#i just get worked up when people don’t actually see HIM as a multifaceted character and then turn around and go

[roman-roy-apologist]

blow to brad’s ego? blow to brad’s ego!?! try, blow to the carefully crafted persona he’s build for himself to protect himself that was brutally ripped from him by his brother and is now falling apart as his mental health issues get worse, his eating disorder is starting to bleed into conversations and his work while he is powerless because he saved jo from GOING TO PRISON by putting the blame on himself and losing everything.

but yeah i guess you could say it was “a blow to brad’s ego”.

[maul-of-shame]

Y'know as someone who enjoys haladriel (I go by a ship and let ship fandom philosophy), I actually want to see more elrond and galadriel in S3 over celeborn stuff for all the reasons you said. I very much enjoy their relationship and even though I personally don't ship it, I can def see why others so (even some of my mutuals do). I think Elrond is a very important figure in her life and he's like the voice of reason for her (and someone who can call out her bs, which we all need a friend who can do that). Celeborn meanwhile is so forgettable like... you could literally replace him with Elrond in all the times in he's by Galadriel's side and the story wouldn't change a bit.

Absolutely, 100%! At this point, it feels like the only reason people rally behind Celeborn is that they’re desperate to block Elrond from getting a second of meaningful connection with Galadriel. [TW: If you love Celeborn, do NOT read this XD]

Let’s face it: Celeborn doesn’t bring anything to the table that Elrond couldn’t absolutely nail, but Elrond does it all while actually being interesting, loyal, and having a deep, established history with her that has real weight.

It’s not like Celeborn fans are rallying because of some profound connection they feel with his character—they’re just terrified of seeing Elrond actually shine beside Galadriel because he makes Celeborn look like the damp leaf that he is.

Seriously, tell me what Celeborn can do that Elrond can’t.

He barely manages to bring any wisdom or agency in the rare moments he’s mentioned, and honestly, his absence has probably improved Galadriel’s life tenfold.

There’s a reason people resonate with Elrond—he’s multifaceted, complex, and, as you said, someone who can call Galadriel out and be her rock when she needs it. He’s the only character who can match her fire without trying to snuff it out. Meanwhile, Celeborn just… shows up, questions her judgment, and then disappears, leaving the real work to others.

So far, the only reasons I see Celeborn and Celebrian coming up boil down to a few tired (and honestly, pretty telling) things. Let’s break it down:

First, we’ve got the Lore Dudebros™. Oh, you know the type—clutching their well-worn copies of The Silmarillion like it's some kind of ancient shield, warding off the “heresy” of fresh character dynamics. They’re practically waving family trees like battle standards, ready to duel anyone who even hints at diverging from their sacred canon. You can practically hear them whispering, “One Book to Rule Them All,” while setting up symbolic pyres for every fan who dares to ship Elrond and Galadriel or even breathe an alternative take. I’m honestly shocked I haven’t been ceremonially tossed onto one of those pyres yet, chanting “I love Elrondriel” on my way down. XDDDD To these “guardians of canon,” the thought of Galadriel connecting deeply with someone like Elrond is a personal affront. It’s as if adding emotional depth or—heaven forbid—a dynamic character relationship threatens the very foundation of Middle-earth itself. And don’t even try bringing up things like story evolution, emotional nuance, or character growth; to them, that’s the real fantasy. Just a hint of Galadriel leaning on Elrond as a trusted confidant, and they’re already rallying their trivia and pulling out genealogy charts, like those are somehow the One Ring in disguise. And here’s the best part: they’re completely blind to their own irony, hailing Celeborn as some untouchable canon figure without realizing the guy’s basically a background character who could be swapped out with a block of wood for all the impact he had in the bigger story!

Then, we have the “Bring Back Celeborn” brigade—desperately wanting to shoo Elrond off stage so that Celeborn, the long-lost, mysteriously absentee dad with all the romantic appeal of a soggy crumpet, can swoop in and… do what, exactly? Serve as the poster child for “How Not to Be There for Your Partner”? Apparently, they think it’s 'far more romantic' for Galadriel to stay hung up on this MIA forest ghost who bailed during her darkest hours, rather than, you know, actually building a life with someone like Elrond who’s been with her through it all. Because what could be better than pining after a wet leaf who couldn’t bother to send a postcard while she wrestled with, oh, just a dark lord or two? And they really think Galadriel would drop Elrond—a friend who knows her down to the marrow of her bones, who sees her strength and holds her accountable, who supports her without needing a treasure map to find her—just to welcome back some dude who ghosted her at the height of Middle-earth’s crisis. Yep, nothing says “power couple” quite like reuniting with the guy who looked at Khazad-dûm and decided, “Nah, too many dwarves, I’m out,” leaving Galadriel to face down the legions of darkness by herself while he took a scenic detour… for, what, a century or two? The logic here really stretches all the way to Mordor, doesn’t it? Because in their minds, it’s somehow unthinkable that Galadriel could find genuine love and companionship in Elrond—who’s basically risked life and limb for her—over some guy who literally peaced out and left her to fight Sauron solo. Nope, much more romantic to keep Galadriel anchored to some absentee figure whose greatest accomplishment was not showing up when she needed him most.

Then there’s the crowd who just can’t stand the idea of Galadriel with Elrond, so they roll out Celebrian as a glorified self-insert. The narrative goes, “Why should Galadriel, this powerhouse of a character, fall for Elrond when there’s a mythical ‘perfect daughter’ we can project onto instead?” Celebrian, in their heads, isn’t really a character with her own story, she’s a convenient placeholder to push Elrond into a neat little box. They just don’t want to face the fact that Elrond might actually be a better match for Galadriel than their ship preference. It’s less about Celebrian as a character and more about using her to gatekeep a relationship that makes sense, so long as she exists somewhere in the background.

And finally, we have the folks who are just flat-out romance haters and don’t want any love in LOTR—especially one that challenges their preconceived ideas. These are the “LOTR is sacred, no love allowed” types, wielding their disdain like some sacred relic. Meanwhile, they conveniently overlook that Tolkien did write love stories, and powerful ones at that! But if it means Galadriel might actually have a meaningful, respectful connection with Elrond? Nope. Suddenly, love is “too sappy for Middle-earth.” It’s the same group that’d probably claim Arwen and Aragorn’s love story is a sellout move just because it’s… well, happy.

And let’s be honest—when we’re told to “respect the canon,” what we’re really hearing is “Don’t mess with our Middle-earth nostalgia or I’ll lose my elvish marbles faster than a hobbit at an all-you-can-eat buffet.” But what they’re really scared of isn’t losing lore: it’s seeing Galadriel with someone who doesn’t disappear every other century.

They’re clutching so hard to the paper-thin defenses of Celeborn’s legacy that they miss what’s right in front of them—a chance for Galadriel to choose a partner who genuinely sees her as an equal. So if they want their wet leaf of a Celeborn back, fine—but don’t expect me to buy that he’s even remotely on Elrond’s level.

It’s honestly pretty sad.

They’re out here on their soapboxes screaming “People can’t do media literacy,” “They don’t understand the lore,” and the classic, “Respect Tolkien’s vision,” when, in reality, their motivations are paper-thin. Because let’s face it—they don’t actually care about Celeborn or Celebrian as characters.

They’re not out here writing essays on Celebrian’s personality or championing what a pillar of support Celeborn has been to Galadriel. No, they’re just using those names as a smokescreen to push one single agenda: they don’t want Galadriel and Elrond to love each other. That’s it. If it was about “lore” or “accuracy,” they’d be just as invested in seeing every other Tolkien character get the same respect. But they’re not.

Hell, they’d probably be fine with anyone having a shot at Elrond or Galadriel if it meant the two of them wouldn’t end up together.

You know who this reminds me of? General Hux in Star Wars here:

They don't care if ANY other ship involving Galadriel or Elrond wins, they just want Elrondriel to lose.

At the end of the day, it’s not about who does love Galadriel or who does support Elrond—it’s only about who doesn’t.

And let’s talk about the timeline chaos that bringing in Celeborn and Celebrian would actually cause.

First off, throwing Celeborn into the mix now would disrupt everything we’ve seen develop between Elrond and Galadriel, both story-wise and emotionally. We’ve watched Galadriel stand strong alone, finding strength and grounding in her friendship with Elrond. To wedge Celeborn back in just because “that’s canon” would feel like a massive betrayal of the story’s arc and their growth. And then there’s the whole Celebrian issue.

Are we really supposed to stomach the idea that this child of Galadriel and her current best friend is going to grow up to be Elrond’s love interest?

Are we actually expected to believe that Galadriel, who has forged this deeply supportive, intensely mutual relationship with Elrond, would happily match her child up with him years down the line? The absurdity is off the charts! It’s the kind of mental gymnastics that they accuse us of doing.

And yet somehow we’re the “crazy ones” for seeing the potential of Elrondriel.

Their double standards are as obvious as they are exhausting. If we’re talking about “respecting canon,” maybe we should start with some basic, human decency and storytelling consistency. Celeborn’s entire role in the story (such as it was) has been more symbolic than substantial, and Celebrian is a character who, while lovely in her own right, hasn’t exactly been set up with the same depth or weight. The thing they won’t admit is that Celeborn and Celebrian are just names to them—a means to an end to keep Elrond and Galadriel at a distance.

Because deep down, they’re not defending characters; they’re defending the status quo of Middle-earth, a world where relationships stay unchallenged, dynamics stay platonic, and emotions stay buried beneath layers of “lore.”

And they wonder why we’re still rooting for Galadriel and Elrond, who have actually been through it all together. Who have a relationship built on the kind of trust, support, and shared history that could naturally turn into something more. But no, according to them, if we care about that, we’re “missing the point” and “don’t understand.”

They’re the ones clinging to a “canon” that doesn’t actually serve the story or the characters.

If we’re calling out inconsistencies and advocating for a nuanced, rich character connection, then maybe it’s they who need to revisit Tolkien’s work with a bit more care, because their one-note obsession with gatekeeping doesn’t do justice to the world or its potential.

[darcytaylor]

The part that bothers me is that, seemingly, this might be the person he actually wants to be, and it seems like a lot of “fans” hate it and I can’t imagine at least some of that hasn’t gotten back to him. Like, we have to be honest, by his own words he seems to have a lot of love for his friends and for A that he might not be saying in the same way he was willing to talk about the cast and Nic, but he hasn’t not made it somewhat clear that there are people in his life he loves.

Like, yeah, he probably does feel shitty right now because he’s getting hate online that is somewhat a bit unfair and it probably is effecting how he is acting with his private life. I mean, he did say he was somewhat concerned about what coming down from the promo tour was going to be like. It’s clear that whatever happened post break-up changed him in a lot of ways, and I’m starting to think the Luke he is/was around Bridgerton is just another character for him.

I just don’t think I’ve ever followed a celeb with such a clear disconnect before in terms of their personality/image in public vs private. Like, I see more fans trying to wrap their head around him or justifying him than actually just enjoying his work. It’s truly bizarre.

A lot of people are trying to come to terms with the devision of Luke's public persona and his private life. I am sure that fans reactions impact him personally and professionally. I also think it's completely understandable to feel conflicted about this, especially when it seems like there's a disconnect between the way he presents himself publicly and how he might actually be feeling or living his life privately.

Luke definitely faces scrutiny and criticism that can be harsh, which I am sure is challenging to handle (and I'm sure he sees some of this). I think because of the negative feedback, it has affected how he chooses to present himself publicly. I'm sure it explains some of the shifts we have all observed in his behaviour and public image.

I think it's also correct to say that people are multifaceted and evolving. What you see celebrities put out into the public is just one aspect of their identity, and their private lives can be VERY different. I'm sure Luke is trying to navigate public expectations and personal realities (and it may seem like he is not doing a very good job), but life it nuanced and I'm sure it's hard to align professional and personal when millions of people are watching.

Your observation about fans trying to justify or understand him more deeply rather than just enjoying his work (like you said, so many people are doing this, me included) shows how invested people can become in the lives of celebrities. I think this level of engagement can sometimes blur the lines between personal and public, making it challenging to separate the two.

I think it's important to remember that while Luke does share a small part of his life with the public, he is still an individual with private experiences and emotions (we don't actually know him). Balancing respect for Luke's personal space and having appreciation for his work could probably help navigate this situation, that's what I'm trying to do.

Is Luke handling things perfectly? Probably not (and hindsight is 20/20, I'm sure there are things Luke would like to change in regards to how things have been handled). But like I have said before, I don't have millions of people watching me, so I can't judge too harshly.

[esther-dot]

Lyanna and Elia death actually hit the readers with emotions. Both were innocent who died because of others actions. We get to know about them more from their close families and friends and we sympathize with them. The way Ned, Oberyn and Doran mourn them leaves impact. Ned tore down the tower of Joy and commit treason to protect Jon. Oberyn risk his own life to seek justice for his sister. Yet same can't be said about Rhaegar because the people and his family has no real connection or emotions with him. Viserys never really told Dany about Rhaegar being a brother. Dany is obsessed with the idea of Rhaegar who she don't know. Jon Con who is obsessed with him had no real connection with him.

(prev ask)

They really do! Martin did a very good job conveying horror and grief over their fates. I won’t insert the quote about Elia, it’s so deeply disturbing, and the image of her babies before the throne… devastating. Everyone talks about Ned's trauma for a reason, even though we're books past his last breath, his memories of Lyanna's death, his inner torment, they're haunting.

Tbh, I'm gonna happily hate on Rhaegar regardless of where Martin takes things, so I have to really work to be unbiased. But, when I look at certain elements that pop up in Jon’s chapters that are meant to reach back into pre-canon and bring Rhaegar into the story, I’ve evolved how I read it, and don’t think Martin was writing Rhaegar as a sadistic fuck. I have to think, given the contradictory pictures we're given, that Martin is writing about what he repeatedly has written about. What do we do with people who are several things, different things, all at once?

The Hound saves Sansa, then threatens her life. Tyrion is a villain who chooses to not have sex with Sansa because he can't ignore her fear. Jon sees Ygritte weep over a song and the fate of giants, smile at him, and then callously murder an innocent man before nearly killing Jon. Martin believes in what I’ve called “expansive” characterization. They characters are multifaceted not to make us ignore one side, but to ask us to develop our ability to feel fear and compassion, to feel warmth and a chill, to find things to love and hate in the same place.

I admire that and think it's crucial not only to fully enter the characters' worlds and POV, but to be able to embrace the anti war theme. The books have so much more meaning when I accept that I love Ned, I believe the Westerosi were right to overthrow the Targs, but from Dany’s perspective, she is right to despise Starks. Her family was killed. To have Targs and Starks alike think of what Elia’s babies suffered with horror, even while they are on opposing sides of the war, that’s the truth about the war, isn't it? What we're meant to find at the heart of it all? It is tragedy for everyone. That’s what makes the series anti-war, it has to avoid glorifying violence, not just say it’s sad to lose—it must still be awful to win. When Maester Aemon mourns the death of his family, desperately wants to save Daenerys, I am meant to feel the tragedy in this, listen to the pain on both sides.

(I mean, I'm hardcore anti targ and all they represent, but I'm talking about what I believe Martin ideally wants)

As much as I believe Jon will have strong negative feelings about Rhaegar's choices, horror even, I can't imagine that Martin will write Jon's feelings as entirely one-note. He's gonna introduce some conflict, he always does. We don't yet know what that might be, but when I was rereading the Mance meeting, saw how Mance and Jaime both had a connection to Jon's central struggle, realized how the Rhaegar-esque aspect of Mance was associating Rhaegar to it all...well, I did entertain the thought that Rhaegar's actions can be read as a parallel to Jon's theme:

"Then Lord Eddard is a man in ten thousand. Most of us are not so strong. What is honor compared to a woman's love? What is duty against the feel of a newborn son in your arms … or the memory of a brother's smile? Wind and words. Wind and words. We are only human, and the gods have fashioned us for love. That is our great glory, and our great tragedy. (AGOT, Jon VIII)

Obviously, this is primarily about Jon, I expect it to play out in Jon’s story, but it does sound Rhaegar-esque. Jon might have been that baby to Rhaegar.

That would mean we condemn him for how he failed Elia and the babies, his kingdom, that Jon would still that horror, but would prevent Jon from being able to completely despise the man, as he too has felt torn between vows and love.

(insert my caveats re: prophecy baby, being very much at peace with Rhaegar bleeding out etc)

The pain comes in with complexity, and I think that’s what Martin wants even if I’m personally unmoved by it.

[borathae]

Hi Sibi!! So after stewing on chapter 11 and chapter 10 I thought I would rant on how I feel about Jimin. Jimin as we all know is such a complex and hard to understand character. I’m still mad at him for what he did to OC but he himself has gone through so much that coming clean and owning up to it is so hard.

MV Jimin reminds me of the phrase ‘when the abused becomes the abuser’ he has been the victim for so long of Namjoon’s manipulation that he has to resort to manipulating others to feel safe which honestly is so sad. The conversation Jimin and OC had at the end of chapter 11 is so frustrating because she is all for coming clean and he has so many walls from letting him see that he can still be loved and heal from his abuse and Tae will be there for him no matter how hard the situation gets. Fuck Jimin makes me feel frustrated and sad because he is stuck in this loop that I feel takes a lot of time and not just love but consistency and reprimanding (but not in a harsh punishing way that Namjoon does but more owning up and still being there for you to help you through the fuck ups you make.)

Jimin needs some negative reinforcement thingy and I wanna see him heal and grow. I wanna see the sassy Jimin but with a mix of Jimin that chooses to be better and good. Ughhhh Jimin is such a multifaceted character that I can’t stop thinking about😩

Also I wanna know how Namjoon is doing because like man’s traumatised ppl and is out of the picture probably fucking other peoples lives up😂

Sibi you don’t understand how MV has a chokehold over my life. Like I love the story that it leaves a hole in my chest everytime I race to read a new chapter and have to wait for the next (I hope this doesn’t offend you I just love it too much that it hurts me. I’m not demanding for more posts or anything, sorry if it comes out that way, there is nothing wrong with your scheduling😓. If I might say your scheduling and the way you work is fucking amazing and I wish I could kiss you 😘). Lastly, I’m sry this is long and thank you for taking your time to read and answer it!🤍🤍🤍

P.s. Seokjin can we share Emma pretty please🥹👉👈

-MV FANATIC❤️‍🔥

he has been the victim for so long of Namjoon’s manipulation that he has to resort to manipulating others to feel safe which honestly is so sad.

