#i really don't believe that being perfectly in-character is the most important thing

[alwaysbethewest]

I don’t read a lot fic so I’m simultaneously living in an ignorant lalaland but also wanting more and afraid to venture into wild territory for fear of repeatedly encountering the Joel you mentioned. If even someone like me has noticed it, then it’s truly pervasive. I like to think I do a decent job of separating the character from their dominant trope/au/fanon but it gets hard <insert Oscar Isaac coffee gif>

I'm kind of in the same boat! I'm not reading that much these days (and when my brain is ready to I have a looong to-read list for other characters!) but I like to scroll through the fandom tag and skim the summaries. I'm sure there IS some great, thoughtful, in-character fic out there but I rarely see anything that draws me in. I've actually literally just added a tag filter for his name so I can stop looking in the first place because I find it so dispiriting and confusing 😕

[ruins-of-gods]

Something that I think Warhammer 40,000 storytellers miss sometimes is the sheer scale of their setting. I mean, don't get me wrong - I love the big, dramatic clashes, the characters you can buy in mini form and their convoluted, interwoven lore, the dramatic combats against unstoppable foes across a thousand ruined worlds. But that's the top of the setting, as it were - the most powerful beings in the universe, all fighting for supremacy. And at ground level, the level of the ordinary person, are so many other stories.

Did you know that a Lunar-class void cruiser has a crew of 95,000? Nearly a hundred thousand people, aboard a spaceship five kilometers long. A city, flying through outer space to wage war. Many of those people are proper trained soldiers, fresh from some academy or veterans of long, grueling campaigns, and many more are pressed into service, begrudgingly laying their lives at their Emperor's feet. But, unless the ship is currently actively involved in a really bloody campaign, most of those people were born aboard that ship. Most of their parents were born aboard it. And their grandparents. And their great-grandparents. Lineages stretching back centuries, so far that the original soldier who came aboard has been forgotten. A lot of those people probably know, on some level, that they're aboard a ship flying through space - but a lot of them probably don't, and I guarantee you almost none of them understand what that means. This ship is their world. To look out the window means madness so often that they avoid it - not that windows are readily available anyway. Most of them probably barely even understand that they're fighting. All they know is that when the readouts on their analog instruments display like so, when they hurry to obey the blared orders through the klaxon, the Emperor is pleased with them. They were born into that world. When they were children they did smaller tasks the adults couldn't. Their entire existence was winding metal corridors, laid out according to some archaic design, any logic that might dictate their layout long since degraded after millennia of ignorant maintenance, lit only by emergency lights that have long since become the default. They learned how to read an angle readout or how to relay an order perfectly the way another child might learn history or math. When they grew up, their service was flawless, born of pride and ignorance, and when they grew old and died, their legacy was remembered until it was forgotten. Many were killed in battle, but who cares? They gave their lives to the Emperor - a name whose meaning they don't understand, but whose importance they believe in wholeheartedly, all but synonymous with the commanding officers up above.

Sometimes, the klaxons sound a specific command, and every person on board who understands what it means feels a deep, awful dread as they run to their battle stations. They don't know what a warp jump is. They don't understand they're going from one place to another by the fastest way available. All they know is that, for a time, the ship dips into hell. The corridors go wrong. Things and people might not be where or what they were before. Daemons stalk the halls, and must be killed by any who can hold a lasgun. The overcrowded berths, the little nooks that families find for themselves - they are not private anymore. They are not safe. Things drift through the shift that do not care about the laws of physics, but that delight in killing and torturing human beings. Vast energies shake the ship and tear parts of it away - their home, their world, their existence, the biggest thing they can imagine, assaulted by something bigger. Is it the Emperor's punishment for failure? Is this what battle is? What's going on? They don't know, and no one who does can be bothered to tell them. The dread of those who have seen this before is even worse, because they don't know how long it will be. It might be just a few hours. It might be days, or weeks, or months, or years, or decades. It might be centuries, as the captain of the ship goes hunting daemons deep in the warp - the officers live that long, after all, and have little care for those who don't. There will be people born in hell, who spend their entire lives fighting from the day they can stand, and who die in hell, as old age and need catch up to them and they curl up in a corner to perish. To them, it isn't even hell. It's just the world. The world is death and pain and cruelty, an infinite metal box through which monsters stalk, and sometimes you must run to a battle station and do as you're ordered to do. And sometimes, as they reach forty or fifty or even a ripe old sixty, the ship drops out of the Warp, and, for the final years of their life, they are granted a life of relatively safe service better than anything they ever hoped to dream of.

Those are the kinds of stories I want to see more of. Super-soldiers fighting each other is cool, yes, but I want to see this universe explored. I want stories from the perspective of those that keep the Imperium going, or the aeldar, or the tyranids, or anyone, really. There's just so much potential in this setting. It deserves it.

[camilledlc]

I think Wade Wilson is way more intelligent than people give him credit for. Or, another character essay no one asked for :

This will be based both on comics and movies. Also, spoilers for Deadpool and Wolverine.

I think it's often said that Wade doesn't know how to read situations, as he often acts inappropriately during them. He doesn't seem to sense the mood of the person he's talking to, angering them more often than not, and he doesn't really care about watching his mouth around children, etc. There are tons of examples of Wade being 'stupid', and 'immature', blah blah blah. But I don't think that's quite true.

Wade has also numerous moments where he perfectly reads a situation. He is extremely aware of how others may perceive his scars, he figured Negasonic Teenage Warhead pretty easily during the first movie (when talking about sarcastic comments or whatever, if I remember correctly). He knows how people act and think, and he definitely knows how to assess a situation. When he got Johnny Storm killed, he knew what he was doing. He was into a dangerous situations, just having been kidnapped and he couldn't fight, not even knowing how strong and what powers Cassandra Nova had. But by turning her against Johnny, not only was he able to assess her, but also prove that he wasn't here to cause her trouble. It was a cruel and ruthless action, but it was smart nonetheless.

Besides, people often forgets very important facts about his skills. Wade is an extremely good fighter, and that's partially due to the fact that he's a master at almost every martial arts. He knows a bunch of them, and he is capable of practicing them with impeccable form. He's also a master at espionage, infiltrations, cover missions, etc. He knows how to handle a lot of different weapons, and he is canonically one of the best fighters in the entire Marvel Universe. All of those skills require a certain level of intelligence. Fighting demands to remember the different styles and techniques, as well as enough practice to switch between them easily. Espionage, infiltration, and cover missions demand someone who is capable of discretion and and ability to judge a situation, notice details that no one else would and invent on the spot creative ways to do things. All in all, he has to be extremely smart to be able to do all of that. That's also without counting the fact that he knows how to speak fluently five different languages.

With all of these proofs, it's impossible to say that Wade is dumb. But why does he acts like it?

There is no official answer as to why Wade is this way. The most you can get is that he is extremely mentally unstable. This is the result of both a bad childhood and very traumatizing experiences as a superhero. It is said he was already mentally unstable during his childhood, so I'm inclined to believe that it also has something to do with his brain in general.

What I personally believe is that Wade is someone who gets bored extremely easily. He has ADHD (not really official in the movies, but canon in the comics), and he always seems to jump from one topic to the other. His mind is often considered a mess, and he himself sometimes has trouble keeping up with it. I think that someone like him has to be stimulated at all times, because boredom is definitely the worst thing that could happen to him. Even in the last movie, he seemed to hate his job because of how boring it was, not hesitating to go back into action and becoming more and more himself again as he just do exciting things. He has always been like this, even before he got his regenerating factor. When he did his job, he wasn't always careful and often loud-mouthed. It didn't interest him to just kill people, he wanted a fight. He wanted a back and forth, a sort of game. He needs to feel in danger, needs the thrill of it.

But then he gets his mutation. Suddenly, he can't die, he can't be seriously hurt, nothing has any real consequences. And so the games became boring. What is the point of putting himself in dangerous situations if he's never really in danger? How boring it is to do a job where you're perfectly safe? The only kind of thrill he can find anymore is by having the back and forth verbally. That's when it has consequences, and people actually able to surprise him, to beat him even. Attacking by talking his is one way to not feel bored. He surprises, he shocks, he annoys, but it's always different. Even during the last movie, when he was with Logan, he clearly said they didn't need to fight, yet he couldn't stop edging him verbally, always finding ways to push his buttons.

Wade is a very bored person, with a great understanding of where the limits are. And because he's so good at finding the limits, he's even better at crossing them willingly, sometimes at the expanse of the people he loves, because he can't be bored.

(I also like the interpretation of him just needing to be at the centre of attention, but I think it's a bit more classical and has already been done and re-done. So, this one is a bit trickier and way funnier for me.)

[gachagon]

This is big spoilers for the commercials in the Awayfrompryingeyes website on the Welcome Home site.

I've been saying since DAY 1 that Eddie Dear was going to be one of the most important Neighbors to pay attention too, aside from Julie, Frank, and Sally. And this update just practically confirmed it, I had this long running suspicion about Eddie Dear, and it's that I think he was one of the first besides Wally to gain sentience in a way.

I know most people believe Wally was the one who "woke" up first essentially and was able to see the reality of what they were actually living in, but I think Eddie Dear was the first of Wally's friends to actually wake up. My reasoning for this is that Eddie's "backstory" on the neighborhood page is so vague and strange compared to the other neighbors. He's the ONLY one who doesn't remember where he came from, and we see routinely throughout these updates that he's kind of the odd man out a lot of the times.

