying to come to terms with his grief and guilt.

___ Have you read any of these books? Would you recommend them?

___

Happy reading!

[lightadept]

Character Analysis: Mythological Relationship of Griffith and Guts

Whether intentionally or not, Guts and Griffith’s relationship seems to be heavily rooted in one particular mythological theme, which further colors their attraction and antagonism to one another. I’ll quickly go through the mythos in the first half of the post, and then discuss in the second half how it relates to their relationship and also to Casca. I apologize in advance for all the nonsense that’s going to come out of this. @bthump​​, here’s the analysis I promised to make a few weeks ago!

Proto-Indo-European mythology, whose traces are visible across cultures in entire Eurasia, shows a recurring conflict between two opposing principles. There’s a devouring chthonic creature on one side, a beast (most commonly, a snake or a wolf), and it’s associated with the lower world of matter. Then on the other side, there’s a hawk, a falcon, or an eagle: aerial, graceful, spiritual, and predatory, suggestive of celestial realms. Slavic mythology, which is an offshoot of Proto-Indo-European mythology, in particular, uses very often beast vs. hawk symbolism. In later dualistic interpretations, the spirit is good, the matter is vile, and the spirit triumphs over the matter. However, in older, naturalistic interpretations where this symbolism originated to begin with, spiritual and chthonic currents are eternally bound together, both necessary, both neutral, both caught in perpetual conflict. It could be that Berserk simply borrowed hawk/wolf dynamic from Ladyhawke (1985), however, Ladyhawke merely uses forms present in this myth, but not their underlying meaning. Berserk, on the other side, delved deep into it, and the driving force behind attraction and conflict of Griffith and Guts seems to have roots in it.

These two opposing mythical sides - hawk which stands for spirit, and beast which stands for matter - have different faces, different hypostases. Sometimes they are represented as archenemies always killing one another, sometimes as lovers always searching for each other, reflecting the idea that they cannot exist separated, yet almost whenever they combine, they inevitably hurt one another. Spirit suffers when it’s brought down to earth from its heights and entrapped in matter, and matter suffers when it is taken into the heights because it loses its roots, its relation to the chthonic earth. There’s always an imminent danger in combining them.  

Mythologically, the joining of these two opposing principles is usually depicted as a marriage of sun and moon - which, especially in some later philosophies that were a continuation of the original mythical thought - is often depicted as an eclipse (Ladyhawke uses this theme too). It is a moment when the spiritual is touching upon the physical, and if the union is successful, a third element is produced out of the two, containing both and reconciling them. However, if something goes wrong during the union, the result is a disaster. Old Slavic lore is chock-full of folk tales and legends that describe this event. There’s an attempted marriage of two persons - who are always the respective echoes of the mythical beast and hawk gods, or to be more precise, of their children, who are not enemies like their parents, but instead in love with each other. In the myth, the god, who comes from the realm of the beasts, is traveling from depths to heights (matter is rising to meet the spirit) to meet his to-be-bride. And the goddess, who lives in the heights and comes from the realm of the hawks, is also starting to lower (spirit lowering to meet matter), and they are supposed to meet midway. Yeah, it’s the “I want to be his equal” thing. On her way down, things usually get super dirty. Their attempted wedding is immediately preceded or followed by a disaster, usually a massacre that leaves everyone present dead. This massacre is caused because, suddenly, instead of two lovers, we have three people involved. It’s usually one man torn between two women, one of whom is the bearer of the spiritual and the other of the material principle. Sometimes the person who massacres everyone is the jealous bride herself because she learns that there is “another woman”, and sometimes it’s the third person who doesn’t want to let the other two wed, usually a possessive mother. Metaphysically, what is happening here is that at the moment of conjunction, of spiritual and material realities trying to unite, that third element - which is supposed to be produced through their union - is already present. It’s a triangle now. Spirit, body, and soul are all present at once. Soul, which is always in the middle of the conflict, is being torn between spirit and matter, cleaving to them both, and as a result, someone always ends up being the third wheel. In other words: spirit and soul wed and unite, but they forget the body. Or body and soul unite, leaving the spirit out. This third left out element punishes the other two, having been left out, and everyone inevitably suffers. This legend is a fantastic psychological metaphor for the terrors that psyche undergoes when one of its aspects is suppressed and denied. This love triangle represents the body-soul-spirit dynamic, where the soul is torn between the other two. It’s an allegory on what happens when the soul chooses (or seems to choose) one side over the other, and then as a consequence and a punishment, matter castrates spirit, or spirit castrates matter. There are many variants of this legend across Slavic folklore. All of them always echo the original Proto-Indo-European mythological conflict, involving the spiritual hawk vs. chthonic beast god. Did Miura know about all this? I don’t think so. It seems very unlikely. But he didn’t need to. He maybe knew about beast vs. hawk mythological conflict, or he simply borrowed the symbolism from the Ladyhawke movie. However, this myth merely personifies the human conflict present in almost all religions or philosophies. This theme is everywhere but in some less recognizable forms. Everyone eventually feels that it’s difficult for a soul (or psyche in our modern language) to be grounded in both spiritual and physical matters. It’s either inclined more to the spirit, or more to the physical reality, and if one goes all introspective and muses on this, one will inevitably be caught in this unfortunate love triangle of spirit-soul-body, where something is always being excluded at the expense of something else. I see Guts in this as a soul, torn between Casca and Griffith, between earthly and ethereal. So, Miura probably simply repeated the same tragedy that has been told throughout centuries in all cultures. Not because he knew these myths, but because these myths are imminent conclusions personified. They are just echoes of the age-old humanity’s struggle to understand itself that’s already embedded in the human psyche. Now let’s look at Guts, Griffith, and Casca through the lens of this symbology. Those three are that tragic, messed up triangle of spirit, soul and body. Guts is the soul, which is in a way always the center of the triangle because everything is perceived through it. He has substance, depth, but not a place in the world. At the beginning of manga, Guts is broken to the very core: he is essentially a man without a purpose, roaming and wandering, scattered. He doesn’t feel any higher call, he has no personal agenda, no personal wishes - he just exists and does things without knowing why he does them. Moreover, he is not just spiritually starving but physically as well, scarred by the trauma of what Donovan did to him. So, both his body and spirit have been butchered early on, leaving him with connection to none. But then he meets Griffith. And for the first time, Guts is fixated on something, there’s finally meaning, a purpose. He has something to fight for, something beyond himself. Griffith. Finally, a higher call. Griffith very clearly personifies the spirit principle. He’s all mental, aerial, detached, calculating, not earthed. White-bluish appearance, pretty evocative of aerial heights. He follows a higher call, he is messianic, but like with all spirits, his “dream” is not earthed. It’s detached from matter, from physicality, from ordinary life. He sees none of this, none of it is genuinely important to him, nothing touches him - that is, until he meets Guts. Guts brings him down, he earths him for a moment, and for the first time, through his interaction with another being, he’s an actual human, he is involved. For the first time, he is personally caring about someone. He’s cared about things before, yes: about his fellow men, about the Hawks, but in a detached matter, from far away, from the top, in a way that doesn’t involve him. With Guts, he cares personally. Guts invades him psychically, he reaches him from the inside. This is a violation of spirit by the soul, something completely new and unfamiliar to Griffith, so impactful that he is utterly baffled and ultimately shattered by it. There’s always a danger when it comes to involving a spirit into human affairs. In the aforementioned myth, eagles were used as symbols of spirit not just because they are graceful, but because they are predatory and ferocious - meaning that there is an innate tendency to destroy matter, to kill what crawls on earth, to want to detach from it. Matter is not their territory, it baffles them. When they engage with matter, the impersonal heights are suddenly made intimate and personal. Detachment suddenly becomes attachment. This soul-spirit union, personified by Guts and Griffith’s relationship, where they both invade one another’s psyche, can either result in something beautifully sublime or something utterly disastrous. If Guts only realized that he already was Griffith’s equal, and if only Griffith realized that Guts never truly abandoned him, these two characters would have redeemed one another’s weaknesses. It was Guts who misunderstood it first, or at least first acted it out. Remember how in the legend the mythical characters were supposed to meet midway: one was supposed to climb up and the other to come down. There’s a saying in alchemical philosophy - which, by the way, is philosophically identical to these myths: earthly must be made spiritual, and spiritual must be made earthly, and only then the union can be successful. Curiously, Ladyhawke somehow also ended up using this theme, probably accidentally. So, there’s definitely something going on here. After Guts overhears Griffith’s conversation with Charlotte about what being an equal means to him, Guts starts to think too low of himself, not being worthy of Griffith, not worthy of these sudden spiritual heights. After defeating Griffith in a duel and walking away from him, Guts says how he thinks Griffith is above all this, how this abandonment shouldn’t bother him because it’s just one of the many pebbles on the road.

You’re a soaring spirit, so what the fuck are you doing with a petty soul like me? This scene is not just Guts abandoning Griffith. It’s the soul - stripped of confidence before a soaring spirit - abandoning it because it thinks it cannot catch up to it - although, in a way, it already did. That’s the tragedy. The soul wants so desperately to bond with the spirit, but it thinks it can’t. Guts thinks he will never be Griffith’s equal, at least not in his current condition. And then he abandons him. As a reaction, Griffith, the spirit, loses all ties to the one thing that earthed him, that plunged him into the realm of the personal, and made his spirit more humane: Guts, the soul. It’s really the ultimate irony that Guts never abandoned Griffith, or the heights and the meaning that Griffith came to embody for him. He was bloody loyal to it all along. But Griffith doesn’t know this. All he knows is the sudden sensation that he is being left behind. From his perspective, the spirit just got ditched by the soul, and right before Eclipse, the soul (Guts) chose body (Casca) over spirit (Griffith). That’s what Griffith sees.  

Which brings us to Casca: the perfect tragic image of the body, of physicality. When she joins the Band of the Hawks, she abandons her womanhood in a way, she cuts off her hair, goes seemingly insensitive and brute. All these actions and traumas are representative of the terrors of having a body, and one’s responses to it, attempts to deny it because she was born a fragile woman in a cruel man’s world. On a positive side, it is Casca who saves Guts from his own physical trauma, who teaches him the ways of the body he long denied. It is Casca who provides a sense of belonging for a while, who gives him a taste of normal life. However, she only reaches a part of him. The other part responds to spirit only, to Griffith. For Guts, Casca was that fleeting semblance of a normal, earthly life that needs to be protected (I won’t go into whether this was out of genuine romantic love) and Griffith was that higher call, what set him aflame both intellectually and emotionally.

To me, the fact that Casca had to spend chapters and chapters in a mentally vegetative state, being reduced to a body without any substance, is absolutely genial. It’s kind of a sleeping beauty scenario in one of its atypical interpretations, where the protagonist - the principle of the body - sleeps throughout the whole story, while the soul (the prince) is out there fighting the dragons. The body is first to be destroyed, left behind when there’s a conflict of soul-spirit-body. It’s the first to take damage because it is the frailest of all three, because there’s an inherent tendency of spirit to hate the body as the body steals the soul from it. The soul can always dissociate from the body and exist in a somewhat detached state, where it can even bond with the spirit, but the body will always be dead and dormant without the soul. So, metaphysically, the concept of the body is perhaps the most tragic one. It always takes the blame for everything. Spirit is eternal, but the body is what limits the existence in space in time, and thus castrates the spirit.

