#finally every one of these narratives has an undercurrent of 'this is why people are sooo fat'

[butchlifeguard]

i would love to do a really long essay about food conspiracies and fatphobia

[givereadersahug]

ten books to get to know me

Thanks for the tag @danpuff-ao3

tagging - @yletylyf @liladiurne @aquaflora17 @maraudersaffair @anti-bright-places@consistentsquash...sorry if you been tagged/done this before. I lost track on who have done this. 😂 And as a bookworm, I must know your picks. *sips tea* And anyone who is reading this! I want to know! My TBR pile is never too long!

Harry Potter

I mean, this has to be first on the list, right? Even before I got into the fandom back in 2018, this book series was my life. And, no, not because of JKR. I don’t associate the book series with her. I associate this book series with my step-father. He just randomly saw the first book at the airport gift shop, bought it, and read it to me on the flight home. The proceeding years as each book got released, we would dress up and attend the book launch parties. He let kid!me indulge in my passion and let me rave about my favorite characters and potential outcomes on how Harry might defeat Lord Voldemort. (Fun Fact! I knew since book three that Severus Snape was more than he let on and I knew in my heart that he would help Harry defeat the Dark Lord. Idk why my seven-years old self thought that, but I held on! And I was vindicated! lol)  He passed away a few years after the last book came out and I couldn’t bring myself to read the series for a long while. I’m glad I made my way back to Harry Potter, though. I finally got the courage to step into the fandom space (which was so intimidating to me back when I was a kid) and I met so many great, loving, wholesome people here who also love the books and the characters as much as I do. 

"Happiness can be found, even in the darkest of times, if one only remembers to turn on the light."

Phantom Tollbooth 

This is a fucking classic. The wordplay, the adventure, the illustrations. Did I mention the wordplay? 

“Just because you have a choice, it doesn’t mean that any of them has to be right.”

Mushishi 

Not a book, but a manga series. It is ethereal and thought provoking and simplistic and imaginative. In a society where things go lightning fast, this story asks you to slow down, take a look around, and appreciate what you have. It’s melancholy and not every story has a happy ending. The pull and push of us living alongside nature and us manipulating it and nature having the last laugh. Our relationship with our friends and our families and with others. It’s just *chef’s kiss* a great manga series to absorb yourself into. Don’t forget to check out the anime! 

Chime 

This Franny Billingsley book came onto my radar cause of a mix-up with another book for some award. (They had to ask the other author to voluntarily pull her book, because the rules didn’t allow the committee to do it themselves. Which sucks for both authors involved, imo.) It’s basically a story of the aftermath of the wicked step-mother’s evil doings. And, wow. The narrative structure of this book, the twists and turns, the exploration of themes, the undercurrent of feminist progressive charge, and the ending! I re-read this book each year. I love it to bits. 

“If you say a word, it leaps out and becomes the truth. I love you. I believe it. I believe I am loveable. How can something as fragile as a word build a whole world?"

The Lie Tree

FRANCES HARDINGE! She’s my inspiration. Have you read her books???? They are dark and twisted and unexpected and go to places you don’t expect them to go. I don’t even know why her books are classified as children's literature. It is so much more than children lit. They elevated the genre. The books are surreal, and expansive and strange and wholly, unequivocally original. The Lie Tree is the first book I read from her, and I wasn’t even sure why I picked it up. But I am so glad I did. 

“Large people tend to have large heads. Men are no cleverer than we are, Miss Sunderly. Just taller.”

Ghostwritten 

Okay, I don’t need to explain who David Mitchell is, right? Writer of Cloud Atlas? The Bone Clocks? The Thousand Autumns of Jacob de Zoet? I remember picking up Ghostwritten when I was way too young to be reading Ghostwritten and way too young to understand the nuances. But! His writing style! It was unlike anything I read at the time. (And still is.) He’s not afraid to step out of the box – narratively and structurally - and I can only dream of writing something as complex and unique and weird like his stories. 

“I added 'writers' to my list of people not to trust. They make everything up.”

The Tightrope Walkers 

I have no words. Just go read it. I just know that when I first read it, I could not read a single thing for months afterwards. This book *stayed* with me. It was raw and beautiful and heartbreaking. 

An Invisible Sign of My Own

I’m a sucker for magical realism and this book hit all the right spots. Aimee Bender’s use of language – the fluidity, the simplicity, the sharpness – it drew me in. The story is like a fairy tale for adults, if I have to describe the vibe of it. The film adaptation did not do the book justice. Give it a try. 

“It is all about numbers. It is all about sequence. It's the mathematical logic of being alive. If everything kept to its normal progression, we would live with the sadness--cry and then walk--but what really breaks us cleanest are the losses that happen out of order.”

Saffy’s Angel

This is the first book of Hilary McKay’s Casson Family series. The whole series is a comfort read. One I re-read often as a child. The family is so eccentric and loving and chaotic. And Hilary explored dark themes in this children series – bullying, infidelity, disability. But it is also hilarious and fun and compelling. I wish I owned all the books, but sadly they are out of print at the moment. 

What Did You Eat Yesterday? 

Another manga series! This is about two middle-aged Japanese gay men living in Tokyo. That’s it. It’s a slice of life series and *actually* explores how queer couples live in Japan. Don’t go into this expecting all the BL tropes. Other than them being gay, it’s just them being them and how they navigate being a couple heading into their senior years and worrying about taking care of their aging parents, about saving money, about keeping up with their friends. It’s just wholesome and real.

[gffa]

What do you think of the theory that Anakin was unintentionally influencing Padme and that's why she loved him/married him despite some admittedly *very* red flags? I'm starting to see it crop up more and I find it gross and irritating but I can't really explain why. It doesn't really seem like your cup of tea, so I was hoping you might have some of the smart words I don't. But if you do like it, I'd love to hear your thoughts from that perspective too.

For me, I think it's obviously not the actual narrative intention, if for no other reason that GL would have said it was the takeaway if that had been the case, he's never been shy about talking about the narrative intentions and meanings of his story. I don't know the motivations of the people who like the theory (I almost never see meta for it personally!) but I would assume that the creepy and (unintentional) manipulative nature of the theory is a feature, not a bug, that they think it adds a spice to the characters that they like. That it's not about making it nicer and softer and sweeter, but about giving it an edge that they find more interesting or gives a recontextualizing to it that they like. (SW fandom loves "actually, this theory will change everything you know about the story!" theories.) Which, hey, isn't that what fandom is for? Exploring the characters and setting in a way that makes it more fun for each person? Personally, no, I don't think it works with the story, because if Anakin/Padme was about him influencing her that undercuts a lot of the tragedy between them, that it means it wasn't really real and I don't think that's nearly as heartwrenching or motivating for Anakin, especially someone we know who will eventually come back to the light, as someone who started out kind and good, but couldn't stand the thought of losing her and so he became attached to her and that led him to the dark side. That's Anakin Skywalker's story, that's the central theme of his character, that's what GL says every time he talks about Anakin's fall to the dark, that he got attached and attachment leads to the dark side, because attachment isn't just loving someone or caring about them, it's about being so afraid to live without them that you'd do anything, including killing a thousand people to save that one person. Star Wars is meant to be useful as a story that we can take meaning from for our lives as well, which means that Anakin has to start from a good place, that his relationship with Padme has to start from a good place, because otherwise he was just evil all along (even if unintentionally so) and the themes of choice and literally how the Force works then lose their meaning, that it wasn't about Anakin's light being snuffed out by his fear, but that there wasn't any light to begin with. And this is setting aside that the Jedi mind trick isn't precisely forcing their will onto others, it's more like convincing them of something they probably already wanted to do. As well as setting aside that using the Force like that requires focus and that Anakin would have to be good at influencing versus just trying to smash his way through things and-- And it's setting aside that it's pretty in character for Padme (who just has different taste in romantic partners than some people have, like, we see a ton of real world people who are nuts for Anakin, even if someone else doesn't understand that, those people exist, people find him romantic and attractive, it's not exactly a hard leap to understand that Padme would as well, even if someone doesn't care for Anakin themselves), who very much is a romantic and lets her heart rule over her head when it comes to Anakin. If someone wants to explore a darker take on Anidala, where Padme's choices aren't her own, where Anakin's power in the Force and his desperate desire for her override her will, then I can see why that would be an intriguing thing to theorize about, especially in the vein of darkfic. There's nothing wrong with tossing the theory about and playing with what it might mean!  Horror flavored fics are a genre for a reason!  (Along with whatever other motivations people might have.) But it's not going to appeal to some other people because it strips Padme of her agency and a big part of who she is as a character, if those choices are no longer entirely hers. A lot of her character is already one that revolves around Anakin's character (or maybe it's more fair to say she's an extension of his character all too often), to have even the decision to be part of his life taken away from her is one that reduces her character, makes her less, because it's no longer even nominally about her, it's now entirely about Anakin and his feelings for her, not her herself. And that's already something Anidala struggles with as a story (in a way that I like to think is on purpose, that Anakin tends to make things about himself all too often is something of an undercurrent as time goes on), while saying he Force-influenced her into the relationship would make it all the way about him and Padme might as well be a sexy lamp for all that her choices or her character or her personality matter to the story then. Ultimately, I think their relationship has to be real for the heartbreak on Mustafar to really matter, for Padme's final words being echoed by Luke to really matter, for Anakin's return to the light to really matter. He had to have real love in his life, from Padme and Obi-Wan and Yoda and the Jedi, otherwise the ending doesn't have nearly the power it should have.

[hopeymchope]

I know the surviviors get some flack for not grieving a whole lot for Kokichi, but Kokichi was horrible to everyone and wheverr people tried to question him, he'd push them away because he wanted to work on his own because of severe trust issues and he also did some questionable things that can't exactly be forgiven. They weren't exactly friends and it's a lot to take in.

Six total Kokichi-related asks in one post, now incoming!

WAAAAAAAHAHA Kokichi Time

Yeah, I agree with everything you're saying. I think that they eventually appreciated and respected his final effort to ruin the killing game, but for most of the trial, it was just deeply infuriating and upsetting for them. And even after that, there's a lot leading up to that trial that could only be infuriating for them. And in the end, Shuichi considers Kokichi just a frustrating enigma and utterly unknowable - "the very embodiment of a lie," as he says.

So you suspect that he has some personal connection to Killing Games in his past? Could it even be from a previous DR "season," then? I don't know how/why he'd have the luck thing, though. There doesn't seem to be anything to indicate that. I often wonder whether we'll get some kind of direct V3 sequel someday, in some medium. I'm sure there's got to be a temptation to explore where things wound up for the survivors and what the outside world is really like, who the survivors really are or aren't, etc. But if Spike Chunsoft eventually does this without Kodaka's involvement, it's going to ring hollow. Such a instance could easily become a story that openly defies and/or flies in the face of the implications of V3.

Interesting point. Even when he's seemingly treating Gonta nicely, it's just an attempt to get something he wants - trapping everyone in the "bug meet-and-greet," maneuvering Gonta into murdering Miu, etc. What's interesting about that is how he seems to genuinely befriend Gonta in Danganronpa S: Ultimate Summer Camp. But of course, his treatment of Keebo is always the same...

You may or may not have seen, anon, a previous Ask wherein a Japanese person said that bullying is a major issue there, but people tend to stay silent instead of calling others out. (I can’t seem to find the post where I responded to that ask now... ) So this might be part of that same cultural issue, then; Keebo is making it very clear how much he is upset by Kokichi’s behavior, but nobody really makes much effort to stop Kokichi anyway.

Well, I guess Kaede does try to distract him away from bothering Keebo in the very beginning. It’s something?

Actually, the fandom doesn’t even seem to hold this against Kokichi at all! Maybe they really do see Keebo as some kind of lesser being unworthy of any kindness just because of his physical nature??

(Friendly reminder to everyone that Kokichi is made aware very early on how much his behavior offends and upsets Keebo. So naturally, he keeps doing it anyway forever, in every single timeline - UTDP and Danganronpa S are no different. Because Kokichi’s just a really shitty person.)

Definitely. A big part of why his plans ultimately fail to lead where he'd hoped is because of the bridges he burned behind him. It's another reminder of the recurring "attempting to deal with the situation alone = misfortune and death" undercurrent through the series.

I get that, although he’s kind of a major part of V3′s narrative. He really drills home much of the “truth vs lies” theming. But, just like some previous antagonists, there are definitely things that would go much more smoothly if he wasn’t being a little shit about everything and was just telling people what he knows. Obvious solution: You excise the character who inexplicably knows everything about each trial but never wants to share any of his information from the entire equation.

But I think he’s still an important part of the story and its central focus, so maybe we could just... not make him be some kind of super-analytical secret detective? Because that always felt like it was kind of bullshit to me anyway. Much like his inexplicable ability to instantly know any time any character is lying about absolutely anything, we can just delete these traits and subsequently make him more believable as a person. He can still have his elaborate scheme to stop the killing game and still be an annoying liar who lies, but he doesn’t have to also be a mind-reading super-detective. Kill that element and I’d feel better about his role. 

[mybg3notebook]

Gale: Manipulation, Lies, and Trust

Disclaimer Game Version: All these analyses were written up to the game version v4.1.104.3536 (Early access). As long as new content is added, and as long as I have free time for that, I will try to keep updating this information. Written in June 2021.

Additional disclaimers about meta-knowledge and interpretations in this (post) while disclaimers about Context in this (one).

Before anything I strongly suggest reading this post about "Context, persuasion, and manipulation" to understand in a simplified way the meaning of the words we use, so despite not being related to bg3, it's related to communication and social issues. Since fandom loves to misuse them, I think it requires a proper explanation so we all know in which frame we are analysing these scenes. 

Due to the fact that this post ended up turning into a much longer one than I wanted to, I split it into four posts, each of them showing how many sides Gale has in those scenes, how much his actions are "manipulative", how many details related to lore he shares, and possible interpretations of his behaviour, since it's rather easy to lose his scenes because they have the lowest priority. In this post I will only make a summary and a compilation of the broad details explained in those posts, so pick what you want to read since all these posts may have overlap of information and repetitive concepts (they were written to be self-contained as much as possible).

'Stew'Scene

"Loss Scene"

"Party Scene" (with Revelation scene)

"Extra Scenes": Death Protocol and Comments on Dreams

I'm analysing these scenes in detail because I noticed that many players incorrectly paraphrase Gale's words, putting in his mouth words he never said, so for the sake of transparency, I transcribed many fragments of his dialogues, making these posts more lengthy than they should be.

The stew scene

The details are shown in the post of the "'Stew'Scene". In this scene, Gale shares a friendly introduction with the stew and with a list of good deeds done by Tav. This shows that he has begun to trust Tav so he can talk about this issue earlier than he wanted to (he will wait much longer in the neutral version). As a gesture of honesty, Gale sets an explicit boundary by telling Tav to refrain their curiosity and do not ask about the 'why' of the issue he is about to talk about (under no circumstance he is forcing Tav to agree with the delivery of artefacts before telling them 'what' he needs). He acknowledges that it may be unfair not to give the whole context, but he still can't speak in detail about this very personal issue. As an interesting detail, his trust in Tav at this moment of the conversation is so honest that he has not shielded his mind, so Tav can intrude with the tadpole without Gale knowing it—if Tav succeeds— . If Gale doesn't trust Tav even successful intrusions of the tadpole can be perceived by Gale's trained and cautious mind. For more detail read the post of "The Tadpole".

I personally interpret the stew scene as one of those moments in which one is developing a friendship with a stranger, and at some point, someone has to trust first. It's a rare occasion in which the act of trust is shared in equal measure by both members in a new relationship. Usually, one of them offers a bigger portion of trust, testing the other, seeing if it was not misplaced or if it will be honoured later. It's a normal asymmetry, and in this case, Gale is only explicitly asking for that asymmetry in his favour. 

Considering how Gale opens up later, Tav passed the test in his eyes. Helping him during his direst moment and accepting that temporal trust asymmetry made Tav “earn the respect of years” despite being a stranger he met a couple of days or weeks ago. But Gale will not be blind to that gesture. He will progressively honour that trust in the Weave, the Loss, and the Revelation scenes. And by the end of EA, if it is not bugged as usual, Gale's approval status can change to “best friend” (an information given as meta-knowledge, therefore very unlikely to be "a trap set by Gale". For more details read the post about "meta-knowledge").

It's pretty common for manipulative characters (whose trait of manipulation belongs to their personality, not characters who may have circumstantial manipulative actions) to expose their pain too soon with strangers as a tool to force empathy on the listener and "catch" them. Gale does exactly the opposite: he won't open up until having a solid ground where to place his trust. Nobody wants to share their pain in unsafe places, after all. 

Helping him with artefacts is deeply appreciated by him and a great boost of his approval for obvious reasons: people tend to place their trust on persons who helped them in their most desperate situations or in their survival. It has to do with the unique connection that often happens between survivors of extreme situations (war-like) who helped each other in surviving. The shared link is deep. One could expect this link to be built with any of Tav's companions since the Tadpole experience is traumatising and extreme. I think this has higher chances of happening with neutral and good aligned companions, since evil ones may have little scruples to not honour the trust received. 

Gale could have avoided Tav's questions and mistrust for this secrecy by just lying. However, Gale opts for an explicit enunciation of his limits and boundaries. And Tav is completely free to agree or not since Gale won't abandon the party if not. We know that, in that case, he will try to find another solution that he may find in Raphael's deal. Some players consider this situation of mutual agreement in the terms and conditions that the conversation will happen as a coercive one. What I see is diplomacy and negotiation rather than manipulation.

Gale's need for secrecy is related to two factors: 

Survival: He needs to be sure that Tav won't kill him out of fear (which we saw during the scene with Nettie; it's a common procedure in Faerûn: exterminate what's dangerous). Gale's case is even worse because killing him will only activate the devastation he is desperate to avoid: Gale wants to survive but also wants to avoid the massacre that the “orb” can cause.

Personal reasons: Which is the main reason at this point: Gale is unable to speak about the "why" of this condition because it's originated in Mystra's abandonment and the horror of the “orb”: such traumatising experience that turns the Tadpole experience into an inconvenience (this is why his attitude with the tadpole is more relaxed too, he has already passed through a much worse, terrifying situation). 

The Loss scene reinforces this concept when we see Gale—usually so verbose and impossible to shut up— can't speak or find the words to say what he lost and why. And only by the end of the scene, if Tav insisted with many checks, he managed to say something. It's worth noting that these checks tend to be strangely low for a character who is struggling with a personal secret. This is usually understood in DM-code as Gale wanting to share this info (setting a lower DC than the average). Gale is not finding the way to do it, and a Tav gently pushing him will do the trick. 

It is for this reason I personally think that Gale's secretive attitude is more like a series of obvious clues he purposely leaves in his conversations for Tav to draw their own conclusions before he could finally open up. If all Gale's scenes are triggered (which at this moment is very hard to do with his priority being always the lowest) and Tav pushes him to speak more than he is willing to, the player obtains a decent amount of information to conclude that Mystra and Gale had a deeper relationship, and that the “orb” is something dangerous not only for Gale. To be honest, the death protocol is a gigantic red flag pointing out that Gale's primary condition is not to be taken lightly and “many innocents” can die because of it. 

