#i'm retreading ground here

[ahsoka-in-a-hood]

No but deliberately dehumanizing the bad guys, making them look weird or alien to make the violence more palatable, that's. That's not a good thing. Right? That's usually pretty shitty actually

[jibunbosh]

Mesmerizer is a satire of TikTok, YouTube Shorts, and the rest of the modern short-form vertical video format

A brief thematic analysis.

I'm sure there are countless people already interpreting the imagery and details in this wonderful song & MV, like here and here, so I won't spend too much time retreading that ground. Miku and Teto are dancing. Miku gets hypnotized. Teto signals for help, but gets hypnotized at the end as well.

That part is obvious enough, but that's still pretty surface-level. What is this seemingly hyperspatial horror scenario supposed to mean to us?

While checking to see if anyone before me's already come to the same conclusions as I did and if I should bother not writing this text post at all (lol), I came across udin's great analysis video. She comes to the conclusion that the song tackles themes of disillusionment with reality and the ways we indulge in escapism to relieve ourselves of the pains of the world.

I agree with that reading! From practically the very beginning, we have Miku call to us - the viewer - to push away our true feelings. Teto comes in to peddle a solution, inviting us to surrender and empty our minds - in her words, "pretending to know nothing."

You, the viewer, are a critical character in this masquerade. For nearly the entire video, Miku and Teto's eyes are unfailingly trained on you. Or, well... perhaps they can't actually see you, but they can see a camera, or whatever other aperture the point of view is supposed to be from. And they know they're being watched. (Who else would Teto be sending distress signals to?)

Let's put a pin on that for later.

udin notes very early on that Miku and Teto are, conspicuously, kept in vertical frames - very similar to the video formats of TikTok (and Instagram Reels, and YouTube Shorts, and whatever other clones of the format exist.) You know, just like the animator Caststation's Rabbit Hole fan MV that went viral some months ago.

Hey wouldn't it be crazy if the song's producer, 32ki, released Mesmerizer shorts too haha. Wouldn't that be crazy.

Wow, wild.

These short-term vertical videos are captivating & alluring. If you're reading this, it's more likely than not that you've also found yourself caught up in them at least once, scrolling through the infinite algorithmic slurry and forgetting about the real-life issues you have at hand. Would you say, then, that you felt hypnotized? Mesmerized, even?

And so these two invite us to join their world and focus on the... uh... rectangle.

Their dances are repetitive, following the same loop. Their outfits are distinct, but their choreography isn't. They're copying the same formula, repeating it ad nauseam to the best of their ability.

They're doing a fucking TikTok dance.

Back to the pin I told you about earlier, with Miku and Teto looking at a camera.

Miku sways with the camera, eyes looking directly at it like a swinging pocket watch. She's been looking at it the entire time, after all. We've been seeing her via our screen this entire time, but, again, she doesn't necessarily see us. She's beholden to the camera, which she dances for day after day, caught up in its spell. She's hypnotized by it. Eventually, she breaks.

Teto, on the other hand, resists. For a while, anyway.

Despite her being the one jumping to us with the "solution" at the beginning of the MV, there's very quickly good reason to question how much agency she has in this. She dances for the camera as well, but she doesn't want to. She's signalling for help. She wants out.

Many content creators (as much as I personally loathe the non-specificity and soullessness of the term) have struggled with the adaptation to the short-form video format, and the preference the algorithm has had for these captivating, bite-sized videos. They're catchy, and easily drive up metrics. Practically anyone who's publishing their work via video format online needs to learn to adapt or fall behind, even if that means whittling their content down to fit the frame, the time, and people's shortening attention spans. Sometimes, that means compromising on specificity and completeness... or, in other words, the true representation of a full work.

The song's writer, 32ki, has been releasing songs on YouTube for several years. Their first YouTube Short, however, was posted only a year ago: a short, whittled-down segment of their previous song, CIRCUS PANIC!!!, hoping for it to win the ProsekaNEXT song contest. It was their first song to achieve widespread popularity and hit a million views.

The shorts, however, aren't the "true" versions of the song. The full song just won't fit.

We're being mesmerized as consumers of this endless stream of content, rather than appreciators of music and art. However, that relationship isn't completely symmetrical across the plane that is the 4th wall. Miku and Teto are trapped not by their attention spans, but by a compulsion to project their "truthful acting" and peddle that window into a colorful, problem-free world.

We, as the collective audience, need not dwell on any one thing for too long - we need only swipe, and move on to the next video. However, Miku and Teto are trapped behind the screen for eternity, day after day.

They're the only characters we get to see, of course. There's no evil 3rd voice synth character that's plotting to keep them trapped in there. We can't put a face to whatever force is hypnotizing them and trapping them behind the screen. It's faceless - like the inscrutable algorithms of YouTube recommendations or the TikTok For You page, or the impersonal corporations that develop & maintain those aforementioned apps. Miku and Teto's likenesses, on the other hand, are being exploited and extracted from for their entertainment value, being strung along by that metaphorical hypnotizing force like puppets on a string.

Many people, represented by Miku, enjoy their success on such platforms. It's freeing and liberating to throw oneself wholeheartedly into such an endeavor, of course! Others, represented by Teto, harbor their doubts of the emotional veracity of such a medium, but know they have little choice lest they face destruction... perhaps not literally as a person, but as an idea.

Wouldn't it be easier just to let oneself be swept away by it and give in?

[dailyrothko]

So here's the deal:

I just want to be transparent with my tumblr Rothko lovers. I applied and got fiscal sponsorship as a non-profit through Fractured Atlas.

Sadly, "Fiscal Sponsorship" is not what it sounds like, I pay them, they don't pay me. What it allows me to do is take donations and make them tax deductible and secure. I hope it's worth it.

I don't expect my poor pals on tumblr to donate, I don't think most of us have any money or we probably wouldn't be here, however, I am letting you know this because there's now a donate button on the blog.

I'm very poor and needed to do this to realize certain projects Rothko related projects. This is just a voluntary thing, i'm not going behind a paywall. Nothing is changing.

I mention this because their tacky donate button makes it look like I made a deal with the devil, but in actuality it's just for everyone's security.

I hate doing this at all but I am spread very thin. I spend a lot of time and money on this project and that's fine when i can do it, it's a labor of love. But some of it is just becoming impossible for me to maintain and so it goes.

Future projects include-

-I am writing a series of (three) articles I would like to publish about Rothko's impact in the modern world. Scholarly material on Rothko from art historians is good and I don't wish to retread old ground. However, there are some sides of the Rothko legacy I would like to cover based on my experiences, including interviews I have done with people on how they have come to the work (some of you guys), coverage of fakes and misattributions, and biographical impressions based on numerous interviews I have read with his family and friends.

-A bigger and ongoing project would be to create a website and central database that art enthusiasts can use to locate travelling Rothko exhibits and find which paintings are in which museums. Many people ask me these questions personally but if there was a place where all this information lived and someone to update it, people could look up available Rothko works in different cities they are travelling to.

We are living in a troubled world with many humanitarian concerns that should rightly take precedence over my little project, but I am trying to survive myself and lately it's pretty hard.

Thanks to all for 9 years of Rothko love.

(I realized no one can donate on the mobile app, so if you wish to, use this link below.)

[m4rs-ex3]

AHH OK thank you so so so much to @konmaao3 for the answer (the linked post was unavailable to me so idk if i'm retreading here but)

i didn't even remember it but callum's spellbook says this ^ . no matter where in the world, when the cube is dropped on the ground it leaves marks all pointing in the same direction, like how sunflowers grow facing the sun (heliotropism hello vocab word).

i wanted a visual sooo

shocker, it all points to the sea of the castout!

considering we now know the sea's significance, the fact that this is so emphasized after we've already gotten the prison, and that it's confirmed that the key unlocks the book, my guess is that the book is back there, but who knows

this was such a cool little detail i am now obsessed with it

[soup-mother]

I'm kinda retreading old ground here re. australian anti americanism but basically just as chauvinism (e.g "we should control our own destiny" to be imperialists), but it's always interesting to think about what would happen with pine gap if the US left.

because realistically it's not going to stop being used for surveillance and military targeting, it's just going to be ran entirely by Australians. like military bases aren't suddenly fine when it's an exclusively Australian military occupation of stolen land, but talking about the Australian military as occupiers here makes people really angry.

[casscainmainly]

Race and Perception in Batgirl (2000)

This is a companion piece to my two gender posts on Batgirl (2000). There are many interesting takes on race and Cassandra Cain, but most focus on whether she is a 'racist' character or not. This post is not about that, though I think my stance is fairly clear given what my blog is about. Rather than retreading the same ground of whether the conception of Cass is racist (something I might tackle later, because some arguments are flat-out wrong), I want to look at how race actually plays out in Batgirl (2000).

