#like a proper adaptation not a retelling (which there are a few good ones) | Explore Tumblr posts and blogs

deliajackson · 2 months ago

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Loooong Rant about retellings after the cut. Don't like, dont read.

In fact I love every piece of this writing. I mean. I am hellenic pagan - a Zeus and Apollo devotee to that matter - so I just felt seen in my frustration with this post.

I will ALWAY, and I mean ALWAYS recommend Luc Ferry phylophical books to people who actually wanna learn about the philosophy behind the myths. I just read one and changed my entire perspective on the illiad and Odyssey.

He is a French Philosopher, but I believe a few of his works may have had a translation to English. (It had to portuguese)

The myths like you said carry lessons, cultural aspects, and the ancient philosophy from this civilization. If you only read the myths without understanding of what it teaches, will be only a tale. A really good one, I mean, Homer, for example, is a master with words, he presents the characters with so much humanity, really exposing the dichotomy of what it means to be a human being. Not even Agamenom was a one sided "villain", Achilles had his redeeming qualities alongside with his brutality, Odysseus was sly as a fox, with so many layers of development, good and bad. So yeah. You could read that as only a tale and project your "modern standards" on them, but you will still miss a lot, especially the purpose of them in ancient times and its religious practices.

People dont have the right to say they can "fix" a myth with a retelling, as a lot of writers claims nowadays regarding their "retellings". Imagine saying that about a Yorubá Mythology(an African Religion widely practiced in South America), or hindu Mythology. Lets say someone say they can "fix" Budism, making a book with a "budist mc" who changes every single aspect about its practice and culture so it is fit to the author who can now follow the story as they want.

I try to be respectful with retellings. I like PJO, and PJO introduced me to greek mythology that introduced me to hellenism. For me you just have to separate: Retellings - Mythology - Theology and remain respectful with the culture you are adapting in your book making a proper research.

For example, I like how Miller wrote Achilles and Potroclus, but I dont like how she portrays her books as a valid version of the myth because in her words myths are fluid with many versions. + Romanticizing Circe, making Thetis a villain, while presenting herself as feminist always seemed a little bit hypocrital. (+I see a lot of her fans who hate Zeus for having affairs, but glazing Achilles relationship with Patroclus... While Achilles is married... with a baby back home. Let me introduce you Deidamia and Neoptolemus).

And then we have all the Medusa, Poseidon, Perseus and Andromeda, which is an entire new box of Pandora. I have seen so many, and I mean, so many terrible retellings which the author didnt even try to hide they never opened a mythological book. I have seen people pairing up Cetus and Andromeda. Like.... Cetus!!!

That is Trojan Cetus

Or it can be Ceto, the woman on the right.

For Andromeda's sake, I really wish it is the woman and not the sea serpent monster.

And then Perseus and Medusa. Wtf was that pairing???? Like? Why not let her be with his wife? The one he has a constellation in the sky with? Why make Perseus basically be an atheist who says "I dont believe in the Gods"? Why make Perseus tell Medusa he would put Olympus to the Torch for her????

Why choose a roman myth, present it as greek, make these ships and say you are "fixing the myth"????????????????

....

As you can see, unhappily making this distinction is not what happens, not even on the authors behalf, much less on the fandoms behalf. And Greek Culture/Mythology and history is what suffers the most nowadays with it, following with Egyptian Mythology ainda Norse Mythology.

Eitherway, finally ending this rant.

Enjoy those retellings if you wish. I cannot tell you not to. Just try to separate them from mythology and do not use it as a resource. If it made you interested, that is great. Go after the source.

Penguin Classics has a lot of the books like Homer with his Odyssey and Illiad. I recommend Robert Fagles(my friend recommended me that one. And she is a Greek Archeologist, so I am sticking with that). You can search for Euripedes, Sophocles, Apollodoros, Apollonius of Rhodes with the Argonauts.

More about religion and culture, you have the Homeric and Orphic Hymms.

You have those online. It is cheap if you get it for Kindle version.

Just one more thing: METAMORPHOSES IS ROMAN! AND MANY SCHOOLARS HAVE A DEBATE IF IT CAN BE USED AS A MYTHOLOGYCAL WORK, SINCE OVID HAD A LEGENDARY BEEF WITH AUGUSTUS THAT GOT HIM EXILED FROM ROME! MANY ASPECTS OF HIS WORK RESSEMBLE HIS POLITICAL BIAS! KEEP THAT IN MIND!

Please and thank you.

Now regarding PJO. You have valid point, and I agree with everything, actually. I just gotta add a few points here.

I don't have that much of a problem of demigod children being part of WWII. I have a problem on how he reduced the entire conflict about children of Hades vs children of Zeus and Poseidon, for many reasons. As you pointed out, it takes away all the suffering and violent acts practiced in WWII, the entire holocaust, to a family conflict between two divine cousins. Now that is... a terrible narrative choice.

Children of Gods were always influent in the myths. They founded cities, they immortalized their names. They became kings. So yeah. Saying they were involved in a great world changing event - for me - is not a problem. Putting all the blame on them and reducing the entire war and its consequences for some family beef is.

I agree with u about the Camp Half Blood not being on Greece is a BS. For me the camp should be on Greece, be it on Athens, Corinth, maybe Delphi or Delos since Apollo was the one to come with the idea of a safe place to demigods. Regarding Olympus it should be on Greece too or could be on a metaphysical place, not in Greece but above the mortal realm, get it?

And the lack of Greek Culture is something to take on point and always bothered me, even when I was a kid. I really don't care with American demigods, the Gods can be wherever they wanna be, but Greece and its culture should be more highlighted and given more importance.

Bye

HOW RICK PORTRAYED THE GREEK GODS AND WHY IT WAS SO IMPORTANT

So people are going to notice that a lot of my complaints aren't just in PJO but extend to media portraying Greek Myths in general. But I want to focus on Percy Jackson and not other media, so I'm going to focus on Percy Jackson and not other media.

Starting off.................

The way Rick portrayed the Greek Gods was important because PJO was the most read book series that heavily centered around Greek Mythology he pretty much destroyed their images at the time.

There's an entire anti Percy Jackson tag as well as an anti PJO tag for you to scroll through to see how Rick Riordan portrayal of the Greek Gods was terrible. Be my guest and treat yourself to it. Search it up.

There are also people like @alatismeni-theitsa, @margaretkart and @katerinaaqu to ask for correct information on Greek Mythology. So be their guest too.

Today, we have PJO fans running around having incorrect perceptions of the gods and flinging hate and abuse at the real Greek Gods while Greeks and Hellenistic Pagans have to suffer through all this bullshit.

The torture is REAL. Just ask them.

Rick Riordan read about and taught Greek Myths in school, so he must have read the actual versions of the myths.

And knowing these, he decided to twist them into his terrible, inferior, crappy versions.

That man literally wrote Hephaestus, a rapist, as a poor guy trying to get a girl, oh, he's so sad and pathetic, and Athena's such a mean bitch for not accepting his advances even if she doesn't want it!

I'm not joking.................and I don't have words for this. I just don't.

Riordan doesn't really have any tact, does he? None at all.

And no, Greek people and Hellenistic Pagans cannot get away from these horrible portrayals, because there are too many Percy Jackson fans clogging up the Greek God tags with their Rick Riordan written PJO versions of the gods, which is kind of terrible for the Hellenistics who just want to be able to read devotional things about their gods and other people who just want to read about real Greek Mythology, not Percy Jackson. And this happens in real life, too. I mean, people using PJO as a substitute for real Greek Mythology.

Pro tip for PJO tumblr users: if you're typing about a god, use the Greek God PJO tag, like PJO Apollo or PJO Aphrodite, not just Apollo or Aphrodite, ok? Thanks for reading this.

There are many common misconceptions about Greek Mythology due to Percy Jackson. So, if you're not sure about something, please search it up on verified academic websites or ask real people-you can do this online too.

Now I am aware that Rick has the creative license to portray Greek Gods however he wants-

but let us as educated people all be aware of the fact that we should not always take portrayals of the Greek Gods in modern media depicting them seriously and if you want to read up on the actual gods, then read the myths and the Odyssey, Iliad etc.

Now, to name another shockingly appalling writing choice-

In the very first book, WW2 is atrociously used as a plot point

Yes, that's right-Rick Riordan, beloved author of a bestselling franchise for children and adults alike, reduces WW2, one of the most bloody and complex conflicts in history with a multitude of a reasons for its existence, to a fight between fictional demigods of the Big Three simply to have a reason for the Big 3 not to have children.

Do you know how serious this is? Do you actually know how bad this is, though?

Millions of people even today are affected by the WW2 due to generational trauma and abusive parents. WW2 killed millions of soldiers and civilians alike, and the Holocaust was so horrible that some people would faint just reading about what happened.

I will not go into the bloody, gory details here, but if you still don't believe this, go search up WW2 and Holocaust torture and treatment of Jews and other minorities as well.

Jews today still have gaping holes in their family trees because of it. And to have Rick Riordan portray it in such a callous way, to make a literal Greek God sire war criminals in modern history, when there were other methods he could have used to intertwine the mythological world and demigods and history.........it makes you wonder what was running through his mind at the time.

There were so many other ways he could have portrayed the prophecy-make it so that Big 3 children were constantly causing natural disasters and fictional wars in the mythological world, not the real world, and constantly dividing the cabins at CHB. Maybe they had their own war parallel to WW2. There were so many ways to do this- and none of them had to do what was ultimately done.

PJO WWII IS THE ULTIMATE INSULT TO THE GREEKS

What makes this even WORSE is that during World War II, the Greeks were in fact part of the ALLIES.

The Allies were fighting against the Axis powers, the latter of which contained Nazi Germany, Fascist Italy and Japan.

When the Nazis invaded Greece-well, it's never a good thing for a country to be invaded by enemies during a time of war.

At least 250,000 people died during the Axis occupation and its Jewish community was pretty much killed off. And the country's economy and infrastructure were ruined quite horribly.

And generations of Greeks are traumatised because of this, even today. Not just Greeks-thousands of people. Millions of people all over the globe are still traumatized from this war, be it direct experience or generational trauma.

And to make ANCIENT GREEK GODS responsible for WWII is simply, totally and absolutely unforgivable on Rick Riordan's part.

To make the Greeks' enemies the sons of their ancient gods........no. Just no.

And yes, Hitler is a son of Hades in canon. Rick later changed it because of the backlash. He's absolutely disgusting.

WHY THE HELL ARE THE GREEK GODS IN AMERICA?

Now.........the Greek Gods are in the USA!

But..........they're Greek, right, which means that they should be in Greece! So why now are they in the USA?

Well.........here's Rick's explanation for it.

Apparently, the Greek Gods started with the fire of the Western Civilisation and then moved onto other places.

'Flame of the West' crap my ass. Search it up-there's this great article called the Whitening Thief. Read that.

What's meant by Chiron's explanation is that apparently Greece is too bad for Greek Gods now, which is terrible, because that's literally where they originated. And their explanation for leaving it and coming to America is extremely half-baked and just reeks of white American superiority.

@margaretkart

@alatismeni-theitsa

@katerinaaqu

These are all good blogs to disillusion yourself with Percy Jackson and learn about what really happened in Greek Mythology.

And I just want to say-Percy Jackson is an ok start for venturing into Greek Mythology as long as you've read up some basic background beforehand, but-

But-

Do NOT, under ANY circumstances whatsoever, take RICK RIORDAN'S portrayal of the Greek Gods as the REAL Greek Gods.

Never do that. That is the one thing that must not be done.

Hera doesn't just love perfect families. She literally lives in the most dysfunctional family to ever exist. And she loves you if you try. She really does.

Hades would not threaten to eternally torture literal children just because of what their parents did to him. His literal job is to uphold justice in the underworld, and sending a child to Tartarus just because her father angered him and he couldn't punish the father isn't justice now, is it?

Ares loves his children and as for why Rick made him hate them-

Rick has a hate boner against the war god, that I will swear on. Read this post and the explanation for why Rick shouldn't have done it.

And the gods are actively depicted as cruel, neglectful, abusive parents, when in the myths they are quite the opposite.

Real Aphrodite loves her son Aeneas and frequently comes to his aid on the battlefield. She also tells him to not marry a woman (TO GIVE UP LOVE, HER LITERAL DOMAIN) so that he can fulfil his destiny of becoming a king.

Real Ares loves all his children. He tries to avenge his son Cycnus when Heracles kills him with good reason for being a cruel tyrant-and they were even riding chariots together when Heracles came across them. He avenged his daughter even at the cost of being punished by Poseidon and Zeus, neither of whom liked him.

Now, what I want to tell you is that the PJO Greek Gods are Rick's interpretation of them.

An interpretation of a Greek God by a modern author (who isn't Greek, by the way, please take note) is not the same as the real Greek God. Please understand this and accordingly adjust your views.

This also goes for Madeline Miller, Rachel Smythe, etc.

And lastly, one of the most ironic things is that though Richard uses the Greek Gods in his books, he has never ever added a single Greek character in it.

I'm talking about a modern Greek demigod who comes from Greece. Imagine them teaching the other demigods Modern Greek and Greek culture, language and traditions!

It's very ironic that he includes Chinese, African and Native American culture in his works and then turns around and pretend that Greek culture doesn't exist.

The demigods are in Athens, but for how much time before they go back to America? Barely any at all. And nothing learnt about culture while they're there.

(No hate to his already shitty representation. I'm merely making a point that there should have been a Greek character in a book that heavily centers on Greek Gods and their children, even if it's in America.)

RICK DOESN'T USE GREEK CULTURE OR RELIGION AND IN FACT INSULTS GREECE IN HIS WORKS

So, if you've read the title, let me tell you something-

Do you know that Greek Gods are still worshipped?

Some of you do, some of you don't, but let me tell you, they are still worshipped.

And accordingly, you must respect them and their worshippers, just like you would do for Christians. You cannot maliciously ridicule and condemn Hellenistic Pagans and Greek Gods just because they are a minority.

And if you've read the myths and think that the Greek Gods being cruel......

They're not, actually. I mean, yes, you think they're cruel, but most of the myths aren't taken literally by Hellenistic Pagans.

What the Greek Gods do is supposed to be symbolic.

Hades kidnapping Persephone symbolises death ripping children from their grieving parents' arms. It's an explanation for the seasons and it finally represents the fact that daughters could be given away by their fathers with the mother having no say in it whatsoever.

Demeter's grief and her actually being able to do something about her daughter's marriage and Persephone being returned to her is supposed to be a comforting tale for grieving mothers who have lost their daughter.

Artemis' cruelty towards certain people? It represents the cruelty of nature towards humans and what it will do to humans if they provoke it.

Zeus' infidelity and abuse of his power? Well, it represents what kings do. Zeus represented the kings of Ancient Greece, and kings abused their power and had many mistresses besides having a wife.

Many Greek kings also claimed to sons of Zeus or descendants of the gods, so it the idea that Zeus had many affairs with ladies and princesses of royal lineages was conceived.

The link above provides many good reasons for why the Greeks wrote Zeus having many affairs with mortal women, so check it out.

Also, Zeus is symbolic of storms. Storms are volatile and raging, and so was Zeus at times. He was a god of storms and as such symbolised them.

Hera punishing the mistresses and children in a jealous rage to bother Zeus? That's what queens did back in the day since they couldn't directly punish their husbands.

Dionysus being charming and fun but also being mad and wild? Well, he represents breaking away from social norms and going fully wild. Also, wine can make people fun and charming, but at the same time, it can turn people into mad, raging creatures.

The point is, most of what the Greek Gods did was symbolic to their domains. And no, contrary to popular thought, Greeks did not live in fear of their Gods striking them down every moment. In fact, many of them genuinely devotionally loved their gods.

And Greek Gods themselves are very kind and benevolent to their devotees, even today, as long as you don't provoke or seriously insult them. Just ask Hellenistic Pagans and you'll be surprised at the results. I'm serious.

The problem here is that we're trying to moralize divinity.

According to the Greeks, gods weren't humans. They were modelled after humans, but they were above humans and human flaws.

And the Abrahamic gods do terrible things too, but do we mock them? No, we don't, because their worshippers say that they are above humans and human flaws, so similarly, the Greek Gods are above humans and our flaws.

CONCLUSION

And no one cares about the fact that a guy is objectifying and making money off a culture all the while removing its significance and turning it into a joke.

Even though Greeks have a millennia old and rich culture, people are always bastardizing it. Non-Greeks really must stop doing this. It's very culturally disrespectful.

I've also seen grown adults saying that the Greek Gods are American so they're allowed to do what they want with them now, and that's absolutely disgusting. It's cultural appropriation, that's what it is. Do not condone it.

Ah, sorry, not conclusion-let me add one last thing here.

Rick Riordan has a series called Trials of Apollo in which Apollo is cast down to Earth as a human for the third time to defeat Python.

What I want to talk about here is Apollo's human name-Lester Papadopoulos.

Papadopoulos is a common Greek Christian surname that means 'son of a priest'. One of Apollo's domains in prophecy and he has many priests, so maybe this is a reference to that.

But what is most upsetting is that this name is used for comedy.

It's belittled, laughed at and ridiculed for its longevity and hard pronunciation when it is in fact a very normal Greek surname. Even if it's not an American surname, even if it doesn't sound normal and sounds ridiculous to you, it's not ridiculous to others and you should respect it.

Can you imagine how Greek people with that last name read the books and felt bad about their last name? Or felt furious. I know that I would be FURIOUS if my last name was used like that.

And the fact is that Papadopoulos isn't even that hard to pronounce! It's literally just 5 syllables that you can repeat a few times until it doesn't twist your tongue.

And if you can't repeat this simple name, then you need to go back to kindergarten. Hell, go back to preschool even.

And there are people who have the audacity to say that the Greek Gods belong to America and are American. Grown adults, actually, on Twitter, no less. Tweeting it for the whole world to see their absolute foolishness and audacity.

They're pretty tactless, huh?

The Greek Gods were and always will be GREEK. Foreigners are not their rightful descendants-the Greeks are (Greek immigrants included). I mean...........this is bizzarre.

To conclude, (really conclude this time) though it's a series heavily entwined with Greek Gods, the only Greek thing about the series is the Gods. There's no Greek culture, religion or language, and even the Greek Gods are heavily Americanised, which is pretty disappointing. I hope that other authors will do better handling the Greek Gods than Rick Riordan.

(Side note: If you think anything I've said is wrong, tell me. I'll correct it immediately.)

#rr crit #i mean the aeneid was also political #but it is about the birth of rome #of course it will be political

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maybankiara · 4 years ago

Photo

YOU’RE IN MY HEAD

pairing: Footballer!Rafe Cameron x Reader

summary: When he keeps putting you off your position during matches, you decide to take it up with him -- unbeknownst to you, there’s more to Rafe than just wanting to prevent you from being a good football player (and it’s called unresolved sexual tension.)

w/c: 4k

a/n: happy valentine’s day!! @drewstarkey and i have a whole football!obx au (soccer, for you americans) planned that i keep putting off, so here’s a little something loosely inspired by the idea, until that finally arrives. also, in this universe, football is a unisex sport. i’m not a football expert so there may be some inaccuracies. i hope you enjoy both the day and the fic! (and do let me know if this football!fic is what people are interested in.)

masterlist

It’s the half-time of one of the better matches the team has played this season and, of course, Rafe Cameron ruins it by uttering a single sentence: ‘Y/N, you’re swapping positions with Kiara.’

The captain’s orders don’t end here, and he decides to implement some more strategies the team has practiced before, adapting the approach to the heavy-defence strategy that North Carolina is playing tonight. Sarah gives you a sympathetic look and a tap on your hand, but all you can do is shake your head.

This is the third time in a row Rafe has put you on the sidelines, basically. Always swapping with Kiara, whom everybody knows to be a lot fiercer right back than you, or anyone else on the team. Just like you’re better at being in the front, charging for the goal.

When the changes are in place and there’s about five minutes left, Rafe asks if anyone has got questions. Peterkin stays quiet and lets Captain Cameron take over, just like she always does.

You raise your hand, and Rafe calls on you. ‘What the fuck, Rafe? Why are you putting me in the back again?’

His jaw clenches. ‘We need someone firmer on the front.’

‘But you also need a firm defence,’ you argue. ‘You’re not making any sense.’

He stares at you and you hold his gaze, unwavering, feeling his sister stir next to you. On the other end of the locker room, Kiara pulls her jersey down, biting her lip. ‘Y/N’s right—’

‘I know what I’m doing,’ Rafe cuts her off. ‘Now let’s get back on the field.’

You listen to what he says, but not without letting your disagreement with his choice be written all over your face. When you’re headed out, he’s waiting to be the last, and you bump into him as you’re walking out, shoulder to shoulder, torso to torso.

He glares, and you clench your teeth, trailing behind Pope.

Back on the field, time flies. You warm up quickly and it’s back in the game again, only on a different position than where you started. Kiara offers you a sympathetic glance, much like the one Sarah gave you, because everyone is starting to notice that Rafe is treating you differently.

As you run, a little out of the grounds he told you you’d be covering, saving the ball more than a handful of times, you feel his watchful eyes on you. You’re not meant to be playing the right back but you’d rather do your best, even if it means overexerting yourself, just to make sure you don’t lose.

You foul an opposing player and drop to the ground, feeling your ankle get sore; Rafe’s the first to get to your side, helping you up. ‘What the fuck do you think you’re doing?’

It’s a free kick, but not a yellow, so you say, ‘Whatever it takes.’

‘Don’t go breaking your legs, Y/N.’

You pull your arm out of his hold, sending a glare his way as you go back to your position. You should keep paying attention to the ball, because it’s about to be kicked, but you can’t help but shout, ‘If you let me play what I’m supposed to play, maybe I’ll listen!’

The game picks up. You dive a few more times, Kiara gets a nasty foul that has her off the pitch for about half a minute, Topper gets a cramp, JJ fouls in the front and gets a yellow, John B and Rafe nearly start a scrap when someone gets Sarah to the ground – but you win.

That should be what’s important, you think as the entire team is hugging and celebrating, but your heart isn’t in the right place.

Playing football is far from fun when you keep being treated like a lesser player than someone else.

Time wears on, the team gets changed, and it’s time for a proper celebration, down at the Wreck. Sarah tries getting your spirits up, even Kiara tries telling you that at least you evaded getting fouled like that, Kelce tells you that you saved his ass, but none of it matters – not when Rafe celebrates as if what he’s doing is right.

Seriously. Three matches. It’s fucking ridiculous at this point.

You approach Rafe without hesitation, but still keep your voice hushed, because you’re not exactly trying to ruin everybody’s happiness with your tension. ‘Can we talk?’

He glances at you as he pulls his jersey over his head – your eyes drop to his lean torso, despite the fact you see it on an almost weekly basis.

‘There’s nothing to talk about,’ he says, and takes his shorts off. ‘You were good today, as a right back.’

‘That’s not my— Jesus, do you need to be half naked right now?’

‘What?’ he asks, almost innocently, but the grin betrays him. ‘I’m getting changed. Why are you getting so worked up?’

‘I’m not—’ You pinch the bridge of your nose, letting out an exasperated huff as he takes off his socks, too, and is now wearing literally just boxers. ‘You’re ridiculous.’

He chuckles, dropping down on the bench. You half-wonder what Topper, sitting next to him, must be thinking – and realise that most of the team is taking selfies and chatting in the other end of the locker room. It’s just you and Rafe.

Good.

He looks up at you from the bench, manspreading with his back leaning on the wall. ‘What do you want?’

‘I don’t know if you noticed, but I’m kind of trying to have a serious conversation with you right now.’

‘Yeah, I got that.’

He’s hot. Okay, he’s hot and the reason why you’re so bothered about him being almost naked is because it’s taking your mind off of what you’re wanting to talk about, and giving a different meaning to you being “worked up”.