Griffith’s rape of Casca could in a way be a reflection of this. In Griffith lingers a terrifying, dangerous interplay and clashing of body and spirit. He sold his body for his dream. He prioritizes ethereal over physical, the fate of the collective over fate of the individual. In his scenario, body entraps the infinite spirit in a finite, confined space, suffocating it. After sleeping with Charlotte, he personally experiences this in the dungeon where he was tortured and disfigured, by which his spirit was reduced to a rotting body. His disfiguration is the triumph of the material over spirit in him. Suddenly, he’s no longer a soaring hawk and his wings are cut off. It’s an outright spiritual fall for him, and he takes it terribly. In Greek mythology, mortal encounter with the divine is often represented as rape, madness or dismemberment (gosh, I fucking love Greeks for this) because it shatters the psyche. It terrorizes it. For Griffith, this mythical transition, the descent from ethereal to earthly was disastrous to his state of mind. When Griffith rapes Casca, it’s not just a revenge against Guts - it’s spirit raping the body, getting back at it, while the soul watches and suffers. Just previously in the dungeon, it was body that violated spirit in his case. It’s as if the rape of Casca parallels Griffith’s very own disfiguration, which is also a violation of sorts. By raping Casca, Griffith is essentially saying something like: I no longer need you, now I’m above you.   Because he is so traumatized of terrors of losing Guts - meaning, losing soul - and as a consequence, being “reduced” to something earthly and trivial and ordinary (without Guts, nothing makes sense to him anymore), he needs to be free of it. Of both body and soul. He needs to be freed from his attachment to Guts and freed from this earthliness. When he becomes Femto, he’s finally pure of spirit, a god. Man, I hope it bites him in the ass. He needs to be brought down from his godly heights, and forced to experience the terrors of emotions he cut off. The revenge has to be full psychological. 

[fermented-writers-block]

Just how important IS Hooty?

You know, I can’t help but wonder if some of the secrets and codes in the episodes have been working as a bit of misdirection, diverting our attention away from the deeper mysteries tucked underneath the surface. 

After all, I’ve been seeing plenty of speculation about stuff like Eda’s curse, the Boiling Isles titan, and King’s backstory/possible true form, but not a whole lot about the titular Owl House itself, the silly goofball pictured below:

Now, to be fair, he is particularly easy to overlook due to the lack of focus and weight given to him and his actions beyond the apparent role of sheer comedic relief, and much of what he has said is rather dumb-sounding with others emphasizing how annoying his voice is, but it feels very telling to me that this whole show isn’t named after Luz and Eda or their adventures in particular. 

I mean, while the show has mainly been focused on the main characters of Luz, Eda, and King, they are the inhabitants of the Owl House, not the Owl House themselves, and with the way this show likes to reframe seemingly minor jokes and offhand lines as important in later episodes, I get the sense that the same might especially happen with Hooty but on a much grander scale.

We’ve seen throughout the series how he can manipulate different parts of the house like the weather vane and shutters, and in Hooty’s Moving Hassle alone, we both learned that the walls literally breathe and had the demon hunters - who were noted at the beginning to capture and sell the most powerful beasts - view Hooty as some sort of house demon tied to the house.

Though the latter could possibly be chalked up to the demon hunters mistaking a powerful display of animation magic from Luz, Willow, and Gus as a demon, the way that Hooty grew feet and the kind of aesthetics with the house’s design makes me wonder about the kind of importance Hooty could potentially be revealed to have.

Namely, that he either used to be or will become one of THE most important, powerful characters on show.

As @elementalist-kdj​ has noted before, the stained glass eye window of the Owl House comes from the tower behind it, but it has always struck me about how closely the whole house resembles the owl mural - or perhaps the Owl Deity as I’ve speculated before.

For those who don’t know, I’ve made a post before about how the mural and a few other parts of the Owl House seem like they could have come from some kind of temple or building dedicated to an owl spirit/deity that Eda may have found as a kid rather than having made it herself, and said “Owl Deity” appears to be reflected in stuff like Owlbert’s depiction on Eda’s wanted poster and etc, with particular focus on the following:

Obvious house geometry and chimneys aside, the front of the Owl House to me looks both like a more abstract and more realistic depiction of the Owl Deity than the mural itself. For comparison, let’s look at an actual life horned owl, one with brown streaks and a white spot in lieu of triangles and a diamond shaped star:

The dark brown streaks in the chest plumage are hardly uniform or symmetrical, and the kind of “diamond shaped star” that can be imagined with the spot of white in the center of this owl’s chest is less outlined as a clear star and more as a splash of color.

Now, with the Owl House, all of the glass windows on the front besides the eye-shaped one could be abstracted into right side up triangles while at the same time realistically varying in size and placement just like a real owl. And just like the white splash of color in the above picture, the door - aka Hooty - is placed roughly around the same spot on the house as the diamond on the Owl Deity in the mural. Heck, the owl weathervane could be interpreted as a stand-in for the subtle flame/crown above the Owl Deity’s head.

Just turn the eye-shaped window ninety degrees, make the outside more feather-like, and add some horns/ear tufts above the eye, and you could get what would likely look to be a more accurate version of the Owl Deity - albeit one with the wings tucked in as if roosting rather than spread out in flight - with some slight alterations to the feet of the following picture and getting rid of all the dirt right below the house and above the legs:

All in all, what I’m suggesting is that - as Hooty IS the Owl House itself - he could be either a reincarnation of/a new vessel for/an aspect of the Owl Deity, or a severely weakened and amnesiac Owl Deity that Eda had discovered and incorporated into her house. 

With this, I believe that the power of the Midnight Conjuring and its effects on Hooty could be an indication that it would require both a LOT of magical potential/power to restore/bring back the Owl Deity in full force, AND the correct spell or ritual to do so. 

Obviously, Luz and her friends easily fulfill the first requirement with their showing in Hooty’s Moving Hassle, but that incident merely channeled that power through Hooty rather than into him, and as such, Hooty’s true potential only partially manifested itself with very limited independence. 

Heck, it didn’t even manifest in the correct manner at that, what with the feet in the above failing to match the kind of feet the Owl Deity and the IRL owl have as @sepublic​‘s pointed out to me before, so to me, the implication seems to be that for as powerful the combined might of Luz and her friends under the Moonlight Conjuring was, that is still just a flash in the pan compared to the sheer amount of power required to actualize the entire Owl Deity.

As for what is the exact relationship between Hooty/the Owl House and the Owl Deity, I suspect that it could be related to how Hooty’s been often described as the house’s defense system and ‘guardian’ both in and outside of the show, and if my theory about the mural and curtains having come from just one of many rooms out of a whole temple is correct, then maybe the Owl Deity is a guardian being that has a mutually symbiotic relationship with its supporters.

Specifically, a being that is the temple housing said supporters itself.

In exchange for offering protection and maybe even some ancient wisdom as befitting the traditional image of a large and incredibly powerful owl in pop culture, its followers may have taken up residence within this temple and ritually offered to help bolster the Owl Deity’s strength and abilities with their own magic, which helps it more easily manifest its true power and knowledge.

However, I’d like to propose that something might have happened to the Owl Deity’s followers a long time ago, whether from something like all of them dying or being killed, the Owl Deity having fallen in some kind of battle or fight and such that led to its followers being forced into hiding, or its supporters somehow being swayed over to the side of someone else - perhaps someone with a closer association to corvids and ravens rather than owls.

From there, the Owl Deity lost a good amount of its power and strength, its temple body eroding away by the currents of time and its legacy falling into complete obscurity until a chance discovery by a young Eda Clawthorne during her studies at he Hexside School of Magic and Demonics.

And within these ruins, she found a miraculously intact room containing the owl mural and its associated curtains, among which she also uncovered a young/infant owl-like ‘house demon’ she brought back with her, eventually giving it the name “Hooty.”

Though I know the justifications for this theory are admittedly rather circumstantial and flimsy at the moment, I just can’t think of any other conclusion that feels anywhere close as likely to actually happen within the show.

I mean, a very recurring semi-major character often being the only one constantly being re-established as ‘just silly comedic relief’ among a whole cast of characters whose small quirks and funny antics constantly returning to show hidden depths?

And the owl mural itself - a topic of much theorizing - is a part of the owl house and therefore part of Hooty himself much like the breathing walls in the ‘living’ room, so wouldn’t that mean that Hooty has a MUCH closer relationship with it?

How about all the points brought up about how Hooty is supposedly a “state of the art defense system” and how Eda has a LOT of people after her who ought to have been able to get past Hooty despite his many showings of incompetency?

Either all of this is just coincidental set dressing and have no actual bearing on Hooty and his role in the story, or this is all part of a massive bait and switch where, between the idiocy and comedy, things are subtly building up towards a MAJOR demonstration of just why the show itself is named not after any of the inhabitants of the Owl House, but after Hooty himself. 

[val-aquenta]

And hey! Bet you didn’t expect a double update, but hey I got inspired. Here for the prompt of non-attachment for Jedi June.

here on ao3

Aayla Secura:

Aayla sat on the spire, exposed to the winds high up here. The ribbons and thread tied to the barrier in front of her almost reached her face where she sat. She thought that, if she tried hard enough, she might be able to pick out her Master's ribbon, a bright yellow embroidered with green. The end, like all other beads, would hold one bead from their braids. Quinlan had said he’d chosen his piloting bead to be left up here, tinkling with the rest, considering all the help that Tholme had done to get him through piloting. Another one she thought she might recognise was a dark purple ribbon with gold beads and a large green one, carved with the symbol for lightsaber studies, likely Master Windu’s ribbon. 

Aayla's ribbon sat in her hand, a bright blue with a few dark brown beads and one rather large grey one dedicated to her general education. She thumbed the bead thoughtfully, rubbing a finger across the smaller brown beads. On the eve of knighthood, they were meant to come here, meditate, tie their ribbon and leave it behind. Part of their life was ending and they couldn’t bring it with them always. Quinlan had done so, meditating for two hours before wandering back down, still as carefree and Quinlan as before. 

Aayla wasn’t so sure she could do the same. So much of her life had been defined by Quinlan. He’d rescued her with Master Tholme, and when Quinlan had felt experienced and ready to teach, he’d taken her on as a Padawan. He’d helped her work through her feelings surrounding twi’lek and their culture. The man had helped her through every obstacle, and she no longer knew if she could leave him behind. Aayla was frightened that if she let him go here, she would be unable to care like she used to before. She looked at her blue string, sparsely tied with brown beads.

Aayla supposed, however, that it was something she had to do. Her past was defined by Quinlan, that was a fact. Her future did not have to be, but it certainly could be if she desired. It was a risk that she had to take. Her Master wouldn’t be hers anymore, but they could still be in each other's life nonetheless. 

“I can let you go.” She mumbled under her breath, tracing the edges of brown beads. “I will let you go.” She continued mumbling, closing her eyes and her hands moving almost of their own accord. “I am letting you go.” Her hands tied a knot, familiar and common throughout the universe. “I have let you go.” She blinked, her hands back on her lap and her string fluttering in the breeze. The light caught another Jedi’s translucent beads, reflecting it in all hues across the spire and Aayla smiled. She was to be a Knight soon, a Jedi apt for solo missions. Her future awaited. She took a moment to bask in the sun, breathing in the peace up here, far away from most people before she stood and began her walk down the spire. 

