#man……. the Textual nuance (that doesn’t exist)

[mysterycitrus]

tragic ironies in batman comics my beloved like what do u mean the character who values freedom and flight above all else becomes willingly shackled to the earth. what do u mean the character who takes a heavy burden out of necessity claws at u to hold onto it. what do u mean u died in a selfless act and returned to act selfishly. what do u mean you’ve become just like ur father.

[deansmom]

Everytime I point out that Dean Winchester is autistic, people get mad or look at me like I’ve spontaneously grown a second head, as if this man’s existence isn’t just checking off boxes for the diagnostic criteria

Special interests: westerns, cars, mechanical engineering stuff in general, 1960’s & 70’s music - specifically classic rock, monsters. You’re gonna look me in the eyes and tell me that it’s totally normal for someone who was born in 1979 to have borderline encyclopedic knowledge of two decades of music????? Hundreds of years of monster lore??? — for fuck’s sake, he had a train thing when he was little!!!! Those are special interests!!!!

Restricted diet: it’s mostly for Jokes but dean genuinely doesn’t eat much beyond burgers, diner food and pie.

Dean didn’t speak for months after Mary died and there’s 15 years of canon evidence where he loses his voice during moments of Big Emotions!!! He’s going nonverbal!!!!!!!

Trouble with social cues: literally look at every single instance of Dean trying to interact with strangers, ESPECIALLY in the early seasons. He’s not playing dumb, he just doesn’t get it. Also, watch any scene of this man TRYING to flirt and tell me that he’s any good at it. You know why? That bitch is mimicking the fucking movies and tv shows he grew up watching.

Sensory processing disorder: DO YOU THINK HE WEARS 87 LAYERS FOR FUN???? FOR FASHION????? WHAT DID YOU THINK ALL THE FLANNELS WERE ABOUT. THEY’RE SOFT. Also think about how much he liked the nightgown and the robe. ALSO, ALSO: school!!! It’s loud, it’s smelly, it’s dirty (his germ thing), the lights are too bright, there’s too much sensory input happening at one time. Between being so overwhelmed in school that he couldn’t focus and John pulling him left & right for cases and Sam, no wonder dean dropped out :(

14.04. The comic book episode is an ENTIRE episode about dean and his special interests!!!!!! And his social anxiety, hiding out in his room at the beginning of the episode because of all the strangers in his home 😤

Emotional regulation problems: those angry outbursts?? Destroying the Impala??? LOOK ME IN THE EYES AND TELL ME THATS NOT A MELTDOWN

His whole personality is a mask! He based his whole life and personality around the men he grew up around! John, Bobby, the other hunters - we all know that dean isn’t this rugged manly man he puts on. Sure people can have layers, but my man literally wore his dad’s actual jacket for fucking years

Black & white thinking: this doesn’t need anything else tbh

Strong sense of Justice: “how many people do you have to save?” “All of ‘em. Whole wide world of sports.”

Literal thinking: half the show is about how they both have to learn to look at monsters and not immediately go ��monsters bad.” Also literal thinking is hard to explain, but I promise he does this.

Hyperlexic: “what? I read?”

“Too blunt”: all those times you thought “that was kinda harsh Dean” or “wtf that was so mean” - he doesn’t like lying to people when he doesn’t have to!

Hyper empathy: “The baby in the well? My bad.” “I do my best to be brave.” Sacrificing himself for people over and over again. The djinn episode and the speech he makes in front of John’s grave. His whole life he’s been told he cares too much!!!!

As a fellow AuDHD bitch, the most AuDHD thing Dean has ever said was “we know a little about a lot of things. Just enough to make us dangerous.” Also: “I got no idea. But what I do have is a GED and a give ‘em hell attitude, and I’ll figure it out.”

Like I could dive into the nuances of all of these and explain them in great detail and find textual evidence for basically everything, but it’s too early in the morning for that much work when I know that I’m right. Yeah he has adhd, obviously, but I will eat my left hand if that man isn’t autistic.

[raleighrador]

I don’t disagree with this per se. I certainly agree that a lot of pro Jedi discourse focuses a lot on authorial intent, and Jedi critical discourse focuses on the texts themselves.

I have 2 lines of thought on this: first, did George Lucas NOT intend us to be critical or at least questioning of the Jedi? Second, should authorial intent outweigh textual evidence?

On the first, I find it interesting that some believe George Lucas wanted or intended to portray the Jedi as flawless. Had zero intent to give the audience reasons to question them.

The whole point of the prequels is it forces us to question the assumptions we had developed through the course of the OT.

Darth Vader was big and bad and Lucas then deliberately contrasts this with 3 films where Anakin spends more time being 9 years old on screen than he does being bad.

Obi-Wan tells us about the guardians of peace and justice. Luke - and the audience - fills in the gaps about what they must have been like. Lucas then spends 3 movies showing how the Jedi were… not that. They weren’t this child like ideal. They weren’t unkillable, flawless heroes.

They weren’t there to free slaves.

It is commonly accepted that Lucas’ intent was to challenge our assumptions about Anakin. Why is it so hard to believe he wanted to challenge our assumptions about the Jedi (or anything else)?

More than that - this is a man who is on record as saying his OT parallels the Vietnam war, with the bad guys playing the role that the USA did and the good guys paralleling the Vietcong. Does it seem like he always gives authority figures and powerful institutions a free pass?

These are movies made by a man who described the Jedi as “not policeman, not soldiers, they’re mafia dons.” That doesn’t mean they are necessarily bad but that’s a hell of imagined modus operandi for your peace keeping diplomats. And I know there are other quotes about how the Jedi were the most moral - in a set of movies where everyone fucking sucks that’s not exactly a high bar - but the point is BOTH sets of quotes exists.

These are movies made by a man who included a scene where Yoda, the most senior Jedi, reflects on the fact that arrogance is a common flaw amongst the Jedi.

Obi-Wan: his abilities have made him… well, arrogant

Yoda: yes, yes. It’s a flaw more and more common among Jedi. Too sure of themselves they are. Even the older, more experienced ones.

Lucas might not be the most elegant dialogue writer but I don’t think what he’s trying to say there is exactly nuanced or confusing.

Second - should authorial intent outweigh textual evidence.

This is a matter of opinion and likely depends on your priors and training and education. I think both need to be taken into account but specifically in fiction I’d always err on the side of weighting the text more highly than the author’s intent.

Once a text is released into the wild the author no longer has any real authority or ability to enforce any given interpretation.

Roland Barthes writes far more compellingly than I ever will on why.

But what I find interesting is that I think in every day common interactions and discussions people readily accept that intent is less important than delivered and received text.

The best analogy for this is jokes - a comedian makes a bad joke. The audience doesn’t find it funny and actually boos the comedian.

Was the joke funny? Does our opinion change if the comedian strenuously insists that they INTENDED it to be funny?

Probably not. Our assessment of the joke has almost nothing to do with the comedian and everything to do with the joke itself.

What if the joke was offensive? Pick whatever offence you want, does the comedians intent matter? Again, probably not.

Where intent would start to matter is when we start to infer general beliefs about the comedian based on the joke.

Let’s say the joke was bad and racist (or homophobic or transphobic, pick whatever offence).

Does that mean the comedian is themselves racist/homophobic/transphobic? I don’t know. It would probably be helpful to try get a wider sense of other jokes the comedian has made, as well as things they’ve said outside of routines, old tweets, interviews, whatever.

Maybe it was just a one off bad joke that they didn’t intend to be offensive. Maybe it’s part of a pattern of such jokes. Maybe it’s contradicted by the fact that this comedian has a long history of advocating for, donating money to, working on behalf of whichever group they offended.

Who knows, it’s complex, and making a judgement about a person based on a single joke is probably not a great idea so looking at their intent and history is helpful.

Engaging with texts of other kinds is exactly the same.

Engaging with Star Wars is exactly the same.

i think the Jedi-Positive and Jedi-Critical stances can be summed up on whether you value authorial intent or authorial execution.

Most of the Jedi-Positive people I follow quote George Lucas and director commentaries to prove their points, as well as utilize analyses from others at LucasFilm that have to keep the general status quo. It's all based on what Lucas was trying to portray, while ignoring the product in execution.

The Jedi-Critical stance tends to look at the prequel execution, and they question the obvious uncomfortable moments that have real-life parallels to atrocities. They tend to be more Legends fans, whose writers actually delved into the terrifying implications. It's all on criticizing execution while disregarding intent.

Like, take the argument about Jedi children. A Jedi-Positive person would argue that all the children are all given up with consent from their parents; this is what I am sure Lucas was intending to portray. A Jedi-Critical person will look at this and go "wait. how much 'consent' was in this encounter? the government can legally take these kids and have a representative show up to a farmer's house and tell the farmer they can technically say no? that is some bullshit." And there is real-life evidence for this. It's more on the execution.

Or the argument about love. Jedi-Positive people turn to Lucas's interview to show that they really meant it in the Buddhist sense, and if you value intent that works. Jedi-Critical people would argue that the marketing states that the Jedi cannot love, and nothing in the movies states that the Jedi meant non-toxic love when they eschew attachments.

They're both valid positions, but I think a lot of fandom brutality comes from not understanding either view, or demeaning one view in favor of another. It's perfectly acceptable to value one over the other.

[army-of-mai-lovers]

in which I get progressively angrier at the various tropes of atla fandom misogyny

tbh I think it would serve all of us to have a larger conversation about the specific ways misogyny manifests in this fandom, because I’ve seen a lot of people who characterize themselves as feminists, many of whom are women themselves, discuss the female characters of atla/lok in misogynistic ways, and people don’t talk about it enough. 

disclaimer before I start: I’m not a woman, I’m an afab nonbinary person who is semi-closeted and thus often read as a woman. I’m speaking to things that I’ve seen that have made me uncomfy, but if any women (esp women existing along other axes of oppression, e.g. trans women, women of color, disabled women, etc) want to add onto this post, please do!

“This female character is a total badass but I’m not even a little bit interested in exploring her as a human being.” 

I’ve seen a lot of people say of various female characters in atla/lok, “I love her! She’s such a badass!” now, this statement on its own isn’t misogynistic, but it represents a pretty pervasive form of misogyny that I’ve seen leveled in large part toward the canon female love interests of one or both of the members of a popular gay ship (*cough* zukka *cough*) I’m going to use Suki as an example of this because I see it with her most often, but it can honestly be applied to nearly every female character in atla/lok. Basically, people will say that they stan Suki, but when it comes time to engage with her as an actual character, they refuse to do it. I’ve seen meta after meta about Zuko’s redemption arc, but I so rarely see people engage with Suki on any level beyond “look at this cool fight scene!” and yeah, I love a cool Suki fight scene as much as anybody else, but I’m also interested in meta and headcanons and fics about who she is as a person, when she isn’t an accessory to Sokka’s development or doing something cool. of course, the material for this kind of engagement with Suki is scant considering she doesn’t have a canon backstory (yet) (don’t let me down Faith Erin Hicks counting on you girl) but with the way I’ve seen people in this fandom expand upon canon to flesh out male characters, I know y’all have it in you to do more with Suki, and with all the female characters, than you currently do. frankly, the most engagement I’ve seen with Suki in mainstream fandom is justifying either zukki (which again, is characterizing her in relation to male characters, one of whom she barely interacts with in canon) or one of the Suki wlw pairings. which brings me to--

“I conveniently ship this female character whose canon love interest is one of the members of my favorite non-canon ship with another female character! gay rights!” 

now, I will admit, two of my favorite atla ships are yueki and mailee, and so I totally understand being interested in these characters’ dynamics, even if, as is the case with yueki, they’ve never interacted canonically. however, it becomes a problem for me when these ships are always in the background of a zukka fic. at some point, it becomes obvious that you like this ship because it gets either Zuko or Sokka’s female love interests out of the way, not because you actually think the characters would mesh well together. It’s bad form to dislike a female character because she gets in the way of your gay ship, so instead, you find another girl to pair her off with and call it a day. to be clear, I’m not saying that everybody who ships either mailee or yueki (or tysuki or maisuki or yumai or whatever other wlw rarepair involving Zuko or Sokka’s canon love interests) is nefariously trying to sideline a female character while acting publicly as if she’s is one of their faves--far from it--but it is noteworthy to me how difficult it is to find content that centers wlw ships, while it’s incredibly easy to find content that centers zukka in which mailee and/or yueki plays a background role. 

also, notice how little traction wlw Katara ships gain in this fandom. when’s the last time you saw yuetara on your dash? there’s no reason for wlw Katara ships to gain traction in a fandom that is so focused on Zuko and Sokka getting together, bc she doesn’t present an immediate obstacle to that goal (at least, not an obstacle that can be overcome by pairing her up with a woman). if you are primarily interested in Zuko and Sokka’s relationship, and your queer readings of other female characters are motivated by a desire to get them out of the way for zukka, then Katara’s canon m/f relationship isn’t a threat to you, and thus, there’s no reason to read her as potentially queer. Or even, really, to think about her at all. 

“Katara’s here but she’s not actually going to do anything, because deep down, I’m not interested in her as a person.” 

the show has an enormous amount of textual evidence to support the claim that Sokka and Katara are integral parts of each other’s lives. so, she typically makes some kind of appearance in zukka content. sometimes, her presence in the story is as an actual character with layers and nuance, someone whom Sokka cares about and who cares about Sokka in return, but also has her own life and goals outside of her brother (or other male characters, for that matter.) sometimes, however, she’s just there because halfway through writing the author remembered that Sokka actually has a sister who’s a huge part of the show they’re writing fanfiction for, and then they proceed to show her having a meetcute with Aang or helping Sokka through an emotional problem, without expressing wants or desires outside of those characters. I’m honestly really surprised that I haven’t seen more people calling out the fact that so much of Katara’s personality in fanon revolves around her connections to men? she’s Aang’s girlfriend, she’s Sokka’s sister, she’s Zuko’s bestie. never mind that in canon she spends an enormous amount of time fighting against (anachronistic, Westernized) sexism to establish herself as a person in her own right, outside of these connections. and that in canon she has such interesting complex relationships with other female characters (e.g. Toph, Kanna, Hama, Korra if you want to write lok content) or that there are a plethora of characters with whom she could have interesting relationships with in fanon (Mai, Suki, Ty Lee, Yue, Smellerbee, and if you want to write lok content, Kya II, Lin, Asami, Senna, etc). to me, the lack of fandom material exploring Katara’s relationships with other women or with herself speak to a profound indifference to Katara as a character. I’m not saying you have to like Katara or include her in everything you write, but I am asking you to consider why you don’t find her interesting outside of her relationships with men.

“I hate Katara because she talks about her mother dying too often.” 

this is something I’ve seen addressed by people far more qualified than I to address it, but I want to mention it here in part because when I asked people which fandom tropes they wanted me to talk about, this came up often, but also because I find it really disgusting that this is a thing that needs to be addressed at all. Y’all see a little girl who watched her mother be killed by the forces of an imperialist nation and say that she talks about it too much??? That is a formational, foundational event in a child’s life. Of course she’s going to talk about it. I’ve seen people say that she doesn’t talk about it that often, or that she only talks about it to connect with other victims of fn imperialism e.g. Jet and Haru, but frankly, she could speak about it every episode for no plot-significant reason whatsoever and I would still be angry to see people say she talks about it too much. And before you even bring up the Sokka comparison, people deal with grief in different ways. Sokka  repressed a lot of his grief/channeled it into being the “man” of his village because he knew that they would come for Katara next if he gave them the opportunity. he probably would talk about his mother more if a) he didn’t feel massive guilt at not being able to remember what she looked like, and b) he was allowed to be a child processing the loss of his mother instead of having to become a tiny adult when Hakoda had to leave to help fight the fn. And this gets into an intersection with fandom racism, in that white fans (esp white American fans) are incapable of relating to the structural trauma that both Sokka and Katara experience and thus can’t see the ways in which structural trauma colors every single aspect of both of their characters, leading them to flatten nuance and to have some really bad takes. And you know what, speaking of bad fandom takes--   

“Shitting on Mai because she gets in the way of my favorite Zuko ship is actually totally okay because she’s ~abusive~” 

y’all WHAT. 

ok listen, I get not liking maiko. I didn’t like it when I first got into fandom, and later I realized that while bryke cannot write romance to save their lives, fans who like maiko sure can, so I changed my tune. but if you still don’t like it, that’s fine. no skin off my back. 

what IS skin off my back is taking instances in which Mai had justified anger toward Zuko, and turning it into “Mai abused Zuko.” do you not realize how ridiculous you sound? this is another thing where I get so angry about it that I don’t know how useful my analysis is actually going to be, but I’ll do my best. numerous people have noted how analysis of Mai and Zuko’s breakup in “The Beach” or Mai being justifiably angry with him at Boiling Rock or her asking for FUCKING FRUIT in “Nightmares and Daydreams” that says that all of these events were her trying to gain control over him is....ahhh...lacking in reading comprehension, but I’d like to go a step further and talk about why y’all are so intent on taking down a girl who doesn’t show emotion in normative ways. obviously, there’s a “Zuko can do no wrong” aspect to Mai criticism (which is super weird considering how his whole arc is about how he can do lots of wrong and he has to atone for the wrong that he’s done--but that’s a separate post.) But I also see slandering Mai for not expressing her emotions normatively and not putting up with Zuko’s shit and slandering Katara for “talking about her mother too often” as two sides of the same coin. In both cases, a female character expresses emotions that make you, the viewer, uncomfortable, and so instead of attempting to understand where those emotions may have come from and why they might be manifesting the way they are, y’all just throw the whole character away. this is another instance of people in the fandom being fundamentally disinterested in engaging with the female characters of atla in a real way, except instead of shallowly “stanning” Mai, y’all hate her. so we get to this point where female characters are flattened into one of two things: perfect queens who can do no wrong, or bitches. and that’s not who they are. that’s not who anyone is. but while we as a fandom are pretty good at understanding b1 Zuko’s actions as layered and multifaceted even though he’s essentially an asshole then, few are willing to lend the same grace to any female character, least of all Mai. 

and what’s funny is sometimes this trope will intersect with “I conveniently ship this female character whose canon love interest is one of the members of my favorite non-canon ship with another female character! gay rights!”, so you’ll have someone actively calling Mai toxic/problematic/abusive, and at the same time ship her with Ty Lee? make it make sense! but then again, maybe that’s happening because y’all are fundamentally disinterested in Ty Lee as a character too. 

“I love Ty Lee so much that I’m going to treat her like an infantilized hypersexual airhead!” 

there are so many things happening in y’alls characterization of Ty Lee that I struggled to synthesize it into one quippy section header. on one hand, you have the hypersexualization, and on the other hand, you have the infantilization, which just makes the hypersexualization that much worse. 

(of course, sexualizing or hypersexualizing ANY atla character is really not the move, considering that these are child characters in a children’s show, but then again, that’s a separate post.) 

now, I understand how, from a very, very surface reading of the text, you could come to the conclusion that Ty Lee is an uncomplicated bimbo. if you grew up on Western media the way I did, you’ll know that Ty Lee has a lot of the character traits we associate with bimbos: the form-fitting pink crop top, the general conventional attractiveness, the ditzy dialogue. but if you think about it for more than three seconds, you’ll understand that Ty Lee has spent her whole life walking a tightrope, trying to please Azula and the rest of the royal family while also staying true to herself. Ty Lee and Azula’s relationship is a really complex and interesting topic that I don’t really have time to explore at the moment given how long this post is, but I’d argue that Ty Lee’s constant, vocal  adulation is at least partially a product of learning to survive at court at an early age. Like Mai, she has been forced to regulate her emotions as a member of fn nobility, but unlike Mai, she also has six sisters who look exactly like her, so she has a motivation to be more peppy and more affectionate to stand out. 

fandom does not do the work to understand Ty Lee. as is a theme with this post, fandom is actively disinterested in investigating female characters beyond a very surface level reading of them. Thus, fandom takes Ty Lee’s surface level qualities--her love of the color pink, her revealing standard outfit, and the fact that once she found a boy attractive and also once a lot of boys found her attractive--and they stretch this into “Ty Lee is basically Karen Smith from Mean Girls.” thus, Ty Lee is painted as a bimbo, or more specifically, as not smart, uncritically adoring of Azula (did y’all forget all the non-zukka bits of Boiling Rock?), and attractive to the point of hypersexualization. I saw somebody make a post that was like “I wish mailee was more popular but I’m also glad it isn’t because otherwise people would write it as Mai having to put up with her dumb gf” and honestly I have to agree!! this is one instance in which I’m glad that fandom doesn’t discuss one of my favorite characters that often because I hate the fanon interpretation of Ty Lee, I think it’s rooted in misogyny (particularly misogyny against East Asian women, which often takes the form of fetishizing them and viewing them only through a Western white male gaze)  

(side note: here at army-of-mai-lovers, we stan bimbos. bimbos are fucking awesome. I personally don’t read Ty Lee as a bimbo, but if that’s you, that’s fucking awesome. keep doing what you’re doing, queen <3 or king or monarch, it’s 2021, anyone can be a bimbo, bitches <3)

“Toph can and will destroy everyone here with her bare hands because she’s a meathead who likes to murder people and that’s it!”  

Toph is, and always has been, one of my favorite ATLA characters. My very first fic in fandom was about her, and she appears prominently in a lot of my other work as well. One thing that I am always struck by with Toph is how big a heart she has. She’s independent, yes, snarky, yes, but she cares about people--even the family that forced her to make herself smaller because they didn’t believe that their blind daughter could be powerful and strong. Her storyline is powerful and emotionally resonant, her bending is cool precisely because it’s based in a “wait and listen” approach instead of just smashing things indiscriminately, she’s great disabled rep, and overall one of the best characters in the show. 

And in fandom, she gets flattened into “snarky murder child.” 

So where does this come from? Well, as we all know, Toph was originally conceived of as a male character, and retained a lot of androgyny (or as the kids call it, Gender) when she was rewritten as a female character. There are a lot of cultural ideas about androgynous/butch women being violent, and people in fandom seem to connect that larger cultural narrative with some of Toph’s more violent moments in the show to create the meathead murder child trope, erasing her canon emotionality, softness, heart, and femininity in the process. 

This is not to say that you shouldn’t write or characterize Toph as being violent or snarky at all ever, because yeah, Toph definitely did do Earth Rumbles a lot before joining the gaang, and yeah, Toph is definitely a sarcastic person who makes fun of her friends a lot. What I am saying is that people take these traits, sans the emotional logic, marry them to their conception of androgynous/butch women as violent/unemotional/uncaring, and thus create a caricature of Toph that is not at all up to snuff. When I see Toph as a side character in a fic (because yeah, Toph never gets to be a main character, because why would a fandom obsessed with one male character in particular ever make Toph a protagonist in her own right?) she’s making fun of people, killing people, pranking people, etc, etc. She’s never talking to people about her emotions, or palling around with her found family, or showing that she cares about her friends. Everything about her relationship with her parents, her disability, her relationship to Gender, and her love of her friends is shoved aside to focus on a version of Toph that is mean and uncaring because people have gotten it into their heads that androgynous/butch women are mean and uncaring. 

again, we see a female character who does not emote normatively or in a way that makes you, the viewer, comfortable, and so you warp her character until she’s completely unrecognizable and flat. and for what? 

Azula

no, I didn’t come up with a snappy name for this section, mainly because fanon interpretations of Azula and my own feelings toward the character are...complicated. I know there were some people who wanted me to write about Azula and the intersection of misogyny and ableism in fanon interpretations of her character, but I don’t think I can deliver on that because I personally am in a period of transition with how I see Azula. that is to say, while I still like her and believe that she can be redeemed, there is a lot of merit to disliking her. the whole point of this post is that the female characters of ATLA are complex people whom the fandom flattens into stereotypes that don’t hold up to scrutiny, or dislike for reasons that don’t make sense. Azula, however, is a different case. the rise of Azula defenders and Azula stans has led to this sentiment that Azula is a 14 y/o abuse victim who shouldn’t be held accountable for her actions. it seems to me that people are reacting to a long, horrible legacy of male ATLA fans armchair diagnosing Azula with various personality disorders (and suggesting that people with those personality disorders are inherently monstrous and unlovable which ahhhh....yikes) and then saying that those personality disorders make her unlovable, which is quite obviously bad. and hey, I get loving a character that everyone else hates and maybe getting so swept up in that love that you forget that your fave is complicated and has made some unsavory choices. it sucks that fanon takes these well-written, complex villains/antiheroes and turns them into monsters with no critical thought whatsoever. but the attitude among Azula stans that her redemption shouldn’t be hard, that her being a child excuses all of the bad things that she’s done, that she is owed redemption....all of that rubs me the wrong way. I might make another post about this in the future that discusses this in more depth, but as it stands now: while I understand that there is a legacy of misogynistic, ableist, unnuanced takes on Azula, the backlash to that does not take into account the people she hurt or the fact that in ATLA she does not make the choice to pursue redemption. and yes, Zuko had help in making that choice that Azula didn’t, and yes, Azula is a victim of abuse, but in a show about children who have gone through untold horrors and still work to better the lives of the people around them, that is not enough for me to uncritically stan her. 

Conclusion    

misogyny in this fandom runs rampant. while there are some tropes of fandom misogyny that are well-documented and have been debunked numerous times, there are other, subtler forms of misogyny that as far as I know have gone completely unchecked. 

what I find so interesting about misogyny in atla fandom is that it’s clear that it’s perpetrated by people who are aware of fandom misogyny who are actively trying not to be misogynistic. when I first joined atla fandom last summer, memes about how zukka fandom was better than every other fandom because they didn’t hate the female characters who got in the way of their gay ship were extremely prevalent, and there was this sense that *this* fandom was going to model respectful, fun, feminist online fandom. not all of the topes I’ve outlined are exclusive to or even largely utilized in zukka fandom, but a lot of them are. I’ve been in and out of fandom since I was eleven years old, and most of the fandom spaces I’ve been in have been majority-female, and all of them have been incredibly misogynistic. and I always want to know why. why, in these communities created in large part by women, in large part for women, does misogyny run wild? what I realize now is that there’s never going to be a one-size fits all answer to that question. what’s true for 1D fandom on Wattpad in 2012 is absolutely not true for atla fandom on tumblr in 2021. the answers that I’ve cobbled together for previous fandoms don’t work here. 

so, why is atla fandom like this? why did the dream of a feminist fandom almost entirely focused on the romantic relationship between two male characters fall apart? honestly, I think the notion that zukka fandom ever was this way was horrifically ignorant to begin with. from my very first moment in the fandom, I was seeing racism, widespread sexualization of minors, and yes, misogyny. these aspects of the fandom weren’t talked about as much as the crocverse or other, much more fun aspects. further, atla (specifically zukka) fandom misogyny often doesn’t look like the fandom misogyny we’ve become familiar with from like, Sherlock fandom or what have you. for the most part, people don’t actively hate Suki, they just “stan” without actually caring about her. they hate Mai because they believe in treating male victims of abuse equally. they’re not characterizing Toph poorly, they’re writing her as a “strong woman.” in short, people are misogynistic, and then invoke a shallow, incomplete interpretation of feminist theory to shield themselves from accusations of misogyny. it’s not unlike the way some people will invoke a shallow, incomplete interpretation of critical race theory to shield themselves from accusations of racism, or how they’ll talk about “freedom of speech” and “the suppression of women’s sexuality” to justify sexualizing minors. the performance of feminism and antiracism is what’s important, not the actual practice. 

if you’ve made it this far, first off, hi, thanks so much for reading, I know this was a lot. second, I would seriously encourage you to be aware of these fandom tropes and to call them out when you see them. elevate the voices of fans who do the work of bringing the female characters of atla to life. invest in the wlw ships in this fandom. drop a kudos and a comment on a rangshi fic (please, drop a kudos and a comment on a rangshi fic). read some yuetara. let’s all be honest about where we are now, and try to do better in the future. I believe in us. 

