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melancholia-ennui · 2 years

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Some thoughts on PF2e

Context: I played PF2e for ~2 years in two campaigns. Concurrently, I have been playing 5e since release, including running a 4yr continuous campaign from lv 1-20. I have a little experience of 3/3.5e from the NWN games, but never PNP, and I've dabbled in short campaigns in a few other systems, including Cypher and a system a friend was designing.

So, with everything going on (*gestures at WotC burning every last shred of good will they ever garnered from the community*), a lot of people are currently looking for a new TTRPG system to pick up. A fairly common piece of advice that I hear is "if you want something like D&D, try Pathfinder". While this statement makes sense in the grand scheme of all TTRPGs ever, and both systems trace something of their genetic heritage to the same original system (3e), it over looks the fact that the play feel and play style of these games are actually quite different, and I worry that it is setting some people up for disappointment if they don't understand the differences between these systems before going in.

So here's a little primer on the vibes key differences between these games, to help you gauge whether PF is actually the right choice for you if you're coming from 5e.

Disclaimer: I'll only be talking about PF2e here, as I haven't played the original PF - however, based on everything I've heard and read about it, many if not all of these points will apply equally to PF1e.

I've divided this discussion into sections so you can jump straight to the part of the game that most interests you. More could certainly be said on each of these points - my goal here is not to give a perfect understanding of the nuances of the game, but rather an overall "vibe" so you can gauge whether it's likely to be worth your time. If you're still on the fence about it after reading this, give it a try and see for yourself how it stacks up!

Overall

A Rule For Everything. Where 5e is often quite hand-waivy in the details of what you can and can't do, leaving a large part up to a mixture of GM discretion and interpretation, PF2e has a specific rule for most actions you would want to take in most circumstances. Pros: this results in fewer "falling through the cracks" moments where it's unclear how you should rule a particular action (in particular, you're not going to see the frequently botched "is an ability check an action, bonus action, or free" you get at many tables in 5e); good for supporting newer GMs who haven't developed the judgement need to make rule callings well in a rules-lighter system like 5e. Cons: offers less flexibility and GM freedom; I found that often questions which would be answered with "sure, give me a X check" in 5e were answered with "you don't have enough actions" or "you don't have the right feat" in PF2e; and if you've got a rules lawyer at your table, you need to expect a lot more rules-lawyering.

Finely Balanced. We all know that 5e is a little bawked - PF2e, by contrast, is a ruthlessly well-balanced system. While I'm sure experienced players have found ways to break it, I found that even extreme builds rarely feel outside of a narrow scope of variation. Those used to playing martials will especially notice the difference, as casters are much more closely pegged to martial progression than the "casters are better at everything" state of 5e. Pros: Very difficult to break the game; GM is very unlikely to be surprised by player capabilities; martials are much less overshadowed by caster. Cons: While it's hard to make a broken character, it's easy to make a bad one that lags behind more experienced players; can feel more "samey" (see discussion on Spellcasting below for more details); progression often feels slow, and it lacked the "oh shit I can do that now?!?" moments I've often had with 5e characters.

No Bounded Accuracy. What little balance 5e has is based around the system of Bounded Accuracy, which sets DCs at any level as falling between 5 and 30, on the assumption that 5 is the lowest roll you can make with proficiency and a positive ability score, discarding 1s, while 30 is the highest roll you can make with proficiency and a maximum ability score, except for 20s. PF2e has no such system. Instead of absolute values, PF2e has a sliding range of expected results that increases more or less linearly. As such, monsters and traps that are even a couple of levels higher than the party can become overwhelming rather than just difficult, and monsters much higher level than the party are untouchable. Pros: Can feel more realistic (as incredibly powerful dragon can't be taken down by a lucky commoner); numbers get satisfyingly big. Cons: Can feel less heroic (a commoner can't even touch a powerful dragon, no matter how lucky); much more subject to GM error and harder to adjust for "on the fly"; progress can feel slow with few "omg I can do that now?!?" moments (see Character Progression below).

Crunch. PF2e doesn't have the advantage/disadvantage mechanic, it has four levels of proficiency with different attached bonuses, many bonuses also use your level as a factor, floating modifiers don't abound like they did in 3e but are certainly more prevalent than they are in 5e, and in addition to all of that every DC needs to consider the +10 critical hit and -10 critical fail levels as well as the DC itself. You will be doing a lot more maths in PF2e than in 5e, on a turn-by-turn and level-by-level basis. Pros: Allows for a fairly high level of complexity, especially when it comes to how effects combine to give you bonuses to various attacks, saves and checks. Cons: If you find doing calculations slows play too much, well, this system has a lot more maths than 5e.

Character Creation and Progression

PF2e character creation and progression allow a great deal of customisation, creating a lot of diversity between characters.

To take just one example: where 5e has the single choice of a race/species/lineage, PF2e has several choices - your choice as first level is split between an Ancestry (broad categories like Elf, Human, Dwarf) and Heritage (kind-of like 5e subraces, but including the tiefling-type options, so you can play an Elf Tiefling, for example), and both choices give you access to a pool of Ancestry Feats that you acquire throughout your character development. While 5e races often feel more impactful from the get-go (especially when we consider races which have spellcasting or very powerful racial abilities such as Trance or Fury of the Small out the gate), PF2e ancestry and heritage choice well continue to affect you character till level 17, gaining increasingly powerful abilities as you go.

On the flip side of this, within the bounds of the tightly balanced mechanics of PF2e, the scope of "what a class feature/feat/magic item can be/do" is quite narrow. A significant number of your class progression features, feats, and even magic items you receive will be focused exclusively on keeping your numbers at the level of big they're supposed to be. This can be quite a culture shock from 5e where, unless you choose to take an ASI, you will more or less never have an entire level where the only advancement your character gets is "number get bigger".

I found this most frustrating when it came to magic items. In 5e, the bulk of magic items (especially in the earlier books) focus on expanding options with new ways of interacting with challenges (think the immovable rod or deck of illusions), with relatively few that focus on simple numerical increases (pretty much exclusively weapon +X and shield/armour +X). Importantly, because the few +X items go above and beyond the scope of bounded accuracy, getting one of these items always feels like the game is being rigged in your favour, so even these relatively bland options still come with a certain power trip and excitement. By contrast, in PF2e, players are expected to have certain magic items by certain levels - in fact, the system is balanced around this fact, so tightly that there even an optional rule to skip the items altogether and just make their bonuses part of your level up progression. As a result, at least in my experience, magic items becomes much more mundane - getting a new item feels less like a huge break and more like a necessary and expected part of your progression.

Further, because many feats have requirements of other feats or particular levels proficiency, PF2e follows 3e in that you need to plan your character more or less in full, as you'll often need to take particular feats or proficiencies several levels in advance if you want to pick up a particular later feat. This is in contrast to 5e, where planning a character is generally not required unless you are very committed to optimization - very few parts of 5e have any kind of prerequisites, and so you can generally pick up a particular feat or spell as soon as you hit the level it becomes available, without much forethought. For my part, I prefer 5e in this regard, as I like being able to adjust my character direction on the fly in response to events in the story, but while playing PF2e I found those possibilities were often gated behind earlier feat choices and whether or not I would be able to make those sudden changes in direction became very dependent on GM leniency over the retaining rules.

Lastly, although there are a lot of choices on the table, not all of those choices are equal, and PF2e has a bit of an issue with "illusion of choice" - cases where either both options are fundamentally the same (differing only in flavour or minor details), or else where one option is simply just better than another. For example, although in theory both Monk and Cleric have a couple of directions you can take them, I've been told that in both cases there's one or a couple of builds that are so head and shoulders above the others that choosing the other(s) becomes effectively playing with a handicap.

Combat

Where 5e uses the action/bonus action/reaction/movement action economy, PF2e has a three action economy: every turn, you have three actions, and most things you do use 1-3 actions, including moving, attacking, making checks, and interacting with objects.

In its defense, the three-action economy introduces a lot of opportunity costs that make combat feel tactical in a way that 5e often fails to be, and the restricted distribution on opportunity attacks (you have to have a feat, so not every creature and monster gets them) allows a lot more battlefield manouverability than some systems.

Unfortunately, it also has some issues. Firstly, due to the way the numbers work out, despite in theory having lots of options in combat, in practice there's often a single mathematically best option, which results in very linear and repetitious combat. (For a breakdown of the maths behind this illusion of choice phenomenon and comparison to 5e, see this video by Taking20.)

Secondly, because movement uses the same action economy as everything else, choosing to move always means not choosing to do something more impactful, like attacking, casting a spell, or even just raising your shield. This contributes to the problem of illusion of choice in the system, but it also has a problem all it's own: it makes fights incredibly static. In my experience at least, PF2e fights typically involve moving to a good position on your first turn and then repeatedly attacking or casting spells from that one spot until you're forced to move by a moving enemy or your target dying. By contrast, if you've got a DM who plays with cover and you're using the flanking optional rule, I rarely find reason not to move around for every possible advantage every turn in 5e. Similarly, where "can I leap off the balcony, swing on the chandelier, and attack the troll from above" is a very doable thing in 5e, you're likely making one attack max and not getting any of your ability benefits if you do that in PF2e - and that's if you're allowed to do it at all!

Now this final point is pure ~vibes~ - I haven't run the maths on it at all so it's entirely possible I'm just wrong here - but at least in my groups it felt like PF2e combat also lasted significantly longer. Most 5e combats are over in around 3 turns - but it at least felt like many of the PF2e fights I was in went to turn six or seven at least. This is good if you really enjoy Pathfinder combat, but as I say I found it less dynamic and even at times less tactical than 5e combat so it really felt like it started to drag in most cases, something I only really find in 5e when playing with new or inexperienced DMs.

Spellcasting

Now I'm a sucker for magic characters, and PF2e certainly has those.

As I noted above, PF2e spellcasting excels in its balance - it's pretty well pegged to the martial progression, so spells feel powerful but not so powerful they outshine the martials.

Mechanically, PF2e has a strong distinction between prepared and spontaneous spellcasting, with particular implications for upcasting. If you're a prepared caster (wizard, witch, etc.), you prepare spells each day for particular spell slots (this will be familiar for those who played 3e) - for example, if your Wizard knows fireball and enthrall and has two 3rd level spell slots, you can prepare two fireballs, two uses of enthrall, or one of each, but outside of certain class features once you've made the choice for the day it's set until you next rest (no swapping to a more niche spell when the moment comes for it!). Prepared casters learn each spell once, and can prepare it in any spell of it's level or higher. For spontaneous casters (e.g. sorcerer), you do not prepare spells each day, but instead you have a repertoire of spells you can cast, and you can assign spell slots when you cast the spell. However, you must learn each spell at each level you intend to cast it - you don't only need to know the spell to cast it, you must know it at the correct level, meaning valuable upcast spells may need to take up several slots among the few spells you learn.

This style of spellcasting requires a lot more forethought, and in this regard it arguably really centers the resource management aspect of playing a spellcaster.

However, in my experience at least, it feels very limiting after playing with the freedom of 5e spellcasting, and I often found myself preparing the same handful of generally useful spells every adventuring day.

Additionally, and this may in part be a problem of me just not having the time to look through the full spell list but it does fit with the wider design principles of PF2e, I found a general lack of spells that horizontally open up entire new modes of interacting with the world. Where 5e has spells like thaumaturgy, minor illusion, and command right out the gate, I found very few spells of this kind across the levels in PF2e, and those that did exist were always very carefully circumscribed with little room for originality in their use. On the upside, this is an excellent hedge against the classic 5e problem of overly cunning players with an under-prepared DM creating something game-warpingly broken with a low level spell slot, but I also felt I really missed the creative feeling of playing at the edges of barely defined magical effects and seeing what I could achieve with that.

As a final point in this section, where Scrolls are a pleasant but often rare part of a 5e caster's life, they are a core part of PF2e casters, so much so that - say it with me now - the system is balanced around the assumption you will have plenty available. (If you ever wonder why PF2e casters have fewer spell slots more or less across the board, this is part of the reason why.) If you are playing a caster in PF2e, buy and use scrolls often!

Exploration & Social Interaction

Without using third party expansions, 5e doesn't have either a proper exploration subsystem or a proper social interaction subsystem, which means your experience of these two pillars of play will vary wildly dependent on the DM at your table and how much (or little) they actually bothered to read the relevant sections of the DMG and supplementary materials.

By contrast, PF2e has developed subsystems for both - several, in fact, with the Influence, Reputation, and Leadership subsystems providing ways of navigating different scales of social encounter, and Hexploration and the exploration mode mechanics providing tools for exploration.

Of these, I've played in games using the Influence subsystem and the Hexploration subsystem, as well as exploration that draws more casually on exploration modes and various obstacles and dangers. I'll deal with each of the subsystems in turn, before giving an overview of how this approach differs from 5e.

Influence. This subsystem focused on tracking social encounters in a series of rounds, as party members uncovered the particular interests and weaknesses of their interlocutor and used those discoveries to help push through their persuasion. Cards on the table, I absolutely hated this system, as did our whole group, and we dropped it after a single session. I found it incredibly slow and clunky, with the constant die rolls and abstractions to the level of mechanics killing any possibility for meaningful RP. That said, I can also see the appeal for those who dislike the more structure-less or improv-style approach often taken in 5e games, and there are definitely aspects of the system I like enough to adapt to other uses (particularly keeping track of what topics or approaches will be especially effective for persuading a particular creature, and conversely which ones will likely cause it to close off).

Hexploration. This system involved moving around a hexagonal map in various steps, revealing the map as you went. I have fairly mixed feelings about this one. On the one hand, it was initially quite thrilling to have that "discovery" experience and watch the map slowly unfold. On the other hand, I quickly found it got slow and began to drag, as it became clear how many hexes we would need to traverse to discover as much of the map as we could.

The more casual form of exploration was closer to how I'm used to seeing it done in 5e, though with slightly better defined actions to be taken while traveling, which was welcome - although we often found everyone using the same handful (someone repeat casting detect magic, someone Scouting ahead to help with initiative, and most of the rest of the party Stealthing).

One thing that must be said is that all these subsystems are optional, and so if you don't like the rules of some particular system you can simply opt not to use it - although do take note of which feats players have selected, as some so specifically interact with particular systems. However, given PF2e lacks the bounded accuracy system, setting appropriate DCs for a given level requires at least checking a table, which is more work than the constant 5/10/15/20 baseline available in 5e. Additionally, 5e players should be prepared for the fact that many social or exploration things you might expect to just be able to do with some appropriate check are actually gatekept behind feats which you'll need to pick up over the course of your character progression if you want to do those things.

All told, the plethora of subsystems in PF2e will be very appealing to anyone frustrated by the lack of good rules for social interaction and exploration in 5e, though dependent on your play style you may find the more strictly regulated approach to these traditionally more hand-waivy and cinematic parts of play to be a bit stifling.

Conclusions

Everything I've said here is just my opinion, based on my own experience of the tables I've played at. That said, from everything I've heard being part of both communities, most of these generalisations hold up across the board.

I hope that I've managed to convince you that PF2e is not just a simple replacement for 5e - because if you went in with that expectation, it's definitely not what you'll find. That said, I still have a soft spot for many aspects of the PF2e system, and I hope that if you've seen something in here that's peaked your interest you'll be willing to give it a shot. (As an added sweetener to the pot, all the content for PF2e is available free online at the Archive of Nethys, so you don't even need to buy a single book to give it a try - WotC could never!)

On balance, I would say you're likely to really enjoy PF2e if:

You want a crunchy system with a rule for every possible action

You liked 3e/3.5e but wish there was something like it that was more streamlined without being "dumbed down" like 5e

You care a lot about balance and equality between different characters

You like planning your characters in advance

You like a lot of options, even if those options may be less impactful individually

You dislike the lack of subsystems in 5e

You dislike the chaos created by rules-vague spells and items in 5e

You like when number get bigger

However, while you might still get something good out of giving PF2e a try, you're much less likely to love it to bits if you:

Already find 5e too mathsy, crunchy, or complicated

Don't like memorising lots of particular details

Find items, feats and abilities that just increase your numbers a little dull

Enjoy flashy, cinematic magic even if it's unbalanced

Like making lots of your own homebrew and other to design it in a flexible system with a lot of give for over- or underpowered additions.

Are happy with fewer options but like every option you choose to feel like it has an immediate impact

Prefer gameplay that develops horizontally (more options) rather than vertically (better at doing what you can already do)

Prefer vague and poorly-defined magic for its creative potential

Hate rules-lawyering

If you're still on the fence, my best advice would be to just give it a shot - and if you find (like I did) that it's not really for you, then you can always just take the bits of it you do like and use them in other systems. Because that, really, is the joy of TTRPGs at the end of the day - we all get to create our own games, according to what we and our tables find fun!

Edit because apparently I somehow posted the wrong version of this and it was missing the tail end of the conclusion lol

#dnd #dnd 5e #pathfinder #pf2e #comparison #ttrpg #thoughts and musings #.txt #long ass post #dungeons and dragons #ogl

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sundayswiththeilluminati · 3 years

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The unplanned fourth part to my apparently-a-series on Essek Thelyss in the context of real-world espionage (parts 1, 2, and 3), today we look at an aspect of his story that doesn’t always apply in a D&D world: how do you prosecute espionage?

Psych! That’s not the real question. The real question is: do you prosecute espionage? The answer is a) not as obvious as it might seem; and b) going to differ between D&D and the real world, because D&D governments are storytelling tools and IRL governments are...not.

The benefits of prosecuting espionage are obvious: the interests of justice are served, the person responsible can be punished appropriately and in accordance with the law, the full extent of their crimes are revealed (including potentially exonerating other suspects), counterintelligence gets to chalk up a win, and other people thinking about committing espionage themselves are hopefully discouraged. But there are a surprising number of arguments in the “against” column.

Some agencies that identify enemy assets want to leave them in place for their own purposes. For about 20 years during the Cold War CIA reserved the right to just plain not tell the Department of Justice if they had proof someone was engaged in espionage because they wanted the opportunity to turn them as double agents, feed them misinformation, etc. rather than outing and punishing them (President Gerald Ford ended this arrangement by executive order in 1976). This isn’t necessarily a good idea IRL, but it forms the bread and butter of RPG espionage storylines and is definitely something to think about in a D&D context.