With a neutral or lower approval, Gale will not ask Tav to trust in him. He doesn't trust Tav either, and there is no promise to speak and disclose his condition later. Gale clearly is more mindful and caring with a medium or higher approval Tav who he is starting to see as a good companion/friend, while with a neutral or lower approval Tav he cares little about keeping the contact beyond what diplomacy demands.

It's not by chance that this Stew scene is meant to happen before the Weave scene. From a narrative, contextual point of view, the trust that Tav gave Gale during the Stew scene is afterwards paid with the Weave and the Loss scene. Let's remember that Gale would only ask for that trust if Tav is of medium or higher approval, so the Weave scene comes naturally (when not bugged). The neutral and low approval Tav is never asked for that trust and therefore the Weave scene never happens (if their approval keeps going down). In fact, Gale can leave permanently without any chance of convincing him to stay if he reaches very low approval. What I mean is that, from a narrative point of view, the Weave and the Loss scenes are Gale's way to return that trust that Tav gave him first during the stew scene and the first artefact consumption.

The Weave was not a premeditated scene. It happened by surprise, triggered by Gale's deep loneliness: Tav startled him when he was longing for Mystra while seeing her image in his incantation. He shares in that moment how important and vital magic is in his life, and only then, the previous actions done by Tav encourage him to share this experience. It's important to highlight that this is too personal for Gale, too important, and a bit painful too, since we know later (second dream) that every time he connects with the Weave, he meets with Mystra's disappointment: "What magic I can still weave is met only with undercurrents of disappointing silence." 

After a moment of rambling, Gale invites Tav to share this experience. Here is where all the branches about explicitly displaying Tav's romantic interests can be developed; a neutral option for a friendship path, or very aggressive and violent reactions can be picked as well. More details about this scene can be read in the post of "Gale Hypotheses- Part 2", section: "Proposition to Cheat". And again, for a char so guarded of his own privacy and personal issues, sharing the Weave can be clearly seen as the repayment of the trust that Gale received from Tav during the stew scene.

The Loss scene 

The Loss is a scene that starts with a mystery about Gale's incapacity to cast a spell. He keeps pushing Tav away, claiming that night to be of personal regrets. Tav knows already that something is dangerous in Gale's consumption of artefacts that can cause a catastrophe, so in this scene some links can be made between the two conditions.

If Tav gently pushes Gale to speak, we will notice that most DCs are rather low, meaning that Gale is not putting a strong resistance for the pushing: a friendly Tav pushing him can be interpreted as Gale wanting extra help to open up and speak (in the end he approves the caring despite his reserved persona). Gale gives many hints in this scene that suggest he was a Chosen of Mystra. The most relevant one is the Silver Fire reference. For more details about the Chosen's powers read the post about "Mystra and her Chosen ones".

We also see a reinforcement of Gale's pattern behaviour: He prefers to speak in this poetic way when he has to talk about painful topics (we see it after killing the druids that triggers “the barren oak” scene or during the goblin party scene). Talking in third person puts distance, but also the embellishment of his narration makes it easier for him to speak, after all he is a poet/storyteller as well. 

What's clear is that the verbose companion, who always has a lot to talk about, is basically speechless in this scene, stuck in his "loss" (literally, metaphorically, and psychologically speaking). Part of this behaviour can be understood a bit more in the post about "Gale Hypotheses- Part 1", section: "Grooming". Besides being a private person, Gale also has a perspective that talking about things that can't be changed is useless. He is so stuck in the loss, that talking about it means nothing to him, "the outcome" is always the same. 

After pushing Gale to share his burden, the presence of Mystra in Gale's life is undeniable for Tav. Gale sounds like a strong devotee that somehow lost Mystra. We know in this short description that he “did something” to impress his Goddess and earn her favour back, and in doing it, he failed, invoking death upon him. If Tav is sharp enough, knowing that Gale's consumption of artefacts is related to a “catastrophe” and a certain death of himself... maybe they can start connecting some dots and suspect that Gale's primary condition may be related to the loss of Mystra. My point is, even Tav has been informed quite a lot about Gale's “truth”. As we can see, the “Revelation” scene should not be such a shocking “revelation” as it was written, but more a “detailed description” of the situation.

The context seems clear so far: Gale knows he hides the details of his condition (which are not so hidden anymore), and knows that it's information that can cause a second abandonment (whether as a friend or a lover). Gale is at this point in his life very tired and lonely of struggling with the “orb” inside him too. He could use some emotional support, and this is why I believe he has less tough DCs that one should expect from a character who is actively holding information he doesn't want to share. We need to remember that Gale lives in a permanent anxiety mind-state, too focused on Artefacts and the disaster he can cause, increased with the dreadful, hungry feelings that the “orb” inspires with each passing day. He is getting fond of Tav at this point, and their abandonment would mean too much, even though he knows that he may deserve it. 

We know that Mystra abandoned him, but did not ban him from using the Weave. I personally speculate that maybe Gale's point of view of the situation of the “orb” and the following abandonment of Mystra is partial: Mystra may have abandoned him not on purpose but as a consequence of having that Weave-sucking power in his chest. As it was explained in the post of "Mystra and her Chosen ones", Chosen ones have a deeper connection with her, and they are able to use raw magic in the form of Silver Fire. This means that Chosen are part of Mystra herself (in Dead Masks, it's stated that Mystra leaves a bit of her own divinity in each of her Chosen), so Chosen ones are also part of the Weave, always connected to Mystra who is the Weave. If the “orb” inside Gale consumes Weave, and we all know that Weave IS Mystra, it's not too far to conclude that Mystra may have abandoned him as a safety measure since, if Gale remained as Chosen, his contact with her would be deeper and would expose her to the “orb”, destroying her eventually. But this, again, it's a mere personal speculation.

The party scene

Gale has finally reached a degree of trust in Tav that gives him enough courage to finally speak about the details of the "orb" (and I emphasise details because in broad aspects, he already shared what's most important: the “orb” in his chest is a dangerous thing. If Tav assisted in his death protocol, this is undeniable by now, unless Tav did not pushed him and respected his privacy).

If he is romanced, he promises much more: confessions in the art of conversation, pleasures in the art of the body, and, hopefully, acceptance. For Gale, acceptance is a big deal: I personally believe he shows a fair level of naivety on this matter. It seems (especially later, with his arguments in the morning) he thought he needed this level of intimacy to reach acceptance first (a process that this book guarantees to happen), so he could speak openly. He wants to have this night before any confession because he wants to acquire acceptance which, in his mind, would prevent the abandonment he viscerally fears.

Gale is so eager to spend the night with Tav first and confess later that the only way of not doing it is not romancing him at all or telling him that Tav is not in the mood. It's not clear in EA if this ends the romance; I think it doesn't since the disapproval is not big (there is no change in the approval status).

 Gale wants to be with Tav intimately so badly that he doesn't mind Tav having casual sex with other companions first as long as the "commitment" part would be established with him. This is reinforced by the fact that, if Tav never shared the Weave with Gale, there is no way to sleep with him: Gale is not a character for one-stand nights. He craves for deep connection, for commitment, in whatever fashion he can get it. Mystra taught him not to ask about exclusivity after all, and because of the ephemeral nature of his relationship with her, he craves for something meaningful and more committed.

Mystra was his first love. After her abandonment, he made the mistake of the “orb” that dragged all his energy into studying Netherese magic and possible solutions. I consider it fair to think that maybe Gale never had a relationship beyond the Goddess, and all what he learnt about romantic relationships was through books like the one he mentions or, as a poet, through novels or romantic poetry. He must have an idealisation of love (also proper of a poet) that made him believe that through sex “intimacy” there is a guarantee of acceptance. 

His pattern, in my opinion, says that he tends to make mistakes in his emotional state, which is mostly triggered by the “orb” and the potential of “abandonment”. Not so much with Mystra herself. He seems to be nostalgic, but more aware of what loving a God causes (his regret is explicit during the conversation about Karsus). He seems to be quite done with "her romantic love", but that doesn't mean he doesn't want to be forgiven nor he doesn't love her as the essence of Magic itself. More details in the post of "Mystra and her Chosen ones". 

Some players see the “Revelation” scene as manipulative. Although that's personal interpretation, if we analyse the kind of information withheld by Gale we found little new: the dangerous nature of the “orb” had been indirectly disclosed in all the previous scenes. Tav being surprised about the “orb” seems strange. And Gale sleeping with Mystra has little relevance: in a game for adults, why are past partners such a big deal? The scene is so confusingly written to make it sound as if Gale is still in love with Mystra, but previous scenes showed he has been working on getting over it. Despite loving Mystra as the embodiment of Magic herself, Gale showed to be very aware that all that love belonged to the past (second dream), to a younger self, and even though he is not certain if he loves her still, he is clear that nothing good comes from relationships between mortals and gods (comments on Karsus). He is very explicit about desiring her forgiveness (second dream). So, there is little withholding information at this point for a Tav who pushed him to speak. Now, Gale's attitude certainly has been tactless. Not the best decision to disclose a past lover with such a degree of fascination just after sharing a night with Tav. But it's understandable since in order to “disclose” the “orb”, Gale needed to provide the context of his young love for the Goddess.

The whole scene of the Revelation seems very, very unpolished, mixing tones and confusing information that was given before and presenting it as if it were a revelation when it's not the case. It jumps from one drama concept to another, and never sticks to one, and Tav's options tend to be extreme: or the player calls this disclosure a “great betrayal”, or makes it seem as if nothing has happened, giving little options of what Tav already knows, or if they want to show a moderate annoyance since most of the information has been disclosed already, but still Gale's timing is annoying. Part of this can also be written on purpose to show what a disaster Gale is when it comes to the potential of “another abandonment” in his life. Hard to tell in EA.

Tav's romantic options react as if Gale confessed to have cheated on them, while what he explains has a different degree of conflict: he confesses he is not sure he still loves Mystra, but his lines in previous scenes show he wants to get over it, without losing his magic/relationship with Mystra, because magic is too important in Gale's life. At times, Tav's options are meant for them to react with jealousy, other times as if this were a big betrayal, or as if Gale's romantic past should have been disclosed before the night, and in the last part of the scene, Larian remembered that the “orb” could be considered a conflict too, so Tav has some occasional options to react to the “orb” as if it were a big revelation (when it's not, because we had 3 scenes, four if we include the death protocol, stating its dangerous nature). So, I personally understand why every person has a completely radical interpretation of the situation: it has been written in a rush, and I see it as very inconsistent in tone and context. This all makes sense when one remembers Kevin VanOrd stream where he explained that Gale was meant to be in the second wave of companions, and not in EA. Gale's writing was rushed and it shows in the last of his scenes and his meeting scene. 

Some people may argue that talking about a previous lover right after sharing the first night is, at the least, a very bad taste. However, the player (not Tav) can understand the reason behind it: Gale started the story in order to explain in detail the "why" that has been left up in the air since the stew scene. That "why" can only be explained if Gale discloses Mystra's relationship as the origin of his mistake. So... on one hand, this disclosure right after the shared night is unfortunate for Tav (especially by picking the long version of the explanation in which Gale shares too much unnecessary detail). On the other hand, if he omits this relationship, it's harder to explain the context of why he got the “orb” in his chest. 

In general I think this scene has been handled poorly. The whole “conflict” portrayed here implies two aspects: He slept with Mystra, and he has an explosive “orb” in his chest. Neither of them are truly big arguments for the drama degree that this scene seemed to have been written because we already know, to a certain degree, about them. 

The “orb” is not truly “such a revelation” at this point. The stew scene alone gave Tav and the player a clear idea that something in Gale could cause a catastrophe without consuming artefacts. After the death protocol that certainty is clearer. So, these “revelations” are more like “extra details” of problems we already know about. Which is what he exactly says when introducing this scene: “Those are but the broad strokes. The time has come to paint you the true picture”. 

Having past lovers seems also a strange concept for a “betrayal”. Adults carry pasts. It's true that maybe speaking of a past lover in the same moment he awoke with a recent one is in a pretty bad taste; it's a bit more understandable when you finish the scene: the origin of the “orb” problem was Gale's love for Mystra, so it makes sense to start from her. However, I see the conflict of the conversation switching constantly in three directions: the fact that Gale had a lover that didn’t talk about the previous day, that “Gale is still in love with Mystra”, and that he has an “orb” that Tav “never” knew about it. A very inconsistent conversation.

It's true that Mystra is not a standard lover—she is a goddess—but she is quite known to have these affairs (at least for the player), especially during her past when her direct contact with any human was not banned. It should be more surprising that Mystra seemed to have broken that ban for Gale's case (since she only kept in direct contact with her chosen ones: Ao's decree). And it's also clear the scene tries to show that Gale is still “in love” with her, which is very confusing with what he spoke during the Loss and mainly, during the second dream. Again, I personally feel the scenes of the party and the romance are a mess from a cohesive narrative point of view, and they are the result, alongside Gale's first meeting, of his rushed introduction into EA.

This post was written in June 2021. → For more Gale: Analysis Series Index

[lovecolibri]

All these anons lately who are more casual viewers confused about how Malex is still happening are unfortunately not wrong, and I hate it so much. RNM is an extremely heteronormative show, and treating Michael as if he's straight unless he's in the Malex bubble while barely letting the one gay character interact with any mains other than Michael is a big part of it. Michael and Alex don't have to have scenes together or reference each other every episode, but it's come to a point where this relationship is a joke or a punchline for the other characters who are consistently allowed to visibly care about each other. It's gross. Even in S1, when Michael did talk about Alex some, he never talked about him as a good thing and then went off to M*ria with what could be interpreted as Max's encouragement, so I can't fault viewers who thought it was all in the past now. Kyle and Greg were the only people who acknowledged/encouraged Malex, and they both became part of the M*luca/M*ria narrative who completely forgot that Alex had feelings for Michael. Why aren't Alex's feelings ever treated as valid? Why doesn't anything that happens with Alex ever carry over to any other part of Michael's life? Malex had a number of near death experiences/emotionally charged moments together at this point, and so far Michael went on with his siblings/M*ria as if nothing happened every time. It's ridiculous. It feels almost purposeful. I just can't tell if it's the CW being 'we can't let anything be too gay when Michael is supposed to be a womanizer' bullshit or if it's already like this in the writers room.

Yeah, I'm not surprised when even people in fandom witnessing Vlamis and his unrelenting obsession with Malex are losing hope. I can't imagine what casual viewers are thinking!

As for Alex, I think he's going to be interacting with more characters as it's been mentioned he has scenes this season with Liz and with Max and I think it was mentioned maybe with Isobel too, just not a lot of scenes or a big Alex/Isobel friendship (booo!), as well as having scenes with Kyle though again, maybe not as many as the actors would have liked given that they all seem to get along and enjoy working together, but that doesn't mean NO scenes, or scenes that aren't big and important. But it was definitely a HUGE problem especially last season with Alex so right now again, I can see why casual viewers might think Alex is no longer hugely important to Michael or to the main storyline.

"Michael and Alex don't have to have scenes together or reference each other every episode, but it's come to a point where this relationship is a joke or a punchline for the other characters who are consistently allowed to visibly care about each other." Yeeeeaaaah, I am struggling with that part right now. And it's so frustrating because Liz and Max aren't together either and have barely shared 2 scenes together but their other scenes almost always have some kind of reference to each other, either by them bringing it up, someone else bringing it up and them avoiding it, or something so even though they aren't in scenes together that undercurrent of Echo is always there. I'm hoping when we do FINALLY get Malex interacting again that we are going to start getting clues about how they feel and where they think the other person stands on things but like...it's been 84 years and we still don't actually know anything! We don't know if Alex thinks the song was Michael's last "nope, I'm out" so Alex is just trying to find a way to move on, or if Michael thinks that Forrest is still around (on the bright side the show's pacing is SO much better this season and it's only been a couple of days) so HE isn't going to make the first move because he thinks Alex is happy without him (Alex not covering up his murder could easily be read by someone with Michael's trauma history/trauma filter as just "Alex is such a good guy, of course he wouldn't let someone just kill a person he knows and be find with it" and not necessarily an "oh he's definitely still in love with me"). And I WANT to see that struggle! That's the fun part of mutual pining/the love is not unrequited, they're just idiots trope! The audience is aware they both love each other, but THEY don't know. And the only way the audience knows, is if we see the longing glances when the other isn't looking, if we hear one talking to a friend/sibling about how the other has moved on, if we see them gazing at a photograph with glassy eyes before locking it away, the list goes on and on and I want to see those things happening! That build up is the FUN part, it's the part that builds the tension so when it snaps it feels rewarding! And if we don't actually see that build up, then we don't get the tension, and then the tension breaking doesn't really feel like anything. And I don't want that for Malex.

"Kyle and Greg were the only people who acknowledged/encouraged Malex, and they both became part of the M*luca/M*ria narrative who completely forgot that Alex had feelings for Michael. Why aren't Alex's feelings ever treated as valid?" Well, that I was perfectly happy to lay at c*rina's feet but given how we've had to suffer through everyone still being forced to prop m*ria up even as everyone else gets called out for their behavior is...yikes. And even if they DO call her out, at this point the damage is done because they've already gone so hard on Alex thinking she's the greatest and just dying for her to get with his brother (which...awkward. Especially after last season and really hits on that "I can't have the gay brother I wanted so I'll go after the straight one instead" vibe that is just...icky), that calling her out now would probably just be in relation to Michael somehow and won't actually address the issue with how she treated Alex and it feels like the show is trying to play the "Alex isn't upset with m*ria, so his fans can't be either!" card which didn't work last season and works even less now.

"Malex had a number of near death experiences/emotionally charged moments together at this point, and so far Michael went on with his siblings/M*ria as if nothing happened every time." Yeah, c*rina was the master at setting up really good emotional beats and then just... totally missing them and not following through in order to move on to the next awful trauma 🙄 I will say though that at least in season 2 when Michael needed emotional support he often went to Alex and we've seen him do that again this season so hopefully that trend is over. Already the storylines this season seem tighter than last season (still not perfect, still some things that aren't working for me, but a massive improvement overall) and without the huge time skips, so I think everything is going to intertwine and we are going to actually see and deal with the fallout from things happening which I'm excited about.

Overall, I'm hopeful about the Malex journey and willing to see where it goes, and I'm not going to totally riot if they aren't together together at the end of the season as long as the build up and tension is there and we have a better feel that a relationship is where it's leading. I'm willing to wait for a bit of a slow burn, BUT it's important to note that a slow burn only works if the audience knows both parties are interested in pursuing a relationship or wanting something more, but aren't entirely sure where the other person stands. But if they let us watch some mutual pining and awkward attempts at flirting, maybe some frantic "I was worried something happened to you!" moments? I'll be okay with that. But they SHOULD be allowed to kiss at least once this season, even if it's because they are undercover or something, as a treat.

