#hoping for some perspective

[bilboyagathechickenfootedhobbit]

The Seven Necessary Sins for Women and Girls

Mona Eltahawy

[somerandomcockroach]

Originally there were another characters, but they didn't fit well to a runaway scene as this fully legal duo who manages to do some clown acrobatic tricks on their way out

[narsh-poptarts]

my dark link thoughts coalesced into wonderful headcanons and crazy amounts of forced perspectives and dutch angles

also sorry HW i would have included your dark link(s) but i do not have passion for your game <3 maybe next time

Some thoughts below

I have thoughts about dark link that boil down to basically two things: 1. it's always the same dark link, and 2. dark link has a very difficult time changing.

No matter how many times dark link is brought into existence, he is formed from the shadow of link usually to test link's will. that shadow can be duplicated (as seen in HW) but generally speaking it's the same guy, sharing the thought space, you know how it is. In terms of sentience/thinking for himself, I don't think there's all that much of it. He is a dark reflection/shadow of link, so shares his abilities and thought patterns (for combat) with added aggression and. evil. i guess.

As said by navi, "conquer yourself", and all that. He's a challenge to the inner will power.

That being said!!! he can have a little bit of individuality, as a treat. Just in the form of being mean and sadistic <3 he's got thoughts, he's not just a combat doll (tho in times of low power, or a greater power having the reins, he reverts to that), so he can be frustrated, vindicated, happy, etc etc. though when your thoughts are mainly "evilevilevilevilevil" your idea of these emotions are a bit skewed.

When he's summoned for each different link, i hc that it's all the same magic, so the same dark link every time. he "remembers" in an abstract sense of his role in the same way a link or zelda "remembers" their own reincarnation. tho his is less of a reincarnation and more being used over and over again. a persistence.

The iteration that's summoned reflects the current link at the time, the part of link that needs testing/defeating, so it's not an existence that he himself can change to match the present. he's locked to that first copy/shadow only. So if he were to have a second encounter with an older link, he'd look like the first time they fought, unless he was specifically re-summoned. i hc he's got limited magic, so this is not something he can do himself.

in a links-meet scenario, his form would be limited to those specific forms of the links, and it would always be the points in time in which he first encountered them, unless there's other magic either he or someone else has access to to allow him to change forms to match.

now you might be saying at this point "wouldn't he be a weaker match if he was put up against an older link?" yeah probably lol. but also!!! i like the idea that with the limited magic he has, he's able to change juuuust enough to stay relatively evenly matched. being able to play to different strengths and all that. but the base stuff is still the same, so he is decently easy enough to read if link remembers the kind of stuff he was pulling back when he originally fought dark link.

dark link also knows about all this so while limited to the particular skillset, is able to adapt slightly.

but yeah been thinking a lot about a links-meet au where dark link is there choosing a different link to be every time he appears to the party.

though there are a couple links that he never impersonates in their games!!! so can't change into those guys unless he gets a new round of copycat magic.

Anyways goodbye guy standing there with standard camera angle, i have dutch angles and forced perspective

[quicksilversnails]

Took some notes from the Wild Life retrospective episode of the Imp & Skizz podcast featuring Grian because I thought the behind the scenes info was really interesting!

(3:15) The wild cards were all kept totally secret from the players (apart from Grian), with the exception of the superpowers and finale (as they required the players to set keybinds)

(3:45) The players were given files containing the required mods each week, which were named things like "creeper rain" to throw them off

(4:12) Wild cards were a combination of data packs and mods

(4:38) Grian told them not to read the folder name to avoid spoilers (which is kind of impossible), so everyone fully believed there would be creeper rain lol. Grian was saying it in jest but everyone took it seriously and were apologetic about having seen it, to which Grian told them not to worry

(6:58) Grian originally contacted a data pack dev called Brace for help with programming the wild cards. Some, like the shrinking/growing could be achieved with minecraft attributes, but the snails were too janky and unusable. Grian still liked the idea though, so he reached out to mod developers Henkelmax and Breadloaf, who designed the pathfinding/behaviour from scratch

(8:49) They had a debugging mode used to test the pathfinding of the snails, shown in the podcast and in Grian's credits

(10:09) Grian wants most of the credit to go to the development team and artists, as he was mostly in charge of ideas & organization!