And that's not totally unusual for a kids show, but there's something about Eddie that just points to him being a lot different from the other puppets. Like that he's also the only one who's able to actually tell what time it is, as he's the only neighbor with a real watch.

And he really REALLY wants to fit so badly into the world of Welcome Home that he sticks to his job as a mailman as much as he can. But even looking at his interactions with the others, you can tell he's not quite playing the role he's been set as perfectly.

I don't think Home (the house) had anything to do with Eddie waking up, I actually think it was a combination of Eddie just not being able to mesh well with the part he has to play and the other characters breaking his routine without asking him. The moment that really shakes him is when he can hear the Narrator say "And Eddie Dear was happy." and i think that's because he really doesn't know if he is happy or not. Home is still strange because its obviously the one thing that Eddie fixates on when he first gains sentience, but I don't think its what shook him out of just being a puppet only.

Eddie is also so obviously playing along with the idea of Homewarming and doesn't actually know much about it. But he's not letting the others know this, as when he's alone is when he tells himself to just "focus on the festivities" instead of the other confusing parts of Homewarming. When he's with Poppy decorating the tree (with turkey...? and gravy...?) He just makes it seem like what they're doing is a no brainer, and something everyone does during the holidays.

But when he starts spiraling at the party, all of the things he helped decorate look strange and confusing to him. He can't focus on anything, staring into the wallpaper makes it seem worse, and the fabric of his own reality is literally being ripped at the seams (there's just an excessive amount of video tearing which I equate to Eddie's sense of sanity at the moment and just how present he really is)

It's here that Eddie finally realizes just what they're doing, and what everything really truly looks like. Eddie even tries to focus solely on Frank's face to sort of ground him, but the goddamned credits for the episode itself is playing over Frank's face and obscuring his vision. The scene itself wants to move on but Eddie is still able to see what the audience normally wouldn't be able too, and that split from his reality to ours is what makes him freak out in the end.

[katyusha454]

I think I've found the most tragic ship in BG3 and I need to rant about it

I've seen a decent number of people discuss and write about Dark Justiciar Shadowheart, but they always focus on what she's like post-game when she's fully committed to Shar. Which is a fine thing to focus on! Especially when you're writing smut where she's a mean domme. Post-game DJ Shadowheart is a fascinating character. But I feel like people neglect to consider what she's like during the transition phase of Act 3, where she's become Shar's Chosen but hasn't yet Done The Thing that caps off her personal questline. And there is SO MUCH potential for angst and drama during that time frame.

IMO the most important aspect of this stage of her development is that she is not evil yet. She simply made a single bad decision and now she feels like she's in too deep to do anything but double down on it. She's spent her whole life trying to "fake it 'till you make it" and she's only just now starting to transition out of that and into sincere belief. All the misgivings and insecurities she's shared with you are still there, just buried deeper. That desire to love others and do good hasn't yet been completely stamped out. In my Dark Justiciar Origin run, I try to do good things whenever possible as long as I can find a way to rationalize it as benefiting Shar. (but I still ended up saying enough evil-sounding things to make Minthara incredibly horny for me)

So where does Karlach fit in?

Well, turns out when you play as Origin Shadowheart, Shar doesn't make you break up with your partner. In fact, Shar says absolutely nothing to you about your romantic situation. This is really weird if you're romancing anyone other than Karlach, but I think it makes perfect sense for Shar to tolerate a relationship with Karlach for the time being. It's the ideal opportunity for Shar to prove a point. Karlach is dying, and no matter what Shadowheart does, this relationship is going to end in painful loss. Shar wants Shadowheart to fall in love with Karlach only to have that love abruptly ripped away from her. It perfectly demonstrates everything Shar believes about love: that it's fleeting and will always hurt you in the long run. Better to just avoid it entirely so you don't get hurt.

And Shadowheart knows all this. She's studied Sharran scripture extensively, after all. She knows that Shar is trying to teach her a lesson, she knows that the longer the relationship lasts and the more emotionally intimate it gets, the more the end is going to hurt. So why doesn't she break it off? Partly it's because she loves Karlach and doesn't want to end things; she's probably in denial at least a little bit. But I think it's also partly because she's a bit of a masochist. She thinks she deserves to suffer because she knows, at least subconsciously, that she's still not a very good Sharran. She can see the loss coming and she hopes the experience will bring her closer to Shar.

You'd think Karlach would be unwilling to put up with DJ Shadowheart's fanatical bullshit, but personally I think Karlach would stick it out for a whole mess of reasons. Number one, she can still see the good in Shadowheart and she refuses to give up on her partner. She's clinging tightly to the hope that Shadowheart can still be redeemed, even though she probably understands that it's a long shot at best.

Number two, she blames herself. When you play as Tav/Durge or another Origin, Shadowheart will have a conversation with you before deciding what to do in the Shadowfell. But if you play as Shadowheart, none of your companions says a word to you. In the context of this ship, I choose to interpret that as Karlach being too trusting. She's seen the good in Shadowheart, after all. She's so certain Shadowheart will do the right thing that she doesn't think she needs to speak up. It's not until too late that she realizes what Shadowheart needed was for someone to say "hey, are you sure about this?" So now she feels she needs to make up for that failure somehow by continuing to try and nudge Shadowheart in the right direction even though it seems impossible.

And number three, Karlach's just plain lonely. As fucked-up as this relationship is, she's still getting companionship and intimacy, and she doesn't think she has time to cultivate a new relationship if she breaks up with Shadowheart. She wants someone to be with her and hold her hand at the end, even if that someone is a brainwashed cultist.

In sum, both of them know that their relationship is extremely unhealthy; that it's hurting them now and will hurt them more in the future. But they both refuse to end it for their own reasons. And good gods, the ANGST. ARE YOU FEELING IT NOW, MISTER KRABS?

[cpvnksabm]

Things I Think RTC Did Well In Disability Rep (in 2016-2018 scripts)

exactly what it says in the title. i'm not touching on the pre-2016 scripts because i dont know enough about them and i'm not talking about the 2022 script changes for obvious reasons.

disclaimer, this is all my own opinion as one disabled person, other people may feel differently and that's fine.

Ricky's disability in general

Ricky is a young person who uses mobility aids. He can't talk, implicitly due to dysarthria. He has a degenerative disease, specifically a rare disease which is heavily implied to be neuromuscular. And it's stated outright that his disease is lifespan-limiting and that he's dealt with his own mortality in life.

And all of these things are very underrepresented!

I'm not going to claim that all of these things were explained perfectly or explored in detail in the canon. But just having them on-stage, in my opinion, is a big deal in itself. And it's also a big deal that Ricky is a main character, who has the same character depth as the abled characters, when so many characters like him are reduced to ableist props for other characters' story arcs.

I understand there's been some confusion about the specifics of ricky's disability, in the fandom. And I know part of the confusion comes from the fact that the script didn't explain everything, and glossed over most of the details. But honestly? The fact that so many RTC fans didn't initially understand parts of his disability - such as the fact that it's likely neuromuscular, or the fact that his inability to speak is implied to have a physical cause - just makes it more important that these things were represented on-stage in the first place. They're so underrepresented, little-known, and poorly-understood that many people don't pick up on them even when they are represented!

Just showing these underrepresented disabled experiences on-stage has potential to help a lot of disabled people feel seen, which matters.

Ricky as a victim of ableism

Okay, this one might be controversial, but i'm speaking from the heart here.

Ableism is a huge part of Ricky's backstory and character - the whole Zolar thing is stated to be a coping method to deal with isolation & cruelty. Throughout the musical Ocean infantilizes him in dialogue, and in her song she argues point-blank that he has no reason to be alive due to his disability. The rest of the choir aren't perfect either - sure, nobody else says anything ableist, but they're all bystanders to Ocean's overt ableism, nobody really holds her accountable or acknowledges that what she's saying is fucked up. On top of that, Ricky says after his song that nobody listened to him while he was alive which, combined with the whole choir being shocked upon learning about his deeper thoughts, pretty clearly implies that they all ignored him previously.

And it's so fucking realistic.

Look. I'm not saying that Ocean's ableism was ever handled perfectly in canon. I am saying that when I saw a post-2022 production with the able-bodied Ricky script, I got a sinking feeling in my gut when we got to *that* part of WTWN and I realized the ableist lines had been removed/replaced. Because facing ableism is a huge part of my disabled experience that I barely ever see even acknowledged in media, let alone represented accurately, and the more I face ableism in real life the more I feel I can relate to Ricky, and that is so important to me.

Depicting bigotry in fiction is always difficult to do right - it's a rough balance between "this is not okay and we should not imply that it is" and "many people believe this is okay, wrongly, and that needs to be shown accurately". Sure, you can make it so the antagonist character is overtly ableist and every sympathetic character explicitly says "I do not agree with your ableist views!" and that way it's 100% clear that the ableist actions are wrong. But real ableism isn't just like that. Sometimes real-world ableism is a group of perfectly nice people who just never think about the disabled kid, or how he's doing or whether someone should talk to him, because they've been taught to ignore him. And sometimes it's a girl who swears to God that she's a good person, who considers herself an ally, whose voice stays sweet and kind as she switches between talking to her disabled classmate like he's 5 years old and claiming he doesn't deserve to live.

