#is arguably one of the strongest implications that they are in love

[bakuhatsufallinlove]

How do you feel about the fact that Katsuki’s apology and his death are not brought up again? I was really sad they never talked about it all. Do you have any headcanons for when/how/if they ever talk?

Dear anon, you've activated my trap card.

By which I mean you've asked me about something on which my feelings apparently vastly differ from those of most people.

To answer your question, I did not expect nor even want a scene addressing the apology again in-canon. Neither did I expect a scene where they discuss Katsuki's death, though I was less opposed to that.

But let me specify this right off the bat: there is a distinction between what I would enjoy seeing and what I think has narrative weight.

And I think that's fascinating to talk about. You asked me how I feel, so get ready!

When people say they wish Katsuki and Izuku had talked about his death, what are they wanting?

Do they want to see Izuku get vulnerable and choked up over Katsuki, shed tears for him? Do they want to see Katsuki see him like that, and watch him soften and let Izuku open up? Do they want to see him take Izuku's hand and comfort him, reassure him that they won, that it's over, that he's still here, and no one is gonna keep him from getting back up again? With the implication that getting back up again means standing at Izuku's side and helping him win?

I sure as fuck do!

But do I think that kind of scene does something for the story, themes, and development of them as characters that what we actually got doesn't do? Not necessarily.

See, stories are not driven by what the audience wants to see.

Stories are driven by what the characters need.

Not what they want, what they need. Often, characters are denied what they want because it does not align with what they need, and this is the very premise of their struggle. Katsuki is a great example of this, because at the start of the story, he wants to feel superior to Izuku, but what he needs is to accept his own admiration of him.

Fanworks exist to give the audience what they want, in a vacuum, totally separate from the linear structure of the narrative. You can just pop into a scene of Izuku crying and have Katsuki kiss him better and that gets us every time, doesn't it?

But in the manga, for a scene like this to exist, there has to be a need for it to address. So, what would that need be?

I think people ask for these scenes because they are under the mistaken impression that Katsuki doesn't understand how Izuku feels about him. And I cannot tell you how much I disagree with this.

If Katsuki didn't understand that Izuku cares deeply for him, then a scene like what I described would probably be intended to tell the audience that he needs to understand how Izuku feels and, up until now, he hasn't.

But that's not true.

Katsuki knows Izuku cares about him.

At the start of the manga, Katsuki is convinced Izuku looks down on him.

Chapter 10

We the audience understand this is projection. Katsuki's admiration of Izuku makes him feel inferior, so he rejects his own self-critical feelings and assigns them to Izuku. No matter how many times Izuku shouts that he thinks Katsuki is amazing, Katsuki's inferiority complex is unfazed.

He utterly ignores it, it doesn't even register for him.

Chapters 10 and 119

Instead he doubles-down on his own frustration and dissatisfaction with himself, engaging from a point of competition, as though Izuku had insulted him rather than complimented him.

This tells the audience that the problem does not lie with Izuku, but with Katsuki himself. Izuku cannot resolve this situation with words, we've seen him try. Instead, Katsuki needs to change his own perspective.

After Deku vs. Kacchan 2, Katsuki accepts—begrudgingly and with great discomfort—that Izuku does not look down on him.

Chapter 120

Even though Katsuki reconciles this, that doesn't change the fact that he is weak. He needs to grow as a person and as a hero. Now, his struggle is not just about his self-perception, but also his real progress.

Chapter 209

We joke about Kacchan being a tsundere, because he is, but part of the reason he rejects Izuku's appraisal of his progress is because he still hasn't met his own standards yet. Katsuki admires Izuku and All Might so much; he knows what they are capable of, he sees the gulf between where he is and where they are, and he is fighting like hell to close that gap.

He won't be satisfied until he does.

Chapters 362 and 409

I've seen people talk about this moment like it is a revelation for Katsuki about Izuku's feelings.

Chapter 359

And, first of all, lemme just say that no villain has ever said a damn thing to Kacchan that he didn't already know.

Chapter 358

ShigAFO's comment does not exist to confirm Izuku's feelings to Katsuki. It exists to signal to Katsuki (and the audience) that ShigAFO knows how Izuku feels, and he is prepared to use it against them.

This is a threat. This is about instilling horror in us and bringing to painful fruition Katsuki's fears about being a weakness people can exploit to hurt Izuku.

But let's not bury the lede: Katsuki would not have these fears if he didn't understand that Izuku cares about him.

Chapter 82

Look at his face and tell me he doesn't know with every fiber of his being that Izuku would die for him.

You could argue that because Katsuki understands Izuku's heroic nature better than anyone, perhaps he doesn't consider Izuku's protectiveness of him unique. Maybe he doesn't understand that Izuku loves him specifically and, to him, this is simply an expression of Izuku's selfless, save-to-win mentality.

But that I counter with two points:

Katsuki is not dumb, guys. He is our most emotionally intelligent and self-aware character. We are shown on numerous occasions that Katsuki can read between the lines and understand someone's feelings without being told (unlike Izuku, who's a damn nerd).

The story arc of Katsuki and Izuku's relationship is predicated on the fact that Katsuki rejected Izuku, but they are both unable and unwilling to truly disentangle themselves from each other. This means that their interactions, across the whole of the series, generally focus on Katsuki accepting Izuku and his own feelings, thereby restoring their relationship. To do this, he needed to both accept himself and better himself.

As a result of the second point, the focus is not on Izuku demonstrating his love for Katsuki as the bridge of change. The fact that Izuku loves Katsuki and wants him in his life is indeed highlighted frequently, but it is often treated as a given.

I've said it before: Izuku's feelings are not the ones that change the most, Katsuki's are.

Now you might say, "Maybe Katsuki doesn't need to hear Izuku's feelings, but Izuku might still need to say them!" And you're right, that is a possibility! Even if it is a given to the audience, there could be something that suggests Izuku saying these feelings out loud would be significant or change something between them.

But that's not what the series tells us.

Izuku does not hold back about the way he feels for Katsuki. Whether he is calling Kacchan a stupid jerk or saying he is amazing, Izuku is not subtle about what he thinks—in fact, these are often his most raw, unfiltered character moments, and they are significant.

Chapter 119

The only significant time Izuku does not tell Katsuki how he feels is his image of victory moment at the end of DvK2.

Chapter 120

My conclusion about this is that Izuku has felt conflicted about his own behavior and thinks Katsuki would reject him if he knew about it, so he chooses not to bring it up.

However, there is still a narrative purpose of showing us this thought, and that is to demonstrate that while Izuku may feel conflicted, ultimately he still accepts his own feelings. Regardless of whether Katsuki accepts him or not, the way Izuku feels won't change, and he's not sorry about it.

This moment exists for a lot of reasons, but chief among them is so that we the audience can see the true shape of Izuku's heart.

And what we see is that he loves and admires Katsuki, no matter how he acts or even what kind of person that makes Izuku.

I liken it to Katsuki's All Might card moment.

Chapter 362

Listen, I would have loved to see my explody boy get his autograph, but the greatest impact of this scene is not in the question of whether he will get one, that's just the tragedy lying on the surface as we witness his death.

No, the most meaningful part of this moment is in how it makes the audience truly understand that he still longs for it, even after all these years.

I wanted Izuku to tell Katsuki he is his image of victory, but the fact that it doesn't happen signals to me that Izuku ultimately didn't need to say those words out loud for that moment to matter. Izuku reconciled the discomfort he felt about admiring Katsuki and embraced his positive feelings for him, and that's pretty damn important.

I can and will indulge in fandom to meet my heart's desires, and that's excellent. But rather than simply feeling disappointed by canon material, I think it is more interesting to allow both what happens in the story and what doesn't inform my understanding of it.

I have been planning an in-depth post about the apology and what I think people are missing when they say Izuku "didn't respond" to Katsuki, but let me just lightly touch on my objections to that line of thinking.

Many people in the English-speaking audience appear to have a very narrow range of actions they consider a "response," and allowing someone else to act upon you for some reason does not seem to count.

If you frame interactions only by what Character A does to Character B and see Character A as the only active participant, you are missing out on a lot.

For example, Katsuki catches Izuku, and we see that as a demonstration of his love, as we should.

But how is Izuku allowing himself to be caught not an action that expresses his feelings? How is the fact that he responded to an apology with his own apology not indicative of how he wants to connect to Katsuki in this moment? How does it not convey what he feels for Katsuki, what he has always felt for him?

Furthermore, I see a lot of people take for granted how silence is a choice, and it carries meaning. Much like with what does and doesn't happen in a story, there is meaning in what people say and what they don't.

Japanese as a language values indirectness; it is not a bug, it is a feature. This is partly to avoid forcing yourself onto others and causing them discomfort, but another part is trusting others to understand who you are and how you feel without beating them over the head with it.

But you'll have to wait for my full post to hear the rest of that idea.

I dunno if this is what you were expecting out of your question, anon, but I hope you enjoyed the ride all the same!

[dearinglovebot]

claire not saying “I love you” back when in the plane is juicy but it’s arguably even more fascinating that she doesn’t say it when they’re reunited. she says “I thought you were dead” but never does she say it back. even thinking he died without hearing her say it back, she doesn’t take the chance to say it back when realizing he is alive. at no point does she stop to say it back.

which is actually the strongest evidence to her making the willing choice not to say it back. pair this with how the line delivery makes it clear that he doesn’t expect her to say it. none of this supports the interpretation that she was too frozen in fear to say something back. instead, you’re given the idea that she was never going to say it back in that scene and they both knew it and they both accepted it.

out of context, you might argue that she just doesn’t feel it, but textually that isn’t the case. the narrative wants us to understand that she genuinely does love her family by establishing two movies of romantic build up + their scenes in the first half of dominion. their relationship is not the problem. it is solely something going on in her thought process.

when comparing it to other scenes of a similar nature (send offs), a pattern starts to emerge. in the deleted jw scene, she doesn’t say a single word. in fk, she urges him to be careful when looking for blue. later in fk, she just tells him to go. in jwd, she tells him to come back. in only one of these scenes does she make a reference to herself (“I’ll be fine” in fk) and never does she explicitly state her feelings about said send off. she just fundamentally never says goodbye on any level. there is no closure or reassurance. there is especially no “I’ll see you again”. that is to say, she has a pattern of avoidant attachment.

now connect that to her self-reliant personality and lack of long lasting relationships. the implication becomes: she is a complex individual who struggles to voice vulnerability in any situation, no matter how dire. the implication also becomes: those who truly love her meet her at her own terms. she doesn’t say it, ever, but she also doesn’t need to. there is an understanding that she does, and it shows in her actions. which is, in my opinion, arguably more romantic than arguing she froze up

[monstersdownthepath]

Ever feel like some deities' aligment don't really fit their descriptions, 'specially racial ones tied to 'monsters'? Like, Dretha want orcs to make strong children and fiercely protect what they have, and resents the male gods for being dicks. Nothing really evil, especially compared to other 'evil fertility goddesses' like Lamashtu and Shib-Niggurath. Feels like she's only not Chaotic Neutral because 'orcs bad'.