YES THIS! He is honestly such a good example for when the abused unintenionally learns from the abuser :(

Fuck Jimin makes me feel frustrated and sad because he is stuck in this loop that I feel takes a lot of time and not just love but consistency and reprimanding (but not in a harsh punishing way that Namjoon does but more owning up and still being there for you to help you through the fuck ups you make.)

I agree with you!! I think he needs someone to consistently tell him "hey you're safe now, you can let go of some of those walls now" 😭

Also I wanna know how Namjoon is doing because like man’s traumatised ppl and is out of the picture probably fucking other peoples lives up😂

This is exactly what he is doing ajfdjf idk if you noticed the little inner monolgue I made that one vampire woman from chapter 3 have where she was all like "why did namjoon turn her? why is he not helping? did he ever actually love her or did he lie?" LIKE THIS MAN JUST CASUALLY TURNS PEOPLE AND THEN DITCHES THEM LIKE OMFG

ALSO OMFMGM THANK YOU SO MUCH FOR LOVING MV SO MUCH!! IF UCKAFIANDFN FUCKING LOVE YOUUUU 🥺💜💜💜

[ursie]

genuine question: if devin wrote dick as romani in a hurtful way, why does fandom seem so intent to keeping him romani while decrying the writer that made him romani in the first place? like, if it came from such racist/hurtful archetypes then why cling to it so much? (in contrast, i've seen people say that headcanoning tim as asian is bad because of sterotypes, which is why i don't understand the difference.) i barely read past the 80s comics i grew up with, i just read a ton of fandom arguments and the contrast between "dick IS romani" vs "tim ISN'T asian" is like. i don't understand it? i know fandom isn't a monolith but there are trends overall. idk, i figured you seemed like a "safe" person to ask this question in good faith. hope it doesn't upset you! thanks for taking the time to read and/or answer this. <3

Ok so the thing is bad rep is worse than no rep-yes but erasure is worse too so the solution isn’t to erase but to fix it and there has been genuine effort in canon and by Romani people in the fandom to address Dicks rep. While it’s undeniably rooted in some stereotypes there’s also no denying how important Dicks character is. He’s undeniably the most popular Roma character of all time and that’s an issue when people won’t acknowledge he’s Roma. He’s multifaceted and smart and brave and complicated and undeniably good ect these are really good characteristics for any character let alone one to represent any group of people. The best thing dc could do is either hire Roma writers (or Roma editors/sensitivity readers/ect) they need Roma people in the workroom not less Roma characters in comics. Because at the end of the day If we wait for perfect rep before we acknowledge it we’re not going to get it and that goes for any marginalized identity. People cannot know other’s peoples lived experience-which is why we need to push for our voices in the room. Almost all the diverse characters in comics nowadays started as stereotypes and were stereotypes til someone said no and chose to do the work so they could write them better or at least try-that’s what needs to be done. I think it’s funny (and this isn’t at you) that with Dick given his importance given his cultural influence people push for erasure due to some writing flaws when that’s not and never been the case canon or fanon for other characters I mean have you read early black panther? It’s not good. I think people need to reflect if they actually have an issue with how he’s written or if they not only don’t want to view him as Roma but don’t want to put in their own work of looking past the stereotypes either. Also tbh while you’ll see people tote that Roma people don’t like his rep (which I’m not saying there’s none who don’t) the posts that are most commonly referenced are by non Romani people (and one is by a total freak so yeah). In current canon Dick is probably about 1/4th “ethnically” Roma (though that hardly matters he’s Roma hes roma like. Roma is a race he’s just not white) but also in preboot, dick's father was a kalderash-american rom, dick also spoke lovari dialect in preboot. as of post flashpoint, dick's mom is an american roma but her vitsa is not confirmed, so i just like to hc john was kalderash and mary was lovara personally 🥰 like again the best thing dc can do is actually talk about the Graysons, Mary’s family, ect and make them human. Make them more than stereotypes. Actually talk about his culture and his family and his people-not just brush it under a rug until they reference it for diversity points later

As for your other question/point to me the difference between hcing a character as a different race vs like Dick is the push to view white characters as non white instead of actually making fan content of canon non white characters? Like it’s almost a white guilt thing w Tim (this is not at fans of color) but like you want to feel good about stanning characters of color but you also. Don’t actually stan a character of color (like Tim or Jason for instance) so you just hc them as non white (and yes often stereotypically) instead of like reading a single comic w Duke in it. Like racebending is fine and I think it’s good but when done by white fans it’s often actually done to like justify their distance from actual canon characters of color. Like I’m glad you think Tim’s Asian but you still won’t draw fanart of the batfam w Duke in it in 2022 yknow? You still prioritize Jason over Cass but you think he’s Latine, you hc Steph as ambiguously brown but you still characterize Damian in a racist manner, ect. Does that make sense I’m not actually sure I’m explaining well. Oh and in the case you specified Dick is canonically non white wheras Tim isn’t-and it should be noted that white isn’t the baseline-While no one’s saying writers had any intentions he was never stated to be white before-him being “retconned” as Roma isn’t really fair or true he was simply revealed to be so as again white cannot be treated as the inherent norm (nor should heterosexuality and being cisgender or able bodied) I’m not saying you’re wrong but I think it’s important not to think about that kind of stuff in those terms if that makes sense. I hope I cleared this up. I certainly tried and should you have any more questions my inbox/dms are open

Edit : adding on an important response from @royharper : the bottom line is that people who aren't roma should not be speaking on his identity as a rom because they have no idea what roma identity fully entails. i've seen people claim "he's not culturally connected, therefore he can't be roma" or "he can be white and roma, he's not a person of color" when neither of these things are true. for one, while devin is inconsistent in her writing, dick is shown to be raised within the culture as far back as her titans run in the late 90's, in which he is shown to be speaking romanes with his father in a dream sequence that is heavily implied to be a flashback of sorts, and as well lian states that dick can speak romanes when discussing the various languages that her dad, aunts, and uncles can speak. language /is/ culture for us, it's not something that any outsider can just learn super easily. it was really strange that she retconned this herself by the time gotham knights was written a few years later through the character yoska, who attempts to speak romanes with dick and finds that he can't understand him, however using this, along with the orientalist stereotypes devin tried to impose on both dick and yoska when writing about roma identity, as an excuse to say that dick is not "really a rom" is racist. outsiders do not understand the nuances of roma identity enough to make that judgement, and no, wikipedia is not an accurate source for information about roma. touching on the idea that roma can be white, this is a misconception. while outsiders may be folded into the community by marriage or adoption, this is not very common because we don't tend to marry or adopt outside of our communities. furthermore, roma is not an ethnicity. roma is our race. our ethnicities are our clans. there are roma with pale skin, there are even roma that appear white, but they are still racially roma and are still subject to racial discrimination. in response to the idea that there is an outpouring of roma fans who don't want dick to be roma at all, this simply isn't true. that rumor was originally started by someone who was outed as a racefaker, and is perpetuated by white fans who seek to weaponize this perspective to justify their whitewashing and racism. i've known more roma who were, while still critical of devin's orientalism/antiromanyism, ecstatic to have a roma comic character who actually speaks the language, as in comparison to doctor doom and the maximoff twins, who are arguably just as popular, who do not speak romanes in comics, or have only spoken one or two words of the language. dick is important in terms of representation for this fact alone. i can't fathom the amount of people who are not roma who think that just because roma characters are often subject to stereotypical writing that it's somehow better to simply erase their racial identity all together rather than doing their own research to avoid stereotypes when portraying the characters and pushing for these companies to start hiring roma creatives as we do with /every other character of color because not a SINGLE character of color in comics history has been entirely free of racist, stereotypical writing or of colorism and whitewashing in official artwork/. and yet you don't see people pushing for other characters of color to be made white. it's really very telling to me. and just for the record, since i know this is for some reason a popular talking point, dick's race was not retconned after devin initially wrote him as roma. his race has been referenced across numerous other comics written by other writers over the years, most notably tim seeley in his run of nightwing rebirth. while i have issues with seeley's characterization of dick, and he tends to sexualize him just as much if not more than devin imo, dick's racial identity plays a big role in the raptor arc. stop acting like devin was the only writer to ever write dick as a rom and that it was never seen or heard of again in canon after she stopped working on nightwing.

[klutzymaiden123]

Another Unneccesary Analysis

Something I love exploring in Helga's relationship with Arnold is the toxic elements; she puts this boy on a pedestal. There's psychological reasons why she does it, but she does it nonetheless, and I think that's both unfair to her and Arnold.

She's always been much better than what she credits herself, but Arnold is more than the pristine being she's created. I've long theorised that she fell in love with the idea that she created of him, rather then the actual Arnold Shortman. It was for that that I wanted to write this story in the first place; that, and because I wanted to see if I could keep Helga in character while also making her likeable and sympathetic.

I think Helga can be a tricky character to nail because, from my perspective, she comes across as so unpleasant that I don't end up rooting for her. This isn't regarding the canonical show, this is moreso the fanfics that I was reading beforehand. There were a lot of spectacular works that quickly made me invested, but, as is the general gist of fanfiction, more were quite clunky (but still intriguing, if I'm being honest). A lot of them featured really misogynistic portrayals of Helga where she was exceptionally rude and judgemental of other girls (which granted, she does strike me as the type to bear a lot of internalised misogyny towards girls that make her feel insecure. The problem isn't that necessarily, it's moreso that she's never called out for this toxic behaviour, and more then anything, is portrayed as being in the right for slut shaming other women). Even more, she actually did become really unlikeable, and honestly, I wanted to see if I could write her as a protagonist but to my liking.

I’m really happy with what I’ve come away with; she’s a flawed individual for sure. Blue Jay brings out the best and worst in her; she’s learning to prioritise other people, but she’s still downplaying her successes. That being said, she’s getting out of her comfort zone and interacting with people she never thought she would again.

Even moreso, her relationship with Arnold is evolving; I've tried to keep showing how often she's disappointed with how Arnold turns out to be different from how she assumed he was. Helga's thoughts are often clouded, cluttered and emotional, but I wanna stress how unjustified her disappointment is. Arnold is still a teenage boy; he may be mature for his age, but regardless, he's a teenager, and even more, in the show, he was nine years old. The boy has made some horrid mistakes and will continue to do so, just like Helga will. She's entitled to feel upset as Blue Jay, as these can coincide with her role as a Guardian, however, she as Helga isn't entitled to feel let down because Arnold isn't matching up to the ficitious narrative she' been projecting and rewriting since she was a kid.

I think when we think of projection, we assume it to be hurling our insecurities onto other people, but it also can be the opposite; projection can be idolisation. It can be projecting what we want and believe ourselves to be severely lacking onto others, which is never fair. Because, at the end of the day, it is a form of dehumanisation; you're expecting the impossible from them while refusing to recognise their very real flaws. Arnold is an intelligent, kind and caring individual, but more then that, he's multifaceted and a flawed human being. He has his own desires and dreams, a lot of which don’t make sense, and can put himself and other’s in harm’s way. He isn't a fairy tale, or a cure that can alleviate or mend someone else's damage, he's his own person with his own issues.

So, yeah, long way of me saying that the reason why I haven't put them together, and insist on showing the uglier side to Arnold, is because I geniunely don't believe a healthy romantic relationship would be able to grow between them until Helga faced the inevitable disappointment that the boy that she loves is a person and not flawless. Something that I’m loving because I believe that with every hurdle or disappointment they both face, the more beautiful their geniune affectionate moments seem. These are two people who have known each other for years without really knowing each other; there’s a lot of chaos, but admist it all, they’re doing their best to hold on while understanding one another. 

"A pedestal is as much a prison as any small, confined space." - Gloria Steinem

[not-wholly-unheroic]

Question, do you think Captain Hook would be willing to forgive Peter if the boy apologized for everything he did?

*cracks knuckles* Oh man, you have no idea how long I have been preparing to answer a question like this! Lol. 

First off,  I guess I should say that I am an absolute sucker for redemption arc stories and the enemies-trying-to-kill-each-other to friends-fighting-alongside-each-other trope. So the idea of Hook forgiving Peter (and Peter forgiving Hook) is one that I would love to see played out. (Personally, I find the idea of a post-redemption arc Hook acting as a sort of father figure to Peter and/or the Lost Boys absolutely adorable.) That said, while I do think such a thing is POSSIBLE, I don’t necessarily think would be LIKELY, and whether or not it could happen would depend largely on a couple of different factors:

(1) The version of the characters we’re talking about. Some Hooks (and some Pans) are softer and more multifaceted than others. Some are more black and white. In versions where Hook’s softer side comes out more frequently and Peter is a little bit more mature, it’s more likely to happen than in versions where Hook is a straight-up villain and Peter has the carelessness of a young child but the capability of being as dangerous as any adult. 

(2) The circumstances. There are certain conditions that, when met, I think would greatly increase the chances of a reconciliation.

Time and/or space away from each other and/or the island to rationally (as opposed to emotionally) consider the situation. Depending on the version, the island seems to have a certain effect on people... It can make them forget what life was like before, and for Peter, at least, it is a large part of what makes him an extraordinary boy rather than simply a child at play. Separate Hook from what he feels is his own personal hellish nightmare or Peter from the source of his magic and they just might start to see each other a little bit more clearly for what they truly are--two very lonely people who are hiding behind anger or adventure because they are afraid to let their guard down. They really are more similar than either would admit, and if they could see that, I truly think the dynamic between them could change.

A common cause or person they both care about enough to at least temporarily form a truce. If something threatened BOTH of them or someone they both cared about and they were forced to work together even for a short period of time, I think the likelihood of forgiveness would increase. You can’t fight together side by side and then go back to fighting WITH each other like you didn’t just have each other’s backs. They say there are no atheists in foxholes. There aren’t any enemies when you’re in the trenches together either. 

Proof.  Actions speak louder than words, and actions require time. True change and forgiveness don’t happen overnight. If Peter just came up to Hook out of the blue and apologized, I seriously doubt Hook would believe him. He’d probably think it was some sort of trick and/or take advantage of what he’d see as a moment of weakness to attack Peter. HOWEVER...if, over time, Peter demonstrated that he actually WAS sorry...it’s possible Hook could start to believe him. Maybe it’s something passive--Peter just stops coming around to annoy Hook and Hook eventually realizes, “Huh... Peter hasn’t caused any trouble in awhile. Is he planning something?” He’d be suspicious for awhile but eventually might start to figure it out. Or perhaps, Peter does something more active to prove his point. Maybe he goes out of his way to keep the captain out of harm’s way during an attempted crocodile attack, returns things he has stolen from the pirates, and/or (in versions where it applies) makes it possible for Hook to leave the island. Over time, one could hope that Hook might get the picture.

Mutual admission of wrongdoing. I know some people are going to disagree with me here, but I honestly believe that both Hook and Pan have things they need to apologize for. Canonically, we don’t know who started the fight. We know Peter cut off Hook’s hand and gave it to the crocodile, but we don’t know for certain if that was a provoked attack or not. Maybe Peter just thought it was a fun game or maybe Hook did something that was deserving of punishment (like killing one of the boys). We don’t know. But we do know that they have both tried to kill each other on multiple occasions. Peter definitely is responsible for causing the captain a lot of grief but Hook has also attempted to poison, blow up, drown, and/or stab children (again, depending on the version)...even those who didn’t directly do anything to hurt him. They are both villains and victims simultaneously, and realistically, neither one of them is going to apologize without also getting an apology from the other...and honestly, it doesn’t matter WHO started it. As the adult, it’s Hook’s job to take the first step toward reconciliation. Because that’s what grownups do; they take responsibility for their actions and set an example for children to follow. This sort of apology can’t be forced or coerced. The person has to want to move toward forgiveness, if not for the other person’s sake then for the sake of their own ability to let go of a situation and move forward. (Though the mental image of Wendy grabbing both Peter and Hook by the ear and going into full-on “Mother Mode” to try to make them reconcile is admittedly a hilarious one. Seriously, someone with more talent than me, please draw this!) Hook says he wants to be free of Pan, but the only real way to do that is to forgive him...and maybe, just maybe, if he stopped to think about it and realized that, he’d be willing to extend his good hand in a gesture of peace.

[shihalyfie]

The paradox of the relationship between Takeru and Hikari

The issue of the relationship between Takeru and Hikari has been a question of interest since the series first aired, and especially after 02, which prominently depicted them constantly hanging out together and clearly having some kind of relation to each other...and yet, strangely, very rarely having a real heart-to-heart or even talking to each other much at all. The constant juxtapositions of them standing next to each other all of the time in both the series and in external media, combined with the fact they’re so associated with each other in terms of being Adventure returnees and with Digimon partners with similar evolutions, makes one almost mentally geared to associate them with each other, and yet we never really get to hear what they think about each other in the entirety of Adventure or 02′s running.

Part of this is because Takeru and Hikari are the two most “difficult to read” characters in the 02 team -- Hikari because she compulsively suppresses any selfish or negative feeling she has, and Takeru because he covers up his problems with a smile and pretends everything is okay, until it’s not. And, as it turns out, that “gap in communication” exists between the two of them as well; in the web of 02′s relationships, it’s a strange mix between being “comfortable around” each other, and yet not truly knowing each other...

Disclaimer before we continue: With some exceptions related to unambiguous canon depictions, I try to write my meta about relationships between characters in such a way that both shipping readings and non-shipping readings are possible in most cases, and my main reason for this is that I very strongly believe that even if you do ship the pair in question, it’s rather reductive (and not very fun) to stop an analysis at “anyway it’s because they’re in love” or something and not go any further. If you don’t care for Takeru/Hikari as a ship, I hope you can take this analysis as-is, and if you do happen to ship it, I hope you can take my analysis of the gaps in their relationship as “things they would have to consider and overcome for such a relationship to be possible” (i.e. a possible fanfic prompt?) and not me trying to dismiss the ship as inherently possible or impossible.