I think the brutal honesty of ableism in RTC is important. Yeah, it's pretty fucked-up when you think about it - Ocean openly sings about why Ricky shouldn't live, every ableist character is presented sympathetically, nobody is ever actually held accountable for ableism on-stage - and that's just like real life. I'd like to think that it could act as a wake-up call to some abled fans, who are similar to Ocean (+ others) and who could learn to understand the flaws in their worldview when they realize you're not supposed to agree with what she says in WTWN. But even more importantly than that... it makes me feel seen, in a way that I couldn't feel if Ricky's experiences with ableism weren't shown so realistically.

SABM, like, all of it

Do I even need to explain this? Disabled person has a whole furry-themed musical number. That's cool as fuck. God I wish that were me.

Okay, seriously. I think SABM is wonderful and important for a number of reasons. Like all of the character songs, it's important for expanding Ricky's character - not only is it a main glimpse into his interests, but it sets up for us to learn more about his personality and the selflessness that would later lead to the touching Savannah scene. It shows us his deep internal thoughts - it confirms that he has deep internal thoughts - and explains how he's been coping with the ableism he faces.

SABM is weird. I like that. I like that Ricky gets to have weird interests and a weird self-insert fantasy, while being disabled - I like that being disabled isn't treated as his "weird" trait, such that giving him weird interests as well would be "too much". Because that happens a lot! Disabled people are expected to be completely average in every other way to "make up" for our disability. And, yeah, SABM is kind of horny - and that makes sense! Ricky is a teenager, he's in his final year of high school, most people his age do have sexual fantasies. Other characters also reference sex in various ways so it makes sense that Ricky would. And I think it makes sense for SABM to be weird because part of Ricky's backstory is being ignored and isolated due to his disability - that's the sort of thing that, long-term, can leave people without a clear reference point for 'weird' and 'normal', or just leave them having no reason to care about being 'weird' because they're ignored anyway.

But also, if I may get analytical for a moment. Throughout the musical until SABM, Ricky faces a lot of ableism from Ocean, which isn't really commented on - she infantilizes him, both by assuming he's incapable of deeper thought/understanding and by being shocked at the idea that he might talk about porn or sex, and she also argues that he doesn't have a reason to live with his disability. Ocean is a flawed character and an unreliable narrator, but for the first half of the musical, you could be forgiven for thinking maybe you're supposed to agree with her and view Ricky as some pitiable child.

And then in comes Ricky's introduction, followed by SABM. And clearly Ricky isn't mentally a child, in any way - he's developed a whole complex story with deep worldbuilding so that he can imagine himself having sex with alien catgirls. But it also makes it clear that Ricky does have valuable ideas to contribute and, heck, just things he enjoys - which feels significant to me when a few songs ago it was being argued that there's no reason he should be alive.

As I said earlier, the ableism Ricky faces is extremely realistic and relatable to me. And SABM makes it clear that Ocean's ableist views about him are untrue and harmful, without breaking the realism for her to turn directly to the audience and say "By the way, you aren't supposed to agree with most of what I say about Ricky - I'm an unreliable narrator speaking due to my own biases!"

Basically - SABM is a subtle deconstruction of all the ableist things said to/about Ricky throughout the musical. It's an incredibly important part of the musical and an important way to represent a disabled character. And it's also a fucking bop.

Why this is important

Representation matters. That's a concept that has been explained a lot, by people who can articulate it better than I can - I won't fully explain here, just google "why does representation matter".

Look - over the years, many aspects of RTC's disability rep have been criticised in various ways. And a lot of that criticism is completely justified. Many topics were handled confusingly, not fully explained, and not properly explored like they could have been; erasure was pretty much baked into the script, with Ricky becoming able-bodied in the afterlife, and while some productions have tried to alleviate this by retaining his mobility aids nobody has found a workaround for his inability to speak in a genre where it's important for him to sing; and in recent years his disability has been entirely erased from the script, in an incredibly ableist way.

I'm not saying RTC is perfect; far from it. But if I thought there was no value in RTC's disability rep, and Ricky was just some offensive caricature, I wouldn't be in the fandom.

In fact, it's because I love Ricky and see him as valuable disability rep that I think it's important to criticise the parts of the musical that aren't handled well & the issues with disability erasure. RTC had good disability rep - that's why I think it should be improved, why it can be improved, and why i think we should fight against erasure. That's a big part of why I hate the 2022 script changes! Because they erased something that was important to me!

A lot of the things I loved about RTC in the first place are things that I frequently see glossed over, or downright erased, in fanworks. I think sometimes people don't realize the significance of these details, so I wanted to share why I think it's important! Some of these details really need more exploration and more love!

Overall, I think it's important to understand that media can't always be sorted neatly into "good representation" or "bad representation". And that talking about the good things and criticising the flaws can both be important. I really wanted to share my perspective on this topic. Thanks for reading!

[hetalian-veteran]

Art Styles I Personally Think the Hetalia Characters Looked Their Best In (and Why) Part 2

Link to Part 1, Link to Part 3

Please note that I am referring to the show and not the webcomic. This is primarily because I didn't always have access to the webcomic and thus the show is what I've always been most familiar with. I will also refrain from talking about characters that have only appeared in one season.

Also, please keep in mind that these are just my opinions. And if you have any different ideas of what designs looked better, that's totally okay. At the end of the day, I'm just here to have fun.

America: Seasons 1-4

It was kind of hard to choose which design was best for America, seeing as they are all very similar to one another while also having different qualities that I liked. But I ultimately settled on the one from the first four seasons. I adore the WWII bomber jacket, as well as how the character in general was animated back then. Not to mention that the older art style just fits him so well. A lot of Americans have an "if it ain't broke don't fix it" attitude about things, so I find it fitting that, at least in my opinion, this also works for aph America. He looks great everywhere else, but I won't deny I have a nostalgia for the original. This was an exceptionally close tie with his design for season 5. Not to mention I once drew aph America fanart for an art project in middle school and got an A on it.

England: Season 5

Okay, I'm gonna be real here. This all came down to the eyebrows. Well, not entirely, but it definitely played a large part. I never had a problem with England's design in seasons 1-4, but those eyebrows though. They were so distracting. I understand wanting to give characters a prominent feature that makes you go, "Yep this is (insert character here)." But I think England's eyebrows were too overdone in the previous seasons. However, I also believe they were far too thin and lightened up in seasons 6-7. Season 5 had a good balance. Not too thick but not too thin. Also, I feel like his facial structure and design made him look kinda weird in season 7.

China: Season 5

So... I'm gonna be honest here. All of the other designs for China make him look like a young girl to me. Yes, he still looks sorta feminine in season 5, but not like he appears in seasons 1-4 and 6-7. In season 5 he actually looks more like an adult man to me. Not to mention his hair. Because holy crap that is some of the most beautiful hair I have ever seen put to animation

Russia: Season 6

This was a close tie between all his designs, but it ultimately came down the hair. Yes, I know, I talk about the characters hair a lot. But that really was the deciding factor for Russia. All his designs look great in that the long coat and vertical lines throughout give me the impression of a Russian nesting doll. Now, whether that was intentional on Hima's part or not, I cannot say. But it's a cool detail that I always notice whenever I see him. When it comes to his season 6 design, I like not only how innocent he looks (which is an important part of the design Hima intended from the beginning), but that his hair has some more fun detail too it. It looks so soft and fluffy, not like the previous designs that made it look like he had water dumped on his head.

France: Season 5

What can I say about this design that hasn't been said already? The only other character who had a bigger glow-up than France was Spain (who you can see my opinions on in a previous post). Literally everything here is an upgrade from his design through seasons 1-4. His hair looks so silky and soft, not like that yellow plastic we had earlier. Also, the hair ribbon tying it back looks so elegant and refined, fitting perfectly with the character. I also love the small detail of the ribbon being the same color of his eyes. It's a nice touch. His outfits this season are great as well. They are very simple, but still elegant, with soft, curved lines and balancing both warm and cool colors. Especially in his outfit during the Joan of Arc episode.

Canada: Season 5

I think I'm starting to have a favorite season in terms of character designs here. Canada just looks his cutest here, primarily because of his outfits. He has one of the most adorable and cozy wardrobes this season, and I want to raid this man's entire closet. I love the flannels and cozy jackets and hoodies that he has. As someone who grew up most of her life in northwest Montana (which, if you ask the rest of the US, is basically just lower Canada), I think I have to be a little biased here. Canada's design gives me the feeling of home in a way, and this is definitely a wardrobe that I embrace for a time growing up.

Austria: Seasons 1-4

The hair curl in his cowlick hits harder here, just getting that out of the way. There's more of a curl to it, which is more reflective of Himaruya's art style. And even though his wardrobe in the latter seasons is great, this one all around looks better to me. I like the royal blue lined with the deep red. And the cravat is just a fabulous detail that I love. Now that I think about it, everything about this design just feels very Himaruya. Like, this is one of his best character designs. There's also the placement of the mole on the bottom right-hand side of his face. In other designs, it's not as prominent. But here it's easier to see. I feel like it makes the design all the more unique.

Hungary: Seasons 1-4

THIS. This design for aph Hungary is top tier, and nobody can convince me otherwise. Something that has always intrigued me about Hungary is that she was raised primarily around men. So much so to the point where she saw herself as one growing up. But when she got older and realized she was actually a woman, she ended up adopting more feminine clothing and characteristics. Aph Hungary is a female character who balances both feminine and masculine traits. And her design from seasons 1-4 emulate this balance perfectly. Her long hair is a pale brown color, and her eyes a dark green. Unlike later seasons where she's given long, shiny, elegant hair and sparkling eyes. She's often found wearing either military uniforms or pretty dresses. We even see the evolution of her fashion from child to adult, where she goes from wearing her hair shorter to wearing it longer and with a flower. Her design encapsulates the idea that, yes, she is a woman. Yes, she is feminine. But at the same time, this is someone who has seen war and battle. (I might have to do a separate post about Hungary, because her design and character are honestly fascinating).

