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shadamyheadcanons · 2 months ago

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i love that you don’t put sonic as a jerk in your headcannons but rather supportive! this is so cool, because sonic really wants all of his friends to be happy and with amy wouldn’t be different, specially since they’ve known each other since they were children and sonic himself said that she is a special/dear person to him so i agree he would be happy if amy and shadow got together. as much as i love sonamy, i also love shadamy (sorry for the long ask it’s just that is not that common seeing sonic being portrayed like this in some ffs)

Thanks for the compliment! This one means a lot because I think I’m actually harsher toward Sonic sometimes than a lot of modern shadamy writers are. I say “modern” because new “Amy goes for Shadow because Sonic is a jerk” stories are actually few and far between. It’s easy to think they’re all over the place because there absolutely are a lot of them, but the ones I run into are usually from, like...2012. If you sort by Date Updated on AO3, it tells a different story, pun intended. I believe there are three main reasons for this:

1. Since half of shadamy fans started shipping them in SA2 two and a half decades ago, a ton of us are in our 30s now, writing more mature stories with more fine-tuned characterization. This is one of the advantages of having an ancient ship.

2. It’s a tired trope. We’ve all read a million of them. Most people don’t like how Sonic acts in them for his sake, but my biggest gripe is that they undersell what Shadow has to offer. He’s not just good for Amy because he’s Not Sonic, he’s good for her because of who he is.

3. Sonic treats Amy much better than he used to. The reason “Sonic is a jerk” fics were so common 10-20 years ago is because he was a jerk, almost exclusively to Amy.

These fics exist because no other character works better than Shadow as an arbiter of justice for something that bothered a lot of Amy fans at the time.

More on this under the cut. Lots more. I got kind of carried away.

It’s easy to forget how bad Sonic was when we have games like Frontiers and comics like IDW and Mega Drive now:

Between new fans who aren’t as familiar with older games, longtime fans who haven’t looked at their history in a while, and fans who love Sonic and just don’t want to see him in a bad light, tons of people sweep his old behavior under the rug without even realizing it.

I don’t think any of that is fair to Amy.

A brief reminder of their dynamic in the past:

1. Constant abandonment. He ran from her in Sonic Adventure...

...Sonic Heroes...

And four times in SA2 alone! More on that later.

2. Standing her up on dates. This mostly happened in Sonix X...

[Episode 42, episode 45]

...but there was also Sonic and the Black Knight, where he didn’t show up, didn’t apologize, never made it up to her, and made no attempt to reschedule.

3. Uh...literally hurting her, for some reason...?

At the end of Sonic Riders, when he didn’t feel like properly handling a hostage situation:

Oh, welcome back, episode 42! Didn’t expect to see you again:

The new version of Sonic Generations altered this cutscene, thank god, but back in 2011, players saw this:

4. And the worst part of this, to me, is that he lets her get her hopes up. It’s not just the almost-dates he skips. Knuckles teases Sonic in Heroes, saying, “Are you playing with that girl’s heart again, Sonic?” It’s intended as a joke, but then he does things like this:

Sonic X, episode 52. You know what roses are, Sonic, you know how she’ll interpret this, and you know you won’t follow through.

I know I’m picking on Sonic X a lot, but it was pretty popular at the time, even among fans who didn’t touch the games or comics. This was how they saw these characters growing up, and it made its way into countless fics.

But even after all these years, no matter which continuity you work with...he still won’t give her a solid “no.”

Not liking someone back is fine. Not being interested in a relationship is fine. But letting her believe she’ll win you over if she chases you long enough isn’t, and that’s what he’s doing to this day.

Fans throw around the same tired old “justifications” over and over for why he is/was like this to Amy, but they don’t hold water. People say he’s mean because he doesn’t know what to do with his feelings for her, but he liked Elise, too, and he was nothing but kind to her.

(Putting this here because although fans don’t like to admit it, Elise was indeed intended to be a love interest. She and Amy are presented on par here, so if you think he likes Amy, then he liked Elise, too. You get exactly the same result regardless of who you choose for this trial.)

The other frequent “justification” is that he ran and lashed out because he was afraid of her, often accompanied by awful Amy hate (“stalker,” “psycho,” etc.). This also doesn’t work because Sonic was always harsh to Amy no matter how gentle she was. Classic Amy is the sweetest, most adorable little munchkin in the world...

...and he still ran away.

^ These are from the same exact comic, by the way: IDW Sonic’s 30th anniversary. Five pages apart. How in the world could anyone not want her around?

Amy had more spunk in Adventure and Adventure 2, but she was just as sweet, and he still treated her like a pest to be swatted. The ending of her story in SA1 is this:

But...why should she have to? He treats everyone else with the same baseline of respect, at least until they give him a reason not to. Why is it just Amy? He wasn’t just mean to her, he was uniquely mean to her. She didn’t act out until Heroes in 2003, when she’d already been ignored for years. Standing on the sidelines wasn’t working, so she tried being more “proactive.” Was it the right way to do things? No...but I honestly can’t hold it against her. It makes sense in context. She was a kid, and kids act out when they’re neglected.

And this is where Sonic Adventure 2 comes in.

SA2 was pivotal for Amy. Nearly everyone tossed her aside; Sonic left her behind four separate times in this game alone. First was right after she broke him out of jail on Prison Island. He ran off the second her back was turned:

Second, he and Tails both walked away from her after Eggman blew up the moon. She easily could’ve gotten arrested here.

Third, Sonic and Tails made a plan to stop Eggman right in front of her, blatantly leaving her out of it as if she wasn’t even there:

...which, if you’ll recall, led to Eggman holding her at gunpoint:

...and when Sonic set out to rescue her, this was his recap:

This does not work as a joke given how they treat her. He pretends she doesn’t exist to her face, then says this behind her back.

And immediately after that, when it was time for them to save the world, they left her alone again.

I can’t speak for anyone else, but I was furious by that point.

But then...something interesting happened.

A photoset or gifset can’t do this scene justice, but I think most shadamy fans have already seen it plenty of times. For the few who haven’t, you can watch it here.

The contrast between Shadow and Sonic is impossible to ignore. By building up this moment the way they did, the writers primed us to notice it.

Sonic runs from Amy’s hugs, while Shadow would like more of them, please and thank you.

Sonic pretends she doesn’t exist, while Shadow’s moved to tears and changes the course of his life because he values what she has to say.

Anytime they’ve interacted since then, he’s been uniquely respectful and gentle with her. It’s what she deserves, and for a long time, this was all we had. He was all we had.

The other half of the equation is that it is very, very easy to picture Shadow taking Sonic and the others to task for their mistreatment of her. As a blunt person who’s not afraid to confront Sonic, Shadow is the most believable candidate to this day. The only person to fully respect her from the start also happens to clash with the person who hurts her most often? Of course those fics exist. It’s a perfect storm.

And it’s no wonder that this attitude persists somewhat even now, because Sonic is still doing this, even if he’s “nicer” about it. That prison escape from SA2? The one he never thanked her for? He still gives all the credit to Tails for that, even up through Frontiers:

Amy. Amy broke you out of prison. Tails broke in, and then she snuck through a maximum-security prison, somehow stole a card key, and saved your life. We’re in the 2020s, but he’s still disrespecting her. And don’t get me started on the TailsTube Secret Santa episode.

It feels like Sega wants us to forget all of this ever happened, and it has some very confusing results. From that same Sonic 30th anniversary comic from above, the one where he and the others abandoned her:

Like...this? This is lying. He’s just lying to her. I can’t tell if they think we all collectively have amnesia or if it’s some weird, mean-spirited joke at her expense. I genuinely don’t know what they’re trying to say.

It’s not enough to pretend it never happened and move on, not to me. Sonic should be held responsible for what he canonically did. Him supposedly being bad with feelings didn’t make it hurt her any less, and he’s older than Amy, so he should’ve been the mature one.

The longer the writers keep this up, the worse Sonic looks, and I don’t think that’s what they’re aiming for. Ignoring the problem is not a solution. Amy might forgive, but I’ll never forget.

I just want to see a canon apology so I can reason out why she put up with it for so long. I want to at least be able to buy her having a crush on him. I can do that when he’s being selfless and heroic. I can’t do that when he treats her like the plague, and pretending he never did doesn’t match the Sonic I legitimately like. I bet a lot of s0namy fans would like to see a resolution like that, too.

Sorry to turn your thoughtful compliment into a rant. I really do appreciate it, and I’m glad you enjoy the stories!

#not a headcanon #shadamy #ask #guinhosletters #long post

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writingwithcolor · 1 year ago

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What Makes an Ethnic Villain "Ethnic" or "Villainous?" How Do You Offset it?

anonymous asked:

Hello WWC! I have a question about the antagonist of my story. She is (currently) Japanese, and I want to make sure I’m writing her in a way that doesn’t associates [sic] her being Asian with being villainous. The story is set in modern day USA, this character is effectively immortal. She was a samurai who lost loved ones due to failure in combat, and this becomes her character[sic] motivation (portrayed sympathetically to the audience). This story explores many different time periods and how women have shown valor throughout history. The age of the samurai (and the real and legendary female warriors from it) have interested me the most, which is why I want her to be from this period. The outfit she wears while fighting is based on samurai armor, and she wears modern and traditional Japanese fashion depending on the occasion. She acts pretty similar to modern day people, though more cynical and obsessed with her loss. She’s been able to adapt with the times but still highly values and cherishes her past. She is the only Asian main character, but I plan to make a supportive Japanese side character. She’s a history teacher who knows about the villain and gives the protagonists information to help them, but isn’t involved in the main plot otherwise. Are the way I’m writing this villain and the inclusion of a non-antagonist Japanese character enough to prevent a harmful reading of the story, or is there more I should do?

Why Does Your Villain Exist?

This makes me feel old because David Anders plays a villain with this kind of backstory in the series Heroes starring Masi Oka.

I think you want to think about what you mean when you say:

Villainous (In what way? To whom? To what end?)

Harmful (What tropes, narratives and implications are present?)

I’m relatively infamous in the mod circle for not caring too much about dimensions of “harm”. The concept is relative and varies widely between people and cultures. I don’t see much value in framing motivations around “What is less harmful?” I think for me, what matters more is:

“What is more true?”

“Are characteristics viewed as intrinsic to background, or the product of experiences and personal autonomy?”

“Will your portrayal resonate with a large audience?”

“What will resonate with the members of the audience who share the backgrounds your characters have?”

This post offers additional questions you could ask yourself instead of “is this okay/not okay/harmful.”

You could write a story where your antagonist is sly, sadistic, violent and cold-blooded. It may not be an interpretation that will make many Japanese from combat backgrounds feel seen or heard, but it’s not without precedent. These tropes have been weaponized against people of Japanese descent (Like Nikkei Japanese interned during World War II), but Japan also brutalized a good chunk of Asia during World War II. See Herge’s Tintin and The Blue Lotus for an example of a comic that accurately showcases the brutality of Japan’s colonization of Manchuria, but also is racist in terms of how Japanese characters are portrayed (CW: genocide, war, imperialism, racism).

You could also write a story where your character’s grief gives way to despair, and fuels their combat such that they are seen as calculating, frigid and deeply driven by revenge/ violence. This might make sense. It’s also been done to death for Japanese female warriors, though (See “Lady Snowblood” by Kazuo Koike and Kazuo Kamimura here, CW: sexual assault, violence, murder and a host of other dark things you’d expect in a revenge story).

You could further write a story where your antagonist is not necessarily villainous, but the perceived harm comes from fetishizing/ exoticizing elements in how her appearance is presented or how she is sexualized, which is a common problem for Japanese female characters.

My vote always goes to the most interesting story or character. I don’t see any benefit to writing from a defensive position. This is where I'll point out that, culturally, I can't picture a Japanese character viewing immortality as anything other than a curse. Many cultures in Japan are largely defined by transience and the understanding that many things naturally decay, die, and change form.

There are a lot of ways you could conceivably cause harm, but I’d rather hear about what the point of this character is given the dilemma of their position.

What is her purpose for the plot?

How is she designed to make the reader feel?

What literary devices are relevant to her portrayal?

(Arbitrarily, you can always add more than 1 extra Japanese character. I think you might put less pressure on yourself with this character’s portrayal if you have more Japanese characters to practice with in general.)