In the real world, ideally someone can only be found guilty of a crime and punished accordingly after a trial, and an agency often finds itself with sufficient evidence to doubt a person’s trustworthiness but not enough hard proof to take to court. In those cases agencies may decide to leave that person in place but cut off their access to classified info. Ironically, sometimes this means promoting them - moving the person into a higher-ranking job in a different area that just so happens not to deal in secrets. Sometimes the asset realizes they’re close to being rumbled and goes along with the effort, maybe taking retirement early or changing jobs before they can be pushed, and the whole matter will quietly lapse without anything so formal as a trial. Sometimes someone makes a mistake and sidelines a loyal, competent employee. That’s a judgement call.

In the real world, ideally someone can only be found guilty of a crime and punished accordingly after an open trial. Given how severe the punishments are for espionage, civilized countries do try to stick to that even though holding such a trial carries risks. Providing proof that someone stole secrets generally requires talking about said secrets, which means revealing classified info in court, which may negate trying to keep the information secret in the first place. They may also not want to reveal in court how they figured out that person was a spy, especially if it was a double agent or cryptographic source that fingered them. In D&D-land where monarchs are common and still wield judicial power, fantasy rulers may hand down whatever punishment they please based on whatever evidence they (or the DM) will accept, so this isn’t as much of a concern.

Even a D&D monarchy that doesn’t have to worry about revealing secrets in court might think twice before publicly punishing a high-ranking spy, though, because the only thing more embarrassing than failing to convict a major spy is succeeding. A government having to admit that its people were compromised, especially high-ranking people, is a body-blow to its standing both at home and abroad. It damages trust in the government, makes the public feel unsafe, and makes allies hesitant to share information lest their secrets be leaked as well. Lower-ranking government employees may think, “My boss is selling secrets, why not me too?” or “Why bother to follow security protocol when some mole will give it all away?” Every decision and contribution made by the asset becomes retroactively suspect, even those that had nothing to do with whatever secrets they leaked. The foreign nation to whom they passed information inevitably gets drawn in as well, negatively affecting those relations. And of course everyone involved looks very, very bad.

All of which leads me to say I think there’s a chance - maybe not a good chance, but a chance - that Essek could privately confess the affair to the Bright Queen without major public repercussions. Leylas Kryn could simply declare him a traitor and order his public execution without justifying herself, but it would raise a lot of questions and none of the answers would help her or the ruling dens; Den Thelyss allowing Den Kryn to unilaterally execute a high-profile member - a child of the umavi - without explanation would stoke ferocious rumors about what Essek might have done and cast a major shadow over the entire den. But publicly declaring what Essek had done also doesn’t do the Dynasty any favors. It makes everyone involved look very bad - how could they miss a spy at the highest level? so close to the Bright Queen herself?? who can be trusted??? - especially Den Thelyss, which might lose its place among the ruling three as a result. Publicly outing such a high-ranking Kryn official as compromised might set off the Dynasty equivalent of a Red Scare, too, since the Explorer’s Guide to Wildemount mentions the constant and well-justified Dynasty fear of agents sent by Lolth to destabilize the Kryn out of sheer spite that they got away from her.

By the time Campaign 2 ended the latest clash between Empire and Dynasty had been settled and neither side seemed to want to stir it up again right away. The fact that both stolen beacons have been returned also bolsters the case for letting the matter lie. A confession from Essek clears up remaining doubt on the Bright Queen’s end - while he doesn’t know every Empire agent in the Dynasty, he can tell her exactly how the beacons were stolen and who else was involved, probably clearing the names of many currently under suspicion. Essek would have to resign as Shadowhand, of course, and leave the Dynasty (at least for a couple centuries), but he never seemed interested in being Shadowhand and he wants to go exploring anyway. Den Thelyss definitely wants the whole affair swept under the rug and would go along with whatever story made that happen. Other than Verin I don’t get the impression many people would miss Essek except as a lost opportunity. I hope they’d give him long enough before leaving Rosohna to pack up his cool leyline-weathervane though. He could totally mount that on Yussa’s tower. Or Allura’s!

And that concludes this particular train of thought re: Essek Thelyss in the context of IRL spies and espionage. Again, all of this is only as relevant to the campaign as the players decide it is, so don’t go giving people crap for being “unrealistic” about their versions of how the beacon trade went down. Frankly the last thing you should want here is realism, because “realistic” espionage is a callous world of deception, manipulation, and general human pettiness with no sense of narrative flow.

None of what I’ve talked about is an excuse for Essek’s actions. But it is a reason. It’s why and how a person entrusted with precious national assets could get into a headspace where it seems reasonable, even necessary, to trade them away to foreign enemies. It’s how a person of otherwise decent character & beliefs can end up committing terrible crimes. It’s why that person might sincerely regret what they’ve done, and not just because they fear punishment. The Warmind Rasputin paraphrases Octavia E. Butler saying, “Misdirected by accident or intent, intelligence can foster its own ecstasies of growth and decay.” In other words: sometimes you get too far into your own head. Without an anchor to reality, without perspective, your own mind gets twisted up. Sometimes you just need a friend (or seven) to grab your arm and say, “Breathe.”

(This accidentally turned into a series on Essek & IRL espionage: Parts 1, 2, 3, 4)

#Critical Role #Critical Role spoilers #not really but just to be safe #Essek Thelyss #CR meta #hey let's talk about Cold War espionage!#trufax #And That's What I Think About That.#words words words #I hope you like words #this poor foolish drow #bless this dumbass #it's been a long pandemic

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darkcircles4lyfe · 3 years

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retrospective & predictions

Since we're on a hiatus week (between 320 and 321) I feel like waxing poetic about the depth and growth of bkdk for a bit. Especially because it seems like we’re right on the edge of their biggest development yet, I’m getting the urge to lay all my perspectives and insights I’ve picked up from others out on the table. This is ultimately only my subjective interpretation of subtextual material in canon, though. If you’ve never quite understood what people see in their dynamic and you’re actually open to hearing me out, maybe from this you can at least see where we’re coming from. And if you don’t like my takes after all, well, we’ll see who’s right in the coming chapters, won’t we? What I have to say can be taken platonically or romantically; I appreciate both.

putting it under the cut, since it’ll be long:

At the risk of projecting, I want to start by examining a couple things based partly on personal experience.

From many different directions, I often hear people expressing that Deku’s persistent attachment and admiration for Bakugou is baffling at best. Despite the bullying, despite Bakugou’s loud, rude, and uncompromising personality, he still puts effort into their relationship and frequently describes him as amazing. It seems like Deku himself is aware of this as he’s said things along the lines of how he’s difficult, BUT... etc. Although I don’t think it’s exactly that Deku finds Bakugou’s personality hard to be around, but that he’s deliberately expressing patience for Bakugou’s emotional turmoil.

I have to say I know what this sort of patience is like, as I went through it with someone I love. I only chose to put up with their behavior because I decided the possibility of what our relationship could be was worth it. I wasn’t blind or submissive to how they treated me, and I wasn’t coerced. I simply expressed myself and established my boundaries while still allowing them the opportunity to join me in my world once they got over their own hangups. And guess what? It worked out in the end. That doesn’t mean there aren’t circumstances where it’s better to cut ties, but I want to stress that true reconciliation is possible sometimes. I used to worry that other people around me thought I was delusional for seeking it, but what really helped was my therapist reminding me that I’m smart and strong. So I think Deku deserves to feel the same. In a way this is his whole mission in life, his approach to being a hero as well as his personal relationships.

Let me also be clear though that I don’t mean Deku is only tolerating Bakugou’s personality, his mannerisms, the parts of him that will likely never change. I’m drawing a line between those things and his emotional state (they so rarely align anyway, but I’ll get to that later). In fact, I think Bakugou’s general attitude is part of what Deku admires. This is gonna be hard to explain without inserting personal experience too, sorry. As a writer myself I’ve noticed I’m drawn to writing characters that are brazen and bold and don't mind telling people off. Really it’s because I operate in the world in the polar opposite way. I try not to draw attention to myself, I’m quiet, and I’m a people-pleaser. People who project confidence, especially in an impolite sort of way, fascinate me. It’s good to take cultural context into account, too: I've heard people who’d know better than me that part of the reason Bakugou is the most popular character in the Japanese fandom is likely because he contradicts a lot of their social norms. His disregard is refreshing and cathartic. I can speculate that Deku has a similar point of view based on what he thinks but does not admit about Bakugou being his image of victory and how this sometimes makes him mimic Bakugou’s speech and mannerisms:

There’s also the bit in this fight where Deku realizes he's the only one able to receive Bakugou’s emotions. This is because he’s the most intimately familiar with him and his situation, but I think there’s another layer. Deku, as we know, has a self-sacrificing tendency, and in the current chapters we’re seeing the worst side of that. But let’s also not forget that to an extent, it can be a positive trait: resilience. When it comes to Bakugou, he has an almost comical ability to dodge the potential fallout of his outbursts. The example we all jump to (and fight about..) is how in ch1, apart from the initial shock of Bakugou suggesting he jump off the roof, the most he reacts is to criticize him for saying such a ridiculous thing. However, I think their interaction post- sludge villain is a lot more interesting:

Note two things: 1, in his head, Deku is practically making fun of how Bakugou’s acting as he stomps away without waiting for a reply. It doesn’t faze him. 2, Deku thinks, optimistically, that he can now focus on a different career choice. This is astonishing really. Up to this point, none of Bakugou’s attempts to put him down have worked; he just kept pursuing his dream. The only reason Deku concedes in this moment it because for the first time, he has been shown that he really couldn't do anything in a fight against a villain. All Might told him he couldn't be a hero (although he’s literally about to take that back in the next few pages lol) and the other heroes at the scene gave him a lecture about it too. It was those experiences, and not Bakugou’s words, that truly affected him. And when All Might tells Deku he can be a hero after all, it’s not thinking of Bakugou’s bullying that makes him sob and fall to his knees, it’s the memory of his own mom never telling him those words he so desperately needed to hear. Having spent most of their lives together, Deku must have been aware all this time that Baukgou was influenced by larger societal forces rather than a core judgement, so he didn’t take it personally. He separated the person from the action, and because he’s resilient and patient, he is thus equipped to handle Bakugou’s emotions. It’s a testament to his maturity and emotional intelligence, really.

But I can almost hear some of you saying, “that doesn’t mean Deku should have to be the bigger person here!” Correct! Just because Deku is perfectly alright bearing all of that, doesn’t mean atonement-era Bakugou sees it this way. We can track his awareness of Deku’s care and selflessness as follows-

The bridge scene, when they’re little kids: Bakugou conflates Deku’s heroism with pity, and subsequently thinks Deku is looking down on him because Bakugou’s own insecurity makes him defensive.

The Sludge Villain, and also Deku vs. Kacchan Part 1: Bakugou witnesses first-hand how easily Deku jumps to risk his own life, but still thinks he’s being looked down on.

The Sports Festival: Bakugou fights Uraraka and recognizes her endurance strategy and refusal to give up as very Deku-like. He’s half right. He thinks Deku advised her in the fight, when in reality she just mimicked Deku because she admired him. I want to draw attention to his very sober comment about her not being frail. It’s a great endearment of Uraraka’s character and Bakugou’s respect for her when others didn’t take “fighting a girl” seriously, but it also reflects on his opinion of Deku. Deku isn’t weak either. He never was.

Deku vs. Kacchan Part 2: Deku finally corrects him about the whole looking-down-on-him thing, and Bakugou is informed that Deku’s selflessness is in fact the reason All Might chose him. Since Bakugou had been in search of what he himself was “doing wrong” for All Might to favor Deku over him, he now has to reconcile the fact that selflessness is a heroic trait, and moreover something he lacks. This is also possibly the first time Bakugou is able to see his past actions toward Deku as bullying since he previously thought it was more mutual. Additionally, Bakugou can now link Deku’s selfless behavior to what he perceived as pity/contempt, and realize that Deku has been giving him A LOT of grace. Maybe too much. Maybe more than Bakugou deserves, and definitely more than Deku should have to. Holy heck- now Bakugou has to figure out how to live up to all the faith that’s been placed in him.

Subtextually, we can see Bakugou’s feelings about atonement reflected in the Todoroki family:

1, Shouto is another example of Deku growing a friendship using his selflessness (since their fight in the sports festival) and their relationship is being acknowledged here where it hasn’t been in Bakugou’s situation. Perhaps Bakugou is wishing it could be so simple for him, to be able to thank him for being his friend like that. Deku saying the pleasure is all his also probably calls to mind how a mere apology from Bakugou would probably be dismissed because that’s just the kind of accommodating person Deku is. Bakugou has to operate more quietly in order to actually make up for their past. I personally don’t interpret this scene as Bakugou being jealous of Deku and Shouto’s friendship, exactly, just the lack of emotional baggage. Side note, Deku and Fuyumi are kinda similar in their desire to repair relationships. I like that she’s the one to give him some credit.

2, With the common terminology, this can be interpreted as Bakugou receiving a model for atonement, one that is about action, and nothing to do with receiving favor or forgiveness. It’s a sense of duty.

Many of the above sentiments are repeated in the flashback conversation between All Might and Bakugou right before Bakugou’s sacrifice.

Bakugou acknowledges his bullying and that it happened because of his own insecurities, but aside from that, it’s interesting he neither confirms nor denies All Might’s suggestion that he’s trying to atone, or that Deku doesn’t see it that way. All Might is a bit of an unreliable mentor sometimes, but I don’t think he’s misreading here. Rather, Bakugou is displaying his tendency to hold back when talking about things that would make him really emotional. Besides, admitting to what he’s doing kind of defeats the purpose. He isn’t seeking acknowledgement. All Might has gotten to the crux of the issue here when pointing out that Deku doesn’t recognize the atonement, likely because Deku doesn't think Bakugou even needs to atone. Am I reading into it too much to say Bakugou looks wistful at this? It’s kinda frustrating sometimes trying to interpret Bakugou’s actions because he’s so paradoxical. Loud and in your face, but also extremely reserved. Sometimes I feel like I’m grasping at thin air, but hey, being hard to figure out is part of his intrigue as a character. The simplest way to look at him is to assume that unless he’s really showing vulnerability, he’s probably deflecting and hiding something.

Speaking of Bakugou’s tendency to to hold back emotional stuff, there’s his apparent lack of issue with Deku calling him Kacchan. Maybe to begin with, in his warped perception of things where he thought they hated each other, Bakugou saw it as Deku’s way of getting back at him for calling him “useless,” and didn't dare give any indication that it actually bothered him. However... consider how betrayed Bakugou has appeared when he was noticeably thinking Deku was looking down on him- the bridge scene, and the beginning of their first year at UA when he thought Deku was hiding a quirk all along. He looks shocked and hurt. That kind of emotion couldn’t be invoked by someone Bakugou didn’t actually care about his relationship with. “Kacchan” comes from a long time ago, before their relationship was strained, so it’s connotations are pure. Maybe somewhere deep down, Bakugou has always been hoping that Deku’s continued use of the nickname was not simply a matter of habit or teasing, but a vestige of friendship they’re both clinging to, and Bakugou himself was too afraid to admit to himself that he felt this way about it, so he mostly ignored it. (These are not original thoughts I am having here lol, this is a common interpretation. I’m just laying everything out like I said.)

And now we turn to the current situation. Personally, I’ve been looking frantically back and forth between them wondering who’s going to break down first (Deku vs. Kacchan Part 3, this time it’s just a fight to get the other person to cry? ha.) Both have looked like they’re approaching a breaking point for some time. Also, I’ve addressed this before, but I think it’s significant that Bakugou is no longer wearing his mask with his hero costume, in contrast to Deku recently donning his own. It feels symbolic of Bakugou about to be upfront about how he feels.

The question is, what is it going to take to get Deku to accept help? If you ask me, Deku has dug himself so deeply into the I’m-doing-this-for-everyone-else’s-safety-and-smiles hole, no common sense argument can possibly reach him. By the end of 320, Deku’s mask is off, and we can see how desperate he truly is. But he has not cried, yet. I predict we’re going to see a bit more of his defiance, this time on full display on his face as the remaining class members and his other friends take their turns. But then I think Bakugou has to be the one to break down so Deku can witness his actions having the opposite effect he intended. People have been pointing out that Deku is currently ignoring Bakugou, and oof, that’s gotta be intentional. Regardless of what Bakugou says, it’s going to be wrapped up not only in his understanding of Deku’s self-sacrifice, but also the betrayal Bakugou feels at being ignored/left behind that ironically echoes his previous perception of being looked down on, as well as a need to express how much he cares about Deku before it’s too late. He must show that the two of them are inseparable because they both act to save each other without thinking, and both feel like losing the other would be like dying themselves. All Might may have been right when he told them they could learn from each other after Deku vs. Kacchan Part 2, but he didn’t fully realize that idea by making sure they stuck by each other for support and balance.

I can’t wait to see what it’ll be like when they do finally get to that point, totally in synch and in tune with each other. They’ll be a powerful force no one is quite prepared for. Who knows when that will be, or even which chapter will be their big showdown, but I know the day is coming.

To speculate even further, I think the 2nd user is going to be really important really soon. And no I don’t mean to suggest that the 2nd user is Bakugou. But I do think their resemblance is key. Okay this is gonna be convoluted...

See how 2nd is the only one still standing? I think that’s symbolic of him withholding his quirk. Deku may not even know what it is at this point, let alone have unlocked it. Given that 2nd approves of Deku’s strategy at this point, it seems odd for him to withhold his quirk based on lack of faith. I think if his quirk was something that would help Deku in combat, he would have shown it to him already like the others did. So what if those gauntlets of his are support items that are meant to make up for his lack of a combat-oriented quirk, rather than to augment it? Mind you, I still have no idea what his mysterious power might be, but I’m dead set on it not being explosion-y. Regardless, I think 2nd looking like Bakugou is more about aiding some grand visual parallel, so! You know how 2nd and 3rd were probably intending to do away with Yoichi but 2nd changed his mind as soon as they made eye contact? This is really a long shot, but I wonder if 2nd’s quirk has something to do with that exchange. Maybe it’s something psychological, or some 6th sense about people he meets. So... in that way 2nd’s quirk could play a role in bkdk reaching a deeper understanding? Idk! But it could be significant at least that 2nd left Yoichi’s question about why he reached out to him unanswered.