(10:39) Grian's only regret with the snails was that they were too fast in session 3, leading to unexpectedly many deaths. They were apparently not so difficult to get away from during testing, but perhaps the testers were more used to them than the players were

(11:44) Grian: "We did develop to the lowest common denominator" ie. prioritizing how players would struggle over how worrying about if players would do too well

(12:56) Oli's voice for the snails was iconic. It cost Impulse a life because he intentionally stayed closer to it to hear the voice lol

(13:42) Danny was in charge of the snail models and animations

(14:11) During testing, the snails just sounded like Oli, which made it feel weird. They pitched up his voice so that it'd be less immediately recognizable

(15:18) The snails' jumping attack was meant to be clearly telegraphed: they would stop, wiggle, make a "ooeee" sound before jumping. Many players had their friendly creatures volume turned very low/off (as cows and other mobs are loud), which made this attack much less obvious for them

(16:57) The growing/shrinking had the least testing done for it, as it was the simplest conceptually and to program. This meant that the falling off of blocks due to the shrinking hitboxes wasn't anticipated

(17:55) Before the 1st session, Grian told them that he didn't think anyone would die to the wild card. Pearl's death made Grian pretty nervous, as he didn't want everyone dying too early in the season

(19:29) 6 lives were given, knowing that many of the death to the wild cards were unexpected/unfair. The intent was for ~3 lives to be allocated for wild cards, and ~3 for PvP.

(21:13) The developers were all fans of the Life Series!

(22:43) The shrinking/growing was intentionally pretty simple to ease players/viewers into the concept and build up toward more dramatic wild cards like the snails

(25:38) In the hunger episode, Grian didn't know which foods would be good

(25:58) Grian thinks that "it's unfair that Grian already knows everything" is valid criticism, but that it's important for him to be involved with the ideas. Having someone else do that is like having someone else record his videos: Life Series is his brainchild

(26:35) Well before the season began, while they were still developing the concept, Grian asked the other players for wild card ideas that would meet a few criteria. All of them ended up being unused for one reason or another. Impulse thinks his ideas were very "inside the box" because he was viewing things through what was possible in vanilla Minecraft. His idea was to have a scavenger hunt where the players would search to find a relic. The first person to find it would get a buff. Skizz's idea was for every player to turn into a random passive mob for every given interval of time. They would have to find every other player of the same mob type as them or else the whole group loses a life.

(29:44) The food qualities were weighted by the rarity of the item, so very common blocks like dirt and cobblestone would never give anything good. The other items were randomly selected

(30:23) Regular blocks/items cannot be made edible normally, so they had to circumvent that and custom code a fix for items not stacking correctly

(32:41) While a lot of players do want to win, the main priority is creating entertainment, which prioritizes playing recklessly

(33:20) The food wild card wasn't included in the finale because it would've felt like "too much". There was a higher risk of technical issues since it changed the data values of items, and Grian didn't want someone's last death to be because they ate their sword. In his mind, it was a good and fun wild card, but didn't need to be repeated in the finale. Impulse points out that they all would have collected more rare items by that point, removing the incentive to search for blocks to eat

(33:46) The wild cards in the finale were nerfed from their original sessions. The shrinking/growing had a smaller height range, the snails moved slower, etc.

(36:21) The personalized snail skins were a late addition by Danny, who made 18 skins very quickly

(36:49) Grian did not anticipate the snails becoming as popular with fans as they were. After the session released, they had the idea to release the snail merchandise, which directly funded the rest of the season

(39:20) Grian spent what "felt like every day" testing with the developers. They'd record the sessions on Tuesdays, meet up with the dev team, talk about what need to be done, testing, bugs, etc, edit and upload on Saturday, and would get a few days grace before starting again

(40:01) After the snail session, Grian was worried that the season would be very short due to all the deaths. They were considering toning down the later wild cards but ultimately didn't change them too much

(40:36) The time wild card was carefully balanced. If it had gone even a little faster, many players likely would have died because they wouldn't have time to react to threats like baby zombies or creepers.

(40:57) While sessions normally run for a variable amount of time, session 4 was hardcoded at 2 hours. Grian ended the session ~10 minutes early, just after they hit max speed, because he felt like things were getting dicey

(42:46) When the wild card first activates, it looks a lot like the server had frozen or crashed. Grian told the players before the session started that it would look like the game was broken, but that it isn't broken. Skizz tabbed out anyway and missed the beginning 😔

(43:30) Having the rain start just as the wild card began was a good visual indicator of time slowing down. This was a suggestion from the dev team (probably Brace)

(44:41) Impulse and Grian "cheesed" the end of the session by going branch mining. Grian wanted players to take advantage of the wild cards (eg. mining quickly, helping to kill someone), and not have them just be an annoyance.