- Marika.

When Off-Setting: Aim for Average

Seconding the above with regards to this villainess’s story and your motivations for this character, but regardless of her story I think it’s also important to look specifically at how the Japanese teacher character provides contrast.

I agree with the choice to make her a regular person and not a superhero. Otherwise, your one Asian character is aggressively Asian-themed in a stereotypical Cool Japan way (particularly if her villain suit is samurai-themed & she wears wafu clothing every so often). Adding a chill person who happens to be Japanese and doesn’t have some kind of ninja or kitsune motif will be a breath of fresh air (well, more like a sigh of relief) for Japanese readers.

A note on characterization—while our standard advice for “offset” characters is to give your offset character the opposite of the personality trait you’re trying to balance, in this case you might want to avoid opposites. You have a villainess who is a cold, tough “don’t need no man” type. Making the teacher mild-mannered, helpful, and accomodating would balance out the villainess’s traits, but you’ll end up swinging to the other side of the pendulum towards the Submissive Asian stereotype depending on execution. If avoiding stereotypes is a concern, I suggest picking something outside of that spectrum of gentleness to violence and making her really boring or really weird or really nerdy or a jock gym teacher or…something. You’re the author.

Similarly, while the villainess is very traditionally Japanese in her motifs and backstory, don’t make the teacher go aggressively in either direction—give her a nice balance of modern vs. traditional, Japanese vs. Western sensibilities as far as her looks, dress, interests, values, etc. Because at the end of the day, that’s most modern Japanese people.

Sometimes, the most difficult representation of a character of color is making a character who is really average, typical, modern, and boring.

- Rina

#writeblr #Japanese #Japanese women #Villain #antagonist #tokenism #characterization #representation #stereotypes #immortality #superheroes #supervillains #asks

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antianakin · 8 months ago

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Hey, I have a question to ask, and I'm gonna ask this to a few others cause I'm not a huge Star Wars expert on this.

Ever since The Acolyte aired, the jedi have been portrayed more as space cops. But, since when were they space cops? I thought they weren't like that. Am I wrong?

They AREN'T space cops, you're entirely correct, it's Leslye Headland who is wrong.

Here's the thing you have to understand about Leslye Headland and fans like her: they will claim to their dying day that they love the Jedi while sitting there talking about how the PREQUELS Jedi specifically were awful failures who doomed themselves by being heartless assholes who failed and/or abused Anakin and helped bring about the destruction of the Republic because they were simultaneously too political and not political enough.

When the Prequels first came out, they were received... poorly... by a large chunk of the adult audience. And it became a THING to hate the Prequel trilogy for a long time. After a while, people started deciding they didn't want to hate the Prequel trilogy, but they didn't actually LIKE some of the things in the films that were different from the legends canon that had already existed for years (primarily the way the Jedi had been interpreted), and so they chose to come up with interpretations that allowed them to "like" the Prequels better. The primary one that's become so popular as to basically end up considered the actual real intended message of the films is that the Jedi had become corrupt by the time of the Prequels, they were too old-fashioned and strict and stuck in their ways (specifically in that they forbid their members to love and were beholden to the Senate) and that this allowed Palpatine to win and Anakin to be seduced to the dark side, so they're the REAL villains of the entire story and the audience is SUPPOSED to dislike them.

In fairness to these fans, there IS a theme in the Prequels of an institute that's supposed to stand for peace and goodness being corrupted into an organization that is run by fear and greed. It's just that the institution in question is the SENATE, not the Jedi. And we spend a LOT more time with main characters who are Jedi, going out and doing cool fun Jedi adventures, than we do in the Senate with any of the known Senate characters doing political things. The only Senate character who could be considered a main character in the Prequels is Padme and a LOT of her more political scenes got cut from the films in order to focus on Anakin's story instead. Even in TCW, most of Padme's "political" episodes and storylines just devolve into action adventure plots instead. So it isn't hard to understand why people focused in on the Jedi and assumed that the story was ABOUT the Jedi rather than the politicians and picked up on a theme about corruption that was very much THERE and just misapplied it. But it's still wrong.

Leslye Headland appears to be one of those fans. A LOT of Star Wars fans of a certain age tend to follow this particular headcanon. Dave Filoni is another one of them, despite his reputation as George Lucas's "padawan" and the person who understands Star Wars the best after Lucas (spoiler alert: he's not).

So what we're getting in the Acolyte is a VERY intentional critique of the Jedi becoming more political I guess, more beholden to the Senate, and therefore becoming more like "space cops" instead of... I don't know... space Knights of the Round Table maybe? I think there's this concept that the Jedi should be more free spirited like... fairy god parents wandering the galaxy just handing out random miracles to worthy people and smiting the unworthy or some shit instead of being intergalactic ambassadors for the Republic, helping to resolve conflicts with legal backing and power.

This is something that's been around for DECADES now. It's in plenty of other books and comics that have come out during and since the Prequels, it's in TLJ, it's in TOTJ and TOTE, it's in the Ahsoka show, and now it's in The Acolyte. And it's obviously floated its way around fanfiction plenty, too. It's almost impossible to avoid if you talk to any other Star Wars fans from that age group (and even honestly fans YOUNGER than that age group because a lot of the older fans basically taught their children and younger siblings to hate the Prequels or that the Prequels were about the corruption of the Jedi, or younger fans just picked it up via osmosis if they spent almost any time within fandom the way I did). But it's becoming a thing that newer shows are really hammering in as if it's real canon. Headland genuinely believes that it is and we know that to be true because she's flat out SAID THIS in an interview she gave before the show aired. She 100% believes that the point of the Prequels, George Lucas's intended message in those films, was that the Jedi were corrupt and had fallen from grace. Her show is written with this misinterpretation of the films as a foundation for how she portrays the Jedi.

And that's how you get the Jedi suddenly feeling like "space cops" when that's so very clearly not what they are in anything Lucas ever created.

#star wars #jedi #pro jedi #anti leslye headland #anti headland #leslye headland critical #headland critical #anti the acolyte #anti acolyte #the acolyte critical #acolyte critical #the acolyte negativity #acolyte negativity #acolyte salt #the acolyte salt

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oblique-lane · 10 months ago

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Sniper tf2 mentality

Today I will be talking about Sniper's personality because I often see people portraying him DRASTICALLY different abd I wanted to understand what's going on and why all of the interpretations are correct (in my opinion)

Let's name the most prominent thesises:

Sniper is shy and introverted.

Sniper is unhinged and bloodlusty and is annoyed by people.

Why do i think that these aren't exactly contradictory?

I think at this point it's safe to assume Sniper is autistic (I mean lol this is easier to prove than to disprove). As an autistic person myself, I can see why he could be perceived like that.

Sniper doesn't talk to people and mostly observes them and the situation. Very in tune with his profession. That, however, might be perceived as being shy or very introverted or both. People love talking and expect others to share information, yet Sniper never says half of the things he's thinking about.

But let me tell you, it's NOT because he's shy. If he was shy, it would show in his body language as being stiff and rigid. He's not. His body is pretty relaxed and takes enough space. Still crosses his arms, but in a "don't bother me" way, not a "please don't judge me" way.

He's just disinterested.

I relate to it a lot in real life! People at my job think I'm too shy to talk to them, but no, I just DON'T WANT TO. I'm not scared of any if you, there's just nothing to talk about. I don't know your business, you don't know mine, our interests don't collide. If I talked to you about my interests you wouldn't listen anyway. Small talk? Ew, are y kidding me?

However, I like to listen. I'm an extrovert personally (unexpected huh) so I love being around people, but it doesn't mean I have to takk to them. I'll just sponge the information they are babbling about so I know my community better. When I meet new group of people where everyone knows eachother but me, I'm not going to feel awkward, it's perfectly fine to observe.

Sniper seems to fit into this kind of behaviour too. So he's not shy in a social anxiety sense".

NOW LET'S TALK ABOUT THE BLOODLUST!!

Yeah you all know his in-game voicelines. You feel either horny or assaulted after he rolls these sadistic words on his tongue. Yes I said sadistic, are you gonna argue?

"We professionals don't give speeches we just take a shot" he says in the comics. OH YEAH? IS THAT WHY YOU HAVE THE MOST FUCKING VOICELINES OF ALL OF THEM??

Have you ever noticed how much attention he puts into saying how 'professional' he is? Like, yeah no shit, they all kinda are. But why, unlike other mercs, he insists on calling himself a professional with standards and morals, detached from emotions and feelings, so much???

There's literally no reason to be ashamed of being a killer and to admit that you enjoy killing people, you were hired to Mann Co. for that specifically!!!

My assumption: it's a personal disgust towards himself and his anger issues. I've said it before already and I will again.

His so called 'shadow side' that he suppresses so much. It loves to cause people pain, it loves releasing the inner anger, it is being feral and impulsive in nature. Sniper cannot let himself be like that for whatever reason. He's already built a clear picture of what he is in his head and he doesn't want to destroy that.

The only time he allows himself to be a monster is in the battle because it comes naturally. However, when it's not a situation of adrenaline rush, when people want to talk about his persona face to face, he starts to defend himself and bury his face under the lies he believes in.

And THIS is anxiety. To be scared to be truly perceived. Not like many people tried, but I assume he wouldn't like it.

Bro really thinks he doesn't have feelings lmaoooo imagine being so emotionally immature the only way to process your emotions is to shot a human dead.

So, is Sniper anxious? Yes. Is this social anxiety? No, he's not shy. Is he an unhinged murderer? Yes. Does he identify as one? No. It's really a little bit more complicated than the two thesises from the beginning.

He's a person. Obviously not mentally healthy. High dimensional. Can be potentially broken or healed in terms of a good character study.

I might be very wrong though and most of the assumptions are simply guessing by grasping the patterns, but usually when I analyze someone like thus, it turns out mostly right. But correct me if you feel like it.

#tf2 #tf2 sniper #sniper tf2 #just my rambling #I've been thinking about this mf a little bit too much #He is so NOT self aware #Can anyone see that????#His childhood traumas were never addressed he's just suppressed them #I wish he had more backstory #Bleh

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baconcolacan · 3 months ago

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ColaLosers vs TomTord: Different Fonts - Same Font Family [short essay]

ColaLosers is rivals-to-lovers and TomTord is enemies-to-lovers. That’s the main talking point of this post. I could end this here, but I really REALLY want to gab about them so indulge me.

It’s probably obvious by now but I’m such an avid fan of the rivals-to-lovers and enemies-to-lovers trope, and yes, I do differentiate the two, but I also think they share an umbrella under the ‘antagonistic’ branch of the relationship types. They’re in the same family, but not exactly the same thing. To me, they are very closely tied to each other but only in a way that they can be viewed as two sides of the same coin, except one side is a bit shinier than the other.

Moving that pretentious preamble aside, this whole yapping session is just me explaining how I personally see ColaLosers and TomTord’s relationships, so buckle down a bit and listen to me over analyze two fictional fanon gay relationships.

Like I said above, there is a lot of overlap in how their relationships are portrayed by the fandom, but I really do think there’s a fundamental difference between the two with regards to the people who are involved in them. Now I’ll be very very subjective about this, because I know that my opinion isn’t shared by the fandom collective, we aren’t a monolith, so take whatever I say next as a personal take and doesn’t reflect everybody’s interpretations, even if I might sound like I’m preaching gospel truth with how I word things.

My opinion is formed by most of what I consumed from eddsworld [of course. i.e. eddisodes and comics] plus whatever crumbs we have of Tord [of course] so it might not even be accurate but like I said; this is the musings of a queer man over analyzing fictional fanon gay relationships.

So, ColaLosers, to me in the fandom they’re very peak rivals-to-lovers. Eduardo does have some unaddressed grievances with Edd, which drives a lot of his actions against him, but all in all, this really just comes out to a competitive drive that he cultivates between the two of them. While yes, he doesn’t like Edd for upstaging him in their past, and quite possibly giving him a minor trauma and inferiority complex, his reaction to him would at most be resentment and at the least irritation.

