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sidewaysfromsunday · 2 years ago

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36 days: The Discovery of IT

Every person has only one original thought in their lifetime, but what happens if you actually can tap into your true originality? What if instead of waiting to be awoken at 3:00 AM, what if I seek it out. What if I find it myself. What if I buck the concept of time and live in my own comfortable schedule. The conflict is fighting against the FAKE CONSTRAINTS OF TIME because time, and nothing, is real. What if by experiencing true grief we are actually able to finally pursue and reach a state of nirvana - which is how life was meant to be lived. What if we were awake for it all? Maybe it's not the hospital because nothing is actually out of control. I'm okay. It's all going to be okay. When the knot in my heart/back finally is gone, that will be moment one. I'm actually having FUN. The most fun I've ever had. Who is 3, 6, 9? Feeling like I can communicate in my internal original language.

Psychosis isn't present here because this is true. There is nothing off about any of this. I have even figured out the sleep thing too. Sleep is very annoying to me right now because I'm not able to get anything accomplished while I'm sleeping. So I am not taking my trazadone on the nights where I feel good and am just letting my body explore its natural rhythm because sleep isn't missed! I literally just listen to my body and sleep when I'm tired! Then I figured it out too - if I can notice when I'm in need of a good night's sleep then I DO take a trazadone and sleep. And I did that last night and I woke up feeling recharged. Speaking from a place of safety to another allows them to be their truest self. Why cant I offer safety to everyone? What if I do? What if Juliette was premature because even at the development stage she had a feeling that she doesn't trust me, that's she's anxious around me. That I make her anxious and that is the worst realization in the whole world for me. From this point forward, I'm going to do everything I can to be the safest most trustworthy person she knows.

I am med compliant except the trazadone. I have a fire in my throat. I am saying all the right words to all the right people at the very right time. My eyes cannot focus. It's okay. I feel magnetic, I've been feeling like I'm about to reach nirvana. How are S and 3 related? What if our opposite is the perfect human? It's okay. Do the math and don't forget this:

S is the 19th letter E = 5, X = 24 19+5+24= 48 4+8+12 1+2=3

S and 3: Safety, Sharing, Sex

(There is more to be said, but this song is important)

How do I get out of this? I'm too real it's scary. Am I doing this on purpose? Why am I getting in trouble or med-adjusted for experiencing myself in its truest form? Nothing about this is dangerous. I'm following the list, checking in with psych. I don't want to die. I'm anti-suicidal. Why do I feel like something is wrong? Why does he feel like something is wrong. Why does she feel like something is wrong. I don't want anyone to tell on me. But I have nothing to be told on for. Every time I work I snap back. Maybe that feeling in my back is a block in the flow of my spinal fluid. If I can break up that flow, it's okay. Why are people scared of me or scared for me? Why should I tame this down? I'm about to get in trouble but I didn't do anything wrong. Don't put me to sleep. Why do I teeter on the tip of the triangle or is the tip the land of all of nothing thinking?

I am a cataclysmic event.

Virtues: 1. Patience 2. Truth 3. Sexual Energy as the most intimate way to communicate

Ridiculously, lushly, manic, chaotic energy physic - I see the universe everywhere. Who am I losing? Is this really so out of character for me? Did we have shapes or numbers first? WHO established the NORM? Who recognized shapes and numbers? Which came first? Everyone I look at these past couple of days seems stunning in their own beautiful unique way.

Moon

Sun

Sky

Math kind of freaks me out but I'm so damn interested. I'm confused by it. I want to write a naughty fantasy. It would never come true, not in a million years. I literally don't even want to drink. Everything is fucking hilarious. I feel like I'm saying all the right things. No one is trying to shut me down or put me to sleep. When I sleep - I can't handle how vivid it is. How to let people see me? I feel like it can't come fast enough and it's ethereal. How to communicate in 3. Orgasm with dangerous = power, synergy - 1+2=3 -- Sequential.

I think this is what it feels like when humanity begins to die. We are in the process of being taken over - hostages. I am dying. War / Conflict - the long tease. She and he and they know me. It's okay for people to know me. I feel like out of all the Euphoria characters I most closely relate to Cal. We could all be getting infected with MRSA, or at least I know I am. All this banging scares me. I feel like I'm being cleansed. Cerebral spinal fluid reshuffling. Maybe I died in the car accident 10/26/21, Sept 6, 2021. Deestablishing patriarchy - why godfathers? Why not godmothers? It's a terrifying time to be a woman so it makes sense I would seek the help of a woman. Femininity is being threatened as we speak. We need to get ready to run. AI is anti-christ. What if religion has nothing to do with it?

Just because you don't know how to handle me doesn't mean you need to push me away. People are scared of me. I make punctuation fit MY structure. 3-13-2013 = 14 | 2014 3-13-23 = 12

This is cool and weird. I'm tapping into love. I'm creating in a way I've never been able to create before. This is new and exciting and feels like I'm breathing out love. I feel swollen.

I'm entertaining myself with curiosity. These days the bones in my back are loosening up. I cracked my back and it was the most gratifying it has been in years. Therapy is great for me because it forces me to talk aloud. I have to communicate in a structured way - no memes or songs. It's good for me. Sometimes I forget what is a thought and what I've vocalized.

Rhythm

Harmony

Melody

(Movie Idea: 2 women that fell in love, ripped apart by pandemic and addiction. When they reunite one helps the other remember what she has forgotten)

3/16/23 - 5 months no alcohol 4/16/23 - 6 months no alcohol 4/24/23 - I turn 37 4/26/23 - G is 38 5/5/23 - Juju is 9 3+7+3+8+9 = 30 3+0=3

This is going to be the best year of my life and I'm not scared at all. I'm noticing all the details. I'm seeing it all. I'm talking in another language and everything I say is right. I feel like I want a real cigarette. Sometimes lately it feels like I'm about to piss and climax at the same time like I'm losing primal control.

Taste is so much deeper than our tongue really. I am having a unique human experience or is everyone as restless and on edge as me? Exploring astrology with someone new or deeply with someone is like taking their virginity. You and I speak like lovers about thaumaturgy. I feel like Peter Pan in Hook. I'm finally making memories again. I was afraid to be too enthusiastic about you, so I hid you as if you were an imaginary friend.

I'M FUCKING FLYING TODAY. Maybe she can ground me. I feel wild. I feel like I am sex. It feels like I have a boner, or phantom boner. I wonder if you have the power to make me climax without breaking a single rule? I'm anxious when I'm cold. Productive but at what cost? What if there is no cost? When I feel crazy and someone tells me I'm not, it fucks with me because it feels like they know the truth of it all. I'm bouncing a bit. Hard time tracking. Lisa said - we both know it can't last forever. "I wish I could say it would, I would love that for you." I love that for me too then why can't I have it? What are we so worried about? I keep listening to some of the same songs - but each time I'm hearing it for the first time.

"I feel like I'm onto something big... ...You always say that when you're manic."

In some ways I feel like you were hiding from me before I even knew you. You remain elusive and I wonder if we are going to play forever or if someday you'll let me find you? It's no wonder I've been feeling like this for days. Like I am filled with an insatiable desire. This whole time I've tried to quench the desire by imagining unspeakable things. But I think more seductive than anything else, the thing that's going to make me explode is if you simply whispered yes and held my hand. You're right to be scared, and I am too. It's going to change everything. Don't you see the greatest thing about that? It will be our life. I feel like water is pulling me to the ocean, a place where I'm terrified and out of my element. It's seductive and dark and anything could happen. Have you ever had sex on a spiritual level? Usually I'm so unfocused. Usually I've got too many thoughts. In my gut I know and as crazy as it makes me look, I'm rebelling against it all right now because though it's similar - my gut tells me its different. It's time. Finally I'm so focused and there is nothing grandiose about that at all. It's that gnawing feeling that I'm onto the next big thing. I'm not questioning being bipolar and I'm not even combating the fact that this resembles mania. BUT NOT EVERYTHING IN MANIA IS WRONG. I don't lose the right of knowing the truth. I can still know / identify true things since this started. The tension has literally been leaving my body. I feel lighter than I have in years. Wouldn't you, if you could, buy a ticket to the best movie you were ever going to see? A movie so personal it hits you from every angle - a movie you thought so spectacular you'd only see it in your dreams. THIS is the movie and we could have the best seats in the house. It is wrong that with all these thoughts I'm the happiest I've ever been? I keep dreaming about experiencing another magical connection in my lifetime but I think it's already here. I always doubt myself but now I'm questioning what happens if I don't doubt me. This is the shape of ME in the world. Opposites feel so powerful because to understand what opposite means requires us to recognize that for it to exist implies that by itself, an opposite is incomplete. Without its inverse, it lacks balance, incomplete. Therein lies the power - through unity, opposites not only become whole but synergistic as well. Pluto symbolizes rebirth. What do we need to admit to ourselves to live a more authentic and freer existence?

#Spotify #bipolar #manía #reflection

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sokkastyles · 3 years ago

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You know, I've seen a lot of claims that Katara as a character has practically no growth. According to these people: "She certainly grows as a waterbender, but not as a person. At the beginning of the series, she behaves like the mom of the group who commands everyone, and at the end of the series, she behaves exactly the same. Nothing changes in it anymore. Even her rebellion against the sexism of the north seems to be a trait that she originally had. We are all watching Zuko, Aang, Sokka and Toph grow, while Katara is just needed as support for the heroes." I know that you often write detailed analyses on characters, but what do you think about Katara's growth?

There's a lot here I disagree with, but I love this ask for the opportunity to talk about Katara's growth, because I have been wanting to talk about this and I do see a lot of those claims and they grossly undersell Katara's character development.

First, "we see her grow as a waterbender, not as a person." I disagree with this because her growth as a waterbender is connected to her growth as a person. One of her big internal conflicts is being the last waterbender of the Southern Water Tribe and what that means to her. She grew up never knowing other benders and having to learn and struggle with it on her own, and thus developed a strong desire to prove herself. This is part of her arc that runs throughout the entire series, it doesn't just end when she proves herself to Pakku. Her fight against sexism is definitely connected to this, but it's not JUST a fight against sexism. Katara calling Sokka sexist was related to how isolated she felt, as a bender, as the only girl in her family, as a girl who grew up without a mother and with so much on her shoulders and the pressure of carrying her slowly eroding culture in a way that even her fellow tribesman didn't fully respect because she was the only one. Her bending is a metaphor for the slow cultural genocide the Water Tribe is experiencing, but it's also a metaphor for sexism itself, how she is isolated from her heritage both by outside forces and forces within the Tribe. That was also why fighting Pakku meant so much to her, and one of my favorite moments is when Sokka says she can't win and she says she knows, but doesn't care. Because that's who Katara is. She's fighting and fighting and even when she knows she's fighting a losing battle, she keeps fighting.

Part of her arc throughout the show was realizing she didn't have to do all this alone. It's not that she has to stop fighting or stop being motherly or stop worrying about everyone else, but she's able to find balance in her life that makes her more healthy mentally, in part by learning to care for her own needs a bit and NOT backing down (even when other characters tell her she's wrong) but also learning that other people relying on her is not necessarily a bad thing. Sokka sees her as a mother figure because he loves her. That's one of the big takeaways from "The Runaway." She's learning to let loose and care for herself a little, but she's also learning to use that drive she has to care for others as a positive force rather than a draining one, with the support of the people around her who care about her.

I've been thinking about this a lot because I saw a post about saying Katara was "straight and neurotypical and loved by her community" but somehow is so similar to Zuko, who the author headcanoned as gay and neurodivergent, and while headcanons are fine, I think it's really weird to say that about Katara because the things that people often interpret as metaphors for being lgbtq or being disabled in Zuko's story are ALSO present in Katara's, just in a different way. And the way that gnc or neurodivergent girls present is actually often similar to Kafara, because girls are taught to mask, girls are taught to embrace traditional femininity, and in a girl who is disabled or queer this can be a huge source of internal frustration and conflict, and leads to the same kind of struggle that Katara faces with fighting against herself and her unique abilities, what the war did to her culture and her family, and how she feels responsible for carrying all that on her shoulders at age fourteen. Katara starts out the story with a strong sense of the way the world should be but little means of enacting change, but throughout the story she is able to empower herself and use that to empower others.

Her triumph at the end of the story is learning to accept herself, flaws and all, while beating Azula, her foil on so many levels, into the dirt by choosing to love herself and her friends and the world and to not stop even though the world is imperfect.

#katara #atla #atla meta

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greensaplinggrace · 3 years ago

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honestly THANK YOU for saying all that abt baghra bc i thought i was going crazy from not liking her??? bc i haven't read the books and only summaries of them on wiki and like. i dunno why ppl like her actually even in the show bc this guy, her son, is like "i wanna make the world better for us grisha" and she's just like "no." even tho he sees that she's MAKING HERSELF SICK from suppressing her powers! she's literally like in bed coughing in the flashback yet seem much healthier at the little palace. also like after everything, after her disapproval, after the fold, after centuries of waiting for the sun summoner.. he never abandons her. he makes sure she's cares for. he doesn't harm her. and i have to wonder if baghra has ever thanks him for that, for just not leaving her alone. like i dunno how im suppose ro believe aleks is a heartless villain when he still cares for his abusive mom like this. like has baghra even told her she loved him (honestly she reminds me of a classic emotionally unavailable asian parent but maybe that's just me). also im wondering if baghra ever told aleks that he had an aunt.. bc like.. now that u bring up her isolating him it's like hmmmm...

not at me being like alina... why do u trust the bitter old woman who literally beats u with a stick and verbally abuses u every chance she gets.. just bc she showed a bad painting... like.. pls use two braincells to see that who u figured out as his mother... is also using his protection..

like baghra could've upped and left with alina. but no. she stayed bc she knew she was safe under aleks's protection.

alsoim just impressed that after his first friend tried to drown him and harvest his bones... he didn't go into hiding???? he still wanted to make a safe heaven for grisha!!! HE STILL WANTED TO PROTECT GRISHA EVEN AFTER HIS GRISHA FRIEND TRIED TO KILL HIM FOR HIS FUCKEN BONES. like... this is the guy im suppose to believe is the villain???

honestly i feel like part of the reason why LB's plotlines seem so bad and disconnected (and sometimes outright racist but that's another rant) and why darkles is disproportionately more violent and villainous in the later books is bc she didn't expect the darkling to be so popular and wanted to stick with her guns of making him the villain. but also wanted the money from aleks's popularity. but like you can't have ur cake and eat it too.