A second disclaimer: A lot of the important key points below are heavily dependent on how they were presented in the Japanese version of 02, especially in regards to the key 02 episode 13. The American English dub took a very large number of liberties with a lot of the below aspects, so if you are reading this with only that version as a reference, please be aware that there may be significant differences for the sake of avoiding confusion.

Hikari didn’t get to spend much of the series with the rest of the Adventure group, having been a “latecomer”, but once she enters, it’s rather interesting how much Takeru doesn’t socialize much with her. Granted, part of this was because of the circumstances -- there was a lot to be done, and Hikari had a cold relapse not long after they’d entered the Digital World -- but you’d really think Takeru would be interested in at least socializing with someone who’s actually his age, and yet we don’t get any real depiction of doing so outside of discussing important matters. It’s not to say that they never had any kind of conversation offscreen, but by the time we get to the end of Adventure, we have zero scope of what they actually think of each other.

By the time we get to 02, it turns out that this is probably by design.

First of all, we very quickly learn that the two of them did not keep up between Adventure and 02 -- they’re meeting each other again for the first time in a long time, and the last time they did meet was when they were much younger (probably their last meeting being the one depicted in the flashback in 02 episode 27). This is understandable considering that, up until the beginning of 02, Takeru lived in Sangenjaya and not Odaiba, meaning that it wasn’t like they’d have opportunities to meet up much in real life either, but the point is that this is how little contact and how little involvement they’d had in each other’s lives up until this point.

So, once the plot of 02 kicks off and the two of them become active as Chosen Children again, the two of them end up hanging out a lot. So much that Daisuke starts accusing them of having something between them. And the two of them never say anything to really firmly deny him, which of course only makes him more confused and upset, until 02 episode 17, when the concrete connection between them is established to the rest of the 02 team, and it’s properly disclosed that they were part of a whole adventure back in 1999 together.

Takeru knew Hikari before, and she’s still the one he knows the best out of this team, and on Hikari’s part, Takeru understands the nature of “being a Chosen Child” in ways the others don’t, and both of them had that formative experience that the others don’t understand. But 02 is a series that’s not only about relationships, but also about the differing nature of relationships -- it’s true that, having known each other well beforehand and also being all-around decent people, the two of them would certainly have an extra level of investment in each other’s welfare, but...

In 02 episode 13, we learn that as much as Takeru knows Hikari, he doesn’t really know her, and on Hikari’s part, she’s still incapable of communicating the extent of her thoughts so that he can.

The conversation between Takeru and Hikari behind the school in this episode is the first time we get to really see an opportunity for the two of them to bare their actual emotions, but nothing that can be called a "conversation" is had between them. Hikari is still plagued by a compulsive desire to not be a burden to others, including the idea of “burdening” her brother, and, when Takeru finally prompts her on what’s going on, she says nothing that properly clarifies what she’s going through, nothing but a cryptic mention of the “sea”, a statement that she "might be going away”, and a reference to her brother having always protected her beforehand. Takeru takes it as a sign that Hikari’s become overly dependent on Taichi, and snaps at her angrily -- a persistent symptom of him being unable to regulate his emotions properly -- and, unable to handle it, runs off awkwardly, leaving her alone to eventually be taken away. Later in the episode, Takeru reflects that he’d basically just doomed Hikari by his own actions, and with his last words to her having been something awful.

Ultimately, some degree of progress is made in that Hikari realizes that Takeru reaching out to her earlier makes him someone she should be reaching out to for help -- in the end, nobody in the 02 group had yet been able to reach out to her emotionally because of how closed-in she was, and the only people she truly trusted with her feelings up until that point were Taichi and Tailmon. So in other words, Takeru is another person she can finally “trust” with her feelings and welfare. But while Takeru is finally able to connect to her in some sense with this, when the two finally close off the episode and return to the real world, everything ends in complete silence. They do not say a single word to each other. They’re getting by with a sense of “inherent trust”, and their disconnect was resolved with that alone this time, but this problem hasn’t been fully solved yet and will be rearing its ugly head again by the time we get around to the Jogress arcs.

And so the two of them return back to their “comfortable with each other” status quo -- but, again, 02 is a series that portrays relationships in a very multi-layered and multifaceted form, and being comfortable around someone still doesn’t necessarily merit emotional closeness (for instance, Ken was pretty clearly indicated as being “comfortable” and straightforward in terms of working with Miyako in 02 episodes 25 and 33, but there’s no doubt that Daisuke’s the one who was more properly addressing the things he emotionally needed most at the time, which could arguably be said to be exactly why Ken was having a hard time adjusting to him at first). We see them “go off together” to do...completely mundane and practical things, like discussing why they’re still able to come to the Digital World in 02 episode 22, or trying to have their Digimon partners evolve on their own in 02 episode 24 -- they’re not having any kind of emotional heart-to-heart, they’re just there.

When you look at the wider picture, you can see that Hikari and Takeru’s relative comfort around each other at this point is largely because they’re still not comfortable being alone with anyone else yet. So far, they kind of had a bonding (not really bonding) session back in 02 episode 13, and they hadn’t had anything of the sort with anyone else, and they’re still the only people who understand certain things relevant to the adventure in 1999 that the others don’t. They’re both still ridiculously closed-in and guarded, and not trusting anyone with their feelings -- they can’t even trust each other with their feelings -- so they’re getting by on hanging out with each other because it’s either that or go off to be completely alone. As the two most “emotionally isolated” people in this group, there’s a wall between them and the others, and that wall is only slightly thinner between each other -- and you can even imagine that they’re willing to hang out with each other because they won’t be bothering that wall and causing intimidation.

And by the time we roll around to 02 episode 31, we learn that, this whole time, nothing has improved. Takeru sees that something is going on with Hikari, but does and says nothing -- perhaps because he’s not sure what to say, perhaps because he’s afraid of lashing out at her again, whatever it is -- but he can’t and won’t speak to her nor address her feelings.

In the end, the person who does establish that ability to “communicate” with Hikari is not Takeru but Miyako -- an aggressive, in-your-face, overly honest person who gets straight to the point and refuses to hold back, whose messy personality causes Hikari to become assertive in handling her and allows Hikari to finally vocalize one of her truly sensitive feelings, and who’s able to use her immense emotional sensitivity to identify what Hikari needs and break through to her.

But just because Miyako ended up being the person Hikari needs to move on past this issue does not mean Takeru’s role wasn’t important, nor that Miyako coming into Hikari’s life means that all of her relationships are inferior or pointless -- rather, a recurring element of 02′s portrayal of relationships is that everything has a ripple effect, and that “opening up” one person’s heart allows them to open up to others as well (see how Daisuke reaching out to Ken eventually helped him reach out to the others in the group, how even in this very same episode Miyako expresses that this experience helped her understand Ken better as well, how Daisuke’s experiences end up giving him a healthier relationship with the rest of the group, how Iori and Takeru’s Jogress ordeal helps them both become better at reaching out to Ken...). Unlike how they’d both closed off 02 episode 13, Hikari and Takeru end this one by talking -- with Hikari’s newfound confidence from her dealings with Miyako allowing her to more openly speak what she’s thinking with Takeru.

One thing you might notice is that after 02 episode 31, Takeru and Hikari are never seen going off on their own together for the rest of the series -- because, again, their “latching” onto hanging out with each other at the exclusion of anyone else was because they were that isolated from everyone else, but not anymore! Hikari starts to hang out more with Miyako as the two of them become more comfortable hanging out after the events of said episode; after all, Miyako had come to understand the real reason why Hikari “keeps so much inside” and that she needs to actively reach out to her, and Hikari is able to properly trust Miyako with her feelings, meaning that now that Hikari is starting to open up, she doesn’t need to fall back on her “truce” with Takeru to get by. Which ends up leaving Takeru rather alone for the following set of episodes. Well, seemingly alone, but...

...he’s not truly alone, because this is also where Iori realizes that there’s a lot more going on with Takeru and that he needs to make a proactive effort to understand him, and it doesn’t take long for Takeru to realize what Iori’s doing (especially when Yamato tips him off that Iori asked about him in 02 episode 35). Once again, very much unlike Hikari, Iori is straightforward and to-the-point, and is much better at cutting through all of the complicated layers Takeru puts up in an attempt to cover up his emotions.

The rest of the series has them in significantly more emotionally tense situations than before, and while the fact they end up spending the rest of the series with their respective Jogress partners instead of each other is partially sheer pragmatics, it’s also how the two of them start taking a more active role in actually checking on the others’ emotions and communicating with them in regards to their feelings. This is a huge deal -- compare this to back in 02 episode 13 when they were practically the only people willing to have this kind of serious, emotional conversation with each other -- and said attempt at a serious conversation exploded in their faces. (The other time one of them had made an attempt at something vaguely resembling a heart-to-heart during that time was 02 episode 11, which also resulted in Takeru blowing up explosively.) But here they’re capable of communicating clearly and openly and making their positions known in a way that gets through to their respective Jogress partners’ issues, without being stifled by anything.

But, again: just because they don’t “go off together” anymore doesn’t mean they stopped being important people to each other or comfortable around each other -- it’s just that now they’ve stopped wandering off together for the sake of blocking themselves away from others, and no longer trapped in this strange, paradoxical relationship of knowing-but-not-truly-knowing each other they had all the way back in 02 episode 13. The relationship they had back then was something built off of coping mechanisms, and not something you could truly say was healthy, not when their communication was stilted and Takeru had snapped at her so badly -- but both of them learning to open up more and be more honest with their feelings means that they may well have an actual healthy dynamic going forward.

And for all it’s worth, we learn that they’re still on very good terms by the time of Kizuna, getting breakfast together in the opening -- but it’s left ambiguous if their reason for doing so like this was because they still have a penchant for particularly hanging out together, or whether it was just circumstance because they were free to get breakfast after the Digimon incident (they act independently for the rest of the movie). Moreover, their relationships with the others in the 02 group are still going strong, because as per the drama CD, Takeru’s happy to hang out with Daisuke like it’s nothing and actively join in to reach out to Iori (it’s said Daisuke was approaching Iori “first” despite Takeru being there, so both of them were hanging out independently and decided to pick up Iori together), and Hikari comes in with Miyako, expressing a very firm intent to hang out with her for their trip, and ultimately it’s established that them not being with the rest of the group at the time of the movie was sheer scheduling circumstance and not necessarily them going out of their way to operate away from them.

So in other words, whatever relation you can say they have at this point, or their ability to get along, is not based on them falling back on each other as an unhealthy coping mechanism of silence, but one carried out in a more genuine manner.

[iamnmbr3]

I know you're not happy with the show but making things up is really damaging your reputation. The show is not a failure; it's the biggest launch of any disney+ show so far with the highest ratings. The first trailer has so many views because it's 7 months old, compared to the first episode being out a week and a half. The CGI doesn't look like it was done by a two year old (seriously lmao??). The tesseract looks dull because it powers down once in the TVA. Stop pretending Loki was mind controlled when Marvel confirmed in his character bio that he was emotionally influenced by the scepter. Bucky was mind controlled. Selvig and Hawkeye were mind controlled. Loki was influenced like Banner and the others were by the sceptre when they were around it on the helicarrier. Please consider that care has been taken to make Loki more multifaceted in this show, not OOC - he's just got more emotion and character to him now and feels to me and a lot of others, more like a living, breathing person who is struggling in the immediate aftermath of being shown the most traumatic recap of his life. I'm really sorry you're not happy with him, but his emotional core and inner heartbreak is being treated with love and respect by the show.

Hahahahahahahahhaha oh my god anon this was a funny read. Ngl usually when ppl come clowning in my inbox with incoherent rants I just delete it. But this was some quality clowning. This was just too funny to not share with everyone. So I’m gonna go line by line here.

“I know you're not happy with the show but making things up is really damaging your reputation.”

I’m gonna be real with you anon. This makes me sad because I will never write anything this funny. This made me laugh out loud. My reputation? My reputation?!?! I run a blog on Tumblr dot com. No reputation can recover from that. Also as to making things up? Uh. Where??? Just because you don’t like what I have to say doesn’t mean it’s made up. However with that kind of attitude I think you have a bright future ahead of you working in PR for the GOP. They love people who talk like you.

“The show is not a failure; it's the biggest launch of any disney+ show so far with the highest ratings.”

Ok I literally just talked about that HERE. But let me add a few more points here for your convenience. First of all, Disney+ hasn’t actually been doing that great. In fact Disney’s stock recently fell precisely because Diseny+ has underperformed. It missed growth expectations and none of the shows have attracted that big of an audience. Loki had MASSIVELY more interest than either WandaVision or TFATWS and yet it only drew 890K households for the premier - just barely more than either of those shows got. There haven’t been any numbers released for the episodes after the premier but given how boring and unfunny and uninteresting the premier was, I wouldn’t be surprised if a lot of viewers, especially more casual ones, didn’t come back for more.

“The first trailer has so many views because it's 7 months old, compared to the first episode being out a week and a half.”

Incorrect. Trailers get most of their views in the first week, and the vast majority in the first 2 weeks. Indeed, they get the most engagement in the first DAY usually and then it starts slowing. The early trailer that got 18 million views got most of that very quickly and then has grown extremely slowly ever since. The more recent trailers are not tracking to get anywhere near than engagement. Why? Because interest is dropping. Now maybe people just aren’t as interested in the trailers because they’re just happy to watch the actual show now or because they loved the first trailers so much that they decided to watch the show just based on that and didn't want to spoil themselves watching later trailers. Who knows. I certainly have my theories though.

"The CGI doesn't look like it was done by a two year old (seriously lmao??)."

Actually I said the posters looked like they were done by a 2 year old. Most of the CGI looks like cheap made-for-tv effects done by an underpaid and under qualified adult. But go off I guess. Also don’t even try to defend those badly photoshopped posters to me. I have eyes. I could argue with you but a picture is worth a thousand words. And just. Look at this thing! This is real. It’s so bad but it’s real. Who wants this?

"Stop pretending Loki was mind controlled when Marvel confirmed in his character bio that he was emotionally influenced by the scepter.Bucky was mind controlled. Selvig and Hawkeye were mind controlled. Loki was influenced like Banner and the others were by the sceptre when they were around it on the helicarrier"

That’s mind control lmao. The scepter was magically influencing his mind. Do you think emotions come from our feet or something?! (And that’s not even getting into the torture and conditioning he underwent or the fact that the Other had his claws in Loki’s mind and was hurting and threatening him in addition to the mind control). Also why do you think it’s appropriate to come on my blog like this and make these sorts of demands? This is my fandom blog that I run for fun. I can engage however I want. You need to learn to cope with that. If you enjoy the show that’s great. Go enjoy it. Don’t tell other people what to think. That’s not appropriate, reasonable, or healthy. If you find yourself truly unable to cope with strangers having different opinions from you about a tv show based on a comic book I definitely suggest you seek help from a professional.

"Please consider that care has been taken to make Loki more multifaceted in this show, not OOC - he's just got more emotion and character to him now and feels to me and a lot of others, more like a living, breathing person who is struggling in the immediate aftermath of being shown the most traumatic recap of his life."

I don’t see any evidence at all of care being put into the show. The writing and storytelling is incredibly sloppy. It gets even the most basic things wrong - like Loki’s speaking style or the fact that he wasn’t young in the 70s or that he speaks the Allspeak not English or his skin tone or hair length or the fact that Jotun!Loki should’ve had ridges on his skin. The head writer and story creator also is openly disdainful of Loki and talks about how he’s a “shithead” and “proper and pompous” and how he needs to be put in a situation where he has to stop “blaming” Odin and Thor for all his problems. He shows no understanding of Loki’s character or care for it. Maybe care was put into the show and they just messed up but I don’t see evidence of that. There’s certainly no way you could know that for a fact unless you are involved in the production in which case you are a biased source who has an ulterior motive for silencing critics of the show.

Also TV!Loki doesn’t feel like a real person to me at all. He feels like a caricature. He doesn’t act like Loki or do or say the things he would or even stand like he would. Look how Loki behaved when being interrogated by Natasha or when being berated by Odin. Loki is someone who puts on a performance as a sword and a shield. TV!Loki is a stupid clown.

"I'm really sorry you're not happy with him, but his emotional core and inner heartbreak is being treated with love and respect by the show."

No it’s not. It’s being turned into a punchline. The “humor” in the show derives entirely from invalidating Loki’s feelings and retconning his motivations and humiliating and mocking and denigrating him and turning him into a literal punching bag. The show robs the character of all dignity and seriousness and makes a mockery of him and the fans he meant so much to. And for what? The humor isn’t even funny.