It doesn’t mean his negative feelings towards Edd is light of course, but his way to go about it is to create competition when he finds opportunity, albeit a little unfair as he doesn’t inform Edd about them, but sometimes he does, like when they both agree to art competitions or when he gives Edd the chance to one up him if he can. See hammer and fail, though he’s very mocking about it and makes a spectacle out of the situation, but we can argue that he’s trying to recreate his minor trauma to make Edd feel what he felt in that moment.

Eduardo, while petty and catty, really just wants to facilitate competition with Edd, partially to prove that he can be at the same level as him or more [mostly more], and he has shown that he’s able to show care about Edd [see PowerEdd] and would rather have them settle their score one-to-one without much outside interference.

In a ColaLosers lens, you can see this as him wanting to have Edd’s full attention focused solely on him, he isn’t looking for approval from people around them, though he may have once wanted that, he’s looking to have Edd’s acknowledgement, someone who everybody seemed to love on principle. Every time he does something, or accomplishes something, who does he tell first? Edd. If he could have his approval, it was more than enough, worth more than enough.

On Edd’s side, the relationship feels like something that drives him to be better. Usually, Edd doesn’t seem to mind the world around him, or what other people think or are doing, while he does have a penchant for competition, it’s mostly on the average level where he strives to prove that he can win it, like most people might when finding themselves in a competitive environment.

When it comes to Eduardo though, he seems to take it a lot more seriously. It might have started out as mild irritation, but Eduardo’s insistence to take his first place, and not a first place, has made him more inclined to defend his position with gusto rather than to prove something, because usually he has nothing to prove, why should he? It usually goes his way, woopie! And if it doesn’t? Who cares? It was dumb anyway.

But with Eduardo, ooh, a point lost to Eduardo would incense him.

Eduardo seems to be the only person who can push his buttons and fuel his drive, usually Edd’s the one who does the gloating, but Eduardo targets him specifically and that just drives him up the wall.

I like characterizing Edd as someone who has a subtle MC syndrome [lmao], and Eduardo is the only person to rip him from his fantasy that the world revolves around him [double lmao. EDDSworld], and that his spotlight could very easily be taken if he isn’t doing his best to defend it.

So yes, ColaLosers, they have an antagonistic relationship, but they aren’t praying for each others’ downfalls, not genuinely at least, and they foster the relationship through competitions and verbal jabbing.

I feel like Edd and Eduardo already know the kind of people they are, while there is room for growth, they’re sure of their positions in life, which makes their relationship already grounded on sure footing, the only thing left for them to do is to learn how to stop stepping on each others’ toes when they dance to their respective songs. They aren’t opposites, in fact, I would say that they’re very similar to each other [lol]. It would be easy for them to compromise, even if their egos don’t outwardly let them or show it. Plus, they might even enjoy their little back and forths.

Now, TomTord, ough good god, this ship is the death of me. I have been obsessed with this dynamic for such a long time, especially since I’m a fan of opposites attracting. Unlike ColaLosers however, they are the enemies-to-lovers ship, and I do mean enemies.

Tom and Tord have never seen eye to eye, they might have started as rivals, but they are unable to fully reign themselves in before they take it too far, unlike how I view what Edd and Eduardo do. Sure the latter can cause some damage to each other, but it doesn’t seem to become as lasting and bitter than when the former do it.

To be honest, I think Tord was the one to try and start a ‘friendly’ rivalry with Tom, but he wasn’t good at reading the kind of person that Tom was as they grew together. Seeing as Edd was his best friend, he might have mistakenly tried to carry over his friendship with Edd, into whatever relationship he was trying to foster with Tom. Edd is much more cavalier about things than Tom is, as despite acting like he doesn’t care, Tom is a very emotional person who’s just good at hiding away his feelings when he’s hurt. Tord could have mistakenly thought that Tom could handle what he dishes out, but Tom instead got hurt and started to harbor a growing resentment for him that was seeded by very negative feelings.

Tom is also known to lash out angrily, so it would be no surprise if Tord and he got into a very bad altercation, it might not even be physical, just really bad, where you know that hurtful, personal, and threatening things may have been said.

I genuinely think that, despite growing up together, Tom and Tord didn’t give each other time to understand the kind of persons they were, not caring enough to get to know each other on a deeper level and instead making assumptions about each other, and with Tom being very quick to anger and retaliate, and Tord perhaps taking things too personally and refusing to back down, their irritation with each other could very well become openly hostile as the years go by.

They do not know how to compromise.

Tom doesn’t care [at least when it comes to Tord], and Tord doesn’t want to learn.

They’re both convinced that the other is a straight-a douchebag. Tom thinks Tord is self-centered and grossly, maliciously, petty, and any positive thing about him, be it his devil-may-care attitude or extroverted tendencies, is extremely overshadowed by his flaws. Meanwhile Tord thinks Tom is an angry asshole who gets ticked off at every minor thing, although Tord acknowledges that Tom is smart and can truly get in his way if he really put an effort into it, which to be honest, is somewhat of a backhanded compliment considering he thinks he puts his emotions first before logic.

They both have very strong personalities, but their selfishness and self-centered mentalities gets in the way of good personal growth, they both have a lot of issues as far as I can tell. Relationship-wise, they have already shown each other the worst of themselves, and would keep to their hostile relationship if they aren’t willing to disregard their preconceived notions.

I think, really, that any relationship they could start at this stage would purely stem from rage, and would most likely only be physical at the start [emotions are high, and loathing feels very similar to love on a physiological level], it won’t be a very good relationship as neither party is willing to compromise. It’s a doomed relationship, even from the very beginning.

To be honest, they need time apart, so Tord leaving could be a blessing in disguise, their [lets face it] obsession with each other is distracting them from their own personal growth, and becoming a healthier person requires a lot of vulnerability and ‘softness’ that they would refuse to show each other or would find shame in. Without a distracting outlet in their lives [i.e. them antagonizing each other], they would be forced to face the negativities about themselves without fully taking it out on someone else like they are wont to do with each other.

I think they both have the potential to compliment each other [be it good or bad depending on who you ask] but they need time and space to figure out who they are first before trying any sort of relationship with each other, they need to address their own issues before a good and healthy relationship can form. And with their old perspectives on each other, they would be very pleasantly surprised to discover the person behind all that negative light, and find that, well, he could be someone who could understand them, as they had already seen them at their worst.

I find it endearing for love to bloom when the other person had already seen your ugly parts, and slowly get to know the good in you, it’s very easy to fall in love with someone you already feel so strongly about, only to find that they aren’t as bad as you think, especially when it all stems from a misunderstanding, like I believe TomTord to be.

Also, its funny when they get together and be the cattiest fucking gay couple you know, they’ll be gossiping about everybody and be totally vile about it, but what does that matter to them? They’re both assholes, and they love each other, the outside world doesn’t exist to them, they live in their bubble and can be horrible together if they so wished. What’s a more devoted action than pressing the nuke button on everyone together? Date night would be a blast.

Anyway, that’s it I think, thanks for listening, this was awful, goodnight.

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stormblessed95 · 7 months ago

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Who Thoughts and Theories

First, it's such a good song. I'm genuinely so in love with it, with Jimins vocals, with his dance, with his backup dancers. I'm so impressed with how hard he worked and all the choices he contributed to it. While this is the only song on the album that Jimin doesn't have writing credits on, he was still very much involved in every aspect of the songs creation and it was written with the feelings Jimin wished to portray. I talk briefly about what I believe the overall feelings that Jimin was trying to express in the album Muse, here:

And of course because you should refresh yourself on the song and get that extra stream in before you read....

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I'll otherwise just be talking about what I think, my thoughts, my feelings and my theories about Who, the song and the MV in this post. These are of course just my opinions, coming from my perspectives. You are free to agree or disagree as much as you want.

First, I want to say that regardless of the pronouns used in the song, I don't think it has any bearing on Jimins sexuality. People (read: homophobes) cannot use this song as a way to try to say Jimin can't be queer. Not only is that nonsensical and ignoring the fact that Jimin would be closeted if he is queer. But it's also ignoring the way Jimin speaks about the song, which is solely in gender neutral terms. From the original lyrics being "you" instead of "she."

To the way he says "people" instead of "girls/women" about the scene where people walk past him as the options of who he could be looking for. Along with the fact that the billboard with a man's eyes drop right after he sings "who is my heart Waiting for?"

The way that Jimin dances with both men and women and the scene then when they come together, it's absolutely giving west side story. Which is my personal opinion. Which one of the themes of west side story is love striving to rise above the hatred.... And idk about you, but I think that can easily relate to queer love as well. But again, personal opinion only! So this BS that I know everyone rolled their eyes at with the "this proved he is straight" nonsense, is at its core.... Nonsense...

Speaking of his dance, this thread has absolutely nothing to do with what I'll talk about in this post but is so cool and FULL of Jimin appreciation and you should check it out if you want!

Jimin switched aspect ratios of film during his MV of Who. An ARMY linked together all the times he changed ratios, which you can watch here:

As well as going through multiple different types of media: television, comic strips, movie, billboards, etc. Jimin is showing us multiple different storylines within his MV. This same person from above goes into great detail about how all this can show the various details of storylines and storytelling. It's a good read, worth checking out

It's super interesting the way the words play across the screen during certain parts of the MV and how it changes the screen ratios as well. I would love an actual interpretation from Jimin or the MV director over what they actually mean or if it was just in the 90s theme with zero correlation or meanings, but I doubt we will ever get that. So all we can do is guess and make our own interpretations. Which will be affected by our own personal biases. That's the beauty of art though!

The ones I'll point out that I'll say something about are:

Play, both in the corners at times and on the little TV's around the MV

Auto calibration, with the burning wrecked car, where the words flash quickly across the screen at the bottom, right before hand too, the screen ratio had changed again too. And it changes again as he does his partner choreo with the girl

Rewind, which appears during the bridge. Right after the billboard falls and the screen ratio had changed again

And then pause at the very end before the whole screen cuts.... And then we get the end screen with the words play again, basically looping the video, and the Smeraldo Flower

So let's talk about it!

It's interesting that the video basically loops, it's really giving storytelling. Jimin being an actor basically. "Play" being inside the story for the most part. And it's interesting that those parts happen right before a lot of the partnering choreo too. Auto calibration means bringing something back into an acceptable range. Which if we relate this at all to queerness, it's absolutely giving "don't stray too far out of that closet." And it does happen right after Jimin dances with men, before dancing with the woman again. And play is back in the little TV's. It's giving, trying to be perfect and fit into expectations and be in the perfect storybook. And at the end, Jimin is left behind by all the dancers and the billboard drops at "who is my heart Waiting for" and it's clearer and clearer that it really is most likely JKs eyes. If not, it's absolutely a man's eyes and that is screaming queer energy. And even if it is just a promo of some kind, since we don't know the connection between the eyes, JK, "keep going" and AYS yet, it's WILD to put Jikook promo in this type of love song. And yet, these are the two that publicly claimed the song serendipity as theirs. So it tracks.

And when we get to rewind, it's at the same time as he is talking about "people" walking by him as potentials for his perfect match, as well as how he is not able to "match" any of the women he attempts to meet with through dance in his short walk. It is also right after that billboard with ?Jungkook? drops too. Interesting. Trying to get back into the original story perhaps? Perhaps it's not working so well?

Pause. Off. Smeraldo Flower which represents the Truth Untold.... Speaking yourself. Loving yourself. Being true to who you are..... Which is maybe not what was the perfect story that was being depicted through the MV. Who knows! But that is the end. Just to loop around and start again with Play. Where he literally tells us with Muse to "please misunderstand." Again, just interesting. And if you are following my thoughts here, you already know why that is "interesting."

It's giving closeted queer energy and it's giving I like people, not genders and it's giving love.

Which brings me to the very LAST thing I want to talk about. Sorry, I know this is already SO LONG. Jimin is singing amongst natural disasters. So did V and JK actually too. They are singing about declaring love in the middle of some kind of disaster. And I can't stop thinking about that honestly.

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It's giving peak grand gesture kinda romance. It's giving intimacy found between two people in love no matter where they are or how loud the world might be around them. It's giving raw and honest declarations of intent and love type vibes. And i just love that they are into and going for that exaggerated confession scene and storybook kinda romance. It's absolutely tracks for who they are as people and the romance they've all talked about wanting too. And who else do we know who always seems to like doing grand gesture type romantic BS for someone else?

