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foibles-fables · 3 years ago

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You shared your thoughts on Talanah’s quest (which I agree was totally awful) but have you finished the full game yet? I’m curious to hear your thoughts on the overall main story.

I have--I finished the main quest a few days go, and am mopping up side quests and other activities now. But I certainly have thoughts on the overall story. I've been wanting to sit down and write a post about it, so I think this might be the perfect motivation to actually do so!

Spoilers for the entirety of Horizon Forbidden West's main quest story lurk under the cut here. I hope I remember all of my praise and criticism as construct this, because I really don't wanna do this more than once, lmao. (but catch me reblogging like "AND ANOTHER THING--!" multiple times anyway.) This got a little long so uh, hang on tight! Always open to kind discussion about my thoughts, and I'd love to see/hear all of yours!

HFW was a game that tried to do a lot of things, and in doing so, failed to stick the landing on some of the most important of them. Very good ideas with a lack of follow-through. I--don't really want to come right out of the gate saying that I'm disappointed? I'm not even sure "disappointed" is the right word. But it's the one coming to mind. And I suppose maybe that was inevitable, considering how expectations have been mounting for over a year! It just feels like it aimed FAR wide of the Horizon vibe we were spoiled with in ZD, and I think I've identified a few reasons for this.

I know I talked about this a little bit in my Burning Blooms/Need to Know post, but the first rough spot is the writing. (trust me, this is NOT me claiming that l could do any better. Just my observations.) I'm...really wondering what happened here. I know Jon Gonzalez left as narrative director in 2020, but it seems like the structure of HFW would've been in place by then. In any case, it entirely lacked the elegance of Zero Dawn's narrative. The writing was so heavy-handed and ham-fisted and so very surface-level at every turn, which, IMO, robbed it of emotional depth. Everything felt stripped down in a way that encouraged instant consumption--unlike in ZD, when I'd really have to sit there and chew on what was presented in a cutscene or the lore. Tropes are not a negative thing, but there were so many played straight for the sake of themselves. I felt like a nail begging mercy from the Narrative Big Idea hammer by the ending.

Because of its lack of subtlety and depth and nuance, I personally do not think Aloy's "maybe I don't have to do this alone" epiphany was really...earned? Her growth felt like it happened because it should have happened, not because it actually did. I fail to see where she was challenged by her friends, or truly relied on them, as opposed to them just...being there in the (missed opportunity in and of itself) base, talking about pizza and ice skating. Tied into this is the fact that returning characters (including Elisabet herself, if we can please count her here) were downright neglected in their development--either being lobotomized or backsliding or staying The Same, Only Louder. These are the folks who should be adapting to a world becoming a LOT bigger (both physically, in the West, and temporally/informationally, with the Focuses). I didn't see any of them being truly challenged or changed, and that's a shame because they're the ones I was invested in seeing develop.

Then we get to Beta. Whom I loved. But who represents missed opportunities. I think the "my sister" line with Beta was wildly unearned. In fact, IMO, there were tons of moments that missed the mark re: Aloy's reactions to and interactions with Beta. The Rost conversation was great but...did it really resolve anything for Beta or just point out that she didn't have Dad? Lol. I'm also...kind of miffed that Aloy's "I'm no longer alone" moment came about mostly because of her [checks notes] fellow clone and GAIA--both things tethering her to her otherness and to the old world--rather than her allies, whom she continued to treat as underlings of a sort. They could have cemented her unique and valuable place in the current world DESPITE her being entrenched in both. But that's much more of a personal quibble than other criticism I've seen floating around.

(Not to mention...Aloy's "maybe I don't have to hold myself up to Elisabet's existence and standards" moment--which should have been a big deal IMO--came up in a completely missable interaction with an object in Aloy's room at the base. Talk about oof.)

The ending simply didn't hit me in the chest like it did with ZD, and I think that's because the writing itself did all the digesting for me. Which very much colored my impression of the ending. I couldn't help but think of all the missed opportunities, both for lore reference and emotional impact.

My other major criticism is the Zenith plot in and of itself. IMO, Forbidden West introduced and followed through with what should have been a Game 3 conflict in Game 2. Way, way premature. We all knew it from the lore--the Odyssey was going to come into relevance in some way or another at some point. I feel like this was much too early to bring it into play, though, and it fundamentally shifted the vibe. I really do think we needed a few more narrative steps before bringing the heavier classic sci-fi themes in.

For instance, a Game 2 where the main objective is subfunction wrangling to restore GAIA, with the Regalla plot (WOEFULLY UNDERUSED) including Sylens as the main conflict, and with a late-game reveal of the Odyssey (and maybe the Zeniths with it) being a new threat for Game 3 would have felt much more elegant and less whiplashy, IMO. That way, APOLLO acquisition would've been a series-ender, and they wouldn't have had to invent the bigger fish of Nemesis to create Horizon Zero Three's existential conflict. (which...also...if you want a big angy destroy-humanity AI antagonist, look, VAST SILVER is already right there.) I know the Zenith plot criticism is probably very much YMMV, but it's one of the main factors in me being a little "hm." overall. The Zeniths being a part of everything now made the Horizon aspects we were so used to feel very stretched-thin.

BUT!!! I don't want anyone to think my criticisms equate to a lack of love! Because I adore this world, and that hasn't changed one bit. And it's hard to be critical of something you enjoy so deeply--and sometimes that's precisely why we're so critical of them. So let's please move on to the good stuff before anyone gets too mad at me!!

I found myself entirely enthralled by so much of HFW. The world is beautiful, the soundtrack is phenomenal. The gameplay is fucking fun, and this comes from someone who is Not a gamer. The Thebes quest was so masterfully done in every way--it was THEE shining star of the game. The side quests and errands are WORLDS more engaging than ZD's. The new characters--Zo, Kotallo, Alva, plenty of smaller side friends--were given great charisma and seamless integration. The tribal lore for the Tenakth, the Utaru, and the Quen (in particular) continued to be so thoughtful and I wish we had gotten to experience much more of a narrative focus on them than we did. Honestly, so much of the world is stunning and improves on HZD in every way. I just wish it could've hit the mark with me on everything above.

Again, I love this series, even if HFW tripped up on some of my expectations and points of enjoyment. And I've reached a point where I'm incredibly excited for what Horizon Zero Three will have to offer. Enthusiastic, despite everything, to see what's planned. I'm pretty sure my horrible spatial relations will keep me doing these relic ruins and vantages until it's released anyway.

#horizon forbidden west #hfw #i said 'missed opportunities' so many times in this post #and honestly that sums it up i guess #i promise i love this game and this world #and will continue to do so #i just had a lot of Thoughts during HFW #and made some faces #sometimes we are hard on the things we love #nobody be too rough with me please! i am just a creacher #i saved my critique on the handling of women because that's a different story

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cant-think-of-anything · 3 years ago

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I think part of the reason that there’s such a dissonance between what kind of character Matthew is ~supposed~ to have and what kind of poor traits shine through, especially in his treatment of Alastair, is not just because of CC’s poor handling of alcoholism (and, in my opinion, mental health issues and depression) but also because: Our first introduction to these characters happened a long ways before some major changes to TLH.

Namely… Alastair and Cordelia were basically white in CC’s original planning. There’s just no way around that. Their flower cards, where they’re not just whitewashed but purely white, prove that (and they STILL haven’t been updated, by the way.)

Also, Alastair’s hair: in CoG it was dyed blond, and CC wrote it off implicitly as a racism thing when she decided he was Persian (which I guess happened after the short story where we met Alastair and before TLH) , which would have been fine it if it was an arc written better. Except, I don’t think she realized that it would make Matthew’s comments about Alastair inherently and obviously racist, being a white author. And I doubt that it will be dealt with and named or even acknowledged outright in the final TLH installment.

Kind of the same thing with Cordelia. I’m not saying POC can’t have like red hair because obviously POC don’t come in a prepackaged set of five or six traits that are all configured randomly, but something has always rubbed me the wrong way about the way that CC writes the majority of her POC and especially WOC as exotic. I mean, Kamala as a character is to me a special favorite (even though CC did her dirty and didn’t do a good job portraying her character or intersectional identity) but I rolled my eyes so hard when she had lighter brown or “amber” eyes in canon or officially commissioned art. With Cordelia, I know CC once said she uses henna to redden her hair which is great for her, and I guess I have less of a bone to pick with that because it’s semi(?) realistic, but still. Also the fact that so much of her description as a beautiful person comes from her hair. Again that’s cool, and women of color should be loved wholly including being loved for the parts of them that they freely change (such as Cordelia’s hair) but… the proportion of the fixation on her hair as what makes her lovely rubs me the wrong way sometimes. I feel like it’s sometimes an out from CC making the ~scandalous~ decision that a woman of color can be beautiful because of the traits she is born with. Idk it’s just for me I had this long standing repulsion towards my colorings and my facial structure and white girls would tell me I was whiny about it and then I finally began to piece together things like “Eurocentric beauty standards.”

Going on a tangent slightly, but something else that bothered me was when Anna insulted Cordelia after buying her those dresses and everyone kinda treating it as a compliment? And just cause Cordelia, a fictional teenager, didn’t get mad about it doesn’t mean readers of color can’t see the underlying racism behind “Cordelia looks MUCH better in these dresses which are SUITED for her skin tone.”

I think that narrative could have been handled much better: if it was Cordelia picking out her own clothes as an act of maturity and self-realization and ownership, if Cordelia herself said (in a different way lol) “Damn right I can wear lavender ruffles if I want to and crimp my hair but I’m not going to let white fashion prevent me from outshining everyone because dark skinned women INVENTED jewel tones.” And I think some people will argue that Cordelia’s context makes this too self aware of a development but I would say that it would have been a powerful part of her development outside of her relationships, especially considering that she’s supposed to be a main protagonist. Full arcs for the win baby!

But even aside from all that what bothered me about Anna’s dresses was the fact that it was a white woman showing the “truth” or the “right way” or “saving” a woman of color, a trope which I don’t think CC intended but committed nonetheless. I think from a white author POV the thinking was “Anna is such a free bohemian who lives true to herself and she’s going to help Cordelia become that way too,” which irks me because I feel like that just worked against CC in terms of POC rep and also because that same ideology is used in an attempt to make Anna’s treatment of Kamala justified even though Anna as an out person, with racial and economic privilege and the support of an extensive and powerful family network, pressured and tormented Kamala into coming out.

I have a lot of thoughts on that relationship, mainly: it shouldn’t have been dragged out this long because from the beginning, Every Exquisite Thing, it was clear they were looking for different things. And if CC had left it at that and let them go on their separate ways after a week of knowing each other that would have been fine: Kamala can’t do an out and proud relationship and Anna doesn’t want secrecy, so they’ll develop on their own. And then later Kamala’s pursuit of Anna in the actual TLH books was I think meant to be a thing about “the lengths you’ll go for true love” but it felt forced. Honestly… It just feels icky. like this woman of color is just so hung up on this white woman who abuses her repeatedly and can’t handle her own misogyny and internalizations. And I hate that because both had such awesome potential! To me it’s less that I dislike Anna ( I’d need a whole other post to explain that) and more that I dislike CC for wanting so bad to claim sapphic rep but not wanting to put in the effort to portray it effectively- and pretty much all that entails is writing the relationship without acting like it exists in a pseudo-vacuum where the history and realities of interracial relationships and queerphobia don’t exist in the way we obviously recognize and experience.

And characters like Cordelia and Alastair are amazing and have so much potential; I think the true origin of the problems with their portrayal is that they weren’t really intended as POC or even queer representation in the first place. I don’t know if Cassie would have taken a different approach to her characterization had she known Alastair would be a brown gay man when she first introduced him, but I hope it would have at least made her more conscientious of the inherent application of colonialism and racism in her storytelling from that point onward.

I want to finally add that I’m not saying any portrayal of racism is bad. I’m saying that the racism in the story is not part of a conscious framework that critiques racism appropriately. I think CC wrote the beginnings of the narrative, decided she was going to develop the diversity point content, and then either didn’t look back at the older content to analyze it and the other (white characters) through a new lens of race and outsiderness and queer personhood, or she looked at it and didn’t know what to do with it, or looked at it and didn’t care.

Sorry this got so long! Thanks for listening.

- A.

I feel like CC handled everything poorly in regards to characters who had a lot of potential.

The fact that Cordelia and Alastair are both originally white and it's so obvious in the way every bit of racism is handled by the characters. Matthew's comments in CLS are very important and they should've been handled with the same severity that Alastair's words were. CC changing the characters to POC was a big decision and when she did so she should've went back and actually read her own material. I can assure you that it will not be handled in CHOT, my expectations for CC recognizing the importance and gravity in the words she writes regarding racism or any of her "implied racism" bullshit have gone to the ground.

Because while golden eyes are obviously so easy to write when discussing discrimination obviously racism is out of the question /j

THAT'S EXACTLY IT, women of color in these books are so pathetically rare that on the rare occurrence that she does write them they should all be given these features that aren't as common in POC and written as more beautiful because of those features. I read CHOG after I became more appreciative of my ethnic features but if I had read this a year or so ago? Or even if I had read it after just feeling insecure in general? It would've been awful. The implication is that the lighter features in POC are the most beautiful, with Cordelia's red hair being put on a higher pedestal than her dark eyes and Kamala's eyes being focused on more than her hair (because I literally went back and counted the numbers to prove it and it's exactly what happens.)

I'm sure Cordelia's hair is stunning, but it's the way that when she's described (or more accurately being sexualized) it is just her hair and body that is shown, not the color of her skin or the color of her eyes.

God the pastel thing pisses me off so much. It's not even that Anna tells Cordelia that she would look better in darker colors it's that she says it suits her skin tone. Implying that anyone with brown skin should be barred from wearing pastels. And Kamala? In the few times she is described, she's wearing dark colors or champagne gold, never light blue or purple or pink WHICH HONESTLY SUITS HER PERSONALITY. It's also the way that the dresses Anna sent her are described to be more revealing- it's weird. Anna barely knew her when she started dictating everything that Cordelia could put on her body.

“Damn right I can wear lavender ruffles if I want to and crimp my hair but I’m not going to let white fashion prevent me from outshining everyone because dark skinned women INVENTED jewel tones.”

I literally would have loved that. It recognizes that she doesn't need to follow these "rules" on what to wear but still shows her choosing what she wants to wear without making all the darker skinned readers feel like they can't wear a certain color.

I think what some people fail to realize is that these books are also aimed at upper elementary and middle school and a middle schooler with dark skin reading something like that? In a book with characters they love? It's going to be so harmful

Someone else mentioned that CC said Kamanna's relationship was complicated because Kamala didn't defend Anna: Defend her FROM WHAT? Literally what is there to threaten Anna?

These books are filled with tokenism and then praised for it. The idea of Kamala X Anna has so much potential but they're portrayed in such a toxic way. Throughout the last through books Kamala puts herself through so much guilt and regret and turmoil just for Anna to literally use her, blame her, and cast her aside. And it's so fucking annoying because it pushes this idea that this woman of color who was terrified and in an extremely vulnerable position is in the wrong for choosing her safety and presents them as guilty and shameful for doing such a thing.

I would disagree, the portrayal of racism is bad, because it is used at random points in the story and never brought up again, if you interduce racism take it seriously it's not the kind of thing you're meant to half-ass in a book thousands of people will read

I agree on everything else though, so much of these books are incredibly harmful and they are presented to a young audience so it's overall just a gross situation

Thank you for the ask though! I loved answering this, if you ever have anything else you're more than welcome to come back <3

#kamala joshi #alastair carstairs #cordelia carstairs #tw racism #tw sexualization of minors #tw sexualization #anti anna lightwood #anon #asks #tw swearing #long post #tlh #anti cc #the last hours #let me know if i missed a tag #also let me know if i got anything wrong

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thealexchen · 4 years ago

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One Year On: Life is Strange 2 Critique

December 3rd, 2020 marks a year since Life is Strange 2 ended. I was inspired by @smitethepatriarchy‘s text posts (here, but there are several other answered asks worth reading) and @suhaplays’s text post (here) criticizing Life is Strange 2 to write a critique about how Life is Strange 2 handled certain themes and social issues.

(tw: gun violence, police brutality, animal death, incarceration, racism. In this essay, I use the word “queer” in a reclaimed sense, as a queer person myself. Of course, spoiler warning for all five episodes of Life is Strange 1 and 2).

A year on, my feelings about this game have soured... a lot. When the game was first announced, I was overjoyed that our new protagonists would be two Latino boys. Finally, we would have a culturally meaningful, groundbreaking video game with people of color and their experiences at the forefront!

Then the game was met with immediate backlash and I utterly exhausted myself defending it for weeks on Reddit and Tumblr. Throughout 2019, as the episodes came out I became increasingly disillusioned, frustrated, and disappointed with where the story was going. I couldn’t figure out why I felt so damn miserable while playing this game.

Then in the summer of 2020, when Tell Me Why began rolling out pre-release material, I noticed that they posted a Q&A about transphobia, gave content warnings, and discussed at length about their collaboration with GLAAD, Checkpoint, and the Huna Heritage Foundation to make the game with sensitivity and proper research. I cannot speak for trans and gender non-conforming people on whether Dontnod succeeded at doing so with Tell Me Why. But Life is Strange 2 did… none of that.

Essentially, I realized that the reason why I was so frustrated with LiS2 is because it focuses way too heavily on a trauma narrative. This comes off as insensitive to players of color without any content warnings or extensive research.

Sean didn’t have to get kidnapped, kicked in the face, and called a racial slur by a gas station owner. Daniel did not need to watch his puppy get mauled by a mountain lion for the sake of a “difficult choice.” Sean didn’t have to lose his eye for the sake of heightened drama. Sean didn’t need to get called a racial slur and humiliated by his native language/beaten in the desert for refusing to sing. Daniel didn’t need to get shot— twice. Hell, all of “Faith” probably could’ve been cut— how is a church cult that brainwashes Daniel and beats Sean half to death relevant at all to the story?

Even if not all of the game’s violence was racially motivated, the consistent trauma that Sean and Daniel endure does not make for positive representation— or even good characterization. There is a difference between sympathetic characters and well-written characters, and trauma does not make Sean and Daniel any more complex or likable-- just more fucking traumatized.