-----

Some, yes! However, the orc gods are kind of in a weird area in my consciousness due to the existence of the Hold of Belkzen, aka Orc Central. In canon Pathfinder lore, the Orcs of Belkzen (where the orcish pantheon reigns) are all warmongers hellbent on proving their tribe is the strongest, their leaders are the most powerful, their gods are the only ones worthy of worship! There is no room for softness, for care, for anything resembling true love in a society that prizes individual strength so immensely. Even Dretha, arguably the most gentle of the orc pantheon (in the same way being tazed is more gentle than being struck by lightning), is not immune to this; her nurturing care of young orcs comes at the cost of every other culture, society, and species the orcs come across, many of which she demands as sacrifices in exchange for healthy children... and note that she prizes strong and healthy orcs above anything else, with grim implications regarding orcs born in any other condition.

In a vacuum, "fight fiercely to defend what they have" is a statement that wouldn't be out of place in any Good god's portfolio, and even outside of a vacuum, this was a perfectly Neutral stance back in the olden days when the orcs were being forced from their home by the dwarves... but this is no more. The Hordes of Belkzen have grown, and they now conquer and take not only from each other, but from all their neighbors. "Fight fiercely to defend what they have" looks much less Neutral when they lay claim to everyone else's stuff in accordance with their perceived right as the strongest beings in the world, and see the simple existence of everything outside their tribe--even other orc tribes--as a threat to their belongings, their families, and their way of life.

... all this to say that, yes, she IS Chaotic Evil because the Belkzen Orcs are, by and large, Chaotic Evil. They brought their gods with them from the underground and the majority of them haven't changed for the better because of it; many of them are, in fact, worse now that there's a target for their wrath beyond one another. Even the orcs fighting to reform Belkzen into a proper nation instead of a shattered collection are some flavor of Evil. It takes a long, long time to undo thousands of generations of teachings, after all.

ALL OF THAT being said: if you have an orc character and want to treat her as CN, it's incredibly easy to do.

[brineffxiv]

Note to self: put something here when your head stops spinning

Ah, now that makes sense. I had wondered how you planned to ensure that the restored populace had your old culture, but it seems that you're simply going to replace the populace entirely. Humor me for a second though; once all the worlds are rejoined, won't the people of the Source essentially be your people again? Lacking the memories, albeit, but if I understand correctly, we have the same souls as the ancients of your time.

Listen, Emet-Selch, I have seen your city; I have met your people. I have met your people as you remember them. Do you truly believe that they would want to be brought back that way?

What does one say in the face of the judgement of the eternal? I do not doubt that Emet-Selch lived, experienced, and evaluated as he claims. And I do not doubt that we fell short of his expectations.

The problem is that Emet-Selch is not an impartial judge, despite what he claims. He's overwhelmingly biased and clearly still grieving everything and everyone he's lost, and has carried that with him for millennia.

I imagine he tried, genuinely, to find worth in us, but was so caught up in his grief that he was unable to see it.

You're not wrong. Most wouldn't. And the few that would would be the best of us, the least worthy of death.

The thing is, Emet-Selch is not wrong about any of this. People can be flawed, horrible, and brutal. All these things are true. But whether from trauma, or grief, or whatever reason, he's dismissed all the good in us, and conveniently overlooks any of the negatives of the ancients.

I do not believe that the ancients were as perfect as Emet-Selch describes them, remembers them: he himself proves that. And he's not an anomaly. All of the Ascians became monsters: Emet is arguably the kindest one we've met, and he's personally responsible for more atrocities than I can reasonably list. If the unsundered Ascians became what they are, then that potential lay in all of the ancients, just as it does in the modern peoples. They were not intrinsically perfect.

But all that is irrelevant, because this isn't about logic. As Emet-Selch puts it, yes, we "refuse to see reason." It doesn't matter whether the world used to be perfect or not, we are here now, regardless of how broken we are in his eyes.

We're fighting for the same thing in the end, for ourselves and those we love to live.

Uh-oh, I think we've made him mad.

I just want to appreciate how cool that looked. When the doors swung open unto a wall of flames.

No wave as he's walking away. No more performance. Nothing to be performative about. This is serious, deadly serious. And Emet-Selch is very tired.

Oh goodness this dungeon was horrifying. And awesome. The fire, the monsters, the falling buildings! It hurt my heart after seeing Emet-Selch's memory of Amaurot, talking to it's people. To know that this is what befell them.

Stop moving the goalposts, Emet! Great line though. Got to remember to use this cap as a reaction every time I'm mildly displeased by something.

Alisaie is so goddamn badass. All my friends are badass, but Alisaie jumping up and throwing herself into battle against the strongest opponent any of us have ever faced is just... beautiful.

And then Ardbert became part of me and stopped me from becoming a lightwarden. Which begs the question, how the hell did Hydaelyn know he was going to be needed to do that... can she see the future?

But that's a question for another post...

It's me! The ancient me!

I don't know how the Exarch got here, but boy am I glad he did. Now I've got all the backup I need to take on Emet-Selch properly.

Speaking of...

Now that is a hell of a thematic name. Hades, lord of the underworld. FF is pretty loose with its naming conventions, but I can't imagine they chose that one for Emet-Selch without at least a few good reasons. I will enjoy considering the implications.

Ah, I should have guessed he'd have a super-powered form.

And isn't that a somber title for a Trial. Is this the dying gasp of a man who's all but dead already? Or does it belong to the hope that the Ascians had for their plans for rejoining? Perhaps both...

Oh.

I think that's the first time we've seen his mask. At least, I'm assuming that's his mask.

That was a very excellent fight. And sad. And disconcerting. When Emet-Selch stabbed himself in the chest to kill off his body and take his second form... wow. Metal as fuck.

Yeah, that's what I thought. The phantom Amaurot, the shades of people, even this fight... you're drowning in your own emotions and grief.

My friends are here to help me!

To my eternal regret I was unable to capture a good photo of Ardbert's axe, and this cutscene is too emotionally fraught for me to re-watch just yet.

*sobbing uncontrollably*

He did everything for his people. Gave all of himself for their cause. And in death he thinks only of them, and their remembrance. He was their hero; their final hope, and this is the bitterest victory.

Goodbye Hades, I will miss you.

.

.

.

G'raha, I wish the game would let me give you a hug.

And everyone is gathered to welcome us home.

[team7-headquarter]

The thing about Naruto being Hokage and why the execution of such concept is so tricky is that every other Hokage was practically a genius.

I'm not saying Naruto is not smart (he tricked a goddess with a sexy jutsu, after al), or that every other Hokage was better than him 'cause they were book smart or whatever. What I'm saying is that every other Hokage was more versed on stuff like politics and negotiations, were a bit more crude or realistic or at least had more experience.

Naruto is not fool. He's not a little kid too busy dreaming to do something about the world. I don't mean to undermine his capacity of learning, nor deny that he could become a great Hokage.

The thing is —he needs training.

And yeah he's the strongest shinobi in the world and there's no one more qualify to protect the village (he proved that several times). But we're talking about governing. Not only paperwork, but what's behind the paperwork. We're talking about decisions like sending some kids to possibly die in crazy missions. We're talking about malicious and dark stuff. Choosing a side in a conflict between allies. Dealing with greedy no-shinobi politicians. Interfering with clan politics. Making people mad. Dealing with bad consequences of good actions.

You could argue that all the leaders of the world became besties after the last war and I could say that's one of the most bullshit decisions of the manga. This is a shonen, I know. But if you meant to have a continuation of some sort, I think you'd have to acknowledge that peace can't last. You don't even need an entire family of gods to reach that conclusion. You don't even need to mess with space and time. All you need is to wait for the tiny conflicts to accumulate. Evil shinobis wanting to wreck havoc, some misunderstandings, even just climate catastrophes or the consequences of a past you can't erase.

In the end, you can't be loyal to the entire world. And while Naruto did fight in a war, the nature of it was not the same as the other wars. There was no big common bad back then, just flawed people being flawed people.

When I say every other Hokage was a genius on their own ways, I mean this:

Hashirama was a founder of the hidden villages, a political solution to protect the shinobis, balance the entire world and further the progress of society.

Tobirama did almost everything in Konoha's system, including the Academy, and he is arguably the best Hokage when it comes to modernization, politics, jutsu creation and being realistic.

Tsunade changed the entire landscape of how wars were fought by introducing the importance of having a medic nin in every team (or close to it).

Minato proved to be not only the strongest but the smartest shinobi in Konoha, without kekkei genkai or any clan; he was second to Tobirama (in my opinion) in terms of Hokage intelligence in politics and such.

Hiruzen was the student of both the first and the second Hokages, and even when he made a lot of bullshit decisions (LIKE A LOT), he had the experience of having lived through almost every war and kept Konoha running after Tobirama died.

Kakashi has been making war decisions since his childhood. Bloody, ugly, dark decisions. A prodigy who became an anbu at childhood, with a mind capable of adapting on the run, capable of quickly analyzing any situation. Again, more versed in politics and such.

Naruto needs training. He needs instruction, he needs to study. He needs to mature further still. But when I read about the blank period, all I read is about him falling in love with Hinata, teaching the kids on the Academy, etc.

I personally want Naruto to be the best leader he could be, 'cause I grew up supporting his dream of becoming Hokage. I want to see him succeed! What I don't want is the implication that someone else has to do the job for him. I want Naruto to be able to discuss shinobi politics with Shikamaru, not because Naruto is a genius, but because he loves his village and he's willing to work hard for it. I want a Naruto that has his own thoughts about shinobi children, about orphans and families and civilians and clans. I want a Naruto that learns all he could about the origin of Konohagakure and tries to reach other Uzumakis and give them a home. Stuff like that.

Every other Hokage was practically a genius but competing with geniuses never stopped Naruto. He's stubborn and he loves with his entire heart and he doesn't give up. He mastered the rasengan in a couple of days. He won his match against Neji in the Chunnin Exams, defeated Pain and Nagato. He is not stupid or incompetent, okay? And that's what I want to see when I'm presented with the future of him being Hokage.

[winterrose527]

~couple questions~

jonsa

4. How do they compare to each other's exes? Are they the same "type" or an upgrade/something different?

12. What struggle have they seen each other through?

15. What habits or characteristics have they picked up from each other?

18. Would they have kids together?

25. Who said "I love you" first?

27. What interests do they share? For interests they don't share, do they ever participate anyway?

Ooh thank you for these asks. I'm starting with jonsa because you're TOO kind to include the other ships. I'm going canon era rather than modern AU because it's just where I feel these babes the strongest.

Also apologies because this is horrifically long and nonsensical.

4. UPGRADE BABYYYYYYY. It's like, not even close. It's not even a little close. Sansa 'You're as different to Joffrey as anyone I've ever met' Stark. Jon 'She's the best they could ask for' Snow. They're such a wild upgrade on one another's past relationships - if one wants to call them that. And actually looking at those two quotes I love how singular they both are. Like it's not just 'you're great' it's 'you're the best', even when we didn't get them the way we wanted they are still just so much better than everything we were given.

12. What struggle haven't they seen each other through? But in all honesty I think the biggest thing that they personally share in common (I am saying personally because their entire family suffered the loss of one another, etc.) is the loss of agency. And it happens so soon for both of them. Sansa arguably never had that much of it, but Jon was a highborn bastard, he literally could have gone anywhere and done anything but he went to one of the most restrictive sects in the Seven Kingdoms. Sansa chooses a path to become Joffrey's queen. I think those two paths are really interesting because they're both ones that are chosen through their idealism, when as the reader you know that as Joffrey's Queen, Sansa would be his prisoner, and as a member of the Night's Watch, Jon will be the realm's prisoner.