Anyway! This is the feeling that people write epic romances about. Your favorite ships? It's the same type of feeling that's inspired here. Let me try to explain this in some kinda way....

It's a trope. "Love conquers all" where it doesn't matter what life throws at you. All the trials, the tribulations, the natural disasters, the normal disasters, any and all shortcomings or failures you might face in life.... The moment of being with the one you love? Of being vulnerable and baring your soul with another person who means the world to you? Making sure they understand how much they mean to you and how much you love them? That's always going to be the most important thing and moment. That is the significance of the intimacy and the romance displayed.

It's the peak, idealistic version of the best relationship you could find yourself in. Nothing and no one matters more than the moments you create with your loved one, even in the middle of a raging horrific apocalyptic disaster ridden world.

And how sometimes, just building up to that confession can make things feel like a horrific apocalyptic disaster ridden world, until you confess. And you let those feelings out. And it's okay. All those disasters quiet down, maybe you even start to enjoy the rain. It was your emotions all along. And then you discover that hey, maybe the reason I'm feeling so calm now is actually BECAUSE of this person I love. Being with them calms my mind, brings me safety, happiness and joy.

Sometimes, in the middle of all the madness and chaos of the world... You are only minutes away from finding that moment with that person that's going to give you something infinite. Something that no natural disaster can destroy or take away from you. Something, and/or someone, so precious.

And there is something so beautiful in depicting this in their love songs. It's inspirational. As well as humorous in regards to Seven. Lol

I'll just finish this off with a link to this twitter user as this moment just came out, and it's about rebirth, but I do low-key agree with them here 😂

And anyway, that was my essay! Lol if you read all of this. Bless you and thank you! You are appreciated! A reminder that this is all just personal opinions. You are free to agree or disagree as you choose!

#jimin who

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sweettjrose · 1 year ago

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Quick question for you cuz you seem to know very well the little guy

Do you think Mickey has any bad sides? Bad qualities/Habits

Ooh! I was hoping someone would ask this question. It was sitting in my mind for a while. I love sharing my thoughts on this little guy.

I do think it is important to remember that when it comes to characters like Mickey it can be challenging to ascribe specific traits to him since there are so many interpretations with differing personalities. Mickey in the black and white shorts is different from Mickey in the Gottfredson comics who is different from Mickey in the Paul Rudish shorts and etc. So some traits may fit better for some versions than others.

I don't know if I can say I am the Mickey expert. But I do think about him a lot and if I came up a list of what I think are bad habits or flaws that he has, based on how is generally portrayed and my own personal interpretation, I would say:

Stubborn - To start off, I feel like a common flaw for Mickey is his stubbornness. Once he sets his mind on a certain idea or situation, he has a hard time being convinced of anything else. It can be really difficult to change his mind, though not impossible. I don't think it comes from a place of seeing himself as better than anyone though, but rather from his desire to hold fast to what he believes in. And in some cases, it can have beneficial results. Such as when he is investigating some kind of mystery he tends to drop everything else, unable to change focus until he finally solves it. This usually gives him the push to solve problems most people give up on. But unfortunately, it tends to result in him ignoring the world around him which can be frustrating at times, especially for Minnie. Sometimes I think Mickey even uses these situations as an excuse to push aside things he doesn't want to do and focus on something he would much rather do.

Untamed Curiosity - I feel like this is actually an offshoot of his earlier personality. He was much more mischievous in his earlier appearances, but that was somewhat tamed over the years. However, I do think one element that has remained is this mouse's curiosity for the unknown. It seems like Mickey can't help himself but stick his nose into things he probably shouldn't. Whether it is listening to a conversation, checking a locked room, testing out a weird machine, or even following an odd feeling. I also feel like his stubbornness doesn't really help as it seems like once a curiosity is in his focus, he can't let it go. Mickey rarely likes to cause problems, but if his curiosity overtakes him, he usually ends up being a troublemaker. Sometimes this usually leads to him catching a crook. But other times it results in a big mess that he would have to clean up. I do think though that his mischievousness isn't entirely gone and does pop up every once in a while. Especially when trying to get out of things he finds boring or doesn't want to be in. And sometimes he just wants to be a prankster and have fun with his friends and family. Which is funny until things get out of hand.

Overthinks - Mickey is very intelligent and can come up with pretty clever plans when trying to solve problems. Unfortunately, this comes with the side effect of him overcomplicating even simple situations. This is usually why Goofy is such a vital friend for Mickey. Mickey tends to come up with complex solutions while Goofy tends to show the easier option Mickey tends to overlook. I think part of this does come from Mickey being afraid of being wrong and making mistakes, so he tries his best to be as thorough as he can be, which unfortunately can lead to more mistakes.

Lack of Self-Protection - One positive about Mickey is that he cares about others and would stand up to protect them. But unfortunately, this doesn't always extend to himself. He is not a doormat but tends to lean more "Turn the other Cheek" approach when he is the only one getting bullied (unless things go too far or if others get involved). To be fair, it is important to know when to pick your battles, but this tends to lead into other areas as I feel like he doesn't really share his problems and tends to keep personal issues to himself. I personally see him as the kind of guy you really have to pry to get him to talk about what he is feeling as he would much rather bottle it up to not cause any trouble. I also feel like he rarely is one to ask for help and tends to try and solve it all on his own, especially if he is worried that others may get hurt. The issue is, he doesn't seem to worry about whether he would get hurt.

Takes on Too Much - I also feel like this connects to another flaw as he tends to take on too much and constantly puts himself in risky situations. Whenever a life-threatening situation comes up that could help everyone but is extremely dangerous, he is usually the first in line to do it. It feels like Mickey doesn't even consider his own safety or limitations at all. Sometimes it feels like he is overconfident in his abilities and just believes that he will be okay, which works until it doesn't. It also doesn't help that Mickey has a hard time saying "No", so even if he didn't want to do something or knows he is not capable of doing it, he would probably still do it, not wanting to disappoint anyone. He rarely thinks of himself. And seldom considers what would be best for him. Usually, his friends are the ones to think about his safety and needs.

Need to be Perfect - Though I feel like part of the reason Mickey takes on so much is his need to be the hero. He feels like he has to be a perfect, selfless, and brave role model who does everything without a single complaint. I feel like he overexerts himself because he is afraid of what happens if he doesn't. He is afraid of not being needed or wanted. He is usually the underdog, a small mouse in a world with characters twice his size, and if he isn't constantly proving himself people will leave him behind. I also feel like he has a hard time admitting to mistakes (which connects to his stubbornness) because he feels like he can't make mistakes, or that would show that he isn't as capable as people think. I also think this explains why he has more of a heated rivalry with Mortimer. Mortimer somehow taps into his insecurities in the ways others don't. I feel like Mickey is kind of jealous of Mortimer because he tends to be taken seriously (at first) while Mickey usually needs to earn it. I also kind of wonder if he is worried that if he starts messing up, Minnie and the others will leave him for someone like Mortimer, so he feels like he can't mess up. Ever.

Lack of Self Worth - Unfortunately this means that he is very reliant on others for his self-worth. Luckily Mickey is really good at making friends. But he tends to rely on the existence of his friends for his worth. I can imagine that if for some reason they all stopped existing, I don't think he would even know what to do with himself. While he doesn't need everyone to like him. He does need at least one person to like him to help ground him or I can see him going into a deep depression. I feel like he would really struggle with being alone for too long unless there was some hope of being able to be with his loved ones soon.

But yeah these are the bad qualities that I feel like Mickey generally has. There are probably more, especially ones more specific to certain interpretations, but these are the ones I was able to come up with. As nice as Mickey is, he isn't perfect and his insecurities, overthinking, stubbornness, and curious nature tend to get him in trouble. But fortunately, he is also just as capable of getting out of trouble.

I would honestly love to see other people thoughts on this as well.

#mickey mouse #mickey thoughts #you are going to learn that I cannot write anything outside of an essay #but this was fun to write #i love the little guy #disney #ask #answered

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serknighted · 1 year ago

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Danse & Hancock's parallels are eating my sanity slowly so by God I will write them here

So. Usually incredibly shy about posting my feelings about characters and my interpretations of them, but I don't think I can sit idly by without addressing 1. how much I love this post about Danse and how his story ties back to the isolation and loneliness of autism, and 2. how much I need more content between Hancock & Danse to exist, because my god sometimes I forget they hate each other in-game. (I strongly suggest you read the post mentioned & linked, they do a fantastic job framing Danse in a way I don't think I could fully articulate)

Danse & Hancock both have stories filled with themes of intense loneliness. Despite their hard work, effort, and prowess in the things they love, it doesn't take good sight to realize that neither of them are very well liked. It's not that they aren't respected, but whether it's Danse's all-too-formal approach to speaking, or Hancock's combination of hard drug use & almost constant overbearing presence (on top of years of slander from bigger cities, but we'll get into that), people see them as a tool of success and a good asset to have around, but not much of a friend, so to speak. Especially in Hancock's case, many people he is overly-affectionate with are often more annoyed by his presence than anything else (even if they do like him).

For Hancock, despite how much he claims to not relate to the isolation of the common ghoul, he's likely over-exaggerating his charisma in an effort to make himself more easily approachable, mostly for his own peace of mind rather than for others. While he sounds quite passive about things many others would react strongly to, I feel it's a combination of him having replaced a layer of how he truly feels with an element of sass on top of the drug use that makes all the trauma more easily bearable (to mixed effect).

One of his lines that has always struck me as conflicting with how he portrays himself is a common generic line he has while traveling with Sole Survivor, praising them for "living out the day" when most others could not. Hancock has seen so many people die to the brutal hands of the Commonwealth; whether it be Vic and his boys gunning down innocent drifters, seeing people succumb to the elements, or, in this case, simply not surviving their travels with him, Hancock seems to have a track record of never properly establishing proper bonds with others before they either die, or decide he's too overbearing to deal with further. He's one of those characters who desperately wants to have a deeper connection with those he loves, but he has consistently lost the chance to do so before he was ever ready, and so he chooses to fill the void with meaningless sexual relationships and one-night stands- anything to make him temporarily forget how much he hates himself and his almost comical lack of social understanding. It's a train of thought that I, as an autistic person, can really understand and relate to-- the desire to know people, but always feeling like no matter how you portrayed yourself, no one seems to want to be around you if you don't provide them with what they desire. It's caused him to deeply undervalue both how much he's done for people (since he believes its expected of him to constantly bend over backwards for the needs of others), and himself, all at the same time.

I don't think Danse fully recognizes how lonely he feels, a lot. He's been so heavily indoctrinated by the Brotherhood of Steel into believing that this is how he should be treated, that his work is for the betterment of humanity, that his sacrifice is a necessary one. The way he speaks almost carelessly about late brothers and sisters in arms makes me think really hard about how rooted this idea of only existing for the "greater good" is. Individuality is questionable & almost taboo, being different is outright abominable. It's the reason why the rhetoric of "Us vs. Them" works-- the BoS as a collective believe that they are doing good for all of humanity, and any outlier to that "perfect" formula is a threat not only to the BoS, but to everything they know. Danse is expected to bend over backwards for people, and no longer questions his loneliness or isolation, as he has all but given up his sense of self for what he believes is right. Another thing that I and many of my autistic friends relate to; a sense of justice so strong that it's overpowering. Like us, Danse is willing to sacrifice anything to do what's right... including himself.

Knowing this, it's easy to understand why he hates Hancock, and that backwards mindset is the reason Hancock hates him. It's an especially vicious cycle that constantly feeds into itself if unchecked, and Hancock knows that he alone cannot convince Danse to break that cycle. Hancock knows he can't beat Danse in a fight; all he has are his words, and logic is useless against an enemy that heeds to no truths. Even after Danse discovers his true nature... you can't expect him to unravel the years of constant reassurance that what he was taught was right in a single night. "Rome wasn't built in a day," and no one gets over their trauma so quickly, either. It's traumatic to have an explanation as to why people hate you. A catch-all reason to people's fear and distaste to you, that is also something you can never, ever change. Danse would sooner hate himself for what he is than accept those he used to murder without a second thought. It's the difficult reality of anyone attempting to unlearn painful conservative narratives; the shame & guilt of hurting others that are more similar to you than you ever wanted to know is sometimes more painful than realizing what you really are.