This post focuses on how Cass' Asian identity influences her views on perception, beauty, and agency. As usual, feel free to disagree as I'm not an ethnic or Asian studies expert.

Mask of the Batgirl

We all know and love Cass' iconic Batgirl costume. Besides its distinctive total-blackness, the most interesting aspect is the full-face mask. She is the only Batgirl to cover her face completely - when Stephanie takes over, one of the first things she does is rip the bottom half off.

Skin and external perceptions don't mean the same things to Barbara and Steph as they do to Cass. Cass' entire life is fraught with not just the male gaze, but the White male gaze - her father, David Cain, films her on video tapes, and Bruce later views these tapes (importantly, Cass herself does not get to). These tapes symbolise how her appearance does not belong to herself, but to external White perceptions.

In issue #1, Batman says the following:

"You... are me." Here, Bruce posits that the full-face mask makes Cass more like Bruce. It functions to hide their racial and gendered differences. By covering her face completely, Bruce (and Cass) tacitly suppress her race. Once again, White men are controlling the way she is perceived, something that began with David Cain and continues with Bruce.

Interiority and Exteriority

A common Asian stereotype is that Asians are mechanical - they have no interiority. The common conceptions of Asians as STEM majors and being emotion-deficient all come from this core belief, that Asians are utilities for White people. For Cass, this belief manifests from Babs, Bruce, and David Cain:

Babs says it's hard to care without knowing what's "going on in her head." She cannot connect with Cass' exterior, and finds it hard to imagine what her interior is like. Even worse, Bruce and Cain both argue that Cass belongs to/is like them, almost treating her as property- they reject Cass' own interiority and project theirs onto her, using her as a tool to extend their own identities.

In the early issues, Cass doesn't have an internal monologue. This somewhat reinforces what Babs, Bruce, and Cain all believe about her interiority. However, in issue #5 a White man gifts her the ability to think in language:

This plot point serves to demonstrate Cass' interiority to the reader, but it is another example of a White person choosing for Cass. She didn't get a choice to be raised without language, and she doesn't make the decision to receive it. Both externally and internally, White people control her narrative.

The Shiva Solution

After her newfound language skills impact her ability to fight, Cass encounters Lady Shiva, her future surprise mother. Shiva is the first one to ever acknowledge Cass' race.

Unlike Cain or Bruce, Shiva doesn't say 'you're like me'; she says, "we're a lot alike." She doesn't map herself onto Cass, but finds something they both have in common. By naming Cass' race ("in terms of our coloring") and framing their similarities in this way, Shiva affirms Cass' difference from White people, while providing an alternative solace: Asian solidarity.

Shiva gives Cass her first real choice. It's not exactly a good choice, and it's somewhat coloured by White perceptions (the idea of 'perfection'), but it's still the first major thing Cass gets to decide for herself. She even frames Shiva's path as opposing "Batman's method;" it's the beginning of her path away from White control, towards racialised agency.

It's no surprise, then, that Shiva is the one that helps Cass over her death wish. Not Bruce, not Babs, but Shiva - a literal and metaphorical link to her heritage.

Another Stephanie Brown Segment

As an integral part of Cass' sexual and gendered awakening, Stephanie of course plays a role in Cass' understanding of race. Moving from Puckett's run into issue #38, Stephanie and Cass have this iconic conversation on the rooftop:

I've written before about how this marks the beginning of Cass' foray into gender and sexuality, but this scene has a different meaning when viewed from a race angle. Stephanie is the quintessential American girl, with blonde hair and blue eyes; additionally, she's sexually and romantically experienced. Cass' own Asian appearance, then, may be causally linked to her lack of experience.

When Stephanie comes back as Robin, we have this moment:

Cass is unable to be perceived as non-threatening, helpful, or friendly, while Steph achieves all this with ease. Beyond the differences in temperament (Cass is definitely the spooky scary type), it's also the difference in costuming - Robin's bright colours and majority-unmasked face make for a friendlier appearance than Batgirl. Once again, Cass is unable to control other people's perceptions of her.

It's notable that the majority of Steph's appearances throughout Batgirl end with her leaving Cass on a rooftop. This happens in issues #38, #53, #54, and of course War Games. Their relationship is consistently tenuous, and I think this contributes to Cass feeling like she'll never belong in Steph's world.

Tai'Darshan Turns the Tide

At this point Cass is in pretty bad straits: no one has ever shown romantic attraction to her, Steph is mad at her, and she still doesn't have a full understanding of her race (bar Shiva, she's encountered no other Asians). This feeling of disenfranchisement from both the White and Asian worlds is a very common experience among third culture Asian kids, particularly mixed-race Asians.

Then comes Tai'Darshan, the second major Asian person Cass interacts with.

He is the first person to show romantic interest in her, and asks to "see [her] face." He wants to see her interiority and her skin - Cass' Asian features are now described as something attractive, something worth seeing.

Where Cass is creeped out by Conner's gaze on the boat, she's not similarly affected by Tai'Darshan. She's beginning to understand racialised dynamics, and finding comfort within other Asians rather than her majority-White friends and family.

Both during the fight with Tai'Darshan and the later fight with Bruce, Cass wears these eye-cut-out masks. The eyes are both the site of perception and the site of Asian racialisation, as the most identifiably 'Asian' part of people's faces. By wearing these kind of masks, she's allowing others to perceive her race, reclaiming racialised perception as an act of choice rather than something imposed onto her.

Choosing

In the final arc of Batgirl (2000), Cass sets out to find Shiva. The decision is spurred by this conversation, where Brenda explicitly asks about Cass' race. Everything has been building up to this acknowledgment of Cass' fuzzy origins, a recognition that the uncertainty around her race impacts her ability to achieve full self-actualisation.

Cass rejects Batman's help on the matter, instead going to Onyx:

By going with Onyx, a Black woman, instead of Bruce, Cass is starting on her journey towards racial solidarity beyond Asian communities.

The abrupt ending to Batgirl (2000) kinda cuts off any definitive arc, but I actually think what we have already paints a solid picture. There definitely is a lot more room for explorations into Chinese culture (Spirit World kinda covers this), Cass' relationship to White proximity, interactions with other Asian characters and more. I think her Asian identity deserves more of a spotlight, and I'm hoping more comics in the future delve into it.

[raayllum]

Analysis of the cube scene

Because it's like 0.2 seconds and I still have thoughts, so here we go.

First things first, I want to talk expression change, since we see Callum while speaking when you heighten the exposure on the clip's beginning that his eyebrows are a lot more raised, and then it hardens not quite into full-on anger maybe, but resignation.

We can also see the tip of Callum's hand gloves as he apparently holds the cube up. It's not absurd for him to hold the cube in his hand, as he has done many times before, but it seems more likely now in S7 that it's a reference back to this post from his pawn intro.

As for the background, whereas last time Callum being corrupted in the trailer featured Finnegrin's office (hence it + the overt framing of Aaravos) made it clear it was a nightmare, this background is a little more ambiguous. In my big trailer breakdown analysis, I noted that maybe the group would try to collect their allies, and the mushrooms look like the big ones we see near Zubeia.

So if Callum is standing or on sitting up on eye-level with some, that makes sense. His background also looks a little like the entrance to the Pit of Despair for the smooth blue shape, but it doesn't have any of the red mushrooms, so I'm ruling that out and putting it closer to Zubeia.

There's a few reasons we could be going to get Zubeia! We could be going to get her for her help, or mushroom salves if the Sunfire elves decide to try and purify Lux Aurea / themselves again in order to thwart Aaravos' plans if he needs both Sun and Moon to be actively corrupted (it does seem like Lux Aurea becomes safer later on in the trailer). Callum could be having a nightmare on his way to the Mushroom mage for that purpose, brought about by the knowledge that Aaravos is out, or Aaravos messing with his head again.

His nightmares previously seemed more induced by the corruption/Aaravos' hold on him (6x01) and his direct worry about it (6x03) when he knew being possessed was an option, as it is no longer, but they could retread ground from S6. Janai is seemingly receiving nightmares from Aaravos despite having no connection with dark magic, so it's certainly possible even if it I think it's less likely (more on that in a bit).

I've also wondered about what the "darkness and corruption will overwhelm you" would look like. Is it instantaneous, or is it slow-going? If it's the latter, Callum could be on his way to the mushroom mage in hopes of purifying himself before it takes over him completely, and has the vision of the cube going dark magic-y red during a night of fitful rest.

One of the things that makes discerning whether this is a dream or reality especially hard is that we know that dark magic dreams can be prophetic (the rune cube in Callum's in 2x08 highlighting ocean and moon, highlighting that he would use dark magic again in S5 Ocean and for his Moonshadow elf; little Claudia saying she's following in Viren's "footstep" (singular) or walking out into the ocean; Aaravos seemingly revealing information to Janai for whatever reason).