Mace Windu:

Mace Windu had climbed the spire an hour ago. It was so quiet and he was alone up here. In his pocket, the ribbon weighed heavier than it should. It was purple and gold, what Cyslin said were his colours. He’d honoured his Master with the green mastery bead and, when he’d shown his ribbon to her, Cyslin had gotten slightly teary-eyed, tracing the gold beads with her finger. “It’s wonderful, my Padawan.” She had looked up from the ribbon, purple eyes focusing on him. “I’m proud of you.” Her praise was offered with a smile and Mace had ducked his head, slightly embarrassed before looking at her with gratefulness. She’d affectionately brushed his braid before pushing him out the door and up the tower. 

Now he sat, staring at his hands. He had never really thought about Cyslin and his relationship in connection with how it would continue in the future and, truth be told, he was rather frightened. They were friends, almost equals, so he knew that it was likely that they would remain in contact at the very least, but he knew that some of the closeness would be gone. 

Cyslin’s ribbon had not been described to him, and he could not pick it out from the bunch, but the entire picture of it was rather beautiful. Different colours and different additions. There was beading, embroidery, little bells that tinkled in the breeze, or even lace. Mace brushed his hand through the bunch, feeling the little beads and bells brush against his fingers. There were stories, he was sure, related to every scrap of fabric or thread. That distressed green fabric with embroidered flowers, that braided yarn with an odd combination of silver, brown, red, and pink, even the strange stiff twisted material that twirled and twirled in the wind. Perhaps, he thought, he might draw this. Mace took what he would term a mental screenshot of the image, willing himself to remember. 

Stiff fingers went to his ribbon and pulled it out, admiring the colours once more. It felt too heavy for such a small thing. Mace turned it over and over idly as he thought it over. He was certain that both he and Cyslin would remain friends at the very least. Cyslin was close with her former Padawan Ileria, so there was no reason for him to think that he would not be welcome either. His hands stopped turning over the ribbon and leaned forwards, tying the ribbon in the middle of a bunch where there was an empty place, likely where an old ribbon had frayed and flown away. 

It felt almost too easy, and Mace was worried he was half-assing it. He watched the ribbon fluttering in the breeze, dancing this way and that way before he turned his eyes over the Coruscant horizon. He wouldn’t say that Coruscant’s horizon was the prettiest, not by far as Lathle and its moons existed after all, but Mace would venture and say that most Jedi found it comforting for its sense of home. The hum of speeders was… audible but hardly so. Most of all, the wind was what he heard. 

Mace took a moment to breathe in the air, polluted by the Coruscanti population, before he stood up. He brushed some of his hair, looking at his braid for a moment. Mace looked at the length, noting how it was somewhat shorter than most, but filled with threads and braids. It would be gone soon. He stretched his back and took one last look over the horizon, before turning and walking down the stairs once more. 

Luminara Unduli:

Many mirialans had similar knighthood ribbons. They usually had a base that was the colour of their skin or their lightsaber colour, with black beads and a personal touch. Luminara hadn’t done that. She was known by most of the temple as a more traditional mirialan, wearing the traditional garb, headdress, and jewellery. It did not make her a ‘better’ mirialan, Luminara thought, simply another one. Because of that, her ribbon had been inspired by the jewellery. Gold, black and red with hints of green. It had been somewhat expensive and she knew there would be some Jedi who would disapprove, but she did not care. They followed their Jedi path their way, and she followed hers.

The ribbon had been switched for black fabric, similar to the heavy garments she would often wear. Clipped on were some mirialan badges of gold and black design, the ends had been embroidered with mirialan runes of acceptance in both red and green, and finally her mastery bead of a deep red as a finishing touch. It wasn’t over the top, not for her, but someone would have something to say about it. In Luminara’s opinion, her culture was an important aspect of her apprenticeship and not including it would be extremely strange considering how much it influenced her life in general and her life as Jedi. 

However, with the apprenticeship ending soon, Luminara wondered whether that would change. Having a mirialan Master meant that they understood the importance of their own culture, and she wondered if she might have difficulty connecting to her culture when her Master wasn’t there to help. They had been vital in establishing the interest in her culture and she worried that once her apprenticeship ended part of her would be unable to connect as she had before. 

Regardless, Luminara knew she was to be a Knight and it would come with some risks she had to be brave enough to take. Master Laetur had often said she lacked determination and that she could lose hope and be disillusioned too quickly, but Luminara knew she had to do this. Her fabric was tied onto the rail next to another mirialan’s ribbon carefully. The badges meant it did not flutter in the breeze as most did but that did not matter. She let her fingers linger over the heavy material for just a moment before she was turning and heading down the spire.

Anakin Skywalker:

Anakin’s meditation was… not exactly there. It wasn’t grand, and there wasn’t much of it. He knew what was expected. To spend at the very least an hour, more likely two, contemplating his relationship with his Master, and then letting it go. Acknowledging that it was ending and it would not be the same. Anakin had tied his orange thread, Naboo pendants and one mastery bead on it, off first thing, figuring that he could always meditate deeper on it later. His knighthood was important and he had to reach it quickly. With the war going on, he was… well anxious to end it. For his wife and for the Republic.

He knew this whole thing was meant to symbolise letting go of the past in general, as well as being focused on the apprenticeship of the individual, but Anakin thought it was somewhat strange. Part of life was keeping what you had safe. Force knows he would do anything he could to keep Padmè safe, to keep their love alive. Padmè, Obi-Wan, and the Jedi were important to him, so it followed that he would try and keep them safe. 

Anakin clenched and unclenched his hand methodically on his lap. He was still getting used to the mech hand and, with both Padmè and Obi-Wan’s help, the process was getting easier. He knew that when he was Knight, and when he even became a Master, Obi-Wan would be there. The ginger man was a stable rock who would always be there for him. Anakin would always be there for Obi-Wan, and Obi-Wan would do the same. It was basic knowledge. Their apprenticeship might be almost over, but that did not mean they were going to be separated. 

Anakin took a gaze at his thread once more, where it sat, tied to a section of railing with few neighbours. He’d done what was expected of him on his path to knighthood, and now nothing was holding him off from becoming a Knight and soon a Master. He took a breath of the air, not fresh like it was on Naboo, before he stood up, stretching his back and walking back down. 

Obi-Wan Kenobi:

Obi-Wan did not get to wander up the spire prior to his knighthood as he dreamt of doing for so much of his life. Instead, Qui-Gon had been cut away from his life and become one with the Force in the space of one breath to the next. He traced Qui-Gon’s still hand, flinching at the cold that had replaced the warmth of life. He felt wrung out, tired from crying and feeling so much. “I wish you were here.” He whispered to the dark. “You would know what to do.” Qui-Gon did not respond, he never would. Not again.

Obi-Wan’s hand brushed away hairs from his face, looking at the still face, serene in death. He almost looked like he was sleeping. With the dark, the only light coming from the stars and moon out, he might as well have been. “I don’t know what to do,” Obi-Wan admitted, wondering if perhaps his heart still had to catch up with the knowledge that Qui-Gon was dead. Perhaps that was why he kept talking to the shell. It was that or the fact that he could not stand the quiet otherwise. 

Qui-Gon had once described the spire. Reminiscing on the threads that flew in the wind, some frayed and no longer recognisable, some new and so colourful. Beads that clacked against each other every time the wind blew. ‘It is… free up there. You could scream and no one would know.’ Qui-Gon had said. Obi-Wan had always wanted to go there, but he supposed he never would. He would be knighted on Naboo for killing the Sith, and then he would have a Padawan of his own. That was the plan. ‘Train the boy.’ Qui-Gon had also said, and Obi-Wan was loyal. Even though part of him was happy to train Anakin, the young child was quite adorable and had already made quite the impression, another part wanted to remain a Padawan and be able to climb the spire. He supposed, in its own twisted way, Qui-Gon’s death and his subsequent grief could be its own trip up the spire. A cruel lesson, but a lesson nonetheless. 

Obi-Wan bent his head until he could press a soft kiss against Qui-Gon’s forehead. “I miss you.” He rested his forehead against Qui-Gon’s. “Goodbye master.”

[skaiatemple]

December 23rd is the Festival of Rage!

If you follow as a practitioner of Pop Culture Paganism, a user of Homestuck inspired Chaos Magic, or just want to use your favorite series to inspire you throughout the year, Skaia Temple is your resource center!

Whether you want to just celebrate it on the day, use it as a date for empowered energy, integrate it into your more mundane celebrations, or just appreciate your favorite characters and concepts this month, we have suggestions for whatever path you want to take with us!

Read below the cut for a condensed idea & resource list for this month of Rage!

Aspect Centered Celebrate the Aspect in all its glory if you’re all about on celebrating the Festivals for exactly what they represent: The Aspect and all the traits associated with it.

“Often the Rage-bound prefer anarchy to any of the alternate forms of civilization, which they believe to be riddled with lies and foolishness and obedient masses. They are bringers of confusion and doubt, and they can be frustratingly difficult to convince otherwise when they have attached themselves to an idea.”

This Guide has been the most difficult and also the funnest to write.

Rage is about BEING A N G R Y

Rage is about destruction of what in untrue and unfit for your life! It is revolution and difficult truths and tearing away any facade you’re no longer content with seeing!! Void was about letting go and Rage is about seeing what dumb shit is left and GOING FUCKING HAM ABOUT IT!!!!

Don’t like something? YELL ABOUT IT!!! KICK IT OUT OF YOUR LIFE!! TELL PEOPLE WHAT YOU REALLY THINK AND DESTABILIZE WHATEVER SYSTEM IS KEEPING YOU FROM BEING THE BEST VERSION OF YOU MY WICKED SIBLINGS FUCK Y E A H ! ! ! !

If you like, want to do that, of course. It’s healthy but don’t cause ruckus if you don’t feel safe doing so ofc….

This month if for GOING APESHIT!!!!!!!!!!!!!!!!!!!!

Magical Inspiration If you want to use Homestuck concepts more abstractly and need some ideas for what brands of magic would work best for the season, if you have an Aspect or character-themed spell, feel free to send it in so it can be added to this section!

HEX A MOTHERFUCKER. MAKE YOURSELF SOME JINX BAGS TO THROW AT A BITCH TRYING TO HARSHEN YOUR DAY. LEARN SOME LATIN AND SMASH THAT SHIT TOGETHER AND WHISPER IT TO SOME FILTHY KARENS FACE AND WATCH HER CLUTCH HER PEARLS AND RUN TO HER LITTLE INSTITUTIONALIZED CHURCH HOUSE OF L I E S. TELL A SANTA FUCK YOU THIS MONTH. BANISH ALL THEM FALSEHOODS THAT ARE TRYING TO DROWN OUT YOUR GLOW MY TUMBLESTUCKED FAMILY!!!!

Or if you’re more passive just like, cleanse yourself of negative energies. But like- maybe yell while you do it! I swear it’s healthy for you.

HERE is a totally lit analysis of the Rage Aspect to help jiggle your braincells and HERE is a motherfuckin fabulous art project

Integration Route For people in the broom closet who are too timid or anxious to celebrate the Festivals openly- you can always integrate the Aspects traits to fit in with the more common trends and holidays of the month. Not even Hussie is is Homestuck God, no one will mind!

It’s time for Christmas time and Yule! A celebration of all the hope and joy we have even in the coldest of months, all about how no matter how dire the situation is, we can still be lucky enough to find some togetherness and salvation in this time.