[cosmicjoke]

No Regrets: Chapter by Chapter Analysis:

1. Preface to my analysis

Okay, so, since I’ve reached the end of every published volume of SnK so far, and have to wait until October to read the last volume, I thought I’d re-read “No Regrets” and delve into some analyzation of this story, chapter by chapter.

One thing I want to start out by saying, before I get into the details, is that I think “No Regrets” is a vital demonstration of how Levi has always cared about people, and always fought for them.

One misrepresentation I sometimes see regarding Levi’s and Erwin’s relationship is when people claim that Erwin was the one to teach Levi to fight for something bigger than himself, or to fight for others.  The thing is, “No Regrets” clearly demonstrates that Levi already had a strong foundation of caring for others, and fighting for others, before Erwin himself ever had any major influence over him, and I plan on getting into all the examples of that within the story and breaking them down.

First, though, there’s an important quote from Isayama from the joint interview he did with the artist for “No Regrets”, Hikaru Sugura, in which he says about Levi, in response to the question of how he pictured Levi’s internal feelings of going from a “thug” to a “soldier”, “It’s that he found a place to make the most of what he could do, or rather, his own special abilities.  Underground, where it was all he could do to stay alive, he had to live for that, but then he started to form relationships and began to feel that he could do things for others.  And that’s why he first went above ground...”

This is a hugely important quote from Isayama, because he flat out says that, even before Levi came to the surface, he’d already formed bonds with people, and already began to feel like there was something bigger than himself that he could fight for, that he could “do for others”.  Isayama also says here that Underground, “It was all he could do to stay alive”, which signifies with great clarity the struggle someone would have, even someone with Levi’s great strength, of surviving and making it from one day to the next in a place like the Underground.  So, for Levi, it must have already been a terrible burden, simply trying to take care of himself, and live for himself.  But then he meets Furlan and Isabel, and he becomes friends with them, and despite the doubtless added burden to his own existence of having two other people relying so heavily on him for their own survival, he takes that burden onto himself, and does so with willingness and responsibility.  Isayama says that “It’s that he found a place to make the most of what he could do, or rather, his own special abilities.”.  Erwin didn’t instill in Levi a sense of responsibility for others, or the idea of fighting for someone other than himself.  Levi already had that, had already DONE that.  What Erwin did for Levi was show him the path towards maximizing the impact he could have, showing him how he could use his abilities to help the MOST number of people, not just a few people.  Erwin showed Levi that he could have a significant impact on the world, that he could fight for actual, positive change for all people.  Another important part of that quote from Isayama is when he says “And that’s why he first went above ground...”, because it tells us what Levi’s initial drive and intention for going to the surface was, and that was to help give Isabel and Furlan a better life.  He trusted in Furlan’s plans, and went along with them, because it was what Furlan and Isabel had both expressed to Levi that they wanted to do and to have.  Even here, Levi is fighting for the dreams of others.  

I’ve recently read the visual novel of “No Regrets”, and while it had some good parts, it also very much underdeveloped and even at times outright misinterpreted Levi’s character in some really key ways, casting him as someone so hell bent on getting revenge on Erwin, that he is blinded to the safety of Isabel and Furlan, pressing on with his plans to kill Erwin at their expense.  The worst part about this, I thought, was how it reduced the pivotal moment in which Levi chooses to go after Erwin and leave Furlan and Isabel behind to an impulsive, snap decision, in which Levi puts no thought or real consideration into it.  He doesn’t struggle at all in choosing how he does, doesn’t agonize over what he thinks is the right choice, because in that moment, there isn’t even the consideration of another option, he isn’t even making a choice, really, just reacting, which entirely defeats the purpose of Levi’s character motif throughout the main series, which is that he can never know for sure what decision is the right one until after he chooses, but that he has to try and make one he feels is right, and that no matter what, he can’t allow himself to dwell on it with regret afterwards.  This gets corrected in the manga big time, as do several other instances of Levi’s characterization, and I’m going to go over it in more detail when I get to that final chapter.  But the choice Levi makes in the manga is much, much more nuanced, considered, and multifaceted.  Here, he had laid out in his head two, distinct options, and he weighs and balances them against one another in a high pressure situation, before deciding on the one he thinks is best.  He doesn’t just leave his friends, thinking only of Erwin and revenge.  He’s thinking of ALL of them, and of every factor leading up to that point, and that struggle for Levi is what ends up having the affect of ultimately forming his later philosophy of never allowing himself certainty in anything, but also allowing himself leniency in whatever he chooses, knowing that he can’t be so hard on himself for the outcome, whatever it may be, that he isn’t able to move on from it, or use it to keep pushing forward and learn, so that he can do better next time.  It’s important that Levi’s choice in “No Regrets” is actually presented as one made with his full consciousness, one that was a fully thought out one on his part, which is why I really disliked the way it was portrayed in the visual novel, and why I’m glad they corrected it in the manga, which is the canonically accepted version of the story either way.  Because it’s a vital moment in Levi’s character development, with him learning that even when he tries his best to choose right, even when he considers every factor and every, conceivable outcome, even when he does what he thinks, in the moment, is best, it won’t always turn out that way, it won’t always turn out good, or favorably.  He won’t always win.  He won’t always be able to save everyone.  It’s a huge moment of character growth for Levi, who makes a well thought out and considered decision, and it still results in his two, best friends getting killed.  It teaches Levi that he can never have full control of any situation, no matter how hard he tries, and that, in turn, gives Levi a kind of freedom in simple acceptance.  It lifts a burden from his shoulders, even as he experiences enormous grief and loss.  

Anyway, I’m going to be reading the first chapter of “No Regrets” later tonight, and will give my more detailed observations in a separate post.  Thanks for reading, as always guys!

2. Chapter 1: The Wings of Freedom

Okay, so here we go!  Chapter 1 of “No Regrets”!  

There’s a few things I want to point out about this chapter, because both visually and textually, we get a lot of information about the Underground and Levi, and his relationship with Isabel and Furlan.  So I’ll just go through it.

The first thing that really caught my attention for this chapter was the opening page, which is a retrospective shot of Levi after he’s joined the SC, thinking about how he can’t ever know what the results of his choices are going to be.  He says here “I trusted in my own strength... I trusted in the decisions of comrades who had earned my faith...”  And this quote from Levi is really important in later understanding why he makes the choice he does, at the end.  He says he trusted in the decisions of comrades who had earned his faith, and that tells us that Levi believes in Furlan and Isabel, that he believes in their strength and their capability, that he believes in them enough to let them choose for themselves and trust in their judgement.  We’ll obviously delve more into this as it becomes more relevant to the story.  But moving on...

The next thing to catch my attention is the panels of the Underground we see.  These are probably the best shots of this place we get in the whole series, as it really depicts a place that is totally run down and dilapidated, with buildings falling apart and crumbling in disrepair, filth ridden streets with literal sewage water coming out of drain pipes, and a actual cave cover overhead, complete with stalactites, blocking out all sunlight except for few and far between pockets which break through holes in the rock ceiling.  The most telling panels though are the ones which depict the violence and poverty of the place.  We see a panel of a homeless man passed out on the street, painfully thin looking, and under him, two men in a fight, one beating the other violently.  And the next panel shows us a little girl, sitting barefoot on the ground between two men who have just blown each other’s brains out with guns.  Truly, this is a violent, dark, poverty-stricken place that breeds crime and depravation.  The pages before this say that BECAUSE of the splendor of the Capital city above the Underground, this place exists, and that’s accurate.  Because of the excesses and decadence of the rich and well off above these people rejected by society, that means fewer resources for the less fortunate.  It’s truly tragic.  

Alright, now I just want to move on to some small, but telling moments here while Levi and the others are being chased by Erwin and his crew.  

When Isabel is bragging about how the MP’s never learn, referring to how they’ll never be able to catch their gang, she asks Levi if what she said was cool.  Levi tells her “Don’t be stupid.”  This might seem like Levi just blowing her off, but the way I read it, it seems more to me like Levi is warning her not to be cocky, not to be over confident, because that’s the kind of thing that can get you killed, or caught.  Big Bro indeed!   We also see how mindful Levi is here as a leader, when he tells them they can’t afford to lead the soldiers following them straight to their hideout, and clearly they have a plan in place for just this sort of thing.

More importantly, Levi is fast to realize these aren’t ordinary soldiers after them, which shows his great instincts, but what’s really interesting is his internal thoughts here.  His logic is telling him regular MP’s wouldn’t work this hard to catch them, and that their skill with the ODM means they must be SC.  But Levi doesn’t really believe it which, given what we later find out about the deal with Lobov, and Lobov warning them of Erwin’s plans, tells us that Levi never really believed the SC would come after them.  He’s clearly surprised here.

Further, after informing Isabel and Furlan and confirming his suspicions, he tells Furlan that he’s got no intention of getting mixed up with “these guys”.  This tells us Levi never wanted to go through with Furlan’s plans, never wanted to join the SC, never wanted anything to do with any of it.  There’s further evidenced in this very chapter, which I’ll get to in a moment.  But it tells us a lot about the dubious feelings Levi had from the start, and how he probably would have simply been happiest to stay in the Underground with his friends, even though it was a hard life.  

Alright, so, this next part is a big deal, and it’s an overlooked detail which speaks volumes about the kind of person Levi is.  I didn’t even notice this the first time I read it, so I want to talk about it.  Levi separates from Isabel and Furlan, and takes Erwin and Mike on a wild chase through the back alley’s and narrow passages of the slums.  He really tries to give them the run around here, until he flips over a door, into another area.  What’s really important here is Levi’s dialog.  He says first “... Lost ‘em, huh?”  And then he says, “That got a little crazy...  I hope... none of them crashed.”  This is kind of amazing.  Levi is showing actual concern for the two soldiers who’d just attempted to catch him and his friends, who were doggedly pursuing them with obviously bad intentions of some kind.  And Levi, after having to resort to some serious ODM skills to shake them, says he hopes that none of them crashed.  He doesn’t want Erwin or Mike to get hurt, he just wants to get away from them.  Considering he doesn’t know either of them at this point, they’re just nameless, faceless military dogs trying to mess things up for him, that shows remarkable character.  

Of course, things go downhill from there, when Mike crashes through the door and tackles him.  All bets are off then, because Levi’s life is now in danger, and when that happens, he’ll resort to physical force.  Still, he only throws Mike off of him and once again attempts to get away, only for it to be Erwin who swoops down and cuts Levi’s cables.  This was actually really dangerous.  Given Levi’s momentum and position, he crashes hard into a nearby wall before falling to the ground.  So we already see some of that ruthlessness from Erwin here.  Of course, that spurs Levi into violence himself.  I have no doubt that when Levi lunges for Erwin and knocks his blade away, bringing his knife to his neck, he truly intended to kill him in that moment.  Levi’s compassion for these soldiers can only go so far, considering the desperation of his own circumstances.  If Mike hadn’t been there to stop it, I think Levi probably would have ripped Erwin’s jugular right out, and that would have been that, lol.  And then, it’s important to note too WHY Levi stops.  Not because Mike was able to physically restrain him, but because he tells Levi to look around himself, directing his attention to the fact that Furlan and Isabel have been caught.  That immediately stays Levi’s hand, and once again, we’re shown how Levi puts the wellbeing of his friends above himself.  He could have ditched Furlan and Isabel right then and there and escaped on his own.  Instead, he allows himself to be restrained and cuffed.  He refuses to abandon them.

Now the next scene is hugely important to a lot of stuff.

Erwin’s got Levi and his friends down on their knees, in the sewage, questioning them about their ODM skills, and the three of them stay silent, obviously defiant.  We really get a good look at Erwin’s abilities as a manipulator here.

He’s pulling the whole good cop/bad cop routine on Levi, when he tells him “I’d like to avoid any rough treatment if I can” before looking to Mike in a clear signal for Mike to pretty damn violently tear Levi’s head back by his hair before smashing his face into the sewage on the ground.  And this really IS sewage.  It’s not mud.  If you look at the panels, we see this brown muck coming out of drain pips attached to the surrounding buildings.  This water is probably, literally, dirty with feces, and Erwin has Mike put Levi’s face in this and hold it there.  Now let’s remember something important about Levi.  He’s a clean freak.  He obviously cares deeply about keeping both himself and his environment clean.  Erwin couldn’t know this about him at the time, but nobody of course would be happy about having their face shoved into literal shit.  But for Levi, I can only imagine this had to be tantamount to a kind of torture.  Erwin keeps questioning him, looking down at him without any kind of emotion, and Levi remains stubbornly silent, despite how awful this must truly be for him.  We get a close up of Levi’s eye in one of the panels, paralleled with Erwin’s own, and Levi’s expression really strikes me as one of awful humiliation.  He goes from looking up at Erwin in rage, to looking away, staring straight ahead, while Erwin keeps looking down at him.

Still, Levi says nothing, and it’s Isabel who finally cracks, telling Erwin that they didn’t learn to use ODM from anyone, with Furlan further explaining that they taught themselves as a means of survival.  He remarks that “anyone who doesn’t know what sewage tastes like couldn’t understand!”.  Clearly, both of them are really upset to see this being done to Levi, and I have to imagine it’s at least in part because they know how awful an experience this has to be for him, given that they know how much he desires to stay clean.  Their shocked expressions when Mike first pushes Levi’s face into the sewage says as much too.

But still, Levi remains silent as Erwin then demands to know Levi’s name.  What Mike does to Levi in the next panel is even worse.  He pushes his face into the sewage and holds him there until Levi literally starts to choke in it, for long enough that, when he finally does pull him up, Levi is gasping for breath.  I really don’t see people talk enough about this scene, but, well...

It’s a torture scene.  Erwin is ordering Mike to torture Levi here.  It may not be the most extreme form of torture, it isn’t the type of physical violence we typically think of when we think of torture, but that’s what it is.  It’s causing Levi both physical and mental degradation, as well as physical distress.  

Even with this though, Levi’s still silent and refuses to answer Erwin at all.  

It’s only when Erwin literally threatens the lives of Furlan and Isabel that he finally talks.  This is such an important detail.  Levi was willing to take what to him must have been truly horrific treatment, but as soon as Erwin gives the signal to the other two Scouts who have hold of his friends, we see Levi’s expression shift from defiant rage to wide eyed fear as they put their blades to Furlan’s and Isabel’s throats.  

Finally Levi talks, calling Erwin a “bastard”, to which Erwin simply asks him again what his name is, and after a slight hesitation, Levi finally gives it.  

I think this entire scene is vital in understanding WHY Levi was so violently pissed at Erwin, to the point of wanting to kill him.

I think it’s a combination of both the humiliation and torture he puts Levi through here, and, worse still, the fact that he threatens Isabel and Furlan’s lives.  Levi already feels looked down upon by Erwin here, he already feels humiliated and embarrassed and as though he’s being treated like he’s worthless, because Erwin IS treating him like that here.  All while Erwin stands there, expressionless, making statements like he doesn’t want to have to use any rough treatment, etc... while at the same time ordering Mike to do just that.  Already, Erwin is sending Levi the message that he’s a liar and a manipulator who thinks nothing of putting another human being’s face in shit.  And then, to top that off, he shows Levi that he’s willing to hurt, maybe even kill, his two friends to get what he wants.

Is it any wonder Levi hated Erwin as much as he did at the beginning?  After a lifetime in the Underground where, from the time of his birth, he had to deal with him and those he cares about being treated like worthless trash.  It would be a miracle if Levi DIDN’T want to kill Erwin at this point.  To have to then submit to him willingly, after all of that, must have been beyond humiliating for him.

Erwin continues to be manipulative here too, when after Levi gives his name, Erwin’s attitude suddenly shifts, and he smiles at Levi and gets down on one knee with him, in the filth, his entire demeanor seeming to shift into an abruptly friendly one as he offers his deal to Levi.  Again, that whole good cop/bad cop thing.  At the same time, he continues to threaten Levi by telling him if he refuses his offer, he’ll hand them all over to the MP’s and that, given their crimes, they shouldn’t expect to be treated with any kind of decency.  What’s kind of funny about this statement from Erwin is that up until now, Erwin and Mike have done anything but treat Levi decently.

Okay, one more important point to make about this chapter, and it goes back to what I said earlier about Levi not wanting anything to do with the SC, and how that tells us Levi really didn’t want to go through with Furlan’s plans.

After Erwin makes his offer, we see Levi look over at Furlan, who’s giving him an intent look, and in the next panel, we see an almost surprised, or astonished look on Levi’s face, like he can’t believe Furlan is asking him to do this, before he grits his teeth in obvious frustration, and then accepts Erwin’s offer to join the SC.  What this tells us is that Levi only takes Erwin’s offer because Furlan wanted him to.  Because this was all part of Furlan’s plan, to go through with Lobov’s commission, to get caught by the SC, etc...  It’s clear Levi never wanted this, and he’s upset at having to do it.  But the fact he agrees after looking over at Furlan and seeing him implore Levi with his eyes tells us, once again, that Levi is willing to sacrifice his own desires for the desires of others.  That being his two friends.

For them, he’ll join the Survey Corps, even as every one of his instincts is probably screaming at him that this is a bad idea.

Anyway, those are my thoughts for the first chapter of “No Regrets”.  There’s a lot more to unpack in this manga than I think people realize.  I hope whoever took the time to read my long ass post found it at least a little worth while.  I’ll be moving on to chapter two next!

3. Chapter 2: One Arrow

Alright, so onto chapter 2 of “No Regrets”.  

I want to talk a little about these opening panels, when Levi, Furlan and Isabel are being driven to HQ by carriage.  They seem unimportant, but I think they’re actually really important in understanding Levi’s psychology going into this new situation they’re all in.

We see the interior of the carriage, with Levi and the other two, along with an escort from the SC.  Furlan and Isabel are both looking out the window of the carriage, and in particular, Isabel seems incredibly excited and in awe of the passing view.  She’s stood up, with her face pressed to the window.  And in the next panel, we see her looking at a little girl with her mother, dressed nicely and holding a doll.  This really encapsulates everything Isabel herself has probably never had.  A reliable mother to take care of her, fancy clothes and toys to play with.  Essentially, an actual childhood.  We see Isabel’s face in the window, and her mouth is open in wonder, her eyes wide.  Like she can’t believe what she’s seeing.  It emphasizes the depravation and lack of privilege she’s endured all her life.  Meanwhile, by contrast, Levi sits there with his head bowed down, ignoring the passing scenery, looking deeply unhappy, even depressed.  When he does look up though, he sees Isabel looking out the window, and on the close up shot of him, he’s got an almost thoughtful expression, if still extremely dour.  No doubt, Levi is feeling uneasy and uncertain about the situation they’ve all gotten themselves into here, but I’m also sure that he’s unable to ignore the bubbling over excitement of Isabel, her obvious joy in being, at last, on the surface.  I’ll get more into this later in the post, when we see Levi really considering his friends and their dreams, and how it influences and dictates his own decisions.

But first lets talk a little about Erwin and his role in all of this.

Now at the time this series came out, Erwin’s actual, motivating reasons for doing what he does weren’t yet known, so it’s interesting to read into his actions in this story with that context.  I have no doubt that Erwin really DOES care about humanity, and wants to fight for it, and its salvation.  But as we come to learn from the main series, he places his own dream of proving his father right about the existence of human’s beyond the walls above what’s best for humanity, and it puts his actions in this story into an interesting, if harsher light.

No doubt, Erwin is a master manipulator.  He plays both sides expertly against the middle in this story, and I’ll get more into it by the end, when his actual plan is revealed to Levi.  But what I don’t see often discussed is how, exactly, Erwin got all the parts moving in the direction he wanted, to obtain a specific outcome, and how he pretty ruthlessly uses so many people as pawns to do so.  It’s obvious from the context of what we later learn in the story that Erwin first spread a rumor about having evidence against Lovof stealing funds in order to force him into tipping his hand by trying to make a preemptive move.  What I see people miss all the time, or at least, fail to discuss, is how Erwin also, at the same time, made it public knowledge within the Capital, that he would be going after a group of thugs in the Underground who had shown exceptional skill using ODM gear, and that he would be making contact with them as soon as possible to try and enlist them into military service, and how Erwin made these plans public specifically to encourage Lobov into seeking out Levi and his friends for the exact purpose of both implicating Lobov in a crime, and gaining Levi’s and his friends strength for the SC.  One, by hiring a group of criminals to steal from Erwin and attempt to assassinate him, so he could use that as leverage in case he wasn’t able to obtain proof of Lobov’s further criminal activities, thus having two means of getting rid of one of the SC’s biggest threats, and at the same time, also manage to score for the SC the exceptional skill of Levi and his friends through forced enlistment.  He even says to Zackely at one point “I intend to make use of anyone who has even the smallest potential during this expedition.”.  Erwin manipulated and had control of this entire scenario from the start, and from behind these scenes moved all of these people exactly how he wanted to, to achieve his goals.  That’s pretty impressive, but also pretty scary.  Well, I’ll talk more about all of that when we get to it later on.

Back to Levi and his friends though.

We see them arrive at the SC HQ, and a really important conversation happens between Levi and Furlan.  

Furlan seems like he’s almost bitten off more than he can chew here, beginning to express his concern to Levi about what joining the SC actually means, before Levi cuts him off, telling him he’s got no intention of enlisting, and that he only agreed to come along so that he could get closer to Erwin and then kill him.  I think Levi genuinely felt murderous towards Erwin at this point, and really means what he says here, at least about killing him.  Though given the end of chapter 1, with the significant look shared between Levi and Furlan, and Levi’s begrudging acceptance of Erwin’s offer, it’s obvious that Levi also agreed to come because that’s what Furlan wanted him to do, to give them the opportunity they needed.  Levi’s just feeling incredibly emotional here, I think, with the way Erwin treated all of them hot on his mind.  Furlan tries to implore Levi to forget about killing Erwin, that it isn’t necessary anymore because of his own plan, and the almost certainty that Lobov and his people won’t ever try to make contact with them again.  He tells Levi, if he just listens to him and follows his plan, “I know it’ll work.  Trust me, Levi.”  Furlan asking him to trust him pulls a meaningful look from Levi, seeming to break through Levi’s angry insistence on killing Erwin.  This is where the manga improved on Levi’s characterization and motivation by leaps and bounds over the visual novel, because in the next few panels, we see Levi walking away, with Furlan calling after him, concerned, but we get to see Levi’s inner thoughts, and he’s remembering specifically Furlan insisting to him that “one day, we’ll get outta this trash heap and live up above.”  We see Levi thinking about Furlan’s hopes and dreams in these panels, and he has a saddened, and guilt-ridden look on his face, like he feels bad about having dismissed Furlan’s plans back there in favor of his own plans for revenge.  We didn’t get any of this in the visual novel, instead the text there making Levi look like he refused to consider anyones position but his own in this whole situation.  But here, Levi is clearly concerned with and considering Furlan’s desires.  

We go into a flashback then, with Furlan explaining to Levi his plans, telling him that “nothing’s gone according to plan... But with you here we’ll really be able to raise hell.”  Furlan’s trying to explain to Levi that since he now has Levi’s strength to rely on, they can actually get something done once they get into the Survey Corps.  It almost seems like Furlan’s been planning on trying something like this, or at least, had some sort of loose plan about getting to the surface, even before he met Levi.  It’s obviously something he’s been dreaming about for a long time.

Then Isabel comes back, and she’s been roughed up and assaulted, and we learn from Furlan asking her if she went to see those “low-life scumbags again?” that this has obviously happened to her before, that she’s been associating with some bad people and it’s gotten her hurt.  She denies it and lies about having just tripped, but clearly neither Levi or Furlan are buying that.  Levi asks Isabel what happened to her hair, and Isabel reacts badly, running away and hiding in her room.  We get a close up of Levi holding a knife in his hands, foreshadowing his own intentions.  Later that night, Furlan hears Isabel crying in her room, and her chanting to herself over and over that she’s going to “kill you”, presumably meaning the men that hurt her earlier.  Furlan stands there lamenting that he thinks both Levi and Isabel are going “mad”, and that all they can think about is dragging everyone else down to where they are.  He’s obviously terrified that he’s going to lose both his friends to the savagery and ruthlessness of the Underground, that both of them are going to end up becoming lost to their own anger and pain.  He starts to say “That’s why I...” before Levi suddenly comes back in, holding a bloody knife, clearly having returned from exacting revenge on the men who hurt Isabel.  Furlan asks Levi “Did you kill them...?”, and Levi doesn’t answer, but we see a completely resigned, even sad look on his face.  This of course is the world Levi comes from.  It’s the world he was raised in.  A world of kill or be killed.  Levi must have figured, if he didn’t go out and kill those men that had hurt Isabel now, then someday, they would end up going too far with her, and kill her instead.  But Furlan clearly doesn’t understand, and doesn’t relate to that kind of mindset, despite coming from the Underground too.  Of course, Furlan wasn’t raised by Kenny the Ripper either.  This is how Levi was taught to deal with his problems, and Furlan can only see him spiraling into an abyss from which he fears Levi won’t return.

We cut back to the present then, and Levi is sitting up on the roof of the SC HQ, again remembering Furlan’s words about “This is our chance.  Trust me.”.  Getting to the surface and finding better lives for themselves is Furlan’s dream.  The fact that Levi keeps remembering it, keeps remembering Furlan insisting and pushing the idea of the possibility of living on the surface, shows that this is probably something he would talk about all the time with Levi, trying to get him to agree to it, to believe in it.  Once again, Levi is contemplating the hopes and dreams of his friends.  We get another close up of him holding a knife, and it represents, I think, his struggle between his desire for revenge against Erwin, and his desire to help Furlan realize what, to Levi, is probably an unrealistic goal.