One more thing- while I was gathering screenshots I found this. I think “you’re the last one I’m telling” might be foreshadowing for Bakugou revealing his hero name to Deku and it being a Big Deal:

As for other lingering threads in the overall plot right now, such as the UA traitor, Stain, whatever Tsuyu is apparently about to do, All Might’s car maybe in the background of the last page of 320... man I have no idea. All I know is there’s literally 320 chapters’ worth of build-up to this confrontation that can’t be interrupted.

See you next week <3

#phew that was a lot #I just wanted to show how things are aligning #I know a lot of this has been said #bnha manga spoilers #bnha 320 #bnha 321 #mha #bakudeku #bkdk #bakugou katsuki #midoriya izuku #bnha meta #lin speaks

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ectonurites · 3 years

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hey! how knowledgeable are you on stephanie brown? because i got in a bit of an argument with a dc fan on reddit who claims she's all these awful things, but im still relatively new to steph and i want to see what was true and what wasn't. link to screenie right here: https://ibb.co/vh6CYCJ

these may be matters of opinion, but even then, i'd like to know your take. i haven't read her firsthand often enough and i trust your judgement over this random redditor who seems to have some sort of blonde-woman related trauma left untapped.

I'm not necessarily the most knowledgable on her in the world, but I do know a decent amount because she's one of my absolute faves and I love her

But ohhhh boy that screenshot is a lot.

I will say that several of the things this person brings up are based in canon but are taken in the worst faith and framed in the way that makes her look as bad as possible, if that makes sense? It’s ripping things away from any context, because there's a very clear bias against her here.

I'll go through it point by point under the cut

First of all though before digging into this, I want to make it clear she was a 15 year old for the majority of the things this person is talking about. Like just pause for a second and remember she’s a 15 year old victim of abuse. That is something that I think factors into a lot of her behavior! Anyways, I kinda while doing this got into a ranty 'talking at you' format in response to the person who wrote all that, so don't take any of this as me yelling at you who asked the question/you anyone reading this.

"She always acted entitled" - Saying Steph is entitled is absolutely ridiculous to me. Stephanie grew up with a very unstable childhood due to her dad frequently being in prison and her mom dealing with a drug addiction, living in a lower class part of the city. Tim is entitled. I don’t mean that as like a bad thing about him, but he is based on his living situation, she is not. She has wanted life to be better for herself and her mom, and is determined about that, but she is not and does not act entitled.

(Secret Origins 80 Page Giant)

"and stubborn" - I will give you stubborn though, that one is true. She’s stubborn as hell! I don’t really see that as a bad thing though, pretty much every bat is stubborn?

"demanding that Batman and Robin accept her untrained ass" - Steph may have been untrained in fighting but she's shown to have exceptional gymnastics skills from the start, and at one point Bruce even says that with the right training she could be as good if not better than Tim (in Robin #88)! So like... her realizing she enjoys trying to be a hero after she tried it out to deal with her personal business, so she looks to the local experts… and is determined about it… how is that a bad thing? It’s also not like she walked up to them and said ‘im perfect as i am let me in’ what she wanted was a chance to be a hero. But she also wasn't even really looking for approval, either, not having Batman's blessing was never going to stop her. ("So excuse me if I don't jump when you bark, Batman." in Robin #16) Later when Bruce does bring her in to train (and she also gets to train with the BoP) she's excited! She’s stubborn about wanting to be in the hero business, but it’s not like she’s unwilling to work for it.

"advocating leaving criminals to die because they 'deserve it'" - She’s a 15 year old who grew up knowing firsthand how dangerous Gotham criminals can be because of her dad, of course off the bat when they’re in a dangerous situation where any of them could die (because that’s the context here, this is in Robin #35 where they’re trapped in some super dangerous snow) she thinks they shouldn’t go back for another criminal who just tried to kill them and should instead save themselves. But she also literally WITHIN THAT SAME ISSUE then says she realized she learned something after listening to Tim and trying to save the guy! In the same issue! Characters in a story aren’t supposed to be perfect from the start… they learn things along the way???

(Robin #35)

"trying to steal from the shops they just stopped from being burglarized" - She’s 15 and doesn’t have a ton of money. She was gonna take two sodas, and when Tim said not to do it she paid with very little fuss. They stopped people who were robbing the place at gunpoint for prescription drugs. If you can’t understand the difference in severity between those things like… I do not even know where to start. (this situation is in Robin #56 btw)

"forcing physical affection onto Tim despite his visible discomfort and repeated objections (not even stopping when he told her he had a girlfriend)" - This one I will give you because she did cross boundaries with all that! But I do also want to clarify that she didn't start coming onto him until after Tim kissed her first (in Robin #5) while not telling her he had a girlfriend. That doesn’t excuse her later actions but for the first issue that she’s coming onto him from her perspective he expressed interest and she was just returning it! She even specifically says 'Maybe I should pay you back for saving my life the same way you paid me' (in Robin #16) before kissing him. That first time she kissed him unprompted was under essentially the same circumstances he kissed her unprompted, and she literally did not know about Ariana until after the fact. From that point once she knew about Ari she definitely should have backed off and she didn’t, that’s a very fair thing to criticize about her as a character. But Tim lead her on first, and I feel a lot of people like to casually forget that when talking about this situation. The way this is phrased of ‘not even stopping when he told her-‘ implies she was repeatedly doing the bad behavior before he told her, which is not the case. She still did bad things here but don’t misrepresent the situation.

"And lashing out at Tim, her mother, and her classmates in violent fits of anger" - Every comic book character lashes out at other people for the sake of drama like, I dare you to come up with a well-known superhero character who hasn’t done shit like that to a partner/family/friends in a moment of high tension/stress?

"She treated the girls around her like they were stupid bitches" - frankly this ones a little too vague like, I'm not sure off the top of my head exactly what they're talking about? in that era right around her pregnancy and stuff I really don't recall her being mean with other girls? I could be forgetting something I guess but the closest I can think of is a bit after this period of time when she has the confrontation with Greta in Young Justice but that was Greta attacking her first, not the other way around.

"got insanely jealous if Tim so much as expressed concern about another girl" - Steph getting jealous and thinking Tim was cheating isn’t that crazy when STEPHANIE BASICALLY WAS THE OTHER GIRL DURING TIM’S LAST RELATIONSHIP? Tim has cheated a little bit before! Tim cheated on Ari with both Jubilee from Marvel (during a crossover thing where he even mentions Ari specifically so it’s not like this was out of continuity/a setting she wasn't an issue or something) and also with Steph. While most of the kissing between them was Steph coming onto Tim which I wouldn’t count as cheating on his end, he did still kiss her which I would count. Not to mention that the jealousy thing (I imagine they’re talking about the instance with Star, the girl who taught Tim to skateboard, this arc of stuff starts in Robin #80 and continues for a few issues) is happening during the time she’s dating him while she still doesn’t even know his real name. He literally has a whole other life she doesn’t know about, and is someone who has initiated romantic moments with other girls while in a relationship multiple times before! With that in mind I don’t think a 16 (she's def 16 by this point) year old girl being kinda paranoid about how he interacts with girls he might know in his civilian life is that unreasonable? The later big instance with jealousy is the Darla situation- where Steph sees Darla kiss him and gets mad about it (and doesn’t talk to him about it) and thats what prompts her to become Robin. The important thing to remember about Steph in this time frame is that DC decided she had to die and they wanted to make her Robin first to drum up more attention for that death. They were doing ooc things with her to set those pieces in motion, and that needs to be taken into account. I think her getting upset about seeing something like that isn’t even ooc, but her using it as motivation to become Robin and not even saying anything to him about it is. In the earlier instance where she’s upset/jealous about Star, she does communicate to him what’s going on at least a little bit on the rooftop after they’d saved her. She makes it clear the thing she was upset about is that she feels like she can’t trust him because she doesn’t really know him while he knows everything about her, and that’s why she thinks he’s cheating. Her reaction to the Darla thing is not in line with how earlier in canon Steph would have handled the same situation, because they wanted her to die and needed a way to explain her becoming Robin.

"and expressed that jealousy by accusing him of cheating and throwing things at him" - I just addressed the cheating stuff but the throwing things was fucking slapstick oh my god this is a comic book for kids/teens like. ah yes this is horrible abuse in this little funny montage of how Steph wants him to leave her alone because she’s mad at him and he refuses to give her space

(Robin #82)

I don’t think anyone at DC or even in fandom would/should try to argue she’s perfect, because she’s not! And I don’t want her to be because perfect characters are boring. Steph is flawed, Steph has been compared in canon to Robin-era Jason by Cass & Bruce

(Detective Comics #790)

And I think these highlight some of her very real flaws that are an interesting part of her character. These plus her stubbornness and determination are part of what makes her her.

And for fuck's sake the world was mean to her, and to act like it wasn’t is just blatantly ignoring a lot. A criminal father who made her life really difficult (‘when my dad was mad at me he’d lock me in the closet!’), that time she got kidnapped for two weeks and her mom had left her (a 15 year old) alone at home so long she didn't even find out it happened (in text Steph says Crystal was visiting friends, a lot of people interpret that as her mom possibly being in rehab for her addictions again), that whole thing about how one of her dad’s friends tried to sexually assault her as a child, also just how due to her dad's work sometimes criminals would be living in their house (Literally the fucking Riddler at one point!), the fact that we as an audience watched her get tortured for several days because a plan she tried to enact to prove herself backfired since Batman didn’t trust her with important information (something Selina even calls him out on in her internal narration), like… sorry but in what way is all that not the world being mean to her?

She was Robin, she dated Robin, she likes Eggplant (because purple would've looked stupid), and makes jokes. She’s also impulsive, headstrong and determined, and wants to prove to herself and others that she can be more than just the daughter of a shitty criminal, that she can actually be a force to do good in the world.

She’s a complex character, and nobody is required to like her, but to act like she doesn’t have a single redeeming trait is ridiculous. You could write a paragraph like that with the worst moments of basically any character and make them look like shit if that's what you were setting out to do.

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mybg3notebook · 3 years

Text

Gale Summarised Analysis

Disclaimer Game Version: All these analyses were written up to the game version v4.1.104.3536 (Early access). As long as new content is added, and as long as I have free time for that, I will try to keep updating this information. Written in May 2021.

The majority of sources used for this article are in the game itself (this includes my Gale-solo playthroughs as well as a combination of the videos by munmomuu and selphie1999), and the few dev’s notes provided by pjenn. Gale as origin is not taken into account since it’s not finished and has little to none Gale-related content. There will be little datamining content as well since pjenn said the game contained almost no gale-related notes (only in the Weave and in the Revelation scene).

Additional disclaimers about meta-knowledge and interpretations in (post)

The number between brackets [] represents the topic-block related to (this post), which gathers as much evidence as I could get.

We can infer about Gale by analysing what he approves and disapproves of. Sometimes, we can even lightly infer some information from his neutral reactions, but let’s be honest: this way of analysing a char is pretty poor since it leaves everything to speculation. Neutral reactions can only be analysed, in very rare instances, by contrasting the same situation in other contexts, and seeing what other options Gale approves or disapproves of. With these considerations in mind, we can proceed to describe this character.

Disclaimer: this is a meta with my personal interpretation of the character, sticking as much as possible to the facts and leaving little to “desires” or “projections” of what I want him to be. If I do so, I will state it explicitly in the text for the sake of analysis honesty. I want to be clear about what is canon (facts shown in bg3 EA), from what’s personal interpretation with little proof.

Understanding Gale (integrated text)

We are none of us monsters. We are merely hatcheries for monstrous things. So we fight them

---Gale

Collecting most of the information provided in-game, we know he has a cat, a Library, and writes poetry sometimes. One of the first things that Gale will reveal is that he is a private person. He easily and clearly sets boundaries from the first moment, showing Tav where they stand. The second aspect he makes us aware of is his pragmatic thinking and his preference for diplomatic approaches. A third aspect that stands out on its own: he is a very verbose person, maybe as a result of his academia background in combination with his poetry hobby. He also has a bad posture when talking, but I’m not sure if this is intentional or a bug.

We can assure that Gale certainly is a man of the city [13], and may have a decent social status. It's impossible to say for sure if it's noble or rich or both, or it is just a natural consequence of being a wizard scholar: he is frustrated by the harshness of the camping life, he misses the civilisation of the city which offers well cooked meals, soft beds, and scented baths. Not by chance he is the only companion in the group who would approve of giving Oskar 200 gold to fight “the discomforts of the road” [13]. However, he adapts. Despite the lack of luxuries, he managed to survive in the wilderness.

Gale and his link with magic is unquestionable. Magic is life for Gale, metaphorically and literally speaking since it's magic what allows him to stay alive despite the "orb" in his chest. If we talk about Magic, we have to talk about Mystra and the Weave. The Weave is not only the embodiment of Mystra, it's an extension of Mystra herself. It extends across many planes of existence and is in almost all parts of Faerûn. By dragging power from it, Magic can be performed.

Mystra, for lore reasons and conjectures that I will discuss in the post "Mystra and her Chosen ones", turned teenager/young adult Gale into one of her Chosen, making their relationship more intimate and granting Gale a deeper access to the Weave. This put Gale into the category of an archwizard. It's clear that Gale was and still is a devotee of Mystra, which could give us a hint of his alignment since she is a neutral good goddess and she expects for her Chosen to align around it.

Gale likes confidence, in others and in himself. He is confident in his looks (he has described himself as a “handsome devil” and answered during the romance/Revelation scene that he knew he was beautiful under the light as well as Tav). But beyond these two lines, qualifying him as a narcissist seems extreme. He is surely very confident about his knowledge, and we see he is not just mere words: his Mind Flayer knowledge is at the the same level of what githyankis know. If we compare how Astarion/Tav struggled with the book of Thay, and then we see how Gale manages it (sadly the scene is not complete yet in EA, and there is almost no datamining info of Gale), we can conclude once more that his knowledge and power of the mind are real (he is, so far, the main companion who allows us to explore the lore of the game in a deeper way during his conversations). We also know it's a bit more complicated to intrude into his mind using the tadpole because he has knowledge and mental tools to protect himself (check the post about the Tadpole inside Gale). He is certainly a very verbose and confident scholar, who knows his limits, and in occasions he seems to dabble into an ego-teasing play as an attempt of levity, displaying his “insufferable side”, as he has described himself (his self-awareness of these traits is remarkable, and it is the reason why I avoid qualifying him as arrogant. Arrogant chars are hardly self-aware of their own bad manners or insufferable traits). But we can see it's usually done as a joke or, with an evil Tav, as an aggressive reaction. For a deep analysis of this aspect, check the post about "Gale Hypotheses- Part 2", section: "Narcissism".

Based on his approvals and disapprovals, we can see that Gale has a strong preference in avoiding fights, violence, and bloodshed [1]. He will always prefer diplomatic and persuasive approaches [2]. Reasoning is his best weapon, but if the individual we are dealing with can hardly be persuaded, he would approve of a deception or an intimidation as long blood is not spilt. Here is where we see his pragmatism in action, all the time. His primary goal at every moment is to avoid bloodshed. His philosophy could be summed up in the line “the means [as long as they don’t kill gratuitously] hardly matter if the end is worthy”. And for Gale, nothing is more worthy than life [3]. This doesn't cover only the life of innocents he cares about, it includes the life of the most dubious characters as well, such as Rugan or Crusher. Gratuitous death is meaningless for him. During the scene of Nettie we can have a glimpse of his philosophy towards life: he viscerally hates treating life as if it were nothing:

Gale: How dare she snuff out life with as much thought as snuffing out a bloody candle? […] It's not right to feel the cold breath of death in your neck, then move on as if it was nothing but a soothing breeze. One respects life by fighting for it, and one respects death by fearing it.

Gale: One should never be afraid to live life to the fullest.

Probably the limited amount of life he has due to the "orb" increased his sense of respect for life and its celebration. I personally understand Gale as a character who embodies the perspectives of a seriously ill person, knowing that their life may be short, but they will try to make the best out of it.

He doesn't only respect life per se, he also cares about its dignity. This can be seen in his explicit rejection to undead existences such as Connor (he explains that it would be merciful to put an end to his undead nightmare), or in his disapprovals of humiliation and torture [9]

We could suspect that this emphasis in protecting any life comes from the fact that only people who are alive can (sometimes) be forgiven or/and change. This is not explicit, but since he is a character who talks about being better and wiser than his previous self, about acknowledging mistakes, about forgiveness, this interpretation seems reasonable.

These concepts of kindness and compassion combined with “the mistakes of the youth” are repetitive in his interactions and approvals [5,12]. Of course, they echo in his soul since they are reflections and desires of his own experience. This pattern covers forgiving children in particular [5], and disapproving hard judgements [16], especially on matters whose story is not fully understood by Tav. This means he doesn't like quick judgements when he doesn't know the whole story first. This scenario can be easily seen during Karlach's quest, he reserves his judgment until knowing Karlach's side: There are always two sides to each story.

Gale: I have to say I don't know if agreeing to this hunt was such a wise idea. Who's to say who's the real villain in this tale of devils and masquerades? [...]When we track Karlach down, let's chat before we chop.

Similar concept appears during his Revelation scene, when he encourages and keeps asking Tav to listen to him first before judging. This is also the reason why in his Loss scene he would disapprove if Tav quickly assumes that his loss of Mystra was due to arrogance. Tav judged him without knowing the whole story. However, once Tav knows the whole story, Gale will accept any judgement from them without approval penalties during the Revelation scene.

He approves all actions that imply helping others in hard times and disapproves of them if they were done out of greed [4]. He is an animal lover [6,7]. Being kind to animals and treating them good will increase his approval, while animal cruelty will earn his disapproval. Same goes for humanoids: any display of gratuitous violence that could have been prevented with a trick or a diplomatic approach, any humiliation forced upon others, any torture or situation of slavery, is disapproved [8, 9, 11].

In particular, Gale seems to advocate the philosophy of “give others their own medicine”[18] or in other words: poetic justice. We can see this during the Myconid colony; he approves of helping the Myconid to avenge the young killed by the Duergar, adding the comment: “Wicked killers deserve wicked ends”. He is implying to give them a similar, wicked medicine to the Duergars. Another less deadly situation of this kind is shown during the foot situation with Crusher: Gale is the one suggesting “pungent poetic justice” and telling Tav that they should force Crusher to kiss their feet.