[shatar-aethelwynn]

Has there ever been a all myths are true story that doesn't portray Yahweh as a jackass and the other gods bitter at him like at least one story, please. I just want him to have more character than just asshole (supernatural doesn't count)

“This is another part of my previously ask but why is when most works not Christian mostly just portray Yahweh evil. Has there been as works that paints him a flawed but caring person a not either extremes too

I may have worded my first ask wrong when I ment the gods being bitter at Yahweh I mostly mean like Greek, Romans, Egypt, and maybe the hittie and cannan being bitter not the places where people were forced to convert. I'm sorry if I got anything wrong I didn't meant to hurt anyone”

I don't know what exists for fiction, it’s not something I've ever gone looking for. And I never managed to get through season 1 of Supernatural so I have no idea who and what is in that one beyond the bits and pieces I've picked up over the years. For ideas of all myths being true you're going to be looking at more academic work where "it’s all true, but it's not real" theories require a distinction between historical truth and mythological truth. This is a part of the "there are many types of truth, and they don't all have to agree" idea. People have different opinions on what this actually means. But that doesn’t explain why Yahweh is often portrayed as a bit of a dick. For that the short answer is "cultural context." We do not live in the same culture as the people who wrote these stories down. Our understanding of the universe and our ideas of what is good and moral are different. If you try to force modern sensibilities onto these ancient texts you will be horrified by what you read. But the people then wouldn't have seen things the same way. Yahweh is violent when angered, yes, but that is just the way gods are. Don't piss them off. This is not unique to Yahweh. Much of the violent imagery (sexual included) is horrifying, but within their context is just "well, he’s a god, this is what they're like" and it would have been as much a mark in the favor of the god as a demonstration of his power and virility and why he should be honored, as it is a mark of disgrace and repulsiveness for many of us today. Gods can be as complex as humans are. If a modern story wants to say that all the myths are true, but only showcases the violence of one specific deity without showing the violence of the others, then one could speculate that the author likely doesn’t know or doesn’t care much about the context of the various myths/texts, or has an obvious bias against one particular character or set of myths. I for one wouldn’t want to meet most of the ancient gods alone at night. Or at any time really. I haven’t finished it yet (and there are some things in it that I'm not sure are fully accurate) but "God: An Anatomy" by Francesca Stavrakopoulou has so far been doing a very good job of explaining this. Rather explicitly at times, so it’s maybe not a good book for someone who is squeamish. In it she describes Yahweh as flawed, but also as someone who is passionate and capable of emotional responses. Intensely so. He cares about those who he says are his. But he cares as a god, and not as a human, and in the ancient context that also means he can be violent and terrifying. As a strong god ought to be. This characteristic is a product of the culture that described him. He is a multifaceted character, but if you don’t understand the culture within which he is described it becomes easy to look at the text and say “monster!” (Honestly, I've been finding that non-religious books do a far better job of describing the full range of his character than the religious ones do because they don't try as hard to make him sound Perfect.) As for the other gods being bitter, I don’t think that's something you would see much in the ancient sources. At least, you wouldn’t see it in the narrative style we’re used to now. A defeated god is either killed or he becomes appropriately subservient to the victor. If he or she is bitter you would typically see it expressed is a lament. To display their displeasure as angry grumbling or threats when they don’t have sufficient strength (and/or allies) to make a victory possible, physical or not, is a good way to get dead if they’re not careful. Most likely you would see them making an official complaint to the chief god to state that they are being unfairly treated, and that the oppressor is in some way neglecting his moral duty to them, his subordinates, because of it. A full revolt risks unbalancing the order of the cosmos and would be put down swiftly and with sufficient warning for others not to try the same. Conversely, if the revolt is successful, it would be described as a restoration of that cosmic order with the state of things under the former oppressor being described as chaotic and/or unbearable. Ultimately, you're seem to be looking at a situation where you may need to write the story you want to read because it sounds like no one else has. I don’t think there’s actually a lot of fiction in general that primarily uses the name Yahweh yet since, unlike El who appears in other myths, a lot of the archaeological research is still relatively young and limited in source material, all things considered. So as long as the Bible remains the primary textual source about him, the importance of that name in Judaism and Christianity is going to make many people less likely to use it, even if a story from an archaeological starting point is perfectly plausible. But stories where God is the primary character are less common than stories where he's background support. When he's in the background people seem to get less upset about the particulars of which of his names is used.

[perkynurples]

... May I ask you about the slow excruciating progression from Meng Yao to Jiggy?

also paging @holdmycaffeine and @cadencekismet, who asked me for the very same, and @acutebird-fics, who is my partner in crime deep philosophical discussions about these characters, and a great deal of this messy essay is informed by those

Tl;dr: JGY is a multifaceted character and the author struggles not to lose her mind trying to find the right words to describe that. Literally every single point of this rant is up for discussion, begging for it even, so please don’t hesitate to engage me, but, like... tomorrow, maybe. After I sleep it off.

Meta I used or referenced: THIS ONE explaining how JGS deciding to give him the name GuangYao is all kinds of wrong | THIS ONE talking about the red bindi-like Jin forehead dots, among other things | THIS ONE about his capacity for evil and his own recognition thereof

-

Alright, without any fancy preamble, here goes. Honestly, whenever I think about JGY for more than three seconds, it becomes painfully evident that there are two wolves inside me at all times - one wants to spend tens of thousands of words exploring his narrative, his choices, his abilities and his failings, his capacity for violence as well as his capacity for love...

And the other one just likes to call him a gremlin in chief in a fancy hat, and doesn’t want to go much further than that. I’m going to try and feed them both.

The thing that pisses me off about Meng Yao is just. The fact that he doesn’t stay Meng Yao, and we get to watch it happen in slow motion. You get a tiny little twink-ass kid who suddenly finds himself adopted into the Nie by the Sect Leader himself, and this is Meng Yao, the son of one of Jin Guangshan’s many mistresses, who doesn’t have a whole lot going for him aside from that, at that moment - his cultivation, weak. His opportunities, nonexistent. His dick, small. His political savvy, only just starting to show itself.

And this guy gets the chance of a lifetime presented to him on a Qinghe-silver platter. Like, we can argue about book canon and try and decide if he did anything at all to make NMJ notice him, but show canon makes it all the more hilarious (again, please refer to this gem of a post for a level of humor I’m sorely incapable of) - you’re seventeen, and the Batman of the cultivation world picks you up and elevates your status across swathes of societal norms, to a level you previously could have only dreamed of.

It’s interesting to me to try and imagine if this was the moment that Meant Something - in the grand scope of things, of course it did, because it started MY on the road to JGY, but also to Meng Yao personally, in terms of what he believed he could comfortably achieve. I do not for a second believe he started out wanting to murder people to reach his goal, or that he even had a good goal to begin with - being accepted by his father, maybe. Murdering the (at the time) greatest villain in the world, becoming a renowned spy, landing an incredibly beneficial sworn brotherhood, et cetera et cetera? I mean, the kid has wet dreams, but no way do they reach this far at this point in his life.

But so many things about him are unclear. Show canon changes his timeline, in that he met NMJ before he met Lan Xichen, and even accompanied NHS to the Cloud Recesses. Either way, his stint with the Nie is incredibly personally important to him. I firmly believe he loved and admired them, in his own way. He certainly flourished under NMJ’s tutelage and approval, but in the end, his motivations, his entire raison d’etre, clashed with NMJ’s too much. To Meng Yao, who’d gotten kicked down those infamous Koi Tower stairs for daring to ask for his father’s attention, murdering a guy for slandering him and his mother was a natural outcome of being slandered his entire life, and finally having had enough - to NMJ, it was unforgivable.

But this still isn’t where Meng Yao becomes Jin Guangyao, and it begs the goddamn question - how much of what JGY was perfectly willing and capable of doing to stay in power, had been present in Meng Yao that entire time? You see him make excuses that someone who isn’t NMJ, with his incredibly staunch morals and black-and-white view of the world, might have even accepted, but instinctively, you know - making excuses is just how it’s going to be with this guy.

Because Meng Yao, as well as Jin Guangyao, lies, and he is damn good at it. He is so good at it, that he lies his way to the very top of the Wen, all the way to Wen Ruohan’s side. His lying is what enables him to become Jin Guangyao. And like any good liar, he doesn’t only lie to the people around him - he also lies to himself.

And I can’t blame him, because - been there. Lying to yourself becomes absolutely necessary, when you want to keep everyone else around you believing in a mask you wear. You need to start believing it, at least a little bit, at least sometimes, for it to work.

At this point, you’re probably wondering - but Annie, what about the time he spent a year sheltering Lan Xichen? Did he lie then? Was he not just Meng Yao, a poor but cunning bookkeeper, then? I’m getting there, I swear. Slowly and in a roundabout sort of way, because honestly, I don’t know how I can start talking about the LXC of it all, without it turning into a novel.

Because whichever way you twist it, whatever canon you choose to follow, one constant remains - A-Yao’s feelings for Lan Xichen. I’m deliberately not calling him Meng Yao or Jin Guangyao, because it’s these feelings that divide the two, but also ultimately unify them, fatally so. But we’ll get there.

In one version of events, Meng Yao travels to Cloud Recesses at the behest of NMJ, and falls in love with a statue made of jade there. In another version of events, they meet during something LXC only describes as ‘the shame of a lifetime’. Both of those events lead to Meng Yao sheltering LXC, hiding him, saving his life and those precious Gusu Lan texts.

Whatever version of events you choose to see as the right one, one other truth also remains - Lan Xichen offers freely and without asking that which Meng Yao has had to struggle to attain, that which has been denied to him time and time again, based only on the circumstances of his birth: respect. Lan Xichen never looks down on him, never brings up his origins, and instead extends him respect and dignity in a way only he is capable of - no fucking wonder Meng Yao admires him. No fucking wonder, when this amazing guy, this perfect pristine handsome number one young cultivator, looks at him, smiles at him, and actually sees him, son of a whore or not.

No fucking wonder Meng Yao loves him, and Jin Guangyao continues loving him. No fucking wonder he never means to hurt him, but does so anyway.

But here’s the thing - lying to yourself to make things work only gets you so far. Do I think Meng Yao spends restless nights in cold sweat dreading who he’s becoming, thinking about all the lives he’s taken to further his goals? Absolutely not. Do I think he does good things, often even great things, because it helps him feel better about himself? Do I think he both loves Xichen and keeps him around because it’s beneficial to him, having the Lan Sect Leader in his pocket, but also personally speaking, having someone who so firmly believes in the goodness in him? You bet your overly adorned murderhat I do.

And frankly, reducing Jin Guangyao to one or the other - coldblooded murderer or a man plagued by his own insecurities, helpless and trying to be kind in a world that’s so evidently against him - is doing a character like him a huge disservice. You have to consider all sides, if you want to truly understand him. Hell, I myself am by no means claiming to truly understand him! He pisses me off daily, and I’m writing this stream-consciousness-y thing because he simply won’t shut up in my head.

This kid makes Choices, and here’s the catch - he doesn’t regret a whole lot of them. If anything, I’d like to think he regrets going along with his father’s plans for so fucking long before finally realizing that avenue won’t bring him what he seeks. Killing Jin Guangshan, by the way? Very sexy of him, that I’ll admit. Guy was a pig.

But even the obviously Good Choices he makes? Building those damn watchtowers? Letting Mo Xuanyu stay at Koi Tower? Seating Qin Su by his side at that same throne where his shitty father entertained concubine after concubine? (Frankly, please make up your own mind as to whether he was lying or telling the truth about learning about Qin Su being his sister before or after they’d consummated their marriage, I’m choosing to believe that he hadn’t known.)

How much of it really happens out of the goodness of his own heart, and how much of it happens because he wants to improve his own reputation, kintsugi away the minuscule cracks in his own image until he’s once again a perfect picture of Jin gold? Is he himself even capable of telling the difference, recognizing where his good intentions end and his desire to look out for number one begins? When you spend so much time crafting your own perfect mask, in your own head as well as others’, the lines blur real fast.

I think ultimately, he craves respect as much as he does pity, and those two never mesh well - the cultivation world never truly accepts him, his father certainly never truly accepts him, but Jin Guangyao is not Wei Wuxian, he can’t just look at all of these perceived injustices and slights, all of this gossip and slander, and say ‘Whatever’. No, Meng Yao takes one look at the world standing against him so very vehemently, and decides to fight it, fight tooth and nail for his place in it, until he comes out Jin Guangyao on the other side, gilded and pristine, ascending the stairs of Jinlintai to exact his revenge on anyone who dares not accept him.

The Guanyin Temple, in a way, is a perfect little vignette of his character - we observe him wildly oscillating between seeking out the aforementioned respect and pity, confessing boldly and laughing loudly one second, and pleading on his knees and clutching onto Lan Xichen’s robe the next. To him, that night, and everything leading up to it, is a series of footholds - the ground begins crumbling under his feet when he learns of the letter, and he has to act fast. 

He buys himself time, excuse after excuse, thinking on his feet, and here’s the thing - he’s not necessarily the best at that. Anymore. Up until that point, until the letter and Qin Su and WWX turning up, everything is going according to plan, and his plan at this point is, frankly, correct me if I’m wrong, sitting pretty at the top of his golden tower and making sure the truth about him never comes to light, which... Well, we all know the truth has a nasty way of coming around when it’s least convenient for you. 

And I think Jin Guangyao (not Meng Yao) is, at that point, unused to being inconvenienced. Everything he ever does, he calculates, he twists the public opinion of himself, he twists individual people’s opinions of himself, to suit him - nothing unexpected ever happens anymore, because he’s played the game long enough to foresee most things. Nie Huaisang beats him at that same game, not because he has a huge plan spanning decades of his own, but because he’s good at improvising, kicking the hornet’s nest and then knowing where to direct the fallout - but that is another essay all of its own waiting to happen.

For now, I feel like I need to wrap this up before I lose my mind. Personally (and please feel free to challenge me on this any time), I don’t feel like there’s a single defining moment, or even a handful of them, traumatic or otherwise, that irrevocably turns Meng Yao into Jin Guangyao. Sure, being kicked down the literal stairs leading to a better place for you a handful of times will have you feeling some kind of way. Sure, serving a maniacal warlord while playing an impossibly high-stakes game of spy poker will leave a mark or two. Sure, your sworn brother spitting in your face the very insults you’ve been hearing your whole life and never learned to shake off, will make one more vestige of patience inside you irrevocably crumble to smithereens. But.

Your whole life, you work very, very hard. You know to put your head down and get your hands dirty, but you also know that sometimes, the best way out of a hairy situation is turning on those puppy eyes and appearing just a smidgen weaker, a smidgen more frightened and helpless, than you actually are. And if, when you actually tell the truth and people still don’t believe you, lying becomes easier, becomes, eventually, so easy it feels as natural as breathing? Well. Might as well use that particular skillset to sneak your way through a war, am I right? Might as well use it to build yourself a nest among the very vultures who resent you, and whom you resent, and make sure that they have to respect you.

In the end, to me? Jin Guangyao is the guy who jumps from person to person, from callout to very personal callout, there in the Guanyin Temple, just to stall for time, just to regain some sort of foothold in the situation - he’s the guy who probably views losing an arm as a necessary sacrifice, shakes it off and still gets to work from there.

Meng Yao is the guy who wants to take his mother with, and who asks Lan Xichen the one question he’s dreaded knowing the answer to his entire life - not ‘will you stay and die with me?’, but the one that hides beyond that.

Is this what devotion is? Respect? Love? Is there, at this moment in time, enough of all of those things in your heart that you will, in fact, stay and die with me?

When Lan Xichen says yes, without words but still loudly enough to be understood without a doubt, Meng Yao is relieved, while Jin Guangyao is vindicated.

When Lan Xichen says yes, neither version of A-Yao needs to hear any more than that - the seventeen-year-old boy shooting a shot way above his station and loving a statue made of jade, who wants Lan Xichen to survive, and the man wearing the wrong name and the title of the first Chief Cultivator of his generation, who wants Lan Xichen to live with the weight of all his mistakes and misgivings, are both, for once, in accord. They’re both happy, and they both make that final push to save him.

In conclusion, if there even is one to this jumble of random thoughts... Jin Guangyao and Meng Yao are one and the same. Aspects of one can be found in the other, but neither feels remorse about his choices. Both of them, in turn, are capable of amazing things. Both of them are, in fact, capable of decidedly horrible things. One builds a wall around the other so thick, so impenetrable, you only catch glimpses, and only the ones he allows you to see. One learns very quickly that vulnerability is dangerous, unless employed proactively, and the other one perfects the craft.

Both of them believe they are perfectly justified in their actions. Both of them believe their own line of reasoning, their own excuses. Both of them want to be loved, for very different reasons, or for the very same ones, at the end of the day.

Both of them aspire to greatness, Meng Yao some vague idea of it instilled in him by his mother teaching him to believe his own worth, Jin Guangyao a more concrete vision of it, always one step ahead, one step higher up those gilded stairs. Both of them are willing to excuse a whole lot to reach it, too.

And when Jin Guangyao finally stands in Koi Tower, properly this time, wearing that coveted golden peony, wearing that red zhushazhi and a much nicer version of the hat his mother always told him to wear, but also wearing the wrong fucking name, one that barely gives him a spot in the family he belongs to by blood?

All he needs to do is take one look in the mirror to see Meng Yao staring back, always there with him, always ready to remind him where he came from. He’s seventeen years old, and he just buried his mother, and somewhere out there, the rest of his life awaits. His smile is all dimples, and that, too, they have in common.

Time to get to work, Meng Yao suggests, and Jin Guangyao agrees.

[astridthevalkyrie]

Do you think AOT is better than FMAB?

sorry not sorry for the blunt answer but no, never, not in a million years, not even close, not for a number of reasons.

few reasons under the cut, because apparently I’m doing this instead of focusing in class. obviously there will be spoilers for both shows, and obviously some of this will be based on personal preference.

1. Genocide/Oppression

so both shows have some vivid imagery of nazi germany. bradley is addressed as the fuhrer in fmab, and the eldians wear stars on their sleeves in aot. and even if the aot writer wasn’t pretty much confirmed to be a nationalist and raging anti-semite, it’s rather painfully obvious which show handles it better.

in aot, the eldians are oppressed because they can turn into titans and were originally trying to take over the world or something, which is so blatantly anti-semitic that it’s terrible. shows are allowed to tackle these kinds of topics, but they should handle them well, not be a stand in for nazi propaganda. this is something so many fucking shows do wrong whenever they make an oppressed group of people - there’s always somehow a reason for having them be oppressed. take bbc merlin. wizards are oppressed because they can do magic and so they’re dangerous, just like how eldians can turn into titans and so they’re dangerous, and that’s a bad thing to imply, because it implies that jewish people somehow deserved what happened to them and that’s a fucking dangerous idea to put into an already anti-semitic world.

and that’s exactly why i was so relieved and appreciative of how fmab did the battle of ishval. it is clear who the bad guys are in that scenario, and it’s clear that it was never deserved and that the soldiers who carried it out are war criminals and deserve to be put into jail. riza says as much herself. while i think scar shouldn’t have been as guilted as he was (sure, he shouldn’t go after innocent people, but him killing winry’s parents is not comparable to what happened to him and doesn’t put all of them on equal footing), i was pleasantly surprised that he lived and wasn’t killed off in some stupid form of “redemption.” if roy deserved to live, so did scar, a hundred times over.