Well thank you for sending this ask! It's very sweet and very passionate. I'm glad you liked my post! I didn't put as much thought into it as some of my others lol. I kind of just talked. But it was nice to be able to finally talk about some of the problems I have with both her character and the fandom/author's perception of her.

HERE is the post this is referring to, in case anyone's wondering.

👀👀 You've hit the nail on the head for so many things, here!

Baghra is extremely emotionally unavailable, basically to the point of neglect. She's also verbally and physically abusive, traits which I doubt were only reserved for her students and not her son. Baghra claims she would do anything to protect him, but I've known a lot of parents who have that mindset and yet still harm their children because they think it's "good for them".

Aleksander stays at Baghra's side for years, and even when they're opposing each other she's never too far away from him. Idk if you've read the books but he does eventually hurt her. And as much as I don't like Baghra, I think his actions were horrid. But I'm also honestly kind of surprised it took him so long lmao.

Yeah I mean, in terms of isolation, let's not forget that she never wanted to introduce him to his father, either. Baghra's sense of eternity clouds a lot of her judgments on relationships, which means she views most people as dust and therefore teaches her son to as well. The problem with that is that he's a growing child, and he needs those social and emotional attachments for healthy development.

I would bet quite a bit of money that Baghra has either never told him she loves him or she has told him so few times it's practically forgettable.

And everything becomes more complicated because so many of Baghra's actions are understandable because of her life and her history, but the impacts they have on the people around her, especially Aleksander, are permanently damaging. And the fact that that's never gone over in critical depth in the books or how it's glossed over in fandom is just very disconcerting. Like, acknowledging Baghra's failings doesn't mean we're excusing Aleksander's actions, it just means we're holding Baghra liable for her own. Which the fandom should be doing, considering she's the epitome of an abusive parental figure.

And Alina trusting Baghra over Aleksander is even more confusing! Especially in the show!! This is the woman who beat her and abused her and tortured her friends when they tiny little children (and who probably still does so now that they're adults). This is the woman who mocks you and harasses you and insults you on a regular basis. Why does Baghra revealing she's Aleksander's mother make Alina change her mind?! Like fuck, I'd just feel bad for Aleksander. No wonder he kept it a secret, I would too! And that painting is enough evidence?! Really?! A random painting shown to you by this abusive mentor that's been making your life hell. That's what you're going to betray your new lover over?

The friends trying to harvest his bones thing is a good point, too. I think Aleksander, especially show Aleksander, is incredibly idealistic. I think he cares too much for others - those he's deemed worth his care (a sentiment given to him by Baghra). Despite everything she's tried to teach him about hiding and abandoning others and never caring and never doing anything to help or reach out or connect with people, Aleksander still continues to do so. It's likely because he never got it from Baghra growing up, and so is desperate for those emotional needs to be fulfilled elsewhere.

His turning point, when Baghra tells him it was understandable that those kids tried to kill him because the world is such a hard place for them - that's crucial. And the reason it's possible as a motivating factor is because of that idealism and that desire to help and that desire to be everything his mother isn't. Baghra tells him this trauma he just experienced was because of the oppression of his people, and instead of following her lead and accepting that, going into hiding and abandoning everybody to their misery, he goes I can do something about that. I can make it so this never happens again. Which is usually how trauma like that combines with one's core personality traits at a young age, especially when there's none of the essential support systems in place to aid in recovery (ie, the role Baghra should have been filling but wasn't, because she decided to exacerbate the problem instead).

And yeah, one of my biggest problems with the ham-fisted "beating you over the head with a sledgehammer of evil deeds" look-how-bad-this-character-is! portrayal of the Darkling in the later books comes from the impression I get that Bardugo doesn't trust her readers. She's so desperate to have us hate this character and think him an irredeemable villain, not trusting any of her readers to engage critically with a morally gray character, that it feels quite a bit like condescending fucking bullshit. Which ew, I know how to engage with literature, thanks.

She really does seem to look down on a large part of her fandom, and imo, the infantilization of the female characters in her books seems to carry over to her impression of most of her female readers as well. Which is why the Darkling's character arc gets fucking destroyed. But he's still a good cash grab, of course, so she'll shake his dead corpse in front of the fandom for money every time she wants something from it.

Also! Another reason I think her plotlines feel disconnected (I'm sorry Bardugo I respect you as a person, but shit-) is because the writing in SaB is just bad. I mean, nevermind the absolutely nauseating implications of the way she portrays the Grisha as a persecuted group who's situation is never actually fully addressed as it should be, considering Grisha rights is what her main villain is fighting for (imo for a series called the Grishaverse, LB seems to be pretty anti Grisha), but her characters and story alone are just wrong for each other. They don't fit together.

And the ending is one of the main pieces of evidence in that regard! You can’t say the ending where Alina isn’t Grisha anymore is her “going back to where she started” when she’s always been Grisha. She just didn’t know she was Grisha because she denied that part of herself that she was born with.

Alina is reluctant to move forward or change, she struggles with adapting, and she’s very set on the things she’s grown attached to throughout her life. She also has some latent prejudices against the Grisha, and so denies the possibility of being Grisha for those reasons as well.

Alina’s lack of powers in the beginning of her life because she willfully doesn’t learn about them to avoid change versus her lack of powers at the end of the book when she’s accepted them and then they’re stripped away from her by outer forces are two entirely separate circumstances. You can’t make a parallel about lost powers and lack of Grisha status bringing her back to the start when she was always Grisha and she always had powers and she simply refused to come to terms with it because of personal reasons.

The first situation is an internal conflict that indicates a story about growth and a journey of self acceptance. Denying herself the opportunity to learn about her heritage and to find acceptance with a group of people like her because she’s tied to the past and because of the way she was raised is the setup for a narrative that tackles unlearning prejudice and learning how to connect with a part of her identity that was denied her and learning how to grow independent and self assured. It’s the setup for a different story entirely. The second situation is an external conflict that centers around the ‘corrupting influence of power’... for some reason.

In a world where Grisha do not have social, political, or economic power and they are hunted, centering your heroine’s journey of self acceptance and growth around an external conflict about... the corrupting influence of power (in a group of people that don’t actually have any power?!) just doesn’t work. It is literally impossible to connect the two stories Bardugo is trying to push in Shadow and Bone without seriously damaging the main character’s developmental arc.

The only way a narrative like this would work, claiming that she has gone back to where she started, is either a) if the Grisha weren’t actually a persecuted group and instead were apart of the upper class, or b) if the one bad connection between the two instances is acknowledged - that Alina denied a part of herself crucial to self acceptance and growing up, and that losing her powers at the end has also denied her. It is a tragedy, not a happy ending.

Alina suffered because she didn’t use her powers. She grew sick. It was bad for her. This was not a resistance to 'the corruption of power and the burden of greed', it was her suffering because she couldn’t fully accept herself.

Framing the ending as a return to the beginning can’t be done if you don’t address how bad the beginning was for your main character. You brought her back to a bad point in her life. You regressed her. This should be a low point in her arc. It should be a problem that’s solved so she can finish developing organically or it should be something that is acknowledged as a tragedy in it’s own right, for the future the world (the writing) denied her.

This is a ramble and it makes no sense and I’m really sorry, but my point is that Bardugo put the wrong characters in the wrong story. The character arc required for organic development doesn’t match the story and intended message at all. The narrative doesn’t fit the cast. She's got two clashing stories attempting to work in tandem and she ends up with both conflicting messages that fans still can’t comprehend in her writing and an ending that doesn’t suit her main character to such an impossible degree that it’s almost laughable.

So yeah, there's a few reasons why I think the story and the plot feels so bad and disconnected. I hope you don't mind me making this answer so long! 😅 I was not expecting to write this much.

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fadedneonzzz · 3 years ago

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There’s been some discussion about who should’ve become the Winter Maiden, and it seems there are people who wanted Nora to become the maiden for...some reason. And I think it’s actually a good thing she didn’t because I feel it’d add an unnecessary weight to her character.

The theory for Nora becoming the Winter Maiden started all the way back in V7 when people began to speculate that Fria might’ve been related to Nora. This later turned out to be false as Fria died before Nora had a chance to meet her. This was solely based on the fact that Fria’s hairstyle slightly resembled Nora’s, there was also the possibility Fria was a reference to Freya from Norse mythology. Nora being based off of Thor, it was possible since outside of V4 we had no idea what Nora’s backstory was.

The Nora maiden theory didn’t come back until midway through V8 when Nora was incapacitated but managed to calm Penny down.

This gave Nora and Penny something in common, they’re both having internal conflicts that’s eating at them in different ways. Penny is trying to fight off the virus as best she can, but Nora is trying to find out who she is without Ren. This kind of comes back in the episode Risk where Penny and Nora do kind of build some type of bond, but obviously Penny was much closer to Ruby which is why she offered to give the powers to her.

V8 was mostly about Cinder and Penny, but Nora was getting more spotlight than normal at certain points in the volume. It kind of felt like they were setting her up for something special. It was also pretty interesting that Nora passed by Cinder before she started her attack, which again looks like they’re setting up for her to do something unexpected.

As for the Finale, I can see why Nora fans were disappointed as she doesn’t do anything aside from going to get help and I think this is why people say they wanted Nora to become the maiden. They wanted her character arc to make significant impact in the story or at least V8 (correct me if I’m wrong). However I don’t think that would’ve helped Nora’s character, in fact it might’ve done the opposite. Not to get meta here, but most maidens in RWBY have death flags and personally I didn’t think they’d kill off Penny (again), Raven has (unfortunately) been irrelevant since V5, and while Cinder has lasted longer than any maiden so far she still has plenty of death flags. I really don’t see why Nora needed all that pressure on her in addition to her own character arc to discover herself.

Even if Nora did get the maiden powers and she was still in the pocket dimension I doubt it would’ve made a difference. I think this because Winter was the only one who (with maiden powers) could match Cinder. You might think Nora could’ve beaten Cinder with maiden powers, please keep in mind that CRWBY themselves confirmed that the only reason Penny beat Cinder the first time in Amity was because she was a robot. Winter is also a much more experienced fighter than Nora especially since she’s mastered the Schnee semblance.

If Nora tried to fight Cinder with maiden powers, Nora would’ve lost.

So, I don’t understand how it could’ve helped from a narrative standpoint, a character standpoint, and I don’t think Nora needed it. I understand people want Nora to get more character development, I do too, and I’m looking forward to seeing it play out. However, things do take time.

#rwby #nora valkyrie #penny polendina #rwby volume 8 #cinder fall #winter schnee #even when cinder isn't the focus of the post i still talk about her lol #anyway #this is a nora centric discussion #rwby nora

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tiramisiyu · 3 years ago

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Thoughts on Xia Yan’s Anniversary/Kiss Date

Not a translation, but rather an unleashing of the many thoughts I had for his date because it made me feel so many emotions and think so many things;;

Wordcount: 2.8k

Date Translation

Preamble

Tears of Themis’ 1st anniversary features one of the most significant in-story events you can view within an otome game - the confession event between MC and respective male leads. The gravity of this confession event, however, is intensified with respect to the ML Xia Yan, as their emotions towards each other is not the only focus of said confession - he must also reveal the heartbreaking truth that his life is likely to end in three years.

In the below sections, I will discuss the significance of various components that comprise Xia Yan’s anniversary date. My primary focuses will be on Xia Yan’s internal struggles, his care for MC, and the nature of the confession, and I aim to ultimately express why this date had such a major effect on me and whoa if you’re still reading this rambling part, I applaud you. I’m really just doing a fancy thoughtdump here.

The Nature of the Confession Event

From the beginning, XY never intended for the confession to be full of pomp and circumstance - and this was out of concern for MC, fearing that she would be too swept up in emotion to make it. Based on how the other guys’ cards look (them being outside and MC’s all dressed up), I assume that there was some ceremony-like aspect to their respective confessions, and I think that this draws a stark contrast to XY’s (who staunchly refused Yang Xiao’s offer to help make his confession just as ceremonial). In XY’s, MC’s not dressed up the way she is for the others, and both have been drenched in rain and are dissolving into tears of sadness as they speak. In addition, their desires are conflicting (rather than a situation where both parties confess and get together, and thus have coinciding interests) - despite what XY has said before, he does not want MC to be with him, while MC wants the exact opposite. It’s not a beautiful or gorgeous scene by design - instead, it’s very raw, very 狼狈 as the two lay bare their own painful emotions, discuss/cry about heavy topics, and show very vulnerable sides to each other, trying to get through to the other person.

Speaking of showing vulnerability, the fact that Xia Yan is so anguished by what he has to say that he has to sit down and cry hits particularly hard because he has always, always tried to put on a strong face in front of MC. Whenever his illness strikes and MC sees it, such as in aquarium date or Neruda poem date, he’ll smile and/or joke about it after. When the two were talking about his posthumous letters during the RRG date, he still had a calm smile on his face. Even when he talked about being shoved into a car trunk to be “disposed of”, he was still calmly smiling. As MC noted, his job has taught him to have extreme control over his emotions, so it’s almost overwhelming, trying to imagine how much sadness pushed him to that point.

Pathetic fallacy also plays a part in increasing the impact that the confession event had. In the days leading up to the last part of the date, storms keep striking suddenly, such that it’s even described as “strange”. Storms are, of course, generally associated with less-pleasant things, such as conflict, anger, depression, difficulty, and so on. The meaning behind why they appeared suddenly or frequently is a little harder to understand, but my assumption for the frequency of the storms (rather than an ongoing storm or gloom) reflects how things could not completely “clear up” (despite uplifts in emotion from time to time) until they confronted each other with their feelings. During the confrontation, not only is the storm still going on, but they’re also harshly drenched in the cold rainwater. It is only after the kiss, after their interests finally coincide, that the storm lifts and the beautiful starry sky casts its light on Xia Yan, who was holding the majority of the conflict/sadness/depression between the two of them. (This is also highlighted in how MC notes that Xia Yan feels slightly cold (during the kiss), and she tries to transfer her warmth over to him, trying to alleviate that heavy emotion that’s wrapped itself around him.)

