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writingwithcolor · 11 months ago

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[Running Commentary] Zombies are Zombies: Cultural Relativism, Folklore, and Foreign Perspectives

She obviously started getting into media in Japan, and (from my research into Japanese media and culture), Japan’s movies about zombies are mostly comedic, since due to traditional funerary practices the idea of zombies bringing down society is ridiculous to a lot of Japanese people.

Rina: OP, this you? https://www.tofugu.com/japan/japanese-zombies/

Marika: Counterpoint: Parasite Eve. Resident Evil. The Evil Within.

Rina: Literally all the grody horror game franchises that people forget were developed and written by Japanese people because the characters have names like “Leon Kennedy” and “Sebastian Castellanos”

~ ~ ~

Based on the reception we received the last time we did one of these, the Japanese moderator team returns with another running commentary. (They’re easier to answer this way) (Several of Marika’s answers may be troll answers)

Our question today pertains to foreign perspectives on folklore—that is, how people view folklore and stories that aren’t a part of their culture. CW: for anything you’d associate with zombies and a zombie apocalypse, really.

Keep reading for necromancy, horror games, debunking the Sapir-Whorf hypothesis, Hong Kong jiangshi films, Japanese disaster prep videos, and Vietnamese idol pop...

Essentially, in my story there’s an organization who wants to end the world. They think this one woman in particular, a woman of mixed Vietnamese (irreligious, Kinh) and Japanese descent who spent her formative years in Japan, is the person to do it because she’s (for lack of a better term) a necromancer; powers are semi-normal in this world. She prefers not to use her powers overall, but when she does she mostly talks to ghosts and spirits that are giving people issues. She could technically reanimate a corpse but she wouldn’t because she feels that would be morally wrong, not to mention she couldn’t start a zombie apocalypse in the traditional sense (plague, virus, etc.) in the first place.

(Marika (M): Your local public health officials would like to assure necromancers that reviving the dead will not provoke a zombie apocalypse. This is because necromancy is a reanimation technique, and not a pathogenic vector. Assuming that the technique does not release spores, airborne viruses, gasses, or other related physical matter that can affect neighboring corpses in a similar way, there should be no issue. However, necromancers should comply with local regulations w/r to permitting and only raise the dead with the approval of the local municipality and surviving family.)

M: I think it makes sense for most people of E. Asian descent, including Japanese and Vietnamese people, to find it culturally reprehensible to reanimate the dead. I imagine the religious background of your character matters as well. What religion(s) are her family members from? How do they each regard death and the treatment of human remains? Depending on where she grew up, I’m curious on how she got opportunities to practice outside specialized settings like morgues.

M: It’s true, space in Japan is at a premium, even for the dead. You note that most of Japan cremates, but, surely, it must have occurred to you that if there aren’t that many bodies in Japan to raise…she doesn’t exactly have much opportunity to practice with her powers, does she? I yield to our Vietnamese followers on funerary customs in Vietnam, but you may want to better flesh out your world-building logic on how necromancy operates in your story (And maybe distinguish between necromancy v. channeling v. summoning v. exorcisms).

Rina (R): OP, this you? https://www.tofugu.com/japan/japanese-zombies/

M: Counterpoint: Parasite Eve. Resident Evil. The Evil Within.

R: Literally all the grody horror game franchises that people forget were developed and written by Japanese people because the characters have names like “Leon Kennedy” and “Sebastian Castellanos”

R: And yes, the Tofugu article uses Resident Evil and those games to support its theory, with the reason that they are set in the West. But that only suggests that Japanese people consider zombies a Western thing, not that Japanese people consider zombies nonthreatening if they were to exist.

M: Same with vampires - series like Castlevania also use Western/ European settings and not “Vampires in Japan '' because vampires just aren't part of our folklore.

(M: Also, realistically, these series deal with individuals who quickly perish after their bodies are used as hosts for the pathogen in question, rather than the pathogen reanimating a corpse. Although the victims are initially alive, they soon succumb to the pathogen/ parasite and their organic matter then becomes an infectious vector for the disease. It should be noted, infecting ordinary, living humans with viruses to grant them elevated powers, is not only a major violation of consent and defies all recommendations made by the Belmont Report (in addition to a number of articles in the Hague Convention w/r to the use of WMDs) and is unlikely to be approved by any reputable university’s IRB committee. This is why the Umbrella Corporation are naughty, naughty little children, and honestly, someone should have assassinated Wesker for the grant money.)

R: wwww

From what I know Vietnam didn’t have a zombie movie until 2022.

R: Do you mean a domestically produced zombie movie? Because Vietnamese people have most certainly had access to zombie movies for a long time. The Hong Kong film Mr. Vampire (1985) was a gigantic hit in Southeast Asia; you can find a gazillion copies of this movie online with Viet subs, with people commenting on how nostalgic this movie is or how they loved it as a kid.

M: “Didn’t have a [domestic] zombie movie” is not necessarily the same thing as “Would not have made one if the opportunity had arisen.” None of us here are personifications of the Vietnamese film industry, I think it’s safe to say we couldn’t know. Correlation is not causation. It’s important to do your research thoroughly, and not use minor facts to craft a narrative based on your own assumptions.

(R: …Also, I did find a 2017 music video for “Game Over�� by the Vietnamese idol Thanh Duy which features… a zombie apocalypse.)

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(R: The MV has a very campy horror aesthetic and zombie backup dancers (which I love, everyone please watch this lol). But the scenes at the beginning and end where people are biting their fingers watching a threatening news report clearly establish that the zombies are considered a threat.)

So at one point, she laughs about the idea and remarks how ridiculous it is to think zombies could end the world. What I’m struggling with are other ways to show her attitude on the issue because I’d assume most non-Japanese readers wouldn’t get why she thinks like that. Are there any other ways to show why she thinks this way, especially ones that might resonate more with a Japanese reader?

R: The problem is this does not resonate in the first place. Your line of thinking is too Sapir-Whorf-adjacent. The Sapir-Whorf hypothesis, otherwise known as linguistic relativity theory, claims that language shapes cognition—that you can’t conceive of something if you can’t express it in your language. This is a very weak theory that you can easily bring evidence against: think of the last time you felt an emotion you had a hard time putting into words; just because you didn’t have the language for it doesn’t mean that you didn’t feel it, nor does it mean that you won’t be able to understand or recognize it if you feel it again. Similarly, it’s not a sound assumption to say that if some kind of subject matter does not exist in a culture, then people of that culture couldn't possibly conceive of it. This excerpt from linguist Laura Bailey sums it up quite well.

M: Just because ghosts may be more culturally relevant doesn’t mean that zombies (or vampires, or whatever) are nonexistent in a Japanese or Vietnamese person’s imagination when it comes to horror and disaster.

R: Really, if anything, Japanese people are much more attuned to how easily a society’s infrastructure can be destroyed by a disruptive force without adequate preparation. Japan is natural disaster central. A Japanese person would know better than anyone that if you aren’t prepared for a zombie epidemic—yeah it’s gonna be bad.

M: Earthquakes, tsunami, typhoon, floods: Japan has robust disaster infrastructure out of necessity. 防災 or bousai, meaning disaster preparedness is a common part of daily life, including drills at workplaces, schools, and community organizations. Local government and community agencies are always looking for ways to make disaster and pandemic preparedness relevant to the public.

M: Might “zombie apocalypse prep as a proxy for disaster prep” be humorous in an ironic, self-deprecating way? Sure, but it’s not like Japanese people are innately different from non-Japanese people. Rather, by being a relatively well-off country practiced at disaster preparation with more experience than most parts of the world with many different types of disasters (and the accompanying infrastructure), it likely would seem more odd to most Japanese people within Japan to not handle a zombie apocalypse rather like might one handle a combination of a WMD/ chemical disaster+pandemic+civil unrest (all of which at least some part of Japan has experienced). Enjoy this very long, slightly dry video on COVID-19 safety procedures and preparedness using the framing device of surviving a zombie apocalypse.

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M: Living in Los Angeles, I’ve often experienced similar tactics. We do a fair amount of advance and rehearsed disaster prep here as well. In elementary school, the first and last days of class were always for packing and unpacking home-made disaster packs, and “zombie apocalypse” simulations have been around since I was in middle school for all kinds of drills, including active shooter drills, like the one shown in this LAT article. The line between “prepper” and “well prepared” really comes down to degree of anxiety and zeal. So, it wouldn’t be just Japanese people who might not be able to resonate with your scene. The same could be said for anyone who lives somewhere with a robust disaster prevention culture.

M: A zombie apocalypse is not “real” in the sense of being a tangible threat that the majority of the world lives in fear of waking up to (At least, for the mental health of most people, I hope so). Rather, zombie apocalypse narratives are compelling to people because of the feelings of vague, existential dread they provoke: of isolation, paranoia, dwindling resources, and a definite end to everything familiar. I encourage you to stop thinking of the way Japanese people and non-Japanese people think about vague, existential dread as incomprehensible to each other. What would you think about zombies if they actually had a chance of existing in your world? That’s probably how most Japanese people would feel about them, too.

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capybonara · 2 months ago

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Kingdom of the Dead

Today we dive into parts of Zorca culture and history!

Original post that inspired this is found here!

Unlike most zora, the zorca don't have a kingdom or territory to call their own. In the past, families have tried to settle resulting in disastrous consequences involving groups fighting for resources, and struggling to keep families fed. In the end, existing pods agreed it would be better for all to remain on the move.

The downside to their nomadic life is at times food can be scarce. Adults can go for days without eating but it takes a toll on children and pregnant women. A zorca needs nearly three times the nourishment while pregnant, and without enough it can't come to term. Over the years, zorca numbers have dwindled due to a high infant mortality rate or because many women abstained during lean times.

This has resulted in the zorca turning to monsters as a food source, including sea monsters, though the latter is a dangerous task. Monsters can tie a Zorca’s appetite over for a while, but due to a monster's connection to Gannondorf and the Blood Moon, pregnant women have discovered they carry little to no nutritional value so they avoid eating them and children are forbidden outright. (it's basically dubious food!)

Sea monsters can be a bounty but because they're so dangerous, Zorca don't hunt them often unless times are desperate or if the family feels their numbers can win.

Other families have resorted to scavenging to keep their numbers fed. And while it keeps the waters clean of refuse, it's considered taboo in “polite company” and zorca have been labeled as vagrants due to this behavior in some territories. It has also fueled horror stories that they prey on other races.

🐋 Relationships with the Zora

🫧 Hungry and with limited options, zorca families have turned to other zora for help. Envoys/diplomats like Kaska speak on their family's behalf, appealing to other territories for permission to hunt in their waters.

🫧 In return for hunting rites, zorca have offered their services as monster hunters, escorts, warriors, etc. Bards perform for the entertainment of others, and many trade hard-to-acquire items zora wouldn't normally be able to obtain themselves.

🫧 On rare occasions, a zorca or two have ventured inland, but whatever they brought back was never enough for their large families.

🫧 Every adult does their part to keep the family fed, but each year fewer children are born. Some pods have members from other pods who have long died off, leaving them as the last in their line.

❓Where did they come from? ❓

The zorca themselves don't know much about the origins of their birthplace. Was Gannon behind it? Did their ancestors cause their own downfall? Or is it something else?

The only clues to their history are from the songs of their ancestors...

🪕Bards and their role as historians 🪕

Because Zorca are always on the move and spend most of their lives in water they don't have the luxury of keeping records in books or scrolls. So bards have taken on the role of historian and record keepers. Particular songs have been passed down through generations, each telling a piece of the zorca’s history. And whenever possible, new songs are added to the collection, continuing the tradition of preserving their culture.

Songs of the past are already small in number, adding to the mystery of their origins. Matriarchs have charged bards to commit these songs to memory so they may be passed down, and many spend their entire lives studying the lyrics to uncover any meaning their ancestors may have left behind.

Elder bards will theorize and debate constantly with one another over lyrics. So far, the majority agree with certainty their ancestors dealt with a curse, and a lake might possibly be a place of their origin. As for the how, where and why, that remains unanswered.

The alarming question that hangs over the zorca is why are there so few songs from the ancestors. How did previous generations forget them? Did particular generations die off before they could be recorded? These are questions without answers and no clues on where to even start looking.

Experienced bards gladly take on several apprentices, and help them memorize the songs of their ancestors while also teaching them knowledge of the craft. Each young bard is taught the traditional ways of singing and can choose an instrument of their preference. By the time students complete their apprenticeship, they have discovered their own style and are encouraged to write their own songs and record what they see and experience.

🎶 The Archive of Hymns 🎶

While a bard is free to create what they wish, only certain songs are chosen to become part of the collection. It's a great honor to have a piece be added to the Archive of Hymns. If records of the past cannot be uncovered, then more stories must be added for the sake of future generations.

Not all songs crafted by bards are added to the Archive. They might have their own life expectancy by becoming folk songs! Unlike those recorded in the Archive, a variety of these songs are altered by other musicians and given exaggerated details with each telling, and some may be forgotten over time.

Young bards are never discouraged, however. Not every song needs to be profound. A bard has a job as historian but they also sing to tell stories that evoke emotion in their audiences!

🫧 How does a song earn a place in the Archive?

There are certain stipulations a song must meet to be added to the Archive. While meter is something every bard strives to perfect, it is the lyrics and the emotion they invoke which are the main focus. Songs that tell a story, and solidify a piece of their dying culture are few and far between, and treated like gold.

It was agreed generations ago that all history must be preserved. Even the stories that depict their people in a negative light. Every piece must be studied so it can help the zorca lead future generations on better paths than where they are now. The songs each bard creates are given to the council so they can be judged.

No one is turned away. Save one.

#my art #my ramblings #zora oc #zorca #i feel like my archive of hyms concept doesnt make sense but i feel like im repeating myself too much #im keeping their whole past vague right now for another piece of story i can hopefully post up in the future #i also somehow slipped in krogan culture into my zorca oops sorry not sorry

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literalliterature · 11 months ago

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I'm oblivious to DND so I'm very curious about Kenku's conceptually, but Yonder sounds like the Most Character ever. Corvids are so much fun/it tracks. Which of the asks did you want to get for them? Keet 🌂 Onyx ❤️✂️ Aisling: why does she feel trapped?