[thinkingisadangerouspastime]

So, this may sound weird, since I don't ship ZK, but I think the reason some dislike EIP is because they realize it was the first part of a busted enemies-to-lovers arc. EIP was part one, where Zuko and Katara see how others see them, and it weirds them out. Yet, Zuko insisted on sitting next to Katara and Katara pushes Aang away, suggesting there might be something there that they don't want to acknowledge. (1/3)

The first part of the finale was Part 2, where June reiterates the "Hey you're with your gf again!" Zuko and Katara deny it, but there likely should have been an undercurrent of 'Why do people think we're together? Do we act like it? Should we be? S/he is kind of cute.' During this time, Zuko defers to Katara and despite Toph likely being more helpful, asks Katara to be the one to take down Azula with him. (2/3)

Last part of the finale should have been the money shot, Zuko taking lightning for Katara, and in a parallel to CoD, Katara healing him. Dante Basco is right in that there probably should have been a kiss at that moment and the end scene of the gang at the Jasmine Dragon with Zuko and Katara shyly proclaiming their interest in each other. (3/4, sorry I have one more)

Again, ZK is not my ship, but EIP seemed to set up a ZK endgame that jumped the tracks at the end. By all the "rules" of a good narrative, Zuko and Katara should have ended up together, otherwise EIP should never have been countenanced or storyboarded. Full disclosure that I'm not a huge Kataang fan either, but Kataang was done a disservice by having EIP exist. It either should not have ever gotten written, or the ZK enemies-to-lovers arc should have been concluded. (end)

Disclaimer: I don’t care if someone ships Zvtara. Never have, never will. If the takeaway you (the general you, not anon specifically lol) get from this post is that Zvtara is “bad,” then I’m going to assume you didn’t actually read anything I wrote, because that is the farthest thing from my point here. Also, this post is strictly my personal response to these asks. I don’t expect everyone to read this and be like “YEAH” lmao. I am sure some people have different opinions, and that is a-okay!

In short, I think we will have to agree to disagree, anon.

Do some people consider EIP the beginning of a busted enemies-to-lovers arc? Of course they do, they’re “rabid zkers” who wear Zvtara shipping goggles 24/7 lmao. EIP couldn’t have been the beginning of an E-L arc because such an arc was never in the cards for them in the first place! Katara forgave Zuko in the previous episode. Trying to cram a romantic relationship into five episodes after months of hatred between Zuko and Katara would have been awful writing (and thus probably would have been a decision mercilessly criticized until the end of time, lmao). So it’s honestly better that Zvtara gets to spread its wings in fanon instead (much less pressure)! Also, realistically speaking, Katara and Zuko probably still had so many issues to work through in their friendship. Like yes, she forgave him and recognized he was trying to do better, but that doesn’t erase what Zuko has done to her and her friends. There is still plenty of forward progress they need to make before romance can even be considered between them. If that makes sense?

Also, let’s be real: EIP and bit with June afterwards were 100% ship bait. Just an attempt to add to the “drama” of who Katara would end up. A technique only effective while it was airing, for the record, because if you watch the show straight through, it becomes glaringly obvious that Zuko and Katara’s relationship - while gorgeous - was always meant to stay strictly platonic within the canon timeline.

Anyways. I’ll try to break down your ask one piece at a time!

“Zuko and Katara see how others see them, and it weirds them out”

Yes, they are definitely weirded out! The transcript says, “Zuko and Katara inch away from each other, slightly uncomfortable.” Which is just a longer way of describing that they were weirded out by the depiction of their relationship in EIP, lol. However, the play is not how others see them. The play is the Fire Nation’s imperialist propaganda, meant to demean the entire Gaang. I talk about in specifics how the entire Gaang is belittled here, but this is the key stuff I noted about Zuko and Katara:

it’s important to situate that and more importantly situate eip zuko and katara’s relationship within the context of the show. the fire nation is an imperialist country. the southern water tribe has suffered heavily beneath them. we know from “the headband” that fire nation individuals are fed pro-imperialistic propaganda from birth; that combined with zuko and azula’s degrading comment of “peasant” towards katara demonstrate very clearly how the fire nation views every other nation - put simply, they are superior and everyone else is inferior. that attitude is therefore reflected in the eip play:

- katara, an indigenous woman, is highly sexualized and portrayed as overly dramatic and tearful, because the fire nation objectifies women not of their own people and views them as less intelligent and less emotionally stable

- she is thus paired as having a “romance” with zuko in eip because naturally, via fire nation logic, zuko would be able to “score” an “easy” woman of one of the water tribes

- furthermore, the eip “romance” between zuko and katara emphasizes zuko’s position as a traitor to the fire nation; the implication is that as a traitor, he’d only be able to achieve a relationship with a “lesser” woman, e.g. a woman not of the fire nation

That is not how other people truly view Zuko and Katara’s relationship. That is how the Fire Nation depicts their relationship in order to degrade and dehumanize Zuko and Katara. To misinterpret that as “evidence” that Zuko and Katara should have been together romantically is… disturbing, in my opinion. (I really try to stay far away from zkers who use EIP as “proof” of supposed Zvtara interest in each other like honey that is imperialist propaganda please don’t 😭).

If you want to talk about how other people actually view Zuko and Katara’s relationship, look at the Gaang, who were around them most of all! They never tease the possibility of romance between their friends. Why? Because within canon, there wasn’t one. Simple!

“Zuko insisted on sitting next to Katara”

Nope! This is all the transcript says: “Zuko [Removing his hood.] Just sit next to me. What’s the big deal?” He doesn’t even mention Katara! Zuko is literally just like I’m already sitting. Why do I need to move? lmfao. It’s no thoughts head empty for our favorite firebender 😂

“Katara pushes Aang away”

I’m assuming this about the kiss, which I’m going to make a post about in the future because I am TIRED of the tomfoolery. Anyways, I’ll keep this brief - yes, she does push him away. She does not deny that she likes him. For Katara, the issue is the timing: “This isn’t the right time.” Both Katara and Aang know they like each other, plain and simple (which is why Aang doesn’t ask if he returns her feelings - he asks if they’d be together, because he knows their feelings are mutual). Katara pushes Aang away because, as she says, they’re in the middle of a war. She’s already seen Aang die once. He might die again. She doesn’t want that, of course, but it’s a reality Katara is forced to consider.

Anyways, her decision has nothing to do with Zuko. Lol.

“June reiterates the ‘Hey you’re with your gf again!’ Zuko and Katara deny it, but there likely should have been an undercurrent of ‘Why do people think we're together? Do we act like it? Should we be? S/he is kind of cute.’”

June’s assumption - especially because it is a repeat of a gag from earlier in the series, when it is incredibly concerning to assume a Fire Nation citizen would be with someone of the Water Tribes because of the war and its consequences - is comic relief. Not even good comic relief, lmao, because of the horrific implications I just mentioned that come with it, but it’s supposed to be comedy. There was no need of any “Zvtara” undercurrents there because a) Katara and Zuko had never expressed romantic interest in each other in the past, b) it wouldn’t track with the show’s narrative of Katara as Zuko’s surrogate sibling because of her position as Azula’s primary foil, and c) it just doesn’t make sense in general. Katara likes Aang. Zuko likes Mai. There was never a love triangle there, plain and simple. Fandom invented it.

And again, if you want to talk about how people actually see Zuko and Katara, don’t look at June, who has never had a proper conversation with either of them. As I said, the Gaang is a much better example, since they’re with the two 24/7. If they never tease Zuko and Katara about romance, why should we trust this random lady who doesn’t even know them?

“During this time, Zuko defers to Katara and despite Toph likely being more helpful, asks Katara to be the one to take down Azula with him.”

As I mentioned, Katara is Azula’s primary foil, so from a literary perspective she absolutely needed to be the one to take her down. Zuko needed to face Azula, but taking her down - again, from a literary pov - was always meant to be the end of Katara’s journey (she was the only person besides Aang who was ever a match for Azula, after all, as we see in CoD). Also, how would Toph be more helpful?? Not saying you’re wrong, btw, I just don’t understand what you mean. If I was Zuko, I also would have brought the waterbender that I’d already witnessed almost take down my sister already 😂. But even if Toph would have been more helpful, sometimes practicality must be sacrificed for a fulfilling narrative arc, lol!

“Last part of the finale should have been the money shot, Zuko taking lightning for Katara, and in a parallel to CoD, Katara healing him.”

Honestly, anon, this part of your ask baffles me 😂 I totally understand why rabid zkers might make this argument, but taking into account the rest of the show… It just doesn’t make sense? It’s been talked about a hundred times, but Zuko taking lightning out of romantic interest would ruin his redemption arc, regardless of if it was Katara or Aang or Sokka or anyone in the Gaang that he was taking it for, so that should be the end of discussion, full stop. I’ve talked about this issue here and here before, and someone else does a great job breaking it down in this post, too. But seriously. Zuko having romantic interest for anyone in the Gaang would ruin!! His!! Entire!! Arc!! I hate when people don’t understand that 😭 Zuko had to learn selflessness, to learn how to put others before himself, and to unlearn the imperialist rhetoric he’d been indoctrinated with from birth. Romantic interest during canon for Katara, Sokka, Aang, whomever, I don’t care, completely disregards all of his growth of breaking away from the Fire Nation. Plain and simple.

“Dante Basco is right in that there probably should have been a kiss at that moment and the end scene of the gang at the Jasmine Dragon with Zuko and Katara shyly proclaiming their interest in each other.”

I learned in a discord I’m in that Dante Basco apparently hadn’t seen the whole show until this year lmao. He didn’t know what energybending was nor did he know A:TLA ended with a Kataang kiss. Take that with a grain of salt, of course (you can watch the livestream this is revealed in here, and it was also mentioned in the recent StageIt A:TLA reunion), but I think it’s safe to conclude Dante Basco can be treated like any other Zvtara shipper. He likes the ship, which is totally cool, but he is not one of the writers, so his opinion meant naught in constructing the canon narrative.

ANYWAYS. My point is why would Zuko and Katara proclaim interest in each other if such interest would have to be crammed into five measly episodes?? Especially when four of those episodes were the finale?? That is awful writing, of course the A:TLA writers wouldn’t do that, lmao! They’d built up Kataang and Maiko already. Why scrap it and needlessly rush a romance from an excellent - and, important to note, a newly established - platonic bond? Nah.

“EIP seemed to set up a ZK endgame that jumped the tracks at the end. By all the ‘rules’ of a good narrative, Zuko and Katara should have ended up together”

Nope. Idk what rules people have been teaching you, anon, but they were lying!! You deserve better than people who would lie to you like that 😤. But yeah, narratively speaking, Katara and Zuko getting together would have made no sense. It would have undermined Zuko’s and Katara’s arcs, it would have completely disregarded Katara’s established feelings for Aang and Zuko’s for Mai, and again, it would have been totally rushed. Who wants that?? Normal people don’t, lmao. This might be hard to believe considering I occasionally rag about BNF zkers, but I actually have several friends who are Zvtara shippers! They agree that canon Zvtara would have made no sense, and that it’s better to play out a potential Zvtara dynamic in post-A:TLA fanon. I swear, it is only the rabid shippers who think Zvtara should have been canon, and trust me when I say no one should want to associate with them, lmao.

(And again, as I touched upon earlier, Zuko and Katara’s canon narrative relationship was surrogate siblings because of Katara’s position as Azula’s primary foil. The show wrapped their arc up perfectly! With a lovely bow and all. So no complaints from me!)

“otherwise EIP should never have been countenanced or storyboarded. Full disclosure that I’m not a huge Kataang fan either, but Kataang was done a disservice by having EIP exist”

What EIP did right:

- accurate (and horrifying) depiction of pro-imperialist propaganda

- recap of previous seasons

- a lesson on consent (Aang kisses Katara, it is depicted as wrong, and Aang reacts appropriately by admonishing himself and by giving Katara space afterwards. like, people call Aang an incel/entitled/whatever, BUT HE HAD THE PERFECT REACTION?? he literally backed off and never pressured her again. i would have killed for the guy who kept getting in my personal space during my junior year to have backed off when i told him to. spoiler alert: he didn’t)

- hit some good humor beats

What EIP did poorly:

- honestly it’s not very interesting just based on watching it (deconstructing it as propaganda gives it better depth), but that’s to be expected from filler

- stupid shipping drama

- not having an additional conversation/explicit apology between Aang and Katara

HOWEVER. This final point is actually very subjective. For one, A:TLA has a clear trend of not showing apologies on screen. Ex.: Katara doesn’t apologize to Sokka for what she said about their mother, Zuko doesn’t apologize for anything he did to the Gaang, Song, or really anyone (closest we get is “Hello, Zuko here” lmao), Ty Lee and Mai don’t apologize for putting the Kyoshi warriors in jail, etc. etc. So while an explicit apology would have been great, the lack of one admittedly tracks with the show’s pre-established standards. And two, while I of course would love a conversation between Aang and Katara (that’s literally MORE KATAANG. why would I refuse 😂), it isn’t… necessary, to be frank. Aang’s mistake is treated as such - kissing Katara was wrong and he should never have done that. Like I said, Aang acknowledges this error and gives Katara space afterwards. Thus, it is Katara who chooses to be with him when the war is over. She respects the time he gave her to come to a conclusion, and the choice she makes is that she loves him despite his poorly-timed kiss (I mean, she forgave Zuko for being complicit in Aang’s death. Katara is clearly a very forgiving person!). So like,, it gets to a point where if someone doesn’t recognize that, they’re probably the kind of weirdo who labels anything they don’t understand in a story as a plothole, lmao.

All of this is to say that EIP wasn’t a disservice to Kataang. It certainly could have been better, of course, and the kiss was obviously only put in to hype up drama (“will they, won’t they” blah blah blah), but overall it handled consent well for a kid’s show.

“It either should not have ever gotten written, or the ZK enemies-to-lovers arc should have been concluded.”

On the whole, EIP is absolutely an unnecessary episode, yeah. It was just a recap before the finale. The only important thing is its accurate depiction of pro-imperialist propaganda, but most people’s minds don’t immediately go to that, I’ll admit lmao 😂. And as I’ve already said, there was no Zvtara E-L arc - fandom completely made that up. Which is totally fine! That’s the point of transformative works. But they are still fanon. Plain and simple.

TL;DR - Zvtara was never in the cards for A:TLA. I wish rabid zkers would stop pretending it was and have fun in the sandbox like the rest of us 😭

And for the record, anon, you absolutely, 100% do not have to be convinced by any of this! It’s just my own, personal thoughts on the whole dealio. No worries either way!! 💛

[chalkrevelations]

Huh.

Well, this is not the next episode reaction you were expecting, but a while back, in the middle of the night, while I was ready to cry from working on a pharmacology paper, out of nowhere, Youtube threw up Street Dance of China S3 Ep1 at me. And yeah. I am, admittedly, f’kn weak for a dance show. (There are enough SYTYCD episode reax on my old Livejournal that I feel there’s no point denying this.)

So – no, actually, wait. FIRST of all, I do NOT believe the “towel vote” we ended up being given for the opening routines from the four captains. That was the most blatant bit of bullshit chicanery I’ve seen in my LIFE, and I say this as a person with a ton of SYTYCD episode reax on my old Livejournal, and I also say this not because Wang Yibo ended up last (well, not entirely), but because I saw Wallace Chung’s routine. As someone closer in age to him than to the other three captains, I have to give him props for trying, but come on, man. The critique that Yibo got from random contestants – if the subtitles are to be believed, so I realize this needs a grain of salt - basically boiled down to “it was too good for the stage lighting.” :hands: Also, I saw your face at the reveal, Wallace, and you were as shocked as I was. No way you got more towels/votes than Wang Yibo. Not unless there’s some super wild undercurrent of nostalgia propping you up, which, I guess could happen, because literally all I know about pop culture in China, current or otherwise, is filtered through Tumblr and Youtube, both notoriously suspect, but … anyway. There’s got to be a TON of behind-the-scenes manipulation going on for Yibo to be rock-bottom with last pick of teams but then also to end up with THAT pool of possibles. Are you kidding me with this?

ANYWAY, what I wanted to say is that I actually really like Wang Yibo here, and it’s not just because he’s the only captain I have even a sliver of familiarity with, and it’s not just because Lan Wangji was banging Wei Wuxian. I do realize all of this is influenced by whatever edit they’ve decided to give a particular captain or contestant, but I’m impressed with the way Yibo immediately starts team building by getting his group into a warmup, getting them dancing together, getting them dancing with him before they have to worry about dancing for him. (I mean, come on, Jackson Wang. The way to get people to stop being nervous is not to say “Stop being nervous! It will make you fuck up!”) The way Yibo immediately recognized and responded to his group’s concerns about that one dude copying someone else’s routine probably also bought him a lot of return investment. He’s dressed to work it, in his sweats and his flannel (what IS that fake-leather TAC vest and random leg holster-looking thing, Jackson Wang?). He’s convincing me he really loves to dance, he can’t hold still while he watches the contestants, he’s wandering over into other captains’ turf when it sounds like there’s a dancer performing who he might like to see, he’s being the best Yibo he can be, and I’m grooving along, wind in my hair, totally down for this ride. He’s also adorable at the beginning when all the other captains are like, my goal for this season is to slaughter the competition and dance on their graves! And he’s like, well, I’d like to … make some friends? And learn some new stuff? I don’t know if the perpetual Humble Student schtick is natural or persona, or whether it’s general or specific to dancing, but it’s working for you, my dude. This is also made better (read: ironic), by the fact that it’s immediately before the towel reveal, when he flips over to utter disbelief and gets all sulky for a while over the “fact” that his dance routine got the least votes.

Also, OH WAIT. This is where that clip of Yibo dancing with his crew ALL OVER HIM came from that I saw floating around a few months ago, isn’t it? You’re telling me those guys had never danced together before and had like, three minutes to throw together that routine? I’m even more impressed than before. Meanwhile, the towels symbolize courage and challenge, Mr. Emcee? OK, fine, cheesy reality show blah blah whatever. Can we get to the dancing now?

I’m going to put the rest of this behind a cut, because it got super long, because it turns out, when you watch in 5-minute increments, it takes two and a half weeks to get through a single episode, but you actually can see and have opinions on all 5,328 contestants, plus every single one of the captains’ battles. Meanwhile, I’m trying to convince myself this is not going to be another series of episode reactions, but 1) I do have the benefit of not having a ton of hometown media giving me a next-day play-by-play, so even though this is six months old, everything’s a surprise; 2) I am, admittedly, f’kn weak for a dance show; and 3) it’s easy to watch in 5-minute increments between researching drug interactions in hypothetical hypertensive patients with stable ischemic heart disease, erectile dysfunction, and seasonal allergies. So, I guess we’ll see. It’ll be slow going, though, because I don’t ever have two and half hours to sit down and watch an ep cover-to-cover – if it happens, it will likely keep happening in 5-minute increments. Meanwhile, there is a metric shit-ton of nattering below the cut, so caveat lector. No, seriously, I kept adding to this little by little until it became a monster. Hashtag long post (remorseful).

OK, I am generally out of my depth here, as this is not at all my area of dance not-really-expertise, but some reactions:

Team Wang Yibo: I can see why he didn’t want to choose between Colin and Dian Men – Colin might have been a touch better technically and a better showman, but Dian Men didn’t seem to have a single wasted move – but, also, my dude. Yibo. You maybe should look a little bit less stunned and overwhelmed by the mere presence of Colin, it’s giving me ideas about your taste in men. Continuing with the powerhouses, I probably shouldn’t even attempt to critique Klash, but I did feel like he was a bit stiff in some of his footwork; that final V kick, though, shit, that’s what having that kind of upper-body strength is for. Bouboo … I mean, excellent flexibility and control, of course, but mainly I’m just terribly amused that Yibo got last pick of teams but somehow ended up with the guy who’s literal world champion, and who’s just as useful for getting into the other captains’ heads – without even trying – as he is for his talent. And then there’s a montage of Yibo giving out towel after towel after towel, and my dude, you cannot keep up this pace. There are still too many dancers to see, and you don’t have that many towels. AAANNNND Towel Battle #1 (See Footnote 1).