That they are basically both choosing to not have real choices for the rest of their lives because they simply don't understand the implications of it.

And then I think both of their journeys are learning those implications and fighting against them when they could and surviving them when they had to.

I truly think that a lot of what we saw in Season 6 is that struggle with agency. How do they reclaim themselves when they are suddenly beholden to one another? You know you can almost see it in both of their eyes, even as relieved as they are to have found one another, there seems to be this sense of would it have been easier if I didn't? and I think that is where they clash, as they both somewhat overcorrect.

and I also think that is PART of what Sansa is so upset about when Jon returns with Daenerys. Yes, it's about the North and yes, I believe she's jealous, but I think Winterfell became a symbol of their agency and so when Jon gave it to Daenerys it wasn't only that he was giving away his own but that he was taking Sansa's too. Which is one of the reasons that in spite of everything there is something to that they'll have Ned Stark's daughter to speak for them. they could not hope for better. because it is almost an acknowledgment that she has healed more than he has, that she has learned her lesson in a way that will not allow her to forget it again.

Sorry I feel like I bungled that explanation & I know it's not a cheery 'resolved' thing but I don't think of Jonsa as resolved. I just think of them as complex and delicious and we could have had it allllllll

15. I love love love the call back of Jon behind his desk at the Night's Watch with Sansa behind hers at Winterfell. Also, I'm sorry, you cannot convince me that Sansa's 'Go on, I believe in you' is not at least a little inspired by Jon? like it's so different to anything else we've heard her say, it's so like... soldier to soldier goading, that there is no organic way she would have picked it up if not for spending time around him and his men and I just loved it?

but in all honesty, I think something that I like is that for the most part they really don't bleed into one another. they are such distinct people to me, and they each make the other more of themselves rather than blending into one another.

18. IF THE GODS WERE GOOD BABY GIRL. And like, I'm so glad that we've now taken out the stigma of Queen's ruling because JON SNOW IS A GIRL DAD JON SNOW WILL ALWAYS BE A GIRL DAD.

25. Oh gosh. I go back and forth on this one, but I think Jon felt it first and I think Sansa says it first.

27. Surviving is like a big one tbh. They like it so much. They're so good at. Others can die mad about it - oh wait they did.

In terms of hobbies, I don't see a ton of overlap, but I think they're very good at being with one another while they are doing their thing. And then when the kids come most of their 'hobbies' are centered around them so of course they're shared.

[tirsynni]

"Too much thought into this" time, but if you add Miphalink and Revalink into things, especially as a type of mirror to OoT, things get interesting.

OoT!Link ended up engaged to the Zora Princess Ruto in order to get their stone to access the Master Sword. When he received it, he had no idea what an engagement was, and I would argue that by the time the game ended and he returned to his original time, he STILL had no idea what an engagement was. In BotW, there's no reason to believe that Link knew about the Zora armor and its implications prior to the Calamity awakening. He was focused purely on his duty, arguably to the point of mental and emotional self-harm, and in the scene where Mipha and Link talk alone together, it's hinted that Mipha planned to talk with him privately once everything was handled. They never had the chance to have that talk. Link has strong ties to water and its connecting Triforce, Nayru’s Triforce of Wisdom, but they’re rough in BotW, especially when you add in his relationship with Zelda. 

OoT begins with Link in the forest, an outcast Hylian who thought he was a Kokiri. The Boy Without a Fairy. When the game ends, it ends with Link homeless, unable to return to the forest because he wasn't a Kokiri, and with Navi leaving him. He was alone, still clad in green, still loving and missing Navi, but unable to go back to the forest. In BotW, the paraglider is arguably one of Link's most important tools. Unless you use glitches, you can't get off the Plateau without it, you need it to free Vah Medoh, etc. etc.  I would also argue that, despite the existence of the Deku Tree and the Lost Woods, Revali and Revali's Wind is the closest parallel to the forest/Farore's Wind/etc. from OoT. Link's own clash with himself and his role is viciously mirrored in Revali and Revali's frustration: all of Revali's efforts to become Master Revali and then Link becomes Champion by pulling a blade. Revali is clearly trying to show Link what he’s capable of, why he deserves Link’s respect, just trying to get some sort of response from Link, and Link’s forced silence acts as a nasty barrier between them. It's a mess of insecurity and belonging and where does everyone fit in society and with one's self. In the end, Link arguably -- at the minimum -- wins Revali's respect, but Revali is still lost to him. Rito Village still stands, but Revali and everything he could have represented is gone. In OoT, Link’s Hylian blood acts as a barrier between him what he thought was his home. In BotW, the role forced on Link acts as a barrier between him and what could have been in Rito Village with Revali, because no one could look at those two and also look at what he was able to create with Teba and his family and deny that there was such potential of belonging there: two young warriors fighting so hard to find their place, to prove themselves. Of all the options, Revali is best represented by Farore, more than any other Champion (fight me).

In many of the games, Link tends to have the strongest ties to wind/forest and water, but wind/forest tends to equal home. It’s where his story begins (including in WW, where Link’s journey begins when he gets his green/Hero’s tunic). The wind/forest acts as aid and guide (with Navi helping represent that in OoT and so much of SS!Link’s story involving him flying). The Triforce of Courage is Farore’s, the green goddess represented by life and greenery and wind, and all of the heroes, whether they have the Triforce of Courage or not, definitely hold or come to hold or just represent the Spirit of Courage.

This was largely me rambling, but Link’s ties to wind and Farore and how all of it connects to his story and character and how Revali represents that in BotW more than even the Deku Tree and Lost Woods drives me nuts. In a good way. lol 

*lies down in the grass* so if Link is the traditional champion of courage, and Revali’s power is his gale.... something something something Farore's Wind?

[drbtinglecannon]

The implications of Darius being to the Hagsquad what Willow is to the Hexsquad is making my brain spin

Does this mean Darius was "the late bloomer that became extremely powerful"?

Or was "bullied but found a supportive peer group & eventually gained confidence"?

Or was "the muscle of the group, both with & without magic"?

"The first to realize the protagonist & love interest's feelings for each other"?

"The one that caused the slightly older dorky boy of the group (Hunter to Willow, Alador to Darius) to blush constantly"?

"SUPER passionate about their preferred magic that's naturally very talented with it"?

How about "the voice of reason but also actually Super Unhinged & always ready to kick ass"?

Or maybe they both have very similar 'end of friendship' stories with a certain A. Blight.

IT'S SO! AHHHH. Like Willow is the PERFECT choice to be the one he mirrors for the group but also ALL THE WAYS HE COULD BE HER MIRROR ARE SO INTERESTING TO THINK ABOUT. IS HE ANY OF THESE? ALL OF THEM? A MIX?

We know both are complete badasses among their peers (Willow is arguably the strongest of the group, and Darius is arguably the strongest Coven Head) but now I have so many ideas for how they could mirror each other further.

[jacquelinemerritt]

Dragonball Z: Abridged Episode 1 Review

Originally posted August 8th, 2015

The series begins with dated jokes and poor exposition.

But first, a little about this project. I love DragonBall Z: Abridged, and I also love film criticism, so naturally, I would want to use my skills as a film critic on this wonderful series in order to take a deeper look at it and analyze just what makes it so great. And that’s exactly what this project is; I’m going to watch, consider, and write a full review for each and every episode. Without further ado, let’s begin!

The most noteworthy thing about “The Return of Raditz! ... Wait...”1 is that it’s really not that noteworthy. Like any pilot episode, it’s main purpose is to establish characters and setting, but it’s weighed down by the years of backstory it is very clearly leaving out. We meet Goku at Kame House and see that he already has very strong relationships with Krillin, Bulma, and Master Roshi, but we don’t get to see their relationships established firmly. Instead we’re dropped right into the middle of this group with only hints and passing references at who they are.

This is best illustrated by one of the best potential jokes of the episode falling completely flat.2 When we meet Krillin, the first thing we learn about him is that he’s sexually and romantically desperate, since his first line is to call Bulma “boobs” rather than her name (which is sexist and unfunny, but thankfully Team Four Star has the sense to not make jokes like this a trend). Naturally we’re meant to believe that he’s a little bit of a loser, but we still only have this idea as an implication, and so when Goku says that he feels a power level bigger than Krillin’s losing streak, the joke falls flat because we don’t yet have any knowledge of what Krillin’s losing streak might possibly be (which also has the side effect of making the exposition useless).

The opening scene is overall stronger than the introduction to our protagonists (though the humor misses about as often). Starting the show off by interrupting Grieg’s “Peer Gent - Morning Mood” with a loud crash and the concerned exclamations of a marijuana farmer sets the tone and establishes Team Four Star’s sense of humor nicely (that the farmer “corrects” himself when no one else is around costs the joke some of its humor, but it’s still solid). Then Raditz shows up, and introduces himself nicely, killing off the farmer and establishing the relative weakness of most ordinary humans before flying away to look for “Kakarot.”

He stumbles onto Piccolo instead, however, who is established very clearly as a loner with no real friends in a clever (but extremely dated) MySpace joke. Naturally, Raditz and Piccolo don’t get along very well, and they both get ready to fight each other. Then, in a fairly inspired gag, two of the voice actors stop the footage, arguing over who will get to voice Raditz after the initial voice actor tries to call his attack by its Japanese name (a very foolish move). The new voice actor steps in, and renames the attack the “Keep Your Eye On The Bird” attack before getting distracted by someone more powerful than Piccolo.

The episode closes with Piccolo joining forces with Goku to save Gohan (Goku’s son) from Raditz, who has kidnapped him, nabbing one of the Dragonballs in the process. The weaknesses of this episode begin to come through again here, as we’re given hints as to Goku and Piccolo’s previous rivalry, but not enough information on that rivalry to justify their joining forces or their dislike for one another. This is unfortunate, because both Goku and Piccolo have the strongest voice actors in this episode (and with the exception of Vegeta, arguably the series), and they’re really good at playing off of each other. With just a little more exposition, their relationship could’ve been made perfectly clear.

Rating: 2/5

If you liked this, consider supporting me on Patreon, or donating to my Ko-Fi.

1An oddly appropriate name for an episode that doesn’t know how to establish its characters.

2Technically it works if you’ve seen the original Dragonball, but c’mon, who has actually watched that?

Thanks for reading! I hope you enjoyed these, because there are many, many more to come.

And yes, each of my reviews from here on out will be approaching Dragonball Z: Abridged as its own unique show, separate from the original series. 

In case you’re wondering, I’ve seen twenty some odd episodes of Dragonball Z Kai, but I watched them after having watched DBZA four times, mostly out of curiosity.

Roshi: “Yay beer!”

Bulma: “Oh my god, he’s a parent.” And a damn shitty one at that (but we’ll get to that).

Krillin: “You know, you guys are the reason I go to therapy.”

And thus marks the first tally in the “Krillin Owned” count.