LiS2 is more grounded in reality, but that also makes plot holes that much harder to excuse (Daniel’s powers being spotted, most of the Parting Ways ending, Sean’s prison sentence). But most of all, it grounds all of Sean and Daniel’s pain and trauma in reality.

There is no magicking away a town-destroying storm with time travel. Sean can’t keep his dad alive by ripping up a Polaroid. After Max unlocked her powers, she was still a Blackwell student, reconnecting with Chloe, taking photos, saving lives, and uncovering a murder mystery. After Daniel unlocked his powers, the Diaz brothers lost everything.

The game never lets you forget that Sean and Daniel are homeless, wanted, constantly in danger, and that they are never getting their old lives back. It permeates the entire game, and for players of color, just reinforces a sad, miserable, grim reality about living in the United States. It is, as @smitethepatriarchy said, potentially triggering for players of color, and it is certainly not something I needed to be reminded of.

And the representation of POC? It feels shallow and ill-researched. It would only take a Google search to find out that Dia de Muertos (a holiday to honor the dead, no less) was from October 31 to November 2 in 2016, the year the game takes place, but Daniel only talks about Halloween in episode 1. Sean and Daniel never discuss any Mexican customs, foods, or holidays. Sean doesn’t speak Spanish with his immigrant father, only during a scene when he’s traumatized (again!) by two racists, and again when talking to Mexican immigrants— in jail. Daniel doesn’t speak Spanish at all. Most of their allies throughout the game are white, including Finn and Cassidy, who appropriate Black culture with their dreadlocks.

So what’s left? Sean and Daniel’s existence as people of color is, at worst, just a narrative prop to justify everything that happens to them. They are people of color on the surface only. In a meta-sense, the game only considers the color of their skin and their last names as what is narratively important… yikes.

I don’t have anything against people who genuinely loved the game and were moved by its messages and story. But I can’t help but feel bitter that white players have the luxury of only thinking of this game as a work of fiction and not feeling any personal reliability to Sean and Daniel’s racialized trauma.

I don’t regret playing LiS2, but I do regret all the time and energy I spent defending it in the beginning. I understand now that I shouldn’t let people’s opinions get to me, nor should I feel obligated to like or defend a game for its attempts at representation. But now, I think I understand how queer fans must have felt in late 2015 when Polarized released. After following the game for 10 months, to see that Chloe’s ultimate destiny was to die and Pricefield is another ship plagued by the Bury Your Gays trope (in the ending that the devs clearly put more work into) must have been just as disillusioning and infuriating. I understand why some fans were so quick to unfollow LiS or develop mixed feelings about the series, because that’s how I feel too after following LiS2’s development from September 2018 to December 2019.

Before I end, I will admit that Life is Strange 2 arrived at a time when I needed it. I still stand by my belief that DN did a great job characterizing Sean, Daniel, and Chris without toxic masculinity, which is the best thing they could’ve done for a male-focused follow-up to a game about queer women. I love that Sean is still a canonically bisexual man of color in a major video game and that DN didn’t forget their queer audience. I love the world and characters that DN built, but I still prefer AU fanfictions of their normal lives, without all that trauma.

So, I will continue to treasure Lyla and her 10 minutes of screentime (aka the only shred of Asian American representation I can get from this series). I still reblog LiS2 fanart to support the artists. I still support Dontnod, because as Tell Me Why has shown, they are capable of researching and writing stories with more sensitivity. And let’s be honest-- I’m still gonna be hella excited if Life is Strange 3 is announced.

But so many aspects of Life is Strange 2 were bungled that it came off as a remarkably average and forgettable experience. A year on, I don’t hate Life is Strange 2, but I am writing this to move on from it.

Thank you for reading.

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let-me-write-shit · 4 years ago

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Are you still accepting requests?! If so, could you do something like Jeff and Glenne are getting married and obviously H is the best man. Jeff doesn’t want to go to his dance class alone so he brings Harry along and he falls for the teacher 🥺

A/N: So sorry this took so long. This request threw me for a loop at first, I’m not gonna lie. It ended it being a lot longer than I thought, but I hope I did it justice. Let me know what you think! :) (keep an eye out for links of the song and outfit)

Word Count: 5,237

Requests are OPEN! If you have a request for a blurb, oneshot, imagine, whatever, Send me a message HERE!!!

To add yourself to my Taglist, click HERE

CLICK HERE TO READ OTHER COMPLETED STORIES

Friendly reminder to please like and/or reblog. It helps more than you think :)

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Practice Makes Perfect

“Is this really necessary? You’ve already got two left feet, I highly doubt a few dance lessons are going to help you now,” Harry teased, holding the door open for his friend as they entered the top-rated dance studio, making their way to the elevator.

Jeff scoffed, slightly embarrassed, “Come on, man. My wedding is in a month, I’ve got time to learn. Do you know how many people are going to be there? I don’t want to look like an idiot in front of everyone.”

“A little late for that, no?” Harry laughed, entering the elevator and pressing the button to get to the fourth floor, “They’re your friends and family members, all of whom know you’re a right prick at dancing. It won’t be a shock to anyone.”

“Yeah, well, tell that to Glenne. She insisted. And as my best man, you’re obligated to come,” the elevator doors opened and they made their way towards the set of double doors that would lead to their dancing studio, ready to meet their instructor as Jeff muttered, “Could have forced you to wear a wig to get the full effect. Still could, so stop complaining.”

“Why have I always got to be the girl?” Harry sarcastically whined just as he opened the doors to be caught off-guard by one of the most beautiful women he’d ever seen.

Y/N was sat on the floor, one leg out, and stretching her hands down towards her toes as her phone lay screen-up and opened up to her Spotify account, scrolling through the list of music. At the sound of Harry’s remark upon their arrival, she looked up at them, an eyebrow raised and an amused smirk drew across her face.

“Well, you’ve got the easy job out of the two of you,” their instructor stood up and made her way over to them, eyeing Harry, “All you’ve got to do is stand there and look pretty while your friend, here, does all the work.”

“See?” Jeff turned to Harry with a smirk, “Won’t be any different than the way you handle your relationships in the bedroom.”

“Shut up,” Harry backhanded Jeff’s arm, blush creeping up on his cheeks as their instructor giggled.

“I’m Y/N, nice to meet you both,” she introduced herself, holding out her hand to shake, “So, obviously you’re Harry, and you’re Jeff. Congratulations on the wedding,” she smiled brightly at Jeff.

Harry’s heart had stopped beating the second he saw her and when she shook his hand it was like a surge of electricity coursed through him and jumpstarted it again, only this time it was beating too fast. He completely blanked, not hearing a single word that was said between Jeff and Y/N, too enraptured by her smile and the way she pulled her hair into a ponytail.

After a moment of chit-chat, Y/N urged them to follow her, her phone in hand, and explained, “So, I’ve been working with Glenne separately on the choreography; love that you aren’t doing your first dance until the day of the wedding, by the way. Very brave,” she turned, smiling kindly at Jeff before continuing towards the center of the dance floor, “And we came up with something beautiful, but easy for you because she mentioned you aren’t much of a dancer,”

“Definitely not much of a dancer,” Jeff nodded in agreement.

Harry snorted, “He’s got the rhythm of a toddler.”

Y/N laughed, smiling brightly, “That’s alright! That’s what I’m here for. I won’t make you look silly. Now she did mention she wanted a couple of lifts, so we did add a few lifts in there. Okay, first thing’s first, I want to show you a few of the basic steps. This dance is pretty simple and it’ll be Glenne doing most of the work. The important thing to remember is to keep your limbs loose and just go with the flow. Don’t worry about your feet. If you hyper-focus on your feet you’ll trip. Just keep your head up and always look at your partner.”

“Got it,” they nodded.

They immediately got to work as she explained the steps, “So you and Glenne will walk in together hand in hand when the music starts. Look at each other, smile, ignore everyone watching you,” Y/N said. She was super professional in how she spoke to them but somehow made them feel comforted and calm. There wasn’t too much pressure on Jeff to get it all down in the first go. “Once in the center of the floor, you’ll turn to each other and this is where our first steps come in. We’ll be doing the waltz. We’ll work on the footwork first, then move on to the turns and posture.”

She showed them the basic steps. Left foot forward, right step out, and together. Right foot back, left foot out, and together, etc, repeat. It took them a bit to get that down, especially Jeff, but they got there. Y/N was extremely patient, keeping it lighthearted and making sure to reassure them. Thirty minutes in and they began to work on their turns, which was even more difficult, but they were having fun. Harry liked a challenge and had always wanted to learn how to dance. After another thirty to forty minutes they had finally gotten it down.

“Now, with this dance, a rise and fall make your turns look elegant and beautiful, so when you turn, make sure you aren’t just stepping forward, stiff-legged. I want you to glide forward with your weight on your heel and gradually rise to your toes. Keep your back straight. You should look like a stuck-up snob with a stick up their ass.”

The two men laughed and they carried on. Pretty soon they were able to carry on with the actual choreography. She explained each move, how many steps, and how many beats to carry the step. They’d learn the steps to a certain point, stop, restart, and do it again a few more times to make sure they had it down before learning the next step.

The more they understood the dance, the more exciting it got. The lifts were Harry’s favorite part, and when he got to try it with her, he jumped around excitedly, proud of himself for getting it right. Y/N would laugh and cheer along with them, making jokes that helped them memorize the steps and having them practice parts of the dance with each other.

Three hours in and they still had work to do, they needed to work on some of their footwork and hadn’t even danced along to the music yet, but they were getting there. But, their session for the day was over and they would be seeing her again next week They had two more lessons with Y/N before the wedding.

Harry began practicing both Glenne’s choreography and Jeff’s at home in his free time, during phone meetings, while cooking, and even once while he showered, though he slipped and got a nasty bruise on his hip so he decided not to do that again. By the time their next lesson rolled around, Harry felt confident in his footwork, that he eagerly joined Jeff to the dance studio, greeted by Y/N with her bright smile and twinkling eyes once again.

“Hellooooo,” Y/N sang as they walked through the doors, making her way over to them from where she stood by the speakers, “How are you both?”

“We’ve been practicing all week,” Harry informed her with a grin.

Y/N giggled, “I’m glad. Should we get started and see what you’ve got? The two of you can dance together. Harry, you can be Glenne,” she stood to the side as both friends got together.

“Hello, my hunky monkey,” Harry teased in a high-pitched voice as Jeff wrapped an arm around Harry’s back, “Goodness, you’re so strong.”

“Shut up!” Jeff groaned with a smile, making both Harry and Y/N laugh.

Y/N counted down and the boys began to dance as she clapped to the beat and shouted out directions. Jeff struggled a bit to keep up, so Harry led, confident in his turns and steps, although they avoided lifts and dips with each other so they didn’t hurt the other, saving them for when they danced with Y/N who was much better practiced. He was sure to keep his back straight, chest out, and arms up. Y/N would cheer and yelp whenever they did a particularly good job and jumped up and down as they finished, clapping proudly.

“That was wonderful, you guys. Really, great job. Harry, you were an excellent Glenne fill-in, thank you. Jeff, the only things I want to critique you on is your posture and your rise and falls. You were still slouched a bit, and the timing of your rise and falls were a bit off which made you mix up your footwork a bit. Also, try not to look down at your feet too much and keep eye contact with your partner.”

“Yeah, sorry, I just didn’t want to look at Harry’s revolting face,” Jeff joked.

Harry smirked, “It’s only because he’s afraid he’ll fall in love with me and want to marry me instead.”

“I’m sure,” Y/N laughed, “So, I think we’re ready to add music to it, what do you think?”

They both agreed.

“So I downloaded your first dance song. Would you like to try the full dance with me from start to finish? Do you feel comfortable enough for the lifts and dips?”

“Is it possible to see you do it first?” Jeff asked, hands on his hips, “I just feel like I keep messing up the first dip and last lift and if I could see his footwork, I might get it.”

“Yeah, that’s fine. Harry, are you up for that? You feel confident enough to do his steps?”

“Of course. I’m a pro,” Harry joked, making her smile.

Really, his nerves began to kick in. He hadn’t done the whole dance from start to finish with all of the dance moves yet, and Y/N had warned them yesterday that sometimes adding the music in could mess with them at first. He worried that he’d get his timing off or drop her. He didn’t want to embarrass himself in front of her. But seeing her confidence and faith in him made him feel at ease. She handed her phone to Jeff and instructed him to play the music on her signal.

“Alright, we’re going to do this for real,” Y/N explained, “You’re Jeff, I’m Glenne, we just got married, we’re happy, we’re madly in love, this is our first dance as husband and wife. We need all of our friends and family to see the passion, okay?”

Harry nodded, gulping as they stood off on the side of the dance floor, “Passion. Got it.”

Y/N smiled sweetly, voice softer, “It’s okay, it’s just us. You won’t have to do this in front of a crowd. Just remember what I said. Keep your eyes on me. I’ll lead.”

He nodded once more and Y/N stretched out her hand for him, which he took in his. She signaled Jeff to start the music. Fire on Fire by Sam Smith began to play, and at the sound of his voice, they began to make their way to the center of the floor. He spun her to face him, keeping their one pair of hands together while Y/N’s other hand went on his shoulder and his on her waist as they began to waltz. Their eyes stayed locked onto each other’s and his nerves began to ease as they danced, twirled, and swayed.

Her touch was so soft, yet he felt comfortable and unfaltering, following her every step and movement, never feeling an ounce of doubt. And as they looked into each other’s eyes, everything seemed to fade. He could see the falter in her smile, and she in his. The chemistry they felt as they danced was overwhelming. And when the beat dropped, everything disappeared. It was time for their first lift, and the worry he felt earlier had completely disappeared. Dancing with her, it came naturally. There was no hesitation.

With her hand around his neck, she wrapped his right arm around her waist and lifted, spinning her around in circles. She smiled, letting her head fall back and giggling as he spun her perfectly, and he laughed at how carefree she looked. Setting her down, they continued to dance and the intimate part of their dance came. With her guiding his hand around her neck, they closed the space between them and pressing their foreheads on each other, looking up into his eyes.

It only lasted a second in real-time, but for Harry, it lasted an eternity. Butterflies fluttered around his stomach, some escaping to his chest as their noses touched. The urge to kiss her was almost too strong to contain. And on their second, with her back against his chest and her hands in his, he spun her again. She let her head fall back onto his shoulder and he took in her sweet scent, his cheek pressed against her ear. And finally, the ending of their dance. The final dip. He outstretched his leg and gently brought her down, her head falling back as he brought his head down to her, letting his lips gently brush against her neck before slowly bringing her back up and letting her lean into him, one hand still around his neck while the other rested on his chest, their foreheads touching again as they deeply looked into each other’s eyes.

There was a moment. And he knew that she felt it, too. The sexual tension could have been cut with a knife. And his point was proven when Jeff began to clap and whistle, making them jump and pull apart, shaken.

Flustered, Y/N hesitantly smiled at Jeff and met him halfway to take her phone and review the dance with him. For the next thirty minutes, she avoided eye contact with Harry. No matter what he said or did to get her attention, she refused to look at him, focusing on Jeff and helping him with the dance. But the more Harry tried, the more she relaxed. She started giggling more at his jokes, bantered more, smiled more. And by the end of the session after a bit of back and forth flirting, Y/N gave both Harry and Jeff a hug goodbye.

“Great job, you two. Keep practicing. Next week is our last time together. I think you’ve got it!” Y/N beamed, packing her things into a duffel bag.

“Thanks so much, Y/N. See you next week!” Jeff called back, pulling Harry towards the door.

With one last look behind him, he grinned and waved goodbye. As they waited for the elevator, Harry couldn’t stop smiling. He hadn’t seen it coming, but these lessons had turned into the highlight of his weeks lately and Y/N was just incredible. Jeff was talking about god-knows-what beside him. He vaguely heard the words ‘final fitting’ and ‘bow-tie’, but honestly, his mind was elsewhere, contemplating on whether or not he should make an excuse to go back in there and talk to her.

“Earth to Harry,” Jeff yanked on his arm.

When he came-to he noticed Jeff standing in the elevator, doors beginning to close and Jeff holding it open for him.

“Oh, shit. Sorry,” Harry jumped in and let the doors close.

“You alright?” Jeff asked, pressing the button for the ground floor.

With a tight-lipped grin, Harry nodded, “Yeah, all good.”

The week dragged and Harry became impatient. He found himself constantly checking in on Jeff to make sure he was practicing and wanting to meet up so they could practice together. He used the excuse that he was ‘maintaining his best-man duties and making sure Jeff didn’t make a fool of himself’, but it was mostly for him. He wanted to make sure he danced well enough to impress Y/N.

He couldn’t get her off his mind and was so eager for the next lesson, that when Jeff told Harry he didn’t think he needed Harry to come to the next session, his heart sank.

“I think I’ve got it,” Jeff explained, “I might call Y/N and let her know that it’ll be a short session. Practice with her once or twice and see what she says.”

“It’s already paid for, you mine as well go. I just want to be there to make sure you’ve really got it down. It’s one more session, what’s the harm? You’ve got your schedule cleared out, anyway.”

Jeff raised an eyebrow, “You were kicking and screaming before the first session, and now you’re begging me to go? Why?”

“No reason,” Harry replied, a little too quickly, and when he saw the smirk form on his best friend’s face, he tried his best to save face. “Jeff, you’re shit at dancing, man. Glenne’s been working hard on this dance, I just think you ought to, too.”

After a suspicious stare, Jeff gave in and agreed.

When their last session arrived, Harry made sure to dress up a little bit more than his usual basketball shorts and a graphic tee, wearing a pantsuit and button-up. Jeff didn’t think anything of it at first, knowing that’s just how Harry dressed sometimes. But mid-way through the lessons, he started to get suspicious. He knew his friend well enough to know that the desperately pathetic dad-jokes and the constant blushing and laughing was Harry’s way of flirting, and he started to put two-and-two together.

“If you’re not careful, it’ll be you who’s taking dance lessons for your wedding next,” Jeff whispered in his ears while Y/N went to turn the music off.

“Shut it,” Harry snapped, giving his friend a push.

“Ask for her number.”

“I can’t.”

“Why not?”

Harry blushed. Because he was nervous, that’s why.