I love kenku and am so glad to finally play one. They are literally just little guys, to me. In the official lore, they are flightless and can only speak by parroting what other people say, but I found the second bit to be a bit too limiting for a player character. Instead, Yonder can speak more or less normally, but they are an uncanny mimic of others' voices and, when they're not paying attention, sometimes slip into the voices of others, including those who are no longer alive.

Anyway, in terms of the meme, the question of whether I would ever kill them off is interesting because uh. The short answer is yeah, maybe, lmao. They are actually quite afraid of dying and the associated rot and decay. However, they are currently trying to resurrect their dead family members (their older sister in particular), and since they are a character in a horror campaign, there's a good chance that will all end with them either dying (perhaps in order to take their sister's place) or becoming something that transcends life and death, in which case it's arguable whether they would be "Yonder" anymore.

🌂 What genre do they belong in?

I think Keet is pretty well suited to the adventure genre that she's in, but I have also said before that she kind of behaves as though she were a shounen anime protagonist lmao. Very power-of-friendship (and violence) kind of girl. Perhaps paradoxically, she also wouldn't be entirely out of place in some kind of horror/dark fiction, as we know now that her memory loss is due to her having died before and, long story short, she now sees dead people and has unlocked wacky psychopomp abilities that she doesn't know what to do with yet.

❤️ What is one of your OC’s best memories?

They have a lot of remaining good memories of the princess whom they loved and protected as a knight. While she had several lovers, including among her knights, she had various little ways of indicating in front of everyone that Onyx was particularly favored, and they remember all of those.

✂️ What is one of your OC’s worst memories?

In the first game that I played with them, there was a moment when an enemy hit them with a psychic attack of sorts that made them relive their single worst moment. As I told my GM at the time, what they saw was not discovering the princess dead, not being sentenced to death in the tar pits, but falsely confessing to the dead under torture.

I'm going to answer the question about Aisling under the cut due to spoilers. IRL people who play with me do not look please and thank you ckjdvbdvabg

When they were still a teenager, Aisling was imprisoned for killing a guard during a botched heist. Without going into detail, they spent a couple of years there (prior to breaking out and fleeing the city-state) being almost constantly dehumanized and abused in ways physical and psychological. Also, before all this happened, they had some pretty impressive fire powers, but as a prisoner, they underwent a ritual that prevented them from ever being able to channel that magic properly again. The magic still exists, though, and without a way to escape, it can do (and has done) a lot of internal damage to their body that is sort of reminiscent of certain autoimmune conditions. All of this combined means that, obviously, her life has been permanently changed in ways that she had no control over, and she simply cannot do a lot of things that used to come easily for her previously. (On top of the chronic pain, she struggles a lot with social phobia and borderline agoraphobia, for example.) Basically, no longer physically confined but constantly reminded of the limitations imposed on her by her experience, etc. etc.

#ddanieldemi #ask meme #keet #onyx #a #yonder #ravenloft #polished locks on ancient doors #time to start a keetcore tag ig

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holycatsandrabbits · 1 year ago

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Hey, writers! Looking to write a ghost story? There are 6 haunted posts on my Weird Wednesday blog, with writing prompts:

Crisis Apparitions: On the Border of Life and Death

Poltergeists: Noisy Ghosts

The Crossroads: Metaphysical Meeting Place

The Amityville Horror: Infamous American Haunted House

The Wild Hunt: Ghost Riders in the Sky

The Mysterious Ouija Board: Who Are You Talking To?

A prompt for the Ouija Board:

Call in the spirits. The Ouija board was built for necromancy: divination (seeking supernatural knowledge) from the dead. Of course, the practice of begging data from the dearly departed began long before the board came about. But the Ouija makes it easy. So let’s dial up the deceased. (Pro-tip: You can DIY a Ouija board by drawing numbers and letters on a flat surface and using an upside down glass as a planchette.)

Possibilities for benign contact include loving family members who pass on reassurances about the afterlife, ghosts with info on random stuff like lottery numbers, ghosts of murder victims who wish to name their killers, or creative types who want to help you write novels (looking at you, Patience Worth).

But of course, you can also phone up the fiendish: convicted killers, undiscovered killers, relatives you thought were kind who were actually killers, ghosts who like mean pranks, ghosts who just plain hate the living, and the biggest danger: dead dudes who would like to live a second life. Possession by spirits is a favorite Ouija trope, and you often get there by breaking a rule while playing the “game,” which can be anything you like: don’t play alone, don’t try to contact the very recently dead, don’t play without a piece of iron in your pocket, etc.

DannyeChase.com ~ Ao3 ~ Linktree ~ Weird Wednesday writing prompts blog ~ Resources for Writers ~ Newsletter

Image Credit

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the-insomniac-emporium · 3 years ago

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Mia Deserved Better: An Analysis of RE8's Themes/Symbolism

Foreword: I would like to thank @lepusrufus for posting about both Mia and Miranda, and at one point directly saying that Mia deserved better, which is a large part of what caused me to start examining her role in the canon story. Now, I will say that this post, like some of my previous explorations of Village (such as my attempt to determine Donna's age), will not be the best organized. My ADHD makes such things rather difficult for me. However, I have tried more than usual, and have broken up this "essay" into several distinct sections. Still, I am worried that my thoughts will not be as concise or coherent as they were inside my head.

Under read-more for length and spoilers for RE8: Village.

Introduction:

Village is, inarguably, about parenthood. Is it a horror game? Yes. Is it also science fiction? Also yes. But is it still, at its core, a story, and therefore contains imagery, symbolism, and themes? Yes. Now, you may be wondering what this has to do with Mia deserving better. My proposal is as follows: While Village is overall about parenthood, it is more about motherhood than fatherhood. Furthermore, Mia's background + actions from the previous game tie her story directly with Mother Miranda's, making their potential interactions massively important to the story... and could have served the theme beautifully. The missed potential in her involvement in the story is honestly a little bit absurd.

Now, let's examine each of the Four Lords + their sections, as the beginning of analyzing the game's theme.

Lady Dimitrescu + Castle:

Ah, perhaps the clearest (albeit unimportant) bits of theme within the whole game. We are immediately presented with another parent, with three daughters she loves very, very much. Initially they work as a team to capture Ethan, easily overpowering him. When they do split up, each still has dialogue regarding their family members. Each of the daughters expresses a desire to be like their mother/make their mother proud. Lady Dimitrescu herself gets very upset every time one of her daughters perishes, and delivers some important dialogue about this in her final confrontation with Ethan.

To paraphrase, Lady D says that Ethan has done something unforgiveable, caused damage that can never heal, and deserves to die before his daughter. That last part is interesting, in the sense that Lady D seems to believe that outlasting your own child is a fate so terrible that she would not wish it upon anyone, including the person who killed her daughters.

Throughout her dialogue and actions, Lady D serves as an important figure of a living mother. What do I mean by that? Well, the only other mothers we see in game are Mia and Miranda. The former doesn't show up until almost the end of the game (seeing as the "Mia" at the start is not actually the real Mia), while the latter does not have a living child, and her behavior has (presumably) changed quite a bit since that loss. As Ethan goes through Castle Dimitrescu, he watches (he causes) Lady D to go through what Miranda did all those decades ago. When we see her loss, when we experience her loss, it is something we connect with, even comparing it (as Lady D does) to Ethan's loss of Rose.

For the more visual side of symbolism, we can turn to Lady Dimitrescu herself. She is very tall, is visibly older than the majority of the Village cast, and has a fairly classic (old-school) motherly look. Everything about her reinforces her position as an example of a mother, especially when she's with her daughters and becomes such a strong figure of protection. Her height allows her to seem the caretaker for her children, even though they are scary/intimidating in their own right.

Donna Beneviento + Waterfall House:

Yes, the baby/fetus/monstrosity is part of this. No, it is not the only bit of thematic work in this section of the game.

To begin, you can find out that Donna is officially the adopted daughter of Mother Miranda. Her birth parents are dead, implied to be from especially tragic causes (more than is the norm when it comes to "orphan making"), and she has suffered greatly from it. We see that she has been seemingly neglected by Miranda, and is incredibly isolated. The tragedy of her loss, along with the consequences presented by it, are something to keep in mind further down the road, when we inevitably deal with Ethan's own death.

One of the consequences of the environment Donna was raised in is, arguably, her reliance on Angie. While interpretations of their exact relationship (aka how much control Donna actually has at any given point) vary, the two very clearly have something akin to a mother/daughter vibe. Alternatively an older sister/younger sister sort of thing. This shows in the way that Donna holds/carries Angie, as well as the contrast in their demeanors. Moreso, the fact that Donna gave a part of herself to create Angie is almost enough to make the symbolism nonnegotiable.

We also see that Donna has a strong understanding of family/family dynamics, through the way that she uses her powers to manipulate Ethan. She dissects his connections to Mia and Rose, taunts him with the lengths he's willing to go to save his child, then shows him a grotesque version of parenthood: The aforementioned fetus monster. Does the monster represent Ethan's fears, or Donna's?

What if the monster is how Donna sees herself, in some way, perhaps thinking that it's her fault her parents died? Bit of a stretch, but it's not a keystone of my theory, so I'm just throwing it out there. We could, however, go a step further and ask ourselves if Donna has noticed the way Miranda neglects her, and the fetus monster is how Donna thinks Miranda sees her. A baby, true, but grotesque, so terribly imperfect compared to her "real daughter" (Eva, obvs).

Regardless, the monster presents an ugly side of parenthood. It shows us the blood, the hunger (with the way it repeatedly attempts to swallow Ethan whole), the wailing. If Lady D shows us the love of parenthood, the bond, Donna in turn shows us the hate, the misery. Everything that one must endure to reap the rewards of family.

Lastly, we get one last bit of symbolism with Donna's death: We play a game with Angie. A childhood classic, hide and seek. Ethan chases her down repeatedly, stabbing away, seemingly only hurting the doll. But what happens when he kills Angie? It turns out that he killed Donna. You kill the child, you kill the parent. A reinforcement of the connection that comes with parenthood, along with another notch in Ethan's family-murdering belt (not saying that he's the "true antagonist" or anything, just keeping track for one of my later points).

Moreau + The Reservoir

Let's get the worst possibility out of the way: Moreau, weakest and sickest of the four lords, lives in a reservoir, where he is relatively safe. To defeat him, you have to drain the water, forcing him onto dry(ish) land. Paired with the main ideas of his section (which I will detail after this nightmare), one could theorize that he's meant to represent birth itself. Again, he's safe in his ("womb") water, and becomes vulnerable when he leaves (like a fragile newborn). Kinda gross, in my opinion, and also not a strong enough connection for me to care much about. It was merely an interesting (albeit horrifying) enough thought that I felt it warranted sharing.

Moving on to the big stuff with Moreau: He's a baby. Evidence: Whiny, has difficulty moving around, struggles to adapt to his growth, throws up a bunch, loves his mother very much, cries for his mother when he's in trouble, etc. Although Mother Miranda does not care for him, he clearly cares for her, and plays yet another role of an abandoned child (like Donna). Without Miranda there to protect him, he perishes terribly, crying out for someone who does not care to answer.

Hearing him cry out for Miranda, over and over, only for her to continue ignoring him is a key piece in the build-up to our confrontation between Ethan and Miranda. The game, in many ways, centers around the comparison between the two. In my humble opinion, Mia should have been involved in this comparison, as opposed to supplying the solution to the result of said comparison. Yes, I know that was a lot of words that don't mean much yet, but trust me, I'm getting there.

Heisenberg + The Factory

Ironically, of the four lords, Heisenberg is the most similar to Mother Miranda. In his massive factory, he is alone except for his numerous experiments, the results of decades of playing God. In comparison to Ethan + Mia, Heisenberg represents artificial parentage, or more accurately, the artificial creation of "life". While the others Lords also performed experiments, they used living subjects. Heisenberg instead chose to use corpses, which he then "brought back to life" with cybernetics + his powers, a somewhat futuristic version of Dr. Frankenstein.

Together, Miranda and him show a rotten side of parenthood (whereas Donna + Moreau showed us the uglier side of the children themselves). To put it simply, they are bad parents. They throw their "children"/experiments into the fray, uncaring, using them as pawns for their own greater gain. The most important part of this is that Heisenberg offers to "help" Ethan: By using Rose as a weapon. In his act of refusal, Ethan demonstrates one of several important distinctions between himself and Mother Miranda. Where she is willing to use her "children" (read: lives that she is responsible for) as tools, he is not.

Miscellaneous Symbolism/Imagery:

The old hag is one of my favorite parts of Village. She's seemingly nuts, has a crazy old lady laugh, wears bones that make soothing bone noises when she moves, and she draws lots of symbols in the dirt. If you look closely (I can provide screenshots if anyone desires, but it will take a bit of work to get them onto my computer), she's drawing one of the most iconic images in the titular village: The winged unborn. This symbol acts as the key you build up after every fight with a Lord, understandably called the Unborn Key (which turns into the Winged Unborn Key). Whether this counts as foreshadowing towards the hag's identity reveal is technically irrelevant, but I like to think it does.

In essence, you build up the key, this depiction of an infant, to progress in the game. The more wings it gains, the closer you are to your goal of rescuing your child.

The cadou itself is very clearly fetus-shaped. Furthermore, the only place within the human body that we know it ever gets implanted is in the "tummy" (thanks Moreau), aka roughly where someone's womb is/would be. Every infected person we see presumably had the Cadou implanted there (though I think it would be interesting if implanting it in different spots caused different mutations. of course, that is a discussion for another day). To become immortal, you have to "bear" a "child". Does it get more direct than that?

Mother Miranda gained her immortality in part for her grief at the loss of her child. She embodied the despair that Lady D spoke of, becoming an eternal source of anguish. Just as the loss of a child is a wound that lasts forever, so too would Miranda last forever (well, until Ethan comes along).

Mia is a loving mother, who puts up with the BSAA making her move across the world, deals with the complications of having a mold husband and mold baby, and has proved herself (see her section in RE7) to be an immense badass. Previously I had forgotten that, and even embarrassed myself in the comments of another person's post by implying she wasn't a tough, ass-kicking machine. Y'all remember feral Mia? People talk about "poor Ethan's arms", but sometimes we forget that Mia was one of the people who did a number on them. Furthermore, she's one of the only living people (from outside the village) to have any connections (pun intended) to Mother Miranda. They worked together, although possibly not directly, on Evelyn. If anyone in Village has a chance of really understanding Miranda's plight, or knowing the truth behind it, it would be Mia. Yet we don't see them interact a single time. Which leads me to the next section...

