#reducing some of her characters to their love lives ignores a lot of the writing that gives them the depth you supposedly are looking for

[boylebingo]

not to wade into murky waters on purpose but… while i 100% believe that me loving something doesn’t put it above (thoughtful) criticism and in fact often agree with critiques of things i enjoy, some of the twitter discourse around mindy kaling recently has really demonstrated a complete lack of media literacy and critical thinking among the people issuing those criticisms.

[angy-grrr]

okay im actually tired of ppl pretending it’s the same. “Izu///ochas and togachakos reduce Ochako into a love interest the same way!” “If deku was running and saying Bakugou was his hero then bkdks would see it as romantic so they are actually canon”.

Just, stop. Queer and hetero ships are completely different, and there are different things expected from them; if ppl focus too much on the ship side, then yeah, characters do get ignored and reduced to romantic plots, but it’s not the same. The hetero couple is not only expected but most of the time reduces the female character into the romantic subplot exclusively. Izuku and Ochako dating would make her whole arc not be about learning to be a hero and accepting her own feelings, but about dating him as her conclusion would happen “thanks to a romantic confession and getting with the boy”; so many ppl are angry bc she didn’t confess so she’s still “holding back”, but she isn’t, because she already admitted those to Himiko (yes, that time she told her she fell for him). If she was hurting mainly because of not telling him she likes him… that’s not the same as hurting mainly because she likes a girl. It’s just not the same, in any way.

And the same goes to the other sentiment -we expect queer coding, not straight forward confessions, hugs and kisses like hetero shippers can hope for. So we over analyze their interactions basically out of necessity knowing the possible context -if they are meant to be romantic, there are many obstacles to make them just confess, so we, especially shippers who are also queer, try to pick up on clues. This isn’t exclusively something in BNHA, it has been happening for a long time ever since there were policies and laws against LGBT+ representation in movies and TV shows in many countries; queer coding is a way for the authors/writers/creatives/etc to say “if you know, you know” (there’s also a history of queer coded villains for the purpose of following the same laws, but yk, the creatives behind many of them certainly knew a lot about queer stuff in their private lives…)

But hetero ships don’t need any of that -they don’t need secret codes and secret messages confirming canon romances out of fear of consequences. They are a boy and a girl! What are the consequences? In this particular case too, there are some ppl misinterpreting shippers on purpose -not understanding why bkdk handhold is a big thing not bc it’s a handhold, but bc of their history with hands, or believing Ochako was exclusively doing her job as a hero when she went for Himiko. So. I’m just angry at ppl for comparing these ships as if straight and queer narratives are the same. EDIT: I’m also tired at ppl for believing an author can write a manga weekly for 10 years and follow the original idea of what the characters were about and represent.

“oh but how could Midoriya be the greatest hero after all of this” I’m sure hori doesn’t know bc in 2014 he had a different idea for the ending -more typical shonen with him being the best hero in the world, and now he isn’t even the most popular among his classmates-, so know he is stuck with that narrative haunting him and can’t ignore it lol

[lizzygrantarchives]

Clash, November 29, 2011

“My goal is to be a good person who lives with dignity and grace.”

“I’m sorry you have to see me like this,” says Lana Del Rey, standing in a doorway.

Quite why someone looking so spectacular – she’s dressed in leather playsuit with blow-dried hair as big as her personality – should be apologising, is anyone’s guess.

“I look so slutty,” she says, giggling, perhaps realising the effect her attire is having on this poor, overwhelmed journalist.

Lana, real name Lizzie Grant, is all-too aware how she can come across. During the photoshoot, lying on her back on a motorbike, she strikes seductive poses before quickly snapping out of them, constantly querying how she looks and how it might be perceived.

“That was too men’s mag, wasn’t it?” she asks, shuffling around coyly. Later, she confesses she even changed the way she sings to be taken more seriously. “I sing low now, but my voice used to be a lot higher. Because of the way I look,” she explains, grimacing slightly at the topic of conversation, “I needed something to ground the entire project. Otherwise I think people would assume I was some airhead singer. Well, I don’t think… I know. I’ve sung one way, and sung another, and I’ve seen what people are drawn to.”

It would be disingenuous and futile to ignore Lana’s appearance, but reducing the twenty-four-year-old’s startling talent to nothing more than a pretty face is worse. Over half a million people haven’t watched ‘Video Games’ on YouTube, in just over a month because she’s pretty. Lana has the songs – David Lynch-meets-Nancy-Sinatra-esque songs – make no mistake.

“If I’d known half a million people were going to look at that video I would’ve got my hair and make-up done properly,” she jokes. “More importantly, I wouldn’t have looked so pouty, seeing as everyone talks about my fucking face all the time and send me awful messages. As much as people seem to like it, I wasn’t ready for the personal attacks landing in my inbox.”

Hailing from Lake Placid, “a small tourist town that no tourists go to anymore” in New York state, Lana began singing in various church choirs when she was a child. She maintains today she’s not religious – “more spiritual, I know that’s a cliché” – but does say her prayers from time to time.

“I need to do that because of all the trouble I’ve been in. I won’t tell you what, because you wouldn’t believe me,” she deadpans.

Lana is an intriguing character, on one hand excited about everything happening to her at the moment, on the other, completely nonplussed about the whole experience. That’s partly down to her wanting to be a singer for so long; now it’s actually coming true, the fire in her belly has been extinguished by years of rejection.

“When you find everything you love and you lose it, and for me that was music, your ambitions definitely start to change,” she explains. “They have to. My goals have shifted from wanting to become an important artist to becoming an active member of my community. It’s really nice my music is being played and people are taking notice, but music isn’t my primary focus anymore. Not even close. My goal is to be a good person who lives with dignity and grace.”

There was a previous record, produced with David Kahne (Paul McCartney, The Strokes, Stevie Nicks, Regina Spektor). It was available on Amazon and iTunes but was withdrawn after three months, although some of the tracks can be found on YouTube if you look for them.

“I will write again because I have to now. It’s a luxury and will allow me to concentrate on other interests and pursuits. I wrote one album and no-one listened. I’m fine with that. I made an exquisite record three years ago which was perfect for me,” she asserts.

“I’ve learned to do things just for myself, and the fact things have kind of worked out now is just icing on the cake.”

Originally published on clashmusic.com and in the November 2011 issue of Clash with the headline Rey of Sunshine.

[kanohivolitakk]

Like yes, I agree with the general notion that Greg had a problem of writing his female characters as badass stonecold killers with a bodycount without giving any other traits or depth to them. That is a problem plaguing Bionicle from around 05 onwards I have an issue with. But . I don't really like when the fandom takes the two post 05 female characters that actively rebuke this trend and reduce them to that trope is so frustrating. Especially when they're used as the main example of Greg falling to this trope when there are arguably better examples (Gorast anyone?)

Like Helryx is so often read as this Amanda Waller esq "brutal "ends justify the means" supervisor who is willing to kill if it means the cost" type of character to the point it is pretty common to see her as completely cruel or wishing she got comeuppance. And look. I don't think that's necessarily a wrong read of her character, I definitely agree with the fandom that she got treated a bit too leniently by the narrative. But it is certainly an incomplete one. Because people act that she is this brutal and cold-hearted ruthless commander who doesn't give a fuck about the world and thinks with logic than emotion. When that isn't true. Since isn't Helryx whole deal that she is so compassionate that she is willing to do immoral things because someone has to do them. She doesn't get kicks of her actions, its a burden she must carry because if she doesn't do it then others have to suffer. She essentially makes herself a martyr in a ruthless dog eat dog world so the innocent of the world can live which is arguably the core trait of her character. A core trait that gets so often lost in the suffle to frame her as some ruthless CIA boss that needs to be hold accountable because she did a lot of fucked up shit.

And don't get me started Lariska. Lariska is often used as the one of the poster-girl example of this trope alongside Tuyet and "Hahli the Barbarian" which annoys me so much since it is simplifying her character. Yes, Lariska is a badass and ruthless girlboss. Yes, she can be mean. Yes, her most iconic and defining character moment is telling The Shadowed One she wants to murder him in cold blood. But Lariska is more than that. She is characterized as always in motion to the point shes written as restless when she cannot move. She is very funny in this "lighthearted quippy Errol Flynn adventurer" kind of way. She casually flirts with Nidhiki when fighting against him. She compliments Nidhiki when assuming he was going to betray the Dark hunters. She geniunely showed compassion to Nidhiki in spite of everything that happened and defended him from TSO after the Metru Nui siege was a failure. She felt guilt towards what happened to Nidhiki, even after his mutation. She shows empathy to Takadox in the infamous boat scene. She can read people surprisingly well. She shows a hint of regret or contemplation a few times. So to take all those nuances away and reduce her to the "stonecold girlboss" Greg wrote is so frustrating. Lariska is so much more please don't ignore that.

But yeah just. You guys love to complain about how one-note a lot of post 05 girls were but then you reduce the two most complex (by Bionicle standards) female characters into just that trope. Which is so annoying.

Lariska 🤝 Helryx

Being reduced into a "badass amoral girlboss" by the fandom when they are arguably the lone two female characters post 05 who aren't exclusively defined by those traits and who are interesting because they're allowed to be (or at least have hints of being) other things besides being badass amoral girlbosses.

[troquantary]

Edward Cullen: That Boy Ain’t Right

So I was doing a reread of @therealvinelle 's collection of Twilight metas, as one does, and in "Edward, Denial, and a Human Girlfriend" she mentions that she doesn't believe Edward is sane. I thought, "ha, yeah, he's definitely not," and also, "but wait, what does that mean exactly, please say more about that." But since she's already inundated with asks, I've decided to use my own head-muscle and explore this idea. (TL;DR: I start out more or less organized, synthesize some points Vinelle has made across several posts (and have hopefully linked to them all where relevant but please tell me if not), touch a little on narcissism, then take a hard left into the negative effects of being a telepath.)

Just a couple things to note at the outset, though. Theses have been written already (probably) about Edward as an abuser. Edward being insane doesn't negate that at all; he's definitely an asshole and just...a disaster of a human being. (I find it more funny than anything, but YMMV.) I'm also going to try to avoid talking specifically about mental illness and how it relates (or doesn't relate) to abusive behavior -- that's territory I'm not really equipped to discuss, like at all. My starting point is "Edward has a deeply warped perception of reality," not "Edward has X disorder."

So: deeply warped perception of reality. The evidence? Goes behind a cut, because my one character trait is Verbose.

Vinelle provides a great example of it in the post linked above, which I'll just quote because she does words good: "[Edward] keeps acting like his romance with Bella is a romantic tragedy, and all the cast of Twilight are actors on a stage making it as sublime as possible." Edward's the one to pursue Bella, but he does so with the full belief, from the very beginning, that it will never last; Bella will "outgrow" him, go on her human way, and he can spend the rest of eternity brooding magnificently over his too-short romantic bliss. [Insert premature ejaculation joke.] Turning her is never an option, even though Alice, Noted Psychic, says that romancing Bella will either end with her dead (exsanguinated) or dead (vampire).

This framing, where he's a dark anti-hero in love with -- but never tainting! -- the pure maiden and eventually leaving her in a grand, tragic sacrifice to preserve her soul? It's fucking bonkers. Bella isn't a person to him in this scenario. As Vinelle points out, Bella's never really a person to him at all; he falls in love with his own mental construct, cherry-picking from what he observes of her behavior and her responses to his 20 (thousand) Questions to convince himself that she is the ideal woman.