So Callum's 2x08 dream with the cube could reference the cube itself being corrupted somehow, and turning Aaravos' book into the ultimate guide to dark magic rather than primal magic. Perhaps the whole screenshot is based in reality.

The other thing that's tricky is that we know that dreams and reality can be blurred, tying into the prophetic aspect from before.

So aspects of it could be a dream / nightmare (Callum sees the dark magic cube, we do a wide cut to see he's corrupted - though he can't see it, maybe he could feel it?) or it could be fully reality, or a mixture of the two. I'm probably leaning towards the mixture option unless we discover the cube itself can be corrupted (which it presumably is tied to primal magic if not deep magic, so conceivably it Could??).

I'm also deeply curious about the context of Callum's "however dangerous, however vile". Unlike Viren or Claudia, it's not a refrain he's said before in a dream or otherwise, nor would he presumably have ever heard any of them say it. Perhaps he and Aaravos have a conversation, and Aaravos taunts him with the phrase or brings it up? Or he could hear Claudia say it in their duel in S7.

And there's our 500-ish words on a split second scene, what do you think is happening in it?

[bri-the-nautilus]

Come To the Dark Side, We Have Hot Guys: A Star Wars Story

Spoilers below for S1 of Ahsoka and the first six episodes of The Acolyte.

I'm writing this with The Acolyte most of the way through airing its first season, with episode 6 having released earlier today. Say what you will about the show, but it's really brought out a lot of the uglier sides of the Star Wars fandom. Everyone and their mother has seen videos or Reddit threads dunking on the Critical Drinker or SWT and their mouth-breathing misogynist audiences at this point, so I don't feel particularly compelled to retread that ground. Instead, I want to talk about the... other side of the fandom, the hypocrisy therein, and how we're all being played for absolute fools by the creative team at Disney Lucasfilm.

Yes, this post is about Qimir.

Now I want to say that I have no problem with villain simping/shipping. Far from it. Most of my posts on this account are me simping for Shin Hati (we'll talk more about her later) or various Soulsborne bosses. Hell, my mutuals and I have a running joke about me having a weakness for evil blonde women. While I personally am too gay for my own good and couldn't care less about men as a concept, I absolutely see the appeal of characters like Qimir and Kylo Ren. I absolutely get why people thirst over them and love making fandom content for them. I think Qimir/Osha has the potential to be a really fun ship, actually. The point I'm making here is not "simping for these characters is wrong and bad," and I want to make that crystal clear before we continue.

That said, let's talk about Qimir, and how the landscape of the show and its surrounding discourse has changed since his reveal. Again, I'm ignoring the chud sphere here, partly because their little corner of the Internet has remained remarkably stagnant since then. The podcast bros still think it's woke, fucking Shadiversity is still whining about fight choreography (which as someone who actually has done HEMA/stage combat, Shad annoys me to no end, but that's an entirely separate can of worms), and it all seems to be business as usual over there. No, the most marked changes have been on the Acolyte-positive end of the fandom space. Here's what the top posts in "hashtag TheAcolyte" on Twitter look like tonight:

You get the idea.

Again, no hate to any of these people. This is tumblr ffs, we've all engaged in a little simping for a morally dubious hot person. I love seeing fans having fun engaging with something, and again I kinda dig the Osha/Qimir ship.

Anyways, if you were around for the Acolyte-positive discourse before the Qimir reveal, and especially the show's marketing and the reponse to that, you'll have noticed a marked difference.

Fans quickly began to see The Acolyte as " the gayest Star Wars ever." Showrunner Leslye Headland is an out lesbian, and her wife was cast as Master Vernestra Rwoh. Archetypical girlboss Carrie-Anne Moss was cast as Master Indara, immediately drawing comparisons to her role in the Matrix movies. Leads Osha and Mae Aniseya are played by the nonbinary Amandla Stenberg. The lesbian witches of Brendok were talked about in press releases before the show aired. Dafne Keen (Jecki Lon) stated in an interview that she portrayed the short-haired, serious Theelin as having a crush on Osha, something that fans were picking up on in their first interactions in the premiere before Keen even gave that interview. While Headland said in a post-premiere interview that she didn't set out specifically to make "a capital Q Queer show," it's an objective fact that no Star Wars movie/show has had as much potential in that area, and fans (especially the queer community) took notice. (For what it's worth, in the same interview Headland commented that she was proud of creating something that so many queer fans identified with.)

The show came out, and Master Indara was killed off in the first sequence, which I'm honestly fine with. It was a good scene and works on a lot of levels. Headland's aforementioned interview came and went. Episode three aired. The lesbian witches turned out to be even gayer than was previously thought possible, and people ate that shit up while the Critical Drinker's brain suffered a major cascade failure. Jecki became a runaway favorite in the premiere and episode four, as did lovable himbo Yord Fandar and the wise, paternalistic Master Sol. In Acolyte-positive circles, this was basically how it went. People thought Brendok was cool, the Yord Horde became the show's biggest social media sensation, Jecki and Sol cultivated devoted followings alongside Osha and Mae, there were a wealth of different ships involving various combinations of Jecki, Yord, and the twins... you get the idea.

Then episode 5 happened.

The writing was really on the wall when the Brendok coven was abruptly wiped out. Introducting such an interesting (and queer) Force-wielding culture only to exterminate them in the same episode was certainly a choice that somebody made. But episode 5 was a shock to the system for many fans, as the show's resident Sith revealed himself and killed Jecki and Yord in some of the most brutal recent onscreen deaths in Star Wars. To be clear, I think this was a great sequence. Two beloved main characters being suddenly and gruesomely killed off was a masterfully executed shock to the system, especially after viewers were lulled into a false sense of security by all the redshirt deaths in the previous scene.

This, understandably, completely changed the landscape of the Acolyte fandom. Virtually overnight, much of the simping and shipping involving Jecki and Yord dried up, and once the dust had settled as far as the "rip blorbo, gone too soon" posts went, what remained were the usual Sol/twins offerings and a wave of Qimir hype. Which is understandable. He's a badass emo Sith boy with a cool helmet who brutally murdered fan favorite characters in front of us and has palpable tension with the female lead. Who wouldn't love... wait a minute.

This feels familiar somehow.

But if you close your eyes, does it almost feel like nothing's changed at all?

And just like that, "the gayest Star Wars" is all about the (straight) sexual tension between an edgy, murderous Sith boy and a light-side girl plagued by dark thoughts whose friends said boy just killed. This is all eerily similar to how the Sequel Trilogy focused on Rey and Kylo while abruptly dropping Finn and Poe's character arcs. Even the fandom discourse is the same. I mean Reylo was so ubiquitous back in the day that it became a derogatory catch-all for good girl/evil boy shipping. Multiple authors now have either gotten their initial start/fame writing Reylo fics, or straight up published legally distinct Reylo fiction after the fashion of Netflix's After. You had the occasional person piping up to say "hey they kind of just left Finn and Poe hanging after TFA, it would've been cool if they got together but at the very least don't relegate them to being side characters/comic relief in separate story threads," and that was it. The same thing is going on with The Acolyte now, only the sequel trilogy wasn't marketed on the strength of being a queer story by a queer creative team. The Acolyte is, which makes it all the more baffling that by the midway point of the first season, all the gays have been buried and the show seems to be heading straight for Reylo 2: High Republic Boogaloo. And the fans are eating it up.

As an interesting aside, I think it's an interesting exercise to contrast the Kylo/Qimir pattern with the broader fandom's treatment of Shin Hati (told you we'd circle back to that), and the ship between her and Sabine Wren. On paper, Shin is very similar to Kylo and Qimir. Villain? Check. Edgy-looking armor? Totes. Emotionally damaged/stunted in some way? Sure looks like it. Tension with the heroine? You betcha. If anything, the only major difference is that Shin isn't as evil as the others. Compare her actions in Ahsoka (clearing out part of a light cruiser with Baylan and making repeated attempts on Sabine's life) to Kylo (oversees multiple war crimes, kills his fan-favorite dad) or Qimir (orchestrates the murders of several Jedi before brutally executing two fan-favorite characters). She's definitely bad, but I struggle to see her as on par with Qimir, let alone fucking Kylo, in terms of evilness.

Which makes it all the more interesting to me that the Shin/Sabine ship has received so much more mainstream skepticism/criticism than the Osha/Qimir or Rey/Kylo ships. "They have no chemistry!" "She's an evil murderer!" "She's a blank slate!" "Sabine is taken!" I may be a touch biased, but from where I sit a large part of the fandom, even the ostensibly progressive side, seems to look down upon Shin/Sabine shippers while swooning for heterosexual variants with far more evil villains.