We then get Furlan and Isabel joining Levi, commenting on how beautiful the night sky is, and asking Levi how he could keep it to himself.  Levi snips testily at Furlan that him and Isabel are so loud, that he’d be too irritated to get any killing done, and then Furlan looking clearly unsettled by the remark.  But it’s obvious, given the context of the previous panels of Levi’s thinking about Furlan’s dream, that Levi is just being peevish and saying things out of frustration and confusion.  He doesn’t really mean what he says here.  He’s taking his frustration out on Furlan by saying what he knows will upset him the most.  What this also tells us is that Levi is very much aware of how bothered Furlan is by Levi’s willingness to kill.  He isn’t at all oblivious to it, and given his resigned, saddened expression after coming back from killing the men who assaulted Isabel, I would say Levi even understands Furlan’s dismay.  That’s a glimpse at Levi’s famous compassion.

The next panels show the three of them bonding, sitting together and admiring the night sky.  Isabel asks Levi if the stars are as pretty as where he used to live.  I’m just going to chalk the mistake in continuity here up to this manga coming out before, I believe, Levi’s backstory of being born in a brothel in the Underground was established by Isayama.  Regardless of this mistake, this is an important moment between the three of them.  You can see the awe and wonder they all feel, looking up and seeing the sky fully for what has to be the first time in all their lives.  Remember, all three of them have lived literally underground their entire lives, with little to no sunlight, stagnant, stale air, hideously unclean living conditions, etc...  It must be overwhelming to them , just to see nature in all its splendor like that.  It’s after sharing this moment together that Levi tells Furlan that he’s decided he won’t kill Erwin for now.  He looks at him and says “I’m going to trust you.”.  And Furlan smiles at him, clearly happy and relieved.  This scene is really important, because we’re seeing Levi choose Furlan’s dream over his own desire for revenge.  We see Levi place Furlan’s desires over his own, which is totally in line with how Levi is in the main AoT storyline.  He decides his revenge can wait, that it’s not as important as helping Furlan achieve his goals.  What’s particularly remarkable about this, I think, is that it doesn’t appear that Levi ever dreamed of going to the surface himself, and likely that he never even considered it a possibility.  So just like Levi fights, later on, for a world without fear and violence, for humanity’s salvation, even as all his life experiences tell him it likely isn’t possible, we see the Levi doing the same here, deciding to fight for his friend’s dream, even as to him, it seems unrealistic.  It’s obviously a pivotal moment too, when Levi tells him he’s going to trust him, because this ties in hugely with the theme which applies so much to Levi throughout the whole series, of never knowing if it’s better to rely on himself solely, to trust himself, or to trust and rely on his friends and their capabilities.  Levi chooses, here, to trust in his friends, and that will obviously have it’s own ramifications down the line.  Again, this is an area in which the manga improves radically over the visual novel, which had no instances whatsoever of Levi struggling with the question of the choices we make, which is absurd, since it’s one of the driving factors behind who Levi is, and how he ultimately came to see the world as he does.  It was precisely this struggle between choices, between trying to choose correctly, giving so much thought and effort to our choices, and still sometimes coming out wrong, that shaped Levi into being able to accept his lack of control and instead of regretting it, using it to keep fighting.  

4. Chapter 3: ... Of Revolution

Okay, so on to chapter 3 of “No Regrets”!

I’ve got a few observations, so I’ll just delve in.

First thing, and once again, I found this a huge improvement over the visual novel, but we get more insight here into the reason Erwin was so intent on recruiting Levi.  During the scene in which he’s arguing with the other squad leaders about letting a group of “criminals” into their organization, Erwin pushes back against the other scouts deriding Levi and his friends.  I really loved Erwin’s line here, where he says “You’re right.  These people had no training.  They did not earn wings from us.  They grew their own, out of necessity.”  This shows us that Erwin has a grasp and an appreciation for the hardship Levi and his friends faced while growing up, while most of the other SC leaders and even regular recruits can only look down on them and see them as gutter trash.  This shows Erwin’s own scope of vision, his ability to look past a person’s upbringing and background and not make judgments about them based on that.  More telling still is his comment about how “those wings will play a part in revolutionizing this organization.”.  He wanted Levi’s skills in particular because he knew having someone like Levi around, with exceptional ability, would shift the way they all fight Titans.  He was, as always, looking for ways to increase the effectiveness of the SC, and was willing to do whatever he could, and through any means necessary, to ensure it.  

The next thing that caught my attention is the glare Levi and Erwin share during the trio’s introduction to the rest of the soldiers.  Erwin’s right in front of Levi, standing there, reminding him of his anger and humiliation no doubt, and I think that leads directly into and impacts the next scene, when Flagon shows them their sleeping arrangements.  Levi’s already no doubt irritated by having to see Erwin again, and then Flagon makes his frankly deeply disparaging remark about Levi and his friends having spent their whole lives living in a trash heap, implying that they’re filthy gutter trash, and so surely are incapable of keeping themselves and their environment clean.  Levi, understandably, reacts badly to this, and gets in Flagon’s face, asking him what he just said, before Furlan intervenes.  When you consider the way Erwin already made Levi feel so humiliated and Levi’s subsequent anger at it, then having to see Erwin again not long before this scene, and hearing Flagon just callously make an accusation like that must have only infuriated Levi more.  I think, once again, the manga is doing an infinitely better job of portraying the tension, then, that’s starting to form between Levi and Furlan.  Furlan scolds Levi after Flagon leaves, almost talking down to him when he says “Didn’t I tell you not to cause trouble?!”.  Almost like he’s talking to some misbehaving little kid.  Levi’s expression in the following panel says a lot, I think.  Levi looks almost chastised, like he knows he’s upset Furlan, before he tries to explain himself, asking Furlan “Didn’t you hear how he talked about us?  Like shit calling shit dirty.”.  It’s really interesting what this says about the power dynamic in their relationship.  Levi is ostensibly the leader of their group, but Furlan’s acting, in a lot of ways, like he’s the one in charge and he expects Levi to fall in line.  Clearly, he’s not afraid of scolding Levi, or challenging him.  All of Furlan’s insistence that they lay low and not do anything to draw attention to themselves must only be chaffing though at Levi’s already heated feelings about the kind of treatment they’re receiving, how they’re being talked down to, etc...  It must be galling to him, to see Furlan not seeming to care that they’re all being so deeply disrespected.  But he still continues to defer to Furlan, and agree to go along with his plan for now, though he makes his displeasure known by calling it a pain in the ass.

But seeing Erwin, and then being treated the way they were by Flagon, seems to have rekindled Levi’s desire to take his revenge, and he reminds Furlan that he’ll continue to go along with his plan, but that he’s still going to kill Erwin.  Once again, we see Levi being pulled in two different directions.  He’s giving priority to Furlan’s plans and wishes, but he’s still thinking about getting Erwin back.  He’s annoyed that they weren’t assigned to Erwin’s squad, probably because it means it’s going to limit their contact, giving him less opportunities to kill him.  Another line that I think signifies Lev’s annoyance at Furlan and how, well, dismissive he is of Levi’s own feelings, is after he tells them they have to clean the area around their beds before leaving for training, and in response to Isabel’s protests, he says “You wouldn’t want me to cause trouble, would you?”.  He’s throwing Furlan’s words back in his face here, and it seems clear to me that Levi is frustrated and doesn’t appreciate the way Furlan’s been talking to him, or how little consideration for his own wishes he’s shown.  There’s a lot of tension there.

Another really important scene is the one in the training yard, so I’ll got through it here.

Particularly when Isabel is talking to the Scout helping her with horse riding, and they get to talking about life in the Underground, and then Levi.  What Isabel says, and the visual of the panel here, is particularly powerful.  She says “It got so I thought I was gonna die.  But life’s a little better since Levi saved me from that.”.  And we see in the panel Levi lifting Isabels’ head up, obviously checking if she’s alive.  There’s all these people, collapsed around her, and the fact that Levi is checking to see if she’s alive is interesting, because it makes me think this is something Levi would regularly do.  That he would check to see if anyone was alive when he came across people collapsed in the streets.  It’s probably not unusual to come across dead bodies in the Underground, and for someone like Levi, who’s lived there all his life, he’s no doubt seen plenty.  The fact he checks Isabel shows a lack of callousness towards the sight, which is incredible, to not become uncaring or apathetic towards suffering, even when you’re surrounded by it your whole life.  It’s a highly unusual quality to have, but of course, it makes perfect sense for Levi, who’s so full of compassion.  

Nevertheless, it would have been simpler for him to just keep moving and ignore her, but instead he stopped, and when he discovered she was still alive, he took her in and gave her food and shelter and a home.  She would have died otherwise.  Levi had no obligation towards her, he had no, really good reason to do something so selfless, and yet, he did.  And this truly is remarkable, especially when you consider the kind of cut throat world Levi grew up in, the kind of ruthless people he’d encountered, and even lived with, like Kenny, all his life.

Then there’s Furlan’s discussion with another soldier, and his story about Levi.  The most interesting thing Furlan says here is how, after his own friends turned on him, he’s followed Levi ever since.  And then he says “Though it might be problematic making him any kind of leader!”.  It’s interesting what this reveals to us about Levi.  People want to follow him because he’s so strong, but Levi himself has no desire for power, or control over others.  People willingly attach themselves to him, because they think Levi can protect them, but Levi isn’t any kind of natural leader.  So we know Levi was more or less forced into the role of leader by way of others seeking him out and assigning him that role.  What’s interesting about this is how it, once again, reveals the kind of person Levi is.  He could easily have rejected all of these people and abandoned them.  One thing we know is that Levi didn’t need any help surviving on his own in the Underground.  But instead Levi allows them to stay with him and willingly offers his help and protection, and though it’s probably more of a pain and a nuisance to him than anything else.  It shows that Levi’s never been able to turn away from those seeking his help.

Which leads nicely into the next scene.  

I’ve talked about this scene before, and how disappointed I was that they didn’t include it in the OVA.  This also wasn’t included in the visual novel, which is, once more, just another way in which the manga is superior.  

Flagon is once again criticizing Levi for holding his blades “wrong”, telling him he’s going to end up getting killed outside the walls.  And then the training exercise begins, and we see one of the other soldiers trying to compete with Levi, and growing increasingly incensed and annoyed at Levi’s prowess.  He thinks “These vagrants with no knowledge as soldiers...” and then “I trained half to death, and these criminals think they’re better?!”.  What’s interesting is to see that while this soldier is fuming internally over Levi’s perceived slight of him, glaring at him angrily, Levi clearly hasn’t even taken notice of him.  This isn’t a competition to Levi at all.  He’s just there to do the exercises.  He’s staring straight ahead, blank faced as always.  

Now what happens next is once more hugely revealing as to Levi’s character.  The infuriated soldier decides he’s not going to accept that Levi’s better than him, and so he intentionally pushes off of a tree and cuts Levi off mid-flight. What struck me about this is how incredibly dangerous it was.  Levi’s going, presumably, full speed, through this obstacle course, and this dude, out of petty jealousy, cuts him off by flying right in front of and past him, forcing Levi to pull back and change direction.  A stunt like this could have easily resulted in serious injury for Levi, or even death, if he weren’t as gifted as he is.  To top it off, this soldier then brags about it, calling out to Levi “Don’t get left behind!”.  Of course, his arrogance leads to immediate disaster, as the soldier that went through the course before lost one of their blades in the dummy Titan, and this dude’s flying towards it at top speed, with no way to stop himself or change direction in time.  He’s about to be impaled by a blade.  Considering the danger he’s just placed Levi in, then, it truly is a testament to Levi’s goodness, that he launches off the tree he’s stopped on, racing ahead and slicing the stray blade free before the other soldier can make contact, resulting in him harmlessly crashing into the pad, instead of dying.  This really shows how Levi’s first instinct is always to help others.  Even when others have just not only treated him badly, but even endangered his life.  He doesn’t owe this soldier anything, and by all rights should be extremely pissed at him for his petty display before.  But instead Levi just automatically reacts to his life being threatened by saving the man.  He doesn’t even scold him afterward or express anger, just flies off and continues the course.  

What makes this whole thing kind of sad is both the soldier’s and Flagon’s reaction to this.  The soldier is still angry and upset over Levi’s superior ability, wondering how he can be so fast, not even sparring a thought of appreciation for him just saving his life.  And then Flagon grudgingly admits to Levi’s fighting prowess, but continues to doubt him and his ability to stay disciplined.  Even after saving one of his own men’s lives, he still continues to look down on Levi.  That’s pretty messed up. Levi glares back at him after, as if to say “Who’s the one who’s going to get people killed out there?”.  Levi saved a soldiers life, while Flagon could only sit and watch.  It’s interesting too how this, tragically, foreshadows what’s to come though, with Levi not being able to save the people he cares the most about.  But we’ll get into that when we get there.

Also, just gotta mention also the way Levi reacts to Isabel’s getting upset after he bonks her in the head and calls her stupid.  He looks surprised when she starts crying, and it’s clear he didn’t mean to actually hurt her feelings, and it’s just really sweet, the way he rubs her head after.  He obviously felt bad.

5. Chapter 4: Proof

Alright, just a few things to say about chapter 4 of “No Regrets”.  

One thing that I love that was in the manga that, once again, wasn’t in the visual novel, was Levi’s reaction as they ride out from Shinganshina, as well as Furlan’s and Isabel’s.  This kind of internal exploration of these characters who had never been to the surface, who had spent their whole lives in darkness, getting to see the sky for the first time, was something that was entirely absent from the visual novel, and it’s one of its biggest weaknesses.  But here, we see Levi looking up at the stone structure of the wall gate, and for a moment, he imagines the ceiling of the Underground, before they emerge out into the open and the full view of the sky appears for the first time.  Levi squints up at the glaring sun, and we see an expression of genuine awe and amazement on his face, as well as Furlan and Isabel.  This is the first time any of them have experienced anything like this, and the overwhelming beauty of it for them is wonderfully visualized here.  The way Levi goes from seeing the claustrophobia and imprisonment of the Underground, and how that opens up into a clear, blue, ending sky, really symbolizes him experiencing for the first time in his life a kind of freedom he’s never before had.  And there’s something incredibly moving, but also incredibly tragic about that.

Now another point I want to address, where the manga and anime both differ from the visual novel, in a really vital way, is how here, we see Furlan lamenting that they’ve left the walls, saying “This is terrible.  I never meant to leave the walls.  If we’d followed the plan, we would have grabbed them and snuck away by now!”.  This shows that they’ve been looking for the documents in vain for several months now, and still have yet to find them.  Furlan’s plan had obviously originally been to find them and then get out of dodge, but because they weren’t able, they ended up having to wait around longer, until the time came for the expedition.  Now how this is presented in the visual novel really struck me as horrifically out of character for Levi.  In the novel, it’s explained that the reason they haven’t left is because Levi kept insisting that he had to kill Erwin, refusing to leave until he could do so, and if not for that, Furlan would have forgotten about the documents and simply had them all desert the SC, back to the Underground.   Levi intentionally ignoring the safety of his friends for revenge on Erwin really goes against everything we know about him from canon, and was a pretty glaring detail, so I’m glad they nixed that here.  There’s no mention of Levi forcing them to stay because of his need for revenge, but rather an implication that none of them were willing to leave until they got the documents.  They took this a step further in the OVA even, with that one scene in which Levi argues with Furlan and Isabel, insisting that if it comes to them having to leave the walls, he’s going to go alone, and he wants them to stay behind.  This really is an important distinction to make in Levi’s characterization.  We know he always places the safety of his comrades above all else, if he can, and tries his best to keep them alive.  And the whole reason he agreed to Furlan’s plan in the first place was because he wanted to help Furlan’s and Isabel’s dream of living up above come true.  He would never purposefully endanger their lives, or so thoughtlessly dismiss their safety.  This is something which gets further corrected later in the story, too, when Levi makes his fateful choice, and I’ll get more into it there as well.  One detail though is how Levi tells Furlan not to worry, that he’ll “do something about the Titans.”.  Levi clearly believes in his own strength, and believes it will be enough to protect his friends at this point, which goes back to the theme of him struggling to know which is better to rely on, oneself, or ones comrades.  Here, he’s relying on himself to protect them.  He asks Furlan “Don’t you trust me?”.  He’s reminding Furlan that he’s never let him down before, and he promises he won’t now either.  

We see Furlan later finding that full trust again, when Levi engages with the abnormal titan, and sees his fearlessness, giving him his own strength to fight.  It speaks volumes about the kind of camaraderie shared between all three of them, that they’re able to work so smoothly and effectively together the first time any of them have ever fought a Titan, and how deeply Furlan and Isabel trust Levi to get them through any dangerous situation, as they willingly follow him into battle.

6. Chapter 5: Hearts

Alright, onto chapter 5 of “No Regrets” and then I’ll do the last three chapters tomorrow.

The first thing I took note of was how after everyone gets to the castle ruins, Levi reminds Furlan and Isabel that they’re still outside the walls, and that anything could happen, so they should “stay sharp.”.  Once again we see Levi being concerned with the safety of his friends, remind them not to put their guards down.  This leads into the next scene, where Furlan remarks that he never thought they’d be able to stop a titan so easily, and reaffirms his faith in Levi’s strength by saying as long as Levi’s with them, they’ll survive somehow.  Levi responds to this with some self-doubt, which is really interesting and will tie into some other observations I’ve made about this chapter, later on.  He says if there’s more than one of those abnormal titans, he’s not so sure they’ll be alright.  Clearly, he’s concerned for the wellbeing of his friends while they’re on the outside like this.  He doesn’t feel totally confident.

He then asks Furlan if he’s sure Erwin’s brought the documents with him outside the Walls, which tells us that they’ve obviously had previous discussions about this, that it was a group decision between them, of the necessity of leaving the walls in order to get close enough to Erwin to get the papers.  Furlan says he made sure, talking about how he searched Erwin’s office top to bottom, observing that he found a bunch of unrelated documents, and in particular, a locked drawer which he found suspicious.  Now what I find interesting here is Furlan’s internal thoughts, because I think he realized Erwin’s intentions already, but he dismissed his suspicions based on them seeming unlikely to him.  But in his memory, he thinks, when he sees the locked drawer, that it’s almost like it was made to be searched, and upon opening it, he finds plenty of secret looking documents, but not the ones they need. He then wonders if Erwin is trying to tell him that they’re not there.  What’s so interesting about this is just how deep is shows Erwin’s manipulation of this situation actually goes, and how many steps ahead he actually is. We saw in chapter 3 how Erwin was standing at his office window, observing Furlan, which tells us that he was always aware that Furlan was going to try and find the documents, which in turn lead to Erwin arranging his office to nudge Furlan in the right direction, of thinking the documents aren’t anywhere at HQ.  Furlan picks up on this possibility, that Erwin is in fact manipulating them, wondering to himself if Erwin WANTS him to think he has the papers on him, giving him the “run around”, but he dismisses the thought out of hand a moment later.  What this tells me is just how in control Erwin is here, and it made me think that it’s possible Erwin influenced Furlan’s thinking in this direction, to assuming Erwin had the papers with him, as a means of keeping him, Levi and Isabel there in the military longer, delaying their escape, so that he could intentionally force them outside the walls on an expedition, so he could see what they were actually capable of.  At the end of chapter 4, after seeing Levi take down that abnormal titan, he observes to himself, “So your wings are the real thing, after all, Levi.”.  This is just speculation on my part, but given what a masterful manipulator Erwin really is, I wouldn’t be surprised if this was his plan the whole time, knowing Levi and his friends wouldn’t and couldn’t leave until they had the documents.

Alright, next observation. It’s kind of funny how, after laying out his plan to search Erwin’s bags with Isabel, and asking Levi to guard the passageway Erwin went down with Shadis, and to stop him if he started to come back before they were finished, Levi’s first assumption is that he should start a fight with Erwin, lol.

More interesting is when Furlan says to Levi “Don’t kill him, even by accident.  After all, if we lose an officer outside the walls, we’ll be in trouble, too.”.  Because it tells us that they weren’t ever planning on killing Erwin outside of the walls when they went out on expedition.  The goal was to try and find the documents, and hoping going beyond the walls would yield an opportunity to do so.  This is another, vital change from the visual novel.  In that, Levi is still obsessing over killing Erwin, over any consideration for the original plan, ranting even that he’s going to make Erwin get down on his knees and beg for his life before killing him, and that just struck me as wildly out of character for him.  They wisely took out that entire piece of dialog here, and instead we lead into a scene of Levi guarding the passageway, and remembering the whole reason for why he agreed to come to the surface in the first place. We go into a flashback of Lovof’s messenger making contact with Levi and the others, propositioning them with Lovof’s commission.  What’s really important in this scene is Levi’s initial reaction to the proposal. He’s immediately skeptical and disbelieving, and doesn’t want anything to do with it.  He tells the messenger so, and tells him “Go back up there and I’ll pretend I didn’t hear anything.”.  Levi shows great instincts here, sensing the danger present for him and his friends, and outright rejects any association.  It’s Furlan, then, who steps in and shows interest in the deal, calling the messenger back.  Levi’s clearly confused, but yields to Furlan’s look, and Furlan proceeds to tell the messenger that they’ll have to think about it, but that they’re interested. Levi’s clearly not happy about this, and once the messenger leaves, he begins to protest, but Furlan cuts him off and starts to lay out his plan to tail the messenger to find out who his employer is.  Isabel expresses disbelief that Furlan actually means to go through with this plan, and Furlan again brings up the dream of making it out of the Underground, talking about how rare a chance it is, to actually live in the Capital, obviously trying to entice both Levi and Isabel with the notion.  Levi points out that even if they get the documents, it’ll just lead to them being Lovof’s next targets, and Furlan responds with his plan to blackmail Lovof instead.  Levi’s still dubious on this idea, asking Furlan if he really thinks “those pigs will care about a threat from the Underground?”, and Furlan responds that it’s worth a shot.  He then implores Levi and Isabel again, saying “Come on, you two, don’t you want to make it up there?”, and we cut back to Levi in the present, contemplating Furlan’s words.  Again, we see Levi thinking long and hard on Furlan’s dreams here, over any thoughts he has of Erwin or revenge.  He’s prioritizing Furlan’s wishes over his own still, thoughts occupied by what his friend wants.

Now, this leads into a really interesting and meaningful encounter with Erwin.

Well, the first thing I notice in the exchange is when Erwin calls Levi’s friends his “subordinates”, and Levi responds with “They’re not my subordinates…”.  This tells us so much about how he views himself in relation to Furlan and Isabel.  He doesn’t see himself as their leader.  He doesn’t want to control them.  He just sees himself as their friend, and protector.

Now the conversation between Levi and Erwin gets really interesting when Erwin starts talking about having seen Levi take down the abnormal titan from earlier, and he observes that with a natural like Levi around, the others must feel safer.  Levi looks at Erwin with wide eyes, before responding to him that the reason he was able to figure out how to fight that titan before was because he watched how it moved as it ate another soldier.  I think Levi’s feelings of guilt here are pretty obvious.  He feels bad for having watched another soldier die, and using his observations while watching to figure out how to kill the titan.  It’s like he’s arguing with Erwin here, telling him the others shouldn’t feel safer with him around, that they shouldn’t rely on him.  Levi is showing doubt in himself here, again, just like earlier when he pushed back again Furlan’s claims that as long as he’s with them, they’ll be safe.  Interestingly, it’s Erwin who essentially tells Levi here that he shouldn’t feel guilty, that the SC is built on those types of sacrifices, and that as long as they’re fighting to take back the world for humanity, none of the soldiers there would feel regret for dedicating themselves to such a cause.   I think this is actually the start of the turning point in how Levi views Erwin.  He looks at him here with an almost astonished expression, like he’s seeing Erwin in a sudden, new light.  Like he’s starting to doubt his own, initial impressions of him, and wonder if maybe he wasn’t totally right.  But before he can think on it further, Isabel shows up and calls him away.

Levi then learns that Furlan and Isabel weren’t able to find the documents, essentially confirming that if they’re anywhere, they have to be on Erwin’s person, which leads to the inevitability of having to kill him if they want to get their hands on the papers. Levi’s find with this, because it’s what he wants to do anyway, even as Furlan shows continued apprehension.

And then we get the scene with Hange.

It’s pretty funny that Levi was about to gut Hange, for real, when he thought she had overheard their conversation.  It tells us how far he’s willing to go though to protect his friends.

Still, this whole scene is actually pretty moving, in its way.  Because Hange is really the first person to express genuine gratitude towards Levi and his friends, and treat them as genuine equals, to which we see Isabel in particular respond after seemingly being unimpressed.   Even Levi seems stunned, muttering out “thanks”, like he doesn’t know what else to say as Hange heaps praise on them.  It’s also funny how Furlan has to remind Levi to “be nice.”.  Poor Levi just doesn’t know how to socialize.

But the important part of this scene is when Hange points out how everyone there is wanting to know how Levi was able to take down a titan so easily, drawing their attention, and Levi’s in particular, to the other soldiers watching them.  Hange affirms what Erwin had said to Levi earlier, about how his presence there made the others feel safer, when she says “You’ve given them hope that humans don’t have to lose to the titans if we fight correctly.”. And we see here, I think, the first seeds being planted in Levi’s mind that he might be able to do more, that he might be able to actually help these people.  He’s been told as much twice in quick succession.  I think this is where Levi starts to get the idea for the first time that he might have found somewhere where he belongs.  We’ll get more into this next chapter, when I talk about his conversation with Isabel.  But for now, after Hange asks him again if he has any advice, he tells them he just has his own way of doing things, and he can’t teach it to anybody.  When she tries to insist, he blows her off and looks away.  

Furlan asks Levi, after Hange leaves, what the big deal is in just showing them some simple trick, and Levi says he doesn’t want to be responsible for the loves of anyone other than you two.  This is really important, because it again tells us a lot about Levi’s psychology here. He doesn’t want to teach these people how to fight because he doesn’t want to be responsible for them getting hurt or killed.  Just as he expressed discomfort earlier with what Erwin said, and his own sense of guilt over how he figured out how to fight the titan, Levi really seems to me like he’s afraid here of failing to protect others, and actually harbors deep doubts about his own ability to do so.  So even as we know people tend to flock around Levi and follow him in the belief he can protect them, Levi himself is afraid that he isn’t strong enough to help them the way they want him to.  It’s indicative of someone who’s experienced deep loss in their life, which we know Levi has at this point.  Someone who’s afraid of making attachments because he doesn’t want to have to experience the pain of that loss ever again.  And it shows a painful insecurity in Levi.  He wants to help people, but he doesn’t want to end up failing them, or doing something which could lead to them getting hurt or killed.  He doesn’t want to be responsible for their lives, because he’s afraid he can’t be.  