Bella's not the only one who gets the projection/cardboard-cutout treatment. Edward sees everything and everyone through a highly particular, personalized lens. He filters his entire reality, which we all do to an extent, but the thing with Edward is that he starts with his conclusions and then only pays attention to the evidence that supports those conclusions. Often that evidence consists of what he admits in New Moon are only "surface" thoughts -- but recognizing that limitation doesn't keep him from taking those thoughts as representative of what people are. Edward then becomes absolutely convinced by his own "reasoning" and won't be swayed from what he has decided is Objectively True. It's obvious with Bella; it's also painfully obvious with Rosalie. (Vinelle explains this and brings up Edward's raging Madonna/Whore complex in the same post, so refer to that again -- she's right.)

He also catastrophizes. Everything. Bella's just vibing in her room, rereading Wuthering Heights for the 87th time? She's gonna be hit by a meteor, better sneak into her room while she sleeps. Bella's going to the beach with the filthy mundanes their human classmates? She's gonna fall in the ocean. Jasper's cannibal pals are stopping by for a visit, but know not to hunt in the area? DISASTER, DEFCON 1, ALSO FUCK YOU JASPER FOR EVEN EXISTING IN MY AND BELLA'S SPHERE YOU UNSPEAKABLE BURDEN. Edward must believe that Bella is vulnerable and in near-constant peril, to support the reality he has created in which he is the villain turned protector and maybe?? hero??? (!!!) for his beloved. So when the actual, James-shaped danger arrives, he goes berserk, snarling and flipping his shit and generally not helping the situation. His fantasy demands that Bella remain human, so instead of doing the very thing Alice, Noted Psychic, assures him will neutralize the threat (and not just a threat to Bella, either, but to Bella's family and any other human James might decide to include in the "game"), he vetoes it immediately, no discussion. Bella Must Not Turn, and he sticks to those guns despite James nearly reducing her to ground beef, despite leaving Bella catatonic with depression (but human! success!) in New Moon, despite Aro's order and his family's vote and, let's not forget, Bella's clearly and repeatedly stated desire to be a vampire. It's going to happen. But he doesn't accept it until Renesmee busts out of Bella like the Kool-Aid man and the poor girl's heart finally, unequivocally stops.

Sane people don't behave this way. I don't want to slap labels on Edward, but I can't help but note that he comes across as highly narcissistic. He's the only real person in his universe, the lone player among us NPCs. That probably has a lot to do with him being frozen in the mindset and maturity of a seventeen-year-old boy, but I think it's also just...him, on some fundamental level. His failure to connect with others and recognize them as full, independent beings with their own wants and priorities isn't like Bella's failure -- she's badly depressed. Edward is...something else, and I get the sense that his sanity has been steadily deteriorating over time. And a cursory google of narcissistic traits turns up some familiar-looking stuff. He's self-loathing, yes, but also grandiose; he hates himself for the monster he is (and hates most vampires besides Esme and Carlisle for their monstrosity, too) but still feels superior to humans, to the extent that he felt entitled to human blood and resented Carlisle for depriving him of his "proper" diet. He eventually returns to Carlisle, but he's far from content -- the beginning of Midnight Sun finds him in a state of ennui, bored and dismissive of (if not outright disgusted by) everyone around him, that has apparently persisted for years and years. He doesn't play the piano, he doesn't compose, he doesn't enjoy anything...at least until Bella comes along and then he becomes obsessed to a disturbing degree with her and his new, romantic tragedy spin on reality.

[Next-day edit: I’m not sure where else to fit this in, but the way Edward casually contemplates violence against people who have, at best, mildly annoyed him is...chilling. I have a hard time writing off his strategizing how to murder the entire Biology class as a result of bloodlust -- it’s so calculated, nothing like the blackout state of thirst Emmett describes when he encountered his own “singer,” and that is probably the default for when a vampire is extremely thirsty. But even ignoring the Biology class incident, Edward still does things like consider, with disturbing frequency, how he might grievously injure or kill Mike Newton, all because...Edward considers him his romantic rival (despite Bella barely giving the kid the time of day). He thinks about slapping Mike through a wall, which might be an amusing slapstick image, except as a vampire Edward’s actually capable of turning this boy’s skeleton to a fine powder. So it’s, y’know, kind of sick when you think about it.

But even worse than that, when Bella tells Edward about how she flirted with Jacob to get at that sweet, sweet vampire lore, Edward chuckles and then, after dropping Bella home, flippantly observes that now that the treaty’s broken, why not genocide? I’m not even kidding, it’s right there in Midnight Sun; he seriously thinks about the fact that he’d be technically justified now in wiping out the entire tribe because a teenager tried to impress a girl with a spooky story. That is fucked. Remember, Edward was there with Carlisle when the treaty was first established. He knows how remarkable it is that they even came to a truce in the first place, that it was only ever possible because Carlisle is...well, Carlisle, and that it marks a pretty significant moment in supernatural history. He doesn’t care; he doesn’t respect it, or he’d never think something like “Ha ha, if I went and killed them all, I wouldn’t even be wrong. I mean, I won’t do it, but I’m just saying, I wouldn’t be wrong.”

Again: not the thought process or behavior of a sane person. (Or a person that respects life in general -- sorry Carlisle, big L.)]

Finally, whether he's a narcissist or not, I think the fact that Edward has constant, unavoidable access to everyone's thoughts is a powerful contributing factor to his instability. He can tune out the mental noise to an extent, but he can't stop it -- so he comes to rely on it like another sense. This causes issues with disconnect and lack of empathy, of course, but there's another facet to this shit diamond: he's basically experiencing a ceaseless flow of intrusive thoughts. His narration in Midnight Sun suggests that he "hears" the words people think, can "see" what they visualize in their mind's eye, and can sense the emotional "tone" and intensity of their thoughts. Therefore, perceiving Jasper's thirst through his thoughts makes Edward more aware of his own, "doubling" the discomfort. This would be a lot to deal with even from just his immediate coven members, but Edward gets all of this pouring into his head like a firehose on a day-to-day basis because the Cullens live right alongside humans. I know Meyerpires have galaxy brains or whatever, but that's a ton to process.

Besides the compounding effect on his own thirst when he "feels" the thirst of others, Meyer never suggests that Edward has difficulty separating his own thoughts from other people's; even when he was newly turned, he recognized Carlisle's "voice" in his head as Carlisle's. That would create a whole different host of issues around identity, but it looks like Edward's escaped that particular torment. However, I can easily imagine that what he does experience is just shy of unbearable nonetheless, with an eroding effect on his sanity over decades. He can't sleep to escape it; he's on a dishwater diet and probably (like the rest of his family) experiencing a perpetual, low-grade physical discomfort due to his thirst never being fully satisfied; and he's around far more people than is the norm for vampires -- even discounting all the humans, his own coven is unusually large -- meaning more noise.

Honestly, it would be weirder if he were all there, considering.

And even though I feel like I lost a sense of structure around where I started ranting about telepathy, I've written like 1.5k words about Edward fucking Cullen and I think that's enough for one post.

[felassan]

Some DA trivia and dev commentary from Twitter

There’s a lot of different tweets, so I’m just pasting and linking to the source rather than screencapping them all or making several different posts or something. Post under cut for length.

User: Was dragon age 2 your favourite in the franchise?

David Gaider: DA2 was the project where my writing team was firing on all cylinders, and they wrote like the wind- because they had to! Second draft? Pfft. Plot reviews? Pfft. I was so proud of what we all accomplished in such a brief time. I didn't think it was possible. [source] DA2 is, however, also where the goal posts kept moving. Things kept getting cut, even while we worked. I had to write that dialogue where Orsino turned even if you sided with him, because his boss battle had been cut and there was no time to fix the plot. A real WTF moment. >:( [source]

Mike Rousseau: I remember bugging that! And then being told it wasn't a bug, and being so confused. Doing QA for DA2 was an experience. Trial by fire. [source]

DG: So I think it's safe to say DA2 is my favorite entry in the DA franchise and also the sort of thing I never want to live through ever again. Mixed feelings galore. [source]

User: (I personally blame whoever it was for ruining most romance arcs in other games for me; they don't live up to Fenris's romance storyline)

DG: I wrote Fenris, so uh - me, I guess? Or maybe his cinematic designer, who put in the puppy dog eyes. [source]

User: If DA2 had just been an expansion, do you think it would have been better received? There was a lot of great stuff in there, and I think my initial dislike of it was because of the zone reuse. If it hadn't needed to be a full game, would that issue not have arisen?

DG: Hard to say. It was either going to be an over-scoped expansion or an under-scoped sequel. If it had stayed an expansion, it might never have received the resources/push it DID get. [source]

User: I'd love to visit the universe where you had an extra year or so to work on it. You did a very good job as it stands, but it definitely had rough edges. Not just the writing team either. The whole game had hit and miss moments, that just a little more dev time could have fixed.

DG: On one hand, DA2 existed to fill a hole in the release schedule. More time was never in the cards. DA2 was originally planned as an expansion! On the other, if we had more time, would we have started doing that thing where we second guess/iterate ourselves into mediocrity? [shrug emoji] [source] 

Jennifer Hepler: This is what I love about DA2. Personally, I greatly prefer something that's rough and raw and sincere to something that's had all the soul polished out of it. Extra time would have helped for art and levels, but it would have lost something too. [source]

DG: Right? I think we could have used some time for peer reviews (and fewer cuts), but I think the rawness of the writing lent a certain spark that we usually polished out. [source]

JH: Definitely. I think the structure (more character-driven) and the tightness of the timeframe let each individual writer's voice really come through. Polish can be very homogenizing. [source]

DG: I should add I'm not, by any means, against iteration. Some iteration is good and necessary. The problem that BioWare often had is that we never knew when to stop. Like a goldfish, we would fill the space given to us by constantly re-iterating on things that were "good enough". [source]

Patrick Weekes: I appreciate your incredibly diplomatic use of the past tense on "had". :D [source]

User: DA2 was my gateway into the series and I’m so happy it is. I love the game the way that it is. It’s one of my favorites of all time. But I am also aware of everything that was said here. If it were remastered, do you think it would change?

DG: I'd be surprised if it was ever remastered. If it was, do you really think they'd change things? Do remasters do that? No idea. [source]

User: Both sides got undercut as I recall. Didn't that whole sequence also end with the mage leader embracing blood magic? It was very much "a plague on both your houses" moment, at least for me.

DG: Yep. Orsino was supposed to have his own version of Meredith's end battle, which only happened if you sided with the templars. That got cut, but the team still wanted to use the model we'd made for him. So... that happened. [source]

DG: I would personally say that DA2 is a fantastic game hidden under a mountain of compromises, cut corners, and tight deadlines. If you can see past all that, you'll see a fantastic game. I don't doubt, however, that it's very difficult for most to do that. [source]

PW: I love DAI with all my selfish "I worked on this" heart, but DA2's follower arcs and relationships are probably my favorite in the series. [source]

User: As I've expressed many times, I love the game, especially it's writing and characters but, for me, the most impressive aspect of it, in consideration of it's lack of time for drafts and revisions, is the 2nd act with Arishok.  What amazingly complex character and fantastic duel

User: Just played it again and I have to agree. Though he is bound by the harsher tenants of the Qun, he makes valid points about free marcher society. Though it is obvious that he and Hawke will come to blows eventually, the tension builds gradually and understandably

DG: Luke did such a fantastic job with the Arishok I found myself sometimes wishing the Qunari plot had just been THE plot. [source]

User: What do you think would have changed, story wise, if you had more time for DA2?