Y/N clapped her hands together once, making her way back over to them with a smile, “I am so proud of you boys. You did such a great job, honestly. You’ve nailed it, Jeff. Your first dance is going to be beautiful!”

“Thanks to you,” Jeff admitted, thankful.

“Oh, no. You did all the hard work. I just watched,” she smiled sweetly, leaning in to give him a hug, “Congratulations, again. You and Glenne are wonderful. Next week will be gorgeous, I’m sure. Let me know how it goes. I can’t wait to see the pictures.”

“Thanks, again,” Jeff patted her back.

She turned to Harry, smiling wider, “And thanks for accompanying him. You’re a great best-man. Or great fill-in-bride. Whatever you want to call it. It was lovely to meet you.”

“You, as well,” Harry managed, giving her a warm hug.

Quickly, he tried to think of something else to say. But when they pulled apart, nothing came to mind. They looked at each other for a second too long, and Y/N, unsure what to do, began to avert her eyes, looking over towards Jeff and backing away towards her bag, “Well, have a great rest of your day. Hopefully, I’ll see you around.”

Jeff looked between the two of them before he jumped into action, “Uh, Y/N? You have any plans for lunch? We’re meeting Glenne downtown at Sips Bistro if you’d like to join us.”

Harry looked over at Jeff, sighing with relief and smiling, grateful to have a wingman, before turning his attention to Y/N, smiling wider. Y/N grinned, nodding, “Oh, yeah, I’d love to, thanks. How about I meet you there? I just have to pack my things and finish up here.”

“Yeah, sounds good.”

Glenne was already at the restaurant when they arrived, and the second Jeff slipped in the booth next to her, kissing his fiance’s cheek, and he started, “Harry has a crush on Y/N.”

“Do you, really?” Glenne gasped, shooting her attention to Harry, “Awe! I mean she is beautiful, isn’t she? And so nice!”

“I invited her to lunch. She’ll be here any minute,” Jeff said.

“Oh, no way! She can sit next to Harry. Do you think she likes him back?”

“Probably. You should have seen all the blushing and giggling going on. You would have thought they were a bunch of pre-teen girls.”

“Alright, alright,” Harry groaned, putting his hands up.

“Harry, you have to ask her out!” Glenne suggested.

He noticed the front doors open and Y/N walk through, craning her neck above the heads of other patrons before locking eyes with Harry and smiling, making her way over. He felt his throat catch before hurriedly whispering at Glenne, “I barely know her and she’s walking over, so please don’t embarrass me.”

“Hello!” Y/N sang, noticing the empty seat beside Harry and sliding in beside him.

“Y/N, I’m so glad you could come! How is Jeff doing with the dance?”

“So good, honestly!” Y/N began, explaining the last three sessions and poking a bit of fun at the boys.

The first half of lunch was spent casually chatting. It was comfortable. Almost like it would be hanging out with any group of close friends. Y/N just seemed to fit in. But by the second half of lunch, Glenne and Jeff started getting down to the nitty-gritty, really getting to know Y/N.

“I can’t believe you’ve been dancing since you were three. No wonder you’re so good at this,” Glenne amazed, looking between her and Harry before smiling and turning to her fiance, “Wow, can you believe we’re across the table from two ultra-talented people? Makes me feel so untalented.”

“Stop,” Y/N blushed.

Harry snorted, “I don’t know how true that is for you. But, Jeff, on the other hand,” he trailed, making them all laugh and Jeff to take a few digs at Harry.

Glenne rerouted the conversation back to Y/N, asking, “And you’re single, right?”

Y/N nodded, “Yep. A bit hard to meet a guy when your job is mainly teaching women and old couples. Otherwise, they’re engaged men trying to learn how to dance for their wedding.”

“I bet that doesn’t stop a few of them from hitting on you, though, right?” Jeff asked, earning a slap on the arm from Glenne.

Y/N chuckled, “Yeah, sometimes. But that’s when I tell them to either keep it professional or cancel their lessons.”

Harry grinned to himself, taking a sip from his drink. She was no-nonsense but so sweet at the same time. He turned back towards her as Glenne asked, “So no dating for you, then?”

Y/N shrugged, “I’ve been on a few, but no luck yet. Dating is hard nowadays and my schedule is all over the place.”

Harry nodded in agreement, “Tell me about it.”

“Well, I’m sure you understand,” Y/N laughed.

Jeff and Glenne kept a close eye as the conversation continued, watching the two of them flirt and blush more than they had seen anyone do in years. The attraction between the two was nearly enough to make anyone sick. Their food was long-since gone, they had paid almost forty minutes ago, and the sun began to set. Pretty soon it’d be dinner.

“We should probably get going,” Glenne frowned, looking between Harry and Y/N who both sadly nodded in agreement. When Glenne realized Harry was too nervous to say anything, she took matters into her own hands, “Y/N, if you have no plans next Saturday, I’d love for you to come to our wedding.”

“Oh, uh, are you sure?” Y/N asked.

“Yes, of course, there’s always room for one more. Besides, Harry still has a plus-one that he hasn’t used. You can be his date.”

Both Harry and Y/N’s eyes widened, blushing as they looked at each other and when he saw eff’s urging eyes he stuttered, “...if that’s okay with you, of course.”

Y/N happily nodded, laughing a bit, “Yeah, that’d be great. I have a class to teach that afternoon, but I can be there by the reception.”

“Perfect. Harry, do you mind texting her the details?”

Harry looked at Glenne, incredulously, as she sent a wink over at him. These two were such a perfect pair and A+ wingmen. He couldn’t be more grateful to have them in his life.

“Yeah, of course.”

“Then you can see your dancing masterpiece unfold,” Glenne smiled at Y/N.

“Masterpiece, disaster, either way.” Jeff joked.

“It’ll be perfect,” reassured Y/N as they slipped out of the booth.

Glenne and Jeff began making their way to the front of the booth while Harry and Y/N held back for a moment to exchange information.

“I’ll text you all of the info later tonight,” Harry assured her.

Y/N nodded with a smile, biting her lip just a little, “Can’t wait.”

He couldn’t get home fast enough. Harry found himself writing, deleting, re-writing, and editing his first texts to Y/N. After several drafts, he finally texted her a simple, ‘Hey! It’s Harry. It was so lovely to see you today! Thanks, again, for the lessons. Looking forward to seeing you at the wedding.’ Followed by the details of the event and ending it with ‘-H. x’

He waited, staring at his phone and impatiently tapping his foot on the ground. Within minutes, he received a response and nearly dropped his phone before reading, ‘Hi, Harry! It was my pleasure. Thanks for being a wonderful student! Hope your hip doesn’t give you too much trouble from that tragic fall disaster. Note to self: don’t dance in a slippery shower.’

Harry chuckled to himself and began typing away. All week they texted, getting to know each other more. The conversations got deeper the more they talked and he found himself completely enamored by her. Something about her struck him differently and she hadn’t left his mind once. There were several times he wanted to bite the bullet and ask her on a date, but he was too busy helping Jeff and Glenne with the final details of their wedding that there just simply wasn’t any time.

When the day of the wedding finally arrived, it was hectic from the beginning. There was no rush or anything, but the nerves were thick in the air. Jeff had begun to overthink things, forget where he put his vows, and start to panic about their first dance, which he forced Harry to help him practice before the ceremony and was thankfully recorded not only by another groomsman but also the wedding videographer.

His worried seemed to be for nothing, though, because the second he saw Glenne walking down the aisle, his shoulders eased and he smiled. Harry always got emotional at weddings and may have teared up a few times, but he just felt lucky to be standing beside him, watching two of his best friends get married.

After the ceremony, the wedding party went off to take some pictures, and when they had finished, the DJ introduced each other them one-by-one as they found their seats. Harry kept an eye out, scanning the hundreds of people that had come, in search of Y/N, and even checking his phone to see if he had gotten a text from her. Nothing so far.

The or d'oeuvres were still being served along with some drinks, people scattered around the dance floor as the newlywed couple made their rounds when the announcement of the first dance was made and Jeff and Glenne made their way to the side of the dancefloor. Harry was at the back of the crowd, glass in hand, standing by the exit to the patio that was vacant as everyone gathered around the edge of the dancefloor.

He could see the reception doors open from the corner of his eyes and turned to see Y/N slip in wearing a navy, off the shoulder frill midi dress, her hair down in beautiful waves, and her makeup light and glowy. She looked around in search of a familiar face and he smiled, stepping back even more and waving. Once she caught sight of him, a smile stretched across her face and she started making her way over to him as the music of Fire on Fire by Sam Smith began to play and the newlywed couple made their way, hand-in-hand to the dancefloor.

“Hi,” Y/N grinned as she reached him, standing on her tippy toes to try and see Jeff and Glenne.

“You look beautiful,” Harry complimented.

She blushed, pushing her hair back and off her shoulders, “Thanks, you look pretty good yourself.”

Quickly, he looked over at the empty patio and then back towards Y/N, building up the courage to ask, “Want to dance?”

She looked passed him at the patio, understood what he meant, and blushed once more, taking his outstretched hand, following him out and behind a few beautifully landscaped hedges so that they were out of sight, but could still perfectly hear the music.

They picked up the choreography where the music was, just before the beat dropped, and spun together, touching soft and light. He quickly realized she was letting him lead and she allowed herself to sink into him as they did their first lift of the dance. It made him feel more confident and in control, also filling him with a sense of honor that she trusted him enough to loosen her reins and let him lead even though she was the professional dancer. She believed in him.

As he set her down and they began to glide together, he felt his stomach and chest fill up with those butterflies again. And when the first intimate moment of the dance came and they brought their foreheads and noses pressed together, they weren’t smiling like they had in their last lesson. Their expressions were serious this time. The passion wasn’t an ‘act’, it was real. It was abundant. It was fierce. They broke briefly before going into their second lift, her back to his chest, and he was sure she could feel his heart beating ferociously out of his chest until he set her down and twisted her to face him into their last and final dip of the dance, dipping low, letting her hand fall to the ground as the other wrapped around his neck, his nose grazing her neck. He slowly and gracefully pulled her back up, their foreheads and noses touch, staring into each other’s eyes as the song began to end.

They could hear the eruption of guests inside clapping, cheering, and whistling for the bride and groom, but they stayed in that position for a minute longer, unable to move. The urge was too strong. There was a tingle where their foreheads met, spreading down to his lips. Their breathing was too heavy from trying to hold back, and he gave in, pressing his lips to hers. He could feel her sink into him, snaking her hand up from his chest to his neck and deepening it, parting her lips slightly. All went dark and black. And when he finally pulled apart, they both smiled.

------------------------------------

Taglist:

@odetostep, @thurhomish

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el-oh-her · 4 years ago

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Barbie Movies That Are More Relevant Than You Think

1. Barbie’s Princess and the Pauper

> The Big Thing: Shows a realistic representation of 1st world problems and 3rd world Problems coexisting. Annalise is a princess in an arranged marraige and Erika is an indentured servent, both looking to esacpe, but are determined to overcome these issues. They acknowledge that they have differerent problems but are both struggling in their own right. It’s important to know that they don’t wish they were someone else, they just wish they could escape their personal struggles.

> Women supporting women!

> Female Leads that are friends and aren’t catty towards each other

> Annalise and Erika talk about things other than boys, althrough an arranged marraige is a plot point and all boy talk is really about that particular plot point.

> “Duty is doing the things your heart may well regret” is the most badass line in exsitance, okay?

> The Princess loved science.

2. Barbie and the 12 Dancing Princessess

> The Big Thing: This story is about extremism and the dangers of a binary system. In this case, it’s Law vs Chaos, and unregulated freedom of expression vs overregulated conformity. The 12 are unruly and chaotic and uncaring about their royal status which causes strain on the kingdom and they are super unprepared for royal life. The antagonist comes in, strips the color and the fun and is all rules and control and is trying to teach them how to be “proper ladies” which is also done in an extreme. Neither of these are right, and in the end the girls use their unique interests to save their father, and they acknowledge they should behave better and be prepared for royal life. They essentially find their middle way.

> Realistic siblings. No one calls the other “sister”

> Lacy, the frail sister, is never treated poorly by her sisters despite the fact she causes a few issues in the plot. Super supportive sisters.

> LI isn’t a prince. He’s a shoemaker.

> There’s an assassination attempt in this one! It technically succeeds. Really good show on adult topics in a children’s movie.

> Power and Corruption are thematic here with the villain.

3. Barbie’s Mariposa

> The Big Thing: This one is about destorying an entire society for personal gain and power. If you’re American, you’d understand why THIS is super relevant. The queen is bring poisoned and is the life source for all the lights, and those lights are what protect faeries from the monsters in the dark. The Big Bad Guy plans to take the throne with these monsters as her minions, promising them they can eat faeries. She will destory this land to gain the throne, and she doesn’t care who dies along the way.

> Has a Cinderella vibe to it. Good rendition

> Two First World Entittled rich faries are humbled through the journey, and learn to be king and selfless despite starting with selfish intentions. GROWTH.

> Skeezite is a funny word.

> ACCENTS. I think they’re all Spanish, but can’t confirm. The only Barbie movie that didn’t do British Accents, I’m pretty sure. Vocal Diversity is 10/10

4. Barbie Fairytopia Series

> The Big Thing: DISABILITY IN A FANTASY WORLD DONE WELL. Like holy shit the plot is the Big Bad is commiting bio-terrorism by poisoning the air that affects all faeries except for Elina because she was born without wings. DISABILITY BECOMING THE ONLY THING THAT CAN SAVE YOU. YES. She does get wings at the end, but I always saw it as a prostetic because if she lost her necklace she lost her wings. And in a later movie she has to trade them away to save someone.

> Bibble is valid

> This series does the “girl who doesn’t fit in” trope well because Elina is constantly seen as the girl who doesn’t fit in. In the first movie she’s the girl without wings, in the second she’s the faerie, not a mermaid (Nori gets mean towards her because the mermaid prince wanted a fairy to save him or someting like that), and in the last one, I’m pretty sure she’s sort of regarded as the charity case. I can’t remember exactly, so don’t quote me. Either way, Elina is the most relateable Barbie character for people who struggle fitting in wherever they go because Elina never fits in at first (but it’s a barbie movie, so you know, acceptance and stuff)

> This marks the third movie on this list with an assassination attempt for power. Power #Corrupts

> Good overcoming narrative. Elina survives all her trials towards being accepted in society.

5. Barbie as the Island Princess

> The Big Thing: This one is tricky because Barbie is a white character, and that is a valid critique for this one. However, the topic is handled well despite this fault due to the movie’s context. This one is about a status quo society and their treatment towards a different “Cultural” upbringing. Ro grew up on an island alone outside of society and talks to animals. She has an entire different set of values and beliefs. Her curiosity sets her off into a populated civilzation and a big part of the movie is the Prince Character making genuine efforts to help her adapt and make her comfortable for what she is used to, and the rest of the society relegating her to a barbarian. She struggles trying to fit in to a society that wants her to adapt to their society, but refuses to make any adaptions to hers. Her not being from there is eventually what saves the day, which is a healthy message that differnet people learn the world differnetly, and these cultures can meet and interact and help each other without forcing one to obliterate itself. Ro doesn’t stay in that society. She goes off sailing with the prince character, a happy medium from her island roots and desire to be around other people.

> ANOTHER assassination attempt.

> Big Bad has a daughter she’s trying to marry to the Prince, but the daughter doesn’t love him and is happy that he finds love. she and Ro are friends. 10/10 Women supporting women.

> Ro’s cultural roots are celebrated a lot. It’s nice!

> Prince never puts Ro in a corner to change, from what I remember. He guides her through what she’s willing to do, and helps accomidate her with that makes her uncomfortable (sleeps in the greenhouse,for example). 10/10 m8

6. Barbie and the Diamond Castle

> The Big Thing: The catalyst of this movie is Liana and Alexa’s lively hood being destoryed by a storm, and now homeless and jobless, they end up questing with a magic mirror to save Melody and the other trapped Muses. Alexa is hesitant and even gives up to stay in a Lotus Casino type place because there’s food and shelter there. There’s a heavy value on having enough to eat, and having a place to live. Displacement and poverty, I guess is the right word for this.

> Okay so I heard around that Alexa and Liana are queer coded based on their dress colors in the final scene matching the Lesbian and Bisexual Flag and I stan that because honestly, Barbie need some gay.

> The Will Sing For Food scene hits differently than any other scene in Barbie Movies. It’s just such a real thing.

7. Barbie and the Three Musketeers

> The Big Thing: Sexsim. This one is very on the nose of “women can’t do this.” and then Barbie adn Co proves them wrong!!

> I am pretty sure there are SEVERAL assasination attempts in this one.

> “Release the Fireworks!!” is carved into my mind.

> The Master Trainer is an old lady maid. Cool trope subversion.

Honestly, people who cry about adult themes in their kids movies need to watch these movies. Did you notice how many ASSASSINATIONS happen in these movies? SO MUCH ASSASSINATION.

These movies are deeper and more complex than given credit for. I can admit that Barbie’s early movies didn’t do great with racial representation, but we can also praise them for accomplishing their aim of empowering young girls as much as they did.

I can’t say much for mordern Barbie since that’s not my era. Perhaps someone else can comment about that better than I can.

TL;DR: Barbie movies deal with adult themes in a child friendly setting and they are well done and you should go watch them and see how much deeper and complex these movies can be.

A Barbie Movie I DO NOT STAN: Princess and the Pop Star. That movie is “Two whiny girls hate their privlaged life and wish they were someone else’s privlaged life and I guess help the poor” It’s not good. You can enjoy the bops it produced, but that movie is INSANELY Problomatic.

#Movies #Barbie

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a-shakespearean-in-paris · 4 years ago

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Thoughts on The Last of Us Part 2

This critique is spoiler heavy, so tread with caution. I also talk about more than the game. However, non-spoiler opinions: (and again, I want to stress this is my opinion)

This game does not have the same DNA as the first last of us. That’s not a total strike against LOUP2. Yet the first game succeeded so well in creating a relatively simple road trip narrative that was rooted around character growth, with the provoking questions it raised comknf naturally. TLOUP2 revolves so heavily on the message it’s trying to send, that the character and narrative writings suffers to mold around the parable...which doesn’t fully even succeed in that regard. Environments and game play however are pretty solid, and if you liked those aspects of the first game, they outdid themselves here, so you’ll probably like this game’s go around. Does it make it worthwhile to play? That’s a case by case basis, but I have to say that exploring the world made me want to continue the game. And if anything, I’d say this game is a relatively easy platinum trophy to collect. And despite this very long critique where I really dive in, (because that is what I do, it’s in my nature.) I’m glad I played, because I had an enjoyable experience.

anyway, on with the nitty gritty. Please keep in mind that even as I seem harsh, I did not hate this game. Aspects of it pissed me off , and I think it’s broken in a lot of respects, but certainly not a failure of design, game build, and acting.