This isn't a monolith, and I can't stress that enough. I'm not trying to start shit here. Villain shipping is awesome. We support women's wrongs in this house. You do see the occasional person decrying Reylo or Osha/Qimir as toxic, which I think is fairly unnecessary. Like yeah, maybe it's a toxic dynamic, but these are fictional characters. For these specific characters, part of the crowd appeal is the toxic badboy side of things. I don't think we should really spend much energy attacking any fictional ship (between adults, mind you) as toxic, which is why it puzzles me that an as-yet-unconfirmed lesbian ship in a niche show receives such a large proportion of this sort of criticism compared to the canon relationship between two main characters of a blockbuster trilogy.

At the end of the day, this whole affair has been rather sobering for me on both Disney Lucasfilm and the Star Wars fandom. For all the support the Shin/Sabine ship has received from Ahsoka cast members Ivanna Sakhno (Shin), Natasha Liu Bordizzo (Sabine), Eman Esfandi (Ezra Bridger, the other character people like to ship with Sabine), and Rosario Dawson (Ahsoka), I'm rather sour on the prospects of it becoming canon. The sequel trilogy dropped the ball on what many saw as a promising chance for an MLM romance between Finn and Poe in favor of trotting out the "why do good girls like bad boys" dynamic, and The Acolyte, "the gay show" overseen by a lesbian, has seemingly shifted to center a similar dynamic after killing off most of its prospects for a queer relationship among the main cast. Simply put, I think that Disney as an international company based in the frighteningly divided United States is reluctant to commit to anything beyond lipservice in terms of LGBT representation in their movies/shows, which again doesn't leave me feeling optimistic about WolfWren's canon potential. And the fandom takes the bait. People love the damaged evil badboy/good girl dynamic, and when the queer fandom suggests the possibility of a queer ship taking center stage in a show with no other extant relationships, even the more progressive side of the fandom tends to either ignore it or actively push back on its basis in reality until Disney Lucasfilm inevitably puts the kibosh on it. The amount of times I've heard people dismiss WolfWren for the same reasons they now like Osha/Qimir and liked Reylo (before that ship was fleshed out/canonicalized, anyway) is ridiculous, but at the end of the day you kinda feel stupid for expecting anything else. Again, I think Qimir is a cool character and I'm as much of a sucker for villain romances as the next girlie, but seeing how easily the fandom lets dangling heterosexual carrots lead it away from Disney Lucasfilm's broken promises of queer rep is a sobering ordeal.

[aluria-sevhex]

petpet but it's all of the player cast

"...who are these goobers?"

These 12 are the main cast of the active in-progress MSPFA Sovereignstuck!

SOVEREIGNSTUCK is an in-progress MSPFA about 12 Teens, Their Friends, and a God-Making Machine - an RPG, simply titled SVURB, pieced together through mysterious scraps of code. Together, this ragtag team of young adults will have to figure out how to take control of themselves, the narrative, and win the game. But sovereignty over the story itself isn’t something that can be taken without pulling a few teeth, and it’s up to them to decide whether it’s their own, or somebody else’s…

-@/nekropsii (the lead writer), in his elevator pitch found here.

That elevator pitch works wonderfully as a more professional piece of advertising for a fanventure - but I would rather not retread the same tone and ground in this post when the writer has already done an excellent job.

Instead I'm going to talk about it in my own way!

Sovereignstuck is a current interest of mine that is presently doing things to my brain chemistry! It is still rather early on but it is actively updating and approaching its first anniversary. ;) :D

It is not an AU - it does not take place within a zone where there is canon content for it to be 'alternate' to. It features a new cast and a new game on Afterra - "a place once called Earth C by those who created it."

Featuring such wonderful characters, such as:

Retris Morage, a newly 18 neo-Japanese child star afflicted with Classpecting Analysis Disease, Neon Genesis Evangelion Fan Disease, and of course, The Horrors.

Tejuri Kromab, a chronically ill Texican girl who writes fanfic about religious figures, knows her way around a yo-yo, and is also VERY VERY FRIEND-SHAPED! :D

Annomi Errata. :)

There's also banger music conveniently archived by a fan at @/sovstucktunes. :D

read it here:

[vimbry]

I'm impressed by how many angles tmbg can approach the theme of 'work sucks' and have it not feel like they're retreading old ground. every single one of them has something new to say, which becomes very depressing if you think about that for too long.

"put your hand inside the puppet head": thinking about a terrible job in hindsight rather than being in the thick of one, and the importance of keeping some perspective instead of falling afoul of romanticising the past, once the bad memories wane with time.

"snowball in hell": the lament of a tedious job that doesn't suit your needs. the past tense makes me think of it as the narrator reflecting on the day after clocking out for the night, and how pretty soon they'll have to face the monotony all over again tomorrow, just to stay afloat.

"someone keeps moving my chair": I dunno how accurate this is, but I've kinda been interpreting this one as illustrating the rigmarole of office politics. all the tasks and busywork and even worse higher-ups to answer to, all new ideas that get brought in and go nowhere - yet somehow, it's the most petty of annoyances that bother mr. horrible.

"hearing aid": there's an almost zen-like attitude towards the managerial pecking order here, which is also alluded to in "puppet head". both narrators mention fleeting sympathy for their awful bosses, knowing they're just as much a victim of a flawed system as they are, but not excusing their actions. I guess it's a vent about not letting the pressure get to you and doing nothing more than your set responsibilities, if even that. real "go out there and give it your 60%" type song from a totally checked-out character.

"minimum wage": a mockery of these types of jobs treating you like a mule (not only from the 'hyah' and whip noise, but the lyric being sung in the style of "mule train"), but oddly playful in a somewhat bitter way. it gives me the same kind of vibe as someone working an early student job they can afford to treat with a bit of levity, because they know they won't be here long enough to care.

"sleeping in the flowers": focuses more on the fantasy of being with a crush than work, but it's in there. the narrator would much sooner ditch their job, regardless of consequences, and spend that time with the woman they're in love with. this is the second song to mention an infatuation with someone working at a copy shop after "snowball in hell"; you could probably theorise that it's the same person.

"memo to human resources": their most serious and haunting song on the matter. the references to an attempt aren't subtle. the lyrics seem to function as both a metaphor of the narrator's state of mind and their plan, and a literal description of the day-to-day tasks that exacerbated their spiral. another double-meaning I like in its title is how it's a report of the incident, as well as a note.

[zahri-melitor]

Like a lot of people, I am currently in "everyone needs to be real chill and give things a chance" territory over the new title announcements, but I'm going to dip a toe in.

What the new Batgirl title announcement is confirmation of, to me, is that DC internally have agreed again that Cassandra Cain and Stephanie Brown are separate characters who can be treated separately, and they're proceeding to do that.

How did things end up here? Not to retread well-worn ground over and over, but the two did get conflated together back in the late 2000s between various parts of editorial wanting to remove Cass and Steph from appearing in Bat titles and fans asking to see characters again.

And look, fans supporting each other in explaining to DC editorial that they would like acknowledgement of their favourite characters, and about the streak of misogyny that accompanied their removal, makes sense. But Cass and Steph are separate characters with separate trajectories in storytelling, and I think the way they've become conflated in part of the fandom (and sections of DC's) eyes has been harmful for both.

DC's been a bit each-ways about it, but it's pretty clear that in terms of pitches, writers mostly want to be able to write one character or the other, rather than a double act, and allowing Cass and Steph to appear as separate characters rather than demanding a double act is something the fandom needs to be normal about if they want them used.

Cass' trajectory since Rebirth is reasonably solid, in terms of Detective Comics - Batman and the Outsiders - Batgirls - Spirit World - Batgirl.

She's worked with lots of different groups of characters, she's got her own team affiliations, and as a solo title I think it's got a fair amount of promise; but people are going to need to chill out if there are very few side character and crossover appearances in the first 6 issues. If it's going to develop into a healthy ongoing it needs to be able to do things like have Duke appear for a single issue, and then Tim appear for another issue, and then Xanthe appear for an issue, well spaced out. It should be focused on Cass. It should hopefully let Cass start building her own supporting cast.

Until we see the opening issue it's going to be unclear if the intention here is to spin out of Spirit World or out of Batgirls, but I feel like the more promising trajectory for Cass is if it's coming from Spirit World, in terms of creative direction and new story telling.

So I'm looking forward to seeing what we get. But I also worry for the creative team unless everyone takes a deep breath and decides to enjoy the stories on offer.

[lych33dragoncookie]

Ok so about yesterday's post, I'm rly rly grateful for all the attention n feedback, I'm glad ppl resonate with my analysis stuff and that they're happy to find someone who understands the characters, buuuuut Since it's my most critical post till now it's garnered a few counterpoints that I kinda wanna address.

The first one, and the one that I understand the most; the people that were telling me to not lose hope and that they could do something more with this.