Furlan tells him not to be so dramatic, and Levi doesn’t say anything in return, but we see a resigned, saddened look on his face, like he knows Furlan wouldn’t understand if he tried to explain how he feels.

Then we get Isabel’s comment about not understanding trying to take back the world for humanity, but her starting to realize the Scouts genuinely believe in what they’re doing. We see Levi’s silence again in response, but this one is more contemplative.  He himself is starting to realize the same as Isabel.  That these people really believe in what they’re saying.  And again we go back to the first seeds of a sense of belonging starting to develop in Levi, even before his big moment with Erwin at the end.  He’s starting to sense that maybe he’s found a place where he belongs, where he can actually use his abilities in a way that could make an actual difference in the world. It’s subconscious at this point, but Levi is starting to get that sense I think.

7. Chapter 6: Living Creatures

Okay, onto chapter 6 of “No Regrets”!

So the first thing I want to jump into here is, once again, something which the manga vastly improved on over the visual novel, and that was the scene following the flashback to Levi and his friends learning about the long-distance scouting formation before the expedition, and then Flagon’s instructions to them in the present.  I don’t think this scene was even included in the visual novel, but it’s indispensable in understanding Levi’s mindset going into the fateful final act.

Isabel gets carried away by Flagon’s speech, and ends up saluting, expressing genuine enthusiasm for the SC’s cause, before realizing what she’s done and turning around, seeing Levi and Furlan looking back at her in silence.  Furlan looks unimpressed, while Levi wears his usual stoic expression. You can’t tell one way or the other what he’s thinking, which is why the next scene is so hugely important, because we get a look into his inner thoughts.

I saw another person say not long ago that in this scene, Isabel expresses a desire to join the SC, and Levi blows her off and ignores her, only thinking about his revenge on Erwin, and to that person, I would like to ask ‘What scene were you reading?’, because that’s pretty much the opposite of what happens here.  This scene reveals so much about Levi’s own, inner conflict, and how he’s beginning HIMSELF to understand and even sympathize with the cause of the SC, and the soldiers who have dedicated themselves to it.  Let’s dissect it here a bit.

The scene takes place at night, before they ride out again, and Levi is sitting up with Furlan and Isabel, and he’s thinking quietly to himself.  The first thing he’s recalling in his contemplation here is Sairam’s words, asking Levi if he knows how many elite soldiers have been eaten by Titans. This plainly shows Levi’s growing concern for Furlan and Isabel.  The longer they spend outside the walls, the higher the risk of something going wrong, and that’s a worry that’s heavy on Levi’s mind here.

He then remembers, in quick succession, all these various interactions and the words of different people throughout his short time up here on the surface.  He recalls Sairam hurling insults at him and his friends, calling them punks, and then Hange’s opposite words of encouragement and appreciation, telling them they’ve given everyone hope.  He recalls Furlan’s words, telling Levi that with him there, they’ll really be able to raise hell, and then Isabel’s words, pointing out that the SC soldiers really believe their cause is worth dying for.  Finally, Levi recalls Flagon’s degrading words, about how Levi and his friends have spent their whole lives in a trash heap, implying they’ll never amount to anything more than garbage, and last, he recalls Erwin’s words, how he’d seen the desire to kill in Levi during their first encounter.  

All of this is hugely important to understanding Levi’s psychology, I think, and understanding his feelings of conflict and confusion, and how it ultimately plays into him making the choice he does.  For Sairam’s and Flagon’s words, it’s the assumption people have made about Levi all his life, that he’s nothing but a worthless criminal who can’t do anything good for anyone, and Levi’s struggle to overcome that perception that people have of him.  In contrast to that, Hange’s words are sending Levi the opposite message, that he isn’t just a worthless criminal, but someone who can actually contribute something positive and important to other people’s lives.  He’s someone who can inspire hope.  Something Levi’s always secretly wished he could do.  And then there’s Furlan’s words, serving as a confirmation to Hange’s, in which he expresses his reliance on Levi to help make his own dreams come true, and Levi seeing himself in that role, of taking care of these two people whom he loves.  And there’s Isabel’s words, a clear admiration and astonishment at the realization that these soldiers really believe in a cause bigger than themselves.

We see all of Levi’s greater hopes, his desire and wish to help other people, coming into conflict here with the way he’s been treated all his life by others, as a worthless, good for nothing criminal, and how that treatment has forced him to become the very thing they accuse him of being, someone ready and willing to kill, someone ready to commit crimes, etc…  It’s Levi’s pride and anger battling with his deeper desire to protect and help others. The thing his life and his environment has FORCED him to become, against his truer nature.  This is such a vital, important scene, and once again, the manga succeeds in explaining and revealing Levi��s complexity as a character, whereas the visual novel just flat out butchered it.

Now getting back to Levi’s interaction with Isabel in this scene, and the woeful misinterpretation I saw another person make one time.  

Furlan is talking about how, given the complexity of the formation, they won’t be able to break ranks without being spotted, and he suggests they should just wait until they’re back behind the walls before trying to steal the documents again. Levi points out that if all three of them leave, then yeah, they’ll likely be spotted, and gives no further opinion.  Already, Levi is thinking that maybe he could go after Erwin and the documents alone, thinking of taking the entire burden of the operation on himself, carrying the hopes and dreams of all of them on his shoulders alone, (which is why he later calls himself conceited and proud, having relied on his own strength entirely, instead of his friends too, ending in failure, which in turn goes back to the very beginning, with Levi’s statement about never knowing what the better option is, to rely on oneself, or on their comrades).  But anyway, he doesn’t protest or try to counter Furlan when he says they should just focus on getting back alive.  Isabel expresses agreement, and then says she knows the documents are important, but she also doesn’t want to get in the way of the SC and what they’re trying to do.  Now here’s where the conversation gets really important in, once more, understanding Levi’s psychology.

He and Furlan look over at her, and while Levi stays silent, Furlan gets annoyed, chastising Isabel for seeming to suddenly care about the other soldiers, accusing her of only caring because Hange’s cookies were good.  Furlan clearly doesn’t understand Isabel’s sentiments here, he doesn’t get why she suddenly seems concerned.  He’s still focused on their own goals, and that’s all that matters to him.  But Isabel begins to explain that it’s just that she’s starting to understand why the SC goes out beyond the walls, and likens it to how they felt living in the Underground, wanting to escape to the world above.  She’s saying she understands that sense of being trapped, of being imprisoned, and the longing for freedom.  And then she talks about seeing lots of her friends dying underground, while dreaming of making it “up there.”, and how seeing that made her feel like she HAD to get up there.  It’s like Isabel is saying here that her dream to make it to the surface was strengthened by the dreams of others who never got to realize it for themselves, and that she wanted to make it to the surface, more than anything, as a way of giving the dreams of those who had died without realizing them, meaning.  By making it to the surface FOR THEM.  She starts to try and explain what she means, saying ‘It’s…” before Levi suddenly speaks for the first time since her monologue, saying “It’s like leaving the walls behind to kill the Titans…”

This is such a huge moment. Because contrary to what I saw this one person claim once, Levi is acknowledging Isabel’s feelings, and expressing empathy with them.  He’s telling Isabel here that he understands what she means, because he feels it too. This desire to fight for freedom as a way to give meaning to the suffering of those who couldn’t escape their imprisonment.  Levi, rather than ignoring or blowing Isabel off here, is relating to her.  Her feelings are his own.  Isabel smiles dreamily and says “Yeah.” Because Levi put her thoughts into words.  She then keeps talking to Levi, starting to ramble about what she wants to do when they get to live in the Capital, how fun she thinks it would be to steal from all the “rich pigs” and use their money to buy useless junk, before she falls asleep.

Furlan then kind of bursts this bubble of reverie that Isabel and Levi have fallen into, and what he says here is, again, so important.  He says “I’ve got to revise our plan.  We’ll need to steal the documents before you and she start seriously talking about dedicating your hearts, or whatever.”  Furlan’s perceived how Levi’s own feelings are beginning to match up with Isabel’s, how he’s starting to feel drawn to and sympathetic towards the SC’s cause, and he’s worried, because that’s not what they’re supposed to be there for.  They’re supposed to be there to steal the documents so they can get a chance to live in the Capital.  This is Furlan’s dream, ultimately, and he doesn’t want to lose sight of it to some unrealistic ideal.  What’s so interesting here is the contrast between Levi and Furlan.  While Levi is so quiet and reserved and hard to read, he’s actually showing himself to be more of the dreamer of the two, while Furlan is much more practical and less prone to fanciful, ideal notions like helping people beyond their own means.  

We get one last shot of Levi gazing at Isable, thoughtfully.  He’s still thinking about her words.

Alright, then comes the next big scene, with all of them outside again, to try Erwin’s new formation.  We see, again, Levi’s gradually shifting opinion of Erwin already, when he remarks that Erwin’s idea is “brilliant”, once he sees how it works, expressing genuine admiration for it and Erwin’s mind.  Levi still hates Erwin, and want to kill him, but we already see this desire in him starting to crack and come apart, replaced by an almost astonished curiosity instead.  Like he isn’t sure what Erwin is, but he’s impressed, in spite of himself.  

Then the storm comes and everything starts to fall apart.

Another, massive and vital change here in the manga from the visual novel is Levi’s reaction to the sudden storm.  In the visual novel, Levi’s first and only response to it is that he can use it as cover to go after and kill Erwin, sparing no thought to the safety of his friends, or the other people in his squad.  It was another instance in which I thought Levi’s characterization in the novel was just horribly butchered, and so once again, I was so glad to see them correct it here.  Levi’s first response, after he, Furlan and Isabel start to lose contact with Flagon and the others, is to scream at his friends to not get separated.  He's only worried about them in this moment, and wants to make sure they don’t lose contact with each other.  He isn’t thinking at all about leaving them here yet.  Just this small addition completely changes Levi’s motivations and priorities, leading into the fateful choice, and it’s immeasurably better characterization for him then what was presented in the visual novel.  I’ll get more into it with the next chapter. So until then, thanks again for reading.

8. Chapter 7: Those Three

Okay, onto chapter 7 of “No Regrets”, and there’s really no need for me to say that this is by far the most heartbreaking chapter.  I think, perhaps, the most tragic part of it all is that Levi made the choice that he did because he was actually trying to protect everyone.  Now I’m going to break his choice down and get into the details of that, so let’s just dive right in.

First off, I want to talk a little about, once more, the pivotal contrasts between the way Levi’s choice is presented here in the manga, and how it was presented in the visual novel, and why, like everything the manga’s done so far, it’s an immeasurable improvement in the manga.

Basically, the way Levi’s choice in the visual novel plays out doesn’t in any way relate to his later philosophy which serves as the driving force behind Levi’s character in the main SnK series, while the way his choice plays out in the manga relates to it completely.  

In the visual novel, it isn’t even really a choice at all.  There isn’t any consideration or struggle for Levi to choose one way or the other.  Levi acts purely on impulse, and as I stated in my analysis for chapter 6, he reacts to the sudden storm by wanting to use it as cover so he can go and kill Erwin. That’s it.  That’s his sole motivation for leaving his friends behind. He puts no thought into it, he doesn’t consider the ramifications, he doesn’t seemingly care about anything at all except killing Erwin, and to hell with the consequences.  Again, this is so wildly out of character for Levi, that I could hardly believe it while I was reading it.  To make matters worse, when Furlan tries arguing with him and tries to convince him to stay, the writing directly contradicts its earlier statement that Levi didn’t consider Furlan and Isabel to be his subordinates by having him snap back at Furlan that he’s (meaning Levi) the one who decides, almost rubbing his higher rank in their social interactions in Furlan’s face, before just riding off without another thought.  It’s just awful characterization.  And, as I said, completely severs any relation of Levi’s actions here to the philosophy he later develops and adheres to so strongly in the main series, indeed, the philosophy that he lives by and which governs his actions, the philosophy that serves as his character motif.  It turns it into a decision made purely through emotion, a purely selfish and thoughtless act taken, and indeed, the only lesson Levi would be able to take from that sort of impulsive decision making would be that he should put more thought into his actions in the future, because if he does that, then this sort of thing won’t happen again.

But that’s not the lesson Levi learns, and that’s not the foundation of his philosophy.

Levi’s entire philosophy revolves around him understanding and accepting that he can never know the outcome of any given choice he makes until after the fact, no matter how much effort and thought he puts into trying to make the right one, and finding a kind of freedom in relinquishing that control.  It is absolutely vital, then, in order for Levi’s choice in “No Regrets” to mean anything, and for it to in any way relate to the philosophy which governs him later, for it to have been a well thought out and deeply considered choice, and that’s exactly what it’s presented as in the manga.

Now I want to break his choice down here panel by panel to get into why.

First of all, the first key difference between the manga and visual novel, is here in the manga, Furlan is the one who first points out that the situation for them is bad, because in this weather, it’s likely Erwin will get eaten by a Titan, and if that happens, they won’t be able to get the papers they’ve been after this whole time.  Levi isn’t shown even THINKING about any of that up to this point.  He’s only shown concern for Furlan and Isabel, wanting to make sure they stay together, and sticking himself by their sides.  Furlan goes on to say here that in order to take the papers, they’re going to have to head to the center of the formation.  Furlan’s the one who brings the entire subject of Erwin and the documents up here, not Levi, and this is a huge and important difference.  

They hear Flagon fire the sound grenade, and realize he and Sairam aren’t far off.  Furlan says they might be able to join them somehow, but then he hesitates, and says “but… Levi.”

Furlan is looking to Levi here and asking him to make a decision for their group.  Do they go off together and try to get to Erwin before he gets eaten by a Titan and they lose their final opportunity to get the documents they need, or do they go and join Flagon.  Furlan puts the responsibility onto Levi’s shoulders here.

Now here’s where things get really complex, and we see how truly nuanced, considered, and thought out Levi’s choice really was, and ultimately, then, why it turning out to be the wrong choice is so deeply tragic.

Furlan and Isabel both are looking at Levi, waiting for him to choose, and we get to see Levi’s internal thoughts.

The first thing he thinks in this situation is to weigh the worth of the lives of his squad and his friends against his own, and this is so exactly like Levi, and once more shows infinitely better characterization of him than what was done in the visual novel. Levi thinks here “If the three of us go, the team we leave behind will be shorthanded.”  This is literally Levi showing private concern for the lives of Flagon and Sairam, knowing that if he takes Isabel and Furlan with him, those two’s chances of survival out in this weather diminish drastically.  He then thinks “If I go alone, there’s no guarantee I’ll be able to find them again.” He’s considering his own chances of survival here, if he strikes out on his own.  He knows that if he does, his own chances of getting killed increase. So here we see Levi struggling with whether to prioritize the lives of his squad, or himself.  Ultimately, he decides to prioritize the lives of his squad. And I’ll get more into that in a moment.

But Levi continues to struggle.  He tells himself “Which is it?  Pick one.”, as the storm worsens around him.  He’s agonizing over it.  And then he closes his eyes, and he thinks of Isabel, remembers her saluting Flagon from the night before, and the understanding for the SC’s cause that she expressed, and how he himself understood it, and her sympathy, even her empathy with how they felt, saying she didn’t want to get in their way, meaning she didn’t want to compromise their mission.  Levi himself has been developing an attachment to these soldiers, and an admiration and understanding of their dedication, seeing how like his own desire to fight for and protect the lives of others it is.  To leave Flagon and Sairam to their fate and unprotected, then, would be both a betrayal to Isabel’s feelings and wishes, and his own. Levi doesn’t want to be the cause of Flagon’s and Saiyam’s deaths by taking Isabel and Furlan with him and leaving them by themselves.  Also, in remembering the way Isabel saluted Flagon and her enthusiasm for the SC’s dedication, Levi must also have realized, if he took Isabel with him to steal from and kill Erwin, it would destroy any future chance she might have of ever joining the SC again, if that was something she wanted.  To take her with him would implicate her in his crimes and rob her of that possible future.

Levi then thinks of Furlan and Isabel in the Underground, looking at him, and Furlan explaining to him his plans, his hopes and dreams of using this new found opportunity to make it to the world above and make for themselves better lives.  He’s remembering Furlan, and Furlan’s reliance on him to make that dream come true.  Remember how Furlan told Levi “With you here, we’ll really be able to raise hell.”. His plan always hinged on having Levi’s strength and ability in order to succeed.  Levi knows, then, if he chooses to not go after Erwin then and there, and get the documents from him, Furlan’s dreams will be dashed, and Levi will have failed to help make them come true.  And Levi has gone along with Furlan’s plans up to this point, against his own, better judgment, specifically because he wanted to help realize Furlan’s dream, to make it a reality.  To abandon it now, after all of that, must have seemed unacceptable to Levi.

And then Levi remembers Erwin, standing over him in the Underground, superior and smug, callous and uncaring for how he’s disrupted and threatened the lives of Levi and his friends. He remembers his anger at Erwin, his feeling of humiliation and rage.

And it’s this memory, finally, after all the others, after considering the lives of Flagon and Sairam, after considering Isabel’s wishes, and Furlan’s dream, that tips the scale for Levi in deciding that he has to go alone after Erwin.  It’s the weight of all those factors, the fear of letting Flagon and Sairam die, the fear of letting Furlan and Isabel down, on top of Levi’s own pain and anger, that decides it for him.  If he doesn’t go after Erwin alone, if he takes Furlan and Isabel with him, Flagon and Sairam will probably die, and both Furlan and Isabel will be implicated in the crime of theft and murder.  If he stays with Isabel and Furlan to join up with Flagon and Sairam, then Furlan’s and Isabel’s dreams likely go out the window.

This is no snap decision on Levi’s part.  It’s a deeply considered, thought out and in many ways selfless choice he makes.  And, again, that’s really what makes it so horribly tragic.  Levi was really TRYING to do the right thing here, was genuinely acting in a way he thought was for the best, for all parties involved.  He gave just as much, really MORE consideration to Furlan and Isabel and Flagon and Sairam than he did to himself.  It was the combined weight of the interests of all the other people involved that pushes Levi towards the choice he makes, and his desire for vengeance on Erwin is just the final straw which tips the scale in that direction, not the one and only deciding factor.  It is, from all angles of consideration, the best choice to make.  

So Levi tells them he’s going alone, and tells Furlan and Isabel to join up with Flagon.  He says he’ll get the documents, that’s the FIRST thing he’s going to do.  Not kill Erwin.  It’s the documents Levi is prioritizing here.  And since he’s going after Erwin to get the documents anyway, he’ll also, he says, be the one to kill him.  In Levi’s view, he’s being presented with a chance here to succeed in all their goals. In Levi’s view, this must be a win/win situation if he can find Erwin and do what needs to be done.

Furlan starts to protest, before Isabel cuts him off and says she’s going with Levi too, and Levi asks her, if she comes with him, who does she think is more likely to die, just him, or Flagon and Sairam.  He’s reminding her here of her desire to not get in the way of the SC soldiers, of her sympathy and empathy towards them, and is imploring her to realize that going with him will leave Flagon and Sairam vulnerable.  He’s telling Isabel that he can take care of himself, more than those two can.  He says, specifically, If the four of you stay together, it’ll raise their chances of survival.”.  He knows it’s dangerous to strike out on his own in this kind of weather, but he knows it increases his squad’s chances of survival if he does.  Levi makes the decision here to place the lives of Flagon and Sairam over his own, and to support Isabel’s own feelings in the process.

And then Furlan begins to protest again, telling Levi to keep his cool and think, trying to explain that if he just waits a little while, the fog might clear up.  He’s clearly afraid that if Levi goes out there on his own, he’ll get killed.

Levi asks Furlan then if he’s saying the Titans will wait until then, reminding Furlan that each moment they fail to act and go after Erwin, is another moment in which Erwin could get eaten, and risks Furlan’s dream being destroyed.

Furlan continues to protest, trying to impress on Levi how dangerous it is, to act alone, and Levi shouts back that he heard Furlan already, before insisting that he can do this by himself.  And then he screams at Furlan “Trust me!!”.  He’s putting the same request on Furlan that Furlan before put on Levi, asking for his trust, asking for his belief.  Furlan may be ready to give up on his dream for the sake of Levi’s safety, but Levi isn’t ready to give up on Furlan’s dream for the same.

They glare at each other, and then Furlan asks “Is that an order, Levi?”, and Levi’s reaction to that question speaks volumes.

He looks shocked at it, his expression one of clear surprise and confusion.

He then asks “An order…?” like he doesn’t understand why Furlan would even ask something like that, before saying “Why does it have to come to that?  I’m just… The two of you…”

This is in such sharp contrast to the way they had Levi acting in the visual novel and is, once more, infinitely superior.  

It shows so plainly that Levi doesn’t want to be considered Furlan’s and Isabel’s leader, he doesn’t want to be treated as their leader.  He only wants to be their friend, and for them to see him as their friend, and as someone they can depend and rely upon to always care about them and their dreams, as someone who will always fight for them and their dreams. He says “The two of you…” before trailing off, like he doesn’t know how to express any of that.  But that’s what Levi is trying to say, he just doesn’t know how, as usual.  He’s bad at expressing himself.  He’s trying to tell Furlan that he’s going after Erwin because he’s trying to still make their dreams come true, he’s trying to support them and protect them and ensure that this entire situation they’ve gotten themselves into isn’t in vain. Levi’s expression as he looks back at Furlan here is heartbreakingly earnest.  He looks open and vulnerable, as if imploring Furlan to understand.

And Furlan looks back, and finally realizes what Levi is trying to tell him.  And when he realizes it, he smiles, and laughs.  Because he realizes Levi is doing this for him, and for Isabel, and for Flagon and Sairam, even.  He realizes Levi truly means well here, and has made the choice he has after deep thought and consideration.  That this isn’t an impulsive or hotheaded choice, that he IS thinking clearly.  Levi is confused by his reaction, and Furlan keeps laughing along with Isabel, before telling Levi “Fine.  I’ll trust you.”, giving Levi the same regard Levi before showed him before, in agreeing to follow Furlan’s plan.  Furlan chooses to trust in Levi’s decision making, chooses to trust in Levi’s own plan now.  And then he tells Levi not to die, and Isabel tells him to make sure he comes back. They’re scared for him, but they’re choosing to trust him.

We get a significant panel then, as Furlan and Isabel fall back from him, and Levi looks back at them, as if still uncertain in his choice, despite all the thought he put into it. He’s still filled with self-doubt, even as Furlan had just moments before expressed belief in him.  Like he thinks there’s something he must be missing, even though he’s sure he thought out every possible scenario and reason for choosing as he did.

What’s important too, in understanding Levi’s choice, is that it never once occurs to him that Furlan and Isabel could die.  He thinks Flagon and Sairam potentially will, if they all leave them behind, and he thinks he himself might, if he strikes out on his own.  But he never thinks it a possibility that Furlan and Isabel could. He chooses then, in that moment, to also trust in the strength of his friends.  He shows absolute belief in Furlan’s and Isabel’s strength, to the point that he believes Flagon and Sairam need them, more than he does.  It isn’t even a thought Levi can entertain, that him choosing to leave will put Isabel and Furlan’s lives in danger.  With all the consideration he does, all the thought he puts into making the right choice, it simply isn’t conceivable to him, that his friends could die.  If he had thought that a possibility, if such a scenario had occurred to him, he never would have left.  He genuinely believed, if all four of them stuck together, they would be alright, even if he himself wasn’t.

A few others points of note in this chapter.

When Isabel and Furlan meet up with Flagon and Sairam again, and Sairam asks if Levi is dead, Isabel reacts violently, screaming “Of course he isn’t!!  Levi will come back.  Bet on it!”. This emphasizes, in a truly heartbreaking way, Isabel’s own faith in Levi, and her need to believe he’ll be alright. She insists that Levi will come back, and this builds off of Isabel’s continued refrain throughout the story of how Levi is “the strongest”, both below and above.  Levi is Isabel’s hero, and she clings to his perceived strength in this moment, needing to believe in it to comfort herself over his safety.

This runs parallel then to Levi coming upon the butchered squad from the first rank, and his horrified realization that there are at least four Titans that did this, and that they’re heading back the way Levi came from, meaning right for Isabel and Furlan and Flagon and Sairam.  He immediately turns around and tries in a frantic dash to make it back in time, thinking desperately to himself that there’s too many Titans, and they’ll be overwhelmed. And then he comes upon the sight of Sairam being eaten, and he cries out for Furlan and Isabel.  

Truly the most heartbreaking part about this entire scene is how Levi tries so desperately to make it to his friends in time, but how he just simply isn’t near enough too, and can only watch, then, as they die.  For Levi, who’s entire identity revolves around wanting to help others, to protect others, his own helplessness in this situation must be truly horrific for him. And especially, his own helplessness in watching the two people that mean the most in the world to him get eaten alive.

Another truly heartbreaking moment here is how Isabel decides, in Levi’s absence, that she’s going to take on his role as protector, and save everyone.  How Isabel’s admiration and hero worship of Levi is, indirectly, what gets her killed here.  She wants to be just like him, and in trying to be like him, she ends up dying.  All of this happens in front of Levi.  He has to watch Isabel die while trying to do the thing he’s made himself responsible for, which is protecting the lives of others. And the way she starts to call out for him, right before the Titan’s jaws close around her, is truly gut wrenching. Levi’s expression here is one of such utter horror and shock too, before it turns to sudden, murderous rage, and he tries once more to close the distance and make it in time, only to have to watch both Flagon, and then Furlan both get eaten too.

Levi thinks to himself, as Furlan’s being lifted to the Titan’s mouth “I’m going to end up letting everyone die.”  Before screaming out Furlan’s name.  Levi is already blaming himself, already feeling the abject weight of his failure. This is the moment when he realizes his choice was the wrong one.

Furlan, in one of the saddest moments of all, finally sees Levi and, as if to say ‘it’s okay.  This isn’t your fault’, waves to him in acknowledgment.

Maybe most cruel of all is how Levi, even in the face of his overwhelming fear and horror and self-hatred, clings desperately to hope, still trying with everything he has to make it in time to save at least one of his friends.  He thinks to himself “Come on, make it in time!!”, and only to make it more tragic still, he almost DOES make it in time, just barely a moment too late as he slices off the hand of the Titan that had been holding Furlan.  Levi misses saving Furlan’s life by mere moments. It’s truly the definition of tragic, and beyond traumatizing.  

9. Chapter 8: Choices

Alright, and now I’ve reached the final chapter of “No Regrets”, so let’s just dive right in!

There really is so much more to unpack from this story than I think people realize.