OR MAYBE YOU THINK GOD IS A LIL HYPOCRITICAL BITCH AND YOU DON’T G I V E  A  S H I T ABOUT ALL THIS FAKE WHITE CHRISTIAN NUCLEAR FAMILY BULLHUEY. I BET YOU’RE DREADING SEEING YOUR RACIST UNCLE THIS YEAR AREN’T YOU DON’T L I E. YOU DON’T DESERVE THAT SHIT! YOU SHOULDN’T HAVE TO PRETEND THAT THIS COMMERCIAL ASSHATTERY IS WHAT YOU BELIEVE IN, AND YOU CERTAINLY SHOULDN’T MOTHERFUCKING BE QUIET ABOUT IT! IF YOUR FAMILY LOVES YOU FOR YOU THEY’RE GONNA SAY “FUCK YEAH MY PSYCHEDELIC PAGAN BLOODKIN YOU LIVE YOUR TRUTH I SUPPORT YOU BECAUSE THATS WHAT PEOPLE WHO LOVE YOU DO”!!!!

Or maybe you’re fine with all the festivities and have a loving community you can spend time with! In which case you can also just violently, without shame flaunt how much you love this personal truth of yours. The point is to let your truest emotions bleed, because that’s what’s healthy!!!! Happy Holidays.

Fandom Driven For if you’re not all about spirituality or routine and just want to enjoy going all-out with a beloved story & characters, you can honor the ones of this month by driving full-throttle on the fandom bandwagon.

Rage is the Aspect reserved for the Makaras! Very special boys they are. Whether you find their actions just, misunderstood, or just comically silly. They’re not all bad- even if by that we mean that they’re kinda funny when they’re being all hyper and homicidal. Some people see some guys who’ve been manipulated and taken advantage of at a time where they were most delicate, and some even moreso that their actions could still have meant some of the greatest good for the situation! Or maybe you’re an anxious Terezi kin whose finally on the last gogdamn Aspect guide and your feelings about Gamzee and the Makaras as a whole are very complicated but you also admire an aspect all about anarchy and vicious revolution! And also you’re trying to meet an aesthetically pleasing word-count! Anyway stan respectively the Makaras are funny but not like Great hahaha clown men.

Draw fic, write art- I mean- ENJOY THE MAKARAS! Whatever they mean to you. Even if they mean bad things to you- but don’t like, release your Rage on real people. That’s not what I meant with all the hyper capslock. Please value real peoples experiences and opinions over therapeutic internet shouting. I fucked up. I was so close to not going on an interpretation policing tirade in any of the Guides please DON’T BE WEIRD HAPPY RAGE SEASON IN THE NEW YEAR TAKE THE BROKEN PIECES AND FIND NEW HOPE WITHIN THEM FUCK YEAH…………………… HOMESTUCK

We hope you got some ideas for activities you can do with your friends or otherwise use to inspire and better yourself this month. Everyone plays the game of life differently, and everyone's beliefs are their own. Celebrate yourself as you see fit, and Thanks for Playing with Us.

~Mod Bee

[beevean]

SEGA and the eternal issue of “Sonic’s girlfriend”

[Translator’s note: here is the original article written by @latin-dr-robotnik​​, originally written on the 18th of May 2020]

Today we’re going to talk about one of the aspects SEGA is more secretive about: Sonic’s relationships.

[Translator’s note: this article was written to celebrate Seaside Hill Paradise’s 200th entry. If you’re fluent in Spanish, I highly recommend you to check it out! And if you aren’t, go follow Latin’s Tumblr blog if you haven’t already and you’re into Sonamy, analyses, gushing about music and shitposts.]

This article concludes my Sonamy trilogy, and I recommend you to read the previous two articles: “SEGA and the eternal issue of the Sonamy dynamic” and “’I love you’ – forbidden words in Sonic”. This means this is a shipping article – if you’re not interested into another essay about the love life of a blue hedgehog, I can redirect you to other articles such as “Sonic and speed: are we misunderstanding them?” and “What went wrong with Classic Sonic’s music in Sonic Forces?”.

Everybody else, welcome to today’s article!

It should be noted that this article focuses more on the semi-official and strictly official aspects, since there is really not much to say about the fandom. Nowadays the fandom has a relatively peaceful coexistence, creating art, fanfics and more, for all kind of ships; sometimes there’s an occasional fight between ships or a ship that clearly is not appropriate… but besides that, everything seems relatively calm, at least in my experience and compared to other fandoms.

Too cool for relationships...

Few things are as mentioned and yet silenced by the official SEGA media as the fateful words “girlfriend” and “Sonic” put together. In official terms, Sonic has always been this young, cool hedgehog, with a pure love for nature and never too worried about life, but with a moral code that makes him fight against injustices. During his first years, Sonic was almost impatient and a little emotionally distant, although as it was the ‘90s and things were not so clear for the young SEGA star, different interpretations would take the character through different paths - some more radical than others. As the years went by, and going through many redesigns, certain aspects of his personality would be perfected, exaggerated, or even flanderized. His position on relationships, on the other hand, would remain relatively constant over the decades, with a few particular exceptions.

The this is that Sonic, in the words of his own creator Naoto Ohshima, has always been considered “a young man with a child's heart”, which has helped to substantiate and understand why the character would remain relatively distant from his feelings, and much closer to his own interests associated with the life of adventure.

... or is he?

Despite everything I just said, they tried in many occasions, if not succeeded, to give Sonic a girlfriend, with various results.

As carefree as Sonic is, and as much as SEGA tried to clarify this point over and over again, the people behind his character have always tried to introduce one or more relationships into his life. Even Naoto Ohshima himself has made his own suggestion as to who might be a hypothetical partner for his character. The different interpretations I’ve mentioned have tweaked Sonic’s character to make it more apt to certain types of dynamics, and the cultural gap between the East and the West (which I analyzed a few years ago with the first article of this “trilogy”) also has a considerable impact on the type of relationships that would be established for Sonic from very early in his history until today.

Author’s note: the concept of “Sonic + human woman” of 1990 wasn’t completely forgotten, no no, it was brought back 16 years later, in… well… the worst way possible.

Let’s see an example. Going back to his very origins, in his pre-Sonic 1 sketches Sonic was often depicted with a stereotypical damsel in distress, Madonna, his own “Princess Peach” that ended up being scrapped for many reasons, including the similarities with Super Mario. As the years have gone by, this concept has not disappeared, but rather the writers and directors of the series have taken it down different paths over time. While Madonna was too cliché, other candidates for the role of “Sonic’s girlfriend” would quickly appear to try different dynamics, directly or indirectly endorsed by SEGA.

Sally Acorn

For many years, Princess Sally was for Western fans the first person who came to mind when they thought of “Sonic’s girlfriend”. Since 1993, and for 2 more decades, her relationship with Sonic has gone in many directions, but fundamentally the most amazing thing about this whole situation was that she was Sonic’s official girlfriend (at least in the Archie Comics canon). It was also one of the many headaches for SEGA in the last decade.

Originally a fellow fighter against the macabre Robotnik from the 1993 animated series Sonic The Hedgehog, Sonic and Sally’s relationship was always marked by their opposite personalities; while Sally tends to plan ahead and is much more focused on the seriousness of the task, Sonic was the type to destroy robots first and think later. “Opposites attract,” they say, and by the (premature, I might add) end of that series both were already more than friends. They had already kissed a couple of times.

At the most critical moment in their relationship, Sonic, after a year of being missing in space and presumed dead by everyone, returns to Mobius only to end up back in potential danger, decides to ignore the wishes and warnings of Sally, who’s clearly emotionally traumatized and stressed by both the general situation and the responsibilities she had to carry out for her kingdom in the absence of her parents. The result of this explosive cocktail was one of the most infamous scenes in all of Archie Sonic, "the Slap", where Sally finally reacts violently to Sonic's selfish statements. The hedgehog's response? Well, a long exposure to the screams about her experience - also traumatic - up to that point. In the end, both end up screaming and crying in front of virtually everyone.

What followed in the next decades was an expansion of that original SatAM canon in the Archie Comics, in which its various writers introduced varying degrees of drama and increasing conflict to demonstrate the strong bond between them, destabilizing or even stabilizing it again, multiple times. They would be together for some time, then they would be apart, eventually rekindling the flame of love passionately, until a final sacrifice on their part and the eventual resetting of the entire Archie Sonic canon.

In their last years, after the Super Genesis Wave, Sonic and Sally’s relationship went back to being platonic. a good friendship with the advantages and disadvantages of their personalities - Sally’s leadership and Sonic’s extreme confidence - while the focus was put on the flourishing relationship between Sally and her best friend (and old computer!) Nicole.

Regardless of the way their relationship ended, it's undeniable that Sally has left a huge mark. Being a product of the West, her existence was never really accepted by the Sonic’s Japanese creators, but because the bulk of the fandom is here in the West, Sally's presence has been strongly associated with Sonic, the Freedom Fighters, the comics... and also the ship wars between her and the character we’re going to talk about next. Her very existence was a living contradiction to the Japanese central canon, an official girlfriend who broke all the ideas that existed for Sonic in terms of his conception of relationships and lead him through unique paths. Whether for better or worse, Sally broke the mold.

Eimi. Rosy. Amy Rose.

On the opposite side of the spectrum there’s Amy, a character that was originally conceived as the Minnie to Sonic’s Mickey, but with her own dynamic.

Despite Amy’s existence being strongly tied to Sonic’s, once again Sonic Team tried to avoid the classic cliché (in this case to copy Mickey and Minnie), opting then to establish Amy as the one interested in a relationship, while Sonic runs away from this idea. For this dynamic to keep working, Sonic’s feelings have to be kept hidden, with excuses like his “shyness”, which leads to ambiguity, or because, as said before, of his “child’s heart”.

The most interesting thing is that Amy kept her canonical status of “self-proclaimed girlfriend” since 1993, which makes her “official” and “not official” at the same time, but there are some traces left from the Sonic manga of 1992 (which in turn influenced Amy’s original design), where a prototype version of Amy (or, as it was spelled there, Emi/Eimi) played the role of Sonic’s girlfriend (or Nicki’s, to be more precise). With this detail in mind, Amy can be considered, at least in the East, the very first “Sonic’s girlfriend”, even before Sally – but her situation is much more complex.

Sonic Mega Drive (top) and Sonic Boom (bottom), representing some differences in different Sonic continuities.

In any case, the manga would be the first and only time Amy was officially considered “Sonic’s girlfriend”, because in the following decades and in several continuities the core of their dynamic shifted to Amy chasing Sonic. Both would get closer or further away depending on each case (in Fleetway, for example, Amy ends up marrying another character, while in Archie Sonic there would be only a few instances of potential interest, quickly overshadowed by convenience or other things directly or indirectly related to Sally), but generally no continuity would establish an official relationship. In some cases, such as Japan, it wouldn’t even be necessary to clarify the state of the relationship, since their cultures accept more easily the dynamic that Sonic Team proposed as an “official relationship”. Just looking at the artwork highlighted on Sonic Channel (run by SEGA of Japan) shows how much more accepted the relationship is, even though Sonic Team’s official artwork still avoids any kind of public confirmation. (Author’s note: I’ve written more about Amy according to the East and the West in the first article of this trilogy)

Unlike Sally, there is no “opposites attract” situation between Amy and Sonic, and, at first, there is no prior friendship from which a potential relationship could flourish. We witnessed their dynamics from the first moment they met, and it would not be until years later that there would be a minimal basis for interaction from which various official continuities would bring both characters closer together.

Technically Amy already knew that her destiny was tied to Sonic and the events of Sonic CD on Little Planet, thanks to her tarot cards (an element that has disappeared since then), but for Sonic it was just another day of adventure, and although we’ve seen how Amy's feelings have progressed, mostly in Adventure 1 and 2, Sonic has never reflected on his personal feelings; it’s an aspect of the hedgehog that to this day remains a mystery to the audiences.