The most iconic scene, however, is during Nettie's, if Tav lies during her interrogation. As a hot-headed reaction, Gale states that he would have poisoned Nettie if this situation would have happened to him. Although, after calming down, he approves of and confirms Tav's actions [if Tav managed to persuade Nettie to give them the antidote]

Gale: A taste of her own medicine is what she deserves! […] But you handled it, and you handled it well.

In this scene we also see a pattern: Gale is shown as a fallible human; his most visceral reaction during the first moment is anger and indignation, giving us a hint that he is not so rational when it comes to emotional states. An extremely obvious, human concept.

The scene of Nettie trying to kill a potential menace (the victim of a MF) reverberated in his consciousness, projecting immediately a fact in his mind: if he ever dares to reveal his "orb" problem, and anyone knows what a danger he represents—no matter how stable it looks—people will want to remove the menace by killing him.

This is the reason behind his words “It's just that, had it been me... had it been...” Gale knows that this simplistic and common thinking in removing what's dangerous would end up turning into a more destructive tragedy in his case than in any infected victim of the tadpoles. So this combination makes us see, for the first time, an emotional Gale. After some seconds, he cools down and returns to his more rational, diplomatic, and moderate self. What we can read here is that Gale would be very prone to rush decisions or to make mistakes under emotional circumstances. We will learn later that the other mistake he made under emotional stress ended up with the "orb" stuck in his chest. A third mistake was done during the party, once more under the emotional stress of a potential abandonment by Tav due to the true nature of the orb.

Everything related to the “orb”—which is his most traumatic experience—naturally makes him more emotional and prone to mistakes. To see how truly traumatic the "orb" is in his life we can notice the following patterns during the meeting scene: he speaks about the tadpole in a relaxed, rational way, despite the traumatising experience. He first asks for an archwizard instead of for a cleric, because his priority is the orb. Gale's main fear is not the tadpole, but the orb. If we remember his words after the consumption of the artefacts, we realise he lives in a permanent state of anxiety and raw fear, and probably pain too, given his facial gesticulation when anything interacts with the "orb" (whether artefacts or Tav's hand). His banter with Shadowheart reinforces the concept that he always has a knot in the stomach. When he accepts the deal with Raphael, it seems to be related to the orb, not to the tadpole. The effect of the "orb" has ceased, but the tadpole is still in Gale's head since we still need to roll against a high DC and not only against a 1DC during this scene, so we can assume he still has the tadpole despite Raphael's deal. See the post about "The Tadpole" in Gale for more details.

Gale is a character that represents human experiences deeply related to growing up: mistakes done in the past, and the acceptance of not being forgiven despite the desire of wanting to. This can be easily seen during the conversation of the second tadpole dream, where Gale's mood is foul and we learn that his deepest desire is for Mystra to forgive him, but he also knows it's impossible for that to happen. He detects the lie in this dream because he has accepted that Mystra will never forgive him. Gale is the story of mistakes done during youth with grave consequences, of acknowledging them and trying to make them right, of surviving those mistakes, and depending on the interpretation, he is also the story of an ill dying man, with a gentle vision and deep care for life.

The great majority of his approvals are based on actions that show kindness and compassion, both reiterative concepts that are so important in his character that they come from his lips when we see the goblin party:

Gale: The shadow within is spreading like poison, corrupting kindness and compassion. [Only after a tough DC of 15]

In combination with: Gale: I don't know myself anymore. All this... It's not who I am. Around you, I'm not who I want to be. I should leave.

These lines show how, in a sudden change to an evil path, Gale would start doubting his own morality, explaining that the cause of it is the "orb" itself, corrupting the most core aspects of his personality. This corruption may or may not be lore-related. It's not completely clear what Gale's "orb" truly is. For more details, check the post of the "Orb".

His constant critical thinking comes from his advocacy to non-conventionality [15]: a true scholar will always explore all the options and hypotheses before reaching a conclusion. Therefore, Gale would approve of any non-conventional way to fix a problem [15] as long as it doesn't potentially cause harm or bloodshed [1,2,3,8,9]. Due to his own background, Gale will always advise to be very careful of the consequences of one’s actions. This can be easily seen when, after encountering the caged goblin Sazza, Gale would advocate to explore the possibility of reaching Gut Priestess to cure the tadpole. However, when Tav helps Sazza to escape, Gale will comment briefly against this action.

Gale: I know I said it's not inconceivable a goblin priestess could help us. And yet... was it really wise to set another goblin free so she can arrange introductions? […] consider the consequences. What if she leads her entire tribe to the grove? Tav: I don't care, I owe this grove no allegiance. Gale: No allegiance, no. Though we don't need to sign its death warrant

Once more we see that Gale is up to using any (unharming) means to get a goal, but not at any cost. He has a clear line he doesn't like to cross: life [3]. Avoiding putting other people's lives in danger is very important for him. We see this concept over and over in most scenes.

He doesn't likerushed decisions, and in that same train of thoughts, he will disapprove any use of unknown magic or tricks when nobody in the group can truly understand how they work [17], for example the tadpoles or Raphael's deal (he is against accepting it quickly, but he will approve of having a more cautious attitude and carefully thinking about it).

Since the moment we meet him, we can infer he is obsessed with the artefacts. It's obviously understandable: he doesn't want to die, but also, he doesn't want to kill all those that will be caught in the eruption of the orb. For this reason he will insist on the loot in the Temple Ruins despite knowing that grave robbery is not correct.

Gale: Bad form, isn't it? Grave robbing? […] Let's have a look at the loot. It isn't for your pockets only.

He keeps pondering life over death: although he respects the dead, he will always value more the living creatures in the present. This is also what pushes Gale to suggest Tav to open Rugan's chest. Stealing from the evil Zhentarins is not something that will weigh on his consciousness too much. Besides, he knows it belongs to a wizard: meaning that the chance for it to contain a powerful artefact is really high. Similar suggestions will be said about the Idol of Silvanus, but talking with him in the camp will show us that he won't approve of taking it, only as a last resort. He keeps pondering the living over a sacred piece of stone, since he knows the druids won't take the stealing very peacefully. Once more we see Gale's respect and care for life, trying to minimise damage as much as the circumstances allow him.

Gale is also a survivalist. He doesn't want to die, he loves celebrating life in its more mundane and small details. He is an emotional character for a wizard, a bit strange since they are usually portrayed as more rational and cold, losing their lives among dusty books. However, Gale has shown in many scenes that he prefers to survive without killing, but if he has to, he will do it, dealing with the weight of it in his consciousness because killing unprovoked affects him (scene in the camp after killing the druids, or the goblin party scene).

His moral in preventing gratuitous death sometimes will conflict with his own survival, especially if he is by an evil Tav's side. He couldn't accept bloodshed when other peaceful options were available and possible to reach. This is clearly shown during the goblin party, where Gale's consciousness suffers and feels the corruption of the "orb" killing the kindness and the compassion inside him. He accepts that wanting to live is a powerful drive, but he doesn't support this massacre, questioning if all that blood was necessary. A Tav killing the tieflings seems to lose the possibility of pursuing Gale romantically, at least in EA so far. For Gale, survival is important, but the means to do it (when they can cause death) matter too. Life is worth preserving.

The usual archetype of survivalist tends to be an individualist one who would survive at any cost without remorse because that's the “law of the jungle”, the strongest must survive. However, Gale seems to embody a different concept of survivalist that it's hard to put in words: a sort of communal survivalist, trying to survive in coexistence with his community: he wants his survival to imprint the least harm possible (even though sometimes it would not be possible), trying to help those around him as long as his condition allows it; for example, despite wanting Gut's potential cure for the tadpole, he would disagree in helping Sazza escape because she will lead the goblins to the Grove, no matter the fact that doing this will grant them their introduction to the priestess.

His list of approval shows that his sense of survival is always pondered with the consequences that it can cause on others (check the post with the "Extensive list of Gale's approvals"). The whole concept of the "orb" has this motivation as well: he wants to live and survive, but he also can't give up because his body would kill many, so he needs to do as much as his moral allows him to keep it in check. If he cannot do it any longer, he promises to minimise the disaster as much as possible by erupting in the deep Underdark or in a desolated corner of Faerûn (and considering his ridiculous list of approvals and disapprovals, we know he is honest in not wanting to kill gratuitously). Gale acknowledges his own mistakes, trying—to the best of his ability—to deal with them without catching others in them. Although all his speeches keep emphasising that he is a mere human, and plans may fail.

At some point, if he wants to survive “not at any cost”, he will be forced to ask Tav for help during the scene of the stew (available only for medium approval or higher). As a gesture of honesty, Gale will set a boundary before making this request, acknowledging its unfairness but giving Tav the decision to proceed or not. He is not denying to explain the details later, but at the moment he can't speak the “why” of his condition no matter how curious Tav is. Tav will decide whether they can keep their curiosity on the matter.

We will understand later that this impediment comes as a precaution as well as consequence of his personal trauma with Mystra and the "orb" (See post about "Gale: Manipulation, Lies, and Trust"). So, he is very clear about setting the conditions in which this conversation will happen from the beginning. The easiest way for Gale to avoid this whole situation would have been by simply lying, but he opted for an honest approach with clear out-loud reservations, knowing he was asking for more trust than he was allowed to, but the intention behind is more than important. There is a clear, huge contextual detail that we can't miss: this scene doesn't happen because of Gale's whims, he is forced to ask for help since his condition “is not a patient one” and will endanger everyone if not kept at bay.

This detail where Gale explicitly asks for an exchange of trust is not present if Gale's approval is neutral or lower. In this case, Gale would not care about giving a context to his strange request: he doesn't trust Tav and he doesn't expect to be trusted either, he only wants the artefacts to keep his condition in check for his sake and the sake of others. We can understand this change of attitude depending on the approval as he doesn't want to give any extra explanation to someone he is not interested in building a relationship with. For more details, check the post about "Gale: Manipulation, Lies, and Trust".

I personally support the idea that nobody in canon Faerûn is free of racial prejudices since Forgotten Realms lore has been created based strongly on fantasy racism. I've read that WotC wants to move forward and improve this aspect in 5e, but so far what they allowed Larian to do with the Tieflings in BG3 seems to show the contrary. So, since apparently we are going to face fantasy racism anyways, I will try to analyse racial prejudices from all chars. When it comes to Gale, it's a bit far-stretched to point out unjustified racial biases. He has a vague comment about Rashemi that some people may consider a faerunian saying. Personally, I think that line is a bias forced into him to have a particular dynamic with Minsc (the Rashemi “silly” companion -we all can see where Larian seems to go with this). Gale clearly sees tieflings, gnomes, and even goblins as people, and has a cautious attitude towards some githyanki (at least that's what we can infer with Lae'zel when we find her in the cage), but given the githyanki lore it's pretty reasonable to see them as dangerous creature that could kill people on the spot. So far, he seems to have no racial preference either [10].

As it was said before, he prefers to avoid killing people, but that doesn't mean he won't do it if his life depends on it. He will prefer persuasive and defusing approaches, but if he needs to kill to defend innocents or his own life, he won't hesitate. So therefore, stories about characters making mistakes or having violent excess in an effort to protect themselves or what they hold dear will be understood by him but hardly approved [19]. He tends more to approve a call out of that excess than approving an excuse for it.

Gale has deep abandonment issues that can be easily seen when he defends Astarion from being handed over to Gandrel. We need to put this in context before going on: for Gale, Astarion represents a danger as a vampire who attacked one of them during their sleep. By the display of meta-knowledge, we know with certainty that their approvals and disapprovals are mostly opposite: What one approves, the other will disapprove and vice versa. Getting rid of Astarion should be something that Gale would approve, however, he doesn't. If we explore his comments we will realise that what Gale disapproves from this situation is Tav's abandonment. After Mystra's abandonment, he knows very well that “Loyalty is such a very rare commodity”, and the few situations in EA in which Tav can display abandonment, resound strongly in Gale.

Gale is a scholar with a strong balanced rational side. But unlike the trope, he also embraces an emotional side that, so far the info we received in EA, it's the side that makes him prone to mistakes.

As an amateur poet, Gale loves words. We can obviously notice this in his verbose attitude, but also in the way he carefully uses words. One of his characteristic words is “spectacle”. He has also shown a reiterative—although not always—uneasy use of the word “fun”. Using “fun” as a way to describe the night spent with Gale gives him a slight uneasiness. “That’s a word for it.” He disapproves of using the word “Fun” after the Mayrina/Connor situation, in which scene Gale alludes that “your new company may be a proof of how depraved and twisted you are to see that tragedy as “fun”. Personally I think this is a direct allusion to Astarion, who considers Mayrina's situation as “entertainment”, in the same way he considered as “fun” the show of Arabella's death (two of several instances where he used that word). Gale also doesn’t use the word sex during EA, instead he uses romantic ones such as love-making, intimacy, art of the night/body. In the most technical case: coitus (used only when he is talking about “goblinoid intimacy” in the expression “post-coital snack”). These details are showing not only his poet/romantic side, but also his interpretation of sex from his perspective: sex can only be possible through a connection. We know he doesn’t engage in casual sex with Lae’zel if he is not romanced, and his romance can only potentially start if Tav shares that deep connection with him through the Weave.

Another detail related to words is that Gale has always used an infection/disease-related vocabulary to explain the “orb” stuck in his chest: infested, taint, shadow spreading

[…] I failed to control [this chaotic magic]. Instead it infested me. […] This Netherese taint... this orb, for lack of a better word [..] […] the shadow within is spreading like poison, corrupting kindness and compassion. [...]

Gale apparently has a particular way to sense magic. I have no way to check this in-game, but it seems very strange how he immediately identifies magical artifacts without casting Detect Magic. There are some extra scenes as well where he says to taste or smell the magic in some objects. Even his encounter with Shadowheart, besides being considered a flirt, could be also interpreted as him detecting the magic that we saw later in her hand or maybe the dark magic that blocks her memories, since Gale pointed out about a curtain covering her soul: “if the eyes are the mirror to the soul, yours have dark curtains across the mirror” (a very ominous flirting if it’s only a flirt)

This makes me suspect that, if the "orb" is not giving him this skill, it may be a consequence of having been Chosen of Mystra (for more details read the post about "Mystra and her Chosen ones"). If this is the case, he may have hindered remains of theirs powers when it comes to detect magic at will.

Gale has a perception of magic with all the senses: he sniffs and tastes magic. During the mirror scene you have an option related to [Arcana] tag where he “Sniff the mirror, trying to understand the nature of its magic”. A wizard Tav will just “Inspect the mirror”. He also said that he could “taste” the magic in the necromancy book and in the runes of teleportation.

What we know of his family is little: when he was a kid there was a housekeeper in his life (mentioned only once during the scene of the harpies) and his mother that seemed to have personally raised and cared for him (mentioned twice: in the ruin temple scene, and in his banter with Wyll)

Tav: Why care about decorum in a long-abandoned tomb? Gale: Because my mother raised a gentleman. Then again, to be alive is to be curious.

Wyll: Between the orb and the bug you've got more than your fair share of unwelcome passengers. Gale: What can I say. Mother always taught me to be a gracious host.

This post was written in May 2021. → For more Gale: Analysis Series Index

#bg3 meta #gale #gale of waterdeep #bg3 gale #bg3 early access #bg3

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watch-grok-brainrot · 4 years

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Wei Wuxian and Chinese Virtues of 忠孝仁义

There’s a lot of conversation about Wei Wuxian and how he struck out on his path without a concern for the Jiangs; about how he’s reckless and not giving a sh*t about his role within his society; about how he had a family and siblings and threw it all away for his sense of right and wrong. But the way I read his actions is within the context of the virtues of 忠孝仁义 (and how the virtues, especially 义, is ingrained in him via the Jiang sect motto). WWX’s major decisions can all be read as him acting in accordance with one or more of these virtues. Even when WWX is being his most irreverent self (and yes he’s rude and bring about a lot of second hand shame) he still remembers the we-self (to borrow from baoshan-sanren’s post) context as the head disciple of the Jiang Sect. Even when he seems to abandon everything, he didn’t abandon his understanding of these virtues.

First of all, let’s talk about 忠. 忠 (zhōng) is loyalty, devotion, fidelity. I usually associate the concept with loyalty towards your country but it can be applied to other units too. In the case of CQL where we don’t see an Emperor or country, it would only make sense that this concept be applied to either a person (e.g. SuShe at JGY) or a sect.

Tangent, feel free to skip: An (maybe THE) embodiment of this virtue is 岳飞 (Yue Fei), one of THE MOST famous Chinese generals. Yue Fei lived during the second half of the Song dynasty. He loved his country so much, he wrote poetry about drinking his enemy’s blood and eating their flesh (壮志饥餐胡虏肉，笑谈渴饮匈奴血) and taking back his country’s lands and saving the two previous emperors from being POWs. He is famous for the tattoo of the words “尽忠报国” (exhausting all loyalties to replay country aka i will be loyal and fight for my country until i die) on his back bestowed by his mother before he left home. When he was unjustly executed for treason, the executioners saw that on his back and the people knew a great man was wronged.

(if anyone wants a translation of the poem and a rambly share about some of my favorite Yue Fei related facts/stories, let me know. Otherwise, i’m gonna get back to our favorite necromancer)

So back to WWX. His loyalties are very much with the Jiang sect. After JFM and YZY dies, within the structure of 忠, Jiang Cheng is effectively who he needs to be loyal to because Jiang Cheng is the sect leader and essentially the symbol of the sect. The act of giving up his core to JC, then, embodies the idea of loyalty within the context of 忠. (I’ve seen memes about how WWX gave consent, WQ gave consent, but JC didn’t. drwcn has a great post about consent. For this post, i’m not going to go into it because this is outside my defined scope.) Furthermore, 忠 compels WWX to protect the Jiangs. I’ve read meta that thinks WWX was trying to get himself killed based on the crossing of his hanfu and his mouthing off at Wen Chao. I’m inclined to believe that reading because if dying means JC would never find out, so be it. And as long as WWX is dead, there will be no evidence of the core transfer so JC would never lose face before other cultivators. It would mean the Jiang sect can be rebuilt to its old status without being tainted by WWX’s sacrifice.