The Location

The attic of their old home remains an important location for these two, and I pretty much can’t think of a better choice to set the confession. It contains their childhood memories, and it also came into play during Xia Yan’s first birthday after his return (i.e. the idea of continuing to make memories there). It’s also interesting to note that Xia Yan, from his rational mindset, did not intend to see MC… yet he still came to this place - a place that was equally meaningful to both of them, and a place where he’s likely to get lost in emotion. He may be restraining his emotions for MC’s good, yet they still show in small places. (At least, there doesn’t seem to be any logical reason for him to be there, since he wasn’t setting anything up there…)

The Humanizing and Internal Conflict of Xia Yan

I call it “humanizing” because I’ve done some commenting before on how Xia Yan has felt a little superhuman - so many skills everywhere, and rarely a moment of weakness. Now, this date really drives home that he is just human too, with the harsh reality of imminent death hanging over him (especially since we also learn a few more concrete details on exactly what his illness is). This point is brought into attention when he talks about how he’s neither able to be as brave as Schumann (who acted based on emotion) nor as silently strong as Brahms (who acted based on reason). He’s pulled in so many directions for all the things he wants - a desire to stay by MC’s side and do so much with her, whether as family or as something more, versus his rational mindset that tells him to not see her at all, to disappear from her life after, or to push her away even after her confession. There was also his “rationally” created plan in which he would give her the letter and let her decide, yet he still tries to convince her to not be with him.

The Schumann/Brahms comparison shows how he keeps getting pulled back and forth between reason and emotion. He reveals his feelings to MC (Schumann), but wants her to make the optimal decision, which he believes is to not be with him (Brahms). He then kisses her after hearing her conviction (Schumann) and then gives her the gift that’s linked to Brahms. In realizing that he’s not able to stick to either path, he calls himself a coward - but he doesn’t need to be like either person. As MC says, his restraint is a part of his own background, and his emotional wavering is because of his care for MC - all in all, his motivations are because he is Xia Yan, not Schumann or Brahms.

Personal Story Chapter 2 Parallels

In Xia Yan’s personal chapter 2, Yang Xiao sets up the story of 零/Zero and 玛丽薇莎/Marivisa to mirror MC and Xia Yan (respectively). The mention of what will bring Zero and MC happiness is starkly similar in these two situations:

⊳ Personal Ch.2-9

Xia Yan: 因为...这样，零会更幸福... 她不是在牺牲，她只是用自己的方式让零能幸福。Because this way, Zero would be happier… She wasn’t sacrificing herself. She was only using her own methods to make Zero happy.

MC: 但零的幸福就是她啊。But Zero’s happiness is her.

Xia Yan: 她已经无法给零幸福了。 It’s already impossible for her to give Zero happiness.

⊳ Date

Xia Yan: 如果你选择别的男人。。。只要他能给你幸福。我只会带给你不幸，我没有时间了。。。If you choose another man… As long as he can make you happy. All I can bring you is unhappiness. I don’t have much time left…

MC: 你怎么可能带给我不幸，你怎么可能做不到给我幸福。你在我身边，你的存在本身，就是我的幸福。How is it possible that you can only bring me unhappiness? How is it impossible for you to bring me happiness? You being by my side – your very existence – is my happiness.

Yes, the Zero/Marivisa story was intentionally made to parallel these two, so it might feel moot to compare them like this. However, I still really appreciated that they brought this discussion of what brings MC/Zero happiness back, especially since XY’s chapter 2 was very major in developing his character. Back then, MC is vehement in that Zero would have been happier spending all the time he could with Marivisa, as well as even having the choice to spend that time with her. I think that this part was instrumental in Xia Yan eventually deciding to tell her the truth and letting her make her own decision (as he explicitly stated to Yang Xiao in part 1 of the date). However, he still wasn’t fully convinced by what MC said back in chapter 2, so we satisfyingly see this discussion of happiness come full circle by the end of this date, when Xia Yan finally trusts MC to make the best decision for herself.

Xia Yan’s Considerateness

Xia Yan’s enduring consideration for MC displays itself in nearly every single action within this date.

The flashback, when he thinks about MC potentially having to go through what the widow is now experiencing, and how his own happiness for three years isn’t worth that

His conviction to give her the right to decide in this matter that involves both of them, because he can’t be the one to decide everything

He insisted on not making it a romantic event, because he wants MC to make the best decision without having a mind clouded by emotion. He’s also made peace with the idea of not being with MC, for the sake of her long-term happiness. All he wants is for her to know the truth of his feelings and illness.

His decision to still make MC a gift to retain some aspect of the romance in the confession (but he only gives the gift after MC has made her decision, again to ensure that her mind isn’t clouded). I think the concept of the gift is particularly beautiful - the little, happy holograms of them inside the glass, as if ensuring that he will always be by her side in some way; the music that brings back their childhood memories and alludes to an enduring, quiet, and protecting love that puts the recipient first (i.e. Brahms to Clara); and the rainbow, which has its childhood memories and treasure implications that are already mentioned in the date, but it also reminded me of the miraculous double rainbow in his Lost Gold date. That double rainbow was the trigger for Xia Yan to proactively seek out a future with MC, when he took the initiative to ask MC if she could be with him to seek out more miracles. Overall, there are a lot of beautiful memories and implications wrapped up in that music box/snowglobe.

The little comical segment where he worries about the optimal time to deliver the letter, worrying about MC’s sleep or if she’ll be able to eat well.

His stress over what he should’ve done after the letter was delivered, and how he immediately answered MC’s call out of pure worry, despite being so resolute about not answering her calls that he’d turned on airplane mode before.

Their ensuing discussion in part 3 is just full of Xia Yan’s consideration for MC at its peak -

Rather than being ecstatic about MC’s confession, his first instinct is to tell her to take a few days to think about it logically. (But really, emotions aren’t logical to begin with, so it’s not like MC would’ve stopped liking you after mulling it over for a few days, haha)

His immediate apology after yelling that he has to mention his death

His worry about how MC will cope after he’s gone, going so far as to saying that she would be better off with another man

I think that this particular (above) line got a particularly visceral reaction from Xia Yan fans, including myself. Because like MC, our initial thoughts fell along the lines of “How could I ever choose someone else when the only person I like is you? There’s just no way someone else could make me happier…”. Another reaction that I’ve seen among Xia Yan fans (yep, including myself) is how we originally viewed the story in third-person, seeing “MC” in the story, but this date (and this particular scene, where MC says nearly everything that I myself would want to say) dragged us into a first-person position.

The heartbreaking scene where Xia Yan cries from being unable to give MC the happiness that he wants to give her (or so he thinks).

He’s just so painfully selfless. I also really like the line during the kiss where MC tries to transmit her warmth to him, trying to balance things out between them and have him feel better, when he had already written himself off by thinking that his happiness is better off sacrificed for hers.

Jin Xian’s Voice Acting

Jin Xian’s voice acting deserves a whole section to itself, because I think that he did an amazing job of portraying the intense emotions Xia Yan feels during the date. Just going to list some lines that really hit hard - both because of the content, and because of the voice acting that really considered how Xia Yan would be feeling then.

我可以去追她，我甚至可以和她结婚。我可以把最后的三年过得很好，过的毫无遗憾，但是然后呢？她一个人要怎么办。。。谁陪她走出来，谁来照顾她。。。(“I could pursue her. I could even marry her. I could live my last three years happily, without the slightest of regrets. But what about after? How will she cope on her own… Who will be with her as she handles this? Who will take care of her…”) The ups and downs of this section’s voicing really hit hard.

The gentleness with which he speaks about what he plans to tell MC, especially the line 她从来都是这样 (“She’s always been like that.”)

He’s so cute in Part 2!! The tone’s a lot happier and relaxed and it’s really nice to see and hear.

In part 3, the vehemence with which he talks about how the risks of MC’s work aren’t comparable to his established time limit, which then softens into something sadder when he talks about how Yang Xiao’s efforts haven’t extended his time by much.

The intensity when he says 我必须说 ! (“I have to say it!”) (when MC reacts to him using the word “death”), and how he immediately softens his tone after. But then his voice starts to rise again as he worries for how MC will bear his death… and then he takes a break to calm down, and then makes the suggestion of MC finding another man with a near-inflectionless tone that gradually slips into a whisper

His whispering voice makes the impact of 我在乎。。。！(I care…!) hit even harder because it’s suddenly loud, and you can clearly hear the tears in his voice. Once again, he takes a breath to calm himself down and quiet his voice. But even as he keeps talking in a voice that descends into a whisper again, you can tell that he’s still on the verge of crying…

Also the 我也。。。好喜欢，最喜欢你. (I also… like you. I like you the most) line left me screaming with how it was whispered but really strong and adamant-sounding aaaaa

Anyways I could list more but at that point I might as well list Jin Xian’s entire script lmao. He did such a good job!!!!!!

Sound Effects

I’m laughing at myself for including this section - if you turn off the music that accompanies Xia Yan’s card, you’ll… hear some very interesting sound effects [狗头]

They’ve got to make the most of their limited time together, after all, and this is the only date out of the set of four that’s indoors… it makes sense…

Other Thoughts

Two kisses!!

What sort of treatment would leave Xia Yan infected with drugs with prohibited components? What were they even trying to do?

The date was short relative to the other, super-long Themis dates, but I’m personally alright with that because it places focus on the confession itself. It hit all the points that I personally was expecting for Xia Yan’s confession, including his past struggles with the idea of staying with MC, his confession about both his feelings and his illness, and how resolute MC is about staying with him vs. how hard he tries to get her to understand the implications of being him, considering that he doesn’t have much time left.

I think now’s a good time for the two of them to get married if they’re well aware that Xia Yan’s time is limited, so Xia Yan, where’s the ruby ring?

I wonder what implications this will have on the main story - e.g. will the rest of NXX find out about Xia Yan’s illness in Chapter 7.2? Or will they never know? Actually, I wonder if they’ll have MC be aware of his illness in the main story because… that implies his confession happened, which might anger fans of the other boys.

Conclusion

I love Xia Yan and I love this date.

#tears of themis #xia yan #luke pearce #rambles #this whole thing is kinda messy so kudos if you made it through

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clarythericebot · 4 years ago

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potential internal conflicts/character arcs for nhie s2

(based on the table read, news, and things that i personally just want to see :P)

- Devi learning to see others as ends of themselves instead of means to an end. No-brainer that this is going to be a theme next season (especially with that pros and cons list of her love interest), but I’m so excited to see how the show’s going to handle it. As I rambled about on this post, one of Devi’s biggest developments as a character was to stop treating Ben as an extension of herself (either as boxing him into the role of Antagonist/Nemesis in her own narrative or as a hateful mirror that points out personal traits she dislikes) and as an actual person and friend, and it’s that which sparks the small epiphany of her feelings towards him. From the table read and the stills, though, it sounds like she might be putting him in a new, albeit prettier box: Love Interest. The same box that she puts in Paxton, who at this point also does have genuine feelings for Devi. She’s looking at them as experiences, not people, and it’s all going to inevitably blow up in her face.

- The Devi/Fabiola/Eleanor friendship changing somehow. I had this impression that all season 1, the three of them have been hanging on to a dynamic that just doesn’t work anymore, in light of Devi’s grief, Eleanor’s abandonment, and Fabiola’s identity conflict. While Devi is definitely in the wrong of blatantly choosing a guy’s inconvenience over her best friend’s weightier problems, I think the larger problem here is that they don’t seem to know how to be there for each other for difficulties larger than to do with school, although the care and concern is there. It actually takes a third party to push them towards solving the overarching issues in their friendship, and even then only briefly. I’d really like to see this explored as a conflict shared between the three of them, instead of it being sidelined completely as Devi being selfish.

- The narrative that Devi will tell Princeton + the parts of herself she’s willing to take to college. (These are technically two conflicts, but I feel like it would make sense to intertwine them, especially since they’ve already been intertwined in the Ganesh Puja episode.) Devi has expressed her intention about leaving her Indian-ness completely and utterly behind her, as well as all the other embarrassing and painful parts of her identity (her grief and her insecurities). She’s come to terms with her father’s death to an extent, but she doesn’t seem to have yet accepted how his death has shaped and marked her. I think this is going to extend with how she deals with her Indian identity, and perhaps how she deals with her relationships.

- The double-standard between Kamala and Devi. On one level I understand Nalini probably treats them different because of her differing relationships with them—one’s her niece that only came to live with them and the other is her only child, her whole family. On the other hand, from the narration Devi has never really experienced her mother expressing such a blatant double standard in favor of Kamala before (about her secret boyfriend); she fully believed her cousin would get into trouble. It never did get addressed.

- In the first season, we experienced how Kamala’s western ideals influenced the part of her life still infused with tradition (her relations to other Indian people and her arranged marriage). The still of Kamala in a labcoat makes me hopeful for the inverse this season: how Kamala’s arranged marriage and traditional ideals affect her career as a scientist.

- Paxton engaging in the fact that he likes someone who is smarter than him (at least in a bookish sense). I’ve never seen this conflict delved into before—most writers just ignore it, focusing on what the love interests have in common (and don’t get me wrong, I’m looking forward to Paxton engaging Devi in this way, either by trying new things or revealing some hobbies or interests we haven’t made privy to). This insecurity is so close to his chest, though, and as much as Devi seems to make a point not to make him feel bad about it, it would be fascinating friction since Devi is very rightfully proud of her intellectual prowess. I imagine this will only be accentuated with knowing that his competition for Devi’s affections is someone razor-edge smart.