Team Jackson Wang: I do like Gai Gai, although that may be influenced by the fact she’s working in the twilight area between hip-hop and contemporary that I have more familiarity with - but also, I suspect she’s pretty good in her genre. I thought Xiao Jie was inconsistent and didn’t stick the landing on his initial attempt, so I have to give you that hesitation, Jackson, even though you’ve somehow ended up the villain in my inner narrative for this show, for no particular reason I can yet discern. Maybe it’s that you’re the direct competition for Yibo’s team in the towel battles. Good enough. Anyway, Xiao Jie definitely stepped up his game for the battle with Bingo, so I can kind of see why both of them got a towel, but we’re not even halfway through this, and most of y’all are giving away towels like you have an endless supply. Yang Kai is a fucking menace with fantastic musicality, and I’m just gonna say it and take the fallout - I think he gave a better performance first time out of the gate than any of Yibo’s powerhouses did. Whatever power Klash has got, whatever skill Bouboo has got, Yang Kai feels more explosive and engaging, at least in these initial showings. He’s going to be one to beat, I’d hug him too, if he was on my team and was going to help me WIN. Yibo’s probably lucky that happened during his little stroll over to check out the competition, so that he can see they’re definitely competitive and be prepared for it. Also, Jackson, I have to admit - that face you made when Chao really kicked in? That was the same face I made, because wt actual f, you have a literal secret weapon – secret because he CAME FROM NOWHERE and NO ONE EVEN KNOWS him, how is that even possible, how did he get that good – fluid, creative, controlled, incredible musicality - without anyone having any idea who he even is? And then there’s a montage of Jackson just giving out towel after towel after towel, and my dude, you need to slow down. You can’t just be like, “THEY LOVE DANCE WITH ALL OF THEIR WHOLE HEARTS!!!!1111!!!!11!” I get it, but everyone there loves dance with all of their whole hearts, and there are not enough towels to send all of them on to the next round. ANNNND, Towel Battle #1 (See Footnote 1).

Team Lay Zhang: lol at how diplomatic you’re being, Lay Zhang – your team’s fierce roar startled you, OK. At this point, I suspect you’re the street most likely to have a knife fight break out before this is all over. I do like Alex, I think he’s got a lot of interesting, super-clean details in his moves, and he’s engaging - I cannot BELIEVE you made him battle that dude whose moves were so mushy, Lay Zhang, it leaves me doubting your ability to judge this thing. At first I thought maybe you were just looking for an excuse because you wanted to see Alex freestyle, but then you actually said something about both dancers being equal, and my estimation of you plummeted, and also sadly, my sound dropped out for the actual battle, including the part where the clearly inferior dancer fell over and then accidentally POPPED ALEX ONE IN THE EYE, and I TOLD YOU SO. I do agree it’s a good idea to make dancers in the same genre do some battling, so you can kind of plan out your towels and put together a team with broad strengths, instead of giving out towels like you’re making it rain for the first 20 contestants, and then you have 1,375 more people to get through, with 3 towels left, as EVERYONE ELSE seems to be doing, so it’s nice that at least one of you guys is thinking – if not actually acting - strategically. That was clearly not even a contest, though, GIVE ALEX HIS TOWEL and send him to the next round. Xiao Bao is hilarious, with his concern that his team captain, who’s into krump, which is “beating,” isn’t going to appreciate his waacking, which is “slapping.” I also don’t know a whole lot about waacking, so thanks for the primer, Xiao Bao, and don’t worry, your performance is just as engaging for those of us who don’t know what we’re watching as you are generally. You deserve that towel for your ability to interact with and engage your audience, alone. Lingo is a good solid performance, although he’s got his team captain strategizing edited over some of it, and here’s the thing: we are 1:56:00 into this, at this point, with another half hour to go, and all of you are starting to disappear into the sea of dancers who are very good at what you do, but at generally the same level? Anyway, Lingo, I approve of your ability to interact with your audience (read: your captain) to ensure engagement, too, so keep that up. Annnd, we actually haven’t seen that much of you guys, but it’s time for Towel Battle #2 (See Footnote 2).

Team Wallace Chung: I’m glad Su Lian Ya insisted on performing, I thought she started off slow but warmed up, and that ending was creepily fantastic and had me spontaneously grinning at the screen in delight. Then we lose sight of this group for a really long time, actually. We go back to find Wallace putting through a couple of urban dancers who we barely see, but who apparently claim to have some choreography experience, and he really likes that. TI shows up, and they’re solid, but honestly, not as good in this performance as they were in some of the stock footage the show threw up to introduce them, but Wallace remains super-excited about the idea of choreography and sends at least choreographer Zhang Jiang Peng through to the next round. And then, we really haven’t seen that much of you guys, either, which maybe doesn’t bode well, but it’s time for Towel Battle #2 (See Footnote 2).

FOOTNOTE 1, aka TOWEL BATTLE ONE, Team Yibo vs. Team Jackson, 3V3 freestyle: First of all, I have to say, I love Yibo - Mr. I Just Wanna Make Some Friends And Have Some Fun - being all, “I have three crappy white towels I’m stuck with for coming in last place that I can’t use to send dancers to the next round and that I DO NOT DESERVE, and I am getting BACK the colorful towels that ARE RIGHTFULLY MINE. I am coming for whoever is in my way.” Team Yibo is Bouboo, Klash, Dian Men, and OK, given what we’ve seen so far, that’s the safe choice, but honestly, I think we’re just taking some things for granted right now, and I’m not sure they actually have given the best performances so far. Yeah, I said it. Team Jackson is Yang Kai, Chao, and Xiao Jie, and … ok, on that last one, I think you probably could have substituted Bingo, but all right. Yang Kai is a definite yes. Chao will be great if he can stay out of his own head and not psych himself out, but given what we’ve seen so far, he’s an obvious pick. First round, Yang Kai vs. Klash, and Yang Kai is still a fucking menace, with super lines. Klash definitely stepped up his game for the battle, and I can’t get over the upper body strength he’s got, to get that kind of airy bounce in his moves, but to be honest, I can’t even be mad the first round went to Yang Kai and Team Jackson. Second round, Yang Kai is still … y’all, the beautiful lines from this guy in his poses, I can’t get over them, but I think he doesn’t have the stamina, his footwork is getting sloppy. Bouboo also steps up his game for an actual battle, his fluidity and control is amazing, and yeah, round to Team Yibo. Round three, Xiao Jie gives it a decent effort, but the polish isn’t there; meanwhile Bouboo is still in champion mode, and I was kind of surprised this was a split vote and went to another round. Xiao Jie absolutely surprised me, coming back stronger on his second try, although I suppose a more familiar genre helped, but Bouboo continues in champion mode. Round four, Chao looks like he’s going to throw up right before he steps out there, and then as soon as the music starts, it’s like, he doesn’t even think. The music just moves him. I feel like his dance vocabulary is more limited than Bouboo’s, though, and Bouboo’s flow is amazing at this point, so I feel like the judges just want to drag this out and see more dancing when we go to one more round. Strong effort all around, but yeah, round four and two towels to Team Yibo. I can’t really complain about that. I do feel like Yibo’s powerhouses have been holding back until now, though, and I’m not sure how I feel about THAT.

FOOTNOTE 2, aka TOWEL BATTLE TWO, Team Zhang vs. Team Wallace, 3V3 w/ captain: lol, Team Zhang really wants someone to pick the Sailor Moon song because they know Xiao Bao and his waacking will tear it up. Anyway, Team Zhang includes Lingo and Xiao Bao, who does not get his Sailor Moon song and continues to be hilarious in his disbelief about being chosen to participate in this battle, when he’s not looking almost as sick as Chao from Team Jackson before HIS performance. Team Wallace includes Su Lian Ya – and honestly, despite how I’m getting ready to bag on him for the entire rest of this battle recap, I like that Wallace put one of his female dancers up there for the battle - and some dude named Ba that they haven’t given us any footage of, up ‘til now, at least that I can remember and who I … don’t even know has been formally given a towel and sent on to the next round, yet? Oh wait, he must have, because there’s talk in the pause for choreography about somehow using the towels during the battle. Wallace relies on Su Lian Ya and Zhang Jiang Peng to choose Ba, and then Ba ends up choreographing a lot of the performance, at least from the edit we see. I continue to feel you may be in over your head, Wallace. This feeling … is not assuaged by your performance in the first round, which is fine, but not really up to the level of almost anyone whose name I’ve bolded so far in this entire recap. Also, using the towels was a cute idea, but it doesn’t translate well, and Team Wallace has a lot of wasted time throwing the towels around instead of actually. You know. Dancing. Lingo gets a credible solo during Team Zhang’s performance, and even though Xiao Bao is clearly lost during a good bit of his backup dancer duties, he manages not to throw up, which – given this team’s general skill level – should be enough to give them the first round, EXCEPT SOMEHOW Team Wallace gets the point from the judges, who then try to justify this inexplicable decision by saying Team Wallace had better interaction, I guess because of the hot mess with throwing the towels around, but adding that Team Zhang was more scattered, which what? More scattered than the hot mess with the towels? I’m not buying this. I can’t tell if they’re propping up Wallace or fucking with Lay Zhang’s head, but I’m having bad acid flashbacks to the many and varied ways dance show judges will try to gaslight you, telling you that things you just saw with your very own eyes did not actually happen when it’s right there! On camera! Visible, despite whatever edit bs you’re pulling! ANYWAY, they’re definitely managing to fuck with not only Lay Zhang’s head, but Xiao Bao’s, and Xiao Bao still doesn’t seem to have his choreography down, but they manage to pull it together enough to take the second round, which to be honest is kind of a muddled mess on everyone’s part. The only one who really stands out to me on this go’round is Su Lian Ya, but OK, Team Zhang might have had it slightly more together as a unit. And then, yeah, OK, I think they were fucking with Lay Zhang’s head, because we then find out that, holy shit, the song the show powers-that-be chose for the tie-breaking third round is that gd Sailor Moon song, and we can all see the writing on the wall. Poor Team Wallace is no match for Xiao Bao, who frankly, carries this entire round on his shoulders without breaking a sweat and barely needs any backup dancers to do it. There’s some ridiculously dramatic reveal of scoring, with the judges dragging out their decisions like this was any actual contest - I’m beginning to suspect that some of them grew up with Wallace Chung posters on their bedroom walls - but finally, round and towel to Team Zhang.

Cut to a little bit of Next Time On, and wow, the first two-and-a-half-hour episode is over, and we aren’t finished with the initial round yet. It’s gonna be Christmas before I make it halfway through this season.

[thechangeling]

I was reading your co-signing the narrative post- great post btw- and your thoughts on Kit Lightwood helped me figure out exactly what bothers me about the way other characters talk about and treat him.

So, there’s this kind of this running “joke” in TLH that Christopher’s interests are boring, that everyone else puts up with it him as though it’s this big nuisance, that everyone zones out hearing him talk… and on and on and on.*** And then there’s this scene where Grace is genuinely interested or at least not bringing him down about his self-expression and the things that bring him joy, and that’s romanticized as special when it’s really kind of the bare fuckin minimum. Like, I’m not saying James/Matthew/Thomas had to immerse themselves completely in every sciency detail but the constant “jokes” implying that Christopher’s work is boring or incomprehensible or not worth their time is just so tiring. There’s always an undercurrent of ��Christopher’s just playing around uselessly” (which is not true and even when he’s having fun with his work then it’s still automatically WORTHY and VALUABLE because it makes him happy!) Not to mention this recurring problem directly contradicts the value that Christopher’s work has (beyond its inherent value) when he sends it into the world to literally save lives: the poison antidote, the fire messages that will probably come about in CoT.

And the thing is, the merry thieves’ disinterest is directly meant to foil grace’s interest in order to lend the Grace/Kit relationship a certain significance, as CC assigns to it. I’m not saying shared excitement over an interest/hobby/career/field/etc isn’t sweet platonically or romantically. I just really dislike how the idea CC is using is “no one else can bear to tolerate Kit’s ‘quirks’ but Grace, and that is Endearing, and so they are Soulmates (TM)” rather than the much healthier and positive idea that “Kit does cool sciencey stuff which his family and friends generally don’t share as strong a passion for but still don’t huff about it like it’s somehow a chore or a burden on them, and then Grace comes along and she does happen to share a similar passion and that’s the beginning of their ties to one another.” That second reasoning is what could make their friendship really refreshing; we don’t need ableism poorly twined into romance to enjoy that relationship.

I haven’t read TDA in a while but I’m thinking we could also find touches of this with Ty partly because so much of when we see him is from Kit’s POV? Not that Kit means harm or thinks himself heroic but CC on the other hand is a repeat offender in “abled/white/straight/cis character is ultimately and completely responsible for the salvation of disabled/POC/queer character in this aspect.” And I’m kind of half dreading the wicked powers for that reason among others …

I apologize if all this seems obvious or rambly. I do sometimes have trouble articulating things exactly but when I read your post i had a lightbulb moment and I wanted to note it down.

Have a great day!

***Side Note: this is why I really enjoy fan-created content that explores Christopher’s relationships with people (even people he didn’t interact with on-page in the canon) without that annoying and problematic aspect built into the framework of the relationship.

^^^^^^^^^THIS ALL OF THIS!!!!!!

Full disclosure this is gonna be kind of long sorry. But you have stumbled across my favourite topic to rant about. Allistic saviorism. Basically the name is pretty self explanatory. It's when an allistic person fictional or otherwise has the desire to or actively attempts to essentially "save" the autistic person from the horrors of the world or their life, or even themselves because they think that the autistic person isn't strong or capable enough to fix/handle it on their own. All of this is usually done for very self serving reasons. Part of this is also allistic people being praised as heroes for being nice to autistic people or asking them out, or loving them.

I don't neccesarily think that kitty is an allistic savior ship on it's own. I think that there are definitely peices of those beliefs scattered throughout the books and it might get worse in TWP. That's honestly something that I'm worried about too tbh. But honestly I think that the fandom made it a billion times worse.

This mainly allistic fandom wanted to romanticize the idea of Kit taking care of Ty and shouldering the burden of his "unpredictability." Kit is the only one who can get through to Ty. The only one who understands the mystery that is Ty 🙄. Some of this is canon too. For example, Ty can look Kit in the eye, he lets him touch him. He doesn't wear the headphones when Kit's around right? And Kit was able to calm him down during his meltdown.

And while some of this is really cute from a romantic perspective, it's also kinda problematic because it reeks of allistic saviorism. It promotes the idea that Kit is like Ty's "cure." And that's just impossible.

And honestly I know I've contributed to this in some ways. Because if I'm being perfectly honest with you, there's a part of me that enjoys that. The romantization of autism.

The idea of being taken care of.

The idea that someone could love an autistic person and see them as "beautiful" and "extraordinary" and all the things Kit calls Ty, was incredibly moving and appealing to me as a kid. It still is. Because I grew up on stories of charity cases and allistic saviorism making headlines with prom dates. I was super secretive about it, but I was always a romantic growing up. But I thought that it was impossible for me to have a real love story because people like me don't get that. (Not to get all sob story on you sorry. I overshare. It's an autistic thing.)

And there are some really compelling things about kitty that really do work. And I'm not trying to suggest that Kit learning to help Ty with the ...shall we say more colourful traits of his disability is a bad thing always. It's not. But I think the issue is with Ty's lack of pov and Ty's lack of a narrative in the books. It makes him seem like less of a completely developed character and more like, "Kit's" you know?

And because we don't have Ty's pov we don't really get what makes Kit have this sort of calming effect on him or why it's different. And more importantly we don't get why Ty's letting him in, we only get Kit pushing past his boundries. The entire thing becomes about Kit essentially and that's at the root of all allistic saviorism.

Also like you mentioned before, Kit is seen as special to a certain extent because he can handle Ty. That's not neccesarily something the character believes obviously, but again with CC co-signing the damn narrative with the way she makes the impact Kit has on Ty such a big deal in everyone's eyes and in QOAAD she really emphasizes the drain Ty's necromancy plan is taking on Kit, suddenly Ty's grief becomes all about Kit and with no pov from Ty, it's more allistic savior bs.

Honestly most of this isnt actually THAT bad it's just when you throw it all together and look at the ugly history and let's be honest present, of autistic people being silenced and spoken over by our caregivers and loved ones and we are treated like burdens on them, and how those people are praised for loving us, it kinda looks bad. But the fandom definitely made it worse.

I always get criticized for criticizing kitty by allistic people with, " well if you think they're so toxic then why do you even ship them?" Which is a piss poor take lacking in any nuance. An autistic person has the right to critique a dynamic involving an autistic character. More to the point, you can love something and be critical of it. I swear when this fandom finally figures that one out... we could accomplish so much.

I'm really hoping this is making sense it's like 2 in the morning. As for Grace and Christopher's dynamic I agree with you. I basically have nothing to add. Bare minimum. Should not be idolized. The way the others treat him should not just be brushed off as no big deal. It's ableism.

Basically it's just a bunch of classic mistakes that come from a neurotypical abled writer writing nd characters. Some mistakes are more damning then others. But it does make me scared for TWP.

I can only hope.

[my-sherlock221b]

Supernatural Rewatch Ramblings: Wendigo

Wendigo

The long line of the MoTW series in Supernatural starts off with the Woman in White which is fairly well- known legend/ myth in most countries.  Then we get this one next which claims origin from the Native American mythology.

Here is a review of the Wendigo episode with thoughts from me and @soulmates-for-real​

I have always wondered why they were not so inclusive or better at being inclusive as a show. Yes, they did have many women and people of colour in important and strong roles, both positive and negative (though they could have done so much better!). But they steered clear from some of the huge mythology lores like that from Native Americans, Hindu, Latin American cultures. This may have been a wise political strategy to avoid conflict and so they stuck to the Judeo- Christian core but still managed a rather radical take on it!

Spoiler alert:

*God was the final villain?! Who would have guessed? And that the angels were dicks, relentlessly, and demons were in fact ex-humans.*

So back to Wendigo.

What a monster the Wendigo is!! In later seasons when we got only angels and demons and some vampires etc the other monsters were monsters in and of themselves. Like they were born that way—needing to eat human pituitary glands or whatever.

But Woman in White and Wendigo, and even Dead in the Water, or the Shapeshifter --the monster was created by circumstances. Betrayal and infidelity leading to murder suicides, extreme starvation leading to cannibalism and eternal hunger.

Far more terrifying than someone who is born a ghoul perhaps.

So here we are in Wendigo, at the forest/camp site with these fake, charming, rather useless camp rangers who carry M&Ms (nice touch and throwback to E.T. !), don’t wear shorts ( which anyway seems like a weird thing to wear when there is grass and stuff—why would you want to expose your legs?!), can’t see bear traps ( Seriously Dean?! ).

Sam is still restless and bristling at Jess’s death, as well as angry at Dad. All those years of separation do not seem to have given him any peace in his relationship with his father. Now to add massive insult to his already injured sense of self—he has lost his girlfriend in exactly the same way as his father lost his wife—making them even more identical.