[menaceoffandoms]

LMK analysis rant: Mei

I said I was gonna do this and I'm keeping to my word! The only thing that may stop me is my procrastinating... and the fic I'm slowly writing but uhhhhh-

ANYWAY- We're here to talk about Mei, our favourite white horse dragon pepper girl!

Mei stands out as the most different from her inspiration, something the writers perfectly portray in the yellow-robed demon episode of s4, which is likely to do with how little they had to go off of. Despite being one of the pilgrims in jttw, Ao Lie dose very little in the novel. His most notable chapters being when he's introduced and when the group faces the yellow-robed demon, which is why we met him in that memory in the scroll. Combined with my belief that Mei isn't a reincarnation of Ao Lie -- just his descendent -- means that Mei is one of the most unique characters in the entire show.

There's just less source material for her to draw from, it let's the writers have more fun and do more things. It's not that they don't make the others characters unique -- they like to play very fast and loose with things over all -- but Mei feel like her own complete and original character. She's inspired by Ao Lie in the same way Mk is inspired by Monkie King basically and she all the better for it.

Being the female lead (isn't it interesting how most of the female characters in this show are villans?), Mei is a refreshingly strong, confident girl who begins the show as the most powerful cast member. Being a descendent of the great dragon gives her amazing powers that no other cast members have, a birth right that leads to her being the most protective of her friends and the first to help out in any fight.

What she has in power, however, she lacks in experience. Mei has no mentor -- other than her parents, but I believe its safe to assume they weren't very focused on teaching her combat -- which leads her to trust her gut more, rush into things and learn through observation, like when she mimics what her great x1000 uncle did in s3.

Overall Mei is an excitable, energetic and loving person with a "You only live once" kinda attitude, for lack of a better explanation. Even still, she has her own insecurities and flaws which make her all the more interesting. Due to the shows run time, Mei and many of the other main characters don't really get explored as much as Mk, however what we do see of these struggles and fears is incredibly interesting even on a surface level.

Her tendency to rush head first into danger without first examining the situation or creating a plan, truthfully, tends to work out for her, but it can't always. It's something shown perfectly in s4, when Mei is the only member of the group to not get a star from Master Subohdi, however what a lot of people seem to miss is how Mei actually did earn that star eventually.

When they leave the temple and head to the celestial realm to try and stop Azure, Mei leads them there with no plan at all. As such, they fail and need to be saved by Mk. Faced with proof of Subohdi's criticism, Mei makes the more important amendment to Mk's plan in the s4 special. I don't think we've even seen Mei make a serious plan until this point, which feeds back in to another one of her flaws: being unable to take things seriously.

This isn't something I see said about Mei often, but when watching her character I think it's externally obvious. Don't get me wrong, Mei can be serious, but usually only in moments of vulnerability or high stress. For example: when talking with her pearents, after she gained the Samahdi fire and whilst imprisoned by the Yellow-robed demon.

I think this flaw is Mei's own version of Mk playing dumb. They both behave this way to lessen the emotional impact of serious things, to protect themselves and help those around them deal with trauma or difficult topics. Mei and Mk really are two sides of the same coin and I'd love for them to do more with that in the show.

Going back to Mei's parents, one of her biggest struggles is reconciling who she is with who she's meant to be. She is a noble dragon, a descendent of the great dragon of the West Sea and practically the successor to Ao Lie. It's a lot to live up to and -- evident in episode 3 of season 1; Welcome home -- she doesn't believe she dose.

Mei is confident in her abilities, she's sure of her strength and quick to help those around her, but in the face of her legacy she stands uncertain. It's another thing her and Mk have in common, though in vastly different flavours, and it's interesting how this legacy colours Mei as a character.

She wields the dragon blade, proving herself as a worthy part of her family and gaining the approval of her parents, however the stark difference between her and the rest of her clan is more blatant than ever. We see this perfectly in season 3 when they visit the great Dragon of the East Sea, Mei being put into fancy clothes she instantly ruins in order to have a place to hold her sword. She fights against her uncle, fights against her family, because she knows they'll never understand her. But even still, she knows she's still one of them and she's so proud to be.

Becoming the vessel of the Samahdi fire is only more proof of Mei's legacy and connection to her family. It gives her a moment of pure vulnerability where she vents her frustrations and fears before rushing away, wanting nothing more than to protect the people she cares about.

When Red Son finds her she's still serious, but even with just a basic understanding of the fire within her Mei falls back to her normal nature; a silly excitable girl not taking things seriously. We see this after Red Son attacks her with the spears and when she's eating later on, but even if her attitude doesn't show it, she's still listening and taking the training seriously. She just needs to be silly so she won't freak out again.

Since we're on the topic of the Samahdi fire, I think most people can agree that the way it was handled post s3 was very poor. With only one mention of it in s4, by Master Subohdi no less, I assumed that the fire had been resealed, this time correctly. Something that dangerous should be locked up, even if a capable wielder is around. It would also prevent power creep and stop the show from having another Wukong predicament, by which I mean a character so powerful they need to find a way to prevent them from trivialising whatever threat they have to face in the plot. Wukong will get his own post soon don't you worry...

Instead, we learn in s5 that Mei still has the fire, she just kinda forgot? She learned to fully master it when breaking out of LBDs mech, so since the fire was no longer a raging uncontrollable inferno she just didn't realise it was still there... for an entire season. Yeah it feels lazy and honestly is probably the worse written choice the show has even made. Even still, it dose lead to a very interesting and in character moment for Mei.

When attempting to seal the willow wisp with Red Son, Mei loses her confidence, believing that she lost the Samahdi fire and thinking she's lacking. Mk getting Monkie Kings powers was one thing, but the rest of her friends now having cool weapons and magic? If their all so strong and only getting stronger, then what's the point in Mei? She was the strongest but now she might be the weakest, and that terrifies her cause if she's weak she can't protect people. How can she act when she's powerless to do so?

This dilemma is quickly resolved by Red Son telling her she's had the fire the whole time, amending it's use to Mei's lightning motif she's had since s1 -- I know fire benders in ATLA use lighting but come on -- and basically saying she's been using the fire the whole time. It takes away from Mei's whole struggle to be honest, but I do think there's potential for her to relearn this now tamed Samahdi fire so she can better use it. Just depends if the show wants to do that...

Moving on from my thinly veiled complaints about season 5 (I like it I swear but it is the weakest seasons to me so far), let's talk about Mei's role in the group a bit. Aside from being the token girl, she's also Mk's best friend and the only other character his age and acts around the same age as the shows target audience. Mk's the main character and leader, Tang is the lazy historian smart guy, Sandy the loveable giant, Pigsy the cynical brute and Mei's youthful and silly power house.

I would love to go into some narrative tropes, specifically the 5 man band since jttw is one of the primary bases of the trope, but I've realised I have far too many thoughts about that to fit here. This is the 21sh paragraph and I'm sure at least some of this is a mess, but I hope I'm getting my point across! Overall, Mei is an extremely compelling character how often gets side-lined due to run time and other stuff, but is honestly one of my favourite characters in the show.

[aihoshiino]

chapter 161 thoughts

Chapters Since The 143 Kiss Happened And Went Entirely Unacknowledged And Unaddressed Count: 18

Aqua Hoshigan Status: For the future

Never has an OnK chapter gone from It's Hoshinover to We Are Oshi no Back quite as hard and fast as this one. I have issues with this chapter in terms of what it implies about the story's overall structure and the fact that it sort of ruins 153-4 by association but this chapter's back half is so fucking good and the chapter itself works so well in isolation that much like 153-4, I kind of uhhh don't care about the structural issues because the story's heart is, for the most part, not just intact but beating harder and more passionately than it has in a long time.

To get what I don't like out of the way, the story seems to have settled on Super Evil Serial Killer Mastermind Kamiki as his final form characterization with some helpful Tsukuyomi exposition to just straightforwardly Tell Us things the manga probably should have spent some of the last 70something chapters Showing Us about Hikaru. The basic idea of Hikaru being some sort of serial killer so dedicated to upholding Ai's legacy that he kills women with the potential to surpass her was more or less always where I expected his character to land and this settling of his character does at least preserve what I think is the most important thing: that he genuinely loved Ai and his bent towards villainy only came after her death.

What I don't love as much is that this chapter seems to continue leaning into Uber God Manipulator Mastermind Kamiki like last chapter. I already talked at length about my issues with this framing in my previous chapter review so all I'll reiterate here is that the story's attempt to frame Hikaru as being equally or even more culpable for the actions of Nino and Ryosuke fall entirely flat to me, especially when the manga itself does such a pisspoor job of actually explaining how or why Kamiki was able to control and/or predict their actions to the extent that he supposedly did. And ESPECIALLY especially given that Nino and Ryosuke seem to have already been dangerously obsessed with Ai by the time they approached him.