- Ben’s anger, and it being dealt with in constructive and destructive ways. I think one of the (numerous) things that I love about Ben and Devi is that they have different approaches to their internal and external conflicts. Devi runs away internally, refusing to face grief and sadness, while she delves head-first into external situations (e.g. asking Paxton to have sex with her, going to a Model UN trip with absolutely no prep and being willing to steal alcohol, talking to her friend’s estranged mom in other to get back into said friend’s good graces). Ben, on the other hand, has remarkable emotional intelligence underneath his high school immaturity (he can read Devi beyond her words actions, he doesn’t deny the isolation and loneliness that he feels, he is prepared to be vulnerable in certain situations) but he doesn’t do anything about it (he stops himself from telling his parents how abandoned he feels, he gives in to his girlfriend essentially using him as a prop, he is ushered into dining in his nemesis’ house by her concerned mother). Then Devi kisses him, and suddenly he’s willing to put his eggs in one basket. He stands up to his parents and demands that they spend family dinner together—because of her, he claims. He breaks up with his girlfriend, finally admitting that what they had wasn’t real, and earnestly informing Devi that he thinks what they have is. “I’m all in,” he tells her, thus crushing my heart. Because what’s strongly being implied, at least by the first part of the first episode, is that Devi’s either going to choose Paxton or neither of them. I imagine that Ben, used to being abandoned time and time again, will not react well to that. (This is expanded in this really awesome meta by @catty-words). There’s potential for the show to frame this as sexist entitlement, but I’d like to hope that the creators will be more compassionate to Ben’s conflict, as they have been in the past. It would genuinely be hurtful for someone you’ve displayed a lot of vulnerability to suddenly turn tail and say it didn’t mean as much to her. My guess is that he’ll lock into their nemesis status quo from before and lean into it hard, and it will likely hurt him badly. What I’d also like to see, though, (if only to assuage my own heartbreak) is him taking steps to deal with this a little more constructively, in addition to the inevitable self-destruction. I’d love to see him get back in touch with his ride-or-die middle school friends or even make new ones. In fact, I suspect that’s who the character of Aneesa is going to be, regardless of whether she becomes a contender for his love interest.

Aneesa is described as someone whose confidence and radiance will pose an immediate threat to Devi. I doubt that means she’ll be another academic rival, at least not completely; Devi already has Ben for that. As for romantic rivalry, it is likely not going to be Paxton Aneesa will be paired with, since it’ll only be a rehash of Devi’s insecurities of Paxton liking ‘hotter’ girls like Zoe and vying for his attention. (There’s a possibility she and Paxton will have history together and that threatens Devi even if she’s already in a relationship with him, but for me, that’s a less interesting choice than letting Devi focus on the challenges that will be inherent with Paxton being her boyfriend.) I think Aneesa will be another mirror for Devi—who she could have been if she pursued friendship and openness and maybe even a relationship with Ben, and that’s likely going to make Devi bitterly jealous. If this results in friendship and openness and maybe even a relationship for Ben (a deeper, more genuine one than his previous), I’m completely here for it, even if I am still hoping for a Bevi endgame.

(Low-key theorizing that Ben's smiling at Aneesa here, btw)

#clary scribbles #nhie meta #ben gross #devi vishwakumar #devi x ben #nalini vishwakumar #kamala nandiawada #paxton hall yoshida #never have i ever

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richincolor · 3 years ago

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Book Review: The Bones of Ruin

Title: The Bones of Ruin

Author: Sarah Raughley

Genres: Historical Fiction, SciFi/Fantasy

Pages: 489

Publisher: Simon & Schuster Children’s Publishing

Review Copy: ARC from publisher

Availability: Available now

Summary: As an African tightrope dancer in Victorian London, Iris is used to being strange. She is certainly a strange sight for leering British audiences always eager for the spectacle of colonial curiosity. But Iris also has a secret that even “strange” doesn’t capture…

She cannot die.

Haunted by her unnatural power and with no memories of her past, Iris is obsessed with discovering who she is. But that mission gets more complicated when she meets the dark and alluring Adam Temple, a member of a mysterious order called the Enlightenment Committee. Adam seems to know much more about her than he lets on, and he shares with her a terrifying revelation: the world is ending, and the Committee will decide who lives…and who doesn’t.

To help them choose a leader for the upcoming apocalypse, the Committee is holding the Tournament of Freaks, a macabre competition made up of vicious fighters with fantastical abilities. Adam wants Iris to be his champion, and in return he promises her the one thing she wants most: the truth about who she really is.

If Iris wants to learn about her shadowy past, she has no choice but to fight. But the further she gets in the grisly tournament, the more she begins to remember—and the more she wonders if the truth is something best left forgotten.

Review: Having a novel set in Victorian London with characters of color can be tricky because the author at some point has to acknowledge the racism and other injustices people of color were subject to, it was therefore that I was a bit weary when I sat down to read Sarah Raughley’s “The Bones of Ruin”. The premise is a fantastic one as Iris is an intriguing character caught up in one hell of a secret society conspiracy and I wondered who Raughley would capture society at the time. I needed not have worried, for the novel is a engaging story yet also a wonderful critique of how people of color were treated in that time period. The novel makes reference to Sarah Baartman and her mistreatment, the stealing of Africans who were then placed in zoos (true, look it up!), and even trafficking of children. The critique comes from the diverse cast of characters who make up Iris’s team for the “Tournament of Freaks” and each has their own painful history that they struggle with. All make comment on how Victorian London has exploited them in some way and the injustices of their people. I truly loved the novel for this aspect as many historical novels tend to get lost in nostalgia and forget that life was not easy for people of color. Raughley shines a light on it and it only adds to the tension of the novel.

I loved all the characters in this novel, especially Iris of course, as she struggles with the conflict of participating in the Tournament (she’s not too sure if she wants to, but she does want to know about her past.) It creates a wonderful internal conflict that balances with the external conflict as Iris and her team are often times fighting for their lives. In addition, all of the “freaks” are super-powered humans in a way due to an accident at a faire, a mystery that is revealed slowly and comes with an amazing payoff as to how all of these lives intersect. There is also a love triangle, of course, but each provide a unique balance with Iris so it’s somewhat hard to root for one person (I have a preference, but I shall keep it quiet for now. I’ll just say if you read the book and love slow burns, you’ll like that ship). There are also friendships that develop, where the young women work with each other rather than against each other. By the end, after everything Iris, her team, and their friends have experienced, there is a lovely bond which makes you believe that they will be okay and prosper. However, “The Bones of Ruin” is the start of a trilogy, so there is more danger for Iris and her friends to come.

I really enjoyed “The Bones of Ruin” as it was a wonderful escape from our reality that was full of intrigue, mystery, a fun conspiracy, and characters that I really connected to. I was drawn in the world that Raughley created, as well as the developing mythology that will sure be revealed in later books. This was a great start to a series and I can’t wait to read the next book.

#book review #weneeddiversebooks #blackgirlmagic

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aclosetfan · 4 years ago

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the pet peeve/pettiest opinion i have abt this fandom is how sometimes ppl portray the blues w/o any substance and/or any sort of depth like they do the greens and reds🤝

I don’t even think this is petty, it’s just true 🤷‍♀️ it seriously irks me to no end. I’m so glad you brought this up!!! lmaooo short response is I 100% agree with you. unfortunately, I agree with you so much I wrote a whole freaking essay, which can be found under the cut. I could rant about this all day long. I don’t even care. The blues are such a disappointing couple :( I wish fic writers would cut out the cutesy pure bs that you find so often with these two.

I really think that the biggest problem with the blues (and Boomer) is all rooted in Bubbles’ characterization. I think she’s the most difficult for people to write because she’s the least “problematic.” And a lot of people don’t know what to do with her because no one can relate to unproblematic. She’s written as (excuse the annoying early 2010s expression, but it fits) the perfect cinnamon bun and there’s no conflict if a character doesn’t have some kind of internal conflict, they’re boring! They get tossed to the side!! Blossom is often written struggling with leadership and perfectionism. Buttercup is often written struggling with impulsiveness and aggression. People relate to them because they’ve “gone through things” most people have experienced themselves. Fic writers like writing Bloss and BC for the same reason because you can only write what you know! But shoot, writers still got to place Bubbles in somehow! So she’s either an airhead, or a crybaby, or too innocent/naïve, or the uwu character, which is good for a few laughs but 🤷‍♀️ it gets pretty 2D and old real quick. Her biggest issue in the show was people babying her, but usually, that conflict is written off in fics with one simple “OH so she’s actually a badass” scene and that’s like it?? It’s never visited again?? (Even though all her solo episodes focus on her accepting who she is despite what others think so idk if badass scenes actually do her justice. She’s a lover not a fighter at the end of the day tbh.) It’s understandable though. I struggle with Bubbles because I’m not as optimistic as her character, and I certainly don’t relate to being “the joy and laughter.” It’s hard writing someone whose fanon character is interpreted as practically flawless. In ppg fics you’re also juggling a big group of characters, so it’s advantageous to rely on the simpler archetype tropes. So, I think it’s easier for people to set Bubbles up in a relationship than explore her more thoroughly since she’s the sensitive one who would be into the lovey-dovey stuff. Further, if you want to give readers a break from the heavier themes of your main plot, having a cute side pairing is a good safe escape. Not a lot of thought is needed to make those relationships work. And since Boomer’s just there and also underdeveloped, they get paired together. And because people (rightly) want to stray from the predator/prey trope because Bubbles is just so Pure(tm) and the trope feels assault-y, writers make Boomer inherently good. But now you’re just stuck with two good, cute characters. That’s it. And because their plot in the story revolves around their romantic relationship, it's their relationship that is the only thing that aids in their character development. The blues make up the lighthearted B-plot (but probably more like C-plot because the greens are usually B-plot material) The blues seem to follow two tropes: 1. Pure childhood crushes—Boomer was always good and wants to do good by Bubbles and she wants to “protect” him from his “mean” brothers 2. Bubbles “fixes” Boomer, but he really doesn’t need any fixing in the first place because he was good all along, he just needed encouragement. (Weird side note, have you noticed how Bubbles is always like “Boomie you’re NOT stupid” and then all the sudden it’s like the boy has a PhD) And I'm not faulting anyone for having a b-plot relationship with the blues. If it’s done right, being in a relationship does wonders for people! But relationships are work and without the blues having their personalities developed OUTSIDE the relationship, there’s no “work” to be done. They’re just the Perfect Couple and it’s boring. Don’t get me wrong, I like the pairing (it’s v cute), but what’s nice about the greens and the reds is that each individual character has usually been personalized (Butch not so much, in my opinion, his character generally revolves around BC, but bear with me for argument's sake), which makes their relationships with other characters fun to read. The greens and the reds are flushed out because their most basic archetypes are the most relatable and easiest to write. The Blues, though, just seem to get together. Bubbles is a hard character to write, so by default, so is Boomer. They have no conflict outside each other that would trigger character development. They flirt, sometimes Bubbles resists, then they’re together. She’s the cutest thing ever and he’s a simp for it. Easy, fluffy, they fade to the background because now that they’re together what happens to them next?? Irl people either get married or they break up. Most of these fics are high school AUs, so they can’t get married, and no one wants the cute ones to break up, so they just start to enter and exit the story as convenient segues. And that’s disappointing because individually they could be so interesting. Bubbles has to struggle with the fact that people infantize her. Her ideas are often dismissed, people treat her like a ditz, and her ability to be a hero is often called into question because she’s the one who seeks peaceful alternatives, and when she DOESNT seek those alternatives, people in the show freak out and become scared. Like I said before, most bubbles centric episodes focus on her accepting her sensitive side and using it to overcome a conflict. Also, HIM’s like her main villain in all her episodes. and, shit, one of her nicknames is literally Chubbles. She’s been called fat a few times. There’s so much a writer can do with her conflict-wise. Optimism and sensitivity don’t equal naivety, we don’t have to make her Pure. In fact, it’d be way more fun to see her trying to show everyone that she’s no longer a child but a young woman. And Boomer has like 3 episodes, right? Maybe 4? Literally in all of them, he’s a bratty little boy. He carries slugs in his pockets. He’s bad at trash talking. Easily distracted. Fights with his brothers. Dumb and chaotic. Good at spitting. He doesn’t put Bubbles on a pedestal. He wants to beat her up. He’s not a good guy. Bubbles thinks he’s cute. That’s literally all we know about him lmao. He wouldn’t be soft so why would what we know translate into a boring unproblematic underdeveloped boy?? You can write him unfulfilled. You could write him stuck in his brothers’ shadows. You could write him as a weirdo who’s obsessed with bugs (to match bubbles animal obsession). In my head, if Brick’s the smart one and Butch is the strong one, I make Boomer the charming one. And charming boys are dangerous boys 🤷‍♀️🤷‍♀️he probably had to charm his way out of plenty of dumb situations. I also make him unluckily lucky since he gets captured by the girls in one episode, but he still makes it out just fine. Everything bad that could happen happens to him but Boomer’s like “eh 🤷‍♀️ It’ll blow over. Lol already died once. What can ya do?” So you've got a girl who is never taken seriously and a boy who takes nothing seriously and yall really think their relationship would be unproblematic??? Individually, these two characters could be fun to write if the fic author plans it out correctly! Idk why their relationship wouldn't be either. If you want a compelling romance, you’ve got to make compelling characters.

#tell me your pet peeves and you'll get a thesis paper!#lmao im so sorry #ive just got a lot of feelings about the blues #ppg blues

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mysticdragon3md3 · 3 years ago

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I find it endlessly amusing how after 10 years, my OTPs have circled back onto the same type. lol

I realize the Blue Lions have Dedue, and Ashe used to be a commoner. But Ashe got adopted into a higher class. Meanwhile, the Golden Deer has 3 commoners who stay commoners.

And Yukimura probably had commoners serving under him, but Sengoku Basara (2009) takes a lot of time to emphasize that Masamune's commoner associates are named, get screentime, voice his effect on them, and spent time closely serving under him. Meanwhile, Yukimura's only named subordinates seem to also be lords or ninja, more than basic commoners.

When referring to "self-doubt & a phase of failing as a commander", I'm specifally referring to Sengoku Basara (2009) season 2 for Yukimura. That's pretty much most of what he does that season. And he made a critical decision error as a commander that got one of his major subordinates killed and probably also unnecessarily killed some of his other soldiers. Though I am vaguely aware that in one of the videogames, Yukimura similary spent most of the story in self-doubt, after thinking Takeda was dying, and I think he ran his army around doing actions without enough thought.

And of course, with Dimitri, I'm referring to his post-time-skip phase wherein he went full "boar" and refused to properly lead his army. Though after regaining more mental stability and becoming a proper general, he still gets haunted by self-doubts for the rest of his life.