[cryinginblaseball]

[text id: first image is a screenshot of Blaseball.com. The Monitor, a giant squid (this time wearing sunglasses) says “hey talkers”

Next, a tweet by @angrybookseller on twitter

A calmer response, this time

Having this, THIS, be the payoff to a narrative thread that started almost 15 seasons ago is making me really genuinely emotional

I’m gonna talk about community lore, narrative payoff, and a giant squid for a bit here

Included on the tweet are two pictures, which are a transcript of what the Monitor said:

hey talkers

how’d you get here?

slippery

your pals are inside

can’t let you in yet

busy

aiding the others

but stay near

[there is another message from The Boss]

Where do you think you’re going?

[back to the tweets]

Way, way back in Season 7, the Hall Monitor followed Jaylen back from the Trench. The Moist Talkers, seeing a giant squid, decided that this aligned with our branding, and that we were going to follow it wholeheartedly.

It was just a joke, at the time.

Then, the same season, the Tacos executed the Snackrifice plan. It was chaotic and funny, but also put no small degree of strain on their team community. It was not a thing that they wanted to repeat. Then Season 9 rolled around.

The Monitor, seeking “eggs” (peanuts, as it turned out) began following the most idolized shelled player on the board. Naturally, due to the Snackrifice, this was a Tacos player. There were very few other options.

One of those options, however, was the Talkers’ star pitcher

PolkaDot Patterson had been shelled at the same time as the Tacos players. At the time, they were a pitching powerhouse, and arguably the Talkers’ strongest asset.

But the Tacos were tired. And we knew that.

And we wanted to trust Moist God

We wanted to trust it despite knowing that this may be the end of The Dot. That we may lose them. The Monitor was going to eat our prized pitcher, shell and all.

We called it Polkammunion. Due to a tragic typo, we called it CNMMUE.

PolkaDot lived. It became a moment in history

And that, we thought, was the story. The Dot got a cool new mod (Squiddish), and the story was passed down for roughly ten months as something that happened “back in the day.” And then today happened, and we were presented with a choice.

Again, we chose to trust the Monitor

Having this key player in our team’s culture and history TALK to us, and furthering the plot while doing so - the implications that this carries about the incinerated teams are non-negligible - THAT is how you deliver meaningful narrative.

THAT is why I love this game

This is another story that the Talkers will remember.

Thank you for letting me ramble, and thank you TGB for writing a story that’s going to sit with me for a long, long time.

[end of text]

[shihalyfie]

What Crest-related trait do you think is each of the Main 12’s weakest?

Sorry for taking so long on this! I had to really sit down and think about this one really hard, because there's a lot of nuances to unpack and I had to spend some time thinking about it. I really, really appreciate the fact you specified "weakest" and not something like "worst" or "absent" because, really, these kids were all good kids who probably had all of the relevant traits to some degree, it's just that certain ones are stronger than others, or, perhaps a better way to put it, certain ones are ones they prioritize in life more than others.

Full details under the cut!

Taichi: I'm gonna go with Kindness for this one, and in that I mean its more literal definition of "gentleness". Because Taichi's definitely a nice kid who cares about others, but the part about being soft with others (and especially with, uh, certain fragile objects too)...maybe not so much. He mellows out a lot between Adventure and 02, but he's still more on the rough side in general.

Yamato: Faith (or however you want to translate Jou's at this point), not necessarily because Yamato doesn't have loyalty to others, but because the Crest implication has to do with loyalty to things like honor codes and kept promises, which Yamato, who's more of an id-based person, doesn't really live by as much.

Sora: Purity, mainly because of its nuance of being true to one's own feelings and not having malice or subversive intentions, and Sora's the one with the most complicated tendency to not be honest with herself (about herself) or to not really be sure about her own motives for doing things.

Koushirou: Probably Love, specifically going by the literal meaning "affection". I mean, Koushirou loves other people and all that, but his way of showing that isn't necessarily something that you would call particularly doting or in much of a soft manner.

Mimi: Possibly Courage; of course, Adventure is mostly about her gaining more resolve to stand up against difficult odds, but although she certainly becomes better at handling it, even all the way to 02 she'd obviously prefer pacifist solutions and is most emotionally affected by adversity.

Jou: Possibly Friendship. Not because he doesn't cherish his friends, of course! But taking the nuance of Friendship in terms of "camaraderie and choosing to leave things in others' hands when necessary", Jou has the strongest sense of desire to be able to do things independently, sometimes to the point of taking too many burdens onto himself.

Takeru: Purity, no question about it. Kid has an unfortunate penchant for being the most dishonest about his own feelings, to the point it's ambiguous how much he even understands his own feelings in the situation.

Hikari: Hikari is tricky because her behavior varies between when it's something about herself versus when it's something to do with others, because in the latter case she'll be plenty assertive, brave, and proactive, but when it's about herself she suddenly finds herself unable to do anything. Given that, I would say it's arguably Friendship in a sense -- because she struggles with coming to terms with the idea of relying on others and trusting them with her feelings.

Daisuke: Probably Knowledge. I know this might get taken as "because he's an idiot", but it's not meant this way; it's because Knowledge is mainly assigned the nuance of "wanting to know more", which Daisuke isn't really. In general, he dislikes overthinking things more than is necessary, and is satisfied with what he has to work with. Not that he enjoys being ignorant, but he lives by the philosophy of "better to not think about unnecessary things".

Ken: Possibly Hope, as someone who's seen the deep end and is still climbing out of it. I mean, of course, the point is that the 02 group helps him have a bit more of it, but even during Diablomon Strikes Back he's the first to start considering "it's over..."

Miyako: I'd say probably Courage, as someone who's one of the first to emotionally panic and freak out the moment things really look like they're about to go south. Perhaps you could say it's the same reason as Mimi.

Iori: Love. Again, considering that the literal definition of the word is "affection", and Iori...affection...uh...well...yeah. (He's still on his way to figuring that part out.)

[aurathian]

Hey! I'm so glad your requests are open, I love your writing and I would love to suggest something. In my opinion, everyone noticed that Link and Zelda liked each other even before they knew. I imagine Urbosa, Revali, Daruk, or even Purah or Robbie would constantly be teasing them about that, only for them to quickly deny it and blush with embarrassment. But maybe this could lead the blondies to having interesting conversations, don't you think?

Firstly, I am SO sorry at how long this took. Life is really getting ahold of me, and it’s only getting worse. I decided to experiment with present tense in this oneshot, so I hope it turned out to your liking despite the experimental nature! Thanks for your request.

Rumors

Zelda rolls her eyes. “Please,” she groans. “I don’t like him.”

“Come on, Princess, you totally do!” Impa lightly taps her on the shoulder and wiggles her eyebrows. The princess reels back in playful disgust and smiles.

“Impa, I really don’t. We are just...” she searches for the right words. “Acquaintances...?”

“Friends,” Impa offers. “Maybe more.”

“There is no maybe, Impa. It’s simply false. The implication I like him, that is.”

Impa runs a hand over her face and rolls her eyes, too, following Zelda as she continues down the hall. “You guys go everywhere together!”

“He is my knight.”

“He held your hand that one time—”

“We were about to be blown up by a raging Guardian,” Zelda scolds, and she stops to face Impa. “It’s his duty to protect me, and he grabbed my hand to help me keep up with his speed.”

“Sure, Princess.” Impa crosses her arms. “But you can’t deny that—”

“Besides,” Zelda interrupts unintentionally, her voice soft and low in the castle halls, “I don’t think anyone would want to be with a failure like me.”

Impa blinks. Once, then twice. “Um...” she’s caught off guard by the sudden shift in mood. “That’s not true. I, for one, would love to be with you!”

“Impa!” Zelda scolds, her face burning scarlet. “I simply mean that I have much to worry about and don’t have the time to think about relationships. I need to fulfill my duty.”

“Everyone has a little spare time for love, Princess.”

Zelda gazes out the window next to her into a small green courtyard. “Not me,” she disagrees. “He is fulfilling his duty beyond what is expected. I need to figure out how to do the same.”

A guard approaches the pair of women and tells Impa that she’s needed elsewhere in the castle. Impa walks off with the guard after saying goodbye to Zelda, making sure to turn around and make kissy faces at her as she walks away. 

Zelda chuckles quietly, but it really does bother her. The endless questions, assumptions, the never-ending looks she receives when she’s out with her knight Link. Ever since he was appointed as her knight, the rumors ran rampant. Part of her wishes that she would’ve been left alone to train day and night to appease the Goddesses that refuse to answer her even now, but the other part of her appreciates the support, however silent it is. 

Zelda continues her stroll through the castle only to run into the Champions returning from the throne room at an intersection in the hallway.

“Hello,” she greets politely, still a little uncomfortable around them and in awe of the sheer power they each held individually. She feels that it would be rude to get too friendly too fast, given their statuses in their homelands. 

“Hey, Princess!” Daruk bellows boisterously, his mouth positioned in a never-ending smile. “What’re you up to?”

Revali tuts and crosses his arms. “What a foolish question, Daruk. She lives here. What do you think she’s doing?” Zelda frowns and tilts her head ever so slightly in disapproval. Each of the champions has a strong personality, she knows, but Revali’s is arguably the strongest.

“I’m just on a walk,” she explains to Daruk with a small smile. “How about you?”

“Well, we’re—” his smile drops when he realizes he forgot.

Urbosa claps him on the back and a few sparks light up from her hands. She laughs heartily, deeply, warmly, and looks at Zelda. The Princess Zelda always found comfort in Urbosa. When her mother died, Urbosa was the only woman in her life that was there for her, especially in her younger years.

“We just got our next mission from the King,” Urbosa tells her. “We’re on our way to vanquish some monsters from the Breach of Demise.”

“By ‘we’, she means ‘I’,” Revali cuts in. “We all know I do all the work.” Urbosa shoots him a glare and its enough to silence him for a little while.

They talk a little while longer about boring, menial things, like how it is back home or what their plans are after they defeat the Calamity. Zelda wishes she could think like them.

“Mipha, aren’t you craftin’ some armor for someone?” Daruk asks loudly, and Mipha turns even redder than her skin.

“I— well, yes, I am.”

“Really?” Urbosa says in surprise. “There’s a special voe in your life, little vai?”

Mipha only nods.

Suddenly, Revali groans, and it’s an unheavenly and demonic sound. He turns to face the wall behind him, arms still crossed. “Look who it is!” he yells. “The great knight!” His voice is riddled with notes of sarcasm and disdain.

Zelda’s gaze shifts away from the proud Champions and to Link, who is still approaching them. His face is the same; mouth flat and eyes dull. He always looks bored, but perhaps indifferent is the better word. Zelda doesn’t quite know the words to describe his demeanor. It crosses her mind then that she’s never seen him smile.

She doesn’t realize it, but her face glows pink.

“Princess, are you alright?” Mipha’s soft voice breaks Zelda’s trance and she blinks out of it. “You’re red.”

She realizes.

“I—I am not!” she says defensively, fanning her face. Daruk is puzzled, but Mipha and Urbosa share knowing glances. The tall Gerudo warrior strides over to the princess and puts a hand on her shoulder.

“The princess and I are going to talk for a moment,” she says with a wink at Mipha, who blushes. “I’ll meet up with you outside the castle.” The Champions walk away, and Revali doesn’t miss his chance to send a searing glare at Link. As usual, the knight doesn’t react, and it makes the Rito even angrier.

“Link, you can be on your way as well,” Urbosa tells him. He looks at Zelda and back at Urbosa, and his gaze makes the princess feel a little weak. “Oh, I see. Come along, then.”