I... Appreciate the optimism! I really do, and if you believe this then obviously I hold no ill will towards you and if you can keep looking on the bright side then more power to you, but... Really, I think the moment and the chance have already passed, unfortunately.

Yes, I am genuinely saying that, unless they pull a miracle, whatever they do next is just... Not going to land. Definitely not as well as it would have to have a better ending to the story we got.

Here's the main thing, really. For one... What is Burning Spice even gonna do to get one over Golden Cheese again? He's already just about entirely outmatched, and so anything they do next is just gonna feel like a repeat of what they already did in this update. Though more importantly, I'm concerned with the fact that they can't really do this again, we just saw Golden Cheese at her lowest point, actually on the brink of death, more heavily damaged than we've ever seen anyone in this entire franchise, we got extra development for both her and Smoked Cheese, and the Spice Army is kind of just... Not there anymore. No one other than Nutmeg Tiger really has any faith in Burning Spice anymore. The setting, the stakes, the characters, everything that made this story hold up (until its god awful ending) isn't repeatable, not without making it feel like we're just doing the same thing again. They can't match the sheer level of visceral brutality either, not only because again the setting is gone but also because it really won't hit anywhere near as hard the second time around, and even they have limits for how far they're willing to go with it.

That's just kind of the thing. The one thing that makes me so mad about how much this ending sucked. This entire story is one of a kind, you can't do this again, because if you try, then it's not gonna hit anywhere near as hard the second time around. Hell, it'd be the third time we've seen Golden Cheese in a low spot that she ends up pulling through and recovering from, and the second time (with Burning Spice) was so much more extreme than the first one which is part of what made it work, you can't do that again.

The framing isn't replicable. The active contrast between the two primary characters, the brutality and viscerality of it all, the active rejection of Burning Spice's ideals in a golden blaze of glory, the reinforcement of Golden Cheese's will through an adversary completely opposite to her, it can't happen again. This is why you don't fumble a story like this, because once you've shot the round, it's spent. There's no getting it back. If you miss the shot, no matter how potent the weapon, it won't do anything, and there's no getting that shot back. Specially because, like... Are we forgetting that we're not done with Golden Cheese here? Why waste more time on retreading ground that we already covered with her encounter against Burning Spice, when instead it would be much better spent later on focusing on her relationship with White Lily, and how she handles the whole Dark Enchantress situation? Sure, I have no doubt all the beasts are gonna come back, but I really, really don't see them getting entire stories dedicated to each and every single one again, specially involving their respective ancients, because... They've. Already lost. And if you try to set up the same matchups, it's just gonna feel like doing the same thing all over again. If/when they come back, it's most likely gonna be more short-form, akin more to a boss rush, I'd imagine, because the alternative is... What, exactly? Just doing their chapters again? A second time? For each one? It just feels really weird to think about, honestly.

Just... Everything here. Every bit of it. Every bit of narrative paralleling with Golden Cheese, Smoked Cheese, Nutmeg Tiger, Burning Spice and both of the respective kingdoms/armies, it was all contained in this arc, and you can't just do the same thing all over again, specially when the thing you've got set up next for Golden Cheese is a meeting with White Lily. Unless you plan to have Silent Salt and Burning Spice team up for a 2v2 against White Lily and Golden Cheese or... Something..? Completely taking away from the 1v1 fated duel kinda thing they've had going on this entire time..? I dunno, man. I don't see how they could salvage this. They had their chance, and they wasted it. Like sand, slipping through their fingertips.

Alright, that's the big one out of the way. I saw the comments and RBs bring up a few other points, so I'll address those now.

The first one, with someone posing the idea that she did take Burning Spice's Soul Jam, and that's why hers' changed color.

... What?

That's... That's not shown. Ever. Sure, you have an animation of her soul jam going over Spice's and eclipsing it, but... That's. Kind of it? It's never implied at all, and worse yet, it's directly contradicted by the fact Spice still has his Soul Jam. Like. It's right there. You can see it.

You could say maybe it's just a case of reusing assets, that they wouldn't make a whole new asset just for this one cutscene, but, uh... ... They did. It's this one.

It shows up in absolutely no other cutscene, only the one where he's about to get smacked by Golden Cheese. If his soul jam was taken not only would we have seen it (like we did both times it's happened to the Ancients), not only would he have probably noticed because that is very much a material object, but we would have seen it, like we do when both GC and Dark Cacao's soul jams are gone. So, no, he absolutely still has it. Undeniably so. You can't take someone's soul jam power without physically taking it, at least not that we've seen.

Secondly, a few comments/tags saying that it makes sense for Nutmeg Tiger to go back to Burning Spice after his defeat.

... I mean... Yeah, I guess? Technically?

It's... Not out of character. She is obsessive, absolutely to a fault, and she is incredibly stubborn. My main complain isn't that it makes no sense, and more that it's a bit of a wasted opportunity. More specifically, the fact that she went back to him with nothing about either of them having changed at all. It would have been super interesting to see how she'd react to seeing her god rendered powerless, to have him lash out at her despite her loyalty to him, to have Burning Spice's hostility and complete lack of care catch up to him and end up isolating him from absolutely everyone who served under him. To have her conversation with Smoked Cheese to be proven tangibly true, proving that yes, he would just discard her the moment she stops being useful. And, the best part? You get to keep her alive to have her process everything that just happened! Because, guess what, Burning Spice lacks basically all his power now, meaning he can't just kill her on the spot! Hell, if you really, really wanted to have a villain for a followup update, it could be Nutmeg Tiger, disillusioned with her former god's promises, deciding she'd find a way to become the next great destroyer, or something like that. Maybe she'd try to find someone else to serve instead to give her life some sort of purpose? Who knows! There's so many options you could go with, rather than just... Resetting everything back to where we started.

Really, this part of the whole thing is the least of my concerns. She's not the biggest player in this update, but I think she would have benefited heavily from the "Burning Spice gets his Soul Jam taken away" route in terms of potential development. Alas... There's a good chance we'll never get to know what that would have even looked like.

Thirdly and lastly;

The argument that it wouldn't be in character for Golden Cheese to give Burning Spice another chance.

Okay, this is somewhat minor. I need to emphasize; when I gave that hypothetical scenario at the end of the last post, I meant it as like... A long term thing. Not something to happen within the chapter itself. Besides, it's just one of many paths you could go with a jamless Spice.

... I'm still holding my ground on it, though.

See... We've got to remember here: Burning Spice's immortality is the exact thing that got him here. Take that away, and what do you get? A large man with anger issues and no special powers; and absolutely no one to cover for the newfound weaknesses of a mortal, since he's alienated and wronged absolutely everyone loyal to him. Not the Kulfis, or Nutmeg Tiger, or any of the spicelings would be left to help him. He'd be on his own, entirely. Why would Golden Cheese ever even consider helping him in any way, you may ask? After all he did, after all the bloodshed, physical pain induced, and complete lack of remorse for any of his actions?

Simple. For the same reasons she gave Smoked Cheese and White Lily another chance.

The latter specially! At the end of the latest Beast Yeast chapter, Golden Cheese decided she's ready to talk to White Lily. White Lily, who, as far as she and everyone else is aware, is pretty much responsible for her kingdom being reduced to nothing but ash and crumbs. Of course, on an objective level, White Lily is much more understandable, specially since she now exists as a separate person from Dark Enchantress, but... In the end, does it matter? Are the actions themselves any different? No, not really. The level of destruction and decay are still the exact same.

The main difference is, while White Lily would at most be hesitant to accept forgiveness and feel really really bad (like mortifyingly bad) about what Dark Enchantress did, Burning Spice wouldn't be interested in such a thing.

And, honestly? I feel like Golden Cheese would know this. And, at first, she'd have absolutely no interest in actually helping him. To me, she'd occasionally visit to see how he's faring, how this oh-so-powerful god of destruction is doing now that he's just a powerless little commoner, a mortal like all the rest, teasing him, finding entertainment in his position, while he can't do anything about it. She gave him the mercy of life, but that doesn't mean she's not gonna be a little shit about it and have her fun. And he can't do anything about it, either! Truly, eternal torture. Powerless, mocked by your enemy, made to feel small, denied the satisfaction of a proper fight or a warrior's death... Lol, get fucked idiot.

Eventually, it would probably turn into teasing him about how her kingdom is shaping up quite nicely, how happy everyone there is, how it's such a shame that his short-sighted and hostile nature prevented him from ever knowing such comfort and luxury, how instead he's here fighting for his life in the land that he once ruled.

And then idk he almost gets himself killed in the middle of a spice storm or something and she refuses to give him the satisfaction of a quick death so she drags his sorry ass off to safety much to his absolute livid rage and idk you know where this kinda thing goes. Both parties here hate each other. But I feel like sooner or later, it could grow into a very begrudging living agreement where he works for her, day in and day out, to make up for everything he did, and as payment for being given somewhere to stay. A destroyer, helping to rebuild and elevate a civilization he was so intent on destroying, how ironic is that?