Also unlike Sally, Amy has appeared in multiple continuities of all kinds and because of that her relationship with Sonic has been affected in various ways. The main videogames canon has remained ambiguous and unchanged for 25 years: Amy would stay close to Sonic and offer some good moments to reflect on her feelings about him (some of which I mentioned in my post about Sonic Unleashed and Amy’s emotional support), while Sonic would remain distant, uncomfortable, shy, and, more recently, potentially affected by her apparent loss.

Sonic X is the first official attempt (by Sonic Team no less) to offer an expanded view of our characters. There’s a lot of discussion about how Sonic is slowly opening up to Amy’s advances, and these developments follow a line that we discussed in previous articles of this trilogy, and how, during the 2000s, the Japanese writers of the series kept slowly deepening the interactions between the two, reaching very important symbolic moments like Sonic X Ep. 9, 52 and 76, among several others. I am purposely leaving out specific details to direct your attention to this fantastic thread by Yvanix Rose that highlights some key details about how this continuity worked the Sonic-Amy dynamic. [Translator’s note: the thread is in Spanish]

Sonic X, episode 76.

Another essential continuity for the development of this dynamic was Sonic Boom, since, despite having been a separate continuity with its own interpretation of the characters, its existence managed to influence the main canon in some way in the years that followed its original release in 2014.

Sonic Boom made two important changes in the dynamic: Amy did no longer externalize her feelings with the same frequency or intensity (speeding up a process that already started in the main canon in 2008), and Sonic was noticeably more nervous and insecure of his feelings for her, even being jealous in several occasions. These changes got the dynamic closer to the “friends who have secret feelings to each other but they’re too shy to admit it” trope, and in the second season it could even be said that there are signals of the “secretly dating” trope. Nothing was officially confirmed yet, but the changes to the dynamic offered a fresh perspective to work from: winks and inferences about a relationship that was not talked about but seemed to happen behind the scenes.

Sonic Boom S1E16.

Sonic Boom’s approach also opened the door to working a little more on the characters’ new personalities. Taking a little inspiration from the original foundations of Sally and Sonic’s relationship, Boom now presented situations where Sonic and Amy’s perspectives actively clashed with each other, leading to discussions and moments that showed a little more of the mundane details of the friendship they had, rather than appealing to more classic behaviors of the main canon, like Sonic leaving the scene in a hurry. Considering the way things turned out the last time we saw this kind of dynamic on screen, it was pretty safe to assume that their new opposites were now attracted; the implied secret dating and so on only helped to give it more sustenance - which the fandom would eventually take to the extreme.

And lastly there’s IDW Sonic, the comic series that replaced Archie Sonic after its cancellation in 2017, and the most recent arc that offers an interesting perspective. Starting its continuity from the end of the events of Sonic Forces (which at the same time took on certain characteristics from the post-Boom era, particularly as far as Amy is concerned), IDW Sonic didn’t waste any time in presenting the way in which it would carry out its dynamic between Sonic and Amy.

Amy makes her feelings for Sonic very clear, and he is surprised but unable to match them. However, Sonic doesn’t want to outright reject her, and suggests that she come with him; she refuses, claiming that she has duties to the Resistance, setting the tone for the rest of the series. (IDW Sonic #2)

“Sonic’s girlfriend” today

As I mentioned earlier, after the reboot Sally was no longer considered Sonic’s girlfriend, and her disappearance after the cancellation of Archie Sonic in general is a sign that we may not see her ever again, even as a friend. As of today, in 2020, only Amy has been left in her “unofficial, but…” state, with various minor events taking place both in the main canon and in IDW Sonic:

In 2018 the official SEGA shop wrote a description for a piece of Amy Rose merchandise that said “celebrate 25 years of Sonic’s girlfriend”; the mistake wasn’t immediately corrected, despite the fandom pointing it out immediately.

The video game canon has remained dormant, with Team Sonic Racing in 2019 featuring more of a regular friendship between Sonic and Amy, sharing rivalries and quiet moments alike.

On the other hand, since IDW Sonic and Sonic Boom laid their foundations, we've begun to see a certain shift in the way the two characters are presented. While we’ve talked about IDW Sonic already, Sonic’s social medias have done multiple “Twitter Takeovers” where Sonic characters answer questions from fans, and Sonic has always answered more like his version of Boom to the inevitable question about Amy and his “feelings”.

Recent official animations like Sonic Mania Adventures and Team Sonic Racing Overdrive have shown Amy flirting with Sonic in a more casual way.

The current dynamic seems to be pointing towards “Sonic’s hidden feelings”, and I think we are at a perfect point to change the approach. SEGA in general seems more open to the idea of bringing these characters closer, probably as a marketing strategy, but without yet separating themselves from the central ideas that defined the dynamic for the last two and a half decades.

Conclusion

The idea of “Sonic’s girlfriend” has been one of the most experimental and controversial in the almost three decades that this series has been around for. SEGA has opened the door to all kinds of ambiguities, developments and interpretations, all with their pros and cons, instead of settling on a definitive position. As iconic as these characters, conceived as Sonic’s “romantic interests”, have become, they have also had their share of criticism and controversy, especially in the fandom.

The presence of Amy as the only “official but self-proclaimed girlfriend” today says a lot about the control SEGA (specifically SEGA of Japan) regained over the characters, after decades of interpretations that offered different alternatives with various degrees of success. At her best, Sally represented an ideal relationship with Sonic, much more complete and profound than the back-and-forth game between Amy and Sonic. But at her worst, this same relationship represented everything wrong that could happen by associating Sonic with the emotional spiderweb of a romantic relationship. SEGA hardening its control over the characters seems to have put an end of this type of situation where Sonic ends up being involved in a romantic telenovela, but at the same time it has revitalized the flirting game and the implicit associations that give fuel to the fandom fire.

From my humble interpretation, I think we’ve reached a point where Sonic and Amy have shared enough stories and moments to solidify the core aspects of their personalities and their friendship, allowing them to take the next step, which is to play around with the idea of “something else”. 25 years ago it was hard to see how these two characters could work together beyond “it’s SEGA’s word”; today there’s enough of a story to find a rhythm and chemistry for them, and the series of situations they've put themselves in (e.g. IDW Sonic’s plot arcs) are increasingly helping this case. The topic of “Sonic's girlfriend” may be a controversial one for SEGA and the fandom in general, but the doors have slowly been opened for this debate to develop and be investigated with interesting results, and I think that, in this new decade of 2020, there’s a unique potential to explore this kind of discussion, without sacrificing in any way the central principles of Sonic as a character. Thank you for joining me in these 200 entries, and hopefully we’ll see each other for many more.

[thefolliesofmen]

History in the Making - Panel Discussion

Hi folks!  Today I was honored to be a part of Concordia’s History in the Making Conference and speak on the making of meaning through Death Tourism. As not everyone was able to attend, or just prefer learning in a different format that isn’t Zoom, I figured I could at least share my slides and speakers notes here for posterity.

As these are speaking notes, please excuse if I do not catch every grammar or spelling mistake, but I hope you enjoy them nonetheless. 

Today I am going to be going through how meaning is made at Death Tourism sites, and how that meaning changes over time. To do this, I am first going to explore some brief definitions of death tourism, the history of it, and how it is viewed by the general public. So please buckle up and join me as we go on a speed run through three prominent dark tourism sites – particularly what they are, how they qualify, and how meaning is made around them through the perspective of thanatourism. The site we will be using are Pompeii, Salem, and Chernobyl.

In my introduction alone, I used a mired of terms interchangeably. Death Tourism, Dark Tourism, Thanatourism, and just for funsies I am going to throw another one in there, Disaster Tourism. Some scholars will separate all these terms to represent specific aspects of the field, the site in particular, and the intentions behind the visitors themselves.   Foley and Lennon are often credited with coining the term “Dark Tourism” and have defined it as a “product of the circumstances of the late modern world.” Intent is something that will come up often during my talk, as it is hard to concretely define a field like tourism that has so much to do with the intentions of the people taking part in it as well as the people presenting the history. Today, I will be using these terms fairly interchangeably. A definition to start us off: Dark Tourism taps into the macabre, secret, and shunned interests of humans; the world we create; and the one we leave behind.

The Macabre The Secret The Shunned Creation and Destruction Are real and valid reasons for someone to visit a site I said before that the intention of the visitor is a hot topic when trying to figure out how to define this field. Most of us have probably been to Death Tourism sites and have never really thought about, because it fit into a different category in our mind. The image here is a graveyard, which makes sense on the surface to count as death tourism especially if you are visiting it for a reason outside of knowing someone who is buried there – this cemetery in particular is Old Burial Hill Cemetery in Salem Massachusetts and would be a hotspot for that, as it was a filming location for Hocus Pocus, Old Burial Hill Cemetery in Salem Massachusetts. Dark Tourism deals largely with the commercialization of sites associated with large amounts of human suffering and death. Commercialization can happen in a variety of ways, whether it be through charging admission to a specific site, merchandise and materials relating to the event, or economic benefits that are by-products of the sites being visited, such as surrounding towns gaining revenue from hotel rentals, meals, etc.

Since the enlightenment, European and North American cultures have taken a strict stance on separating the dead from the living. Death occurs in buildings, cities, countries removed from us and we only see the sanitized version – the more removed we are from something with our engagement with death the better it is. That isn’t a hard and fast rule however, because the distance from the death and disaster in question can be spatial or temporal in nature, as long as there is some kind of way in which you can convince yourself that all this death and destruction happened to an Other. Caitlyn Doughty, a mortician who found notoriety through her YouTube Channel Ask a Mortician has done some research on what she refers to as the “witch to kitsch factor”, that being how much time has to pass before it is socially acceptable to take tragedy and make it into a thing of entertainment? My argument here however is that, the meaning that a dark tourism site creates and is created unto it has both to do with the temporal separation between the entertainment and the tragedy, but also the spatial and cognitive space between the two. I know I am probably preaching to the choir when I say that history permeates pop culture, and the line between tragedy and entertainment can be seen here. Pompeii occurred close to 2,000 years ago and is now a 13 years old Doctor Who Episode wherein even an Alien that alters many historic events, even this could not be stopped. Salem Witch Trials took place over 300 years ago, and the Halloween edge of kitschy witches have taken over the narrative of Salem, as the town has gained even more infamy in recent years due to the popularity that Disney has continued to experienced in the 26 years since its release. Chernobyl occurred 35 years ago. It is most recently a 2019 somber but still drama packed mini-series on HBO exploring the disaster and aftermath. These are not the first nor are they the last instances of Pompeii, Salem, and Chernobyl influencing popular culture.

The temporal and spatial separation that I just spoke of is what Foucault would use in the argument that dark tourism sites are examples of Heterotopias. That, and the Othering.

These dark tourism sites are marginal spaces, that are infused with the juxtaposition of sameness and contradictions. Foucault breaks down what a Heterotopia is through examining its:

Precise and determined function within a society, but can still have multiple functions

The power to Juxtapose the incompatible

A break with traditional time

Presupposition of opening and closing the isolation and penetration

Illusions of real spaces that create and Other

Each of these criteria hit on the combined need for things relating to death and destruction to be both intimate to our experience of the world, but also separate from us in a way in which we can walk away from them afterwards and cease to think about it. Dark Tourism is assumed to be an escapist pastime in which we as humans can displace our fears of death, decay, destruction, and general apocalyptic fears onto this physical place – particularly because of its seemingly socially acceptable mode in which we can grapple with these kinds of topics. I said before that it was after the Enlightenment that death became removed from our day to day life. But before that? It was common and fashionable to interact with death on ones down time – morgue tours in Paris were all the rage, with some people even asking to be locked in the display room with the unknown corpses to scare their friends and other visitors.