Conclusion On Theme + Missed Potential:

Okay, okay, so it's pretty obvious at this point that, as previously stated, the game's theme is parenthood. Every section has its symbolism, the story is very obviously about a man trying to rescue his daughter, etc, etc, but what's the point? Is there a lesson, or a more focused interpretation of the central theme? Let's take one last step back, and focus on something I've mentioned a few times now: The comparison between Ethan and Mother Miranda.

Recurring dialogue from Ethan, Alcina, and Mother Miranda all point towards the developers acknowledging that the characters are similar, but there's nowhere near as much conversation about it as I would like. Several times we have the antagonists ask Ethan how he's so willing to kill someone else's child, or prevent them from (essentially) doing what he's doing (aka saving his daughter). While Ethan responds with a mix of "well you started it" and "aghhh fuck-a-you, bitch", there's a much more solid, unspoken difference: Mother Miranda sends her underlings to kill, so that she may revive her daughter. Ethan kills (read: does the work himself) to get his daughter. The difference is much bigger, and more important, at the end of the game, when we realize just how far it goes. Ethan dies to save his daughter. Time and time again Mother Miranda has killed others for her work, but in the end she is stopped when someone willingly dies to stop her.

Where does Mia come in? Mia, the badass mother, the one who once worked alongside Mother Miranda, should have been the nail in the coffin. She is the one who survives, who lives on to raise Rose, she is the silent solution to Ethan's sacrifice. Miranda, you fool, what could you have accomplished if you had held onto your makeshift family? Through Mia (and Chris, to a lesser degree), his "loss" becomes a victory. There's a certain poetic justice that comes with Rose's full family being instrumental in saving her, when Miranda so readily spurned her own family.

Mia could have had an actual conversation with Miranda, their history giving the latter a reason to actually listen. I'm not saying that Miranda would have changed her mind/plans, but the conversation would have been a well-needed contrast to Ethan's "arggg what the fuck is happening, I only have two reactions to things. agg fuck you". Additionally, I feel that Mia (who was captured and had to endure who-knows-what) deserves the opportunity to be the one who points out Miranda's mistakes, who delivers the final "fuck you" to her. More than that, she's the one at the end who can say that hey, maybe she can understand some of what Miranda did. Was there anything her and Ethan wouldn't have done to save Rose? As much as Ethan is a foil to Miranda, Mia could (and should) have played a similar role.

When so much of the story and symbolism revolves around Miranda's experience as a mother, it only would have been fair to shine a light on her equivalent. Her better.

There's more I wanted to say/feel like I didn't properly get across, and I might add more to this at some point, but it's 5:40 AM right now, and I'm starting to feel like my brain is slowing down, so... Feel free to reblog/comment and add your own thoughts!

#mother miranda #mia winters #ethan winters #rosemary winters #resident evil: village #re8 village #god what do I tag this as

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itsthenovelteafactor · 3 years ago

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Fall of the House of Hargreeves

So I mentioned a while back in my Superhero Gothic meta that there were a number of parallels between the season one finale of The Umbrella Academy and the Edgar Allen Poe short story The Fall of the House of Usher and that I could probably write a whole meta on that if anyone was interested. Shout out and love to the anon who requested that I do that!

It’s been a minute since I’ve done one of these long form metas, but I am very excited to get back to writing about two of my favorite things: gothic literature and chaotic superheroes.

Part I: The Fall of the House of Usher

The Fall of the House of Usher (which I’ll call House of Usher for convenience for the rest of this meta) is a short story by Edgar Allen Poe first published in 1939. It is considered a classic gothic short story, and deals with themes of family, madness, inheritance, and isolation.

Since it’s in the public domain, I’ll go ahead and link a pdf to the story here. If you aren’t interested in reading, though, or just want a refresher, the story follows an unnamed narrator going to visit his ill friend, a man named Roderick Usher in his isolated (and very spooky) family estate. Upon arrival, he discovers that Roderick’s sister, Madeline Usher, is also ill, and has a tendency to fall into dreamlike trances.

Over the course of the visit, Roderick confesses to the narrator that not only does he believe the house is alive, but that it is connected to the fate of the family which, at this point, only includes Roderick and Madeline. He later comes and tells the narrator that Madeline has died, and enlists his help in order to bury her in the family tomb beneath the house. They do so, but for the next couple of days Roderick is suspiciously...on edge.

Then, one dark and stormy night, Roderick shows up in the narrator’s room incredibly worked up, and throws open the window, and starts low-key (read: high-key) having a breakdown. The narrator is unsure as to why until he hears ripping and tearing sounds coming from somewhere in the house. These ripping and tearing sounds are revealed to be Madeline whom Roderick and the narrator buried alive whose appearance scares Roderick to death, right before she collapses, also dead from the strain of tearing through the foundations of the house.

The narrator decides this would probably be a good time to leave and is very much right about that because as soon as he leaves, the house (which was already in pretty bad shape) splits in two and collapses into the lake surrounding it. The end.

Part II: Umbrella Academy as Gothic

So, there are probably a couple similarities between House of Usher and The Umbrella Academy season one that stand out right off the bat, but I’d like to start by taking a step back to talk about thematic parallels between the two works. If you’d like to read a very long winded explanation of why I consider The Umbrella Academy to be a modern gothic tale, I have a really long meta about it.

If not, here’s a quick overview:

Gothic does not have a clearly defined set of requirements as a genre, but its purpose is to explore the contradictions and the failing edifices of convention in a way that is dramatic and often fantastic.

Gothic fiction plays with reality, but usually in a way that is representative of the characters and story.

It often situates itself during times of great change, as there is something haunting about the irreversible passage of time, particularly for those that struggle to acknowledge it and hide behind conventions that have grown increasingly irrelevant.

Poe is considered one of the classic authors of gothic fiction (though the genre significantly predates him), and is decidedly one of the best well-known examples of it.

The Umbrella Academy is a family drama about former child superheroes dealing with their trauma while trying to prevent an apocalypse that their every move seems to set further in motion. It explores the messy and complicated relationships between siblings who have been abused and pit against each other for years. And yeah, it’s fun with great music and talking gorillas and dance sequences, but the premise is kind of hard for me to read as anything other than gothic.

Part III: Parallels

Like House of Usher, the first season of Umbrella Academy takes place in a massive, largely empty mansion where siblings gather with disastrous consequences. Both works explore a family that is past their prime and disconnected from the present. They also both explore the psychological toll of isolation, the consequences of tyrannical family rules, and why it is a really bad idea to lock your unstable sister in a basement and just leave her there.

Let’s start with some thematics parallels. Everyone in House of Usher is extremely isolated, and the absence of anything resembling the modern world amongst the house full of relics is part of the horror. All of the siblings in Umbrella Academy are defined by their isolation as well, physically (Luther, Five, and Ben), socially (Vanya, Diego, Klaus, and Allison), and emotionally (legit all of them). It is this isolation that drives the conflict of the story, feeding into every characters’ choices.

In both House of Usher and Umbrella Academy, the main characters are trapped in this isolated state as a direct result of their familial legacy. In House of Usher, the titular house is a character itself, a manifestations of the obligations Madeline and Roderick hold as members of an aristocratic family that is so far divorced from wealth and status that it keeps them from ever fully moving on and rejoining the real world. In Umbrella Academy, the characters are similarly trapped by their familial legacy, this time in the form of the specter of their abusive father, and the roles he created for them. Like the Usher siblings, the Hargreeves have no way of maintaining the roles their family left out for them – they were never given the tools to function in the real world and it cripples them – but are trapped in them regardless.

Part IV: The Woman* in White

*As of the time I am writing this, nothing has been said regarding Vanya’s gender identity being written to match Elliot Page’s. I am using she/her pronouns for Vanya, as that is what has been used for the character thus far.

Aside from thematic parallels, however, the most direct connection between the short story and series, and in fact the reason I was inspired to write this meta in the first place is the way both of the stories end: with a sister trapped beneath the house clawing her way out to face her brother(s and sister) and creating a disruption of the family legacy so great that the entire estate crumbles.

Madeline Usher is described at this point as wearing a white dress, strained with the injuries she sustained from physically breaking herself out of the basement tomb her brother buried her alive in. Vanya, of course, becomes at this moment the White Violin, and though she has not yet had the epic violin-music-so-powerful-it-changes-the-color-of-her-clothes scene, the principal still stands.

As characters, there are also a couple of noteworthy parallels between Vanya and Madeline. The narrator at one point describes “the illness of the lady Madeline had lone been beyond the help of her doctors. She seemed to care about nothing” (Poe, 27). The reader never knows what illness precisely is the cause of Madeline’s apparent madness, but we see the effects. It dulls her emotional responses to situations and leaves her withdrawn and powerless. Similarly, we learn over the course of the first season of The Umbrella Academy that the medication Reginald Hargreeves prescribed Vanya for her anxiety is actually a power suppressor for her abilities that has much the same effect – because they are strengthened by extreme emotion, the drugs numb Vanya’s emotional responses and deprive her of the ability to access her powers.

Additionally, the final scene of the story story shows Madeline escaping her tomb during a great storm and going to face her brother who put her there, the storm itself being a metaphor for her anguish that tears the house apart. Vanya’s connection to the destruction of the house is a bit more literal, but it is similarly a manifestation of her anguish and trauma. She sees flashbacks of her siblings being distant and rude to her in their childhoods and the anger she feels rips the foundation apart.

It is not entirely clear in the short story why Roderick buries Madeline alive – there are a lot of theories: he genuinely believed she was dead, he wanted her out of the picture, he himself was succumbing to the madness of the house, etc – but the guilt he feels for doing so manifests as him hearing her scraping her way out for several days preceding her escape. The justification for Vanya’s imprisonment is more clear in text, but the series of flashbacks make it clear that it is not just the imprisonment that has driven her over the edge. It it guilt for her sister, anger at her abusive upbringing that is much more easily directed at her siblings than her father, the newfound emotions experienced by being off her medication for the first time since childhood, Leonard’s manipulations, etc.

In both cases, amidst a spiral of emotions and experiences folding in on themselves, Vanya and Madeline experience a single, cold moment of clarity that drives them to escape, and it is that moment of clarity that breaks the shadow of the family legacy. They observe the situation as it stands and realize that it is completely unacceptable, and it is the realization that leads everything to crumble. Because gothic literature is focused on the complexities of maintaining that which is out of date, the realization that things must change can break the spell.

Part V: Conclusions

As per usual, I have no great theories on why this is or what it means. One of the reasons I love gothic literature is that it is rife with meaning that can be more easily felt than deciphered. I welcome any and all interpretations, theories, (politely worded) disagreements, and comments.

Thanks for taking the time to read; I have a lot of fun doing these. Enjoy spooky season, y’all. 💛

#The Umbrella Academy meta #TUA meta #The Umbrella Academy #TUA #The Fall of the House of Usher #House of Usher #Edgar Allen Poe #back here with the long metas on gothic literature and superhero tv #Vanya Hargreeves #Madeline Usher #happy spooky season y'all

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hybrid-model · 2 years ago

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Netflix’s diabolic agenda

I will be discussing about Hollywood industry here in general but focusing especially on its Behemoth which is Netflix, a convenient provider of film entertainment whenever you wish at the click of a button.

We all hear ramblings of older people how TV is ruining brains of youth and brainwashing them, etc. which I partially agree upon because it’s not like everybody has the same mindset on both sides of youngsters and oldies.

A little preface I’d like to start off with: It’s that the Dajjal, the Antichrist will portray good as evil and Evil as good plus more desirable. Anyone would like to be called as “Awesome bad boy” instead of “Pious star of neighbourhood” Let’s explore more how much rot has been injected by this mainstream culture.

Glorifying criminals:

The story of a love couple turned serial killers aka Bonnie and Clyde has long been a towering shadow in Hollywood, portrayed as having a “Wild adventure before an abrupt end of their young lives”. People idolize them, are fans of these inhumane killers and Hollywood enriches this vast interest of people in evil. In the most recent addition to Netflix’s huge dark library is the series of a serial killer and cannibal Jeffrey Dahmer who murdered more than a dozen people, racking up millions of views and taking the spot of 2nd most watched series. What is going on here?? The victims’ family members are now haunted by this extremely inhumane move by this Corporation. Netflix is making entertainment business out of dead murdered people, and people enjoy watching this!

Promoting Paedophilia:

Let’s not forget the Cuties controversy which blatantly exposes underaged children to hypersexual themes, also including a Muslim girl in that group.

The "Superhero" agenda:

Now I am a fan of superhero movies and series, not because I actually idolize much of any portrayed heroes but just the actions and visuals. Now exploring Netflix’s library of Marvel superhero series has been extremely nauseous for me because much of them are full of absolutely explicit things that have nothing to do with a good story. Binge drinking, casual sex, LGBT and other filth.

This shows what the agenda of this whole megacorporation is: Immorality.

Bad is good, good is bad:

On the other hand; good, pious, and religious characters are portrayed in a negative light, though indirectly. In pop culture, pastors are sex offenders (which some rightfully actually are). But mainstream entertainment exploits this angle by which viewers never think of anything good seeing them in real life. In the horror movie universe of The Conjuring, a demon is portrayed in the form of a nun. Imagine the limit! Good characters are nerdy, cringe or boring most of the time because everyone is accustomed and become used to just that: Pure evil

Proud of being on the bad side, being “gangsta”. Calling themselves most mundane things like “It’s good to be bad” .. “Bad Boyz rule!!” Let’s see how that works out when these people need divine help, or the look on their faces before dying and knowing they will be judged.

#islam #muslim #spirituality #allahﷻ #allah #patience #islamic #islamic post #Islamic reminders #Islamic World #islamic advice #advice #good advice #muslimah #muslim academia #muslim americans

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gallagherwitt · 5 years ago

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Parents, don't let your babies grow up to be soldiers.

I've debated for a long time about posting this, and after some of the things I've read this past week, it's time.