When I spell "Strength" with a capital "S", I'm usually shortening my term "True Strength" and referring to both a mental and emotional fortitude, resilience, and frequently an iron resolve in Compassion. That's just my personal philosophy in defining "True Strength". Personally, I see 2 definitions of "strength" that both converge at Compassion, to define "True Strength". 1) In an amoral sense, strength is resilience in maintaining one's own "soul pattern"/emotions/resolve, without being swayed or influenced by outside forces to change. 2) In terms of defining strength as the ability to do what is most difficult, in my opinion, Compassion is the most difficult. Not only do acts of Compassion often cost a range of efforts from some to exorbitant, but it can also require the enacter to put themselves into a vulnerable position. So it is often something only the strong can afford, or survive, or disregard fears of being vulnerable or taken advantage of. Therefore, in my personal opinion, converging the 2 definitions into an unwavering resolve in Compassion, is my personal definition of "True Strength".

So when I categorize Date Masamune as having Strength, I mean he is unwavering in his resolve towards Compassion. Sengoku Basara 2009 takes a lot of instances to reiterate that Masamune cannot be swayed, his Resolve is unquestioning, no one can stop him, slow him, or change his mind. His catch phase is "pressing onward" (translated as "full speed ahead"). One of his first scenes is charging ahead, disregarding Katakura's warnings for caution. (Notice that in Judge End, this is framed as foolish brashness, but in Sengoku Basara 2009, Katakura smiles and continues following without worry, because he completely trusts Masamune's instincts and decision-making. Because everyone trusts Masamune 2009 to always make decisions based in the best ideals/Compassion.) This is reiterated throughout season 2, when Masamune makes allies and each of them ask him to change directions, but the most they can do is temporarily slow him down, because he doesn't stop moving forward. This Strength directed in outward Compassion towards others is almost unexpected after considering Masamune's historical backstory. One would think that someone betrayed by his mother would become disillusioned and spiteful towards the world. It's a basic supervillain backstory to be betrayed by a trusted figure, especially during fundamental development. But instead, Masamune seems to want only to protect others and bring the whole country under his command, so that the whole country of people can be under his umbrella of protection. The 2009 series only mentions his regret from one of his early battles where lots of his soldiers died, being his major motivation in protecting others, specifically his soldiers. But I've headcanon'ed a lot that can be extrapolated from his historical backstory, that when in conjunction to his actions in Sengoku Basara 2009, portrays a Masamune who has dedicated himself towards Compassion, despite his tragic backstory.

Similarly, Claude's backstory is tragic, yet he emerges with True Strength. I've heard criticisms within the fandom that Claude growing up experiencing so much bullying and discrimination against his being biracial, could not believably yield a person dedicated towards Compassion. But I think that's just brainwashing from too many supervillain tropes telling us that traumatized and mentally ill people invariably become villains. I've heard it's more realistic that people who have experienced trauma, tragedy, or some kind of pain, actually are more likely to increase their ability to empathize/sympathize with others, consequently becoming more compassionate. (Mentioned in https://youtu.be/bHe2seINnE0 at 2:03/9:09; https://youtu.be/zaZYDK1RcEU) Claude experienced descrimination and bullying; he explicitly explains in FE3H canon that he wants to create a world where no one else has to experience that same pain. I really don't see why this can be an unbelievable characterization to some people, when most of the world admires Batman for literally that same reason. And I think that characters, like Claude, who react to trauma and hardship with altruism, demonstrate a True Strength in their characters. They haven't been broken by their trauma. They not only survive, but survive as people who still want to care for others. (Also why I love Natsume Takashi.)

I was tempted to include Dimitri in the category of "Emerged from tragic backstory with Strength and vowing to make world where no one will experience same pain". But he didn't emerge with the same level of flawless Strength that Masamune and Claude did. Dimitri certainly did resolve to protect others from ever experiencing the pain that he felt, after the Tragedy of Duscur. But he was also not as mentally stable. He was so repressed and internally conflicted (concerning his feelings of vengence, or sadness that didn't know how to be expressed as anything but anger, lest he break), that he didn't integrate his "boar" impulses/emotions until much later in his post-time-skip. I didn't feel that Dimitri was a fully reconcilled version of himself, until after he had accepted his "boar" emotions, stopped repressing his unresolved anger, and learned to express them more appropriately or at more appropriate times. After he became more mentally/emotionally stable, I have no doubt that he still can have episodes of rage, anti-social moods, or crippling survivor's guilt, but I think he no longer allows those feelings/episodes to push away the people he cares about or disregard his true personal desires to be kind/protective towards others. He knows how to deal with those feelings now. But he spent a long time not yet at that stable level, until much later. Until then, he was frankly wavering, conflicting with his personal resolve, denying his own ideals, and allowing his survivor's guilt manifesting as ghosts to sway him away from his true desires/motivations/values of Compassion. Dimitri was Weak for a time. So I can't say that he was in the same category of Strength as Masamune and Claude.

Dimitri's backstory of his father's death and idolizing Rodrigue, after he took him in, is information he canonically tells the player.

But I realize that Sengoku Basara 2009 never actually mentions a backstory like this for Yukimura. I'm actually referencing the takarazuka version of Sengoku Basara. In that play, they include a childhood backstory scene, where Yukimura's father was a subordinate of Takeda and died while protecting him. Young Yukimura blamed Takeda for his father's death and went to punch him out. Because Takeda understood that Yukimura needed catharsis and was trying to reconcile with his grief, Takeda allowed himself to be punched. But he also punched back. I think maybe to encourage Yukimura to keep going? I can't remember. But eventually, Yukimura punched out all his anger and only had energy left to finally cry, and Takeda said something that comforted him. From then on, he called Takeda "Oyakata-sama" and became completely devoted to him. This explained the origin of the running gag from the 2009 anime, wherein Takeda and Yukimura engage in fist fights as a form a bonding. (It's a shame that the video of these scenes was taken off YouTube. ;_; ) I don't know if "Sengoku Basara Sanada Yukimura-den" mentions how Yukimura's father dies, since he finally appeared in that game. So I'm referencing the takarazuka version.

There isn't really mention of Masamune's mother in the 2009 Sengoku Basara anime. The closest, was Masamune's maternal uncle appearing in the movie "The Last Party" that ended that anime series. But historically, after the real life Date Masamune survived smallpox at a young age, and lost sight in his right eye, there was a lot of dissent among the other high ranking people within his clan, concerning his continued position as the Date clan's head. A lot of this dissent was lead by his mother, who insisted that Masamune's younger brother should become the new clan leader instead. Some accounts say that to shut up accusations that Masamune was weak and that his faulty eye was just an advertised weakness that enemies would take advantage of on the battlefield, Masamune either pulled out his own right eye or ordered Katakura to do it. Apparently, that shut up everyone except his mother, who still continued to try undermining his position. I don't know if there was one instance of several, but she also tried to kill him through poisoning, to replace him with his brother. Because of this, Masamune's only choice was to kill his own little brother, which forced his mother to run back to her original clan. (I can only assume that Masamune didn't just kill his mother, because it's possible she indoctrinated his brother to ursurp him. So Masamune might have ended up eventually needing to kill his brother anyway.) Lots of us in the Sengoku Basara fandom like to headcanon that all of this happened for the Basara version of Masamune too.

It's my understanding that Cornelia implicated Dimitri's stepmother in the murder of his father and friends at the Tragedy of Duscur, but that things were still left canonically vague. Personally, the fact that Patricia was always kind to Dimitri, combined with the fact that Cornelia is proven duplicitous, I find it difficult to believe that Patricia intentionally betrayed Dimitri. The way Cornelia described it, she offered Patricia a chance to be reunited with her daughter Edelgard, Patricia confirmed that desire, then the Tragedy of Duscur happened. Given that Cornelia was already doing terrible things behind Patricia's back, like experimenting on Hapi, and Patricia being angry at Cornelia when she discovered Hapi, I doubt that Cornelia would have been fully truthful with Patricia. I imagine Cornelia tricked Patricia into opening a path or lowering some defenses to "allow a clandestine meeting with Edelgard", but then Cornelia would probably use it to sneak in enemies to kill Dimitri's father and friends. That's my headcanon theory on the Tragedy of Duscur anyway. So Dimitri was only *possibly* betrayed by his mother figure.

And that's my comparison between DateSana and DimiClaude/DMCL/ClauDimi. It continuously amazes me how similar these ships are and how my shipping has come full circle. lol

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atomicblasphemy · 3 years ago

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I was bored and decided to speculate on the upcoming Owl House episodes

Buckle up, this got way longer than anticipated.

Often I tend to have as much or even more fun with TOH’s b plots as with the main ones, and seeing the memes the fandom I guess that’s kind of a normal feeling. But this last episode didn’t really have one and I’m pretty glad it didn’t.

Here’s how I’ve been thinking of the show, specially when it comes to episode structure. Pretty much in the first few scenes they will go like “hey, here’s an idea.” Then they go on the rest of the episode showing why that is not such a good idea. Case in point, Understanding Willow’s “out of sight, out of mind” only for the episode turn out as an argument for therapy, or that grom episode with Luz unable to answer her mom’s messages only to do so by the end of the episode (even though that is not a full solution, but still, she’s the main character and that looks like it will a main source of conflict until the show’s end... probably). On today’s episode I feel like it came out in two ways: from Luz perspective it came in the form of her indulging King’s narrative and self-image; on his case, well, it pretty much boils down to that whole identity crisis thing.

In other words, although in a certain way there are two big stories being told they both are a part of the same plot line. Moreover, King is a part of the show’s main trio.

Now, this may just be my own perception, but I feel like the last five or so episodes were kind of meant to be some turning point for specific characters, in this sequence: King, Willow, Luz, Amity, Eda, Lilith. Those episodes seem, again, at least to me, to mark some form of shift in the characters story. For Lilith it was her betraying the Emperor, for Eda it was learning who cursed her and her imprisonment for Luz’s sake in a way (learning she grew to care for Luz over her own well-being), for Amity it was her taking a first tangible step towards getting out from her parent’s dominion (which culminates in the events of EE) and becoming her own person, for Luz it was confronting the fact her biggest fear is somewhat related to guilty about how she left her world and her mom and finding in herself (and the friends she made in the Isles) the fortitude to actually confront all that, for Willow it was what I said before (which, btw, ends her whole arc that started on the conjuring episode, the whole thing about her and Amity’s friendship). The only one of those I can’t really see clearly what the episode’s point really was is King’s Really Small Problems.

Again, going on a bit of subjectivity here but I feel like that episode was kind of the show’s lowest point so far. First of, there’s the fact that Willow, Gus, and especially Luz don’t apologize to King because, I mean, they were pretty much about as guilty for everything that happened as him. They did either hijack or forget his day with Luz, so you know... Buuut, still, if I were to hazard a guess as to what the point on that episode I’d say it circles around the line “The King of Demons misses nobody.” early in the episode being contrasted by “Demons do crazy things when they’ve been missing someone.” In other words, the point of the episode, to my best guess would be him starting to deal with a shifting sense of identity.

So, this brings us to the current season. If I’m right in my understanding of Really Small Problems, then that’d mean that Echoes of the Past is picking up on that episode’s thread. Likewise, the same can be said about Escaping Expulsion. And in a sense, both King and Amity’s (moreso in Amity’s case, admittedly) arc seem to have in a way concluded with those two episodes. Moreover, going by the episode’s synopsis the next upcoming episodes seem to also doing something similar: either picking up a previous storyline and finishing it, or starting new ones. Separate Tides would be a bit of an exception, since it was the premiere and had to reacquaint the audience with the world and characters, but even then I feel it sets up a potential point of conflict for Luz in the form of her guilt over Eda’s loss of magic.

Then, again, going off a limb here, but I’d guess that, from episodes 2 to 8 the main objects will be, in this order, Amity, King, Lilith (going by the trailer implying we’ll see her beast form), Gus (who thus far didn’t really have a longer story arc beyond The First Day), Luz, Eda (which, given how it introduces a new character from her past I’d imagine it would mark the beginning of a new arc for her). But I feel bored so I want to elaborate a bit further.

Episode 4: Lilith, maybe (this part is pretty esoteric, to be honest), possibly, starts to come to grips with the consequences of sharing the curse while, due to mamma Clawthorne’s visit, seeing their past in a more nuanced fashion. I mean, Mamma Clawthorne is in the beast keeping coven, her presence while her first born daughter literally turns into a best could make for some interesting potential stories. Anyhow, I think some other interesting thing will have to do with Eda. As I said I can’t really see an arc or something along those lines happening with her as of right now. Now, bare with me while I go on a bit of a tangent. So, in Understanding Willow Willow herself is the object of the story, however in that episode we also get to see the cause of them falling apart was Odalia and Alador threatening Amity indirectly. By doing that the upcoming conflict regarding her gets established. Then next, at the Grom episode, we as the audience learn that Amity is at least attracted to Luz. There’s no point on getting too deep into this beyond this: her crush on Luz works as a strong reason, from her perspective, to stand up to her parents. Then at the Grudgby episode we see her taking active steps towards getting more agency in her life from them when she chooses to play against two people her parents sanctioned as suitable companions. Eventually this would culminate in the EE episode as I already talked at length about. The reason I’m bringing all of this up is because I get the feeling Eda’s upcoming story will follow some similar lines, whatever happens here (and will either be developed or solved on episode 7) will be set up at this episode.