Firstly, just a few, truly devastating observations I want to talk about.

The first one being how, even after Furlan gets swallowed by the Titan, Levi still believes he can save him. The fact that he cuts the Titan open from the chest down to his sternum, and free’s Furlan’s arm, and the panels which show Levi reaching out for his hand and ripping him from the Titan’s stomach is just… so heartbreaking.  The way too that he gently carry’s him back to the ground and lays him out, only to discover that his entire lower half is gone, and he’s dead, just the level of trauma you know this must be causing Levi is immense, and beyond tragic.  This is one of only two, true friends in his life, and he’s so desperate to have been able to save him, that he clings on to the possibility to the bitter end, until he’s forced to face the bleak reality. Levi’s devastation is really brilliantly depicted in how he wobbles, as if his knees are weak, when he stands back up.

And then of course comes Levi’s rage, and how he takes it out on the Titans, expressing his grief and pain in the only way he knows how, through violence.  

But maybe the most heartbreaking moment here comes once he’s through killing every Titan there, and he starts to stumble away, and his foot comes into contact with Isabel’s severed head. This is, once more, another area in which the manga improved hugely over the visual novel.  

Levi’s reaction here is just… the most heartbreaking thing ever.  The way he stares when he realizes he’s looking at Isabel’s head, and then falls to his knees, his overwhelming grief here is just so beautifully depicted in these panels, as he reaches out a hand to cover her eyes, and then slides them closed, in an attempt to give her some sort of dignity in death.  The way he can’t even look at her, just doubled over in his grief, just killed me to see.  It’s so unspeakably sad, and conveys to us readers the true depth of Levi’s despair, I think.

And then we move on from this horrific grief, to the climactic moment of the story, when Levi and Erwin again come together, and we see Levi’s overwhelming rage.  Again, this entire scene was a massive improvement over the visual novel.  Well, for starters, in the visual novel, they had Levi cut Erwin’s horse down to bring him to the ground, and again, that’s just so out of character.  Luckily, they fixed that here too, with Levi simply leaping up and dragging Erwin off his horse.

These panels really are amazing too is showing Levi’s intense rage, as he warns Mike to back the hell off, and brings his blade to Erwin’s neck.

What’s really interesting here is what Levi says.  

After the struggle of the choice he made, before Furlan and Isabel were killed, after giving so much consideration and choosing based largely on their own dreams and wishes, Levi tells Erwin here “I’m going to kill you, you bastard.  That’s why I’m here.”.  And Erwin responds, after studying Levi a moment, “So they… all died? I see.”.  Erwin gleans here, both from Levi’s words and expression, that his friends have died, and what he says indicates that he knows the only reason Levi hasn’t tried to kill him before now is because Furlan’s and Isabel’s own well being and their own dreams were the only thing holding Levi back.  Levi made no attempt on Erwin’s life before because he was placing Furlan’s and Isabel’s wishes above his own, but now that they’re gone, there’s nothing to keep Levi from acting out his revenge.  

This is also where we get Erwin’s full reveal of just how in control of this entire situation he’s been this whole time, and how he manipulated every player and outcome to his desires.

This really isn’t something I see get discussed a whole lot when talking about Levi’s relationship with Erwin, and how it started out.  But, unquestionably, Erwin used Levi and his friends against their consent, to achieve his own ends.  He set the whole thing up, from first spreading rumors about having some sort of evidence against Lovof’s embezzlement, to then spreading the information that he was looking to recruit Levi and his friends from the Underground, thereby giving Lovof the very idea of going to them to obtain his own proof of the evidence’s existence, while simultaneously leading Erwin to the definitive proof he sought by following the messenger Lovof sent and intercepting him.  At the same time, giving Erwin a means of throwing Lovof off by using Levi, Furlan and Isabel for cover.  It really is incredibly impressive, but also heartbreaking, the way Erwin used Levi and his friends to his own ends, but of course, perfectly in character for Erwin too, willing to do whatever it takes to achieve his goals. It begs certain questions though about the equality between Erwin and Levi, at least at the start of their relationship.  Erwin clearly had the control and power in this situation, and though clearly he never meant for Furlan and Isabel to die, still, his decision to rope Levi and them into his plans to catch Lovof and also to gain their strength and skill for the SC, did lead indirectly to their deaths.  Surely, if Erwin had never meddled in their lives, and used them as tools, they would have all still been alive in the Underground.  

But of course, this leads into a really interesting clash, then, between Levi and Erwin, and where we see Erwin win Levi over to his cause.  This is, as is becoming a redundant theme of my analysis here, a giant improvement over the visual novel.  There, it makes it seems as if Levi decides to follow Erwin only because Erwin has something Levi lacks, and until he can figure out what that something is, he won’t be able to “defeat him”, implying that Levi is still somehow obsessed with beating Erwin in some way.  Like he isn’t joining Erwin to fight for his dream of a better world, but because he wants to figure out what Erwin has that he doesn’t, so he can become superior, or whatever.  But here, in the manga, Levi’s reasons for deciding to follow Erwin are much more complex, and tied in with his own personal drive of wanting to help and save others, and into his relationship with Furlan and Isabel.  

Levi tells him “It wasn’t worth throwing away their lives!  They were nothing but pawns in your worthless game.  Well, you lose.”, right before he means to take Erwin’s head off.

What’s interesting here is Erwin’s response.  He doesn’t try to deny to Levi that he used Furlan and Isabel and Levi himself as pawns. He doesn’t argue, or try to defend himself on that front.  What he takes issue with is Levi calling the reasons for it a “worthless game”.

Erwin’s entire speech to Levi here really builds off of the feelings Levi had already started to develop, about feeling like he had maybe found a place to belong, where he could maximize the good he could do.  This wasn’t yet a fully formed idea in Levi’s head, up to this point, but the seeds of it had started to form.

Erwin asks Levi who’s responsible for killing his friends.  He asks if it was him, if it was Levi, and then he asks if he really thought that if they had come together to attack Erwin, that they would have made it out alive.  

This is what Levi is beating himself up over, of course.  The belief that he made the wrong decision, in leaving Furlan and Isabel behind, thinking to himself if they hadn’t split up, they would still be alive.  He blames himself for how he came to that decision, and starts to say as much to Erwin here, saying it was his conceit and his pride that was to blame, no doubt thinking of how it was his memory of Erwin and the humiliation he caused Levi that was the final tipping point which decided him in favor of going after Erwin himself, and also how he simply convinced himself that he would be able to shoulder all of the responsibility himself in such a dire situation, remembering how he told Furlan “I can do it by myself!” so insistently, asking him to trust him, to trust essentially in Levi’s strength.  To Levi, in this moment, his own strength must have seemed worthless suddenly, his belief in it leading to nothing but abject failure.   But then Erwin cuts him off and says, emphatically that, no, it was the Titans who killed them, before beginning to talk about how little they know about the Titans, and how if they continue to remain ignorant like that, they’ll never win against them.  He tells Levi to look around himself, and points out how, for as far as the eye can see, there are no walls, and then suggests that, in all that open space, there might be something they can find to free humanity from its despair and imprisonment.  And then he reminds Levi that there are people who want to stop this from this from happening, only concerned with their own profits and losses, content to stay where danger can’t reach them.  He shows sympathy, saying it’s understandable why they feel that way, because they’ve been blinded by the walls for a hundred years, and can’t see past their own survival.

And then he asks Levi if his eyes have remained clouded too.  He’s asking Levi here if he only knows how to live for himself, and if he’ll kill him and return to the Underground to continue to do so, after losing the two people he cared most about in this world.

But of course, Levi’s already learned how to live for people other than himself.  That was his whole reason for coming to the Surface in the first place.  In support and dedication to the hopes and dreams of his friends.  Levi’s eyes HAVEN’T been clouded, he’s already discovered and embraced what it means to give your life for others, already able to see past his own benefit.  

Erwin reminds Levi of that here, and tells him they won’t give up on going outside the walls, before asking Levi to fight with the Survey Corps, telling him “Humanity needs your skill!!”.  He reminds Levi, even after the loss of the two people whom he had been living for up to that point, that he can continue to live for others still, that he can still fight for the hopes and dreams of others, and that he doesn’t have to return to the life of isolation and loneliness and futility that he once lived, that he doesn’t have to return to simply surviving, or fighting only to survive. He’s reminding Levi that his life can mean more than that, just like he realized when he became friends with Isabel and Furlan.  That his life can have purpose, and that, if he lends his strength to the SC, he can do more even than help a few people.  He can, in fact, help all of humanity.  

The following panels show Levi coming to this realization.  He remembers Furlan and Isabel at his sides as they rode out into the open for the first time, into the first, true sense of freedom they had ever known, and their shared awe and wonder at the sight.  And Levi is realizing here, just as he had fought for his friends dreams of freedom, and of a better, more hopeful life, he can continue to fight for the same, only for everybody, for all people.  He can make the most of his abilities, and help the most people, by staying in the SC and fighting at Erwin’s side, fighting for Erwin’s vision of something beyond the walls, of a kind of salvation for humanity.

What Erwin gives Levi here, really, the thing Erwin gives Levi that he before lacked, is a sense of hope. A belief in his own ability to make a meaningful, positive impact on the lives of others.  It’s like Erwin’s own belief in that hope for humanity’s salvation is so strong, that Levi finds himself able to believe in it too, and he decides then and there that, for the sake of that hope, for the sake of the vision of something better, Levi will stay by Erwin’s side.  Because it’s what Levi’s always wanted to do, to fight for the hopes and dreams of others, to fight to make the lives of other people better, and Erwin has shown him the way to do so.  He shows Levi that Furlan and Isabel didn’t die for a “worthless game”, but for the sake of all human kind, and that’s why Levi is able to let go of his anger towards Erwin and follow him.  And that really feeds into Levi’s need, later on, for every soldier’s death to carry meaning.  If he can believe Furlan and Isabel died for a truly important reason, he can accept it and cope with his grief.  Like Isabel expressed herself before, these people genuinely believe their cause is worth dying for, and Erwin reminds Levi of this again.  

So he forgets his anger and pain, and chooses instead to follow Erwin, and dedicate himself to the cause of humanity’s salvation.  

The final panels of the manga are incredibly moving, with Levi slowing down behind Erwin and Mike, and glancing back one last time to where he lost his two, best friends, before looking away and riding on, as the sun shines through the clouds.  Like one, final acknowledgment of their lives together, and the sacrifice they made, before committing himself fully to his new life ahead.

10. Prologue

Just a small note on the prologue.  It opens up with Furlan and Isabel and Levi sitting beneath the only, real source of sunlight in the Underground, watching the birds in the sky.  Isabel wonders where they’re going, and Furlan answers “Far away... They can fly even beyond the walls.  To Places we couldn’t go eve with those machines.”  Isabel smiles, and says “Got that right!  Just you wait!  I’ll go with you someday.”, while Levi looks up into the sky, silent.  This is only further proof of how Furlan and Isabel both expressed their dream of someday making it on the surface, of achieving freedom from the prison of the Underground, and how Levi would sit and listen to them say things like this.  We see shots of just how grim and harsh the Underground really is here, with people lying passed out and sick in the streets, the pervasive, overwhelming darkness, and just overall depressing atmosphere.  It’s the kind of place that, clearly, robs people of their will to live.  Of any kind of hope.   It’s important to note that Levi himself never expresses any such dream, or desire.  He never voices that he wants to make it to the surface.  This is Furlan’s and Isabel’s dream, their hope, and Levi hears it from them seemingly often.  Probably, because of how hard his life has been, Levi’s never even considered it a real possibility, and so never even entertained the idea of it becoming real.  But for Furlan and Isabel, he was willing to try.  He went to the surface for them, to try and make their dream a reality.  

[dotthings]

Since yes I do remember I have a tumblr and should probably use it to express myself because I’m wordy. After witnessing stan twitter 1,345, on a platform where nuance isn’t exactly common, I have some thoughts.

First: No EP or writer from spn has ever denied Destiel exists or ever told shippers to stop seeing or stop talking about it or mocked us for seeing it in their work. The writing team (which includes several queer writers) continues to work in textual level material as well as subtext and queer coding.

Second: A majority of Destiel fandom doesn’t harass and hate on the cast/crew/writers and we can see how Destiel’s now becoming increasingly textual in intent. We’re pragmatic about the chances of openly declared confirmation. That doesn’t make it less “real.” It’s getting more and more exhausting witnessing a subset angrily shouting down their own ship and attacking the show as a whole. That isn’t how I feel about spn and Destiel and I know I’m not alone on this. I’m not invalidating their rage. I’m tired of all of Destiel fandom being blamed for the behavior of a few and I don’t think the ones who behave like that are how most Destiel shippers act or how they see the situation (which is complicated) or how most shippers feel. Some are more wary than others, without being vitriolic or close-minded about Destiel and canon. Destiel fandom is not a groupthink.

Destiel is an important part of the show. It’s actually the relationship that is my personal heart center, and I’ve been yelled at plenty just for feeling that way about it, but it’s moot, canon made me feel that, canon gave me the ample content for Dean and Cas and their relationship, canon had opportunities to remove it, to end it, and never did. Instead canon built it up and added layers and made them even closer. Their relationship has been part of the A-plot. Even if it’s not the center of the show, it’s still crucial. (When are people going to get this simple concept? Something doesn’t have to be THE center to still be greatly important). For context, I’m a fan of Team Free Will too, and the bro bond, not just Destiel, and have been watching SPN since the pilot aired.

At some point under Dabb’s tenure on SPN, the way canon handled Destiel changed, from subtext, to moments where it broke into full text in ways I could no longer unsee how seriously the writing team takes this ship. I went from calmly resigned it was never going to actually be a thing, to the hair on the back of my arms standing on end because stuff was happening, and continued to happen, and it was no longer confined entirely to subtext, even if it wasn’t consummated or loudly confirmed.

Because there’s still people who straw man this kind of discussion, let me state very clearly: you are not wrong to want more open, loud representation.

Also: there is nothing wrong with wanting Dean and Cas to kiss. Or hoping for a sex scene. I’d be delighted if SPN goes that far. But if you’re out there insisting a kiss or some other explicitly sexual gesture is the absolutely, hard line the only way it will ever “count” you are hurting other fans, you are erasing the actual queer content. If you would burn the internet down in rage because Dean and Cas gets confirmation via a hand-hold or verbal confirmation or even a 3rd party statement penny drop when they aren’t even in the room, and claim that it doesn’t “count” and it’s “not enough” while you go on the attack, that’s not supportive of the ship or the work the writers have done to give it to fans as much as they can.

There has to be room for ships that fall between “loudly openly confirmed with sex scenes” and “nothing in canon backs this ship and it’s only fanon.”

Destiel in canon has had to date more canon build-up, more material, more arcing, than some canon ships in various fandoms. Yet people still deny its validity. Why is that? Why is that?

I’m not going around claiming a ship like that is incredible representation. There’s better representation available. Maybe go support that instead of obsessively attacking SPN, the crew, the cast, and turning against your own OTP.

There has to be room for multiple choice options rather than just “malicious queerbaiters!!” to allow for ships like Destiel where it’s obvious from the canon the creatives are taking it seriously in terms of story but are being held back from taking it where they would like to go with it. We won’t know until spn is over whether Destiel is getting its loudly open confirmation and consummation or not. I’m not making you promises, I’m not claiming to have inside info, I’m not claiming I know how this will go. I’m describing to you what I can see, with my eyes, so far, in both canon, which is borne out by extra-textual comments and incidents, but the extra-textual back-up is just support for what I can see in the canon.

I’d also like to know since when is fandom wank more important than the actual canon content. When did the drama and conflicts within the parasocial relationship between the people who make the show and fans become the thing calling all the shots here while people ignore the canon.

Let’s play a game. Close your eyes. Breath deeply. Imagine SPN canon, everything playing out exactly as it has in canon up to this point, but in fandom there was never a loud group of obsessed antis pounding in your ears calling you delusional or fake fans or ruining spn for seeing it. There were never antis repeating the weirdly contradictory “this show is about FAMILY so Destiel can’t be a thing.” There were never antis twisting the canon into uncrecognizable knots so they could deny and deny and deny how much Dean and Cas care for each other even as friends, along with their phobic anti-shipping concern trolling. There were never antis supposedly on your ship team (Destiel shippers who are hurt and disappointed at the lack of loud, open confirmation, which is valid, but some turned toxic over it) telling you there’s nothing there and you’re only being baited and it’s not real and you’re delusional for seeing it and a traitor to the ship if you see anything good for Destiel in the canon. Imagine you never heard of twitter.

Imagine that.

Would you doubt what’s before your eyes? Would you deny it was valid?

[americozy]

Hey sure, I’ll put my two cents in.

You know, it’s really not that deep. This conversation could go on for centuries, as it has anyhow. The Bible is full ot hypocrisy, misconceptions, outdated beliefs. There’s no shame in saying that. But it’s not the physical presence of the bible that has sustained Christianity in our culture for this long; it’s both principle and moral value. It’s served as a textual guideline for people to make sense and order of their lives and of our society. I often notice even the most outspoken atheists seem to lack one thing- an anthropological and sociological understanding of what Christianity truly is, beyond the text.

Women no matter what, will always be vulnerable to men. Always. We know that statistically and in any case of common sense. Legally, socially, emotionally, developmentally, and especially physically. This doesn’t mean there aren’t exceptions- but no matter how much we want to believe men are exact equals to women, we cannot wish it true. The physical difference has been what has supported a lifetime of patriarchy for humanity. If you don’t believe me, open a history textbook. Look around now, at the rest of the world.

This concept of radically accepting the differences, the female vulnerability- and making a case of men having the civil and spiritual duty of protecting the women they love- what’s wrong with that? For marriage and love to be a sacred bond instead of a form of currency, what’s wrong with that? For women to surrender themselves to a life of love and family; To make the case of married couples to have mutually separate roles in their OWN homes, what’s wrong with that?

It’s actually Christian ideals that helped pave the way for what is the most feminist time in the history of humanity; the belief in individual freedom and inherent spiritual goodness that has gifted us political ideas of equality, liberty, and civil justice. That’s always forgotten as well, isn’t it?

These gender roles, though seen as inherently negative by our modern society, have sustained centuries of societies, families, institutions. No, they were not perfect. Yes, there is so much oppression to go around, it can’t be argued. But these patriarchies, injustices, indifferences were around pre-Christianity, pre organized religion, and do you know why? Because these things you blame Christianity for, are a product of human nature; not societies psychological need to make sense of it.

You blame Christianity for the evils of humanity, which circles back to why Christianity exists as it is. Why beliefs of good and evil, heaven and hell, mirror ourselves in a very realistic way. Why god is modeled as man, why Christ himself is too. The symbolism of spirit and flesh, the body of Christ, resurrection and eternal suffering. Even down to the belief of SIN itself, it’s purpose and the redemption of our spirits.

You can sit on tumblr and argue technicalities with Christians all you want, but what does it even matter? You won’t change their minds, we know that. If these partnerships, roles, and values sustain families and offer structure to people in a world without it, why does that bother you so much? What is your goal here? It serves you nothing but a scapegoat.

Nobody forces you to believe biblical text, hell; a good portion of people don’t anyhow. Evangelicism is on the decline, belief of god has become complex and abstract.

For you to not see the nuance and value of Christian ideals, both historically and in our day to day lives as people, is a conversation not even worth continuing. It’s the other side of the coin to religious people who shame non-religious individuals and refuse to have any open minded conversations about their belief or the validity of biblical text. And I’m not here to shame you, I just want you and everyone else who comes to attack us on here that it’s pointless. It doesn’t make you smarter, or a better person. It’s just a waste of time.

I’m left to assume for you, this is personal, as it is with most staunch atheists. Religious trauma is very real, I get it; and I hope whatever religious trauma you faced doesn’t haunt you, and I hope you can learn to forgive and begin to understand the duality of this all.

You can argue biblical text all day, but you already know it’s much more than that. We are living in a world that does not call to you to fight the power, to be the hero. Christianity is not the threat it may have been in the dark ages, and patriarchy no longer rides on the back of a religious majority. The proof is in the pudding- society is apathetic and we can no longer blame god, or people of god. Only ourselves.

Just let people live their lives, have their faith- let it be. And god bless you. xx

[possiblyimbiassed]

John’s “therapeutic” blog

I’ve been fascinated by the wealth of content in John Watson’s blog since I first noticed it; I think it was some time after S2. For being a complementary work to a TV show, it’s surprisingly well crafted and packed with information. Joe Lidster, who has written the fictional blogs and websites of John, Sherlock, Molly and Connie Prince, is a screenwriter who has been working also with Doctor Who and its spinoff Torchwood.

Unlike the rest of the content within the BBC Sherlock franchise, for example the online game ”Sherlock the Network”, the escape room “The Game is Now” or the book “Sherlock Chronicles”, John’s blog is fully available online for free, you don’t even have to register anywhere. And unlike the other blogs of the franchise (Molly’s and Connie Prince’s blogs and Sherlock’s website), John’s blog is lengthy and has a lot of posts in it. It gives us background and explanations of cases that aren’t mentioned in the show, or only referred to, and I also think it provides a “second opinion” of what we see in the show. It’s a bit like what John says in TLD:

It certainly seems like this blog has been created as a special little treat for the fans, since most of the casual viewers of the show probably don’t even know it exists ‘IRL’. But I think the blog is much more than that; partly because it’s so heavily referenced in the show – with frequent, accurate and exact pictures of it (at least until S4) – and partly because it tells us so much about John’s character. I think John’s blog is significant and important in trying to analyse BBC Sherlock. And maybe the version of John we see in the show will actually get more nuances to it if we look at the blog, which is expressly written by John himself?

More under the cut.

As some of you might know, I’ve written a meta series (X) where I try to explore the idea (originally from @raggedyblue​) that the blog describes the ‘real’ events in John’s and Sherlock’s life more accurately than the show, and that what we see in the show up until HLV is Sherlock reminiscing their life together while reading up on the blog. In my view, the show might be Sherlock’s embellished and dramatized version of the events - ironically a bit similar to what Sherlock usually accuses John of doing in both Doyle’s canon and on the blog. But I find the blog’s writing style far more prosaic than the show, and also more prosaic than Watson’s stories in ACD canon; in BBC Sherlock the roles might have been inverted compared to canon. 

An example of this would be the scene in TEH (which I talked about in this meta over a year ago) where Mary is (supposedly) reading the following un-published post directly from John’s blog editor:

“His movements were so silent. So furtive, he reminded me of a trained bloodhound picking out a scent. I couldn’t help thinking what an amazing criminal he’d make if he turned his talents against the law.”

Something doesn’t seem quite right here, though. While the rest of the post is text from another, already published, post (The Speckled Blond), this first part is taken almost verbatim from ACD’s story The Sign of Four (SIGN). It describes a crime scene where Holmes has just “whipped out his lens and a tape measure and hurried about the room on his knees, measuring, comparing, examining, with his long thin nose only a few inches from the planks and his beady eyes gleaming and deep-set like those of a bird”. I see a big style difference between this and the rest of John’s blog. Since the quote above never appears on the ‘IRL’ blog, I’d rather believe that in BBC Sherlock this is merely wishful thinking from Sherlock that happens inside his Drama Queen Mind Palace. This impressive description is, I think, what he would truly wish that John had written. ;)

I also suspect that the continuing references to different blog posts in S4 are all made up in Sherlock’s mind, since John’s blog ‘IRL’ stopped updating after TSoT, when Sherlock hacked it and took over the storytelling.

Be that as it may, this meta is a reflection upon what John Watson’s famous blog actually might stand for, and what I believe it tells us about his character. In these months of quarantine, I’ve been passing the time by reading through the whole online version of the blog and taking notes of it.

Therapeutic origin

It seems like the initiative for John to start a blog came from Ella Thompson, his therapist. I believe Ella’s initial idea was therapeutic; if it was almost impossible for John to talk to her about his feelings and inner problems in their sessions, she might have found it difficult to help him. Therefore she suggested that he write it all down on his own instead. And if Ella could persuade him to talk about his life on an online blog, she would also be able to read it.

Of course this wouldn’t be the same as if John told her about his inner reflections in confidence, in a real therapy session, but maybe the blog would give him an incentive to talk about his life at all. And you have to start somewhere.

At the end of TST we see Sherlock visit Ella, but when she asks him to “open up completely” he refuses. 

If S4 is happening inside Sherlock’s head (as I believe it is), this might have been Sherlock’s way of trying to psychoanalyse John, to ‘solve John’s case’, by envisioning the therapy situation in his mind palace. A well-known method of Sherlock Holmes is that he tries to put himself in the other person’s place and think about what his own response would have been to the situation. In ACD’s  story The Musgrave Ritual (MUSG), Holmes says: “You know my methods in such cases, Watson. I put myself in the man’s place, and, having first gauged his intelligence, I try to imagine how I should myself have proceeded under the same circumstances.”

Which is also evidence that the character of Sherlock Holmes does indeed not lack empathetic capacity. Also in the show, John’s assertion that Sherlock “doesn’t feel things that way” etc. is basically BS in my opinion. The problem is that John refuses to see this.

John’s state of mind before Sherlock

John’s first three blog posts (in the middle of December - January) seem to completely lack motivation.

And this is maybe what one could expect from the deeply depressed John (as he appears in the beginning of the show), isn’t it? No surprises there.

Everything seems meaningless, and John only makes two attempts at blog posts to comply with Ella’s recommendations, but he doesn’t actually write anything in them. After the second attempt his old army friend Bill Murray tries to contact him, but John seems to have cut off his ties with the rest of the world; he doesn’t answer the comment.

At the third attempt over a month later, John seems to want to delete the blog he has started, but lacks the technical knowledge to do so. The fourth attempt is just a snide comment to Ella:

She doesn’t respond, however (not very surprisingly perhaps). Instead, John’s sister Harry discovers the blog and tries out this means of communicating with him. But John ignores her.

But at the fifth attempt at least John has gone out with some friends and describes it – almost bitterly. Sadly, it also seems like John met up with them mainly to avoid his therapy session with Ella.

So, the problem is that whatever Ella may have thought that the blog would mean for John’s healing, I think she aimed well but unfortunately missed the target. John Watson does not ‘open up’ himself on the blog. When he finally starts to really write - after he met Sherlock - it’s not actually about him (supposedly); it’s all about Sherlock. Basically, John goes directly from ‘Nothing happens to me‘ to ‘Sherlock happens to me‘.