And then yuri or something idk. That part is optional I just like the idea.

... Can you tell I'm a Dragon Ball fan? I'm all too used to absurdly evil villains getting another chance and becoming either significantly less dangerous or outright good.

Yes, I'm looking at you, Vegeta. You may not have killed a single earthling, but you did almost directly cause the death of 4. And then over time, through many, many humiliations, and finding yourself a woman who can somehow handle how much of an arrogant cocky bastard you are, with a temper matching or surpassing your own, you settled down and built something infinitely better than what you had when you exerted your power over those under you. Seriously, watch Dragon Ball Z, it's really good. It somehow makes a redemption arc for a guy who's blown up planets feel genuinely believable and engaging.

... Right, Cookie Run.

Yeah, I think it would be perfectly in character for GC to refuse Burning Spice the warrior's death he so desperately wanted (you know finding something that can destroy him), take his soul jam, and after a good while of having fun with watching him flounder about as a mortal, drag his ass over to her kingdom to work for her to compensate for all the shit he's done. And it would be infinitely more interesting than what they actually ended up doing.

And... I think that's it!

I think that covers everything I wanted to say regarding my last post on the update. This is probably the last I'll have to say about it of my own accord, though you can definitely continue the conversation through asks (Always open!). I'm still really mad at how bad they fumbled, but...

Hey, that's what fan-fixing is for, isn't it? This ending may have sucked, but don't let that prevent you from making a better one yourself, through whatever your medium of preference is. Go ham. Because there's a good chance whatever you have in mind is infinitely better than whatever the hell they're planning to do next with Burning Spice.

Go absolutely nuts. I'll be watching on, and potentially participating, if writing motivation ever strikes.

Cya'll.

[clonerightsagenda]

Kat's "I could fix her" Arcane season 2 post Part 1:

Yeah we're skipping straight past the recap/reflections on what this show actually was into my 'just let me into the writers room' post because I'm currently tormented by, ironically, what could have been

What's funny is the characters didn't even end up doomed by the narrative because of their League of Legends fates!! They killed a whole bunch of champions! They just Did All That anyway.

As I was saying in previous posts, the season was overstuffed. I genuinely liked some of the music video portions lol, but there was just so much going on.

I still would put Mel in a Magic Coma for the entire season and spin out her Black Rose plot for a third season or new spinoff (it seems like there will be one anyway). Her storyline as is felt like an afterthought and wasn't fully explained. Am I supposed to know the Black Rose lady? I don't. This would create a stronger absent mother/absent daughter bond between Ambessa and Caitlyn, and Caitlyn could see Ambessa claiming to do things for her daughter's sake even though it's obviously stuff Mel would never approve of, and that could force Caitlyn to reflect on how her mother wouldn't approve of the actions she's taking allegedly for her sake. That could sell Caitlyn's immediately re-siding with Vi better.

This may be a very hot take, but I didn't really like the werewolf Vander plotline. My understanding is he's a LoL champion, but he felt particularly cartoonish even in an increasingly cartoonish season, and just kept retreading the same ground. Vander's dead. :( He's alive! :) He's dead again. :( Obviously the cycles are part of the point, and he represents how Vander's death is this monstrous always dying never at rest force between the sisters tying them together and strangling them at the same time, but I'd cut it. Have Vi seek Jinx out after the prison break because she can't believe her sister did that, have Jinx admit she only did it to save one girl, and they reflect on how Vander also did stuff just for kids versus ideals. Make Vi reflect on how her little jaunt with Jayce killed a kid, and here Jinx is saving one, and people are complicated. Still not clear on how Jinx has no negative effects from Shimmer, so give her a few and that can be their new reason for going to Viktor's commune. Ambessa can hear about his new weird magitech without needing a werewolf to pique her interest.

Obviously this raises of the question of what Vi and Jinx are doing in the finale, and while I don't think every character needs a big damn fight scene, they can back up Caitlyn versus Ambessa since Mel won't be there, which also forces them to deal with the Vi-Caitlyn-Jinx tension. IDK if there's a way to have Jinx ambiguously blow herself up in that scenario but here's a thought, maybe the most prominently disabled characters don't all need to die and/or commit suicide? More on that later. Ambessa is subdued, not dead, though, so she and Mel can talk later.

Finally (for this post) I already expressed my frustration that the key class conflict so present in the first season and first half of the second gets mostly shoved under the rug because there's a new enemy to fight. Yes, that's often used as a distraction irl, but that's not a *good* thing. Sevika's sitting at the councilor's table at the end of the show. Who negotiated that? Caitlyn? If we absolutely must go the direction of a big damn final battle, I want to see that conversation and all of the pain and distrust that must've come up during it.

That's the kid gloves version. If I was being aggressive - and I would be - I'd have the fighting totally destroy Piltover with arcane corruption, and now everyone from Piltover has to live in the Undercity/Zaun as refugees. Forget Sevika sitting down at the Piltover table as the new councilors glare at her. Now the Piltover councilors are having to sit awkwardly down at a table with Sevika and Ekko's number 2. (Or Ekko. What is he doing besides sitting sadly on that roof. Is he involved in governance. Is his tree ok.) Piltover suffocated Zaun for years with their industrial runoff. Now they're choking to death on their own magical industrial waste, and they're going to have to learn to live like everybody else.

I am still parsing the whole Viktor, Jayce, and disability thing since as you know that's one of the elements that fascinates me most about this show (the new improved crunchy ableism even as they genuinely try to explore something interesting) so I will be typing a separate post about that, probably thinking through it as I write. Stay tuned.

[socially-awkward-skeleton]

tagged by: @voidika and @thesingularityseries last week, thank you both <3

Well it's been almost two months and guess who's back to her FC5 verse again :) Still deep in the family angst with the kids so forgive me if this feels like a retread of stuff folks have already read, I swear things will progress with this chapter eventually. Anyhoo, usual warnings when it comes to Kit:

The gates at Saint Francis creaked closed as the white Eden’s Gate delivery van drove off into the foggy depths of the forest lined roads of the Whitetails, its red tail lights disappearing behind the misty wall near the bend in the road. November had rolled into December and frost littered the ground, leaving sparkling ice crystals clinging to the dead leaves, pine needles and gravel that made up the exterior grounds of the vet center's courtyard. Kit hadn’t even realized her birthday came and went with all of the chaos and the carnage surrounding her, her thoughts suddenly turning to the fact that she was now thirty two years old as she stood alone in her spot on the front steps, arms crossed over her chest, supervising as two of the followers carried in crates marked with Joseph’s cross.

Shifting her stance, bunching up the oversized flannel shirt she wore in her fist, Kit pulled the material closer to her where the cold air stung her still healing wound. Thick black stitches remained, holding skin taut as it sealed itself together once more, the flesh puckered and pale to match the letters carved above her breasts and across her shoulders, as well as the scars that littered her abdomen. The bitter, freezing air stung with each intake of breath, burning her nostrils, throat and lungs. The temperatures dropping up the mountain at a rate where frostbite would likely set in if she stood here without a coat for much longer. Her teeth clenched and her gums started to ache, knuckles chilled to the point where they seemed locked in place. A person could catch their death out here, not that she was going anywhere. From the darkened depths of the interior of Saint Francis, Jacob emerged with a cigarette, resting his shoulder against the pillar at the top of the steps beside her, covering the flickering flame of his lighter with his hand as he lit the end. “Didn’t know there was a delivery scheduled today,” he mumbled around his cigarette. 

She turned to give him a sideways glance, their eyes meeting for only a brief moment. “Not one of the usual ones. Had a few crates of clothes and things for the kids sent here. The rest is heading to the armory.”

He grunted and slipped the lighter back into the pocket of his army jacket. “Didn’t give you permission to do that.”

“Didn’t ask.”

Stepping towards her, Jacob grabbed her arm tightly, pulling on it to spin her to face him. He sighed to steady himself, his eyes narrowing as he looked at her. “You are really testin’ my patience here, angel,” he growled.

“You might have made me break before, but I'm not rolling over with this one.”

“You’ve gotten too comfortable. Complacent. Think ya rule the roost here, huh?” He took a drag of his cigarette and stared her down. His cheeks ruddy with the cold and the constricted blood vessels under his skin. 

“You were stuck in that bed for almost two weeks – I was forced to think that way in order to keep everything running.”

“Suppose ya did do a good job of that,” he said, looking her up and down before blowing smoke in her face. 

“You’re goddamn right I did.”

Jacob scoffed, giving a quick shrug. “Don’t need me then, do ya?”