When I think of the perfect sequel, (and please, bare with me) Shrek 2 comes to mind. It expands the world in a meaningful way, introduces new characters that seamlessly fit in with the dynamic, lets the established characters have more growth without cheapening what happened in the first part, and stays true to the core DNA of the first film. I’m not saying that all sequels need to follow this formula, (I love Silent Hill 2) but The Last of Us 2 was not a fulfilling sequel in any of these regards. Joel and Ellie in the first game, as well as the other characters, felt like real people who made decisions that made sense for their characters. In this game, we have a clumsily patched together narrative that is simultaneously simple and yet far too much for it to handle. This is not a narrative-driven story, but a parable about the dangers of revenge. And while not a bad parable to tell, I could easily pick up Moby Dick or a myriad of other works that detail the “revenge is all consuming and unhealthy” narrative. Now, was LOU particularly new with it’s story? No. But the characters made it worthwhile and fresh. Additionally, the narrative of this game is so riddled with hypocrisy that the parable it’s trying to tell almost misses the mark.

Before further diving in, I also want to talk about one more detour as a preface: Game of Thrones season 8 (and please, bare with me again.) My biggest issue with season eight was how unearned everything was. Most egregiously and infamously, Dany and Jaime’s fates was not rooted in her past actions, therefore making their fates make sense, but rooted in the final outline Benioff and Weiss had. The writers had a plan, and they made the characters fit that plan no matter what, no matter that the characters had grown and changed and had arcs that didn’t make sense with the final plan, leaving a lot of people, including me, note how unearned everything was. LOU2 feels similar. Druckman had a plan, and he made the characters fit that plan, no matter how many gaps in logic there was, no matter how unearned it was. Joel dying the way he did was not very Joel-like as established in LOU. That man noticed an ambush right on sight as he was driving with Ellie into Pittsburgh, while this Joel walks right into an ambush and let’s himself be cornered by a group of unknown people. Maybe you can say that he got softer living in Jackson, or the storm gave no alternatives, but it reads to me as more as Druckman needed Joel to die to set off his plot.

And with that, now’s a good time to talk about Abby, because rather than being an organic character that fits seamlessly into the narrative, she feels inelegantly shoved into the game to fit the message and parable. In the prologue we learn little about Abby and are forced to run away and learn about the game mechanics with her, and most players are here to continue Joel and Ellie’s story, so cutting away to this new character away from Ellie is intrusive. You as a player may have also have heard Druckmann say Ellie was the only playable character and purposely avoided the leaks, so you’re bamboozled as well. It gets worse after we shift to Abby for a good ten hours after Ellie kills Owen and Mel. We’re supposed to feel compelled to play as Abby for a ten hour needlessly complicated side quest when the game jarringly cuts to her...even though she mercilessly beat Joel with a golf club and just shot Jesse, who, IMO, is one of the most likable new characters (and also one of the many minority characters in the LOU franchise that serve as props to the main characters and ultimately meets a sad end, but that aspect of the game is worthy of a whole other post.)

Playing as Abby for as long as you do at the halfway point is a tough and unearned pill to swallow, not helped by the fact that we know how this long extended flashback is going to end, so the stakes are never high. No matter what happens, Owen, Mel, Nora and Alice are going to die, and Abby is going to find Ellie. Furthermore, you’ve spent a long time as a player buffing Ellie with supplements, upgrading weapons, and using her arsenal. Suddenly, you have to rewire you’re playstyle and get used to new weapons. They’re not totally different, but I can see how going back to square one when you’re halfway through the game can put a player off really quickly. I read the leaks so I knew this was coming, but I had no clue how bloated this section would be with the meandering plot and WLF/ Seraphite conflicts that still somehow aren’t explained well enough. In Abby’s section, plot things and character development things go at such a hyper speed, with relationships developing mega quickly, that I had a hard time believing it, especially compared to the first game when relationships took time and were earned. I think the sex scene is a good metaphor for this section of the game as a whole. they talk, talk, talk about unrelated things, Abby pushes Owen, and then they randomly have sex. which by the way, was done pretty tastelessly in my opinion. ND could have just cut away when they started making out, or if you absolutely had to hold the frame, if you really had the actors to do that in mocap suits, maybe make the situation more morally grey...because it is morally grey. Owen has a baby on the way with another woman. What a way to endear these two characters. I’m not one who gets squeamish with sex in media, and I understand the game’s M rating has a warning. But when you cut away a love scene between two women before things get too heated, but have no problem with showing that, I’m going to raise some eyebrows.

Abby’s section is like an overly complicated side quest in the larger narrative, with missions that have little to nothing to do with Ellie, so watching Abby’s story play out doesn’t feel like a meaningful look into the character and world we don’t get as Ellie, but an overtly complicated way ND created to get us to like Abby and invest us in her found family. But it took a whole game and about a full year for Ellie and Joel to be father and daughter, and by the end of Abby’s section we’re expected to believe she and Lev have that same bond. It’s so glaringly apparent that they were trying to mirror Ellie and Joel with Abby and Lev, but they banked so hard on us as the player assuming and understanding that aspect, that the development wasn’t cultivated well enough for me. I think more time was needed--especially since you don’t even meet Lev and Yara until you’re an hour or so into her story. Abby’s section feels like a whole other game was tacked on, and not a piece of the puzzle that neatly fits into the larger narrative. In fact, both Lev and Yara feel like tacked on props to make Abby more likable.

However, ND is inconsistent with this likability factor, because there are key elements to Abby’s writing that don’t make her endearing to the player. Unlike Ellie, who is visibly shaken with each kill, Abby displays no regrets whatsoever. She doesn’t have any qualms killing her fellow WLF soldiers later in the game, but more infuriating for players, she has no regrets about killing Joel. She does it, and she moves on. The game even seems to celebrate her, with some of her friends saying he deserved worse, despite the fact that Ellie was on the floor crying and begging for her to stop. (BTW Mel is pretty hypocritical to me. At one point she says she regrets taking part in Joel’s murder, but during it, she wanted Ellie killed. Then later says Joel’s death was too brutal...even if he deserved worse? It’s just another thread of inconsistency in this game.)

Abby not thinking things through when Ellie is crying on the floor before Joel’s murder is another example of characters making strange, if not outright bad decisions because Neil needs his plot. Abby could have put the pieces together, realized Joel wanted to save Ellie because clearly they care about each other, and yes he did a bad thing and killed her father, but if there’s a crying girl on the floor, maybe he did it because of love. (Or she could have just killed Tommy and Ellie because what’s stopping her from thinking they won’t want revenge like she does? But again, Druckmann needs his plot.)

But no, Abby is merciless, and then suddenly in her POV chapters she’s pretty cool to Yara and Lev and wants to help them out. And yes, they saved her from death...but Joel saved her from death too. It could have been so interesting if Abby and Joel were forced to work together longer, maybe she meets Ellie, and then she’s conflicted about extracting revenge. But okay, fine. She takes her revenge and the game moves on. Okay. But Ellie, who I remind, is vilified and punished by losing Dina and the baby in the game, has regrets and is shaken up by her revengeful deeds, while Abby, who is also pretty bad, gets rewarded. If Druckmann wanted to really write a revenge parable, it needed to be clearer that revenge didn’t make Abby happy or fulfill her. If that would have happened, and if time was taken to develop the Lev and Yara subplot, it could have been interesting to see Abby’s story.

Ellie’s characterization in this game is a point of contention for me as well. Some reviewers have said she makes decisions that are so outlandish it’s akin to Dany in GOT season eight, and I don’t disagree. Now, the game implies Ellie continuously puts herself at risk, leaves her friends, and sets off on a near suicide mission because she has PTSD from what happened to Joel, along with a lot of guilt for not patching things up to him. Druckmann and Halley Gross even confirmed in an Indie Wire interview that Ellie has PTSD. Now, there are so many negative stereotypes against people with PTSD as outlined by Psychology Today and other sources. There’s misconceptions that they’re violent and dangerous, and it can’t be treated. I don’t think Druckmann was outright suggesting Ellie went on her rampage of revenge specifically because of this, in fact I think the truth of the matter is he wanted to say something deep and artsy with this game, and Ellie and Abby are props to the message. (Supported by pre release statements of ND saying they wouldn’t call this game fun--it’s art.) That being said, this equation doesn’t sit right with me. More broadly I don’t like the fact that Ellie has been a prop in this game so Druckmann can say something deep (tm) especially when the last game did such a good job molding her character and honoring her in an organic way as the plot moved forward. The way they used her here just didn’t feel right.

Also, like to mention Ellie didn’t go to Santa Barbara to meet Abby again until Tommy’s major guilt trip at the farm, which was a wildly out of character moment in itself. But again, in this game, there’s a script, and we needed a way to trigger Ellie’s journey to Santa Barbara. But looking at the first game, Tommy berates Joel for the lengths he went to to ensure their survival, even saying at one point “it wasn’t worth it.” Now Tommy is all of a sudden going to not take the high road and demand Ellie extract revenge when he can’t? Heck, when Abby had Tommy pinned to the ground in the theatre he told her to go and save herself. When tommy came to her after Joel’s death he actively tried to talk her out of going to Seattle. Now maybe you can say that “oh Abby shot Tommy and now he’s relationship with Maria is in shambles...” but it didn’t compute with me. (And damn, can anyone be in a happy romantic relationship in these games?) But again, Druckmann wants a final fight, where the biggest waste of opportunity is squandered. We could have had a moment where Ellie and Abby talk it out, maybe Ellie telling Abby that she cared for Joel despite what he did (though ho boy, more on that later.) and Abby realizing hmm, maybe what I did was kind of morally grey and we’re not so different at the least. If this parable was going to work, Abby had to have an epiphany about her own deeds in addition to Ellie, and Ellie can’t be vilified while Abby isn’t.

This game also cheapens the last game’s ending. Joel’s morally grey choice at the end part one is rendered into an indisputably bad choice, because he took away Ellie’s choice. Are we forgetting the fireflies, and Jerry, Abby’s dad that we’re supposed to like, (based on the flashback, which, BTW didn’t work for me, I think Jerry’s an ass) weren’t giving Ellie a choice either? The ending of TLOU asked some fantastic questions about the nature of love without forcing it, and this game completely does away with that ending via telling us how bad Joel is and how he wronged Ellie. I can’t really replay the first game now without thinking of how the sequel cheapens that ending. Overall, the message and thought-provoking questions in LOU came naturally with Joel and Ellie’s development. It was elegantly done and expertly crafted. However, this game is so focused on it’s message and so focused on being an art house drama, that not only do the characters bend to fit the message, but it’s rudely it’s beaten over your head with the final shots of a lone guitar. However, playing through the game for me, seeing the cracks, the message fell flat. Want to tell a parable like this? Go ahead, but make sure it’s delivered well , paced well, and crafted well. I don’t think this game succeeded in any of those regards.

As others have stated, the game is needlessly dark, and though there are moments of calm and light, they are not as frequent as the first game, and all but dissolve toward the end of the story. Obviously ND couldn’t help the current situation of the world the game was released into, but I am tired of this trend of dark narratives and SuBerTing ExpECtatIons that Thrones also pulled, and the easiest, laziest tactic media has used lately to get people talking about their stories: doing things for shock value. Expectations were maybe subverted and there was definite shock value by having Joel die at the beginning, but the events that follow are so bizarre and unearned with Ellie’s vilification and Abby’s “redemption,” that I’m not mad that he died, I’m mad he was fridged to make way for this sloppy mess of a story. And I have to point out that so many of us had a feeling Joel was going to die in this game, that frankly my expectations would have been subverted if he lived.

Now with this segue, I think now I should probably mention the elephant in the room: the pre-release footage. Images were altered to make players believe Joel meets Ellie in Seattle, but we know now that it was Jesse. Sony was banking on the fact that fans of the first game love Ellie and Joel so much, that they used their relationship to sell the game and pretty much deceive the player. The fact that the game is very much not about Ellie and Joel’s further development is not only deceptive, but kind of cruel. Games are expensive. People pre-ordered this game expecting one thing and got another. Doesn’t sit right with me. If Sony/ ND had faith in Abby’s story the secrecy wouldn’t have been necessary, but keeping her out of the marketing save for one time, with Druckmann out right lying at one point by saying you only play as Ellie, it just proves that someone in the marketing department had no faith in Abby. Now, I think this is all rooted in anti-spoiler culture, and no doubt that had a big impact on this game and the marketing behind it. Though this is another, albeit related rant, I am tired of the current climate of “keeping the secrets and remaining spoiler free.” Sure, spoilers can ruin some surprise, and it’s not cool to needlessly spoil something for someone, but spoilers should not ruin the experience of seeing a story unfold. We all know the damn ship is going to sink in Titanic, and a lot of people love that movie. Heck. I played the first LOU completely spoiled. I wanted to see what the fuss was about and read the Wiki page. I still cried, I still fell in love. I get maybe wanting the player to be surprised that Abby has such a big section, or even that’s she’s playable, but when Abby’s story can make or break how you feel about this game, I raise some eyebrows at the marketing.

As I said, I did read the leaks when they came out. Why? Well, I’m not averse to being spoiled and GOT kind of burned me before. I am glad I read the leaks because knowing what to expect certainly eased things for me, and got me used to playing as Abby in a way that going in blind wouldn’t have. It was easier for me to bunker down and accept playing as her, but her story is so needlessly bloated and has nothing to do with Ellie’s up until the end. Her section solely exists just to get the player to like her. As I outlined however, the fragments in her story are broken and don’t come together to form a flattering picture. Sure in her sections you get some, albeit, minimal context to the goings on of Ellie’s chapters and the whole WLF/ Seraphite conflict, but not much to make it interesting or illuminate things further. A lot of it was there just to make you feel like crap for the things you were forced to do as Ellie. Alice was a good girl wasn’t she? Shame on Ellie for killing her in self-defense! And I understand the flashbacks were supposed to mirror Ellie’s flashbacks, but part of me rolled my eyes as I realized I was enduring a damn flashback within a flashback. What kind of a meta world, and an uncool one at that, is the game in? (Heck at one point Abby said “fucking video games” so IDK) I think the game could have been better if you played both sections concurrently--some of Abby’s, some of Ellie’s instead of having an entire flashback to play through as Abby. But I can only guess the game did it this way because of good old spoiler culture and they only wanted early reviewers to talk about certain things. (Heck early reviews pre release had an embargo. Reviewers were forbidden from mentioning anything in the last half of the game.)And truth to be told I think Abby’s sections needed a huge overhaul. Actually I think the whole story of the game needed a huge overhaul, but that’s probably apparent from this long diatribe. However, I maintain that this was the Last of us sequel ND wanted to tell, the crafting needed to be improved.

So what did I like? Well, I liked exploring the world and I liked the ease of the beginning of the game, and...the boat section was kind of cool? now initially I thought Ellie’s romance with Dina seemed pretty rushed, but as you play the game, you realize they’ve known each other for a long time at this point, and it makes more sense. The two have a lot of chemistry that makes the relationship feel more authentic, especially as you roam Downtown Seattle. Playing as Ellie and exploring Seattle was my favorite parts of the game. I really liked the semi-open world section at the beginning, though it didn’t mesh well with the rest of the linear narrative. I hope in future games ND does do something similar and makes the whole game have pockets of open-world esque exploration throughout, and not just one part

I tore Abby’s section apart a lot, but there was also good stuff going on there too. I did Yara and Lev a lot, just wish there would have been more time to develop them. The hospital chapter was wild and fun...the most effective horror chapter in the game, with a big ass monster straight out of Resident Evil. Even if it was gross. And of course, the environments were downright breathtaking, and exploring Seattle made me want to continue. The Aquarium was my favorite location overall, as I found it beautifully rendered and a good focal point for the game. I also find it super fitting Abby and Ellie have their first fight in a theatre. It’s almost like Druckmann’s trying to make a point about how violence is a commodity...kind of like us playing this really violent game and they’re using violence to sell it to you, even though the game punishes you for doing actions you have no say in.

I may have been a tiny bit sarcastic there, but I did enjoy the Ellie/Abby fight, and even if I knew the outcome, it did a great job of putting me on edge. I really didn’t want to hurt Ellie, but seeing how Ellie fights from the other angle was pretty interesting. After that fight however it was pretty draggy to have to do it again in Santa Barbara as Ellie. On a related note, there were too many brawls like that in the game. You have no weapons, just fist brawls twice with cult randos as Abby and then two with Ellie and Abby in the game. Could have trimmed those down, because they kind of wore out their welcome. And while we’re at it, good grief the ending DRAGGED. Maybe that was done on purpose to prove the lengths Ellie will go, but I wasn’t a fan.

Look, a part of me can kind of appreciate what ND was trying to do with this game, I just think that the execution was poor, and a lot of small specifics of things that happened in the game were done in poor taste. Pieces of the puzzle didn’t fit a cohesive whole, and the message is pretty grim and broken because of hypocrisies in the narratives. A lot of people are saying its an apocalypse game, of course it’s going to be dark and nihilistic, but the first game wasn’t nihilistic. It was hopeful, and benefited from the simple story it told. Druckmann always said Part 2 would be a hate story, and that’s fine, but I think it was just so committed to that idea the game suffered and became manipulative. I think now we’re now entering a debate about “can video games be art and have messages?” or “should video games just be fun?” and I really think video games can be art. However, there has to be something in the game that makes you want to continue, and that something is usually “fun.” Video games aren’t like movies. We’re not voyeurs that watch. We’re actually in control of the characters. That has an impact.

if you read all of this, I commend you. thanks! Really needed to pound out all my thoughts and now I can (hopefully) move on with my life.