(45:30) Keeping the client and server-side time stay in sync was challenging. The sky's motion was changed to be smoother on client-side. The players were also not as fast as the server (around 2x faster), the server was going faster than that, and the time of day was even faster

(46:56) The sounds were pitched up/down based on the speed to add to the effect

(27:46) In testing, if the players were made 7x faster, it would be basically unplayable, which was why it was capped at 2x speed. This made mobs very dangerous, as they were now faster than players and could catch up to you and kill you easily

(49:01) On several occasions, they had to extend the fuse duration of creepers to make them more fair. In the time session, their speed was only increased by ~10%

(49:39) Usually, Grian was the one to test the wild cards and notice when things like creeper speed would be an issue, since he was the one with experience making videos

(50:50) A challenge with balancing wild cards is accounting for the playstyles of so many players: reckless players like Scar and Skizz, "kind and gentle" players like Bigb who would stay off to the sides, and "the sweat squad" (Scott, Impulse) who play very cautiously

(52:48) Trivia Bot was the only wild card that was not planned in advance. Grian was struggling to come up with a wild card for that episode, and wanted to have a wild card available that could give people lives in case many people died to early wild cards without it feeling cheap.

(53:33) Trivia seemed a little boring on its face, so presentation was essential

(54:34) This one made Grian the most stressed due to all the moving parts involved in making it (coding and pathfinding mostly by Henkelmax, visuals by Hoffen, audio/music, questions)

(55:08) Trivia Bot's design was based on Grumbot and Mettaton from Undertale. Hoffen drew concept art shown in the video

(58:32) They show Trivia Bot's custom animation for becoming a snail and it's really cool

(59:12) The music was the most stressful part of the project. Grian spent 2-3 days looking through Epidemic Sounds for a Trivia Bot theme song and couldn't find anything good. He commissioned Zera @hopepetal for a theme song, which is played in the podcast. However, Grian realized he needed a full audio package, so he commissioned Oli late in development, who created the final soundtrack and many audio variations

(1:01:38) Grian wants to send appreciation for everyone who worked on the project, even if their work ultimately went unused

(1:02:58) Skizz was happy to give back however he could by staying on standby in the final episode as a zombie, as the players were able to "reap all the benefits" of the hard work of the development team

(1:05:21) Grian didn't know any of the trivia questions beforehand, which were done by fans of the series. The goal was for ~50% of the questions to be answered correctly, which was approximately met

(1:07:11) Players couldn't get questions about themselves because it would be too easy. This would encourage players to leave their bot, allowing other players to mess with them

(1:07:57) Grian felt a little left out from the discovery element of the wild cards, and decided to mess with Scar by hiding his bot. He wasn't expecting Scar to die from it, and could tell that he was genuinely a little upset by it. Grian felt bad about it, which led to a genuine in-game alliance between them

(1:12:32) Grian was very close to letting Trivia Bot give lives as rewards, but decided it would feel too cheap

(1:14:38) Mob swap was slightly toned down, with more camels and sniffers spawning

(1:15:07) Evokers didn't drop totems anymore. Instead, there was a minuscule chance a warden or wither would spawn, which would drop a totem if killed. Grian was a little disappointed that the warden got cheesed in the end

(1:17:45) Having the mobs start passive and turn hostile was mostly for the presentation, building anticipation, and so players could predict where mobs would spawn and react accordingly, making things feel less unfair

(1:20:32) There was no superpower made for Skizz (or Mumbo presumably)

(1:20:38) The superpowers were another late addition. There was a large design doc where Grian created all the powers, which were handed over to Henkelmax and completed over 4 days

(1:21:42) Grian avoided superpowers involving strength, that could cause someone to die easily. Most of the powers were social or movement-based, which couldn't be used for offence as easily

(1:22:25) Some powers were randomly assigned, others weren't. Impulse's was random. Cleo's, Bigb's, Lizzie's, Grian's were assigned.