So he is cranky and unwilling to give in to any of Dean’s suggestions. He denies his own nightmares, refuses good advice and food and is generally misanthropic. While Dean on the other hand seems to be enjoying this like a happy jolly road trip. The monster is almost like a secondary priority now.

What is most important, (and this becomes even more obvious in a re-watch post finale)—what is THE most important thing is that Sammy is riding shotgun, is in front of his eyes and safe.

Miserable and bitchy but safe.

That allows Dean to dial back a bit and bring into focus what has always been, for him, the really important part of their lives—saving people. This is always more important to him that hunting things. So, when he finds out about someone’s brother being lost and the coordinates match what his dad has left, well there is no choice really.

They have to find a way to save him.

If they find Dad there, well, good, but that is suddenly not a priority for him at all. He turned up at Sam’s doorstep, and as we know from the finale, waited there for HOURS since he was unsure of his welcome, then broke in at 3 am or something like an idiot….but anyway…..all that was because Dad had been away on a hunting trip and hadn’t been home in a few days…blah blah blah.

The first contact Dean makes with Sam who left home to go to college is to recruit him to help find Dad—the same guy who told Sam that if he went away to stay away.

And then suddenly now that Sam is with him, finding Dad is like meh. If we find him somewhere by the wayside while you and I hunt monsters Sammy, then yeah sure, great.

If not…well….we have stuff to do you and I…saving people, hunting things. The family business. 

And John Winchester….well, what can I possibly say about him without taking up pages in ranting?! Why did he ditch the first monster? Why was he in SUCH a hurry to leave that he left his journal behind??

My theory of course is that he had to run away from the Woman in White since he had been unfaithful to Mary ( yes yes I know it had been YEARS at that point, but hello, this man made his life a crusade for revenge and sacrificed his kids’ lives also to that darkness, so…yes, being with Adam’s mother was an infidelity and you can’t change my mind on that !).

So naturally John was afraid he would be killed.

But still….he left coordinates for the next hunt in the journal and just ran off?!

The other question is what the hell is happening in motels across USA? Guys like these can just check- in on fake credit cards, leave a room full of satanic and serial killer-y documents, sometimes dead bodies, lots of salt at the door and windows, and just disappear without checking out….

Though the police do seem quite alert and swift in action in the Pilot compared to some of the laidback and clueless ones we see later.

What is most interesting is to see the character of season 1 Dean emerge.

He sass, he boss, he flirt, he lie, he charm, he fight, he save.

In fact, the very first time I saw Supernatural, it seemed that Dean occupied so much of the narrative space that I barely noticed Sam except as a foil to and a brother to Dean.

Now in the re-watch what is fascinating in retrospect is to watch Sam slide into ‘the life’ without a hiccup. He reads the journal, he figures out it’s a wendigo, he gets the civilians to cooperate, he also fights and saves.

And that look he gives Dean in the car?

Well, those who missed the signs in Pilot and didn’t ship Wincest from day one, surely started doing it then!

https://www.geekgirlauthority.com/supernatural-rewatch-s01e02-wendigo/

This is also the first episode that gives a clear parallel to the Sam and Dean relationship through the B plot. When Haley says she MUST go to find her brother –Dean nods in instant understanding while Sam is pissed off at having to ‘babysit.’

We see this in many more episodes in the future, and what is fascinating is to see Sam gain insights into his brother with every such parallel. To recognize what being the big brother has meant to Dean and how much he has done and given and even suffered for that. We will discuss this in more detail in the next episode review! ( Dead in the Water)

The chemistry and ease, almost a fluid sense of flow between the two actors is unmistakable in this episode. Even as Sam is really being a bitch and Dean is being a jerk, there is a definite undercurrent of something holding them together. It may be all about revenge for Jess’s death and finding Dad for Sam, but he will still stick with Dean and want to protect him as fiercely as Dean wants to protect Sam.

.

Sheila O’Malley has given a detailed explanation for the acting styles of Jared and Jensen and what she said about Jared is spot on and brilliant. He does what she calls active listening.

It is amazing how once you realize that you notice it all the time.

The reason why Dean can manage such perfect comedic timing or non- verbal communication is because Sam is always ALWAYS tuned into him. Listening, watching, reacting, observing.

Once again, for those of you interested in the meta and more erudite and informed reviews that this one 😊 do read what Sheila O’Malley has written.

Here are some excerpts which will entice you!

“David Nutter, who directed the pilot, also directed episode 2, and there’s a new DP here, the phenomenally talented Serge Ladouceur, who is still shooting the show. If the DP for the pilot, Aaron Schneider, helped establish the dark mood and horror-movie feel of the series, then Ladouceur just helped deepen and strengthen that continuum. The look of the show has changed, by Season 9. I would say that it has a more glamorous look now, more colorful, while certainly still very dramatic (even melodramatic). Supernatural is (and has been) one of the best looking shows on television.”

“The ranger comes in to talk to them, and they pose as environmental studies majors at the university in Boulder. Sam says they are “working on a paper”, clearly improvising, and you can watch the glorious schtick of Jensen Ackles as he adjusts to the new information of who he is supposed to be pretending to be. God is in the details, people, and it’s the detailed scene work of both Ackles and Padalecki that keeps this show going. David Nutter referred to Jensen Ackles once as a “meticulous actor” in terms of his preparation for every scene, no matter how small, and it pays off. He knows what the fuck he is doing. So does Padalecki. I couldn’t give two shits about the demons. It’s that DYNAMIC that is so entertaining and watch-able.”

 .

And here are some thoughts on the episode from @soulmates-for-real, my partner in crime for the rewatch 😊

Except the fact that Sam is quite secretive about his nightmares but his body language is quite open and his expressions easy to read. On the contrary, I saw Dean posturing a lot with other people, pouting, flirting, making eyes...trying to be all nonchalant. But when it comes to Sam we see a different Dean - the more antsy and angsty Sam gets, the more intensely Dean reacts to him and you can see Dean's concern shining through. Leading to Sam coming to some kind of resolution and giving Dean 'that look' at the end! 

[cardentist]

I’m relatively new to the marble hornets fandom, but one thing I’ve noticed is that people don’t seem to realize just How affected jay was (by the operator and by the investigation in general) and how early on it started. which I really think is relevant when people point out some of jay’s apparent Poor Decision Making. this is Definitely because of how deemphasized it is in the show itself (Especially season 1) but you really can get a feel for it when you go digging.

I’ve talked before about how it’s Very Likely that jay already had some form of ptsd by the start of the series (Link) but what gives us the clearest picture of jay’s health is actually his twitter account. (Link)  If you’ve never taken the time to read it before then I Highly suggest scrolling down to the bottom and working your way through, it’s a surprisingly fast read! but for the purposes of this post I made a Highlight Reel of really anything I saw that was relevant to either jay’s mental health, his physical health, or his obsession with the case that you can see in full here: (Link)

I’ll be using the most Pressing screenshots from that post to make my point here, but you really do get the full Effect scrolling through.

putting a readmore down to hopefully not spam people with screenshots ljksfad Warning for spoilers, talk of chronic illness, eating issues, difficulty with unreality, and other various mental and physical health issues

just as a note: this is going to have a Lot of focus on season 1 because this is where a lot of jay’s issues are established. I definitely have a Lot to say about the other two seasons but I won’t report on every instance where he’s paranoid or sick, I’ll be focusing more on the extremes!

looking through the whole series, videos tweets and all, it becomes Very apparent that jay has a Consistent pattern of behavior where he fixates on the investigation (and the people affected by it) to the detriment of his own health and safety. from the more mundane (digging through hundreds of hours worth of footage to exhaustion) to the more Extreme (following alex into the abandoned building Knowing he’s dangerous and that he’s probably going to hurt him because he Might find some answers).

(which on that note, while it’s definitely due in no small part to the influence of the operator and the extreme stress of the situation, you could pretty easily interpret jay with adhd, hyperfixating on research and video making.)

while I knew I’d find that going in, but I wasn’t expecting it to be hammered in so Quickly. this was posted the Second Day after his twitter had gone up

this continues, with jay occasionally mentioning how tired he is from compiling entries, feeling disorganized, and not being able to sleep in between him actively posting about sifting through tapes on a near daily basis. Then in july he starts actively getting Sick

104 fever, not well enough to work for Three Days. and there’s no telling how long it’d been building up without him noticing until then. he mentions being sick throughout august for long stretches of time (at least a solid week once), and it only gets worse from there

And something of note here, while he Does mention when he’s feeling particularly awful sometimes, for the most part he mentions his health when it affects his ability to go through and post about the tapes. there’s no telling just how frequently he was sick or exhausted when it Wasn’t worth mentioning. He only mentioned the results of the doctor’s visit a week later after he was specifically asked about it

and it’s Very apparent that whatever’s going on is Pretty Severe 

it’s after this point that he largely stops giving us specific updates on how sick he feels, but it’s also still very clear that he is sick. he mentions how out of it he is or how Bad a week’s been after he goes long stretches without updates. and he’s still going to the doctors in November

that leaves me with the impression that things haven’t improved, he’s just stopped mentioning it. he tried getting help for it with no luck, the sickness didn’t stop so there wasn’t much more he could do about it besides adapt. while I’m certain that his health would fluctuate over the course of the show, I don’t believe he stopped getting sick. tim’s sickness never really went away, and jay was bad enough by the end of the series that he was having seizures like he was (there’s really no telling if that was his first or if it was just the first time it’d been Caught).

so from here on out it’s a safe guess that everything jay does is with backdrop of sickness and exhaustion.

then, of course, this is where jay starts being more open about his paranoia (which has certainly been an undercurrent for a while now)

also of note: this isn’t the first time he’s mentioned having a difficult time trying to keep things straight in his head and it won’t be the last. he was already starting to doubt his memories and his senses back in 2009.

moreover, paranoia and fear (and possibly fixation) about the situation has him holling up in his house, to the point that he’s running out of food. how long has this been an issue? and if it’s an issue in 2009, then just how bad is it going to be when he’s running himself in and out of hotels too afraid to stay in one location? how often has he been forgetting to eat while burying himself in tapes and fear?

whether it’s from the operator, his slipping memory, the results of fixating on his work for as long as he has, his frequent sickness, the paranoia, or any combination therein, we can add brain fog to the list

and again, a case for jay’s fixation on finding answer. he wakes up in his house with no memory of how he got there, confused and in pain, digs through the footage on his camera, and has the entry up the same day. this was the point where he’d visited brian’s house again, only to be teleported around and meet the operator face to face. he says in the entry that he’s never going back to the house again, that he’s done with the case, but well.

much further down the timeline jay would say that he had no idea what he was doing with his life before he started down this rabbit hole, that he was miserable and directionless and alone. He didn’t know what he would do with himself when all of this was over, he just knew that while he was taking the case on he was at least doing Something. I don’t think it’s a stretch to say that this was always true, that part of his obsession with it was tied to feeling absolutely nothing for his life without it.

and sure enough, a week later and we get the idea that his paranoia is only getting worse, followed by him breaking and going back to search through the footage.

He posts more about his paranoia in february, but it’s in march that he’s scared out of his house by totheark only to have his apartment burned down. he only seems to learn about this march 24th, and he uploads the entry with the news footage on the 25th

while it’s true that he seemed to have taken a break after that upload, he’s back again on 4th with the cryptic text message. It’s between then and the 18th that he’d start his Long tradition of hotel hopping.

the final entry for season 1 is up the next day. We can’t know for sure exactly how truthful jay was when he said he was feeling better in entry 26, operator sickness tends to fluctuate with exposure just like any other mental illness. what we Can say is that jay got exactly 10 days of quiet between his apartment burning down and alex contacting him again, and after he was contacted he was afraid enough to start hotel hopping.

if 10 days is what jay merrick describes as a break, then my god. the implication that in an entire year jay merrick hadn't gone a 10 day stretch without looking at the tapes is, Something.  

this is where things take a real shift, both in the narrative and in jay’s tweeting patterns! this is the period where jay went radio silent working with alex for 7 months, only to forget everything. the only insight we have on how he was doing at this point is what came before, and the tapes he’d uncover in season 2. my best educated guess is to say that he is doing Not Great.

it’s of course after the operator wiped his and jessica’s memories that he starts up tweeting again, he doesn’t remember why he stopped at this point after all. but he’s also far less talkative between entries. in the beginning especially we’d Hear when he was sick, when he wasn’t sleeping, because he’d update frequently enough that he felt the need to explain when he wasn’t able to. this change is most likely due both in part to not feeling safe enough to be as talkative publically anymore, and on his focus on figuring out what’s going on.

that’s not to say that we don’t get Anything from this time period however.

we get quite a lot of talk about lack of sleep, exhaustion, etc throughout the beginning of the year. insomnia and jay staying up late to work on entries is to be expected, but this is the first time that we hear about jay Oversleeping. I’d say he’s long overdue for it considering how much he’s gone through at this point (and for how long), though it’s Also notable as possibly being a symptom of either illness or depression that we Aren’t hearing about.

this one just makes me sad

it’s Relatively quiet after this, with jay making light commentary here and there. the general vibe is that he’s hard at work when, of course, entry 32 comes along.

jay just Stops after jessica is taken. he doesn’t say anything, he doesn’t even start looking through the tapes for over three weeks. he couldn’t keep himself away from the tapes for that long after he was face to face with the monster or after his house was burned down. that says more about his state of mind than anything else could have.

there’s some mentions of possible sleep issues and jay feeling paranoid (more specifically, not feeling safe anywhere at all), but things don’t Really pick up until march

jay tries to upload entry 37 throughout the day, but no matter what he does he can’t remember the password for the account. this continues on into the 22 Until

“enttry #37“ is uploaded the next day, the footage of alex’s birthday, it’s linked on his twitter, and then six days later

He posts about how the footage he’d found earlier was deleted on his laptop and how he needs to get back Fast. he takes a rest stop on the 30th to charge his laptop and look through the red tower one more time to make sure he didn’t miss anything. and then Nothing until

he doesn’t get back for nearly an entire Week. now, it’s important to mention that there’s been speculation that this was going to be where the original skully reveal would take place, which is believable enough. but whether or not that’s what it was Going to be, the implications with what we have Now are, troubling to say the least. we’ll probably never know exactly what happened here but It’s Not Good. what did he eat? what did he drink? how did he sleep? Poorly, I’d Imagine.

this may also be what his earlier brain fog was leading into. losing track of the days of the week turning into losing track of the days entirely. but we’ll never know for sure

after this we actually get quite a lot about jay’s general discomfort, paranoia, memory loss, and regret scattered over the months. none of it is specific but a lot of it is tied directly to his discomfort with the tapes, which has turned into a constant with every upload. we can certainly tell that he isn’t doing well, but this message is particularly notable because it mentions a specific symptom that we haven’t seen before.

at this point jay’s paranoia and anxiety is bad enough that he can’t sit in silence anymore, and if he’s mentioning it so casually now it’s likely been an issue for a while. jay doesn’t tell us everything, and there’s almost certainly worse that hasn’t been said.

jay has Significant problems with sleeping throughout august that seep into september, to the point that he calls it “worse than usual.” but this is overtaken by his horror at entry 49. jay censored alex beating a man’s head in, but he had to watch it unedited, and it clearly took his toll. he didn’t even want to share it but ultimately decided that the world needed to have it if anything happened to him. but that wasn’t the end of it.

he spends nearly the entire month trying to find Any sign of who this man was. this is a specific aspect of jay’s personality that I think gets overshadowed by the perception of him as stupid. what he is is overworked, over his head, and impulsive, but he’s not stupid. but this is an Excellent example of jay’s dedication (bleeding into obsession).

this is obviously speculation on my part, but I think you can read this two ways (or a mix of them both): either jay is worried that something about the operator wiped away the man’s existence (like being taken made people forget about him somehow). Or he’s motivated by guilt, feeling responsible for having been there the day the man got crunched only to run away, desperately looking for any sign that Somebody had bothered to care about him.

things are relatively quiet after this until just after entry 50

something jay’s mental health really doesn’t need: more evidence of people breaking and entering while he’s asleep. what’s interesting here is that he went much quieter after this, just a handful of tweets relating directly to the next entry. I think you could either read jay being less open about how he’s doing on twitter as him being Well Aware that the people who want to hurt him (or who he Thinks want to hurt him in the case of hoodie and masky) have access to it, and in part because he’s doing so much Worse now.

the end of season two that the start of season three, of course, brings tim back into jay’s life and with it a Much needed distraction from his fear and paranoia. we’ll never know how jay reacted to the news that alex had tried to kill him in the moment, but we do know that it shifted his mindset from passively digging through the old tapes to actively trying to hunt alex down. tim was a Living Breathing lead, something he could actually Grasp Onto. and in light of what was likely something Very horrific that became a new fixation for jay.

he’d live blog about looking for tim from november 28th to march 8th, this was the most active he’d ever been on twitter and I think it absolutely speaks to how desperate he was for this to go somewhere. he even got to do some breaking and entering ! that said, having a distraction didn’t mean that there weren't a few noteworthy.

jay’s Current lack of trust is what’s going to lead to his and tim’s blowout later on. we can’t know how tim would’ve reacted if jay had been honest from the beginning (and it honestly would’ve gone poorly anyways), but tim’s confrontation with jay was honestly using his anger at being lied to as an outlet for the horror he felt at learning the truth of what’d been going on. he definitely would’ve still been angry and hurt, but he wouldn’t have had a direction for that anger. they might’ve started working together sooner.

however at this point jay doesn’t know who wants to hurt him and who doesn’t, he doesn’t feel safe talking to strangers on the street, let alone someone he already knew stalked him for two years. both of their reactions are understandable, and you can see the collision course coming when you step back far enough.

jay is Very quiet about what’s going on with him at this point. there are a few updates about his general paranoia and fear as well as him live tweeting about things relevant to the plot (thinking about coming clean to tim, posting tweets and pictures of trying to find tim after hoodie stole his medication, solving the totheark code that troy forgot to post a key for), but there’s only a handful of standout tweets that give us something new about his mental health scattered throughout the series.

this absolutely does not mean that he’s in a better place of mind, but what it does mean is that he’s being less open about it. tim didn’t know just how bad jay was and he’d been living with him. the fact that we have less to work with at this point is more an indication that he doesn’t feel safe sharing anymore (he hasn’t for a while) and a possible sign that he’s already gone into denial about his health (not wanting to connect it to the operator because of what that’d mean for him).

that said, we can take a look at what’s left for us.

this is from after jay had tim take him to the abandoned hospital for the first time and before the entry of it went up. this is notable because it’s one of if not the first time that it’s been directly stated that buildings associated with the operator can cause sickness. that or we can infer that the operator was actively strengthening its influence on them at the time (which might’ve also contributed to both of their irritability in the entry itself).