#tloup2 spoilers #tlou2 spoilers #the last of us part 2 #the last of us part 2 spoilers #I just want to write this and be done because I'm tired #this got long #lou2 #tlou2

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sourestlemon · 4 years ago

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So. I made a bet with my friend that I could get through Omegaverse Haikyuu fanfiction because he says I can’t so if I read https://archiveofourown.org/works/13330632/chapters/30514041 that I’m going to get free icecream and twenty bucks.

But still, Bokuaka! Bokuaka is beautiful, I should rant about it more actually

This is me talking about this fic as I read, so it’ll be updated until I finish

Note, I’ve finished and it’s very very long. You’ve been warned

There’s my review and meta at the end of this as well as some critiques

Spoilers ahead.

“The Jewel of Seijou”

THE WHAT NOW

IWAOIIII

Bokuaka is so fucking cute dear god.

Oh. It’s sinful now

Ushijima better stop throwing shade at my boi’s

“"I can't believe you all think that you can go against the crown and live!" Ushishima says silencing them all. The alpha was slowly emitting his pheromones wanting to show them all his superiority. No one said a word against him. "Toru! I didn't know you'll be as lowly to use your family name to gather us here!" The alpha seethed to the omega that could have been his wife. Iwazumi hackles raised and bared his lips at the beginning of a growl. "And you!" Ushijima turned to Bokuto full on emitting his pheromones making the rest of the alpha's shoulder hackle cautiously and Oikawa to cling at Iwazumi. But Bokuto meet Ushijima calmly, unfazed by the bloodlust while Akaashi was frozen to his spot but didn't show any emotion.”

So what we get out of this paragraph is

1) Bitchy Ushi. I love Ushijima don’t get me wrong he’s precious but like. This fic Ushijima? Son of a bitch walking up in here like “Toru! How dare you be so lowly—“ and fucking trying to dominate everyone.

2) Protective Iwaizumi. Protect the precious Seijou Jewel. Do it, fight for him, protect him he’s scared.

3) Is Ushijima salty because Oikawa didn’t choose him? Oh god, he is isn’t he.

4) Akaashi’s go to emotion isn’t emotion.

5) Shits about to go down, Bokuto is gonna flip eventually, if Ushi threatens anyone—it’d probably be Oikawa or Akaashi seeing as they’re omega’s—I can see Bokuto and Iwaizumi just flipping their shit.

God I’m way to invested. Why did I read this

USHIJIMA IS A COWARDLY LITTLE BITCH IN THIS FIC, STAB HIM HINATA

D O I T

Awww Kageyama cares, Tsukki cares

OH MY GOD TENDOU!

More people came surrounding them. "What the hell," Akaashi recognized Iwazumi's voice.

Iwaizumi’s reaction is the only respectable reaction.

Wait this has major character death in the tags

Fuck

Everyone has decided that Oikawa and Akaashi must be defended but just once I want them to flip their shit and kill someone. Just once.

Bokuto, Lev and Iwaizumi all want to protect Oikawa but Iwaizumi doesn’t even fucking trust em.

Why does everyone act like Nishinoya not wanting to move on so quickly is a bad thing? It’s perfectly reasonable and I hate how everyone is like “What’s wrong with you, do you not like us?” And getting super standoffish or snappish simply because Nishinoya loves Asahi so much and doesn’t want to feel like they didn’t need him.

I really don’t like how Nishinoya/Tanaka/Ennoshita became a thing in this fic. It would be cute if it didn’t just happen because Nishinoya was desperate and if he wasn’t he wouldn’t have fucked Tanaka.

Oh dear god I don’t want Kenma to die.

Oh thank god it’s okay.

Fuck I forgot they had boobs

Did Bokuto almost name the Kuroken baby Oya but changed last minute?

BO ISN’T COMING BACK IS HE?????????

I’m feelin a little sniffly. I might fucking cry over an Omegaverse fic. Oh how the mighty have fallen

Oh my god the stars. I don’t think Bo is coming back y’all. I’m so nervous

The fuckin royals aren’t getting Keiji. No. Nuh-uh FUCK THAT SHIT

THAT’S BOKUTO’S MATE STAY AWAY FROM HIM

-cue mac worrying about oikawa because seijou is allied with fukurodani and an easy way to tear seijou away from the alliance is to kidnap oikawa and iwaizumi might split to keep him safe and ushi fucking knows this and possibly tendou also oiks is pretty as fuck-

BOKUTO IS OKAY!

Iwaizumi making Bokuto promise to save Oikawa if things went to shit makes me so worried but the same time his lil speech made my IwaOi heart so happy.

Suga bby...

BOKUTO JUST KILLED A FUCKING CHILD

Tendou, Ushijima I never thought I’d say this but I fucking hate them right now. They better not hurt the other best Boi’s.

Ushijima is salty as fuck confirmed.

"You truly are a piece of art," Ushijima said gently ...."But not as beautiful as him," the alpha muttered as he threw the omega to the floor.

So, this little snippet sent disgusting shivers down my spine for two reasons.

1) Ushijima just yeeted Akaashi, my son and

2) Any reader knows who the ‘he’ Ushi is talking about is, the only person in this book who is said to be as beautiful as Akaashi. You guessed it, the boi who rejected Ushi-fucking-jima, Jewel of Seijou himself Oikawa Tooru.

The thing that grosses me out the most about this paragraph just on its own is that Ushijima is either guessing about what Oikawa looks like, or he actually knows which overall just gives me the heebie jeebies because Oikawa definitely didn’t want that. What makes my skin crawl in this little snippet is what Ushijima would do when if he got his angry little hands on Oikawa—or Iwaizumi, but Iwa would probably be killed or used as a bargaining chip.

Hmmmmm, I’m pretty sure Ushi is in love with Tendou but the beauty statement still stands possibly???? Unless specified otherwise, because Akaashi and Oikawa are canonically considered the most beautiful people in the fic.

Also this entire chapter just makes me feel so gross, fuck Ushijima man. Fuck him.

My Ushijima loving heart hurts reading this fic.

I just want Akaashi and Oikawa to straight up kill someone. Please, anyone who I don’t care about

I FUCKING SEE THE MAJOR CHARACTER DEATH WARNING AND I DON’T LIKE IT

FUCK

NOT BOKUTO

WAIT IS HE ALIVE

I WANNA SEE MY LITTLE BOY

HERE HE COMES

I WANT TO SEE MY LITTLE BOY

"I came right on time," Bokuto forced out his voice cracking with emotion. "Now I can engulf you in my arms and brighten your days despite the absence of the sun. You will no longer have to endure the cold winters alone. I'll be with you, I be there for you and our child," The alpha vowed his hands itching in need.

"Are you going to leave us again?" Akaashi needed to know. The omega already knew that he wouldn't be able to survive being apart from the alpha. He knew that he wouldn't win the battle with the overwhelming loneliness.

"The seas could dry up, the mountains could turn to pebbles, the trees could die and the whole world could be on fire and I still won't leave your side."

That was all Akashi needed to hear as he leaped into his alphas arm and let go of all the pain he has held in

I’m not crying I swear

They walked together side by side and Akaashi finally faced them. They were both beaten, bloody, and torn butinstead of feeling satisfaction he felt remorse. They both looked at him with soft, wide eyes, and he realized that this was the moment they were waiting for. They wanted to see the child that they both desperately wanted and Akaashi decided to give them a parting gift.

Akaashi had won, he had won from the very beginning and he held his trophy who was a small babe with golden orbs, with mutant white and black hair. He hadn't lied to Tendou when he had said that the baby looked exactly like his father.

OH MY FUCKING GOOOOOOOOOOD I’M SOBBING DON’T TOUCH ME

Meta and Review

So I just read A/B/O for the first time and I knew absolutely nothing about the entire trope that Mpreg existed and to stay the hell away from it. Please remember this in the meta and tell me if there way of dividing characters is ever specified or if it’s just decided by top-bottom dynamics.

Wow.

The story was pretty good outside of what I’m about to talk about. I liked the ships and most of the buildup, the worldbuilding seems solid, the war and UshiTens situation was really interesting to me and it made Ushi and Tendou a bit morally gray and could’ve talked about how people could do bad things for what they thought were the right reason and everything was clean cut.

Overall? Eh. Could’ve been done better

Not onto the rest

This doesn’t seem as toxic or inherently bad as most fics I’ve seen, I didn’t really like how Omega’s are always inherently feminine—the dresses, jewels, how they’re seen as inherently weaker and sometimes helpless, how they’re always referred to as “my lady”—and aren’t really given another choice because they might have the ability to reproduce in A/B/O but they aren’t women. It’s okay if a man is really feminine but for all of them to be? It rubbed my the wrong way.

I wish that the power structure was handled different in A/B/O in general. Omega’s seem to be treated like they’re helpless and I just...don’t like it? Omega’s might be submissive but that doesn’t make them physically weaker and if it did, I would’ve thought they would have picked up some other useful skills like diplomacy or strategy.

As usually, my example of how a character could’ve been handled better is Oikawa.

He’s my favorite character and I adored him but he just didn’t really deliver. It felt like he was being treated like a kid throughout this entire fic, it didn’t seem like he was doing anything during the war. Even if Omega’s don’t have a lot of physically prowess and abilities, what happened to Oikawa’s strategic and analytical nature? Why was it never mentioned in any of Bokuto’s POV sections because out all the leaders of the Allied Kingdoms, Oikawa is the best strategist—Kuroo is the exception, not the rule and I thought they should’ve been working together because smort boys—but he was simply hidden away.

Now I have no problems with all the protective IwaOi scenes when they’re in immediate danger—it makes perfect sense if Omega’s are physically weaker but have other usable talents that are taken seriously—and Oikawa simply can’t talk his way out of said problem.

I do however, have a problem with cowering Oikawa. That feels so OOC at the beginning of the first scene I cited, where is all of the quick wit and worthless pride from the show? Now, it makes sense for Oikawa to start getting scared and simply slip behind Iwaizumi once Ushijima tries to dominate everyone and all the Alphas start freaking out if Oikawa is at an actual, physical disadvantage—I feel like the alpha’s their have similar frames, or at least most of them do. Bokuto, Ushijima, Kuroo and Iwaizumi are jacked and beefy, everyone but Iwa is relatively tall too. Now, Oikawa’s tall too but he’s much thinner and leaner. I’d be scared too if everyone could break me like a twig if it came down to it—but no ??? Apparently at the first sign of any conflict he just gets scared??? He doesn’t know what’s going on in his own fucking kingdom ???

This is not Oikawa.

I didn’t like how they treated most of the Omega’s actually, it felt like they were just reverted to helpless damsels in distress. What happened to Kenma’s observation skills? Nishinoya’s everything?

More importantly, what decides Alpha’s and Omega’s? Is it up in the air like gender is? What are Beta’s then? It can’t just be who’s top and who’s bottom, that would mean the alpha-beta-omega- status wouldn’t be decided until you had a mate

From what I’ve seen in the fic, it goes by ship dynamics but what if the characters who had more strategic, cunning, observant traits and weren’t as buff and muscly would be Omega’s and had the brain power while characters who relied more on physical prowess would be Alpha’s and dominant in a purely physical way sometimes while characters who were an odd combination of the two would be Beta’s.

Going by my logic, instead of the top being the alpha and the bottom just being an omega without any personality it would be...

Bokuto- Alpha, like he was in the story. He’s definitely more physically inclined then Akaashi.

Akaashi: Omega, same as in the fic. Not to say he isn’t athletic but he relies more on his mind.

Iwaizumi- Alpha, like in the fic but from a purely physical standpoint and because he can rein Oikawa in when his friend starts going nuts.

Oikawa - Beta, he’s quite powerful but he’s also manipulative, strategic and his mind is scary as fuck.

Kuroo- Beta, he relies on his physical prowess and dorkily perfect brain a lot so he’s also a mixture of both.

Kenma- Omega, physically he’s a twig but his mind is what makes him the brain of Nekoma

Hinata- Alpha, he doesn’t use his brain a lot and has a lot of physical power

Kageyama - Beta, he’s pretty smart when it comes to volleyball and he’s also physically strong

Suga - Omega, he’s quite clever and his brain power out ways his physical prowess by a landslide

Daichi- Beta, he firms strategies and relies on his brain, plus his killer thighs

Tsukishima - Beta, he has his hue fur and athleticism but his brain power is also strong as fuck

Yamaguchi - Beta, he seems to be really people smart and eventually his serves are pretty good.

Can Betas get into a relationship with other Betas? I don’t know or care, we stan Alpha-Alpha, Beta-Beta and Omega-Omega ships here

I DON’T KNOW IF THIS IS HOW IT WORKS THO

do I have to read more

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violethowler · 4 years ago

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Mixed Signals

As we near the end of this series of essays, I’d like to take the time to talk about something that I’ve been wanting to discuss in relation to the Kingdom Hearts series for a while. I briefly mentioned it in my previous essays but never went into detail because I figured some corners of the fandom would be unreceptive to discussion if I brought it up. But given how many times I have seen Kingdom Hearts fans praise this series for its lack of negative male stereotypes, I think it worthwhile to explore how the series handles gender norms in relation to the Heroine’s Journey.

Maureen Murdock developed her template while working as a therapist with women in their 30s who had pursued careers in heavily male-dominated fields only to find themselves feeling burnt out and unfulfilled once they achieved their goals. A significant part of her inspiration for the Heroine’s Journey came from her patients describing how they had set out trying to achieve success in these environments by emulating the men in their life such as their fathers, while pushing away the influence of their mothers[1]. As such, deep down the themes of the Heroine’s Journey reflect on the struggles of someone who doesn’t meet the ideals of what society tells them a person of their gender is supposed to be and critique those gender norms.

On a meta level, Kingdom Hearts represents a fusion of cultures, made from a collaboration between an American and a Japanese company. While there are a few places where the two cultures overlap in terms of gender norms, it isn’t a 1:1 comparison. Therefore, the gender norms of both cultures should be taken into account when analyzing how the portrayal of the two leads in Kingdom Hearts aligns with the critique of gender roles presented by the Heroine’s Journey.

In terms of Japanese cultural norms, Sora’s emotional openness, compassion, optimism, and ability to easily form connections with others are fairly standard for male protagonists in Shonen stories[2]. However, following the first game in the series, the narrative begins to deconstruct this archetype over the course of Sora’s character arc. From KH2 onward we see him use his cheerfulness and optimism to hide his own insecurities and self-doubt. Our first introduction to his life on Destiny Islands depicts him competing with Riku in physical challenges, while the other kids talk about how much stronger than him Riku is, setting him up for a disproportionate focus on physical ability over emotional. This leads him to believe that he has no strength on his own and must rely on the power of his friends in order to be worthy of recognition and praise.

Related to Sora’s insecurities about his own strength, one archetype found in both Japanese and American culture is that of the masculine protector. The idea that a man must be ready and able to physically defend the people he cares about from harm, often to the point of self-sacrifice. In fiction, this trope is most frequently employed with a character’s friends, siblings, or romantic partner. The gender of the protectee can vary depending on the story and their relation to the protagonist, but male heroes protecting female love interests is one of the most common ways I’ve seen this trope be expressed.

Failure to uphold this ideal is commonly used as a source of angst for the male protagonist. Heroes who fit this mould are known to brood heavily if harm comes to their loved ones that they are unable to protect them from, and in some stories may be ridiculed or shamed by others around them. There are also variations where the hero’s inability to protect them is used as a source of angst for the protectee in addition to the main character. Common in stories where the one being protected is a friend, sibling, or love interest, some narratives will have the protectee react to the hero’s inability to protect them by deciding to “toughen up” so that they don’t need protection.

As mentioned in my first essay, the protagonist of a Heroine’s Journey and their Animus are frequently depicted as two sides of the same coin, with shared core character traits that manifest in contrasting ways because of their different circumstances. At the start of the Kingdom Hearts series, both Sora and Riku have built their sense of self-worth around their ability to live up to this idealized protector archetype. Their insecurities stem from their perceived failure to adhere to that role, with each of them coming at it from a different direction.

Being the older of the two, Riku is presented as physically stronger than Sora, something which the other kids on Destiny Islands make note of in the first game. Tidus talking about how, despite getting stronger, Sora is “still no match for Riku[3]” and that Kairi “can always count on him(Riku)[3]” frames Sora’s insecurity about wanting to be on equal footing with his Animus as being rooted in his perceived inability to fulfill social expectations.

When they meet again in Traverse Town, Riku’s first on-screen reaction to how Sora has changed since they last saw each other is surprise and confusion at Sora being able to defeat threats like the Heartless on his own, indicating that the root of Riku’s insecurities - which Maleficent of course exploits - is his belief that the value Sora places on their bond is conditional on Riku being needed as a protector. If Sora can fill that role himself, then what purpose does Riku have?

In keeping with how protagonists are usually depicted fulfilling this role to the point of self-sacrifice, Sora and Riku have both shown a tendency towards throwing themselves in front of an enemy attack to protect someone they care about, such as when Riku leaps in front of Xemnas’s aerial blade to defend Sora in the final boss fight of Kingdom Hearts II, or when Sora puts himself between Kairi and Terranort. Xigbar even comments on this tendency when he talks about how he doesn’t admire “one guy leaping into danger if it means someone else might have to jump in to save him.[4]”

From the western perspective, one of the things that many English-speaking fans have praised the series for is its avoidance of negative stereotypes in the writing of its male characters. A common cultural attitude in the United States holds that a man must always be stoic and aloof with everyone but his romantic partner. That a man who is open with his emotions, especially if it involves crying, is weak and unmanly. That engaging in activities that society associates with women and femininity makes one less of a man.

But Kingdom Hearts, from the point of view of western fans, rejects all of that. The writing of the series allows its male characters to express the full range and depth of their emotions and not once does the narrative ever frame them as weak or pathetic for it. None of the male leads are ever made fun of for crying or expressing vulnerability, and they never reject doing something simply for being “girly”. Not only that, but the arc being set up for Sora to learn to acknowledge and work through his insecurities and self doubts instead of hiding them as an allegory works as a direct rebuke of the idea that showing emotional vulnerability is somehow unmanly.