Death has been removed from us, and so these romanticized ideas of escapism and morbid contemplations are the simplistic and incomplete theories as to why people are drawn to Thanatourism.

Now don’t get me wrong, while I say that these theories are simplistic and incomplete – I am not denying that they have some merit and nuggets of truth and wisdom to them. We come back to intent. Why people engage in Disaster Tourism does not interest me so much as what their interaction with the field tells us about our own society. We make meaning out of everything, that is who we are as academics but also who we are as a general species. But how do we make meaning out of sites and events through the lens of dark tourism? I believe that the reasons we are so fascinated with these sites, outside of just general morbid curiosity (pun intended) – for starters, our fascination with these places, I posture, has to do with our false yet engrained belief that we are no longer experiencing such death and suffering anymore. This all happened in another time, in another place, to another group of people. Our fascination shows our ignorance. We think, Pompeii happened so long ago, it is more of a story than anything. We think, Salem will never happen again, we are past the time of believing that witches walk among us. We think, Chernobyl was the fault of the Soviets, we are a democracy. We don’t think – that this could happen again and is still happening.

I have mentioned Pompeii, Salem, and Chernobyl quite a bit now – lets get into how they are case studies for us making meaning out of dark tourism sites. First up: Pompeii The eruption of Mount Vesuvius and subsequent destruction of Pompeii and Herculaneum was first recorded in the letters of Pliny the Younger to Tacitus. On October 24th  79 AD,pumice stones and ash started pouring down onto the city, killing part of the population before those who were unable to escape were buried by the hot volcanic ash and burned alive by pyroclastic flow. By the end of the day, the city was buried in six to seven meters of debris, and it remained as such until its re-discovery in the seventeenth century. During his tenure as the lead archaeologists working to recover Pompeii from 1863-1875, Giuseppe Fiorelli is credited with not only the Fiorelli process of pouring plaster of Paris into cavities in the ash to discover what created those cavities – but he was also a driving force behind excavations being done on the city from the top down, rather than the streets first to further pillage the homes that were uncovered.

Pompeii is a special case when it comes to tourism of Roman ruins. To Victorian and Edwardian tourists – Pompeii was a disappointment to finally see. Mary Beard discusses how to these visitors, the depictions of Pompeii in art and literature, outshone the real ruins. From the beginning of tourists coming to the site though, it was always known that what they were coming to see and what would shock them the most, were the casts of the bodies that had been excavated were front and center as soon as you entered the site along the aptly named Street of Tombs. For most of its history, Pompeii has existed on this marginal plane, being both a city of the living and of the dead. Rome as a whole has always been plagued by the stereotypes and ideals placed upon it by people outside of Italy’s borders – namely it being an eternal city that should be temporally static, anchored in its own heritage – and Pompeii has been subject to the same expectations in many respects. has been constructed many times since its unearthing. First, through its own use as a city, and then during the Romantic period as a theme park for tourists, and even in the modern era as a place of education and where “the processes of historical discovery are laid bare”. The overall shift in identity for Pompeii was its change from a city of the living, where people went about their daily lives, to a city of the dead populated by corpses and ruins, now being re-populated annually by millions of tourists. Because Pompeii is a ruin, empty of life, and so far removed from the present reality in terms of time, it is very easy to project meaning onto – both meaning for itself and meaning for the visitors.

One of the darkest moments in American history was the Salem Witch Trials of 1692. The “largest and most lethal witch hunt in American history” began in Salem Village (now Danvers, Massachusetts) when several young girls, including Elizabeth Parris, who was the daughter of the town minister Samuel Parris, began to experience “fits” that had no discernable cause other than what the town doctor declared to be bewitchment. While the accusers themselves and many of the “witches” they targeted lived in Salem Village, the Town of Salem was where the hangings took place, with the first ones occurring in the fall of 1692 when Sarah Good, Elizabeth Hose, Susannah Martin, Rebecca Nurse, and Sarah Wildes were executed. From the Fall of 1692 to the summer of 1693, there were 20 executions, 19 of which were hangings and one pressing.

Salem is a place of societal ruin. The entire community turned on itself, before coming to the confusing conclusion in 1702 of the magistrates declaring the trials that were held unlawful, and decreeing that the good names of the victims be restored. I mentioned that Salem Village is now know as Danvers Massachusetts and while Salem and Salem Village, share the terrible history, Salem Village works hard to separate itself from the narrative, as seen by it renaming itself to Danvers in 1752. It desperately wants to be removed from the story of the witch trials, when arguably it has more geographic claim to the narrative than Salem itself. Danvers has gone about making visiting any sites within its border nearly impossible. Homes and buildings related to the trials that remain in situ have continued housing families and businesses, memorials have little to no parking available, and heavy traffic on the roads makes it difficult to visit them as a pedestrian, meaning only a specialized tourist who was bound and determined to see the locations would make the Herculean effort to find them. For Salem, the buildings that it claims connections to the trials have either been moved or demolished in the time since the witch trials, and key places like the exact location of the gallows have ended up being lost to memory. The markers that denote the locations also denote their own inaccuracy and obscure the events that took place during the trials – thus disappointing tourists when they learn of the deception. Salem capitalizes on a false authenticity of place It is not through education that Salem profits off of its dark history, but through the kitsch-based fascination of pirates and witches existing in one of the oldest colonial ports. The Salem Police Department logo even contains a witch motif. With souvenirs, dungeon experiences, and large events such as a Witch’s Walk, Salem revises the tragedy in its history in a way that romanticizes and idealizes it, similar to the way that Disney movies present history. There was a monument erected to the victims of the witch trials in 2017. It stands apart from the rest of the city in aesthetic and in placement, silent and innocuous that it can be missed: it does not loudly advertise its existence like the rest of Salem. It works in the way that dark tourism sites overall do, in the fashion of “visitors deciding the meaning”. By being ambiguous in its specific design, it allows for the tourist to see what they think is fitting for a monument, whether that be the gallows, a jail, or a ruined building.

Chernobyl to this day still has the reputation for being the world’s worst nuclear accident. Through a surge of energy to Reactor #4, the unit caught fire on April 26th, 1986, leading to its rupture and explosion later that same day. As people fled and were evacuated from their homes, with instructions to leave everything behind as they were promised they would be able to return in a few days, Pripyat, the closet town to the reactor, was re-born as a ghost town. Across the Ukraine, Belarus, and Russia, an estimated 200,000 people have died due to radiation exposure, and an even greater number of people suffer from ongoing health conditions. As expected, the argument for the inclusion of Chernobyl in these case studies is that it represents a man-made ruin through the folly of trust in technology.

With Chernobyl, it is important to remember that it took place against the backdrop of the Cold War. The USSR and America both had agendas that they were trying to further in their coverage or lack there of, of the reactor blowing. Seeking any advantages they could claim in exposing or concealing the situation, inflating or deflating the numbers of people harmed. It wasn’t until 2011 when Ukraine finally allowed tours to take place through Pripyat, before this it was only illegal tours led by members of the surrounding communities or family members of those impacted by the exodus. The tourists have a wide range of reactions to the site – expressing indifference to the history, excitement about the danger that they perceive, and some individuals even schadenfreude, pleasure of witnessing the misfortunes of others. For dark tourism concerns, it’s authentic for being in situ, adding the aura of the place to the experiences and representing death in a more immediate way. Chernobyl is prime for the romanticization treatment of media due to being within the living memory and located in Eastern Europe, a place that is already seen and depicted as a foreign Other to many, adding to the forbidden allure of visiting. With the rise of social media, the number of tours to Chernobyl see spikes in the fall and winter, when the nature around the abandoned ruins is dying and decaying as well, lending itself to the desired aesthetic for people to show off that they visited. “Chernobyl is both real and imagined,” where one can go explore and tell others about later – but it is also staged. Knowing that people are drawn in by the heterotopic binaries of the real and the contrived, items within Chernobyl and Pripyat are posed to illicit the maximum emotional impact when photographed, the creations of juxtapositions within a juxtaposition itself.

Death Tourism deals with sites of ruin, that are explicit reminders of the circle of life and death being indiscriminate. Tragedy has happened here, and it will happen again. Someone was here before, and someone will be here after, until one day in which there will no longer be an after for humans to inhabit. The meanings of these sites and those who visit them is continually in flux, and relates largely to the society that is taking note at the time. But how we make meaning of these sites tells us about our current society, whether we like what we are hearing or not. It is romantic to think that we only travel to dark tourist sites because we are contemplating our own mortality, but it is ignorant to forget that history is a spiral – events will happen again if not in the same circumstances. Witches are replaced by minorities and religious groups that we don’t want to understand. Natural Disasters like Vesuvius are happening more and more as we continue to ignore climate change. Chernobyl will not stay the worst nuclear accident in mans history for very long, as every year we outpace ourselves in technological advancements. A hopeful part of me wants to think that we are participating in Dark Tourism because we want to learn from our mistakes, but the way history is presented to the visitors, both intentionally and unintentionally and interpreted, seems to always come back to schadenfreude. Death has been removed from us for so long that we seek it as a macabre pleasure, one that society doesn’t allow us to have – and that’s fine, but only when it is the death and suffering of someone else, somewhere else, sometime else. Our fascination stems from ignorance, but not from wanting to learn from our mistakes, but from a place of relief that it wasn’t us. ________________________________________________________________ I hope you enjoyed this! I know the writing isn’t as high quality as a paper traditionally would be, but if there seems to be interest I can do future posts breaking down each site further <3  Thanks! 

[aion-rsa]

Why Jack Bauer Is America’s James Bond

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Despite what Marvel might have you believe, not all film franchises are perfectly serialized.

Take, for example, another kind of cinematic superhero: James Bond a.k.a. 007. The MI6 spy created by Ian Fleming and brought to screen by Harry Saltzman and Albert R. Broccoli is timeless in the most literal sense of the world. Since Sean Connery passed the role of James Bond to Roger Moore for good in 1973’s Live and Let Die (Connery previously gave way to George Lazenby in On Her Majesty’s Secret Service before returning in Diamonds Are Forever), James Bond has become unstuck in time. 

As played in subsequent films over several decades by actors like Timothy Dalton, Pierce Brosnan, and Daniel Craig, Bond remains the same while the world around him changes. Some fans like to theorize that “Agent 007” and “James Bond” are aliases used by different MI6 spies throughout the years. But within the context of the series, there is only one Bond…James Bond. Bond is always middle-aged, looks good in a tux, enjoys stiff drinks and beautiful women. 

Read more

Movies

James Bond Movies Streaming Guide: Where to Watch 007 Online

By Don Kaye

The Cold War ended in the ‘90s and yet Bond, perhap the ultimate cinematic representative of its aesthetic, just kept calm and carried on as usual. Save for a handful of Craig’s latter year depictions, James Bond rarely learns any new tricks. He doesn’t develop. He is what he is – a hero of espionage and action. In that regard, the James Bond series is a surprisingly honest exploration of the occasional propagandistic aims of major blockbuster filmmaking. Bond isn’t a character in a story. He’s the United Kingdom’s idealized version of itself writ large on a canvas widescreen: a suave spy who is welcomed into every country to get laid and save the world. 