(1:24:25) Grian gave himself the mimic because it could easily backfire (like in Grian's fall damage death), and because it would've been confusing for a player who wasn't aware of the other powers. They likely would've spent the episode just figuring out how everything worked and not actually using the power to its best ability

Lots of discussion about the superpowers and how they interacted in the episode itself, go watch if you're interested :)

(1:33:38) Talk on how the series "standard" rules evolved since 3rd Life. There was no keep inventory, and no restrictions on enchanting levels or potions, which created slow or unbalanced fights

(1:36:23) 3rd Life was designed to be an experimental series, which made Grian eager to improve it. For example, some people just weren't dying in 3L, leading to the boogeyman in LL, and so on

(1:37:17) The goal with the seasons isn't to one-up the previous one, but to create a different experience every time, which keeps things engaging for the creators

(1:38:31) At the end of each session, Grian would ask the group if they had fun and how they felt about the wild cards. According the Skizz, the answer was "a resounding yes"

(1:39:08) Grian had moments throughout the season where he personally felt like things didn't go well for him, and was anxious for the rest of the group's episodes. Things worked out while editing the raw footage, though. His issues were never with the wild cards themselves, but his own actions (traps not working, spending too long branch mining), but would always find funny moments in his footage

(1:43:41) Everyone in the Life Series cast genuinely likes and genuinely respects everybody else in the group. This allows them to make the show and get mad at each other, because they know it's all just in-character

(1:44:50) It'd be hard to top Wild Life in spectacle, and Grian doesn't want to start an arms race with himself. The next season could potentially be closer to 3rd Life, but Grian's not sure yet. For Grian, Wild Life was the most enjoyable

(1:45:20) Grian: "As long as people keep enjoying [the Life Series] then I'd love to keep doing it"

(1:49:35) With the finale, Grian knew how the wild cards played out the previous sessions and was able to adjust them

(1:49:56) Grian's goal was to create safe chaos where everyone knew what was happening and wouldn't die to them, which didn't go entirely to plan. The snails were 60% of their original speed and people still died

(1:51:03) Grian made a precise timeline of when each wild card would start/stop, it wasn't randomized.

(1:54:16) All the superpowers were randomized, with Bdubs' power being removed from circulation because it didn't have much use in a finale setting

(1:56:10) It was important for Grian that in the final moments, the wild cards were removed, so there were no interruptions. The timing worked out well because there were a few people left and it ended within ~10 minutes (this implies that the change wasn't based on # of players alive, as people had speculated based on Gem's death)

(1:58:48) The players all randomly switched to zombie skins throughout the session to mess with people on NameMC. Well-played :)

[strawberrystepmom]

actually i love the topic of life changing media what is a piece of media (show, book, movie, art, song, whatever!!!) that has changed your life no matter how small that impact may be

[bakuhatsufallinlove]

I’ve seen people saying 431 wasn’t written by Horikoshi but by his assistants; is there any truth to that? (Sorry if this isn’t the type of question you like to answer, you’re honestly the most reputable source I know for MHA)

The only reason people are saying this is because they hate the content and want an excuse to dismiss it.

We have no reason to believe this chapter was written or drawn by anyone other than Horikoshi, who has a team of assistants as all manga artists do.

The only middle-men here would be WSJ editors and executives, who have regular input on the story's direction and execution. One could theorize about how much pressure and of what kind there might have been on Horikoshi, as the creator of a hugely popular and lucrative shounen series, to hint towards the possibility of a heterosexual relationship at the end, especially considering WSJ's relationship to the "settle down and have kids" politics of modern Japan. But that's all it would be: theorizing.

Regarding editorial overreach, Horikoshi has said that he will tell the story he wants to tell. I'm not positive, but I think he went through several editors trying to find a good fit, someone who would respect his vision instead of dominate it. It would be insulting to insist he is some helpless victim with no agency whatsoever. Or, for that matter, that he would ever allow someone else to draw his manga for him, slap his name on the title page, and call it a day.

I have no special information in this regard, but my guess is that Horikoshi arranged to end the serialization of the series where he wanted to, then had meetings with his publishing team to discuss what kind of material he could create to fill the final tankōban, which needed extra material to meet publishing standards. 431 is the result of that.

At 38 pages, it could have been two serialized chapters. But it wasn't.

The thought I keep coming back to is that 431's pages are after Horikoshi's afterward in the volume. I've heard that people are trying to say that 430 and 431 are BOTH "up for interpretation" or "just future possibilities," but consider this: only one of those was included in regular serialization and can be read back-to-back with all the other chapters in the usual way.

That chapter directly parallels the first chapter in a number of extremely meaningful ways, both visually and thematically. That's 430.

The other chapter, for whatever reason, comes after Horikoshi's comments on the story's conclusion. It is literally separated from the rest. Maybe this isn't that significant, but I don't know any other final ending chapter like that. Demon Slayer's volume-exclusive epilogue comes immediately after the serialized chapters, with the only break being a two-page extra explaining character genealogy. Gotouge's comments come after the brand new epilogue.