To be clear, I have nothing but respect for people who serve. Whether your reason for joining the military is to serve your country, to gain access to the GI bill, to escape a bad situation, or any other reason -- respect. I'm also only speaking out the US military, as I don't know enough about other countries' forces to comment one way or the other.

So.

People sometimes come to me and ask for advice for themselves or for their high school age child who is considering military service. Which branch should they choose? Should they enlist or become an officer? Do a four-year stint or go for the 20-year career?

And it's hard to have those conversations because the answer I want to give is "Don't do it."

The suicide rate in the military is on the rise, and the powers that be keep wringing their hands and wondering why. Anyone who's paying attention can clearly see why.

Toxic command climates. Multiple year-long combat tours. Financial stress (food stamps are not uncommon in military families). Separation from loved ones for months or years at a stretch (either to remote duty stations or on deployment). Long periods of severe sleep deprivation. Untreated addiction, mental illness, and PTSD. Untreated or maltreated injuries or illnesses. Sexual assault is taken even less seriously than it is in the civilian world. Domestic violence is rampant.

The military has resources available for all of these things, and channels that service members can use to report problems. On paper, the support network is strong and present.

On paper.

In practice, it's a very, very different story.

The simple act of asking for help for depression, anxiety, burnout, PTSD, suicidal thoughts, sexual assault, harassment, etc, can literally end a person's career. At best, it can seriously derail it, diverting even the most promising upward trajectory. At worst, it can lead to a person being deemed unable to do their job, being stripped of security clearances, railroaded into dead-end rates, etc.

People are unofficially and indirectly punished for whistle blowing. Report sexual assault or harassment? Well, they'll need to separate you from the other person... which means you're probably going to wind up behind a desk in a promotion blind spot, and whether anything happens to the perpetrator or not (spoiler: it probably won't), you're not getting promoted. If you don't get promoted, you don't get to reenlist. Snitches get stitches.

If you're a dependent of an abusive service member, it's even more complicated and intimidating to get help than it is in the civilian world. You're told -- sometimes directly, sometimes not -- that reporting this can end your spouse's career, so you'd better be *real* sure you want to open that Pandora's box. After all, if you end their career, then you have financial stress *and* your spouse has yet *another* reason to be angry with you. Couple that with the difficulty spouses have holding down careers with multiple moves, and you have abused spouses with no means of supporting themselves if they leave.

Got a knee that hasn't been the same since that training exercise last year? You can go to Medical and get some Motrin, but if you can't PT, it's going to hinder your ability to get promoted. Physical readiness is a job requirement, and the doctor says it's fine, so just keep knuckling through. Then when you fail a couple of physical readiness tests and finally get booted out, you can go see a civilian doctor and find out how badly you actually injured your knee and how much damage you've done by continuing to stand and run on it. The VA might take care of you, but don't hold your breath. After all, the military doesn't maintain equipment it's no longer using. Once you're off active duty, you're no longer a priority. Not that you or your health are much of a priority on active duty -- all that matters is your physical readiness.

It's not just *your* health that's compromised either. If you're in a rate where overseas duty stations are necessary to move up the ranks, your family needs to be -- at least on paper -- in tiptop health. You can lose overseas orders if one of your dependents has a medical condition -- even something like depression or if they're in need of dental work. Alternatively, you can go unaccompanied and live apart from your dependents for the duration of your orders, which is spectacular for morale and families.

I could go on and on, but you get the idea.

Except no one expects the military life to be easy. After all, those are the sacrifices people make to serve their country and defend our freedom, right? Let's be real: No one has fought for the safety and freedom of Americans since World War II. Vietnam, Gulf War I, Afghanistan, Iraq -- those were over politics and oil. Now we're sending troops to defend oil in Saudi Arabia.

We're not allowed to say all that out loud because we're supposed to support our troops. And I do support our troops. I'm married to a service member, for God's sake. It's because of that support that I AM saying this out loud:

Our service members are fighting for politics and oil.

Not freedom. Not America. Not democracy.

Politics. Oil. Other people's promotions.

Service members deserve support, and they deserve better than the top-down failures from leadership that have been rampant in the military for decades. It's considered noble to serve because by enlisting, you're handing the United States a blank check to be cashed in the amount of up to and including your health, your sanity, or your life.

We're just not supposed to pay attention to what's in the memo line on that check:

Politics. Oil. Other people's promotions.

And in the end, when you've served your time, and you've either reached the end of your contract or the end of your usefulness -- whichever comes first -- then you'll be expected to transition to a normal life as a productive citizen who hasn't seen and done things few can imagine in exchange for a handful of benefits. No one wants to hear about the horrors you've lived and the nightmares you have even when you're awake. They want you to be a dignified veteran so they can thank you for your service.

So if you come to me and ask for advice regarding you or your child joining the military, I'm going to be honest. I'm going to say the only thing I can, in good conscience, say after watching service members get chewed up and spit out one after the other:

Parents, don't let your babies grow up to be soldiers.

#military mental health #military

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the1stn0elle · 4 years ago

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Attack on Titan Analysis Prt.1

This analysis will contain MAJOR spoilers for the AoT series, so if you wish to not have anything spoiled be warned now. This is also not a FULL analysis of the series since it is so ridiculously plot heavy. It would take probably over 100 pages for me to get to everything I'd want to, so this is all for now :)

Summary:

Attack on Titan (AoT) follows the story of a civilization of people forced into living trapped behind walls due to the fear of the giant human-like creatures called titans who thirst for nothing but human flesh and blood. Titans have terrorized the remainder of humanity for many years and the population has been kept safe behind the 3 walls Maria, Rose, and Shina for an entire century. The main 3 characters of the story Eren Jaeger, Mikasa Ackerman, and Armin Arlert witness the end of a century of peace as the colossal peeks above the 60-meter tall walls that have successfully protected humanity for 100 years and kick a giant hole in it, exposing all of the civilians to the horrors of the bloodthirsty titans. The 3 friends strive to become members of the survey corps, a group dedicated to protecting the people from titans and uncovering the many mysteries of the existence of titans; in order to reach their goals, they must complete grueling training to prepare them for venturing outside the walls to slaughter titans and bring the creatures to their extinction, but the duty of a corps member evolves being prepared for one’s likely and untimely death while fighting against the titans. AoT is a thought-provoking story that is based around perspectives and discovering the mysteries surrounding the near extinction of humanity. Questions are posed throughout as the plot is filled with twists and surprises, and morals are questioned as the viewers grapple with themes such as “do the means justify the ends?” and “who is the real enemy?”.

Analysis:

Part I: Erwin Smith

(MAJOR SPOILERS)

The Monstrous Commander

AoT is very morally complex in the sense that when an entire group of individuals risks their lives by going outside the walls to save humanity, an individual must lead the herd. Said individual goes by the name Erwin Smith, the commander of the survey corps. Erwin is an individual who must send thousands of his soldiers to their death during each expedition outside of the walls; Erwin’s a pretty morally gray character since his job is to ultimately save humanity but the question is at what price? Immeasurable sacrifices are made in the form of human lives as a successful expedition may result in the loss of more than 40% of the soldiers due to being devoured by titans. At an outward appearance, Erwin is a strong leader who is willing to become a monster in order to provide the eventual win of humanity over the titans, but when diving deeper into his character he is a man who is caught up in his childhood desire to learn all the answers to the mysteries about titans and the world that he lives in.

In these few panels, Armin Arlert picks apart how commander Erwin is an amazing leader despite what many people may believe since he has the ability to make sacrifices even though the outcome may be devastating as many lives will most likely be lost in the process. Armin’s opinion of a great leader is brought around again at different points in the story to emphasize its importance.

Part II: Eren Jaeger

The Boy who Wished for Freedom

Eren Jager is the main character of AoT and might be one of the most dynamic characters in his amazing character development throughout the story. Eren starts as a hotheaded teenager whose only desire is to eradicate all the titans after witnessing his mother and hundreds of people die after the collapse of wall Maria by the colossal and armored titans. His bloodthirst for killing the titans is unnerving in its intensity but he’s become dedicated to the cause because he no longer wishes to live like cattle enclosed in walls for the rest of his life. Eren’s core value throughout the entire series is freedom. Each and everything Eren does is to attain freedom in the hellish world he was born into. His value of freedom is most notably portrayed when Eren is out with his father Grisha Jaeger to visit the Ackerman family; Eren finds Mikasa in her home with the dead bodies of her parents accompanied by dangerous individuals attempting to kidnap her. Eren’s solution to the situation is to aid Mikasa in killing the individuals who have murdered her parents. The turn of events is quite frightening as both Mikasa and Eren were only 10 years old at the time, but it highlights Eren’s desire for freedom. He saw that Mikasa’s freedom was being threatened and he felt so passionately about this that he was not fazed at the prospect of killing the kidnappers who were trying to steal someone’s freedom.

Eren and Armin are able to bond over an illegal book that has drawings and descriptions of the world outside the walls and both boys instantly develop the desire to travel outside the walls to go see the vastness and beauty of the ocean. It serves as a goal to mark their eventual freedom from the terrors of the titans.

After the breaching of wall rose by the colossal titan the cadets experience their first real mission and witness many of their comrades die in the jaws of titans. Eren has headstrong and confident as ever lands himself into the stomach of a titan after protecting Armin from being eaten. Eventually, it is revealed that Eren can turn into the creatures he despises with his whole being. A titan. Following the discovery, Eren, Mikasa, and Armin are tasked with the challenge of trying to convince the leaders of the military factions that Eren is on humanity’s side and will not resort to killing more people. The major event is followed by many trials and questions in whether or not Eren is a threat to humanity until he is finally taken into the care of the survey corps where commander Erwin and “Humanity’s Strongest” Levi Ackerman are finally able to convince the military police to give them custody of Eren. It is concluded that Eren is to be kept alive as a comrade of humanity as he claims that his childhood home in wall Maria has a basement that holds secrets about the titans.

A Life that Carries Weight

As the story progresses, Eren goes from a headstrong hothead to a boy that carries an immense amount of weight on his shoulders. Eren realizes that his very life holds a great weight; many soldiers and civilians die for the small thread of hope that the Jaeger home’s basement holds important information about the titans that will lead to the victory of humanity. The world of AotT is nothing short of being bleak and void of hope so it is understandable that Erwin and other members of the corps are willing to take the risk because what do they have to lose? Up to this point, Eren has faced numerous great losses ranging from the death of his mother, learning how he caused the death of his father, his most trusted comrades being uncovered as traitors, etc. Eren’s mental state is in tethers as he tries to come to terms with the meaning and value of his life and begins to wonder if he was ever “special” to begin with but has been burdened by a special path of life by his father. All of these events take place in the royal government arc of the story. Historia Reiss (formerly known as Krista), a character who was previously only in the background assumes an important role as it is revealed that she is some of the last bit of true royal blood left in the world.

Following Historia’s growing importance to the story, we learn more about the titans and where they come from. I won’t get into all of the technicalities of the 9 titan powers and whatnot but the most important fact to note is that all titans existed as humans at some point in time. Due to the complexity of the topic, I will only graze the surface and state that humans become titans with an injection of spinal fluid from an individual of Eldian descent, this includes almost all of the humans that reside within the walls (I will come back to this sometime later). Rod Riess, Historia’s father has received help from the interior military police to capture his daughter and Eren to have Historia inherit the power of the attack titan which is currently held by Eren (was given to him by his father Grisha). Eren snd Historia learns that the 9 major titan powers are passed down when one consumes the individual possessing the power; this means Rod wishes to have Historia eat Eren so she gains the attack titan power, meaning the power will be in the hands of a pure royal and only those of royal descent can fully harness the power of the 9 titans.

Eren’s capture by Rod is marked by the total collapse of Eren’s mental fortitude as it all but crumbles when he discovers the crimes his father has committed and the consequences of his actions that have led Eren to shoulder such an enormous burden that the once confident boy has lost all hope in himself and his existence.

Now before I get into the next few parts of Eren’s development I have to address the powers of the attack titan, the power that Eren currently possesses. The individual who carries the power of the attack titan can see the memories of their future inheritors which equates to the user being able to see the future. Up to this point, it has been confirmed that only those of royal blood can fully utilize the 9 titan powers. can

Following the events between Rod Reiss, Eren, and Historia, Historia is tasked with taking the throne as the current king is a fraud. At Historia’s crowning ceremony and the ceremony to commemorate the few survivors of the battle at shiganshina where the corps was finally able to uncover the truth about the titans with the information in Eren’s basement, a simple touch of Historia’s hand grants Eren to fully use the power of the attack titan and the future is revealed to him.

The scene marks the complete loss of the Eren Jaeger the viewers are familiar with and marks a new chapter in the story because at this point forward quite literally everything changes.

#aot manga #aot spoilers #aot analysis #aot season 4

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theoriginalcarnivorousmuffin · 4 years ago

Note

This is a bit random but if characters from your fics lived in the Atla universe what element would they bend? Personally I think Lily would still have all her powers which would result in people thinking she's the avatar even though she's not, Obito would be a firebender, Minato an airbender and Lenin dearest would be a waterbender/bloodbender/maybe the avatar?. This is just the vibe I get tho-

Who needs bullet points when we can do a far too thought out AU that spans multiple fandoms/recursive works that will never happen?

More to the point, elements in AtLA is a mix of personality (we see earth benders as often brash and stubborn, water benders as adaptive, etc.) but also simply genetics. So, while I get that’s kind of the point of this post, it’s a bit weird to me to assign an element solely on personality.

So with that, let’s get started.

The Setting

Just to make things fun let’s make our AU take place sometime between Sozin’s first comet and Roku’s death and Aang awakening from that iceberg. The air benders have been wiped out, seemingly with no survivors, the South Pole has been invaded and the water benders from there captured and brought back to the Fire Nation, many of the colonies in the Earth Kingdom have been established, but the North Pole and great cities in the Earth Kingdom still stand.

The Avatar hasn’t been missing for one-hundred years yet, but he’s been missing for decades and people are coming around to the idea that maybe he’s really not going to show up.

Wizard Lenin/Tom Riddle

In this AU we’ll give Tom Riddle a slightly more traditional shitty background. Since we can’t really have a Tom in the AtLA universe he’s going to have the AtLA generic equivalent name that canon even jokes about: Lee. Lee is the mixed heritage son of a Fire Nation lord and a water bender from the south pole who grows up in a Fire Nation orphanage. And yes, this does happen in the absolute worst way you can possibly imagine, one of the imprisoned water benders from the south pole is raped.

