#it's about the cycles. the repeating story

[burst-of-iridescent]

katara becoming “the greatest healer in the world” will never be a satisfactory ending for her character. not only because we never actually saw her heal, not only because of the gendered implications of healing, not only because she said herself that she wanted to be a fighter, but because katara’s arc in atla is about earning her own empowerment.

she fought tooth and nail to develop her waterbending skills even when she had no one to teach her, even when it put her in danger, even when she was straight up forbidden to learn. of course she had raw talent, but that would have gotten her nowhere without her own resourcefulness, creativity and willingness to learn and work hard. that’s what differentiates her from azula, her foil, and leads to her triumph over azula in the end. nothing was ever just given to her… nothing, that is, except her healing.

the moment katara discovers her healing abilities is in the aftermath of her own victimization, when her narrative is subjugated to serve her male love interest’s. her healing, like her accident at aang’s hands, is something that happens to her rather than something she actively does — and this narrative will continue to repeat itself throughout the story. katara never has to work at, develop, or fight for her healing abilities, a jarring contradiction in a show that always stresses the importance of discipline and effort to becoming a master.

nothing worth having ever comes easy, as it goes… and yet healing comes nothing but easy to katara. what, then, is the audience meant to infer about the value of healing as a skill within the narrative?

katara’s empowerment arc in atla is one catalyzed by her own agency, driven from beginning to end by her actions and choices. she fights for every bit of power she has, fails, learns, fails again, picks herself back up, and repeats the cycle over and over. the struggle is what makes her growth meaningful, just as the fight is what makes her victory worthwhile. that is what makes katara a hero, and makes her so inspiring to the many girls who saw themselves in her.

for all that resilience and hardship and strength and growth to be stripped away in the legend of korra in favour of defining katara by some underdeveloped, unexplained ability she just intrinsically has not only devalues her as a character, but also undercuts the significance and impact of her character arc in atla. and that will never, ever sit right with me.

[1shadowhole]

Since it's once again the 24th, here comes the annual reminder from me that Kingdom Come AKA the so called BBC MERLIN'S Canonical Season 6 is actually anything but canon and was made by fans.

BBC Merlin doesn't have a Season 6

And every year people tell me "I don't think that anyone actually believes that Kingdom Come is canon" and every year I cry because no, no a lot of people do. Maybe not on Tumblr but everywhere else you always see comment threads that go a little something like this:

"omg the ending was so sad why did the writers do that?😭😭"

"don't worry! The writers actually wrote the script for Season 6 that later got cancelled, but it's online you can read it!!"

"I DIDN'T KNOW THAT THANK YOU SO MUCH"

Ahhhhhhhh

And I also make these posts for all the new, wonderful fans that don't know the whole story, who may stumble upon the Kingdom Come blog and read "the canonical ending of the show" or whatever lie the people who made it wrote and believe it to be the case. Because why wouldn't you? It's says it is! BUT IT ISN'T!!

Why am I so pressed about it?

I mean I ain't going to lie the main reason is because I don't like it and think it is a great example of character assassination and disregard of what the original show wanted to share with the finale.

But I mean there are many fanfics (and kingdom come IS a fanfic) that I think are just as bad if not worse. Why don't I also complain about them? Because it isn't my place! I can criticise some tropes but you'll never see me directly attacking a specific fic by name! It's a story someone made for free just because they like writing.

But since these creators clearly believe that their work is somehow superior and has more value than other fics, I will treat it as such! And if you wanted it to be canon so bad I will criticise it like I do with the actual show. And trust me, as much as I adore BBC Merlin I am not blind to its flaws, and I am very critical about them on here.

So yeah. I think it sucks that a lot of fans believe that's the actual ending! Even if you liked it (and so didn't think that the show ended horribly with all its morals squashed) I don't think it's right that you fell for a lie. I had conversations with people who loved it and think of it as their personal season 6 while knowing it isn't canon. And that's wonderful! But you should know the truth.

So let me repeat this one last time

BBC Merlin has no canonical season 6

I feel like I was a lot harsher and aggressive this time around. I think it's because I lost a close family member just this month, and with Christmas so close my nerves are frayed.

But my goal is to make so many of these posts that when you look Kingdom Come up you find them before the actual blog lol. So anyone reading will know not to trust what the blog says.