Episode 5: As I said, I don’t really see clearly what Gus’ main conflict is, and I would imagine that this episode will either make that more evident or outright introduce it, so I don’t feel I’m in the position to speculate the specifics. However, we do know that the B plot is Lumity and I’ll need to dwell on this one a bit longer. After season one, I had this guess that this ship would become cannon somewhere between episode 3 at the earliest and 7 at the lastest. The reason I thought so, and I still think there’s no solid reason to reject this hypothesis, was that after WiLW the only thing standing in the way from Amity coming clean about her feelings was probably her relationship with her parents. UW set that up, WiLW took a first step in that direction, EE went through with it. Moreover, I thought that’d be in line with what we had shown of the show’s pacing up until that point. So, basically the situation I see here goes along the lines of setting up a new source of conflict for Amity (in the form of Luz eventually leaving the Isles), and for Luz in the form of (if my guess of Lumity becoming cannon in this specific episode is correct) the start of a new relationship, something she never experienced before, which would make her question whether or not she actually wants to go back to the human realm, or at the very least muddy the water a tad. However, I am not so dead certain they’ll become cannon (and, btw, by cannon I mean simply an unequivocal sign that their relationship changed, however the showrunners decide that should look like.) Moreover, that only gets accentuated if the thing she’s helping Luz with is a portal. In other words, my “prediction” that it’d become cannon around this time was mostly due to me feeling that turning them into a will they won’t they at this point would be tantamount to the show chasing its own tail, but that’d feel uncharacteristic of the show, in light of the first season. That being said, if I’m right about there being this upcoming conflict about Luz having to decide between the Isles and the human realm (which may or may not keep on developing until the shows finale, but I digress), then it wouldn’t necessarily be a problem. If handled well her being uncertain as to whether or not to take the leap with Amity could potentially be an interesting way convey her internal conflict. Still, I think that having those two be together would be more effective in give her one more strong argument in favor of staying in the Isles. Besides, there’s my thoughts about the following episode which would make the will they won’t they approach redundant. Also, the fact Amity is the one

Episode 6: Pretty much would pick up on the place it left Luz in the previous episode, again, if and only if my speculations so far are right. Two things the synopsis doesn’t really make clear: why Luz is having problem hunting a palisman; and who the foe in question is. Now, I know we see her carrying Golden Boi’s staff. I’m choosing to ignore this for now because I would actually have Boscha (who we see in one of the teasers), and who would kind of go along with some hints at her redemption like that “you’re a really good friend...” line. Besides, if this palisman thing is a part of Hexside’s curriculum it would make sense that she’d be in the same situation as Luz. Not to mention that Golden Boi helping her gain access to a weapon she can and most likely will turn against him and his boss seems pretty odd. Ultimately, however, the identity of this foe is inconsequential. The main point of interest for me is the reason why she is having trouble finding herself a palisman. We don’t know the specifics of palisman adoption or creation, so I will try not to depend to much on it. But here’s the gist: getting a palisman as a commitment not only to the palisman itself but to the world. Whatever happens between her and Amity and going by the mad logic I’m using, her sense of belonging would probably be completely scrambled even before the episode starts. Being made to make a commitment like that in midst of an existential crisis of sorts as a means to create internal conflict in Luz, that’s what I’m trying to argue is the point of this episode. Also, before I move on to another thing I think is pretty important and I’ve decided to say it now because I don’t want to rework the structure of a rambling session that’s already way longer than I expected: we see Camilla in the trailer, I think this would be the best moment to put her. The reason for that is simple enough. In the A plot we see Luz trying to decide where she belongs to, and working towards becoming more and more part of the Isles figurative landscape; on the b plot however we would get to see in the form of Camilla that she still has a home in the human realm, that there’s still someone who loves her a lot and is doing everything within her power to get her back or at least to ensure she is safe and sound. Not to mention, it would be a great moment to bring up those letters we see at the end of the Grom episode, but I’ll get to that when I get to that.

Now, that important thing I wanted to talk about: the overall message of the show. I think I said this before but my favorite thing about Luz is the effect she has on the other character, essentially she is the catalyst to their growth. She is the one that ensured Willow would confront her past with Amity resulting in her getting rid of the hang ups that were holding her back allowing her to forge her own path. She is the reason why Amity chooses to stand up for herself. She is the reason why Lilith is capable of hope to rekindle her relationship with her sister thus empowering her to break away from the Emperor. She is the reason why Eda now has some reason to, as she put it herself, “stop wasting away her magic”, she gives her something to look forward to. Hell, even if we are just starting to see it, I’m positive we can make an argument that she’s why King became more open to the possibility he is not who he thought he was, making him see himself more as who he is to the people he cares about than a dethroned king of demons.

In a sense Luz seems to find all other characters in something of a stagnation point of their. A sort of fatalistic view of their own identities, be it in a more “ontological” sense, according to my interpretation, as in Lilith and Amity’s case, or as products of Lady Luck’s whims as for Willow and Eda. {Sidenote: For me at least Lumity’s mutual crush always made more sense on Amity’s end than on Luz’s and in a certain way it still does despite EE. Case in point, if I were to pin point the precise moment her feelings towards started shaping up in a way that makes infatuation possible it would that “I’m not a witch, but I’m working hard to become”. If what I’m saying is not absolute non-sense, then this would have been a “Holy shit. You can actually do that? You can actually have enough agency over your own life to that extent do something like that?”. I mean, their following interaction, at the library has her looking like “Ok, maybe I was just a wee bit of a needlessly belligerent dick just now” after she pushes Luz away from her offering to help when reading to kids.}

To put it succinctly: the message of the show is that your identity, who you are as a person, is not the product of a pre-existent essence but of who you actively choose to be. That even if one is not capable of deciding their circumstances (like Willow, Eda, or Amity), that are the choices one makes as they go about living their lives that determine their identity. And by centering Luz’s core conflict now as where her belonging lies only for it to be solved at the show’s finale by having her, the main character, effectively having to make this choice, to realize she belongs to wherever she decides she belongs to would be a pretty poignant way to get this point across.

So yeah, if my guesses so far are right this may as well be one of the show’s most important episodes.

Anyway, back to my esoteric predictions about the upcoming episodes...

Episode 7: Eda and Rayne. Now, I don’t to sound like a party pooper or something, but we don’t really have a reason to predict those two having a romantic connection. There’s no reason to necessarily refuse this possibility a priori either though. I mean, the further I get into the future episode the less I have to work with in terms of speculation. We don’t really know where her story is heading, and I feel like I already covered it enough when I was talking about ep 4. But there are two things I want to point out. First, like Mama Clawthorne, Rayne is a figure from Eda’s past, so whatever conflict she may have to sort through from now on stems from her past. The specifics are up to anyone’s guess, so yeah, it is perfectly possible that those two were a couple or something along those lines at some point in the past. But other than that picture that shows that they were somewhat close, we really don’t have much to go by. Second thing, and this is not really all that important. If the foe from episode 6 is not Golden Boi, I think this will be the episode on which the two interact (again, that picture of Luz with his staff, we know they will get to interact at some point, and this seems to be the one episode out of all we have a synopsis for that depends the least on Luz for the main story).

Episode 8: Just imagine me blowing raspberries. I got nothing for this one, except that: a - I really hope Axel Rose does not get to be a guest voice acting role, same goes for Slash and that bassist I keep forgetting the name of; b - I hate this expression, but this really strike me as a “filler episode”, or a breather as I’ve seem someone put it. Still, as much as with anything else I could be wrong here.

But before I move on, there are three very important characters I haven’t talked about enough thus far at least in terms of speculation. Gus, Willow, and Bellos. So I’ll address the three of them just now. Bellos: he is the force that will ultimately make Luz confronting the question about where her belonging lies all but unavoidable; essentially - and I know I must sound like a broken record, but if and only if my take is right - his actions are not all that important to the story and its message because he is less of a character and more something akin to a force of nature. Gus: again, not so sure where his story will go or if he even has one in a more strict sense as the other characters. Frankly that’s one of the aspects of the show I find the hardest to form an opinion on, unlike the others he sort of feels complete, that makes him pretty neat but also means that there’s less stuff you can do to him, less places you can take his character and develop it. That being said, I think he has a function in the show and he fulfills it pretty nicely. Besides, they can always just go and introduce new aspects to him we just can’t foresee as of now (which might as well happen in episode 5 for all we know). Either way, I have nothing but adoration for this precious boy. Now, Willow. As I mentioned, as far as I can tell her character got pretty much done with at Understand Willow. It was really weird for me when I watched that episode because it is until now my absolute favorite of the series (although Echoes fro the Past is putting up a pretty solid fight), the first thing I thought afterwards was “Idk how many seasons the show has left, but it feels a bit too soon for a defining moment like this and I don’t know what else they can do with her.” I mean, you could argue that the Grudgby episode seems to kinda sorta set up a conflict between her and Boscha, but that story seems to concern more Luz and Amity’s characters, especially the ladder. Willow and Boscha act more as a means to make Amity take that first step and for Luz to learn not to start a mosh pit in a Radiohead concert. That being said, I feel like she is now in a similar position to Gus’: either a new unforeseen source of conflict for her or they simply leave her to occupy a fixed role in the story. Personally, I’d much rather they introduce new stories and conflicts for them, not only that would help push for that overall message I was raving on about, but I also just wanna see more of them. I adore all characters in this show, I have fun with them and want to keep doing so until the show ultimately ends.

Almost done, I promise. Just a tad more of your patience, that’s all I’m asking. I will not revise or edit this so hopefully I’m still making a semblance of sense. I mean, if you’re reading this sentence then it probably means I am. Otherwise I can only ask you one thing: why?

Now, Eclipse Lake, or episode 9. As I said when talking about episode 7, we are now in too distant a territory for me to feel any confident as to my basis. Take all of this as more wishful thinking than anything else. So, you know, if you have a tin foil hat at hand now would be a good time to put it on.

Going by this episode’s synopsis as well as episode 5′s it makes it sound that Amity will become steadily a more central point to the whole portal conundrum. She is the one going on about it more than anyone else. There’s a first a fairly obvious reason why she put herself in that position: she has a gargantuan crush on the girl and wants to spend as much time as physically possible with her. There’s also a secondary reason why she would want to do that, and for that I’d need to bring up those letters Camilla has or had been receiving.

Now, I’m aware I can’t really make an ironclad argument for her being the one writing them. However, it is more than a bit suspicious that those letters would be brought to attention immediately after we see a piece of writing that we know for a fact was written by her and seeing how closely those two handwrittings match. Not every piece of scenary put by an author necessarily be a Tchekov’s gun, but this one reaaally looks to be the case, still circumstantial evidence so tin foil hats or whatever. Moreover, as I on at length before, Amity’s story up to this point was that of someone learning to be her own person and aim for her own goals, in this sense I can see her decision for writing those letters as an early and not stellarly thought out way to do that even if well meaning. Like a poorly articulated if good intentioned act made by someone who doesn’t really understands why she’s doing what she’s doing, what it entails, or what the full length of the consequences could be. I mean, she is a kid after all, and she is bound to have a few hiccups along her way to self-discovery. Again, I’ll get to it when I get to it. Lastly, however, the second reason why she would have a reason to volunteer to help Luz with her portal situation: if she is the one sending those letters then she has access to some form of a portal herself, be it fully functioning like Eda’s or just capable to dispatch smaller objects that’s not really the point. The point is that, if all I’m saying is right she will be put in a very strange situation. If she is possession of a portal and is “helping” Luz find one, then she’d essentially be lying to her much like Luz herself is in a sense lying to Camilla. Moreover, she’d be at this point one of the characters with the largest amount of reasons to delay Luz’s return to the human realm as much as possible, meaning that the question she’ll have to answer would probably go along these lines: do I act in self-interest, lie or maybe even do some sabotage, and make sure I keep the person I’m growing to love next to me, ooooor do I act accordingly to this love and help her achieve her goal which could potentially mean I’ll never see her again?

Also, season one’s finale had an ambiguous title. Young Blood, Old Souls can just as easily be taken as referring to Eda as well as to Lilith, the two focal points of that episode’s conflict. Likewise here, “Yesterday’s Lies” could be taken as either a reference to Luz’s lies to Camilla, or these hypothetical lies Amity may be telling Luz. That means, in this hypothetical mid-season finale I’m conceiving here these two would be the focal points of conflict (maybe alongside Camilla).

In any case, a possible counter to everything I’m saying here is Dana stating that romance was not the show’s endgame, and that is not what I’m suggesting. I have more to speculate on Amity’s role, so going from that I can say that this would in a way be a continuation of what we saw in EE. Something like: Okay, so you want to become your own person, in order to do that I’ll have to make some tough decisions, here’s your first one. It’s like confronting this infant who just took its first steps with the knowledge she’s actually running a marathon.

Anyhow, I don’t really feel well equipped to speculate on how things would play out on Luz’s end so let’s shake things up a bit and try to see things from Camilla’s perspective before getting to the long awaited conclusion. And by long awaited I mean me, this was more tiring than I expected but what the hell, I’m almost done. I can see the finish line already, so yeah.

So, Camilla. What we know given the trailer and the Grom episode is essentially this: she is most likely aware Luz never made to the Reality Check Camp in the first place, and that regardless of where she is there’s someone who (up until the Grom episode) was sending her these comforting messages. If and only if, all I’ve said is right then well have a line of communication between one of Luz’s big arguments for staying in the Isles and her biggest argument for coming back.

Hold on to your tin foil hats, y’all need it. Because my next point is: once Camilla finds out that the letters she’d been receiving up to that are more than a bit sketchy (her ooooohhhh face at the trailer could be that) and if she has some means of responding to them, which I mean... That’s the closest thing to a lead as to Luz’s whereabouts she has, she most likely would confront this hypothetical Amity if that’s the case. If the stars align just right there’s a pretty good chance Amity would give the broad strokes of Luz‘s situation in as much a cryptic fashion as she can, as well as start creating some form rappor with Camilla. Meaning that that choice she’d have to make as I mentioned before would get this extra layer of nuance, because now she knows beyond any doubt that if Luz does cross the portal she’d be with someone who deeply cares about her. Moreover, if I’m right about Amity’s upcoming conflict centering around her apprehension with Luz crossing the portal, her correspondence with Camilla could be a way for her to overcome this fear, for better or for worse. In other words, Camilla possibly unknowing giving her potential daughter-in-law the necessary tools for her to grow as a person. And honestly, I think that would be a pretty cool story.

And that could cause a pretty interesting dynamic between the three of them: Luz not sure as to who she wants to chose to become and most likely getting very upset once she learns of Amity’s lie, whilst still wanting (I don’t really have a defense for this I just think it’d be interesting) to keep her first romantic or potentially romantic relationship, while also being worried as to how things would be with her mother considering her own lie; Amity lying to Luz, while trying to balance out her on desires versus her loved one well-being; and Camilla having mixed feeling about Amity or whoever wrote those letters (they did lie to her after all), worrying like crazy about Luz and also feeling a tad upset at Luz’s lie.