What the blog tells us about John ‘after Sherlock’

John’s blog may be all about Sherlock, but there isn’t actually that much praise for Sherlock in the blog posts as one might think. My impression is that John applies his (perhaps somewhat overestimated) writing skills to project his own failures and self-loathing on his closest friend. More than anything else, I think the blog is John’s emotional outlet for his frustration over his unsatisfactory relationship with Sherlock and his own inability to improve it. Instead of trying to actually talk to Sherlock, he uses the blog to vent his frustrations over Sherlock, speculating wildly about what he believes Sherlock is thinking and feeling.

The stories and adventures are thrilling and entertaining, yes. But his assessments of Sherlock’s character are really not very uplifting. John doesn’t strike me as an ‘analytic’ person, which in this case means that John’s theories about Sherlock are rather based on his personal emotions than logical conclusions. It’s sometimes even a bit difficult to follow the chain of events in John’s posts, because it’s usually so intertwined with his gossipy and out-of-context comments about Sherlock’s personality.

Unfortunately, Sherlock doesn’t seem to realise this projection, and neither do we see him address the issue of John’s misconceptions about him. I believe Sherlock takes many of John’s jibes and insults at him at face value, which – sadly - only adds on to his own self-loathing. I also think that Sherlock trying to draw conclusions about his mysterious friend through the written blog might be a mistake; it may eventually tell him a lot about John’s problems, but to see these he needs to look behind all the cover-up of blatant criticism of him, Sherlock. Maybe that’s what Sherlock’s trying to do in S4, by setting up scenarios in his mind palace?

Judging by how John comes across on the blog – and in the show – I think Sherlock’s claim “You’re abnormally drawn to dangerous people and places” in HLV is a perfectly sound analysis - on the surface. However, I think one must read between the blog lines in order to see other possible motives for John wanting to hang out with Sherlock. Reading John’s posts textually, he gives a strong impression that he’s there for the adventures; when there is danger in the air, John’s never bored.

In the comment section Sherlock never mentions John’s evaluation of his character. Instead he repeatedly criticises John’s writing style. I get the impression that this is Sherlock’s subtle way of getting back at John without having to directly address John’s misconceptions about him. As I said above, I think John’s writing style is very different from Watson’s style in canon; far less respect for Sherlock and a far more prosaic and simple language. Canons Watson seems careful not to speculate much, while John does this all the time.

Examples that form a pattern

There’s a good deal of praise of Sherlock in John’s posts, but it has almost exclusively to do with his admiration for Sherlock’s intellectual capacity; he’s repeatedly described as ‘clever’ and after the Fall, John claims that “nobody ever really outwitted Sherlock”. But in fact, I’ve found very few blog posts where John doesn’t also criticise or complain about Sherlock in some way or another. And there are only two posts (out of a total of 45) where John says something positive about Sherlock’s character:

1. After their first meeting he calls Sherlock “strangely likeable” and “charming”.

2. In what John meant to be his last post ever (he believed Sherlock was dead), he calls Sherlock “funny”, “charming” and “everything a good person should be”.

On the other hand, there seems to be nothing in John’s own (supposed) opinions about Sherlock that he regards as too negative or inappropriate to publish online. I very much think this is about self-loathing; he projects his own shortcomings on his “psychopath” friend and flatmate. Like it’s always a relief to have a scapegoat. An additional explanation might be that if John is closeted and in public denial about any romantic feelings for Sherlock, this makes him not want to appear too ‘besotted’ on the blog. ;) Thus, he might believe he needs to compensate the praise with criticism. Problem is, with this contradictory approach the readers might ask: What is John’s actual relationship to Sherlock? Handler? Hostage? Lover? Concerned citizen? It’s hard to claim he’s a ‘real’, professional colleague, since John’s actual profession is a medical doctor. But why would John be friends with a psychopath? 

To seriously claim that his best friend is a psychopath seems perfectly OK to John, though – he does it repeatedly, and quotes Donovan’s claim that Sherlock “gets off on it”. At the end of A Study in Pink, John talks about Sherlock and the serial killer as if they were both psychopaths, one undistinguishable from the other:

“The taxi driver drove him to a college of further education so they could both educate each other on - well, on how their minds worked, I guess. It's not something I'll ever really understand and, to be honest, I'm not sure I ever want to understand it. To be that much of a psychopath. To be that above the rest of us.”

John even seems to pretend to prefer ignorance to understanding, only to find one more opportunity to blame Sherlock. Here are some examples of other things John calls Sherlock publicly on the Internet:

Arrogant 

Rude

Imperious

Pompous

Madman

Freak

Childish and

Not safe. 

He also says on the blog that Sherlock is spectacularly ignorant about some things, like the solar system. 

Little Freudian slips

In the post titled The Speckled Blonde 

(which is basically a re-count of canon’s The Speckled Band - SPEC) John’s closet angst reaches new heights:

Apparently John finds it important to preventively point out to his readers that he was not sharing a bed with Sherlock. Or, actually, that he even preferred sleeping on the floor before sharing a bed with his flatmate. The thing is, however, that the information that they spent the night in Julias bedroom isn’t at all necessary for the story, since - unlike in ACD Canon - nothing of importance apparently happened during that night. John actually tells us nothing about the night as such. The only ‘feature of interest’ is that Sherlock found a suspect bottle of bubble bath on the victim’s night table, which he took to Barts for analysis (and he was right - the bath had killed Julia by poisoning). Obviously, John could have described this crime scene investigation entirely without mentioning that they had spent the night there. So, if this little morsel of information was so embarrassing for him, why did he even include it? Hmm... 

In my biased mind, I can only think of two alternative explanations (not mutually exclusive, though): 1. John had spent so much fantasies and subconscious energy on reliving this night that he just couldn’t keep this info entirely to himself (Freudian slip), or 2. Something actually happened that night - something that had no bearing on the case. After all, John never says that he slept on the floor, only that he was going to sleep on it. ;) 

Speaking of bubble bath, I find the fact that Julia died from it slightly suggestive, and even metaphorical, as such. Because there’s also another case on John’s blog describing someone dying in a bath: The Deadly Tealights. The victim suffocated in a bathroom where the candles consumed all the oxygen. John has included this little comment:

Why does John bring up the idea that a person taking a bath with candles would potentially be judged? What has his own bath routines to do with the crime case? Does the victim really need John to find excuses for his private life? Methinks this rather might be John’s closet angst speaking again. Someone has tried to belittle John for liking baths, and apparently John seizes the opportunity to vent about it on the blog. Metaphorically, this tells me that the closet is suffocating for John, and that the ‘chemistry of love’ is involved.  

John - The Moral Compass

John is often referred to as the part of the duo who a) is more sociable and b) works like a sort of moral guide to Sherlock. The detective, on the other hand, is shown as a “sociopath” who supposedly doesn’t understand this kind of things. And – to be honest – Sherlock doesn’t actively say much to contradict this perception; sometimes he even appears to agree with it.

(I think his actions should be a clue to the contrary, though).

According to the blog, John seems to believe he himself is the adult one in this acquaintance, the one who does understand the rules of society. He repeatedly calls Sherlock “childish”. Judging by John’s descriptions in the blog, one might almost think that John had been forced to hang out with Sherlock, trying to do the best of it. But seeing as it’s entirely voluntarily it’s a bit hard to understand, for example, how John can blame Sherlock for “leaving me and Sarah to be kidnapped” in The Blind Banker:

John makes is sound like Sherlock left them to the enemy deliberately, knowing that someone would come after them. But weren’t they at home, supposedly on a date? If John didn’t like it, couldn’t he have left any moment and gone out to continue the date he was supposed to? But no; John counts himself among the innocent persons whom Sherlock “involves in his adventures”:

After reading the whole of John’s blog, all I can say is that this guy is a living, breathing contradiction. How can he be Sherlock’s moral compass if his needle is spinning all the time? :))

In The Great Game John describes himself as just a “pawn” in Sherlock’s and the killer’s great game, equalling himself with the other victims. With his insinuations, he indirectly blames Sherlock for the death of 12 people and goes back to Sally Donovan’s “freak” accusations:

Another interesting bit is this, describing Sherlock’s reaction at the pool, when John for a moment appeared to be behind everything: “I should have been horrified that he'd even doubt me for a second…” Wait – what!? John is capable of telling the whole world the most damning rubbish about his friend, but if Sherlock for any second doubted John, he’d be horrified? This part is also of interest: “But the laser sight simply moved to Sherlock's head and I was forced to let go. For a second, I wondered if Sherlock would have done the same for me but then all I knew for certain was, at that moment, I knew I was going to die.”

Before that, John had just described what could easily be interpreted as Sherlock calmly trying to talk Moriarty out of having John killed, but to John this was just “The two men talked, both clearly pleased to…”.  In John’s view, he was the only one who was forced to let go of the killer because of the threat to Sherlock. Honestly, who is it, between the two of them, that most appears to lack empathetic capacity?

Creds and Competence

John appears to be a rather honest, humble and straightforward in the show, quite competent in his medical profession, and in TSoT he is highly praised by Sherlock:

But on the blog John is more ambiguous, and he isn’t always modest. Sometimes he appears to enhance his own role in the crime solving and take credit also for things that are clearly Sherlock’s doing. For example, in The Great Game there’s this: 

“Between us, we worked out that while Connie's death had been made to look like the result of a tetanus infection, it had actually been caused by poison - their houseboy, â–“â–“â–“â–“â–“, had overdosed her on Botox!”

But if we’re supposed to believe the show, John actually believed it was a tetanus infection, while Sherlock deduced and later demonstrated poison:

John also expresses a slightly childish vindictiveness in making a lot of fuss about Sherlock’s failures; every single time Sherlock can’t solve a case, John points it out on the blog with glee. It almost gives me the impression that the doctor is suffering from inferiority complex. He even uses  “Sherlock Holmes Baffled“ as a title for one of their cases.

This seems to be written in jest, since Sherlock frequently is rude about other people’s lower intellectual capacity, but actually hates ‘not knowing’. 

I admit that this may be funny to joke about once, but it gets a little tiresome that John has to point it out every time. Why does John even do this, even as Sherlock has explicitly asked him to not publish the unsolved cases? Which I assume would not be good for their business? 

If John truly is Sherlock’s colleague, wouldn’t he also be more interested in helping to solve the cases, rather than talk about the failures? It seems to me that John is struggling so hard against his own feelings for Sherlock that he feels the need to provoke rather than help him.

The Most Inhuman Human

Sherlock’s supposed lack of humanity is a recurring theme for John; he claims that “people” want to know that Sherlock is human, as if anyone - on the blog or in the show - except John had ever questioned this. 

I can’t remember anyone on the blog except John showing an interest in this issue, though. In the post Many Happy Returns he writes this (my bolding): 

“Yet the video... it showed the other side to him. He was rude, yeah. Arrogant. Apparently lacking in anything resembling empathy. But I'd forgotten just how funny he could be. He was so charming. So... human. It's bizarre because most people would say he was the most inhuman person they'd ever met. But he wasn't.”

He wasn’t? Wow - great revelation, John! [sarcasm :)]. But who said that, actually? Not even the haters and trolls on John’s blog ever claimed Sherlock was inhuman. It’s one thing that Donovan and Anderson called him a freak and a psychopath, but John is the only character I can think of who has ever implied that Sherlock would not be a human being. Only John calls him a ‘machine’. Which is a load of BS of course; John really doesn’t strike me as a professional doctor when he says this, even less as a friend - always trying to mark the distance.

So what’s Sherlock’s ‘complete lack of empathy’ in that video actually about (mini-episode here)? Was it because he didn’t want to go to a birthday dinner with people? Hardly - John seems to understand this about Sherlock. Or was it maybe because of his comment: “How can John be having a birthday dinner? All his friends hate him!” Well, this probably hurt a bit (even if I rather think he sounds bitter and jealous - he wants John for himself ;) ). On the other hand, Sherlock then backtracks and seems to regret his little outburst:

Mary’s role in John’s life

The blog is where Mary Morstan appears to be introduced to John; on John’s first blog post about at least a year after Sherlock’s ‘death’, she suddenly just shows up in the comment section, sending him kisses and inviting him out:

John ignores her, though, and when his sister asks him who Mary is, he doesn’t answer. Mary seems to hang in there, however, and the next time she appears is on the Deadly Tealights post (the one with the dead flatmate in the suffocating closet bathroom). And now she’s called Mary Morstan. Next time is The Inexplicable Matchbox. Both times her only comment is ‘ignore the trolls’. John rather seems to ignore her, though. Finally, he finishes his Many Happy Returns post (which was supposed to be his last) with saying that he has now “found someone” (without naming them) and should concentrate on that. 

All this is a little bit weird, though, considering Mary’s comment in TEH, when she is logged in and reading aloud from the editor of John’s blog: “The famous blog, finally!” As if she hadn’t already read all his posts and tried to interact with him on the blog? Hmm. 

In the show Mary just seems to come from out of nowhere, suddenly showing up in the graveyard holding hands with John. 

Her anonymity reminds me of Doyle’s treatment of Mary in canon, where she’s only mentioned by name when she’s still a client, before she marries Watson.

On the blog Mary is not mentioned by name until over a year after John met her, in spite of her presence in the comment section long before that. And it’s not until John’s first post after Sherlock’s return - The Empty Hearse - that John says something appreciative of her. Suddenly she is (still without name) "...the best thing that's ever happened to me. Sorry, Sherlock :)”. For the rest of the blog posts, John’s (very scarce) answers to Mary’s comments are never flirty or appreciative in the least. Mary’s own last comment, on the very last post - this time written by Sherlock who hacked the blog after John’s and Mary’s wedding - is this: “SHERLOCK! SHUT UP NOW!”

None of this gives me the impression that John has fallen in love with Mary. The silence with which he treats Mary on the blog rather makes me think of her as someone basically not very important; a sort of substitute in a desperate attempt to fill an emptiness in his life. And I think it might be significant that as soon as John recognises the existence of Mary in his life, he seems to use her as a sort of buffer towards Sherlock. A façade. First it’s the gleeful “Sorry Sherlock :)” comment above. Vindictive, it appears. And then, in the post Happily Ever After, John insists that his and Mary’s impending (heterosexual) marriage must clearly be the reason why Sherlock chose to help a gay couple getting together, one of them leaving an abusive marriage which was basically a façade. This whole ‘conclusion’ is so stupid that I’m rendered speechless.

Summary

To summarise - for those of you with enough patience to have followed all my ramblings in this marathon meta - I think the picture of John’s character that we can discern from reading up on the whole of his blog possibly tells us even more about him than the show. If the show reflects Sherlock’s mind, albeit almost entirely focused on his own perception of John Watson, this blog might actually give more insight into how John’s own mind works. I think it shows us someone who is struggling desperately with his own feelings. Someone who is trying to mark a distance that he believes is healthy for him, but that he actually doesn’t want, towards the object of his affection, by criticising them. The full-fledged, living, breathing contradiction that is John Watson comes to its full right by the blog. We could almost say he’s ‘human’ :). Kudos to Joe Lidster and the other showmakers for providing us with this gem.

Tagging some people who might be interested: @raggedyblue​ @ebaeschnbliah​ @gosherlocked​ @sagestreet​ @sarahthecoat​  @tjlcisthenewsexy​​  @elldotsee​​ @88thparallel​​  @sherlock-overflow-error​​  @yeah-oh-shit​

[drivingsideways]

k-drama rec list

Prior to 2020 I’d maybe watched 2 k-dramas in my entire life, but this year I got sucked in, thanks to some great recs, and y’know, *gestures * everything.  

I think I’d held off watching kdramas because my impression of them was limited to romances that I didn’t enjoy at all. But this was the year I discovered the equivalent of “gen fic” kdrama- dramas that had wonderful ensemble casts, strong story lines that weren’t entirely romance focused and also a variety in terms of themes and styles. A big plus was that I found so many of these dramas had women leading the writers’ room, and seeing the effect of that in the story telling. (Notable exceptions: a certain “star” writer who should please stop inflicting her badly written, formulaic crap on the world, yes Kim Eun-Sook, I mean you, and whoever wrote that trashfire Flower of Evil)

So here I am with my own rec list! Caveat- these are mostly not the dramas released in 2020, I’m still playing catch up! :)

Under the cut for length

My Mister/ My Ahjussi  (2018, Written by Park Hae-Young, Directed by Kim Won-Seok, starring Lee Sun-kyun and Lee Ji-eun aka IU) 

This was definitely my absolute favourite of the shows I watched this year across western/ asian media. It’s a story about the thread that binds us all and the ineffability of human connection. It’s also a story that deconstructs ideas of masculinity and honour and shame in a non-western context, but with an extremely compassionate touch.  It’s a story that doesn’t shy away from showing the consequences of material and spiritual poverty; and how one can so easily feed into the other. It’s a love story that isn’t a romance, except that it’s a Romance. It’s about finding salvation in one another and in the kindness of strangers.  It’s about choosing life, and picking yourself up off the floor to take that one last step and then the next and then the next. The one quibble I have with the series is that it could have been better paced, it does get extremely slow after the half way mark. But god, do they land the ending. Both Lee Sun-kyun and IU turn in absolutely heartbreaking performances, and fair warning, be prepared to go through an entire box of tissues watching this series. 

Life  (2018,  written by Lee Soo-yeon  and directed by Hong Jong-chan, starring Lee Dong-wook, Cho Seung-woo, Won Jin-ah, Lee Kyu-hyung, Yoo Jae-myung and Moon So-ri.)

Medical dramas are very much not my thing, and I wouldn’t have taken a chance on it except that @michyeosseo said I should, and she was right! It’s a medical drama in the sense that it’s set in a hospital, but rather than a “case-fic” format, this is actually a sharp commentary on the corporatization of health care, and the business of mixing, well, money and what should be a fundamental human right. Writer Lee Soo-yeon was coming off the global success of Stranger/Secret Forest S1 when this aired, so I understand that expectations were probably sky-high, and people were disappointed when this show didn’t give them the adrenaline rush that they wanted. On the other hand, I thought that this outing was really much more nuanced in terms of the politics and also how the ending doesn’t allow you the luxury of easy-fixes. This show has a great ensemble cast, and while it took me a while to get used to Lee Dong-wook’s woodenness (i ended up calling him mr.cadaver after watching this and was surprised to learn that he’s very popular?), in the end I was quite sold on his version of angry angst-bucket elder-sibling Dr.Ye Jin-woo. His best scenes were with Lee Kyu-hyung who turns in a lovely, achy performance as the paraplegic Dr. Ye Seon-woo who just wants to live a normal life. The love story between the two brothers is actually the emotional backbone of the story, and I think they landed that perfectly. 

My one quibble with writer-nim is that she ended up writing in a forgettable and somewhat (for me at least) uncomfortable romance between the characters played by Won Jin-ah and Cho Seung-Woo. I think part of my uncomfortable-feeling was that I got the strong sense that the writer herself didn’t want to write this romance, it was as if she was being made to shoe-horn it in for Studio Reasons, and she basically grit her teeth and did the worst possible job of it.  I do wish we could have absolutely had the OT3 of my dreams: Moon So-ri/Cho Seung-woo/Yoo Jae-myung like, c’mon TV gods MAKE IT HAPPEN, just...look at them!!!! 

Anyway, that apart, I think this was a very engaging series, and by engaging, I also mean thirst-enabling, see below. 

 Stranger (aka Secret Forest  or Forest of Secrets) S1 & 2 : (2017-, Written by Lee Soo-yeon, directed by 

2017′s smash hit aired a much anticipated second season in 2020, and I managed to catch up just in time to watch that live, so that was thrilling :D . Writer Lee Soo-yeon  mixes up thriller/office comedy/political commentary in an ambitious series. I think S1 is more “exciting” than S2 in terms of the mystery and pacing,  but S2 is far more dense and interesting in terms of political commentary because it takes a long hard look at institutional corruption and in true writer-nim fashion doesn’t prescribe any easy solutions. Anyway, please enjoy public prosecutor Cho Seung-woo and police officer Bae Doona as partners/soulmates kicking ass and taking names in pursuit of Truth, Justice and just a goddamn peaceful meal, along with a stunningly competent ensemble cast. Also yes, Han Yeo Jin is a lesbian, sorry, I don’t make the rules. 

Search: WWW  (2019, Written by Kwon Do-Eun, directed by Jung Ji-hyun & Kwon Young-il, starring  Im Soo-jung, Lee Da-hee, Jeon Hye-jin)

GOD. Where do I start? +1000 for writer Kwon Do-Eun saying “fuck the patriarchy” in the most grandiose way possible, i.e. absolutely refusing to acknowledge that it exists. Yes, this is that power fantasy, and it’s also a fun, slice-of-life  tale about three women navigating their way through work, romance, national politics and everything in between. It’s true that I wasn’t entirely sold on the amount of time spent on the romance, and I really wish they’d actually had a textual wlw romance, though the subtext through the entire series is PRACTICALLY TEXT. But still, it maintains that veneer of plausible deniability and I think queer fans who are sick of that kind of treatment in media have a very valid grouse against the show. On the other hand, personally I felt that the queer-platonic vibe of the show is very wonderful and true to real life, and it was only reinforced by the ending. This is a show written by a woman for women (like me), and it shows. 

Hyena  (2020, Written by Kim Roo-Ri, directed by Jang Tae-yoo & Lee Chang Woo, starring  Kim Hye-soo and Ju Ji-hoon )

Those of you who’ve been watching hit zombie epic Kingdom are probably familiar with Ju Ji-hoon’s brand of sexiness already. I had not watched Kingdom and got hit in the face by Mr.Sexy McSexyPants’ turn as a brash, privileged-by-birth, up and coming lawyer who gets completely runover by the smoking hot and incredibly dangerous fellow lawyer/competitor from the other side of the tracks in the person of Kim Hye-Soo. When I say they set the room on fire, I mean it, ok. Every single scene between these two is an actual bonfire of sexual attraction and emotional hand grenades, and they’re both absolutely riveting to watch. “Flower of Evil” wishes they had what this show has- an actual grown up romance as opposed to a thirteen year old twilight fan’s idea of an adult romance. 

The “lawyer” shenanigans and the “cases” are hit or miss, and I think the occasional comedy fell flat for me. But that’s not why I mainlined like 6 episodes of this series overnight like a coke addict, and that’s not why you’re going to do it either. It’s so RARE, even in these enlightened days to find a female character like Jung Geum-ja: hard as nails, unapologetic about it, and not punished by the narrative for it. The best part for me is that she feels like a woman’s woman, not a man’s idea of what a Strong Female Character should be. Anyways, when I grow up I want to have what Kim Hye-soo has ok?

Other dramas that I watched this year, quickly rated:

The King: Eternal Monarch (3/10 and those 3 points are only for the combined goodness of second leads who deserved better- Jung Eun Chae, Woo Do Hwan and Kim Kyung Nam. Please head over to my AO3 and read my attempts to fix this garbage fire and rescue their characters from canon)

Flower of Evil (-10/100, dont @ me)

Tale of the Nine Tailed (5/10, I think it succeeds at what it set out to do, which is a light hearted, sweet fantasy-romance-melodrama, plus “second lead” Kim Beom will make you cry as the hot mess of a half human/ half fox spirit ALL TEARS character. I think if you’re into kdrama romances as a genre, this is probably a good bet?)

Signal  (7/10,  This was the first full kdrama I watched this year and would definitely recommend. It’s a police procedural with time travel shenanigans and has an engaging plot, good pacing, texture and compelling performances. My one disappointment with it was the way they wrote Kim Hye-soo’s character. As literally the only female character to survive in any way, she was given short shrift, and toward the end it really began to grate on me.)

Six Flying Dragons - (7/10, also would recommend if you’re interested in Korean historicals. It definitely already feels a bit dated in terms of styling and production values, and even scripting and acting choices. But it has a good balance of fantasy and history and political commentary. I was not a fan of Yoo In-Ah’s performance in this series, but it’s not anything that would make you want to nope out of the series. It’s GoT , if GoT was thoughtful about politics and characters and not the misogynist, racist trashfire that it became.)

My Country: The New Age - (3.5/10, and that’s 3 points to Jang Hyuk’s fan and 0.5.points to Woo Do Hwan’s heaving bosom. If you like your historical drama/fantasy with very pretty men, very gay subtext -seriously RIP to show makers who thought they could hetero it but didn’t account for Woo Do Hwan’s Tragic Face- lots of blood and tears and very nonsense plot, this is right up your alley. I probably would have enjoyed it more in other circumstances, I think? But this one just annoyed me too much at the time! 

I have a couple of more dramas to watch on my list, that’ll probably carry me over into 2021, so see ya on the other side! :D

[good-omens-classic]

Hi Good Omens fans, ever since making this blog, and trawling through the archives for old art, I have been thinking again about trends from before the TV-show, and the way people draw Aziraphale and Crowley.  I wanted to make this post addressing it but this is not “discourse” or to start a fight, in fact I would be perfectly content if all I did was make people think critically about what I am about to say and not even interact with this post at all, but I feel like I need to say it.

Talking about any racist undertones to the way people draw our two favorite boys usually makes people dig their heels in pretty fast.  This is not a callout post for any artist in particular, this is not me trying to be overly critical of artists especially since they have more talent and skill than I do, and I’m going to address some common counterpoints that I frankly find unsatisfactory.  Let’s just take a moment to set aside our defensiveness and think objectively about these trends.  It took me a while to unlearn my dismissive attitude about these concerns so maybe I can help others get over that hurdle a little faster.  Now let’s begin.

I’ve been kicking around the Good Omens fandom since maybe 2015 and for art based in book canon, whether it was made before the TV show came out, or because the artist is consciously drawing different, original designs, I’m going to estimate that a decent 75% of all fanart looks like this

Aziraphale is white and blonde and blue-eyed while Crowley is the typical “racially ambiguous” brown skin tone it’s become so popular to draw podcast characters as nowadays.

And the question is why?  With the obvious answer being “it’s racist,” but let’s delve a little deeper than that.

A common thing I hear is that people get appearance headcanons fixed in their mind because the coverart of the book pictures the characters a certain way.  My first point is this only shifts the question to why the illustrators drew them that way, when there aren’t many physical descriptions in the book.  My second point is that while there definitely are cover arts that picture Aziraphale as cherubic, blonde, and white and Crowley as swarthy, dark-skinned, and racially ambiguous...

(side note: why is Crowley’s hand so tiny?  what the hell is going on in this cover?)

It’s much more common for the covers to simplified, stylized, and without any particular unambiguous skin tones

I don’t know about the UK but the most popular version in the United States is the dual black and white matching covers

And while you could make an argument that the shading on Crowley’s face could suggest a darker skintone, it seems obvious to me that lacking any color these are not supposed to suggest any particular race for either of these two, and the contrasting colors are a stylistic choice to emphasize how they are on opposite sides.  If anything, to me it suggests they are both white.