All of that, plus the content itself, contributes to me personally feeling like 431 is just extra. It's undeniably Horikoshi's work, but it doesn't draw any strong parallels to the established themes of MHA. It isn't necessary to the conclusion of the story we've followed.

But for what it's worth, I haven't seen anyone in the jpn fandom bring up whether 431 is canon or not, because they don't care. Japanese fandom is very flexible and self-indulgent. Fanworks and headcanons regularly contradict canon and no one cares even a little. It doesn't matter if the chapter is "canon" or not, they'll do what they like either way.

I have seen a huge range of responses from jpn fans. Some see it as confirmation of a het ship, others see it as open-ended. Some find the outcome sad, some felt it was hopeful. Many people had mixed reactions of happiness and sorrow.

I saw at least one person interpret the "put down the camera" note as providing the fans the opportunity to "freely imagine what happens in the future." Another person questioned how they were supposed to interpret that phrase in conjunction with Shouto's monologue about "inevitability."

I'm gonna go Plus Ultra here and reach far beyond the framework of your question, so let me just say this: No one has to care about the creator's intentions. No one needs permission to ignore canon.

For one thing, we are only ever guessing what the creator's intentions are. We can only surmise and make arguments based on our interpretations of their work.

To act as though there should be one sole authority that dictates what the audience is allowed to think about art is ridiculous, and that includes the creator.

Because art is completed by the audience. Art is communication. In language, the speaker knows only what they intended, while the listener knows only what they interpreted. We may discuss our perspectives in different ways to try to understand each other better, but in storytelling, the audience doesn't interact that way with the creator. They interact with the art itself.

Art means something new the moment it touches another human heart.

Who I am, what I value, my experiences in life, all of these influence how I see Horikoshi's story. And that's a good thing. To remove myself from that—to insist that who I am as a person has nothing to do with what art means to me—is to diminish the meaning of art itself.

I don't need Horikoshi to agree with me. I don't need him to see things the same way I do or tell me I'm right. He wrote a story about the complex, profound love between two boys. Whether he thinks that love means they'd wanna kiss each other is completely fucking irrelevant to me.

The love is on the page, where I found it.

Other people may think it means something different or fail to see it entirely, and that's fine. That's their relationship to the story. That has nothing to do with me.

I'm glad Horikoshi got to write the story he wanted. I wished I liked his extra chapter more, but them's the breaks.

[namisweatheria]

One Piece means a lot to me as a disabled person, which I think would be pretty surprising to anyone who only has a surface understanding of it. The supposed central theme of "follow your dreams" would be pretty alienating to someone like me, right? It really, really would be, if that's what it was actually about.

However, that ignores that Luffy's dream is to be the most free person in the world. And to attain that goal, the first thing he does is find friends to live life with. Over and over again, from the very beginning, he takes on their burdens, all in the name of being the most free.

Do you see what that would mean to me, as someone who needs more help to get by than is considered culturally normal, to the point that it puts me in a whole socially manufactured category of "other"? Not to mention, because of the infantilization of me due to that category, because of being forced so squarely into the "cared for" role, taking care of other people is deeply meaningful and empowering for me. However, the myths of independence and universal natural ability often make it emotionally difficult for my loved ones to accept that care.

The fear of asking for help, the guilt of being cared for, the weight of someone you loved who could not be as free as you, the insecurity of not contributing enough, the fear that you were born wrong, the self-hatred that says you are not worth the effort, Nami Sanji Zoro Usopp Robin Chopper Ace they all explore the painful obstacles to free connection. Through deeply impactful stories that weave beautifully into the larger one.

All centered around this one person who views loving them and living with them and carrying them as essential to his freedom. Who cannot, for countless reasons, live a normalized life of Structured Relations. Who views exploring and bickering and suffering and laughing with them as the ideal way to live. Who repeatedly puts his life and limbs on the line to do so.

To me, it is an ultimate privilege and freedom to carry other people's burdens. To care for them and live with them. This is central to my whole perspective, and is completely informed by my life experience as a disabled person. I rarely see it reflected back to me. Let alone as powerfully and beautifully as Luffy does.

Nor the other half of it, of wanting to create this life with people in ways that aren't socially normal or approved. Of creating many varied lifelong intimate relations among equals, rather than conforming to the expectation of choosing One Person to live life with and then Creating More.