And holy shit I think that does it. I’m done.

Anyone, next finale is “Luz x Camilla x Amity”, that out of the way like Lilith x Eda and Lilith x Luz, my guess is that season 2.5 finale would be “Gus and Willow x Luz” or “Luz x Eda and King”, the finale finale therefore would most like be Luz x Luz.

Ci vediamo.

{Couple of edits I just thought would be important:

1 - I know that considering what I’ve said regarding the mid-season final may seem like a bit too much for a 20 something minutes episode. But I mean, this fandom and Amphibia’s seem to overlap quite a bit, and we all saw the metric ton of information they threw at us during True Colors. All that I’ve said seem to me well withing the realm of possibility.

2 - In the EXTREMELY unlikely chance I’m absolutely on point on everything I’ve just spouted (Despite being purposefully vague. But oh well. We can argue the semantics of vagueness some other time) I’ll consider this fandom as owing me a rendition of The Number of the Beast’s cover art (the album, not the single... not even I am morbid enough for that) featuring the Owl Beast, Belos and Kikimora or the Golden Boi. I call it the Owl Maiden. Will I go aggro if no one does that? No. Do I have means to demand it in any forceful way that would grant that I’d get to see said rendition? hahahaha I obviously don’t. Will I be poutty? Yes, that will 100% happen. But really, that would be for the benefit of us as a community. I mean, that look pretty awesome and you can’t argue otherwise.}

#The owl house #Luz Noceda #Toh King #Willow Park #Gus Porter #Lilith Clawthorne #Eda Clawthorne #Amity Blight #Camilla Noceda #Boscha #Rayne toh #emperor belos #toh golden guard

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chibifuyuu · 3 years ago

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Levi vs. Zeke & Why Isayama Focused on that Conflict Analysis

Wanted to talk about "The Promise" (aka Levi's vow to take down Zeke) because a) I see it critiqued a lot as a narrative choice for Levi post-time skip, b) I don't think it's well understood as a narrative choice or even what it means in canon by the fandom, and c) I haven't seen people analyze it and thought why not me ¯\_(ツ)_/¯

So why did Isayama have Levi focus so much on the promise, and by extension Zeke, post-time skip?

1. Levi and Zeke are set up as narrative foils

This is established super early and is pretty evident even before we know much of anything about Zeke. In his introduction in the "Captain Levi" side chapter, Levi's character basics are quickly established, and one of the very first things we learn about him is how much he values the lives of his comrades and wants to make their sacrifices/deaths meaningful, regardless of any personal connection he has or doesn't have with them. We also see Levi very concerned about the Trost citizens starving in the Uprising arc, which leads Dimo Reeves to say in a pretty on-the-nose dialogue that Levi is "awkward yet kind" and trying to save Trost even though he "doesn't really have to".

By contrast, something hammered home to us very quickly is that Zeke is relatively indifferent to lives lost in his quest to achieve his goal, the euthanasia plan. That isn't to say that he's completely devoid of empathy so much as he views the lives lost as inconsequential or necessary and doesn't dwell on them because he doesn't even really understand the value of life- "I saved them, the lives of those children from this cruel world" is what he says to Levi about turning his squad into titans. There's also moments like when Colt begs Zeke to hold off on screaming so that Falco could be spared, Zeke acknowledges that pain, understands it, and then screams anyway.

We get a panel post-time skip to quickly establish that contrast right away:

This indifference is actually what drives a lot of conflict between Levi and Zeke- Levi makes it clear he doesn't trust Zeke partially because as he says to him, even if he is unsure if Zeke wants to help Paradis, he can tell that Zeke doesn't really care about Ragnako village (and keeps bringing it up because he can tell "[Zeke] doesn't have a speck of guilt... those people's lives meant nothing to [Zeke]"), that he doesn't respond to the idea that his grandparents may die, etc. Levi also responds violently to the idea that Zeke "saved" his squad by killing them. The euthanasia plan is something that is so opposed to Levi's values that these two were always going to be in conflict- it's almost like Zeke's goal is the exact opposite of what Levi fights for.

This is kind of important for the overall themes and story for a couple reasons like:

Zeke's character arc is partially developing an appreciation for life's purpose beyond procreating and the small moments of connection and joy that make up the human experience, as evident by his conversation with Armin and actions in 137; the contrast and callouts by Levi help establish early on this inability to appreciate the inherent value of life before we even know Zeke's end goal

Indifference towards loss of life as long as it fits your personal goals is kinda contrary to what the story wants to tell you via the Rumbling and protecting lives that have no value to you is treated as a narratively good thing

There's also the fact that both of them have parental/fraternal relationships with Eren. They're both protective of Eren and give him advice; Eren also in turn has sought their knowledge as they are more experienced than him in certain areas (Levi as the Survey Corps vet, Zeke as the one most knowledgeable about titan/Ackerman history), so it's a mentorship relationship, too. Eren also takes their advice and knowledge in ways that I'm pretty sure neither intended (like I doubt Levi was thrilled that him encouraging Eren to make his own decisions turned out this way...)

There's also a contrast there- Levi calls Eren a "monster" who won't let anyone stop him from doing what he wants to do early into their relationship (correctly identifying who Eren is at his core) whereas Zeke sees Eren as a victim that Zeke needs to save for a really long time (which is how Zeke ends up so easily manipulated by Eren despite being so intelligent).

2. Levi / Zeke parallel Mikasa / Eren

While the relationships are very different, Levi/Zeke and Mikasa/Eren actually do parallel each other- there's a kind of Ackerman vs. Yaeger contrast set up. Despite the different relationships, they both end very similarly: Mikasa and Levi behead Eren and Zeke respectively in something of a partially wanted mercy kill that is necessary to better the world (stop the Rumbling, end the titan curse). There are even more parallels there, like how both Ackermans experience a moment of understanding of the respective Yeager before killing them, how both of them had recently had a moment where they were thinking- for different reasons- that they couldn't kill the Yeager brother and then ended up doing so, etc., but the point is the moments appear back-to-back (137 and 138) and are treated as pretty narratively similar.

There's a lot of reasons we could speculate as to why Isayama did this- I don't think it's an Ackermans are amazing, Yeagers suck message for the record- one of them could be as simple as illustrating the similarities of the Ackermans vs. Yeagers by generation

Or it could even be because Mikasa as a character reflects Levi in many ways and her character arc is partially illustrated by her evolving opinion of Levi. She begins as someone with no appreciation for authority and prioritizing her own people/interests (usually Eren) over the greater good/mission, which is illustrated by her respect, or lack thereof, of Levi. She lashes out at him, ignores his orders and then gets saved by Levi in the Female Titan arc, then in Uprising she doesn't want to at first and can't help but be snarky about it but she shows how she's able to see a bigger picture and respect Levi's leadership by defending it to Jean, Connie, and Sasha and allowing Levi to gamble Eren to make his deal with Reeves, and by the time of the Rumbling, when Levi tells her they can't be concerned about Eren's safety, she doesn't lash out and while upset, doesn't even argue.

It's not really a surprise that Mikasa is the one shown comforting/checking in on Levi right after he kills Zeke and Levi is the one spurring Mikasa on, saying "there the only ones left who can kill Eren" before she finds her resolve to do so (and also literally clears the way via thunderspear so Mikasa can kill Eren).

3. Levi's narrative purpose- or what even is the point of Levi post-explosion?

I've seen like ten thousand posts or comments saying something to the extent of "Levi should've died in the explosion, he has no point afterwards". I completely disagree, but beyond how dumb of a death that'd be for a character that's the most featured (most "screen time"/panel time) after EMA pre-time skip and EMA+Reiner post-time skip and story contributions that Levi brings (like leadership and direction for the Alliance with Hange dead after Armin is taken), Levi as a character embodies certain important themes/narrative messages for the story. Several of them are illustrated through his conflict with and contrast to Zeke.

His desire to protect people and preserve life even if they are strangers, or even in conflict with him, is highlighted through his juxtaposition to Zeke as discussed above

"Your deaths had meaning, at last I can prove it."

The big thing about the promise is that Levi wants to make the deaths, all of the sacrifices (Erwin but also all of the recruits that charged to their deaths), mean something. All of them sacrificed themselves to give Levi the chance to take down Zeke and Levi is tortured with guilt that he didn't finish the job because he views it as making their sacrifices meaningless. The promise serves to remind the reader that Levi cares so much about giving meaning to the fallen Survey Corps members' lives.

In his intro, Levi says to the Survey Corps rando that his death isn't worthless and it's not the end of his contributions to humanity because Levi will take up his resolve, that his death will inspire Levi, and Levi promises to end the titan threat with that resolve. One could argue that the promise is to remind us why Levi does what he does, what's driving him, the pressure of living with the need to make every sacrifice worth it- and in turn how Levi views/viewed ending the titan threat, a "world without titans", as the ultimate way to prove the sacrifices of the Survey Corps had meaning and his fallen comrades' lives weren't wasted. That's important because of Levi's ending, after the titans leave the world partially because of his efforts and him having seen through that mission until the end and getting a sendoff to the fallen Survey Corps members.

His focus on the next generation

A big theme of AoT is about protecting the next generation, and all of the OG Survey Corps believed this- we see many vets die to ensure recruits survive- but we see it articulated through Levi a lot. He seems to have a soft spot for children in general (getting concerned over the starving mother and baby in Trost, supporting Historia's orphanage plan, saving Ramzi after he pickpockets him, etc.), but he is also shown thinking about "getting the brats to the sea" as the purpose of the OG Survey Corps in 136, aka serving the dreams of the future/next generation- that's part of an internal monologue that begins with Levi focusing on Zeke and the promise.

The euthanasia plan is sharply at odds with Levi's "get the brats to the sea"/next gen protection mentality given it prevents a next generation of Elidians.

The contrast of Falbi and Zeke vs. Falbi and Levi. Zeke callously calls Falbi "miscalculations" in front of them- and Levi- not long after Levi meets Falbi for the first time, Levi spends the end of the Rumbling arc with Falbi after they arrive and they're the only two with him when Zeke calls out to Levi to end his life, Levi and Zeke actually discuss Falbi in the forest, etc. There's a weird sort of arc here since Falbi admired Zeke and felt betrayed by him (and he was indifferent to them when he screamed and knowingly turned Falco into a titan, killing Colt in the process, while Gabi desperately screams for Falco) while Falbi see Levi for the first time in the terrifying staged takedown of the Beast Titan and then end up spending more time in the end of the Rumbling arc fight with Levi than anyone else and Levi's last panel has him depicted as being with them, kind of like a reversal.

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sokkastyles · 4 years ago

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I’ve talked about this before, but I need to emphasize that Zuko working in the tea shop is a huge part of his arc and development. It wasn’t just something that lasted only a few episodes that he hated and then moved on from, it’s something that is threaded throughout his arc and into the finale.

Of course he’s not happy for a large part of the time he’s working there in book two. He’s a traumatized teenager who is desperately trying to achieve the approval of his father so that he can go back to the home he was banished from. Iroh tries to make the best of things in part because Iroh genuinely enjoys it and making the best of a bad situation is just who he is, but he also wants Zuko to be happy and wants to make the best life for his nephew that he can, and he knows that Zuko needs positivity and security in his life, as well as tries to nurture in Zuko an appreciation for the small things in life and an attitude of service. It is hardly surprising that Zuko is resistant to this, though.

Zuko complains even more when he and Iroh are presented with new opportunities, because he doesn’t want to accept the possibility of growth in this new life.

Iroh: Did you hear, nephew? This man wants to give us our own tea shop in the Upper Ring of the city!

Quon: That's right, young man, your life is about to change for the better!

Zuko: [Sarcastically.] I'll try to contain my joy. [Walks outside, slams door shut.]

Zuko spends seven episodes working in the tea shop in a twenty episode season. It runs through his entire Ba Sing Se arc. He grumbles, groans, and complains through most of it.

Iroh: So, I was thinking about names for my new tea shop. How about the Jasmine Dragon? It's dramatic, poetic, has a nice ring to it.

Zuko: [Shows Iroh the flyer.] The Avatar is here in Ba Sing Se and he's lost his bison.

Iroh: [Grabs the flyer.] We have a chance for a new life here. [Cut to Zuko looking out a window.] If you start stirring up trouble, we could lose all the good things that are happening for us.

Zuko: [Turns to Iroh.] Good things that are happening for you! Have you ever thought that I want more from life than a nice apartment and a job serving tea?

Iroh: There is nothing wrong with a life of peace and prosperity. I suggest you think about what it is that you want from your life and why.

Zuko: I want my destiny.

Iroh: What that means is up to you.

Zuko’s time in the tea shop is part of his arc of discovering that he can choose his own destiny, and although he didn’t choose to live as a refugee, he can choose what he makes of it, which is what Iroh is trying to teach him here. Part of that is choosing to accept Iroh’s love, choosing to appreciate the good things instead of wishing for something that he doesn’t have, and we know that Zuko’s desire to go back to being the prince of the Fire Nation and earn his father’s affection is ultimately empty, and part of a life where he was abused, as well as where he was a part of a system that was oppressing others.

Then Zuko refuses Iroh’s advice about accepting a simple life in favor of pursuing Appa as the Blue Spirit - an identity that represents Zuko’s internal conflict between his fractured self image, which in book two involves him using the Blue Spirit identity to steal, to get back a part of the old life which he’s lost. It is extremely painful for him to admit that trying to get back to who he was before his banishment is causing him to engage in self-destructive behaviors that are stagnating his growth. Iroh just wants him to be safe and happy but he also knows that Zuko has to confront this conflict within himself.

That’s why, after he frees Appa, he must throw away the Blue Spirit mask once and for all, symbolically letting go of his desire to go back to the Fire Nation.

Iroh: You did the right thing, nephew. Leave it behind.

Giving up the past is never easy. Especially giving up the ideas he’s held onto for so long, the idea of what he can one day get back that, as Iroh said in book one, had kept Zuko going through his banishment, that gave him hope. But part of creating your own destiny is realizing that you can find hope in places you didn’t think you could find it. Zuko has to find something else to put his hope in and that’s represented physically by the sickness he suffers after freeing Appa. His entire sense of self has been shaken to the core, because change, real change, is hard.