DG: I would have taken out that thing where Meredith gets the idol. It was forced on me because she needed to be "super-powered" with red lyrium for her final battle. Being "crazy", however, robbed her side of the mage/templar argument of any legitimacy. I hated hated hated that. [source]

User: I deeply lament that there wasn't/couldn't be some sort of DA2 equivalent of Throne of Bhaal's Ascension mod.

DG: I'd have done it, if DA2 had allowed for anything but the most rudimentary of modding. ;) [source]

User: I mean, and I think I understand where you were trying, but how much legitimacy did the Templars and her as top Templar have after they're keeping the mages locked up against their will in the old slave quarters? Feel free to not reply.

DG: I think it's the kind of discussion which requires nuance, and which discussions on the Internet are not prone to. [source]

User: Was a compromise that the quest lines don’t branch? It felt like it was supposed to be that way but then you end up in the same place later regardless of what you pick. Like I hoodwinked the templars so good to help the apostates escape but in Act II they were caught anyway.

DG: I remember us having a lot more branching in the initial planning yes. Most of this got trimmed out in the first or second wave of cuts, in an effort to not cut the plots altogether. [source]

DG: "If you could Zack Snyder DA2, what would you change?" Wow. I'm willing to bet Mark or Mike (or anyone else on the team) would give very different answers than me, but it's enough to give a sober man pause, because that was THE Project of Multiple Regrets. [source] I mean, it's the most hypothetical of hypotheticals. It's never gonna happen. I wouldn't be surprised if EA considered DA2 its embarrassing red-headed stepchild. We'd also need to ignore that in many ways DA2 was as good as it was bad BECAUSE of how it was made. But that aside? [source] First, either restore the progressive changes to Kirkwall we'd planned over the passing of in-game years or reduce the time between acts to months instead of years... which, in hindsight, probably should have been done as soon as the progressive stuff was cut. [source] I'm sure you're like "get rid of repeated levels!" ...but I don't care about that. All I wanted was for Kirkwall to feel like a bigger city. Way more crowded. More alive! Fewer blood mages. [source] I'd want to restore the plot where a mage Hawke came THIS close to becoming an abomination. An entire story spent trapped in one's own head while trapped on the edge of possession. Why? Because Hawke is the only mage who apparently never struggles with this. It was a hard cut. [source]

User: I would LOVE to hear more details about this! I don’t suppose there’s any chance of a short story?

DG: I don't even remember the details of the story, sorry. There was a fight, and you caught the bad guy and then realized none of it was real and woke up idk [source]

DG: I'd want to restore all those alternate lines we cut, meaning people forget they'd met you. Or that they knew you were a mage. Or, oh god, that maybe they'd romanced you in DAO. So much carnage. [source] I'd want to restore the Act 3 plots we cut only because they were worked on too late, but which would have made the buildup to the mage/templar clash less sudden. Though I don't remember what they were, now. Some never got beyond being index cards posted on the wall. [grimace emoji] [source] As I mentioned elsewhere, I'd want to restore Orsino's end battle so he wouldn't need to turn on you even if you sided with him. And I'd want an end fight with the templars that didn't require Meredith to have red lyrium and go full Tetsuo. [source] Heck, maybe an end decision where you sided with neither the mages nor the templars. Because it certainly ended up feeling like you could brand both sides as batshit pretty legitimately, no? That was never planned, tho. No idea how to make that feel like an actual path atm. [source] Maybe an option to go "umm, Anders... what are you DOING?" 👀 [source] And, of course, a Varric romance, because Mary took that "slimy car salesman" character we'd planned and did the impossible with him. I can feel Mary glaring at me for even suggesting this, tho. [source] Lastly, the original expanded opening to the game which allowed you to spend time with Bethany and Carver BEFORE the darkspawn attacked. And, um, that's about it off the top of my head. Zack Snyder, WHAT PANDORA'S BOX HAVE YOU OPENED. [source] Shit, I remembered two more things: 1) Restore the "Varric exaggerates the heck out of the story" at the beginning of every Act, until Cassandra calls him on it. Yes, that was a thing. 2) Make DA: Exodus. Yes, I am still bitter. [source] God damn it, I meant "Make DA: Exalted March". The DA2 expansion, NOT Exodus since that was DA2's original name and makes no sense. Because the expansion ended with Varric dying, and that will always be on my "things left undone" list. [source]

User: Whaaaat?

DG: Well, you know that scene in Wrath of Khan where Spock goes into the dilithium chamber because he's a Vulcan? Well, imagine that but with Varric and red lyrium and because he's a dwarf. ;) [source]

John Epler: I distinctly remember referencing the bit from MGS4 where you crawl through the microwave corridor in the split screen, while cinematic battle rages on the other half. [source]

DG: It would have been glorious, John. Glorious. [source]

JE: I don't think I've ever been so certain what a shot should look like as I did Hawke coming in and finding Varric in the broken throne, just like when he was telling Cassandra his story. [source]

DG: It would have come full circle! Auggghh, it still kills me. [source]

User: Lord, you folks are a little too good at this.

JE: The true secret behind videogame narrative is knowing how to make yourself seem a lot more clever than you actually are. [source] 'Oh, we TOTALLY planned that.' [source]

User: Ok, this thread [the DA2 regrets thread, which is the big chunks above] but Inquisition.

DG: My regrets about Inquisition are, more or less, the normal kind. Nothing so dramatic, I'm afraid. [source]

User: You can keep your Varric romance, I want a Flemeth romance goddamnit!

DG: I would allow for one flirt option, and then a recording of Kate Mulgrew laughing for three minutes straight. [source]

User: I had a hypothesis about the repetitive caves in DA2. They're repetitive because it's Varric telling the story and he didn't consider them important.  They're like sets in a play.  (Okay, I really suspect it was a time/money/resources thing but I like my fake explanation better.)

DG: Hang a lampshade on it, maybe? Cassandra: "But that's the exact cave you were in last time?" Varric: "Whatever. They all look the same, I'm not THAT kind of dwarf. Can we move on?" [source]

User: that makes sense, hypothetically to make Varric romanceable and keep his arc—that had to happen for the main plot—I imagine you would have to make double the content (or more)? which would've been a tall order given the time/budget constraints the game was under

DG: Right. When it comes to "romance arc" vs. "follower story arc", we generally only had time to do one or the other. Never both. Romancing Varric would have meant not getting the story of his that you did. [source]

Mary Kirby: The one exaggeration I really, REALLY wanted, that we never got to do was Varric narrating his own death scene with Hawke weeping over him, then cutting to Cassandra's pissed off glaring at him. [source]

DG: Haha! The one I wanted was Varric's plot where he takes on the baddies single-handedly, sliding across the floor like Jet Lee, action movie-style, until finally Cassandra gets irritated and he has to admit Hawke & the rest of the party showed up to help. [source]

MK: We did that one! (He didn't do any Jet Lee moves, though.) Jepler gave him letterboxing to get The Good, the Bad, & the Ugly showdown vibes while he shot a ton of mooks single-handed. [source]

DG: Wow. Shows how much I remember. [source]

JE: I found it! I remember seeing this sequence as my treat for doing a bunch of much more challenging work. It was fun to see how far I could push our limited library of animations. [link] [source]

DG: Heh awesome. I could have sworn it was cut, honestly. I think I was even in that meeting. [source]

User: no disrespect but that’s surprising and rich of Mary “Hard in Hightown” Kirby to think DA2 shouldn’t have had a Varric romance when she wrote an entire book of Varric’s self-insert character pining over his Hawke insert character… HIH is the reason we had VHawke Summer 2018

DG: I can't *really* speak for Mary, or how she feels about it now compared to back then. I only know how she felt about it back then, and I'm not sure it was as much the concept of the romance but that Varric's entire story would be bent to "romance arc" ...a very different thing. [source]

JH: I remember pushing to have the first DLC start with Hawke having an option to ask Varric, "Did you tell Cassandra about us?" and if you picked it, Varric would answer, "Of course not, baby. I told her you were sleeping with X..." and then proceed as if you had had a full romance. [source]

DG: I still wonder how that would have gone over. x) [source]

JE: Okay, one more DA2 thing. Putting together the cinematics for this scene was a blast. [link] [source]

MK: These lines are my greatest legacy. I want "Make sure the world knows I died... at Chateau Haine!" inscribed on my tombstone. [source]

JE: I was so glad no one said 'no' to the crane shot. [source]

MK: It needs that crane shot. It's the perfect icing on that cake made from solid cheese. [source]

DG: The designers were all "we need more combat" and I think we were all "I think you underestimate just HOW interesting we can make this dinner party". [source]

JE: And finally. I think @SherylChee wrote the one-liner. I think we had a collection of like, 20. [link] [source]

Sheryl Chee: Yeah! Something like that! I remember submitted a whole bunch and Frank said you only needed one. Wish I'd kept the other fifteen. [source]

JE: A random chooser where, each time through the scene, you get a different one-liner. [source]

JE: DA2 is the project I'm the proudest of. I also absolutely get that it didn't land for a lot of people. But I don't think it's inaccurate to say that, in a lot of ways, DA2 defined my career. [source]  Everyone spent a year working at their maximum ability. I was a fresh cinematic designer and was given all of Varric's content, as well as the Act 1 Finale mission. It was a lot for someone who had been doing the Cinematics thing for literally 6 months. [source]  There's some stuff in there I can't look at without wincing. And there's some stuff I'm genuinely proud of. Not to mention, it was my introduction to most of the writing team. Several of whom I'm still working with today! Albeit in a different capacity [source] Also, weirdly, one of my most enduring memories of Dragon Age 2 is how much Bad Company 2 we'd play at lunch. It was a LOT. [source] Every game I've worked on has a game I played attached to it. ME2 is Borderlands. DA2 is Bad Company 2. DAI is DayZ. I, hmm. There's a progression there. I don't know how I feel about it. [source]

User: Is DA4 going to be tarkov then?

JE: I've kind of churned out of Tarkov for now. Probably Hunt Showdown, at least right now. [source]

User: I think people also don't take nuance into consideration -- like I FULLY acknowledge the flaws in my favorite games and will openly criticize them, but that doesn't mean they're not my favorite games anymore??? You can like and thing and still be critical of it.

JE: A lot of my favourite shit is deeply flawed! I acknowledge it and I think it's interesting to dissect the flaws. [source]

User: I still wish Justice was an actual character in DA2 rather than a plot point.

DG: There was a moment during DAI where we *almost* put in you running into Justice with the Grey Wardens, and he's all "Kirkwall? I never went to Kirkwall" [source]

User: Does that imply that Justice was shoehorned in to DA2?

DG: Nah, it was an in-joke where we thought it'd be fun to suggest that "Justice" was simply some demon that tricked Anders in DA2. Wooo those tricky demons! We didn't do it, though. [source]

User: [about templars]  except, I don't think it had very much legitimacy to begin with. keep in mind, we interact with other characters with the same argument. The one that comes to mind is Cullen, a sane templar in power. The templar's side of the argument is inherently flawed.