Ok, next is 孝. 孝 (xiào) is most often translated as filial piety. I don’t think there is a good sense of it in western culture. In chinese culture, it is the expected deference younger generations need to display to elders in their direct lineage. [Note: i use lineage because you can be 孝 towards your biological parents and grandparents, your kungfu master and their master, your adopted/honor bound parents, etc but not to everyone who is in a higher generation. It’s very family/lineage based.] 孝 is complicated because it’s ingrained into Chinese kids at a really young age. Go pour your grandparents tea. Go give your grandparents a back rub. Listen to your parents. When your parents get old, you’ll take care of them. Respect your elders. Even if your elders are wrong, don’t talk back. It’s a set of emotions that tie you to your ancestry. To turn your back on it feels like turning your back on your culture and identity.

Tangent, feel free to skip: Ok, this is really cool and I had to share. In looking up 孝 in the online xinhua dictionary, it says about the etymology: “形声。从老省，从子。” This is so cool! We have two characters: 老 (old, as in Yiling Laozu) and 子 (child). You’ll notice 孝 is a character where to top part of 老 is taken and 子 essentially follows. This character is a style of character where the meaning comes from the structure of the character. So 孝 is where the children follow the old, often blindly and with disregard of their own needs.

WWX, as an orphan, can only direct his 孝 towards Jiang Fengmian and Yu Ziyuan. 1) No matter how awful they were as parents, JFM and YZY raised WWX. 2) WWX is the head disciple. That means JFM is his shifu. [He calls JC his shidi and JYL his shijie for that reason.] That teacher-disciple relation is often described as “一日为师,终生为父” (a teacher for one day should be treated like a father for life). Both 1 and 2 bind WWX to the Jiangs regardless of his adoption status. So, when on the boat YZY and JFM tell WWX to take care of JC and JYL, it’s the order of an elder in his direct lineage. To not listen, to not defer to that order would not be 孝. Considering they perished at Lotus Pier, WWX was obligated to execute those orders to their fullest whatever the price (i.e. golden core).

Along those same lines, out of 孝 (and human decency, tbh) WWX and JC had to retrieve JFM and YZY’s bodies. Wen Ning helping them out in that situation is a HUGE favor. Not to mention all the other things WN and Wen Qing does for them. I will get to the favors and their ramifications later.

Ok, moving on to 仁. 仁 (rén) is most often translated as benevolence or humanity. (I want to say I find the translation of humanity very interesting from a bilingual child’s perspective because the chinese character for person/human is 人 which is also rén. I got the concept confused a LOT.) 仁 is found in the love and kindness shown towards fellow humans. Ctext often translates it as virtue, which is a bit too broad, IMO. I think this line from Confucian Analects explain the concept succinctly:

樊遲問仁。子曰：”愛人”

Fan Chi asked about benevolence [仁]. Confucius said, "It is to love all men."

WWX embodies this love better than everyone else in the story (except maybe LSZ but LSZ probably gets it from WWX). WWX meets stuttering WN and acknowledges him, offers to give advice, and truly sees the younger man. He treats WN with kindness and friendship (and yes, he takes advantage of WN’s willingness to push him around in a turnip wagon but that’s more shenanigans). WWX also sees the Wens at Phoenix Mountain as human and steps out of line to help them. His blindfolded five arrow show stems out of his 仁. His saving Mianmian is also an expression of his 仁. So many of WWX’s actions stem from 仁. A lot of the fandom see it as his empathy and I agree! It is that! But it can also be viewed as his internalization of the virtue to love humanity.

Finally, 义. 义 (義,yì) is actually the reason this ENTIRE post came to be. 义 is the same 义 as Yi City. I offer the traditional version of the character above so you can see how it compares to the stone on the way to Yi City. You will recall when WWX says Yi City, LWJ asks, “Yi, which means chivalrous?” And WWX explains same character but for coffin/mortuary in this case.

Actually, 义 is used in a lot of words:

正义- correct/rigit + 义 = righteousness

意义 - ideal + 义 = meaning

侠义 - knight -errant + 义 = chivalry

义气 - 义 + air = personal loyalty; code of brotherhood

名义- name + 义 = nominal

义父 - 义 + father = sworn father (this is a difficult to translate idea that sometimes i translate as godfather for simplification and cultural parallelism. it’s a parent figure that you acknowledge via vows. If the character for father is replaced with brother, then it’s the relationship that the 3zun have. And OMG i want to talk about the 3zun and romance of 3 kingdoms and how much of a awful un-义 person JGY is… but also holy out of scope batman)

In the case of virtues/morality, we’re looking at 义气 - the 义 that means loyalty to people and a code of brotherhood. The Jiang Sect ancestor is described as a 游侠 (yóu xiá, wandering hero). The ancestor’s identity as a 侠 (xiá), which indicates a highly skilled martial artist/fighter who will defends others (à la wuXIA and xianXIA), places him within the world of 江湖 (jiāng hú, sometimes translated as rivers and lakes or “pugilistic world” in some wuxia subtitles). In 江湖, 义 is the most important virtue. Based on 义, you help those in need. You stand out and do what is right. You are an outlaw that follows a strict moral code. 义 is the foundation of the Jiang Sect’s motto. Furthermore, the idea of 义气 can in some ways be viewed as currency. You do me a favor, I owe you one. You treat me with decency, I return the favor. You DO NOT return kindness with ill intent. It is taboo.

WWX exemplifies 义. 义 is part of what makes him so lovable and reckless. For 义 , he sticks out his neck for LWJ during Wen Summer Camp. For 义, he follows LWJ to search for the Yin Iron. Under 义 , he is free to be the hero who lends a hand whenever it’s needed. Oftentimes, 仁 and 义 go hand in hand because to stand up and stand out for other requires love of others and seeing their humanity.

So let’s get back to the Wen remnants: for 义, WWX must protect WN and WQ. As I mentioned before, WN and WQ had done WWX and JC (and thus the Jiang Sect as a whole) MULTIPLE HUGE FAVORS. 1) saving JC from Wen Chao at Lotus Pier. 2) retrieving JFM and YZY’s bodies. 3) transferring the golden core against WQ’s best judgement. All of these actions are so vital to the survival or the reputation of the Jiang Sect. WWX knows it. I’m positive JC knows it. To turn their backs on WN and WQ would be 不仁不义 (neither 仁 nor 义). Really, the ONLY thing they should be doing from the perspective of 义 is helping the Wens to repay their kindness. But WWX knows, as the head disciple, that JC cannot afford to align the Jiang Sect in sympathy with the Wens because it’s political suicide. The Jiang Sect WILL NOT SURVIVE if Nie, Jin, and Lan all turn against them. Even if Lan stood neutral, Nie and Jin would still be able to wipe out barely rebuilt Jiang.

So what does WWX do? He has already painted himself as a rebel, as rude, as ill bred. And from an outsider looking in, WWX is in alignment with his slippery descend into darkness. WWX knows if he steps just a little more out of line, he can accomplish everything else his morality dictates. (We could talk about WHY WWX feels like it’s ok for him to give up everything and analyze WWX’s self worth and what not. But that’s also outside the scope of this post and i’m pretty sure other people have done a better job of it than I could.)

Save the Wens, run away to the Burial Mounds, and defecting are all aligned with WWX’s morals. Defecting protects JC and the Jiangs sect in an act of loyalty (忠). Defecting also protects JC and JYL, thus fulfilling the filial piety toward YZY and JFM’s instructions (孝). Saving the Wens returns the debt of 义 that JC and WWX owe to WN and WQ. Saving the Wens also appeal to WWX’s sense of 仁 towards the non-cultivators. Lastly, protecting the Wens means JC does not end up 不仁不义. From WWX’s perspective his actions are the only option for him to really have no regrets when he asks his heart.

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star-maiden · 4 years

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Weekly Tarot Forecast 10/26/20 - 10/30/20

Hello and welcome! This is a general outlook tarot reading for the collective, by zodiac sign. This week, I have channeled in some guidance from Spirit regarding what you need to know in the coming week in order to find the most success and happiness. If you happened upon this reading, then there is a message here that is meant for you! As with all of my readings for the collective, these messages are meant for a wide range of people, life paths and situations. It is general outlook advice. As such, you may find that not everything resonates with you completely, and that is ok. Please take only what resonates and leave the rest. You will also want to check your sun, moon and rising signs for the message or messages that are meant for you. I sincerely hope that these messages will serve your highest and greatest good, and assist you in making wise, informed decisions. Best wishes and many blessings!

♈ - Aries: Two of Wands - This coming week, Aries, you are entering a planning phase. There is a situation coming, or that has already been set into motion, that requires your careful consideration. This card brings you the message that you need some time to think in order to move forward with your plans, or to bring something into being. This is likely going to be a highly creative process for you, and your thoughts and ideas should be flowing well. As the moon is currently in her waxing phase, it is a good time to work on bringing your goals to fruition. There is an abundance of free moving, creative energy around you at this time.

♉ - Taurus: Page of Wands - This week, you are being called to rekindle your curiosity and perhaps discover a sense of adventure. The page of wands asks us to embody the archetype of the Free Spirit, and go with the flow. In this way, we will discover new opportunities, and be able to find our joy and happiness again. This message is especially about rediscovering your joy if you have recently been going through some tough times. You are being called back to yourself, and your creative potential. Spirit wants you to know that it’s time to move forward again. At the same time, the card carries a precautionary note. When working within your creativity and going with the flow, take care not to lose all sense of foundation and stability. You’ll need to keep your feet firmly planted on the ground, or all of your inspirations will sputter out like a dying candle flame.

♊ - Gemini: 10 of Pentacles - This week you are reminded to stay close to home. Some attention and care is needed in areas of your personal home life and familial or close relationships. If things have seemed to be rushing by lately, with no chance to rest or slow down, then this card is asking you to take a pause. Things should be pretty stable right now. You have done and accomplished much. It’s time to slow down and relax in the comforts that you have secured for yourself. Someone from your family, or a close friend is missing you.

♋ - Cancer: Ace of Swords - The most important thing you will find yourself needing this week is clarity. There is a situation on the horizon that will require your absolute, honest truth and attention to details. Honor your truth in all situations, and be sure to recognize the truth in others. When we allow our judgement to become clouded by fear, projections or strong preconceived notions, we miss opportunities to understand and build relationships. Sometimes, the truth is not very pleasant to here, but it is only by standing in the truth that true healing and growth can occur.

♌ - Leo: The High Priestess - This week, you are being called to explore the depth of your spirit. Go deep, connect with something that you hold sacred. This may be your higher self, divine source energy, love or even taking a moment to pause and check in with how you have been feeling lately. At this time, there is some higher wisdom that has been trying to catch your attention. It wishes to make itself known to you at this time. This week, you may find contemplative and restorative practices helpful. Mediation, breathing exercises, taking a walk and self care are all great ways to connect. Be sure to make some time for yourself this week, and listen to any insights or reflections that you receive.

♍ - Virgo: 2 of Pentacles - You have been trying to maintain a balancing act for so long now, that it is beginning to feel like your natural state of being. There is too much energy around you, too many things to focus on and your attention has been divided. In such a state, it is difficult to do anything well and a strong focus and purpose cannot be maintained. If you feel as though you have needed to do a million things at once, or that you have been unable to make up your mind, it’s time to take a step back. Balance between action and inaction is needed at this time. You are strong and capable of maintaining the work for a while yet, but it is wise to take a step back and evaluate your current situation before you burn yourself out.

♎ - Libra: The Lovers - Libra, this card heralds in a sacred connection of some sort. The most popular thing that comes to mind when this card appears in a reading is a romantic connection. For some of you, this will be true. There is the potential for a strong romantic partnership on the horizon. However, in essence The Lovers card speaks of the blending or merging of two opposite ideas or forces. This could mean that you will find a way to integrate two sides of yourself into something harmonious and supportive. The relationship of give and take is well balanced, and greatly serves your highest good at this time. If you are not currently looking for a romantic connection, consider this week which areas of your life could be better integrated. How do they relate to each other? How can you create flow?

♏ - Scorpio: Death - This week, there is a prominent theme of change. Something in your life is ready to be let go, transformed and used to bring about a new direction in your life. You will recognize what needs to change in anything that feels stagnant, decayed or no longer useful. This week, Spirit is saying to you that it’s time to let it go. Right now, you still have some control over the situation, but this won’t be the case for long. This week, take some time to identify anything in your life that could be shifted to better serve your health and happiness. This does not have to be anything negative. Consider the changes that happen in the natural world at the turning of the season. Leaves change colors, fall and decay. Summer crops wither away to make room for new growth. This is not a terrible thing! In fact, if we think of the natural world as a metaphor for life, we can see how some things need to decay and be let go in order to make room for new life and growth. Without the stages of decay and rest, the soil would become depleted of nutrients, and nothing would grow. What do you need to let go of, Scorpio?

♐ - Sagittarius: The Magician - This week you are being reminded to stay in your power. There is a situation in your life or that will be coming in soon in which you will need to remember your autonomy and agency. In this case, it is very true that you create your reality with your words and actions. If something is not to you liking, change it. Maintaining control and moving toward the outcome you desire is sometimes as simple as believing you have the power to do so. Don’t let anyone take these decisions from you.

♑ - Capricorn: Queen of Cups - This week, you may find yourself needing to connect to a situation from a place of empathy in order to understand. You are usually quite logical and precise, but there is something coming into your life in which a more emotional-based perspective will serve you better. Consider your own emotions, as well as the emotions of others. Are all parties feeling heard and respected? If not, a different approach is needed. Take care not to project your perspective onto that of others. Try to see a different side. You will gain greater awareness and clarity if you listen, rather than trying to solve or control right away.

♒ - Aquarius: Queen of Swords - This card speaks of the perfect blending of empathy, compassion and logic. You will be asked to use your discernment this week, and to not immediately trust anything you hear. It is not that others around you are dishonest, but rather that the situation at hand would better be served by careful, and logical consideration. You’ll want to be careful not to leap into any situations without first carefully examining all angles. You’ll also want to pair your sense of discernment with wise words and clear communication. Remember, we are still under the effects of the Mercury retrograde, and anything you say is more likely to be taken completely out of context and misconstrued if you do not take care to express your thoughts and ideas as clearly as possible. A good rule of thumb is to communicate only with the truth, but act from a place of empathy and compassion. This week, you may also find yourself needing to set some boundaries. It may be uncomfortable, but in the end this is what is needed to move forward.

♓ - Pisces: The Knight of Swords - There is a situation in your life right now in which, thus far, you have only engaged with in an intellectual way. You have perhaps considered, imagined, debated and reasoned, but now is the time to act. Consider carefully what the situation is, and what it would entail for you if you move forward. If you feel certain that this is the direction you want to take, then act on it. Nothing will happen by itself. If you don’t take action, the opportunity will slip away. Sometimes action can be difficult for you, Pisces, because you are happiest when exploring the realm of imagination and dreams. However, in order to make our dreams into a reality, we must pursue them on the physical plane of existence. We must go after what we want not only in thought, but also in body. This week, consider: What action steps are needed at this time? How can you move forward logically and with precise steps?

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purplesunrisefanfic · 4 years

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A long-ass defence of the unsexy sex scene between Abby and Owen.

(No pictures of it are included here because gross)

So, at the risk of alienating pretty much everyone who follows me, I actually think **that** scene with Abby and O🤢🤢n is a worthwhile storytelling element, and I see why that scene was included but not a Dina/Ellie one. (Even though “I wish things were different.”)

With Dina/Ellie, they love each other, they have a fairly healthy relationship, they have chemistry. Everything that, story-wise, needs to be shown can be (and was) shown without needing a full sex scene. Yeah, I would really like to see a sex scene between them, for sure, but I can’t pretend that because I think there’s vital story elements hidden in there. Not at all because, let’s be honest, we KNOW they had great sex. No one who wants that scene wants it because they’re wondering if they had good sex or not, we want it because we wanna see some great sex.

You‘re not seriously doubting that I’m good in bed, are you?

I’m not dissing us for that, representation matters, and I think Neil made a HUGE error of judgement when he spoke about a sex scene in a context where we’d all assume it was Dina/Ellie. (And that was a moment of terrible judgment that I would be classing as queerbaiting has it not been for the SO FUCKING MUCH groundbreakingly excellent representation in Part 2. In this case, I think it was an example of how even when you work really hard at things you can still make mistakes, still be thoughtless to how much impact you can accidents have on a representation-starved group. And yeah, it’s not easy to let him off the hook for something that important to me, but I do think he’s done enough overall to earn an assumption of good faith here. Not least because I don’t really don’t think anyone’s purchase actually hinged on whether we saw a Dina/Ellie sex scene vs a make out scene and a well-developed queer relationship, and the whole point of queerbaiting is to manipulate us into buying or consuming things we otherwise wouldn’t.)

But to get back to the main point, I think it’s important to recognise that we don’t wish we’d had that scene because we feel like there’s something vital to the story that we don’t know for not seeing it. We have good reasons for wanting that scene, but thinking that we missed out on some vital characterisation, relationship or story elements isn’t one of them.

Now, the sex scene that we do see is very different. First thing I wanna say is that this isn’t a sex scene that only lesbians or people who dislike Owen find to be uncomfortable. I’ve seen some critiques where I feel like a gulf might have opened up with that. Where it’s maybe kinda of assumed that if you are into that type of sex and don’t hate Owen, then that’s an equivalent to the Dina/Ellie scene that we didn’t get, and it’s NOT. Dina and Ellie having sex for the first time is a situation that opens a door (a door which then walk through with them in other ways, such as the small moments of love and bonding that we see portrayed so beautifully) while Abby/Owen having sex for the last time is a scene about reaching a dead end. It’s about realising that the past is a dead end. It’s a scene that I’ve not seen anyone, even people who didn’t find it uncomfortable, describe as sexy.

Abby has dwelled on the past for four years. She trained herself up to kill Joel. She took no notice of what she was doing and who she was becoming in the present because all she thought about was the past. She ended up “top Scar killer” without really noticing (though that point is more my subjective opinion than the other points here, but I see no evidence she was proud or that or even really trying to achieve that). She killed kids and parents ruthlessly without paying any mind to her own morals or whether she even wanted to be a Wolf at all, because she was living in the past, getting whatever the job in the present was done without asking any questions because her head was never there. Everything she did as a Wolf was just a means to survive long to find Joel and be in a position to kill him when she did.