As for Tom (Lee, you get the idea) arriving at an orphanage instead of being imprisoned/taken in as a son, well I’ll leave that to imagination but we can imagine a relatively compassionate guard, a dash of luck, or perhaps someone being an idiot and thinking “oh just dump it in an orphanage, there’s no way it will turn into a water bender too”

So, Tom grows up in an orphanage and looks just a bit... different from everyone else and is clearly not purely from the fire nation. I’m imagining much darker skin (and POC Tom Riddle is the weirdest thing in the world to contemplate, but here we are) and the pale blue eyes.

Tom grows up, dreaming probably of entering the military and winning himself glory, prestige, honor, and clawing out of this impoverished life he was born into. He undoubtedly desperately hopes he’s a fire bender, as not only is it cool but they have the best chance of making it in the world, and probably stays up late for many nights fruitlessly attempting to shoot fire out of his hands.

Unfortunately for Tom, sometime when he’s probably around eight or so, turns out he’s actually a water bender. Naturally, Tom has a huge meltdown and existential crisis as this means something’s terribly terribly wrong. More, all his hopes are ruined, as while a non-bender can make it a bender who is not a fire bender is a foreigner and traitor to the state.

Tom runs away and being a precocious child is able to make it on his own and about the country probably pulling off Toph-like scams. Eventually he runs into a much younger Hama who has just escaped prison and not yet started on her scary old lady adventures of imprisoning random villagers in caves. Hama goes, “of course, yes my child, I knew your mother” and gives Tom the whole horrible rape tale along with “I will teach you everything I know including my scary blood bending”. So Tom learns scary blood bending, probably stays with Hama a few years, and then realizes Hama isn’t going anywhere.

Hama’s content kidnapping random people into caves. At this point, angry and suddenly very pro-water bender Tom wants to murder the Fire Lord and his entire goddamn family and put himself in charge. Go big or go home, am I right?

So Tom leaves, Hama probably saying, “Come back any time, my beautiful murder child” and probably goes exploring the world in search of how the hell he’s going to bring down the Fire Lord. He also probably murders his entire father’s family and steals all his money, but that’s a different story. I imagine he goes to the North Pole where he learns that, as much of a water bender as he is, that he’s the son of someone from the Fire Nation closes pretty much every door to him. He’ll always be an outsider and the North Pole is very frosty towards him.

According to Hama, the South Pole is in shambles, so Tom probably doesn’t even bother going.

So Tom probably goes and bums around the Earth Kingdom, loitering in Ba Sing Se and Omashu, looking for that damned Spirit Library in the desert, etc. for a good number of years as he works to perfect his water bending and make himself an instrument of death.

And then he meets an alien and everything changes.

Lily

Tom probably manages to wander around the spirit world at one point in his late teens and probably almost gets eaten by something terrifying. While he learns much it’s not really anything useful and is more in the “too cosmic horror for Tom” variety. More than that though, something follows him back out.

When he comes to back in the real world there’s this thing sitting next to him that looks enough like a person but also like someone told a gifted artist what humans look like and they got it mostly right but also went a little nuts. It’s a girl, a few years younger than him, who has flaming red hair, absurdly green eyes, pale skin, and facial features he can’t recognize for the life of him (Lily still looking western in this to up the ante of ‘she’s an alien folks’).

Tom sacrifices his dinner to it and hopes it doesn’t eat him.

It explains that it’s a tourist from another dimension, beyond even the Spirit World, and that it’s come to see what the mortal world is all about. Tom is naturally very weirded out but at this point decides to roll with it.

Except it doesn’t leave and clearly expects Tom to play tour guide.

He does, reluctantly, because he doesn’t want to be eaten but he also sort of gets used to the thing. Then, one day, it starts bending multiple elements with utter ease and Tom is at first flabbergasted and horrified (only to remember that spirits can do what they want and aren’t like lowly mortals who can only bend one element) and then he gets the idea.

The Avatar, lazy bastard that he is (and Tom might be a little more than slightly bitter that he himself is not the Avatar), appears to be MIA and not coming back any time soon. The entire world it seems is waiting for the Avatar to come and save them. But, Tom says to himself, who needs the Avatar when you can just have an Avatar. An Avatar and, of course, her water bending master.

Thus, the scheme is set, Tom will teach this weird alien thing how to a) act like a goddamn human in public and b) water bending and together they will pretend she’s the Avatar and got lost in the spirit world a few decades ago (which accounts for the youthful age and the weird appearance) and use this to gain allies, topple the Fire Nation, and eventually give the throne to Tom.

Lily, who doesn’t know the difference between being a tourist and taking over a nation, goes along but is basically this story’s answer to Uncle Iroh always getting distracted by Pai Sho.

Haru/Dead Last

Given that they’re in the Earth Kingdom, and that Lee picks up water bending insultingly quickly which makes Tom fume in rage, they go to pick up an earth bending master/spread the word that the Avatar has returned from her multiple decades long vacation.

Along the way they probably run into Haru, who is the world’s most useless excuse for an Earth Bender. As always, he’s so average looking you can barely remember what he looks like beyond “generic earth bender”.

They probably watch him for two seconds, Lily asks if this is it, and Tom Riddle says, “what a joke”.

Minato Namikaze

Given that all the air benders are dead we’re going to make Minato a very talented earth bender (it is also very weird to imagine a dark haired/dark eyed Minato, but I suppose we’re going to roll with it). This also, to me, does fit his personality a little better as while he is a leaf on the wind kind of guy he also does dig his heels in and get very stubborn now and then.

Minato’s young, younger than Tom (Lee), but he’s incredibly talented and clever. To keep his shinobi background mostly in tact I imagine that Minato is a swiftly rising member of the Dai Li, stationed in Ba Sing Se, but who occasionally goes on intelligence missions to the other feudal powers in the Earth Kingdom.

So I imagine Lily and Tom run into him unnervingly frequently, probably first meeting him off duty in Omashu where he does his “extremely polite and friendly local guide” routine to show the pair the city (never mind that Tom insists he’s been to Omashu plenty of times goddammit). Despite this, Lily and Minato become friends, Lily easily confessing she’s the Avatar (which Minato at first thinks is a joke, even if she looks strange, then goes ‘oh my god, it’s not a joke).

Eventually Minato is stationed to spy on them under the guise of teaching Lily earth bending. So he joins the gang. Tom, who knows exactly what’s going on, is not amused while Lily is just happy to collect another friend who will actually play Pai Sho with her.

Kushina Uzumaki

Kushina is a earth bender, hands down. I debated making her a water bender (because whirlpool) but that personality is just pure earth bender material. Besides, I can just picture her so easily coming from Kyoshi.

So Kushina’s an earth bending Kyoshi warrior, who while ten times as powerful as Minato, also lacks any of his control or cleverness. Kushina has undoubtedly left Kyoshi, abandoning their neutrality, to join the war and kick some fire bender ass.

She does this but along the way frequently runs into the gang where she annoys the ever loving shit out of Minato (her new rival) and claims that Avatar Lily is her new idol.

Rabbit

Rabbit is a mysterious spirit from Lily’s past that she refuses to talk about except in the darkest of terms promising doom and destruction the likes of which the world has never seen.

No one knows how to react to this. Or what a plain old ‘rabbit’ even is.

Tobirama Senju

Because no story’s not complete without Tobirama, I imagine he’s a stuffy waterbender and scholar from the North Pole who Tom is miffed at as the man refused to teach him even more water bending. Tobirama naturally feels that the day he teaches a blatant spy is the day he goes and drowns himself.

Later, when Tom has picked up the Avatar and Tom rubs it in his face, Tobirama probably reluctantly spends a day or so teaching them something/fighting off the hordes of Fire Nation soldiers on their tale (it’s not Avatar if the gang isn’t constantly chased by fire benders).

Obito Uchiha

Obito is the answer to a fire bending instructor. Obito’s a firebender and the youngest son of a wealthy Fire Nation lord. However, Obito’s the black sheep of the family that everyone hates, a late bloomer when it comes to his bending, and is seen as bringing dishonor on the family.

Itching to prove himself, Obito becomes a soldier and goes to the Earth Kingdom, and eventually decides the best way to earn recognition and restore his honor is to capture the newly resurrected Avatar. Congratulations, Obito, you’re this story’s Zuko.

Obito, while not the most talented fire bender at first (though as he gets older he gets dangerously good at it) is extremely clever and becomes the largest threat to the gang.

That said, Obito actually does grow to like Lily quite a bit and begins to realize honor doesn’t actually mean that much to him and he doesn’t even really like his family. He doesn’t even dislike the concept of the Avatar and thinks the world probably does need one right about now.

So after a whole bunch of chasing them around the globe, thinking about his family, and being forced to almost kill the Avatar now and then he eventually defects and volunteers himself as fire bending instructor.

This is met with suspicion on all sides but he and Lily are bros so he wins.

Avatar Roku

Needing to pick up air bending, Lily probably fakes it until she makes it for a while, but eventually runs into Avatar Roku’s wandering spirit taking vacation from an ice cube.

He’s alarmed, but Aang’s trapped in ice, so if someone’s going to substitute then great.

To everyone else it just looks like Lily’s constantly talking to herself, playing Pai Sho with herself, and miraculously picks up air bending out of absolutely nowhere.

Also anyone close to Lee probably figures out she’s not really human/the avatar at this point, but they’ll take what they can get.

And This All Results In

Lily learns all the elements, there’s probably some big battle, then Lily gives some ridiculous speech about world peace that has nothing to do with anything and while the Fire Nation is defeated, Tom is not in fact made Fire Lord and remains merely the Avatar’s humble water bending instructor.

Instead, if he’s alive at this point, the crown goes to Iroh and he’s given a council of angry Earth Kingdom people who tell him to behave or else. We can give Iroh niceish things sometimes. That, or, hilariously, Obito becomes hokage/Fire Lord being distantly in line for the throne and doesn’t even know how that happened or what his life even is right now.

The colonies are the same mess in canon so something like Republic City probably eventually comes about.

Still, there’s peace, and probably statues to the gang all over the Earth Kingdom and Water Tribes (while the Fire Nation grumbles and remembers the good old days when they controlled the world).

And then Aang eventually wakes up extremely confused and confronts Avatar Lily noting, “Hey, I’m the actual Avatar” and Lily after a suspiciously blank pause explains, “I said an Avatar, never said I was the Avatar”

So, that’s that. If anyone wants other specific characters added into this mess feel free to comment.

#ask #anon #avatar the last airbender #lily and the art of being sisyphus #minato namikaze and the destroyer of worlds #crossover #fusion

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wolfhuntsmoon · 5 years ago

Text

Sarah Rogers and how Steve inherited ‘stubborn little shit’ from the womb

Okay, so I was noodling on Sarah after reading her Marvel wiki and some extraordinarily good posts about how EG Steve should have gone back to see his mum instead of Peggy etc and the timings of Steve’s early story struck me as... interesting.

Steve is born on 4th July 1918, before the end of WWI, meaning he would have been conceived in September or October of 1917 - that is, if he was born on time or only a few weeks premature. Which, given the tech and prognosis for preemies in the early 20th century, must have been the case because things were grim enough even if you weren’t born prematurely, for both baby and mother. If you were giving birth, you had a 6% chance of dying in Ireland in this period - roughly comparable with the rest of Europe but shockingly high by our standards. The odds were better if you were rich, but not by that much. Childbirth remained the leading cause of death for women worldwide until the late 1940s, remember. And kids fared no better. One in five children born in Dublin in this period died before their 5th birthday. Again, the figures would be better or worse depending on how well off you were, but even the richest still suffered appalling infant mortality rates.

Anyway, depressing history of women’s health aside, this means that Joseph Rogers, American solider, and her, must have been doing the do about then, and probably seeing each other on the regular before that, because believe you me, casual sex in the early 20th century was a big no no. Not to say it didn’t happen, but usually only via prostitution ESPECIALLY in Ireland, because the Catholic Church ruled supreme there even more than the British did and contact between the sexes was very restricted and frowned upon. Sex ed was nonexistent, and women knew that even a whiff of scandal about them was enough to ruin them, their entire family, and the rest of their life. It’s a hackneyed joke because it’s true: Ireland is small and everyone knows everyone. You would get found out and then suffer the consequences - sent to a mother and baby home if you were lucky, and those places were worse than prisons sometimes. That cultural context would carry over even if Sarah wasn’t actually in Ireland at the time.

So, likely they were married by then, because again: social ruin. The Marvel wiki says they were married, but not when. (I know nothing about the comics, I’m sorry) Soldiers and their sweethearts often married very quickly, and there are actually quite a few accounts of nurses falling in love and marrying the soldiers they tended. (More on this later) However, if she was widowed and could have the child respectably, why not return to Ireland? With, presumably, a support network that makes emigrating to America a worse, not better, prospect? This is the crux of my theory: Sarah Rogers was seen as an unmarried mother, and treated as such, because she married Joseph abroad, probably without permission, and when he died, had no social proof of the marriage. And in those days, unmarried mothers either: aborted in secret, had the baby concealed by the church where they were then taken and given up for adoption, or were cast out with nothing and ostracised if they decided to keep the baby. Sarah ending up in America strikes me as her taking the third option, and indeed the only option she could, to keep her baby.

But first: Joseph and Sarah need to meet in order to get down and dirty. How? He’s an American soldier who would never have set foot in Ireland in WWI - the British government kept their troops there, obviously, but the Americans were all put straight onto the continent or mainland Britain once they crossed the Atlantic from 1917 onwards (remember the US only joined in WWI in April 1917). In fact, the US wasn’t able to send significant numbers of troops to Europe until the following spring of 1918, because their army was so small and outmoded for trench warfare they basically had to send a lot of stuff over until they had enough trained bodies, which took about a year to organise. Based on this, if Joseph and Sarah were making baby Steve in September 1917, Joseph must have been in the regular US army before it entered the war, and likely in for quite a long time and experienced, to be sent over so soon. That experience would have been invaluable, meaning he never would have been assigned to stay in Ireland even if the US did send troops there. He would have been deployed straight onto the battlefield.