And to make it clear. Hidden in their posts they do say it is fanmade. But you have to look for it, and if you just want to read you won't see it.

Plus the way they make it sound, the script they sent to BBC (btw... DON'T SEND YOUR FICS TO WRITERS FFS) was actually accepted lmao. And the only issue was the actors didn't want to come back.

Sure babe, sure. That's how shows work.

Damn I'm so salty today.

Again I wouldn't talk about other fics this way, I swear.

Now go read And like the cycle of the year we begin again. Or the Change Trilogy. Both very different, but very long and amazing possible Season 6s

[shitpostingsapphic]

I feel like a lot of people who weren't fond of Arcane S2 got the mistaken impression that the core plotline of S1 was the class conflict between Piltover and Zaun. I wouldn't say that's the case myself; I'd argue it was more of a backdrop than anything.

I think the Piltover and Zaun conflict was A core tenant. Key word, A. Season 1 had a lot of shit going on, and for some reason that's the plotline they hyperfixated on. But I think you are 100% correct. Because of that hyperfixation, they deluded themselves about what season 2 was going to give them, and for some odd reason it also distracted them from the fact that Arcane is not a happy show.

Because here's the thing.

The Piltover and Zaun storyline? Wasn't ignored. Wasn't pushed to the side. It followed a very realistic arc of being a cycle that repeats and is never fully fixed, at least not in a short time. Longstanding strife between two groups of people doesn't usually see resolution in the timeline the show gives us. And besides! It's not like it's entirely hopeless. It DOES end on a note of hopeful uncertainty.

I think people are upset at the idea of a "bigger bad" coming in and that being what unites the cities, instead of Zaun fighting for independence and achieving it and Piltover never intervening again. This is where people are too caught up in what they WANT to happen instead of what is realistic TO happen based on the events of season 1. Which is why it pays to pay attention. The Arcane plotline was always going to be the focus of the finale. It's the show's namesake. Ambessa and the Noxians were always going to be an issue, and chances were, it would have demanded the unity of the two cities for their survival, which it did.

It's not fair. It's not satisfying. It's realistic.

And there's no denying the fact that current world politics are influencing how people feel about this storyline. I guarantee if that weren't the case, people would think of the Piltover and Zaun arc differently.

But if we are going to draw from real world politics, a bigger military power coming in to a country that already has some internal conflict and using that as an excuse to intervene? The American Military Industrial Complex, anyone?

There comes a certain point where you have to acknowledge that Arcane is fiction. We all draw on real life experiences to interpret shows, yes. But at the end of the day, it's fiction. And you have to take the story for what it is and the information you're given, not let real life influence how you think it should play out.

[shivunin]

Hi, I just wondered what your favourite part of the Fenhawke romance was? Like, a scene/moment that really made you fall more in love with him? I love your writing so much!!

Oh, that is very kind of you to say! 💗I'm glad you enjoy the things I've written. I've really been enjoying writing for this ship, especially the past few months c:

As for your question...

Man, that's tough. I have a hard time picking one thing---I mean, *gestures to all the fic* you know? But I can narrow it down to a couple of scenes/elements:

The fact that a romanced Fenris still calls you "my friend" even after the act 2 romance scene. This is just...the bedrock of their relationship to me. Yes, that night went very poorly (understatement, I know), but at the core they are friends and he trusts Hawke in a way he's likely never had the cause or opportunity to trust someone before. I believe he never stopped loving Hawke, and it was a matter of laying those feelings out and understanding them one at a time. Romantic love not replacing platonic love or eclipsing it, but building or twining together is just... *chef's kiss* that's the good stuff.

The moment during the romance conversation in Act 3 when you can see Fenris go from hoping (painfully hoping!) that there is still some way he and Hawke can be together to actually believing it will happen. There is a shift in his body language that I could watch (and...have) over and over.

The element of choice? This is not going to be coherent, but the fact that he is learning for the first time what it means to have options and preferences, and he spends a lot of time exploring and understanding himself...and after all of that, the thing he keeps coming back to is Hawke. I think it's gorgeous. A song with refrains of pain or fear and choruses of decision and hope. He's loyal to a fault, in many ways, but understanding how much of himself exists to share and then still choosing to share it is just...man. I said this wasn't going to be coherent lol, so there you are. "If there is a future to be had..." like he doubts its existence but he's willing to chance it for Hawke. Man.