“Really?” Her scowl deepened as she glared up at him, molars grinding, keeping the cold at bay as the rage boiled up inside her once more. “God, you are such a fucking asshole sometimes.”

“Careful, Kitty.” Leaning in towards her, gripping her tighter until his fingertips buried grooves into her skin, he returned an icy glower in her direction. “I might have given you some slack on the leash, don’t think I’ve let go completely,” he rasped.

Her frozen stare pierced him and she ripped her arm out of his clutches, heading into the building without another word. 

“Where the hell do you think you’re going?”

“To check on my children,” she called back over her shoulder. 

Tossing his half burned cigarette to the ground, he followed her in with sure strides, ready to continue their argument. “They aren’t yours, kitten.”

“Except they are. Someday you might even come around to that fact.”

Jaw clenching as she challenged him, his arctic eyes burned holes into her from under his darkened brow. “We both know that’s not happenin’, angel.”

The will to fight with him on this point burned bright inside of her. That white hot rage that lived deep in the pitch black dark at her core was rising up. Refusing to give in or submit. She had the will of God behind her, a conviction that could not be beaten. Christ, she might have actually finally understood Joseph and his mission, the way he felt so strongly about his orders given to him by a power far greater than he. It was an unbeatable force, a feeling that could not be ignored or dampened, and she was giving herself to it entirely. 

Digging her heel into the floor, Kit turned to face him, darkness in her eyes. “You asked me to give you something to live for, if I’m not enough for you on my own, then maybe a family is.”

“No.” His cold, dead-eyed stare was enough to set her off, the flat tone of his voice was the final tipping point. “You haven’t even met them, you’ve refused to,” she spat.

“‘Cause they aren’t stayin’, so why would I get attached? There’s nothing there for me to care about, Kit. They aren’t mine.” “God, if you only knew…” She seethed, a mother lioness ready to take on the world. “The things those kids have seen and lived through. That little boy was raising his sister, they were all the other had left in this world…” Storming towards him, she shoved her finger into his chest pointedly. “You tell me that that doesn’t sound familiar.” “It does, which is why I know that taking those two in isn't the right decision. You hear me, Kit?” His large hands lifted to cup her face, gripping the skin tight, stroking through waves of copper and crimson that framed it. “Listen to me, Kitty. The last thing those kids need is us playing make believe as a family.”

Her brow lifted. “Don't give me that bullshit about if I love them, I should leave them… you don't understand,” she whispered, voice husky with the cold as her eyes fell downcast, “I was willing to die to protect them, only ever felt that way about one other before.” Pale eyes steered upwards, meeting Jacob's gaze. Not having to confirm her feelings with words, a look was all that it took. “I need those babies, Jacob. I need them to keep me sane,” she pleaded. “They’ve already made their home here with me, they aren’t scared anymore – they will be if they’re with anyone else. They trust me. They trust Staci. Give ‘em a chance and they’ll trust you too.” “The last thing those kids need is to be puttin’ their trust in me, angel. I’m not here to raise a family, I’m here to train an army.” Kit rolled her eyes, chewing the inside of her cheek as she snarled. “Fine. Go back to your office, General.” She crossed her arms and lifted her chin, a glint of defiance in her eyes. “You should know, I reorganized the duties lists while you were out of commission. You had inefficient overlap,” she said, biting out the words before heading down the corridor to go to see the children. 

tagging: @henbased @roofgeese @cloudofbutterflies92 @aceghosts @galaxycunt

@unholymilf @wrathfulrook @hookhearted @fourlittleseedlings @mxanigel

@finding-comfort-in-rain @carlosoliveiraa @confidentandgood @afarcry5fromstraight @imogenkol

@inafieldofdaisies @kyber-infinitygems @clicheantagonist @adelaidedrubman @strafethesesinners

@statichvm @josephslittledeputy @marivenah @simplegenius042 @theelderhazelnut

@josephseedismyfather @voidbuggg @direwombat @florbelles @cassieuncaged

@shallow-gravy @cassietrn @strangefable @stacispratt

[jozor-johai]

Revisiting the Rat Cook, Part 1: The Best Pie, and Lord Lamprey

This is the first part of a series I've been sitting on for a while, where I'm going to examine the symbols and themes present in the "Rat Cook" story, as relayed by Bran in ASOS Bran IV, and search reappearances of those elements throughout the rest of ASOIAF.

This series is predicated on the understanding that these books are rich with intentional symbolism, metaphor, and allegory, and that the repetition of these symbols and themes adds to their meaning.

In general, the symbols that are present in ASOIAF are limited by their ability to be inserted into the plot of the story (i.e. if the symbol of a stag killing a direwolf is important, there must be a way in which the characters are able to encounter such a scene within the plot's context). However, the metadiegetic legends that exist in-world for the characters of ASOIAF are not beholden to the same restrictions, and because GRRM is able to invent these myths in their entirety without restrictions on any of the individual symbolic elements, we can trust that each separate element of these in-world myths was placed intentionally.

With that in mind, I believe we can use stories like that of the Rat Cook as a sort of "road map" when looking at the reappearance of these same symbols and themes elsewhere in the story; I believe the "Rat Cook" story is the most distilled example of these elements. I don't mean to say that every instance of "rats" references the Rat Cook directly, but that the Rat Cook story provides a place where Martin is able to use these symbols in their most abstract form and describe their relationship to each other, so that when we see them appear again elsewhere in ASOIAF we might better understand what we are being shown.

So, among other things, the Rat Cook story is about a rat which eats rats, or a cook who serves kings; The Rat Cook story is about fathers and sons, about cannibalism, about trust, about vengeance, and about damning one's legacy.

This is likely going to be a 9-part series, but ideally almost all of these parts will be able to stand on their own. Each post will inform the next as I build my analysis, but hopefully each individual post is also interesting in its own right.

RtRC Part 1: "The Best Pie You Have Ever Tasted" and "Lord Lamprey"

This opening part, for better or worse, is going to retread some well-discussed ground: the clear parallels between the "Rat Cook" story and the incident in which Lord Manderly serves certain overlarge pies in ADWD The Prince of Winterfell, a scene lovingly dubbed "Frey Pie". However, as well-established as this comparison is, I want to begin here so I can begin to introduce how a closer analysis of the Rat Cook themes are present in this uncontroversially parallel scene, and how they might add more depth to interpreting that moment.

Not only does the scene evoke the same imagery, serving pie to the Lords amidst conspicuously missing sons, but the connection becomes even more direct when Wyman Manderly looks directly to the camera and says, “Hey reader, if you’re wondering where those Freys are, think back to any scary stories you know about pie”.

Okay, he doesn’t actually say that, but it’s close enough, and as much of a nudge we’re like to get from Martin (and which still went over my head on my first read through). Instead he does the next best thing, cueing Abel to sing while staggering past our POV:

"We should have a song about the Rat Cook," he was muttering, as he staggered past Theon, leaning on his knights. "Singer, give us a song about the Rat Cook."

Manderly seems to acknowledge the similarities himself, and most have noticed as well.

However, making the comparison between the story of the Rat Cook and Manderly’s actions is particularly interesting in their differences.

There are many ways in which Manderly’s pies, as a mirror, are appropriately an inversion of certain elements in the Rat Cook myth.

Returning to the scene as we see it in ADWD The Prince of Winterfell:

“Ramsay hacked off slices with his falchion and Wyman Manderly himself served, presenting the first steaming portions to Roose Bolton and his fat Frey wife, the next to Ser Hosteen and Ser Aenys, the sons of Walder Frey. "The best pie you have ever tasted, my lords," the fat lord declared. "Wash it down with Arbor gold and savor every bite. I know I shall." “True to his word, Manderly devoured six portions, two from each of the three pies, smacking his lips and slapping his belly and stuffing himself until the front of his tunic was half-brown with gravy stains and his beard was flecked with crumbs of crust.”

Manderly takes on only some of the roles of the Rat Cook here. Despite his status as lord, he plays the role of the humble cook, personally serving Roose Bolton, Walda Bolton (née Frey), Hosteen Frey, and Aenys Frey, all standing in for the “Andal King”. In this way, the role of “Andal King” as someone who has official power and the role of “Rat Cook” as effectively powerless dissident are played out straightforwardly. Bolton and his allies are backed by their army and the authority of the crown while Manderly has no official backing of his own.

Wyman even physically resembles the Rat Cook; Wyman’s blue eyes indicate he is presumably pale, and Wyman is prodigiously large, to mimic the descriptor of “white, and almost as huge as a sow”.

However, like the “Andal King” himself, who had a “second slice” of his own son, it is Wyman Manderly, and not Bolton nor the Freys, who devours two portions from each of the pies. In this way, the roles have elements which are interchangeable.

Wyman is acting out both roles, which is especially interesting because in this comparison is a single most definitive contrast: The Rat Cook, most notably, is not punished for serving the pie, as "a man has a right to vengeance". Instead, he is punished for violating guest right.