I don’t think this is notable because this is jay’s First nightmare, but rather I think it’s notable for him because his memory of it is totally gone. it’d make sense why this’d scare him at this point considering well, the entire series of marble hornets. but it does raise the question of how many more nightmares Weren’t worth sharing to him and how often they contributed to his sleeping problems.

next it’s worth noting that entry 67 messed jay up a lot. likely because it was solid evidence that alex was out there actively hunting them down (and just how close tim had gotten to being taken after he’d been throttled by the operator). He ends up posting about it Twice, as opposed to his previous strategy of not at all.

now finally, Finally. I’d like to talk about jay’s state of mind leading into his death. lets start with the timeline

jay doesn’t say anything at all between entry 74 and entry 75. tim had been running the account while jay was out of it, but jay had come to at least by august first, entry 75 was posted august 23rd. this is jay, and he has absolutely nothing to say.

he’s only just come out of his zombie state, he’s stolen the tape from tim (after trying to give him the chance to come clean), and he’s run off. we don’t get anything else out of him until september 3rd.

jay’s waited almost 2 weeks not only to watch the tape, but to even say anything at all. in my opinion? I think he’s afraid to not have anyone left to trust, let alone tim. he wouldn’t have given tim so much time to come clean himself otherwise, he wouldn’t be afraid of even looking at the tape otherwise. part of it is the sting of having his trust betrayed before, of closing himself off, and then trying to trust again. part of it is that he genuinely cared about tim. he wants to believe in tim, and he’s making it absolutely clear here.

it took him another 9 days to work up the courage to watch the tape, a full 20 days since the entry showing he got the tape was posted (and possibly longer, since we don’t know how long the video took to make). he was That afraid of not being able to trust tim anymore. of course, we know now that what’d actually get to him was realizing that jessica was gone. he’s mentioned before that he blamed himself for jessica being taken. that was what’d kept him going for years at this point and now she’s just, Gone. Gone For Good Gone.

the specific timeline here is a little harder to sus out. the gaps between some entries are too long to really make sense and what we’re getting on twitter aren’t as overt as they have been before. but here’s my best attempt to straighten it out.

jay sits on this for roughly a month, likely trying to process something that he’d used as a crutch to help him keep going bursting into smoke and grieving for someone he doesn’t really know but that he’d cared deeply for anyways. it eventually reached the point where the events of entry 82. he desperately goes back to the tunnel, the last place he saw jessica go in the video, for any last trace of her, any sign that she could still be alive, and doesn’t find any. he tries to reach out to tim, he tells him that he’s seeing things, that the world is shifting around him, that he’s sorry and that he understands why tim did what he did.

we don’t get an insight in what this month was like for jay, but it’s clear that he had a steady decline. he’s scared, he’s alone, he knows he needs help. and then the operator takes him. we never see exactly what happens to him after the seizure, and with the montages we’ve seen from tim’s titty cam it really could’ve been anything. but whatever it was it was enough to change jay’s entire attitude.

this is the last thing that jay posts before entry 77 goes up. it’s hard to say when this was posted for sure, because 77 was up 3 days later on the 16th, but I think it has to take place after jay was assaulted by the operator. jay thought he could call tim beforehand, we saw him try on video, and there’d be no reason to try to contact him through twitter if he knew he had an easier way. what this tells us is that jay woke up after the operator attack, tried to call him an unknown number of times, failed to reach him because the operator was still blocking his calls on tim’s end, tried to reach tim through twitter, and Then went out to try to confront tim likely believing that tim was intentionally trying to avoid him.

that mental image alone hurts me, but this means that even after everything jay was still trying to reach out to him.

at this point jay was in, some kind of denial just like everyone else. it hurt to feel like he was responsible for jessica’s death so he had to believe that she was still out there, he had to believe that it was someone else’s fault. he didn’t want to hurt tim like alex did, he didn’t want to push tim away like brian did, he wanted tim to laugh and pull jessica out of his closet where she’s been hiding this whole time. he wanted to believe the truth wasn’t real because it hurt.

the desperateness that he begs tim to leave his camera Also gets to me. jay’s mentioned for years that the point of recording and uploading footage was to make sure someone would know what happened if “something happened to him.” he pointed the camera away from jessica for 30 minutes and something Did happen to her. that's been weighing on him for years but never more than it has been for the past month.

then when hoodie comes for him, lets him free himself, and runs off one of the first things jay did was go to tim’s medicine cabinet and make a noise of frustration at finding all of the bottles empty. he knew that something was wrong, he knew that he wasn’t thinking straight anymore, and on some level he still believed tim. but there wasn’t anything there, everyone was gone, and he was running out of time.

now, I wanna paint another picture here. according to tim, the footage he found on jay’s laptop was dated the day before jay came to confront him. jay tried to reach tim through twitter at 8pm so it’s safe to assume that it was posted the day before he decided to meet him in person. jay spent october 13th getting his shit kicked in, he was hogtied on october 14th, and the entry showing their confrontation was up on october 16th.

jay follows tim, he searches through the school, and then chooses to keep watch in the building overnight.

jay’s had issues with food since the first day of marble hornets, Literally. it’s possible he snacked before he came to confront tim, or on the way to the school. it’s possible the upload dates are one off (the timeline certainly gets wonky going off of upload dates after this). but even still, at the time he was getting shot he was on at least day two without food (and likely much much longer), and at least 48 hours without sleep (again, almost certainly longer). On Top Of Everything.

jay merrick didn’t stand a chance

there’s so So much more I could get into, especially if I started poking more at the entries themselves or the Implications of some of the things I’ve talked about here. but that’ll have to come another time, I’m very tired jfklsd

[dimpleviolence]

I think what makes jgy such a fucking great villain is precisely that at the end of the day his motivations are pretty much inscrutable. Like, even after all the explanations he offers at various points throughout the show, there’s still this ambient unintelligibility to his actions. I think this is especially clear when you compare him to someone like nie huaisang, who while much more morally grey than jgy is nevertheless easier to explain: he does what he does because he wants to avenge his brother’s death. Meanwhile, jgy has every justification at the ready for his deeds, and is clearly meant to be seen as morally in the wrong, and yet there remains this eerie gap between what he does and why he says he did it. 

In this way he really is a classic iago type villain: at a certain point (by which i mean his death) he finally stops talking, refuses to explain further, lets his crimes stand on their own. The rest of the cast, as well as the viewers, theoretically have all the information we need to make sense of him—we know his tragic backstory, we know all about his resentment and vengefulness and pain, we know about his twin desires for both control and acceptance. Yet it seems, somehow, that his actions cannot be reduced to these motivations alone. It’s as if he operates outside the realm of human psychology entirely, and is instead a natural force, a monolith, a void turning away all attempts to rationalize. He is a gap in the otherwise easy-to-read text of cql, and it is exactly this illegibility that animates him as a villain, that gives him his outsize narrative power.

The way I see jgy treated in fandom is often as a puzzle to be solved, usually with an undercurrent of anxiety involved, as if by filling in the missing pieces we can finally once and for all Understand Him. In this sense it doesn’t really matter whether this explanatory impulse ends up coming down on the side of “he is a consummate evil person, and here is why,” or “he is a maligned blameless victim, and here is why”: both are a kind of uncomfortable moral fidgeting, an attempt to escape the queasiness that jgy’s actions make us feel. Personally I am not very interested in this puzzle-solving, both because I think it tends to be inadequate—it still falls into the chasm of inexplicability—but more importantly because it has nothing to do with why I like jgy as a character. I think he’s great not in spite of but because of the simple fact that we just don’t know why he did any of it. All we know is that he exists. 

We, as fans, have to reckon with the same ultimate horror as the characters who survive guanyin temple: that this is a world where men like jgy can exist, and can do the things that he did. One specific instance of incomprehensible villainy may have died in the temple, but we now know there could be another one out there, or many others. This is a world with evil people in it, and we don’t know where they come from.

[ailuronymy]

Book Club: Tallstar’s Revenge, chpt. 37-45 overview.

Two highly professional gravediggers observe the job ahead of them:

“I'd like to congratulate us both on finishing this godawful book! A whole super edition in five weeks. They said it couldn't be done, but we showed them. “ - S

“Yes! It's truly miraculous that our brains are intact still.” - K

“So glad it's over, though.” - S

“Should I grab the shovel?” - K

“Yes, it's time. Let's bury this corpse.” - S

In this final week of reading Tallstar’s Revenge, we will be thinking about these final nine questions. Well done for making it this far! We hope you’ve enjoyed the ride. 

When you’re ready, consider sharing your thoughts with #ailuronymy book club and see what other readers are thinking!

1. First impressions?

K: It's bad! It's bad. It's all bad and I'm not surprised by any of it. K: I was actually expecting there to be more bullshit in the end, but I was almost... let down? By how underwhelming it was? S: Some moments surprised me a little but like... these did not spark joy. K: It was so boring. S: I have that same note: huge anticlimactic fuckery at the end. K:  If you're going to torture me, you might as well make it interesting, Erin. K: Throw in a wild plot twist or something. K: Get me going. K: Make me feel alive.

2. How did you feel reading this section? K:  Mind numb, head empty. For like, at least three chapters I read them and then failed to register anything important for the notes. It just dragged on. S:  More bored than I expected to be! I thought it'd at least ramp up a little, but it very much did not in any meaningful way and really petered out with a sad little "wuh-wuh."

3. What chapter did you find most interesting/moving/effective, and why? K: Chapter Forty, seeing all of the clanmates that I'd been missing for half the book felt so satisfying. I missed Dawnstripe, Heatherstar, Barkface, and Hopkit all so much. The only good bit. S:  I feel that. S:  For me, I think in terms of sheer pleasure, it has to be the echoes I saw from turn to dust all that I adore in Talltail swimming in a time of crisis. K: Yes! S: It made that passage I wrote feel retroactively so much more intense and significant, which I love.

4. What chapter did you find least interesting/effective/most frustrating, and why?

K:  The final chapter, Chapter Forty-Seven. That leader ceremony was so bad and I hated all of it. K: The Shadowclan battle was also mind-numbing. S: I think it's got to be the jump from first apprentice to leader ceremony. That's so much life we don't see, which given how goddamn long the book took for the rest of his very boring life is a travesty. S:  I tend to take some umbrage with Starclan whenever it shows up in canon, but in this particular case, the way that his leader ceremony is handled--especially by Palebird and Sandgorse--is horrific. S:  I also think it's appalling that Sandgorse offers a life of forgiveness, but never once asks for it from Talltail, unless I'm mistaken? S: He thinks he can embody forgiveness, but doesn't have the humility to admit to the things that he had done wrong by Talltail. Egregious.

5. Is there a passage that stuck in your mind–for good, or not-so-good reasons? What is it, and why did it stand out? S:  I think for me, this is Sandgorse's everything in the leader ceremony. I think I'll just [my whole rant just now + thoughts on forgiveness]. K:  I had two specific quotes from this go that fit I think. K:  First was: "I guess Clan cats aren’t used to leaving home.” Jake sounded amused. “I know the feeling you’re having. The nagging pain, the tug in my pelt and paws? I get that whenever I’m away from my home too long.” “Really?” Talltail blinked. “Why?” “Every creature needs to belong somewhere,” Jake told him. “Your paws know where that is, even if you don’t.” K:  Just the phrase of "Every creature needs to belong somewhere" felt so genuine and sweet coming from Jake, and I think could have felt so much more impactful if the themes we've recognized were more evident in the story. K:  The second was: “Talltail!” Dawnstripe leaped from the Meeting Hollow. “You came back!” Delight lit up her eyes. Talltail stood still as she raced to meet him. “I couldn’t stay away.” She stopped in front of him and gazed warmly into his eyes. “Then my training wasn’t wasted.” “It was never wasted,” he meowed softly. “Not once.

S: YES K: Partially because I will always be soft for Dawnstripe, but also, the genuine tenderness between her and Talltail in this moment felt so real and so earned. K: This is what I wanted from Bluestar and Stonepelt. S: I've said it before, I'll say it again: mentor+apprentice relationships For Life. K: Talltail saying that his training with Dawnstripe was never wasted, and then immediately transitioning into him encouraging and being a positive role model for Deadkit? K:  Ugh. It's so good. S: Loved it.

6. What other non-Warriors (or Erin Hunter affiliated) books does this one remind you of? Are there themes, symbolism, or storybeats in this novel that made you think of other stories as you read it?

K:  Oh, great question. K:  Oh shit, you know what. S: Hit me. K: We've got a Book Club classic coming at you. K: The Knife of Never Letting Go, by our mutual bastard Patrick Ness. S: You know, I was thinking about More Than This. But mostly because of how much I hated it. K: TKNLG's big theme revolves around like, what murder does to you and what it feels like to do an unspeakable act that you can't retract or replace. Revenge and anger become a part of you and you've got to deal with that. K:  And it's been ages since I read it, but I feel like that makes a lot of sense for this book. Todd and Talltail both spend a book with things being taken from them and wrongs being done to them, and it makes them so angry and hurt and desperate that eventually they go "Okay, yeah, murder would be a solution here." And when it comes down to it they both get to make that choice, of what they want to put out into the world and what kind of man they want to be. S:  I like that. I haven't read it myself, but I can definitely see how those themes talk to one another. S: I don't think there's a particular story I can pinpoint that is similar to this one, but I can think of stories that echo what I'd like this story to have leaned into more. S: Being about forgiveness and family trauma, it reminds me both of The Goblin Emperor and also the How To Train Your Dragon films? Especially the first film, I think. That whole undercurrent of absent mother, disdainful and frustrated father, queer-coded and different kid feels very present in Tallstar's Revenge. S: However, I think HTTYD does that a lot better than this book, by a considerable length.

7. Did this novel (or the experience of reading it) change your perspective on anything, either within the world of Warriors or outside it? What do you think about differently now?

 K: Hm. I think it's certainly limited my excitement on reading any future Super Editions books. They all seem to be just the same garbage plot wrapped with slightly different bows, and that's both disappointing and relieving. S: I feel you on that. S: I think for me, the single biggest shift is that it's changed how I think of Tallstar. For me, he was probably my favourite leader--or one of my favourites--growing up reading the books, and he came across often as wise and relaxed, and then made that final defining mistake. S: Having come back and read this, I feel that the book stripped a lot from the character in a way that wasn't constructive. I don't feel like I know him better, but I do feel like I respect him less. And I think that's a monumental failure of a prequel. K: Tallstar had such a specific presence in the original series, and this book just really takes a lot of that away and replaces it with something worse. S: It does. And that's disheartening to me. S:  Of course I can and will kill the author myself and take my place on the throne of canon, but you can't unknow details of a character. So that does change things. I don't have the same fondness for Talltail, now that I know he spent so much time being unadmirable and stupid and boring. S:  I recognise that your twenties is like that for most people, but like. Doesn't mean it's worthy of a narrative. S:  Kind of makes me think of Albus Dumbledore, to swing back around to Joke Rowling? S: Like, despite and sometimes because of how phenomenally jank and flawed that magnificent man is, I love Albus Dumbledore. I always have, ever since I was first listening to the tapes. And part of that is knowing his past--knowing that he struggled figuring out what was right, knowing that he fell in love very young with someone whose ideology became incompatible with his core beliefs and virtues. But I think you can allude to past mistakes and show growth without having to delve into it, if that makes sense. S: If I read about teen Dumbledore being like "hmm maybe wizard supremacy is good" for several chapters, there's a strong possibility that would stain all my readings of him into the future. I can know he did something, without needing a front-row seat. K: Yeah. S: And I feel like the crux failure of Erin Hunter's super editions is they don't have the delicacy or sense needed to know what needs to be told and what needs to be shown. S: Because sometimes, showing is worse. K: Being shown like, all of this, was worse than not. S: Nearly all of this book could have been summary.

8. Last week, we talked about predicted endings for the novel. In light of that, how do you feel about the ending? Was your prediction correct–and do you feel that reflects well on the narrative, or poorly? (i.e., is it good that you could guess, or are you disappointed by the result?) How important is it for an ending to be “unguessable”?

K:  We hit the nail on the head and I am not surprised at all. S:  I would say we were basically correct, but it brought me no joy. K:  Yeah, it felt bad to read and go "I already knew this but sure, disappoint me with what you have to say." S: That's not to say I would have been overjoyed if there had been some bizarre twist, because I don't think twists or shock endings are inherently good storytelling. K:  They're not. They've gotta be handled well to make me feel like, "Fuck yes, this is wack and I want more" K:  And like, you can predict an ending and still have it be satisfying! K:  That's just called successful foreshadowing. K:  But what we did was like. Just have the sad, knowledgable wherewithal to know exactly what kind of inane and soulless bullshit Erin would pull. It's not foreshadowing if it's just "you're a bad writer and you're going to reach for the easiest tropes to tie up your story without any thought about what makes it good" S: As a general rule, I think you should be able to predict endings based on the tone and emotional themes of the story. For instance, a story that starts with someone getting thrown out of their house by their unloving family should, ideally, rectify that by ending with that person having either found a new loving family and/or revenging on the previous bad family. Sometimes both! S: If you're going to start an arc, you should finish it in a satisfying place. If you start with a murder being discovered, you should have a denouement at the end. S: So... I guess Erin Hunter's ending is... fine, in that light? S: Their narrative is honestly very muddled, so it's not super easy to actually see what the through-line of the story is. The story starts with a prophecy about Talltail leaving, so really it should end with his triumphant, enlightened return... but then it keeps going. K: It just drags on and so much of it feels weightless. S:  It feels like they're juggling a lot of themes and ideas, but they're not really doing any of it well enough to be impressive. While I'm reading, there's always this deep uncomfortable sense of anything could be dropped at any minute. A good performer of any kind makes you feel safe in their hands, not lowkey on edge. S: It's like watching amateur stand-up.

9. In your opinion, what is the most important moment or event in this final chunk of story, and why?

 K:  I guess the cliche answer would be to say "Tallstar choosing to return to Windclan", but like. I think that really is the most important part of all this. S:  I think it's actually choosing not to kill Sparrow. K:  Oh, I mean. Okay that's fair lmao S:  Because I think he probably could have gone back after he killed Sparrow and everyone still would have been basically fine about it. It didn't seem like anyone cared enough to try to stop him leaving, and frankly the clans as Erin Hunter writes them are mad blasé about murder. S:  But I think in order for Talltail to retain like, some moral worth as a character, it was vital (if super inevitable) for him to not kill Sparrow. K:  Absolutely. K:  Can you imagine if he had, though. K:  Like, if he'd pushed Sparrow off the ledge and went "sick" and then Sandgorse's ghost showed up to razz him with airhorns like 'YOU IDIOT SON, THAT WAS THE WRONG CHOICE, I CAN'T BELIEVE YOU WOULD DISAPPOINT ME AGAIN' S: Om.  S:  [that one video of the guy screaming above the mountains] S:  That's Starclan whenever the living make a bad decision.

Bonus question: choose a different character from Tallstar’s Revenge and briefly imagine what this story would be if they were the protagonist instead.

K: Hm. I'm torn. Barkface, or maybe Reena, would be interesting to me. S:  I think Reena's experience would be super interesting. K:  I think you could tell a really interesting narrative with her. S:  I'm sort of thinking Shrewclaw? Like, he's such a dick and there's very little about him that's redeemable, but like. This is also true of Talltail for a lot of the book. S: And I guess an external clan perspective of Talltail from someone who actively dislikes him could be kind of interesting! It'd definitely be a totally new counterpoint. K:  Yeah! Especially given that they end up kind of being... foils? A little? I think it could be super neat to like, see Shrewclaw reprimand Talltail for being so focused on revenge, and then suddenly becoming revenge-minded himself and then having to grapple with that hypocrisy. K:  Either by going "My feelings are different, I'm not like you," or going "oh shit oh fuck we're the same and now i feel all sorts of ways about it" S:  I think the low-hanging fruit for why Shrewclaw is such a prick to Talltail is just plain homophobia, you know? But that's so boring, so I'd definitely want to tap into like, the inner world of Shrewclaw and swing it a different way. S: See Talltail through his eyes, emphasising everything Shrewclaw doesn't like about himself. Which becomes so tasty when you later think about Mudclaw doing something similar. S:  Shrewclaw has to grow from hate and jealousy to grudging respect and kinship within the clan, and then Mudclaw grows from outright respect to total adoration. It's an interesting intergenerational trajectory.