But, honestly? I've played DA2 a lot of times and never romanced another character, even though I've played through multiple romance storylines in each of the other games. I can't shake the Fenris romance. Every time I open a new playthrough, I tell myself that this is the time I'm going to romance Isabela, and every time Fenris rips that dude's heart out and I just......alright, yeah. Okay. Here we go again.

[tblsomedoodles]

Just a young Rider with his baby dragon. Nothing bad will happen to them. honest.

Rereading Eragon (b/c reading fourth wing and Iron Flame only succeeded in making me want to read something that actually focuses on the dragons/dragon riding aspects. b/c that's why i was there) and thought, hey this would be cute to draw for a speedpaint.

My computer thought otherwise and decided to shut down when i was almost done, corrupting the video.

The doodle got save (thank you csp for your recovery feature!) but yeah, no speedpaint to go with it.

So back to the drawing board. Literally. (and the speedpaint is already late too : / )

[palaceoftears]

Mahi thinking about how forming a family outside the palace would be :c and Gulsah not being capable of letting go💔. They hsve been together for 10 years after all, she doesn't know better than serving her, Mahidevran IS her family as much as Suleyman and the rest is it for Mahi, and so that's why both master and servant were ready to do anything to keep their beloved ones, which only turned to divide them even more after their actions threatened not only a rival, but also the familiar in question (Mahi putting poison on Suleyman's table, Gulsah risking Mahidevran's position by attacking Gulnihal). The two of them also overstep their respective positions by doing so. Mahidevran, a concubine, requires from Suleyman the loyalty he should have for a wife, Gulsah wants to be valuable for Mahi but also to make decisions for both or them, equaling her humilliation to her sultana's when she's just her servant (maybe she also sees herself as Mahidevran's wife 👀, this dialogue is kind of confirming that atp she can't see herself as someone else's soo). And Mustafa works as some type of union between both Suly-Mahi & Mahi-Gulsah, ofc he's an stronger one for the first pair, he's their son, but I think his care for Gulsah recovering may also have influenced Mahidevran giving her other chance, she's been shown to be a second (or third, shall we make ibro and gulsah compete for the role?) mother for him after all, in certain way that makes all of them family too.

There's also the fact that Gulsah is someone her sultana can rely on, the only one that she could truly trust for so many time, she knows every little facet of hers and I think in a palace where you have to always put a facade on, it must be a relief. That's why this just comes as a sincere wish from Mahidevran (in contrast to later, when she just wants to get rid of her servant by marrying her off), for Gulsah to escape what she can't, and it parallels her letting go off Nergissah, only that this time she accepts Gulsah's useful loyalty and keeps her at her service, while in s4 she reachs that selfless stage for which she can actually send her closest ones away. Same that she wanted to do to the only one that serves her at that point, Fidan, even if the later refuses (and Fidan is another old woman so there's not many chances for her, similar to Sumbul/Hurrem but even w less posibilities since she's as poor as Mahi). But what both scenes share is Mahidevran's idea of family as a salvation from sorrow, a new start that she can't give to neither Gulsah or Nergissah and Fidan.

During e25 Mahi herself is trapped in a situation she can't do much against, only staying patient untill she explodes later in the season, while, after Mustafa's death, she's already experienced the happiness of the new start of a family, her granddaughter being all it's left from it... An orphan, in the "spring of her youth", sent to an unknown powerful future husband, whose child she could name Mustafa. It is a little similar to Mahidevran's own story, to the untold part of it and what we know of her before Suleyman's accession to the throne, that she took refuge in his love, they became a family, possibly the reason for her to begin again and never mention her past out loud (and seemingly not even remembering it). And with a new family it comes a new identity, makes a lot of sense Nur refers to Suleyman as a paternal figure for Mahidevran, he's the patriarch of the new household she goes to after all, he gives her life a new meaning, she's his "spring rose"/gulbahar and everything she does has to please him (he even says he's "proud" of her when she gives birth to Mustafa). It caught my attention that, as much as she takes on a maternal role during all of Nergissah's life, she also shows a little bit of that side to Gulsah here, who also shapes her identity in relation to Mahi, dedicating her life to make her happy and proud (and, like Plami pointed out here, Gulsah's name meaning forecasts her ambition for more while ties her all the most to her master). For both women, the struggle is they can't make more mistakes since the families they belong to could discard them (Mahi can send Gulsah outside, she sent her to Edirne once, same place Suleyman warns he could exile his haseki to in e23) but can't truly adapt to the new situation either, what they consider their home it's very unstable and it's doomed to break. As a result, Gulsah will eventually change sides and Mahidevran will redirect her efforts to Mustafa, they're going to become traitors, with the difference Mahi will have the opportunity to begin again far from Topkapi, to form another family with her son, even if once again it will prove to be unstable (tho this time not for internal factors between them, but for external ones).