Zelda and Urbosa walk side by side while Link trails behind a little ways, unable to hear their whispers.

“You make it so obvious,” Urbosa says. “You like him, don’t you?”

“Please, I just had this conversation with Impa. I don’t know if I can make it any clearer that I have no romantic incline toward Link.”

“Your mother was a very busy woman.”

“My mother? What does she—”

“She often overworked herself, much like you, little bird.” Urbosa’s voice is warm and comforting, a stark contrast from the strong inflection she uses when giving commands. “She never allowed herself time off.”

“I do not overwork myself.”

“She also had a habit of denying the obvious. I see you inherited that as well.”

Zelda grumbles under her breath and Urbosa smiles. “When she made time for herself, she found someone. Your father.”

“I don’t understand what you’re trying to say.”

“Zelda, it’s okay to indulge a little. To want something. Even when your father demands that you train, it’s okay to be a little selfish.”

Zelda stares up at Urbosa in admiration. “I’ll leave you two lovebirds alone now,” the chief says. “Sav’orq!” Urbosa walks down the hallway and turns a corner quickly.

Zelda groans. “We are not lovebirds!” she calls after Urbosa, but she’s long gone. She stops walking and turns to face her knight whose expression is still blank. “And you... I assume you don’t have much of an opinion on the matter?”

Link tilts his head, a silent show of confusion.

“Surely you’ve heard the rumors.” She steps closer and hisses, “We’re secret lovers.”

His expression doesn’t change, but his cheeks do. They flare a bright red like she’s never seen on him before. “It’s just silly,” she sighs, “and frustrating. Because I don’t feel that way about you. I think.”

He doesn’t say anything.

“Tell me what you think about it,” she demands. “I want to know.”

He doesn’t say anything still, but he’s thinking, and she can tell.

“I don’t mind,” he says plainly.

“You don’t... what?” She’s surprised, maybe a little disappointed, but she dwells more on the sound of his voice—soft and the exact opposite of what she imagined. “Why wouldn’t you mind? The rumors are wrong in every way! I simply don’t have time to have a lover and how scandalous is the mere idea! Other than that, you wouldn’t want to be with me. I can’t do the simplest things.”

“I think they’re sorta true.”

She squints at him. “What?”

“I like you. And I think you can do more than you think.”

Before she can say anything, someone calls his name down the hall. He mutters an apology, bows, and runs away.

Alone in the hallway she sighs and cups her cheek with her hand. She giggles, brushes a strand of hair behind her ear. “He likes me.”

Maybe the rumors hold some truth.

[wisemanners]

@wadamwoltron asked sincerely for my take on The Scene so here it is, i guess, but on my blog and NOT in her DMs like a weirdo. also some additional background context i guess. i’m trying to keep this somewhat objective, though obviously my specific memories are probably going to color it anyways.

so background context: this is mostly metatextual analysis regarding what is apparently a hotly debated topic in fandom of “what shiro’s mysterious disease.” the wiki says muscular dystrophy; we can’t find a source for this (though, if you know of one, please feel free to share). what’s stated in canon (in 7.1, “a little adventure”) is as follows: 

it’s a muscular disorder

it’s degenerative

it involves muscle stiffness or tightness, which is alleviated by electrostimulation

we know for sure it affects his right arm; keith’s asking “what are those?” MAY imply that he has two (or more?) EMS devices but in the later scene where he has both sleeves rolled up we only see one. 

a quick search of EMS therapy brings up this page which lists the following uses: you suffer from muscle spasms, have suffered from muscle atrophy due to disuse, your muscles need to be stimulated and re-educated, your muscles are weak and lack tone, you've lost range of motion due to an injury or illness. (it’s also used for circulation reasons, but since he mentions keeping muscles loose we can assume it’s related to one of these.) searching “degenerative muscle disease” brings up MD (general) as the first result, followed by other neuromuscular disorders; the symptoms listed that EMS is used to treat check out as the various muscular dystrophies all feature one or more of those symptoms. given that, this analysis will proceed as if this is the factual diagnosis (not ONLY because as far as i recall it was, though that is also the case). 

[there are numerous types of MD, and we’ve done a fair amount of research to determine which one is the most likely given the symptoms presented (myotonic, probably DM2), but that’s less significant other than its CURRENT mortality rate.]

that said: the scene itself. 

“Everything okay?” The only thing to analyze in the first line is the genuine concern in it, but that does contextualize the scene; i AM coming into this conversation from a place of being worried about someone i love. 

“Iverson thinks I shouldn’t be part of the mission. Called in the big guns; Admiral Sanda showed up to try and convince Sam to remove me from the crew.” (there are interesting and significant implications with regards to how the Garrison’s chain of command works here, but that’s not the point of this character analysis.)

“Well, maybe he’s right. Maybe you shouldn’t go on the mission. You’ll only be putting yourself at risk.” the absolute lack of hesitation in agreeing with iverson is i think the bigger clue at the greater context of this argument. this isn’t news. this is something i’ve been thinking about, and have clearly already come to a conclusion how i feel about it. “maybe” is a hedge word here. i DO in this moment think iverson is right, and this is just an excuse to say so. additionally, risk is an important word here, which i’ll circle back to several times. 

[additional note on animation: i show almost no expression during these lines, except to frown and look stern at the end.]

“You know how important this is to me. It’s worth the risk!” Aside from tone and expression (he’s clearly upset and desperate here, and even looks away at the end as if he can’t face me), note risk again. 

“Takashi, how important am I to you?” I know this line is everyone’s favorite. I understand why, even, especially given the dubious nature of “canon” on our actual relationship. The line itself establishes a lot; the first name usage (canon isn’t super clear on why he goes by Shiro, even with the other people he’s closest with (Keith, Sam, Matt), or its relationship to his Japanese heritage (which is significant here whether or not producer LM would agree), but to this point I’m the ONLY person in canon who ever addresses him by first name) as well as the general phrasing makes this the most obvious statement that we’re in a relationship. That’s arguably good, considering canon does little else to show it. 

The significance in the CONVERSATION, however, is to position this as a choice - your dreams, or your partner. It’s actually the biggest reason I hate people siding with me in this argument! That’s not a good thing to ask someone you love to choose. More on support in a second, though, as well as more about what I’m asking for here. 

[animation note: let’s talk about my coffee here. the hand shake and slamming down my cup is definitively the most show of emotion I have here, which IS significant. that line + the choice presented AREN’T coming from a place of deliberate manipulation, it’s emotionally charged despite me trying my best not to show it.]

“Every mission, every drill, I’ve been right there with you. But this is more than a mission. This is your life at stake.” here’s the support bit, obviously, since that’s what I’m evidencing here - reminding him that I’ve always been by his side and supported his dreams. that’s not actually the important thing going on here, though, because it’s the end where he cuts in: 

“Don’t start that again, Adam! You don’t need to protect me. This is something I need to do for myself.” First: again - we’ve had this discussion before. Second, the timing: it’s not until I bring up the risk again that he gets upset. 

A relevant concept here that I think most people in the fandom genuinely will not have heard about but is TREMENDOUSLY important to this conversation and to understanding what’s happening in this argument is dignity of risk. The article linked is a good overview, but in short: many things can only be gained or achieved by taking chances of getting hurt, and disabled individuals (originally those with cognitive and intellectual disabilities, but certainly applicable to physical disabilities as well) are disproportionately PREVENTED by overly-cautious caretakers from taking those chances. 

Shiro’s objection that I don’t need to protect him, I think, points really strongly to THIS being the actual issue. I’m trying to look out for his safety because I don’t believe he can or will do it himself (which I DID think, at the time); he feels smothered by this because he’s an adult who has the ability to assess risks for himself and decide which ones are worth it to him to take. 

“There’s nothing left for you to prove. You’ve broken every record there is to break.” This is significant in that it shows I think how highly I regard him, but I also think it’s the strongest textual evidence in the scene that we’re talking about COMPLETELY different things - that I fundamentally don’t understand what’s important to him about this mission OR why he’s upset that I’m trying to stop him. 

[animation note: he’s stopped arguing, gesturing, or looking at me here, and doesn’t look up again until I reinforce the ultimatum in the next line.]

“I know I can’t stop you, but I won’t go through this again. So if you decide to go, don’t expect me to be here when you get back.” I feel like “I won’t go through this again” is another line that people sympathize with, which makes sense; I’m afraid and wounded, and people sympathize with fear and hurt. It reiterates the cyclical nature of this argument, too. It’s also still bringing back the choice: stop taking chances on things that matter to you, unless I’m not one of them. 

[animation note: shiro looks both hurt and angry and doesn’t take his eyes off me the whole time i’m saying this, but doesn’t say anything. I also only look at him once during it, at the very end.]

“I’ve got a class to teach.” probably obvious without additional analysis, but in addition to an emotional reaction, this puts an absolute hard stop to anything else he might say in response.

having gone over the scene, some additional considerations: 

I think a lot of people latch on REALLY hard to “this is your life” and shiro’s later “it’s getting worse” line and somehow conflate the two into an implication that this is about a lack of TIME. It is, I think - but NOT the way people assume. 

Prognosis now, in the 21st century, is for a good percentage people with even severe forms of MD to live high quality, enjoyable lives into their 30s and 40s or later; even without a curative treatment, it’s reasonable to assume that in the 24th century this has improved. Given Shiro’s current overall health still being good, with the primary effects we see being localized to just the one side, it seems a little odd to assume that 30s-40s is still his life expectancy. 

My lines about the risk to his life also don’t actually discuss an imminency of death in GENERAL - it’s SPECIFICALLY risky to go on the mission. why? well, most likely, because a minimum of 10 months is an AWFULLY long time for someone with a serious progressive condition to go without medical care or a checkup. which is a reasonable thing to be concerned about! 

but we also have textual evidence that shiro’s GOOD at being responsible and taking care of himself, even if he sometimes sacrifices his needs for others’. he wears his assistive/medical devices. he keeps a workout routine. he can push himself hard, but we also see places where he knows his limits. and the majority of interventions for MD are about upkeep - building stamina, range of motion exercises, monitoring condition - and having the right tools on hand for an emergency. so, at what point does the concern become about not trusting him to take care of himself well, especially when the kerberos mission was in regular contact with the garrison?

and the flip side of the coin about time: with a progressive disease, there IS always a looming time limit, on everything. that included his dreams. our time together wasn’t limited the way people seem to assume - but his time as a pilot was. so having more perspective now, I can see his side better, and find myself frustrated both with myself from before, and with the people who agree with me. it feels dismissive to his wants and needs, as WELL as his right to self-determination. 

i don’t think takashi abandoned me when he went to kerberos. i think i abandoned him, when he badly needed my support, by forcing him to choose between someone he loved waiting for him, and a dream which was running out of time. i know it’s popular to joke about what happened and that i’d say “i told you so,” but he was right, and I should have listened better. 

[vedj-f-bekuesu]

Ninjago Unpopular Opinions

Following on from my watch of the entire old series (combined with already having seen the last two series), I have enough material to work with to make a sort of unpopular opinion list. Some of these are lightweight, some of these are...uh, not so much. 

These aren’t in any particular order, this is more of a “I’ll just put them down as I remember them” sort of deal. That’ll be why they appear so messy. 