DG: I don't doubt that many people agree with you, and yet people can and do argue on behalf of the templars as well. My place isn't to pick a side, but to provide evidence that players can interpret for themselves [source]

User: Can you shed some light for us on how DA was able to do multiple same-sex romance options for different genders but the Mass Effect team treated them like the plague? What process existed for your team that just wasn't their for the other tentpole franchise?

DG: Different people making the decisions, almost different cultures. I don't know what it's like now, but for many years the Mass Effect team and the Dragon Age team were almost like two different studios working within the same building. [source]

User: It truly boggles the mind. Kudos for doing demonstrably better on consistent queer representation than the ME teams. Y'all never needed us to make petitions to try to get the studio's attention and ask them to do better by us. That's the fight we're once again embroiled in now.

DG: Honestly, I don't feel like tut-tutting the Mass Effect team. They did their part, and if they were a bit later to the show than the DA team they certainly did more than almost every other game out there -- and willingly. [source]

Updates begin here

User: So what was the reason for naming Dragon age 2 "Dragon age II" and not using a subtitle?

DG: As I recall, that was purely a publisher decision. I think they wanted to avoid the impression it was an expansion. [source]

User: Is there no chance of ever remaking DA2 under better circumstances? -Somehow remove the repetitiveness of gameplay by making changes and updating the tech and adding much more to the storyline. It could almost be a new very exciting game.

DG: I'd say there's zero chance of that. Let's keep our hopes up for the next DA title instead. [source]

User: I am a little confused here, help me out here please! How exactly was the cut boss battle with Orsino supposed to work out? How it would've kept him from turning against the player?

DG: It means that, if you sided with the templars, the entire boss bottle at the end would have been against Orsino and the mages. No fight against Meredith. The end decision would have been more divergent. [source]

User: I do remember that one of the reasons going around for that, was that resources were going to the transition to Frostbite. I'm still not fully sold on that having been a good choice. I felt that more time should have been given for that transition considering it was made for FPSs

DG: We didn't transition to Frostbite until DAI. Given our time frame for DA2, I don't think we *could* have transitioned to a new engine. [source]

User: Since your talking about the what could have been for DA2. Could you say what your script was for Anthem? Cause I remember reading that you wrote the plot on that game.

DG: I created a setting for Anthem and scripted out a plot - but, as I understand it, almost none of that ended up being used. So it's a bit pointless to talk about what I'd planned, as that'd be for some completely different type of game. [source]

User: [in reference to the exchange above where DG said “Being "crazy", however, robbed her side of the mage/templar argument of any legitimacy. I hated hated hated that.” re: Meredith] except, I don't think it had very much legitimacy to begin with. keep in mind, we interact with other characters with the same argument. The one that comes to mind is Cullen, a sane templar in power. The templar's side of the argument is inherently flawed.

DG: I don't doubt that many people agree with you, and yet people can and do argue on behalf of the templars as well. My place isn't to pick a side, but to provide evidence that players can interpret for themselves. [source]

If I missed a tweet, got the wrong source link or included a tweet twice, feel free to let me know and I’ll correct.

Edit / Update: Post update 22nd April

[stop-breaking-my-heart-telltale]

Can we take a moment to talk about what a tragic character Minerva is? Y’all know that for the longest time I haven’t been the biggest fan of her, and honestly I’m still not? but I think I might’ve had a breakthrough on why that is. 

Whenever I’ve asked around to see why people find her so appealing or why they consider her their favorite, I’ll get answers like, “she’s such a complex character and she deserved a redemption arc!” or “she should’ve come back to the school with us! Let Minnie be happy, you cowards! Telltale did her dirty! I could write paragraph after paragraph about her!” all sorts of things along those lines… but like, no one seems to want to actually talk about her. I find that interesting? Since when I do follow up with a “care to explain further?” I get nothing. Radio static. Like…. no, talk to me please, I just wanna understand-

Minerva within the context of TFS is such a tragedy. She grew up in a school for troubled youth where all the adults left them for death at the start of the breakout, they had walkers trying to eat the living all around them, and I’m sure she saw her fair share of traumatic violence and despair… but on the bright side, she always had her twin sister, Sophie, and little brother, Tenn. She had her friend and eventual girlfriend, Violet. She had music, and a dorm full of pretty paintings done by Sophie. She and Louis composed a song together to make everyone feel better. There are worse places to live than the school. 

Then one day she got traded away to a bunch of raiders against her will, having no idea what the hell these people were gonna do to her and Sophie. They were made to be soldiers to fight in a war that had nothing to do with them. The delta fucking broke her. If we’re to believe Lilly’s story about the twins, they started their brainwashing process early on when Sophie was still alive, and it seems like Minerva was easier to control as Sophie was still planning a way out and causing trouble. Then, when Sophie convinced her to steal a boat and get the hell out, they got caught and the delta forced her to murder her own twin sister. 

Like…. I’m sorry, not only did Minerva kill her own sister, but she was made to believe that was the right thing to do? That line she says about how she had to prove her loyalty to the place she calls home? That shit’s ingrained in her brain, you can tell that isn’t the first time she’s heard or said that very thing. That is what made her family to the delta. Delta is her home now, her family. Sophie was just a thing that needed to be dealt with. You keep your head down, do as you’re told, and you survive.  You survive and you get to go home, eat a hot meal, take a shower, and be with your delta family.  If not, you end up like Sophie.

What’s also fucked is that Minerva actually cares about these people now. Think about that. After everything they did to her and made her do, she’s been trained to see them as her family and obey. When you save Louis and he kills Dorian, Minerva actually cries out and is visibly hurt by her death. When she’s with the other raiders on land, she's screaming at walkers to get away from them. She cares about the people who made her kill Sophie… and no one ever talks about that??

She fucking hates Clementine. Clementine is just another thing in Minnie’s way. I know the part of the fandom likes to ship these two together and they think it’s hot when they fight and shit, but within the canon text, Minerva wants Clementine gone. Dead. She is the thing stopping her from having her old family merge with her new family. If Clementine hadn’t made them fight, they all would’ve been captured and they’d all be a delta family now. She would’ve had Tenn back. 

Clementine is the problem, she made everyone fight back and that’s why people are dead. Minerva hates her for it… it’s not a “I hate you but like the sexual tension, y’know?” that I see people pretend it is, it’s “you are ruining everything and if I have to, I will kill you myself and I won’t give a second thought about it when they toss your body overboard.”

Like….. seriously, think about how fucked up all of this is. Minerva is a husk of who she was before she was taken away. Sure, you do have to keep in mind that when Tenn and Violet are describing her, their sights are a bit clouded, y’know? But I do believe that she was someone who was kind and cared about people, she wanted to make people feel safe and comforted. 

Now she’s a brainwashed soldier who won’t help the people she used to call friends when they’re about to get limbs cut off. She won’t hesitate to knock someone unconscious or threaten a child.  She’s willing to trick them into being captured with no regard for what’s going to happen to them. … all she knows is this was the mission, and now they all get to be together again back at the delta. 

Then when she finds out there’s a bomb on the boat, she ditches Violet to blow up with it in order to make it to land herself. She loses her shit seeing everyone die and gets her face chewed off by a walker… and then she tries to blow Clementine and AJ up with a grenade. 

Oh, and who can forget the fact that she tracks the group down with plans of murdering Tenn so that they can go to a better place together? And she’ll take down anyone who gets in her way?

Like….. jesus christ, Minerva’s waaaaay too far gone. It’s awful. 

I think that’s what stumps me about why she’s so loved in the way that she is. It’s not that I don’t understand why she’s complex and well-written, I get that perfectly fine. She’s a compelling character study when you comb over all her scenes and take different factors into account.

What I don’t understand is why we tend to just throw everything interesting about her away? For what? 

These days, I never see anyone talking about any of this unless they’re insisting she deserved a redemption arc which…. Eh, I’ll touch on this later. What I mostly see here and mostly other platforms is how great it would be if she and Clementine made out, or hey what if she and Violet got back together if she did come back to the school? Or they just��.the best term I have for this is “uwu-ify.” As in she’s reduced to a caricature of a tall, pretty, mean, white lesbian who has “good damage.” 

People insist that Telltale are cowards or bastards because their predictions of her turning on the delta to save Clem and crew didn’t happen. Instead, Minerva ends up being the final baddie you gotta get away from, and she ends up taking someone down with her. But did you really expect to just do a 180 and suddenly decide being brainwashed for over a year was lame and Clementine and friends are cool? Gonna help them out and be with Tenn again? Sure, there’s some left over trauma but love conquers and fixes everything, right?

Uh…. no? That’s not how people work? Honestly, if we entertain the idea that Minerva wasn’t bit and somehow didn’t murder Clementine when they all got back to the school…. romance is the last thing she is ever gonna think of??

I think that’s what bothers me most when reading these au’s and rants about redemption and the entire idea of clemerva as a whole. It’s the same thing that I see happen with Violet- Minerva only has value to fans if she’s in a wlw relationship. By herself, she doesn’t matter. They don’t care about her canon story, they don’t care about Sophie, they don’t care about discussing what could’ve happened if she and Tenn reunited under better circumstances or had a healing recovery together. But why?

Throwing a girlfriend at her isn’t some band aid that’s gonna cover up all the bad she went through?? Having an enemies to lovers romance with Clementine isn’t going to fix a years worth of brainwashing, trauma or the fact that she murdered her own sister and the delta told her she's proved her worth to them?? 

Having the support of those around her is a good thing, don’t get me wrong. The idea of the Ericson crew as a whole trying to help her out and do the best they can to accommodate her is bittersweet since there’s only so much they can do. They’re not trained therapists, which is what Minerva would need and plenty of years ahead of her to work through and come to terms with everything that happened as well as taking steps forward. I’m not saying that she shouldn’t have friends or that she couldn’t have a healthy romantic relationship someday... but that isn’t the solution, y’know? 

I don’t know how else to explain this, but it makes me feel weird that all of this stuff is flat out overlooked or doesn’t appear to matter to fans of her. 

Look, I get it. We all want these characters to be happy. AU’s are a thing, after all. Sometimes we want to forget about the bad things and focus on the good that bring us comfort. You wanna gush about the idea of an AU where the twins never got traded, the raiders didn’t exist, and Clementine got to meet them the way they were before? I feel that, AU’s are super comforting and fun to explore, and my point isn’t to try and shame anyone who has an AU you like this. 

Hell, you think I don’t have days where I pretend mute Louis isn’t a thing because the whole concept of Louis having his tongue cut out of his mouth breaks my fucking heart? No, lot’s of days I just want to forget everything about that route, I want to set aside all the bad and just intake as much clouis fluff as I can get…. But that doesn’t mean I always ignore or refuse to acknowledge the bad just because I don’t like it. I fucking hate the fact that Louis loses his tongue when you don’t save him, but guess what? That’s a canon route you can play, just like any other route, and the possibilities that come with a mute Louis are vast and compelling. 

This is how it is for me… my favorite characters are my favorite for a reason, and I take all the bad with the good. Louis isn’t perfect, and I don’t want him to be. I was to dive into his backstory about why did that to his parents, I like to talk about what he went through with Marlon’s murder and his feelings about AJ and Clementine at the point, I like to view his love of music as bittersweet. He can stand on his own, and while he is a love interest for Clementine, that isn’t his only purpose. 

I know everyone’s different, they express their love for characters in their own ways, but I do have a genuine question: do you guys actually like Minerva?