So you gather all your courage and bring your eyes up to meet his, trying to exude as much fierceness as you can muster. ‘I need you to let me play on my position. I’ve had enough, you can’t keep doing that if you’re not training me to play Kiara’s.’

‘Easy,’ he says, shrugging. ‘Then we’ll train you.’

Your jaw drops. ‘Are you being fucking serious right now?’

Before he gets to answer, JJ calls from the other end that they need to hurry up, if the team wants to make it to the Wreck at a normal time. It breaks whatever moment you and Rafe were sharing and, telling him the conversation isn’t over, you retreat back to your locker. It takes all you’ve got to not let this affect the celebratory mood, because winning 2 - 0 is pretty damn good, and you should take some credit for that. Even if it wasn’t on your position, for half of the match.

It ends up not being so difficult, actually, to not think about what happened. Once you’re back in Kildare and at the Wreck, food and drinks are flowing, and as long as Rafe is out of your earshot and sight, it’s good. He tends to stay away from you most times, anyway.

(Which, okay, you can admit now sometimes bothers you, you’ve had a few drinks.)

It’s not so difficult, until JJ lounges in the chair next to you, beer can in one hand and a donut in another, asks, ‘What’s up with you and Cap’n?’

‘Don’t even get me started,’ you sigh. ‘I don’t know what crawled up his ass.’

‘Language, Y/N.’

‘Fuck off, Maybank.’

The blond just grins, probably happy to see you slightly irritated – but not at him.

He pushes the chair back from swinging into its normal position, resting his elbows on the table. He leans towards you as if he’s about to tell you a secret – even his eyebrows furrow, the ever-present smile shaping into a frown. ‘Seriously, he keeps pushing you in the back. He’s gotta have a reason for that.’

‘Not that I’d know of,’ you admit. You shrug, lightly, despite the actual weight of the subject. ‘I thought we made a good team in the front. He assisted me, I assisted him… It’s been working well.’

JJ nods, pondering. ‘It was the game against New Jersey, right?’

‘The last time I played without the change?’ You play until JJ nods, then sigh, playing with a broken piece hanging off the wooden table. ‘I didn’t even get to play, since that bitch nearly sprained my ankle.’

‘It’s always your ankle,’ JJ says, chuckling.

His thoughts take him to stories of all the injuries you and the rest of team have gotten so far, drawing a couple of your teammates into the conversation. Rafe slips off your mind for the most part, as you laugh along to the ridiculous number of times Kelce has faceplanted while tackled, or to Pope is retelling how he defended the goal by getting the ball in his nuts, which made him fear for his offspring (it was all fun, and makes for a hilarious story).

It’s only when you glance around the table and catch him in conversation with Topper, or James, or Sarah, and his eyes are trained on you for just a moment before they’re gone – as if he wants you to see him, but wants you to question whether it was an accident. You feel yourself growing stiff; when it happens too many times, your mind flashes back to the locker room – you, trying to talk to him; Rafe, half naked, grinning at you like he knows exactly what he’s doing.

He’s conceited. He’s selfish. He’s attractive, with that prep-boy look around him that falls apart when he’s leading the charge on the pitch – when the wisps of blond frame the sharp lines of his face, and he embodies the look of the leader he’s become.

It just sucks that you don’t quite agree with his leadership, and he doesn’t quite agree with you speaking up about it.

Night wears on, and your teammates flock to their beds, one by one. You’re only staying at the Wreck, the local hotel, for a night – tomorrow’s a new day, a new tournament. It would be smart to go to sleep early. Get the energy you need for tomorrow, because tomorrow’s filled with press conferences, which you don’t tend to enjoy.

It would also be smarter to deal with the captain tomorrow morning, when you’re both sober, instead of the buzz running through your veins right now.

By the time it hits midnight, it’s only you, JJ, Pope, Kiara, Rafe, and Topper. Instead of taking the big table at the wreck, the few of you retreated to a secluded one in the corner of the hotel’s dining room. Topper’s beating everyone at cards, but Kiara’s at his neck, and everyone has downed enough drinks for the night to be called quits soon enough; you are starting to sober up, and can already feel the headache looming.

Inadvertently, you glance at Rafe. He’s holding his cards in one hand, spread evenly, long fingers adorned with rings keeping them in place. Across from you, his eyes don’t meet yours, as they look around the table, through everybody’s poker faces – you notice the angle of his cheekbones, the sharpness of his jawline, the unstyled hair having the slightest bit of a messy wave to it. You hate how much attention you pay to the parting of his lips, and the line of his nose, the curve of his eyes; his Adam’s apple bobbing as he taunts Pope across the table, trying to get him to break the cards.

When he turns as if scalded and his eyes meet yours, you don’t avert your gaze.

It might be the alcohol, but the room is starting to feel a little stuffy, a little warm; you’ve never realised how intense his gaze can be. It’s almost as if it’s unguarded, spiked with the few drinks everyone’s had.

You clear your throat, looking at your cards – you’re definitely not going to be the one winning anytime soon. ‘I think I’ll head to bed, soon.’

If anybody notices the fluttering of your voice, they don’t comment on it. Kiara nods, JJ boos you, and Rafe says: ‘We should all probably head to bed if we want to be ready for tomorrow.’

‘Okay, Cap’n,’ says Topper, resting an arm around the blond’s shoulders. ‘You go get your beauty sleep, me and the boys are going to let you know how it went when you wake up in the morning, princess.’

Kiara clears her throat, drawing the attention to herself before quirking an eyebrow at Topper. ‘What’s making you think you’re getting rid of me?’

There’s a collective of ooh’s, and you think about staying, but it wouldn’t be smart. Rafe’s right, you all would be better getting some sleep, but there’s also the fact that you’re pissed at him and you’re drunk enough for that to be making you seem in a bit of a different light.

(You’re still struggling to breathe, a little bit. Hopefully no one has noticed.)

In the end, you bid everyone goodnight, pay your bill, and head for your room. You’re still not feeling well and there’s a water dispenser in the ground hallway, opposite end of where the stairs to the upper floor are. You think about making a cup of tea, but settle for water – water is good.

Cold water should unhaze your mind.

You stay in the hallway, for a little pit – it’s peaceful here. Hallways have meant something to you ever since your team’s career started to take off two years ago. Wherever you go, rooms and places are different, but hallways are nearly always the same. They’re always just transit spaces, connecting point A with point B; it’s not quite a liminal space, but it’s where you feel like nothing can hurt you.

That is, until you’re about to set your foot on the stairs, and you see Rafe walking out of the toilets.

His eyes settle on you at the same moment and both of you freeze; the hallway is quiet, save for the music reaching it from the dining hall. You can almost hear your heart beating.

‘Thought you were going to bed.’

You raise your glass, which you refilled just before embarking for your room. ‘Had to stop for a bit.’

He nods, stuffing his hands in his pockets. Outside of the locker room, outside of the dining hall, he doesn’t seem like the overconfident Rafe you’ve got so much against. He still is the same – it just doesn’t show that much.

‘I meant what I said earlier,’ he says, slowly, as if the words are hard to push out. ‘I think your should train to be right back.’

If you had half a shot more, you would’ve thrown the water into his face. Now, all you do, is say – ‘You’re an asshole, Cameron.’ – and go up the stairs. For a moment there’s nothing, but then there’s rushed footsteps coming up the stairs, and you feel a hand on your wrist, and his voice calling your name.

You don’t turn around instantly. You’re too angry for that – you close your eyes instead, and breathe, before collecting yourself enough to not explode.

He’s still holding your wrist when you turn around, and he’s close enough that you can almost feel the heat radiating off his body; the cologne mixed with the scent of fresh clothes.

‘Please don’t be angry with me.’

You scoff, pulling your hand out of his grip. ‘You’re ruining my life. You know how important this is to me, and you keep— you keep putting me where I don’t belong!’

‘I’m sorry,’ he says, and he sounds earnest; he sounds the way his face looks – a small frown on his face, lips quivering breathlessly, the wrinkles around his eyes almost pleading with her. ‘I’m just doing what’s best for everybody, Y/N.’

‘I don’t play defence. That’s Kiara’s job, but apparently that’s not good enough for you. You know where I’m good at.’

‘You’re good playing any position.’ He says it quick, as if the words escape from him. He swallows loudly enough that she hears him and takes a step back, shaking his head. ‘Look, you’re one of the best players on the team. That’s why—’

‘Then why don’t you put me where I can be the best?’

‘Y/N, just trust me, okay?’

‘No,’ you say, crossing the distance he created between the two of you until his back’s pressed against the wall, and you’re right in front of him, a finger jabbed into his chest. ‘I want to know why you’re doing this.’

He hesitates; you feel his heart beating faster than you thought possible. ‘We were playing against rough teams. I couldn’t let you get hurt.’

You scoff again, half-laughing as you rub your forehead with the back of your hand. ‘That’s bullshit. Jesus, Rafe, you’re spewing shit.’

‘Look, it’s the truth. I couldn’t take that risk.’

‘But you could take that risk with Kiara.’

‘Yes.’

No hesitation; no wavering. It’s something he must’ve thought through, over and over again, for the answer to be so certain. You’re a little taken aback, and your finger falls from his chest, but the distance is still almost nonexistent.

It’s because I’m good, you tell yourself, that’s why he’s keeping you safe, but it doesn’t ring true. Not when you can smell his cologne and not when his eyes drop to your lips, cheeks flushed.

So you decide to ask why.

He hesitates again, and you feel his shoulder slump as thoughts run through his head. Whatever he settles on, he’s certain, and you can see it. His voice is almost sad when he admits, ‘After the game against New Jersey, I couldn’t stand the thought of you getting hurt. I couldn’t lose you on the pitch, because when you weren’t around, it was like I couldn’t get my head straight.’ He pauses, and then: ‘I’m sorry.’

Rafe breathes slowly, carefully, but your heart is racing around your ribcage, threatening to break through. His words echo around your head as you try to make sense of them – make sense of the way he felt like it was more than just a admission of being a good team – make sense of the way he’s looking at you like he’s expecting more than a reaction to the recognition of your worth as a teammate.

There’s a feeling in your chest that you can’t describe. It’s in your throat, in the back of your head, burning through your ears – a thought almost too scary to form, but then it does, and it refuses to leave.

So you swallow the gulp in your throat and ask, ‘Is my being good on the pitch the only reason?’

A beat. ‘No.’

You nod, slowly, as if in a trance. His eyes are gazing into yours with intensity you’ve never felt before – it’s as if he’s asking you to say something, to do something, to show that you understand what he’s saying without saying it.

And you do.

You do.

You nod, and your lips are on his before you get the chance to think this through. His hands are quick to grab your waist as your fingers get tangled in the soft waves of his hair, bodies pressing against one another in a heated rush.

‘We shouldn’t be doing this,’ he mutters, a moment before his lips find your neck, fingers slipping underneath your top, dipping into the skin on your back. You moan, a little too loud, and he laughs against your neck. ‘We really shouldn’t.’

‘Yeah, we shouldn’t,’ you agree, watching him as he pulls his head back to look at you, a dazed smile on his face. ‘My room or yours?’

Rafe’s grin is enough to set your body on fire. ‘Yours is closer.’

He kisses you again, a firm kiss planted on your lips, before taking your hand and letting you lead to your room. The moment the door is locked, your lips are on his neck, clothes are clumsily coming off on your way to the bed, and you only have a second to wonder how long this has been inevitable until his lips hit the right spot, and every thought is as good as gone.

When you wake in the morning, you’re half-surprised to find him curled into your side, head resting on your shoulder and an arm draped over your stomach. He’s still asleep, and you take a moment to think about how calming—how right—it feels to be here, with him. The hotel room is nice, a quiet rose gold, and the light coming through the windows is making it almost ethereal.

It doesn’t feel like a mistake. You’re still a bit angry about being pushed back, but things seem a little different now that you know he wasn’t trying to hinder you, but protect you.

(You still need to tell him that you don’t need protecting; you know what you got yourself into when you decided to play the sport.)

With a smile on your face, you start playing with your head. He wakes within five seconds, with the same dazed look on his face from last night. His eyes find yours and he pauses for a moment, as if he were taking it all in, before his lips find home in yours. Neither of you think about morning breath, or about the fact that you should both probably go for a shower before leaving the hotel, because Rafe snuggles into your shoulder, pressing butterfly kisses to your collarbone, as his hand traces circles around your stomach.

You take it upon yourself to ask, ‘No regrets?’

‘None.’

‘You should have one,’ you tease, and only let him be frightened for a moment. ‘Pushing me into the back.’

He sighs, burying his face in the crook of your neck. ‘Are we still arguing about that?’

‘We will be, until you let me play offense again.’

‘If it was you instead of Kiara yesterday, it could’ve messed with your leg,’ he says. Before you get to respond, he pushes himself off the bed so he can look at you. ‘I know your ankle is still hurting from New Jersey even if you’re not saying anything.’

You can’t deny the truth.

Rafe kisses your forehead. ‘Just promise me you’ll be careful.’

‘I always am.’

‘More,’ he says, breaking into a smile. ‘I need my partner back.’

‘If you promise to never make decisions for me without consulting me first.’

He squints, as if thinking about it, but you can tell he isn’t. ‘I promise.’

‘Okay, then.’ You wrap your arms around him and pull him down, kissing him softly. ‘I promise to be more careful.’

In the end, it’s like he promised – you go back to playing offense, in the front of every attack, and you and Rafe are back to being the dynamic scoring duo you’ve always been. Except this time this dynamic extends to beyond the field, and you support each other when the football isn’t around. Nobody is surprised by the turn of the events – you’re not entirely sure, but JJ passes Kiara a few bills when you and Rafe break the news to the team, and you think there was bets going around.

Things get back to fine. Things get better. You end up winning the tournament, and Rafe kisses you with the cup in his hand, and the next morning, the headlines are full of your and Rafe’s names more so than your team’s, but that’s fine. You’ve made it.

You’ve got everything you need – you just never thought it’d be no one other than Rafe Cameron, the Captain himself.

#outer banks #obx #rafe cameron #rafe cameron imagine #rafe cameron x reader #obx imagine #outer banks imagine #obx fic #my fic #i even made a wee graphic for it bc i was born but also bc it's not a usual fic #it's a gift <3 #anyway i might be willing to explore football!rafe a bit more in the future if there's interest #no clue if the obx fandom is even alive rn #anyway the left pic is bc that's the rafe i imagine being here #the smoker posh boy kinda type #you know the kind that fleur likes (not that i'm exposing her or anything)

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margridarnauds · 4 years ago

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Your "Grace O'Malley" tag is extremely gratifying--it's so nice to see actual scholarship. So with that in mind: Have you read Morgan Llwelyn's novel, and if so, what do you have to say on it?

Hi! Thank you so much! I’m glad you like it; it can feel a little bit like I’m shouting into the wind, given that Gráinne is one of my more niche focuses. I still kind of want to do something that actually looks at the EVIDENCE, but I digress.

Morgan Llewelyn….I have mixed feelings about. I last really looked into this book when I was toying with doing my undergrad Capstone Thesis on Donal O’Flaherty, about….4 years ago, now. Time really does fly. So, I forced myself into a refresher, just to remind myself what I missed.

[warning for references to rape, incest, and some of the most Cursed™ lines I’ve ever been forced to read in my life, and that’s including the zombie blowjob scene.]

Final Verdict: 2.5/5 - DEFINITELY not the worst retelling of Gráinne’s life (I’ve seen....Things), but also not the best, either, and with some very, very glaring flaws that make it impossible for me to really enjoy.

My main take away from it is that…as far as its depiction of Gráinne, it did about as well as its source material. I can tell, looking at it and reading it, that she really looked hard at Anne Chambers’ book. Which is unfortunate because, as I’ve made……………relatively clear over the years, I think that it’s very, deeply flawed. And, unfortunately, Llewlyn stuck rather close to the book, leaving in things like Donal’s “murder" of Walter Fada Burke (if the patronymic don’t fit, you’ve got to acquit), Sexist™ Incompetent™ Donal™, and…..Hugh de Lacy, which, in my personal opinion, owe more to Chambers lack of critical reading of her own sources than they do to the historical record. ESPECIALLY Hugh de Lacy because…the name. Very odd that one of the major Anglo-Norman officials should share a name with Gráinne Ní Mháille’s boytoy. Very odd. Especially given that the pattern of “Love interest of Gráinne’s killed off/Gráinne seeks revenge” is VERY similar to what we hear of the Defense of Hen’s Castle. Almost as if they come from the same story.

This also leads us to the scene where Donal tries to rape Gráinne in her sleep which, honestly, I loathe with every fibre of my being. Nope, nope. Hate it. Hate. It. Oh, God, I forgot about the references to Donal!Incest. Why is this a mini-genre of Gráinne Ní Mháille historical fiction. Why. I can think of at least…..2-3 books that do this. Why God. Why.

Lest anyone think that this is the Donal fangirl in me jumping out, in general, I feel like Llewelyn’s treatment of most of the characters is ultimately paper-thin. Richard Burke is also given this treatment and, while I wouldn’t REALLY expect a sympathetic Richard Bingham (nor would I particularly want one - I’ve spent a lot of quality time reading his complaints and cackling), even HE’S done a disservice.

On a technical level, I don’t REALLY like how she handles the timeline, it jumps around a little too much for my taste. We’re treated to constant flashbacks with little warning, including ones that could have been just as easily folded into the timeline proper. And, while Llewelyn has a rich, descriptive style, she also writes an, honestly, impressive number of lines that will haunt me for all the wrong reasons. I’ve detailed a lot of them under the readmore, but some highlights:

She had gazed in wonder at the child—his perfect ears and fingers, the miniature penis that would eventually become a mighty rod for transmitting further life.” This is, I’m sure, what every mother thinks when she sees her newborn son’s penis for the first time. Why. Why God. Why. Why. Why.

Okay, another candidate for Cursed Lines: "Richard noted the high color in her cheeks, and saw how her nipples stood out strongly under the soft fabric of her gown.” If this were a male author, I would be-Nah, it’s still bad. It’s just bad writing, I’m sorry. In general, I found that she massively sexed up Gráinne’s life, for no real reason that I can tell except for that it felt almost like she felt like it was necessary to prove that Gráinne was a Real Woman™? There’s a very....odd way that her sex life is treated, and it grates on me. We have to deal with Donal, Richard, Huw(uwu), Philip Sydney, and Tigernan, all in the course of one book and, honestly, I don’t really CARE about Gráinne’s sexcapades, and they’re generally written with so little development or feeling, even and especially in the case of her GREAT LOVE HUW, that I found myself actively groaning. My take on Gráinne, at least the Gráinne that I know in the sources, is almost asexual. I don’t deny that she had sex. She obviously did. (FOUR CHILDREN.) And I think that she might very well have enjoyed it. (Not that there’s enough evidence to KNOW.) But I also think that she was a profoundly pragmatic woman who didn’t fixate on it that much. Again, I could be wrong! When we have as little as we have to go on as we do with her, it’s impossible to know! But I just do not see her as jumping into bed with guys that often, especially not in cases where there was no clear benefit. There’s this...trend, where Gráinne HAS to have a love interest, in every major adaptation of her life, because it’s almost like people are afraid to have her without the anchor of sex and romance. (For what it’s worth - I do think, simply because of the amount of time that they spent together + the fact that they did have at least three children with one another, that Donal was probably her favorite of her two spouses. I don’t KNOW this, because I can’t. The evidence isn’t there. I don’t know whether they loved one another, whether it was a great romance, whether the sex was good, or even if it was just a mild affection, but I do lean towards him, even if I can’t say that he was the Great Love of Her Life™. I think they complimented one another’s lifestyles quite nicely, and that’s all that I can really give.)

Llewelyn also has a very, very obvious bias against Catholicism that ultimately makes me wonder whether she ever meant to engage with 16th century Ireland on its own terms. As an atheist in Celtic Studies....look, I can GET having many, many mixed feelings about Catholicism, but it WAS the religion of the land at the time. If you want to have ANY understanding of the people and what was going through their minds, you have to try to engage with them on their own terms. I’m not in any hurry to convert to Catholicism, but I do try to consider life through the eyes of medieval and early modern Catholics when I’m analyzing sources made in that time. And trying to separate it off from the Good Pagan Times, to the point of creating a 16th century druid woman to voice your opinions on free love/organized religion/etc. is just going to get you into disaster. (Though Evleen did give us one female character who is a friend to Gráinne, so...victory?) Bonus, by the way, for the Evil Priest who schemes against Gráinne and is fucking boys on the side. (It seems like they’re of age, at least?) We’re told that he has reasons for what he does, but it comes as a bit of a last minute attempt at creating the illusion of a three dimensional character. I feel like Llewelyn, ultimately, should have stuck to Pre-Patristic times. I shudder at what she would do with, say, the Mythological Cycle, I don’t particularly want her touching my baby (if she touched Bres in particular, I would probably cry) because, at this point, I don’t trust her with ANY medieval materials (mainly because they’ve all been CONTAMINATED by CATHOLIC HANDS, oh NO), but I feel like it’s where her heart truly is.

IF she’d stuck with pre-Patristic sources, we wouldn’t have to deal with 16th century characters thinking things like: " He would go in the style of his warrior ancestors, fearless in the face of death; the ancient, pagan Gaels had known death was only a brief incident in the ongoing flow of life, a transitory happening of little importance.” Admittedly, Llewelyn herself SEEMS to realize this, as she has him cross himself afterwards, but I really, really don’t think it would be the sort of thing to cross a man’s mind in the Early Modern Period. There was very little evidence for reincarnation that was that explicit (One of the papers that I did was on the existence of reincarnation in Pre-Christian Ireland, so I actually CAN speak on this one with some degree of confidence - My ultimate findings were that it probably did exist in some form, but the evidence makes it hard at times to draw definite conclusions), and I’m not sold that they would…understand it as reincarnation, as SUCH. We can look at what, say, Julius Caesar wrote about the druids’ beliefs and apply them to medieval Irish texts, but a man living in 16th century Ireland wouldn’t necessarily have the same luxury, especially since relatively few figures are given reincarnation narratives. It’s like…she’s applying the Mythological Cycle, but she momentarily forgets that these characters wouldn’t have VIEWED the Mythological Cycle like we would have, and it’s rather jarring. No one else might pick up on that, because this is my field. This is the ONE THING I can be pedantic on.

Now! There are some things I actually do like! Outside of Chambers’ questionable grasp of historical interpretation and the resulting taint, I can tell that Llewlyn did have a solid grasp of the FEEL of Early Modern Ireland. As I noted above, she’s a very fine author, the kind I honestly ENVY as a historical fiction writer, the type that is so confident and descriptive that, even when she’s wrong, which is often, I find myself reaching for the sources just to make sure. Her descriptions are vivid and visceral, pulling me immediately into the FEEL of Ireland in the 16th century, a way of life on the verge of collapse.

When she isn’t being descriptive in all the wrong ways as detailed above. I do feel, for whatever it’s worth, that as someone with the background in this material that I have, I was kind of doomed from the get-go. I THINK that for someone who isn’t a Celticist (in training), it would be much, much more enjoyable, BECAUSE she is so confident in her style and her way of evoking the mood that it wouldn’t really stick out. I happen to be both blessed and cursed in that regard.

It’s clear, as well, that she has a grasp on the literature of the time - References to the things like the first Gaels coming from Spain make my heart SING with joy because it’s a very clear allusion to Lebor Gabála Érenn and the Mythological Cycle, which is my specialty, and there are plenty of times that I can tell you EXACTLY what sources she had to hand while she was typing on a section. It’s just a pity to me that she seems to try so hard to toss it all away in order to bifurcate Early Modern Irish society into Pagan VS Catholic, since she fundamentally did betray her own sources there. And, unfortunately, the way she tends to show her research is about as subtle as a blunt nail, in a very “As you know” manner: See: “I have heard the brehons chanting the laws governing fosterage, describing every article of clothing that must be furnished a child and every detail of the training the child is to be given.” Like, yes, the law texts record this, but I can’t really see someone from the 16th century SAYING it that bluntly, you know? Also, I’m not really sold that they would be chanting it out loud as a ritual thing, rather that a lot of the law tracts are in a simple Question/Answer format because it would have, presumably, made it simpler for the Brehons THEMSELVES to remember that way.