Eventually, as we know, she does find and kill Joel, and the experience doesn’t give her any of the closure she imagined. Her friendship groups fracture, her self-image is damaged, and she’s now both without closure and without purpose. But she still hasn’t quite figured out why. She hasn’t yet realised that dwelling on the past is the problem. Her ex is still in the picture, an ex that she lost “because of Joel” (in the sense that the main tensions we see in their relationship are linked to Abby’s dedication to revenge).

So caught up in revenge through 4 formative years of life, she’s not had the space to develop in ways she likely would have otherwise. She hasn’t moved past the idyllic childhood sweethearts idea, she’s not moved on to thinking about what she actually wants and needs in a partner. She’s not even noticed that her friends have moved on to more adult relationships, relationships where you might settle down with children, until she’s shocked into that realisation by the news that Mel is pregnant. (This is similar to a point Druckmann has made in an interview.)

Even then, the way she talks about suggests she’s still struggling with seeing the present clearly. She talks about it (especially to herself in Jackson) as if they are still teens, as they are 16ish and should have been more careful. There’s ample evidence, in my interpretation, that Abby’s ability to notice the present, to notice change, and to grow up herself has been near-stunted for the 4 years between Jerry’s death and Joel’s death.

So when she has sex with Owen, it’s another way of looking back. It’s another attempt to look for a future in her past, and I think that to really see and understand just how much she has tried to find a future in the past, and how much that has led her to betray her own values, betray her friends, and to be blinkered to the consequences of her own actions and how she finally realises all of this herself, we need to see the sex.

Because the sex is like the receipts. Like the death certificate for the long-overdue passing of her idea that her future can be made good by a fixation on the past.

Say they had had a shitty kiss instead. Well, that could be Owen holding back because he’s torn about Mel. They could be Abby holding back because she’s torn about Mel. If they do anything less than completely betray Mel, then there’s still room for Abby to believe that, if Mel were to suddenly never had existed or whatever, that her and Owen would be 16yo idyllic sweethearts forever.

So they have to totally betray Mel, they have to have clearly and totally disregarded her, for us (and for Abby) to see their relationship clearly. So it has to be sex. And for us to share in that process in Abby’s mind, the realisation that life has moved on, the realisation that her love for him is based on assuming nothing much has changed in 4 years when it has, the realisation that the past is dead end, we have to be with her for that.

Then we can see how she’s gotten to where she is and how she finally realises that there’s nothing that the past can give her. And then, she’s finally ready to see the present for what it is. She’s finally ready to see that what she does in the present matters, that she can chose whether or not two children live or die, and that she should focus on that. She’s ready to see that Owen was a guy she loved 4 years ago, not a guy she loves today. She’s ready to “Let It Go!(sorry, couldn’t resist!). She’s ready to question whether she’s actually this person who wants to be “top Scar killer.” We’re able to see just how much of herself has been lost on her revenge journey, how she can get on a better path, and why we think she’s worth having that chance. I don’t think that story could come together so richly without the visceral discomfort and the layered realisations that seeing her having (imo terrible, some folks have gone as far as “mediocre” and I’ve genuinely seen no-one rate it any higher) sex with Owen.

Abby: I’d rather watch 10 live amputations and have my own arm amputated than ever have sex with Owen again. In fact, I’d struggle to choose between sex with him and sex with the Rat King at this point.

Yara: I think you should try your luck with fucking the Rat King, can’t be any worse, can it?

Side point: This argument also touches on why I don’t believe that Abby is categorically canonically straight, because her whole arc relies on her being too stuck in the past to consider who she’s actually attracted to in the present. Normally, it’s kinda on the people making the media to show us queerness and not expect us to be satisfied that “well, they could be bisexual because we’ve never said they aren’t,” but I think TLOU does enough in terms of active representation to merit an exception, especially when there’s a strong storytelling reason why we never see anything of what she’s into beyond her childhood sweetheart. (I’m not saying she’s def bi, just that I think saying she’s canonically straight is dicey and that, unlike with almost any other form of media where I’m with y’all in the “straight until otherwise proven” approach, with Abby specifically I find it does give me some of the bi erasure feels that I get all the time irl when people describe her as canonically straight.)

I’m gonna pick Lev up from Scar Island, then find myself a hot woman who likes big arms, boats, and my precious adopted children.

#tlou #abby anderson #the last of us #tlou2 #the last of us part 2 #tlou2 spoilers #spoilers #discussion #opinion #my thoughts

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silverducks · 3 years

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Game of Thrones - Jaime Lannister

A rambling character study of Jaime Lannister from Game of Thrones.

Part 1a – Jaime’s Character Arc

This post is going to look at my thoughts on exactly how I see Jaime’s character arc in Game of Thrones, based on just the show. But it’s also to set up my future posts where I explain why I find it so darn hard to understand why he had the ending they gave him. At least beside the obvious - because the writers wanted to.

Yeah I know; I’m late to the GoT train wreck of a final series. But I have a lot of thoughts and hence why I’m here typing away.

(And this is where I start to really go all English Lit exam analysis on you, so a warning for anyone who actually might be reading this post, LOL!)

My Intro to this series of posts btw, is here.

So, spoilers be below.

Ok, so to help explain why Jaime’s ending makes no sense, I firstly need to explain what exactly his character arc is in the show, or at least how I perceive it. As mentioned in a previous post on honour vs loyalty, for Jaime I see his character arc being about two, interconnected things – redemption and identity.

In series 1 and 2, he’s not a nice character – he’s a self-righteous, proud, full of himself, snob. He’s arrogant and cocky and says pretty cruel, snide things to characters we do like. And as we see him through the PoV of characters like *Mr Honourable Eddard Stark, Jaime is pretty despicable to say the least. And that is before we even get started on the whole pushing a boy out of a window because he caught Jaime having sex with his own twin sister. Oh and just as an FYI, Jaime is also called the Kingslayer because he killed the King he was sworn to protect. So yeah, most people watching the show don’t like him at the start, and neither do most of the other show characters we do like.

And from a story telling perspective, Jaime’s character can either get worse, better or stay the same as the show goes on. And in this story, he gets better, with a few slip ups along the way, and it’s fascinating and glorious!!

Like, I can think of nothing that even comes close to the amazing way Jaime Lannister’s character develops in Game of Thrones and how we as a viewer change in our perception of him.

But that only makes his ending so much more frustrating and disappointing…

Before I start rambling away though, just as a point to note; I’m using terms like good and better person and right and wrong quite loosely here. Obviously the world, even in a fictional world, isn’t all that simple. As that would be a whole other massive thematic and philosophical thesis, and it’s not really that relevant, just take the “general” meaning of the ideas, but with the understanding I know it’s a bit more complicated. Where I think it does become more relevant, I’ll expand on the ideas in that particular context. If I sound a bit flippant at times, it’s because of the whole black vs white vs grey, and how there are “rules” in storytelling that wouldn’t necessary apply to our own, real life reality. There are things that we need to take into account when we analyse characters in stories vs actual, real people. And on a side note, this is one of my favourite things about Game of Thrones, the complexity and moral ambiguity of both its characters and its story themes. But yeah, that’s a whole thesis in its own right.)

Redemption Arc

So, redemption. In order for us to start to like this character, and see him as a good guy, he has to go through a redemption arc. Like pretty much rule number 1 of storytelling. That means we have to watch him and believe in him becoming a better person. Conversations like the whole oath vs oath issue, or his chat with his father about his nicknames in series 1 makes us take notice of a character, maybe even be more invested in a character and their shades of grey, but it’s not really redemption. And considering how far in debt he is in the good vs bad guy department, he has a lot of work to do.

And my goodness, he does it. Like, I mean, this guys’ redemption arc is astonishing! He goes through so much, rethinks and challenges everything he once thought/knew about himself and his world, faces all his past wrongs and bad character traits and becomes not even a better person, but a hero! He goes from a bad villain who kills kings and pushes kids from windows, to becoming one of the main heroes we’re rooting for by the end of the story.

(A quick disclaimer here, like I’m not saying Jaime is ever, or ever will be perfect, heck, he’s human and this is Game of Thrones and Jaime’s more messed up than most. But when you think back from where he started and where he’s been, it sure is impressive – if we ignore his actual ending that is, LOL!)

And his glorious redemption arc all pretty much starts around the time he starts his fun road trip with Brienne in series 3.

So, just to give a few of his finer redemption points (and just remember his series 1 and 2 actions and our opinion of him in contrast):

He stops Brienne from being raped and gets his hand cut off for the trouble (Ouch! But suffering, especially from doing something good, gives lots of redemption points.)

He risks his life to save Brienne from being mauled to death by a bear. Like, he’s recently lost his sword fighting hand and has no weapon, but he jumps in the bear pit anyway and puts himself between the bear and Brienne. He then helps Brienne out of the bear pit first and then only just makes it out alive himself. Oh and if that wasn’t enough, he basically tells the bad guys that he’s leaving with Brienne, or they will have to kill him. Like he says this to the guy who not so long ago chopped his hand off. (Just think on that one a minute ok.)

He keeps to his promise/oath to Catelyn Stark and continues to help her daughters by giving Brienne a priceless sword and some stunning armour so she can find and help them. (This also helps Brienne, because he knows she’s not safe in Kings Landing, and gives her a purpose, because he knows that’s what she needs.)

Firstly offers to sacrifice his own life needs and goals and those vows he’s now starting to hold more dear to save his brother. When said brother then screws up that opportunity, Jaime then also helps said brother escape from being killed, going against his sister and father, who want his brother dead. (Yeah, the Lannisters are an interesting family… And you wonder why Jaime is a little messed up?)

Takes RiverRun without any bloodshed. (Like pulls off the perfect bluff in GoT siege history so that he can make sure his army succeeds, but no one is killed. (I don’t count the Blackfish, who chose to fight to the death rather than escape/get taken prisoner.)

Joins the fight for the battle against the dead, even if it also means renouncing his entire house and lineage and putting himself at the mercy and judgement of pretty much all his enemies and all he has wronged. (One of which has a habit of roasting her enemies alive with Dragon fire)

Oh and also risks his life in above mentioned battle against the dead.

A pretty impressive list imho, lots of redemption points there and that’s not even including everything else he does. Following the general storytelling themes of forgiveness and redemption, Jaime basically ticks all the boxes by all the good deeds he’s now done. And that’s one of the major reasons why we as viewers now love him so much as a character.

But that’s not all, of course. As we discover also in series 3 (a pretty important series for our Jaime), it’s not even just about him doing good things, but we realise as an audience we’ve (intentionally by the show) completely misunderstood him! Yes, he did kill the King he was sworn to protect, but only because said King was mad and was about to blow up the entire capital city where hundreds of thousands of innocent people live. And not only did he do this incredible honourable thing, but because it did go against his vow as a Kings Guard, he’s ever since been derided as the Kingslayer, Oathbreaker, Man without honour. A horrible set of nicknames that he’s borne, because he doesn’t think people would care or understand anyway. (Of course, I want to add in here that it’s partly the negative trait of pride too, thinking himself as the Lannister Lion, above having to explain himself to the sheep.)

Anyway, all this has worn him down a lot over the years and it’s messed him up good and proper. It kinda makes your own initial dislike of Jaime through *Mr Honourable Eddard Stark’s eyes seem a little unfair. Especially when the guy was barely more than a kid at the time (16 or 17 I think). And his defence mechanism to deal with this is one of the reason’s he is so cocky and arrogant – he uses his dry, often cruel humour, to mask that he does actually still care. In fact, it’s worked so well, I think at the start of the show, Jaime believes it himself; that he is a horrible, hateful person. But he did have that honour inside of him once; he did care and try to do what was right. And when you think back to his scenes in series 1 and 2, they take on new meaning now. He’s no longer such an evil arrogant, cocky knight we all pretty much immediately hated.

And as this revelation happens around the same time as he starts doing all those good deeds, it all helps work together to make us re-evaluate Jaime and grow to love him and become invested in his redemption arc even more.

(*I feel the need to add a disclaimer here, I do like Ned Stark a lot as a character. But it is interesting that as the show goes on, he almost does the opposite to Jaime – we see he actually isn’t always as good as we thought, that perhaps honour tripped into bitterness and prejudice a few times. That perhaps Ned, as much as we like him, is less full white and more speckled in shades of grey after all...(which makes him a more interesting and nuanced character imho, so rather than undermine him, it makes him more human.))

And when I rethink Jaime’s scene with Robb Stark when he’s captured, where he gives Robb the choice of ending the war if Robb can beat him in single combat, well, it adds even more depth to his character. Of course, Jaime knew he would likely win, as did Robb, so Robb refused. And as a viewer who was all Stark=Good, Lannister=Evil (except Tyrion) at the time, I was glad Robb wasn’t stupid or arrogant enough, like the Kingslayer Mr Jaime Lannister, to fall for that.

But then I remember the parallel in series 6, when Jon Snow (Stark=Good) gives exactly the same choice to Ramsay Bolton (Bolton=Spawn of Satan). Ramsay can either fight Jon in single combat, or they can all send their troops to die in their war. And as a viewer now, NOW! I think Ramsay is weak and awful for not agreeing (because he knows he can’t win too) and so sending all these soldiers to an early grave. Which is like 100% opposite for pretty much the same scenario of its series 2 counterpart. Of course, we HATE Ramsay and he has no, I mean literary NO! redeeming qualities, unlike Jaime, who we never, ever hated in the same way. But it does make you think about the whole idea of perception as well as actual deeds here. And that actually Jaime, you could argue, was doing the honourable thing by asking Robb for single combat, to spare the lives of both of their armies… I mean, obviously he wants to win the war, but maybe, he also wanted to spare as many lives as he could, too – like Jon in the series 6 equivalent. Maybe not so arrogant a request from our Jaime after all…

And another point to add in here, which further adds up to Jaime’s redemption arc, is Lady Brienne of Tarth. Yes, I’ve saved her to last for a reason, as she is, imho, THE catalyst for this amazing change we see in Jaime. If you’ll notice, a lot of Jaime’s good deeds involve Brienne and start happening around the time the two characters meet. And that very fact further proves that Jaime was and can be a better person.

He does not like her at first and she’s not quite your typical maiden. Not only is she a “beast” (to quote Jaime), but she’s a fighter, full of honour, self-sacrifice and steadfast in her purpose, and more than a match for him. Oh and she’s also his captor, dragging him to Kings Landing with a rope around his hands so they can trade him for the Stark girls.

So yeah, not the most cordial of first meetings. He pokes fun at her, trying to get her to snap, to prove she’s not as good as she seems. But she doesn’t, because she is that person, she is true to herself and not pretending. Unlike so many people Jaime knows, she is genuine.

And he’s impressed by her skill and courage as a fighter as well. She is able to best him in the sword fight (granted when his hands are tied and he’s been sat in a cage for over a year, but he is like renowned for being one of the best sword fighters in the entire realm). Also when she fought the men who had murdered the women they found hung along the road – both as justice and to give the murdered woman a proper burial. She isn’t all talk, she can, and does fight. I bet Jaime wasn’t expecting that! And as sword fights are his thing, what he pretty much defines himself by and is most proud of, that’s a pretty big for tick from Jaime for Brienne right there.

Basically, she is a) an honourable person b) sticks to her oaths c) also able to fight (and therefore protect people) and d) refuses to let him get the better of her. The perfect, chivalrous embodiment of a brave, honourable Knight. A true Knight in all but name, whilst Jaime is now a Knight in nothing but name.

Now, I’ll discuss this more in the identity arc bit, but basically all this challenges Jaime, makes him rethink his own bitter images of himself and his world. She reminds him of his younger self, when he wanted to be that honourable Knight. And seeing this reflection of his younger, naïve and less world weary version of himself in Brienne, it helps to trigger this change in Jaime. It makes him remember who he once was, what he once stood for and believed in; that ideal that Jaime once believed is actually possible - of the brave, worthy Knight people sing songs about. And it started to make him want to be that person again. And this in turn, makes him want to start to do the right thing, to start to put honour first, which paves the way for his redemption arc very nicely.

I won’t talk too much more about Brienne here, because I think her relationship with and influence on Jaime deserves its own post. But I do think it is the specific personality of Brienne, together with the very fact that she is an ugly, “beast” of a woman, that triggers Jaime’s arc in just the right way and enables it to be so profound.

One last note on his redemption – I’ve said before it was partly his Lannister Lion pride that caused some of his suffering in relation to his nicknames. And indeed part of his arrogance is because he does think he’s better than everyone else (although not to the extent we first thought). He is the Lannister’s golden son after all and the Lannisters are basically the most powerful and wealthiest House in Westeros. It is a bad trait, yeah. But even this, even this! gets sorted out in series 8. From my list of redemption points, see the second to last point above – he faces judgement. Like a guy who had too much pride to admit he actually killed a King to help save hundreds of thousands of lives, actually, of his own volition, faces his enemies to be judged and to atone for what he has done wrong. Yeah, he also offers excuses at said trail, but if I’m honest, they do sound quite genuine to me. Is it any worse than what your typical soldier would do in a time of war? Fight in a battle and kill people? Try to capture the person (Ned) who’s wife captured your brother to avert a war? And we already know now he was justified in his killing of the mad King.

So, all in all, with this new insight into Jaime’s character, especially also seeing him through the increasingly positive eyes of Brienne (more on that later), who we know really is good and honourable, we have both a better understanding of his past actions, see his ongoing internal struggles and conflicts as he strives to do what is right and along with all his good deeds as the show goes on, we see him slowly (with lots of unfortunate set backs as well) become a better person. So come series 8, his redemption arc up to THAT scene, is glorious and basically complete.

And then there’s his identity arc. The other side of his character development, which is just as important for me and very much interconnected with his redemption.

(Like, seriously, there’s so much going on with this character that I could write essays, no a whole thesis I bet! I seriously can’t wait until I get to read him and Brienne’s chapters in the books and discover even more sides and shades to this character.)

But I’ve rambled on for far longer than I intended on his redemption arc, so I’ll save his identity arc for another day. (And hopefully it won’t be as long). Then we can get into the fun stuff like that hand he lost, that famous bath scene and his, how to put this, interesting relationship with his sister…

#If you were brave enough to get this far #Thanks for reading #And hope this made sense #Just my rambling thoughts #Yeah, I have a lot

#Game of Thrones #Jaime Lannister #Brienne x Jaime

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jeongjaebae · 3 years

Note

1. Who is your favorite member to write for? Based of the studies of 100 Yale students, they have come to the conclusion that your favorite character is indeed the Korean hottie, male Lee Hyunjae. Would you like to elaborate on this discovery?