Now, Wyman—who lost his son to the Freys at the Red Wedding—certainly has a “right to vengeance”, but betraying guest right is something which Wyman Manderly takes great pains not to do. Manderly conspicuously notes that he gave the three dead Freys guest gifts upon their parting, marking them as no longer guests under his roof, and subsequently, theoretically, freeing him to kill them. Manderly introduces the idea while Davos marks the distinction for the reader’s sake in ADWD Davos IV:

“The Freys came here by sea. They have no horses with them, so I shall present each of them with a palfrey as a guest gift. Do hosts still give guest gifts in the south?" "Some do, my lord. On the day their guest departs.”

The Freys, on the other hand, as executors of the Red Wedding, are the most notable violators of guest right, while the Boltons contributed their part as well; both are being punished for that sin by Manderly-the-Rat-Cook here, marking the inversion of the story. In this iteration, the party serving the pie seems to warrant no judgment; instead, the pie itself is the judgment, served as retribution. With that connection in mind, it's worth remembering the other importance of the Rat Cook story, based on its placement in ASOS and which I think has often been overshadowed by Manderly’s “Frey Pies” incident.

In the Rat Cook story, after the Rat Cook's punishment, he spends an immortal future forever eating his own descendants, a scenario in which Bran describes the rats of the Nightfort as “children running from their father”. That eternal, kin- and legacy- devouring doom does not just come secondary to the punishment, it is a part of the punishment following the violation of guest right, and introduces the notion of an entire family being cursed for that violation... and, for good measure, is brought up in ASOS Bran IV, chapter that occurs only a few chapters after the Red Wedding itself.

In one respect, this is just another reinforcement for the reader of the sanctity of guest right and of the laws of the old gods. Coming so soon after the Red Wedding, the Rat Cook story hints at the fall of House Frey. Walder Frey, most culpable violator of guest right, has apparently doomed the rest of his dynasty to death, punished for his actions, the way that the Rat Cook, too, is a patriarch who creates not only his own ruin but also the ruin of his progeny. Although Walder himself is not literally tying the nooses, it is Walder who has metaphorically become the father "devouring his children" indirectly through his ruthlessness. Wyman Manderly, then, is merely an agent of that doom.

On the subject of the Freys being cursed by violating guest right, only one of the named consumers of the pie, Aenys Frey, is truly mirroring the Rat Cook legend by literally eating his own son, Rhaegar Frey. Both Aenys and Hosteen Frey, on the other hand, are specifically called out in the scene as being the “sons of Walder Frey”. It’s appropriate within the mirrored Rat Cook motif to invoke Walder’s name as patriarch as well as the promise of other “sons” that might succumb to their father’s insatiable appetite for status; this sentence invokes the dynasty of the Frey household. Indeed, Walder Frey himself also has shared motifs with the Rat Cook: like the immortal Rat Cook, Walder Frey has nearly innumerable children and grandchildren, and he too seems to refuse to die.

If a named heir in Westeros is like the ASOIAF version of Chekov’s gun, then the Late Walder Frey is sitting on Chekov’s arsenal; once he becomes the late Late Lord Frey, it’s going to explode. If that happens in an upcoming book, then the Rat Cook story might be setting up the idea of how an eventual succession crisis of House Frey might further this metaphorical connection, with this doomed family turning on itself, each running from the shadow of their father’s legacy like the Rat Cook's children run from him in the Nightfort.

Lord Lamprey

Now, to push through a little more symbolic linking between the Frey Pie scene and Lord Manderly:

If we consider the “pie” element as a key part of the Rat Cook story, then seeing a “pie” specifically in the hands of Wyman Manderly prompts a connection with a noted favorite of Manderly’s: lamprey pie. As early as ACOK Bran II, we learn that:

“His own people mock him as Lord Lamprey”,

Interestingly, we see in that same chapter a telling metaphor considering Manderly and lampreys not in a pie:

“Lord Wyman attacked a steaming plate of lampreys as if they were an enemy host”.

Considering Wyman’s lampreys-as-enemy association makes for curious contrast later, in ADWD Davos IV, as Manderly is feigning allegiance with the hated Freys. Here, Manderly has just stepped away from the feast in order to secretly treat with Davos, and the food served may contain more meaning than at first appears:

“In the Merman's Court they are eating lamprey pie and venison with roasted chestnuts. Wynafryd is dancing with the Frey she is to marry. The other Freys are raising cups of wine to toast our friendship.”

The reappearance of this noted lamprey pie might take on more significance knowing that some of those eating it become a pie later on. The reminder of the association between Manderly and his lamprey pies seems even more intentional when the “Lord Lamprey” nickname conspicuously returns as Bolton’s men search for the missing Freys in ADWD Reek III:

"You did not find our missing Freys." The way Roose Bolton said it, it was more a statement than a question. "We rode back to where Lord Lamprey claims they parted ways, but the girls could not find a trail."

Invoking his nickname in this scene draws a connecting line between Manderly’s favorite pie, the “enemy host” of lampreys, the missing Freys, and “lamprey pie” being served as a symbol of the fake “friendship” between the Freys and Manderlys.

If that Frey-Manderly friendship is marked by mentions of lamprey pie, and Manderly loves to eat lamprey like he would eat an enemy, and we see in The Prince of Winterfell that Manderly apparently loves to eat his enemies, having two portions of each Frey pie, we might think that the Freys are being paralleled with Manderly’s favorite pie filling: lampreys. If that is the case, then comparing the punished Freys to lampreys is a scathingly fitting image, and I mean that literally.

Considering that carnivorous lampreys latch onto fishes to slowly eat the fish’s blood and flesh while the fish still swims, then looking at an image like this makes for some serious symbolic resonance if you consider the Tullys as fish (as they often are described) and the pie-filling Freys as pie-filling lampreys. It certainly provides a strong visual metaphor for the Frey’s “late” and half-hearted vassalage to Hoster Tully, how they dealt with Catelyn, and how they are now parasitically using Edmure—he sits in Riverrun at the end of ADWD, but with Freys latched onto him, bleeding him like they did his family.

This series is otherwise about pies and rats, not lampreys, but I will mention a few other interesting associations with lampreys that are worth looking into. The Stokeworths, when they are desperately trying to secure a match for Lollys, serve each of their prospective suitors lamprey pie, perhaps a signaling of the Stokeworth’s parasitic place at court, or the attitude towards their search for their daughter’s match. Note that in that context, Littlefinger remarks that he loves lamprey pie, perhaps fittingly for someone who has risen high by making use of his parasitic attachments to those more powerful. By contrast, when our intrepid advocate for truth and justice—Davos—is jailed after his return from the Battle of the Blackwater, he is served lamprey pie in the dungeons, but finds it “too rich” to eat. We have already seen that Davos has no stomach for the blind flattery that some of Stannis’ other lords have, and this scene describes that same character trait. I believe there are even further associations that are worth investigating, but for the sake of this essay, we must move on and end here for now.

In the next part, I'll focus on how it's relevant that the Rat Cook's pie and Manderly's pie were both allegedly "pork" pies, and where that reappears as well.

[mirrorofliterature]

percy is such a misunderstood character

I'm not saying anything revolutionary here, really I'm retreading old ground but like...

so many people's reading of percy goes only skin deep.

the story is told from harry's perspective. for who percy is, what percy wants - you need to look under the surface.

harry has rose-coloured glasses when it comes to the weasleys and he is inherently going to see anyone opposed to that in a negative light. harry really struggles to see in shades of grey - beyond bad and good - particularly in OOTP, which is the height of the whole percy betrayal arc.

my point simply being that harry is an inherently unreliable narrator when it comes to percy.

he comes with his own particular set of bias and prejudices:

- ron's disgruntlement vis a via percy, likely stemming from their complex sibling relationship/jealousy but harry ain't going to see that.

- twins' bullying of percy. harry likes the twins - at best, he is apathetic towards percy

- he is a jock.

- he is not about that academic life, which percy represents.

- him and percy do not interact outside the context of him being ron's brother. they are four years apart! what ron says about percy goes

my point being... taking the narrative at face value about percy results in a shallow and inaccurate reading of his character - even sometimes by his fans.

what percy does vs what harry says about percy are very, very different.

percy is one of the smartest people in the series. that is a canonical fact. he's clearly competent at his job, otherwise he wouldn't have kept it when ministers' change.

he can read dumbledore. he works in politics, for god's sake! he can lie and sabotage from within.

anyway percy weasley is complex, and he's not a mindless ministry drone or under the imperius curse.

anyway #percyweasleyisintelligent2024 and #thatboyisautistic and #percyistheOGdumbledorehater and #mollyandarthuraren'tperfectparentsactually

I digress.