I do like that Llewlyn’s Gráinne…she’s attractive, yes, but she’s not conventionally attractive, and she’s explicitly said to be big and tall as a man. I feel like a lot of pop cultural depictions of Gráinne want to make her dainty and beautiful, despite living in an incredibly harsh, stressful environment. I think that her outfit’s a little too much “Modern pirate”-y for my taste, but I’ll allow it because, tbh, it looks really, really badass and, whatever clothing Gráinne would have worn, we probably wouldn’t have really recognized it as “Pirate-like”, since our vision of pirates in the modern day is mainly an early 18th century one. I do appreciate that Gráinne has that hard, pragmatic edge that I respect in the Gráinne that we read about in the State Papers and in Bingham’s recollections - a very matter of fact, no nonsense woman who would do whatever it took to survive. Though I do think that she probably didn’t really spend that much time thinking about Elizabeth. It seems slightly unrealistic to me that, knowing how pragmatic Gráinne was, that she would really, really concern herself that much with Elizabeth, especially when she would have had powerful women like Iníon Dubh closer to home. There are some really nice, poignant moments as well that the hard edge masks, like the moment where she asks after a piece of hair that sent on to her son Owen. When Gráinne is in her natural element, having fun on the open sea, taking vengeance, and getting to be angry and proud and fierce, as well as the moments where she shows a softer side....those are the moments that make it for me. But then we’re back to the sex and romance, to the point where the book is literally divided by which man she’s screwing at the time.

Also, despite wanting to LOATHE Tigernan, as an OC love interest of Gráinne’s, I did find myself warming to him, as he has a nice, laid-back dynamic with Gráinne built on trust and filled with plenty of banter. Next to her, he is probably the single best developed character in the book, though, unfortunately, he does get it through a ton of space devoted to his thoughts, his pining for Gráinne, and his intense jealousy for the many times she chooses someone else over him (mainly because he never tells her he loves her and then he feels like she owes him for what he does for her - yes, there are some Nice Guy tendencies here, but, honestly, after about the second or third time this happened, I was very pro-Tigernan running away and finding a better gig for himself.) No, besides being Catholic and lower class, we don’t really have that MUCH on him outside of being Gráinne’s first mate, but, honestly....that’s still more characterization than the others get, and, at least as of Chapter 24, he hasn’t done anything TOO atrocious.

My PETTIEST of bitching/impromptu liveblog beneath the cut:

A VERY pedantic thing: Llewelyn says, multiple times, that the English would anglicize her name “Grace”. In reality, no one in Early Modern England did that, it came much, much later. In all the Letters of State, she’s referred to as “Grany” or a variation of that name - An English attempt at “Gráinne.” That’s also why you’ll notice that I tend to refer to her as Gráinne here - It was the name she was known by in her own time, it was the name her contemporaries called her, and so it’s the name I call her.

"He wore a full and drooping mustache in the old Gaelic style, though otherwise he was cleanshaven.” Again. MINOR nitpicking. The Gauls were the ones who, traditionally, we associate with the droopy mustaches. In the sagas, beards are given a TON of prominence, to the point of being the marker of being a man. So. Odd choice on Tigernan’s part there. I know that Llewelyn didn’t intend to write him as a 16th century Irish coxcomb, but…well.

"He realized he had made a bad mistake in referring to her peculiar relationship with her husband. He had been in the castle at Bunowen himself; he had seen with his own eyes that Grania’s belongings were taken to one bedchamber, and Donal O Flaherty’s were put in another. Many might speculate in private about the arrangement, but only a fool would have mentioned it to her face.” As I’ve mentioned before, I really, really don’t think this relationship was as loveless as it’s generally portrayed as. I don’t know whether they were PASSIONATELY in love (and unlike a certain biographer, I won’t try to fill in what I don’t know with what I WANT her to have had), maybe they simply got on, but they did have three LIVING children. And I underline “living” because there were likely more. “Likely more” means that they probably did regularly share a bed, at least as much so as their respective schedules allowed.

“Aye, and didn’t she put her children out to fostering before they could stand? A woman’s not usually that anxious to get away from her children that she takes to the sea to avoid them.” Given that fosterage could begin VERY early, I really, really don’t think anyone would have questioned this at all. Gaelic Ireland, simply put, often didn’t have our own conception of the nuclear family, and this was generously provided for in the law codes. Fosterage was useful as a way of maintaining ties between both neighboring families and, most especially, between kings and their vassals, with vassals often fostering kings’ sons. (That way, if the king should die with multiple possible heirs, it means that the kids have people backing them for the kingship.)

"I think that husband of hers had been crying poverty so loud and long he made her deaf to everything else” - Not to be #TeamDonal on main, but the facts as they’re recorded tend to have a strong pro-Donal bias. Take the words of his 17th century relative, Ruari O’Flaherty: "Of all the western O'Flaherties, Donel an chogaidh , although not the chieftain, was the most powerful and opulent.” Most. Powerful. And. Opulent. Yeah, Donal wasn’t crying poverty to anyone. Could he have been lying through his teeth? Maybe. Who knows? But this is ONE thing we have on Donal’s personality, recorded not too long after he died, by a historian who would have had close access to O’Flaherty sources. I believe him. And, I’d even be willing to commit the ultimate heresy and say that Donal’s success was not due entirely to his wife.

She does use the proper terms in a few places! Such as “rechtaire” for “steward”. (Io stem, masculine.)

“You are a noble Irishwoman, you go to no man’s bed unless you want to.” COMPLICATED. Arranged marriages were definitely the norm, and, in the legends, we get to see the unfortunate downsides of what happens when a woman is coerced into a marriage she doesn’t want, generally by an older man, while she is generally pining over a younger one. I wouldn’t say it was something that people LIKED, the fact that this entire genre exists is a pretty good example of people being like “DON’T DO THIS SHIT”, but I can’t say it didn’t happen. Examples of this include Fingal Rónáin, Tóraigheacht Dhiarmada agus Ghráinne, Longes mac n-Uislenn, Aided Con Roí, etc. I would not say that it was considered to be an IDEAL, it was something that was definitely warned against, but it could, in theory, happen. It wasn’t necessarily a legal form of marriage, but it was a form of marriage.

"Shorter than Cuchullain or Brian Boru,” PETTIEST of pettiest bitch complaints, but Cú Chulainn is generally described as short. I know, I know, not what she’s going for. But still. Let me be a petty bitch on this one thing.

“Times have changed,” he said impatiently. “Those are archaic luxuries, and luxury has worn thin here. Perhaps in Umhall there is still leisure for sitting around listening to bards, but it takes every resource I can command just to maintain my territory against those who constantly nibble at my borders.” MOST. OPULENT. AND. POWERFUL. Okay, but one thing that she does get right, and is right to emphasize, is the importance of the bard - chieftain relationship. This was really, really one of the key relationships in a chieftain’s life, to the extent where one of the privileges of the chief ollaimh was the right to sleep with the king in his bed. And yes, it was EXACTLY as homoerotic as it sounds. For a chieftain to not keep a bard - It’s actually a really, really stupid move on Donal’s part, not just for the sake of tradition, but because…who’s going to be there to remember him and keep his memory alive? Who’s going to write praise poems for him (and for Gráinne! The chieftain’s wife was often celebrated in verse.)

"Grania had brought a handsome marriage portion with her, her own property under the Brehon law, for a woman of her rank must be able to stand on equal footing with her husband.” Accurate - Gráinne would have, most likely, been a cétmuinter, or chief wife, under the law, and her union to Donal would have been a union of equal contribution. (Donal also might or might not have owed her a “Thank you for your virginity!” Present on their wedding night.)

“The priests are right in giving husbands authority over their wives,” he had shouted at her then, while she pleaded to be allowed to keep her babies with her longer. “The old Gaelic way gave women too much freedom altogether, and you are a fine example of the folly of that custom.” Kill me now, kill me now, kill me now, kill me now. This is just….GAR. GAR. Or, as Llewlyn likes to say every five seconds…*Dar Dia*. Suffice it to say, the question of how much freedom post-Christianity Ireland had for women VS Pre-Christian Ireland is an endlessly long topic that has to begin with how we define “freedom” and, specifically, which women get it. (Sucks to be a slave girl no matter what.) But also, while women definitely DID have power (EVEN POST-CHRISTIANITY, THANK YOU VERY MUCH)…that doesn’t mean that it was that COMMON, or that post-Christianity radically changed how (un)common it was. This is just…too blunt, too much of a caricature, and also happens to be insanely, insanely anachronistic. (Also: What would a 16th century chieftain really KNOW of the Old Gaelic Way? He would know about women like Medb, yeah, and he would probably see her as evil and uppity, depending on which stories he’d read - Though as a Connachtman, he would probably be inclined towards being on her side. But that doesn’t mean he would have really thought “Oh, yeah, pre-Christianity, women had SO MUCH power.” Lawlessness and chaos tend to be features of pre-Christian Ireland in the medieval writings, but I wouldn’t really say that liberated women….were? Especially because in those same writings you have women like Emer who, while distinct in their characterization, are still very much proper and chaste women who keep to the house.)

“I warn you, Grania—you will accede to me in this or I will send you back to Clew bay and denounce you throughout Connaught for a lack of womanly graces. Is that what you want, to be sent home rejected with your shortcomings shouted from the hills?”

“Who would believe such charges?” she had demanded to know, outraged at his unfairness.”

I’m just going to say it now: She could sue him SO MUCH in a proper Brehon court if she could get some witnesses to say that they heard him talking shit without cause. So. So much. So. Much. Donal would be losing a solid chunk of his goods. Though I will point out that, technically, since Gráinne isn’t sleeping with him, she isn’t doing her proper duties as a wife, laid out by the Brehon laws, and so, yeah, he could probably have a case against her. (For what it’s worth: If he was refusing to sleep with her, she could ALSO divorce him, with him explicitly being at fault and having to pay up. It was equal opportunity, in that sense.)

The Brehon law keeps being called “pagan” and…no. No non noon no. It had its origins in pre-Christian Ireland, likely, and that’s why a ton of legal scholars, with a few noted exceptions, tend to be strongly Nativist, but that doesn’t mean that, by Gráinne’s time, it hadn’t been more or less adapted into Christian marriage in Ireland, albeit sometimes semi-awkwardly. (For example: Polygamy was allowed, but the law very much privileged the rights of chief wives, including their right to toss their husbands out on their ear for taking in a woman over their head.) There’s this odd obsession in the book with Brehon Law =/= Christian Law, and that’s definitely not the case. You wouldn’t have had two marriage ceremonies, one under the church and one under the Brehon Law, because the Brehon Law would apply no matter WHAT. It’d be like forcing a couple to undergo a ceremony after their official wedding where a bunch of lawyers read out of a law book to them. It just wouldn’t happen.

“The Augustinian monks of Umhall, who taught me history in my childhood, explained that when the Romans left England and that land sank into barbarism, it was missionaries from Ireland who took God’s words to the British tribes and taught them to read and write.

“Perhaps they hate us, Donal, for being a more ancient and educated race. Perhaps they mean to drag us down by treating us as savages until we do not remember ever having been anything else. And along the way they can take our land from us with a clear conscience because we are only savages and deserve no better.”

On one hand, it DOES capture that note of PRIDE that tends to be there, loud and clear, in the texts, especially, say, Auraicept na n-Éces, which claims that Irish is a perfectly formed language, made from all the best bits of the Tower of Babel’s languages. (And….well….”The land of saints and scholars”. Ireland WAS a hotspot of monastic activity.) And, honestly, I support showing off the literary side of Ireland, since it doesn’t get discussed enough. That being said, no monk in his right mind would have said that it Irish missionaries civilized Britain. Why? Because Patrick came from Britain. Or, rather, Britannia, more accurately. He wasn’t an Englishman, not in the modern sense, he would probably be Welsh today, but he was from a monastic, educated family (despite claiming his Latin was poor in his Confessio, it’s actually quite good - Patrick was a MASTER at using humility as a rhetorical device).

"Grania slept naked. She liked her skin to breathe as she slept, not encumbered with a gown that would twist and bind.” “And then Gráinne froze her ass off because the nights in Ireland, even in the warm heat of summer, are cold and bitter as a Norseman’s frozen tit, if there were, in fact, any Norsemen in Ireland in the 16th century, and frequently require multiple blankets + a solid duvet. Gráinne then died of pneumonia several weeks later, making for a very short book.” Also. Again. If this were a male author. I would have committed a murder at this point.

Reference to saffron dye - NICE. This was really a staple of the clothing, for both men and women, to the extent that it features a LOT in accounts of Ireland at this time.

“By the paps of Danu!” No one. In 16th century Ireland. Would have shouted out “By the paps of Danu!” “By the Washington Monument!” “By the Lincoln Memorial!” “By the stunning cliffs of Oregon!” Sounds rather silly, doesn’t it? (Though if you WANTED to start shouting “BY THE LINCOLN MEMORIAL!” Well. I’m not here to stop you.)

"She was small for a Gaelic woman, and pale, a tiny wraithlike creature who exuded a contradictory air of resilient strength.” I’m not going to say that Chambers is WRONG, because, of course, Irish women come in a variety of shapes and sizes. You know, like people everywhere. But I WILL say that, during my time here, it’s the only time in my life that I’ve felt at home, because, for the first time in my life, I’m not short. Also, I want it on the record that now, whenever I see her, I’m picturing the little old woman who sits in on research seminars and who has the entire department scared shitless. Tiny, but MIGHTY.

"Her only ornament was a triskele of silver in an ancient pattern, suspended upon her flat bosom by a leather thong.” The Triskele is a Neolithic symbol used through the Iron Age, DEFINITELY not in use, in Ireland, by the Early Modern Period.

"“Evleen Ni Brien-“ That would be “Ní Bhriain” in modern Irish. Normally, I wouldn’t be THIS nitpicky, but hey, if you’re patting yourself on the back for the research you did and then can’t be bothered to put in a fada + the proper possessive form of “Brian”. I also don’t THINK that the “Ní” form had been adopted yet, I’m fairly certain that’s modern, so it would, more properly, be Evleen iníon Bhriain. Though, since it emphasizes that she’s from the Dál Cais and the O’Briens are predominately associated with them, I’m going to GUESS the proper form would involve her father’s name. It would be “Evleen iníon *possessive form of father’s first name* Uí Briain”.

"He had only heard whispers of such people, but enough tales still abounded concerning them to make them readily identifiable—even if this one did claim the noble name O Brien.” You know, in Reign, when you have a bunch of druids dancing in the forest and everyone was like “That’s fucking ridiculous!” Yeah. Yeah. That’s exactly how I feel right now. Druids DID last for some time in Ireland after Christianity, but not INTO THE 16TH CENTURY.

"“Of course not. But neither can I forget that it was the strictures of that faith which kept me bound in marriage to a man I learned to despise.” Divorce was still a thing. There was no problem, in theory, with getting married at a fully Catholic altar and then dumping them for getting jiggy with the serving girls a few years down the line. Llewelyn’s misunderstanding of the relationship that the Church and the Brehon laws BOTH played in the lives of people (SHOCKINGLY ENOUGH, the Catholic Church was NOT seen as pure evil by every day people at the time, who had to flee into the arms of the Brehons for comfort from Mother Church. Note that I’m saying this as a confirmed and strong atheist.)

Can I just say that the scene where Gráinne’s feeling up Hugh (the OC) in his sleep would be MUCH creepier if the genders were reversed?

"But he was not the man he had always been. He was some different person here.” Wow, the sex must be REALLY good!

"set in violet shadows that spoke of wonderfully sleepless nights.” Why is it that when I stay up doing an all-nighter, I end up looking like a raccoon going through its emo phase, but when Gráinne tumbles some random dude for a little while, she gets “violet shadows?” It’s not right, I tell you.

"“Was your marriage so bad, Grania, that you have turned your back on your own womanhood forever?” GAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH. Well. Now I know where The Pirate Queen gets its “Your ultimate worth as a woman and happiness in life is decided by whether or not you have a dick in you” philosophy. I wish I hadn’t known. But now I do.

“That’s the way it is with men,” he said. “They touch us. For the feel of strong arms around her and a solid chest to lean her head upon, a woman will put up with a lot of misery. It’s the curse of our skin to be hungry for the feel of a man’s skin.” GAAAAAAAAH. GAH.

"God the benevolent patriarch promises us rewards in the next world if we’re willing to sacrifice in this one. But maybe I don’t believe in patriarchs anymore.” Totally a thing that the real Gráinne Ní Mháille would have thought. Because women, in general, in the 16th century had the terminology to make these critiques in this exact way.

" If one satisfaction was snatched from her she would find another; if she lost love she would embrace hate, and glory in it.” Oh, god, not THIS motivation for a female character, please. Gráinne Ní Mháille was a hell raiser from birth, there’s no reason to think that, because she lost her boytoy, that really radically altered her life path.

“I wonder if Tigernan thinks you and I are damned,” she asked her husband. “We were wed in no chapel.” Given that there were nine degrees of marriage under the law, of varying types of legality, I doubt it.

Yay, exactly what this book needed: More sex!

I’ll be real: Richard Bingham playing Weddingcrashers at Margaret’s wedding only to nearly get his ass handed to him by two members of Gráinne’s family is truly an #Iconic moment. 10/10, if the rest of the book was like this I could die a happy woman.

"It was not an Irish face, but the eyes were unforgettable.” ….what is an “Irish face?” Especially post-Norman invasion? What does an Irish face look like?

“There are rumors he gained his inheritance by murder, and it is said outright that he and his mother between them drove his first wife into her grave.” Yay, the return of the Oedipus complex! My favorite thing in this book!

"Grania herself slept alone in a tiny walled guest chamber above, but she was aware of Richard sleeping in the same house. A strong man, sleeping naked in a bed … .

How people change, she thought to herself with amusement. This is definitely not the same Grania whom Donal an Chogaidh knew.”

Yay, MORE sex! MY FAVORITE THING. IN THE WORLD. BECAUSE YOU KNOW WHAT MY FIRST THOUGHT WAS WHEN I READ THE LIFE OF GRÁINNE NÍ MHÁILLE?"**MORE SEX**.”

" If Richard took her at all, he must take her under the old Gaelic concept of “marriage for one year certain” to see if they suited one another.” Ah, yes, the old Gaelic concept of marriage that mysteriously shows up in no legal texts, legends, or genealogical tracts. A very authentic Gaelic tradition, very old, much wow. (For what it’s worth….the Telltown marriages are as close as this comes, but the thing that makes them stand out is that everyone KNEW they were the oddballs.)

"According to pagan custom—which still lived in uneasy truce with Christianity in many parts of Ireland—there were ten degrees of marriage, all the way from a union between propertied partners of equal rank to union by abduction or the mating of the mad. From any of the ten a child could result, and the brehons therefore had allowed for every child’s rights to be recognized by the social order. No human containing an immortal spirit could be illegitimate.” The astonishing thing is that it’s very, very obvious that she read Cáin Lanamna for this…and then proceeded to not apply it to any other time except for when it was necessary.

"How can I be Grania if there is no Tigernan at my shoulder?” Yes, because we all know that the thing that really defined Gráinne Ní Mháille was, in fact, the men in her life.

"Evleen smiled. “At least it isn’t fettered with Christian chains,” she said. “You were wise.”” Oh, God help me. There’s no way to have a marriage in Early Modern Ireland not “fettered with Christian chains” because Christianity IS the religion of the people.

Remember when Gráinne was described as “More than master’s mate” to Richard Burke, implying a union that was mutually respectful? Yeah, me neither. I’m so glad he’s a one dimensional sexist with mommy issues. That’s such a new, innovative take on their relationship. I LOVE to see it. (Note: I’m saying this as someone who HATED Chambers’ blatant shipping in her biography, but hey. I can’t deny what the first hand evidence says. Unlike Chambers.)

" I’ll get the O Lee—he’s our ship’s physician, and at least he can-“ Unless the chieftain of the O’Lee family moonlights as a ship’s doctor, you wouldn’t call him The O’Lee. Just say “I’ll get Aidan O’Lee.” Or, even, “I’ll get the ship’s leech!”

“TAKE THIS FROM UNCONSECRATED HANDS.” I won’t say that all’s forgiven because, I’ll be honest, I really, really hate this novel at this point, but you know what? This forgives at least some of this novel’s sins. One of my favorite tales about her being brought to life on page by a very talented author does make for a high point, between this and Gráinne avenging the boytoy.

Okay, I’ll be real: The O’Donnell and Gráinne boasting about their respective kids is really, really cute, and I accept it because my very first exposure to Early Modern Ireland was “The Fighting Prince of Donegal.”

The O’Donnell talking shit about English poetry is…..very accurate to the time and the mood. My personal favorite genre of Early Modern Irish poetry is probably “The English aren’t shit.”

"Black Hugh nodded. Grania stood up, and Philip Sidney rose with her, as smoothly as if they were joined at the hip. Tigernan uttered a strangled curse. The sasanach was taking hold of Grania’s arm as if she were an old woman and he were a blackthorn stick for her to lean upon! Was that some English custom, insulting the strength of women? Or did he mean to grab her and make off with her?” Honestly, for once, Tigernan is a #Mood.

"But when Philip’s hands moved over her body, Grania discovered that all human landscapes have a certain similarity. She knew his touch as male, and hungry, and when she returned it in kind she felt a familiar rising response that flattered her and made her eager for more. Within the bed they did not seem to be foreigner and Gael. They were just man and woman, enjoying each other.” I ENDURED THE SEX SCENE WITH PHILIP FUCKING SYDNEY. SO THAT NO ONE ELSE HAS TO.

And, just like with Richard, no one can match up to Wonderful Boytoy Huw.

"She prances along the seaways as if she had a man’s balls, John, and by the bright blue eyes of God, it should be my hand that grabs those balls of hers and crushes them.”” Oh, GOD, I THOUGHT THAT THE PIRATE QUEEN’S MOST INFAMOUS LINE WAS JUST BAD LYRIC WRITING. I DIDN’T KNOW THEY TOOK IT *FROM THE NOVEL*. WHY, MORGAN LLEWELYN. WHY.

Look, I’ve made it to Chapter 24. There are 32 in total. I COULD read the rest of the way, since I want to see how poorly the treatment of Elizabeth is going to be (I’d be very shocked if there isn’t some variation of Not Like Other Girls involved), but also: I do not care at this point. I might pick it up again, but also: A bitch is tired. And illiterate. Perhaps, if I’m ever feeling brave, I’ll take on the last eight chapters, but for now: I’m calling it.

#long post #grace o'malley #gráinne ní mháille #chaos-yet-harmony

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fairydust-stuff · 5 years ago

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Wendy Darling Embodiment of Motherhood

Here’s the thing ,I have never been a big fan of Wendy Darling from JM Barrie’s classic novel Peter Pan. Not only is she a cocktail of every bad stereotype about Victorian women casually thrown into a blender to make the ultimate Grimm’s fairy tale heroines are more bad ass then you smoothie. But Wendy is just straight up the most boring character in Peter Pan. That being said she does play a very important role in Peter Pan. Also it’s gotten the point where I’m a bit tired of seeing this idea that the Never land ladies have nothing to offer. If we don’t change everything about them or let’s just leave them out entirely trend via Hollywood. Seriously when is the last time Tink got more than a cameo and I’m not talking about the sugary princess clone Disney created from her mutilated body. Anyway I want to take a look Wendy Darling how she works, how she doesn’t work what she embodies and how she’s been portrayed in various adaptations.