2. Characters

characters in fmab are done ridiculously better than in aot. let’s compare similar characters!

edward and eren - the protagonists

up until the third season onwards, eren is very one dimensional and uninteresting. he’s entertaining, but his one and only goal is killing the titans and it’s super frustrating because they lay down the groundwork for more, but it’s never really addressed. show more how he cares about his friends, show him dealing with his trauma through anger and how it’s unhealthy. (actually, a lot of problems could be fixed if they showed more of the cadets’ training days. i feel like i wasn’t feeling as betrayed by annie and reiner and bertholdt because i never really felt they were that close to eren.)

ed is a delightful main character. he too is angry and doesn’t mind talking with his fists, but at the same time, he’s starchly against killing anyone and has multiple goals. ofc his primary one is getting their bodies back, but when he finds himself in the conspiracy about amestris, he doesn’t hesitate before making that his problem as well. every relationship he has is wonderful. i could get bored with eren on the screen, i wasn’t bored with ed.

armin and alphonse - the deuteragonists

i’m sorry but armin is literally just “the smart one.” that’s it. he’s also the dreamer but it only comes up when they’re about to do something dangerous.

i feel like i don’t even need to go into how good of a character al is? he’s very obviously multifaceted and the epitome of sweet and badass at the same time.

winry and mikasa - the love intests-ish

i don’t like referring to either of them like that, but while mikasa is the tritagonist (or deuteragonist, her and armin can interchange there), winry is not. 

and surprise, surprise, this is actually where i’m not so sure winry comes out on top. mikasa is, in my opinion, the most interesting out of the trio. she also has a very single-minded goal, but seeing her interact with other characters (armin, jean, levi) who either fall in line or disagree with that goal is fun to watch. she’s also obviously super competent and i have a thing for competent characters.

winry is a good character and i love her, but it’s always bothered me how out of place her scenes feel in relation to the entire show. and as much as i know it doesn’t deter her agency, there’s just something off about ed telling her to have an apple pie waiting for them. it actually brings in one of my few problems with fmab. while its female are pretty good, they’re far from perfect, and that’s because nearly all of them exist because of their relation to the more important male character. winry is ed’s mechanic and the elrics’ family friend. riza is roy’s lieutenant. lan fan is ling’s bodyguard. izumi is the elrics’ teacher. i’m not saying that’s all they are, but this is a major part of their role in the story (olivier and mei stand out as female characters with goals relating to themselves and not a guy around them.)

so who’s the better character? mikasa is more fierce and winry has better lines that aren’t just calling out the protag’s name. i’m gonna give it to winry, but by a short shot.

roy and levi - the op fan favorites

this one’s much easier. roy is not just a badass who’s also the hero’s direct superior like levi is, he’s a person with clearcut goals and weaknesses and he has to make sacrifices and work for what he wants. levi has all the makings for a great character, a tragic backstory and a chill personality, but he doesn’t have a reason to stay in the scouts, he just...does. out of loyalty to erwin, i guess? it’s not clear and it’s even worse if you don’t watch the ova. roy’s reasons are clear and relatable. he also has a dorky and endearing side, plus the political side of things he brings to fmab is interesting and an equally important part of the story. his fight with envy is satisfying and thrilling. levi’s fight with the beast titan, while it is super well animated and cool, kiiiinda falls flat because there was no set-up for him being the one to take the beast titan down (should have been connie). it also ends a bit too fast, honestly.

but hey, you say, aren’t you the one writing 15k worth of fanfiction for levi within two weeks? didn’t see you writing that much for roy. yeah, well, unfortunately, my attraction doesn’t determine the better character and i never said i was proud of this, please leave me alone.

there’s more comparisons i could make - carla and trisha, hohenheim and grisha (ha, trisha and grisha rhyme), roy can also be compared to erwin, there’s multple side characters, but fmab wins, you guys get it.

3. The Story, Plot, Deaths

listen, i get it. aot is a bloody, brutal show and you’re not supposed to get attached to characters. i’m not gonna complain about pointless deaths, because that in itself is the point. it’s like twd or got, it’s gonna have lots of death. but the deaths don’t have to be so stupid. i’m specifically thnking of levi’s squad, because the way they die is so dumb. gunther should not be taken down by a cadet, petra shouldn’t be flying so close to the ground, oluo should know not to engage the female titan alone. these were elite titan killers, they knew not to be stupid. there were ways to kill them off without making them look so stupid. and if there’s not, consider not killing them off just for shock value.

fmab’s deaths mean something, especially since one of its central messages is that life is precious, no matter whose it is. everyone’s life means something and no one dies in vain.

.

there’s more i could go into, but i just spent my entire classtime doing this and now my second one for the day is about to start, sooo i think i’ll stop here. thanks for the ask!

[argumentl]

The Freedom of Expression, radio version - Ep 43, July 2016 - Inadequate election coverage by media, Increase in motiveless crime.

Kaoru starts this episode by saying how its still really hot. Joe mentions that its only going to get hotter over the next few weeks, and asks Kaoru if he hates Summer. Kaoru says he hates Summer and Winter. He prefers Spring and Autumn, and will absolutely not be attending any summer fireworks displays or other such summer events. Everyone has summer vacation time, so not matter where you go, its hot, and there are people everywhere. He hates this.

Kaoru then moves on to talk about the new single Utafumi, in particular the special site that has been set up for it. Upon entering the site, the phrase 3分10秒間の痛み (3mins10secs of pain) appears on screen. This short phrase gives off a kind of instant power, but Kaoru wonders what Joe actually thinks of the song. Firstly, says Joe, the song contains an effortless feel, and does have an instantaneous power to it. For some inexplicable reason, he also feels like the song is enjoyable to listen to. Joe also picks up on something that he said during his Rolling Stone interview with Kaoru the previous week, which is that Dir en grey is very multifaceted when it comes to expression. Just as there a many different angles from which to view a Picaso painting, Joe views Dir's music in the same way. He fell in love with its multi-dimensional sound after seeing the last tour and listening to Utafumi, and wants to delve deeper into it. Kaoru expresses his thanks at such words, and explains that Utafumi is a kind of step in the direction towards the new album. He asks everyone to look forward to that.

Next they welcome Tasai for the Tokyo Sports corner. The first thing Tasai does is apologise for Hiranabe bringing a young woman with him on the last show. To Tasai, its unthinkable to bring a girlfriend to work. Kaoru says he was honestly pretty shocked.

Tasai's first topic relates to the House of Councillors elections, and how all TV stations run election specials on the night after the election has finished. The tv personality Dave Spector has questioned why Japan never shows such election specials on TV before an election. Surely it would be better to get all the info out there to the voters before the election takes place? Joe elaborates on this problem by bringing up the movie 'Pacchigi!/Break through!', by director Izutsu Kazuyuki. Joe had talked with the producer of the movie, who is a Korean resident of Japan. The movie deals with the conflict between a Korean school in Japan and the local Japanese teens. The producer told Joe that advertising the movie was very tough. He had paid a lot of money to a certain tv station for a CM spot, and wanted to use a clip from the one of thr climaxes of the movie where the Korean female lead character (played by Sawajiri Erika) says to the Japanese boy who likes her, 'If you and I were to be together always, can you become Korean?'. Despite being approved by the ethics committee, the tv channel wouldn't accept it. When the movie was promoted on the radio, the director and producer pushed really hard to be able to play the Korean song 'Imjin River', which appears in the movie, but at the last minute, the radio station refused to play it. This illustrates that the media are the most conservative ones out there. Japan needs its media to change first before other change can happen. Tasai adds that there is no law forbidding detailed coverage before an election in Japan, this is entirely self imposed control. Although the likes of Ikegami Akira play an important role in bringing political issues to the forefront, there is still a large build up of frustration surrounding elections in Japan. Kaoru states that if the media did cover elections thoroughly before voting took place, they would be much easier to understand. Joe agrees, saying that if people developed an interest in the small details of the situation, it might be a catalyst for them to check out the actions of political parties in more depth. Kaoru replies that a lot more fishy businesses would come up to the surface if that was the case.

Tasai admits that there are other ways to get information, for example on the internet, but TV is still currently the big one. The only rule is that they are not allowed to tell viewers directly to vote for or not vote for a specific candidate. But there is nothing stopping them from presenting all the information there is, and telling viewers to make thier own decision before an election. Joe wonders which media outlet will ever be the first one to take this step. It will be a very important move if it happens. Tasai thinks it is currently still quite difficult for a tv station to be able to do this. He  also thinks that another important point in relation to the recent election is that young people didn't vote. Kaoru agrees, and says changes in the media would make everything easier to understand for them. Tasai says that in one previous House of Councillors election, the number of voters over age 60 was 12 million, wheras the number of voters in thier 20s in the same election was only 4million. The politicians are therefore always talking about the interests of the elderly..pensions etc, which people in thier 20s don't connect with. Tasai makes a plea for any listerners of this show who are in thier 20s to please go out and vote at election time. Kaoru echoes this sentiment. Joe say politics needs to be more future facing, and brings up the case of a country who did an experiment giving voting rights to 0 year old babies. Thier parents would vote for them in a way which they thought best represented thier future interests.

Kaoru coments that an online voting system is also needed to meet the reality of this younger generation. Tasai thinks that online voting will become a possibility in the near future. Joe comments that given the advanced state of technology in this day and age, an online voting system should not be that hard to organize. At the same time, Kaoru says he does enjoy going to vote in person at the local elementary school (*voting stations are often set up at elementary schools in Japan*), because he would never have any other opportunity to go into such a building, and he finds it quite nostalgic.

Tasai's next story is about a strange incident where a ballet teacher had her thumb cut off by a man. The man knew she would be alone at the ballet studio in the morning. He entered, strangled her till she passed out, and then cut off her thumb with a chisel. He must have had some kind of reason to do this, but no-one knows why. He apparently admitted he had wanted to cut off the little finger, but the ring finger got in the way, so he cut the thumb instead. Tasai doesn't understand why anyone would do this. No-one in the man's neighborhood knows anything about him, which makes him all the more odd. Kaoru comments that even though Japan is known for being a safe country, this kind of thing still happens. Joe asks Tasai if he has seen an increase in this kind of random crime in recent years as a reporter. Tasai says he definitely has. Crimes like murders etc used to be more clear cut in thier motives, such as wanting insurance money etc, but these days there seems to be a lot more thoughtless, maningless crime going on. Joe adds that a lot of these crimes have no apparent motive or end goal. Cases are also on the rise where crimes are commited against unrelated people. Tasai says this must have something to do with the environment people grow up in these days, but what exactly it is, he can't tell. This is unlike Hiranabe, who definitely had a motive for bringing that girl to the studio last week. *wink wink*.

To finish, Kaoru plugs the new jingle campaign, and says he might play some more entries on next week's show. Lastly, he wonders how Dobashi is doing in Rio and makes the realisation that if Dobashi never returns, Hiranabe will have to appear more often instead.

Songs - Dir en grey/Red Soil, Bauhaus/Hollow Hills, Dir en grey/Utafumi.

[itsclydebitches]

YYH Recaps: Episode 4 “Requirements for Lovers”

Hello, everyone! It's been quite a while, huh? Ah, the endless cycle of wanting to write and yet, astoundingly, not writing. I know it well.

Good ol' writer's block has skedaddled for a time though, so let's make good use of that and dive into Episode Four: "Requirements for Lovers." 

Ohhh, YYH getting spicy with its titles 😏

Actually wait, I shouldn't be making dumb jokes just yet. First I want to acknowledge a slight change to future recaps: YYH, RWBY, and anything else I might try my hand at. Namely, a lack of pictures moving forward. A few weeks ago — months? I honestly can't keep track — tumblr implemented a new limitation where no post can have more than ten images in it. It's a move that, while I'm sure has its justifications, makes sharing analyses of visually-based media all the more difficult. I'll be doing my best moving forward to describe scenes as needed, as well as combining connected images together to stretch out my limit, but I'm not going to pretend that it'll be the same as getting the visual play-by-play we’re used to. 

Tumblr certainly is a website, huh?  

Anyway, we open on Yusuke once again lamenting the difficulty of hatching a spirit beast that doesn't immediately devour him from the head down. On the one hand this is an admittedly easy way to reset the story over the course of this arc — the storytelling equivalent of waking your character up each morning — yet I cannot deny that if I were undergoing a resurrection test, it would consume my every thought too. Can't really blame Yusuke for endlessly bringing the conflict up when the conflict is this deadly.

Well, deadly for a ghost, anyway.

Specifically, he's worried about how embarrassing it would be to get eaten by something that came out of an egg this tiny. I'm torn between reminding a fictional character that things grow — a pissed off chicken could kick my ass and it started out in an egg too — and just shaking my head over the absurdity of worrying about embarrassment when, you know, you would cease to exist. It's not even a matter of, "What if I die and then I'm embarrassed about it in the afterlife :( " Yusuke is already IN the afterlife. He's got nowhere to go but oblivion!

Luckily, Botan takes a more practical approach to these worries, pointing out that he'll be just fine provided he does some good deeds. Yusuke starts a rant about how do-gooders are only ever out for themselves.

Yusuke, you dumb-dumb, you're a do-gooder now. What was all that help for Kuwabara, hmm? As said, these early episodes exist in a semi-reset loop, where Yusuke needs to stew in his main character flaws for a while before any real growth starts to stick. Those flaws being, primarily, "I'm a pessimist" and "also I hate myself."

Case in point, Botan accuses him of always seeing the glass as half empty. Which, while true enough (outside of his confidence in fighting, anyway), by now we've got a pretty good sense of where Yusuke developed this attitude. He affirms this by talking about how Koenma's got him by the balls, "just another idiot abusing his power!" With an alcoholic mother and those teachers from last episode, it's no wonder Yusuke thinks this way. Mr. Takenaka's interest and Keiko's care aren't enough to combat the rest of Yusuke's experience, not when Takenaka is an outlier and Keiko is Yusuke's peer. Her desire to keep him on the right track reads only as an inevitability at best (the downside of having a perfect childhood friend), or a legitimate annoyance at worst. Or, as we'll continue to see in this episode, a way for them to flirt.

Is it any wonder Yusuke would sneer at Koenma's offer then, expecting the worst? The fact that Yusuke is still undergoing the challenge at all, no matter what he says, speaks volumes to me.

However, Botan is less than comfortable with his criticisms. She panics a bit at Yusuke insulting the (junior) ruler of the underworld so blithely. That, and the fact that he's carelessly tossing his egg around.

(Yes we’re using precious picture space for memes are you SURPRISED?) 

Anyway, Botan isn't just concerned for the sake of concern. She cautions Yusuke against speaking too freely because there may be investigators checking in on his progress. No sooner does he ask what those investigators look like than one appears.

Thunder! Lighting! An energy so intense that Yusuke is briefly blinded! It is, as he says, quite the entrance. What kind of being could possibly be at the heart of such an astounding show?

Why, this teeny-tiny cutie, of course.

Remember, few appearances in YYH coincide with the character's true self. Would you ever assume this is the all-powerful investigator who holds Yusuke's future in her hands? Of course not. That's the point.

The investigator introduces herself as Sayaka and immediately demonstrates that she has no more patience for Yusuke's attitude than Botan does. "These damn kids," he mutters and my brain briefly blue screens because Yusuke. You're fourteen.

Plus, Sayaka and Botan clearly have some sort of eternal youth situation going on, so there's that too.

Sayaka is, in a word, fantastic. She pulls no punches with Yusuke, teleporting away from him with what can only be described as a shit-eating smile, all while refusing to tell him what exactly she's investigating. “I’m sorry, but that’s a secret!” However, Keiko is clearly at the forefront of her interest. She refers to her as Yusuke's "girlfriend."

Botan is more than happy to point Keiko out — because of course they're still following her around! — and pulls a Et tu, Brute? on Yususke, leading Sayaka right to her. Like most of the Underworld, Sayaka is rather shocked that the pretty, popular, scholarly girl is supposedly into the delinquent. It's the power of childhood friendship, you fools! Specifically, Sayaka references the "positive markings" that Keiko has accumulated, but the audience already knows by now that such markings are suspect at best. Yusuke himself is proof of that. So if his terrible marks don't preclude him from being a young kid's savior, should we really view Keiko's as proof of superiority?

I mean, Keiko is fantastic, but that's not really the point here.

Starting her own investigation into Yusuke's life, Sayaka begins with one hell of a bombshell: "There's no point in doing [the resurrection] if the people closest to you don't care." WOW. Not only is that a harsh assessment, it's one I don't think I can personally get behind. The offer to restore Yusuke to life is built on the acknowledgment that their system is flawed (even if there's no work to change or dismantle that system): they thought he was worthless, his sacrificial death seems to have proven them wrong, and now they want further evidence, in the form of this trial, that Yusuke is a good person at heart. The whole point of this challenge is to give him a second chance, with testimonies like Mr. Takenaka's emphasizing that Yusuke has always been capable of more, so long as he applies himself. This, as we'll see throughout the series, applies to relationships too. The Yusuke with one friend he play-fights with, a distant mother, and a school worth of kids who are terrified of his very name is not the future Yusuke they expect him to become, so... why base his resurrection on what he's already (not) accomplished? Granted, the show is very unclear about what, if anything, Sayaka will do if she decides that Yusuke doesn't have a life worth going back to (even if I have my own theory discussed at the end), but the fact that this is suddenly a factor at all seems grossly unfair, not entirely unlike Kuwabara's rigged promise. We as the audience know that people love Yusuke. Yusuke himself is beginning to acknowledge that. But if this fourteen year old delinquent truly had no one that wanted him back from the dead... isn't that all the more reason to allow a resurrection and give him the chance to build a life where he would be missed? 

This stupid shonen got me thinking too much istg. 

Yusuke, ever the self-deprecating pessimist, bypasses all of the above thoughts and jumps straight to, "It's clear if [Keiko] had any sense she'd want me gone." I'd find that attitude incredibly sad if I wasn't distracted by how cute Botan and Sayaka are, sitting on the oar together. The spirit girls who fly together, thrive together! 

Botan starts teasing Yusuke about having a crush, which just feeds his temper and Sayaka's confusion. Deciding that she needs to gather more info, they follow along for an average day of school because these earlier episodes are, apparently, ghost-stalk Keiko hours. 