Believe it or not, I’m not trying to step on toes or make everyone feel defensive which I know is how people will react to this. “You’re just saying all of this to make us feel bad for shipping clemerva! You don’t even like Minnie so you don’t get to say shit!” yeah yeah, I hear you and look, it’s true that she’s not my favorite character. I know I’ve said I hate her in the past but upon reflection and throwing out fandom interpretations.... I don’t hate her. I get it now. She’s a great character study to dissect and analyze and I think she deserves more than what the writers and the fandom have given her. 

And yeah, what I do hate is clemerva, and I’ve explained why. It’s not for me, it makes me uncomfortable, but at the end of the day, who cares? Me not liking it doesn’t mean anything to those who create AU’s for them. They have their reasons, they can do as they please as long as they’re not hurting anyone. I’m just here pointing out things I see and things that bother me in hopes of starting a discussion.

There’s my ramble about Minerva. I’m gonna go make some tea now. 

[kindaeccentric]

When I was writing my university bachelor's degree thesis (that I'm still to defend) about Penny Dreadful as a modern adaptation of Frankenstein I noticed how the original novel's homoeroticism is realized by the series in an interesting way.

In the way he is presented, it seems to me that Victor secretly desires men, but thinks that only through creating a perfect one by himself he's allowed to touch other man's skin. His endeavour to pierce the veil between life and death is an excuse, since Victor from the series grew up lonely after the death of his mother and he searches for companionship, for someone who would love him unconditionally, like his mother used to. He believes he can find such love only in a person he creates himself, brings from the dead, and who would see him as his only friend, calm and obedient. Yet his first instinct is to make a man, not a woman, and a handsome man at that.

I can imagine both Rory Kinnear and Alex Price are not everybody's cup of tea (I do find them attractive, they are quite charismatic), but the way the original Creature and Proteus are shown makes them attractive. Proteus we see through Victor's eyes, when he is tending to his body before its even reanimated, when he sketches him (a sure sign of affection) and when he teaches him how to eat in a way that becomes seductive, because of how the camera lingers on his lips and then, in a closeup, on his fingers running down his long throat, immediately bringing to mind erotic imagery. Some may argue that Victor tries to emulate the relationship between his mother and himself taking the parental role and projecting onto Proteus the role of his childhood self, and as much as it is partially true, their relationship bears these marks of hidden desire on Victor's part from the start. The image at the end of the first episode when Proteus is born shows Victor trembling, teary-eyed, looking at the body, a torn and stitched back together, but human body, of a naked man. He's afraid, but not necessarily of the man, but of finally getting what he wanted, it's a fear resulting from excitement. Then the man is touching his face tenderly and Victor, still trembling, cannot stop himself from a little smile. Their faces are softly illuminated by the orange light of the gas lamp, creating an intimate atmosphere of a warm bedroom. Victor practically gasps hearing his own name smoken by Proteus. I doubt all of it was intentional in the way I read it, but it doesn't change the fact that the final scene can be easily interpreted this way.

Then the original Creature, with the violence surrounding his return, presents him as highly masculine, smart, powerful, a direct opposite to the delicate, clueless Proteus Victor could easily form into whatever he wanted. The Creature throughout the entire series is perceived as ugly by some and easily tolerated by others, making his ugliness purely subjective, since, despite his small deformities he remains strangely alluring with his gothic qualities (black long hair, black lips, white skin, yellow eyes, proportional features) of a dark brooding gentleman. With blood on his face he becomes vampire-like (vampires always a symbol of hidden desires and 'depraved' sexuality, the Creature and Victor becoming a mirror image of Vanessa and vampire Mina, both Creature's and Mina's monstrosity an indirect result of Victor's and Vanessa's desire towards having a same-sex companion). The Creature touches Victor's face, a callback to Proteus doing it, but the Creature is not gentle, he smears blood all over Victor's face (blood in vampire narratives was always a symbol for other bodily fluids, that's why it seems so sexy, it also gained another meaning in the 80s, due to the HIV epidemic, which no filmmaker can shake off if they tried, I could discuss it more with The Lost Boys, but no time for that right now).

The dynamic between Victor and the Creature is a reversal of Victor's budding relationship with Proteus, experience winning over innocence. Victor is under another man's rule, and it terrifies him, because it would force him into a position of having to admit his attraction, whereas as the one in control he could have still easily deny it. The Creature, with all his attributes, symbolizes carnal love, he's all 'body', where Proteus was virginal, pious love (to an extent). In one of the scenes where we see Proteus he looks up into the skylight at Victor's apartment and appears angelic, as if in a halo of white light.

It's revealed Victor never had a woman, and the series wants the viewer to believe it's because of his awkwardness and passion for science that consumed him, but his dedication to creating himself male companions instead of searching for a living female one is exactly what makes him seem more queer coded.

It's clear that the lack of paternal figure results in Victor quickly becoming close with older men he encounters (Sir Malcolm, Van Helsing), but it also puts him into a position where he's constantly surrounded by men, with whom he feels more at ease, and is intimidated by women. The rivalry between him and Ethan is that of siblings, until the moment when Ethan teaches him how to shoot a gun. It might be a stretch (it is a bit of a stretch, I admit), but a gun often, especially in horror, alongside a knife, represents manhood and masculine power. Victor allows Ethan to touch him and encourages him to show off with the gun, which is a scene all too familiar from many other movies where the role of Victor is reserved for a woman and the interaction is flirtatious (can't pull examples out of thin air, but if you saw over 1400 movies like me you know I'm not lying). All this adds to the general image of Victor.

The Creature and Victor, when they are on a walk, have a very revealing conversation in which the Creature points out how quick Victor was to grow attached to his more perfect man, and Victor doesn't deny it, he admits that he did in fact feel affection towards Proteus, although the meaning of it as the scorned past partner expressing jealousy over the love he didn't get while someone else did is largely subtext. When the Creature says that he's lonely, Victor answers 'I cannot love you' (paraphrase, because I can't find the exact quote right now) and the Creature, disillusioned, mocks him, 'I do not want what you cannot give' suggesting that Victor, by making himself a meek obedient man, is selfish, cruel, manipulating, and a coward, therefore could not have loved Proteus truly. Then again, Victor cannot bring himself to love his original Creature, because he's not the ideal man he envisioned and by then the Creature being too aware of his flaws of character. The Creature/Caliban/John Clare knows that Victor is 'monstrous', not just because he's someone who desecrates dead bodies, plays God and abandons his creation, but because of his queer desire. It's important that in the case of Penny Dreadful 'monstrosity' signifies many different things, literal (being a vampire werewolf, witch, and so on), metaphorical (bad deeds, like letting your son die a horrible death, cheating, killing etc.) and wholy subjective, merely condemned by ignorant society (Sembene's blackness, Brona's sex work, Lily's want to be equal or greater than men, Vanessa's want for sexual freedom, the Creature's ugliness, Angelique being transgender and other cases), so it's NOT that much of a stretch this time.

We also have the whole problem with Lily. Victor is so attached to Lily (who takes up both Elizabeth's and creature's bride parts in the novel) because he believes that only by possessing a good woman he'll be redeemed for his 'sinful' desires, but he's foolish to think that. This belief reduces a woman to a semi-maternal, semi-virginal angelic ideal with no sexual urges or agency, like virgin Mary. Lily is a true replacement for Victor's mother, and his imagined redemption. As long as she's similar to Proteus, in that she's not sexual, and pure like an angel. Yet Lily is not a woman in that sense. She is another of Victor's creatures, so she partially also takes over the role of the original Creature from the novel, a male. She's not an ideal of a Victorian obedient wife, she has power, or tries to have it, but power in the context of patriarchal society is masculine by nature. The moment she drops her pretenses of a weak delicate wife-like girl Victor does not want her like this. He doesn't want a woman that is sexually liberated, because he doesn't like women in this way, and yet, by being similar to the first Creature (from Victor's perspective, from hers John Clare is similar to Victor-a man, I could delve into Brona's sexuality, but later, this thing is already way longer than I intended) she's 'the man' he wanted.

There is also Henry. Henry Jekyll takes the role of his namesake in the novel, Henry Clerval, Victor's closest friend, and a character most often cited to have homoerotic tension with Victor. It's true that some of the eroticism might be accidental, stemming from the prevalence of homosocial interactions in 'Frankenstein' which in turn is a result of misogynistic nature of 19th century Genevian society and in-novel universe reflecting it, but like I mentioned before, it still feeds into the queer reading of the text and translates beautifully into Jekyll and Victor being both extremely misogynistic towards Lily and their mutual homoerotic tension. In the scenes where Henry purposes his plan to Victor he practically seductively purrs it into his ear, Lily becomes merely a female buffer that allows for that interaction, a female presence which is an excuse for male closeness (here I have a couple of examples actually: Dead Ringers, Sir Gawain and the Green Knight, Scream (in a roundabout way, through murder) and a couple others, but that deserves its own article). I won't even mention more references to the novel, because that's a lot already.

Penny Dreadful, although I believe largely unintentionally, expands on what is already there through the changes it introduces in relation to the novel's plot. I have nothing else smart to say, I just think it's worth considering.

*I use the word 'queer', because that's the umbrella term we use in academic writing for years now and even our lgbt+ group at university is called 'queer', so don't come at me with stupid takes

[firelxdykatara]

how are you gonna talk about shitty writing when you genuinely believe that katara should've become the pocahontas to zuko's john smith? come on now. shipping zutara is one thing, but you can't ignore the colonial connotations of a native girl becoming an oppressor's arm candy, no matter how well-intentioned that oppressor is. fire lady katara is such a gross idea.

the truth is, the only reason you give a fuck about katara is because you want her to be with zuko. otherwise your entire blog wouldn't be dedicated to the idea of her as fire lady. you do. not. care. about. katara. at all. and putting down healers in the middle of the worst global pandemic in 100 years is so shitty, selfish, and short-sighted.

that’s a whole lot of words you’re trying to shove in my mouth there, bud!

unfortunately for you, i’m not about to choke on them.

the thing is, first of all, that it is deeply fucking insulting (and probably highkey racist) of you to attempt to compare Pocahontas and John Smith--real people, who actually existed, and whose story (both the real one, and the fictionalized and romanticized account given in the Disney movie) bears absolutely no resemblance to AtLA in the slightest respect--to Katara and Zuko, fictional characters from a fictional universe who never existed and, again, have nothing in common with the colonial narrative you’re trying to impose on them. I really shouldn’t have to explain to you why trying to compare a genuine colonialist ‘the colonists aren’t that bad actually, see, that native girl fell in love with one’ story (which was based on a false account the white man in question continued to perpetuate long after Matoaka’s death, when she could no longer refute it) to a fantasy where the bad guys lost and Zuko was very deliberately set up to be a good leader and lead them into an age of peace, kindness, and love is like.... tone deaf at fucking best lmfao

if you can’t understand that, then there’s really no helping you.

secondly, you’re the one insisting that ‘the native girl become the oppressor’s arm candy’. that’s your narrative, not mine, and it certainly has no place in my interpretation of canon nor in any of my fanworks. in everything i write and the way i conceive zutara, katara is zuko’s equal in every way that matters--she’s an ambassador with a hand in global politics long before she and zuko get married, and she helps shape the world every bit as much as zuko and aang do as the land begins to heal from the aftermath of the war. there’s nothing ‘arm candy’ about that, and zuko is not her oppressor in any measurable or meaningful sense.