But what about the United States’ idealized version of itself? How has the Cold War’s lone surviving superpower let itself go without a similarly iconic (and occasionally nakedly jingoistic) cinematic creation? The answer is that America already does have an outsized action icon…he was just on television. 

Jack Bauer of early 2000s Fox thriller series 24 is American James Bond whether we want him to be or not. Just as Bond is the idealized Englishman, with his martini lunches and quick wit, Bauer is the America’s warped ideal of itself: angry, merciless, focused, and unfailingly effective. 

As portrayed by Kiefer Sutherland (who won an Emmy for the role), Jack Bauer started off as a fairly three-dimensional character in 24’s first season. That season picked up with Jack as a family man and a glorified pencil pusher at the fictional Counter Terrorist Unit’s Los Angeles office. Over the span of the first season’s 24 hours (24’s hook, of course, is that each season takes place over the span of a 24-hour day in real time), Jack slowly lost grip of his humanity, culminating with his friend Nina Myers turning out to be a mole and murdering his wife Teri. 

The death of Teri fundamentally changed Jack. For eight subsequent seasons and a movie, Jack became an Uncle Sam-style cartoon character obsessed with protecting his country from terrorists all over the globe, because his family was already taken away from him. Elisha Cuthbert as Jack’s daughter Kim was a prominent character for a few seasons, but as she was phased out so too was Jack’s grip on reality.

Unlike the James Bond series, 24 was particularly devoted to its chronology, with the very premise of the show meaning it had to have a close relationship with time. Jack Bauer would in theory grow as a character from season to season. But rather than developing, he mostly devolved into the most base version of himself. 

It’s in this way that Bauer actually became more like James Bond than one might initially expect. Regardless of who is playing him or what time period a particular film is set in, Bond’s characteristics remain static. By the end of 24’s run in 2014, Jack was similarly a Bond-ian relic of the past. Though the country was still feeling the effects of it, “The War on Terror” seemed as dramatically quaint for 24 as the Cold War did for James Bond. And yet here was this rugged American in the miniseries 24: Live Another Day, gripping the life out of a pistol and barking at perceived London terrorists in a gravely timber like a psycho.

24: Live Another Day was the last appearance for Jack Bauer and rightfully so at the time. The character had become a bit too anachronistic and his show, quite frankly, was frequently xenophobic. Still, as the continued success of Craig’s Bond films indicate (with No Time to Die finally set to arrive this October) perhaps there is still room for walking anachronisms in the entertainment world, as long as they’re approached correctly.

Fox has repeatedly attempted to rejuvenate the 24 brand. In 2017, the network greenlit a spinoff starring Corey Hawkins called 24: Legacy. Like its forefather, 24: Legacy, utilized a real-time format, only condensing 24 hours into 12 episodes like Live Another Day did. The spinoff was not successful and was quickly canceled following the conclusion of its first season.

Ultimately, Fox (now owned by Disney) hasn’t made any subsequent reboot attempts work yet because it has misidentified the appeal of 24 as a franchise. While the ticking clock aspect of telling a story in real time is novel and interesting, it wasn’t the reason the original series lasted for nine seasons. The real reason for 24’s success was Jack Bauer. Viewers are typically attracted to characters, not concepts. In Jack Bauer, many an American viewer likely found the embodiment of a paranoid nation they recognized.

There’s an undercurrent of anger and indignance in the American psyche. Exactly why is a question best left for sociologists. Perhaps it’s misplaced guilt over displacing a society to create a new one, or maybe it’s just the disappointment of being promised a Manifest Destiny and getting Wyoming. But whatever the reason, Jack Bauer is as apt a cartoonish American avatar as James Bond is a British one.

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So why then doesn’t 20th Television (again, now owned by Disney) just formalize the comparison and make Jack Bauer literally American James Bond? Just as Connery once handed off the baton to Lazenby and Moore, have Sutherland hand the role off to someone else. That actor would preferably represent the American physicality that Sutherland brought to the role (despite Sutherland being a Canadian, which is somewhat fitting given that the Scottish Connery was the first to play Her Majesty’s favorite spy). The new Jack Bauer would be played by someone who is short, stubbly, and angry rather than Bond’s tall, dark, and handsome. Throw the new Jack back into the field in a modern day ticking time bomb plot without bothering to explain why he is still middle-aged after 20 years. 

The answer to why Disney wouldn’t want to do such a thing is almost certainly all that aforementioned racism and torture. That is admittedly a, uh…roadblock. It really can’t be overstated just how xenophoci 24 was at times and how cruel it could be to characters and actors of Middle Eastern descent. Jack Bauer’s reliance on torture wasn’t just a dramatic crutch, 24 co-creator Joel Surnow genuinely believed in the value of torture as a foreign policy tactic. 

Suffice it to say, the series has not aged well. Then again, however, neither have many of the earlier Bond films. To a certain extent that’s the point of the Bond franchise. It understands that making movies is making myths. James Bond is every bit the mythical figure that Captain America or Iron Man are. The fact that Bond is so obviously an exaggerated character now has helped soften some of his more problematic edges. 

Bauer, on the other hand, comes from an era where Americans were both terrified of the looming threat of terrorism and were starting to invest in television as a more “serious” art form. As such, not everyone of the time was prepared to accept Jack Bauer as American James Bond, that is to say a cheesy cultural figure, not a vital supersoldier of freedom. 

In The Atlantic’s 2007 article “Whatever It Takes” about the politics of 24,  U.S. Army Brigadier General Patrick Finnegan, the dean of the United States Military Academy at West Point, recounts Jack Bauer’s effect on enlistees.

“The kids see it, and say, ‘If torture is wrong, what about 24?’ The disturbing thing is that although torture may cause Jack Bauer some angst, it is always the patriotic thing to do.”

The world has changed since then, obviously. But even now, it feels like it hasn’t fully set in that Jack Bauer is the American James Bond and should be treated with the same amount of reverence, which is none at all. Perhaps the only responsible move left is, in fact, to continue the increasingly ridiculous stories of the character with new actors.

In the right hands, Jack Bauer could be put to use as a blockbuster magnet and an appropriate critique of American foreign policy. In the end, icons don’t matter so much as what you do with them. 

The post Why Jack Bauer Is America’s James Bond appeared first on Den of Geek.

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[mocha-sim]

For a while now I’ve wanted to write out a post concerning where I stand on the whole issue with YanSim and its developer (in short: neutral, leaning heavily towards the negative side, but I like the potential of the story and characters). There are a lot of problems and I really want to throw in my two cents

This might not be necessary, but I need to get it off my chest, and hopefully make some people think about other points of view

Warning: long post ahead

1. Six years and still in development

I can really see both sides here

On one hand, six full years without even one rival - the single most important part of the game - and a game still full of placeholder assets, and terrible code on top of that, is pathetic

On the other hand, Yandev is working with only a small team of volunteers and himself, who (no matter what he claims) knows very little about game development (from what i’ve seen, he’s made one before, but it looks like a very small-scale and basic fighting game, unlike YanSim which is much more large-scale and has a lot of features)

Professional game teams do have full, high-quality games made in less than six years, but that time is also a product of game company employees being extremely overworked. Lately I’ve seen a lot more people talking about this issue, which is good, but isn’t it hypocritical to not also apply that logic to Yandev?

Again, though, I’m not sure how much time he spends actually working on the game - to me, it seems like he spends a lot of time on discord, reddit, etc. even if he does only stream for a few hours every night. Maybe the “harassment” that’s “slowing down game development” wouldn’t be such an issue if he didn’t spend so much time online interacting with these people?

2. The writing and characters

I’m not a huge fan of how the game’s story is handled, either

I don’t think it’s 100% fair to cast a final judgement with the game the way it is now - Osana not being out is in no way a good thing, but it also means that there hasn’t really been any opportunity for story or character development yet, especially for the rivals. That being said:

I feel like there’s a lot of wasted potential with characters’ individual stories and with the game’s story as a whole, like the “Aishi curse” - I just can’t think of many good stories with a main character who’s basically an empty husk. If Ayano had emotions from the beginning, and actually had to struggle with them, she could be a much more interesting character. There doesn’t even need to be a magical curse for it to run in the family - the way children are raised has a serious impact on the person they grow into. If Ayano is raised by a crazy, abusive stalker of a mother, she may well turn into the same thing.

Taro, too - he has so many contradicting character traits. He yells at Ayano for “scaring him” when she’s carrying a box cutter or laughing, but has the courage to run right up to a murderer and take off their mask?? He doesn’t care about reputations for Osoro or Oka, but won’t love Ayano if her reputation drops too low?? We’re told that he’s “friendly and respectful”, but we’re never shown that part of his personality. On top of that, we’re not really given a reason to like or pursue him as the goal of the game - when he’s not interacting with Girl of the Week, he doesn’t really do anything except sit by the fountain and read. I feel as though Taro should have a routine that involves interacting with other characters and gives us more of a feel for the personality we’re told he’s supposed to have

Raibaru as a whole makes no sense and feels like a satellite character to Osana. In Osana’s shoes, I would want to have a word with her about personal space. There’s not a lot to say about her aside from that, because... she doesn’t really do anything except follow Osana around all day and shut down the player’s attempts to kill her. She feels more like a soulless obstacle than a character

I think there should be more true pacifist options than just matchmaking - even the befriending elimination route will, in Yandev’s own words, involve someone getting hurt. If we’re supposed to have a choice on whether or not to hurt and kill people, there should be more variety in our options

3. The game’s code sucks/it’s poorly-optimized

Yeah.

I don’t know much about coding but the amount of awkward stretching/bending limbs on corpses, clipping through walls, low fps, etc. makes this obvious. It was definitely a bad move on Yandev’s part to start a project like this without at least taking a coding/game development class or something

I think the best course of action for Yandev would be to get a professional programmer on board after Osana is released and spend a few months fixing the game’s code before he starts work on the next rival

4. The character models are just stolen Unity models

They are just unity models, but not “stolen” at all - YanDev paid for them.

That being said, they’re sort of ugly and inexpressive, and personally i’m hoping they get replaced soon

5. The characters are all minors

They’re not. It’s in flashing red letters on the screen when you open the game. I can’t help but feel like the reason people keep insisting that the characters are minors is so that they can feel like heroes for defending them or something

It doesn’t make a lot of logical sense, but there’s still plenty of time for this to be fixed. I think it was recently confirmed that Akademi is called an “academy” now and won’t be referred to as a high school again

Imo YanDev should just change it to a post-secondary school, since that’s probably the most seamless way for all the characters to be adults

One last thing I want to say on this is that, when it gets brought up, I often see people use the excuse “the age of consent in Japan is 13″. 1: it isn’t - the Japanese government lets each prefecture decide its own age of consent, but 13 is the minimum. As far as I know, no prefecture has set it below 16. 2: even if 13 was the age of consent, that doesn’t mean we should accept and defend it as “part of a different culture”. It’s still pedophilia. 3: Japanese people actively protest against things like this

6. The uniforms are middle-school uniforms/don’t look like they belong in a prestigious school

Yeah

However there are multiple uniform options, and it looks like the default uniforms will be completely changed in the final game

7. Panty shots

YanSim is an 18+ game, but there is such a thing as too far

I’ve seen people who tolerate it, but I haven’t seen a single person who actively likes the panty shots and would complain if they were removed. Imo the part that makes this bad is the fact that we, the player, actively have to point our camera up a girl’s skirt and take a photo of her underwear with it being in full view; the whole way this works makes it obvious that the feature was put in there for titillation more than anything else, and it just feels uncomfortable. If it were more like Uekiya’s key-stealing minigame where all we have to do is push a few buttons, the whole gross/uncomfortable aspect could be taken away and a lot of people would probably be fine with it

It would also be better to replace it with an expanded version of the phone-stealing feature: this would let the player get “points” for students of both genders, plus it would still make sense to gain more points for certain students, like the student council or the bullies. Maybe you could even steal teachers’ phones under certain circumstances?