In short I simply do not buy the argument that people are drawing Aziraphale and Crowley this way because that’s how they were represented on the cover art of the book.  If you draw them the way they are on the cover then whatever, I don’t care, but I don’t believe that’s what’s driving this trend.

The second thing people will say is that Good Omens is a work of satire, and it’s based in Christian mythology which has this trend of depicting angels as white, and it is embodying the trope of a “white, cherubic angel” paired with a dark-skinned demon for the explicit purpose of subverting the trope of “white angel is good, dark demon is bad” since Aziraphale is not an unambiguous hero and Crowley is not a villain.  “It’s not actually like that because Crowley isn’t a bad demon, and Aziraphale isn’t actually a perfect angel” is the argument.  This has a certain logic to it and allows some nuance to the topic, but to this I say:

Uncritically reproducing a trope, even in the context of a satire novel, is not enough to subvert it.  Good Omens is not criticising the racist history of the church, and while the book does have some pointed jabs at white British culture (such as Madam Tracy conning gullible Brits with an unbelievably ignorant stereotype of a Native American) it is not being critical of the conception of angels as white and blonde or the literal demonization of non-white people.  That’s just not what the book is about.  So making the angel white and the demon dark-skinned, playing directly into harmful tropes and stereotypes, is not somehow subversive or counter-cultural when doing so doesn’t say anything about anything.

Please consider fully the ramifications of the conception of white and blonde people as innocent and cherubic and dark-skinned people as infernal and mischievous, especially in modern contexts...

Black people are more likely to be viewed as violent, angry, and dangerous.  Priming with a dark-skinned face makes people more likely to mistake a tool for a gun.  Black people are viewed as experiencing pain less intensely by medical professionals.  Black men are viewed as physically larger and more imposing than they actually are.  The subconscious racial bias favoring light skin is so ingrained it’s measurable by objective scientific studies, on top of the anecdotal evidence of things like news stories choosing flattering, “cherubic” pictures of white and blond criminals while using unflattering mugshots for non-white offenders.

This is why I say that if you’re going to invoke the “whites are angelic” trope, you better have a damn good subversion of it to justify it, because this idea causes real harm to real people in the real world.  And Aziraphale being a bit of a bastard despite being an angel, I just don’t see that as sufficient.  I am especially cautious of when it’s my fellow white fans that make this argument, not because I believe they do this out of any sort of malice or hatred of people with dark skin, but because I know first-hand it stems from a dismissiveness rooted in not wanting to think about it for too long because it makes us uncomfortable.  Non-white people do not have the luxury of not thinking about it, because it’s part of their life.

Now the strongest textual evidence people use, in the absence of much real descriptor, is this:

"Many people, meeting Aziraphale for the first time, formed three impressions: that he was English, that he was intelligent, and that he was gayer than a tree full of monkeys on nitrous oxide. Two of these were wrong; Heaven is not in England, whatever certain poets may have thought, and angels are sexless unless they really want to make an effort" 

This piece of art has circulated in the fandom for so long I don’t know the original artist and it’s been used for everything from fancovers to perfume.  This is where I found it and it’s one of the first things that come up when you google this quote about Aziraphale.  

Doesn’t it just feel like this is the man that’s describing, some blonde effeminate gay man?  Well guess what, there’s the “blonde as innocence” trope rearing its ugly head again, because the stereotype of gay men and effeminacy as being a white and blonde thing is--ding ding ding you guessed it--racism.  And why would intelligent suggest a white and blonde person, except if the stereotype of a dark-skinned person is less intelligent?

Now the point of “people assume Aziraphale is British” is another sticking point people will often use, claiming that the stereotype of a British person is white and blonde.  I guess this has some merit, since the British empire was one of the biggest forces behind white colonial expansion, and it seems disingenuous to assign “British” as “nonwhite” as soon as we’re being satirical, in the same way I found it distasteful that the TV show made God female when so many of the criticisms of the church are about its misogyny and lose their teeth as soon as God is no longer male.

However consider that 1.4 million Indian people live in the UK.  I heard a man say aloud once that the concept of a black person having a British accent was a little funny, as though Doctor Who doesn’t exist and have black people on it.  And I’m not overly familiar with the social landscape of the UK, but I understand they’re experiencing a xenophobia boom and non-white Brits aren’t considered “really British.”  The stereotype of non-white people not being British only exists because of reinforcement in media.  If you really want to be subversive, drawing Aziraphale as Indian goes way further than drawing him as white IMO.

Now let’s talk about Crowley.  He is almost always drawn with a darker skin tone than Aziraphale, even when they are both white, and while I’ve outlined above how this is problematic on terms of linking light skin with innocence, I think it does have an extra layer.  I think it also has to do with the exotification and fetishization of brown skin and non-white people.

This artist’s tumblr is gone now but their art is still on dA and while it’s definitely beautiful and well-done, I think this is a very good example of what I’m talking about.

Crowley and Aziraphale necessarily contrast each other, so describing Aziraphale as “British” might suggest that Crowley is “foreign-looking.”  I also know *ahem* that the fandom generally thirsts over Crowley to hell and back, so making him a swarthy, tall dark and handsome is not necessarily surprising.

An interesting thing happened when the TV show came out, and everyone started drawing Michael Sheen!Aziraphale and David Tennant!Crowley more and more often:  It’s not ubiquitous, but it does happen that sometimes artists will draw David Tennant’s skin darker than it actually is.  The subconscious urge to see Crowley with dark skin is for some reason that strong for many people.  And I really encourage people doing this to think about why.  Not naming any names but I’ve working with fanartists before for collabs who I had to ask to lighten “bad guy” demon’s skin tones because it looked like they were making the skin darker on purpose to make them look scarier.  This person is a perfectly pleasant person who tries not to be racist!  And we both still fell into it accidentally, and it took me a while to notice and point it out, because the ingrained stigmatization of darker skin is pervasive yet often goes unnoticed.

What is the solution?  I don’t know, and as a white person I’m not really qualified to make that call.  Do we draw them both with the exact same skin tone?  Is it better to make them both white?  Should we make both of them non-white?  Should we only make Aziraphale non-white?  I am consciously aware of the fact that the Good Omens fandom is mostly white people, so most of the art we make is being both made by and consumed by white people, so I don’t feel comfortable saying “draw these characters of color specifically” because that can also veer into fetishization territory very quickly.  This is not specific to good omens but I think we should pay attention to what fans of color say in all fandom spaces and weigh our choices even if they seem insignificant.  And it’s important to realize that fans of color will not be a monolith in their opinion either, and it’s our responsibility to recognize that everyone can be affected by racism and social issues differently, the same way all women are affected by misogyny differently so just because one woman says such as such is misogynistic and another says it’s not.  I’m sure there are non-white fans who think it’s perfectly fine to draw Aziraphale as white and Crowley as ambiguously non-white.  I’m not saying they’re wrong.  And I’m not saying you can’t reblog this kind of art, or that people who make or made it should feel bad about themselves.  But so often this sort of thing goes unaddressed just because people don’t like thinking about it, and well, avoiding hard questions never really goes well I think.

[rudjedet]

According to Wikipedia, the Egyptian language had a word for a third gender or sex, often translated as "eunuch" but perhaps referring more often to nonbinary or intersex people. Do you know more about gender variance in pharaonic Egypt?

Full disclosure before I answer this: gender studies with regards to ancient Egypt are not my specialty, and I’m unlikely to do all the nuances proper justice.

First, about the word sxt.y (plural: sxt.yw), which is the word you’re referring to that allegedly refers to a third gender or sex but which is translated as “eunuch”. It is not conclusive, per the knowledge we have now, that this is a separate gender/sex category. It’s mostly translated as “eunuch” because it comes close to a word for castrate, sxt. But that translation in itself is debatable.

@thatlittleegyptologist​ said the following about the word sx.ty in this ask:

Sekhti is the word that has a possible translation of ‘eunuch’ but it’s absolutely far from certain. We only say ‘eunuch(?)’ because it has a similar writing to ‘sxt’ ‘castrated’, of which there is only one attestation meaning it’s a hapax legomenon (only existence of the word). There are several other verbs written as sxt including: to run, to turn back, to destroy, to grasp, to weave, and a bird trap.

There are only 4 attestations of the word in the Egyptian corpus. Three refer to it as ‘sage’ or ‘sorcerer’ and one refers to it as ‘castration(?)’ meaning it has an uncertain translation. The text that does this is the hapax legomenon one I mentioned previously.

It has no depictions in art, and doesn’t exist as a term until the Ptolemaic and Roman periods, as Eunuchs themselves were not a thing in Ancient Egypt until this period. Therefore we cannot say that this is a separate ‘gender’ in Ancient Egypt, because before the Ptolemies this concept of sxti doesn’t exist. The Ancient Egyptians themselves did not have them so we cannot place them within their gender roles.

However, if you want to read more about eunuchs in Ptolemaic and Roman times I would suggest looking at Greek and Roman Eunuchs and their function in society, as they will tell you far more about how they were seen in gender terms than looking at anything from Ancient Egypt.

As far as gender variance goes, this is tricky because the ancient Egyptian gender division is different from ours, and also subject to change throughout the millennia that span Egyptian dynastic history. Not only that, it’s nigh impossible to transpose Western modern gender terms (such as nonbinary) onto an ancient non-Western culture because there is a disconnect between how they saw the world and the way we do. 

But it wasn’t as simple as “Egyptians only knew the male and female sex/gender” either. At least in the realm of the divine, something akin to intersexuality may’ve been known. Sometimes Nut, a goddess, is portrayed with a phallus to indicate power; or Neith is said to be part man, part woman. But at the moment we do not have conclusive evidence (i.e. textual or pictorial) to show that there were mortal people who considered themselves outside the known Egyptian gender binary. 

This might be because the Egyptian societal ideals were very strict (and we do know that not everyone held as rigidly to the ideals of society and religion), and they were therefore never mentioned in text or on reliefs because it was simply not done. But it might also be because there weren’t any people who (had the tools to) consider themselves outside of that gender binary. Without unequivocal evidence, it will always be some degree of inconclusive. 

I will probably regret bringing up Hatshepsut again, but I’d be remiss if I didn’t use her example to explain why exactly it is so difficult to transpose our modern definition of what constitutes evidence of “this individual is transgender/nonbinary” onto the Egyptian record.In our modern society, the use of pronouns is a fair indication of whether someone is cis or trans. In ancient Egypt, since the Egyptian languages itself are gendered and thus sometimes, the use of masculine or feminine markers specifically was a matter of grammar, not so much.

The people who know only (the bare essentials) about Hatshepsut will say that she was transgender, or at least nonbinary, because she used “male pronouns” to refer to herself. However, she did also use female pronouns and markers, and almost all other female kings that we know about did the exact same thing. Sobekneferu and Taweret also referred to themselves with a mix of male and female markers and epithets. And because we know that certain Egyptian words (such as “king”) only take male markers no matter the sex of the person using it, it’s far more likely that we’re dealing with a grammar issue rather than three genderqueer queens. 

However, that doesn’t mean none of the three could have been genderqueer, we just don’t have the tools to definitively say they were. The best indication of gender we have, in modern and ancient times alike, is the individual’s own words. In case of Hatshepsut, Sobekneferu, and Taweret, we know that they referred to themselves with feminine markers wherever and whenever they could. That’s something you absolutely can’t ignore when you try to argue the gender-identification of any of these women (and I use “women” here as the term to refer to the ancient Egyptian gender identity. I have never used nor will I ever use the term “cis” to describe any of them. They were women. Not cisgendered women, since cis, too, is a modern gender identity and thus equally difficult to use when describing an Egyptian individual).

I wouldn’t argue that the Egyptians didn’t have gender variance beyond the man/woman binary that we see in e.g. art and literature, but it is hard to pinpoint the exact nature of the variance, if any, considering they didn’t think about these things the way we do now, as well as their long history.  

Deborah Sweeney, who we’ve cited many times before, wrote a really excellent paper on sex and gender in ancient Egypt. She talks about these matters with more nuance than I can, so I absolutely recommend reading the paper, which is only 16 pages long. And if you’re interested in certain topics she covers, check out her references/bibliography. But for most laypeople, Sweeney’s article will cover the majority of Egyptian sex & gender in enough detail.

Here are some highlights from the article in case people want a quick laydown:

The Egyptians considered the world a place of dualities. The two halves of any given concept weren’t divided eternally however; instead, they reconciled them. The best example is the king incorporating both aspects of Horus and Seth into his rule, even if Seth was chaotic and too raucous to be of any use on his own. This seems to apply to their views of gender as well.

In Egyptian art, representation of gender is very strict, e.g. men are portrayed with darker skin than women and women only take half a step forward or even stand with both feet together, and the art almost never deviates from these conventions. In real life, this division didn’t always seem to be as strict. Take for example New Kingdom female entrepeneurs; women who either made a name for themselves or took over their husband’s trade after his incapacitation or death.

“Masculinity” as a concept in ancient Egypt differed even between social groups. A scribe would have had to meet other standards of masculinity than a soldier or a farmer would. There also seems to be a divide between elite masculinity and masculinity for the lower social classes. Still masculinity mightn’t have been expressed the same way by everyone, even within the same social grouping.

Women were in the text corpus often juxtaposed against men, i.e. it was their relation with the men in their lives that was highlighted, and very little is known about interpersonal relationships between women. We obviously know more about royal women, but their experiences aren’t at all indicative of general female experience in ancient Egypt.

The Egyptians didn’t categorize people based on sexual preference (i.e. “this is a homosexual scribe”, “that market lady is bisexual”). While same-sex relationships weren’t the social norm and were usually depicted as an abberation and/or an insult, there’s strong evidence in favour of same-sex couples/relationships in real life.

For any further in-depth questions, I’d refer to @thewanderingarchaeologist, whose PHD research is on this very topic. 

Please consider donating to my ko-fi if you enjoyed this rather incomplete explanation!

[comradeclown]

OK, so in honour of my top posts now being me saying at various degrees of length that Arthur is gay (hashtag mylegacy, lmao…), I thought I should just go for it and actually dive in a bit a lot into why I read the character as gay. Now, usually all the justification I need to read a character as gay is “wouldn’t it be cool if this character I like/relate to/etc were gay like me?” and “it’s OK, officer, I do what I want”, and I’m well aware that 99% of the time it’s me using my own creativity to do a resistant reading + the film/book/whatever bumbling into subtext entirely by accident. And while I definitely don’t think there’s ever any more justification needed for any kind of LGBT reading, lol, as it comes to Arthur, obviously feel free to disagree with me, but I honestly think my read of him as a gay man is entirely textually supported, however unwitting and accidental that might have been on the part of the filmmakers (mind you, I don’t think it was Todd Phillips’ conscious intent, but I’m like… 85% sure Joaquin Phoenix knew exactly what he was doing).

(ETA that this is extremely long, so I’ve put it all under a cut.)

First of all, there’s of course… pretty much the entirety of Joaquin Phoenix’s performance (a very, very small sample can be found in my he gay son tag and just generally in my arthur fleck tag, ha), from his mannerisms to his physicality to the way he interacts with other characters. I know part of it is a function of wanting to go back to the character’s campy roots (which are themselves… you know…), and I know I’m relying on stereotypes to some extent, but first of all, you can’t divorce either camp or gender non-conformity from LGBT history and existence, and secondly this is literally how characters have been coded as gay throughout the entire history of cinema. What I’m saying here is that you can’t have a character who acts like Arthur does, literal limp wrist and all, or says “come on, Muuuurrrayyy, do I look like the kind of girl clown who could start a movement” the way he does, to pick one of many, many examples, and not evoke the long history of cinematic wink emojis at People Like Me.

That in itself would… honestly be plenty, lol, but it could be chalked up to, idk, Joaquin Phoenix doing his own thing, were it not for the fact that it’s completely reinforced at every turn by the filmmaking language, even down to his wardrobe choices, and it’s worth noting at this point that the framing is always one of empathy — albeit with nuance — and affording the character subjectivity, rather than being “ew, look at this gross [homophobic slur]”. Like, the very first time we see Arthur, literally our first impression of the character, he’s at a mirror, putting on make-up and then ruining it by crying, and while the make-up is of course part of his job, this is just not how the inner crises of straight male characters are expressed in the language of cinema. Of note too is the fact that he’s clearly visually separated from his co-workers in all the scenes at Ha-Ha’s, indicating his alienation from them, and while this could be chalked up purely to his disabilities, I don’t buy that that’s the only reason, given that Gary gets shit due to his dwarfism, sure, but at the end of the day he’s clearly “one of the boys” in a way Arthur (can’t be) isn’t.

There are honestly so many examples of the framing working to separate Arthur from conventional masculinity and heterosexuality that I’m just going to pick some highlights, such as: obviously, the way he expresses himself emotionally through dancing (to the point that one of his coworkers explicitly ribs him about it, “if your dancing doesn’t do the trick”), which again is not something that straight male characters do in the language of cinema. The fact that all the media we see him consume is musicals, classic comedies and a talk show he’s obsessively fannish about and watches with his mother — and we know he’s a fan of the show as a whole, not just Murray, hence him saying “I love Dr Sally” (and the way he says it…). Or, speaking of his media habits, when he’s dancing with the gun while watching Shall We Dance, this could have so, so easily been about him ~regaining his lost masculinity~ through, say, fantasies of revenge or badassery, but instead it’s about him being acknowledged as a great dancer and punishing bad dancers, and it all ends in slapstick anyway.

Also, while I’m on this topic, I want to address the nature of Arthur’s dissociative fantasies about Sophie. Honestly, I don’t read them as indicative of genuine romantic/sexual interest at all, because the film frames them as identical to Arthur’s more deliberate daydreams about Murray. I mean, not that I’m adverse to gay readings of that if that’s what you want to do, lmao, but to me they’re both very clearly post-traumatic fantasies of having another person look after you for once, of having someone value and cherish you and take care of you emotionally (which obviously has massive appeal if you’ve been dealing with the after-effects of catastrophic trauma all your life but nobody has given a shit about your suffering and you’ve had to be the one to look after other people to boot). Note that after the get-together with Sophie — which is clearly patterned after all those old comedies and musicals Arthur watches — the Sophie fantasies are incredibly platonic and involve things like having another person be there for you in a crisis, telling you something supportive, getting you a hot drink (in contrast with the reality of the hospital scene, in which Arthur is alone and he’s the one trying to comfort someone else, i.e., holding Penny’s hand), essentially no different from fantasy!Murray hugging Arthur and knowing exactly what to say to make him feel good about himself. Also note that both fantasies involve being the object of someone else’s affection, Murray picks Arthur out of the audience and Sophie comes to him, it’s a pillow princess Cinderella fantasy, more than someone loving you it’s about being loved. (And, once more, this could easily have all been v. v. different, the Murray fantasy could have been the much more conventionally masculine fantasy of being a famous comedian and being invited on Murray’s show, the Sophie fantasies could have had an undeniable sexual component, etc.)

Anyway, to get back to the general point of cinematic framing, again if the movie didn’t want me to read Artie as gay, it shouldn’t have had a pivotal moment in his character arc be him sitting at his mother’s vanity table, doing a new make-up look which involves using her lipstick, and then having a Moment while he’s literally holding a quasi-glamour shot of her.

And the thing is, all these reams of stuff aren’t even the key piece of the puzzle for me, which is the way in which the film as a whole can be read as a gay narrative. I’ve posted before about how part of the emotional catharsis of the film is about Arthur finally shamelessly embracing and even revelling in all his freakishness and socially-despised traits, a big one of which being what is arguably his effeminacy and… honestly I don’t need to explain how that’s a classic gay (and more generally LGBT) narrative, do I? Like, there’s a reason why a pivotal scene is Arthur having his hair-dyeing underwear rave in a flat that’s suddenly incredibly bright and sunny for the first time, it’s about reclaiming the pain and ugliness of your life and your circumstances into a space of potential liberation, which is honestly why this movie is always going to be incredibly personally meaningful to me for so many reasons, but definitely meaningful to me as a gay woman. (Again, this could so, so easily have been about him becoming some stone-cold badass or whatever, but instead the film has him dye his hair, put on a super garish new outfit and new make-up look, dance shamelessly in the street, and be incredibly campy on national television.)

More generally, there’s other aspects of the narrative arc that tie into this general theme and which also serve to continually distance Arthur from the conventional cinematic narratives of heterosexual manhood: for instance, once he starts fully embracing the Joker persona — which is… just Arthur, the crucial difference is in how others perceive him and how he perceives himself — any attraction to women, feigned or real, goes completely out the window and the only genuinely affectionate interaction he has with another human being is with Gary (I know we all love to joke about his first kiss being with Dr Sally, but it’s obviously Comedy Jokes and he doesn’t even kiss her for real, his make-up is completely intact; Arthur’s only real kiss in the movie is when he kisses Gary). Or, when Arthur’s personal narrative finally intersects completely with the larger social narrative — which is itself about upheaval, reclamation and potential liberation — the big triumphant moment is him once again dancing, this time for a cheering crowd, and using blood like lipstick to redraw his smile.

Or even, to a lesser extent, his whole sub-plot with his mother, before I watched the film I was worried that this was going to be the usual narrative about the henpecked guy who finally puts the bitch in her place as part of becoming a Real Man, and it’s not at all, quite the opposite, Arthur is not henpecked and is clearly in charge of the household, he genuinely loves Penny — and is confident she loves him back — and enjoys doing at least some things with her (them watching the Murray Franklin Show together), and up until the reveal any issues he has with her are largely the product of having to look after an ill person with zero social support and while working a physically and emotionally demanding job and dealing with his own disabilities. When he kills her, it’s a deeply sad and self-destructive scene and it’s the result of his profound anguish and sense of betrayal and he frames it as the bitter, trauma-haunted dark half of self-actualisation and self-acceptance (“that’s the real me”, “I haven’t been happy one minute of my entire fucking life”, “now I realise… it’s a fucking comedy”).

Or, at a more meta-textual level, the way the film is unabashedly both a pulpy thriller and a melodrama, just shamelessly embracing all its emotions, its pain and catharsis, without a trace of irony. Like, yeah, part of this is the immense sincerity and compassion Joaquin Phoenix brings to his performance, but it really is the movie’s approach as a whole, and when there is humour — and I do think there’s quite a lot of humour in the movie — it’s not the distancing, let’s-not-feel-anything-too-deeply-bro humour of your typical MCU movie, it’s the camp sensibility of laughing with and at your own tragedy. (Myriad examples down to the use of certain songs in the soundtrack.)

On a final note, you guys know how much I don’t care about authorial intent, but I feel compelled to point out that in his director’s commentary, Todd Phillips says, while discussing Arthur’s journey into becoming Joker, that he reads the larger pop-cultural character of the Joker as someone who doesn’t want women, and like… Again, it’s not like I think that he was deliberately making a gay narrative in any way, it’s just that if you’re creating this journey of a man who eventually becomes a character who’s not interested in women in that sense, you’ve also just ended up stumbling into a gay narrative accidentally on purpose, lmao, what’s the real difference between “at the end of the story, Arthur doesn’t want women because he’s ~da Joker now, baby, he doesn’t want anything~” and “at the end of the story, Arthur doesn’t want women because he’s gay and he’s no longer deeply repressed and closeted”?

Anyway, like I said, feel free to disagree, he’s a fictional character, lol, but this is where I’m coming from, and the reason why if everyone involved in the movie decided to make a statement tomorrow about how much Arthur Fleck wants to bone women I’d just say “shit, idc, I’m afraid you made a gay movie about Arthur Fleck, a gay man, it’s a little too late to retcon this bitch now ¯\_(ツ)_/¯”. Also this is over 2,000 words long what the fuck I am so sorry

[remainingso]

WHAT ARE YOUR THOUGHTS ON KING OF SCARS???

HELLO FRIEND okay so uhhh i hope you wanted (-checks word count-) nearly 2.5k of meta. Because. That’s what I have. I clearly have so many thoughts on King of Scars. 

So without further ado, let’s dive in!!! (spoilers ABOUND like literally EVERYWHERE under the cut) 

To start: I wanted to love this book so, so badly. In fact, I find it basically unratable? I loved the first 50% with my entire heart and the latter 50% just felt like… the world’s longest disappointment. Ultimately I think this book could’ve been so much more, and the reason I’m kind of mad at it is that it promised me so many things that it never ended up delivering on.

So! Sections, because I’m articulating my salt, dammit.

on breaking open your world

One of the things I loved the most about the first part of this book was the sense of scale we were finally getting from the world. it made sense for Ravka to be isolated in the original trilogy—the whole plot was about getting rid of the Shadowfold to open it back up to the rest of the world. And we got glimpses of the wider Grishaverse politics in Crooked Kingdom especially. I thought King of Scars was going to finally be the book where we go GLOBAL in scope. I adored all the political talk early on—I genuinely thought we were building up to some sort of fantasy World War I! The Zemeni navy starting to challenge the Kerch hold on the seas! Messy alliances between the countries!

I wanted so much more of that—I wanted to know more about why there was war brewing. A lack of resources? The Zemeni new and hungry and eager for more? Fjerda wanting a holy war against the Ravkan Grisha presence? Kerch Greed? I wanted to see what Ravka looks like at war with something outside of itself. I wanted to see Nikolai struggle over how to protect his people and his land. I wanted to see him mess up. I wanted to see him make difficult decisions about how to govern.

Instead, I got half a book of…training montage.

And instead of widening the world globally, we got a lot of Lore.

(Just so much Lore. I really didn’t need to know the origins of why the Grisha are named after a diminutive of Grigori, man. That felt lame and kind of defensive after years of that criticism lol.)

Right off the bat: I didn’t like the revelation of the Saints being real. I didn’t like the weird in-between location Nikolai and Zoya spend literally half the book in. First of all, I never thought that Bardugo’s magic system was built on the most solid of foundations, and I think that this attempt to deepen the mythos, essentially, does more harm than good. I end up with more questions than answers: how does it count as mutual sacrifice when you make an amplifier if you don’t actually die and there’s one obvious dominant consciousness? How does it work that you can become one with an amplifier and then someone else can then become one with you+amplifier? Is there a limit to how many times you can do that? WHY were these particular Saints drawn to the shadowfold? And, beyond that, what are the Saints in service to? I think Bardugo tried to dig into the nature of her religion, but I don’t understand the fundamental Core to this belief system: who’s god? Without god, who are the Saints being martyred for? And when people pray to the Saints, what values are they purporting to uphold? I feel like these are all sort of central questions you need to make clear when you go deep into religious world building, and because she focused so much on the Saints without answering those questions for me, it ultimately felt kind of cheap and hollow.