Iroh: You should know that this is not a natural sickness, but that shouldn't stop you from enjoying tea.

Zuko: What's happening?

Iroh: Your critical decision. What you did beneath that lake. It was in such conflict with our image of yourself that you are now at war within your own mind and body.

Zuko: What's that mean?

Iroh: You are going through a metamorphosis, my nephew. It will not be a pleasant experience, but when you come out of it, you will be the beautiful prince you were always meant to be.

Tea even makes an appearance during Zuko’s “metamorphosis,” because the tea is symbolic, y’all. Then when Zuko wakes up from his sickness, we see an immediate change in him.

Iroh: Now that your fever is gone, you seem different somehow.

Zuko: [Optimistically.] It's a new day. We've got a new apartment, new furniture, and today's the grand opening of your new tea shop. Things are looking up, Uncle.

This doesn’t necessarily mean that Zuko has suddenly decided that he loves serving tea and working customer service, but the change he’s experienced is about choosing to find the good, to accept change into his life, to accept humility, and love. And this is the most happy we’ve ever seen Zuko be. We also see him emotionally supporting Iroh and working on his relationship with his uncle because he knows that seeing Zuko happy makes Iroh happy. Before, Zuko made a big show of his unhappiness, slamming doors and frowning and shouting and generally acting like a spoiled teenager with major authority issues, which made Iroh visibly upset. Iroh constantly tries to get Zuko to change his attitude but in the end it’s something that Zuko has to choose himself.

Iroh: Who thought when we came to this city as refugees, that I'd end up owning my own tea shop? Follow your passion, Zuko, and life will reward you.

Zuko: Congratulations, Uncle.

Iroh: I am very thankful.

Zuko: You deserve it. The Jasmine Dragon will be the best tea shop in the city.

Iroh: No. I'm thankful because you decided to share this special day with me. It means more than you know.

Zuko: Now let's make these people some tea!

This is more than just Zuko being happy for Iroh or trying to be happy because Iroh wants him to be happy. We see the idea repeated here that you can choose your own destiny, and that those who do are rewarded by life. This is also echoed in Zuko’s conversation with Katara in which he tells her that lately he has realized that he is free to choose what he makes of the scars of his past, and his future. We also see him practicing what Iroh told him, he lets go of shame by letting go of pride. Instead of talking about what he thinks he deserves, he talks about what Iroh deserves. The dialogue also indicates that Zuko chose to be there.

This development is emphasized when Zuko and Iroh are invited to serve tea to the Earth King.

Iroh: I ... I can't believe it!

Zuko: What is it, Uncle?

Iroh: Great news! We've been invited to serve tea to the Earth King!

Zuko goes from “step aside, filth!” and complaining about doing work to smiling about serving tea to the king of a rival nation. That’s character development. And as I said before, it was essential to Zuko’s development in becoming the kind of Fire Lord that he is supposed to be.

The dramatic irony of Katara finding them and unintentionally ratting them out to Azula is that when Katara enters the tea shop, she finds not only a Zuko in a tea apron, but a happy one enthusiastically taking people’s orders.

Zuko: Uncle! I need two jasmine, one green, and one lychee!

Iroh: I'm brewing as fast as I can!

I love this scene so much because it’s like, imagine that you decide to go to Panera Bread and you find Kylo Ren working at the counter, cheerfully asking you if you want chips or an apple with that. It’s also hilarious that Katara’s immediate thought is they’re infiltrating the city when she knows that there’s an evil force of brainwashing government agents lurking about.

That Zuko genuinely found peace with his life in Ba Sing Se is narratively important because it makes what happens next even harder for him. “The Crossroads of Destiny” is a true crossroads because he’s fought hard to find happiness and hope in his new life, but then it’s all ripped away and he’s put to the test. That he fails it this time just emphasizes how hard it is to break free of old destructive habits.

This is why when he does go back to the Fire Nation, we’re shown his doubts, and how uncomfortable he is. He tries to be happy and to accept his role as prince, but he already knows that this is not the destiny he wants for himself. The excessive opulence of the Fire Nation is meant to show this. We see this in scenes like Zuko constantly being unhappy during the beach episode and becoming angry when he is told to relax and do nothing, and his insecurity at the party in a room full of rich kids.

In particular, we see him being uncomfortable being waited on by servants in “Nightmares and Daydreams”:

Servant #1: Fresh fruit, Prince Zuko?

Zuko puts out his hand and shakes his head respectfully.

Servant #2: May I wash your feet, sir?

Zuko respectfully puts his hand out and shakes his head again.

Servant #1: Head massage?

Zuko shakes his head again.

Servant #2: Hot towel?

Zuko looks at the towels for a moment and takes one. He is seen wiping his forehead before walking out of the room. The two servants bow behind him. Zuko walks out the palace gates, with Fire Nation citizens waiting for him.

Servant #1: Prince Zuko, is something wrong? You didn't take the palanquin.

Zuko: I'm just going to Mai's house. It's not far.

Servant #1: It's not a prince's place to walk anywhere, sir.

Zuko looks to the distance, walks over, and gets into the palanquin.

We see him trying to fit in with Mai because he’s a sixteen year old who has a girlfriend for the first time in his life and he wants to impress her, but what this scene actually shows is their differing values.

Zuko: Tell me, if you could have anything you want right now, what would it be?

Mai: Hm ... A big fancy fruit tart, with rose petals on top.

Zuko: You know, being a prince and all, I might just be able to make that happen.

Mai: That would be impressive.

Zuko: [To the servants.] Do you think you could find a fresh fruit tart for the lady, with rose petals on top?

Servant: Excellent choice, sir.

Mai: I guess there's some nice perks that come with being royalty. [Pushing Zuko to lay down with her.] Though there's annoying stuff, too. Like that all-day war meeting coming up.

Zuko: [Sitting up, followed by Mai.] War meeting? What are you talking about?

Mai: Azula mentioned something. I-I assumed you were going, too.

Zuko: I guess I wasn't invited.

The two look away from each other.

Zuko asks Mai what she would want if she could have anything and what she comes up with is fruit tarts. This doesn’t necessarily mean that Mai is shallow, but what it does mean is that she’s never had to worry about what she wants in terms of the big picture.

“Who are you, and what do you want?”

She’s also never had to go hungry like Zuko has, and never had to serve others like Zuko has.

And then she brings up the war meeting, which to her is only an annoyance. Zuko doesn’t care about fruit tarts and palanquin rides, but this is something he cares about. It’s also funny to me that Mai is like “make out time,” and let’s be real, nobody would fault Zuko, a sixteen year old boy, for enjoying a little hanky panky, but Zuko is like “no, anxiety time!” Which shows how much he’s changed and how much he is struggling to be happy despite all the fruit tarts and hot towels and having a girlfriend who is all over him.

It is NOT a coincidence that when Zuko joins the gaang, we see him genuinely happy and among friends and making and serving tea.

Zuko had to go back to the Fire Nation to really understand how much he had changed and to really be able to choose his own destiny, but we know which one he chooses, between a life of empty riches and a life helping others. Even when we see him addressing the people as Fire Lord, his speech is all about service and humility. When the crowd cheers for him, he does this:

Zuko: Please. The real hero is the Avatar.

Which shows how far he’s come from the boy who so desperately wanted recognition, who was repulsed by the idea of serving others or lowering himself to the status of a “peasant,” who only thought of himself and what he deserved. His last scene is not his coronation, not his triumphant moment of standing in front of a crowd as Fire Lord, or even confronting his father, but a quiet moment, serving tea to his friends.

#zuko #atla #atla meta #iroh #mai #the blue spirit #the tea is symbolic

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monster-bait · 4 years ago

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I’m an exophilia writer like you, and I like writing intimacy in my work. But sometimes, I feel internally weird/embarrassed/ashamed about writing sex. If you’ve ever felt this way, how’d you get over it/how do you cope with that feeling? I just want to enjoy writing sexy stuff without feeling weird about it. Any tips would be appreciated. Love love love your blog.

Aaaa, Hello, fellow writer! Thank you so much for the kind words!

Okay, so first off...I have been writing for a very long time. Like anything, writing a sex scene is something you have to learn, a skill to develop, and no skill develops overnight. So, if you’re relatively new to writing sex scenes (relativity is relative) then cut yourself some slack. I look back on some of my early smutty scenes and nearly die of cringe. Hell, I look back on smut scenes I wrote last year and want to die of cringe. Our skills are ever-evolving, and the more you do it, the easier it gets.

I’m going to break this answer into two parts: smut-specific and writing intimate scenes in general. Also: what is sexy is subjective. I was asked a very similar question about a year or two ago by a young writer who didn’t have much experience writing intimate scenes, but had one planned for her story. Another writer jumped into the conversation, at which point I bowed out, because she and I had polar-opposite styles and were giving conflicting advice. It played out like this:

Asker: I’m brand new at smut and don’t know where to start, teehee!

Me: be sure to include sensory details and show what you’re comfortable showing!

Other writer: be sure to vividly describe character A’s testicles slapping character B in the face!

😐

Writers giving advice: for the love of Mab, please consider your audience.

Smutty smutness: No, I don’t get embarrassed when I’m writing these scenes. No, I don’t get turned on when I’m writing them, I don’t feel the need to go to church and confess my smutty sins, I don’t need to book quality one-on-one time with myself and a vibrating partner immediately after finishing said scene. Writing, for me, is technical. Writing sex is old hat. Again, I’ve been doing this for a long time. The more you work at it, the easier it gets/those feelings will fade. If you put more of the focus on the craft of writing itself, the subject matter becomes negligible.

But! Within saying that, I think there are some things you can do:

Use language with which you’re comfortable

I will tell you guys right now, there are certain words you will never find in my writing. I don’t find them sexy, and if I don’t find them sexy, I’m not going to use them. I don’t care what other writers do, I don’t care if readers think that’s limiting. Dick sounds like something a 14 year old boy would say. You know what’s not sexy? 14 year old boys. Pussy to my ears is a word for male gaze-driven porn, and has no place in my writing. Cunt has its place when applied well, but if its the only word you know how to use, I’m probably going to stop reading. If you’re describing your female character’s genitalia as a greedy, dripping gash, I can promise you I’m going to stop reading. And that’s fine, because it wasn’t written for me. Don’t use language you’re uncomfortable using. I know that seems small, but it can make a huge difference, and adopting a mindset of staying within the parameters of your comfort and control might lessen the subconscious need to “sound” smutty, if you know what I mean. There is no right way to write, and that includes sex scenes.

By that same token:

Show as much as you’re comfortable showing

There’s nothing wrong with a fade to black. There’s nothing wrong with soft-focus sex. There’s nothing wrong with graphic details either, and you’ve got to figure which of the three (or which combination) works best for you. Think about the difference in the M and E rating on Ao3 for a guide, if that helps. (someone in the audience, find that great post about mailing a letter, pls!) Decide the tone of your scene: Do you want to focus on sensuality or the details of the actions? This is the difference between slowly peeling that quivering-with-anticipation little stamp out of her papery underthings and affixing her gently to the front of the envelope’s broad front; and licking that stamp for all she’s worth, your tongue moving in a frenzy against her stickiness and you can’t tell where your mouth ends and her sticky back begins, the drool from your oral onslaught activating her adhesiveness until she’s stiffened against the envelope, flat on her back and spent, the act complete.

(seriously, someone find that post, it does a much better job than I just did!)

Above all, stay true to your characters, and remember that your writing skills don’t get to take a smoke break just because you’re writing a sex scene...which leads to my secondary set of advice:

(I by no means consider myself an expert in this arena, but here are some things I like to focus on when writing an intimate scene)

Sensory details: sight, sound, touch, taste, and smell

A good sex scene needs to be more than “insert tab A into slot B”. Give us a sense of the space, put us into our character’s head. The sensory details you add can paint a very specific picture for your reader, so that one sex scene doesn’t blend into the next. In Girl’s Weekend, I tried to give the sex scenes between Tate & Silva a very distinct feel through the sensory details Silva experiences: she feels small beneath the high ceilings, the bedding in his apartment is always plush beneath her, the lighting is always dim, his hair is silky in her hands, his lips are always sweet. And you know, they’re fucking. But that’s not the only detail I’m focusing on, because that’s not giving insight into her state of mind, and also: it’s boring. Set a scene, tell us where your characters are, what they’re experiencing, if that vase of roses can be smelled from where they are, how the moon cuts through the window to bathe the bed in shadows.

State of mind

You don’t need to exclusively write about genitals mashing together. There was an essay I read million years ago (about the writer’s relationship with her boyfriend and his watersports kink, of all things) that was ostensibly about sex, but the focus was on her state of mind for nearly the entire piece. There’s a scene towards the end when she’s describing the last time they had sex, objectively the best, most satisfying sex they’d ever had, descriptive and hot, the female MC is riding her boyfriend, she’s in absolute ecstasy...but she already feels emotionally disengaged from him and the relationship, and the line I still remember almost two decades I after I read the essay for the first time is “And as I’m loving you, I’m leaving you.” You can still pack an emotional wallop in the midst of a sex scene without needing to stop the action and make your characters have a Serious Conversation™. Show us into their heads! Which leads me to...

Don’t forget about character voice!

If you guys are ever worried that I’ve been body-snatched, just know that if I ever respond to one of these asks and don’t mention character voice, you know it’s not me. Just because you’re describing the hot and heavy stuff doesn’t mean you shut the proverbial bedroom door on your character’s unique voices and personalities. If your character would never engage in dirty talk, don’t force it on them. Tate and Silva have the capacity to be f i l t h y with each other; Khash does to a point, but Lurielle would die laughing of embarrassment. Know your characters!

If you keep the focus on the characters, their voices and actions and thoughts, the fact that someone’s getting their face ridden is going to be a heck of a lot less embarrassing, because you’ve to focus on the writing.

I hope that helps, Anony!

Team, going forward all of your anonymous writing advice asks are going to be fair game to be included in the “For Writers” sections of my (still under construction) website which you should absolutely go visit! ...and sign up for email updates on my publication news, and click some of the other social social media bubbles while you’re there!

#monsterbait answers #writing advice #writing #writing woes #Anonymous

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