-Even after all this I prefer the newest seasons to the older stuff. There have been a surprising number of good to great older seasons, but I just love that hit of S1/S2 campiness with the more developed writing of later seasons. 

-Cole sucked as a leader, aside from in the pilot episodes. In the series proper he varied from complete meathead I hated (first part of S1), to having the same mentoring personality as everyone else (S1 - S2), to being consumed by the love triangle which made him pull a really shitty move (I don’t need to tell you what that refers to). He eventually gets ironed out in season 4, but Lloyd had already taken over as leader at this point. And rightfully so, even if Lloyd’s material got knocked from season 3 as a result. 

-I couldn’t really warm up to Ronin that much for some reason. I get the reason why he’s popular, since it was pretty obvious he was supposed to be like an off-beat mentor figure to Nya, but...I dunno, unlike with Dareth, it felt like his skeevy moments were more off-kilter, plus I didn’t really like his arc in Skybound (even if that was written out of reality). That being said, his was strong in Possession even with said moments. Maybe I just need a future appearance to see how I ultimately swing with him.

-I mentioned this in my Hunted overview, but I think Skylor’s just bland. Part of the problem is that she’s mainly just wedged in as an action girl and doesn’t have too many moments to interact outside of that. That’s mostly reserved for moments where she acts as Agony Aunt (which is fine, that shows that being supportive is in her nature), but she needs more to work with. And as an obvious offshoot, if Kailor is the intended endgame it sucks in its current form. They don’t have chemistry or a decent dynamic.

-The other Ninjago ship I don’t particularly like out of all of them is...actually Geode. Yeah, Rebooted obviously wasn’t good for it considering the love triangle, but what actually did more damage to it for me was Skybound. It went so far in trying to oversteer back that it beat you over the head with the fact they were making Cole and Jay best friends after said love triangle (made really obvious when Jay is worried about Cole’s reaction to him seeing Nya in his reflection in both Possession and Skybound, when Cole isn’t even phased when he’s told). It was just really off-putting.

-Jay is a better big brother figure to Lloyd than Kai. Yeah, Kai’s true potential moment in Rise of the Serpentine hinged on realising he (and the others, mind) were supposed to protect Lloyd, they all spent Legacy of the Green Ninja’s first half being Lloyd’s proper mentors, Zane’s death prompted Kai to hover with thoughts of the Green Ninja again (which seemed to me for different reasons to being envious of power at the start, although its handling was very clunky after that), and he had the first episode in Possession which was arguably the strongest showing of a dynamic with Lloyd, but Possession didn’t have much about it outside of said episode, and the show seemed to just forget it from that point beyond some very, very fleeting and sparse bits. In the more modern seasons, it feels like Jay’s stepped up to be more supportive of Lloyd on a more consistent basis (which would make sense with the common fanon that Jay is the youngest of the original Ninja, he’d be closer to Lloyd’s age). It’s something I kind of want tapped into in a proper way at some point.

-Sensei Garmadon is a bit overrated. Just a smidge. When he’s good, he’s good, but most of the time he’s no more interesting than Wu would be in the same position. And I feel like they didn’t really develop his fatherly bond with Lloyd too well despite that being what his character was there for. Again, aside from moments where he was really good.

-Most underrated season of the old batch for me was the last minute shock, March of the Oni. I did enjoy Day of the Departed (which has a worse reputation), but I can understand why someone wouldn’t like it considering how bare it was. March of the Oni is far from my favourite season but I thought it came together really well, so the fact it’s generally panned legitimately confuses me. I guess Hands of Time would be a contender too, but I think opinion on that has swayed in its favour after the new seasons came out (and Secrets of the Forbidden Spinjutsu would be here if I included the new batch) so that’s why it’s edged out. 

-Most overrated season for me was undeniably Tournament of Elements. It’s not my least favourite season, but Rebooted and Hunted are pretty maligned to begin with, while Tournament of Elements is usually considered one of the top ones. It starts strong, has an interesting premise and there are ideas that are executed well. The thing is that the elements that people tend to praise the season for are ones I actually think the writers dropped the ball on, hence why this ended up the toughest season to get to the end of, even more than Hunted. It’s a shame, but it’s just not for me. 

-Best ninja suits...honestly, I don’t really notice the suits unless they’re really bad, because I’m used to franchises where costume changes mark radical permanent redesigns, and are not just par for the course of the brand (it makes perfect sense with a toy brand who want to sell you the same characters over and over again but still). Not counting the S11 suits since they weren’t part of the old batch, I guess I’d honestly say the ZX suits, maybe? They’re simple, but they’re cute and very distinct. Also Sons of Garmadon Cole channelling the Movie costume was a very good move (and arguably looks even better ripped up in Hunted aethetically), and Kai’s suit was bleh in Sons of Garmadon but its overhaul in Hunted was way better. Also, just as a wildcard, Rebooted Lloyd looks like a more finely tuned ZX suit. Actually, just one last bit on a tangent to note a difference the show makes to the figures that demonstrates the figures’ limitations. For Kai and Jay’s S11 suits, their figures invoke similar feels (because underneath the accessories they do have a lot in common), whereas they feel very different in the show because while Jay sticks to the figure and looks snug, Kai has a lot exposed around the neckline, as if his gi is hanging loosely on the shoulders and should join Cole in the “For fucks sake it’s an ice realm wear a jacket please” club. 

-Worst ninja sui--what the hell happened to Cole and Nya in Hands of Time?! Nya’s main issue is that it’s trying to work too many colours and they just don’t mesh well. I think this was the time they were partially adapting the movie’s change, but they were clinging onto her having red to both represent Samurai X and her ties to her brother, but they should have just picked one or the other because it just doesn’t work the way it did in Skybound. And Cole’s outfit is just hideous. Its balance of colours and accents is all off-kilter, and to top it off the shoes just don’t work and somehow look like socks with sandals. I didn’t know that was doable with a whole suit. Finally, on a general note, I’m not a fan of when the suits are all very similar bar some very, very minor differences. One could argue that it makes them look more like a team, but I prefer the individual personality to come out. 

-It’s hard to judge the best and worst episodes, honestly. The seasons from Tournament of Elements onwards are done so tied to each other that picking an episode is rather difficult outside of designated finales (or the odd Jay-focused/Zane-focused episodes that happened in seasons 7, 8 and 9). I guess for best I’d say stuff like The Quiet One, or The Fall, or Grave Danger, or stuff like that would be up there. Worst episodes in those seasons are even harder, because usually it’s how arcs over episodes are written that get to me, not individual episodes.  This all being said, it’s much easier to do this with the more episodic first three seasons, and to that end I would still say that Tick Tock is my favourite standalone episode still, and Home is still my least favourite. For all the times the writing has dropped the ball, nothing has legitimately pissed me off more than what this episode did because it’s in its own category of bad writing. 

-There have been some concepts thrown in that, while they definitely wouldn’t work out in the long term, make for interesting snippets of what-ifs. Like, I loved the bit where Jay was a show host and got around the stage using his lightning powers. That seems like such a natural fit outside of his ninja identity I wish I’d thought of it. Imagine Bradley Walsh using lightning to get around the studio, that would be metal as fuck.

-On the other side of that coin, the bizarro Ninja are the single most overrated concept in the show. I don’t like Scourge the Hedgehog to begin with, but he at least had some efforts to make him unique (that fell flat, but eh). The bizarro Ninja are the equivalent of Evil Sonic; cliche and undeveloped. They’re not even useful for the cliche idea of framing the actual Ninja since even though they’re seen doing delinquent behaviour, this is never addressed. Heck Nadakhan was more effective with this idea. Thing is that I can’t blame the show at all for this. While the concept is naff, the show itself treats them as they actually were; Garmadon’s puppets and the scheme of the episode. Aside from bizarro Jay’s behaviour to Nya being full of unfortunate implications, there is no greater purpose for their existence, and the show never tries to do it again. It’s really the fans that have inflated their appearance in this case because I guess the idea of “take this nice character and give them an evil version” is just so appealing to the teenage demographic. Screw that, corruption is way more fun and interesting. 

-What I can blame the show for is the single worst execution of an idea, because to this point I still consider Kai’s green ninja “arc” in Tournament of Elements to be the single worst executed arc (yeah, even worse than the love triangle, but that one is still bad). The sad thing is it managed to convince me that it wasn’t such a bad concept when they explained it by being an offshoot of his depression following Zane’s death (before that I was very sceptical it could fit it in naturally after the last three seasons). But then it was used once when Skylor tried to get Kai to stab Lloyd in the back during the skating match (which Kai completely rebuffed and seemed over his depression-rooted negative vibes on Lloyd), and once more when he was overcome by the power of the staff. The latter is especially infuriating since this would have been the perfect opportunity for a character moment. Like, Lloyd and/or Skylor could have fought to get Kai out of the trance of the staff and see that his friends mean more to him than having power. It practically writes itself and is a perfect set-up. What happens instead is that Cole is technically the one to save Kai from himself as he rams the Roto Jet into the chamber and makes the rocky serpentine structure come crashing down on Kai. Maybe interesting to read into if you want a Lava reading of the show, but in that moment is just a wasted opportunity. Come on!

-Actually, also talking about other bad concepts, I don’t miss those weird energy dragons they could summon starting from Tournament of Elements. The dragons in Rise of the Serpentine/Legacy of the Green Ninja were fine because they had a logical reason for being there and actually were integrated into the plot (so you got to watch them being maintained and having moments with the ninja). The energy dragons in Tournament of Elements existed for one character as a plot thing (Zane’s, because he always had the good plots in the earlier seasons), but then everyone else suddenly could do it too and they became convenient plot devices and nothing else. Airjutsu I was more okay with because it seems more like a tool they’d use and could be integrated better, but I can also see why that stopped being used (outside of that one bit in Prime Empire).

-The Elemental Masters are both over-hyped and underdeveloped. The normal civilian cast really got the shaft once the series decided it wanted to explore this lore, yet the only ones I really got interested in in any way were the villain EMs and Karlof. And even Karlof is overlooked by the fandom, by the looks of it. 

-Jay actually came off the best in the Rebooted love triangle. He’s not entirely perfect, but he is essentially the biggest victim as a result of it in that season, and what Nya and Cole did either bordered on or was outright callous for different reasons. I think if people gave Jay the biggest shtick for Rebooted’s events, it’s influenced with how Skybound botched trying to patch it up. 

-The movie was a net positive influence on the show. Aside from me preferring the designs of the movie anyway, it forced the characterisation to actually pick a lane for each character and stick to it, mitigating a lot of the haphazard characterisation issues. The inconsistency in later seasons is tone instead, which is maybe why people thought the characterisation was inconsistent between Sons of Garmadon/Hunted and March of the Oni/SotFS (when really, they weren’t that different if at all). The show also made a good call in ignoring movie Zane’s characterisation; as much as I enjoy it in the film, it really didn’t gel up with what the show had done with him, so trying to force it in would have been more of a characterisation jolt than any of the early season stuff. 

-I’m generally fine with Jaya and Pixane. The former I can see why people would be off about it because there have been some badly written periods for them, but I think on the whole it manages to hold it together. The latter was written in surprisingly smoothly given the circumstances, so it’s no wonder I don’t see discourse about it. 