First let’s take a look at some themes. Peter pan is at its core a coming of age story about accepting the inevitability of growing up. However Wendy as a point of view character is kind of an odd choice for this theme. In the original novel Wendy brings a flower to her mother who declares “Why can’t you stay like this” Then the narrator proceeds to talk about how Wendy knew she must grow up. So we already have a character who accepts the fact she must grow up on page one. In fact Wendy doesn’t run away to Never land as much as take a holiday, and to be fair John and Michel suffer from the same problem. Honestly I think the closest thing we get to a character arch in the novel is George Darling who is a seriously underrated character in my opinion. So Wendy just never struggles with growing up. However another theme of Peter Pan is motherhood and oh boy does Wendy fit into that.

“She used to come to me in my and I’d say pretty mother, now she has come and I’ve shot her” Tootles laments after thinking he shot and killed Wendy. Even Hook want to take Wendy to be the mothers of himself and his crew in typical pirate fashion coveting what Peter Pan and the lost boys have Wendy becomes a treasure for them to steal. Smee when carrying Wendy even promises “I’ll save you if you promise to only be my Mother” Every boy and man child in Never land craves a mother and want Wendy to fill the position. Wendy taking on the role turns her into a kind of ideal in the eyes of everyone in Never land even her own brothers get in on the treating her as the perfect mom.

In fact Wendy only gets to be a little girl in the narrative when Hook offers his hand to her and she takes it and only because the narrative felt the need to defend her submission to her own capture. But looking back that may very well be the point when you look at Wendy and Peter’s relationship without the shipping googles it’s actually quite interesting. You’ve got two pre teen’s on two different wave lengths. Wendy states in the novel “Peter what are true feelings towards me?” and is displeased with Peter’s answer “That of a devoted son” this seems up their relationship perfectly. Wendy uses the role of mother to try to basically become Peter’s wife something which he is deeply uncomfortable with needing constant reassurance that playing an adult couple is “ Only make believe” now whether or not Peter is flat out not interested or scared of his own feelings is up for debate. I personally lean toward the former because Peter is constantly surrounded by busty topless mermaids who like to flirt with him. So if he hasn’t had his sexual awakening yet it’s not happening ever, but the point is Peter uses the reaffirmation of Wendy as Mother to keep her at a distance. When Wendy returns home Miss Darlings offers to adopt Peter which he refuses. This highlights the fact when given the chance to have an actual mother he doesn’t want one.

Wendy is a reflection of Peter’s warped relationship with motherhood. He confesses to Wendy that he did at one point did return to his mother only to find the window barred and “There was another little boy sleeping in my bed!” It could be argued Peter’s desire to stay a little boy forever actually steam from the fear of abandonment and being replaced. This shapes Peter’s relationship with Wendy in sense he wants a mother he can actually control. One who never makes him feels too grown up or who challenges him or his choices in a meaningful way. This shows that motherhood is important and that without a proper mom boys will never truly grow into men.

Wendy plays a similar role to the lost boys only she actually ends up helping them. While the lost boys clearly already have mommy craving’s Wendy gives them a taste of what having a mom is actually like or at least what an ideal mom from a Victorian upper middle class family structure would be like. So when Wendy wants to go home the lost boys who getting a taste of what their missing decides to go with her. Where they get adopted into the Darling Family and grow into respectable members of society who all get boring office jobs in the prolog which completely contrast their colorful energetic personalities, moving on. Wendy acts as kind of encouraging benevolent guide for the lost boys and Peter her inevitable goal being to encourage to move beyond the superficial trappings of childhood and take a step forward into adulthood. Peter is the failure, deficient as the novel itself states but the lost boys are a triumph of the power of proper maternal nurturing.

Wendy Darling has appeared in various adaptations and Spin offs though I’m mostly going to focus on Movies and TV because most of the Peter Pan book retellings where Wendy plays a key role just do not fill me with any positive feelings. And I want to mostly focus on the good today with some casual snark thrown in.

So let’s start with Wendy from the 2003 Peter Pan Live Action adaptation. I love this version it makes changes from the novel while still paying homage by using actual lines from the book. Though I have very mixed feelings about 2003 Wendy.

The movie heavily leans into the annoying I’m not like other girls trope. Here Victorian lady Wendy turns fairy tales into gore fests, and has an interest in sword play and pirates. I’m not saying girls from that era can’t have those interests but it just feels like their Wendy is the product of listening to too many focus groups not to mention she learns to be an expert sword fighter who can go toe to toe with adults after five seconds with Peter. And what is with the sudden unexplained blood thirst? Where did that come from?

Though I do like how the film unlike the novel actually gave Wendy an arch. Wendy’s aunt is mortified at her niece’s interest in becoming a novelist who travels the world. She insists Wendy’s parents separate Wendy from her brothers and allow her to tutor, Wendy to teach her how to be a proper lady. They also have a school teacher shame Wendy for drawing a picture of Peter flying above her bed. This seems to be subtext for the Victorian shaming of sexual expression from girls as dirty and shameful. This actually makes Wendy feel like her life is changing way too fast and it scares her. Since she is twelve and her family is already talking about marriage prospects. While the scene where Peter and her meet is pretty much played like in the novel. There’s the added moment of Peter whispering in Wendy’s ear “ Forget them Wendy Forget them all come with me and we’ll never ever have to think about grown up things again” which unlike the novel frames Wendy as running away from growing up.

Then she develops a crush on Peter Pan and this being Hollywood they go with the scared of his own feeling interpretation. I guess her whining and screaming his name for a day was just too sexy to resist. Wendy contemplates joining Hook’s crew because when your crush rejects you validation by pirate man children is good salve for your wounds. But then realizes she can’t remember her mother and much like the novel becomes scared that her and her brothers have forgotten their parents. Then they all get kidnapped by the pirates and Hook and Peter have a show down which is way better than the novel because here Hook attacks Peter’s abandonment issues and actually brings him to his knees. But then Wendy kisses Peter and he gains the strength to defeat Hook. Basically the implication is Wendy realizes growing up is ok because romantic love is a thing. Hey, I didn’t say it was a great arch but it’s more than the novel gave her or anyone. I’m not a huge fan of this Wendy depiction but I’ve got to take my hat off to the writers for at least giving Wendy a coming of age narrative.

Disney’s classic Peter Pan pulled a similar move taking the focus from Peter and putting it entirely on Wendy. The implications at the end imply that Wendy’s adventure was all a dream and that Tinker bell and Tiger Lilly were reflections of her own manifesting sexuality. Peter Pan her desire not to grow up and Hook I’m going to guess that he was her daddy issues.

I actually think Walt did Wendy a solid in her characterization. This is one of the few Wendy’s were her concern for her brothers and the lost boys don’t feel tacked on. Since most adaptations do very little to build Wendy’s dynamic with the other kids. Here it’s in every face wipe and tearful good bye and every “Do be careful” thrown over Wendy’s shoulder.

Also the Disney movie does a one eighty from everyone in Neverland worshiping her to Neverland treating her rather badly. It takes Wendy’s annoyance from called her squaw from the Novel and has the Indians bully her into fetching firewood instead of joining the celebrations. Also the mermaids not only try to drown her but Peter thinks is all a big joke. Disney’s Wendy constantly stands up for herself but often gets brushed off or forced to walk the plank. In this version you can one hundred percent understand why Wendy is so done with this place and ready to grow up. Here the reality of what it’s like to experience everyone acting like a self-centered child is here on full display.

Also Disney’s Wendy is not perfect she gets angry and loses her temper attacking mermaids or yelling at Indians. She gets jealous of Tiger Lilly being all over Peter and is sour towards him. Wendy is dreamy eyed, and polite but this version of her also doesn’t take anyone’s crap and will let you know if you’ve crossed a line or if you’re flat out awful. But she’s still pleads with Peter on her attempted murder’s behalf. Wendy also reminds Peter that Tiger Lilly is drowning when he gets caught up in celebrating his cleverness. She still makes sure she can say goodbye to her brothers and the lost boys before Hook kills her. Even on her worst day Disney’s Wendy is a kind person even when those around her are less so.

But my favorite portrayal of Wendy has got to be from the 90’s classic “Peter Pan and the Pirates” TV series which aired on Fox was about one season then got cancelled. While it doesn’t really focus on Wendy a whole lot since its more concerned with the relationship between Peter Pan his lost boys and Hook’s crew.

She still has a pretty important role. Wendy often serves as a voice of reason to the group which doesn’t go against her original role in the novel since she takes a cake that’s been left out all night away from the lost boys. Which does present her as the one with the most common sense but the show lets Wendy tell Peter this is a bad idea way more often than the book and blow up at him after he does the stupid thing every one told him not to do. Also Wendy gets to be more of a moral center lecturing Peter for stealing the picture of Hook’s mother in the episode “Hooks mother” and encouraging him to return it and even getting Peter to take care of Hook after he’s injured. This is in a positive change in my opinion because it actually expands on Wendy’s role as a guide to adult hood. Here Wendy Darling encourages a kind of good behavior she helps build moral character in her boys. Wendy has strong ideals and this adaptation actually has her stand by her principals for better or worse. This not only gives her more of a central role in the story but also gives her more chances to be active. Yay character agency!

Also this version of Wendy was the first to have a bit of an interesting relationship with Hook. (Who is voiced by Tim curry and does an excellent job.) While the writers got rid of the almost pedophilic undertones of Hook wanting to keep Wendy from the novel and the “My beauty” pet name. Thank god for that even in the novel i thought it was too much. There’s still a bit of a dynamic even if its way more innocent.

In the episode In Peter on Trial Wendy not only lands on the ship unharmed but reminds Hook executing Peter without a trial would not be proper form at all. She then hits Hook in the ego by declaring “Surely you don’t doubt your powers of debate against that of a mere girl” And not only gets a trial but manages to win even when the trial is rigged against them. Hook even congratulates her before proceeding to find his own loophole and kill Peter Pan anyway. The point is this suggests this Wendy has a bit of an insight into Hook maybe more so then Peter. She knows he’s obsessed with good form and has an ego that prides its self on being the smartest person in the room.

This cuts both ways while Wendy is capable of manipulating Hook, he also consistently manipulates Wendy by offering his word as a gentlemen when he intends to break it as a pirate. This dynamic highlights Wendy’s flaw of trusting dangerous people and allowing them to hurt her friends. Hook has picked up that she trusts or wants to trust him. In this version Hook actually treats Wendy as opponent vs the usual she belongs to Peter and I want to steal her like in most adaptations. Also despite Hook being terrifying Wendy has no problem being all “There’s no need to get cranky Captain” and I kind of love how comfortable she is with the guy despite him being an enemy.

This proves Wendy doesn’t have to be a sword wielding “Who are you to call me girlie” action girl to be a good character. She can be flawed but still remain a good person and giving her a spine is always appreciated.

Wendy Darling is at her core a guide into adulthood with a strong moral character and a voice of reason who is used to shine a light on how important motherhood is since the result of mothers abandoning or neglecting their children shape the Peter’s of the world. This makes her important to the overall story and themes of Peter Pan.

#wendy darling #wendy darling appreciation #peter pan disney #Peter Pan 2003 #Peter Pan and the Pirates

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sepublic · 5 years ago

Link

Above is a link to a whole post I made for Bionicle: Redone and Expanded. It basically details Makuta’s fall from grace, his motivations, what led to the Great Cataclysm, etc. I was going to paste the whole thing here, but it ended up being, like, TEN pages. So while I’ve posted the whole thing on AO3, below is a relatively small preview of the whole post.

In the fallout of the Great Cataclysm, much of history was unsurprisingly blurred and misremembered. Most Okotans were too preoccupied with the ordeal of surviving the harsh new Elemental Regions that their home had transformed into, and many historical records had been destroyed by the flood of elements when the Mask of Life shattered.

That isn’t to say nobody made an attempt at remembering, and when the dust settled and the Okotans somewhat adapted, they wrote down what they could. Even now, the scholars of Kokoro labor day and night, attempting to remember and discern the past, and in the wake of Ekimu’s return, he is constantly interviewed on the Creation Age.

But before Ekimu, and the arrival of the Toa… History was mostly remembered as stories told around a campfire, to children at night, or mentioned in passing by haunted elders. The most infamous story of all- The Mask Makers Ekimu and Makuta, and the jealousy of the latter that ultimately led to the Great Cataclysm.

According to legend, Ekimu’s Masks of Power were more treasured than Makuta’s. And from this tiny piece of information alone, many have assumed that this means that Ekimu was always the better Mask Maker, correct?

Not exactly… indeed, some of the disconnect was due to spiteful Okotans’ retelling history as revenge against Makuta’s history. But the reality of the situation was far more complicated;

Ekimu wasn’t necessarily the more talented Mask Maker;

It was Makuta… And HE invented the Masks of Power.

When the twins discovered the Great Forge, it was ultimately Makuta who realized that one could enfuse objects, especially masks, with a ‘soul’ to manipulate and control. It was Makuta who suggested and explained the concept to his brother Ekimu, who was always considered to be the less bright of the two.

As the Creation Age began and the Mask Makers began forging, it was Makuta who was known as the better Mask Maker. Makuta was clearly more talented, more skilled, and had a natural prowess that Ekimu lacked. His Masks of Power were the ones made more plentily, with better powers and interfaces.

Ekimu, who lagged behind, was admittedly saddened by his relatively low skill. But instead of letting it get to him…

Instead, he chose to keep making Masks. Yes, his weren’t as good or powerful as Makuta’s, but they DID make a difference, and that much was obvious. Maybe he didn’t get the glory of being the inventor of the Masks of Power, but just playing a part in improving the world, in discovering the secrets of Life, ultimately fascinated him.

Thus, Ekimu kept making Masks. The brothers frequently collaborated and regularly switched the Masks of Creation and Control between the two- Neither had seen either as belonging to one at the time. And as Makuta was made busy with many commissions and personal tasks given to him by the Emperor of Okoto, Ekimu himself found time to interact with others. He wondered, why not teach others to make Masks as well? It’d be in everyone’s best interest, especially since teaching Mask Making could lead to a Mask Maker better than him, and perhaps even Makuta himself!

Ekimu held classes and lessons teaching the concept of Mask Making, how Life energy works, and so forth. Makuta was surprised by this move of his, but accepted it in stride. As Ekimu taught Mask-Making in the City of the Mask Makers, some students proved themselves more capable and prodigal than others.

They weren’t as good as Ekimu, but their talent nevertheless attracted the attention of Makuta, who personally took these exemplary students under his wing. Makuta became known for choosing the best of the best, discerning the worthiest Mask Makers and gifting them with the opportunity to learn from him and even act as assistants to his projects. To be chosen by Makuta was considered the highest honor.

Some students were discouraged to see others do better than them. Ekimu, not wanting anyone to feel left behind, did his best to uplift the rest, encouraging them to keep working harder. Maybe they didn’t have a natural talent or inclination for Mask Making, but if it truly mattered to them, if they truly invested the time and effort to keep working… Then they, too, could create great Masks of Power.

While some of Ekimu’s students quit, a select few continued training. They continued working hard, operating from a Growth Mindset as they sought to improve their skills, no matter how vigorous it may be. And as Ekimu watched his students grow, he became personally inspired by their philosophies and began applying it to himself.

Ekimu began to challenge himself, no longer resigning himself to regular, singular-element Masks of Power. He took on more ambitious projects –with the proper safety guidelines of course- and tested the peak of his abilities. Everytime he found the height of his Mask Making power, he reflected… And then kept working to improve it.

And so over the years, Ekimu’s Mask Making improved. It still required tremendous effort on his part, in contrast to Makuta’s ease and talent, but the end results couldn’t be argued with. Ekimu’s Masks of Power became just as good as Makuta’s, and soon…

By working even harder, by working not for glory but for passion, creativity, curiosity, and others, Ekimu found himself creating Masks of Power that Makuta had once deemed impossible. These creative elemental combinations had been dismissed by Makuta, who had tried them a few times, but when hit with a roadblock, deemed it a pointless effort. Ekimu was undeterred by his twin’s failures- He didn’t choose to move past them to prove his own worth, but to prove the worth of Okoto itself. Ekimu believed that if anyone put in the passion and effort, they COULD redefine the impossible.

Ekimu sacrificed entire weeks, laboring over the forge, only eating when a concerned Makuta gave him food. And as he worked, Ekimu discovered other truths of Mask-Making, and improved on them. He forged Masks of Power even stronger than what Makuta could create, realized the order in which elements were applied could affect the power of a Mask, and ultimately revolutionized Mask-Making.

Thus, while Makuta was said to have invented Mask-Making, in many Okotans’ eyes, Ekimu was the one who perfected it.

#bionicle #bionicle g2 #Bionicle RaE #makuta #ekimu #okoto #kulta #lord of skull spiders #skull spiders #okotans #protectors #fenrakk #lore #worldbuilding #fanon

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mandaloriangf · 7 years ago

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the reylo batb au debacle

long post ahead. tw: racism

i. preface

i dont make call out posts. i think a lot of people abuse call outs, like that one reylo who made a post about me that just consisted of screenshots of me venting on my own blog in the proper tags. i dont know if i would call this a call out, per se. most people (antis, reylos, and bystanders) probably already know the gist of this situation. my reason for making this post is primarily because the original post of mine has gotten rather long with me reblogging it and adding on (you can see the most recent version here) and i would like to have more of a masterpost of sorts, since im a petty bitch who can’t let things go.

ii. the story

i was alerted by an anon to a fic, which is an a/b/o beauty and the beast retelling with rey as belle and kylo as the beast. in gaston’s place is finn. i haven’t read the fic word for word nor do i want to, but i searched finn’s name in the fic and this is what came up.

(note: most of these screenshots are from my original post, but i’ve added on with chapters that have been published since then)

“Myself if necessary; somewhere out there is my mate, and I will wait for them.” She said resolutely, holding her breath against the smell of pine and charcoal rolling off him. She had never found Finn’s scent a pleasant one.

“I believe Rey is missing,” Finn said with a scowl. “and I don’t like it when my things go missing.”

“Rey has never been yours.” Obi snapped. “She’s not a piece of property.”

“Details.” Finn smirked. “Now, are you going to tell me where she’s really run off to? Or are you holding fast to your ridiculous story of monsters and secret castles?”

Obi narrowed his eyes, refusing to entertain the brute anymore than he had to. “I think it’s time you were on your way, Finn. Please feel free to head in the opposite direction should you feel the urge to call upon me again.”

Finn shook his head, rolling his eyes heavily. “I’ll be back, Obi. I will find out where Rey is hiding.”

Obi shut the door in his face quickly, eager to be rid of the boorish oaf. He leaned against the wood, pinching the bridge of his nose and rubbing gently to ease his frustration. He should have been more open to Finn’s help, he could take all of it that he could get. Still, seeking aid in Finn felt like escaping the hounds to land in the fire. Hardly an improvement.

“She’s the only one who’s rejected me. Me. The nerve of her. No. This won’t stand. I’ll track her down if it’s the last thing I do.” Finn snarled.

Finn took a long swig from his freshly filled tankard the server had just finished capping off, a small smile playing at his mouth as his plan gained more and more merit in his mind. Rey would not allude him for much longer. He would find her, and show her exactly who she belonged to.

Charles frowned. “I don’t want Finn anywhere near Rey. I don’t trust him. He’d sooner force her into mating with him as rescue her.”

They crept deeper into the forest, making sure to maintain vigilance as they scanned the forest for anything strange. Finn wondered idly how Rey would have even made it through this woods, a mere woman. When he brought her back home, he would be sure to have a talk with her about what is and isn’t acceptable.

She scrambled backwards then, her back meeting Artoo’s haunches as he pranced away. She felt distress coursing through her, wanting no part of Finn or his strange obsession with her. “You’ll not touch me.”

“Shh.” He whispered. “You’re only confused. All will be well.”

“Leave, Finn. Go back to Jakku. No one wants you here, least of all me.” She spat.

He growled low, yanking her up by her hair. “You’ll learn your place, Rey. Once I bring you back to Jakku. First though, I will take care of the bastard who dared to touch what was mine.”

“I. Am. Not. Yours.” She ground out, her scalp smarting from the grip he still kept on her hair.

“You will be.” He assured darkly.

He didn’t realize he had lost until it was too late. He glanced down, the iron bolt plunged deep into his chest. For a moment he merely stared at it, his breath coming out in heavy pants as he tried to process what he was seeing. A gurgle sounded in his chest, coughing up a spray of blood. His mouth fell open in disbelief, taking a step backwards as his hand went to the bolt.

He gripped it in his fist, tugging it outwards and throwing it to the ground. His hands pawed at the hole in his chest, blood pouring over his fingers as he swayed slightly. His knees trembled, falling to be ground and kneeling. He gave a final shuddering breath, falling forward in a slump and going still. Rey dropped the bow as if it burned her, leaning her back against the tree she’d used to steady herself and gasping for breath. She felt relief and remorse in that moment, the knowledge that she’d taken a life outweighed only by the knowledge that she’d saved one.

(context: the above is rey murdering finn to save kylo)

as you can see, finn, star wars’ first ever black lead, is portrayed as a violent, aggressive, rapey misogynist who threatens rey psychically and sexually. he believes rey, a white woman, is his property and rey must kill him to save her lover, a white man. i mean, this whole thing should be very obvious. i dont care that its fiction, i dont care that its fanfiction. fiction does not exist in a vacuum and if you believe so, biases like this WILL go unchecked.

i was infuriated after reading this and found a note where the author addresses previous accusations of racism

I was more or less labeled as a racist today for my characterization of Finn, and I felt the need to briefly address that. It was never my intention to lead anyone to believe that my dislike of Finn has anything to do with his race. I dislike his character canonically purely for reasons that have nothing to do with the color of his skin. I obviously realize he’s not a villain, and that he’s out of character. I will not apologize for the way that I’ve written him, as I know in my heart I meant no malicious intent, but I will apologize to anyone who has thought even in the slightest that I was being oppressive or insensitive. I know myself and that’s not who I am, and that was never my intention. I want to go ahead and post this because I don’t know when my next will be and I wanted to leave it on a good note. I don’t foresee a long gap, don’t worry, but at this moment I don’t feel good about the story and I need a few days to reassess where it is going.

iii. the comments

while i easily could’ve just moved on since there are a number of reylo fics out there much like this one, knowing that this one had such popularity and such a tone deaf author, i decided to venture into the comments and lo and behold, the amount of hate for finn was blinding.

there are plenty more, but i hope this can give you a taste of what the comments section looks like.

the author’s hate for finn basically boils down to this: he’s indecisive and he lied to rey. that’s it. that’s what the author uses to justify writing finn in a vicious, anti-black stereotype.

at some point, an anonymous commenter called out the racism.

a concerned citizen: So are you ever gonna address how racist your characterization of Finn is or what.

ktf: Oh lord. No because it’s blatantly not true. He is characterized heavily in concordance with the classic Gaston character. Possessive, arrogant, pig headed… Your complaint is reaching and you can take it elsewhere. Jeez Louise. So silly. Have you even seen Beauty and the Beast? I don’t like Finn as a a character in canon for reasons that have nothing to do with his race (because I admittedly love John Boyega irl as well as in Pacific Rim, the only other film I’ve seen him in) and as such I characterize him as an asshole for my own self satisfaction.

a concerned citizen: Look I love Reylo as much as the next guy but if you need explaining why it’s racist to make the black character who is, in canon, nothing but a kind and supportive friend, into a sexually aggressive misogynist then I don’t know what to tell you. It costs zero dollars not to demonize black characters for your own “self satisfaction.”

ktf: So, to be clear, if I had used ANY other character from the film who had been kind and supportive, Poe, Han, Holdo, Leia, Snap, Kaydel, Luke… as long as they hadn’t been a POC it would totally fine? Do you see my confusion? It’s an alternate universe.

a concerned citizen: A: Demonizing black men as sexual aggressors bent on possessing/raping white women is a long-standing trope used by white supremacists. It’s done to dehumanize black men and drum up fear in white folk so that they feel threatened enough to commit acts of violence. This is one of the most basic tactics of antiblack racism.