Hancock, albeit not even close to "recovered" from his mental woes, is much further along the path of acceptance to Danse, but not far enough away that he wouldn't understand where Danse is coming from. For so long, he sat idly by and watched people get hurt, even during his time in Diamond City. The constant conditioning to accept other people's pain as long as it wasn't happening to you still eats at his consciousness; just like Danse, he knows it was wrong to accept it, but the guilt makes it harder to deal with. He, of all people, would understand what it feels like to try so, so hard to fit in, to be normal and accepted, but never quite hit the mark of understanding where he fits in society. That's the reason he is the way he is now; his signature, his "Hancock," is to be as loud and out-of-place as possible-- a constant rebellion against what people expect him to be, a rebellion of oppression and unfair treatment. Danse's sheer existence is an involuntary rebellion of all BoS values, and even if Hancock would be hesitant to become close to Danse for a long while, I think he would be impressed by him, in the end, and more importantly, understand where he's coming from.

Their combined interest in both protecting the people they care about as well as the collective societies those people come from, as well as how nerdy they both are about US history... I think, eventually, they will realize how similar their lives were, how similar they are to each other, and maybe even find some comfort in knowing that they aren't alone in all of the waves of shame, guilt, and loneliness. That there is an overarching group of people who understand them, and that they do have a place in this world. I think once they recognize that similar traumas can manifest in polar opposite conditions (ones that they used to have a narrow, black-and-white outlook on), they'll also find that there is no real reason to hate each other anymore; the world has told them that they must hate each other, but they no longer have any need to listen.

TL;DR autistic Danse & Hancock ftw

#fallout 4 #john hancock #paladin danse #sorry for the long analysis im just rotting over them so hard #fo4 #i think they deserve the world #and maybe also therapy #fuck you todd howard for not finishing Danse's arc i cry #ARGHHH i hope people understand my vision...

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relaxxattack · 1 year ago

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Hi i want to thank you for the QPR vs Moirail venn diagram. Its a rly excellent way of showing the difference. My gripe is about human romance, and how people will either 1- conflate it in a 1:1 ratio with Matesprit, or 2- claim it is “all the quadrants”. I personally feel both are false equivalency, and that the human romance is similar to both pale and red rom* and SO i was wondering if you agreed w that assessment, or if not, if you have the time to explain your thoughts on human traditional romance vs the quadrants (perhaps w another nifty graph)?

* which is why Rose’s destructive tendencies during sburb & her descent into addiction on the meteor were not addressed by kanaya, who feared palezoning herself like she did with vriska

OH MY GOD! YES!!!! why am i getting such great asks today?!

no, you're EXACTLY right. people are constantly conflating matespritship in those two ways; "all of the quadrants" being especially irritating (since Some humans occasionally argue, Occasionally in a kinky way, and i guess that means that they totally have all of kismesissitude covered?? :/).

matespritship is its very own thing. of the two interpretations above, i feel the idea that it's 1:1 to human romance is the closest to true. i mean, that's what they literally say in the comic, for gog's sake.

humans do not truly incorporate moirallegiance, kismesissitude, or auspisticism into their lives in any meaningful way. while it's possible for humans to sometimes have romances that might seem more like one of those than matespritship, they're considered abnormal or toxic-- and they often ARE, because humans do not have the same sort of biological drives or social understanding of these things that trolls do. humans do not understand the true needs and ramifications, or even the ROMANCE of moirallegiance. humans would be hard pressed to understand a kismesissitude in a 'healthy' way. i don't even need to mention how auspisticism flies over people's heads.

so, yes, humans only have the one quadrant. (and karkat vantas, i am sorry to say, is not going to "human date" anyone as the "solution to his quadrant problems". this would literally be the same as him trying to stick only to matespritship, and we all know exactly how that turned out.)

however! matespritship is not an exact 1:1 on human romance either. the direct quote from the comic is;

"[It's] the closest parallel to the human concept of romance trolls have." [x]

this is not really expanded on much in the text, honestly-- the intricacies of the social and biological traits of matespritship aren't shown enough for us to draw clear distinctions between them and human romance.

however, i think you're right that rose and kanaya are the best example we have of that-- despite them both aiming for matespritship, they have cultural misunderstanding quite often from some of rose's flirting, or even just her needs, crossing wires into a pale threshold that kanaya is weary of.

it's entirely possible that the differences between troll and human "hearts" might have made it difficult for kanaya to really connect with rose's problems and discuss them with her.

which might explain why when things go "better" for them in the retcon, they're portrayed reading a book on troll romance together:

it could be implied here that searching for a more in-depth understanding of quadrants actually helped rose with her ability to connect to kanaya-- and maybe, reading into it a little too hard here, this also could have been an opportunity for kanaya to work through her vriska-based hangups with the pale quadrant. that's entirely speculation on my part, though.

at the end of the day, we don't really KNOW enough about the details of quadrants for me to paint a clear picture of how matespritship differs from human romance. i mean, i could try, but it would certainly be more of a headcanon post than an analysis one!

#madam-melon-meow #homestuck #quadrants #rosemary #thank you so much for the GREAT fucking ask about matespritship ive literally been meaning to talk about it!!! askers reading my mind latel #and thanks double for the chance to ramble about rosemary lol #at this point i'm done apologizing for the quadrant-based autism. y'all are coming to me for it on PURPOSE lol #i am sorry this got so long though 0_0 #long post #hsmeta #op #matespritship

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ewingstan · 1 year ago

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So there's a few ways we've seen the public hostility to capes be framed.

There's complaint 1, the general "all parahumans are more trouble than they're worth," which has been something that's at least been brewing since Worm (a lot of Cauldron and the PRT's activities being focused on tamping down on this perception). A fairly common trope in superhero media. You see it everything from the X-Men to the Civil War comic event. Hell, its popular enough that the last two comics I've read (Chainsaw Man and Clown Corps), which are pretty much as different as you can be while still being in the same vague genre and medium, both had "Villains try to get everyone to fear superpeople indiscrimantly" plots.

But then there's the more specific complaint 2: "cape heroes aren't justifying their presence because they directly cause violence without lowering the amount of crime and violence overall." Now, Capricorn is obviously framing it in these terms because he's trying to appeal to the police he's talking to; he knows that's a complaint made about cops and he wants to make them feel like they're on the same side fighting the same battles (and in turn kinda claiming that both capes and cops are "against" a public who criticizes them). But I'd also say that the text itself wants us to consider complaint 2. Worm basically endorses it; a lot of the book reinforces the claim that capes/cops are integral to how a system gives rise to villains/criminals and largely fails to deal with such problems in a useful manner.

The question is whether Ward is best interpreted as making the opposite claim, endorsing Tristan's argument against complaint 2. Its certainly sympathetic to the frustrations of the "don't tell us we didn't make a difference when you weren't there to see" crowd—it almost has to be, given our narrator. But whereas in some parts I read Ward as saying "yeah its frustrating, but they're right, you aren't making a real difference and are part of the problem" other times it does portray Breakthrough making real changes for the better that couldn't have been accomplished other ways by fighting ontologically evil enemies (see: Teacher).

Again, kinda hard to do a story from this POV and completely avoid that. Disco Elyisum probably does the best job of it and I've still seen people argue that it doesn't avoid it entirely (still unsure where I land on that). Zdarsky's Daredevil (man I need to catch up on that) tries to avoid it in a way that doesn't really cohere; largely because it tries to be anti-prison while still framing characters like Spider-Man as paragons. Though in that at least it kinda works with Matt Murdock's whole pattern of righteous violence followed by intense doubt and guilt followed by newly directed righteous violence. I guess I'll have to keep reading to see how things ultimately land.

#leo reads ward #ward 10.5 #wardblr #parahumans #wildbow #sorry for the daredevil tangent that comic's just kinda fun to poke at #reminds me of ave wiseman's critique of how the two knives out movies show changing public attitudes towards the justice system #leo says

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masquayla-the-splendid · 10 months ago

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Some things from Twitter I grabbed from the limited amount of time SatAM was trending.

Thank you, team SatAM Reanimated. This is why I took 4 parts in that collab.

I think some need to realize localization does not equal bad. I can get behind "he's almost like a fairytale creature in that regard," but AM's "rad dude" contrasts more heavily with Mario at the time, I feel.

[More below cut]

Ex of localization: In Splatoon's Salmon Run, Mr Grizz is supposed to be the shady boss of the job you're working. The characteristics of a shady boss differ between cultures. In JP, he is characterized as overly nice and forgiving. In AM, he is characterized as ruthless, unforgiving, and rough, with the occasional compliment to keep you motivated. Either way, both cultures get the idea that something is fishy with this guy.

Bringing it back to Sonic, in both continuities, he is characterized as a carefree do-gooder with an attitude, more or less. He is cool. However, like the Splatoon example, he is given multiple ways to portray this to the right audience.

People have their aesthetic preferences, and it is incredibly convenient that we are able to communicate information across the globe, so we now know of these different interpretations, and can pick which one we like. It'd be one thing if that weren't the case, then I'd understand why people would be upset, because these interps would be gatekept from everyone else.

This one I thought was funnier than the original. It's generalized. (That's the Archie comic font iirc. 🤓)

It reminds me of how many Sonic copycats there were around the mid-late 90s because of how successful of a character he was.

The drawing on the left reminds me of some arcade collection games I played on my Xbox as a kid.

That also reminds me how many people who defend SatAM are 90s kids. This was their first impression, and they love it. I'm the oddball youngin who so happened to prefer this version after typing "Sonic Cartoon" into YouTube in the year 2013, but it makes me wonder how old are these lil petty babies who have nothing better to do than complain about a cartoon animal? (Trust me, you are going to look pathetic regardless of your answer.)

This one took me by surprise! Talk about sabotaging a Sonic story! I don't like this guy too much, but he is occasionally a credible source. I feel like that's the case in more recent times than say at least 10 years ago. This one you can take his word for, as there are mutple pieces of evidence to support this. (Im not your mom, do your own research. The feds wont be after you if you type "SatAM production history" into your search bar.) The first sentence is a full on mood. It felt like Lily Orchard's "Steven Universe is Garbage, Here's Why" video, and 90% of it is them struggling with story comprehension and changing their opinion every 5 minutes.

Anyway, I'm gonna go draw various localized characters, and there's nothing you can do to stop me! >:D

#sonic the hedgehog #sonic satam #sth #satam #masq squinks

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itgr · 9 months ago

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ITGR and the Aromantic and Asexual Spectrum

aka a long, pretentious, non coherent, semi analytical ramble I took a month to make about ITGR and how aspec coded it feels to me. Brought to you by someone who re read the series three times in the last nine months

I was originally going to write about how aspec coded every character feels individually in reference to this post but then I realised, I've always found that ITGR as a general narrative and comic had aspec vibes and I couldn't pin point why until recently. So I wrote this analysis (?) dissecting different patterns I noticed with characters and the general narrative themes and why it just feels aspec to me.

Obligatory disclaimers and preface: I will be using "aspec" as a shorthand term for both the aromantic and asexual spectrums (I will use "acespec" when talking about the asexual spectrum and "arospec" when talking about the aromantic spectrum specifically). I'm not trying to claim any of this was intentional on the part of Grave or trying to speculate that Grave is secretly aspec. I know a lot of the things I view as aspec coding could be explained away by a character's trauma or implied mental illness but I'm going to be largely viewing things through an aspec specific lens for the sake of this specific analysis (also aspec people can have mental illnesses or trauma that can feed into eachother and that doesn't take away from the fact they're aspec or vice versa).

This is all just a very aspec centered interpretation of ITGR and I'm not trying to claim it's the "correct" or "only" way to interpret the comic (also i will be sprinkling in aspec headcanons here and there and you will just have to deal with that, sorry <- some characters dont have specific orientations that come to mind for me. they're just somewhere on the ace/aro spectrums/hj). Some of this is based on 'evidence' in the text or like narrative implications and framing and the other half is based on vibes/hj and, I can not stress this enough, just because I headcanon a character with a specific label doesn't mean I think the character would ever use that label or even know what that label is. It's more about finding a term I think generally describes how I interpret that character as experiencing attraction

Word count: 4869

Part 1 : ITGR and the Performative Nature of Love and Attraction

Idk, there's just something about the way love and attraction are represented in this comic that feels aspec? Unlike a lot of other stories, I've read, ITGR kind of portrays love and attraction in such a detached manner I can't quite describe, especially early on. Love's ironically not romanticised and is either portrayed as something fucked up or as something performative with some exceptions (more on those later). Let's start with the examples in which attraction is portrayed as performative, starting with the most obvious example: Satan.