8. YanDev is homophobic

Again not too sure on this one

Iirc, most of the comments people bring up on this are from years ago when he still went by EvaXephon

But speaking as a wlw, I think some of the ways I’ve seen him talk about f/f relationships are pretty creepy. And on top of that, he seems to be considering adding a “female senpai” option to the game, but no male player character? (though i guess i can see the point of view that a male mc would need a lot more new voice lines, animations, etc. while the senpai follows a mostly fixed routine and would only need so many. still, it seems wrong to have one without the other). I hope I’m wrong about this but his support of the LGBT community seems mostly focused on the L and more for his own entertainment than any actual support

9. YanDev is making more money than he should (and handles it poorly)

His Patreon may be dropping, but his YouTube channel is raking in even more money with 2M+ subscribers, and he’s making even more money from things like merch and donations... all while apparently still living with his parents (which i don’t find hard to believe). He’s also apparently bought 2 switches and a sex doll instead of using the money to hire the help he desperately needs with his game

Assuming he really does still live with his parents, I fully support the petition to get his Patreon suspended until he at least finishes Osana. Most game devs don’t make any money off of their games until they’ve finished it completely

10. YanDev wrote rape fanfics

So I did briefly check his old ffn profile some time ago, and as far as I could see everything had the proper ratings and warnings

Tagging/warning/rating is a fanfic author’s only responsibility to you. You make the choice on whether or not to read it. If everything is appropriately tagged and you read it anyway, that’s on you, not the author. If you are mature enough to be on the internet unsupervised, then you are mature enough to curate your own experience.

Fiction is the place to explore controversial themes and topics. It doesn’t mean in any way that a content creator would condone the things they write about in real life

11. YanDev steals art/assets

He does, and still hasn’t apologized for the DLC rivals thing. In fact he made a post defending himself for it, and even compared himself to Andy Warhol in the process (lol)

I’m not sure but I think I heard something recently about him continuing to do this type of thing (the grass, etc.). In which case we should continue to put pressure on him until he credits the creators of whatever art/assets he stole. Art theft is inexcusable

12. The fanbase is mostly kids

This is unfortunately true, and it’s a big problem (i’ve had to deal with it myself on my youtube channel)

However I would personally say that this problem is outside of YanDev’s control. Kids seem to be drawn to edgy/violent things, or things they shouldn’t be allowed to see (just look at Call of Duty). I put the blame for this on the parents who aren’t monitoring their kids’ computer activities. As for YanDev, he’s not a babysitter and it’s not his responsibility to censor his content for kids who shouldn’t be viewing it in the first place

Underage or not though, he should really avoid calling his fans things like “fuck kittens”. Even from the perspective of an adult that’s super creepy to hear

13. The character designs suck

Some are alright, others are absolutely awful

I think that, in a game built on anime tropes, characters should be allowed to have unnaturally-coloured hair. I mean, a lot of characters in anime do have weird hair that you wouldn’t see in real life (seemingly without any dye), and it can add a lot of personality to their designs

But some YanSim characters push that too far. The science club is the worst of the worst imo, despite being otherwise one of my favourite clubs. The neon streaks are ugly, and what’s up with the visors? Why are they allowed to wear those outside of club time? Why do they wear them during club time, as opposed to actual goggles or something? (i have this issue with a lot of club accessories, imo the accessories are unnecessary in the first place)

The bullies and the light music club also take things too far. Their designs are crowded, hard to look at, and out-of-place. Nothing against characters with multi-coloured hair, but there’s a time and a place and a “prestigious” school setting isn’t it

(also, slightly off-topic, but why does almost every “intended couple” look like they could be siblings?)

I could probably make a whole separate post on the character designs in YS, but I’ll save that for another day. (i’m just very passionate about character design)

14. YanDev has collaborated with porn games 3 times now

Once I could overlook (after all, the characters are 18+ and YS is already not for kids) but a third time? Seriously? And so soon after the last one?

Not only do I have mixed feelings about Yandev doing crossovers when his game isn’t even in the demo stage yet, isn’t this game supposed to be taken seriously as a horror game? I can’t think of a single other horror game that has willingly put its characters in porn.

Also I can’t help noticing that he advertises the porn game crossovers a lot more than he did with that one Dark Deception crossover. Did he ever even mention that one? I only ever saw it on the Dark Deception Twitter

15. YanDev is rude to his fans

I don’t have a lot to say against this one. As far as I’ve seen, he is, and he doesn’t take criticism well at all (just look at the subreddit - yes, a lot of the things that were removed deserved it (unfunny cum chalice jokes, etc.) but there have also been completely innocent questions, fanarts, jokes, and fanfics that have been removed. Not to mention mods going through peoples’ post history and banning them for being active in r/Osana. Both he and his mod team seem insanely paranoid)

I think he’s going to have to grow a thicker skin and stop censoring critiques if he wants to get anywhere with this game. Not just fans who bring up tiny details that might need changing, but also big, glaring issues like the code and character designs and such. He also doesn’t seem that professional for a game developer who wants to be taken seriously

That being said, if you’re the type to spam the discord server/subreddit/fan communities who have nothing to do with Yandev like the amino, you deserved that ban

16. YanDev defends pedophiles/the “sex license” thing

“No adult ever has any excuse to do anything sexual with a child. As soon as you touch a kid, you have crossed the line from being someone with a mental disorder to being the worst scum imaginable. Having a mental illness is involuntary, but touching a kid is a choice. If you have a mental illness, I feel bad for you. If you violate a child, I feel disgust and contempt for you, and I think you deserve the death penalty.” -From YanDev himself on this page

The sex license thing is also debunked on the same page: the whole conversation was taken out of context and the hypothetical “license” was supposed to be something that only an adult could meet the requirements for

17. “Corona-chan”

This was a really insensitive move to make in the middle of a pandemic, and I agree that the design was racist

However, YanDev listened to the fans’ complaints and removed the easter egg a day later, plus gave an apology. I think that this was the best thing he could do in that scenario and idk what else people are expecting him to do about it

18. YanDev’s general portrayal of high schoolers

Honestly, it’s not 100% realistic (especially in some of the dialogue. you know what i’m talking about)

I’m surprised that more students don’t seem to have friends outside of their clubs. It seems like all the students mostly stick within their club/group - walking to school together, spending their breaks together, etc. A lot of the ways the characters behave are very robotic, like walking in a perfectly straight line everywhere they go

That being said, a lot of the things i’ve seen criticized in regards to this are not part of the problem. By the time you’re in high school, you’ve probably hit puberty. It doesn’t make a character automatically sexualized if they have bigger breasts (though some designs in the game are over-sexualized, like a few certain staff members)

19. Muja, Mida, and Hanako

Let’s start with Hanako: Yandev has already said that she’s not romantically interested in her brother, she’s just insanely clingy and doesn’t want him to get a girlfriend out of fear that he’ll forget about her. If you still insist that she’s in love with Taro, then that’s on you

Muja and Mida I have mixed feelings on.

If every student is 18 or older, meaning that the first-years are 18, that makes Taro, a third-year, 20-21 years old. If Mida and Muja are in their early 20s as Yandev has said, that means that the age gap isn’t an issue. However, it’s still wrong for a teacher or a nurse to pursue their student/patient

I don’t think Yandev should need to spell out “hey, Mida and Muja are not good people” in flashing neon signs. The game is rated M and anyone who’s old enough to play it should be able to understand that without it being said. If you need morality in fiction spoon-fed to you, you probably shouldn’t be watching/reading/playing anything rated above PG

On the other hand, YanDev has a nasty habit of making these things into a joke, which is really insensitive and creepy. Like saying that Mida’s favourite food is “the spit of a younger man” (yikes), that she’s tried to seduce her own students 69 times (haha 69 so funney right guys XD), or that whole confession scene mess. It’s less of a problem with Muja, but it’s still there. As much as the audience shouldn’t need everything served to them on a silver platter, issues like these should still be treated with respect, not made into gags

20. Yandev wastes time on “Easter eggs”

I have to agree that he does spend time implementing unnecessary things sometimes (like the abc challenge), but as far as I know the Easter eggs are what he does in his spare time while waiting for assets from volunteers. However: snap mode, which was hyped up for years, turned out to be a flop with zero purpose, disappointing a good portion of the fanbase.

21. Love Letter

So far I’m really liking the look of this game: I like the models and the school environment they’ve shown, and it seems like they’re doing a lot of things in better or more interesting ways than YanDev, like not outright telling us who the rivals are. I don’t think it’s fair to accuse them of “stealing” anything, when it seems like most of the assets the games have in common are the things they bought from the Unity store (Love Letter even changed the base Unity model to have a more appealing look)

I'm glad to see that they actually listened to criticism from fans on things like Setsuna’s design (I love her newest look and I hope it’s the final one). From design alone she’s already a more interesting protagonist, and she looks like the sort of character you’d actually enjoy playing as

Not sure I totally buy the claim that it was all done in two weeks, but even if it was over the span of months, that’s still miles better than YanSim’s six years

Knowing that Dr. Apeis has already ditched one project I’m staying open to new information on this, but as of right now I’m looking forward to playing the demo!

Overall: A lot of the hate against the game and the dev are unnecessary, but some is justified and we shouldn’t blindly defend everything he does (seriously, you can admit that the character designs are shit. no one is going to stone you for it).  There are a lot of improvements Dev could make, both on the game and on his behaviour towards fans.

I think that the biggest improvement would be for the game to just stop taking itself so seriously. At this point, it’s so full of memes, cringy google translate names, excessive edginess, and gags that it may as well just be a fun ridiculous anime game instead of a serious horror game. I feel like taking this approach could make it more successful (plus, it doesn’t really have a lot of horror elements aside from the gore)

There are a lot of cases of people taking things too far. Like spamming YanDev with explicit gore/animal abuse, trying to swat him, spamming volunteers with weird porn, trying to hack into volunteers’ accounts (including bank accounts), etc. That is going way too far, no matter how awful or pathetic you think a person is. If you are doing these kinds of things, you are doing more harm than Dev or his volunteers

Attacking YanDev’s appearance is unnecessary and not related to his behaviour or skills. Same with the chalice memes

However, I’ve seen a lot of YanDev’s defenders lashing out against “gremlins”, lumping all of them in with the kinds of people who do these things. If you check r/Osana, you’ll see that most if not all of the people there condemn this behaviour: the gore and porn spammers are a loud minority (and i’m willing to bet most of them are the basement-dwelling losers from KiwiFarms and 4Chan)

Attacking and/or spamming fans who are just trying to enjoy the game is also unnecessary. Someone liking a video game you don’t like is not doing you any harm. Be mature and move on

I’m not sure if some of what I’ve said above is 100% accurate so if anyone actually read this and has evidence against it then feel free to add

I think that’s about all I have to say on that. Again, i don’t know if it will change anything in the fandom but i really just wanted to get this off my chest