In general, Hikaru's character is honestly just so inconsistent at this point that making any sense of his actions feels fruitless. If I really dig into what's going on, I can infer that maybe he fell into the same trap as Aqua by overcompensating for his trauma-induced helplessness by becoming overly controlling and guess that his fucked up trauma response to Ai's death combined with those terrible words Kindaichi gave him at Airi's funeral lead him down he road he's traveling now. I can even extrapolate that Aqua showing him the DVD message in 153-4 pushed Hikaru to this extreme and now that he has nothing to lose, he's lashing out at his children too - though, it should be noted, that the manga still hasn't actually established what Hikaru's culpability is in Nino's attempt on Ruby's life, outside of Aqua saying "well you didn't use your psychic powers to perfectly predict nino's actions so it's on you".

But like - this is all stuff I'm having to infer and extrapolate and guess, reverse engineering logic from our end point in an attempt to create a stable foundation for this characterization. The manga has done such a poor job of properly establishing Hikaru both as an antagonistic force and as a consistent character that I feel like I'm trying to assemble a coherent image from two different puzzle sets with all the fucking corner pieces missing and that's with Crow Girl looking into the camera and Explaining Him to me.

And listen, I am a bitch who LOVES to infer things. One of my absolute favourite pieces of fiction of all time ever is Umineko no Naku Koro Ni, a mystery story that literally does not contain any straightforwardly explicit, textual confirmation of the culprit's identity or motives because it believes so strongly that you, the reader, are smart enough and empathetic enough to put in the time and effort necessary to understand it regardless and it deeply, deeply values being able to give you that experience. But OnK feels less like it's intentionally encouraging me to think hard and enjoy the process of putting my head and my heart to work - it feels like it's leaving its homework unfinished and letting the reader do the actual hard work of sewing up the internal logic.

I probably won't talk much more about Kamiki this chapter cos I'd just be saying all this shit over and over but I really just am struggling to understand from a perspective of authorial intent what the vibe is even supposed to be. Like I mentioned in a previous ask, if this is where Kamiki's arc is reaching its conclusion then it means that the Movie Arc was essentially a whole-ass waste of time in and out of universe. Blech. Hate that.

Also, before I move on, I don't want to leave this just implied - making Kamiki explicitly a CSA victim and then ending his arc on Aqua (and implicitly the narrative) dismissing him as being too broken/corrupted to be saved is a really major misstep that I think represents a huge black mark on OnK's handling of CSA as a topic. The idea of an eternal defilement or an unfixable core wrongness in the self is already something real life CSA victims struggle with in the process of unpacking their trauma and having our likable and supposedly morally superior protagonist espouse this unchallenged in a work as prominent and relevant as Oshi no Ko is irresponsible bordering on dangerous. It's incredibly disappointing that after all the care Aka and Mengo seemingly took in handling this topic that it was whiffed so badly at the last second.

ANYWAY!!! Now all the beef's been dealt with, we can cleanse our palettes and move onto everything else I liked which was… basically everything else in this chapter!

Admittedly, Aqua's overall arc is still suffering from us being kicked out of his head from like 123 onwards for no real apparent reason and while 150 was a welcome refresher on where he's at in this part of the story, it still feels a bit like the story is prioritizing preserving the surprise factor of its twists over making these surprises feel earned. Compare it to volume 1 - you are basically told exactly what is going to happen to Ai, especially in the manga when Saitou and Gotanda outright say as much - but her death is still incredibly impactful and upsetting. I think this chapter is very effective, but could've been a lot moreso if we'd spent more time in Aqua's head leading up to it.

THAT SAID… If the intention of keeping us out of his head was to recontextualize Aqua's behaviour across the past ten or so chapters in this new light, I don't hate it as much as I might have. I initially took issue with what felt like the story off-screening and not addressing the resolution to Aqua's suicidal ideation so whipping back around to prove that it was still very much present puts some particular Aqua moments over this past volume into a very different light. As some people pointed out, Aqua missing Kana's pitch - literally dropping the ball in responding to her feelings - and his wide-eyed look of alarm in 151 seemed very ominous omens for the success of her confession and that beat of him covering his face when Kana approves of his dream… very incheresting knowing Aqua was still struggling with 'love or revenge' at this point.

Most interesting of all to reconsider is Aqua breaking down in tears in Miyako's arms in 155 when she addresses him as her son for the first time. At the time it read like catharsis but now I can't help but wonder if this was Aqua grieving for something he desperately wants but thinks is out of his reach.

i do have to say though. i get the general vibe of this plan and think it works fine as the apex of aqua's self-sacrificial protectiveness for the people he loves but how is being the daughter of a serial killer somehow any less scandalous for her career than being the sister of someone who killed one dude. does aqua think they just won't notice that kamiki happens to be their biodad or something. wasn't that the whole point of the movie. goofy ass plan.

What really saves this whole scenario is the emotions at play, though. This really does feel like Aqua at his most Aqua in a really long while and this chapter has so much love and respect for his life as Aqua and the bonds he has formed as a result. The dreams Aqua lays out are so agonizingly simple, too - he wants to pursue the career he finds rewarding. He wants to date the girl he likes. He wants to accept Miyako as his mom and Himekawa as his brother and to make things right with Akane after hurting and using her. He wants to see Ruby achieve her dream and be there to support her when she does.

But Aqua's always considered his dreams impossible, hasn't he?

I fully admit; I got spoiled with the full page spread of Aqua stabbing himself way in advance of the chapter and initially hated it as a twist. But with the full chapter as context and the sheer weight of Aqua's longing to just fucking live and find joy, it's not just effective but absolutely gutwrenching. It is the synthesis of Aqua's series-long battle to choose love or revenge and it resonates perfectly because it has never been one or the other for him - Aqua's revenge has always been rooted in the fact that he loves others so wholly and completely and hates himself so utterly that he thinks sacrificing himself to preserve their futures is the only path for him to take. It's the culmination and final release of the suicidal ideation Aqua has been dealing with since he was four years old and like Ai's tragedy before him, there's a horrible sense that maybe there really was no other way this could've gone.

Aqua being the character who actually takes the knife also firmly cements him as Ai's narrative echo in the text which has me barkin and howlin because it's what I've been saying all this time. Not just that, but so many of Aqua's expressions in this chapter pointedly and deliberately echo Ai's after she was stabbed. Not just that, but Aqua's achingly simple dreams echo Ai's own heartrendingly simple regrets - all the two of them ever wanted was to be happy with the people they love.

This also reframes the story's prior establishment of Ruby as paralleling Ai and seems to place the twins in the position of echoing not Ai in her entirety but Ruby as 'Ai of B-Komachi' and Aqua as 'Ai Hoshino'. This was actually something I outlined in one of my very first meta posts on the series, but I think making it more specific to 'Ruby as Ai the idol' and 'Aqua as Ai the human', this actually gives Ruby's arc in relation to Ai a bit of breathing room. Don't get me wrong, everything I've said about her post-BH writing being underbaked and inconsistent is still the case, especially when it comes to how confused the story is on whether Ruby is her own idol or New And Improved Ai 2.0 but giving it less ground to cover helps in terms of her writing no longer being spread quite as thin.

Speaking of Ruby, that beat of her seeming to react or sense something is up the moment Aqua takes the stab. 'Something happened to my loved one far away and I just Feel It' is a trope I'm always a sucker for and I really dig it here.

"The public don't care about the truth, so let's tell them a lie" is such a crazy hard sentiment to go out on too. Holy fuck.

There go our boys…!!! Quite a few people predicted they might go over the edge when Aqua showed up in his Mephisto fit (Mefitsto) and I'm interested to see if we get any parallels to the ED's imagery in the next few chapters. Overall, though, I'm really excited for where things are going - I don't think Aqua will die, but I do have some theories about what might happen. I can't think of a more traditional misogi purification experience than the middle of the ocean in late December, after all…

No break next week! Woohoo! While the delay of episode 12 means we won't be getting them on the same day, that is the same week S2 of the anime will be concluding and Aka does like lining up his bombshells with the anime. So who knows what we'll see.

seriously tho aqua. everyone already knows kamiki is you and ruby's biodad. HOW IS THIS ANY BETTER THAN HER BEING THE DAUGHTER OF A SERIAL KILLER AS IT ALREADY STANDS

[orkbutch]

ok ok, i know this isnt a wicked blog but its time for me to say my thoughts on the Wicked movie trailer.

I'm not stoked. I'm not much of a musical version lover already, but two things really rubbed me wrong, and I believe they apply to the musical as much as the book in their importance within the Themes.

Elphaba being played by Erivo and being black is cool. Erivo is a great singer, and her hair looks sick, and Elphie's hair is important. However, that casting choice being combined with a white Fiyero (who is Not White in the book, and very much experiences colonialist racism) and with no prosthetic effort to make Elphaba Not Beautiful (which is a Significant Element of Her Experience And Character), spoils any truly transgressive or progressive bite to that casting decision.

The only of the core mains thats not white is the character that is green. Interesting. The character who is extremely belittled for her appearance because she has a deformity, and because she's unattractive by conventional standards (esp because of her hawkish nose and strong chin), is a beautiful woman. Interesting!

Something about this just rubs me wrong. I think the musical has always made me skeptical in this area because its core adaption decisions were always bent toward stripping Wicked of much of its commentary on racism. In the book Fiyero is Vinkan, clearly coded Native American, and Winkie is a slur. They made the slur the name for the Vinkans in the musical. If I recall correctly, Quadlings aren't even mentioned in the musical. But Fiyero in the musical... I don't even know Why they keep him being a foriegn prince because he isnt written like hes foriegn from Gillikin at all. His ethnicity seems totally flattened, a slur that indicates no cultural or experiencial distinction from Gillikin.