B: Gaston was never a part of the original fairy tale. He was made up for the Disney adaptation to add tension and to counterbalance the Beast to make the message crystal clear for the little ones watching– don’t fear The Other. Gaston represents the cultural hegemony of masculine behavior in Belle’s culture; the Beast, on the other hand, is The Other, the outsider, the marginalized force. Black people have practically been The Other in Western media for centuries. Now I’m not telling you that you have to make Finn the Beast or else it’s bunk, just that you have to be aware of the characters’ roles and what they fulfill in the narrative. Making Finn the Gaston character was a conscious decision you made– you took a black character and plopped him into a role that was specifically made to be the representation of toxic masculinity, that decision isn’t made in a vacuum.

C: Absolutely no one is holding your feet to the fire to make sure that you follow the plotline of the source material verbatim. Certainly you took liberties with what form of beastliness Kylo had, so you could have similarly chose to alter Gaston’s characterization in some way or you could have made Finn a different character entirely. Like I mentioned before, Gaston was not in the original fairy tale and so the narrative works fine without him. Finn exhibits none of Gaston’s character traits in canon so you chose willingly to sand him down so you could fit a square peg in a round hole– an action that, as mentioned previously, reflects the rhetoric of white supremacy for the past few centuries.

ktf: Okay. You know what? You obviously woke up this morning itching for a soapbox. So, may the force be with you and may your crusade keep you warm at night. This is a fan fiction, not a doctoral thesis, so if you don’t mind I’m just going to continue living my life. I can assure you no thoughts of “demonizing” a race ever crossed my mind while writing this. It’s not who I am. This doesn’t deserve my time because you, A. Know nothing about me. B. Obviously have way too much time on your hands. C. Aren’t worth the stress you’re causing. Have a blessed day!

iv. the aftermath

since my original post, i have been silently blocked by the author. antis who are poc have gotten anon hate, which has often been radicalized while i, a white anti, have not received anything wrt this fic. the author has gotten cocky about the whole situation, she has a bunch of adoring readers who coddle her, and she refuses to listen to any form of criticism.

now that i’m at the end of this post, i’m not really sure what i want to come out of it. i wanted to include more, but there’s so much shit to wade through in the comments and that doesn’t even account for what’s on the author’s tumblr. reylos, this shit has to fucking stop. you need to hold each other accountable, you need to call each other out bc this is exhausting.

#anti reylo #this is basically a summary with all the receipts i have

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snkpolls · 6 years ago

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SnK Season 3, Part 1 Poll Results (Manga Reader Version)

The poll closed with 240 responses. Thank you to everyone who participated!

Please note that this is the results of the manga reader poll. Anime only watchers are suggested not to read if you do not wish to be spoiled about certain events! Anime only viewers, click here to view your poll results!

RATE THE FIRST COUR 231 Responses

Overall, respondents had a positive experience with the anime’s retelling of the Uprising arc with a 4 being the most popular ranking. It seems most believe there was room for improvement, but that it was overall enjoyable!

Good shit man, good shit. Next arc is gonna wring my heart dry of every last feel in existence, but so far I am satisfied.

This season was poor. I hoped for better. The scenes I loved it the manga were removed. Lots of character development was gone. But my biggest pain is anime version of Kenny. I will be honest - I am disappointed.

I liked it but the manga version will always hold a special place in my heart

I thought it was amazing, despite all the new things and things taken out. I still love the series way too much to really criticize choices they or Isayama make. I know I'm still gonna watch it and love it.

FAVORITE ANIMATED COUR SO FAR? 235 Responses

Nearly half of voters favor the Clash of the Titans arc’s adaptation the most so far, but the Uprising arc came at a surprisingly strong second overall!

Well done, WIT Studio! Although some of my favorite chapters became my least favorite and vice versa (sadly), this was over all the best arc in my opinion.

It was a good story, but they cut out way too many scenes I loved making it not the best adaptation when it comes to comparing it with the manga. Season 3 is still my favorite season though.

FAVORITE EPISODE(S) FROM THIS COUR? 231 Responses

“Friends” was the most well-liked episode of the first half of the season, but overall the last four episodes performed the strongest. This is likely due to their more faithful adaptation of the manga material than than the earlier episodes. On that note, “Pain” did pretty well in regards to the earlier episodes.

First two episodes were meh (way too fast for my liking), then it got slightly better, but the last 4 episodes were amazing

that ending scene in ep 12, what the hell, that scared me so much but it was so well done! also that last scene before the ending song is great for hype lol, Erwin's (japanese) voice actor is a god, my god what a man, SUSUMEEE

RATE THE SOUNDTRACK 236 Responses

It is probably safe to assume that the majority of respondents agree with the sentiment, “OST when!?” The soundtrack was great this season according to voters. Hopefully Sawano treats us soon!

It was so good and I really want the soundtrack to come out, I have 6 months to mentally prepare myself for the return to Shiganshina arc and I still won’t be ready

RATE THE ANIMATION 235 Responses

Overall, reactions to the animation were positive. Although there were some scenes that had room for improvement, ultimately we can’t deny that the hard work done on the action sequences really paid off. Here’s hoping for even more glorious animation in the second half of the season!

HOW DID YOU FEEL ABOUT THE FOLLOWING KEY CHARACTERS BY THE END OF THE COUR?

We’ll let the results speak for themselves on this one. Levi, Historia, Erwin, Hange and Kenny drew the most positive feelings. Rod evoked the most negative feelings.

ARE YOU PLANNING TO WATCH THE NEXT COUR? 237 Responses

We’re happy to see that most of you guys will be around for more!

I feel like this section and onwards are not going to make for very entertaining episodes and are better in manga format, particularly if it's going to keep forcing major changes

HAVE YOU BEEN WATCHING THE DUB? 237 Responses

The majority of respondents have not watched the dub and have no desire to do so. 16% will get around to it eventually and 14% are keeping on up on it.

IF SO, WHAT ARE YOUR OPINIONS OF THE DUB THIS SEASON? 211 Responses

Aside from the 75% who haven’t been watching it, those who have are having an overall positive experience with it this season, regardless if the original Japanese is the preference or not!

This season has been an improvement both in voice acting and script, I've been pretty satisfied with it.

I'm not sure why people think animes need dubs tbh. They never sound good. Kenny's voice actor really butchered the cowboy voice.

I've only seen a few scenes but when Levi shouted ''Nifa!'' it sounded really weird in the dub xD

The very idea of watching dubbed anime is heresy

DO YOU THINK LINKED HORIZON WILL BE INVOLVED IN THE NEXT COUR? 233 Responses

The majority are feeling pretty confident that Linked Horizon will be back again for part 2 with an exciting new opening for us! 16% are sure they will stick around, but we may not see them retake their role as the artist of the opening. A small sliver of respondents think that they will be absent.

OVERALL, DID YOU THINK THE ADAPTATION OF THE UPRISING ARC WAS DONE WELL? 237 Responses

Just over half of respondents believed that the Uprising arc was adapted well overall. 28% felt it was a good story, but not a good adaptation - still enjoyable, but not close enough to the source material. Smaller percentages either preferred the anime’s retelling or, on the opposite end, believe that the adaptation wasn’t good in any way.

Í think a few parts would've been better if they had stuck to the source, but overall it was a good adaptation

It was horrible to be very honest, ehhhhh they ruined it

There were a few cuts and changes that didn't make sense or took away from the story but it wasn't too bad. I love Attack On Titan too much to be ungreatful lol.

At some points it was a better adaptation, with changes I liked, and at some points the attempts to fix some issues created some others. I'd say I find it about even with the manga, the pros and cons balance out.

I enjoyed it, and I loved the action animation in the first few episodes, but I'd still have preferred a more faithful adaptation.

First half was rushed, i like the manga version of it better, but the second half that went more like the manga was excellent

It could've been a teensy bit better, but glad they hit all the marks that were important (except for the hesitation of the 104th squad killing people)

It was a good story, but they cut out way too many scenes I loved making it not the best adaptation when it comes to comparing it with the manga. Season 3 is still my favorite season though.

Although the story was entertaining and was produced well, it missed a lot of key factors present in the manga that really brings it down. At the end you have a feeling of hollowness as opposed to satisfaction

OPINIONS OF THE ARC BEFORE THE ANIME? 238 Responses

Prior to the anime adaptation, the majority of respondents were fond of this arc of the story. A few were indifferent or didn’t enjoy it, however.

I thought this arc was boring when I read it in the manga and it honestly wasn’t any better when it was animated.

AND AFTER? 237 Responses

Opinions stayed about the same after the anime retelling, with just a small bump up in the “liked it” area.

I actually like the Uprising arc. So when the anime came up I expected it to be better. So for me this is a good adaptation. Plus I think half of the budget was spent on making Levi 100 time hotter... My only regret is that they didn't show Levi shirtless.

Uprising arc is my favorite in the manga. So many changes have driven me mad but in the end, I have rather enjoyed this cour. The chara design and the animation are insane. Feel robbed in many ways though, but never mind.

I felt like a lot of details that made the arc good in the manga was lost in the anime

HOW DID YOU FEEL ABOUT THE FOLLOWING MAJOR CHANGES?

While most stances were overall neutral on many of the changes, the most disliked change was taking away Levi forcing Historia to take the crown, thus unraveling subsequent events which eventually lead to the beloved punch/smile scene. The most well received change was including a proper Kenny vs. Levi fight scene in the cave.

I did disapprove of some removals and additions, because I felt that the way the manga structured it made the plot flow easily. For the anime, it felt a tad rushed with the fast stream of information given to the viewers.

Like many manga readers, my biggest and only really significant complaint was the removal of Levi's choking-and-speech moment. It was entirely crucial to both his and Historia's characterisation and future development.

I only liked two of the changes. Everything they did that stuck to the manga was really well done.

The fandom is happy because of the 2nd fight between them in the cave. That was the worst fight IMO: Kenny didn't learn anything from the first battle between them and decided to go against Levi again; he was babbling some nonsense, offended his nephew and as result - he almost got killed. So in other words - Kenny was shown as immature, dumb simpleton who despised his nephew and was pathetic fighter.

while different, i still think it was a good adaptation and none of the changes really bothered me too much.

An additional scene that I'm still upset they didn't include - the conversation between Nile and Erwin before Erwin's arrest, where they discuss their childhood together.

ADDITIONAL THOUGHTS ON THE FIRST COUR?

A shame a bunch of the political parts were ''rushed'', but it was to be expected. Otherwise a good adaptation!

Decent adaptation that skimmed over the boring stuff. Too bad some scenes were hacked away.

"Okay, this is epic." - Ben Shapiro

I don't care that Isayama approved the changes and that the majority of people seemed to have enjoyed this arc more in anime form with the changes. I'm not an idiot, I know how adaptations work and that they're a different medium and that it wouldn't be a 100% panel by panel adaptation nor was I expecting it to be. Neither of the previous seasons were. But they removed and changed SO MUCH of what made the arc great and my favorite personally that I'll never get over that.

After a few fast paced episodes that were slightly Concerning™️ things slowed down and made a lot of sense. I’m glad that isayama got a chance to see uprising play out in the way he would have liked. And as far as changes, some were great, some were not awesome, but we always have the manga. Overall it was amazing and what will I do with my Sundays for the next six months rip

It was pretty calm, right before the storm of the next cour

First sighting of god tier character Floch

I feel like a fair bit of changes were made just to give the main/loved characters far more screentime, and some other changes to be simply dumb and entirely unnecessary

I wish they had just stayed true to the manga. It seems like they wanted to remove some of Levi's darker parts which makes him a less interesting character.

While it could have been better (less CGI!), it was phenomenal overall, and I believe guarantees that the Shiganshina arc is in good hands!

Rod's Titan was so gross. YUCK!

EEEEEEKKKKKK

10/10 there was a brief flashback of Mina Carolina in the Cave.

I'm still salty about some cuts but overall I liked it. Who will say no to Anime SNK?

For Yams story and characters are the most important, for the anime team - it's fun for watchers. That's a bit sad but okay.

Historias new coronation outfit was better than in the manga

I see the anime as an extra, so nothing that happens in the anime will change how I see certain characters or the arc itself. So I really had a problem answering your poll. In my eyes, it a gimmick, a nice animated extra but nothing more.

Despite not being a 1:1 adaptation of the manga, the anime still manages to do a fantastic job of adapting Uprising as well as altering it. The story and characters were still executed very well, and this arc overall had a MUCH better reception than its original counterpart which, in my opinion, says something.

WHERE DO YOU PRIMARILY DISCUSS THE SERIES? 221 Responses

SHOULD THE POLLS CONTINUE/OVERALL POLL FEEDBACK? 226 Responses

We’re happy to see you guys are enjoying the polls! We appreciate all of you! <3

Thanks again to everyone who participated! We’ll see you again in April!

#snk poll #snk spoilers #snk s3 #poll results

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upontheshelfreviews · 6 years ago

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Merry Christmas everyone! To conclude this month of merrymaking we’re looking at an animated Christmas cult classic that I have a bit of a soft spot for. But perhaps it’s best to start at the beginning:

ETA Hoffman’s “The Nutcracker and the Mouse King” is one of my favorite fantasy stories, though chances are you’re more familiar with the famous ballet by Tchaikovsky that it inspired. The music is gorgeous and instantly recognizable, but few know the actual story of The Nutcracker beyond what your average community production rolls out every December. Much of the plot plays out like a variation of Beauty and the Beast with a protagonist akin to The Wizard of Oz’s Dorothy and story elements that wouldn’t feel out of place in a Grimms’ fairytale. Sadly, most of those details were lost in the translation from book to light holiday entertainment. Not that I’m complaining, I love the ballet, but there’s so much more to its origins that people aren’t usually interested in delving into.

I say all this because today’s movie, The Nutcracker Prince, is one of the very few filmic adaptations that pays faithful tribute to both its source material and its theatrical counterpart. In spite of – or perhaps because of – the popularity of the ballet, there’s been only a handful of film versions of Hoffman’s The Nutcracker (or at least a handful compared to something like A Christmas Carol). How good you find each of them to be depends upon your taste and the production value. I’ve found remarkably little about the making of this particular adaption, but that probably has to do with the fact that it was barely a blip on the box office radar. Released through Warner Brothers (which itself would issue another Nutcracker movie starring Maculay Culkin six years later), this was the only full-length animated feature created by Canada’s Lacewood Productions. A shame, really, because looking at The Nutcracker Prince you can see the studio’s potential. But thanks to the home video circuit, the movie has found a new life as a nostalgic Christmas classic for 90’s kids like myself. Let’s unwrap the reasons why, shall we?

If there’s one thing I appreciate about The Nutcracker Prince, it’s how it plays around with the music order to emphasize a scene’s mood rather than slavishly follow the original score. Instead of the recognizable jovial overture piping over the main titles, we have the Snowflake Waltz from the finale of Act 1, building an aura of mystery and magic to lure us into the story. A series of cross-hatched stills introduce us to our cast and characters, and I tell you, when you recognize these names you will not be able to look at this movie the same way. If I told someone that Anne of Green Gables, Jack Bauer, Lawrence of Arabia, Jimmy Neutron’s grandma and several prominent cast members from Canada’s Saturday morning fixture The Raccoons shared the screen together once, they’d think I was crazy, but as you’ll see it’s the honest to Zeus truth.

Our story begins proper with Clara Stahlbaum (Meagan Follows) and her younger brother Fritz delivering last-minute gifts to their neighbors on Christmas Eve. They race through the icy streets of Germany until they reach the shop of eccentric family friend Uncle Drosselmeier (Peter Boretski), a clockmaker and expert craftsman of mechanical toys. Drosselmeier greets the children and they invite him to come light up the Christmas tree with the family, but he enigmatically tells them he has to prepare for his nephew. This comes as news to Clara and Fritz, since they’ve known Drosselmeier for their whole lives and have never heard him mention a nephew before. Drosselmeier sends them on their way promising he’ll be at the Stahlbaum’s party that evening. Once they’re gone, he hints that there may be something magical in the air this Christmas…

“Blasted pixie dust everywhere! Once the holidays are done I’ve got to get the place fumigated!”

On their way home Clara and Fritz debate what Uncle Drosselmeier’s big annual present he makes for the family will be this time. Fritz, the little future warlord that he is, wishes for a working fort with a mechanical army, while Clara dreams of an enchanted garden where swans in golden necklaces glide across the water. This conversation is a little holdover from the Hoffman story that I like. One of the most difficult challenges every writer faces is writing natural sounding dialogue for children; while Hoffman’s dialogue is a bit stilted by the conventions of the era, the meaning still comes through. Fritz laughs at Clara’s fantasy but because he finds the idea of swans wearing jewelry more ludicrous than a magic garden, which is how an ebullient boy like him would think.

Back at the Stahlbaums, preparations for the Christmas party are underway. The parents give their children their presents: older sister Louise (who’s often excised from other adaptations) receives a pretty new dress, Fritz a hobby horse and toy soldier gear, and Clara a pair of ballet slippers and a new doll she christens Marie. I have to wonder if this is some kind weird in-joke since in the story, the main character is called Marie and the doll she receives is the one who’s named Clara. What happened during the process of making this movie that resulted in their names being switched? Clara is thrilled since these slippers bring her one step closer to her dreams of joining the royal ballet, but feels a touch bemused when she overhears her mother getting choked up at the notion that this may be Clara’s last doll.

The party arrives, including Louise’s boyfriend Eric. Clara and Fritz tease the lovebirds (though to be frank, anyone who wears a powdered wig twelve years out of fashion to something that isn’t a costume party deserves to be ridiculed) but something about their shared intimacy stirs something within Clara. This on top of the adult party guests commenting on how fast she is growing marks her entrance into that state of melancholy and confusion that comes from standing between childhood and adulthood and not knowing where you belong. Clara’s age is never mentioned though I suspect she’s roughly twelve or thirteen, right on the cusp of adolescence and about the time where that mindset begins to sink in. She still plays with dolls and treats them like they were alive, but imagines a future as an adult. There’s a growing sadness over the impending decision between the two that she subconsciously acknowledges through her playing with Marie. This theme isn’t present in the Hoffman story (Marie is a confirmed seven year old in the prime of juvenescence) but it’s been incorporated into the Maurice Sendak retelling a couple of years prior to The Nutcracker Prince and I like its inclusion here as well.

“I wonder if this is anything like what my pen pal Wendy went through with that Peter boy…nah, you’re overthinking it, Clara.”

But there’s no time for her to ponder the implications as a crack of thunder, gust of wind and explosion of fireworks marks the arrival of the final party guest – Drosselmeier. He comes bearing his greatest creation, an enchanting music box castle complete with marching soldiers, seven swans a-swimming, and figures dancing inside the ballroom. In another humorous scene from the original story, Clara and Fritz fawn over the castle while frustrating Drosselmeier with their requests to make the automated figures do more, leading him to go on a brief “kids today don’t appreciate shit” rant.

As the party guests waltz to the strains of more Tchaikovsky, Clara wanders by the tree and spies a present she hadn’t noticed before – a nutcracker in the shape of a soldier. He’s not the most handsome toy in the box, but there’s something charming about him that she is drawn to. Drosselmeier confesses that he’s just part of his gift for the family and demonstrates how he works. On seeing the Nutcracker, Fritz wrestles him out of Clara’s arms and insists he has a go. But because there are no nuts left, he tries one of his toy cannonballs and breaks its jaw. Drosselmeier cheers Clara up by telling a story of how the Nutcracker came to look as he does. And this is where things get…weird.

Now I don’t mind the inclusion of the story-within-a-story. I’m happy they go into how the Nutcracker was cursed unlike most other versions, and there’s some good gags thrown in that make me chuckle. It’s how they go about it that I take some issue with. First, look at the movie’s style looked so far.

The character designs are clearly inspired by Disney – big eyes, soft rounder faces, realistic body proportions for the main characters, only slightly exaggerated for the lesser ones. The backgrounds are warmly lit and richly detailed, like an early work by Thomas Kincade. Overall it feels like something out of a classic storybook.

Now here’s some screencaps from Drosselmeier’s story.

“All right, who changed the channel to Cartoon Network?”

The scene doesn’t even look like it’s from the same movie. It goes from feature film quality to a Saturday morning cartoon, and that’s not entirely coincidental. Lacewood Productions grew out of Hinton Animation Studios which primarily made, you guessed it, cartoons for tv. And Hinton Animation itself had its roots in Atkinson Film-Arts, the studio that produced The Raccoons, hence why some of the cast makes appearances. But because I couldn’t find anything on the making of The Nutcracker Prince, we’ll never know if they went this route because the budget ran out, or the animators didn’t feel comfortable drawing the entire movie in the Disney house style and worked out some kind of compromise, or they just wanted the reveal of the Nutcracker’s human form at the end to be an even bigger surprise. Given some time and creativity they might have been able to come up with something better. You could argue this is how Clara envisions the story playing out in her head, but I don’t think a child from the 1800’s would imagine a fairy tale in the style of Danny Antonucci. In fact, if you played music from Ed Edd and Eddy over this part it wouldn’t feel out of place. Everything is played up for nothing but laughs, not even the Nutcracker’s transformation into a lifeless object, which should be an emotional gut punch. And I’d be ok with all this if it was a short sequence, but it lasts fifteen minutes. That might not seem like long, but since this movie is only seventy-five minutes that means it takes up a good portion of its first half. Plus the cuts back and forth between the story to it being told reminds you of how jarring the whole sequence is compared to the rest of the film.

But on to the story itself. Drosselmeier’s tale takes place in a faraway kingdom belonging to a King who I can only describe Yosemite Sam in his golden years right down to the ornery western accent (it wasn’t until doing my research that I discovered he’s voiced by the Texan monster from the Beetlejuice cartoon which certainly explains it), an extreme doormat Queen, and their daughter, the “beautiful” but very spoiled and unfortunately named Princess Pirlipat. They have in their employ a world-famous clock maker and magician coincidentally also named Drosselmeier and his apprentice, his shy nephew Hans (Kiefer Sutherland).

“Patience, friends. The joke you’re all expecting is coming.”

The occasion on which this flashback takes place is the King’s birthday, and the Queen has put in an order for a cake made out of his favorite food, blue cheese (would that make it a blue cheesecake?) This has the unwanted side effect of drawing out every mouse in the palace. Led by the Mouse Queen (legendary comedienne Phyllis Diller) and her dimwitted son (Mike MacDonald), they pounce upon the cake just as the Queen is putting on the finishing touches.

With no time left to make a new cake, the Queen is forced to send it out to the King and his party guests. This disaster is almost salvaged by a sycophantic Emperor’s New Clothes-style response to the dessert, but Pirlipat ruins everything by whining how she refuses to eat that repulsive offal. The King promotes Drosselmeier to the post of Royal Exterminator and soon all the mice are caught – except the Mouse Queen and her son. She takes her revenge out on Pirlipat; using her dark magic she curses the princess with extreme ugliness, cementing it with a bite to the foot.

Oh please, that’s just Kellyanne Conway before her makeup.

Eager to blame somebody for Pirlipat’s state, the King is ready to execute Drosselmeier until the Queen suddenly intervenes and begs him to consider giving the clockmaker some time to reverse the curse. It was at this moment I realized the King and Queen here are like if the monarchs from Alice in Wonderland had their personalities switched. They even have the same body types as their Disney counterparts.

The King reluctantly acquiesces, but gives Drosselmeier and Hans no more than…well…did I already mention Kiefer Sutherland is in this movie?

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“Your obligatory reference humor, all wrapped up in one neat package. Merry Christmas!”

So Hans and Drosselmeier study the princess to figure out a way to break the spell, not helped by Pirlipat’s constant ear-bleedingly grating crying. Her only comfort is Hans feeding her nuts he cracks for her himself. Inspired, Drosselmeier researches well into the night and discovers the cure for Pirlipat’s condition – the Krakatooth Nut, the hardest nut in the world. It can only be cracked open by a young man who’s never shaved or worn boots and they must take exactly seven steps to and from the person they’re feeding the nut to with their eyes shut and without stumbling, which even by fairy tale logic is some damn arbitrary rules.