On another layer, Sora’s arc can also be seen as a critique of the Japanese concept of Honne and tatemae. Tatemae (literal meaning: “built in front” or “facade”) is the behavior and attitude one presents to the public that conforms to the expectations of society in addition to the individual’s station and circumstances, while Honne (literal meaning: “true sound”) represents a person’s true opinions, which are kept hidden except from close friends and may or may not match their tatemae[5]. This can sometimes be used on a more interpersonal level to evade confrontation and avoid hurting others’ feelings, such as when someone says “we should hang out sometime” with no intention of doing but not wanting to hurt the other person’s feelings by admitting that they aren’t interested.

The idea of keeping one’s true feelings separate from what one says in public fits with how characters in the Kingdom Hearts universe have been shown to hide their own inner darkness and in some cases deny that it’s there, which Xehanort took note of in his conversation with the Master of Masters in Re:Mind. We also have Donald and Goofy’s talk in the beginning about how the Gummi Ship “runs on happy faces[3]” instilling in Sora - despite their good intentions - the idea that his negative feelings about the destruction of his home are a burden to the trio’s ability to complete their mission. As a result, Sora continues to downplay his own sadness and other similar emotions across subsequent games. As a contrast to this, Esmeralda tells Riku in Dream Drop Distance that everyone keeps things locked inside sometimes and that it’s okay to keep some things separate from the world at large until they’ve had time to figure out their feelings for themselves. In this context, the version of tatemae that Donald and Goofy present ultimately causes more damage in the long run, while Esmeralda offers a healthier model of the concept.

So from a Japanese perspective, the Kingdom Hearts story is deconstructing two common archetypes found in coming of age narratives aimed at pre-teen and teenage boys and at the same time offering a critique of a common cultural attitude about individual expression. Meanwhile from a western perspective, the series defies conventional norms of masculinity and male characters in fiction while also critiquing elements of those views at the same time.

Both of these are perfectly in tune with how the Heroine’s Journey structure provides social commentary on gender and cultural norms.

The fact that the series challenges the audience's perception of gendered narrative archetypes and social norms from multiple perspectives is also reflected in how it mixes the symbolism associated with its two lead characters. For example, the series repeatedly presents canon Disney Princess romances as parallels to Sora and Riku, but which of the two corresponds to the Disney Prince and which one is the Princess varies from one game to the next:

Sora acknowledges in the first game that like Ariel, he wants to explore the outside world. The same game also presents Ursula tricking Ariel into helping her as a parallel to Maleficent’s manipulation of Riku.

Kingdom Hearts I presents the Beast as a parallel to Sora through their shared refusal to give up after being laid low by Riku upon their arrival at Hollow Bastion. Meanwhile in Kingdom Hearts II, the Beast is presented as a parallel to Riku, as mentioned in my previous essay.

The first game parallels Sora to Aladdin through similar shots of the two calling out for Riku and Jasmine respectively as they are forced to flee the location of a boss fight (the Cave of Wonders for Aladdin, Monstro’s stomach for Sora). Kingdom Hearts II uses Aladdin avoiding Jasmine at the start of Sora’s first visit to Agrabah to parallel Riku avoiding Sora throughout KH2 as a whole.

While not considered an *official* Disney Prince (he’s still unofficially marketed as one), Kingdom Hearts III connects Hercules diving into the River Styx to save Megara’s soul with Riku’s sacrifice for Sora at the Keyblade Graveyard. Meanwhile in KH2, Hercules’s attempts to hide how exhausted he is trying to meet everyone’s expectations greatly resembles Sora hiding his doubts and insecurities.

The fluidity of which one corresponds to the Disney Prince and which one is the Princess in these parallels also carries over to other narrative symbols. In visual mediums, the protagonist and Animus of a Heroine’s Journey are frequently depicted with a Yin and Yang motif - light and dark in balance with each other. In visual depictions of the concept of Yin and Yang, Yin is the black side - representing darkness and associated with femininity - while Yang is the white side - representing light and associated with masculinity[6]. Visual depictions of Yin and Yang use the Moon to symbolize Yin and the sun to represent Yang. Many visuals include an opposite color dot in the middle of each side, representing how the two forces balance each other out - there is darkness within light and light within darkness, so to speak.

The depiction of Yin as darkness with an inner light aligns with Riku’s character arc over the course of the series, but Sora is the one associated with moon imagery. Meanwhile, Yang being the light with a bit of darkness inside matches how Sora is on the path toward learning to acknowledge the darkness in his own heart, but Riku, who walks the “Road to Dawn[7].” is the one visually connected to the sun. Even in other pairs that have narrative parallels to Sora and Riku, the Yin-Yang motif differs from conventional depictions. Instead of the typical male Yang and female Yin, Yozora and Nameless star’s Yin-Yang motif has the gendered colors reversed. Nameless star is dressed all in white with dark hair, while Yozora wears dark clothes and has lighter hair.

This kind of fluidity in terms of symbolism and narrative parallels is perfect for a Heroine’s Journey. Many stories that follow the formula symbolically associate the male love interest with the archetypal damsel in distress, with the female protagonist being cast as the knight in shining armor heroically storming the castle in order to free them. But in the context of a Heroine’s Journey that is setting up a same-gender romance with two male leads, it adds an additional layer of meaning:

A well known stereotype involving same-sex couples is that their roles in the relationship will be exactly the same as the roles that society associates with an opposite-sex pair, with one always corresponding to the “female” role and the other to the “male” one. The Uke/Seme trope common in fanfiction from the early 2000s is a notable example of this. By presenting a romantic relationship between two male leads where the symbolism and narrative parallels are framed in a way that depicts the implied gender roles as constantly being in flux, the narrative sends a message that people are too complicated and flexible for every romantic relationship to fit into the same rigidly defined roles.

In conclusion, the depiction of Sora and Riku both as individuals and as a developing romantic relationship is consistent with how the Heroine’s Journey challenges gender and cultural norms from the perspective of two different cultures. By following this narrative framework, the Kingdom Hearts series deconstructs gendered narrative archetypes from both Japan and the United States, reflecting its origins as a crossover between franchises popular in each country.

Sources:

[1] The Heroine’s Journey; Maureen Murdock; 1990.

[2] TV Tropes; Stock Shonen Hero; https://tvtropes.org/pmwiki/pmwiki.php/Main/StockShonenHero

[3] Kingdom Hearts; Square Enix; 2002.

[4] Kingdom Hearts III; Square Enix; 2019.

[5] Wikipedia - Honne and tatemae https://en.wikipedia.org/wiki/Honne_and_tatemae

[6] Wikipedia; Yin and Yang https://en.wikipedia.org/wiki/Yin_and_yang

[7] Kingdom Hearts: Chain of Memories; Square Enix; 2004.

#kingdom hearts and the heroine's journey #kingdom hearts meta #kh analysis

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bscully · 5 years ago

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I see a lot of people praise caska for being an amazing female character but I kinda feel like she’s written like a bad joke about women (looses battle because period, too emotional, told her role is to comfort guts, etc...) she doesn’t get much time to really shine as a fighter either bc she’s constantly being saved of course I love her and will always defend her but do u think she’s actually written well as a girl? I feel like I’d be lying if I praised her for it

Hello and thanks for the ask!

No offense but I mean…

Let’s put it into perspective. There is a reason why Casca during the Golden Age was written the way she was, and I don’t think it’s necessarily bad writing. Some (questionable) views about women were expressed that way, but I’d like to think that’s more because of the time the Golden Age was written in, rather than because of malicious intent.

During the Black Swordsman Arc we were shown how Guts handled those who were weak: He absolutely detested them.

During the Golden Age we were shown how he dealt with other’s weakness (Casca’s) and also *why* he hated the weak during his Black Swordsman Arc days: During the Eclipse, the Hawks all died because they were weak, and Casca was violated and lost her mind because she could not defend herself either. (The irony of this is that both of these things all happened because of his best efforts to save Griffith, boyo was too distracted)

Black Swordsman Arc

Guts generally was very contempt towards those he considered weak, and also especially towards other men, e.g. Vargas whom he just let die. Another time someone weaker than him died, it was the priests’ daughter, who was slaughtered by evil spirits. He also felt remorse killing her possessed body, even then and also vomits later on (he always vomits when he hurts a child or girl, see Adonis, see killing the fire children in the lost children chapters). In the page below, bottom panel, you can see white sprinkles which I believe are tears.

He then goes on to say how he cannot bother to crush ants below his feet when he walks. That was his way of dealing with the sadness, getting someone who is weaker than him killed because of him. His love-hate relationship to weaker people was also shown to us by his interactions with Theresia: in some way, he did save her here from falling off the ruins. But she had to hold onto a sharp blade so she wouldn’t fall.

Guts was hurting someone who he would love to protect, and he also hated himself for it. He made Theresia go down the very same path like he did because revenge is the only way to give her something to hold onto after losing everything.

It reminded of his own suffering, losing the Hawks and Casca. At least, this is the conclusion I made when I read the Golden Age and then look back to the Black Swordsman arc.

Golden Age

When Casca was later introduced during the Golden age, IMO Kentaro Miura wanted to show us how Guts usually treated people. As it turns out, Guts does want to protect and make sure people are safe. He also listens to them trying his best to meet their expectations. In other words, he was not always an asshole. In regards to other people’s weaknesses, his treatment of Casca was still rough in the beginning, but at the very least imo, well-intentioned.

Now you can critique Miura for his display of Casca’s womanhood. I am personally not particularly bothered by it, especially if this situation is a set up for romance in the first place. Of course the protagonist is going to take note of another character’s feminity if the author plans to hook them up. Guts was confronted with Casca’s female problems (periods) and what we were shown is that Guts, while he may have had his preconceptions about women too, still is understanding of their struggles AND their weakness.

Like… he first gets upset at Casca, but then acknowledges that she doesn’t have it easy, dealing with her own problems and emotions at times (Casca is a VERY emotional personality, too, but usually she has more self-control than this).

If anything, this bit right here displays Guts’ willingness to change his mind, his capacity to understand others and also help them in the process. Empathy, compassion, y’know? Something he lacked during the Black Swordsman Arc (this here happens right before Vargas is being beheaded):

That being said, I don’t think Miura actually thought that women being emotional is a negative thing when he wrote this, but he may have been affected by negative (cultural?) bias.

In the face of that weakness, Guts tries to help Casca out where he can and be supportive of her, e.g. by protecting her from Adon and his men - the 100 Man slayer scene was basically Guts protecting Casca’s womanhood from thirsty mercenaries, while she COULD NOT defend herself as effective because of her state (and he does that DESPITE of Casca throwing a knife at him earlier). This theme also repeats during the Eclipse, however, here he could do nothing but watch in his own helplessness.

Also let it be said that Miura’s potrayal of Casca’s period isn’t too far off, because periods CAN knock you the fuck out like that. My last one was absolutely devastating and I wouldn’t have survived without taking pain meds. So can periods affect your capacity to fight? Yes, they definitely can. You also gotta consider that Miura is male, and males *usually* do not know the effects of periods in detail unless they confronted themselves with it; also consider the Golden Age was written in the 90s, so that topic wasn’t prevalent for men at all.

Contrast & Comparison as writing tool

Miura also set up a nice contrast by adding in a particularly sexist character: of course I’m talking about Adon.

Adon calls Guts a fool for protecting someone at the cost of his own well-being, and the way he talks it’s like saving multiple women and exploit them is normal and acceptable.

But: Guts is literally taking multiple arrow shots for Casca and does not ask for anything in return. (It’s also interesting to note that through Adon’s mockery Casca realizes what Guts is doing for her) Now, you could argue that Guts is still a sexist asshole, however, at least in comparison to Adon, Guts still appears like the good guy You can critique the ideas about women, how their prejudices and problems they struggle with are depicted, yes, and imo it is valid critique, too. But creating comparisons by showing how differently the characters act or think in the same scene is still an effective way of story-telling.

What Miura later did with other female characters, like Farnese or Schierke, was to “mature up” his writing. His tools however, stayed the same.

More examples comes to mind:

Guts leaving the Hawks

When Guts leaves the hawks, Griffith, Guts, Casca and Judeau all hold monologues, depicting how differently they think. While Casca and Rickert view the Hawks as family, Judeau still considers them a mercenary band, and Griffith treats his subordinate Guts like a possession and has no inhibition to kill him if it meant he would either not leave or not join another faction and potentially become his enemy. I wrote about this in more detail here on my website

Conviction Arc Farnese

The contrasting happens again when Miura makes Guts meet Farnese for the first time. He was captured by the Holy Iron Chain Knights.

Farnese treated Guts pretty badly: she whipped him out in a desperate attempt to assure dominance, then threw him outside into the cold so he would eventually freeze to death.

When Guts takes HER hostage, they switch roles. Surely, he is being rough to her, but at the same time, is saving her multiple times, e.g. from falling to death or evil spirits.

This is the same writing tool used, just filled with different ideas. Miura’s writing itself hasn’t changed.

Casca is not powerless

Also Casca indeed is capable of defending herself. She is NOT always being saved. Even when being pursued after escaping from the 100 Man Slayer Scene, she gave the pursuing mercenaries a hard time, e.g. ramming a branch into one of the merc’s eyes. In that scene, it didn’t look like Casca was losing, she just got herself out of a dangerous situation and leaps to grab her sword! Only THEN we see how a volley of arrows interrupts the fight. Does this look like a Casca to you that is about to lose? It doesn’t to me. She could have easily defeated the other two pursuers all by herself.

Casca, NOT GUTS, later defeated Adon all by herself and she was at a disadvantage too (think the poison dart).

Even during the Eclipse she dealt the final blow to take down the apostle that killed Judeau. She is not being depicted as powerless at all. She always seems at a disadvantage, struggling against all odds, and *still* is victorious. Guts acknowledges the strength it takes for her to do what she does, and that’s why Guts is helping her as much as he can.

Now you could STILL say “omg but that’s still sexist”, but eh. There is nothing wrong with acknowledging someone else’s struggle, celebrating them for pulling through despite of all the obstacles, and also willing to help out, but I’ll keep that politics stuff for another post. Stuff like this can go wrong yes, but in either case and as far as I am concerned, Guts is not trying to be patronizing or strip her off her independence in any way.

However, Casca’s strength does have limits and her full strength was not shown to us either, but I’d like to think that’s mostly because she is more a side-character and didn’t have much chance to shine during the Golden Age. I really really hope that will change with future chapters.

TL;DR Just because an author expresses outdated ideas or ideas you disagree with, does not mean it’s bad writing.

#berserk #casca #guts #golden age #ask #analysis #Anonymous

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dreamworksconvict · 5 years ago

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She-Ra: Racism Problem Pt. 2

Thanks to everyone who said nice things about my earlier post!!!! I like am really invested in representation and media so I’m glad it’s being received well.

I also want to add a caveat that I’m not trying to cancel She-Ra. I just want to hold media to a high standard and think that we can critique the things we like.

Next I want to talk about some pretty heavy topics: the White Savior trope and colonialism. Again, I’ll be pretty spoiler-heavy here. I also want to warn people that there will be mention of genocide and antisemitism. I’ll be writing about Hordak in the next part.

In the fourth part I want to add an addendum about Catra being coded as Latina, which I think is a valid interpretation. I also want to talk about the ableism present in the show with both Hordak and Entrapta, which is a separate issue so I’ll label it differently.

Imagine a story like this:

“I am a white-coded, able-bodied, implied cisgender protagonist who has a Special Trait that makes me Stronger and/or More Unique than other characters. I also have some connection to Some Evil Colonizers from Space. Oh no! Some Evil Colonizers from Space have showed up to threaten me and my Token Diverse friends who get about half as much screentime as I do! Wait a second, “evil?” There’s no such thing! They’re only Misunderstood Colonizers Who Didn’t Mean It, and/or there was More to the Story. Maybe they came from a Dysfunctional Family or were Abused/Bullied! I think the people/places they colonized may have been Secretly Bad or Just As Bad all along, too! Wowee! Let’s all have a Heart-to-Heart and/or sacrifice one of my Token Diverse friends to save the day!”

Which story am I referring to? Well...

Voltron... or She-Ra... or Steven Universe.. and probably others...yeah.

(And for those who claim that Keith isn’t the protagonist of Voltron, well... I mean he is... but that’s an entirely different essay. But notice how Lance and Hunk are actually smaller than the other characters on the screen and are partly transparent, and that Allura gets pushed to the back row and is mostly covered? Yikes...)

(On my previous post, someone also noted that Steven is half-Jewish. I was not aware that Rebecca had confirmed this officially. As I am not Jewish myself, I don’t want to speak over this, but I do want to point out that you can be white and Jewish, as it is a Diaspora identity. There are many Jewish ethnicities, such as Ashkenazim, Sephardim, and Mizrahim. I also wish that we had seen more of that in the show--like Steven celebrating Hanukkah, or learning Hebrew, or having a Rosh Hashanah celebration... From what I can tell, Rebecca only confirmed this on a Reddit AMA post. So I don’t know specifically how Steven identifies because that was never clarified in the show, but it seems like he is coded as white. Definitely feel free to disagree, this is just how I’ve interpreted the show, especially given its treatment of colonization.)

On top of all three of these shows recycling a very similar plotline, they all share the White Savior trope. Teen Vogue has an article talking about how this is linked to colonialism and I highly encourage checking that out. I’m going to pull a large chunk of text from there because I think it’s really important and applies to animation, not just live action films.

“Many white people in films based on the stories of POC are often subliminally depicted as godlike saviors, heroes who are rational and judicious to the core. They are usually deified men or women — glorified and righteous — like scripture out of a Holy Book. Look at Hillary Swank in Freedom Writers. The white savior somehow always ends up usurping the narrative. And in this centering of whiteness and white characters, the POC characters end up becoming props, which only perpetuates ideas of our otherness and unimportance, which then establishes a status quo of racism. Whiteness is again normalized, and POC are decentralized. This is particularly problematic because whiteness is not only favored in Hollywood but also in society at large; white privilege is ever-present and ubiquitous.”

Look at the center poster for She-Ra: Adora is pictured in white and gold and red as an accent. She’s bathed in a golden light. This color combination is no coincidence, because we already associate that combination with religious iconography, like the Vatican.

(I also want to make a note that this is specifically associated with Christian/Catholic iconography. A lot of these shows could be classified as antisemitic in their handling of colonialism and genocide. I would argue--and will be arguing in my thesis--that Season 6-8 of Voltron’s plot heavily relied on antisemitic tropes, especially as it related to Lotor and the Alteans. But that’s for another day.) (Also see my discussion of Steven Universe’s Jewish identity above.)