We see her reading aloud in class from Heart of Darkness (not the easiest book for some middle schoolers), scoring a point during volleyball practice, refusing to let one girl cheat off her homework, but happily helping another who runs up with a question. So she's pretty, athletic, and academically successful, the trifecta for any good love interest. Sayaka is impressed not just with her "nearly perfect" scores, but also the maturity that Keiko demonstrates, such as maintaining her morals about cheating while remaining compassionate. 

Actually, I really love the contrast this provides for us, the viewer. Meaning, Keiko is shown to be at her least mature when in Yusuke's presence. Not that her responses aren't justified, but watching her dramatically snatch gum from his mouth, slap him across the face, or pull crazed expressions as she yells at him is a far cry from this calm, poised, soft-spoken Keiko. It's a way to visually show us that she's comfortable in his presence, despite the suspect humor attached. Not that the Keiko we see at school is faking or anything — she is legitimately that kind and articulate — but we see that being with Yusuke allows her to relax in a way she doesn't with others. School!Keiko is, as Sayaka says, pretty much perfect, 24/7. Yusuke's Keiko is a little rougher around the edges, in a way that implies a multifaceted personality shining through. 

However, the only conclusion our trio draws is that, given Keiko's accomplishments, any attraction must be one-sided.

Poor Yusuke lol. 

In a plot move that is so ridiculously contrived, just as Yusuke is grappling with the accusation that Keiko couldn't possibly like him back, a "handsome boy" arrives to ask Keiko out. He says that he couldn't bear it when she stopped reading Heart of Darkness because he's fallen in love with her voice. "Will you be my girlfriend?" 

Please excuse me while I lose my shit over how ridiculous this is. I legitimately straight up cackled when I watched this scene. 

Luckily for Mr. Absurd, Keiko takes him seriously — and lets him down easy. She says she can't be his girlfriend and when he presses the "Why?", asking if she already likes someone else, Keiko confirms that she does. This is done through a shot of her feet. Not a POV shot given the angle, but close enough that it feels like we're stepping into Keiko's shoes (haha), shyly staring down at the floor in embarrassment and regret. 

Rejection complete? The guy screams. 

I mean he screams. 

I mean this nobody we're never gonna see again unhinges his jaw and lets out an unholy shriek the likes of which makes me shriek in utter GLEE. 

It's insane. It's wonderful. I'm going to use one of my coveted image spots to show you his face: 

Look at that and tell me this show isn't amazing. 

Okay, I'm focusing again. As Keiko runs off Botan and Sayaka start dragging Yusuke, teasing him about how Keiko chose him over that "charming handsome boy." 

...Please scroll up and look at that image again. I find YYH's definition of "charming" and "handsome" to be hilariously wrong. 

Yusuke, as per usual, throws himself into damage control, claiming that Keiko didn't say who she liked, so really it could be anyone. They're not buying it. “'I like Keiko' is written all over your face!” Botan crows. Meanwhile, Sayaka is scribbling in her little investigator's journal that feelings on both side are severely misunderstood. "Suggest serious counseling." 

Fantastic idea, Sayaka. I'd personally suggest counseling for the whole dying/best friend getting resurrected thing... but relationship woes work too! 

We cut to later when school is out and Keiko has gone over to Yusuke's. To say that Atsuko has done a poor job of keeping the house clean lately would be a serious understatement. 

Keiko points out the old food and broken glass specifically, cluing us in that this isn't just a messy environment, but a dangerous one as well. This is proven when she accidentally knocks a stack of books over and a used bowl falls onto Yusuke's face. What's interesting is that Keiko says that things are "back to normal" now, though I'm not sure if that's in reference to the state of the house, or just the note Atsuko left behind, asking Keiko to take care of Yusuke while she's out. I'm inclined towards thinking it's just the note, partly because of Keiko's shock when she first arrives, because the house wasn't shown to be in this state prior to Yusuke's death (first image above), and because the note is accompanied by a great voiceover that makes Atsuko sound quite sloshed when she left. That's what's normal, the drinking and carefree attitude, not the state of her home. If we buy that reading, it allows for another fantastic look into Atsuko's mental state. If she's already an alcoholic, the trauma of her son's death and the following revelation that he's coming back might make her struggle in other ways. Like finding cleaning to be an impossible task. 

She's depressed. It doesn't excuse the state she's left Yusuke in and, as previously acknowledged, YYH is definitely not a show interested in this nuance, but I still find it fun to take what little we've gotten and run with it. 

However, Keiko is firmly on team "WTF Atsuko." She hurries to make sure Yusuke wasn't hurt by the falling bowl, bemoans him being "covered in garbage," and says that leaving him in this state should be considered a felony. Knowing it's far beyond her power to fix Atsuko's failings, Keiko swears to come here after school every day until Yusuke regains his body. It's as she's cleaning him of the dust that's gathered that Keiko becomes entranced with Yusuke’s features. Particularly his lips. The soft lighting returns, their theme song swells, and Keiko gets thiiiis close to kissing Yusuke for the first time. 

Which is a little weird, right? I mean, we know why Yusuke is freaking out. Beyond the embarrassment of a middle schooler receiving his first kiss while two ghost girls eagerly watch on, he's made a hobby of denouncing his interest in Keiko to anyone who will listen. But for the average viewer — for Keiko herself — don't we care the he's, you know, dead? Or if not technically dead, very unconscious? Don't get me wrong, I fully understand the appeal of this situation in a generalized, cultural sense (with the side disclaimer that I'm reading a Japanese product through an American lens). Sleeping Beauty exists for a reason and there's definitely an element of that here: a gender-reversed setup where Keiko’s kills may break the "curse" of Yusuke's untimely death. Even his in-between state of being mirrors the "death like sleep" of the fairy tale. But when you strip away those Disney-esque thoughts, we're left with a girl about to kiss an unresponsive body, not as a common gesture of care (the parent who kisses their child while they sleep), but as a first time, romantic milestone. 

It's a little weird lol. 

But embrace the romance! As well as its inevitable interruption. Just as Keiko is about to land a peck, the neighborhood watch committee announces a heat and fire warning, startling Keiko out of her thoughts about Yusuke's "beautiful face." (There's another gender reversal for ya.) She gasps at her almost-action, conveniently remembers that her mom wanted her to do some shopping, and hightails it out of there before embarrassment can really kill them both. 

So she runs off for food... in a sweater? The outfit is cute and all, but I wonder what the animators were thinking, putting Keiko in a puffy pullover during an episode all about a heat wave. 

It's about at this point that the plot goes from cute romance to absolutely buck wild. The fires the neighborhood watch committee mentioned are not, in fact, due to the overwhelming heat, but an arsonist that's going around tossing molotov cocktails through open windows. Why is he doing such a thing? I don't know. Arsonists be doing arson, I guess. The important bit is that Yusuke's place is his next target, considering that Atsuko forgot to lock the windows when she went out. Within seconds all that garbage is set ablaze, quite obviously putting Yusuke's resurrection chances at an all time low. 

"Wake up, stupid!" he shouts at his unconscious body. Mood, Yusuke. That's me every morning. 

So this is a full scale emergency now and everyone is scrambling trying to think of something to do. Yusuke comes up with the idea to possess himself like he did Kuwabara — nice attempt at a loophole there — but since it would technically count as his resurrection, no dice. Botan decides to go get Kuwabara himself, even though he's too far away to do anything. It's still worth a shot. Sayaka, meanwhile, watches all this unfold with a somewhat clinical detachment. She's not quite indifferent and she's definitely not cruel... she’s just not as emotionally invested in this as the other two. Which not only re-emphasizes her purpose here, as an observer judging Yusuke, but also highlights the bond Botan is forming with him. As mentioned before in regards to her hanging out with Yusuke rather than ferrying souls, Botan is well past someone assisting Yusuke simply because it's a part of her job. He's her friend. 

We get some shots of the growing fire which includes a hazy texture to the animation I quite like and then we cut to Keiko several blocks away, shopping bag in hand. Word of the new fire spreads, with one bystander mentioning that it's the twelfth today. 

"This is eerie.” 

“Yeah, I can’t help feeling we’re under attack.”

That's because you are! Someone stop that man! 

Sadly, I don't think the arsonist is mentioned again, let alone captured. We'll just have to relegate that to my incredibly niche fic wishlist. 

Keiko also overhears that the latest fire is on fourth avenue, which of course is where Yusuke lives. Recognizing that he might be in trouble, she takes off at a run. 

Meanwhile, Botan finds Kuwabara practicing his kicks against a Yusuke dummy. Amazing resemblance, right? 

Watching for the purpose of recapping, I'm picking up on a lot of details in the animation I quite enjoy. I don't think anyone would claim that YYH, at this point in time, has the most impressive or flashy animation (the fight scenes later are another matter entirely), but there's a clear love for the product that shines through. The scared expression on Kuwabara's dummy. His unexpectedly dainty kick, complete with pointed toes. Botan's more translucent coloring to emphasize her supernatural status compared to Kuwabara. There are a lot of nice touches despite the overall simplicity. 

Plus, you can't forget the lovely irony of Kuwabara fighting a defenseless "Yusuke" while the real guy actually lies defenseless amidst a fire. We already know that despite his tough talk, Kuwabara would be horrified to learn that his friend rival had died (again) in such a manner. 

Capitalizing on that transparency, Botan runs a hand through Kuwabara's back to catch his attention. He gets his "tickle feeling" and instinctively looks around towards Yusuke's house, seeing the smoke. "Something tells me I should go that way." Gotta love a guy who drops everything to chase a vague, supernaturally induced hunch. 

As Kuwabara leaves we cut back to Keiko arriving at the house, staring in horror at the blaze. We get an audio flashback to her talk with Yusuke where she promised to take care of his body until he got back. So she tries to run in, only for a couple of the onlookers to snag her, quite correctly keeping her from undergoing a suicide mission. We learn later that Keiko absolutely would have died without Yusuke's sacrifice, so her "You cowards!" is born more of emotion than justified accusations. It's not cowardly to look at the raging inferno in a small apartment and realize that recklessly running in will only result in two dead teens, not one. 

I mean, the flames are already right there, licking the door. Even if Keiko somehow managed to avoid burns, the smoke alone would do her in. Still, Keiko tries to mitigate the damage by dumping a bucket of water over her head. As a kid I remember thinking this was the smartest thing ever. Utterly inspired. Keep that in the back of your mind, kid Clyde, for future reference. As an adult... I have no idea whether this would actually help or not lol. Any firefighters doubling as YYH fans? 

Recklessness and iffy precautions aside, I can't express how much I appreciate the story giving Keiko things to do. Yusuke recognizes that she's the only one with the maturity and open-mindedness to believe in his resurrection. She's the one picking up Atsuko's slack regarding his day-to-day needs. She never hesitates for a moment, heroically throwing herself into this blaze for Yusuke's benefit. Yeah, a lot of that still falls into the emotional/domestic sphere — what we expect of the love interest in a 90s anime — but too often action stories don't have a clue what to do with their non-action characters, not even when it comes to just supporting the fighters. They're simply... there. Keiko, however, isn't window dressing. Whether it's helping Botan survive an upcoming, supernatural plague, or cheering the team on at the Dark Tournament, Keiko is an important part of the story, despite lacking the fighting prowess of the rest of the cast. 

Just as important, this episode establishes a core equality between her and Yusuke. We just watched Keiko reject a (presumably) accomplished guy for him, telling the audience that these surface differences — academics, power levels, popularity, looks — don't matter to them. Yusuke is not Keiko's lesser just because he doesn't have the same scores in Sayaka's book and Keiko won't become Yusuke's lesser just because she doesn't have spiritual power like he does. The only important thing here is that they love each other and they're both willing to sacrifice everything for the other. In the span of about ten minutes, Keiko nearly gives up her life for Yusuke and, in turn, Yusuke gives up his resurrection for her. The level of care they show towards one another is balanced, despite those differences. 

They’re a good ship, y'all. Even if this recapping's got me noticing Yusuke/Kuwabara potential lol. 

To get back to the plot, a drenched Keiko charges into the fire, yelling Yusuke's name for the drama of it because we all know he can't respond. Despite the audience (hopefully) recognizing Keiko and Yusuke's equality, that memo hasn't reached Yusuke yet. "You're a lot more important to this world than I am!" he yells, hammering home that despite everything — knowing he instinctively saved a child, watching his loved ones grieve for him, helping Kuwabara just because he can — Yusuke still, deep down, believes that he doesn't deserve to come back; that he doesn't measure up to those around him. The self-sacrificial nature this insecurity produces shocks Sayaka. She points out that if Keiko doesn't save his body, he's not coming back. "What's the point of being alive if Keiko has to get killed for it?" 

Keiko means more to Yusuke than the rest of his living existence. Jot that down in your notebook, Sayaka! 

Kuwabara arrives and runs into one of his friends who informs him that Keiko just went inside. “Yusuke’s girl? The one we saved from those thugs?”

BOY does that tell us a lot about their rivalry! I mean yeah, we've already established several times over that Kuwabara — just like Yusuke himself — is not the cruel street thug he'd like to present himself as. If these characters actually wanted to hurt each other outside of a martial arts challenge, don't you think Kuwabara would capitalize on the "Yusuke's girl" bit? Everyone seems to know that they have feelings for each other, but Kuwabara never once wields that as ammunition against Yusuke. There are no taunts about him not being good enough. Or rather, I should clarify there are no serious taunts — Kuwabara is well known for his teasing. There's also no attempt to steal Keiko out from under him, the common treatment of the love interest as a "prize" that many stories fall into. Indeed, later this episode YYH will deconstruct this a bit. Yusuke sees Kuwabara grab Keiko's hand and yells that he better not be getting "fresh" with her. But it's purely Yusuke's worries shining through. The audience gets a crystal clear picture of the situation and knows, categorically, that Kuwabara has only the most innocent of intentions in holding Keiko's hand. 

(Well, running from the police isn't innocent, but...) 

I keep getting sidetracked. Plot! Keiko makes it to Yusuke's room and finds that he is already on fire. She then proceeds to try and put it out by patting it with her hands. I take back what I said about Keiko's smarts in this scene. Now we know where that supposed recklessness comes from though. Apparently they're both immune to fire! Nothing to worry about here, folks. 

JK she's actually in danger, despite the animation choices. By this point everyone, including Keiko, realizes that there's no way out: the fire has blocked the door. Sayaka then reveals that there is one way to save her. If Yusuke throws his egg into the fire, the energy of the spirit beast will release and guide her to safety. The catch? Hatch the egg early and it won't complete its intended function of guiding him back to his body. This beast is gonna guide one person and that is it. 

Cue Yusuke's near immediate decision to sacrifice his life for Keiko's. Granted, it's not precisely one life for another. Yusuke's resurrection was always contingent upon the beast not devouring him whole — something Koenma claims would have happened at the end of the episode — meaning that it's not technically a fair trade. Yusuke might have sacrificed Keiko's life for his own... only to fail to get that life back anyway. (There's a tragedy for ya.) To say nothing of how Yusuke is currently dead and has been for at least a couple of days, whereas Keiko very much is not. There's some sort of philosophical discussion there about potential being pit against current reality. 

BUT that's not the point! The emotional point is that he sacrificed his life for hers — the potential of his resurrection, the potential of that life he might have led — all technicalities aside. And I, for one, think that's very neat of him. 

A blue light shines as the egg's energy is released, providing a lovely contrast to the fire surrounding them. A path forms to the door and Keiko, recognizing Yusuke's presence, follows it. "We'll make it, Yusuke," Keiko says, which is one hell of a sucker-punch now that we know she's just carrying a corpse. Unbeknownst to Keiko, Yusuke is very much not making it. That's the only reason why she is. 

Kuwabara appears to help them the rest of the way which is also a pretty awesome thing considering that, from everyone else's perspective, the fire is still raging and blocking the door. Despite his spiritual awareness, Kuwabara gives no indication that he noticed this strange light, or Yusuke's hand in the rescue. Which basically means he lunged into a bunch of deadly fire for Keiko and doesn't question how in the world he isn't burned. 

Keiko's hands are fine, Kuwabara's whole body is fine... fire immunity must run in the friend group! 

Yusuke has another rare moment of vulnerability — "They're both okay" — and I cackle happily at the "both" because see. You love Kuwabara too, Yusuke! All this bluster about hating him and finding him annoying. The second he rushed into that fire you were crawling up the walls. 

Except then that happiness gives way to something that sounds a little more shocked. Devastated. "Well, I sure am... relieved..." Kudos to Cook's voice acting. You can hear the exact moment Yusuke realizes what he's done. Not that he regrets it, but the consequences are finally sinking in. He's relieved that they're safe, yes, but now he's never going to be able to rejoin them. 

As Yusuke has an(other) existential crisis, Kuwabara peels back the blanket Keiko had wrapped Yusuke in, revealing his face. “What are you doing with Yusuke’s body?! Are you some type of sick grave robber?” he shouts. God I love when a story actually keeps track of who knows what. Kuwabara, for all his recent involvement in the plot, doesn't actually know what's going on. From his perspective Yusuke died, he made a scene at the wake, he saved "his girl" from a bunch of thugs, lost a huge chunk of time only to wake up with her randomly hugging him (then slapping him), participated in a bet with his awful teacher and had a couple weird, Yusuke related dreams while studying, and has felt the presence of ghosts perhaps a little more frequently than usual. Now he's trying to help save Keiko from a fire only for her to reveal she risked her own life for Yusuke's body. Of course he's freaking out! What's she doing with that? 

What's utterly fantastic though is that Kuwabara takes all of five seconds to process this and then enters immediate Ride or Die mode for Keiko. She's been hoarding Yusuke's body for undetermined reasons? Well, who is he to judge? The important thing here is that people are arrested for keeping bodies, so they've gotta skedaddle before the firefighters show up. 

Hence, hand-holding and avoiding arrest. 

As Yusuke starts threatening Kuwabara not to get "fresh" with her, Botan sadly reminds him that he no longer has a say in who Keiko does or does not fall in love with. The switch in tone is jarring. Whereas before Botan would have teased him mercilessly for the crush, now she knows that nothing can come of that — and it would be cruel not to remind Yusuke of that too. 