The King invites noblemen from around the world to crack the Krakatooth with the promise of marrying Pirlipat and becoming heir to the kingdom if they succeed, though he has them and the rest of the court blindfolded so they won’t be scared off by her hideousness. Unfortunately each man who makes an attempt winds up with a mouth full of broken teeth. The Mouse Queen, confident in her evil plan, watches the misery play out with delight. Hans, however, decides to give it a try, and to Drosselmeier, the royal family, and the Mouse Queen and Prince’s surprise, he succeeds. Pirlipat is transformed back into her normal, terrible old self, however the court is too busy fawning over their restored icon to notice what happens next.

Enraged over being foiled, the Mouse Queen casts a curse on Hans to make him “the prince of the dolls”. Before he can take his final step backward, she bites his foot and he is transformed into a wide-smiling nutcracker. In his new form he accidentally knocks over a line of busts domino-style, the last of which the Mouse Queen is too late to escape from. I love it when villains are hit by instant karma. Alas, Pirlipat takes one look at Hans and refuses to marry a doll that’s not even half as ugly as she was moments ago.

Yep. Totally unmarriageable material.

On seeing his prospective son-in law for himself, the King accuses Drosselmeier of trying to trick his daughter into marrying one of his contraptions. He has the poor guy who’s shown nothing but years of loyalty and service to his outlandish demands banished forthwith while he and his wife and daughter celebrate their own selfish victory. I always hated how they never earned some kind of punishment for their behavior, but considering the boundary-shifting turmoil Europe endured before, during and after this tale was written, it’s more than likely these foolish monarchs will get what’s coming to them in the worst possible way down the line.

Enjoy your power while you can, assholes. Come the Napoleonic wars, you’re all royally screwed.

As for the Mouse Prince, he mourns his mother for all of ten seconds before realizing her death makes him the new Mouse King. He declares to Drosselmeier that he’ll have his revenge on the Nutcracker – not for killing mommie dearest but for smashing the end of his tail when the busts fell and making it go crooked.

With the story done, we abruptly return to the party and Clara expressing her disappointment in Hans’ unfair fate. Drosselmeier assures her that while Hans may be stuck as a Nutcracker, he’s still the rightful ruler of the magical kingdom of the dolls and the spell over him can be broken, but only if he defeats the Mouse King and wins the hand of a fair maiden. I love Clara’s reaction to this; she rolls her eyes and wonders why all fairy tales have the same solution.

Long after the party has ended and the Stahlbaums are fast asleep, a restless Clara sneaks downstairs with her kitty Pavlova to check on her Nutcracker. She introduces him to his new subjects, her toys – Marie, her old matronly doll Trudy, and Pantaloon, the ancient captain of Fritz’s toy soldiers. Taken by a music box’s melody, Clara shares a romantic song and dance with the Nutcracker to the tune of the Waltz of the Flowers, not unlike the one Louise and Eric had earlier.

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And for those of you watching, yes, Clara is clearly rotoscoped when she’s dancing. I’m not against rotoscoping as long as animators don’t rely too heavily on it (COUGHBAKSHICOUGH), though the use of it here as well as in one other scene emphasizes how uneven the rest of the film’s animation is under scrutiny. I do wish there was a full version of this song somewhere though because it’s quite pretty.

The music comes to a sudden halt as Pavlova breaks an ornament. Clara quickly stashes the Nutcracker our of fear of being caught out of bed, but before she can return upstairs she’s startled by the famous ghostly image of Drosselmeier atop the grandfather clock in place of the decorative owl, his cloak billowing out like wings. He showers the entire parlor in pixie dust, and goofy-looking mice armed with forks and needles pop up from of every crevice. Pavlova scares them away from Clara until one arrives to scare him back – the Mouse King, looking far more intimidating than he did in the flashback.

One is an animation student’s design project, the other is Ratigan’s cousin. Would you believe they’re one and the same?

Drosselmeier also douses the toy cabinet with his magic and brings them all to life. The Nutcracker is woken up and, having no idea of what’s happened since the incident with Pirlipat, quickly has to come to grips with his new form and the fact that a sociopathic mouse has sworn a vendetta against him. And you thought the Hangover guys had it bad. Marie and Trudy plead him to take up his mantle as Prince of the Dolls and fight despite his inexperience. Fritz’s soldiers vow their loyalty and Pantaloon (voiced by Peter O’Freaking Toole) is made second-in-command. Though rather than do any actual fighting the old coot drones on and on in Shakespeare references.

“So we’re not watching Ratatouille Peter O’Toole so much as Man of La Mancha Peter O’Toole. Imagine my delight.”

Actually, like the Marie/Clara name switch before, I have to wonder if this odd characteristic of Pantaloon is another subtle in-joke or reference towards the original story. Hoffman was a big Shakespeare fan and often referenced him in his writings, including The Nutcracker. In the book when Fritz’s soldiers desert the battle, the Nutcracker cries out the famous line from Richard the Third, “My kingdom for a horse!” (paired down here to a simple “Come back!” when the toy horses run free). In a weird way, having Pantaloon riff on Shakespeare is a nod to Hoffman. On top of that, one of his first lines is “All for one and one for all”, which everyone remembers from Alexandre Dumas’ The Three Musketeers. Years after Hoffman’s Nutcracker was published, Dumas wrote his own version of the story which is the lighter, softer one that the ballet takes the most cues from. So whether or not this was intentional is up for debate, but if it was I give the writers all the credit in the world for honoring both authors of The Nutcracker in such an obscure and subtle way.

The battle between the mice and the dolls promises to be an exciting one. The problem is once it gets going, it’s so wildly unfocused. The mice and dolls run around each other aimlessly firing and flailing at will. Clara could end all this just by kicking the mice to the other side of the room, but she just stands to the side and giggles at everything happening. Then there’s Marie, who in spite of Trudy strongarming her into helping the fight barely does anything other than scream in a stereotypical Southern accent and complain about how all this fighting is spoiling her complexion, like if she were a more spoiled version of Princess and the Frog’s Charlotte LaBouff. She’s marginally more tolerable that Pirlipat. Granted she does have one funny moment where her dress gets splattered with cheese and that’s what pushes her into a violent rage against the mice.

“And you will know my name is the Lord & Taylor when I lay my vengeance upon thee!”

Anyway, the mice hold down Nutcracker long enough for the Mouse King to have a go at killing him. Clara finally intervenes, throwing her slipper at the Mouse King and knocking him off his high toy horse. But she slips on a marble into the clock and falls unconscious.

Clara wakes up back in her bed on Christmas morning, her head wrapped up in bandages. Nobody believes what she saw the previous night, owing her delusions to a fever sustained from her injury. Drosselmeier pays Clara a surprise visit and presents her with a newly fixed Nutcracker. Grateful as she is, Clara calls him out for not doing anything when his own nephew was in danger, though Drosselmeier states he’s not the one who has the power to save him. Clara’s mother insists she stay in bed and do nothing for the rest of the day, which, come on Mom. Worst Christmas ever.

That evening the Mouse King also pops into Clara’s room to return her slipper. Awfully decent of him, all things considering. After making more big talk about how he’s gonna turn Nutcracker into a pile of splinters, Clara lures him into her drawer with the promise of some chocolates Fritz left her earlier and traps him in there. She flees downstairs to hide Nutcracker, but the Mouse King has mastered offscreen teleportation and threatens to kill Pavlova if she doesn’t hand him over. The owl on top of the clock changes into Drosselmeier and once again he brings the toys to life. This time it’s just for moral support as Nutcracker and the Mouse King battle mano-e-mouso up the Christmas tree. It’s a big improvement over the first battle. There’s more focus since it’s just the two of them fighting and there’s creative use of the terrain and presents around it. My one complaint is that Nutcracker doesn’t drunkenly tackle the tree itself at one point, but we can’t have everything we want for Christmas.

Whomsoever pulls the sword from the spruce shall become king of all Toyland! Oops, wrong mythos.

At one point the Mouse King nearly runs through a defenseless Nutcracker but Pantaloon bravely intervenes at the cost of a nasty back wound. Finally, Nutcracker delivers the killing blow and the Mouse King’s body crashes to the floor. The mice scatter and the toys declare victory. But Pantaloon’s batteries are about to expire, and since the Stahlbaums out of double-A’s the only way to save him is to get him to the Land of the Dolls; the gate to which is coincidentally right through Drosselmeier’s castle. Nutcracker eagerly invites Clara to join them, and after saying some mysterious something or other about time, Drosselmeier shrinks her down to their size with magic. They enter the castle, and Pavlova goes to inspect the Mouse King, which, for a decomposing corpse, seems to be growling an awful lot…

In the castle Marie gets sidetracked by the waltzing gentlemen while the rest continue on. They reach some lovely winter gardens where the snow is made of coconut icing and the royal swans Clara has fantasized earlier wait to take them on their journey. Since Marie is too late to join them, she has to settle for being dragged through the air on a common mallard.

Still better than flying United Airlines.

The swans soar over a forest of Christmas trees up to the stars and through a magical waterfall that changes Clara and Nutcracker into attire befitting royalty and restores Pantaloon to health. They all land at a beautiful palace made of sweets where Nutcracker’s subjects give them a warm welcome. Clara and Nutcracker head out on to the ballroom floor to dance to my favorite piece from the ballet – scratch that, of any classical composer – the achingly beautiful Pas De Deux.

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Like Clara’s solo before, the choreography is rotoscoped, but they’re much more clever at hiding it this time around. The dancing plays out like a dreamy montage with the moves fading in and out from one another, alternating between pink and blue silhouettes, minimally colored full-body shots, and more detailed animation reserved for closeups. There’s also an old-fashioned Vaseline-on-the-lens-style filter on, the kind normally reserved for romantic moments from Hollywood’s golden age which befits the tone they’re going for.

With the dance done, Nutcracker asks Clara to stay with him and rule the Land of the Dolls forever. Clara is sorely tempted, but something holds her back from saying yes. The idea of living in a candy castle with her dream prince and childhood friends is too good to be true, a perfect happy ending. And that’s just it – an ending. Clara has dreams beyond that will never come true if she settles, dreams of seeing the world and being a prima ballerina which can only happen if she chooses to grow up, and she wants to in spite of how much she’s fallen in love with Nutcracker. It would have hit harder if this theme of choosing to mature vs. clinging to girlhood was explored more throughout the movie, but the point still stands.

Now that the desire to grow up has taken hold, Pantaloon, Marie and Trudy change back into ordinary toys, the spark of life bestowed by childhood imagination put out. One by one, the denizens of the doll kingdom drop like flies, their number growing as Clara keeps justifying her refusal to stay.

And as if things couldn’t get any worse, guess who crashes the party?

Ohhhhhh shiiiiit….

Up to this point the Mouse King was a comical villain who was difficult to take seriously. But now here he is like Ratigan in the final act of The Great Mouse Detective, bereft of his senses and embracing his inner animal. His chest wound is still bleeding, his breathing is ragged, he doesn’t even talk, and he shuffles forward like a zombie, but nothing holds him back his single-minded pursuit of Clara. You can’t even tell if he’s going after her because he recognizes the part she played in his eventual demise or he’s desperate to stick it to Nutcracker before he drops dead. Hell, maybe in his near-death state he’s so delusional that he thinks Clara IS Nutcracker. That makes it even more terrifying; he knows he’s dying but refuses to go without taking someone, anyone out with him in as violent a manner as possible.

The circle-eyes kind of kill it for me, though. I mean, when a bad guy or monster is cornering you in their final moments, which gaze is more threatening – bloodshot, glowing and blank, or colorful cartoon rings? Unless their name is Judge Doom, the answer should always be the former.

Defenseless, all Clara can do is pelt dessert at him. But it’s only delaying the inevitable. And when Nutcracker tries to help, the change slowly and painfully takes over him and he is forced to watch as his mortal enemy corners his true love, resulting in the most arresting visual of the movie.

Nutcracker gasps out Clara’s name one last time and morphs fully back into wood. A single tear remains on his face, the only sign he was ever truly alive.

The Mouse King traps Clara on the balcony, lunges at her and goes over the railing, finally taking himself out with a classic Disney villain fall. Clara pulls herself back up and sees the palace is now completely abandoned and filling up with mist. She cries desperately for her Nutcracker as the final heartrending strings of the Pas De Deux play, and the scene to slowly fades to black.

This scene…this whole scene from the moment the Pas De Deux began…how it got me when I was a kid. It broke my heart and did an echappé all over the pieces. Everything from the visuals to the acting and especially the music still punches me in the feels. For all my gripes about the inconsistent animation, this is the part of the movie where it absolutely shines. And thanks to the ramped up tension that follows every note, I’ve always associated this piece of Tchaikovsky’s score with poignant dramatic moments. Say what you will about the past hour of this movie, it is worth it for this excellent emotional climax.

Fritz bursts into Clara’s room startling her awake and declares Pavlova killed a crooked-tailed mouse by the clockwork castle. Clara dashes downstairs to the toy cabinet but finds Nutcracker is gone. She sprints out of the house straight to Drosselmeier’s shop. Oddly enough, he seems to be expecting her. Clara begs Drosselmeier to tell her if the story about the Nutcracker and the Mouse King is true for the sake of her sanity. But then, a handsome young man enters from the other room.

Drosselmeier introduces him as his nephew, Hans. Despite this apparently being their first time meeting, Hans greets her with familiarity, even bowing to her just as her Nutcracker Prince did. And his voice is one Clara would know anywhere. She in turn gives the perfect response.

“Hello…Nutcracker.”

If the climax already left me nearly speechless than the finale takes whatever little words are left straight from my mouth. As far as endings go it’s near flawless. I’d say The Nutcracker Prince borrowed from Disney’s Beauty and the Beast if it weren’t for the fact that it came out the year before Beauty did. Like The Wizard of Oz, it knows how to leave you on an emotional high note. While it’s supposed to be ambiguous, it’s the kind where deep down you just know the real answer without any explanations given.

“Though I can only imagine how awkward it would have been after she said that if it did turn out to be a dream.”

“SHUT THE FUCK UP CYNICISM YOU WILL NOT RUIN THIS MOMENT FOR ME!!”

And because this was the 90’s, our end credits play over another Oscar-bait power ballad, this one being loosely inspired by the Waltz of the Flowers. Not one of the best, but still a good one to close the film on. Enjoy!

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I honestly feel a little bad critiquing The Nutcracker Prince because at the end of the day it’s a fantasy, and fantasies play by their own emotional nonsensical surrealistic rules. It’d be like if Cinema Sins tried to blast a Jean Cocteau flick (and knowing those bastards’ egos they will if they haven’t already). Sure the characters aren’t the most deep, there’s some fluff in the story that could have been put to better use and the animation is inconsistent (characters go wildly off-model and if you pause at the right moment you’ve got plenty of fodder for the “DIDNEY WORL” meme) but when they get it right it’s wonderful. I’d say this and the obscure stop-motion version done by Sanrio (yes, the Hello Kitty factory) make for the most faithful and interesting retellings of The Nutcracker out there. I credit The Nutcracker Prince along with the Nutcracker Suite segment of Fantasia for introducing me to this magical music and story in the first place. I watched the tape quite a bit up until it got lost in the home entertainment shuffle, and enjoyed seeing it several times on the Disney Channel and Toon Disney during the holidays (and the occasional Christmas in July marathon). It’s not perfect, but hey, it wouldn’t be the holidays if you didn’t enjoy at least one imperfectly animated special that hits you over the head with nostalgia feels. Some people have Rankin-Bass, I have The Nutcracker Prince. And I hope the next generation will embrace it too.

Merry Christmas, and thank you for reading! Do you have a favorite version of The Nutcracker? Let me know in the comments! If you’d like to support me and see more reviews, consider supporting me on Patreon.

I’ll see you in the new year with Abby Kane’s requested review of Disney’s Pinocchio – that is, if my special Christmas present doesn’t keep me from finishing it on time (you’re going down, Ridley!!)

Artwork by Charles Moss.

Christmas Shelf Reviews: The Nutcracker Prince (1990) Merry Christmas everyone! To conclude this month of merrymaking we're looking at an animated Christmas cult classic that I have a bit of a soft spot for.

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rebeccaheyman · 4 years ago

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reading + listening 10.20.20

My review is a day late because I allocated some of my weekly reading time to binge-watching ENOLA HOLMES on Netflix (based on a book, so had to check it out). What a charming, beautifully constructed, well-acted show! The closer we get to Election Day, the more easily-consumable content I need, which basically means non-stop Bake Off and/or novel adaptations from here to November 3rd.

Without further ado, my reviews:

All Stirred Up (Brianne Moore), aBook (narr. by Mary Jane Wells). I actually ended up receiving an ARC of this audiobook last week, despite the fact that the release was earlier this month. Not sure exactly how that happened but here we are all the same! My 3-star review from NetGalley:

I confess I chose this title based almost entirely on the fact that it's narrated by Mary Jane Wells, one of my favorite narrators of all time. MJW could narrate the phone book and I'd probably give it a fair listen, but luckily her material in Brianne Moore's ALL STIRRED UP is considerably more dynamic--not to mention a perfect canvas for MJW to flex her range, accents, and humor.

ALL STIRRED UP is pitched as _inspired by_ Austen's Persuasion; it is NOT pitched as a Persuasion retelling, which seems to have escaped several other reviewers. The trendiness of Austen comps has made me wary of contemporary titles that lay claim to a comparison, especially since many of them are so atrocious. I would much rather see Alcove and Dreamscape market this title around more realistic comps: SCHITT'S CREEK meets DON'T YOU FORGET ABOUT ME, with a helping of GREAT BRITISH BAKING SHOW heaped on for good measure. Like Mhairi McFarlane's work, ALL STIRRED UP features a slow-burn, second-chance romance, and two protagonists who have a number of personal demons to excise before they can get to the business of loving one another. The plot largely relies on external, non-romantic conflict to move forward, but Susan's family drama touched on compelling (if at times heartbreaking) issues that brought the Napier clan to life in brilliant detail.

Make no mistake, the romance itself is not the central conflict here; marketing should stress that this is contemporary fiction and/or women's fiction. While the history between Susan and Chris gives rise to emotional tension throughout the book, their relationship is NOT the central conflict -- and therefore this is not a category romance. I stress this because a good number of reviews seem to dock stars for the fact, but the book delivers on its promises if you actually read the blurb. Again, marketing might have considered a cover that doesn't lean so heavily on romance cues (feature more of the Napier family, feature Susan alone, accentuate the dueling restaurants rather than their owners, etc).

I was mostly charmed by ALL STIRRED UP, despite some emotional blows from parent/grandparent/friend deaths (in the past, not in the action proper), former drug abuse, and depictions of an anxiety disorder/ptsd. Ultimately, I found this novel heartfelt and uplifting, with the added bonus of authentic-feeling foodie content. MJW's narration is absolute perfection, and I hope we get more Moore/Wells collabs in the future.

The Project (Courtney Summers) eBook ARC (pub date: February 2021). Slam-dunk five-star read from my favorite suspense author. My review on NetGalley:

Few writers do suspense as artfully as Courtney Summers; years after reading SADIE, I can still easily recall the tense, aching anxiety I felt while reading it, and my heartfelt sadness at its conclusion. Summers' latest, THE PROJECT, delivers big when it comes to tension, aching anxiety, and heartfelt sadness all -- but it is also a masterclass in dual timeline structure, emotional depth, enigmatic characterization, and subtlety.

Lo's and Bea's relationships to one another, as well as The Unity Project and its mysterious leader, Lev Warren, propel the action of the novel forward. Lo sets out to answer a central question: Where is Bea? And second to that, is The Project a good-works-driven charitable organization, or a cult of personality with a dark underbelly? The more Lo uncovers about The Project, the less clear its purpose becomes -- while at the heart of it all stands Lev Warren, Redeemer and redeemed, lover and beloved.

Summers is one of those very rare authors writing true "crossover" -- fiction that could be as easily assigned to YA as adult audiences. To limit THE PROJECT to either category would be to deny its importance to both. About young readers, Summers recently wrote in a PW article, that they inhabit "a world where the cost of their education could be the bullet that kills their dreams, a world where they’ve witnessed the gross government mishandling of a pandemic, a world where the brutal killings of Black Americans at the hands of police go largely unanswered for, and a world where the flagrant disregard of their future by politically powerful climate change deniers is pulling us ever closer to a global crisis from which there will be no return." Lo's life reflects the complexity of today's young adult experience without dragging the specifics of _now_. The result is nuanced portrait of a young woman living a decidedly adult life, rarely of her own volition, and with the added complication of a traumatic history.

THE PROJECT is an up-all-night, read-til-its-done page-turner that kept me guessing to the end (and I'm hard to surprise!). I'm hopeful that Netflix will pick this up for series development, as it would utterly crush when translated to the screen. Looking ever so forward to more from an author who just gets better with every release.

From Blood and Ash (Jennifer L Armentrout), eBook. Imagine if you would the most reductive, hackneyed mash-up of SJM and Twihard, and you’ll get close to understanding what FROM BLOOD AND ASH is all about. For several days last week, it felt like the readers I follow on social media were obsessing over this book; they praised the OTP romance, dynamic world-building, and nonstop plot. But what I found instead was a poorly developed world rife with all the old familiar tropes, a romance that brings up serious issues of consent and gaslighting, and reliance on poorly reinvented plot lines from better trashy fantasies. Le sigh.

Perhaps it’s my old age, but I’ve lost my taste for books that spend significant time and narrative space developing the in-world cultural, social, political, and religious structures, only to “gotcha” the hero(ine) and reader by revealing it was aLL a LiE. This book does that in last-gasp attempt to salvage some conflict late in Act III, and it’s not okay.

Also not okay is the power imbalance between the heroine and her very-obviously-the-mysterious-baddie-no-one’s-ever-seen counterpart. Review after review praises the hot heat in FBaA, but I couldn’t get past the hate-banging. Men who yell TELL ME YOU WANT THIS while practically inside their partners are not enacting a sexy, heroic, impassioned version of consent; they’re just ticking a box for “not rape” that has nothing to do with actual desire. It’s a hard pass for me.

This was almost as much of a letdown as Serpent & Dove, but both titles can battle it out for Most Derivative Trash Fantasy 2020.

The Bromance Book Club and Undercover Bromance (Bromance Book Club #2) (Lyssa Kay Adams), aBook (narr. Andrew Eiden, with Maxwell Caulfield on book 1). I snagged the first of this series from my library’s digital collection when I was looking for some easy listening over the weekend, and I’m so pleased to tell you this is an incredibly charming series. Adams turns some familiar romance tropes upside-down by focusing on a group of men (the titular book club) who read romance novels -- aka manuals -- to better understand their relationships with women. This hunky group of alphas has a collectively soft underbelly; they live by the lessons gleaned from the romances die-hard readers love, such as “always run for a grand gesture” and “back story is everything.” In Bromance #1, we have excerpts from a regency romance interwoven with the primary narrative, which focuses on Gavin and Thea’s almost-totally-broken marriage. Do I wish the major marital conflict had less to do with orgasms? I do. But was it a fun, intriguing, well-narrated listen with a great secondary cast and some bona fide laughs? It was. Positive rep for speech impediments added to the magic. In Undercover Bromance, Mack and Liv work the enemies-to-lovers trope to fairly great effect, though the story touches on some troublingly dark topics (CW for sexual predation, murder, domestic abuse, abandonment, childhood trauma). Still, both Liv and Mack bring some unexpected features to the narrative, and it’s great to see the dynamic secondary cast further developed from book 1. My only real complaint is the forever-dull “dead cell phone” gimmick late in Act III. I can forgive Adams this one hackneyed indulgence, though I hope she doesn’t make a habit of it. Book 3 in this series (Crazy Stupid Bromance) release October 27, and the cat/hunk/romance novel featured on the cover is all the motivation I need to preorder.