frankly, he isn’t during the show either, except insofar as he is part of the oppressor nation--which is a fair point but, again, the fire nation ceases to be an oppressive power after the end of the war. (no, the comics don’t count. they are badly written and make no sense, so i’ve elected to ignore them entirely. if you can’t, or if you refuse to, then a) that’s your problem, not mine, and b) maybe tell me why you’re so concerned about katara allegedly being zuko’s arm candy but you don’t care when the narrative makes her aang’s) so your assertion that i don’t care about katara really doesn’t mean much to me, since it’s very clear to me that i care about her a whole hell of a lot more than you do.

i care about katara enough to want her to have narrative agency in her romantic relationships. i care about katara enough to want her to actually have a hand in shaping the world, rather than being reduced to ‘the Avatar’s girl’ and contributing absolutely nothing of any meaningful value to the world we see in LoK. i care enough about katara to want her achievements recognized by the world. (aka where is katara’s fucking statue you assholes) i care about katara enough to want her to have a story and a life that is her own, rather than being reduced to a footnote in history because she had the Avatar’s children and that’s the only thing anyone really remembers her for. i care enough about katara to want her to be able to attend important events in her family’s lives (like, oh, her granddaughter’s Air Master ceremony) and to be able to protect her family rather than sitting back and not lifting a finger while they are in grave danger or her people are on the verge of tearing themselves apart.

as for the dig about healers, like....what???? when have i ever disparaged healing or put down healers lmfao. like, projection, much? i’ve never said a single bad word about healing--what i have said is that katara being relegated to the healing huts and nothing else (she isn’t allowed to go save her family even though zuko and toph are just as old as she is and they get to protect their families; she isn’t allowed to go to her granddaughter’s Air Master ceremony, the single most important event in an airbender’s life; she isn’t allowed to so much as raise her voice when her tribe is on the verge of entering into a catastrophic civil war (so much for katara being a respected matriarch of the tribe); she isn’t even allowed to heal a single significant injury throughout the course of the entire show, not even the one caused by bloodbending, despite allegedly being the greatest healer in the world) is a disservice to her character, especially since she’s the one who said ‘i don’t want to heal, i want to fight!’

i’ve said again and again that i wouldn’t have a problem with katara dedicating her life to being a wife, a mother, and a healer, if that weren’t all she would ever be known for. some minor lipservice is paid to katara ‘training two avatars’, and to being part of the gaang who saved the world, and even to getting bloodbending outlawed, but throughgout the entirety of LoK none of her accomplishments matter to the story even a little bit. and don’t give me that ‘it wasn’t her story’ bullshit, because there was certainly enough room for the old men in the white lotus back during atla to kick ass and take names and have pride in their accomplishments. king bumi was 112 for fuck’s sake! so don’t give me ‘katara was too old’ either. she wasn’t. bryke just didn’t give a shit about her.

and evidently you don’t either. don’t let the door hit you in your ass on the way out.

[persepholline]

I've read that article about the romanticization of the Darkling and while I absolutely understand people who are pissed off/sad and I agree that it's shitty, I find LB's attitude towards Darkles stans very funny in a "girl what are you doing" sort of way because it's so petty like I've never heard of a bestselling author writing a portion of their fans into their books as a crazy cult before, it clearly hit a nerve

I'm new to the fandom but the feeling I get is she wrote something problematic ten years ago and became very embarrassed about it afterwards so she turned on the fans that liked it as a way to absolve herself. Especially since fandoms in general have become a lot more focused on discussion of what constitutes healthy/acceptable relationships to write about. And in a way I get it I had a huge Twilight phase in high school and afterwards I was super embarassed about it because of how problematic and cringe it was. But now with distance and more maturity I'm able to both still see why it was problematic and also why I was drawn to it (mostly the very unhinged representation of female desire) and like...it's really not the end of the world and no it never made me believe that breaking into somebody's room at night to watch them sleep was actually ok in real life lmao. This feels so obvious to me but apparently it needs to be said.

(More under the break this is turning into an essay, I've been thinking of this a lot recently)

And of course it's good to have these discussions about how historically romance tropes have echoed social dynamics of men's shitty behavior being romanticized and excused. But these days they often are so simplistic and focused on chasing clout that they become this weird new puritanism and moral panic about oh now women are reading novels it's going to make them hysterical or something

So you have these weird assumptions that you can't like a character and also be critical of their actions, or enjoy certain parts of a character and not others, or wish they were written differently and like them more for their potential (which I'm sure stings a bit for an author lol) - it assumes that if you like a character it means you would approve of their actions in real life, or that people just stupidly reproduce whatever they see on TV. That tendency to treat fictional characters like real people is the thing that actually worries me, to be honest, because it indicates a lack of distance and critical capacities regarding how stories are used and received. But people - fans and authors - are so scared of being called out as problematic and harassed for it that they're going to shy away from any nuance.

And yeah I think that it's good that standards of what constitutes an ideal relationship are evolving and becoming more feminist and communicative and all that and we definitely need more of that. But not all fiction has to be aspirational! Sometimes you just want to read about fucked up shit, because it's cathartic or fascinating, even healing at times because with fiction you are absolutely in control and can choose when to close the book. Toxic relationships in fiction can have an appeal specifically because they go to extremes of feeling that we don't want to go to in reality, in exactly the same way as horror movies or very violent action movies - which I don't see a lot of people besides fundamentalist Christians argue that they turn you into violent psychopaths (and that feels very obviously sexist). And for women, who are often taught growing up that love is the purpose of life, the "saving someone with your ability to love" can be a power fantasy in the same way that being a buff superhero who saves the day with their capacity for incredible violence can be a power fantasy for men. Still doesn't mean those women are going to fall in love with actual murderers or that those men are going to start beating up people at night. And love is scary, and weird, and weirdly close to horror at times, with all the potential for loss of self and being vulnerable and overwhelming feelings and potential for being horribly hurt and it should be possible for stories to explore that without anybody screaming about how this is going to Corrupt the Youth or something

And I mean I get it LB wanted to write a cautionary tale for teenagers, but it just did not work for reasons a lot of people have already written about - the fact that the Darkling is the leader of an oppressed minority and is the only one with a real political agenda to end that oppression in the first trilogy, the fact that he helps Alina come into her own power while her endgame LI is someone she keeps herself small for, that she's shamed for wanting power after growing up without any, a generally very wonky conception of privilege, and a lot of other stuff with yucky regressive implications to the point where stanning the villain actually feels liberating and empowering which is a surefire sign that the narrative is broken (unless it's a villain focused story lmao). But of course that Fanside article makes almost no mention of the political dynamics, it's all about interpersonal stuff which is an annoying trend in YA, there are those massive events happening in the background but it's made all about the feelings of the hero(ine) ; war as a self-development quest (which is kind of gross). Helnik is kind of an example of this too - I like them, I think they're fun ! But Matthias spends a big part of the story wanting to brutally murder Nina and her kind, and he mostly changes his mind because he finds her hot. Like you don't feel there is some sort of big revelation that his entire moral system and political framework is completely rotten ; it's all better because of feelings now.

As a teenager that kind of sanctimonious bullshit would have annoyed the hell out of me ; I read those books in my early twenties and I found the ending so stupid I wouldn't have trusted any message or life lessons coming from them. And I liked reading/watching dark stuff as a teenager, as a way to deal with the very intense inner turmoil I was dealing with - and I turned out fine ! Meanwhile I've seen several times women in very shitty relationships being obsessed with positive energies and stories ; they were so terrified of their life not being perfectly wholesome they ended up being delusional about their own situations.

Like personally I think the Darkling is a compelling, interesting, alluring character and also a manipulative, murderous piece of shit and that Alina should get to punish him (like in a sexy way) - but he's also the end result of centuries of war, oppression and trauma and reducing that to "toxic wounded boy" feels kind of offensive ngl ESPECIALLY since the books don't offer any kind of systemic analysis or response to oppression beyond "the bad guy should die" and "now the king/queen is a good guy our problems are solved!!!!"

In Lives of the Saints, we see how Yuri is abused extremely badly and almost killed by his father, and so when his father dies when the Fold swallows Novokribirsk, he thinks the Starless Saint has saved him. Later in KoS/RoW he's turned into this fanatic who explains away all the Darkling's crimes. The other followers talk about how the Starless Saint will bring equality for all men. Then the Darkling comes back and actually thinks his followers are pathetic, which feels again like a very pointed message to his IRL stans. Which is absolutely hilarious to me. Like oh no, if he was real he would not like you and think you're pathetic ! Yeah ...but he's not. Real. Damn right he would not like the fics where Alina puts him on a leash. I'm still going to read them. What is he going to do about it, jump out of the page ? Jfjfjjdhfgfjfj

Anyway I think the intended message is "assholes will use noble political causes for their own gain and to manipulate people" and "being abused/oppressed is not an excuse to behave badly." Which. Sure. But that's kind of like...a tired take, honestly ? A big number of villains nowadays are like this ; either they've been bullied as kids, or they're part of an oppressed group, or they have "good ideals but too extreme". This is not surprising because a lot of mainstream heroic narratives present clinging to the status quo as Good and change as chaotic and dangerous. And like sure in real life people often do bad shit because they're wounded and in danger. But if you want to do a story like that, you have to do it with nuance, talk about cycles of violence, about how society creates vulnerable people to be exploited, about how privilege gives you more choices and the luxury of morals, etc. The Grishaverse does not have this level of nuance (maybe in SoC a little bit but definitely not in TGT). So it kind of comes off as "trauma makes you evil" and "egalitarianism is dangerous" and "if you're abused/oppressed you're not allowed to fight back". And ignores the fact that historically, evil generally comes from unchecked privilege.

I guess my point is that there are many things I like about LB's writing, she knows how to create these really exciting character dynamics, and the world she has created is fascinating. But these stories are not a great starting point for imparting moral lessons. And her best characters tend to be, at least in canon, the morally grey ones. I hope one day she'll be at peace with the fact that she wrote the Darkling the way she did and leave his fans alone but in the meantime I'm just not going to take this whole thing seriously I'm sorry

[life-rewritten]

Fish Upon the Sky Episode 1-7 (The Problems with Walls; An analysis on Duen and Pi)

I swear, if I could just settle down, stop running away and actually analyse FUTS the way I usually do. I would have so many essays by now on how authentic and deep this show can get with some of its characterisations. As I  write this FUTS essay that has constantly been plaguing me and making me frustrated that no one else is seeing these themes, I realise again sadly how this director has sadly failed to show the vision of what he wanted for the series.  An essay on how DuenMeen and MorkPi mirror each other so much with their themes, it sounds crazy to think that they do because their storylines on the surface seem different at times. Still, also their love interests act differently towards them, and they have different dynamics with them. But that's what's so great about meta and mirroring in TV, especially in shows that aren't meant to be seen as deep or purposely filled with hints and clues to break down. Fish upon the Sky is one of those shows. It struggles to find a balance between wanting to be more profound and showing exciting themes vs pleasing and appealing to the audience, using humour and other exaggerated performances/narratives to do so. However, the writer of Fish upon the sky novel has always had her works struggle with these issues and themes. Jittirain always writes emotional stories about unrequited love, with different lessons, ideas, or characterisations that people fail to understand or truly value because the meta/depth of their personalities is hidden or misunderstood by their own directors. This is what happened in  2gether; this is what also happened in Theory of Love.