"Oh no. I didn't think..." Yusuke whispers, further establishing that he knew the risks of using his egg, but hadn't allowed them to sink in yet. Now they have. 

He gives a fake little laugh with, "Just when it was getting good" and I cry at the development in the span of just four episodes. Despite what I said at the beginning about the show resetting each week, there has been a lot of change thus far. Yusuke wants to live now! He wants to be there for Keiko! He looks down on his tiny family and screams at the unfairness of it all! They're talking about how they can't wait for him to come back and now that's never gonna happen!!

It hurts, friends. It hurts a whole lot. 

During this conversation between Keiko, Atsuko, and Kuwabara, we see that a couple of hours have passed (it's nighttime now, the fire is out) and Atsuko is apologizing for putting them all in danger like that. And by that I mean yes, she does technically apologize with an "I'm sorry" and everything, but it's also a one sentence apology pit against... well, near death for the three people standing (and sitting) before her. Atsuko seems just as concerned by Keiko losing her hair as she does Keiko nearly burning to death and she kneels by Yusuke's wheelchair, baby-talking to him about how he forgives her, right? I love Atsuko, she's great, but objectively speaking she is not a good mother. Not right now, anyway. 

Oh yeah, and just to reiterate that: Keiko's hands are fine after patting down Yusuke's on-fire body, but her hair, which I'm pretty sure never catches, has to be cut short. Ah, anime logic. Funny thing is, YYH isn't the only story to take the love interest and give her a cool, short cut thanks to a traumatic event. Anyone read Ranma 1/2? 

During this conversation we also learn that, sometime between the fire and now, Keiko filled Kuwabara in on everything that's happening with Yusuke. Makes sense. He kneels beside the wheelchair, joining the others in telling Yusuke that they'll wait patiently for his return. Yusuke, above them, continues yelling about how they're waiting on a dead man. 

“It can’t be helped. He made this decision on his own." 

Except it can, in fact, be helped!

Just as all hope is truly lost, Koenma appears and announces that Yusuke will be returned to life. Why? Because sacrificing his egg for Keiko is a better indicator of his worth than the egg itself could have been. Despite feeding on his negative outlook and heading towards biting Yusuke's head off — something the animation backs up by showing us teeth during the fire

— Yusuke's act demonstrates a tendency towards being a "decent human being" that is "so rare." Wow. That's depressing. Still, yay that Yusuke has those qualities! And this, to my mind, helps explain Sayaka's presence. Koenma recognized that judging Yusuke couldn't be left to the egg alone and indeed, Sayaka took note of his worth before he ever threw the egg into the fire. First it was questioning why someone as amazing as Keiko would go for him, then it was solidified through the shock of Yusuke announcing that coming back to life was meaningless if she wasn't in it. Even if Keiko had somehow, miraculously escaped the fire before Yusuke's sacrifice, I bet Sayaka's report would have tipped him in resurrection's favor anyway. 

Everyone is, of course, overjoyed and my heart swells at the intense gratitude Yusuke displays. My favorite part though is when Koenma cryptically says that “Your added experience with death could make you very useful" (a nod towards future events that goes right over Yusuke's head) and his response to this is a yelled, "YOU THINK I'M USEFUL?" This poor kid. The God of everything ever is chucking out revelations left and right, about resurrections and spirit beasts, but the only thing that really penetrates is the realization that someone thinks he's useful. Talk about relatable. 

You know, I've been thinking about why this moment works so well. I mean, there are a lot of other stories where undermining the consequences our hero faces — either with humor, or by erasing them completely — can feel like the audience was cheated. I think YYH dodged that with a couple of crucial factors. First, Yusuke's consequence isn't something new that he's now avoided, it's just a permanent extension of something he was already dealing with. We did get to watch him inhabit the space between life and death, grappling with whether he'd ever be able to return. The story didn't deny us that growth, it just confirmed something we all instinctively knew: this tale won't end here with Yusuke permanently going to some afterlife. Second, the Deus ex Machina fix doesn't happen too soon. Yeah, it's only a couple of minutes in a single episode, but we (and Yusuke) still get to sit with that outcome for a while, soaking it in before its removal. Finally, there's no doubt that Yusuke earned this reprieve. Koenma's timing might be sudden and (if you're not genre savvy) unexpected, but looking back at the series as a whole thus far, we're able to agree absolutely that Yusuke deserves this. Far from feeling like we were cheated, this solution invites just as much celebration as we're seeing on screen, for the simple reason that we can buy into Koenma's reasoning. We know now that Yusuke is a good person. We saw him selflessly sacrifice his future for Keiko. We agree that he deserves a second chance. 

Thus, the episode ends with Yusuke flying up to fill the screen in his joy, a far better, final shot than Harry Potter and The Prison of Azkaban managed 😰

And that's it for Episode 4, folks! See you later for Episode 5 💕

[ariainstars]

Thank You, Disney Lucasfilm… For Destroying My Dreams

Warning: longer post.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

So… I watched The Rise of Skywalker on Disney+ a few weeks ago. Again.

Sigh.

I guess it has its good sides. But professional critics tend to dislike it and even the general audience doesn’t go crazy for it. I wonder why?

  The Fantasy

When his saga became a groundbreaking pop phenomenon in the 1970es, George Lucas reportedly said that he wanted to tell fairy tales again in world that no longer seemed to offer young people a chance to grow up with them. The fact that his saga was met with such unabashed, international enthusiasm proves that he was right: people long for fairy tales no matter how old they are and what culture they belong to.

“Young people today don’t have a fantasy life anymore, not the way we did… All they’ve got is Kojak and Dirty Harry. All the films they see are movies of disasters and insecurity and realistic violence.” (George Lucas)

I’ve been a Star Wars fan for more than thirty years. I love the Original Trilogy but honestly it did not make me dream much, perhaps because when I saw it the trilogy was already complete. The Prequel Trilogy also did not inspire my fantasy.

The Last Jedi accomplished something that no TV show, book or film had managed in years: it made me dream. The richness of colorful characters, multifaceted themes, unexpected developments, intriguing relationships was something I had not come across in a long time: it fascinated me. I felt like a giddy teenager reading up meta’s, writing my own and imagining all sorts of beautiful endings for the saga for almost two years.

So if there’s something The Rise of Skywalker can pride itself on for me, it’s that it crushed almost every dream I had about it. The few things I had figured out – Rey’s fall to the Dark, Ben Solo’s redemption, the connection between them - did not even make me happy because they were tainted by the flatness of the storytelling reducing the Force to a superpower again (like the general audience seems to believe it is), and its deliberate ignoring of almost all messages of The Last Jedi.

Many fans of the Original Trilogy also were disillusioned by the saga over the decades and ranted at the studios for “destroying their childhood”. Now we, the fans of the sequels and in particular of The Last Jedi, are in the same situation… but the thought doesn’t make the pill much easier to swallow. What grates on my nerves is the feeling that someone trampled on my just newly found dreams like a naughty child kicking a doll’s house apart. Why give us something to dream of in the first place, then? To a certain extent I can understand that many fans would angrily assume that Disney Lucasfilm made the Sequel Trilogy for the purpose of destroying their idea of the saga. The point is that they had their happy ending, while every dream the fans of the Sequel Trilogy may have had was shattered with this unexpectedly flat and hollow final note.

I know many fans who dislike the Prequel Trilogy heartily. I also prefer the Original Trilogy, but I find the prequels all right in their own way, also since I gave them some thought. However, it can’t be denied that they lack the magic spark which made the Original Trilogy so special. Which makes sense since they are not a fairy tale but ultimately a tragedy, but in my opinion it’s the one of the main reasons why the Prequel Trilogy never was quite so successful, or so beloved.

Same goes for Rogue One, Solo, or Clone Wars. They’re ok in their way, but not magical.

The sequel trilogy started quite satisfyingly with The Force Awakens, but for me, the actual bomb dropped with The Last Jedi. Reason? It was a magical story. It had the spark again that I had missed in the new Star Wars stories for decades! And it was packed full of beautiful messages and promises.

The Force is not a superpower belonging solely to the Jedi Anyone can be a hero. Even the greatest heroes can fail, but they will still be heroes. Hope is like the sun: if you only believe in it when you see it you’ll never make it through the night. Failure is the greatest teacher. It’s more important to save the light than to seem a hero. No one is never truly gone. War is only a machine. Dark Side and Light Side can be unbeatable if they are allies. Save what you love instead of destroying what you hate.

Naively, I assumed the trilogy would continue and end in that same magical way. And then came The Rise of Skywalker… which looks and feels like a Marvel superhero story at best and an over-long videogame at worst.

Chekov’s Gun

“Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.”

(Anton Chekov, 1860 - 1904)

If you show an important looking prop and don’t put it to use, it leaves the audience feeling baffled. There is a huge difference between a story’s setup, and the audience’s feeling of entitlement. E.g. many viewers expected Luke to jump right back into the fray in Episode VIII, because that’s what a hero does, isn’t it? The cavalry comes and saves the day. And instead, we met a disillusioned elderly hermit who is tired of the ways of the Jedi. But there was no actual reason for disappointment: in Episode VII it was very clearly said (through Han, his best friend) that Luke had gone into exile on purpose, feeling responsible for his failure in teaching a new generation of Jedi. It would have been more than stupid to show him as an all-powerful and all-knowing man who kills the bad guys. Sorry but who expected that was a victim to his own prejudice.

A promise left unfulfilled is a different story. The Last Jedi set up a lot of promises that didn’t come true in The Rise of Skywalker: Balance as announced by the Jedi temple mosaic, a new Jedi Order hinted at by Luke on Crait, a good ending for Ben and Rey set up by the hand-touching scene which was opposite to Anakin’s and Padmés wedding scene. Many fans were annoyed about the Canto Bight sequence. I liked it because it felt like the set-up for a lot of important stuff: partnership between Finn and Rose whom we see working together excellently, freedom for the enslaved children (one of whom is Force-sensitive), DJ and Rose expressing what makes wars in general foolish and beside the point. So if we, the fans of Episode VIII, now feel angry and let down, I daresay it’s not due to entitlement. We were announced magical outcomes and not just pew-pew.

The Star Wars saga never repeated itself but always developed and enlarged its themes, so it was to be expected that delving deeper, uncomfortable truths would come out: wars don’t start out of nowhere, and they don’t flare up and continue for decades for the same reason. In order to find Balance, the Jedi’s and the Skywalker family’s myths needed to be dismantled. Which is not necessarily bad as long it is explained how things came to this, and a better alternative is offered. The prequels explained the old political order and the beginnings of the Skywalker family, and announced that the next generation would do better. The sequels hardly explained anything about the 30 years that passed since our heroes won the battle against the Empire, and while The Last Jedi hinted at the future a lot, The Rise of Skywalker seemed to make a point of ignoring all of it.

  The Skywalker Family Is Obliterated. Why?

Luke was proven right that his nephew would mean the end of everything he loved. The lineage of the Chosen One is gone. His grandson had begun where Vader had ended - tormented, pale and with sad eyes - and he met the same fate. Luke, Han, Leia, all sacrificed themselves to bring Ben Solo back for nothing. Him being the reincarnation of the Chosen One and getting a new chance should have been meaningful for all of them; instead, he literally left the scepter to Rey who did nothing to deserve it: merely because she killed the Bad Guy does not mean she will do a better job than the family whose name and legacy she proudly takes over.

I do hope there was a good reason if the sequels did not tell “The New Adventures of Luke, Leia and Han” and instead showed us a broken family on the eve of its wipeout. It would have been much easier, and more fun for the audience, to bring the trio back again after a few years and pick up where they had left. Instead we had to watch their son, nephew and heir go his grandfather’s way - born with huge power, branded as Meant to Be Dangerous from the start, tried his best to be a Jedi although he wanted to be a pilot, never felt accepted, abandoned in the moment of his greatest need, went to his abuser because he was the only one to turn to, became a criminal, his own family (in Anakin’s case: Obi-Wan and Yoda) trained the person who was closest to him to kill him, sacrificed himself for this person and died. And in his case, it’s particularly frustrating because Kylo Ren wasn’t half as impressive a villain as Vader, and Ben Solo had a very limited time of heroism and personal fulfilment, contrarily to Anakin when he was young.

The impact of The Rise of Skywalker was traumatic for some viewers. I know of adolescents and adults, victims of family abandonment and abuse, who identified with Ben: they were told that you can never be more than the sum of your abuse and abandonment, and that they’re replaceable if they’re not “good”. Children identifying with Rey were told that their parents might sell them away for “protection”. Rey was not conflicted, she had a few doubts but overall, she was cool about everything she did, so she got everything on a silver platter; that’s why as a viewer, after a while you stopped caring for her. Her antagonist was doomed from birth because he dared to question the choices other people made for him. It seems that in the Star Wars universe, you can only “rise” if you’re either a criminal but cool because you’ve always got a bucket over your head (Vader / the Mandalorian) or are a saint-like figure (Luke / Rey).

One of Obi-Wan’s first actions in A New Hope is cutting off someone’s arm who was only annoying him; Han Solo, ditto. These were no acts of self-defense. The Mandalorian is an outlaw. Yet they are highly popular. Why? Because they always keep their cool, so anything they do seems justified. Young Anakin was hated, Jake Lloyd and Hayden Christensen attacked for his portrayal. For the same reason many fans feel that Luke is the least important of the original trio although basically the Original Trilogy is his story: it seems the general audience hates nothing more than emotionality in a guy. They want James Bond, Batman or Indiana Jones as the lead. Padmé loved Anakin because she always saw the good little boy he once was in him; his attempts at impressing her with his flirting or his masculinity failed. Kylo tried to impress Rey with his knowledge and power, but she fled from him - she wanted the gentle, emphatic young man who had listened to her when she felt alone. Good message. But both died miserably, and Ben didn’t even get anything but a kiss. Realizing that his “not being as strong as Darth Vader” might actually be a strength of its own would have meant much more.

The heroes of the Original Trilogy had their adventures together and their happy ending; the heroes of the Prequel Trilogy also had good times and accomplishments in their youth, before everything went awry. Rey, Finn and Poe feel like their friendship hardly got started; Rose was almost obliterated from the narrative; and Ben Solo seems to have had only one happy moment in his entire life. Of course it’s terrible that he committed patricide (even if it was under coercion), but Anakin / Vader himself had two happy endings in the Prequel Trilogy before he became the monster we know so well. Not to mention Clone Wars, where he has heroic moments unnumbered.

The Skywalker family is obliterated without Balance in the Force, and the young woman who inherited all doesn’t seem to have learned any lesson from all this. The Original Trilogy became a part of pop culture among other things because its ending was satisfying. We can hardly be expected to be satisfied with an ending where our heroes are all dead and the heir of their worst enemy takes over. What good was the happy ending of the Original Trilogy for if they didn’t learn enough from their misadventures to learn how to protect one single person - their son and nephew, their future?

For a long time, I also thought that the saga was about Good vs. Evil. Watching the prequels again, I came to the conclusion that it is rather about Love vs. War. And now, considering as a whole, I believe it to be essentially Jedi against Skywalker. The ending, as it is now, says that both fractions lost: they annihilated one another, leaving a third party in charge, who believes to be both but actually knows very little about them.

Star Wars and Morality

After 9 films and 42 years, it still is not possible to make the general audience accept that it is wrong to divide people between Good and Evil in the first place. The massive rejection of both prequels and sequels, which have moral grey zones galore, shows it.

It is also not possible without being accused of actual blasphemy in the same fandom, to say the plain truth that no Skywalker ever was a Jedi at heart. As their name says, they’re pilots. Luke was the last and strongest of all Jedi because he always was first and foremost himself. Anakin was crushed by the Jedi’s attempts to stifle his feelings. His grandson, too. A Force-sensitive person ought to have the choice whether they want to be a Jedi or not; they ought not to be taught to suppress their emotions and live only on duty, without really caring for other people; and they ought to grow up feeling in a safe and loving environment, not torn away from their families in infancy, indoctrinated and provided with a light sabre (a deadly weapon) while they’re still small. A Jedi order composed of child soldiers or know-it-all’s does not really help anybody.

The original Star Wars saga was about love and friendship; although many viewers did not want to understand that message. The prequels portrayed the Jedi as detached and arrogant and Anakin Skywalker sympathetically, a huge disappointment for who only accepts stories of the “lonesome cowboy” kind. The Last Jedi was so hated that The Rise of Skywalker backpedaled: sorry, of course you’re right, here you have your “hero who knows everything better and fixes everything for you on a silver platter”. The embarrassing antihero, who saves the girl who was the only person showing him some human compassion, can die miserably in the process and is not even mourned.

Honestly: I was doubtful whether it would be adequate to give Ben Solo a happy ending after the patricide. I guess letting him die was the easiest way out for the authors to escape censorship. (I even wrote this in a review on amazon about The Last Jedi, before I delved deeper into the saga’s themes.) The messages we got now are even worse.

Kylo Ren / Ben Solo

A parent can replace a child if they’re not the way they expect them to be. A victim of lifelong psychical and physical abuse can only find escape in death, whether he damns or redeems himself. An introspective, sensitive young man is a loser no matter how hard he tries either way. A whole family can sacrifice itself to save their heir, he dies anyway.

Rey

Self-righteousness is acceptable as long as you find a scapegoat for your own failings. Overconfidence justifies anything you do. You can’t carve your way as a female child of “nobodies”, you have to descend from someone male and powerful even if that someone is the devil incarnate. You are a “strong female” if you choose to be lonely; you need neither a partner nor friends.

In General

Star Wars is not about individual choices, loyalty, friendship and love, it is a classic Western story with a lonesome cowboy (in this case: cowgirl) at its centre. Satisfied? 

The father-son-relationship between Vader and Luke mirrors the Biblical story of Cain and Abel, saying that whoever we may want to kill is, in truth, our kin, which makes a clear separation in Good and Evil impossible. The “I am your father” scene is so infamous by now that even non-fans are aware of it; but this relationship between evil guy and good guy, as well as the plot turns where the villain saves the hero and that the hero discards his weapon are looked upon rather as weird narrative quirks instead of a moral. 