#all stirred up #the bromance book club #undercover bromance #from blood and ash #the project #netgalley #book review #romance #fantasy

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popculture-etc · 5 years ago

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Re-examining Rent the musical and the movie musical in the height of COVID 19

I write this entry as I listen to Will I and Finale B of the movie musical sound track on some sort of eternal loop, yes.

Let me open this entry with my favorite lines from Finale B:

“There’s only us, there’s only this. Forget regret, or life is yours to miss. No other road, no other way. No day but today.”

“Will I lose my dignity? Will someone care? Will I wake tomorrow from this nightmare?”

“There’s only now, there’s only here. Give in to love or live in fear. No other life (or is it ‘time’? haha), no other way. No day but today.”

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It was some time between 2005 and 2006 when I stumbled upon Rent the movie musical on DVD when DVD rentals were still high in demand. At first, the cover got me into it---I have a weakness for pop art and the cover for this is very, well, pop art the likes of Andy Warhol and Jean-Michel Basquiat. A very fitting cover for its just as colorful, free-spirited contents was what ended up in my thoughts when I finished watching it and later found out, like now, that I’d be just as up to revisiting this one as I had formed a momentary obsession of this way back when. If that makes any sense.

You see, as much as I appreciate classics, I get bored by them so easily. I’d studied some classical singing and the piano from some time late high school to early college. Music studies were my stress-reliever from everything to do with school and studying for the (my?) future. So after some musicals like Les Miserables, Miss Saigon---this was like, super hot and still is until now because it’s something about south east asia, which is a rarity in the western-dominated musical world---and a few others like Phantom of the Opera (I had a somewhat attachment to this one as well, way back), I’d finally found a musical that’s more me: Rent. It’s music is pop-rock, it’s message: very liberating, eye-opening, perspective-changing or broadening. LIFE-CHANGING.

So I was maybe in my late teens to early 20s when I got into Rent that’s a musical loosely based on...or to me, it’s more of a modern day, at the time this was conceived, American retelling of an opera titled La Boheme by Giacomo Puccini (1896). Its writer, Jonathan Larson had a knack for adapting literature and older forms of art into stage play much like his predecessor and role model, Stephen Sondheim (fun fact! La Vie Boheme, one of my favorite songs from this stage play mentions Sondheim :D). One thing I’m still sad about until now is Larson’s untimely passing in 1996, a little time before Rent opened and started its run on Broadway. We lost a brilliant man to health mismanaged. A health condition of his was overlooked, undetected and therefore left untreated. Had it been the case, had this condition been detected early on and he’d been given the right treatment, surgery, he’d still have been with us now. Instead, fans like me have to let his legacy and memory live in his works that’s primarily Rent and the kids’ show I grew up with, having watched a lot of its episodes on TV as a very young kindergartner, Sesame Street. Well, weirdly, until now, no one really knows which songs on Sesame street has the Jonathan Larson stamp. All I really know of it is I knew the whole opening theme of it starting from “Sunny day, sweeping the clouds away...” as a kid. lol. A would-have-been as GREAT as Sondheim figure in American musical theater lost so early, taken prematurely from us here in the land of the living. I’m still sad about it, yes.

One thing about Rent that helped it and Larson make its mark in American musical theater and film musicals is it dealing with very controversial, at that time, themes. AIDS cases were on an all time high during Rent’s conception, it’s on a decline now in the US (it’s, however, at quite a record high, but not as high as COVID 19 cases now, here in the Philippines, too, according to my doctor father). Of course we know it’s seat in the East Village of New York. It was a rough time there then? I guess, we could say that. And as much of La Vie Boheme puts it, well it was quite a fun, tad bit chaotic still time. This were the few years or so leading towards 1996, Rent’s official staging in Broadway in New York City. Conservatives are likely still put off by Rent and if I showed this to my bff who’s the same, she’d probably shoved it back at me and shun its existence. But I digress, it’s a VERY timely play and movie musical. Especially very significant now that we have COVID 19 raging in our midst still.

A lot of the songs on Rent are very relatable still until now along with its characters. I love Mark Cohen, yes, but I love everyone else in the play and movie musical just as much and everything they stand for. Anyway, yes, very beautiful, and some quite haunting songs, this one has like this:

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Will I only has 4 lines but it makes you think of what’s next after everything you’ve been through or are going through. It’s, well, a good song for the depressed like me and I’m admittedly a functionally depressed someone. Such a powerful song, yes. You can also relate it to the COVID 19-ravaged world’s circumstance now, especially those that are suffering from the said disease.

There’s never been any more proper time to revisit this stellar musical immortalized on film as a movie musical that’s Rent than NOW. I’m sure you’re into kdramas now or some other, I am too...mostly err...variety shows on TVN but I implore you, if you’ve seen Rent, do revisit it. Or you can revisit it’s music. Protip: just skip the most recent version of it of Fox’s called “Rent: Live”. Some of it’s censored parts is why I don’t recommend it like most people who love the original staging and the move musical. You can read more about what went wrong with it here: https://thoroughlymodernreviewer.com/2019/01/27/rent-live-review/. Another article I skimmed about it mentioned how some words were replaced with derogatory, belittling ones that aren’t at all appropriate for an American modern, timeless classic art work like Rent. This felt, to me, like a half-assed attempt to censor sensitive parts of Rent that’s a failure that’s led to messing up in the delivery of the message that it originally contains, to its intended audience. So yeah...NOPE. Not that one. And I say this as I’d liked Vanessa Ann Hudgens way back on High School Musical. Yes. Well, I’m definitely one of those not following Rent: Live by Fox.

I’ll try to find time to re-watch this favorite musical of mine sometime soon. Maybe I can get others, some friends to watch it with me too. Haha. Yes. One day soon.

I’ll get around to watching some Sondheim too, after. West Side Story is definitely at the top of my list for this.

I’m not much of a theater-phile as of late nor have I ever been much of one but I thought I should pay tribute to Jonathan Larson and the very memorable and still timely Rent here at the height of COVID 19 today. So yeah, if you haven’t checked this one out, I very much encourage you to do so. :)

#musicals #i rarely am into musicals but i love Rent so...#Rent #Rent the Musical #Rent the Movie Musical #Rent the Movie #music of Rent #Jonathan Larson #significance of Rent in the time of COVID 19 #relevance of Rent #Rent remains relevant today yes #because I really cannot into other musicals other than the likes of Rent

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elianabwrites · 7 years ago

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Writing Tag

Hey guys! The lovely @edoqawa tagged me (two days ago …oops) and I am finally here to fulfill my tagging duties. Thank you so much for thinking of me while doing this!

I tag @elliewritesstories @zonfatima @writingblogbyrose @regius-rex-rgis@stackofnotebooks @robinbibliophile and if anyone else wants to do it then go for it!!

1. Do you write a specific genre or no? Which ones do you gravitate towards?

So, I don’t think that I stay to one particular genre but I find that fantasy/science fiction are somewhat easier for me and overall more fun.

2. What is your biggest pet peeve in writing?

Sometimes I feel like I don’t have the right vocab or language to accurately depict exactly what the mood is and mood is usually the most concrete concept I have on scenes which frustrates me to no end. Also, proper grammar annoys me because I can never remember it.

3. What do you believe is your biggest strength?

I’ve been told that I am good at descriptions and voice but that’s my voice and not my characters which is what I need to work on.(Darn me for having such a big personality)

4. What is the best book you ever read?

I don’t like picking favorites so I’m gonna name a few. Obviously I’m going to have to include Harry Potter but if I’m being honest, at this point of my life, I kind of love the Percy Jackson books a little more. Rick Riordan just has this lovely way of writing and it’s so fun and light hearted but still kind of heavy with death and evil and I just really love it so much. Then there’s Laini Taylor. Oh my god Laini Taylor. She is a Picasso of writers I swear. Her writing and characters and just everything is so beautiful I’m in love. Her Daughter of Smoke and Bone series and Strange the Dreamer are phenomenal 10/10 would recommend.

5. If your book was to be turned into a movie, who would you want to play your main character?

This is such a fun question!! I’ve actually been thinking about this for forever and I think Jessica Stroup, Silver from 90210, would be the perfect Tauri Berkley from my Anomaly Series.

6. What inspired you to write this story?

The Anomaly Series - I’m not sure anymore to be honest. I’ve had these characters for like 7 years and they just never fit into the stories I’ve given them like they do this one.

Blood Will Run - Blood smugglers called Vampires? I really have no idea where this came from. I was just laying in bed trying to fall asleep and then the idea formed and I literally jumped out of bed to write the idea down. Then, Kaia, Elowen, and Kamaria just keep opening up to me and the more I know about them the more my plot falls into place.

Unique Names Anonymous - I think I read a prompt about some sort of AA type group meeting up or something and I was naming characters for my sci-fi series so I was knee deep in weird names and it just kinda happened.

Prophecy … Not - Someone on my dash was complaining about the chosen one/prophecy trope and Matthias appeared in my mind insulting them in a snooty manner and voila story is born.

By Any Other Name - I’d been trying to come up with a story about past lives and it just wasn’t coming and then I watched a YouTuber who was writing a retelling and I was like oh. And then I wrote; “An Elizabeth by any other name is just as lovely, and I will love her forever more.” and I fell in love with Elijah. (Plus Time Travel is my dream superpower so I’m having so much fun.)

7. Do you have a method for writing? Is there a certain place you need to be in?

One thing I’ve noticed is that I need some sort of sound on in the background but it usually is a TV show like Law&Order SVU that I can just listen to for hours and not get caught up in the plot but sometimes music works too.

8. What is the best movie adaption of a book that you’ve ever seen?

The Harry Potter films by far. I’m still beyond upset about the Percy Jackson movies though.

9. What is your least favorite genre?

I’m not the biggest horror fan. I like dark but horror just doesn’t do anything for me.

10. And finally, what would you say to someone to get them interested in your story?

The Anomaly Series - A bunch of young adults force their way into changing their world against their guardian’s wishes. Plus there are soooo many pure friendships and parent-child relationships that are focused on and my characters are diverse and amazing and I love them? Halle and Tauri fuck shit up sm like Halle will be like “we should do this” and Tauri will be like “Umm isn’t that illegal.” and Halle’s just like “come on let’s go” and Tauri is all “Okayy.” But don’t think she’s a total door mat Tauri stands up for what she wants. And then there’s Reigan and Aunt Addy always judging them and admonishing them, so cute.

Blood Will Run - I am SO excited for this book. A rogue princess. Her plucky lady in waiting sidekick. Blood smugglers that are called Vampires. An incredibly strong and beautiful escaped slave. Shapeshifters and Mindmodifiers. Dragonflies that are actually mini-dragons. Kaia, my main character, is so strong? Like she is so secure of who she is and tells people so and does what she has to and takes nothing from no one? Have I mentioned that she’s transgender? I’m so proud of her. She’s like my idol. She’s a hero. Doesn’t care about what she’s supposed to do and just does what she wants, hoe she wants. I’m in fucking love with her?

Unique Names Anonymous - A light hearted contemporary about a group of people who met on facebook because they have weird names? What’s not to love about this? One character doesn’t know if it’s the Heimlich or Heineken maneuver and the other chokes even more because they laugh so hard. Lmfao I love these idiots.

Prophecy … Not - My main character Matthias is kind of a sociopath who has gone through so much trouble to send his self-proclaimed nemesis on a huge dangerous quest while he goes the easy way just to prove that he is better than him. Pettiest little shit I’ve ever met. Little strong blonde girl makes him soft though. Even though she’s always nagging him to be nicer and they’re always fighting and somehow her father is traveling with them too?

By Any Other Name - My heart already hurts and I haven’t even really started drafting this one. Elijah&Elizabeth/Edith are my OTP. She named her son after him even though she couldn’t remember him but her soul knew the name meant something? I’m emotional? If Khalil rolls his eyes at Elijah anymore they’re gonna roll out of his head. He was just trying to do his job and a psycho washed up in the Detroit River and now he’s explaining urinals to this crazy white guy? Here’s your Romeo and Juliet retelling with a happy ending.

Could I have made this longer if I tried? Idk probably. Anyway, here are my questions (some aren’t actually questions but it’s fiiiiiiine.):

1. Do you have an OTP from your book(s)? If so, why or why not?

2. Do you have a process for naming your characters or are they already named when they come to you?

3.The best thing about writing for you?

4. What POV do you prefer and why?

5. What’s the strangest way/thing that inspired a story for you?

6. Do you like to read the same genre you write? What’s your favorite to read and to write?

7. When did you start writing?

8. Describe your book(s) in 4 words.

9. Gush about your favorite character (your own) and why you love them.

10. What is the hardest thing about writing for you? What advice would you give someone else if they had the same problem?

#writing #writing tips #writer #writer probs #writing probs #writing advice #writing tag #writeblr #writerblr

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danguy96 · 8 years ago

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Charlie and the Chocolate Factory: A Sweet Retelling - Chapter 1

Author’s Note: I hope this doesn’t feel too late or too soon, but here’s the first actual chapter of my retelling of Charlie and the Chocolate Factory. It’s mostly going to be quite a bit of setting things up here, but I hope you’ll still like it, though I hope you don’t find things to be too much like the book, since while many lines will be lifted from the book and it’s adaptations, I really do hope on making it somewhat of it’s own thing. As always reblogs, likes, and comments are always appreciated, and all respective characters belong to their respective owners. Please make sure to support the official release, and I hope you enjoy this.

Chapter 1: Meet Charlie Bucket

As you would have probably guessed by now, this is a story about an ordinary little boy named Charlie Bucket. Now, Charlie, at first glance, seemed like a typical, average young boy, and, for the most part you would be correct with that assumption. Charlie was not faster than any other child in the world, nor was he any stronger or wealthier than other children. However, what he lacked in those areas, he made up for with being a rather imaginative and clever young lad (well, as clever as a ten-year old boy could probably get, but still clever, nonetheless), and would often come up with ideas for stories and even inventions from time to time. Though, Charlie’s little habit of dreaming would occasionally slip into daydreaming, which got him into some scraps of trouble at school during his classes or when doing his homework (in fairness, his classes were usually very, very boring). Still, in spite of this, Charlie was still a good-hearted and charming boy, who would always give his finest “How d’you do?” to the people he’d meet.

The rest of his family consisted of his father, his mother, and his four grandparents. These four grandparents consisted of the father and mother of Mr. Bucket, Grandpa Joe and Grandma Josephine, and the father and mother of Mrs. Bucket, Grandpa George and Grandma Georgina. Now, Grandpa Joe, though extremely old, was still a fun-loving man who just loved to tell fascinating stories from his youth, including his time doing service in the war (though, it was hard to tell when was telling the truth, or just telling tall tales, though it didn’t really matter to Charlie, since he loved Joe’s stories either way). Joe’s wife, in contrast, was a bit more down-to-earth than her husband, and usually liked to keep to her knitting and sewing (often knitting and sewing things for the rest of her family, especially for little Charlie, who needed the extra warmth for the winter most of all, due to him being prone to becoming sick during that time of the year), but she was probably the sweetest old grandmother you could possibly find. Grandpa George, on the other hand, was a somewhat curmudgeonly, old Irishman, who almost alway seemed to be grumbling about what was wrong with life and the world nowadays, and seemed to be waiting for the day when he would, as he put it, “finally get to meet the good Lord.” Grandma Georgina, a brash woman of advancing years from Scotland, had less of a “glass half-empty” outlook on life than her husband did, though she did have a habit of being, well, “inappropriate”, such as claiming that she could show attractive young men that she’s “still got it” after downing more than quite a bit of gin (Charlie’s parents promised to tell Charlie just what sort of “it” Georgina had when he was older). Even in spite of their foibles, Charlie still loved his grandparents, and the same could most definitely be said about his own parents as well, even if they didn’t exactly live in the lap of luxury (an understatement, to be sure).

You see, the whole of this family lived in a small cottage on small hill near the edge of a small city in England (though, I couldn’t tell you which one, just that it was far away from the hustle and bustle of cities like London or Oxford), right next to a not-so-small Garbage Dump. The house wasn’t nearly large enough to accommodate all seven people, and, as you could probably, life was extremely uncomfortable for them all. There were only six rooms in the place altogether (though, technically it was four rooms and a cellar, so it was even less than that); there was one “main room”, where all four of the grandparents slept in the same large bed on both sides (or, rather basically lived in the same large bed, since they hadn’t gotten out of it as far back as Charlie could remember, since all four were so old and had lost even the will to get out of the bed), one bedroom where Mr. and Mrs. Bucket slept, a kitchen (which just barely counted as a room, seeing as how it was practically right out in the open and almost right next to where the Grandparents slept), a room in the cellar where Mr. Bucket would occasionally tinker on home-made inventions of his, a bathroom, and one makeshift bedroom in the attic for little Charlie. Now, in the Summertime and in Spring, living conditions weren’t completely terrible, but in the Winter, freezing cold drafts would blow throughout the house and make the floor feel like ice if one walked on it without socks or slippers, which was just unbearable. There wasn’t any question of them just moving out and buying a better house, or even building a proper bedroom for Charlie. They were far too poor for any of that.

Because they were so poor, both parents and even Charlie had to put in their fair share of work in order to make ends meet, with Charlie recently having taken up an evening newspaper route after school. As for Charlie’s parents, Mr. Bucket was the main breadwinner of the family, and worked at the local Smilex toothpaste factory, where he would sit all day screwing the caps onto toothpaste tubes after they had been filled. The hours were long and tedious, and the amount of money he was paid wasn’t nearly enough to help provide for his family, no matter how hard he worked or however fast he screwed the caps on. Mrs. Bucket would usually spend one half of the day taking care of the house and cooking for family, while spending the other half of the day working at an old laundromat, where she would wash and dry other people’s laundry in a very old-fashioned and tedious way (the town in which Charlie lived in was very old-fashioned as well, so having a washing machine and dryer, or even having a laundromat with those things, was quite the luxury). While she only had to work there every other day, the pay was no greater than the pay which Mr. Bucket earned, and she would sometimes even have to work there till late in the evening, even after Charlie got home from school.

At home, though, Mr. Bucket still did his best to keep a glass-half-full attitude, tries his best to help the family by fashioning together some homemade contraptions together in order to make their lives a little easier (such as repairing an old vacuum cleaner he found thrown out in the dump, building a “work-in-progress” automatic woodcutting device in order to save time on chopping wood for the stove, repairing an old wireless radio set, and a “work-in-progress” shave and haircutting device, just to name a few, and to answer your question, the reason why he didn’t sell his inventions in the city is because they weren’t “new” and “up-to-date”), and loved to play with his similarly imaginative son when he had the chance, even helping him build a small clubhouse in a tree that was just between Charlie’s house and the Dump, using mostly the debris that was left out near the house. Mrs. Bucket was more down-to-Earth and practical than her husband, rejecting some of her husband’s more ludicrous inventions in favor of using a bit of elbow grease around the house, and was the de facto enforcer of house rules, but she still loved her husband and her son dearly, even if there weren’t enough hours in the day for her to spend time with both of them.

Now, even though the Buckets were definitely poor, they could still afford some of the basic essentials: running water, electricity, and heating… though they would sometimes have trouble with the last one, and had to resort to wood and coal-powered stoves whenever Mr. Bucket had to fix the heater. The main problem they had was food. Even with the combined pay of Mr. and Mrs. Bucket’s jobs, and Charlie’s paper route, all that they could afford were small loaves of bread with margarine for breakfast, boiled potatoes and cabbages for lunch, and watery cabbage soup for supper. There were days when things were a bit better, and they were able to buy some things like lard, eggs, and some meat (particularly corned beef), but those days seemed to only come once or twice a month if they were lucky.

The Buckets didn’t starve, of course, but every one of them usually went from day to day with a devastatingly half-empty feeling in their stomachs, and just didn’t feel completely well-nourished after they ate. They all had dreams of one day being able to eat more scrumptious and satisfying meals, but Charlie was probably the one who suffered the most of all. Although his mother, father, and even his grandparents would usually do their best to give them some of their own share of lunch or supper to help him keep up his strength, it still usually wasn’t enough for a growing boy his age. Oh, how he desperately craved something more filling and satisfying than cabbage soup or boiled potatoes. But the thing he longed for and dreamed of eating more than anything else in the world was… CHOCOLATE.

Walking his way to school in the mornings, Charlie would walk by the local sweet shop and see great slabs of chocolate piled up high in the shop windows, and he pause briefly to stop and stare and press his nose against the glass his mouth watering like mad. Several times a week, he would see other children taking creamy chocolate bars out from their pockets, lunch boxes, or backpacks and see them munching greedily into them without the slightest thought, and that, of course, was just pure, absolute torture for the boy.

Only once a year, on his birthday, did Charlie Bucket ever get to taste even the tiniest bit of chocolate. The whole family saved up their money for that special occasion, and when the great day arrived, Charlie was always presented with one small chocolate bar to eat all by himself. And each time he received his birthday bar, he would place it carefully in a particular place in the refrigerator, and treasure it as though it were a bar of the finest solid gold; and for the next few days, he would allow himself to only look at it, but never touch it. Then at last, when he couldn’t take it any longer, he would peel back at a tiny bit of the wrapper at one corner to expose a tiny bit of chocolate, and then he would take just a tiny bite of the sweet delicious bar, which he would savor just long enough to allow the taste to spread out slowly over his tongue. He would then take another tiny nibble the next day, and the day after that, and so forth and so on. In this way, Charlie would make his fifty-pence (sixty-five cents in American money, just to be clear for readers on both sides of the pond) bar of birthday chocolate last him for as long as he could mange.

Ah, but dear readers, I have yet to tell you about the one awful thing that tortured Charlie, our dear, sweet lover of chocolate, more than anything else. For him, this was far, far worse than seeing slabs of chocolate in shop windows or watching other children mindlessly munching away at creamy candy bars right in front of him. It was the terribly torturing thing you could imagine. You see, dear readers, in the town itself which Charlie lived in, within sight of Charlie’s very own house, there was an ENORMOUS CHOCOLATE FACTORY!

Just imagine that!

Oh, but this wasn’t simply any old ordinary chocolate factory, and it was owned by no ordinary, everyday man. It was the largest and most famous factory to ever produce chocolate, candies, and all manners of sweets and confectionaries in the entire world! It was the Wonka Chocolate Factory, owned by none other than by a man known as Mr. Willy Wonka, the greatest, wealthiest, and most famed chocolatier and inventor of chocolates and other sweets the world has ever known! Very little was known about Mr. Wonka himself, but the stuff that was known about him was the stuff of legends, and his factory matched the enormity of the stories surrounding him. There were huge iron gates to the North, South, East, and West leading into it, and a high wall surrounding all four gates, and towering chimneys which belch out smoke, and one could even occasionally hear strange whizzing coming from deep inside the factory. In fact, it was so tremendous and breathtaking, that at times it felt a little intimidating, even scary, if you stood near it, what with the way it towered over the town and casted it’s massive shadow. However, you would immediately forget your worries as you stood outside the factory gates when you soon learned for yourself that outside the walls, for half a mile around in every direction, the air was scented by the heavenly rich smell of melting chocolate!

Twice a day, on his way to school in the morning and his way home during his paper route, little Charlie Bucket had to walk right past the gates of Wonka’s factory. Every time he passed by, he would walk as slow as he possibly could, and he would take long and deep sniffs and savored every bit of that chocolatey smell. Oh, how he loved that smell!

Although he loved Willy Wonka for his chocolates (or, at least whatever little bit of chocolate of Wonka’s his family was able to afford for his birthday), Charlie also admired Mr. Wonka for the exciting, charismatic tales stories surrounding Mr. Wonka and his life (which Charlie just so happens to knows about, thanks to his Grandparents, particularly Grandpa Joe), as well as for his ingenuity and skills at being an inventor and innovator of all things related to chocolate. Such accomplishments of Wonka’s (mixed in with him taking after his father and grandfather when it came to imagination and a drive to create) soon led to young Charlie being inspired to hopefully become an inventor himself one day so that he could help his family, with dreams of even opening up his very own sweet shop.