In which case, if Joseph never sets foot in Ireland, then how does he meet Sarah? Well, we’re told she’s a qualified nurse, and that was a solidly middle class job back then. You needed to have a good education, beyond primary level (which was all that was free for kids back then - you had to pay for secondary or tertiary level) and speak English well. In addition to that, your training to be a nurse took three years, and you weren’t paid or funded at all for those. So I don’t buy the theories that she emigrated to America only speaking Irish and totally penniless. Sarah most likely came from quite a well off family to become a nurse, although it’s not impossible she rose from much humbler circumstances as there were a number of scholarships and the like for the deserving poor set up by rich upper class ladies bored out of their minds drinking endless teas in salons who liked to do things like Help the Poor but only if they’re Pure and Mannerly. Qualified nurses were paid about £40/year in WWI by the British government, when your average domestic maid would have been earning about £20/year - quite a big difference.

Either way, Sarah, as a nurse, was exactly the kind of woman the British government was desperate to recruit by 1915-1916 when the true scale of modern attritional warfare became clear, and no longer pussyfooted around keeping women and their delicate sensibilities away from the battlefield. The Battle of the Somme between July-Nov 1916, for example, claimed the lives of over 20,000 British soldiers ON THE FIRST DAY. The British alone sustained over a million casualties (dead, missing or wounded) across the whole battle. They couldn’t afford to stay prudish. There were just too many casualties to deal with. They even opened up medical degrees to women without restrictions because they were so desperate! Which was a big part of the reason why Britiain introduced conscription for the first time in 1916, including in Ireland (which led to the Easter Rising and Irish War of Independence, hoo boy was that a mistake). Droves and droves of young women were recruited to fill all sorts of jobs while the men were away, but a large number also went overseas to the battlefields of Belgium and France. Sarah must have been one of them. If she was qualified beforehand, she would most likely have been sent to work in a field hospital abroad, because the voluntary members were mostly kept working as assistants on the British mainland. Lots of women joined these Voluntary Aid Detachments (VADs) at the start of the war to nurse wounded soldiers, but the military hated the idea of using them until they couldn’t cope in 1915. Even then, volunteers were only used for the more menial tasks. Professionals like Sarah were what was needed the most.

Now, I’ve said that she likely came from a middle class family, so money probably wasn’t a worry until after she got to America, later on. Why go, given the pay wasn’t significantly more than you’d earn as a nurse at home? Well, the rigid social hierarchy of the time broke down in some pretty major ways out there, and it was likely the only chance an unmarried woman would ever get to travel that wouldn’t immediately ruin her reputation. And if you accept more the idea she became a nurse via scholarship and was poor, the increase in pay working abroad would have been sorely appreciated. And we can also consider patriotism might play a role - not all Irish were rabidly anti-British before 1916. Indeed, many ordinary and middle class Irish only became ardently nationalist in the wake of the brutal repression following the 1916 Easter Rising. And more than that, many Irish, even if they disliked the British, disliked the idea of the Germans and Austrians-Hungarians winning the war even more. Personally, I think Sarah was an adventurer who seized her chance to escape the restrictive social confines of Ireland and didn’t once look back, even if her family disapproved.

I couldn’t find a birthdate for Sarah, or a maiden name to tell me where she might have hailed from (thanks, Marvel. Not.) But let’s say she was part of that first initial wave of volunteers who signed up in 1914 - because it was HUGE. It’s really difficult for us, so jaded now, to get into the mindset of people then, but they did sign up in huge numbers. Partly due to patriotism, partly because they thought the war would be over by Christmas, partly fear of being shamed for not ‘doing their bit’ - there were lots of reasons. But it’s very telling that the British government didn’t feel the need to introduce conscription for men until two years after the war broke out, and they never introduced a civilian equivalent. So Sarah would have been very familiar with the horrors of the battlefield and the war by the time fresh faced Joseph Rogers arrives on the scene in 1917.

How did they meet? Sarah would have most likely been working in a field hospital, overseeing a team of volunteers. Field hospitals were behind the front lines, but only by a few miles, and nurses were killed by enemy shelling and gas attacks. They were the first real point of medical care most soldiers would encounter after having bandages slapped on them at a dressing station in the trenches, before being carted off to the field hospital (if they survived the journey) by stretcher bearers, horses, or increasingly as the war continued, motorised ambulances. So Sarah and her ilk were lasses made of steel, honest to god. They were in the thick of the worst of it, men screaming and dying, and often afraid for their lives while they tried to care for them. A lot of those nurses developed PTSD (then called shell-shock) as a result. Jospeh is most likely to have met her if he was a wounded patient of hers brought in from the battlefield. But only lightly wounded - if he had been badly wounded he would have been shipped straight back to mainland Britain to convalesce as soon as he was stabilised, thwarting any budding romance.

We’re also told that Jospeh dies in a mustard gas attack. So this hospital trip must have been for something different - a broken bone perhaps, or a minor shrapnel wound that would see him off duty for a while but still stationed in the area and therefore able to court Sarah. Young people (Sarah must have been less than 28 because that was the cut off age for nurses to be recruited in 1915-1916) being young people, I imagine they fell in love, fell in to bed, and biology did its magic. The timescale on this is open to interpretation, because the ABSOLUTE earliest they could have met is May 1917 (travel time by ship from America to Europe took weeks during the war), and Steve must have been conceived by October, latest. Which is a pretty whirlwind romance, but not unusual for the time. The Germans first used mustard gas from July of 1917, but Joseph must survive up until September/October.

So, that cause of death as mustard gas? This is strange given how mustard gas was well known at the time to be the ‘best’ gas to have inflicted on you. It produced horrific blisters and burns, particularly on the inside of your throat and airways, but rarely killed. Chlorine and phosgene were MUCH deadlier. So Marvel saying this is more poor research, but let’s go with it - gas affecting you would make it that much more likely you’d be caught by machine gun or shellfire or any of the other myriad ways to die on a WWI battlefield. Here’s where things start to align quite nicely (well, badly for Sarah, but good for fic writers) as mustard gas was deployed by the Germans on a large scale between October 9th-12th to defend the Passchadaele Ridge from a joint British and French assault on the German defences. This was part of the second biggest battle of WWI, the Battle of Passchendaele, notorious for the seas of mud men had to slog through up to their waists, and one of the battles which, like the Somme, gave WWI generals such bad reputations. In three months the British lost 350,000 men and advanced just a few kilometres. They abandoned the battle on November 10th.

So, Joseph Rogers? Must have died between October 9-12th, well before Sarah realised she was pregnant even if Steve was conceived at the start of September. Likely he was caught in a mustard attack, started choking because he couldn’t get his gas mask on/hadn’t got it fitted properly, and then was killed by gun or shellfire after his initial injury. Mustard gas took time to affect the skin and membranes of the body, so if he fell while the gas was still around, it would have looked much worse by the time his body was identified and retrieved from the battlefield. The date, however, means Joseph died never knowing he was going to be a father (sad!), and Sarah, newly widowed, likely didn’t see any reason not to continue working as a distraction until she encountered the first signs of preganancy. The stiff upper lip thing was a real coping mechanism back then. She would have been kicked out as soon as anyone could tell, or she told them and got kicked out, because that was legal and expected then. Pregnant women were fired for being pregnant in any job, and the idea of a pregnant woman working in a theatre of war, as you can imagine, would have outraged everyone.

So, Sarah gets kicked out, has no job. She’s widowed and pregnant. But, the marriage would probably have taken place without her family’s permission (letters were pretty slow and heavily censored on the front lines, the timeframe likely wouldn’t allow for anything except a note telling them she married) and although she would have had a marriage certificate, turning up at home without a husband but with a baby from a military camp? Would have been a deep, deep scandal at the time. Particularly if Sarah came from a middle class family who would have been extremely conscious of their social position and the danger she and her baby posed to it. Catholic mores plus unsanctioned marriage plus Irish social structures equals daughter returning in disgrace to besmirch the family name in a way that is literally unthinkable at the time. Family therefore issues an ultimatum - come back and get rid of the baby and the marriage cert so you can be respectable, or don’t come back at all. I really cannot stress this enough - families would, and did, prefer to say the woman had died and never have any contact with them again, rather than accept an unmarried mother back into their house.

Sarah, being Sarah though, grits her teeth, spits in God’s eye, and packs her bags for the first steamship to New York. She was a lot better equipped than most to make the journey, with some savings from her salary and a profession she could rely on once she arrived. But it was still a recklessly brave thing to do because at this point in time the ENTIRE Atlantic was infested with German U-Boats who were doing their level best to sink any Allied or Allied associated ship they could get in their periscope sights. And they were terrifyingly effective in 1917, although by the end of the year when Sarah would have beeen sailing, countermeasures like the convoy system had greatly reduced this. But still scary as fuck, because by that point the German U-Boats were even sinking hospital ships - until then left alone by both sides.

She probably arrived in the US in January or February of 1918 - it would have taken time to arrange her travel and the journey itself took 3-4 weeks. Little Steven G Rogers came into the world on July 4th, 1918, without a clue as to the sacrifices his mother made to keep him and bring him to America, or the heartache she endured in the previous years. And that, my fellow nerds, is why Sarah Rogers is AWESOME and a sorely underused character and development point for Steve in the MCU. Because to do what she did, and to make it through took more than guts, it took sheer bloody-minded spite and stubbornness, and hey - who does that remind us of? Steve doesn’t grow up and get angry and fighty - no, he’s got that shit in his GENES from Sarah from the beginning.

EDIT: Part 2 is up! Consisting of Sarah’s journey and entry to America, plus how Very Not Good it was to be Irish whilst trying to do so.

#Sarah Rogers #IS AWESOME I WILL HEAR NO DISSENT IN THE RANKS #no seriously #the facts bear it out #fandom meta #captain america #backstory #character development #mcu #she was criminally underused #because you KNOW steve and bucky WORSHIPPED her #steve rogers #bucky barnes #joseph rogers #wwi #ireland #emigration

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iturbide · 5 years ago

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One of the things that upsets me about 3h’s writing is the existence of Edelgard’s siblings is actually dubious. She said she only became heir because all her other siblings were dead or insane. She wasn’t the heir or the spare yet no one else talks about her siblings. When an heir disappears, people talk. And it’s not like all the kids were the same age, there would’ve been several pregnancies. The only proof the kids exist is because Edelgard said it and she’s not above lying to others.

Okay, I have seen that theory before, and for as much as I take issue with Edelgard, I personally think that theory is complete bullshit.

[[MORE]]

Edelgard is a woman of remarkable composure. Even before the timeskip, she is very cool, very guarded, showing minimal emotion (most of which seems to be for show, providing the expected response for the benefit of those around her). There are only a handful of occasions where we see her slip, see her truly and deeply shaken -- and one of those times is associated with her speaking about her family. I’m not going to deny that Edelgard is a very capable liar, but she was very obviously disturbed by the dream that brought on the conversation, and I don’t think even she could cobble together a lie that fast under those circumstances.

Also, let’s talk for a moment about just how Edelgard lies. Her lies are primarily comprised of minor changes to information (”The Church used forbidden magic to destroy Arianrhod” only replaces the perpetrator, not the details), denials of knowledge (she says she has no knowledge of where Flayn is when she does), or omission of information (not telling Byleth that she’s the Flame Emperor despite having several opportunities to do so). She’s not stupid: lies fabricated whole-cloth require careful construction, often require the same amount of repetition and practice a trained actor would require for a stage role, and in general are really hard to maintain. Tailoring a lie from truth is much easier and caries significantly less risk. Under the circumstances, I don’t think Edelgard could have concocted such a lie, and especially not such a powerful one.

It’s also worth mentioning that Lysithea describes an almost identical series of events taking place in Ordelia territory after House Hrym’s revolt:

Eighteen years ago, House Ordelia was involved in a civil conflict within the Empire. All we did was respond to a call for aid. We weren't involved politically. But once the rebellion was crushed, my family was held responsible for the aid we gave, and the Empire gained some sway over us as a result. At the time, the noble houses of the Alliance took a passive stance. No one lent aid to my family. As a result, some key officials within the family were killed, and people from the Empire were sent to replace them. Among those people were some mysterious mages. They were...unsettling, in a word. Skin pale as death. One after another, they captured and imprisoned the children of our household. They began performing terrible rituals on the children... Though it's probably more accurate to call them experiments.

With the Empire monitoring our every move, my parents could do nothing but watch in horror as all of this unfolded. One after another, the children died, until the only one left...was me. You know, my hair wasn't always this color. During their experiments, they'd been doing things with my blood. One morning, I awoke like this — a shock of white hair, all trace of pigment, gone. Upon seeing me, the mages were delighted. They realized that their experiments had finally succeeded. Sure enough, they ran a test and saw that two Crests coexisted within me. Losing pigment from my hair wasn't the only loss. The mages informed me that my lifespan was now greatly shortened. Five more years at most. Perhaps less.

Shortly thereafter, the mages lost interest in me, and we never saw them in the Ordelia household again.

This is pretty much exactly what happened to Edelgard: young members of the household taken captive and experimented on by a mysterious group of masked mages, no aid from outside, parents forced to bear witness as their children died en masse. Nobody calls bullshit on Lysithea’s story -- so why are people trying to call Edelgard a liar? Lysithea and Edelgard’s B support doesn’t unlock until after Byleth makes the choice to side with Edelgard, and their C support makes no mention at all of the experiments, so Edelgard couldn’t have learned it from Lysithea and used it for herself. The experiments on House Ordelia were the precursor to the experiments in Adrestia, and their loss of interest very likely ties in with them moving on to bigger things -- namely the Imperial lineage and their attempts to imbue the Crest of Flames within a Hresvelg heir.

And this ties into the next point: why nobody talks about it. And that boils down to propaganda.

Propaganda relies very heavily on control of information. And empires in general have an ongoing propaganda campaign related to their ruling families: that these are immensely powerful people blessed by gods, goddesses, saints, what have you, and ruling by divine right. This is especially true in the Empire, where their imperial lineage traces its roots back to Wilhelm von Hresvelg, who forged a pact with Seiros. Now, in the Empire, an absolute premium is placed on the presence of a Crest -- to the detriment of all else, including human life. Hanneman’s sister lost her life and Mercedes’ family was ripped apart all because of the extreme Crest bias present in the Imperial territories. But with Ionius, there was an even bigger issue: his ‘Divine Right to Rule’ is intrinsically linked to the Crest of Seiros, the physical proof of his bloodline’s pact with the Saint.