In  an action movie fan, things are simple: good guy vs. bad guy, the good guy (e.g. James Bond may be a murderer and a misogynist, but that’s ok because he’s cool about it) kills the bad guy, ka-boom, end of story. But Star Wars is a parable, an ambitious project told over decades of cinema, and a multilayered story with recurring themes.

A fairy tale ought to have a moral. The moral of both Original Trilogy and Prequel Trilogy was compassionate love - choose it and you can end a raging conflict, reject it and you will cause it. What was the moral of the Sequel Trilogy? You can be the offspring of the galaxy’s worst terror and display a similar attitude, but pose as a Jedi and kill unnecessarily, and it’s all right; descend from Darth Vader (who himself was a victim long before he became a culprit) and whether you try to become a Jedi trained by Luke Skywalker or a Sith trained by his worst enemy, you will end badly?

Both original and prequel trilogy often showed “good” people making bad choices and the “bad ones” making the right choices. To ensure lasting peace, no Force user ought to be believe that he must choose one side and then stick to it for the rest of his life: both sides need one another. The prequels took 3 films to convey this message, though not saying so openly. The Last Jedi said it out clearly - and the authors almost had their heads ripped off by affronted fans, resulting in The Rise of Skywalker’s fan service. It’s not like Luke, Han and Leia were less heroic in the Sequel Trilogy, on the contrary, they gave everything they had to their respective cause. They were not united, and they were more human than they had once been. Apparently, that’s an affront.

The Jedi are no perfect heroes and know-it-all’s and they never were, the facts are there for everyone to see. Padmé went alone and pregnant to get her husband out of Mustafar - and she almost succeeded - although she knew what he had done and that he was perfectly capable of it (he had told her of the Tusken village massacre himself) because she still saw the good little boy he had been in him; Obi-Wan left him amputated and burning in the lava, although he had raised Anakin like a small brother and the latter had repeatedly saved his life. But Padmé was not a Jedi, so I guess she still had some human decency. Neither Obi-Wan nor Yoda lifted a finger for the oppressed populations of the galaxy during the Empire, waiting instead for Anakin’s son to grow up so they could trick him into committing patricide. Neither Luke nor Leia did anything for their own son and nephew while he became the scourge of the galaxy, damning his soul by committing crime after crime. On Exegol, Rey heard the voices of all Jedi encouraging her to fight Palpatine to death. After that, they left her to die alone, and the alleged “bad guy”, who had already saved her soul from giving in to Palpatine’s lures, had to save her life by giving her his own. The Jedi merely know that “their side” has to win, no matter the cost for anyone’s life, sanity, integrity or happiness.

Excuse me, these are simple facts. How anyone can still believe that the Jedi were super-powerful heroes who always win or all-knowing wizards who are always right is beyond me. Luke, the last and strongest of them, like a bright flickering of light before the ultimate end, showed us that the best of men can fail. There is nothing wrong with that in itself. But it is wrong and utterly frustrating when all of the failure never leads to anything better. If Rey means to rebuild the Jedi order to something better than it was, there was no hint at that whatsoever.

  And What Now?

The Last Jedi hit theatres only 2 years before The Rise of Skywalker, and I can’t imagine that the responsible authors all have forgotten how to make competent work in the meantime; more so considering that Solo or The Mandalorian are solid work. Episode IX is thematically so painfully flat it seems like they wanted us to give up on the saga on purpose. The last instalment of a 42-year-old saga ought to have been the best and most meaningful. I had heard already decades ago that the saga was supposed to have 9 chapters, so I was not among who protested against the sequels thinking that they had been thought up to make what had come before invalid. I naively assumed a larger purpose. But Episode IX only seems to prove these critics perfectly right.

The last of the flesh and blood of the Chosen One is dead without having “finished what his grandfather started”?

Still no Balance in the Force?

And worst of all, Palpatine’s granddaughter taking over, having proven repeatedly that she is not suited for the task?

Sorry, this “ending” is absurd. I have read fanfiction that was better written and more interesting. And, most of all, less depressing. I was counting on a conclusion that showed that the Force has all colours and nuances, and that it’s not limited to the black-and-white view “we against them”. That’s the ending all of us fans would have deserved, instead of catering the daddy issues of the part of the audience who doesn’t want stories other than those of the “lonesome cowboy” kind. I myself grew up on Japanese anime, maybe that’s one of the reasons why I can’t stand guys like James Bond or Batman and why I think you don’t need “a great hero who fixes the situation” but that group spirit and communication are way more important.

It was absolutely unexpected that Disney, the production company whose trademark are happy endings and family stories, would end this beloved and successful saga after almost half a century on such a hollow note. Why tell first a beautiful fairy tale and then leave the audience on a hook for 35 years to continue first with a tragedy (which at least was expected) and then with another (unexpected one)? And this story is supposed to be for children? Like children would understand all of the subtext, and love sad, cautionary tales. Children, as well as the general audience, first of all want to be entertained! No one wants to watch the legendary Skywalker family be obliterated and a Palpatine take over. The sequels were no fun anymore; we’ve been left with another open ending and hardly an explanation about what happened in the 30 years in between. If you want to tell a cautionary tale, you should better warn the general audience beforehand.

The Original Trilogy is so good because it’s entertaining and offers room for thought for who wants to think about its deeper themes, and also leaves enough space for dreams. Same goes for the first two films of the Sequel Trilogy; but precisely the last, which should have wrapped up the saga, leaves us with a bitter aftertaste and dozens of questions marks. 

We as the audience believe that a story, despite the tragic things that happen, must go somewhere; we get invested into the characters, we root for them, we want to see them happy in the end. (The authors of series like Girls, How I Met Your Mother or Game of Thrones ought to be reminded of that, too.) I was in contact with children and teenagers saying that the Sequel Trilogy are “boring”; and many, children or adults, who were devastated by its concluson. There is a difference between wanting to tell a cautionary tale and playing the audience for fools. This trilogy could have become legendary like the Original Trilogy, had it fulfilled its promises instead of “keeping it low” with its last chapter. Who watches a family or fantasy story or a romantic / comedic sitcom wants to escape into another world, not to be hit over his head with a mirror to his own failings, and the ones of the society he’s living in. Messages are all right, but they ought not to go at the cost of the audience’s satisfaction about the about the people and narrative threads they have invested in for years.

This isn’t a family story: but children probably didn’t pester the studios with angry e-mails and twitter messages etc. They simply counted on a redemption arc and happy ending, and they were right, because they’re not as stupid as adults are. I have read and watched many a comment from fans who hate The Last Jedi. Many of these fans couldn’t even pinpoint what their rage was all about, they only proved to be stuck with the original trilogy and unwilling to widen their horizon. But at least their heroes had had their happy ending: The Rise of Skywalker obliterated the successes of all three generations of Skywalkers.

If the film studios wanted to tease us, they’ve excelled. If they expect the general audience to break their heads over the sequels’ metaphysics, they have not learned from the reactions to the prequels that most viewers take these films at face value. Not everybody is elbows-deep in the saga, or willing to research about it for months, and / or insightful enough to see the story’s connections. Which is why many viewers frown at the narrative and believe the Sequel Trilogy was just badly written. This trilogy could have become legendary like the Original Trilogy, had it fulfilled its promises instead of “keeping it low” with its last chapter. As it is now, the whole trilogy is hanging somewhere in the air, with neither a past nor a future to be tied in with.

The prequels already had the flaw of remaining too obscure: most fans are not aware that Anakin had unwillingly killed his wife during the terrible operation that turned him into Darth Vader, sucking her life out of her through the Force: most go by “she died of a broken heart”. So although one scene mirrors the other, it is not likely that most viewers will understand what Rey’s resurrection meant. And: Why did Darth Maul kill Qui-Gon Jinn? What did the Sith want revenge for? Who was behind Shmi’s abduction and torture? Who had placed the order for the production of the clones, and to what purpose? We can imagine or try to reconstruct the answers, but nothing is confirmed by the story itself.

The sequels remained even more in the dark, obfuscating what little explanation we got in The Rise of Skywalker with quick pacing and mind-numbing effects.

Kylo Ren had promised his grandfather that “he would finish what he started”: he did not. Whatever one can say of this last film, it did not bring Balance in the Force. What’s worse, the subject was not even breached. It was hinted at by the mosaic on the floor of the Prime Jedi Temple on Ahch-To, but although Luke and Rey were sitting on its border, they never seemed to see what was right under their noses. It remains inexplicable why it was there for everyone to see in the first place.

We might argue that Ben finished what his grandfather started by killing (or better, causing the death of) the last Jedi, who this one couldn’t kill because he was his own son; but leaving Rey in charge, he helped her finish what her grandfather had started. The irony could hardly be worse.

Episode IX looks like J.J. Abrams simply completed what they started with Episode VII, largely ignoring the next film as if it was always planned to do so. We, the angry and disappointed fans of The Last Jedi, may believe it was due to some of the general audience’s angry backlash, but honestly: the studios aren’t that dumb. They had to know that Episode VIII would be controversial and that many fans would hate it. The furious reactions were largely a disgrace, but no one can make me believe that they were totally unexpected. Nor can anyone convince me that The Rise of Skywalker was merely an answer to the small but very loud part of the audience who hated The Last Jedi: a company with the power and the returns of Disney Lucasfilm does not need to buckle down before some fan’s entitlement and narrowmindedness out of fear of losing money. And if they do, it was foolish to make Rey so perfect that she becomes almost odious, and to let the last of the Skywalker blood die a meaningless death. (Had he saved the Canto Bight children and left them with Rey, at least he would have died with honor; and she, the child left behind by her parents, would have had a task to dedicate herself to.)

The only reason I can find for this odd ending is that it’s meant to prepare the way for Rian Johnson’s new trilogy, which - hopefully - will finally be about Balance. We as the audience don’t know what’s going on behind the doors. Filmmaking is a business like any other, i.e. based on contracts; and I first heard that Rian Johnson had negotiated a trilogy of his own since before Episode VIII hit theatres. Maybe he kept all the rights of intellectual property to his own film, including that he would finish the threads he picked up and close the narrative circles he opened, and only he; and that his alleged working on “something completely different” is deliberately misleading.

Some viewers love the original trilogy, some love the prequels, some like both; but I hardly expect anyone to love the sequel trilogy as a whole. What with the first instalment “letting the past die, killing it if they had to”, the second hinting at a promising future and the third patched on at the very last like some sort of band-aid, it was not coherent. I heard the responsible team for Game of Thrones even dropped their work, producing a dissatisfying, quickly sewn together last season, for this new Star Wars project and thereby disappointing millions of GoT fans; I hope they are aware of the expectations they have loaded upon them. George Lucas’ original trilogy had its faults, but but though there was no social media yet in his time, at least he was still close enough to the audience to give them what they needed, if not necessarily wanted. (Some fans can’t accept that Luke and Leia are siblings to this day, even if honestly, it was the very best plot twist to finish their story in a satisfying way.)

I’m hoping for now that The Last Jedi was not some love bombing directed at the more sentimental viewers but a promise that will be fulfilled. “Wrapping up” a saga by keeping the flattest, least convincing chapter for last is bad form. Star Wars did not become a pop phenomenon by accident, but because the original story was convincing and satisfying. Endings like these will hardly make anyone remember a story fondly, on the contrary, the audience will move to another fandom to forget their disappointment.

On a side note, I like The Mandalorian, exactly for the reason that that is a magical story; not as much as the original trilogy, but at least a little. Of course, I’m glad it was produced. But it’s a small consolation prize after the mess that supposedly wrapped up the original saga after 9 films.

We’re Not Blind, You Know…

- Though Kylo Ren (Ben Solo) has Darth Vader’s stature, his facial features are practically opposite to Vader’s creepy mask. This should have foreshadowed that his life should have gone the other way, instead of more or less repeating itself. - As a villain Kylo was often unconvincing; by all logic he should have been a good father figure. (Besides, Star Wars films or series never work unless there is a strong father or father figure at their center.)

- Like Vader, Kylo Ren was redeemed, but not rehabilitated. Who knows who may find his broken mask somewhere now and, not knowing the truth, promise “I will finish what you started”. - The hand-touching scene on Ahch-To which was visually opposite to Anakin’s and Padmé’s should not have predicted another tragedy but a happy ending for them. - The Canto Bight sequence was announcing reckoning for the weapon industry and freedom for the enslaved children. It also showed how well Finn and Rose fit together. - Rey was a good girl before she started on her adventures. Like Anakin or Luke, she did not need to become a Jedi to be strong or generous or heroic. - Rey summons Palpatine after one year of training. Kylo practically begged for his grandfather’s assistance for years, to no avail. Her potential for darkness is obviously much stronger. - Dark Rey’s light sabre looked like a fork, Kylo’s like a cross. - The last time all Jedi and Sith were obliterated leaving only Luke in charge, things went awry. Now we have a Palpatine masquerading as a Skywalker and believing she’s a Jedi. Rey is a usurper and universally cheered after years of war, like her grandfather. - The broom boy of Canto Bight looked like he was sweeping a stage and announcing “Free the stage, it’s time for us, the children.”

Rey failed in all instances where Luke had proved himself (so much for feminism and her being a Mary Sue): - Luke had forgiven his father despite all the pain he had inflicted on him. She stabbed the „bad guy”, who had repeatedly protected and comforted her, to death. - Luke never asked Vader to help the Rebellion or to turn to the Light Side, he only wanted him back as his father. She assumed that you could make Ben Solo turn, give up the First Order and join the Resistance for her. She thought of her friends and of her own validation, not of him. - Luke had made peace by choosing peace. Rey fought until the bitter end. - Luke had thrown his weapon away before Palpatine. Rey picked up a second weapon. (And both of them weren’t even her own.) - Luke had mourned his dead father. Rey didn’t shed a tear for the man she is bonded to by the Force. - Luke went back to his friends to celebrate the new peace with them. Rey went back letting everyone celebrate her like the one who saved the galaxy on her own, she who were tempted to become the new evil ruler of the galaxy and had to rely on the alleged Bad Guy to save both her soul and her body. - Luke had embodied compassion when Palpatine was all about hatred. Where he chose love and faith in his father, she chose violence and fear. - Luke had briefly fallen prey to the Dark Side but it made him realize that he had no right to judge his father. Rey’s fall to the Dark Side did not make her wiser. - Rey has no change of mind on finding out that she’s Palpatine’s flesh and blood, nor after she has stabbed Kylo. Luke had to face himself on learning that he had almost become a patricide. Rey does not have to face herself: the revelation of her ancestry is cushioned by Luke’s and Leia’s support. Rey is and remains an uncompromising person who hardly learns from her faults.

This is cheating on the audience. And it's not due to feminism or Rey being some sort of “Mary Sue” the way many affronted fans claim. Kylo never was truly a villain, Rey is not a heroine, and this is not a happy ending. The Jedi, with their stuck-up conviction “only we must win”, have failed all over again. The Skywalker family was obliterated leaving their worst enemy in charge.  Rey is supposed to be a “modern” heroine which young girls can take as an example? No, thank you. Not after this last film has made of her. Padmé was a much better role model, combining intelligence with strength and goodness and also female grace. The world does not need entitled female brats.

Bonus: What Made The Rise of Skywalker a Farce

- The Force Awakens was an ok film and The Last Jedi (almost) a masterpiece. The Rise of Skywalker was a cartoon. No wonder a lot of the acting felt and looked wooden. - “I will earn your brother’s light sabre.” She’s holding his father’s sabre. - Kylo in The Last Jedi: “Let the past die. Kill it if, you have to.” Beginning with me? - Rey ends up on Tatooine. - The planet both Anakin and Luke ardently wanted to leave. - Luke had promised his nephew that he would be around for him. - Nope. - Rey had told Ben that she had seen his future. What future was that - “you will be a hero for ten minutes, get a kiss and then die? (And they didn’t even get a love theme.) - “The belonging you seek is not behind you, it is ahead.” On a desert planet with a few ghosts. What of the ocean she used to dream about? - Ben and Rey were both introduced as two intensely lonely people searching for belonging. We learn they are a Force dyad, and then they are torn apart again. - Why was Ben named for Obi-Wan Kenobi in the first place, if they have absolutely nothing in common? - The Throne Room battle scene in The Last Jedi was clearly showing that when they are in balance, Light Side and Dark Side are unbeatable. Why did the so-called “Light Side” have to win again, in The Rise of Skywalker, instead of finding balance? - Luke’s scene on Ahch-To was so ridiculously opposite to his attitude in The Last Jedi that by now I believe he was a fantasy conjectured by her. (Like Ben’s vision of his father.) - Anakin’s voice among the other Jedi’s. - He was a renegade, for Force’s sake. - The kiss between two females. - More fan service, to appease those who pretended that not making Poe and Finn a couple was a sign of homophobia. - We see the Knights of Ren, but we learn absolutely nothing about them or Kylo’s connection with them. - Rose Tico’s invalidation. - A shame after what the actress had gone through because for the fans she was “not Star-Wars-y” (chubby and lively instead of wiry and spitfire). - Finn’s and Rose’s relationship. - Ignored without any explanation. - Finn may or may not be Force-sensitive. - If he is: did he abandon the First Order not due to his own free will but because of some higher willpower? Great. - General Hux was simply obliterated. - In The Force Awakens he was an excellent foil to Kylo Ren; no background story, no humanization for him. - Chewie’s and 3PO’s faked deaths. - Useless additional drama. - The Force Awakens was a bow before the classic trilogy. The Rise of Skywalker kicked its remainders to pieces. - The Prequel Trilogy ended with hope, the Original Trilogy with love. The Sequel Trilogy ends on a blank slate. - “We are what they grow beyond.” The characters of the Sequel Trilogy did not grow beyond the heroes of the Original Trilogy. - The Jedi did not learn from their mistakes and were obliterated. The Skywalker family understood the mistakes they had made too late. Now they’re gone, too.

  P.S. While I was watching The Rise of Skywalker my husband came in asked me since when I like Marvel movies. I said “That’s not a Marvel movie, it’s Star Wars.” I guess that says enough.

P.P.S. For the next trilogy, please at least let the movies hit theatres in May again instead of December. a) It’s tradition for Star Wars films, b) Whatever happens, at least you won’t ruin anyone’s Christmases. Thank you.