The utter lack of roles and norms is just as integral and powerful to the exploration of freedom and connection! It is meaningful to me as a queer person, yes, but even this is deeply influenced by my disability. I could never be that One Person, despite everything I have to offer, there is logistically far too much that I cannot do to be someone's equal partner in this society that demands so much from all of us. However, even if I could, I wouldn't want to! It doesn't make any sense to me to only have two people navigate life together on such intimate terms. Can't the demands of society be more comfortably met in a group? Isn't life more fun that way?

We are taught that we can and must do everything ourselves, I just happen to be one of the people that never had a chance to buy into that lie. To learn very early not just the necessity of interdependence, but the joy in it. To learn that it is most comfortably lived with more people involved. To me, close relationships are, love is, a natural extension of that understanding. One Piece celebrates interdependence constantly from the start, while never pretending that it is always easy.

The obstacles to free connection that I mentioned before, they are interspersed throughout the story, and they are always met with "I do the things you can't do, and you do the things I can't do." With, "Of course I can't use swords you dumbass! And I can't cook either! I don't know a damn thing about navigation! And I can't lie!"

These are intentionally impactful moments, and they define the series. I found it very fitting that the Fan Letter focused on a character who was empowered by Nami to feel free and live adventurously despite not being the most physically capable. The character is able by our definition, but the story is very affirming in a disability way, and it was extremely One Piece. I loved how it acknowledged this deep connection between One Piece and the lived reality of disability and celebrated it as integral as it is.

I also believe that absolutely none of this is intentional. It is simply an earnest exploration of human relationships, emotions, and behavior, and it naturally arrives at a radical and disability-affirming viewpoint. Because we are the monkey wrench in the deeply unhealthy (lol) and dominant line of thinking that independence is all. So naturally anything that also disputes that thinking has a disabled-perspective feel to it. The best part is how much it doesn't give a fuck! One Piece is aggressively against conformity in human relationships, in a way that is hard to find in our new world of self-conscious authors.

It's also, you know, the worst part, in terms of all the outrageous bigotry and offensive character design, but god damn it if it doesn't elevate the good parts to unbearable heights. Even the bad character designs can sometimes be more impactful for their intentional "ugliness", when those characters are inevitably taken seriously despite their appearance and the stereotypes they play on, it hits hard every time. I do have a simple hatred for many choices, there is no pay-off for much of the awful problems in numerous character designs and dialogue. But no matter how upset I can be by those things, in the end they can't succeed in pulling me away from One Piece. It's just so crazy and unique and great and terrible and beautiful and I LOVE IT.

[teethkid67]

PAYDAY

aka a valentine for the lovely @itsnotmystic / @corvids-calling - fanart for stars fic of the same name, which you can read here !!! i really enjoyed this concept and wanted to do some art for it :3 hope you like it because i REALLY loved your work & i hope this shows that !!! HAPPY VALENTINES DAY !!!!

this is also a loose love-letter to the wonderful @arginnit 's crazy background-drawing-ability and style/skill at portraying environments . wadds your stuff is insane and i love it

happy @mcyt-valentines exchange !!!!

[crescentfool]

orpheus and thanatos 💚

[oddthingsndaydreams]

Somedays the artblock wins. Somedays inspiration smashes you like a cadillac on a random dashboard recommend. @transformers-synergize your redesigns are so pretty ;^;

[machveil]

“Don’t go in the basement, Maus.”

…daily König sketch🌹✨ “König?” “Ssh, just focus on me, Schatz.”

hi!! oh my god, this was so fun to draw >:D I don’t even care that I completely ignored my perspective box, I just had such a blast actually drawing this

I spent three hours drawing this, two of which I was streaming to a friend on Discord. in terms of having fun, this is my favorite König drawing because WOW I had such a good time

[sukibenders]

Glinda mentions to Elphaba how Fiyero can't stop thinking about that moment in Dillamond's class, or that he's having thoughts in general and how it worries her because it's not something she's used to from him (which is him thinking about actual things), in contrast to Elphaba, who doesn't seem all that bothered and, even more so interested in the manner when Fiyero brings up how he can't stop thinking about when they rescued the lion cub. I don't know about everyone else but for me, even with this scene probably being added for lighthearted value, I also see it as another piece in the puzzle cementing how Fiyero's and Glinda's actions will, eventually, either pull them closer or further away from Elphaba. I lowkey don't like it when people act surprised or confused as to why Glinda was spelled or get annoyed that Fiyero is in her place but I, personally, don't think she would have helped in that moment, specifically in the movie.