I think that may have happened because Animals were already considered an allegory for racism, and they wanted to make that allegory cleaner and easier to condense into a musical plot. Thats my theory. However, that is a misreading. The Animals are not a perfectly singular allegory, and I think you could argue several inspirations, but the most apt interpretation for sure is that the Animals are an allegory for people with disabilities and neurodivergence, as Elphaba's experience is.

The Animals are not merely culturally different or isolated. They are not falsely believed to be different from the Gillikins or the Munchkinlanders or Vinkans. They ARE different, not because they aren't people but because their basic needs are different, and are not adapted to by society. They have hooves, and different skeletons, and different senses, and different mouths that can't necessarily make the kind of speech humans use.

This is important because Elphaba uniquely relates to the Animals, and its because Elphaba has a deformity and is super autistic. This is the other thing that always rubbed me wrong about the musical: it always implied that the only thing that made Elphaba "ugly" to people was her green skin. Thats... weak shit!!! In the book, Elphaba is Not beautiful. She is hatchet faced. She is tall and androgynous and looks weird. And this is IMPORTANT, because it makes Elphaba a genuinely transgressive character!! Her experience is layered! She is green but also breaks gender rules, is awkward, is self hating, is rude, ect. ect. It strengthens her empathy she feels toward Animals, because she feels so othered from society that she feels non-human, alienated.

The book also handles Elphaba's attractiveness much better; it does a great job of depicting someone who is not beautiful but is nevertheless Hot, which Elphaba is. When Glinda looks at her for the first time and thinks that shes beautiful, she is not looking past Elphaba's skin and she does no make over. She puts Elphaba in an orange hat as a joke, and sees how it matches her skin and suits her, and it makes Glinda realise that the green of Elphaba's skin can be beautiful to her. And that changes how Glinda sees Elphaba; Elphaba does not change.

okay im just complaining about the musical now. But idk, I wish that they'd used this opportunity to do better by Fiyero, make the themes a bit better... and just... put some light prosthetics on Erivo. Just make her look a little uglier! A little more hatchety. Its not like it'd be out of place, Ariana Grande as Glinda looks spooky as fuck. Why does she look like that. I like it bc I like Glinda looking intense and spooky but it IS weird

[gffa]

One of the most interesting things about coming back to the High Republic books is keeping in mind that the intention of these books via author commentary is to show the Jedi Order at their height (at least in Disney continuity), to write them as unquestionably compassionate and caring people, but when you actually get into the books, they're often written as coming off as detached to non-Jedi, there's actually a ton of people who dislike them, there's unresolved criticisms of them. And, in a way, it actually has delivered me pretty much the perfect silver platter I could have asked for. Here's what I mean: There's a passage in Out of the Shadows where two characters are discussing the Jedi they've been traveling with and one of them says they come off as detached, that they're not connected to the real people, that they never question themselves and think they have all the answers:

This is significant because the entire book is about Vernestra Rwoh feeling constantly unsure of herself and wondering what the right answer is. To the point that I don't even really have any snippets capped of it because I couldn't possibly choose from all the examples! And the rest of the commentary feels like it just kind of comes out of nowhere, to be honest. And this is about the High Republic Jedi. The golden, glowing, perfectly compassionate and kind Jedi these authors created to be the bestest era ever. Yet within their own pages, despite that we see this criticism doesn't really fit with who the Jedi are, this is how they come off--criticisms that are pretty much exactly the same as the ones leveled at the prequels Jedi. And then!! There's a conversation between Vernestra and Cohmac:

Christ, that could have practically been ripped right from the pages of a novel set during the prequels era! I have read novels where Obi-Wan and Bail discuss basically the same situation--the Jedi are aware that politicians are not always their friends and that they're being used, but that ultimately standing with the Republic is the best way they can see to help because people are dying at the hands of the Separatists. It's the exact same situation, that the Jedi of the High Republic are being drawn into politicians' schemes and they know that, but the purpose behind standing with the Republic--to save lives that are dying at the hands of the Nihil--is the most important thing to them, that saving lives is how they serve the Force, just as the prequels Jedi stood with the Republic despite all the flaws, because it was how they best saw a way to save lives, which was serving the Force. Of course they're conflicted about being drawn into politics and how they're being manipulated, but ultimately they believe in that they have to actually work with others in order to help others, that they see it as still the best path forward. And if critiques like this are being put into High Republic books and we're never really meant to question whether the Jedi care or are good people doing their best despite that the people of the galaxy do not always understand them, that Jedi are allowed to have flaws without that making them bad people, that being less than perfect doesn't mean they fucked up, then I could not have asked for a better silver platter to say that the prequels Jedi are in the exact same situation and are misunderstood in exactly the same way! Like, some of these High Republic Jedi are so perfectly kind and compassionate that they have literally no other personality to them, other than that they're in touch with the Force and part of the Jedi Order, and they still get hit with the same criticisms? Aha, okay, I see, it's not actually about how the Jedi could have been ~more in touch~ with common people, it's that Jedi Are Just Weird Because They're Literal Psychic Space Wizards With The Energy Of The Galaxy In Their Heads and the GFFA is not always kind to those who are a little Off. I unironically enjoy this because I'm fine with unreliable speakers and propaganda within a narrative and Star Wars has always been really clear that this is a story where half of the narration is lies lies lies and you need to see through it yourself.

[cemetegee]

Ianthe and ADHD...

This post includes a theory that I've never seen so far (on a serious base), but that seems (as the Worst Case of ADHD that's ever lived lol) pretty obvious to me. It's no secret that many of the characters are some sort of neurodiversity-coded and I have seen the ADHD theory for basically almost every cavalier... (I wonder fandom *looking at you* if it's just a coincidence that ADHD is only connected to muscle work and not to bookish necros... Because I fear it's not. I know where that comes from but it's fucking hurting) However, anyway. For this post I have no other choice than to ride on the edge of the knife of text-based character analysis and self-projecting. Have fun! I'd actually LOVE to think what others think of this theory.

1. A Stupefying Deficit of Attention

The certainly most obvious sign in this context is the "Alas. I have a bad personality and a stupefying deficit of attention" quote. At this point is to state that she 1) REALLY shows that she has that deficit of attention, and secondly... well. You could argue that it's just her build up character she plays in the Ianthe-Corona-dynamic. And she is really in many things more a character than a real person. (Ahahdgdggd masking) But! If you'd build up a character that lets your codependent twin shine - and it's a character you'd have to play all the time - wouldn't you choose a role that's easy to play? For example, if you are really unable to concentrate on some things for a longer time, you could just use it as a sign "of your bad personality"? I think I would do it.

(Especially, since claiming things that are out of your control as being villainy is an effective protection from being hurt for them. People will attack the villain you are not, so you don't have to feel hurt and you have chosen this form of attack, because it's okay for you, because you keep your power and... *Ianthe Ianthe Ianthe* control over the situation)

2. Being bitchy

Sorry haha. This point is maybe formulated a bit provocatively - but it fits perfectly because provocation is exactly where I want to go with it. Provocating others gives dopamine and dopamine feels good. Ianthe has in almost every sentence little insultings - and I think it's because it makes talking more interesting to her. And also, it reassures her immediatly about the opinion others have of her. But! There is also another deeper reason. That reason is called vulnerability.

Vulnerability is obviously not a good choice for surviving on the Third. But I think it's especially hard for someone with heavy ADHD. Ianthe's needs have surely *not* been important on the Third. She has pain resistance level over 9000 and can believable pretend to be two necromancers with specialisation on fleshmagic (what's only her *side* discipline). Reaching that is just not possible if you regard and care for your needs. Absolutely impossible. But communicating your needs is - from my experience - especially hard if you're an ""intelectual"" with ADHD. And to understand that, we have to understand something about ADHD:

It's for some reason a hardly killable opinion that people with ADHD are less inteligent at all. That's not true. The total IQ with classical IQ tests is in fact in studies lower, but if you split it you'll see that it's because of some kind of... learning disorder. The working memory and the processing speed are lower and that makes a lower total IQ, but says nothing about the capacity of the mind with ADHD if it has time to think about things (or - from my experience - is relaxed).

And if you have a talent for something... for example - to come back to Ianthe - necromancy people tend to forget or not realise that you need time to think about things. Because... you need in some things maybe less time than them - what's only because your talent for it, your general processing speed is still lower - and so they think you need for all things the time you need for necromantic theorems. Not true.

And that has a strange sideeffect in Ianthe's case. Her talent is obviously "necromancy" and not "talking about her emotions". The generally lower processing speed of her mind (if it had ADHD) would afford time to observe her feelings and then think about what those observations could mean. But nobody - and I bet you too, dear reader - would expect that of her. So everyone would expect an answer immediately. And a true answer is impossible under that circumstances.

When an answer is expected where no answer can be given (yet) without showing a difference between usual souverenity and the need to think about it, it results in just saying anything that comes in mind. Ianthe has that heavily. The best example for it is the bathroom scene:

IANTHE! WHAT IN HELL is that for a reaction?!

This scene is a symbol to me for what I've described before. An overwhelming situation happens (Harrow is hurt and besides of that naked) and Ianthe just says... anything that makes absolutely no sense in that situation. There is literally no resonable reason why you would say that... Except if you have ADHD and say just anything, because you feel like you'd have something to say, but no idea what to say.