-Oh yeah, I don’t get Wu/Faith as a ship. Like, she was the cool drill instructor/aunt to everyone, including Wu. This is a quick one because it’s just a very small aside.

-Also I can’t really get behind Polyninja either. If the characters had a fairly even spread of interaction and moments between each other I could, but the spread ends up like lots of moments between Cole and Kai varying from little moments to huge dollops, and Cole and Jay having a whole best friends affirmation arc due to the fallout of the love triangle, to Kai and Jay having barely anything to work with and anyone with Zane getting a couple of table scraps occasionally. It’s not even enough.

-Following on from that though, Zane feels the least integrated with the group dynamic in general. He’s has some of the best plots and stories in the show, but nearly all of them have been focusing on him solo. And not even SotFS or Prime Empire helped with this one. Hopefully MoM can smooth this one out a bit. 

-Finally for this post, after going through all those seasons I still prefer Nya’s movie voice to her show voice by a significant margin. Sorry Kelly Metzger. 

I think that’s it. I’ve actually been on this for a week but I’ve been allowing time for more thoughts to come to me, because there have been a lot of thoughts coming in batches. I think I’ll leave it at this though, because I think most of it is covered pretty well.

I have at least two more text posts like this planned, but they’re not strictly about the old seasons so I’ve left them for after. I’m looking forward to them though, because they’re on specific topics and that is my bread and butter pudding. 

[spiftynifty]

VLD Rewatch: Season 3

For a half-of-a-half season, season 3 packs quite a bit in and sets up a lot of plot. This shouldn't be surprising; Voltron was laid out as three 26-ep seasons, with each season bringing a new big bad and new theme. Season 3 is our beginning of the Lotor arc and there's a lot of setup and... a lot to unpack here.

For those who are still in "can't do it" mode about rewatching the series (which is fair), here's a quick summary to catch you up:

Shiro has been missing for (it's kind of implied) months. Without Shiro, Voltron and the group are fractured, especially with Keith's deep grief over losing Shiro preventing the recruitment a new Paladin.

Ultimately, Keith takes up the mantle of the Black Lion, Lance moves to Red, and Allura gets Blue. The group is clumsy and outmatched by Lotor and his generals who are definitely Up to Something. Keith tries to play leader and it's a bad look when he's making decisions via grief escapism. The team gets briefly trapped on a foggy wifi-less planet, discovers a bizarro alt-reality where Alteans rule the universe and Shiro is Swedish and doesn't mind Slav, and trails after Lotor and Co who have made off with the reality-breaking comet from Svavland.

Meanwhile Shiro escapes the Galra again, catches up with Voltron, shares a couple lowlit intimate moments with Keith while also awkwardly undermining his authority and jeopardizing the safety of the team, but no one suspects a thing.

Oh and there's a flashback episode about the OG paladins that I'll be honest I skipped since it turns out literally nothing that happened in the past is relevant to the present day and our only major revelations are that we (and Haggar) learn that she was once Honerva, Zarkon her husband was once kinda adorable, and turning evil swaps out your voice actor. Oh and Honerva had a cat who may or may not be as old as Haggar and potentially still kicking around.

Let's talk about season 3.

There's good and bad to be had with this season. Originally when I began my rewatch of the show I wanted to do it as though I were watching the season for the first time. Season 1 and 2 made that astonishingly easy; of all the seasons they seem the most confident about what the show is and what it's going for. Season 1 is for the mild setup and world building, season 2 is for the character building, relationship building, lion building, and problem resolving. Season 2 is arguably the show's strongest season overall so it's a tough act to follow. Season 3... makes an effort.

The good of this season is really good. Keith's grief over losing Shiro surprised and moved me the first time I saw the season and I was impressed with how long they held onto it given the show's habit of moving on pretty quick. Keith's grief holds the team back and endangers it; his early insistence on going after Lotor felt like a way to channel his anguish and maybe get a little revenge for his loss. Keith got one of his most significant character boosts in season 2, and following it through in this season sets up a complicated Keith that we will see for seasons to come.

The other good is Lotor. Lotor is handsome and charismatic and devastatingly cunning and is a polar opposite to his Saturday-morning-cartoon-villain dad. Zarkon was threatening, but Lotor is INTERESTING and his "wait and see" approach makes us the audience want to wait and see what he's up to. His band of generals are intriguing and colorful and I love the variation of their designs and personalities.

And of course, we can't talk about the good stuff in season 3 without discussing Shiro and Keith's relationship. Season 2 gave us some really fantastic growth and moments and entire episodes between them, but Season 3 brought a new level of intimacy that definitely bumped it up a notch. From the slow-moving reunion and closeups of only Shiro and Keith's faces, to their quiet moments alone in dimly lit rooms. This season gave us "as many times as it takes", which remains one of the most beautiful little exchanges between the pair in the whole series. The jury is still out on whether or not Sheith was a hopeful intention by the creatives on this show or just an incredibly happy accident, but looking at some of the decisions made in 3x05 and 3x06 especially lean more to the former. These scenes are more bittersweet now knowing how it all ends up.

There is a lot of setup for future things in general, and this is where it becomes difficult to separate what is in s3 with what will be by the end of s6 (and beyond) because some things we just can't unknow. It was really interesting to see how things that made me very hyped after this season now take on a bit of a disappointing and even bitter flavor because some roads really don't go anywhere. Lotor's mysterious plans for instance, only seem to get more mysterious, as do his allegiances. He spends most of this season clearly toying with the Paladins, clearly prepared to destroy them or let them destroy themselves, but later he sides with them and the Paladins seem pretty quick to forgive this and assume he's a good guy now. Lotor's "side" is never clearly established since his goals never are. The Lotor in s3 is interesting by virtue of the assumption that we will eventually learn all his secrets. But we never do, and that definitely for me taints him as a character.

Speaking of some mixed character motivations, s4 reveals that Narti was either a spy for Haggar the whole time or that Kova was, or both, and yet in season 3 Haggar sends a goon off to spy on Lotor. Even in Haggar's private moments she seems unsure of what Lotor is up to so this later reveal that she was aware the whole time is an odd one and still left very vague.

Similarly, major problems arise with Shiro in s3 but only via the hindsight of s4-6. Everything about the way Shiro is brought back into the fold in season 3 is highly suspicious. From a narrative standpoint I want to say it begins with Sven as foreshadowing, an alternate-reality Shiro who looks JUST LIKE SHIRO but is NOT SHIRO. Unfortunately I think this was less of an audience wink and more of an excuse to nod to the original Sven. But Shiro's Journey opens with scientists doing tests on him, Shiro's pupils dilating to the sound of camera lens adjustments, and Shiro literally seeing a dead-eyed copy of himself on a slab. The words "Operation Kuron" are repeated at least three times as the Galra let him escape. When Shiro meets the two aliens on the ice planet and they accuse him of being a traitor, Shiro protests, "I'm not a--" and never finishes. He does pilot logs into a Galra Cruiser as he tails Voltron. And that's just in one episode.

The next episode has him repeatedly undermining Keith's newfound leadership position (a position Shiro repeatedly encouraged Keith into in s1/2 to Keith's great reluctance), to the point of talking over him and shouting at him. He dismisses the safety of the team for the sake of the mission; something that goes expressly against the team Voltron way of doing things (Kolivan details this in s4) and is completely against Shiro's nature. It felt manipulative to me the first time and it still feels off when at the end of this he privately tells Keith "I'm sorry I had to step in back there", referring to Keith's failure (which was not a failure) and then in the next breath "you're good at this." This was the topic of many a heated debate when the episode came out but from my end there is just no way to see that the man presented here is Shiro and not an insidious clone.

There's a term for this that I forget where the storyteller essentially gaslights the audience for no real reason. Ultimately we will come to know that this is Shiro. A little more short-tempered but ultimately a good boy and not the potentially fully aware evil clone that season 3 hints at. It's bad writing; and the reason that it's bad writing is that the audience is privy to very little more than the characters are when it comes to Kuron and yet the characters are not in the slightest bit suspicious about the behaviour that we the audience sees as suspect. We end up gaslighting ourselves because of bad writing, only to learn that we were right the whole time. And genuinely, speaking as someone who loves all Shiros dearly, Kuron is a whole walking writing disaster. But more on that as we get further into the season.

I don't love the episode, but the Comet episode is a surprisingly adult-oriented one and presents an interesting flip to things and an intriguing hypothesis that I wish had been explored better, or longer, or something. As I've said 100x before, Galra aren't an inherently evil race; they're the result of a 10,000 yr universe takeover. This episode suggests that Alteans are no better, and the broader implications of this are massive and should have offered a much bigger fundamental shift in the characters and the way they viewed this war. In particular Allura, who previously immediately turned against Keith the moment his heritage was revealed, despite having become good friends with him. Her learning that her own people aren't immune to "absolute power corrupts absolutely" is a moment that is not given any real weight or consequence . This is a letdown especially since this potentially weightier-themed episode was self-aware enough of that weight to be the only episode outside of the Voldemort season to show imagery maybe a little too old for its younger audience (the repeated shot of the mummified Altean scientist).

From a production standpoint I noticed a lot of little things. There were a number of hookup issues; some hilariously drawn bg characters, some compositing that worked and some that decidedly didn't. Some of the editing was a little rough in places and some of the timing of things felt very off. There were some jokes that ran long and didn't land and threw the pacing off or stole time from other things. The editing on the Comet episode was particularly off and the characters were visually difficult to track at times. Also, there is definitely a different/longer version of the "As many times as it takes" scene even if it only exists in script or maybe board form. All of the Shiros in that scene were drawn by Ryu, who was often tapped for revisions (particularly for Shiro and Lotor). But the Keith in that scene is not a Ryu Keith; and Keith's "Well--" in "If you're feeling up to it" sounds like two lines spliced together. Ryu's fingerprints are all over 3x06 in interesting places; I definitely spotted his artwork in at least one shot of the Galra post leader and I think a Zethrid. He drew a few of the short haired Shiros as well. I think this episode underwent a number of changes; I remember too that Lance exclaiming "you're looking better" was originally Keith's line. At the same time we get little nice superfluous animations like the foreground gecko. Just a lot of inconsistencies.

Overall it's still an alright season but knowing what's coming means I just don't love this season the way I used to. The little moments that rock still rock but a lot of plot pawns were pushed forward that were ultimately just discarded. I can't wait to see if finishing the next 3 seasons will retroactively bump this season back up to where it once was in my heart. 

[marshmallowgoop]

On Ragyo Kiryuin

Please note: This post will contain discussions of sexual assault and abuse.

I am not good at talking about Ragyo Kiryuin.

Every time I do, I mess it up. I don’t emphasize her atrocities enough. I emphasize her atrocities too much. I cause trouble for myself and others, and I always end up feeling awful.

My recent writing on Ragyo’s character—found here and here—proved no different. The reception for the first post was so overwhelmingly negative that it spurred on my first-ever legitimate anon hate, and the second post only made things worse. Even now, my inbox is being filled with dismissive, rude, heartbreaking messages that bring me to tears, and though my therapist has told me not to say that I hate myself anymore, it’s difficult not to in situations like these. I hate that my wording was so poor and that I stated my opinion so badly that I incited all this rage and aggression in someone (or someones, a thought that scares me more than I would like to admit).