So how exactly does She-Ra follow the White Savior trope, how is it similar to other stories’ utilization of the trope, and how does this all relate back to colonialism? I would say there are two main factors: setting up Adora as a white heroine with a darker-skinned foil (Catra), and setting up a narrative where Hordak “isn’t that bad of a guy, really.” For this part I’m gonna focus on Adora.

1: Adora as the White Savior

Adora is from the Horde. Keith is half-Galra. Steven’s mom is Pink Diamond.

All three of these protagonists have some personal tie or connection to a group of colonizing villains. The Diamonds want(ed) to take over earth and suck the life force from it, as they’d done on other planets. They also used a super-weapon to with the intent to kill all the rebel gems. The Galra created an empire and also sucked the life out of planets. They also created a super-weapon that could kill an entire planet, and had already committed genocide against the Alteans. I wouldn’t be surprised if the Big Bad of She-Ra, Horde Prime, has similar goals. Hordak certainly does.

There is an ever-so-slight separation of Adora from the other two protagonists, who, at the start of the series, do not know they are related to the villain group in some way. (Steven doesn’t know he’s a Diamond.) Adora, on the other hand, starts the series as a villain. She’s part of a group that has actively been fighting and destroying the Princesses and the planet. The first episode notes that she is particularly good at her job, with Hordak nominating her for Force Captain. Adora also notes that “this is what [she’s] been working for her entire life.” When Catra and Adora leave the Fright Zone, it is not out of goodwill. They simply want to go for a joyride on a skiff.

When Adora gains the power of She-Ra, she acts ignorant of the Horde’s actions. The first episode, Adora is completely defensive of Hordak. She even claims that “Hordak says we’re doing what’s best for Etheria.” It is not until the second episode that Adora begins to have any remorse for her actions--but also note that Adora’s main motivation during the first half of this episode is to continue onward with Bow and Glimmer because she wants to know more about herself, not repent for her actions. It is not until the end of the episode that she begins to become a bit more self-aware, but there is a key phrase that Glimmer utters that is very key to the White Savior narrative: “I feel like maybe you’re here to help us.” This line comes after Glimmer apologizes for not trusting Adora. Adora. The Horde soldier. The soldier from the group of colonizers who were responsible for the death of Glimmer’s father.

Ok sure.

Consider how realistic this is. (Not that fantasy has to be realistic, but when you’re working with a narrative based on systemic violence, you need to at least be considerate of how this works in reality.) Adora has been trained to fight and kill Princesses and their allies. She’s been trained to take over Etheria and strategically destroy and/or take resources to weaken them. Yet she acts as if this is all news to her. Suddenly meeting the people she’s been trained to destroy causes her to repent, and suddenly the people who have been victimized forgive her and trust her within two episodes.

Here’s what I think is going on here: given the current hyper-conservative political climate and rampant xenophobia in the world right now, white creators feel the need to put a white person as the hero as if they’re claiming, “See, this character--and subsequently myself--aren’t like those other bad white people!” They want a degree of separation from the reality that they have white privilege and are part of the problem.

There is no truly “woke” white person. White people have been raised in a society where they benefit off the oppression of the chosen “other,” in this case black and brown people. Even if you do your research like I’m doing, you still will mess up. White people cannot rid themselves of privilege no matter how hard they try, because in this current society, the legacy of colonialism, imperialism, and racism have made it so that white people will ultimately be more successful and have more opportunities for success than others. (Also, there is no ethical consumption under capitalism, so even attempts to be considerate about taking advantage of laborers cannot be completely successful.)

All of this results in a lot of White Guilt. Thus, we end up with narratives where the white colonizer character suddenly has a change of heart and fights against the system without really challenging the core mechanics that put that system in place. But fighting against oppression and violence doesn’t make a white person special--it just makes them decent.

It also ignores the fact that white people, to be blunt, haven’t done shit to advocate for inclusion and equity compared to literally everyone else. I want to pull another quote from the Teen Vogue article:

[White saviors] perpetuate an idea that is essentially a historical banner of colonialism: People of color need white people to save them. To this day, some people still latently believe what imperialists such as Rudyard Kipling said, that colonialism was important for everyone: the conqueror and, most importantly, the conquered. That without the colonizers, the colonized had no hope of survival. And by constantly churning out movies with plots in which white people "save" people of color, Hollywood reinforces colonialist dictum.

Why does Glimmer think that they NEED Adora to be saved? Why is this white woman the only one who can do it? Sure, Adora has the power of She-Ra, but remember that giving Adora, a white woman, that power was a CHOICE made by the writers. They could have given the sword to someone else, they could have made Adora a PoC... but they didn’t. So suddenly, because Adora, ex-Horde soldier, is there, the Princess alliance can be reformed, people start working together, the rebellion is saved! etc. etc. etc....

So then it’s extra ironic (and honestly is pretty predictable given this White Guilt narrative) when the White Savior trope goes right along with The Colonizers Weren’t Actually Evil, Just Misunderstood.

This post is way too long so I’ll continue in the next part.

#she-ra #racism #colonialism #white savior

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hawthornewhisperer · 5 years ago

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okay! i'm SUPER curious on your thoughts about the more controversial aspects of yen's fertility and the ableism. i've seen so many people who HATE yen talk about it, so obviously i don't trust their judgement. but i know you love her, so i feel like your take will be genuine. that is if you feel comfortable sharing!

Sure thing! But I want to include a disclaimer first: the ableism storyline in particular is not something I have personal experience with, so while I will do my best to express my own personal issues with the way it was handled, my thoughts are in no way a replacement for the thoughts of actual people with disabilities, whose voices should be considered with far, far more weight than mine.

Another disclaimer: I’ve only ever seen the show, so I have no idea what is show-only and what is also drawing from the books. (It’s my understanding her backstory was majorly beefed up for the show, but that’s the full extent of my knowledge.)

(this got long so it’s below the cut. TW for infertility and ableism).

We’ll start with Yen’s infertility plotline. Early on, she sacrifices her uterus as part of her transformation, although now that I’m thinking about it I’m a little unclear about what she got in exchange-- was it “beauty” or “the ability to not age” or “more magical power”? It doesn’t really matter, though, because basically we had a woman giving up her ability to be a mother (via pregnancy and childbirth) in exchange for power, which is unfortunately a very old, very misogynistic trope. It plays into the idea that women can either be mothers *or* they can be powerful, and also that powerful women are somehow unfit to be mothers. None of that is good, quite frankly, but I will say the fact that Geralt is *also* infertile (and the reason he gives for it on the dragon hunt) does help mitigate that a little bit. It also implies that pregnancy and childbirth is the *only* way to become a mother, although it seems the show is aiming to undercut that so I’ll reserve judgment on that front for now.

Then, somewhere around the incident with the djinn, she decides she wants her uterus back. I was super thrown when Jaskier said she was painting an *amphora* on her abdomen, as to me that was pretty clearly a uterus/fallopian tubes/ovaries-- which does admittedly look like a double handled amphora-- and even after having watched the episode twice I’m not sure if he’s supposed to be mistaken or if I am. I went into the show having heard there was a bit of a yikesy infertility plotline, so that definitely colored my impressions. But now that I think about it, I don’t know if her uterus/lack thereof is actually discussed in that episode? She is more interested in the general concept of *power* and is clearly searching for a new meaning for her life, but I’d definitely buy that her desire for a baby isn’t fully articulated until they go on the dragon hunt.

A lot of the critiques I’ve seen of her storyline revolve around the fact that her change of heart comes out of nowhere, and honestly, it sort of does. We have no hint in the first four episodes that Yennefer has particularly strong feelings about children, childbearing, or motherhood. (Full disclosure: I had to fast forward through almost all the scenes with the baby in episode 4 because children in peril, especially babies, is something I just Cannot Handle in my escapist media. Quite possible I missed something there). So in episode six when Yennefer is suddenly desperate for a cure for her infertility, it strikes a lot of people as another echo of an old misogynistic trope: that women who decided not to have children will *always* regret it, and moreover, they must be punished for their choices.

And honestly? I can definitely see why people read it that way and are upset, because our culture tends to be very reductive and paternalistic about women’s choices around their fertility. I have *lots* of cisgender female friends who have never, ever wanted kids and have been told over and over again that they’ll “change their minds” or will one day regret their choice when it’s too late. And that’s super, super shitty, and I get being annoyed when a show seems to play into that exact narrative.

Now, *for me* (a woman who fairly recently gave birth to a daughter, who definitely wanted a child), what saved the entire storyline was the post-coital conversation where Yen admits she just wants to be important to someone. Yennefer is intensely lonely, and she’s never truly belonged to anything resembling a family. I can buy that after several decades alone, she’s sick of it. And I can also buy that she’d think a baby would be a perfect solution, as babies *do* love you unconditionally and goddamn it’s the best thing in the world (to me), and Yennefer has always struggled with people not thinking she’s enough. I see how attractive that solution (trust me, babies think their parents are the *entire world*) would be to a lonely, loner woman, and I like that it gives her a space to acknowledge her feelings have changed over time. Her journey is about finding a *family* and I read her infertility plotline as a first step to Yennefer eventually finding a family in a way she never expected, and so for me, it ultimately worked. But I also get why it didn’t work for others!

Okay, now the ableism storyline, which is a lot trickier for me to parse. Basically, she undergoes an incredibly painful physical transformation to be more conventionally beautiful, which implies there was something wrong with her before or that there’s something innately *lesser* about having a physical disability. It’s presented as essentially par for the course for all mages to go through an “attaining physical perfection” process (Sabrina’s boobs get bigger, right? I’m not imagining that?) but Yennefer wasn’t just making her tits bigger. And when it comes to people with disabilities, this is basically saying “your life would be more worthwhile and you would be more desirable if you were able-bodied,” which is a profoundly ableist way of thinking. It also draws on the “magical cure for disabilities” trope, which I know a *lot* of people with disabilities have spent a lot of time deconstructing exactly how and why that’s painful for them. But for me, it’s enough to know that trope is painful for others, and therefore it’s best to be avoided. (I do think we still need to make space for people with disabilities to invert/twist/deconstruct/use this trope in their own art, but that’s a whole different conversation.)

And honestly? I think the biggest problem is I doubt anyone thought too hard about it. They were going for a big, showstopping transformation moment like Yennefer had at that ball, and they worked backwards from there to engineer a way for that reveal to have as much impact as possible. (From what I’ve heard, there’s some vague references to her having some sort of physical disability in the books but most of it is the show’s invention). They didn’t want it to be just “she has a scar on her face that’s gone” or “her nailbeds no longer suck,” they wanted her transformation to be splashy and astonishing, and were only thinking about it from an ableist perspective that having a physical disability would be the worst thing possible. And that sucks! It’s hurtful to people with disabilities, and I genuinely wish the show had thought through it more.

So yeah, those are my thoughts. Like I said, I��m still grappling with the best way to handle those two storylines in fic (especially in non-canon set stories, which is probably going to be most of my stuff) and so if anyone has any guidance, I’m all ears.

#not gonna tag it for reasons #tw infertility #tw ableism #spacer #one more spacer to keep it out of the tags #the witcher netflix #fireflyxrebel

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dumdeeedum · 6 years ago

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“The Magicians” Alice/Quentin/Eliot Love Triangle? Que? No, let’s stop the fuck right there...

I’m so frustrated with how bad Wednesday night’s episode of “The Magicians” was and with how bad this entire season has been, especially with how poorly they’ve handled anything to do with Alice, Quentin, and Eliot. I mean, generally I’m frustrated with how bad this show can be way too often but I’m going to try to keep my thoughts as organized as I can.

I want to preface all of this by saying that no, I don’t believe they’re still pursuing Eliot and Quentin because they’ve still given me no reason to. I just wanted to express my thoughts on these rumors of a love triangle and who knows, they might go that way, I don’t work there. I just know that for now they’ve set things up in a really poor way and I don’t see a true Eliot and Quentin outcome happening for a while if at all.

First I gotta reiterate this in case it isn’t clear: this is not a well-written show for me, it’s a fun show, to be sure, but not a well-written one. They have too few episodes to get away with the amount of dicking around they do and it’s clear they have no direction even when they have source material to draw from, and that’s a bad combination and a big problem. And those are just some of its issues.

A show like “Black Sails,” for example, had about 8 episodes per season and made good use of every minute of them because that’s how you tell the story you want to tell when you have limited time and can’t fuck around with filler. Very similar situation with the show “Spartacus” with a similar number of episodes per season to “The Magicians” and they wrapped it up in 4 seasons. But I tend to think 4-5 seasons is the limit before a show loses focus and goes downhill anyway.

It has also become clear to me that Sera Gamble has no interest in doing anything progressive. She wants to be one of the boys, play the game and get ahead which is her prerogative but at this point people have to come to terms with the fact that she’s always been a White Feminist(tm) and quit fucking around like she gives a shit about equity for marginalized communities or even visibility. All of the bullshit to do with Sera Gamble has been known for years now, too, so I’m not even sure why anyone would be surprised that she sucks at this point. I’m sure she’s sitting somewhere right now unable to understand where she fucked up and why because she doesn’t have it in her to accept criticism and it shows. Last I heard she’s still going after people on twitter for not liking the outcomes of her dumbass decisions as a show-runner; bitch, grow up!

You know what would be truly radical in this series? Stop having these women live for these men. Julia is off losing her autonomy to a man, again, Kady is about ready to allow herself to die because she misses her boyfriend, Margo is ditching the plan to save her best friend over some super mediocre, joke of a man she can do better than without even trying, and Alice is once again in Quentin’s orbit and having nothing to do for herself. Yay, feminism? You’re fucking kidding me, right?

And now I’m hearing people saying that they’re trying to set up a love triangle in season 5 between Eliot, Quentin, and Alice and I think the idea of this disgusts me more than if they’d just drop Eliot and Quentin as a pairing altogether after the massive fuckup that was the latter part of this season. How obtuse do you have to be to think a bisexual love triangle would be appropriate queer representation given our social climate? But here’s the thing, they’re playing on your intelligence if they do this, again, and I’m about to explain why.

Yes, it’s going to get lengthy because I’m going to be discussing the show from a social but also from a narrative standpoint, but you know me by now.

Don’t get it twisted, what they would ultimately be doing if they went this route is giving us even more straight representation while under the guise of bisexual representation given that Alice and Quentin are now back together, as a straight couple whether you think Quentin is bisexual or not. And that’s what matters when it comes to queer visibility. We’ve gotten straight Quentin pairings now from seasons 1-4 and they’ve yet to have Quentin explore any same-sex romantic partnerships or even fantasies other than the nonsense with Eliot because those were blink and you miss them moments.

And here’s the insidiousness of all of this and I really want people to think about this: They would use this as an excuse to still appear as though they were doing right by their queer audience while once again only really exploring one facet of Quentin’s supposed bisexuality, the more palatable one, while ignoring the other, more taboo one and calling it bisexual representation. That is not good bisexual representation, at all, how can it be?

And god forbid you raise a stink over these poor attempts at representation because then you get accused of hating and bi-phobia and of erasing Quentin’s bisexuality and blah blah blah. And, really, bisexual, where? Where are we going to get this exploration of Quentin’s sexuality while he’s dating Alice again and Eliot is somewhere in the sidelines dealing with the aftermath of being possessed by a being who murdered people using his body?

Can we stop with the intellectual dishonesty? Can we stop accepting these insults to the intelligence of the lgbtqa community?

And no, don’t even pretend the idea of a poly-amorous relationship wouldn’t be a fucking absurdity given their history. Quentin and Alice broke up because Quentin fucked Eliot and Margo. One of the people involved in that betrayal would be one of the last people Alice would want to share her boyfriend with. And that’s if she would even be OK with a poly-amorous relationship to begin with because the idea seemed to disturb her when her parents were doing it and frankly, not everyone is poly-amorous, in fact, most people aren’t.

Unfortunately, that’s just part of living in a heteronormative society where people, as a whole, just aren’t evolved enough yet to have explored other types of relationship dynamics because of the restrictions society has placed on them and it is what it is. The polyamory argument doesn’t even belong in the same space as the bisexuality argument because it makes bisexuality seem like a life choice as opposed to something people are born as. I’d say it’s less realistic, right now, to have everyone OK with sharing their significant others with everyone than to have a person identify as bisexual! Most people don’t have the self-confidence or the conditions to improve their self-esteem enough to even explore poly yet, and some people just aren’t into it and that’s their right, but I digress.

It just seems like everything that should have been happening in this season would instead be happening next season if they went this route and the only difference would be that they’d have made it palatable for their straight, homophobic audience by having Alice on Quentin’s dick the majority of the time they should be using to explore Quentin’s sexuality. When would they have time to give Quentin the important moments of introspection he needs to figure out whom and what he wants? Even his getting back together with Alice was very abrupt and didn’t seem like a well thought out decision on either Quentin’s or Alice’s part. Why couldn’t they just be single for a while if they were going to waste season 4 and work on this in season 5??

But this is just what they do by now because they can’t write a good romance. Straight shit gets put on the fast track in an absurdly unrealistic way, everyone’s in love in 5 minutes, smart, beautiful, boss bitch women date mediocre men when we’d never see it the other way around, and anything queer gets a couple of seconds of screen-time at best before someone is killed off, or they add a woman to the mix for no good reason, or we have to do a 50 year montage with no actual romantic intimacy to establish tha they’re even romantically interested in one another, blah blah, woof, woof.

Here’s a good question for those of you bi-Quentin-stans: None of you think it odd that while these creators kept alluding to exploring a canon male/male pairing with a bisexual character Alice and Julia, two women whom have exclusively dated men, have still had, to date, a longer, more sexually charged make out scene than gay Eliot and a supposedly bisexual Quentin ever have? Not to mention that the only time we explore Quentin’s sexuality in fantasy it’s some super fucking trite women making out for his pleasure fantasy.

No one thinks about why that is? No one thinks that perhaps it’s because depicting lesbian situations for the male gaze is a super common thing to do in media and is another one of those things that allows creators to pretend they have queer representation when really they’re trying to draw male views by exploiting the women of their series? It seemed pretty obvious to me as soon as I saw it but I haven’t fucked around with critiques of this shit in a long time and I don’t let this shit slide.