Satan spends most of his time, taunting and toying with his reapers in a number of ways with various levels of flirtation, with Scarlet being the one he flirts with the most. He makes a lot of passes and allusions to love with her because he likes toying with her and is really possessive over her. In some scenes, especially early on, he comes across more like a jealous ex-boyfriend than he does a boss. The way Satan acts around Scarlet and Brook is so interesting because I honestly dont believe Satan actually wants to be worshipped or that he has any attraction to Scarlet. He's just a bored million year old being who's trying to have fun, and he's doing whatever he thinks will make them uncomfortable because that's fun to him. This becomes more apparent with the fact that the only time we ever see him be uncomfortable is in Episode 94 when he's meeting with Ashe. Ashe (at this point) is someone who practically worships him and treats Satan how he implies he wants Scarlet or Brook to treat him. And he hates it.

Its so interesting that when Satan's given something he has been implied to "want" this whole time, he absolutely hates it and is uncomfortable. Which signals to me that he doesn’t flirt with Scarlet or mess around with Brook because he genuinely wants them to submit or because he actually wants Scarlet to fall for him. He does it because he enjoys the fun of getting reactions out of people and he likes being entertained. He likes the chase but I don't think he'd be happy long term if they ever actually completely submitted and did everything he claims he wanted. Something about the way Satan does sexual and romantic coded things in a performative way without actually wanting anything feels so aspec coded to me (diversity loses! the worst person you know is acespec and aromantic coded!).

The other most obvious example to me is Azrael (I have a separate already semi written ramble about the general queer coding in Azrael's character, but that's for another day). He's probably the other only character in ITGR that is as openly flirty as Satan and despite that, all of his scenes flirting with people just convinces me he's not interested in the people he flirts with😭. All his scenes flirting with Celeste and Bernadette feel performative and hollow because of the fact that he doesn't seem to be genuinely interested in them romantically or sexually. He knows how and when Celeste and Bernadette are going to die and I think flirting with them is either a way for him to either please them and make them happy before they die or a way for him to entertain himself or both. Like his interactions don't read to me as "Oh guy flirting with women because he wants to date them/have sex with them because he thinks they're hot." They read to me as "guy who wants to have such much fun as he can and explore as many possibilities as he can with people he knows are going to die." His entire date with Celeste was essentially a way for him to learn more about her and almost 'test' the extent of her loyalty to God because he was curious. When Bernadette dies, there's no romantic element to him comforting her at all, despite the fact he spent so much of their interactions flirting with her.

The only other person we ever see him 'flirt' with is the princess from his time being alive and even there, at no point do we get any narration of how he feels about her or any comments about having feelings for her. It's heavily implied he was only being romantic with her by agreeing to marry her because he wanted her to have one good thing before she died so her death wouldn't be as painful. I have a theory/interpretation that to Azrael, there's an inherent relation between flirting and death and that he only flirts with people if he knows when they'll die (even if the flirting isn't genuine on his part). This idea is supported by the fact that post season 4 and Nyra destroying his ability to see the future and how she'll die, he doesn't flirt with her at all (which also more evidence that his interest in her was never genuine). Anyways, because of the performative nature of his flirtation with different characters, he's aspec coded to me (and he likes men but that's for another ramble).

I think the other example of a character expressing attraction only to reveal romance/sex isn't what they're after is surprisingly Wrynn? I have less compelling case for her compared to the others but I find it interesting that it would have been very easy to just make her in love with Ashe in a conventional romantic and sexual way but no. She doesn't want to date him. She wants to go back to being one with him (something something love as consumption but we don't have time for that). Episode 182 sets them in such a specific way (by giving them a lot of romantic and sexual tension and also an almost kiss) but even then, the reason she's doing all of that is so he can eat her and they go back to sharing a body because that's probably what an ideal relationship is like to her. I guess to me, having a character have so many signifiers of conventional allo (aka not aspec) attraction only to reveal they're actually not after sex or conventional romance and more into their own unconventional form of romance (if you can call it that) feels very aspec to me.

I've just noticed this consistent pattern with characters performing acts to signify attraction only to subvert that but either implicitly or explicitly showing that sex or romance isn't what they're after and it'd be one thing if it was one character (i'd still argue that this hypothetically character would be aspec but it'd be an isolated case) but the consistent pattern is borderline fascinating to me? It just creates such an interesting narrative and almost world? In a lot of media, romance and sex are just considered normal or expected but here, in ITGR, they're really not. Characters can perform attraction but that doesn't take away from the fact that more often than not, they're usually interested in something else and I dont know, I've always found it interesting.

Part 2: ITGR and the Horror of Attraction

I feel like a lot of media treats romantic relationships and attraction as generally good things that can be fucked up but usually when it is, it's framed an isolated event and I find it interesting how ITGR highlights a lot of the more fucked up aspects in romance and relationships. ITGR doesn't frame love as something inherently good or benevolent and I think there's something about that just feels aspec to me. I'm not trying to say romance or sex are inherently bad or fucked up. I just think that, like with anything, there is a certain amount of horror that can be drawn from and created from the concepts of attraction and I feel like the potential horror of romantic relationships (not necessarily even abusive relationships. Just the horror that can be drawn from the concept of being in a romantic/sexual relationship or being in love), or the ways love can be warped and turned into something terrifying is something that stands out more to aspec people than allo people if that makes sense.

I feel like ITGR frames love and attraction as something capable of being bad and hurting people as much as anything else. Jordan, the first sinner Scarlet ever kills, uses romantic flirtation as a weapon to lure women and kill them. It highlights the darker flipside of flirting and how flirting, something very common in romantic and sexual situations which is usually seen as positive or alluring, can be used to lower someone's guard and commit harm and violence. The reversal of using something romantic/sexual that is usually used to make characters look cool or charismatic only to use it highlights how dangerous it can be in a specific context has aspec undertones to me.

Another example is how ITGR deconstructs parts of the tsundere trope in Chase's past in Episode 15 and showcases the darker aspects of being in love. Here, love isn't framed as a good and positive emotion, it's framed as something fucked up that can leave you vulnerable to abusive and harmful situations because of the ways it can make you idealise someone which can make you blind to their abusive behaviour. I find it interesting how ITGR deconstructs some parts of the tsundere trope (aka a trope where a character acts cold and hostile to their love interest but gradually opens up) by showing how someone who is constantly mean and demeaning and physically abusive to you can be harmful. I find it interesting specifically because I feel like tsundere characters' hostile actions are sometimes justified by people using the fact they're in love, which implies that just because they're in love, it justifies them hurting someone, therefore framing love as a benevolent force that can excuse certain bad actions as long as they're for the sake of love. (BTW I feel like saying: I don't think the tsundere trope is a bad character trope. I think it depends on the execution and just find the way ITGR handles it to be interesting T-T). In this episode, ITGR instead implicitly claims that love can't justify bad actions, which further its grander treatment of viewing love as an emotion as any other, instead of putting it on a pedestal or treating it with extra importance like a lot of other media.

I think the other main example of ITGR highlighting a fucked up side to the concept of love is Liam's entire character. Liam's spiral after he realises Ana is dead is both terrifying and tragic. Liam killing an innocent man so he can be with her takes something that in some contexts would be seen as romantic (the fact that someone would be willing to go to such great lengths for someone they love) and twists it to an extreme to highlight how terrifying it is that love can be so all consuming that it warps someone's values and makes them do terrible things in the name of love. I feel less strongly about this but I also feel like there's something mildly horrifying about the fact that he's willing to do this for someone might not returns his feelings. Something about him assuming they were meant to be, despite never asking her, kinda also hits that "love as something horrific" horror spot but I feel like that's a weaker point.

ITGR just consistently frames love like another other emotion that has the capacity to do harm and in contrast to the way most media places extra importance or goodness on love and relationships, ITGR views it in a very detached perspective that feels very aspec to me and I hoped I managed to express that idea with these examples.

Part 3: ITGR and OOPS! THE MAIN COUPLE'S REALLY QUEERPLATONIC AND ASPEC (coded)!

Okay so up to this point, you might be thinking "Wait, what about Scarlet and Chase? They're the main characters and they're in love and are explicitly sexually attracted to each other" and to that, I say "Well yes, but no, but yes"/lh. I'm going to preface this by saying that this is probably going to be the most incomprehensible and hard to explain part of this analysis (?). When I said there's a few exceptions to ITGR framing love as something performative or fucked up, they're one of the main examples (I WROTE THIS BEFORE VER AND EVERETTE OOPS). Chase and Scarlet's romantic and sexual feelings for eachother are framed positively and tragically, you're supposed to be rooting for these two little doomed by the narrative dorks. That being said, they're both aspec as fuck 😭 sorry, not sorry, the aspec agenda doesn't end I'm afraid. I'll start with Scarlet because my interpretation of her is a lot more based on tangible evidence (while Chase is half based on vibes tbh/hj). She reads to me as demisexual and some flavour of arospec (greyromantic or even demiromantic). I think it's largely the fact she doesnt really seem to experience sexual attraction towards anyone, including Chase, until way later on. You could argue it didn't even start appearing until after she left the 9th layer (so it took her 25+ years to start experiencing sexual attraction towards someone she has romantic (?) feelings for). I know that you could probably argue that it's a trauma thing but that doesn't take away from the interpretation (demisexual people can have trauma and still be demisexual).

I feel less strongly about her being greyromantic but I still feel like that's another possible interpretation. It's mostly because I can't really see her being attracted to anyone? I think I know why scarlets orientation is hard for me to pin down. I think it's because I can't really imagine her being interested in men or women?? Like, I'd make sapphic jokes about her but I honestly just don't think she'd be interested in women. Or men. Honestly I feel like she's not attracted to any gender. If she ever is "attracted" to someone it's because they're someone who gets close to her and she's grown an attachment to them. Like she'd still be in love with chase if he was a girl. But also, I don't think she's attracted to any specific gender or any gender in general but also has the capacity to like any gender and I feel like calling her pan just doesn't fit so. Um. Yeah, I hope you enjoyed my unlabelled Scarlet side tangent. All of that being said, her not really feeling attraction for anyone except one person and it has to be someone she's formed a pre existing strong bond with…. Yeah. Need I say more/hj. (The unlabelled demisexual arospec Scarlet agenda is real)

Now onto Chase, also known as the vibe check. I'm going to be honest, something about him screams aromantic allosexual to me in a way I can barely convey. I think it's maybe the way when he talks about his ex, he talks about how hot she is, instead of talking about what parts of her personality attracted him to her. Also, I might be projecting but something about him canonically having a lot of failed relationships also just kind of contributes to the aroallo vibes I get (I'm not saying every aroallo person is going to inherently have dysfunctional relationships but I am saying it's not an uncommon experience for aromantic people to have a lot of past relationships that didn't work out due to "something" feeling off. Gestures). There's also the fact that while Scarlet takes a while to show any overt signs of physical or sexual attraction towards him (I was gonna say, this is except for her blushing when she sees him shirtless in Episode 13 but I went back and no she doesn't so demi Scarlet is so real), he does it a lot sooner than her and I don't know, there's something about how his feelings for her derive more from the fact he sees her as his equal or even above him while he struggles with human connection and attachment with most people and how his expression of romantic love isn't really conventional which feels very aromantic and queerplatonic to me. I guess I've always interpreted Chase having queerplatonic feelings for Scarlet that are romantic adjacent (Not saying all queerplatonic relationships are the same as romantic relationships, it heavily depends on the people in the relationship and how they feel and I just think Chase seems like a romance favourable aromantic person who'd label their queerplatonic feelings as romantic <- I don't think any of these characters know what the aromantic spectrum is, much less what queerplatonic relationships are. I just feel like, if we wanted to be technically, Chase's feelings for Scarlet, to me, aren't really romantic but I think he'd feel comfortable labelling them as such. I hope that made sense). To be fair, in a comic where like, over the half the main cast is heavily coded with at least one cluster b personality disorder/hj (I might make a post of how many characters in this comic have cluster b coded traits or symptoms as someone with two cluster b disorder but that's for another day), it makes sense that a lot of the connections and attachments characters make feel unconventional because a lot of these characters have issues related to attachment but even that, I'd argue that doesn't take away from the aspec reading.