And because Nikolai & Zoya are…basically stuck there for the whole second half of the book, we don’t get to see them actually interact with Ravka as it is? There’s a lot of narration about Nikolai thinking of what Ravka means to him, but that’s ultimately meaningless for me if I don’t see him make any decisions in service to her. He’s isolated and cut off from the government! This is a book about a King who never does any real King-ing.

the feminist aesthetic

This book has a very empowering aesthetic. And by that, I mean it claims to be empowering without actually supporting that with textual events. There are a lot of nice quotes about powerful women, but at almost every single turn, it undermines the power the women in the book have.

so Let’s Talk About Zoya

I love Zoya! I think YA needs more girls like Zoya, who are unapologetically mean, who gets to be ruthless and prickly and aren’t seen as wrong for it. I love that Nikolai clearly wants her to step on him. I love so much about her.

What I don’t love is how the narrative treats her.

I don’t like that she lets herself be drowned over and over and over, all so Nikolai can level up—and she doesn’t even punch him in the face for it after? She just literally smiles and lets it happen. Why does she have to be reduced to the precious thing he’s fighting for? Why does she have to suffer to force him to action? I love that Nikolai thinks Zoya can be Queen—but, does he really? He says he does. But he literally doesn’t listen to her a single time in the book. And she has good suggestions! Killing his dad? Would’ve solved their problem at the end where he aligns himself with the Fjerdans. Not listening to Yuri? Would’ve solved their entire Darkling problem by the end. Pick a bride? Stay in Ravka? Kill the Darkling at the end? All really good ideas! The book tells us that Zoya can be queen, and then spends the entire run-through relegating her to support role. What does Zoya do for herself? I don’t like that in order to have her “level up” they took away her power, and then had a man give her his power in order for her to thrive.

Okay so this line: “Men looked at her and wanted to believe they saw goodness beneath her armor, a kind girl, a gentle girl who would emerge if only given the chance.” I LOVE this idea so much. I love the notion of like a girl who doesn’t need to be saved, because she isn’t soft underneath; she’s all steel. But I can’t help but feel like the scene where Zoya confesses how she got her amplifier in the first place basically entirely undermines this concept. I thought, going in, that we were going to get a story about baby Zoya who snuck out in the middle of the night to stake a kill for herself, a baby Zoya who stole the tiger out from under everyone’s nose because she was wanted to show them all she could do it, and she didn’t mind the blood on her hands. I don’t like that we got a story about how she wanted to protect the baby cubs instead! I don’t like that this bonding moment between Zoya and Nikolai is one where she…reveals the kind, gentle girl underneath her armour. I didn’t want the story of how she got her power to be rooted in her secret maternal compassion for baby cubs; I wanted her to be ruthless. I wanted her to have killed and regretted it, maybe. I wanted that moment between them to be one where she tells him about her raw ambition and bite, and he understood that about her.

I’m not super here for all the… women have to suffer in order to Overcome vibe either? I mean it’s Bardugo’s prerogative, and I’m not saying it’s problematic or anything, but just that she has a history of making female characters necessarily suffer for growth (see: Genya, Inej) and I don’t like how Zoya’s trauma backstory with being exploited by a shitty man falls into that pattern. Why can’t she have been just angry? Why does she need a reason?

the shu han problem

I’ve had a long-standing issue with the way the Shu have been depicted in the Grishaverse, and this book did nothing to alleviate that. To start off, the strange Mongolia-China mashup culture is problematic in and of itself. In the Original Trilogy, we get the sole asian martial artist teacher trope full blast; not good! I never talk about this, but I actually hated how the Shu were treated in Six of Crows. I really do love that duology, but I sure don’t like that the Shu are…basically one dimensional villains throughout. The committee gets called “greedy” explicitly out of all the other committees present at the auction in Crooked Kingdom? Kuwei doesn’t get to speak for himself, and his entire storyline is basically a proxy for Jesper and Wylan to get together. I still don’t even know what his personality is like.

So I went into King of Scars hoping for…something more. Something better. And I mostly came away cold.

I still feel like we don’t know anything about Shu Han. Sure we know they have poetry. And a single instrument. But the matriarchy thing is so often used as a lazy shorthand to make a foreign country seem interesting and more foreign that I feel like it doesn’t tell us anything. What’s their word for Grisha? What’s their relationship to the Grisha? Are they evil, like in Fjerda? Wanted, like in Ravka? What’s their religion? What do their people believe in? Why do they want to go to war with Ravka? We’ve seen nuance in how a country can be a beautiful place even if its government holds terrible tenants: look at Fjerda. Why don’t we have the same nuance here? Sure, Tolya and Tamar exist, but they’re framed as like traitors? And on the Good side because of that? I don’t like that their number one allegiance is to a white girl, in the end. I don’t like that we got almost nothing from either Ehri or Mayu about their relationship to their country. I don’t like that Mayu was basically forced into helping her country, so we still have this… villainous view of the government & everything it stands for. I don’t like that Ehri is literally still a disposable girl, DESPITE that we supposedly have this matriarchy happening. I don’t like that they’re literally forcing her to marry Nikolai. I don’t like that they framing is the benevolent (white) protagonists, swooping in to save this naive princess from her monstrous home country.

I think Isaak’s POV is ultimately kind of useless and only there so we feel sad about him dying at the end. Functionally, we don’t need Isaak’s POV to know that there’s a fake Nikolai, and not much actually happens that only he can know about. Why couldn’t we have gotten Mayu’s POV? We know Nikolai’s elsewhere; so as soon as “Nikolai” shows up we’ll know he’s a fake. Why don’t the Shu get a voice?

the man of the hour

hey if you’ve made it this far, I’m going to talk about the Darkling now! (…yay?)

So this book spends like 90% of its run subtly reinforcing that the Darkling was Wrong and his ideas were dangerous and that overall he was bad for Ravka. it’s hard not to see this in a sort of metatextual bent—a lot of what Yuri espouses is what the fandom reaction to the original trilogy was and continues to be: That he could’ve ruled Ravka and led them into glory. That he was misunderstood. That he deserves to be worshipped. And I thought the existence of the Cult of the Starless Saint was a clever nod, a sort of guiding hand for Bardugo to reinforce the message of the original trilogy. That message being that like, guys, he’s kind of a shitty dude. And would’ve been a bad leader. I thought there was something really interesting she was doing here about how people always will gravitate towards powerful demagogues. That powerful men often are heard above all.

But I thought she was going to like… refute that. Alina’s entire war was to get rid of this fucker. The original trilogy told us that powerful men can be defeated. That who we should want to emulate instead are the girls who fight against them.

And now he’s back.

I can’t help but feel betrayed. I can’t help but feel like bringing him back, especially as the culmination of the book, reinforces the idea instead that, actually, the whole goddamn grishaverse revolves around him. That Yuri was right. Because he was. He was right about the visions, he was right about the return of his saint, and so what does that mean this book is saying about the voice of this powerful men? That it deserves to be heard? The Darkling gets the very last word of the book—it’s hard not to think that this is what the whole thing has been building up towards, in the end.

I don’t actually think that Bardugo is trying to say that we should all worship the Darkling. But I do think that this was a clumsy move that inadvertently muddles so much of what came prior—and for what? A cheap twist?

on expectation and disappointment

again, at the end of all this, my point is that the core of my issues is that the book simply doesn’t deliver on a lot of what it set up. It feels like I read two different books. I don’t expect this book to be perfect, but I find it hard to forgive a lot of the faults I find when the feeling I came away from was ultimately…dissatisfaction. I felt empty, finishing. I feel empty thinking about it. I’m just really sad about all the things it could’ve been—because I think it could’ve been so great.

There’s so much I loved! Like I said, the entire first 50%? Gorgeous, magnificent, showstopping. I adored all of it. The underground bunker! The science and magic mingling! Nina and Matthias!!! And there’s stuff I don’t really want to get into because it gets nitpicky lol (some logistics stuff with Nina’s plotline near the end). But basically I likened reading this book to feeling like I was on a rollercoaster, and super enjoying the cranking climb upward for the first half, and then, instead of the swooping, exhilarating fall, the entire track just collapsed underneath me.

So that’s where I’m at. I’m happy to talk about it and I really enjoy discussing the parts I loved! And I’m happy to field anyone who wants to tell me why they loved it, because, again, I would love to love this book. Please. Convince me. But at the end of the day, I’m sad and I’m mad and I’m disappointed. What a bummer.

[borom1r]

okay so character asks: king einon, johnny, & corinthian (though I have barely any idea who these three are except for what I hear from you/another mutual in regards to corinthian), and just for funsies, mallick and/or rigg <33

BARKING omg. hi ok.

Einon—

First impression: The Worst (affectionate)

Impression now: The Worst, But God He Had Potential (extremely affectionate)

Favorite moment: UM. HM. probably when he’s dueling Bowen near the waterfall, bc I love how it parallels their opening duel when Einon was just a boy

Idea for a story: honestly I would just b interested to see how his life would’ve developed had Bowen grabbed him and taken him with on his dragon-hunting quest. He was fourteen years old and stupid and raised by a cruel violent man. No fourteen year old kid is an irredeemable monster.

Unpopular opinion: BFHSHFHD I think just that he HAS depth and nuance etc is fairly unpopular but also there’s like. 3 people and a shoe active in the dragonheart fandom so what do I know. everyone else seems to outright hate him tho (which like, fair)

Favorite relationship: Einon&Bowen obviously. I’m a sucker for tragic mentorships + doing everything you can to save someone only to realize you’ve done too little much too late

Favorite headcanon: hmmmmm part headcanon I guess and part just literal textual evidence within the script but he does. genuinely. regret what he’s become. it’s not a regret he allows himself to dwell on but he knows he’s not what Bowen wanted him to be and he did genuinely look up to Bowen and desire his approval.

Johnny—

First impression: you are extremely hot and extremely terrible

Impression now: he would actively make me worse but unfortunately I want to fuck him and listen to him talk abt religion and barcodes and society’s decline. I think he is tragic and interesting and fucking rancid.

Favorite moment: the entire bit with the night watchman or the ending confrontation with Sebastian

Idea for a story: I don’t really have one fbshfhhsjf I just want to listen to him talk for hours.

Unpopular opinion: I think he’s a better, stronger character for being a fucking awful person. He wouldn’t be nearly as complex if we didn’t have to grapple with the fact that he is morally bankrupt from the beginning, making that the groundwork for his intelligence and finding out about the abuse he suffered etc etc VS the other way around

Favorite relationship: ok I think we get the most interesting interactions from him and Brian, but I think my favorite is definitely Johnny/Louise. their dynamic is so interesting and the old love, the tenderness between them

Favorite headcanon: ogh idk if I have any real headcanons for him? tho I do reeeeeeeally reaaaally wish I could see the improvs all the actors did. I need to pick David’s brain about this character bc David read everything Johnny referenced and built all his theories himself like that’s all. David.

The Corinthian—

First impression: neutral, surprisingly

Impression now: That Nightmare Sure Can Transgender

Favorite moment: from the show, when he’s getting ice cream w/ Jed

Idea for a story: idk that I have one bc I’m not suuuuuuper attached to him? he’s funky but not Necessarily my favorite

Unpopular opinion: again idk that I have one??? I like him. he’s just doing what’s in his nature to do and that doesn’t make him unkind or arguably even a monster.

Favorite relationship: hmmmm him n Jed! I just like the juxtaposition of his kindness to this kid even if it’s ultimately a means to an end— it’s self-serving but he also didn’t HAVE to do what he did. idk he’s just a guy. a freaky little guy wanting to experience things

Favorite headcanon: idk that I’ve seen a lot of headcanons?? or have a lot for that matter. bfhshfhs

Mallick—

First impression: this guy. is kinda lame

Impression now: I love the Mallick that exists in my head. canon Mallick is still. kinda lame. he’s my specialist little boy tho

Favorite moment: literally all of them fbshhfjdj he’s not onscreen enough or shown with enough depth for me to pick a favorite. unfortunately his scenes are. the same all the time

Idea for a story: hmmmmm you’ve heard most of my meta for him I just love anything w him n Brit or anything w him in th fuck-off big SAW polycule

Unpopular opinion: dunno that I have one. everyone I’ve seen who likes Mallick seems to agree he is just the most specialist little guy that we all love to see

Favorite relationship: him/Brit obvs

Favorite headcanon: HM. if Brit survived, I love th idea that he starts to grow into himself n that means being Loud and Bright

Rigg—

First impression: I like him :)

Impression now: i like him! :)

Favorite moment: it’s a little scene but I love when he’s talking to Eric while they’re getting ready in 2 and Eric smiles. idk I like their friendship I wish we’d seen more on-screen

Idea for a story: HMMM idk abt STORY but I love yr Rigg/Tracy/Alison polycule which obvs got adopted into the Ridiculous Big Polycule. blessed concept

Unpopular opinion: idk that I have one??? I feel like Rigg is fairly neutral

Favorite relationship: him/Eric or him/Gibson. obvs without splitting him up from Tracy. very much a “this is my husband Daniel, and this is my husband’s boyfriend [insert name]” situation

Favorite headcanon: that he and Hoffman came together to look out for Daniel (Matthews) after 2.

[davidmann95]

Any particular thoughts on the all star superman version of Superman ?

I actually plan on doing a substantial All-Star-based series of posts later in the year to celebrate the 10th anniversary of its conclusion and Superman’s 80th in general, but the more I thought about it, the more I figured a more focused, isolated look at this guy himself was worthwhile. Because as much as he’s thought of as the broadest possible encapsulation of the vague principle of Superman-ness - as Morrison basically put it, the Superman you see on cereal boxes given his own miniseries - there’s a lot more to this guy in terms of character than he’s typically given credit for.

Above all, there’s that aura of his as the ultimate Perfect, Good Superman people like to talk about, whether praising it as one of the purest takes on him, or ridiculing it as reductive or naive and suggesting this is just a book about how great he is…which fascinates me, because that’s not how he’s textually framed at all. There’s none of the fawning at his feet and monologuing about he’s the best of all the superheroes that’s so often used to prop him up in the ‘real’ DCU - the whole Daily Planet crew is pretty chill around him, Quintum’s concern over his impending demise is rooted in the practical matter of Earth’s ongoing protection rather than the loss of a shining moral beacon of inspiration for humanity, and even milquetoast easily-stunned Clark’s opinion on him only amounts to “I’m fine with him. He’s always been friendly around the office”; when asked about whether or not Superman’s presence on Earth alters or undermines his sense of place in the universe, he dismisses it with a simple “Our jobs don’t tend to overlap”. The only characters who recognize Superman as ‘important’ are time-travelers in the know of his ultimate legacy, Luthor whose obsession with him is blatantly a matter of his own insecurities, the inhabitants of Earth-Q who only have him as an ideal, and the spirit of Jor-El in the final chapter who, living outside existence as we know it, can be assumed to be bringing some otherworldly wisdom to bear. By and large, this is a world where while people like and appreciate and look up to Superman, it’s not one where he’s regarded as a transcendent figure while still among us and treated as such. When we think of him as magnificent in this story, it’s not because he’s sold to us as such, but because he does magnificent things.

He hammers out suns to feed his pets before letting them loose into the universe, answers impossible questions and makes life and forgives those seemingly unforgivable. You can tell he’s putting on the beaming Superman smile every now and again (look at his grin when waving at the train station), but throughout the bulk of the book he keeps his sense of calm and understanding about him in even the maddest of circumstances. It’s a demeanor that’s been so perfected and a temperament so natural to him it’s easy to take that as the summation of who he is, a flat if charming tour guide to the strange world around him and the moral lessons it has to impart. But look closer in almost any given issue and you’ll see the heavier, bleaker emotions wrestling their way out. His awkwardness and guilt in the second issue, his jealousy and nervous tenderness in the third, mortal fear the next, simmering rage and resentment after that, cockiness and utter grief, desperation, awe, fear, exhaustion, and on and on. The roiling emotions we see in him when he’s just starting his career aren’t something he grows out of, but integrated healthily into the day-to-day functioning of his adult life (with Clark in particular serving as something of a release valve for his his worst attributes, at least in what might be considered his own estimation).

For the most part.

The one thing he doesn’t quite have under control - the big emotional throughline of the book for him as a character - is that he has completely fucked up his relationship with Lois, and he knows it. She may struggle with accepting Clark as a valid part of him (though she does in #9 when she’s told the truth about the condition, demonstrating that acceptance in #10 by forcing the issue of his mortality), but the love he has for her and always will can’t in this case overcome time forever nipping at his heels. He has any number of deadly ticking clocks hanging over his head at any point in this book, and it seems likely this has always been the case for him given he seems genuinely surprised when Lois actually lays out how creepy his Silver Age identity shenanigans were. He’s been alone in his power and his perceptions and his mission for so long that sometimes he seems to miss some of the nuances of human relationships, not quite getting that selflessly sacrificing all of himself hurts those who care about him as a person rather than a savior, and it’s only with death hanging over him that that side of his life starts to become a priority along with saving the world, contriving a way for Lois to see things as he does - a move that while well-intended doesn’t actually solve the problem the way honesty manages later on. Among many other things, All-Star is a book about Superman finally being run so ragged that he’s forced to get his emotional shit together in time for the finale.

So why the reputation as the perfect guy even among other Supermen? Because for all that, for all his legitimate issues and outright fuck-ups, he squares his shoulders and does the job no matter where it leaves him at the end of the day. He’s got baggage like the rest of us, but he finds mostly effective ways to cope and places to express himself, and when people rely on him he puts his best foot forward and tries to show and be the best of himself, until he’s finally refined into the gold of a legend that leaves behind all those mortal limitations to shine down forever as an idea that people would go on to think of the way we think of Superman, while still forming a bridge to us through coming together with Lois after all to give rise to a line of Superfolks to look after us. He’s not a god in the sense of being a perfect being without flaw, even once he becomes a golden future man who’s given life to dead worlds he still stammers sometimes, but he does the job and he does it with conviction and he does it right, and that in the end was more than enough.

[elizabethrobertajones]

You know, I desperately want Destiel to be end game as much as anybody, but somedays I think I would just be content if the show just textually acknowledged that Dean's bi. Something as simple as a dude at a bar asking Dean to come home w/ him while they're on a case and Dean saying something like "any other day I'd take you up on that but I can't tonight." IDK the subtext that Dean is bi is strong enough that I can't say the GA would be shocked by it and it would just be a nice textual nugget.

Hey, sorry it took so long to answer this, I’ve not been at my best for ages… Been thinking about this all week though :P 

I think it feels to me like the general audience can discard or mentally discredit an AWFUL lot of implication and direct hints - there have been comments and moments in many bits of media which imply directly or with heavy innuendo that a character may be interested in a non-hetero way to someone - especially things like teasy moments… 

Thinking of things like in HIMYM there’s an ongoing joke about Lily having a crush on Robin, but since she’s with Marshall the entire show, it doesn’t really go anywhere, and when they do kiss the dynamic swaps and Robin is left with kind of a crush on her and Lily’s over it and it’s all a joke, and even though they kissed it was a lol girls kissing is hot joke for the whole show, and it never turned into a discussion of sexuality, even if they would both happily stay married in their heterosexual marriages. (And… Uh. Robin stays married okay, I’m pretty sure that was the alternate ending in the DVD unless I hallucinated it out of sheer frustration >.>) Anyway to me it seems pretty natural to read both of them a little queer to full on bi, and if it had gone even a little bit differently Lily especially could be good representation for a bi woman in a relationship with a man who just happens to have ended up falling in love with him and that’s normal and doesn’t invalidate her sexuality? But yeah. No such nuance, so this whole thing barely registers for people and in general people would think it’s all a joke. 

I mean, even Crazy Ex-Girlfriend, which is where that Getting Bi song comes from, has an episode where the main character has a huge rival-crush on the girlfriend of the guy she’s into, and gets so into her she even kisses her, but there’s no exploration of what that means to her and when her boss comes out as bi with that number, no exploration of if she might be as well, even if all these characters eventually might feel more comfortable defining themselves as straight it’s just weird to me there’s all these jokes about it which can go as far as kisses, use overly romantic language or a long-running joke of Lily heavily coming onto Robin or something, and yet unless you’re like a magpie collecting all this stuff it’s all still just noise. 

I bet a ton of people would not even have considered the characters were not-straight, even when directly pointing their eyes at this moment, consider it all as a joke or that it’s just something straight people do sometimes because of the cultural massive repression of bisexuality and the indications in more liberal times and places that when polled people will be majority queer to straight with at least some bi leanings… There’s all these headlines about gen Z being the gayest generation yet, but it’s not something in the water, it’s that previous generations have never dared be as open or consider that they’re non-straight, especially if they are easily attracted to people heterosexually… 

I think the Aaron scene was 90% of the way to what you are describing, minus Dean giving him a raincheck overtly, and Aaron admits it was a ruse before any further tension can follow. I think, having snooped a lot of blog archives in my time, that really was a turning point that got a lot of people convinced of the textual possibilities, especially with the director/writer commentary basically confirming it. And obviously it didn’t work to make EVERYONE see it, although fandom swelled that season and it was a very dramatic moment in the history of bi!Dean and Destiel within fandom. 

To give another example from outside the show, I’ve been watching Black Sails with my friend, who is very straight in mindset, and - major spoilers for that show ahead - the main character is confirmed to be overtly queer in the  middle of the second season. I think I know exactly the point I would have picked up this was a queer narrative in the first season, and what would have made me suspicious about the mysteriously un-revealed backstory. The build up to the reveal was amazing in the second season and I think if you didn’t get it you really need to do a rewatch, because my friend was utterly blindsided by the revelation, only catching on a scene before it happened (she does like guessing and is smart at TV if she knows all the cues to start with). But she’s - sorry - at sea with the character’s motivations and reasons, and understands his earlier actions almost completely backwards to me as she took him on face value for far too long without suspecting there was more than treasure and restoring his name on order, and not understanding his motives to be so political or to want to burn the entire system down or his utter alienation from the system; even after the reveal she didn’t understand the degree to which things were on the line or the forces pressuring him one way or the other. 

(I find it really interesting and I’m not really disagreeing with her, I’m curious how the surface layer all reads tbh :P) 

In any case, I don’t really have much confidence in a wider general audience taking throwaway moments to be full canon, and generally would need declarations and inescapable discussion or plot arcs for it. I think in some ways the trail is being blazed now - when Rosa came out as bi in b99 it had a sort of special episode educating you on it as much as being very sympathetic for bi people to watch and see literally a bulletpoint list of their issues and weird things people say about it acted out on screen. The subplot is basically the masterclass in addressing it. 

(So is the Getting Bi song :P although it covers less of the issues overall, it does make it fun and normalises the idea into a dance routine and deals with someone discovering the label for themselves and being thrilled it makes their life make sense.) 

I don’t think spn should do anything quite so specific or hilarious, but I love @bluestar86‘s concept of an episode which uses flashbacks to reveal Dean’s bisexuality - basically like with Robin in 9x07, but I think even just showing it was a childhood crush and he never figured it all out at the time but meeting the guy later in life makes things make a lot of sense or something… And we already have a template for that without going all the way into it with his reaction to meeting Gunnar Lawless, a childhood celebrity crush. So there’s paths to take which could do it.

But ultimately I think the issue is so messed up and tangled into the main arc that it would be next to impossible to confirm Dean is bi without having an utter drama about why not Destiel, as the two concepts are not, at this point, really separate or that you could have one without the other, though it would be easier to not address Dean’s sexuality in any way of assigning labels or having more than the immediately necessary self-reflection to deal with feelings for Cas without exploring deeper… (Not that I like that idea, it’s just, they could, you know? Not even in a “i don’t like labels” way but just something like Dean going “huh” and then getting together with Cas and literally no one ever makes a fuss or starts up a dialogue about why they’re now holding hands :P) 

But it’s been such a ridiculous, epic, drawn out relationship on screen that making Dean bi independent of Cas would seem bizarre and off-balance without addressing his relationship to Cas. Just because they have such an intense relationship, and within the text of the show are many many references to their relationship on many different levels, from snide comments to enormous declarations. None of this happens in isolation to other storylines or character depth. With the momentum and depth it has in the story, making Dean bi would be seen as a precursor to Destiel, and at this point cruel and strange not to address it and would beg the question of why they ever confirmed him bi in the first place, if not to leave the ship unresolved to the end but to be open for us to imagine it might happen one day when the story is over - or not, if we don’t ship it, and it’s the way to thread a needle to try and keep everyone happy. Which I’m not sure would work except for the people who very specifically would advocate for bi Dean but don’t think a ship is necessary. I mean, I know that’s a chunk of the Dean fandom, and it’s a valid way to read the text, and of course a lot of Destiel shippers are fully aware Dean is bi without any special interference from Cas about that :P 

And, I mean, in the same way, Cas’s story isn’t ALL about Dean and he has a lot of personal growth that doesn’t have to do with him or happens in spite of him in some cases. But it’s still inextricable from Cas’s character how much he loves Dean and how much Dean has meant to him, and they crossed the line of Cas loving Dean, unrequited or not, a long time ago, and Cas has been existing in a subtextual agony of being in love with Dean but seemingly unrequited for a very long time now, as that line was crossed before several season renewals made it  a painful wait for him. This doesn’t exist in a void to Dean’s sexuality either. 

So, I mean, I don’t know. I disagree with you about the general audience thing entirely, and I think this exchange you imagine could easily be absorbed by the GA to not really credit it as a full part of Dean’s character, laugh it off as a joke from him no matter how seriously he delivers it, and generally not remember him as a bisexual character. Because to straight viewers, they aren’t seeking out sexuality hints and confirmations, and such things don’t really affect their view of a character unless it becomes a textual romance. It has all the meaning sucked from it by their lack of interest and inability to sympathetically mould the character’s inner life based on their own experiences that match. If they’re not making a study of the character, these things can be dismissed as white noise, and in a few years time, a Buzzfeed article of “10 Pop Culture Characters You Never Knew Were Gay!” or something.

And it’s like, yes. We knew. We knew all along. We knew before it happened. But that doesn’t affect how people think of it.

So it feels to me like the only way if they wanted to make a real point of Dean being bi is to have the frank discussion, and devote a proper subplot amount of time to Dean’s sexuality, enough that it is clear and inescapably affecting him, or to confirm it via a relationship which would in this case conveniently by answered by the angel he’s been subtextually pining for for years, and who has his own arc of being pretty overtly in love with Dean to answer… should the show decide to go with addressing Dean’s sexuality, they have put a LOT of work into having this relationship ready and waiting, I’m just saying :P And if they only had an Aaron but x10 scene, it would STILL not really affect anything except layers below GA  - there’ll be more queer viewers who see it for the first time, and within these four walls it will obviously never be forgotten and will be a huge part of how Dean is celebrated by fandom, but I just can’t see it making an impact unless it’s more than a passing moment, because those get swallowed by a heteronormative void…