So now if they went the love triangle route in season 5 how would that work?

We’ve gotten a story line where not only was Eliot right that Quentin wouldn’t choose him when Quentin has the choice, but Eliot is going to have to come back and see this shit and deal with it on top of whatever massive trauma being possessed like this would inevitably cause. Do we really see Eliot saying anything to Quentin after that knowing what we know about Eliot’s way of handling shit? 4.5 leaves us thinking that maybe Eliot now sees that perhaps he shouldn’t have been so quick to reject Quentin and that perhaps Quentin would have chosen him and that Eliot wasn’t right to suggest he wouldn’t and yet here we are. And knowing what we know about Eliot would he try to get between that?

I actually think they’d done a good job closing the chapter on Alice and Quentin when Quentin told Alice he didn’t love her anymore and closed the book and I think they could have explored a really good friendship between them after that! That should have been when Alice and Kady did their own library thing and became more fully-fleshed out characters in their own right and when Quentin started exploring his own options and realizing he would choose Eliot even if at the time he thought Eliot wouldn’t choose him. Because this is something he should have been thinking about anyway!

There seems to be a pretty big issue that no one is considering about 4.5 and it’s a result of this ret-con having been handled so poorly so they couldn’t do what really needed to be done with the aftermath of it. The rejection conversation was really fucking poorly done because it was such a short, almost throwaway scene! We have Quentin get his memories back and immediately jump to wanting to be with Eliot and Eliot rejects him, for very good reason, in my opinion. Quentin seems a little bummed about it and then the scene ends. But from what we know about episodes 3.5 and on, Quentin hasn’t given it another thought. It didn’t even come up when he talked up Fillory to the plant so I really reject the premise that it was so traumatic for him to be rejected by Eliot that he didn’t even want to talk about anything to do with Fillory. Unless he’s even more immature than I thought it seems really unlikely that being rejected would eliminate all the other good shit in Quentin’s mind that relates to that lifetime, like, I don’t know, his fucking wife, his son, his grandchildren!? Miss me with that and stop excusing the shit decisions they make for Quentin in this show.

Was the idea here that they continue to go this route where everyone is expected to consider Quentin's feelings but he isn’t expected to consider theirs? Quentin has a habit of being inconsiderate dating back to season 1 (For Julia, his best friend, not getting into Brakebills was her punishment because she wouldn’t fuck him, Alice shouldn’t be upset that he cheated on her and Quentin doesn’t have to respect it when she tells him to back off, etc.) and the reasoning is always that Quentin’s got a low self-esteem and depressive issues but that’s not good enough now with 50 years of life experience under his belt. It’s especially not good enough when it comes to a man whom he’s known an entire lifetime through good and bad. So why didn’t they have him even consider what Eliot said to him and the validity of it?

Eliot explicitly says to Quentin that he knows Quentin so he knows how this would turn out, and Eliot was right! But somehow when Eliot rejects Quentin it isn’t incumbent upon Quentin to consider why Eliot would do that even though Quentin knows his own dating history and that he’d had a wife in Fillory? We’re just supposed to accept that Quentin just took the rejection at face value without even really listening to the wording or thinking about where Eliot might be coming from? Neither his nor Eliot’s problems or desires in the real world have suddenly disappeared just because they got their memories of Fillory back and Quentin knows that. Eliot made that point when he rejected Quentin, in a way, so isn’t there more to consider here? It’s especially egregious for this to be Quentin’s take away when we remember that Eliot didn’t have a husband in Fillory so Eliot was always there for Quentin and Quentin’s son and even Quentin’s wife in ways Quentin couldn’t be there for Eliot. How could it be as simple as “in the real world, you don’t do it for me” by Quentin? That’s just dumb.

A better scene would have had Eliot qualify his rejection to a man he spent 50 fucking years in love with so that Quentin could consider Eliot’s feelings on the subject before jumping to conclusions or even making a decision about them. And Quentin could have taken a moment to discuss Eliot’s insecurities if he really wanted to be with him or even just understand them. But instead the takeaway is more “poor victim Quentin isn’t special.” That’s just bad writing!

And what about Eliot? What does he get in all of this if they went the triangle route? Would they then allow him to explore a non-toxic relationship of his own or would he be sitting by like a dog and watching this shitshow of a romance between Quentin and Alice for however long it takes before they give us a sprinkling of Queliot? And who will be there to support him when his best friend is off fucking around with that loser Josh and Quentin is back with the girl that Eliot was afraid Quentin would choose over him? This effectively leaves Eliot alone to handle shit the way he’s always handled it and that’s just bad for his character after all the development he’s had.

What kind of queer representation is this going to be moving forward? We barely got Eliot this season, will he just sort of be there next season and have just as little to do as he had this season? He has nothing more to do in Fillory so where will they stick him now?

Narratively, everything that’s happened post 4.5 has really fucked the ability for an Eliot and Quentin pairing to work unless they double time it in season 5 and I don’t see how they can when Quentin is with Alice again. The show-runners have really gone out of their way to erase anything having to do with Eliot and Quentin as a couple to the point where it makes 3.5 and 4.5 seem like alternate universe versions of the show that don’t fit into the rest of the series. It’s clear to me at this point that they’re trying to move past the idea of Eliot and Quentin as a couple so even a triangle would seem really bizarre in light of that.

I’m not seeing it, I’m really not and as much as I know people want to hold out hope that Eliot and Quentin will happen I just feel like at this point the show would be trying to run out the clock without giving them anything substantial the same way they did this season. Everyone’s obviously free to do what they want with that but realistically I would hold out and not give them ratings until we see if they give us something that isn’t insulting bullshit.

#the magicians #queliot #eliot waugh #quentin coldwater #alice quinn #representation #lgbtqa representation #representation matters #media #television

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iristial · 5 years ago

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Sexism? I really haven't noticed. if there is, I think it could be more or less unintentional due to Kamen Rider being a boy-oriented, toy sales driven franchise.

Long answer ahead, which was entirely unintentional, but I couldn’t cut out anything because I wanted to discuss this in length

I’ll reblog a similar post I did a while back after uploading this one

Considering that Kamen Rider is also an action-oriented series, that leaves little or much room for characterization. Sometimes it’s good overall, and even if it has flaws, I’m both willing to critique them and brush over them because no series is perfect, regardless of its target audience. But sometimes, there are cases where the writers treat female characters not so well, and even the nature of tokusatsu being toy-driven isn’t an excuse for this

Tropes (i.e. the dead girlfriend) aren’t bad all the time if played right, and writers have different experiences that can contribute to how and why they write certain plots and characters. But even if I am admittedly someone viewing tokusatsu with a Western perspective, I can’t say that I’m comfortable with

The double standards (which exists in and out of universe)

The implied take that women can only support male characters and do nothing more (which is why I can’t comprehend how they handled Kiriko from Drive not being able to become a Kamen Rider, despite being competent, and overtime her role was slowly degraded into…something else)

There’s also how she’s killed to fuel a male character’s need for revenge and whatnot, and then she’s never mentioned again in the story. Case in point - Kiva as a whole. The only exception I have for this includes characters like

Koyomi from Wizard; her existence is the reason why everything in the series, well, happened and didn’t stay dried up in a well

Kasumi from Build. While she was killed in the second episode to raise Ryuuga’s Hazard Level, her positive influence on Ryuuga was constantly mentioned throughout the series, and she was the first victim of Faust that Sento couldn’t save from dying (which is also significant)

There may be others, but they’re the ones from the top of my head

That if she takes a stand, she will die for it (as the case with several female Riders and characters - Faiz, Kiva and Gaim being examples I’d name on the spot. Now this doesn’t happen all the time, but when it does…oh gosh…)

Women being objectified

Inoue as a writer is notorious for this, and despite my hopes that his perception changed when he wrote the Kiva tribute arc for Zi-O, he stuck to his habits. And while I did enjoy Kiva, the “battle” for Yuri, then Mio, also Maya, how Mio died to protect the fiance who insisted she could only marry him because he said so, the Asou women being Faux Action Girls - ‘displeasure’ is just the surface of how I feel about that

I guess Gaim Mai is also a case of this, with the whole Golden Fruit thing, but I’ll leave it at this since I haven’t watched the series in full to make adequate commentary

And there may be other tropes I can’t think of right now

It’s true that Kamen Rider is primarily targeted for boys - at children, and at that stage of life, there are many things that can either influence them or fly straight over their heads. Sexism is one of them. Obviously tokusatsu isn’t going to make someone a bigot just from watching a 49 episode series about vampires and a musical genius who only plays one song, but still, I have yet to have seen a tokusatsu writer who stepped forward and apologized for being sexist towards their female characters. Even if said sexism was unintentional, even if Japan has a different culture and viewpoint from a Western country, I wouldn’t say that is okay. It’s not okay.

There was a controversy a while back where someone “encouraged” people to bully girls who were into tokusatsu because it was “meant for boys”. There were cases of little girls being picked on for enjoying tokusatsu; it enforced gender stereotypes; it was sexist. Even if tokusatsu is marketed with the intention to draw in young boys, they have to consider that girls can be interested, and that it’s okay for them to like it. It’s okay for them to like action series. It’s okay for them to enjoy what boys do, and vice versa for boys about liking feminine pursuits and fictional series aimed for girls. It’s okay for a girl to find her superhero in a Kamen Rider (which is partially why I’d like more female Riders but that’s another discussion I might’ve addressed already). No one can force them into disliking something that “wasn’t intended for them” because if so, that might not only be sexist, but tyrannical to some degree

And before I conclude my answer - this isn’t some call-out post to tell you, anon, that you’re wrong. The only intention was to point at instances of sexism in Kamen Rider, both in the franchise and on a meta scale. If you still haven’t noticed - well. I’ve said my piece. I can’t force you to interpret things the way I do, and it’s possible that I’m looking at this all wrong. I probably went wildly off course in the middle of this answer. But with that said, I’m willing to discuss this further if you’re up for it. Thank you for making me think about this issue

#14shyx #tokusatsu #kamen rider #14shyx ʚ❁ɞ mailbox #recipient: anonymous

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scarletwitching · 6 years ago

Note

You said Jonathan Hickmans Avengers made you real mad? Could you (or have you) elaborate on that?

When I first sat down to answer this, I decided I should re-read the run, so that I could better articulate what bothered me about it. Then I tried to re-read it, and I quickly went, “No. That’s not happening.” I didn’t get very far, which is why this won’t be the most well-argued post.

The thing that made me so mad that I quit reading most regular Avengers comics was the last issue where Steve and Tony punch each other while the world ends.

Avengers Vol. 5 #44

It’s a terrible scene, and it puts me in mind of this article about The Force Awakens.1

When you’ve actually invented a tragedy that’s hundreds of thousands of times bigger than the Holocaust (in a film that prominently references Nazis) only in order to threaten that they’re about to do it again, in a matter of seconds, YOU CANNOT ASK YOUR AUDIENCE TO CARE THAT SOME GUY AND HIS SON ARE WASTING THOSE ESSENTIAL SECONDS HAVING A MOMENT ON A BRIDGE.

No. You cannot. That is a fatal flaw. That is an inversion of stakes so monstrous that it makes the film actually despicable.

The world stops when two white men need to hash out their feelings.

I found the way Steve and Tony’s relationship was handled towards the end of that book to be uncomfortable and bad. “You lied to me!!!!11” Okay? Aren’t you guys supposed to be heroes? Shouldn’t you be focused on saving all the life in the universe? Who approved this characterization?2 Who thought this was a good idea? Why am I supposed to care about this when the world is ending? It seems like Hickman was just using their relationship (and the precedent set by Mark Millar) as an excuse to write them, particularly Steve, in the most unlikable way possible. ‘Oh, you know Steve and Tony. They’re just evil when they’re together.’

Over the past couple of decades, Marvel has decided that everyone is deeply invested in that dynamic, and I just… don’t care about it. That’s not to say that no one cares about it. We all have different tastes, and that’s fine. But that relationship is not for me, and it’s so overexposed that I don’t want to read comics about it anymore. Hickman’s Avengers was my breaking point. After that, I decided no more Steve and Tony, if they’re going to act like that around each other. Even if they aren’t, I still need a break. A years-long break.

…and then there was the part where the Avengers went to a sovereign nation, broke into the home of some civilian refugees fleeing a genocide, and beat them up. This is getting a little long, so I’ll put the rest under a cut.

Infinity #1

It’s exactly what I said. They went to Italy (Hawkeye now speaks perfect Italian for some reason). They broke into an apartment inhabited by refugees who had fled a genocide. They had been (illegally??) spying on the refugees, but hadn’t tried to piece together any information about them as individuals or their situation. There’s no evidence that the refugees hurt or even bothered anyone. But the Avengers broke down their door, and without putting any actual effort into a peaceful solution, beat them up and arrested them.

This was written in 2013. Not that there’s ever a good time to write this, but wow, this was written in 2013.

Oh, and Infinity’s final issue has this aside:

Infinity #6

There’s a counterargument here that the Skrulls are just aliens, and it’s not that serious. My counterargument to that counterargument is Secret Invasion. Secret Invasion is the most famous modern Skrull story, and it is the context a Skrull story from 2013 would be understood in. It’s also an Islamophobic metaphor where the Skrulls are religious extremists who want to take over Earth and who keep saying “jihad” for some reason, despite being aliens. I don’t think the Skrull scene from Infinity is as bad as Secret Invasion, but it’s also not good.

This scene speaks to deeper problems I have with Hickman’s Avengers run. He takes an authoritarian angle with the team. The Avengers aren’t just superheroes in his vision. They’re imperialist ICE agents. When I think about Hickman’s work, I always come back to that first issue of Ultimates he wrote, where no female characters speak and the most important on-page role a woman has is to give an Important Man™ his coffee.3 That issue ends like this:

Ultimate Comics: Ultimates #1

Once upon a time, the Avengers answered to bureaucrats. Now, everything is SHIELD, and presidents defer to superheroes. For some, this is a subtle change, a difference in details they don’t care about. To me, it fundamentally alters the nature of the team and the world they reside in. I can root for an Avengers team that has to steal a bus because their security clearance was taken away.4 I have a much harder time rooting for Hickman’s authoritarian god-men who hold the fate of all life in their hands, but choose to be petty and insular.

For Hickman, it’s an Avengers’ World, but an Avengers’ World is not one I’m interested in. It flattens the overall texture of the Marvel Universe, and it does a disservice to the Avengers themselves. They are much less relatable, likable, and human when it’s an Avengers’ World.

This is the point where I have to say, “Maybe we’re supposed to know that the Avengers are bad in this, and that’s the point.” I’m not sure how much I believe that though. Do I think Hickman thinks everything they’re doing is good and right? No, but he doesn’t do a good enough job of analyzing and critiquing their actions within the narrative to justify things like the Skrull scene. Depiction =/= endorsement, but you should be saying something greater than “these characters do bad stuff sometimes.” I’m not convinced Hickman’s Avengers has much self-awareness or commentary.

I don’t agree with the fandom line of thinking that Big Two characters are sacred and we should never do anything that might be negative with them. There are, for example, criticisms of Mark Millar and Bryan Hitch’s Ultimates that begin and end with, “They made Captain America a xenophobe, and that’s bad because Captain America is supposed to be a good guy.” I don’t see it that way. There are problems with Ultimates, but it’s an alternate universe that ought to be allowed an alternate take. Writers should be allowed to say something, via a character called Captain America, besides “Steve is nice.” It matters how it’s handled though, and I’m not sure it’s even worth it to try. There is so much emotional investment in these characters that it’s difficult to make sharp political statements with them.

Going back to depiction vs. endorsement, we’re supposed to know Millar and Hitch’s Ultimates are bad people, but that doesn’t make the sexism (or the outdated Freddie Prinze Jr. references) any less real. That book is trying to say something, and it aims to be a satire. But it lacks the necessary tact and finesse to make that work.

To steal from someone else’s Hickman critique: “That’s the point.” “That doesn’t make it better.”

Worst of all, Hickman’s Avengers made me feel bad for Rick Remender. His run on Uncanny happened concurrently with Hickmanvengers, and Remender made a big deal of pushing back against the narrative that had come out of Avengers vs. X-Men about the Avengers being jack-booted thugs. To the point where he had Captain America say, “We’re not jack-booted thugs” in the first issue.

Uncanny Avengers Vol. 1 #1

And then along came Hickman screaming, “Never mind!! Yes, they are!!!” Imagine trying to make a point about the Avengers not being authoritarian assholes while someone else is writing this in a different title:

Avengers Vol. 5 #35

You can tell Remender wasn’t pleased because he got salty about being negatively compared to Hickman in the Uncanny Avengers annual. In true Remender fashion, it was inappropriately salty, but I understood where he was coming from.

Uncanny Avengers Annual 1

Let me be clear: No one is lesser because they like Hickman’s Avengers. It’s not a reason to insult someone. Remender is being facetious (and kind of a jerk) here. But there is some truth in poking fun at the “indecipherable mysteries.” I’ve already talked some about what’s wrong with Remender’s criticism, so I won’t dwell on this too much.

Overall, Hickman’s tastes and mine seem diametrically opposed. I prefer smaller casts and stakes. I like personal, character-driven stories about women. I want nuanced characterization and subtle, organic character development. And I don’t get any of that from Hickman’s work. Some people find his character arcs compelling, but I don’t. The Steve/Tony dynamic in his run is so over the top and inauthentic that it would be comical if it weren’t so annoying. I read a Hickman comic, and I just see nonsense words and no real emotions. It’s all Important Men™ and the women who bring them coffee.

Anyway, the best thing about Hickman’s Avengers is that Wanda isn’t in it. We dodged a bullet there. A true W for the home team.

1. I don’t care about Star Wars. Please do not yell at me about Star Wars.

2. It was Tom Brevoort. It’s always Tom Brevoort.

3. Someone’s gonna tell me to read East of West. No, I haven’t read East of West. I’ve heard he handles the female characters in that better, but I couldn’t say whether or not that’s true.

4. The bus scene still has them kicking everyone else off, but it gives those people a voice, however briefly. The Avengers are still people in that scene. They’re not an absolute authority with power over everyone else.

#the chaos magics #answered

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