And that bloodline is fading fast.

In Edelgard’s B+ support with Byleth, she says this:

My siblings and I were...we were imprisoned underground, beneath the palace. The objective was to endow our bodies with the power of a Major Crest. I have always possessed the Crest of Seiros, inherited through the Hresvelg bloodline. But it was only a Minor Crest, and most of my siblings bore no Crest at all. In order to create a peerless emperor to rule Fódlan, they violated our bodies by cutting open our very flesh. Now here I stand, the fruit of that endeavor: Edelgard von Hresvelg! But that came at too high a price...the others were sacrificed. Ours weren’t the only lives devastated by that terrible process. Innocents died as well, without even knowing what they were dying for. And there you have it, the truth of the Hresvelg’s Empire.

Out of eleven children Ionius IX sired, only a few bore any kind of Crest (and we don’t know if they were even the Crest of Seiros). The fact that Edelgard’s Crest was a Minor one rather than a Major one also seems to have been a point of contention. Which makes sense: in a territory that relies so heavily on Crests as signs of legitimacy, having a Crest appear so infrequently in the Emperor’s progeny would be a frankly alarming sign of weakness. So I would not be at all surprised if Ionius had been carefully controlling the information moving from the Imperial household to the wider Empire...such that they didn’t know how many kids he really had.

Unlike the Kingdom, where Lambert only had one wife at any given time and whose pregnancies would therefore be talk of the Kingdom since she’s a public figure, the Empire allows (and perhaps even encourages) the use of consorts. And immediately after being crowned, Ionius started seeking out suitable ones -- but their identities were not required to be public knowledge. Sure, the wider Imperial household would have been aware, and it’s likely that the heads of some major noble houses with a presence in the palace knew, as well -- though even they may have been tight-lipped about it with their families to control the spread of information (and this has in-game precedence, given that Ferdinand von Aegir has no idea what happened with Hrym or why people hate his dad so much). But the only Empire-wide announcements came with the birth of children who actually possessed Crests. And even then, it’s entirely likely that Edelgard’s place in the line of succession might have been superseded had one of her younger siblings borne a Major Crest of Seiros.

(If this seems far-fetched, I think Alexei Romanov makes a striking point of comparison here: the youngest child and only son of the Romanov Dynasty, he was set to become the next Tsar of Russia -- because his hemophilia was a closely guarded state secret. It might be common knowledge now, but the Russian public had no idea what was really wrong with him.)

Now, we don’t know a lot of details for this particular time period. We know Edelgard had ten siblings, but we don’t know if Ionius kept trying to sire heirs and had no success (issues with impotency, miscarriages, etc) or stopped trying and took a different tack. What we do know is that he instigated a series of reforms meant to concentrate the Emperor’s power. We don’t know why he did it, but it’s entirely possible that he was trying to look out for his kids and pave the way for more radical reforms that would do away with the Crest bias as a form of choosing ‘legitimate’ heirs to the throne. But whatever his plan might have been, it backfired terribly on him and led to the Insurrection of the Seven, where the Emperor was stripped of all power and his kids were subjected to Twisted experiments, likely initiated when they replaced Lord Arundel and had him float the idea to Duke Aegir -- and once again, that control of information even within families is out in force, because the nobles now controlling the empire probably don’t want it to be common knowledge that they’re committing atrocities for the sake of making a perfect figurehead.

In the end, every one of Edelgard’s siblings died. And because the people of the Empire didn’t know about them? She can’t even mourn them publicly. The Empire has no inkling of the great tragedy that occurred within House Hresvelg, and that only further fuels the lone survivor’s desire to make sure that nothing like this can ever happen again.

#answered #anonymous #fire emblem: three houses #fe:3h spoilers #headcanon #look i have thought a lot about this #and while i might not really like edelgard for what she does #there's a frankly shocking amount of evidence supporting her #once you start putting the pieces together it's a really ugly picture #edelcourse

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hellzyeahwebwielingessays · 5 years ago

Text

The Not-So-Amazing Mary Jane Part 34: AMJ #6.1

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You know I considered ending this series after the initial arc. I may well discontinue it after awhile. But for now at least I am going to press on. Thus begins the second of what I and dead certain will be a shitty arc of AMJ. Pray for me.

Before we dive into the issue I want to quote for you the solicit for this issue:

WELCOME TO NY, MJ! After the CAN’T-MISS events of AMAZING MARY JANE #5, your favorite redhead is back home! First stop: Spider-Man! But has her relationship with Mysterio changed things with the love of her life? Next stop: a press tour! Complete with iconic New York guest-starring gigs, and OH NO WHAT’S THAT?!?

We spent over 10 years of seeing Peter and MJ separated in the 616 universe.

Thanks to Nick Spencer they blessedly got back together.

Across 25 issues we got to see Peter and MJ interact and 99% of the time it was awesome and helped some old and open wounds get a little better.

It wasn’t every issue, but that was good. Don’t want to get indulgent right?

Then this series came along and Peter/MJ interactions got limited again due to the nature of the story.

That was a shame but at least we were going to get a great MJ story right?

Except we didn’t. We got a story that paradoxically simultaneously celebrated MJ whilst also inadvertently character assassinating her and just being a disgusting fucking mess in general.

But here we have MJ back in New York where Spider-Man is. This issue is even promising us an interaction between them.

Sounds good right?

Let’s see if it will deliver.

As always here we get the recap.

And once more it gives us the full title of the movie in spite of the comic yet to have done that.

As for the ‘strength of his vision blah blah blah’, you know the drill by now. That’s all bullshit, Mary Jane would never connect to Beck over that or allow him to walk free because of that.

There is also a passage in the recap claiming that MJ connected to Beck over familiarity with his situation. The idea of this being their last chance to make it big. I’ve already talked about how that’s bullshit, see part 12.

Finally, the recap confirms that MJ has still failed to tell Peter the truth. Nice to know MJ will continue to be hardcore out of character moving forward into this new arc.

As the issue starts we see MJ introduced as a guest on some kind of chat show.

As has been the case throughout the series, the art is (stylistically at least) gorgeous.

Beyond that there is little to about this page. Except of course the fact that Mary Jane has thought captions.

Let me repeat that.

For the first time in six issues the readers are being given an insight into the thoughts of title character!

You know, if this were a brand new run, a re-launch or even say the beginning of an outright new era for a series maybe that’d be okay.

But it isn’t. It’s the same run, the same volume, the same story, merely the next arc. This is like if Nick Spencer hadn’t used thought captions throughout the first five issues of his ASM run but then randomly did for the Trivia Night storyline with Boomerang.

Thought captions are perhaps one of the single most potent weapons in the arsenal of a comic book writer. It allows for immense development of characters and enables writers to combine the strength of prose stories with those of more visual mediums.

Now, it’s not that it’s bad to simply not use them. But be consistent. Thought captions would’ve gone a long way in helping us understand Mary Jane better in the first arc along with elaborating upon her asinine decisions there.

Not to mention for a character so often written off as shallow or just eye candy wouldn’t an insight into her thoughts have helped dispel such accusations? Jed Mackay has been doing that pretty consistently since the first issue of his Black Cat run. There it has done wonders for Felicia and fleshed her out more.

It’s especially bad when we consider we got more of an insight into MJ’s thoughts and feelings in one issue of Nick Spencer’s ASM run than in the entire five prior issues of her solo title.

Anyway, as her interview with Reilly Redding begins there is some quips and verbal jousting going on. Reilly asks if the movie has wrapped but MJ explains that McKnight and the crew are still shooting in L.A. Reilly asks if MJ is sure about that.

This isn’t a positive, more a general observation. I’m not overly familiar with chat shows, let alone American ones, but to my eyes the host seems influenced by Ellen DeGeneres.

Anyway, let me dispense with the pettiest of gripes first. I hate Reilly��s hairstyle. I hate that hairstyle in general. To me it looks really stupid, like you went for a haircut but gave up halfway through. That’s not in anyway shape or form a fair criticism. I totally own that. It is just a tiny point that really bothers me personally.

On the more positive side, Williams continues her frustrating tendency to nail MJ’s personality traits within a problematic context. MJ’s social skills are one of her greatest powers and here her charisma and ability to play verbal tennis with Reilly is executed superlatively. When Williams does stuff like this she delivers some of the best Mary Jane writing in a long time. Which is why I hate saying and believing that she shouldn’t work on the character over all. She makes traits of MJ shine whilst nevertheless damaging the character over all.

Case in point, the movie is still filming right? And the Vulture (and probably the other members of the Savage Six) are still out there. Let’s be kind and presume they are in a new secret location. That means Vulture will still want to find out where they are, so all the people (and their families) from issue #4 are still going to be harassed by the Vulture’s paparazzi gang and potentially threatened by the six themselves.

Oh well, MJ still DGAF I guess.

Guess she doesn’t care that she’s appearing in public (in NYC of all places!) in spite of six villains now holding a very direct grudge against her.

Also, we FINALLY get the full name of the movie in the story itself, not the recap pages.

As the interview continues, MJ takes questions from the audience. One man asks what it’s like for her to play a real hero for the first time considering she’s played normal female roles before.

MJ responds that they are all heroes to her. She doesn’t really make the female role distinction quite the same way either. It’s more like she plays a hero who is also a woman.

The next question is about the weird press speculation about Cage McKnight’s conduct. The woman asking the question wants to know what he’s really like. MJ responds that he’s great, just dedicated to the craft and protective of his crew. She points out the paparazzi didn’t take kindly to him because he in turn didn’t take kindly to them hounding the movie.

Reilly then reveals McKnight is here for the interview.

Once more, Williams (with a huge help from Gomez’s art) conveys the charisma and social savvy of MJ here. Gomez’s body language demands particular praise. He conveys MJ’s beauty, flirtation, charm, etc. And he does it on multiple levels. The subtle genius of this page is how Gomez captures MJ putting on a performance for the public, to convince them she’s being utterly genuine and casual.

As for the dialogue, the best faith interpretation of the man’s question, he meant MJ has never played a super hero before, just normal non-powered women. He didn’t mean stereotypical female roles. That interpretation makes MJ’s response make more sense than if the former was the intent. So I’ll give Williams a pass and presume that was in fact her intent.

As for the second question it further highlights the unethical nature of allowing Mysterio to impersonate McKnight. The real McKnight has a lot of gossip and a new public image that was not of his own making. It wasn’t even an unfair fabrication by the press, it existed specifically because someone else was using his name, face and reputation for personal gain.

Also the audacity of Williams to directly reference issue #4 where Ken was harassed by the Vulture’s paparazzi squad but just ignore the fact that that should still be going on.

To MJ’s confusion Cage McKnight joins the interview. However, he doesn’t seem to know anything about the movie at all. He says the first he heard of the movie was when he was contacted for the interview. Meanwhile MJ frantically contacts Beck on her phone. Reilly notices and calls MJ out just before Beck confirms he’s still in L.A.

To MJ’s horror she realizes she’s sitting next to the real Cage McKnight who’s returned from his penguin expedition. Reilly asks why he came on the show if he doesn’t remember movie. Cage responds that just because he doesn’t remember making the movie doesn’t mean he didn’t. he explains that in the past he’s made movies in ‘artistic fugues’ and presumes this is just one such time.

*pinches bridge of nose*

Oh my Gooooooooood this is so dumb.

I get the desire to have humour in a story for the sake of levity. But the world of Spider-Man is not even remotely a borderline Deadpool or Harley Quinn or Lobo comic book. The humour doesn’t come from absurdity or a cartoonlike breaking of logic and reality.

And make no mistake, this is absurd. Scratch that, it’s contrived to the nth degree.

First of all I’m not that well read up on fugue states so I briefly consulted Wikipedia who had this to say:

Dissociative fugue, formerly fugue state or psychogenic fugue, is a dissociative disorder[1] and a rare psychiatric disorder characterized by reversible amnesia for personal identity, including the memories, personality, and other identifying characteristics of individuality. The state can last days, months or longer. Dissociative fugue usually involves unplanned travel or wandering and is sometimes accompanied by the establishment of a new identity. It is a facet of dissociative amnesia, according to the fifth edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM-5).

-Wikipedia

Basically a fugue state is a sort of similar condition to Dissociative Identity Disorder, more commonly known as having a split personality. Only instead of an individual’s psyche fracturing into different personalities that take dominance, it’s someone’s mind running away with itself and becoming someone else. The individual forgets aspects of who they are and becomes someone else.

A very good example within fiction can be found in the Doctor Who episode ‘The Next Doctor’. In it a man named Jackson Lake suffers a traumatic experience and in the midst of it (through a sci-fi gizmo) absorbs a lot of information on the character of the Doctor. His traumatized mind consequently decides to imitate what it regards as the Doctor.

youtube

What I’m saying is McKnight’s dialogue about his fugues are very probably bullshit unless someone can cite evidence to the contrary.

Using the above description though McKnight has gotten this rare psychiatric disorder multiple times and specifically in conjunction with his job as a filmmaker. Yeah, no. Not buying it and neither should you.

Being a film director isn’t a muscle memory skill you can’t forget no matter what. People with amnesia or Alzheimer’s disease do not forget how to play the piano or how to drive. But directing a movie? There are so many moving pieces to that job that rely upon you knowing how equipment and more importantly individual people operate. You have to bear a shitton of theory in mind too. It is physically impossible to repeatedly have fugues and then maintain that job.

And even if it was, oh my lord, that is the single most contrived thing in this series yet. Are you SERIOUSLY telling me that Mary Jane and Beck and the entire production got this lucky. The guy who’s reputation is what the movie is riding on happens to be someone who repeatedly deals with this incredibly rare mental condition?

Holy shit. That’s Superior Spider-Man levels of contrived.

And yet if you still swallowed all of that it still wouldn’t make sense!

McKnight presumes he made this Mysterio movie in a fugue state right? But he wasn’t, so he would remember his life during that period of time. Meaning that there are lots of public records and personal accounts testifying that he was making the movie at the same time that he knows he was observing penguins.