Final notes.

S: God, can we rewind a moment to the whole Sparrow bullshit. K:  Oh 100%. S:  Talltail obsesses over this for like, at least twenty chapters. And then two lines of dialogue and he's like, "I'm cured, my dad was a hero the whole time." S:  “It’s what Sandgorse would do.” Now that the rage had gone, Talltail wondered how he could ever have thought of killing Sparrow. Had grief taken away all his faith in the warrior code?” MY rage is still right here. K:  Literally one of my notes is: K:  Talltail straight up telling him he’s here to kill him like a coward. Like not that I WANT him to be a murderer, but god damn, just do it! K:  If you're gonna spend an entire fucking book yelling about how badly you wanna kill a guy then just! Don't make me wait this goddamn long! Do it!! K:  And yeah, just. Redeeming Sandgorse. BLeughghelfuf

S:  Okay, another point of rage: Talltail literally dissolves the goodwill between the travellers and the clan. K:  Y E A H S:  Like, years of peaceful gathering, destroyed. S:  Note: "This dude literally just ended years of peace over his petty revenge quest" K:  I do find it hilarious though that Talltail goes "Hey we should leave," Reena goes "Hm?? No you dont?" and then Sparrow comes in with the most uncomfortable, exhausted expression saying "No He's Right They Really Should Be Going And Should Never Come Back Thanks," S: I'm also so pissed that when Talltail showed up, the travellers were like, “Warriors and kittypets don’t belong with rogues” AND YET you stay for a whole month or more in clan territory? What ripe fuckery is this. K: YEAH IT MADE NO SENSE S: Everyone's just ambiguously racist enough to use it as an excuse whenever they don't want to do something.

S: Also: we called it re: Reena, although the story was actually less obnoxious than I was expecting. S: “There was sympathy in the she-cat’s mew, and Talltail suddenly wondered if Reena had been hoping that Talltail would be her mate: that they’d have kits and travel together. Had she started to imagine a whole new life ahead of them?” Ew.  K:  i was gonna say K:  We really did call it. S: Way to project, Talltail. S: "I guess she's in love with me and I'm breaking her heart by leaving because of the elaborate future she's imagined of our strong, brave kits and--" calm down, boy, she didn't say any of that. K: Yeah, like. Keep it inside, buddy.   K:  There was a lot of very wild Jake/Talltail shit going on but I'm going to drop this from my notes first before dipping into the bits I did like: K: Jake saying “oh that drive to kill wasn’t REALLY you” is VERY “what if I date this unhinged maniac man so I can change him and make him better because I know who he is deep down” and that is VERY unsexy of you, Erins, K:  Jake... my boy.... S: Yeah.  S:  I'm just going to keep pointing at the advice I gave him in previous Book Clubs. Respect yourself, king. K:  I did briefly look at the disastrous mini-comic at the end of the PDF and I do love that he's canonically a chubby king, though. S:  We do love that. A cuddly boy. K:  He's shaped like a friend! S:  But yeah, if these cats were people, Talltail is some skinny closeted runaway with some serious esteem issues and a kind of volatile and disrespectful pattern of behaviour. S:  And Jake is the cute bi boy next door with a supportive dad with apparently a solid sense of self and value, and I find that kind of a jank combination? It feels like it'll either lend itself to basically "adopt a stray" style "fixing" someone else, which isn't a great relationship dynamic, or Talltail dragging Jake into his mess and drama. And it's just difficult for me to imagine what Jake sees in Talltail. S:  If the relationship was just a bit more balanced--Talltail bringing something of value to Jake beyond "adventure"--I could believe it more. K:  Meanwhile, if Talltail retained his "soft, shy poet boy who's just looking for a place to be accepted and flourish" attitude... S: YES 

S:  I got so mad when Talltail's like, "I'm going to kill a guy," and Jake was like, "you can't!" and Talltail's like, "if I was back home, I would have probably already killed by someone by now," and Jake's like, "yeah but that's different, warriors killing each other for Survival is fine." K:  IT ISN'T S: And I'm like, whoa, slow down, I want to talk philosophy right here right now. S: It's a genuinely fascinating conversation that I want canon to have a lot more, but they just... glance over it.

S:  Pivot for a moment to the gay part of Jake/Talltail: I was surprised by exactly how heavily they implied it. K:  Me too!!! S:  I thought it'd be a lot less than there was, and a lot more oblique. So that was a pleasant (? is any part of this pleasant?) surprise. K:  And in the final comic they say that Tallstar sees Firestar like the son he would have had (with Jake).  Which. Is gay. S:  Mad huge gay, for sure. K:  Their final "oh, what if I stay with you!" parting scene was wild to read. And on Tallstar specifying that Jake is someone he loves at the very end. Like hot damn S:  But I Lost My Whole Mind. Because of one line. I read it and involuntarily galaxy-brained with the power of song. I can't find the full quote right now BUT it was basically Talltail and Jake talking right before Talltail leaves to return to the clan. S: And Jake's like, "you know what you have to do. Listen to your heart.” K: YES S: And I was HIT BY A TRUCK S: by this song S: https://www.youtube.com/watch?v=yCC_b5WHLX0 K:  OH FUCK YES S:  Which honestly is so good, and also hilarious, because I have fond gay memories of this song from my teen years. S:  So I know we were saying the very long slow lame end was boring and anticlimactic, but there were a few things that did in fact spark joy.  One was--despite his name and the rampant ableism--Deadkit. K:  YES K:  I have in my notes: K: "I would die for Deadkit." and then "Apparently Deadkit would die for me" S: Hopkit sat up straight, quivering with effort. “Still as a stone, right you are!” he mewed. “Barkface, carry on!” Bless. S: MY SON S: MY BOY K;  And Talltail finally being like? Not an asshole, and treating him well and encouraging him.  He really did feel like he was emulating Dawnstripe in a wholesome way. S:  I KNOW. S:  It honestly made me feel so good about the story I've planned out, but I can talk about that after. S: I also loved that Talltail swam. <3 K: Yes.  S: I was there just elated, thinking about Mudclaw's final moments. And how this story actually ties in so well with that one. That's nothing really to do with Erin Hunter, but it was nice for me. It made the two feel resonant and in conversation with each other in a way I truly hadn't expected. K:  Oh fuck also, two extra from the notes K:  "Talltail’s heart began to race. “I can’t go home!” He stared in panic at Jake. “They won’t want me! I broke the warrior code when I left my Clan. They’ll drive me away again!” — On the one hand: I understand that his fear of being driven away/not being accepted stems from like, 90% of the interactions in this book. But also: THEY LET YOU LEAVE, everyone agreed! Nobody drove you out!" S: Talltail: "I'll go if I must, I understand, you need me to leave--" The rest of the clan: "uhh dude you said you wanted to go." S: Makes me think of people who get really pissed when they're like "I said I'm fine, why didn't you ask me more about how I was feeling because I was clearly Not Fine and Lying to you." S:  And it's like... I trusted you to tell me the truth. Don't play stupid games. K: Yeah! Like, if you want to be consoled or helped, be honest! I can't read your mind!

S: Palebird is just a full on mess in this book, huh? And it's really unsatisfactorily handled.  S: Sandgorse gets obsessed over for... the entire book. Palebird, equally bad parent, doesn't really get any kind of meaningful resolution with Talltail. K:  I misread when Talltail first brings the kids into camp, and fully thought that Palebird recognized Talltail and chose to ignore him in favour of her kits. That sadly isn't actually far off from what happens when she does recognize him. K:   He just goes "oh she died and in my leader ceremony she makes me feel like she always loved me and i never should have doubted her" S: I was so furious that her bit was like "a mother's love for her kits" and he's like, oh I can't believe how stupid I was for doubting her. S: She abused you, dude. S:  Being like, "lol jk" after she's dead counts for Nothing. K: It’s awful.  S: "I always loved you," said Palebird. "I just never wanted to interact with you at all when I was alive and I attached all my grief and trauma to your existence, which made it impossible to enjoy time around you, and I never even bothered to get help for myself or you, and I was happiest when you weren't in my life and I could focus on my other family. So I guess I didn't actually love you. I just felt like I probably should have, but oh well." S: I am as angry about her as I am about Sandgorse. K:   Yeah, she just somehow gets a free pass because "that's just how moms are!" -Erin S:  "Mums can say they love you and you have to believe them." K:  What kind of mother did you have/are you to your kids, @the Erins collective. I want to know. S: I KNOW K: Like, please answer for science. K:  I KNOW WE'VE ROASTED SANDGORSE THIS ENTIRE TIME BUT K:  THE NOTES S:  GET HIM S:  GET HIS ARSE K:  “I give you this life for forgiveness. No death need ever be avenged. Forgiveness brings peace far more surely than vengeance.” Talltail felt his ruffled fur smooth, his claws retract into his pads, his breath come steadily. Mercy was his, and always would be. “I’m sorry you had to learn the hard way, Tallstar,” Sandgorse meowed. — HAVE YOU EVER WANTED TO MURDER A FICTIONAL CAT S:  YES YES YES YES S:  I was literally about to grab the same note. K:  "im sorry you had to learn the hard way" WHOSE FUCKING FAULT WAS THAT S:  “I give you this life for forgiveness. No death need ever be avenged. Forgiveness brings peace far more surely than vengeance.” It is a fatal mistake to conflate forgiveness with pacifism. K:  It's just. K:  Like I knew it was going to be awful, I knew this moment was going to happen, but just to see it and see the phrasing. K:  "I'm sorry you had to learn the hard way" is just the ultimate slap in the face. You abused and abandoned and neglected this kid. You did this. You were a ghost for 70% of the book and could have told your son that you "died a hero" and stopped him from being an absolute asshole. YOU DID THIS. S:  What peeves me is that I personally believe forgiveness is something you have to do for yourself, and not for other people. A lot of the time, bad people in your life won't ask for your forgiveness and don't deserve it. K: Yes!  Forgivesness isn't earned, forgivesness is given. K:  It's up to you to give people that forgiveness on your own terms, whenever and however you choose. And if you go "I'm not giving this to you" you don't have to! It's for you! It's your choice! S: But all your anger and hate and misery inside will burn you out like acid, so sometimes you need to go, "you're never going to earn my forgiveness, but I am choosing to forgive what you did so I can move on with my life and grow." S: It's why "forgive but don't forget" is a good thing to remember. You can let go of self-harmful anger without ever losing the lesson that person taught you, which was stay the hell away from people like that. S: That's the conversation I want to see happen around forgiveness in this story. K:  Talltail deserves so much better than any of the story we were given. K:  And like. Forgiveness through that specific lens is so compelling. S:  I know. It's something I'm deeply invested and interested in.  K:  It's so engaging, and relatable! It's messy and nuanced and full of a lot of good shit. S:  Yeah, like, and what happens when the person you resent or distrust tries to make efforts to atone, but they always fall a little short, or don't grow the way you need them to?  How do you forgive that, but still choose to walk away, knowing that in their narrative, you're the bad guy? K:  It's hard.  Knowing that they see you as the bad guy is like, the fucking toughest.  s:  It's extremely hard and I think there's so much space in this story for that exploration. K:  It makes it so easy to want to go back in for seconds and explain yourself to try and get them to understand you, even when you know that like, they're not going to and never will.  And it'll just hurt you more to try than to move on and be a better you for it. S: And being able to forgive yourself is I think a massive underrated lesson. K: Yes! It's beyond hard to try and be gentle with yourself and have compassion for yourself sometimes, especially regarding a messy scenario like these. S: I mean, all of this is way out of Erin Hunter's range, but like, ugh. What could have been. K: Yeah, absolutely. K:  Also I'm always here for young upset queer kids growing up to become Better & Cooler & Sexier than you, so don't try any shit dad, S: Anyway! That's it! We did it! K:  Yeah! S:  Honestly this is such a dumb book but it always feels like an accomplishment to get through another Book Club with you. K:  I agree. K: <3 S: <3

[mjmnorwood]

[I.D. A header image of two pencils on a yellow background, with title reading ‘Authorial Voice’. End I.D.]

Authorial voice is incredibly hard to define. It’s different to character voice and it’s different to style (both of which can change between an author’s works). I think of it is a fingerprint; the particular feel of the text that clues you in as to who the writer is. In this post I’ll give three examples of authors who I think have distinctive voices, then look at some of the elements that make up authorial voice. Fingers crossed it will be helpful for developing your own!

Example 1: Terry Pratchett

      It is said that the gods play games with the lives of men. But what games, and why, and the identities of the actual pawns, and what the game is, and what the rules are—who knows?       Best not to speculate.       Thunder rolled...       It rolled a six.

- Guards! Guards!

Pratchett is one of my favourite authors and it’s no surprise he made this list because he has an incredibly distinctive voice. No matter what book of his you pick up, you instantly know you’re reading Pratchett. His voice is gloriously witty, making use of wordplay and puns. It can also be dramatic and evocative (and these dramatic and evocative passages often lead to yet more wordplay). He always writes with an undercurrent of anger at injustices. I think Pratchett is a great author to read if you’re looking to see how an author’s voice develops. His early works like The Carpet People, even the first couple of Discworld books, have inklings of his distinctive voice, but it shines through so much more strongly in later books, as he writes with more and more confidence.

Example 2: Lois McMaster Bujold

      “Well, let me...” His hand stroked her hair gently, then desperately wrapped itself in a shimmering coil; they kissed again.       “Uh, sir?” Lieutenant Illyan, coming up the path, cleared his throat noisily. “Had you forgotten the staff conference?”       Vorkosigan put her from him with a sigh. “No, Lieutenant. I haven’t forgotten.”       “May I congratulate you, sir?” He smiled.       “No, Lieutenant.”       He unsmiled. “I—don’t understand, sir.”       “That’s quite all right, Lieutenant.”

- Shards of Honour

Some context for the exchange above: Cordelia, the MC, and Vorkosigan are in love, but after a long discussion they have decided they can’t be together due to irreconcilable differences between their home planets. Illyan mistakes their parting kiss for Cordelia accepting a marriage proposal.

Bujold is another favourite of mine, and her voice is completely different to Pratchett. Whereas Pratchett will often digress to add details or make jokes, Bujold is very to-the-point. Her writing is incredibly easy to read. It tells you exactly what you need to know and no more (if she waxes lyrical about something, you can be sure there’s a very good reason). I think the use of ‘unsmiled’ in the example above shows off her voice very well. Technically, it’s not a real word, but it perfectly conveys the abrupt change of expression that comes with Illyan’s confusion. She could have written something like ‘his smile fell away’, but it just wouldn’t pack the same punch.

Example 3: Susanna Clarke

Some years ago there was in the city of York a society of magicians. They met upon the third Wednesday of every month and read each other long, dull papers upon the history of English magic.       They were gentleman-magicians, which is to say they had never harmed any one by magic—nor ever done any one the slightest good. In fact, to own the truth, not one of these magicians had ever cast the smallest spell, nor by magic caused one leaf to tremble upon a tree, made one mote of dust to alter its course or changed a single hair upon any one’s head. But, with this one minor reservation, they enjoyed a reputation as some of the wisest and most magical gentlemen in Yorkshire.

- Jonathan Strange & Mr Norrell

Every time I pick up JS&MN (or its companion short story collection, The Ladies of Grace Adieu) I know I’m in for a treat, voice-wise. The long, rambling sentences, the archaic word choice, even sometimes deliberate misspellings of words, all combine to create a very unique voice. There’s a quiet, reserved sort of wit about it, never out-and-out jokes, but small things that make you smile. Clarke’s writing is also a good example of how the line between voice and style can blur. Since she hasn’t published anything that isn’t set in the JS&MN universe, it can be hard to tell what is her voice and what are stylistic choices to capture the milieu of the setting. The stories in The Ladies of Grace Adieu show a lot of variation in style, though (for example one is written as a diary, one like a fairytale), and her voice stays consistent through all of them—the word choice, tendency to long sentences, and that quiet wit are all the same.

Some elements of authorial voice

Vocabulary and word choice. Do you favour simple or complex language?

Sentence length and structure. Do your sentences tend toward the extended, or are they more short and snappy? (Note: varying sentences is important for flow and pacing, it’s just the overall trend towards long or short that I mean here).

The balance of dialogue and description. What occurs more in your writing, beautiful word-pictures or interesting conversations?

Use of literary devices. Do metaphors, similes and the like crop up a lot in your work, or is the narrative more sparse?

Paragraph use. Long and rambly or lots of breaks?

Story focus. Character? Plot? Worldbuilding? A mixture?

+ a whole host of other factors it’s difficult to summarise neatly (tone, stylistic choices etc...)

When it comes to developing your own voice, I honestly can’t say much more than write. Write a lot. You can’t really force voice; it doesn’t have shortcuts, you just have to see where your writing takes you. My one tip is that after you’ve written a lot, look over your work with a critical eye for some of the things mentioned above, and you’ll start to spot parts of your voice. Even though my voice is still very much in development, I’ve started to spot some patterns. I tend to use more dialogue than description, and have short paragraphs. I compared some of my work to a friend’s and noticed how different they looked on the page. Mine was broken up, whereas theirs had long paragraphs of description. I also tend not to use very advanced vocab, so when I do use a fancy word, you notice. Spotting elements of voice in your writing can help you decide what you like, and what you want to put more work into developing.

One final thing: if you don’t have a very distinctive voice, don’t stress about it! It will develop over time, and anyway, there are plenty of writers out there who don’t have very unique voices, but still write amazing, successful stories.

Like this post? Follow for more writerly content! It’ll be lovely to have you along :D

[reflectionsofacreator]

So like. I kinda sat down to write about this one, and I feel like I don’t know what to write about. There’s a lot to write about, but like... [scrubs face] it’s like, there’s a lot of emotional (sledge)hammers with this one, and it’s hard to pick apart so I can actually talk about it. Paralyzed by there being so much, you know? 

God writing this one was like pulling teeth, tbh. 

Buckle up lads, this one clocks in at over 2k. Mobile users I’m so sorry. 

I think the first thing I’m gonna tackle is the name of this one. It’s called The Truth, but in the context of Clay, that previously had an incredibly specific meaning. “The Truth” wasn’t so much a phrase as it was referring to the real truth of the Precursors and the nature of Eve and Adam, and the truth of humanity as a whole. Historically, every mention of “The Truth” around Clay refers to that specific idea, and now we have a new thing that uses the same name. It’s kind of interesting too, because the Truth that Clay shared was very explicitly something he was giving to other people, after learning about it for himself. And in this case, this is Truth that he’s being given, either about his situation, or the situation of his successor. 