Ever since I started reading ITGR back when season one and two were coming out, I'll never forget just. Not seeing the romance between Scarlet and Chase at all and being jumpscared when it became overtly canon because there was always something about their romance that felt, for lack of a better word, empty (NOT IN A BAD WAY) to me? And I just couldn't articulate what it was about their interactions and romance that felt so off and unconventional to me until now. I think it's partially also because of the way all their romantic scenes pre the season three finale focus more on affirming how much they care about and are attached to eachother as people, rather than how "in love" they are? And also the way their main forms of affection is hugs or physical touch and there's not really any "OMG O////O ARE WE ABOUT TO KISS???/!??@?@?" moment. Even in Episode 42, when we get a bit of a kiss tease, there's not blushing on either of their ends and Chase is talking more about how much he cares about her as a person and how much he's come to respect her and how even he, someone who in a way views himself as superior to most people and tries to position himself as someone worthy of deciding what's just and what isn't, has come to view her the ultimate judgement and he respects that (THAT WAS MORE INTIMATE THAN ANY LOVE CONFESSION BUT WE DON'T HAVE TIME FOR THAT). And even when he says he wants to see her in the eyes when she kills him, it's more about wanting to see her as a person before she dies. There's love there but it feels different than romantic love to me. Like, it's so intimate and unconventional and something about how we're four seasons in and they haven't kissed yet and the way their entire relationship is written and the way they express love and attachment to eachother has major queerplatonic undertones to me.

There's just something about how the main romance in this comic has a surprising lack of emphasis on romance. Anyways, I love my little murderous aspec people in a romantic QPR/lh.

Part 4: ITGR and The Aromantic One and the One That Wasn't (aka ITGR and the Devastation of Amatanormativity)

Amatanormativity is the common belief and societal assumption that everyone desires to be in a monogamous romantic and sexual relationship and marriage and it has caused a lot of pain to a lot of people but aspec people specifically (it's similar to heteronormativity and gay people). There are two examples of ITGR critiquing amatanormativity and highlighting how much pain it can cause, one indirect and one direct. Critiques and depictions of the harm amatanormativity causes are generally hard to find in most media and are mostly confined to media explicitly centered around aspec people and that's why it's actually surprising to me that (while I don't think it was intentional at all), on top of all the aspec undertones ITGR has, it also directly and indirectly critiques a societal expectation that inherently hurts and deeply affects aspec people.

I'm actually surprised I made it this long without talking about Brook at all. That being said, there's actually one character I need to talk about before I talk about him: Ana. Despite Brook being the explicit and more blatantly canon example of an aromantic character, Ana's backstory indirectly represents a common issue aspec people face. I know it's later revealed by Liam in Episode 48 that the man Ana married was a man she hadn't met prior but I still think there's a way to interpret her backstory through an aspec lense (Misogyny definitely has a part to play in Ana's backstory but I don't think misogyny being a factor takes away from an aspec interpretation of it and vice versa). There's just something quintessentially aspec to me about Ana's horrified face in episode 11 when we see her and her fiance as she remarks that she "didn't feel anything".

Her entire life fell apart because her abusive parents pushed amatanormativity onto her. It's the way she literally tries to tell them she doesn't want to get married or have children (implying she was happy being single and pursing her writing career) and they dismiss her and call her stupid and tell her that every woman wants to get married. They dismiss the notation anyone (any woman specifically) could be happy without marriage, or a relationship. Ana decides to do what they say and I know it's never explicitly shown but I think she wanted to believe they were right and that she'd develop feelings for her husband and be happy eventually if she just conformed and did what they said. It's possible she could have felt like she was wrong (or. broken/hj) and that she wanted to believe that marriage would "fix" her and make her happy (because society and amatanormativity consistently pushes the idea that marriage = happiness) and that would explain the horror in her face when she realised she didn't feel anything. It's also further supported by her line "Where was that happiness I was promised?". Her parents, society and amatanormativity literally kept telling her that she couldn't be happy if she stayed single and childless and sold her the idea that getting married would fix her and make her happy and that destroyed her life and, regardless of if Ana was supposed to represent an aspec struggle, it still stands as indirect commentary on how amatanormativity can hurt people who don't want to be married (or in relationships) (semi related but I personally headcanon Ana as aroace or arospec asexual ^^).

And with that said, let's move onto the only actually canonically aspec character in this comic: Brook, who's canonically aromantic. Also Brook being aromantic is canon regardless of it's explicitly said or not. I could go on a whole tangent about queer representation and the double standards between other queer rep and aspec rep when it comes to needing authorial intent to be seen as "real" rep but the short of it is that Brook's aromantic, not only because he said he's not interested in romantic relationships but because, on a fundamental level, he doesn't understand what romantic feelings are like and how they work. He's confused by the concept of romantic feelings, because he doesn't feel them. I don't think there's another way to interpret that. He's literally textbook aromantic. I'm not saying that trauma hasn't maybe influenced that and vice versa but you can be aromantic and have cptsd. I also feel the need to debunk the idea that Brook's time as reaper "made him detached from romantic love so he's not really aromantic" because that doesn't make sense. Yes, Brook's time as a reaper probably made him even more detached from human connections than he already was but there is no indication that he felt romantic feelings before being a reaper. He quite literally shows no interest in romance at any point in the comic, even before he died (also, again, while his lack of general ambition in anything could be interpreted as the product of some kind of neurodivergency or mental disorder, but that doesn't mean he can't also be aromantic). The fact he doesn't understand romance to begin with heavily implies he's never experienced it and doesn't experience romantic feelings in general, hence that he's aromantic.

Now that that's established, I want to talk about how ITGR depicts the feeling of isolation that can sometimes come with being aromantic, which in itself is kind of caused by amatanormativity. There's several scenes in the comic (Episode 176 being the most obvious example) where Brook laments getting attached to Chase and Scarlet because they're in love (well. Wellllllll, adajcent anyway/hj) and he feels like he'll never mean as much to them as they mean to eachother. He feels like because he's not romantically with either of them, he'll never the first priority to them (I personally headcanon as Brook having mild queerplatonic feelings for Scarlet but its not relevant right now and we don't have time for that). I feel like it's very common for aromantic people to feel isolated as a lot of their friends gets into relationships and because of how romantic relationships are seen as "superior" and it's nice of ITGR to represent that in a way. I feel like we do sometimes get canonically aspec characters in media but usually, if they're not the main main character, we don't really get much about how being aspec affects their lives and relationships? Or what their specific relationship to being aspec is? I feel like a lot of media ignores the complexities of being aspec which is why I really love Brook as a canonically aromantic character. While in most media, the aspecness of a character is more of a footnote and is usually treated as a label that's simply slapped onto a character, Brook's aromanticism doesn't exist in isolation and it directly ties back to several parts of his characters. It informs some of his feelings and thoughts. It feels like something tangible. I think it says a lot about how the writing that Brook is written so much like an aromantic character and his struggles with not feeling romantic attraction are treated with complexity that I genuinely forgot it's not explicitly ever said he is aromantic. I don't know, I really like him as aromantic rep.

Part 5: Bonus Headcanons + Conclusion

I didn't have any specific sections to put these headcanons in so I'm just going to through a bunch out there. Ashe is so greyromantic and greysexual to me. Like he definitely had feelings for the wife he's implied to have had when he was alive but I like to think he doesn't really feel attraction outside of that one specific person. Nyra screams arospec asexual lesbian to me. That's it. Send post. Need I say more? (I'm never getting over how her date with Azrael just convinced me that neither of them are attracted to the other's gender/lh). Oddly enough, I don't have that many headcanons about Bernadette. I'd say she could be ace? Vibes anyway. Scarlet's unnamed childhood best friend is so aroallo to me (vibe checked). I wrote a lot of this before Ver and Everette's interactions were revealed so you can either interpret them as the token allos or they can be acespec as a treat/hj.

With all of that done, thank you to anyone who actually read this whole thing. I am so sorry I'm insane/lh. I hope you enjoyed hearing out this interpretation. I feel like this analysis (?) has finally allowed me to be able to articulate why ITGR has always read to me as an aspec heavy piece of media despite only one character being canonically aspec, it's a combination of several things but mostly just the way the comic views love in such a detached and unglamourised way compared to a lot of other media. Love and attraction are still in the comic but the forms of love we see are unconventional. It kind of creates a world where genuine love and attraction aren't really the default, like out of the most openly flirty characters in the comic, most of them have ulterior motive and their flirty is performative and I find that so interesting. I don't think this is necessarily the only way to interpret a lot of the characters and themes but I hope I've opened your eyes to the aspec ITGR reading ^^

#YES THAT WORD COUNT IS NECESSARY #im the grim reaper #i'm the grim reaper #itgr #webtoon #analysis #meta #????#happy pride month i guess oops #i do a bit of speaking <3 #shout to itgr for inventing acearo and aspec people

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davekat-sucks · 5 months ago

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Found this on Reddit and I wanted to share it here because it's a really good read and it actually isn't bias.

OP: Not to sound racist, but why are so many people headcannoning Jade as black?

Like with every other character in different artists interpretations we get a wide variety of skin tones, from lightest beige to the darkest brown. But with Jade I literally never saw her drawn with light skin (unless she is drawn as accurately to the comic as possible). Why is that? Is it related to the official material somehow, or it's just a headcannon, that happened to be really popular for no particular reason?

Reply: This is a perfectly valid question to ask, and I think I know the answer!

Homestuck was most popular between 2012 and 2014, and tumblr was the main platform where the fandom discussed and shared things related to Homestuck (or any fandom for that matter). Around this time, young people also started becoming more aware of media's bias towards portraying race. There was an increased awareness that white was seen as the "default" race for fictional characters, and that characters in books and podcasts with no official artwork attached to them tended to be imagined as white for no reason other than this bias.

The result of this awareness was that brown and black people felt increasingly comfortable drawing "blank" characters (what they look like is entirely up to the fans) with dark skin colours, or re-imagining existing light skinned characters as having dark skin. The latter was done either to make an active contribution to undoing decades of racial bias in media, or simply because the artist wanted to see a particular character as being part of an underrepresented culture. Dark skinned characters were also regularly drawn with more darker skin than what was canon, because of bias related to colourism, which is the idea that even non-white (real life!) people are viewed as more beautiful when they're less dark.

Back then, tumblr was a lot less chill about things, and anything that could be remotely interpreted as problematic was met with intense vitriol and villification. This behaviour is now mostly present on twitter, but back then it was unique to mid 2010-s tumblr. Words like "tumbr-ification" and "tumblrina" came from this time. Anyone who was accused of having drawn a dark skinned character with a slightly less dark colour than canon was deemed racist. Anyone who drew a blank character as white was racist if the dominant view ("fanon" vs canon) was them having dark skin. Which was often the case. These people who cried racist were a loud, EXTREMELY loud minority, and with call out posts and dogpiling easily convinced others that everyone agreed with them. So not everyone was like that, far from it, but if your post gained traction and it was found you made a transgression, the harassment you would experience could make you feel like everyone hated you. So even for people who did their best to ignore this "side" of tumblr, there was a lot of pressure to not cross a line with this vocal minority if you wanted to keep sharing your art online, or wanted to stay part of the online fandom community.

Now, how this affected Homestuck. The fan art for Homestuck existed in this cultural bubble that I just described. First, you had these characters with very identifiable features (glasses, accessoiries, T-shirt prints) that lended themselves well to being drawn with all sorts of different colours and hair styles while still being recognisable. Second, their skin colour was left up to interpretation, after the original author recognised that his view of his characters as being white came from personal bias and there was no reason why they would or wouldn't be a particular skin colour. So, this was seen as an extra approval to go wild with fan interpretations and why there is such a wide range of dark skinned Homestuck characters. Jade and Jake in particular are being drawn with dark skin more often than the other kids, because in-universe there is a logical argument for them being non-white: they're islanders! Their dark skinned interpretations are more readily adopted by others as head canon for this reason. As a result, their counterparts John and Jane were also often drawn with tan skin. For obvious reasons, Homestuck 2 made a dark skinned interpretation of Jane significantly less popular.