2. What character do you find the most difficult to write for? And why, since we know you like them difficult. You like a challenge. But, so do we, so no judgement there.

3. Do you have a favorite scene you’ve written? Scientists have said it to be a scene were Hyunjae is being the punching bag for comedic relief? Is that true? Explain.

4. Did you have any ideas that didn’t make the final cut? We have been notified through our secret source that a specific scene did not make the cut for the Sunwoo Soulmate AU. And with some digging, we have confirmed the fact that you are indeed gatekeeping a very steamy scene. Care to explain?

5. Do you listen to music when writing? If yes, please do tell.

7. What story do you feel the proudest of? We know it's not Take A Hint which is borderline plagiarism, but moreover slander. So please inform the viewers of the fic you're most attached too.

8. Do you prefer writing one-shots or multi chaptered stories? We know you have commitment issues and it will play into this question. But that is ok. Who doesnt have commitment issues in 2021? We support you. We love you.

9. If you had to assign a song to a fic, which would you assign? Why? Do please keep in mind the age of your audience and choose your words carefully as we'd like to make sure everyone is comfortable.

11. How would you describe your style? (Character/emotion/action-driven, etc)

12. Who is your favorite author? Why? What led you to fall in love with their words? What led you to be in love?

13. When did you start writing fanfics? What moved you to become an author of many poetic words? Who inspired you? Did you ever expect to make it this far?

14. How do you feel about your older work? Would you like to burn next to them like everyone else, or do you remain optimistic and see it as growth in progress?

no you didn't. i've been laughing all day already and now we have a hyunjae literature review aldkfja KOREAN HOTTIE LEE HYUNJAE

1. FINE it's hyunjae and he's fun to write ok 🙄 would've said juyeon but i think i'm past that phase :') oh but i also do like writing sunwoo in certain contexts, e.g. you look hideous on me

2. i do like a challenge 🙄 but uh maybe kevin and haknyeon? as most difficult within tbz? which is why they're not on my mlist yet...

3. the sm*t scene that ur not getting 😶 jk hmm i really liked the rooftop scene in you look hideous on me!! but if we're talking hyunjae then it'd be the scene after that, where y/n tells him (and juyeon) what happened on the rooftop and he's just like "sunwoo will be back bc every hour is missing y/n hours" :')

4. AHAHA NOPE not that [redacted] scene, though maybe i'll write it out and put it on the burner blog eventually. i think for the juyeon chem lab one i had more ideas for the scene in the chem lab. for example, y/n gets so nervous and drops some tool into the organic waste (true story, very embarrassing. cute lab partner found it funny tho. pretty sure my TA laughed too)

5. i listen to sad/slow songs when writing angst :') which is also the only time i listen to sad songs LOL. but ngl sometimes music is distracting when i'm trying to hear the flow of the words in my head

7. BORDERLINE PLAGIARISM AHAHA. it's gotta be between my big three (chem lab, soulmates, younghoon) + the jaehyun (soon to be hyunjae) christmas fic? i'll have to reread the younghoon one to judge but since the sunwoo one had more world building, let's go with that

8. one shots 🤡 bc yes commitment issues. although i'm getting better with writing longer word counts!! i know a writer who considers 10k a drabble and um i hope i don't end up like that

9. baekhyun's drown for you look hideous on me 🤡 gives u an idea of what was in the [redacted] scene. AHAHA DEFINITELY NOT AGE APPROPRIATE but yes that's what i listened to when writing that scene hehe

11. umm... dialogue/plot driven? i guess i try for emotions and character development tho

12. u know my fave authors already :') i think the ones i like tend to write very poetically? much description, very flow. and love isn't real 🙄

13. 2011 :') i was inspired by cute kpop boys ok. come this far in terms of improvement in writing? i'm at a plateau now ok 😭 probably peak rn though. i think i finally surpassed my 2017 writing

14. i would like to pretend they never existed but at the same time, yes they are a good indication of growth

#ask

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nobody-wants-ice-cream · 4 years

Text

Everything Wrong With The Umbrella Academy. Episode 1, We Only See Each Other At Weddings and Funerals.

Some context before the cut: This is all in good fun! I wanted to do a really nitpicky re-watch of the series and found some really cool and interesting things I didn’t notice before. This is meant to have a Cinema Sins-esque tone. However, I did take off a lot more sins than Cinema Sins would have because I do genuinely like the series and the people that made it possible. So all of the good things got one sin off and all the bad things got one sin added. This is a really long post, so grab some popcorn. If there’s anything that I missed, feel free to add it!

We Only See Each Other At Weddings And Funerals

The story opens with a random scene. I know why this is important now, but for a first time viewer this is a strange Russian show with no subtitles. Sin for the fact that this opening scene could drive away audiences when they could have opened with Pogo’s monologue or the sudden birth scene. +1

Sudden birth. I know that this is what starts the whole series, but not once do these assholes discuss the implications of sudden birth. That shit is traumatic and must have induced a lot of trauma in the mothers. Sinning for trauma. +1

The russian ladies all help this poor girl. Teamwork and togetherness gets a sin off. -1

How did they get her swimsuit off enough for her to give birth without just taking the whole thing off? Did one woman happen to have a pair of scissors on her so they could cut the crotch? Because one piece suits are not that flexible downstairs. They didn’t take it off her, it’s still covering her. Sinning for lack of realism or explanation. +1

This narration should have happened much sooner. +1

Buying children. Literally buying children. And he gets seven so he buys them wholesale. Seven sins because Sir Reginald Hargreeves is a dick that bought seven children. +7

One sin off for the soundtrack now. All the songs used in this show are bops! -1

Ellen Page starts playing the Lindsey Stirling Phantom of the Opera piece on the lowest string when the piece starts on a high note. One sin for lack of musicality. +1

Minus one sin for Ellen Page’s vibrato. Not many people pretending to play the violin get that so accurate. That or this was the talented body double. Either way one sin off for musicality. -1

“Please send more food” Reginald Hargreeves is a dick to his adopted children. He didn’t feed Luther enough, so who knows what he did to the ones he didn’t like as much. +7

Also, Luther has presumably spent four years in this base on the moon. Did he hit his head every morning? You would think that he would learn to duck. +1

One sin off for the moon plant. -1

I’m taking 10 sins off for the special effects of this entire series. -10

That car transition between Diego’s and Allison’s entrances was out of place. I know it’s meant to show that Allison is far away from the action. But did we really need that? It’s not shown when transitioning from the red carpet to Klaus in rehab. +1

What is keeping the lawnchair that Luther has on the moon down? It looks lightweight. Does he have it nailed to the moon? Is there now a lawnchair on the moon forever? +1

Tom Hopper is an excellent actor. He nailed the “just got the news that my father is dead” without saying a single word. -1

Diego doesn’t bother to untie the family he saves. He caused property damage and severely injured the thugs that broke in. No wonder Patch has a problem with him being a vigilante. +1

“Allison, will you wear Valentino to the funeral” +1

One sin off because Robert Sheehan has already won my heart as Klaus and he hasn’t said a single word yet. And for the little jig he does when he gets the drugs. Interesting choice, but I like it. I could be biased because I’ve watched the series already, but I don’t care. One sin off for Robert Sheehan. -1

Why was Vanya allowed to be playing to this empty theatre with spotlights on her? Does she have an arrangement with maintenance? Is that why the orchestra isn’t set up? +1

One sin off for the Hargreeves mansion. The set designers did an amazing job.-1

Creepy shrine portrait of Five is creepy and somehow manages to not look like Aidan Gallager. This could be a stylistic choice to show that Reggie didn’t care about Five, in which case, another sin for child abuse. +1

Creepy statue of Ben is creepy. And it doesn’t look like Justin Min or Ethan Hwang. Who is this statue honoring? +1

It has been stated that Ben’s death broke up the academy. Yet, the other four assholes stuck around for one more portrait after his death? +1

Vanya doesn’t close the doors behind her when she walks into the mansion. +1

Diego’s outfit is central to introducing his character. However, it is dumb as hell and he probably stabbed himself with the knives in the harness multiple times. Especially the ones on his back. +1

Diego is a dick to Vanya at their father's funeral. I know Reggie was a jackass, but Jesus Christ, Diego. Have some tact. I know this is meant to show that Diego doesn’t have any tact, but this is such a severe line. +1

In the first shot of Reggie’s bedroom there are 6 freaking lamps. What is he, Bella Swan? And later, there are three more. +1

David Castaneda really brings Diego to life with his interaction with Luther in Reggie's bedroom. -1

I know I already took sins off for the special effects, but Pogo deserves another two off. Special Effects team, you did good. -2

“How long has it been since Five dissapered” is the most obvious bit of exposition/foreshadowing. To the point where it reads lazy. Another option would be Vanya asking “How long has it been since” and trailing off from there. Pogo knows what happened. This is a crucial reveal, let the audience wait for it a bit. +1

One sin off for Vanya being a good sister to Five. Fluffernutter sandwiches and leaving the lights on is heartwarming. -1

Props to these child actors for being able to portray the way Reggie treats them and how that affects their emotions in the scene where they wanted to say goodnight to Reggie. -1

However, Reginald Hargreeves is a dick to his adopted children. I will keep sinning this. +7

After Reggie shuns and ignores his children, Luther’s hand on Ben’s shoulder is a subtle way to show that Luther and Ben were sort of close, which is what an excerpt from Vanya’s book implies in the comics. Good job directors or actors for making that choice! -1

Robert Sheehan in the office scene. This is where we meet Klaus as an audience for the first time with dialogue, and he fucking nails it. -1

“Thank God he’s not our real father so we couldn’t inherit those cold dead eyes! Ahh! Number Threee-” The delivery on that line is excellent. -1

Klaus’s dangly necklace that looks kind of like dog tags foreshadowing the real dog tags he wears later on in the show. -1

No way in hell Klaus’s skimpy outfit provided enough concealment for that massive box. In fact, in the shots we do see of his back, we should have seen the outline of the box. +1

Sir Reginald Hargreeves is as obsessed with lamps as he is with collecting children. His office is full of them! +1

“Do you think he wears that thing in the bathroom” “Like in the shower” “Yes, absolutely” Allison and Luther have some good interactions. This is where they really act like siblings making fun of another sibling. -1

A woman who told bedtime stories to her kid about her uncle on the moon forgets that said uncle has been on the moon and judges him when he doesn’t know about her divorce.+1

“Rumor thing” Way to be specific, Luther. +1

Allison’s expression at the family meeting when she takes a sip of her drink. Emmy Raver-Lampman is what makes this character likeable. -1

Reginald Hargreeves was a dick to his children. The whole favorite spot thing? Yeah that. Golden child abuse victim. +7

Sir Reginald playing tennis with Hitler line. -1

Luther accuses his siblings of killing their father. Have some tact man, not at the funeral. This makes sense for the character and his circumstances, but I am still sinning it because Luther doesn’t think he did anything wrong. +1

I feel kind of bad for Luther after his siblings leave the room. Great acting on Tom Hopper’s part. -1

How did Allison get into the bank? +1

Luther straight up throws this man out of a building! That guy is 100% dead. And then he admonishes Five for being a killer later! +1

“Guns are for sissies, real men throw knives!” is a line that would only be spoken by a twelve year old that has never faced the judgement of people he isn’t related to. Also, Diego practiced this line in front of a mirror. +1

But that throw was badass, so... -1

Also, how did Klaus, Diego, Five, and Ben get into the bank as well? We only see Luther enter. And presumably Five teleported in. So were the rest already in there? +1

Five manages to jump faster than a bullet here, but in episode two he’s a lot slower when jumping from one side of the table to the other. You could make the argument that the table is in the way, but there was a human being and a bullet in the way here. +1

“Woah! That’s one badass stapler!” This is the first sin off because Aidan Gallagher can act, and it will not be the last. For all his grumpy 58 year old man, he also manages to shine while playing a young version of said grumpy 58 year old man. You would think that one or the other would be a little weak, but no he nails both performances. -1

But, how did Five switch the gun and the stapler? And why do we never see him do this again with more useful items like a briefcase or one of the machine guns used by the local commission hires? Can he only switch items with a similar mass? How does this power work? +1

Luther is the one that tells Ben that there's more guys in the vault to kill. Not Klaus who could have been like “a ghost said there's more guys in the vault”. What exactly did Klaus do on missions? He isn’t shown helping the hostages or fighting in any way. +1

“I didn’t sign up for this.” yeah Ben, like it’s a summer camp and not your abusive father buying you as an infant and then forcing you to kill people. +1

Kenny’s mom appearance. Also, the woman mixes leopard print leggings, a black dress, a square pattern cardigan, and a hat with stripes and a pom-pom. +1

“Can we go home now” Ethan Hwang had great delivery on that line. -1

Sir Reginald Hargreeves is a dick to his children. He forces 6 of them to kill, and then makes it seem like it’s all fun and games to the one he isolates. +7

When did they get coats and scarves? Did Reggie bring them coats and scarves while coming down to address the crowd? +1

Also, Reggie was on the roof of a different building with vanya! What did the kids do while they were waiting for him? Stand around and look pretty? Not likely, Ben was covered in blood. +1

Also, when did Ben have time to clean up? He is significantly less bloody in the scene where Reggie talks to the press. Yet his mask, uniform, and a bit of his jaw still have blood. This suggests he had time to wipe down. What kind of magic wipes are these that soak up and remove blood quickly and where can I get them? +1

The way the children wear their scarves show their personality. Luther has it done properly, Diego has his flapping around, Allison and Klaus have tied it fashionably, Five has it done well, but not as proper, and Ben has it done like Luthers. Well done costume people or actors who made that character choice. -1

The entire scene when Klaus attempts to summon Reggie from the afterlife. -4

I forgot that Klaus actually calls him Reggie in this scene. I thought it was just a fandom thing lmao. -1

How did Klaus clean up the ashes without leaving evidence on the bar? Did he vacuum it? +1

The cutesy fighting posters are a great set design choice. -1

Allison had her trauma tattoo refreshed at some point. It’s faded on Klaus, but on her it’s perfectly visible and stark. I’m sinning because they don’t show or tell why Allison might want to do this. +1

Also, that guitar Klaus was cuddling in a later scene, was just in the kitchen for some reason. Why? +1

Five and Ben are not part of the I Think We’re Alone Now dance party. I know it’s for plot, but come on! They don’t even have another dance party later to make up for this. +1

Diego and Vanya totally saw each other when Diego went to close the door between the foyer and the living area. +1

Luther and Vanya’s dance moves. No hate on either though because I dance like them if it isn’t swing or any other partnered dance +1

Diego, Klaus, and Allison’s dance moves. -1

Also, the song is heard all the way in the kitchen. There is no soundproofing in this mansion. +1

Luther punching down the airplane is funny. -1

David Castaneda doing those amazing dance moves in character. -1

Oh hello Five. Nice of you to show up and kickstart the plot into being something other than washed up superheroes are really sad and abused. +1

“Daddy!” -1

Why were Five’s powers affecting random objects? +1

Klaus is the only one with self preservation. “I vote for running” +1

“Does anyone else see little Number Five, or is that just me” is a great line because Klaus can see the dead. However, the dead don’t show up in massive portals, otherwise something like that would have happened when we see Dave in The Day That Wasn’t. +1

Five asks for an exact date and then Vanya gives him “the 24th” real specific, Vanya +1

Five doesn’t close the fridge properly because that doesn’t matter in the apocalypse -1

“In the end I had to project my consciousness forward into a suspended quantum state version of myself that exists across every possible instance of time” “That makes no sense” “well it would if you were smarter” the mark of someone being smart is being able to explain concepts like this in layman's terms. If Five were as smart as he said he was, then he could have been able to come up with an analogy. That or the showmakers have no clue what they’re talking about and wrote a bunch of science-y bullshit to make Five sound smart. +1

Diego was ready to throw hands with Five, someone who looks thirteen and was thirteen until Five explained otherwise. +1

“Dolores kept saying the equations were off” so in other words, Five knew that his equations were off, but he still risked it. +1

But also, Five knew his equations were off, but he was so desperate to see his family that he risked it anyway. -1

Nations Gazette paper has articles that look like they’re actually about the headline. -1

“What part of the future do you not understand.” -1

Aidan Gallagher’s delivery in that scene really set the tone for his character. Impressive. -1

Five decides to dress in the full on school boy getup. Complete with the tie and the blazer when those items aren’t necessary. +1

Aidan Gallagher and Ellen Page are two kick ass actors. They play off each other surprisingly well. -1

“You mean like what happened to Ben” “Was it bad?” What happened to Ben? This remains a sin until they explain it. +1

“May the darkness within you find peace in the light” that sounds really bad. What a horrible thing to have on your statue. +1

Jordan Claire Robbins’s performance of Grace -1

Luther and Diego are so emo that they don't need umbrellas. You’re in The Umbrella Academy! This had to be a personal choice to not carry one. +1

Klaus’s face when Luther dumps out the ashes. -1

The camera cuts to Five when Diego says that Mom gave them actual names. -1

The fight between Luther and Diego is stupid. +1

Klaus and Five fight over who is going to protect who. +1

“Stop it!” “Hit him! Hit him!” -1

The detail on Ben’s statue. It shows his toe and knee have been touched many times by people who presumably miss him and love him. -1

Luther punches Ben’s statue in the crotch, which makes Klaus’s face 10x funnier once you remember that Ben was probably there too. -1

Luther punches Ben’s statue in the crotch and beheads it, suggesting that Luther had something to do with Ben’s death. -1

Luther punches Ben’s statue in the crotch. +1

Klaus puts his cigarette out in reggie’s ashes. -1

Reggie narration +1

Reggie is a dick to his kids +7

The stupid, bright green jumpsuits +6

What is the point of this exercise? How does running up the stairs make them better heroes? +1

Young Diego either practiced “That’s not fair, Five’s cheating” or his stutter is only there when the plot calls for it. +1

Child Abuse tattoos +12

The fact that Vanya feels left out because she didn’t get a child abuse tattoo. Reggie, you fucked up these kids real bad. +2

We think that Reggie is comforting Luther after he got a child abuse tattoo, but no, he’s actually just attaching monitors to his head. +1