It may be a mistake to try to explain myself further. But I hurt people with what I said, and that bothers me. I hurt people because I struggle to explain my feelings on a cartoon character well, and I’m sorry. I’m embarrassed. I’m ashamed. I want to at least put in the effort to be kinder, more nuanced, and more sympathetic.

And maybe it’ll all blow up in my face. But I don’t want to not try.

So. Ragyo Kiryuin. Mother of Satsuki Kiryuin and Ryuko Matoi, CEO of REVOCS, and the ultimate Big Bad of Kill la Kill. Love her, hate her, or love her and hate her, she’s certainly made an impression in the anime-viewing world. And though I can’t speak for anyone else’s impression, my personal impression is... mixed.

Let’s go through this bit by bit.

A Good Villain?

Though I don’t see it much anymore, I remember lots of comparisons between Ragyo and the villains of Saturday morning cartoons back in the day. She was described as a generic, two-dimensional “evilz for the sake of evilz” baddie and criticized for her simplicity.

And though I did admittedly agree to an extent—I craved a lot more depth and insight, particularly in regards to her haunting line about “still having something of a human heart” whilst brutally attacking her own daughter in the final episode—I also found Ragyo to be a remarkably compelling, powerful, and horrifying villain even without tons of backstory and explanation. Perhaps my write-up on her first scene in episode 6 best details why; this woman has such a presence, and the visual language of the series amplifies that presence spectacularly. Ragyo’s intimidating and scary without the audience even needing to know anything about her.

And... I’d say that’s a good villain. That’s exactly what a villain should do.

Why Does This Matter, Goop?

I know, I know. My talking about Ragyo’s efficiency as a villain probably doesn’t seem all that relevant to the stuff that egged on an anon hate assault. But I think it’s important to mention that I do believe that Ragyo is a great, powerful villain. My previous posts were so bleak and cynical that I didn’t make this point clear. It does, in retrospect, seem as though I am crapping all over the character and subtly dissing anyone who enjoys her. I’m sorry for that, and I want to stress that that was not at all my intention.

There is absolutely nothing wrong with loving villains—even when they’re morally bankrupt, atrocious people like Ragyo—because loving villains, of course, doesn’t automatically mean that you excuse or endorse their actions. Villains like Ragyo also leave such a strong impression on the viewers, and personally, I’ve been so captivated by this awful woman that my first attempt at my years-in-the-making Kill la Kill fairytale AU featured about a 30,000-word backstory for her. There is a lot to respect, love, and love to hate when it comes to Ragyo and how she’s written, and I never, ever mean to discount that.

However, as with all things, it’s possible to love a piece of fiction or a character or what have you and also recognize that there are problems in the portrayal. And when it comes to Ragyo, as much as I think she’s a fantastic, engaging, terrifying villain, I do take issue with her depiction.

The Sexuality Point

I got a lot of heat for my ideas regarding Ragyo’s sexuality, and I admit: I didn’t express myself well. There was a lot more I should have said and elaborated upon. Maybe I’ll still fail spectacularly, but as I said before, I don’t want to not try.

So first, I want to take a moment to discuss intentionality. While I absolutely value Author is Dead and respect fan interpretations of any work, I also recognize that narrative decisions in fiction don’t happen in a vacuum. The fact of the matter is, Ragyo was originally designed as a father but was later changed to a mother so the relationships Ragyo shares with her daughters wouldn’t seem so “murky,” “gross,” and “perverted.”

And... that disturbs me. The idea, as I see it, is that a father abusing his daughters is, more than appropriately, disgusting, but a mother abusing her daughters is somehow less bad. In fact, writer Kazuki Nakashima outright states that he didn’t want to explore the “murkiness” of these relationships, noting that he “didn’t want to mix [that] ‘murkiness’ into the battle.” My impression—which I understand might very well be wrong—is that there’s the feeling that female-on-female abuse just isn’t as serious or life changing as male-on-female abuse. There’s the feeling that you can just not talk about how devastating this sexual assault is, and that’s totally okay, because the perpetrator is a woman.

I’ve written previously—and perhaps most overtly here—that female-on-female abuse seems to get brushed off way more than it should be. It’s cute when a girl grabs another girl’s boobs, even when that other girl is noticeably and visibly unhappy. It’s adorable when a girl forces a kiss on another girl. Charming. Sweet. If you have a problem with it, you’re a homophobe.

And I think that’s so, so damaging. I wish I had some statistics (oh anon hounding me about facts, if you’re here), but I recall reading about how this mindset—this idea that girls just can’t hurt other girls—ends up keeping wlw in abusive, toxic relationships. And that’s not even mentioning how the notion that women are harmless and can’t do damage is a totally sexist one that hurts men and other genders, too!

With Ragyo, I actually think there’s a lot of powerful potential. Kill la Kill could have shown that there’s nothing sweet or cute or charming or sexy about female-on-female abuse. It could have shown that a mother sexually abusing her daughters is just as horrific as a father sexually abusing his daughters. Both good representation and bad representation are important, and I do see the value in an evil, awful lesbian; as noted above, the idea that girls can’t hurt other girls, that wlw can’t be bad, and that only men can cause harm is a dangerous mindset to have. I think it’s important to address it, particularly in anime, which attracts younger viewers.

In the past, I argued that Kill la Kill did address it. I wrote, “These scenes [depicting Ragyo’s abuses] are full of what may be typically used as fanservice—female nudity, fondling, touching—but they’re all incredibly disturbing, uncomfortable, painful, and tragic. The series makes no joke about just how violating these instances are.” I’ve seen similar arguments made today. 

But personally, now knowing more about the creation of Ragyo and being aware of the gushy, “Wow, this is so hot!”-type comments concerning the notorious bath scene in the official Trigger Magazine, I’ve since changed my tune. I think it’s undeniable that there is some “this isn’t so bad and maybe actually kinda sexy” appeal to Ragyo’s abuses, and that’s very, very disappointing to me. 

Further, being a survivor, I also find it incredibly hurtful. I’ve been too traumatized to even date ever since what happened to me happened, and to see situations like what I went through depicted in such explicit, detailed, fanservice-y ways... it disturbs me.

I understand that my opinion isn’t going to be shared by everyone, but I’ve come to believe in a “less is more” approach when it comes to these hard, real situations. Implication arguably holds far more power. For example, in all of my college film classes, Osama left one of the strongest impressions. In it, a young girl dresses as a boy to provide for her family. She’s eventually found out when she has her first period, and she’s then married off to a much older man. The ending scene of the film depicts the man washing himself just as the girl, in disguise as a boy, had been taught to do after having sex. Unlike in Kill la Kill, you don’t see the unspeakable scene at all. You know exactly what happened with just that one shot, and that one shot has stuck with me ever since. That’s a powerful, respectful way of portraying these very real, very horrific problems.

I know I cannot speak for every survivor, but I personally disagree with the notion that fiction should not discuss these topics. In my mind, fiction absolutely should because these things are real, because they happen. There could have been so much power in Ragyo’s depiction, in Satsuki’s depiction, in Ryuko’s. But the severity of Ragyo’s abuses is brushed off, and, as I see it, fetishized. That’s what I take issue with—not that there’s a potential evil lesbian, not that there’s a depiction of a mother abusing her daughters, but how this is depicted: not respectfully.

Referring more to my troublesome posts, I also want to address my point of how girls showing affection for other girls is often portrayed negatively in Kill la Kill, which could potentially send the message, “Hey, lesbians just be evilz.” Perhaps more than anything else, this hurt my readers the most. I wasn’t very clear and didn’t speak well, and I apologize.

Maybe surprisingly, I’ve also taken issue with the argument that Ryuko kissing Nui shows that a girl having an attraction towards another girl is bad. As I saw it, the kiss was simply a shocking way of showing that Ryuko is not at all herself; someone kissing the person they hate the most says more than words ever could. The scene isn’t an attack on wlw; the protagonist and the villain in this case just so happen to both be girls.

And I still believe this rebuttal. But I also have mixed feelings, which explains my previous responses. I once more have to question intentionality: if Ryuko were a boy, as shonen heroes so often are, would this scene have happened? Would Nui have been so flirty with him? Would there have been so much screen time and detail put into the kiss? Similar to my arguments about Ragyo, could there have been a potentially much more powerful scene whose power comes from its implications, not what it actually shows?

In all my years in the Kill la Kill fandom, I’ve seen reactions to that scene that find it hot, as “proving” that Ryuko/Nui is the only canon Kill la Kill pairing, and that see it in ways that I find to be unsavory. If the goal of that kiss is to cement the fact that Ryuko isn’t herself in the most shocking way possible, I could argue that it failed for a lot of viewers. In fact, one of my more looked-at posts is about why Ryuko kisses Nui. Its execution is confusing, and yes, I do believe it could potentially send some bad messages about wlw, even if that wasn’t intended.

Which, to bring this discussion back towards Ragyo, I want to take a moment to say that bad messages can be totally unintentional. As a writer myself, I think about potential bad unintentional messages all the time. For instance, in my aforementioned fairytale AU, I had a theme going (’cause it’s a fairytale and all): a healthy, beautiful baby is good, a healthy, ugly baby is bad, and an unhealthy, beautiful baby is good. Notice how there’s only one ugly baby, and they’re bad? I realized that this could subtly say something about ugly people, and I’ve decided to make a point about a heroic character being ugly in order to send the message that anyone can be good or bad, regardless of if they’re beautiful or ugly, healthy or unhealthy.

With Ragyo (and with Nui as well), I don’t at all think the intention is to show that girls loving other girls is wrong and bad. But the depiction, to me, leaves things to be desired. A lot of it feels fetishy, and the fact that Ragyo was purposely changed to a woman for “gross” concerns also greatly irks me.

And before I try to write up a conclusion of sorts, I do want to offer this: what if Ragyo stayed a man, but he was associated with white and rainbows as Ragyo is in the final cut? It was stated at this year’s Anime Expo that director Hiroyuki Imaishi has his heroic characters in black and villainous characters in white, which could possibly send messages like Darkness Isn’t Bad and the real villains are the ones who are perverting the purity, goodness, and so on that are associated with white. In the same way, if Ragyo were a man who seemed straight but had rainbow hair, it could send the message that the real villain is the one perverting this symbol of love and acceptance.

I don’t know. Just some food for thought.

Conclusion

I am bad at talking about Ragyo. I am bad at talking about serious topics. I’m sure this post proves as much.

But I hope I’ve done a better job of explaining my point of view than I did before. But if I didn’t—which, knowing me, is likely—I just want everyone to know that I don’t think you’re a reprehensible person if you like Ragyo. I don’t think Ragyo is “too evil” to be representation. I don’t think she’s some terrible, awful character whom nobody can love. (At least, in regards to the writing. I hope there’s agreement that she’s a terrible, awful person.)

While I have problems with Ragyo’s depiction, I don’t think anyone is horrible and wrong if they don’t and resonate with it. I know I certainly like things that others find horrible and wrong, like the Ryuko/Senketsu pairing that I’ve been attacked left and right for, and I more than recognize and voice my own problems with it whilst still loving what I love (and politely disagreeing with the problems that others see that I don’t!)

I know I’m not good at this. But I hope I’ve conveyed my thoughts respectfully, and that, even if you strongly disagree, you know I welcome and am open to your thoughts and perspective, if you would like to share. That’s why I write these posts at all.