Until that day, though, he was just Charlie Bucket; a poor boy with not much to his name other than a paper route, a clubhouse he and his father built, a tendency to daydream, and small bit of optimism to help him get through life. Still, Charlie continued to hope, dream, and wish for things to get better for his family, even if things seemed almost hopeless at this point. But even though he loved his family very much, and would do anything in order to help them rise above their troubles, the one other thing he dreamed and wished for more than anything was to one day be able to go inside Wonka’s grand factory itself, just to satisfy his curiosity to see what it was like in there, and to finally meet Willy Wonka himself.

However, dear readers, even though he didn’t exactly consider himself to be the lucky type, Charlie Bucket was the luckiest boy in the entire world, even if he didn’t know it yet, and little did he know that his wishes were soon to be granted in probably the most unlikely of ways.

And I’ve finally finished Chapter One. Sorry it took so long. I’ve sort of being through some personal issues (both mentally and physically), but I still managed to pull through and finish this proper beginning to my fanfic.

As you may pick up, I do sort of borrow heavily from Dahl’s original text, but I also changed things up a bit to give a bit more depth to Charlie’s family as I set them up for the story proper. While this is mostly just set-up, I still felt it was important to do this sort of thing, much like how Dahl would usually spend a chapter or two setting up the story and characters. And I probably may continue to borrow a bit from the original text, but I do promise you that I try to make this story it’s own thing with my own takes on certain bits of dialogue, even if a few elements from other adaptation of this story will eventually make their way into this retelling. Speaking of which, I hope you picked up on any references or nods to other adaptations of Charlie and the Chocolate Factory, as well as a few shout-outs from other certain stories as well.

I hope you enjoyed it, and I hope you also share your thoughts on it with me.

Next time, we get into the story proper, so be sure to stick for when it finally comes out.

@takashi0, @thevideonasty, @true-king-of-monsters, @celticpyro, @everythingwonka, @theliterarywolf, @roristevens, @mask131, @jewishmagpie, @fantastic-nonsense, @keskronwolf, @catcfmusicaluniverse, @grimoireoffolkloreandfairytales, @dongelmeister, @jamesandtheblog, @adventures-of-the-candy-man

#Charlie and the Chocolate Factory #Willy Wonka and the Chocolate Factory #Charlie Bucket #Willy Wonka #Roald Dahl #I feel so relieved to have this first chapter finally done #I'll try to get work done on the second chapter as soon as possibly can

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punderfulowl · 8 years ago

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10 Anime Series That Could Pull Off a Live-Action Remake

What’s more shocking than me actually updating? Why, the fact that the live-action Ghost in the Shell adaptation wasn’t complete garbage! I mean, it wasn’t the greatest movie I watched, but it sure wasn’t the worst especially in terms of adapting from anime. Despite having so much against it, the film, overall, was fine. Simply fine. But because the bar has been set so low, “fine” is actually a positive step forward for adapting anime, which is kind of bittersweet because that’ll probably hurt the chances of anything original getting on the big screen, but it’s still a positive step for the anime community. After all, there’s a live-action Death Note series for Netflix on the horizon so there still must be demand for it. Of course, it wasn’t long after I saw the new GitS movie that got me thinking about what anime series could have a legitimate chance of having a live-action movie or show.

First off, these will not be in any particular order. Second, these are hypothetical movies based off of TV series only. Third, the series I mention must not have any prior adaptations already (which means I had to do some research, oh boy). Fourth, each of these ideas must be strong enough for a stand alone movie, so if I thought an adaptation could work with a couple of sequels, it’s not on this list. And finally, these are WESTERN adaptations with a Western audience in mind, so my ideas are going to come with some tweaks to certain details of the original source material.

With all that out of the way, here are my nerdy opinions movie and series pitches.

- Baccano

Remember when after the show LOST was over and everyone tried to make a show like that? You know, like, every trailer for these knock offs tried to make their shows out like they were SUPER important while trying to ride the wave of momentum LOST created? Those shows didn’t last long, did they? The problem was that they tried to do too much too soon. LOST didn’t start out like that, but as the show went on it played up to it’s mystery and deserved its important-sounding teasers for the next episode. Since then, there hasn’t been a lot of shows like that and it’s a shame when you think about how a mystery element can be quite a lot of fun if done right and “fun” is the keyword for a live-action Baccano.

Like I said, FUN is the key for a live-action series of Baccano and it would be what separates itself from those other shows that have tried and failed. As long as you have fun in the forefront, you already of a decent foundation to reel in and hold an audience.

Another key is to be faithful to the source material and that is obvious enough, you already know that, but it’s especially important to be faithful on the very first note of mystery. You see, where LOST slowly introduced you to the possibility of mystery or supernatural elements, Baccano didn’t mess around and showed you something to ponder within the first five to ten minutes.

Something else that Baccano shared with LOST is the times skips, but don’t worry, the former does a lot better job than the latter as it contains the events within three years. A cool thing Baccano did with skipping around was each period time had a different feel as well as using different lighting and color which would let the viewer know, visually, that this is sometime else. Not to mention that the story of Baccano takes place during the Prohibition period in New York which would help an American audience connect with what’s going on.

All in all Baccano is a great time with a cast of colorful characters and couple layers of mystery. As long as you keep its spirit, an adaptation could work wonders.

- Zoids

If you just put Zoids in a nutshell, it’s basically people piloting giant robots in the likeness of various animals fighting other people piloting giant robots in the likeness of various animals. Okay, it’s not exactly “complex,” but there’s enough to work with for a fun, live-action, summer blockbuster.

Now between Chaotic Century or Century Zero (I haven’t seen Genesis and I refuse to acknowledge Fuzors) I think Century Zero would work the best considering that giant animal robots fighting each other in a grand tournament would sell better than having a story about two factions using them as instruments of war. Because Century Zero revolves around a tournament, it gives characters a goal and a competitive setting gives the audience something to be excited about. All that doesn’t matter compared to how much merchandise this movie would sell, but I believe I’m getting ahead of myself.

The story for this adaptation is interesting because I can see it going one of two ways.

Option 1: Tell a new story with new characters while using the setting of Century Zero as a template.

Option 2: Take on the task of retelling the story of Century Zero while making a few tweaks to fit into a two hour movie.

Like I said, both are good options and if someone decides to make a live-action Zoids movie, it would be a huge draw for kids and adults alike. After all, who wouldn’t want to pilot a mechanical animal?

- Canaan

It’s a story about a hero that is fighting against a terrorist group that’s using deadly virus. Seems like a basic action/thriller that’s been done before, but this time the cast is mostly women. Not only that, the characters are actually taken seriously. No joke, Hollywood, if you make this with the intent of giving these characters the proper respect they had in the anime, you will not fail.

- Eden of the East

Imagine yourself coming into a large sum of money, let’s just say, 10 billion dollars in electric currency found on your phone, and with all that you’re tasked with “saving the country.” Not only that, there are eleven others (one of which is the mastermind of this whole thing) that have been given the same task as you and thus you have been thrown into a game of life or death.

There are two reasons why this could work really well as a live-action Netflix or HBO show. First, because it started as an anime, we learn about what a Japanese perspective on this situation would be, which then asks what a Western take would look like. Second, it was interesting to see the variety of characters. Each person involved in this game had a different background, social standing, personality. Given that a Western society like America is a melting pot, I can’t help but think of what different kinds of people would do with all that money to throw around. It’s a show I would definitely binge.

- Psycho-Pass

In my humble, honest opinion, this would be THE easiest anime to adapt. You don’t need to add anything, the narrative is fine by itself.

Anyway, Psycho-Pass takes place in the near future where a system dictates most things like what job you’re going to have via aptitude tests. It also keeps track of your mental well-being which then predicts the likelihood of you committing a crime. If your mental state reaches a certain level, you’re hauled off to jail till your level goes down. However, there’s a mysterious individual that has a rare mental state that bypasses the system no matter what heinous acts he commits. If his mental state can’t change, then this new system sees no reason to arrest him.

There are other pieces to the plot I’m leaving out, but go and see the anime for yourself, that way you can see why this would make a cool live-action sci-fi movie.

- Desert Punk

I’ve been pretty serious with these ideas, so why not include something a bit more silly?

Desert Punk is a show that follows the life of a bounty hunter named Kanta. His reputation may lead most to thinking he’s a man of a mercenary, but actuality, he’s quite the shrewd and skilled teenager with average teenager, um, “urges.” That last part doesn’t become known until he’s bested by another mercenary who just so happens to be a grown woman. Hijinks, as they say, ensues.

The anime is a action, comedy show with a raunchy side to it. Personally, this can work well as a movie that’s directed by someone like a Shane Black or Quentin Tarantino. This would most likely be a hard PG-13 to light R, but it would still be pretty entertaining.

- Mobile Suit Gundam

Despite me thinking this idea could work, this would be the hardest anime to adapt. Why? Because there are so many different Gundam series out there and I’ve only seen three or four of them! If you want a rundown of most Gundam series, here it is: War is happening with robots that involves young pilots controlling more special robots (for any big Gundam fans reading this, I’m sorry).

I always thought of the Gundam franchise as a property that floats idly by waiting for someone to make a live-action adaptation of it. Like, it’s just there, waiting! But alas, it has yet to happen. If I were to make a live-action Gundam movie, it would be similar to the Wing series, only because of the cool designs and weapons of the main Gundams, but I would make up a new story. I don’t know, other than that and having a guy wear a cool mask, I don’t have much, unfortunately.

- Yu Yu Hakusho

Except I would call it something else like “Spirit Detective,” just so we don’t have a title that would scare off possible viewers, but I digress (even though this is a new thought and didn’t stray away from anything).

Despite having to change the name of the show and even some of the character names, I would make this live-action series follow the adventures of a character named Yusuke Urameshi. I would make the slight tweak of Yusuke’s family being Japanese-American immigrants. The setting would still be American, but it would still be cool to have an action/adventure show led by an Asian actor.

I would make the first season be based on the first episode all the way to the Saint Beast arc. It would be mostly be beat for beat with the anime, but with the addition of Yusuke’s family moving to America and because he was an immigrant he got bullied in school which then started his delinquency that we all know.

This could be good, but it HAS to be a project of passion.

- Kino’s Journey

You know what I learned from projects like Stranger Things and Logan? Little girls can freakin’ act, man!

I would definitely make this a series that carries the same laid back atmosphere like the anime did. Each episode of the anime was basically Kino going through a town or city that acted as a parable of sorts and I think that’s pretty doable. Like I mentioned before, I’ve been wildly impressed by young acting talent (boys and girls alike) and I can see both young and old audiences appreciate the mood the storytelling comes with despite the age of the actors.

- Sword Art Online

Anyone that has followed for awhile knows that I have a few issues with SAO. I have had my fair share of criticisms and jokes toward SAO. But with all that aside, I can’t help but acknowledge that a live-action movie would actually be pretty decent. HOWEVER! However, some things need to be done to make this adaptation not only bearable, but BETTER than the anime.

To start things off, we need to keep run time in mind so in that case I would only focus on the movie being about the first story arc of the first season, cut out the episodes with Lizbeth and Silica, and you got yourself enough for a two hour movie. Even though the ending of that arc transitions into the next one, the ending was satisfying on its own.

Next, and it goes without saying, to understand the source material proper, you have to watch the show. After that, watch the abridged series by Something Witty Entertainment. Watch the original for the basic concept, but watch the parody for characterization. Combine the two, and you got yourself a movie with a really cool idea that’s not full of itself.

That’s all I got, what anime series can you come up with that could have a legitimate shot at live-action?

#anime #live-action #sword art online #kino's journey #yu yu hakusho #mobile suit gundam #desert punk #psycho-pass #eden of the east #canaan #zoids #baccano!

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kashuan · 8 years ago

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In which I finally write a long ass post about all my grievances with the never ending shenanigans I see in the Iliad tag because I can’t take it anymore and needed to get it out tbh

Things y’all really need to stop doing, in no particular order: • Treating Clytemnestra like a Bad Bitch Feminist Icon #goals because she killed a character you don’t like. Know what she also was? Pretty hypocritical. Half her motive for killing Agamemnon is the mistreatment of their daughter, but guess what, Clytemnestra then goes on to treat 2/3 of her remaining children pretty much like shit. I suppose you could consider Electra to be an unreliable narrator in terms of her relating how coldly she was treated at home, but the facts don’t lie in that Cly let her new hubby Aegisthus pass Electra off to be married to some peasant so that she and her children would die without any power and wouldn’t be able to take revenge. It’s pretty indisputable though that her treatment of her son Orestes was flat out terrible. As a child, Orestes has to go into exile, as it’s implied Aegisthus would have had him killed otherwise. Cly just Lets This Happen. When Orestes returns to murder both her and Aegisthus as instructed by Apollo, Clytemnestra entreats him with a set of pretty flimsy excuses. Here’s a part from The Libation Bearers:

CLYTAEMESTRA Have you no regard for a parent's curse, my son?

ORESTES You brought me to birth and yet you cast me out to misery.

CLYTAEMESTRA No, surely I did not cast you out in sending you to the house of an ally.

ORESTES I was sold in disgrace, though I was born of a free father. CLYTAEMESTRA Then where is the price I got for you? ORESTES I am ashamed to reproach you with that outright.

Furthermore, she attempts to manipulate Orestes by entreating him to spare her because she is his mother, the one who nursed him, yet we know that this wasn’t actually done by her, and since a young age she has been completely absent in his life otherwise. When Orestes finally does kill her, this girl cannot even let it go at that but essentially makes sure he’s haunted by demons for the rest of his life. Talk about #petty, not even Agamemnon took it that far. So this character who's set up as like Badass Mama Bear is actually….not. Post Iphigenia at Aulis Clytemnestra is actually pretty self-serving, but not in the sort of way that should be admired. I think Clytemnestra is a great flawed character. Please no more ‘my perfect queen deserved better’ posts. I’m beggin’ ya. Read more than a summary of like 1/4th of her history and then let’s talk. • So I’m gonna follow this up with my long stewing Agamemnon Apologist rant (you: yikes me: Buckle Up). I’d like to begin this by saying we can all definitely agree that this man is a garbageboy stinkman. No arguing that. I love a good ‘Agamemnon is an asshole’ joke as much as the next guy. HOWEVER, when, when will I be free from posts that act like this character is honestly so completely one dimensional, that jokes about it comprise literally 98% of the tag. Where are the actually interesting meta posts that consider things about him beyond JUST being a dumpster of a man. For example, we know he was at least a half-decent bro. In book 4 of the Iliad, Menelaus basically scrapes his knee and Agamemnon essentially calls a T.O. on the entire war because HIS BROTHER, OK!!! Like yeah, he also includes a hilariously selfish line in that part that Menelaus can’t bite it because then he will be disgraced when he goes home, but the point stands. Further evidence of these having a tight relationship can be found in the Iphigenia at Aulis play. After the two of them have had a savage as hell argument about whether or not to sacrifice Iphigenia, taking some serious pot shots at each other, they have this exchange

MENELAUS I’ve changed, and I’ve changed because I love you, brother. I’ve changed because of my love for my mother’s son. It’s a natural thing for men with decent hearts to do the decent thing. AGAMEMNON I praise you, Menelaus for these unexpected words, proper words, words truly worthy of you. Brothers fight because of lust and because of greed in their inheritance. I hate such relationships; they bring bitter pain to all.

I think Agamemnon’s relationship with Menelaus is actually one of the more interesting ones among the cast because he is both in a way protective yet also very controlling of his brother. Here and Here are a couple of fantastic essays on their dynamic and the way it differs from source to source. While on the subject of the play Iphigenia at Aulis and my favorite problematic fav getting the short end of the stick from fandom, can I just say that the majority of retellings, posts, and so on about this particular event ARE TERRIBLE? I’m so tired of seeing it depicted as though Agamemnon just killed his daughter like some afterthought, possibly while twirling his mustache like a cartoon villain. There is so, SO much more nuance to that scene and it kills the man when I see how no one ever discusses it in favor of just saying lol Agamemnon’s a dick, so anyway. Iphigenia herself is actually one of the best sources we have for the fact Agamemnon probably had more than a grand total of zero good traits. The relationship between the two is obviously a very close one and on the whole we get the sense that, aside from the whole killing his daughter thing (ya) he was actually a good dad. Like an inverse Clytemnestra :,). The scene where Iphigenia first speaks with Agamemnon is particularly telling of what was probably their normal relationship. IPHIGENIA What’s wrong, daddy? You say you’re happy to see me but your face looks worried! AGAMEMNON A king, darling, a General is always worried. IPHIGENIA Make your worries go away, daddy. From now on, think only of me. AGAMEMNON Yes, my darling. I shall think of nothing else but you from now on IPHIGENIA Well then, get rid of this ugly frown from the face that I love so much! AGAMEMNON There! Oh, what a joy it is to see you, Iphigeneia! IPHIGENIA But… but look at you, father! Full of joy and yet tears flow from your eyes…AGAMEMNON Yes, dear… because our separation will be a long one.

Is he still a completly awful man for having sacrificed her? Yes. Completely. But here’s a few factors that play into this decision that I never see anyone, ever, mention: -It is Agamemnon’s intention to send Iphigenia away, to save herself, at the last minute, but Menelaus intercepts the letter meant to warn her of her fate. -Charismatic Odysseus has a good deal of control over the soldiers at this point and was probably looking to further increase his popularity among them (a consistent theme-- see: when he’s ready to shank his bff Diomedes just to be the only one to bring home a trophy from Troy instead of both of them). One can imply that if Agamemnon didn’t go through it, he would have done it himself -- and Agamemnon knew that (he mentions as much). -Gods are terrifying, my dudes. Treating it as though he could have just said ‘naw’ to Artemis’ order for Iphigenia’s death and gone home expresses a pretty fundamental lack of understanding how the Greeks feared the gods and just what the stakes likely already were by that point. Artemis was already pissed that he killed one of her sacred deer so it wasn’t as though she was just like ‘you can either sacrifice your daughter or go home unscathed’. I’ve only seen one other retelling accurately capture what very likely would have happened if Agamemnon didn’t go through with it: Artemis likely would have retaliated at the disrespect against the men and probably his family. Furthermore, the soldiers had already been stranded at Aulis for months on end-- a mutiny was exceedingly likely if they found out what was going on, one in which where they probably would have harmed not only him but also Clytemnestra and baby Orestes who came with Iphigenia. These two facts are more conjecture, but it’s a pretty plausible estimate and I’ve seen several scholarly essays arrive at the same conclusion. If you’d actually like to see a depiction of Agamemnon that is both incredibly sympathetic yet does not shy away either from showing how terrible what he did was, please watch the 1977 Iphigenia movie. One of my favorite movies in general. Honestly I feel I could make a giant essay out of My Feelings on this particular subject alone so I’ll wrap it now because I have a lot of other stuff I want to get to, though I’ll include one final pet peeve: the amount of people who call Agamemnon trash because he was Sexist. You know who else was a Meninist? Every single goddamn man in ancient Greece. Okay, I’ll give a pass to characters like Patroclus and Hector when it comes to the women front because all we see is them being pretty decent. But like. Otherwise??? Sure, just because everyone is that way doesn’t make it any less shitty-- I’m not arguing that. But it’s also like reading a novel focused on an entire group of mobsters, but calling out only one of them as Problematic for being a criminal. Like, my dudes... TL;DR: Agamemnon is a dick jokes are funny and completely deserved but throw in a few posts here and there that actually suggest you might have read more than just Book 1 of the Iliad and nothing else. Character depth is your friend. • That said, for the love of god, stop writing Menelaus like he’s just Agamemnon 2.0. A lot of adaptions do this because they don’t seem to know what to do with his character (I’m lookin’ @ u most of all Troy though he suffers some form of this in almost all film adaptions...) Which is a shame because Menelaus as a character is a lot more (and better) than that. From what we do know, Menelaus was actually (relatively speaking) a pretty chill guy and one of the least problematic out of these assholes (y’know, minus that scene I mentioned above with Iphigenia, but hey...at least he admits he fucked up?). We know that Helen voluntarily chose him to be her husband. We know that Helen wanted to return home to him by the time the Iliad takes place. We know they got back together after the war and more or less lived happily ever after. So why do I keep seein’ all these posts about Helen hating him or about him being another warmonger like Agamemnon. Menelaus was a Decent Dude. Leave him alone :,| • Speaking of Helen, how many times am I going to read “feminist” retellings where she either is totally indifferent to or even wanted the war to happen, where she enjoys watching men die, where she ~reclaims~ her demigoddess power and is A Figure To Be Feared. What Helen is this??? Because in the Iliad, Helen is remorseful af about all the people she’s indirectly responsible for the deaths of. There are more ways to build up and strengthen female characters than to make them just like the men they despise. Just. Saying. I get that people want to free her from the damsel in distress role she’s essentially relegated to, me too, but that is NOT the way to do it. Girl can be strong willed but still have a great amount of empathy. As with essentially every other bullet point above, please just give these characters more than one dimension. • Also, how many times am I gonna have to read about The One Fellow Female (Helen or Clytemnestra usually) who believes Cassandra’s prophecies in order to emphasize like, girl power, or that the author feels sorry for Cass and want to project that onto some other character or something. Dude, she was cursed not to be believed. PERIOD. BY ANYONE. There was no clause in the curse for like “except someone who really thinks you’re swell”. It’s tragic because there are no exceptions. No one believes her. NO ONE. THE END. • Achilles was bi. Bi af (by modern standards, of course). See: Iphigenia, Deidamia, Briseis, Polyxena, Penthesilea… I totally get this movement of wanting to call Achilles gay because for so long he and Patroclus have gotten the ‘just guys bein’ dudes’ treatment from scholars. I think it’s absolutely fantastic that potential element of his character is more widely recognized and accepted now. However, I can’t help but get these really uncomfy biphobia feels when I read all the posts about how gay he is, as if liking women makes his relationship with Patroclus less legitimate. That was one thing about TSOA which also really disappointed me-- it had to pull that yaoi fanfic trope of ‘girls are so icky and gross’ in order to further sell how convinced you should be of the same sex relationship. It’s just, Bad And Not Good. Finally, I feel like y’all are so busy hating Agamemnon and shoving off every single bad character trait into existence onto him, that Achilles is always ultimately depicted as this #relatable teen who did nothing wrong except get a little too upset when his bf died. May I remind you of just a few things Achilles also did: -Indirectly got a lot of men killed by refusing to fight during his quarrel with Agamemnon -Had 12 innocent children killed when Patroclus died -Basically everything involving Troilus. From wikipedia: [Achilles] is struck by the beauty of both [Polyxena and Troilus] and is filled with lust. It is the fleeing Troilus whom swift-footed Achilles catches, dragging him by the hair from his horse. The young prince refuses to yield to Achilles' sexual attentions and somehow escapes, taking refuge in the nearby temple. But the warrior follows him in, and beheads him at the altar before help can arrive. The murderer then mutilates the boy's body. Some pottery shows Achilles, already having killed Troilus, using his victim's severed head as a weapon as Hector and his companions arrive too late to save him. The mourning of the Trojans at Troilus' death is great. -Just straight up fucking murders a guy for making fun of him after he just murdered someone else. "Achilles, who fell in love with the Amazon [Penthesilea] after her death, slew Thersites for jeering at him" I’m sure there’s more receipts like this. So like. Can we throw in a couple posts now and then among the Agamemnon ones about Achilles, who was Problematic for far more reasons than just sulking in his tent :,) ...Okay. I think that’s it. FOR NOW. I guess I’ll end this by saying half of this is just my own opinion and I recognize that people can interpret and retell these stories and characters however they want to. It’s when it becomes so consistent however that people treat it like it is The One True Canon when it’s actually not that my jimmies get a bit rustled. [/END RANT]

#the iliad

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