Prior to the train scene, Glinda is shown to, not only, be completely rude and spoiled (as shown with her literally fainting over not getting her way), when in class, she publicly points out Dillamond's inability to pronounce her name correctly even though it's an obvious struggle, parading in front of the class how easier it was for her other teachers to do it, then being dismissive during the rest of the lesson when learning the importance of history and why to learn from it (correct me if I'm wrong, as it has been a minute since I've seen the movie). All that already tells me that she doesn't really care for the animals' cause, let alone enough to follow Elphaba and Fiyero into the woods after stealing the lion cub and I think, subconsciously, Elphaba knew that. In fact, I can only see Glinda trying to sway them to leave the cub and how what their new professor wanted to teach probably wasn't all that bad (not saying that she would want the cub to be harmed, just that she would try to rationalize what's going as we've seen her do before). This is the same woman who, after learning that the Wizard was a fraud and responsible for the missing and harmed animals, still tried to justify his actions and berated Elphaba for not "acting accordingly" to the news, but yet we still think she should have been there to save the lion cub? That she would have helped those animals alongside Fiyero and Elphaba? I think it could allude to how Glinda could/will be used to help further push propaganda for the Wizard, especially given how it benefits her socially, as figures of propaganda often don't think too hard, or enough to critique the system around them not because they aren't smart enough too (for the most part), but more so because they understand how their world works and understand the consequences that follow when stepping out of line.

You don't have to like Fiyeraba or even find Fiyero interesting, but to purposely ignore what the movie is presenting you is such a cop-out. Fiyero enters the film being a sort of anti-establishment-like character, caring little if he gets kicked out of Shiz for breaking the rules, or just hardly caring in general (something Elphaba calls him out for), and so on. Why wouldn't he be down to rescue the lion? Even if it was to just feed his rebellious streak, he still would have gone, but when he and Elphaba meet, he's on a talking horse and they are conversing like lifelong friends. That might add another layer to the pair saving the lion. Even if he wasn't on the same level as Elphaba at that moment, the train scene shows that it had a profound impact on him that he couldn't shake. I think, had he been presented with the choice of joining Elphaba or staying, he would have gone, not only for her but also because he now knows that the Wizard is a fraud and most definitely wouldn't stand for what he [Oz] is doing. This is what sets him apart from Glinda which, isn't necessarily me hating on her but just stating facts. Glinda isn't/won't be willing to sacrifice her position and what it brings her, until it's too late (which is the tragedy of her character and her relationship with Elphaba), while Fiyero risks everything, even to some extent his own body (Scarecrow) and, in the end, gets to stand with Elphaba.

[laly]

My fancast featuring Connecticut Clark as King Thingol and The Elder of the Forest from Sky cotl as Melian of the Maiar

[commsroom]

as an extension of how hera reads as trans to me, hera/eiffel resonates with me specifically as a relationship between a trans woman and a cis man. loving hera requires eiffel to decenter his own perspective in a way that ties into both his overall character arc and the themes of the show.

pop culture is baked into the dna of wolf 359, into eiffel’s worldview, and in how it builds off of a sci-fi savvy audience’s assumptions: common character types, plot beats, or dynamics, why would a real person behave this way? how would a real person react to that? eiffel is the “everyman” who assumes himself to be the default. hera is the “AI who is more human than a lot of humans,” but it doesn’t feel patronizing because it isn’t a learned or moral quality; she is a fundamentally human person who is routinely dehumanized and internalizes that.

eiffel/hera as a romance is compelling to me because there is a narrative precedent for some guy/AI or robot woman relationships in a way i think mirrors some attitudes about trans women: it’s a male power fantasy about a subclass of women, or it’s a cautionary tale, or it’s a deconstruction of a power fantasy that criticizes the way men treat women as subservient, as property. but what does that pop culture landscape mean in the context of desire? If you are a regular person, attracted to a regular person, who really does care for you and wants to do right by you, but is deeply saturated in these expectations? how do you navigate that?

I think that, in itself, is an aspect of communication worth exploring. sometimes you won’t get it. sometimes you can’t. and that’s not irreconcilable, either. it’s something wolf 359 is keenly aware of, and, crucially, always sides with hera on. eiffel screws up. he says insensitive things without meaning to. often, hera will call him out on it, and he will defer to her. in the one case where he notably doesn’t, the show calls attention to it and makes him reflect. it’s not a coincidence that the opening of shut up and listen has eiffel being particularly dismissive of hera - the microaggression of separating her from “men and women” and the insistence on using his preferred title over hers. there are things eiffel has just never considered before, and caring for hera the way he does means he has to consider them. he's never met someone like hera, but media has given him a lot of preconceptions about what people like her might be like.