A Misunderstood Duo

In order to really understand how grand the narrative the show is failing to truly flesh out is, you need to understand that Pi and Duen (the two main characters of the show) are the narrators of both their own stories. Pi's is Fish upon the sky whilst Duen is Leech upon the sky (😂😂) but what's great is that you can already see the mirroring/similarities just by their titles. Even though their insecurities and worries seem different, it's the same theme for them;  both struggle with love because they secretly have a lot of self-deprecation and hesitancy from how people have treated them. It's not as noticeable when you see Duen's characterisation/storyline, but if you truly focus on the themes of his narrative without being distracted by the loud comedic routine he has, you'd see that his biggest insecurity, that he tries to be defensive and act like he doesn't care about is his dumbness. He genuinely feels weaker/inferior because he's known as being dumb to everyone around him. He struggles to process anything that is complex and requires more depth or thought.  It's played for laughs because he relishes in the idea that people feel exasperated by his actions. He acts like he doesn't get bothered by how people perceive him because he's still seen as socially acceptable, unlike Pi, who's actually bullied and alienated from society because of his own 'flaws'.

But you can see that it's all a façade when it comes to Duen, just like with how Pi handles his own insecurities and trauma to do with his perceived flaws. It's why Duen chooses to lie to Meen that he's a dentist. He didn't want him to see him the same way others do. This already should show that he doesn't actually enjoy being seen as dumb, but he has walls up to make it seem like he doesn't care. He knows he's constantly being compared to others, but he can't change who he is (just like Pi didn't also want to change how he looked or acted to please people at first). So he jokes and tries to see a positive in being that way; he starts to want to slack off and cheat off others when it comes to work. He stops taking University seriously and repeats classes constantly because he always fails. That is until Meen shows up, and then he starts to want Meen to believe he's something more. Why?

But in case I haven't repeated it enough, Duen is like Pi, whose insecurity is easier to see since we watched him get attacked and bullied for it immediately in the first episode. It's Pi's true thoughts and opinions we see in the show as the audience, whilst Duen's story is hidden with comic relief and unseriousness. They both try to act like they're okay with what they are being judged by in society. Thus, they act confident, they're both loud, they're selfish, acting like they don't care how people see them. Preventing others from getting to hurt them by making it look like they are in control of what they have and use that to their own advantage with others.

They both stay heavily in denial about their true feelings in general, but primarily with the critical focus; the people who make them question everything about their flaws that come into their life and frighten them the most. The ones that break down those facades; make them automatically want to run away whilst being unable to stop showing and escaping their true feelings whenever they're in their presence.

The Use of Humour and Sarcasm 

So what we end up with is a narrative with two incredibly annoying and flawed characters who are seen in the audience as exaggerated caricatures for comic relief and shallow storytelling. And it's brilliant because both their unlikable/loud, selfish personalities are just fake walls built, so they don't crumble and get affected by how society views them or wants them to act. So you see, there's the issue that people keep misunderstanding about these two stories, especially about these two brothers. They're realistic; they're flawed because they've been affected by society and the environment around them. They're acting like how anyone who's been hurt before would act, they have built up walls, and they've decided to just stay by themselves and let that guide them in everything. They deal with their issues with sarcasm and humour to reduce the seriousness of the situation, so they don't appear weak or let anything hurt them.  

That's why I love this narrative of FUTS, it's meta and more profound than people think, but because the director doesn't do the best to show it, it can get lost in all the exaggerated humour. For example, with Pi, because he's socially anxious and always overthinks how people think of him (due to his past experiences of being abused and hurt by being ignorant of how people thought of him), his world is wildly exaggerated in his head. The way he narrates the story is played for laughs and is a very telling and realistic representation of how overthinking is expressed in his mind; it's overdone, loud and nonsensical at times. That's what social anxiety does; it makes you cry about one stare, one laugh, one action someone does, it makes you panic over the most minor things, and Pi does that with panic and boisterous, sarcastic humour from the start of the show.

Hence his story also has exaggerated humour because he deals with his issues with that fake jokes and sarcasm. So the show also exaggerated humour too when we are in his perspective.  This is actually similar to Duen's breaking the 4th wall narrative style of his storyline. As with Duen, whose narrator of his story mocks and laughs at his actions ironically. When really that is just literally himself fighting with his inner voice about his true feelings about Meen. He breaks the 4th wall because he's internalising his own emotions and dealing with them as a skit; the narrator is his true self ridiculing him for not accepting that he has feelings for Meen and that he's not as bright/cool as he thinks he is. So if we understand this and notice that the narrator makes fun of him constantly and jokes about his actions, you'll realise that Duen sees himself that way too; he sees himself as a joke. He doesn't see himself as suave and carefree; he actually mocks himself internally for being dumb and being gross.

Pi: The Need for Protection and Avoidance 

So already, just from breaking it down with this point of view, Duen and Pi mirror each other so well, and their narratives because of this focus on the same themes and ideas of self-discovery. Both are flawed characters with a lot of vulnerabilities and pain that they refuse to deal with properly. An id ego defence mechanism catalysed because of their past experiences and protection of their mental space. They both stay in denial, hurting who they love by refusing to let them get to see them without the walls down and more. Pi hates that he loses control with Mork and refuses to let Mork have his heart because he believes Mork is too good for someone like him secretly.  He knows he'll be the one damaged. Hence the choice to intentionally misinterpret his brother's metaphor on the vaccine analogy and view it as the complication with getting with Mork. Let me try and use this to break down his mindset with why he chose to still choose Nan even though he knows (he does know) that he wants to be with Mork romantically. Listen to the analogy his brother uses. He mentions the iatrogenic vaccine, a vaccine intended for a patient that starts helping the patient be well but actually causes more harm than good. The end result is because of the incompatibility of the vaccine and the time it takes for those results to show up in the patient and make their lives affected in a negative conclusion.

 A vaccine ironically is meant to be an antidote, something that saves people, that helps and makes them feel better. And that's what Mork says he wants to be for Pi, it's romantic, but once his brother announces a different version of a vaccine, Pi jumps with that analogy and believes that's the truth about Mork and him that makes sense to him, than seeing it positively. So with this analogy, we can break it down this way:

The Iatrogenic vaccine was too different and incompatible with the patient. Which is what Pi believes about Mork. Remember, Pi doesn't think  (because of what people have told him) that he deserves loyalty and love from people better looking/capable than him. He sees Mork in this light from the start; he views Mork as a rival because Mork is good looking, popular, strong and cool, basically things that are not associated with Pi to others.  So Mork and him are incompatible in Pi's mind.  This is why Pi constantly asks Mork why he wants to be close to him. He just doesn't understand it.  

Second, the Iatrogenic vaccine starts off good but causes damages in an irreparable way to the patient. It's the patient that ends up being affected by this vaccine interaction, not the vaccine that caused it. Before Wan starts this vaccine conversation, he discusses how people around his hospital are patients primarily because of heartbreak; they come in with damaged mindsets, broken hearts and self-harming injuries because of being hurt by love and letting themselves be vulnerable to that. All Pi hears is people hurt themselves over the pain of heartbreak and being abandoned. That's the complication if he does finally trust Mork. Especially after Mork and him get to be close, it'd be just like with everyone who has gotten to know him in the past, who stayed by his side as 'friends', once they learnt about him, what they said is that he wasn't worth being loyal to. So many people used and deserted him, and it almost broke him. This is why Pi grow the walls he has now. Even though Pi is chasing after Nan, he's not expecting an answer from Nan that's positive; Nan is a fantasy, something he can use as a goal to want to keep chasing and distracting himself from that singleness and loneliness he felt at the start of the show. This is why he's doing all of this; he just wants a distraction from the mess of his life. But to Pi, Mork? Mork is real. He's serious; he's someone who Pi actually truly will be damaged by if he's hurt and left by him; he's someone who Pi truly loves and is real to Pi, it's terrifying, and so he rather just avoid that because of the risk of a complication. To be that patient tricked by the vaccine and left to deal with those consequences all alone? Yeh, no, he can't do that.  Pi sees him as a friend and doesn’t want to end that because that's the first thing in a while that has made him feel actually happy being himself and accepted. Being friends with Mork makes him feel safe. So again, it's selfish, but it’s all about him preserving what he already has with Mork rather than damaging it.

Those complications are exactly that result if he lets Mork in romantically and Mork sees his true self and leaves like everyone; it’s not Mork who’d be hurt. It’s Pi who’d have nothing more to believe in if he lets himself be that vulnerable. Again Pi is thinking with his head when it comes to Mork; there’s a massive risk if someone takes the wrong vaccine, that person is damaged because of it. Pis journey with Mork is the same thought process that friends to lovers have. The fear of losing each other if they cross that line, of taking things too far and ruining the foundation they had that made them safe. The fear of the love being false as it always has been from others.  Pi thinks he likes Mork because how can he not? However, Mork is always there, making it hard for him to think. He associates Mork with niceness and protectiveness, but that doesn’t mean he has to accept him romantically, and Mork sees right through him and is fond of breaking down those walls he put so high up to ensure he doesn't get hurt again. Mork is the one pushing Pi further away from him the more he clings because Pi doesn’t like losing control. Same as Duen. And Mork doesn’t let him just figure it out without manipulating everything; the more he does that, the more Pi feels manipulated and tricked into wanting Mork as a partner, and that's too scary for Pi. This is why it’ll be massive when he finds out who Mork truly is on his phone as the guy from nearby faculty.

Duen: The Need for Nonchalance and Ignorance

Duen is the inversion with his storyline; he tries to look cool and better to Meen,  refusing Meen to see him when he's worried, anxious or insecure because he himself shuts off those emotions whenever Meen triggers them. He doesn't want to face the truth, that he hates being seen as dumb and not being seen as a hero to Meen. He lies to Meen because he's trying to keep him by his side without actually letting him see his true self. After all, if he does, he also may judge or leave him too (guess what same as Pi's worries with Mork. Mirroring!).  Duen tries to act unaffected just like Pi does with Mork because again, they both know once they break down and give in, there's no turning back, they will be exposed, and the' truth' about them (which they believe and see about themselves) will push the people they truly want by their sides away.

So instead, they grapple for control by faking lack of care and feelings for their partner; they refuse to apologise quickly and refuse to give in easily to them to further their relationships, increase their trust and let them in. They refuse to let go of their fake personas and fake masks and walls they've built and try hard to hold onto the facade, which hurts Meen and Mork in the end. They both push and pull and show signs of vulnerability and romance only when they're alone with no one else around (like the tent scene with MeenDuen and the after school night scene with MorkPi outside). They show worry, devotion, and they show that they want them by their side. And these are the moments when we actually get to truly see who they are without their walls, their fake personas unshed, and their niceness, their care and protectiveness over them exposed.