And besides of that when the (non neccessary sense-making or real) answer to the question is given, there's no need to think about it anymore. That's obviously not conducive for reflecting your sensations. AND GUESS WHO'S TOTALLY INCABLE OF DEALING WITH THEIR EMOTIONS? HA! HA! 3/3 points and I kiss your heart when your answer is "Ianthe".

I mean, Ianthe is really not good at... not only DEALING with her emotions but also with... recognizing them.

Ianthe... the mysterious reason why you say that is, that you like Harrow and are therefore worried about her. And you're 22 - it's somehow heartbreaking that you don't know that...

And that doesn't only show that I'm right about my point - Ianthe can't express and recognize her feelings, I say because she's never got time to think about them (and also because of: ThirdTM) - but also an other typical sign of ADHD. You say things without intending to say them? Sounds like... as if you had a lack of impulse control.

(Although I've lately wondered - ATTENTION: PRIVATE THOUGHT - if impulse control and less processing speed are not in some way kind of the same thing... Anyway.)

3. Intense Feelings

A thing most people probably wouldn't connect to ADHD are Intense Feelings also known as Emotional Dysregulation. That's - in my opinion, from my personal experience - a very ugly term to describe a very beautiful thing. I'm a very sensitive human. If I read things I like it's a whole-body-experience and I can literally not watch the "classical" type of shows because it's corporally too much. I'd actually wish others to have the same emotional capacity than me. But to come back to Ianthe:

Ianthe is - and please hear me out, it'll make sense, I promise - a very sensitive person. It's absolutely IMPOSSIBLE to speak her Love is Posession speak, without having a huge lot of sentimentalism. She cries herself to sleep every night, what is a sign that she has much pity for herself. (What's fair, I mean, she has lived through a lot of terrible things, like getting an arm cutted off or traveling through the river. Also, nobody else on the Mithraeum would have done that for her.) She is obviously fond of not to say: in love with, Harrow and her logical and immediate conclusion is to think: "OMG, I have to marry her!" (Also, she really is a drama queen in her way lol. I mean: look at her mind-stage!)

(If you'd like to know how a sensitive person as for example Ianthe can do such hard things as she does, you should maybe read my post about her repressed feelings and my post about Corona's suic⛪️de threats :))

If you are a very sensitive person, you always have to pay attention on your, let's call it, overwhelming-level. You have to control how much sensations you're exposed to, otherwise you'll be overwhelmed.

*Chrmm, chrrmmm, control, Ianthe, control, she never can loose the reins.*

Ianthe can in fact never let go her control - her protection - and that could be one reason for it.

4. Zero patience

Ianthe doesn't seem to be a person mit much patience. In fact, it seems always like a fight when Harrow tries to get her attention for something. Here an example:

Ianthe, even if you think The Walking Cytherea could be a side effect of the lobotomy you participated in - you REALLY could hear Harrow out, she seems to be worried... But... Maybe you REALLY can't...

Her patience as limited ressource appears also in the lobotomy chapter. It's a fight to hold it:

I think we can say that Ianthe really has not much patience in these regards (and her urge to be the FIRST Lyctor doesn't speak for much patience either lol - although she maybe has some patience is other regards) and can therefore count as a sign for ADHD.

5. The Villain Syndrome

Ahh, this point I was looking forward to the whole time while making this post. It is, I have to admit, mostly based on my personal experience and observations I've made recently - I have no evidence for it, besides of that it's logical. But I found it too interesting to not mention it.

ADHD is obviously not so "villian coded" in the eyes of the wide society than other neurodiversities are. But that's not exactly what I mean either. My whole post is basically about the fact that common signs of ADHD can be interpreted as being villainly in regard to Ianthe. And that's very important - they are interpreted as purposely being evil (or at least annoying.)

People with ADHD often have problems at school (and maybe at work later), they have a higher probability to get addicted to drugs, they more often do criminal things, and so on - with other words: they are often seen as "system breaker" and delinquents. Because the signs for ADHD are threated as you would do "bad things" on purpose. And you have most likely no support system to avoid that - Ianthe surely hasn't.

I recently listened to a podcast where a guy said something like "In my mind I'm always the evil one - the villain - because that's what the world told me - that I'd be the villain" and I thought it was pretty interesting because I feel the same - without an obvious reason.

And I think if you have ADHD it's not unlikely that you get the idea, that you are *the villain* - especially regarding what I said earlier. Either because people will tell you you'd be evil or because you'll tell yourself that you'd be evil. (I mean, it's surely no coincidence that there is also a connection between ADHD and OCD - what's basically just telling yourself that you'd be responsible for (what means: guilty on) everything.) I call this feel of being the villain The Villain Syndrome.

AND OH MY GOD, IANTHE HAS THE VILLAIN SYNDROME!!! She literally says it herself all the time. "Paint me as the villain", "The outnumbered, overpowered hero against the narcisstic villain"... And she obviously plays the role of the bad twin (even if she's very likely the lessbadtwin). Ianthe, you're not the villain, you have ADHD (and to stop doing things like killing your cav lol.) I genuinly think if you weren't trapped in the TLT universe there'd be hope for you...

(BY THE WAY, I'd love to hear if someone else has experience with The Villain Syndrome or finds themself in my description.)

Conclusion

To conclude: Ianthe very likely has ADHD. That is *THE BIG POINT* I wanted to make. We see it in her stupefying deficit of attention, her "bitchy behavior ;)", her intense feelings, her lack of patience und especially in her villain syndrome. I surely could find more points, but I think that's enough evidence for one post (also, it's the longest post I've ever made and I don't know if there's a word limit for posts :D) I'd LOVE to hear what you think about it, ESPECIALLY if you have ADHD yourself, and... well. Now at the end, I feel remembered of what Ianthe said in a fic I've read recently. It was something like: "I'd like to make a revolutionairy point now, but I fear I don't have one..." So I'll just say: Have a nice day my friendos :)

[aleppothemushroom]

Inside Out 2 review

It's a rare thing to have a Pixar sequel that's as good as the original. Now, would I say Inside Out 2 is better than the original? Uuuhhh...no. Not really. Do I still think that it's an incredible film that does right by its predecessor? Absolutely.

For one thing, it doesn't conveniently forget the main character's arc from the first movie. Joy no longer passive-aggressively dismisses Sadness for being "useless." She treats the latter like an equal now, even letting her go on an important assignment.

The movie's message is also unique in how it's not "every emotion is important" and more about self-love. And what I really appreciate is that they don't tell you to practice self-love. They show you how to self-love. They find a way to perfectly visualize how being too hard on yourself is bad for you and how to treat yourself nicer. True, it's probably the only movie that can visualize that, but still it's so refreshing. Really hit home for me (I cried a little but not a lot because I'm a man [totally]).

Speaking of emotions, they're all just as entertaining and fun as they were before. There's a scene with Joy and Anger that particularly stands out. I love the new emotions too. Well...most of them, but we'll to that in a bit. Ennui and Embarrassment are both huge moods. Anxiety steals the show by a landside. She's funny, she's relatable, and she makes a great antagonist without being a "bad guy." She has her place in Riley's mind, she just doesn't exactly know what it is yet and is trying to do what she thinks is best.

Cool transition alert, Riley feels more like a...character in this? In the first movie she felt more like a vessel for the emotions, while here she feels way more independent and her own person rather than just an extension of the emotions (which is actually a major theme in the story).

The movie is also very funny. I'd even say it's more funny than the first. (Riley's hidden secrets are a huge highlight).

Now, what's holding Inside Out 2 from being better than the first movie to me? Well, let's get the minor nitpick out the way, I don't like Fear's new voice. Tony Hale's doing a fine job, but it does not sound like Fear. Which is weird because Disgust's new voice sound fine. Could they have not found someone else who sounded a bit more like Bill Hader? Like, there's gotta be a voice double you have on speed dial somewhere.

Now for actual criticisms, Envy. I like the concept behind the character. I like the design of the character. I do not like how they use this character. She doesn't really feel like "Envy" to me. The movie mostly just treats her as second-in-command to Anxiety. There's a few moments where she acts more envious, but it feels more like the movie is trying to remind us who she is rather than having her be consistent throughout. By the way, I'm gonna get into some spoilers, just to let you know.

SPOILER WARNING! ABANDON YEE WHO BE WITHOUT KNOWLEDGE!

That scene where Joy breaks down and Anger helps reinvigorate her spirits comes way too early. Which makes the scene where Joy is at her lowest moment and doesn't know what to do get resolved way too quickly.

Joy's arc in this one seems a bit undercooked. Like, I can see an inkling of her starting to believe that she's useless in Riley's growing mind, but it's only an inkling that gets resolves anyway.

Another arc, a story one, of the emotions learning to let Riley grow and develop on her own is also not fully developed. The movie tells us that's what the characters learn but like...did they? I like the idea, I like the resolution, I just didn't see the build-up. And if it was there, it was not that noticeable.

But while I had some complaints, I think the positives outweigh the negatives. This is an excellent Pixar sequel and I would not mind (HA!) if this became their new big franchise. I just hope that Disney doesn't learn the wrong lesson from this film's destined success and starts pumping out sequels like crazy.

[sophaee]

Okay so I have a little prediction about yuumori part 2, the events of pt.2 might possibly drive a bit of wedge between the moriarthree. They haven't seen each other in 2 years, all of them have matured in one way or another, and have moved on from the past. And while having a strong family bond is nice and all, it's more probable than not that now they WILL run into all sorts of disagreements much more often than before when a huge amount of their decisions felt like they were made with the trio in mind, barely any "selfish" choices were made.