This memory opens up with a doctor and Warren Vidic talking, after the episode that Clay had with the Bleeding Effect, and the doctor makes mention of Clay having been here a year already. He administers a medicine that’s actually an anti-psychotic, as a way of trying to stabilize Clay’s deteriorating mental state. There’s no guarantee that it’ll actually work, is the issue, mostly because the Bleeding Effect isn’t exactly a well known mental condition, and what everyone knows about it is simply what they’ve found out via the Subjects. Which is a very small group of people. I do wonder, though, about the Bleeding Effect as a .. hmm, genetic thing? It’s seeing the memories of your ancestors superimposed over your own perception of the world, and it’s implied that it’s because of the Precursor DNA that you can even have that happen, because it’s linked to Eagle Vision. Or at least, that’s what I’ve gotten so far, I could be completely wrong. 

The conversation with the doctor gets shooed away in favor of a conversation between Clay and his father, and like. I really wonder at the timing of it, if it’s supposed to be a conversation that Clay had while he was in Abstergo. It’s possible that it was a conversation that happened before Clay got sent in, but he sounds too resigned and weary I feel like, to have it happen outside of his imprisonment. Another reason why I feel like it’s after is because the last conversation we heard with Clay and his father was during the Bleeding Effect, when Clay was telling him about the Assassins, and things dissolved into a fight when Harold made it about money. This conversation feels like it’s a while after that, after Clay’s resigned himself to not being able to really convince his father of anything. 

Before Clay dives into the mainframe, there’s another glitch, which causes your controller to rumble. The screen goes noisy, and what shows is an exit at the end of a long walkway. This isn’t the first time we’ve seen glitches or hallucinations, but it’s freaky literally every time. 

We watch as Clay starts to hack through Abstergo’s systems after that, and the actual design of “going into” the mainframe is covered in a dozen different firewalls. It’s a neat sort of visual way to show just how hard Clay’s hacking is, as well as how many firewalls there are, because if he gets caught, he can get killed. 

Right before he goes in, on the right side of the “mainframe” is a code cipher. 

This is a Caesar cipher with an alphabetical shift of 3, and it reads  "Lucy, she Is aLways behind You." The capital letters spell out LILY -- traditionally lilies were associated with death. Now, you could interpret this as “Lucy’s got his back, she’s his teammate.” Which like, maybe. But with the addition of the word lily, and knowing that Lucy betrays him... nah. It’s more like she’s a threatening presence that needs to be watched. 

Clay snoops through Vidic’s mainframe and learns that Vidic is specifically after Desmond. Now, we know that this is at least over a year of Clay’s being here, and that Desmond was captured September 1st. What I’m really saying is just how long did Abstergo know about Desmond, and what lengths did they go to research him before they took him? Another question I have is like -- I know ac1 said that Abstergo found him via his fingerprints for his motorcycle license, but just how would that give them access to his genetic profile. Granted, that’s probably some early installment weirdness of ac1, but. (That being said, I remember reading a fic where they made mention of Desmond donating plasma for cash, and that’s how Abstergo found him, which is more believable than fingerprints....) 

I also can’t help but wonder like -- what’s going through Clay’s mind as he realizes that the Desmond Miles that Juno spoke of during his Bleed is the next Subject, and his successor? Or is it that he was completely unsurprised because Juno gave him a look into the possible future with the Calculations? 

Anyways, Clay finds out what Vidic wants, and excitedly says that they can leave, and we follow the path to see what looks like a broken stone circle at the base of two beams of light. 

(The wireframe is just the gameplay mechanic) I have... no earthly idea what this is, or what it could possibly mean. I think this is the only broken structure you see in all the memories, Desmond or Clay’s. It’s vaguely reminiscent of a broken film wheel, but I’m not sure if that’s what it’s supposed to be. But like, it’s so goddamn conspicuous because it’s the only broken structure we find. ls it supposed to symbolize a broken trust, a loss of faith after witnessing the “play” unfold?? .

Speaking of the “play”-- what the fuck. What the actual fuck. Is it supposed to make me uncomfortable? Because by god it did that. The sharp departure from how the rest of the narrative has been told is jarring as fuck, especially because it’s so like, proper. I swear, all that’s missing is like, a slightly off-key oldtimey music track and you’ll have a full blown horror segment. Maybe I’m just being dramatic, but like -- finding the broken wheel when that’s already something weird, having the camera forcibly taken away from you so you can watch this performance. And like, just listening to Warren monologue at Lucy is disturbing as well, for reasons that are hard to articulate. 

It’s like -- Meta wise, I know why she’s not talking. Her voice actress, Kristen Bell, had left and didn’t renew her contract (as her contract was only for 3 games), thus not being able to voice Lucy for any further appearances. IIRC, this is actually why Lucy was written to die, instead of simply recasting her, and then they had to scramble to make the “She’s a Templar!” twist work. Jury’s still out if it did or not, but like -- I do appreciate them trying to explain why she defected during her undercover years, but like... Ugh. It still leaves such a sour taste in my mouth, because it’s obviously a writing scramble and not a cohesive narrative that was plotted from the beginning. 

For a comparison, Clay’s story and ultimate fate feels complete, it feels alright. Yeah, it’s arguably a worse fate than Lucy, he died twice over, but like. We knew he was dead from the first moment we saw him, we knew that there was only one way that this could really go, a tragedy. There was a clear progression of his story, and the fact that you know how it ends. That being said, I do wonder about Clay’s death as a Subject in ac2, before the plotbeats of Lucy being a Templar were set in stone for Brotherhood. I know that the 20 glyphs in ac2 did talk about how Lucy was there when Clay killed himself, but I kinda doubt that it was in the same context of “she was supposed to save him but deliberately betrayed him due to her loyalties”. I guess what I’m getting at is that Lucy’s story feels terrible due to the writing surrounding it, while Clay’s feels deliberately terrible because that was the point. 

Back to my original point of “Lucy not talking”-- while there is a meta reason for it, I kinda want to ascribe a narrative reason, despite the meta outweighing the narrative. 

Lucy is characterized by almost never showing the full extent of her feelings or motivations, leaving you to wonder what’s actually going on in her head constantly. Sure, she leaned on Desmond a lot, but there’s also an undercurrent of a power imbalance there, and we always got the sense that she kept more to herself than she revealed. By having Warren talk at her, we’re further kept from knowing just what she felt about all of this, and instead we’re given another glimpse of the strange relationship that Warren and Lucy had. 

Warren was her boss, but also her superior in the Templar order, and the man who saved her life from his own company. Back in ac1, Lucy recounts to Desmond how she was attacked in the middle of the night, going to be silenced by Abstergo so she couldn’t talk about the Animus, only for Warren to save her life by telling the men to stand down. The assailants were people that she interacted with every day, even ate lunch with. This is after she’d been with Abstergo for a while, and finally feeling like she was being taken seriously with her work (as well as her undergrad thesis/work) she was going to be killed to keep quiet. We don’t actually know why Warren saved her, but it’s my firm belief that that’s when Lucy changed alliances to the Templars.

However, I do wonder about the confrontation between Lucy and Warren at the end of ac2, during the credits. I know, I know, her being a Templar wasn’t really a thing in ac2 (I think), so therefore you have to take it all with a grain of salt, but like. The conversation here brings attention to it, where Warren tells her “Make sure you look very upset. You need to be convincing.” And I can’t help but wonder if Warren and Lucy ended up trading insults that hit way too close to home in order to further the deception... It wouldn’t be hard to pretend to be hurt if she actually was hurt by what he said, y’know? 

I think the last thing about Warren’s speech that really bugs me is like -- he tacks on the whole “Oh, yes. Once inside their hideout, perhaps you might ask the Assassins why they left you alone for so many years.” And like. That just gets under my skin in a lot of ways because like-- he’s got a point, the Assassin’s methods are Rather Horrible™ with how they completely cut her off for a deep cover mission at seventeen (no I will not ever be over that), but the way he says it just. He’s clearly manipulating her to entrench her further onto his own side, and I just. Ngh. I kinda wonder if the delivery of the line was intended for the audience rather than Lucy herself, because she already knows all this, and for him to bring it up feels like an insult to her intelligence. It feels kinda slimy in a way that I can’t really describe. Or maybe it’s just because I just do NOT like Vidic. 

There’s also the question of like, how did Clay see this -- this is all dramatized for the sake of us, the audience, but did he watch this via video feeds or something??? The thought of him watching Lucy and Warren talk about his successor is kinda jarring tbh. Also this throws a wrench into the ending of ac1 (though tbh what DOESN’T throw a wrench into ac1) where they were going to dispose of Desmond only for Lucy to intervene. Is it because Warren and Lucy were operating on their own project that wasn’t exactly approved by the Templar higher ups?? Or something?? 

This whole memory says that Desmond was their goldmine for the amount of genetic information he held, so why would the higher ups -- wait. Unless the whole thing was a ploy by having Lucy speak up in “defense” of Desmond in order to get him to trust her some more.... Hrm.... Granted that fits, it’s just a sort of way of re-contextualizing the ending of ac1... 

Waves hand anyways Clay finds out about this plan for Lucy to gain Desmond’s trust and give them the data, and then we finally have control again. There’s this sort of distorted error noise, and the red blocks start to fill up the room, threatening you as they force you closer and closer to the screen, which only shows a picture of a door with a strange symbol on top of it. 

This is the symbol for 3 Juno, an asteroid in our solar system that’s the 11th largest, and contains 1% of total mass of the asteroid belt. It was discovered September 1st, 1804, by Karl Ludwig Harding, and initially considered to be a planet, along with a few other asteroid/dwarf planets at the time. It was given this symbol, ⚵, like how Mercury, Venus, and Jupiter all have their own symbols. 

Aside from the obvious “hey that’s Juno, she’s the big bad of this shit”, there’s a couple things that stood out to me. The date of discovery, September 1st -- that’s the same date that Desmond got captured by Abstergo, gives me pause. I’m not sure if it’s something that was intentional on the dev’s part, or if they were just looking for a symbol that would represent Juno. Either way, that’s enough of a coincidence that it makes me feel unsettled, the same way that Lucy was bothered by the date of the satellite launch being 72 days away. It might just be an honest coincidence, but considering that this is Clay we’re dealing with... nah. 

Another thing that the AC wiki told me is that this is also the symbol for the Instruments of the First Will, an in-universe religious organization that worships the Precursors, and specifically Juno. Now, this organization doesn’t actually appear until at least ac4 Black Flag, and continues on all the way through Syndicate. This is more like an early bird cameo than a full blown reference, as we still have to get through ac3, But it’s still interesting to point out and look at, and wonder what’s going on with it all. 

Anyways, the door itself is actually part of the screen, and impassible, and it stays that way as the bricks come closing in, chasing you. It’s really tense tbh, with this feeling of claustrophobia on top of the revelations you were forced to watch. It also doesn’t help that like. You had control wrenched away from you so you could watch the conversation, and the speech was long enough to lull you into maybe putting your controller down to watch, and then with a rumble you suddenly have control again and are being chased towards a door that doesn’t open. 

The picture of a door becomes an actual door after the blocks get closer and closer, and we break through into the light, and onto memory 7.

If you like what I do, or want to see any other sort of analysis, consider buying me a ko-fi!

[borisbubbles]

28. ITALY

Diodato - “Fai Rumore”

And we’re back to our usual disconnect, where everyone pretends to love Italy and I don’t. I cannot wait for all the Italian crazies to be OUTRAGED by this ranking (28/41 is fine for an entry I don’t care about...?) and reblog this all over the tumblrverse and inflate my reader stats. 😈 but first, let’s discuss what we have on our hands here. 

Song Analysis

There’s no way this post *won’t* end up offensive to every Fai Rumore fan, so I will resort to brutal honesty. I never, ever, *ever* cared about “Fai rumore”. In fact, I’d even say it’s strongly overrated by the gross of the Eurovision fandom? 

Okay so here’s the deal. I will not deny that “Fai Rumore” has several things going for it. The song has emotional gravitas, Diodato has a great voice and acts very well. It’s technically precise and well produced. It is very competent at what it sets out to be, which is a very standard HQ Sanremo Power Ballad. 

But here’s where I feel like I deviate from the norm: You may think “wow Fai Rumore! How brilliant, meticulous and poised”, but I think “how expected, overtly earnest and unfun?” 

The problem is, this is Boris’s Bubble and Boris doesn’t enjoy songs that feel like they belong inside a trophy cupboard, and “Fai rumore” is exactly one of those songs, don’t lie. So “meticulous, poised and brilliant” you say, well *I* say “how overtly earnest, unfun and aloof”? I have a Spotify - if I wanted to listen to good music, I’d just use that? Or one of my like 15 Youtube Playlists containing non-ESC entries? Why would I watch Eurovision, or Sanremo for that matter, for the good music when there are so many other (and easier) options available for me that align better to my tastes?

The fact that “Fai Rumore” is *too* perfect for me (and therefore very hard to empathize with imo) is one thing, which leads to other thing I need to point out. I’ll let my friend Matthew take over here, who wrote this paragraph on ESCUnited right after Diodato’s selection: 

That final sentences is bone-chilling because it’s so, so true. “I AM A SOPHISTICATED MUSIC FAN BECAUSE I FOLLOW ~FESTIVALE DI SANREMO~” is such a common trope of elistism (like, replace “San Remo” with any quality newspaper, nobel prize winning author or classical music composer and you’ll find to be nearly universally applicable to snobs across the globe), but I find it specifically ugly in Eurovision.

You see, would the same courtesy be extended to a country of lower prestige if they got a Fai Rumore? Would the same courtesy be extended to a person of colour? or a woman? How about others songs that, like Fai Rumore, emulate their country’s musical traditions (Fai Rumore is SO italian you can smell the basil), except those traditions fall outside of the western European bubble? See, it doesn’t bother me that Italians like Fai Rumore and are proud of it. They’re Italians. Of course they are! I don’t judge them for it. I don’t rly care if the odd introvert finds solace in a song of this calibre. But as soon as Matthew made the aforementioned post, people who had previously rated Diodato as a 5/6 already started adjusting their scores to 10s and 12s and, well...

It bothers me that the same fanbase that DEMANDS cultural diversity (Diodato) and/or MOAR ETHNOBOPS (Efendi) refuse to accept a Solovey or an Origo -which are a thousandfold more layered, sophisticated and daring- as an equal. 

It bothers *even more* me that people are willing to immediately give Italy a plethora of chances (especially when they choose men! fuck institutionalised sexism!), while not doing the same for a Belarus. Belarus HAS no clear musical scene or funds to really produce good music, yet produced a ridiculously good NF (with a VERY righteous winner - yes, Chakras, but also: Chakras) I’ve seen snobs SLAM VAL, mercilessly despite being an excellent left-field pick (god imagine if Yan had won Eurofest for a sec. What a nightmare). Italy, otoh, also delivered a sterling NF, have *a VERY* rich musical tradition, tons of talent and money and production value... and they still went the lowest common denominator available, and yet they receive praise, without so much as a whisper of protest from our so-called “value seekers”. This level of hypocrisy and double standard wielding, all in the name of wishing to be taken seriously delivers *such* a toxic undercurrent to Eurovision and has absolutely soured me on Diodato. This isn’t his fault, but sadly he’s become a weapon of mass misconstruction and well just because I hate the guy who pressed the big red button more doesn’t mean I automatically like ICBMs. As we come near the songs I actually give a damn’ about, I will start calling the shitpociries out. Brace yourself for it, when I rank Solovey and Da Vidna inside my top five.

Want some examples specifically pertaining to the Diodato fandom? Sure, I’ll give you some:

EJEMPLO UNO: 

Diodato fanboys openly coddling him on social media post-lockdown all “PROTECT OUR POOR MUNCHKIN FROM THE CORONAVIRUS”. Like... he’s a *thirty-eight year old adult* he can take care of himself, BACK UP OFF HIM you freaks. 

EJEMPLO DOS: 

The relevant media having baptized Diodato as THE SAVING GRACE OF THE LOCKDOWN, ITALIANS SINGING ‘FAI RUMORE’ FROM THEIR BALCONIES IN DEFIANCE OF COVID-19, which is such a bullshit narrative it’s turned my hair from black to brown.  Yes, the Italians sang “Fai Rumore”. What they don’t tell you is that they also sang many other Italian and non-Italian songs, including humanitarian anthem “Roar” by Kety Perr (cue to Katy Perry being like “OMG I’M SO HONORED TO INSPIRE SO MANY ITALIANS ::hungarianflagemoji::” on twitter.). CNN Like, Eurovision related media LOVE portraying it as a ~life-chaning confort anthem~ - the reality is that “Fai rumore”, while playing its part, was merely a tiny spoke in a giant wheel. 

EJEMPLO QUATRO:

Well take a look at how many people will reblog this post and slam it for daring to point out, what I think are really obvious truths to anyone who doesn’t suffer from musical myopia. 

In the end, the song is okay and it’s okay to love it. But if you ‘love’ it because you’ve convinced yourself that you must, and not because it genuinely means something to you, I don’t think you have grounds to criticise to criticise anyone but yourself.

NF Corner

As I said, I didn’t follow San Remo live (I never do! *gasp* blasphemy, I know), but I did plan to check it for this write-up except RAI deleted every live performance? And they won’t let me embed the few remaining vids either? 

Anyway, this happened so right-click-open this a new tab and then return once you’ve finished it. 

Backstage feuds being fought out LIVE on the stage in front of millions of viewers 😍 Apparently Morgan and Bugo were at loggerheads for a while, and had a massive row RIGHT before their performance on the second night, which caused Morgan to stray from the script and sing all the insulting things Bugo told him *to Bugo* instead of the actual lyrics of their duet. 😍 😍 😍 Bugo IMMEDIATELY stormed off the stage to the point where Amadeus had to like... literally tell the gobsmacked audience that Bugo had left the building 😍 😍 😍. This is some god-tier pettiness and I’m completely in awe of it. DEITIES. 😍

aside from Sincerogate, I would’ve embedded vidoes that contained the DRAMA (Rancore), CAMP (Achille) and UNABASHED WEIRDNESS (Levante) of this year’s line-up, but I guess RAI really doesn’t like for people to have fun. Oh well. 

Italy 2020 vs Italy 2021

Diodato is male and Italian, so yeah, guaranteed top 10 in Rotterdam, no matter what happens. Search your feelings, you know it to be true. Cynicism aside, televoters WOULD have flocked to it without thinking twice (for exactly those two reasons), passing over many better entries in the process and well... I’m tired and exhausted and I think you can guess I am not very impressed by this likely outcome. 

Not sure what RAI’s strategy for 2021 is (lol it’s RAI - they don’t have a strategy. besides Italy have bigger fish to fry than the Eurovision Song Contest as you know), but I’m not very invested either way. I could imagine them internally selecting Diodato if he’s willing to do ESC in 2021, but if this was a one-off deal (which I think it was), they will probably select another plain white bloke for you to obsess over, so no worries :-) #TuttoVaPene

FREAKY! FRIDAY! FACTOR!

I’m sort of conflicted? On one hand, god Fai Ru*snore* is SO typical of “Italy in Eurovision”, not just from a musical perspective but from a point of reverence as well. On to the other hand, when are the fanbases *not* acting insane w/r/t Italy?

San Remo was  really crazy this year, enough for me to award Italy a couple Senheads. However... if I wanted to see nice and inoffensive triumph over a bunch of deranged, gimmicky, ott masterpieces, I’d just rewatch #London1977? (offensive take #16: “people that like Marie Myriam the most in 1977 do not understand Eurovision”) Ehhhh whatevs.

Score: 2 Senhits out of 5.