In certain way, Mahidevran is a nomad through all the series, from an unknown place in the past before she was an slave, to wherever she may have gone to be educated, to Manisa's palace, to Topkapi, to Edirne, Topkapi again, Manisa again, to Amasya and later Bursa. And what's important about that for this post is that everytime she tasted the peace and happiness of family she had to lose it, being it via Suleyman falling out of love with her, the sudden deaths of baby Suleyman, Fatma hatun & Ibrahim pasha or by how the Amasya fam was murdered. She could never rely on the security and the simpleness of the family lives she describes to Gulsah and Nergissah. By the end of the show Mahidevran is symbolically an orphan not only of the parents we don't know, also of the men that gave different meanings to her life inside the system, Suleyman and Mustafa. Still, a little bit of her hope survives with Nergissah escaping this life full of suffering and I find it poetic and very telling that, while we see the damage the succession wars are bringing and Suleyman's obsession for loyalty, Mahi is ready to give up all she has (even if little, but she transfers the servants that remain with her to her granddaughter) for Nergissah to find peace in a new home.

[goatpaste]

gets so fucking sad remembering Lucy Steel isnt my oc and actually has a canon story of experiencing seven layers of deep disturbing trauma in the span of a few months at age 14

[lovedeathalice]

No fucking way that was the ending of jjk💀💀💀 MID!!!!!!!

[four-color-words]

Yes, I love the Hawks and Thanagar as a concept. Yes, I also can't stand Carter Hall. I contain multitudes.

[pilonciillo]

[secondimpact]

i have reached the dragon's dogma 2 part of dragon's dogma 2

[corvid-ghost]

Damn I seemed to have gotten a very different read from Anthem than everyone else ig

[fullmetal-scar-simping]

It's funny when someone responds to you claiming you're just repeating their point, meanwhile they missed the part where I talked about them failing to grasp that being upset about the Nazi association to Amestris while saying all fascism is bad and that the Nazi association means people have "misunderstood" the moral of fma and thus "proves Arakawa's" point is attributing ignorance to the critics while falsely claiming Arakawa's work as consistently anti-military (it absolutely isn't).

But I shouldn't be surprised.

[the--days]

so it's like this.

you're young and you're scared and you're trapped in the feywild (happens to the best of us) with the love of your life. You're a half-elf and she's a fullblooded elf but you don't think about it very much because you're barely surviving day to day. And you get offered a deal to get yourself home again, and you take it. And the price of your freedom is that you leave her still trapped there, alone.

And then five years pass. And you age a century in that time, and you grow, and you change, and you find her again, and you're still in love, and you meet people, and you lose people, and you love them too, and you learn, and you start wanting a future again, and caring again, taking care of yourself, taking care of other people--

and after all of that, at the end of things, you find out the man responsible for all of the misery in your short, sad life has cast a spell which gives him complete control and ownership of you- mind, body, and soul (again. this happens to the best of us). And you are given the choice to stay under his thrall, and live a thousand years-- or to age and die, like humans do, and to be free of him.

And the love of your life is there, and you're married now, and she's still a full blooded elf, and you're still a half-elf, and you think about what that means a lot more than you used to.

And still, after everything you've learned-- you choose your freedom. You choose leaving her behind.

[the-crow-binary]

I'm just saying, it took thousands upon thousands of years and many more random combinations of homo sapiens and humans to craft your body, and then you go and call it ugly??? That's just rude. Hundreds of thousands of years worth of work went into that body. Respect it, bro.

[mityenka]

you guys will call anyone doomed by the narrative these days. when i do it i'm right though