However, now they are actual individuals, and have established their own lives, Louis is now the head of MI6, William has spent 2 years in the US on his own (well maybe except for Albert, that man just decided to put himself in prison and it was just him and his intrusive thoughts for 2 years, but solidarity changes people, too, he's come to a lot revelations, thought his life choices through, etc.)

Louis might secretly have some mixed reactions after their reunion. In my humble opinion he has every right to feel bitter about brothers' return, they both just left him on his own after all these years that he sacrificed his own interests for their well being. Heck, if I were this man, I probably wouldn't be even able to face those two. William and Albert coming back, is, of course, a blessing, but at the same time, deep down it might also feel like a curse. Louis has finally started living his own life, and it might just revert to the way things were before. But being in the shadow of his brothers isn't his thing anymore. Would he be able to give up his wants and needs for the sake of his brothers lime he used to?

Now onto Albert, he's always been there to provide financial support for the brothers, kind of like a parent. But what happens when both of the people you've grown used to providing things for, can now provide for themselves just fine, and don't need you anymore?

And most importantly, what about the main character of the story, William? Does this man really expect his brothers to stay the same, and leave an empty space for him to return to for so long, after he tried to unalive himself, survived and went to live with his new bestie instead? I know he wasn't allowed to contact them, but he could've at least contacted them in secret, he's not exactly the type that follows the rules, is he? But no, he kept the fact that he's alive a secret for 2 years, after most of his team finally started to move on. He used to be their leader, but now that things are running perfectly without him, will he, with his saviour complex, be satisfied with a role "less important"?

It would be very interesting to see the new moriathree struggle to get along in some situations where they used to think like one and the same before. I think a lot of people know firsthand just how much people can change, when they're apart, with completely different influences, in such a big amount of time.

Besides, now that the main plot point is allegedly resolved (the large amount of classism amd elitism in Victorian era Britain), since in the final scene Louis suggested that no more work needed to be done, what else would do for a good follow-up conflict? I like to believe there's a secret traitor in MI6 but probably the only ones capable of secretly plotting their own thing without getting caught are the brothers themselves, and something needs to happen for any of them to choose to follow a different path than the rest.

(also, I'm really sorry if the text might be just straight up incomprehensible in some parts, English isn't my first language... I just really needed to talk about my silly little predictions for part 2 somewhere since I'm really REALLY excited for the manga to return but don't really know anyone in the yuumori fandom irl)

[kyouka-supremacy]

I really wish there were more fics that delved into how Akutagawa's love for Atsushi is different from his love for Dazai.

Tbh I just wish Akutagawa's romantic feelings for Dazai were acknowledged more and I'm only now realizing it's so weird how nobody really ever brings them up? while it's all so evidently there. I mean, considering Akutagawa to be / having been in love with Dazai is seriously a perfectly feasible, consistent, realistic way to interpret the text without any need to bend or stretch it. It just makes a lot of sense for how his character is portrayed - his obsession with Dazai, his devotion, his desperation to be acknowledged and approved by him - and I think it's quite the important piece to understand his character. His love for Dazai is a significant aspect of Akutagawa's character, and it also explains why he's always been so vulnerable to manipulation by Dazai specifically. In a way, I think Akutagawa being so unmistakingly gay is also coherent with the way he's completely indifferent and even oblivious to Higuchi's feelings for him that lie at the light of the day– although, please note, that's a slippery slope that can degenerate in apologism for the way he abuses her, so I beg to be mindful when considering that.

Akutagawa's feelings for Dazai are in ultimate analysis extremely relevant for how Akutagawa falls and acts in the sskk picture: Atsushi being not the first person Akutagawa ever fell for, so in a way him being more aware of his own feelings than Atsushi is; Akutagawa falling for Atsushi first (and harder), because at this point he already knows he likes men, he already knows what being in love with someone feels like. But at the same time I believe that it's so interesting to explore how his feelings for Dazai are different from what he holds for Atsushi. On one side you have Akutagawa's feelings for Dazai being passive: not in the way he doesn't act after them, of course he does, but in the way he's always passively subject to Dazai's abuse, unable to stand for himself, blinded by his devotion to Dazai and unable to really see the damage he's causing him. Passive in the way that he's created this image of Dazai in his mind, perfect, god-like, static and unnatural, that struggles to evolve and adapt to reality. Akutagawa's love for Atsushi, on the other hand, is aggressive: always actively trying to hurt the other, always attempting to make the other suffer; it really speaks of someone whom, all his life, has always associated love with pain. Akutagawa hurts Atsushi because he knows love means pain, and he hurts Atsushi because he can't allow his love for him to hurt Akutagawa again as deeply and painfully as it's done in the past. It's a little sad. Ultimately, Akutagawa's love for Atsushi being the push Akutagawa needs to get over Dazai at last, something I fear he never really managed to do up to - I believe - at least chapter 53: getting over Dazai as something he gradually achieved after the soul-searching he did during his absence between chapters 53 and 84. Chapter 84 being the one where Akutagawa willingly, readily said “no” to Dazai in a way that was so sudden and surprising for anyone who knows him and that is easy to interpret as Akutagawa finally starting to free himself from the influence Dazai has had on him up to that point. That's why Akutagawa's sacrifice for Atsushi is all the more important and poignant, because him protecting (and dying for) Atsushi was never for Dazai to begin with.

I always always considered Akutagawa being gay and in love with Dazai to be like. the most evidently queer thing the bsd canon has to offer (and maybe the “you know the reason yourself don't you”, but I guess that falls under the bigger category of “Ryuunosuke Akutagawa is a character that is gay”); but now that I think about it, nobody ever brings it up really. I can guess it's probably because most people - including people who like Akutagawa and ship sskk - ultimately sympathize with Dazai, and even where acknowledging the hurt he's done to Akutagawa, don't really like to dwell on it or explore the relationship between the two of them which is... legit, indeed. Still, I think their relationship and Akutagawa's romantic feelings for Dazai are a very important part of his character that shouldn't be overlooked when trying to accurately portray him.

And the rational part of my brain knows this can't be intentional, knows Akutagawa wasn't written to be read as gay. But there's another I'd dare say equally rational part of my brain that keeps speaking up to say the majority of his characterization - his devotion to Dazai, his (can I say? tender) sacrifice for Atsushi, his mistreatment of Higuchi - really starts to make sense only when you interpret him as gay. So, sorry???

[thefinalwitness]

in general if your response to a certain type of character, especially any form of minority, is literally any variation whatsoever of "that doesn't exist/wouldn't be allowed in this setting" you're being a bigoted piece of shit. just to be super clear. and because my adderall is in full effect rn i will even do you the favor of going over some reasons why your reasoning is not only flawed and inaccurate to begin with, but extremely harmful to entire groups of people you claim to care about.

"that doesn't exist" first of all, who fucking cares if a piece of media has never depicted a lesbian or a nonbinary person or a black person in xyz region/world? just because the creators didn't do it doesn't make it Canonical Law. also, regardless of how fantastical and fictional a setting is, its audience will ALWAYS be from planet earth where lesbians and nonbinary people and black people exist, and those people's feelings and their deservingness to see and put themselves in their favorite stories IS, in fact, more important than some white-ass cishet make believe world.

"it wouldn't be allowed" subtler issue, but an issue nonetheless. just because the setting is hostile TO certain groups of people does not mean those people do not exist there. ask yourself, what is so important to you about certain kinds of people either not existing period, or having to be miserable (closet themselves, conceal certain features, etc), in a given setting. why is that so important to you. why do you think these people can only exist if they hate themselves and/or live their lives suffocated by the world around them. why is it so "lore incompliant" or "immersion breaking" to you. why are you so concerned with upholding real or perceived prejudices in a fictional society if you claim to care about the real people who these prejudices affect. "realism"? see point one.

NONE of the reasons you make up to justify your reinforcement of real world bigotry in a pretend world are even reasons that would ACTUALLY bar xyz group of people from existing in said world. ishgard only shut its gates to the rest of the world for 15 years before ARR. old sharlayan accepted people from tural into its closed society. the ancients could literally conjure up whatever the fuck they wanted inside and outside their bodies. fantasias are a canonical item in the game, as per the quest that literally talks about them and then gives you one. there are HUNDREDS of perfectly lore compliant ways any given type of person could be in any given setting. but more importantly, people shouldn't need to justify why things like sexuality or skin color CAN exist in a given setting, because if you're not harboring some very bigoted ideas about how minorities are allowed to or "supposed" to exist, you don't fucking care about shit like this. it's stupid, inaccurate, and most of all, just plain cruel to the very real people behind these characters.

racism, transphobia, etc already exist in staggering abundance in the real world; you do not need to enforce that cruelty in a random fucking video game unless you have some very fucked up feelings about those groups of people festering in your brain. if you're not a member of those groups, shame on you, do better to support your fellow human beings. if you ARE a member of those groups, i am so fucking sorry the world has rotted your sense of self so deeply as to make you believe you can only exist in misery. i really, sincerely hope you're able to work through that and know that your existence is an inherently joyful, beautiful thing, and people like you deserve to get to exist peacefully, everywhere in the real world and in any and all fictional settings. i know finding worth in ourselves is too often an extremely difficult process, so i ask instead that you start with others like you. be kind to them, support them, find things about them that you admire, and try to see yourself in them. you deserve to get to heal from the insidious, evil things this world has poisoned your heart with.