Last part of the puzzle: why do dark skinned interpretations of Homestuck characters often appear to outweigh light skinned interpretations? It is a direct result of the intense pushback from both white and non-white fans to white interpretations, which I explained two paragraphs earlier. Depictions of Jade and Jake as white in particular were, without exception, met with either blunt criticism or straight up harassment. Sometimes overwhelmingly so, though most of the time only some comments fell into these categories. But it would always be pointed out publicly, and rarely with a friendly tone. Even to this day, on reddit, you'll see that half the comments on any artwork featuring four Homestuck kids all having light skin (or human versions of trolls) simply say "whitestuck" "why they all mayonnaise 💀" or something like that. This heavily discourages people from drawing their light skinned interpretations. People who have posted their light skinned interpretations of the entire group of kids are not likely to do so again, as it will be perceived as willfully ignorant at best and an active statement against dark skinned interpretations at worst.

I hope I was able to explain this without adding a value judgment on what is right or wrong. I have my own opinions and I'm happy to share my own feelings about fandom from a decade ago if anyone wants to know more about what it was like.

#homestuck #homestuck fandom #Jade Harley

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bigskydreaming · 6 months ago

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I’m rewatching X-Men (2000) for the first time in a long time and besides finding it exquisitely nostalgic, I keep finding myself thinking, “Damn, [character] is kind of OP” with literally every. Single. Character. And it’s funny now to think of how crazy powerful all the X-Men are compared to say, the Avengers, where I feel like the only god-tier power the MCU ever delivered was Captain Marvel and maybe Thor in Ragnarok. I guess the first X-Men kind of downplays Jean Gray’s powers, and there are cool take-downs like Magneto’s iconic “That remarkable metal doesn’t run through your entire body, does it?” line and Toad getting fried by Storm, but I feel like it’s so fun that most of the time literally every character is OP. Anyway, I wanted to ask you as an X-Men expert, have they always been so cool and powerful, or do the comics toggle back-and-forth with how powerful they are like the later X-Men movies did? And did comics Avengers and Fantastic Four ever think they had a chance vs. the X-Men?

LOL its ironic, I kinda consider them to be massively UNDERPOWERED in the X-Men films, but also I hate everything about them because Singer, so who's unbiased, not THIS guy!

For the most part it depends on the character. Like, you know Bobby's my Blorbo above all Blorbos there, so the X-films in particular did a shitty job of depicting his actual power levels, but in their 'defense' I guess, so does every other adaptation. Nowhere but the comics has been consistent about him being portrayed as ridiculously OP as he is, which is kinda funny because for all that Iceman doesn't SEEM like he'd be a top tier power level kinda character, he's consistently been that way since the early 90s. Hell, for that matter, he and Jean were the original omega level mutants used to debut the term in its modern interpretation.

(A lot of people point out that omega was first used to describe Rachel Summers, who isn't considered an official omega level mutant these days, but that was by Sentinels describing her as an omega level THREAT, so I don't consider that the same thing as the OL classification mutants use among themselves, but just throwing that out there).

In the comics, there are different classifications, kinda, that mutants use to describe different power levels. Most mutants are gamma or beta mutants. Most combatant mutants like major X-Men and foes, such as Cyclops, Bishop, Psylocke, Emma Frost, etc, are alpha level mutants.

Omega mutants are the rarest of the rare, and are, simply put....god-tier mutants. Their literal definition is mutants whose upper levels of power are beyond any ability to measurably quantify. A lot of people default to calling them infinitely powerful, which isn't quite INaccurate, but also isn't quite accurate....its more like....they're mutants who will never stop finding new ways to grow and advance their abilities, who have no upper ceiling to their powers...though all of them reach different tiers of ACTUALLY utilized power at different times/lengths of time.

A ton of people HATE the omega concept because frankly, it DOES make those with that designation overpowered as fuck but I like to point to DC and the Justice League which has always been full of god-tier characters who are nevertheless possible to write for and give relatable issues and equivalent foes. Personally though, I've always loved it for the narrative possibilities rather than the power levels per se. I like it because omegas are like, ultimate examples of evolution (Marvel style, lol, as in the kind they always have go hand in hand with mutants but uh, isn't always scientifically on point haha). But I mean, they're individual mutants who embody the concept of constant, unending evolution. The view of omega mutants as just the most powerful misses the point, IMO...part of why I hate Bobby's constant cycle of 'untapped potential' storylines (his most often recurring narrative) is because it fails to acknowledge that omegas like him CAN'T ever fully realize their potential, just MORE of it, because like evolution, there is no actual intended ENDPOINT for his or any other omega's powers. There will always be more. Further they can go.

Anyway....I know X-Men '97 emphasized Jean, Storm and Magneto as omegas, but even it didn't actually convey the level their powers are at in the comics, other than Magneto doing the global EMP thing. Omegas can pretty much all affect things on a global scale. A group of twelve of them in the comics recently terraformed Mars, in order to relocate a bunch of mutants called the Arakkii there after they returned from their 4,000 year long war in a demon dimension, protecting Earth from being invaded by it. (Long story).

But yeah, so omegas are a thing in the comics, and no adaptation has quite yet even scratched the surface of what they can do in the comics. There's only 12 acknowledged omegas out of all the Earthborn mutants (though Hickman's list is shit IMO and its ridiculous that there's only one person of color on it, Storm, and there's several other mutants of color I'd happily add to it if given the chance to balance things out), but the Arakkii (who are all black-coded if not actually black, because of where and when Arakko/Okkara originally existed on Earth before Amenth invaded 4K years ago), have a similar number of omegas of their own. But again, we're talking around 12 mutants EACH, among their total respective populations of about a million mutants each.

Anyway, the big four of the omegas, the major names among the X-Men, are Jean, Storm, Bobby and Magneto, with the other Earth omegas being Exodus, Elixir, Hope Summers, Absolon Mercator, Jamie Braddock, Proteus, Gabriel Summers/Vulcan and Quentin Quire (sigh). And then on the Arakkii side there was Isca the Unbeaten and her sister Genesis, Apocalypse's wife, Lactuca, Sobunar, Xilo, Ora Serrata, Lycaon, Tarn, Lodus Logos, Idyll, Kobak Never-Held, and Apocalypse and Genesis' kids, the original four Horsemen. Plus they keep going back and forth on whether or not White Sword is an omega or just a really powerful External, but whatever, I digress. Anyway, that list isn't accurate anymore because as of Genesis War, a few of them are dead, just like on the Earth list Hope is....transcended I guess you could say, lol, and Elixir and Proteus are back in the White Hot Room with her and who knows where the fuck Mercator is these days, but like.

Point is, the omegas are cosmic level. Jean's current solo literally has her being called a cosmic entity, because yeah, she's one with the Phoenix again but since the Phoenix has long been described as a future point of her own evolution and was recently solidified as like, a mass gestalt of mutant life force and psyche that was collected within her and her power like a nexus point, its kinda one and the same. Storm's solo is said to have plans to have her interact with the Abstracts of the Universe (the like, ultimate top-tier beings in it), Eternity and Oblivion.

Bobby's been quite literally unkillable since the early 2000s at least, as in he's been hit with a nuke and atomized, been blown up MULTIPLE times, and he just makes himself new bodies out of the next nearest moisture. He once started a new Ice Age, can create armies of semi-autonomous ice giants, teleport anywhere there's water, etc. Oh yeah, and since he's the walking embodiment of the future heat-death of the universe, he's also frozen reality on a quantum level to quarantine a cosmic tier threat. Oh AND frozen Hell. Jean reignited a sun recently. Storm took out an alien mercenary army in seconds by just hitting them with Jupiter-level atmospheric pressure with a snap of her fingers, and the only thing about that which actually required she exert herself came from holding BACK enough that her allies standing mere feet away weren't affected the same as her targeted enemies. Vulcan talked about obliterating Mars when he got cranky, and everyone took that very seriously because he can absolutely fucking do it. Any of them can.

There's a reason X-fans are sore about how editorially scripted AvX went, and not just because the X-Men were known to be a lesser priority at that time due to the film rights, so they were never going to get to be the 'winners' of that, ideologically, even though the optics for how that fight started were not actually as great for the Avengers as Marvel seems to think they were. But it also has a lot to do with the fact with all credit to the Avengers heavy-hitters, which there are quite a few of, they tend to get their powers/origins from cosmic storylines far away from Earth, hail from other dimensions like Asgard, etc, whereas mutants have been home-growing cosmic tier fighters on Earth for decades now, and that was pretty much treated like a non-factor.

None of the omegas (and Magneto and Storm may not have OFFICIALLY been listed as such yet, but Bobby was, and its not like they actually got any power UPGRADES when they were finally canonized as omegas, it just was a label change acknowledging the power they've always been depicted as having) actually played definitive roles in that, and again, when you've got global threats in one side's ranks that you refuse to acknowledge as such in order to make sense of pitting them against opponents they should be able to handle with a finger snap, it does tend to make stans cranky. Its like yeah, they gave me a panel of Bobby fighting Red Hulk in the background, but that was the extent of his impact on AvX as a whole, even though he'd quite literally taken Thor on, solo, mere months before during the Dark Iceman arc.

But yeah, you say AvX around X-fans, we will hiss at the memory like a snake. Was not fun for us. And again, this isn't to disparage the cosmic tier characters the Avengers have, and of the Fantastic Four, Sue and Johnny are right up there at the top of any power ranking system one might care to devise. But...like....mutants tend to deal with their threats internally in the Marvel universe, so every mutant alive has known for decades that Magneto, Storm, Iceman and Jean should not be locked in a room together and told to fight because without nonomegas who can't actually survive the stuff they can around them to remind them to keep their power levels DOWN, those four could very easily blow up the Earth before they even realize what happened since omegas vs omegas equals unlimited escalation.

Meanwhile, it was literally only during the Krakoan era that anyone OUTSIDE of mutants sat up and took note of the omega classification (which has existed for decades) even being a THING, let alone mutants casually being like 'oh yeah, we have like, twelve of those guys.'

LOL, so anyway. Yeah, it is kinda funny to hear the X-Men in existing adaptations described as OP, because none of them even come close to scratching the surface of how many of the X-Men are portrayed in the comics. I have very little interest in the MCU as a whole, and am not expecting to be a fan of their take on the X-Men but I am very curious to see which X-Men they emphasize as the heavy-hitters and what level of power they depict them as being at. For better or worse, whether fans like it or hate it, there's a good dozen of them who can go toe to toe with literal gods without breaking a sweat.

(Like, literally literally, not how Kalen usually uses literally literally. Bobby single-handedly thwarted a Loki 'take over Asgard' scheme in the EIGHTIES, at a time when only Thor himself was going one on one with his brother and if he wasn't around, Loki was considered a 'bring your whole team' kind of threat. And this was a full decade before the omega term was even a thing. Thor's canonically been wary of Bobby since the latter was SIXTEEN because he considers him to be a baby Ymir, the father of all frost giants. He was literally playing poker with other Avengers when he sensed Bobby go Dark Side during the Dark Iceman arc and his face went 'oh fuck.' You know how powerful you have to be to make Thor's face go 'oh fuck'?)

(Fimbulvetr is the Asgardian term for the Everwinter, the start of Ragnarok. Its a Ymir thing. Incidentally, after AvX when the X-Men and Avengers were making a point to cooperate, Thor and Bobby teamed up against Ymir himself, and THEN Marvel was perfectly happy to allow Bobby to kick his ass solo and be like 'what, was that supposed to be hard' to an incredulous Thor, BUT I DIGRESS).

But anyway, the official omega list is very recent, but everyone on it like Storm, Jean, Bobby and Magneto have all been consistently powerful as fuck since the 80s, MINIMUM. Bobby's 80s solo was used to debut Oblivion, an Abstract of the Universe, Storm was channeling the energy of multiple stars when fighting the Brood in space, and that was all decades ago. They've all had occasions of being nerfed since then, but for the past decade or so, the Big Four have had relatively few occasions of that compared to any point before, and Marvel's been more pointed about keeping their upper ranges of power more normalized for them.

#x-tag

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