there’s a whole other discussion to be had about the gender dynamics of wolf 359, even in the ways the show tries to avoid directly addressing them, and how sexual autonomy in particular can’t fully be disentangled from explorations of AI women. i don’t think eiffel fully recognizes what comments like “wind-up girl” imply, and the show is not prepared to reconcile with it, but it’s interesting to me. in the context of transness (and also considering hera’s disability, two things i think need to be discussed together), i think it’s worth discussing how hera’s self image is at odds with the way people perceive her, her disconnect from physicality, how she can’t be touched by conventional means, and the ways in which eiffel and hera manage to bridge that gap.

even the desire for embodiment, and the autonomy and type of intimacy that comes with it, means something different when it’s something she has to fight for, to acquire, to become accustomed to, rather than a circumstance of her birth. i suppose the reason i don’t care for half measures in discussions re: hera and embodiment is also because, to me, it is in many ways symbolically a discussion about medical transition, and the social fear of what’s ��lost” in transition, whether or not those things were even desired in the first place.

hera’s relationship with eiffel is unquestionably the most supportive and equal one she has, but there are still privileges, freedoms, and abilities he has that she doesn’t, and he forgets that sometimes. he will never share her experiences, but he can choose to defer to her, to unlearn his pop culture biases and instead recognize the real person in front of him, and to use his own privilege as a shield to advocate for her. the point, to me - what’s meaningful about it - is that love isn’t about inherent understanding, it’s about willingness to listen, and to communicate. and that’s very much at the heart of the show.

[incandescentflower]

I think what I appreciate the most about the dynamic in the Boy Next World is that Cir not only understands this is weird for Phu but also that it could even be scary. He's still pushy about it in some ways, but he seemed to click in fairly quickly how unnerving this could be for Phu and has asked him a few times if he is scared or needs him to do something else, despite clearly being so desperate to be close to him.

I think it's heavily implied by the way Cir reacted when he woke up that something happened to Phu in Cir's universe. Imagine someone you thought was dead was now alive and you were just gonna like hang out and not see them. I think he's doing pretty well teetering on the line and Phu's reaction to him confirms that.

[steampunkhobo]

I’m sure I’m so late to this conversation but I’m so confused/curious about what intersex disorder Cardinal Benitez is supposed to have. Like- it’s implied if not outright stated that he presents externally as a “typical” male and doesn’t have ambiguous genitalia (that in combination with the idea that all that was requested by the papacy was a hysterectomy and not any kind of “sex reassignment” or genital alteration- which I highly doubt would have been accepted anyway- more likely anything more and he would have been defrocked, the church being how it is. Though also possible he has a microphallus or hypospadias which both could easily be overlooked at birth/in the seminary, as well as being common in cis men and therefore “acceptable”) and we know for certain that he has ovaries and a uterus- that much alone makes me think persistent Müllerian duct syndrome. But Benitez also says that his chromosomes would make some classify him as a woman, and individuals with PMDS have XY chromosomes. But it also can’t be de la Chapelle syndrome or Klinefelter syndrome, giving him a mostly “typical” male body (potentially smaller build, less hair, genital variations like a microphallus or Hypospadias) but XX or XXY chromosomes, because a uterus and ovaries aren’t present in those conditions. Ovarian tissue can be present, but not a fully developed set. (Amendment: there are, though rarer, cases of a developed uterus and ovaries in de la Chapelle syndrome. There’s very limited data about this specific variation, and things will vary from person to person, but it’s usually caused by congenital adrenal hyperplasia, which causes significant health issues. If Benítez has de la Chapelle syndrome, it would most likely be due to CAH, and he’d be quite unwell without treatment. Though again, it’s under-researched and reported, especially variations that don’t cause major health issues. Much rarer and more complex, but certainly possible that this is his situation- potentially from exposure to certain hormones in utero. It’s complicated. Thanks to everybody that helped me explore this subject/syndrome further!) Because the uterus and ovaries have been proven beyond a shadow of a doubt to exist, I’m assuming the mention of chromosomes was a mistake/misunderstanding and Benitez is supposed to have PMDS, but that condition is pretty damn rare- not that this writes it off, but it’s something to consider. Still, unless I’m overlooking something that seems to be the best fit?

It’s probably just details being muddled by the writers, but I think it’s interesting. And the ambiguity is kind of nice, because people can tailor their headcanons how they see fit. Lots of potential for representation in this one character. (No matter what body your Cardinal Benitez has I love him. Forehead kisses muah muah)