Reginald Hargreeves likes to watch young children sleep. +7

Vanya foreshadowing. Her monitor showing more activity then the cut to her taking one of the pills is brilliant. -1

Vanya still doesn’t close the academy door behind her when she leaves. +1

“An entire square block, 42 bedrooms 19 bathrooms” Five are you a real-estate agent now? +1

“Dad hated children too, but he had plenty of us!” Klaus would be excellent at cinema sins. Seven more for child abuse +7

What are the rules to Five’s jumps? We only really see him jump to places he can see unless he is time traveling or in the instance where he jumps to the car. Speaking of, the car had the keys in it. Reggie, are you trying to get it stolen +1

Diego is a dick to Allison about her divorce. +1

Klaus and Diego’s interactions make me happy. -1

The Klaus theme is a wonderful piece of music. -1

Robert Sheehan making David Castaneda laugh. -1

We get our first glimpse of Luther’s arm here. It’s super weird and vague and only teases the reveal. This is where the ape reveal should have been for the audience and where it would have made sense. Doing the reveal in a later episode is weird. +1

Five doesn’t know how to break correctly, which contradicts “I know how to do everything” +1

Something I just noticed, Five completed the uniform not only with the tie and blazer, but with the hair gel too. +1

The towing guy chooses to sit next to Five at an empty counter. +1

Five looks so offended when Agnes refers to him as “the kid” -1

The creepy smile Five pulls in an attempt to look innocent doesn’t make Agnes scream in terror. Seriously Aidan Gallagher, what the fuck was that that was absoulutely terrifying. +1

Five attempts to relate to a man that looks the age that he should be, but it ends up exceedingly awkward because Five looks 13. +1

The tow truck driver helps him out, but how was Five going to pay for his coffee? We don’t see him with money. Was he just going to jump out to the car? +1

Five never gets his cup of coffee :( +1

“Istanbul was Constantinople/ Now it’s Istanbul not Constantinople”. This whole scene is great. Five plays with them like he did in the bank scene which shows that even if he did age, he didn’t do it around people so he doesn’t have maturity. -1

Five stabs a guy with a mop and kills him. -1

Five stabs a guy in the crotch with a pencil, then uses the same pencil to stab him in the eye. In between he throws a plate at another guy. This is badass. -1

Five jumps in a way that actually does make two of the idiots shoot each other. Which means that technically, Patch was right. -1

Five kills a man with his bare hands. -1

But he stops to put his fucking tie back on. +1

And yet after all that, the goriest thing is when Five pulls the tracker out of his arm. Props to the makeup department and Aidan Gallagher’s acting skill for making that look so real. -1

Five should be way sweatier when he walks out of Griddys. Unless he moped that up with some napkins? What are these super absorbent napkins and where can I buy them? +1

Agnes should be far more traumatized. And definitely shouldn’t have survived that. +1

Diego is emo with the monocle. +1

Luther flashback narration. +1

Klaus, thankfully interrupts this. -1

“Number 6 “Ben” (deceased)” -1

We can see Ben depending on if it’s Klaus or Diego talking. -1

The vigilante mask Diego wears +1

Five jumpscare in Vanya’s apartment. +1

“Rapists can climb” yes Five. Continue with the criminals that can climb. Including you. +1

This whole scene is the best ending to an episode in the entire season. -1

Aidan Gallagher and Ellen Page play off each other with subtle expressions. This acting talent is amazing. -2

“The world ends in eight days and I have no idea how to stop it” “I’ll put on a pot of coffee” roll credits. I love this ending for many reasons. It’s a total mic drop moment. -2

Overall review:

While actively looking for nitpicky things, I got to see the first in a whole new light. Both the great parts and terrible parts stood out in a way that they didn’t when I wasn’t looking for them. Robert Sheehan, Aidan Gallagher, and Ellen Page were the stand out actors in this episode. All three contributed something significant that didn’t heavily rely on the script writers.

The child cast also really stood out to me. All seven of them had very limited screen time (I am counting Gallagher playing a child version of his character in this assessment) and they absolutely made the best of it. Out of all of them, Ethan Hwang stood out to me because of his overall great delivery. I hope that we see him play Ben in a more in-depth way in season 2.

Don’t get it twisted, I genuinely like this series and I think that it tells a great story. I just think it’s fun to nitpick and look deeper. After over analyzing everything else, it’s time to get back to basics. Especially because the season 2 trailer could drop any day now.

Total: 82 sins

Sentence: Tennis with Hitler and Sir Reginald.

#The Umbrella Academy #all in good fun #luther hargreeves #diego hargreeves #Allison Hargreeves #five hargreeves #ben hargreeves #vanya hargreeves #i worked really hard on this

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mythvoiced · 3 years

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🙌 ♥️♥️♥️

@theimpalpable | Send a 🙌 and I’ll introduce you to an NPC related to my Muse.

---

Me, seeing Alex in my inbox.

Jungwoo and Junseo’s relationship to each other is about as understanding as it can be naturally misunderstanding for a pair of siblings. It’s understanding, because both brothers want nothing more than to see the other happy, want nothing more than support the other and encourage him down whatever path he wants to walk on, so long as it isn’t self-damaging.

It’s also characterised by its own fair share of not understanding because there are simply a few things you can’t understand unless you live them. Jungwoo’s trauma being the biggest example in this context.

Junseo, younger brother to him by two years, doesn’t understand Jungwoo’s reactions to things, his triggers. He doesn’t understand why he doesn’t want to wear his medical alert bracelet, why he kept pushing @chaosbled ‘s Gemini away for so long when she only meant good things, or why he’d rather spend the night alone in the kitchen after a nightmare had awoken him, than knock on Junseo’s door, as he’d often told him to.

But he understands that they’re part of him, he understands them even if he can’t understand what it feels like, he understands that he can’t understand, and he tries.

Junseo, much like his brother, is particularly fond of the art of creating, just one among the many similarities between the two, but where Jungwoo had spent hours leant over the internal labyrinths of devices Junseo will only use and never understand, Junseo had spent hours looking up and looking around. His passion, which had led him to take the studies he’d taken and further them and himself in such a foreign country, is architecture.

The United States are for him simply a place like any other, visited only because the opportunity had presented itself, a foreign exchange program he would have taken as readily as one that would have taken him anywhere else in the world. Because to travel is his main goal, anyway. He wants to explore the world, get to know cultures through the way they build their houses and read their history by exploring what they call monuments; what do their rooms look like, how much light do they let in, why is this such a prominent colour, and why are there this many floors? Questions Junseo poses himself almost every time he walks into a new building, and questions he wants to ask in as many languages as possible.

He’s a little more ambitious than Jungwoo had been even before the accident, a little more driven, a little more interested in his career, where Jungwoo would have happily done with a stable job. It is in fact their attitude towards life where most of their differences to each other lie, but Junseo has never judged his brother or considered him any lesser just because he’s happier with a less ambitious way of living.

No, Junseo has always looked up to Jungwoo. Back in school, when making friends due to his quiet nature had been difficult, when he’d often gotten too lost in his own world and his own daydreaming to even notice when the opportunities to connect would present themselves, Jungwoo had always been there to help, just in the moment Junseo needed it, never earlier, never against his wishes.

Junseo has maintained this quiet nature, satisfied with his introversion and knowing that his lack of interest in big social events or making lots of friends don’t define how valid or good of a person he is. He’s reliable and values good work as much as he values learning from eventual mistakes and he applies a similar attitude to interpersonal relationships and his own psyche. All in all, he’s a mature, introverted young man... with an active inner child that simply doesn’t present itself as other’s do, and he doesn’t like hearing others say it’s not okay to be a certain way “just because it isn’t” or because of some outdated social idea he’s never clicked with anyway.

So he likes cartoons and he’ll talk openly about his feelings if asked, he likes to hear about anxieties and insecurities from those willing to share, and he doesn’t judge people who like “mainstream” things or are up to date with the latest trend. He’s just trying to do his own thing and step on as few toes as possible, and would hope for others to grant him the same demeanour.

But being generally easy to approach and non-judgemental doesn’t mean Junseo is entirely free of flaws. He’s not particularly good at backing other people up. He doesn’t like fighting somebody else’s fights, something which can be a virtue in some selected contexts, but isn’t usually appreciated by loved ones who’d like him on their side in virtue of being his loved ones.

It takes him a while to fully set the base of his own perspective on things, which can, again, also be a virtue, because he gives himself time to assess a situation from multiple angles, but can also be detrimental in other situations, especially those that require quick responses and/or immediate intervention. For example, without hearing both sides of the story, he will not take either side in an argument, this even publicly, which has led to some unfortunate situations that could have been avoided if he’d taken action. There’s a certain lack of passivity, here, that usually makes itself most known in interpersonal relationships, that doesn’t allow for monumental bouts of loyalty and often make him seem emotionally unreliable to those who grow close to him.

It’s only when he understands that sometimes he’s not even meant to choose a side, but simply be there for someone when they need a listening ear or a shoulder to cry on, that he starts actually wondering whether he’s behaving in an ideal way. Still, when it comes to social altercations or even general situations, he’s a little indecisive, somewhat passive, and not the best at getting social cues.

Junseo is 26 years old, deeply passionate but not very vocal about it, and usually doesn’t like, misses the opportunity to, doesn’t know whether he should or doesn’t know how to engage in interpersonal and/or social issues. He’s demisexual, a huge fan of chocolate pudding and once you do actually get him on your team and manage to bridge these minor social difficulties, he’s deeply loving. He loves animals, research, architecture obviously, the film Inception, historical dramas, and his family. He currently lives with his brother after the family suggested Jungwoo might profit from a move like that and a change of air and environment, which isn’t a problem at all since they’re used to living with each other and he’s happy to be in any way of help to him.

He keeps track of Jungwoo’s schedule and habits and coping mechanisms, but isn’t very good at vocalising when he feels like Jungwoo is engaging in less than ideal habits (less than healthy habits), because since he can’t possibly understand on a deep enough level what Jungwoo is going through, he doesn’t feel confident in his perception as to whether or not a tendency of his isn’t perhaps actually good, if it gives him apparent relief. But he tries.

#theimpalpable #the survivor;guest muse #tw long post #long post tw #long post for ts #OH GOD THIS GOT SO LONG #BUT I DON'T HAVE THE HEART TO REMOVE ANYTHING BC I FEEL LIKE #IDK IT BELONGS IN THERE? basically #here's Junseo Jungwoo's younger brother whom i love like i love Jungwoo and JUST #AND THANK YOU SO MUCH #thank you for sending this in and being curious and i hope this is okay and interesting enough ;WWWWWWWW;#a:#i even had to throw a readmore in there pl ease FORGIVE THE LENGTH and the possible contradictions tbh ==#i'm not quite sure i'm not too confident about my claims here because I haven't put this much thought into Junseo before #which is also why i'm leaving everything in bc serves as a good first draft if that makes sense? == to then work from if i need it ;W;#THANK YOU SO MUCH AND I HOPE IT'S WORTH THE READ ♥#;queue

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yoitscro · 4 years

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First thought: Homestuck^2 should've just been called Beyond Canon, and more people should call it that.

The 2 was put on for chuckles; HS trending the day it was announced with it being a sequel spoke enough about how such a thing shant be underestimated, and why Homestuck is ABSOLUTELY more than just our small twitter crowd (and the scrap of us still on tumblr). I say that because remembering the Beyond Canon part slightly reassures me about the fact that this is a fanwork that will do some weird shit, and things I don't agree with, but isn't something that I have to subscribe to enjoying all the way with how I engage with Homestuck.

Homestuck 2 is not the canon continuation. Homestuck 2: Beyond Canon, is an OFFICIAL continuation.

Not having it on such an important stool and as the only content we all are only allowed to digest should come from both people who obsessively dislike it, and people who defensively support it. If a character says they kick babies then I can say, hey that's weird, maybe not great writing, but I can pretend they don't in my content, and i dont have to send threats or call people cishet white men for it! and, it's an absolutely great thing that we were all encouraged to create our own ideas without anyone who's influenced us to do so squinting their eyes when we actually go through with it. Glad I don't have to put this story up to the expectations of being a sequel to a 11 year, worldwide IP that's shooketh the internet landscape since it's merely optional, Death of the Author persists, and ideas aren't just dominated and revolved around the perspective of a 1% in this entire fanbase.

That said.

As an OFFICIAL continuation versus a canon one, HS2 is ok. It certainly has that fanfiction vibe, and a story it wants to tell. I can't really tell what that story is since we have like, 10 sub plots rn though. There's not a real a clear indicator on where the focus of main conflict is that connects all these stories together.

I thought that the prose in replacement of Vriska's battle was jarring, but not teeerribly surprising for the format HS2 is going for. It's more so using drawings to compliment text versus Homestuck's usual of panels being side by side with visual importance, or even itself being the one compliment. It sorta feels weird tho that it brought old fans back in with art just for them to get sneered at when they get a bit upset that there won't be main staples of art known to progress the story forward.

Also people who mock people for “having to read homestuck” knowing there’s language barriers and struggling focus from those who’ve been use to something that was never so dense, are ridiculous.

Personally this could be solved by knowing how old flashes worked, having way more artists on the team, maybe even an art director if not already, and noting that we're not asking for the next Cascade. Rome wasn't built in a day, but Rose Ride sure was, and Homestuck’s animation is absolutely not the same as a 12-24 framed 12 minute cartoon. That, or just snuff the illustrative art as a whole since it's very clear on where the focus is.

I’m sure you’re not here trying to see my opinions on how the outer workings are though, versus plot.

Uuuuh, let's see. Yiffy's still a name I don't care to use until I eventually get tired of any of my art that do not show up in tags. This is fine and not as offensive as people are saying it is. Minors who want to cosplay this character don't have to call themselves this character. Not wanting to be one letter away from accidentally entering a very NSFW space of twitter is fine. Also the lot of people call Tavros, Tavvy.

I hope Kanaya's anger at being cucked is actually seen versus being implied through fan guesses and another character having to say she was.

Roxy needs to be more of an involved character. Where are they during all this?

Jane should have a mention of her relations to HIC being a main/bad influence on her current parallels to Alternian dictatorship.

The PRE-RETCON GROUP should have a fun one-shot update for fans who like them, since they oughta be around if they fell through the ghost hole. Most of them. The sprites that aren't Jasprosesprite should also show up too, since they're around.

Aaaaaand I think we should be extra careful going into the future when it comes to the alien rebellion. It's weird that a lot of the writers are white and toy around with concepts that can be a not so great parallel to racism. Currently not great timing rn! If the characters are going to remain aracial, but with them still doing not much to reference other non-white earth cultures or getting new hair cuts that have different textures (looking at you, Rose), we shant make the species with actual biological benefits a racism commentary. the xeno joke at least had a play on words. If any writer has happened upon this then a, please don't get mad at me again haha, and b, consider having more black writers or directional assistance on your squad. You know who they are.

In the future. I casually want the ghost from the Dream Bubbles to be shown since it's a big elephant in the room to not have a single one of them in the bg despite a load of them appearing from the ghost whole. Don't gotta give them speaking lines, especially the dancestors. I personally don't know if I want that right now.

I also hope in the future that we don't get HS content that is only going to revolve around HS2, if it's optional enough to engage with without being the only option. That's why PQ could ended a bit better for me, and why I hope it's not the main thing that's keeping Hiveswap on the backburner. I don't think it's farfetched to consider that multiple HS content could come from more than just one team; to relieve work load, but to also strengthen the idea that Homestuck can be a various amount of perspectives when it comes to the ideas fans have. The most dedicated fans leading the direction of the story is not just a handful of them. If anything, at least acknowledge the massive ass fan projects going on once in awhile to showcase the different avenues.

"Hey Cro, you sure have bitched about this alot. Do you have anything good to say? Why don't you stop reading if you hate it so much!"

Not every comment needs to be golden, love. Again, some of these decisions I eck at, but ultimately they're just words on a computer that I'm not holding anyone at gun point to do, and I'm curious to see how the story handles itself going forward, since again, it's just a fanwork. Sometimes I wish to not only see where the plot goes, but to see a writer's craft in action.

Good Things:

The Art. Again, please have more artists. It'd help so much, especially since the main one is also double timing for VE. That said, HS2 sticks out to me because of the way the color composition is used. Aside from hair and other tiny things, I haven't seen black used a lot, which makes colors pop. It's really nice to look at. I hope we get more sharper styles of character in the future, since it builds on nostalgia and makes the trolls feel much less like they're from Repiton, but I can deal with it for the most part. I also like that one panel where the omega kids and vriska are talking in the dark room, and based on where they're standing, the text aligns. Tasty as hell.

Meat and Candy still do hold neat logic in the direction the stories go. Candy, while it could be more tasteless in some areas, is chaotic and too much of a good thing. Meat is having something a little more straightforward, though I'm not sure quite yet where it's going. I always found Candy to be the part of the epilogue that actually entertained me the most, from how much of a surreal Robot Chicken skit at 3am it felt. Sometimes the jokes slapped real nice and made me wonder, going in, how is this monkeys paw gonna play out and, hopefully, make people laugh or smirk like they got a good roast at themself?

The slightly episodic feel of each update is what I wanted from the Epilogues, so it's interesting to see that play out when it comes to switching different perspectives.

The bonus updates get points for featuring characters that a lot of us have been wanting to see for ages.

Hopefully this isn't unpopular, but I think the tension of Yiffy's introduction was nicely composed and written (ignoring some of the things I wish for Jane). It leaves you with enough want to see what'll happen next time. You could also say that despite her growling and making a lot of noise, it's not actually bad writing: I see it as the audience being forced to see her in the same perspective that Jane see's her; a dog. Upon no context we're seeing the same thing while knowing things are obviously off, and once we see this character in a new environment where their personality shines, it'll have a bigger impact her own character being humanized. So I like that.

Okay, I think that's all I got. I improv wrote most of this; hopefully I won't be taken out of context since I don’t think that HS2′s writing should ultimately be a judgement of the writers as people, nor treated as if they should hold the same unhealthy work environment that Andrew forced himself to do when writing the og comic. And I'm still like, donating to the patreon and everything, lol.

[runs away]

edit: i was going to put the cw as another positive thing for the comic...but...yeaaaah.

#hs2 #beyond canon #homestuck 2 //#i ran out of room so i posted this here lol.

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