If you suffer amnesia or blackouts or DID then there are obviously gaps in time you cannot account for. The overwhelming majority of people who deal with those conditions make a point of keeping track of those gaps, for practical reasons if nothing else. So McKnight would know that there isn’t a gap in time he can’t account for and certainly not for the time period the Mysterio movie has been going for.

Shit, the movie is still filming! How the Hell does he believe he is still making this movie in a fugue state if he’s consciously aware of lacking any knowledge about it?

Not to mention if he’s been in the Falkland Islands this whole time. A quick Google search informed me that by plane it’d take over 14 hours to travel between the islands and Los Angeles. How the fuck is anyone supposed to ever commute that distance, let alone regularly. And McKnight sincerely believes he was doing both at the same goddam time?

You couldn’t even argue that McKnight believes he made the Mysterio movie before his penguin expedition. Because the movie is still being made and all his other ‘artistic fugues’ would have a movie as proof of what he was doing during the fugues.

This is just mind-numbingly stupid and lazy writing. It smacks so hard of Williams trying to desperately paper over the holes in her initial story.

More importantly, how fucking stupid is Mary Jane or Beck to never considered this possibility? I don’t mean the fugue bullshit, I mean the idea of McKnight just coming back from his penguin adventure.

Was Mysterio honestly so incompetent as to have never accounted for that? He seriously never had anything in place to make sure McKnight wouldn’t just decide to cut his journey short? Jesus, and I was dumb enough to buy his line about McKnight spending a year with the penguins.

Even putting that aside, what the flying fuck was MJ and Beck’s plan for when he eventually came back in the first place? Say he really did spend a year with the penguins then came back to the USA. Suddenly he has a movie with his name attached to it and lots of controversy. Let’s say McKnight’s fugue bullshit added up, there is no indication MJ or beck knew about them. So how the Hell were they planning on getting away with the obvious questions he or his friends or family would have had?

And if they did know about the fugues, why didn’t Williams address that before? That was kind of a lingering question hanging over the story until now wasn’t it?

God I can’t believe I paid for this!

On the next page MJ spots a guy in an Oni Mask backstage. She presumes he’s there to scare her as part of the show. However, she notices that the P.A.s haven’t seen him. Meanwhile Reilly set up a stupid game for them to play.

I got nothing to say about this page beyond McKnight’s dialogue. Williams is clearly trying to frame the real McKnight in a less than sympathetic manner. There could be many reasons why. I suspect one of the reasons is to incline us more towards Beck’s version of McKnight and to make us not feel as bad about Beck (and MJ) exploiting his identity.

Because being vaguely and lightly sexist means you deserve to have your career, public image, sense of self and life violated and damaged I guess?????????????

As Reilly brings in people from the audience to compete against McKnight and MJ, the latter thinks that there is something weirdly familiar about the Oni-masked man.

I have little to say about this page too.

Reilly’s attitude and facial expressions make me dislike her, even beyond her stupid haircut.

And as for the Oni-Masked man (I’ll just call him Oni for now) my only guess is that he’s affiliated with Mister Negative somehow. He had his goons wear Oni masks at times. And MJ interacted with them and Mister Negative himself in the popular 2018 Spider-Man video game by Insomniac; and it’s adapted comic book City at War. As such perhaps Williams is trying to tie-in or capitalize upon audience familiarity with that.

As MJ plays the dumb game he ponders if Oni could be a lesser member of Peter’s rogue’s gallery. Observing him again she notices him murder a civilian.

The dumb game annoyed me, but that’s just me.

Beyond that all I can say is that MJ’s dialogue about Peter’s rogue’s gallery is interesting. It proves that MJ has at least a working knowledge of Peter’s major foes. Which just further proves she would have been familiar with Mysterio and his crimes, just in case anyone was still clinging to the idea that she wouldn’t.

Also, the art and especially that splash page were beautiful.

Unfortunately for MJ, Oni notices she witnessed his crime. MJ is nervous and backs away in fear, annoying McKnight when she bumps into him. Meanwhile Spider-Man swings across town yelling for to hold on as he is on the way.

Gomez draws a nice Spider-Man.

Anyway, more of Williams making us dislike McKnight, see above for more on that.

MJ backing away in fear has me apprehensive. I don’t know if that’s in character for her. I guess the shock and surprise could’ve thrown her for a loop. And if Oni doesn’t notice her then it gives her a better chance of raising the alarm and capturing him.

I must say, I do like MJ being on the backfoot here after issues #1-5 made her often overconfident and over capable at times (see her nonchalance over the Savage Six in issue #5).

Also, isn’t MJ going to give Oni the benefit of the doubt? Maybe he’s sorry for murdering that guy just now. Maybe he wants to make amends by creating a movie about his life. So why is MJ so scared?

Sure, he just murdered someone, but what is that next to the laundry list of Beck’s crimes?

As it turns out, Spidey wasn’t on his way to save MJ. He was in fact en route to a French restaurant to have dinner with her. He is actually before MJ for a change.

I know Gomez isn’t the only artist on this issue and this doesn’t look like his work. Who ever is drawing it though is doing a very bland depiction of Peter with a overly wrinkly forehead.

The joke about him arriving first for a change was funny though.

Back at the studio, the show wraps up. McKnight insults Reilly’s profession just in case you’ve not realised he is a jerk yet. MJ thinks about persuading everyone to evacuate and searches for her phone. She notices Oni leaving and decides to leave her phone behind.

I already know MJ is going to pursue Oni herself. The stupidity of that aside why the fuck wouldn’t you grab your phone before doing that? You could use it no matter where you wind up and it wasn’t so far away that he’d get that much of a head start.

In fact, if Oni knows MJ is a witness why did he bother hanging around in the first place.

And why didn’t MJ raise the alarm immediately, the worst that would happen is the guy would run away. He’s just stealthily murdered someone and is in a mask. He obviously isn’t going to take the audience hostage, so if her priority is protecting innocents then raising the alarm immediately (or in fact earlier would’ve been her best bet. Yes that’d probably mean he’d have escaped but unlike with say Peter’s origin, getting him the Hell out of there would’ve reduced the immediate threat to the civilians present.

And on top of that if she figures he’s targeting her because she was a witness to his crime then by alerting everyone to his actions she’d have removed his need (at least for the moment) of sticking around to eliminate her, thus getting him away from the audience.

If he’s leaving anyway, MJ could also just grab her phone and put a call in to Peter, her super hero chums or the police and get them on the case immediately. If she was really so determined to go after this guy herself she still could but would’ve had a back up just in case he escapes or kills her. If she fails then she’s insured someone will still pursue him.

And as I copiously detailed in parts 19-22, MJ is not a super hero (and she knows that). She has no idea what this guy’s skills, weapons or powers might be, nor does she know what resources or assistance will be nearby to enable her to survive or subdue him. This isn’t like an armed cop, a martial artist or a super powered person going after a regular crook. She really doesn’t know what she is in for. Even if he is just a normal man, he clearly has a height and weight advantage over her, is obviously willing and capable of chocking a man to death and is armed. MJ meanwhile has little self-defence training, no weapons and hasn’t got the weight or muscle capable of taking him on if she’s backed into a corner. And she’s pursuing him back stage where presumably there is a fair chance of encountering many corners!

I understand that she doesn’t want to endanger innocent people, but there is no point in risking her life there is a much more practical and likely to succeed option available to her. Live to fight another day and all that. Yes the guy might hurt people during or after his escape but that’s a lesser evil vs. going after him herself when she is very unlikely to subdue him, far more likely to die and then the guy will get away without her having passed on any valuable intel on him to someone more qualified to pursue him.

Also once she sees the guy leaving she could just tell everyone the situation and ask the audience to stay put.

Basically if raises the alarm right there on stage and/or calls Peter or the authorities she is over all putting less people in danger and increasing the chances of the guy being apprehended in the long run. But no, instead she is going to gamble on the far slimmer odds that she can capture the guy.

Not to mention, why would the guy even give a shit that MJ saw him? Why would MJ give a shit that she is a witness to his crime? He is wearing a mask! She couldn’t identify him even if she went to the police. It is literally part of the reason her goddam boyfriend wears a mask!

And by the way, are there no security cameras backstage? Wouldn’t MJ consider that or Oni himself?

McKnight apologises to Reilly (so not that much of a jerk I guess) as MJ pursues Oni (barefooted) backstage. As she does this she rehearses what she will say to Peter in her head. This entails telling him that she had to get away from the killer. As she is thinking about this the body of Oni’s victim is discovered. Backstage she comes face to face with Oni who refers to her by name.

Yay. MJ deliberately planning on lying to Peter again. It’s so awesome that Williams understands why this isn’t a really bad idea for the reasons I pointed out in part 17.

By the way, I suspect Oni knows MJ personally rather than just recognizing her work.

I’m actually going to leave it there for now as the next part of the story has a shitton to unpack.

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#Leah Williams #Amazing Mary Jane #Mysterio #Quentin beck #Spider-Man #mary jane watson #Mary Jane Watson Parker #mjwatsonedit #MJ Watson #peter parker #Doctor Who

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timcurlyshepard · 5 years ago

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Can you do one of who everyone would be as Greek heroes?

(not all of these are necessarily Greek heroes in the sense that they would have been considered so by antiquity standards, but they are prominent mortal[ish] Greek figures)

(Also I included Cherry this time)

Darry

Hercules/Heracles. The Superman of Ancient Greece if you will. Hercules has a life plagued by tragedy (dying multiple times, making his way through the underworld, being driven mad and forced to kill his own wife and children). His life is not as happy story as the Disney movie made it out to be. This feels like a version of Darry to me because he seems to have all the capabilities of having a good life, intelligence, strength, support, but it inevitably goes terribly wrong and his life turns out like nothing you would have expected through a series of unfortunate events.

Ponyboy

Cassandra. An Oracle in Ancient Greece (having the ability to see the future) but cursed by Apollo so that no one would ever believe her. She is often seen as the archetype of someone being dismissed and ignored by others when they are right and know best. She warned the Trojans of the attack coming from the Trojan Horse but went ignored. I think that Pony often feels dismissing and ignored because of his youth and place in his family and the gang. He would relate very easily to the story of Cassandra (which has a very tragic ending).

Soda

Helen. Helen is famously the cause of the Trojan war. She falls in love with Paris and ditches her husband, Menelaus, to run off with him. She’s a young girl who’s willing to sacrifice literally everything for love. This reads like Soda to me, quick to fall completely in love and damning the consequences.

Steve

Odysseus. Clever, cunning, and brash. Odysseus is the one who famously came up with the ploy of the Trojan Horse, which very much feels like a Steve idea to me. He’s a quite a bit hypocritical at times (expecting Penelope to remain faithful while he’s off getting hot and heavy with every woman he meets) which feels like it could also be a weakness of Steve’s (not the cheating, the hypocritical attitude at times).

Dallas

Achilles. Achilles is strong and bold, but he has weaknesses, and not just in his heal. One of the most memorable scenes of Achilles during the Iliad is a display of his infamous temper; dragging the dead body of Hector, who had slain his beloved Patroclus, through the streetsof Troy. This figure radiates Dallas for me because he is known for his fighting prowess, but he is also rash and quick to anger, especially when someone he loves is at stake.

Johnny

Patroclus. The other half of Dallas’ Achilles. Patroclus dies dressed as Achilles, attempting to defend his men against the Trojan army. He is self sacrificing and is the catalyst to the death of Achilles and Hector in the Iliad. I mean come on, this is Johnny. Hinton might have just read the Iliad and gone ‘yeah we’re just gonna use that guy and give him a new name’.

Two Bit

Pandora. The first woman ever created. And considered to be downfall of mankind (think Eve in Christianity). Pandora famously opened a box that she was not supposed to because she had been cursed with an uncontrollable curiosity. Said box released all the horrors of the world (war, hunger, the pain of childbirth, death, etc etc). She was doomed though, because the box was a trap, meant to entice her. For me, Two Bit also has this sense of curiosity and an inability to control his actions at times. He doesn’t always think before he acts, much like Pandora.

Tim

Medea. Medea is the real hero in the tale of Jason and the Argonaughts. She is the one who has magical abilities and intelligence and she captures the Golden Fleece for them. But she doesn’t get the credit she deserves, and after she married Jason he abandons her for another woman. She then has him killed. She is one of the few women in Ancient Greece that was seen as more powerful than a man, and in the end she gets away with the murders she commits. I think that this intelligence and violent revenge when wronged is like Tim. She’s cunning and is the leader of a group of hard headed guys, which Tim is as well.

Curly

Orpheus. Orpheus was a musician and favored by the god Hades. So, when his wife Eurydice dies he goes to Hades to beg for her back, and the god agrees on one condition: he may lead her out of the underworld, but while doing so he may not look back at her. But, of course, he is too tempted to see his beloved wife and turns back, causing her to vanish and return to the underworld. I think that this sort of foolish breaking of rules and suffering unwelcome consequences is a Curly move. It also is definitely like him to try and get around a clear instruction but fail in the process. He doesn’t always think things through and it will bite him in the ass later.

Angela

Clytemnestra. Clytemnestra is actually my favorite figure in Greek mythology. Here’s the short version: her husband is Agememnon (leader of the Greek army in the Trojan war) sacrifices her beloved daughter to the gods before leaving for battle (it was considered good luck to do so). She’s pissed, obviously, and murders him in a clever plot upon his return like 20 years later. I decided to make Angela her because she is vengeful, but for a good cause. She loves her child dearly and would do anything to avenge her, and in part to avenge herself. Angela has always read as the vengeful type to me (I mean just consider what she had her brothers do to Bryon) and I think she would be the type to hold anger for 20 years, especially over the killing of a family member.

Cherry

Alcestis. The rundown: Alcestis dies in place of her husband so that he may have immortality, it was supposed to be a gift to him by the God Apollo but turns out to be a curse because he loses his beloved wife. The thing that’s notable about this story is that it’s called the Alcestis and is centered around her, but she doesn’t have a single line in it. She is essentially the epitome of how men saw women in Ancient Greece (and today), sacrificial lambs that are meant to fuel their pain in stories but not actually have their own agency. Cherry reminds me of what I think Alcestis would have said and been like if it had been written by women in Greece. Frustrated with being used as a pawn and having her story boil down to what she offers men.

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