Wan: The Comparison and Norm

When we're first introduced to the show, Wan is mentioned almost immediately as we see Pi's struggles. Because of Wan's reputation, people choose to crowd around Pi, and it's sad, but I also think Duen also had this same issue, just a bit different. With Pi, it's about his outer appearance, his beauty standards vs society's. It's exposed to him he lacks those, but it's his intelligence similar to Wan that makes people stay by his side at first.  He also studies dentistry as Wan studied Medicine, viewed by societal standards as impressive and praiseworthy. Pi is used by people who want to both get to Wan and want to profit from his brain and abilities. Duen is the inverted version of this; he is seen as handsome and cool and aloof, a bit messy, but the reason why Meen first leaches onto him is his street smarts and survival skills with social interactions, he knows the right people, he is seen as cool by others including Pi, but he's also seen as dumb. He's failed repeatedly, unlike his brothers at trying to obtain a degree.  So he has the outer appearance but lacks the next valuable thing in society's opinion; brains and the ability to increase your status by your talents and skills. Duen lacks that; he doesn't have any specific things about himself that he can fully be proud of. He's not highly talented, he's not intelligent, and he's also not viewed by women as extremely attractive or awe-worthy. He nonchalantly takes on this persona; he chooses to block any worries about things being serious because he lacks the smarts to think of things deeply or ponder about life's questions.

He's insecure, however, about this, and you see it when he tries to join in with Wan and Pi when they discuss vaccines and love. As Pi transforms for Nan, his lie is that he's well of without other people in his life like Mork; he pretends he's okay being seen as loud, not friendly, selfish etc.  Duen's own lie to Meen is that he is a version of Wan, of what people think Wan is; intelligent, put together and reliable. Because what Duen wants from Meen all the time (he doesn't realise he already has this devotion from Meen for just being himself when he's not trying) is for Meen to want to rely on him since that's precisely what Meen keeps telling him he likes about him, or wants to learn from him; street smarts etc. Duen likes being seen as a protector, a hero, a helper etc., to Meen. And that's why he stays adamant with his lie and refuses to let Meen truly see him below the surface.

Like Pi, he also doesn't want to admit what he knows and has fought to accept, which is, he loves Meen and wants him by his side. It's the fear of losing what he has with Meen that makes him do what he does, which is the same reason Pi also keeps rejecting Mork; it's the fear of losing him. And that's the ironic thing about Pi and Duen, they're ironically trying to preserve what they love, but because of scars, insecurities and walls, they're hurting the ones they love by just refusing to be their authentic selves. It's ironic because they think being themselves is the worst option. Yet, on the surface, they act like they're fine with who they are, they're loud about being carefree of what others think of them, they're okay if these two leave them, but in reality, their worst fears are admitting that they agree with what people see in them as flaws, that they also hate themselves for that. That's heartbreaking because they fought so hard to keep loving themselves, to keep believing in their worth, but society made them genuinely think that they're wrong. And it's painful but realistic.

Again they're all similar and mirror each other. I just want people to understand that FUTS is a deep show; I know the director doesn't do the best job with what he's been trying to show, but it is deep; there is thought at times put to it in the profound moments. In the moments where both Pi and Duen aren't being fake and are their true selves, you'll notice that the jokes and humour slowly reduce whenever they are true; the narrator also reduces for Duen because he doesn't struggle as much with his feelings for Meen like he did at the first time. All the stuff that happens in the show is on purpose, even if done messily and poorly. People love to hate on the show. It has a lot of flaws, I know, but it's not the worst thing; it has deep characters that are incredibly flawed and hurt (even Mork, who we still hope will get to understand his story) it has people that act one way on the surface but hold deep scars and pains below whilst wearing a mask. The characters are unlikable because they are realistic to how people with self-sabotaging habits and deprecation act. That's why I like this show. And I'm sad I wasn't writing out more all about the meta and moments I've enjoyed so far. Anyway, I'm grateful this show has been shown this year; it definitely made me ponder my own ideas about how I view myself and if I have walls up around the people I love. I think many people do relate to Pi or Duen somehow, and it's unfortunate that the director doesn't help us feel the same way about the narrative when it's actually a great BL story to unravel and watch.

[bakerolivias-archived]

normally i can tell your an anti damon person so just out of curiosity do you think bonnie and damon should have been together at some point? only asking cause of your otp tag

ooohhh, this is a very hard question to answer lol.

do i think d.amon deserves bonnie? absolutely not, not really. bonnie deserves better than a serial misogynic/abuser, tbh. but i like the enemies to lovers potential they did have, mostly due to ian and kat's chemistry, and how their relationship evolved gradually, until they grew to get to know each other, decided that maybe the other wasn't quite so bad after all, and were so bonded from their shared experiences that they became loyal best friends who care about each other and want to be in each other's lives.

and i do enjoy the bonnie x villain crackships even though yeah, bonnie deserves someone who's already kind, compassionate, and mature enough to understand basic respect for loved ones/strangers alike and not hurt people (see, not people like klaus and damon, or even kai lol). it's because bonnie has a strong sense of morals that these kinds of character complement her so well, while she could still flourish independently and establish her own agency (idk that that would have been the case if the writers decided to make romantic klonnie or bonkai happen, but whatever). it's the clash of good versus evil that's appealing to me because there's a lot of tension between the two extremes.

and, ignoring d.amon's actions in s1 and s2, because i could genuinely have tolerated and even grown to love d.amon if they maintained his s3 writing, from the gifsets and general things i've heard about their relationship via fandom, it seemed like damon respected bonnie so much, which has been a lacking component of his previous relationships (see: d.aroline, d.elena, d.amon x andie starr). there was no stealing of agency via compulsion, no force feeding vampire blood, no sexual abuse via vamp hickeys and nonconsensual blood drinking. it seems clear to me that the writers took the time to write a healthy, respectable, and almost endearing relationship dynamic between them. there are so many moments where they balanced each other, enjoyed each other's company, and where they proved how much they loved each other.

and while bonnie deserves better than a crusty old white man (and there is that whole uncomfortable truth of d.amon having worn a confederate uniform at one point which is especially problematic in this case....) i think they certainly would have been more interesting a pairing than d.elena or st.elena, and really woc like bonnie deserve to be The Love Interest in the way elena always is (while not having their individuality reduced, of course), to be in loving relationships that have mutual respect, that help each other grow. i'm glad that they never happened just because i feel like the writers would have found a way to ruin it, but they certainly had more potential - and remind me of klayley, in a way (aka a ship that i once hated preemptively, based on principle, but grew to love as the writers took great care in watching their dynamic bloom and thrive).

tldr: i think they should have been together because it would have been a good writing choice, and more original than the classic love triangle main character dilemma, for d.amon to simply move on and for them both to find solace and partnership in the one person they wouldn't expect. i like them as a concept but not really in practice.

[sashannarcy]

I think sashanne lost popularity after season 2 and non fans or brand new fans want to make it simple by saying oh sasha is always bad and made the other girls lives miserable. Which is not true.

We've seen the girls in flashbacks do normal fun teen things and just hang out. Webonow all 3 absolutely adore each other. Sasha convinced Anne to do bad and questionable things but it was never to be malicious.

Their friendship isn't all bad. There's a lot of good. That's why it hurt Anne so much when Sasha didn't fully change, that's why Anne cried in Reunion. If she didn't love or at least care about Sasha it wouldn't affect her as much.

I know people are finally talking about how important maintaining healthy relationships is and cutting out bad toxic people is also important and good.

But I don't think the shows message is to say sasha is and always has been a bad friend and therefore she be cast out. It's all 3 girls need to take a step back and reevaluate themselves and how they view relationships and then take steps to do better.

The show should end with all 3 girls changing and recognizing what's good and bad and then giving their friendship a fair chance with respect, compassion, communication and boundaries. People can change and relationships can improve for the better and all 3 girls made mistakes they should be allowed to have a second chance.

no yeah absolutely. one thing I fucking hate abt big fandoms is the presence of like, purity culture ig? in which a ship has to b like fucking flawless and not messy in order to be "not problematic". like I'm sorry but that is NO fun and messy relationships are entirely more realistic and interesting to think about. they also can be super cathartic if you get to see the two (or more) people work through their issues and grow from them, bc that's how life WORKS.

so yes, I deeply admire the way Amphibia writes the Calamity Trio, bc each one of them has flaws that are made obvious in one way or another, and they're all intended to be seen as, at worst, morally gray in the end. we've seen Anne work through most of her flaws already, while Marcy and Sash still have some shit they need to grow from. but like yes the point is that NONE of them are intended to be seen as instantly bad bc they have issues, not even the character who was pitted as antagonistic up until the end of s2.

to see people bash Sashanne bc they want to reduce Sasha to nothing but a toxic friend to Anne is kind of.. disappointing, bc it means people are like. absolutely ignoring how Sasha's manipulative/controlling tactics are coping mechanisms to give themself security. is that an excuse for the way they've treated Anne? no. but it's an important thing to note bc Sasha is not trying to hurt Anne at ALL. it clarifies that their actions are more based on feeling safe rather than going out of their way to hurt their best friends.

yeah anyway I didn't mean to ramble in this answer but like! you seem to get it. Amphibia writing good messy relationships good Sashanne good. point blank period

[lnkedmyheart]

How do I always fall back onto my TozX salt train? Oh I know, because you can't enjoy the content on any other platform than this without running into tozx supremacists. Anyway, the problem with me not liking the anime isn't that I am a sormik shipper.

The problem I had with the anime is multifold and a lot of it can unfortunately be boiled down to Alisha. Again, this doesn't mean people hate her, people seem to have very warm or neutral feelings for game Alisha and legitimately missed her when she left, but the problem with anime Alisha is that she's like a black hole in the center of the story just stretching and bending reality till it dissolves and disappears into her existence to never be seen again. Like we WANTED her to leave at some point because we missed the remaining 6/8 of the cast.

The writing is screwed because Alisha is now the mc and everyone is suddenly a minor or side character that barely contributes anything outside of being cardboard cutouts occasionally rattling off info dumps.

The narrative is screwed because Alisha's story is more important than the core aspect and message of the story is secondary to Alisha's personal life.

The characters are screwed because, well, they are no longer characters. They are utterly replaceable and honestly you could just turn them into a bunch of rocks cause all they really do (outside of bait people with dry sormik) is turn into pretty magical outfits for Sorey, Alisha and Rose. Why? Because Alisha was far more important to explore by shoving her into every situation with Sorey in season 1 and Rose in season 2.

Seriously, what's the real value of each of the seraphs to any of them in the anime? What's Dezel's real value to Rose? What's Mikleo and Lailah's to Sorey? Nothing. You know why? Because they have no value to Alisha, they mean nothing to her so you couldn't explore any other bond they could share with Rose or Sorey because that would reduce the focus on Alisha.

No I'm not calling Alisha a callous character, I'm saying that anime Alisha can rarely be bothered to really interact with or acknowledge the seraphs properly in most scenes.

How is it that Alisha armatizes but somehow still doesn't have conversations with the seraphim? Wasn't her dream in the anime the exact same as Sorey's? Why is she so unbothered about the fact that the seraphim are sitting all along watching humans eat while she Sorey and Rose have conversations?

Also the fact that Sorey is also not interacting with any of the seraphim whatsoever as though they were afraid that it would diminish Sorey's weird ooc obsessiveness with Alisha. "Hi I'm Sorey, my dream is to create a world where Seraphim and humans can live together in harmony, excuse me while I focus solely on humans and ignore the existence of my best friend who I supposedly love deeply and all the other seraphs who can't even talk to or interact with anyone else".

Like anime Alisha doesn't have any relationships. She is adored by everyone, but she barely does anything to actually help them, runs away to go off on adventures and makes the shepherd her personal PA with a clear bias (yea anime Sorey has a clear bias towards Hyland, shocker!!!)

Even Alisha's relationships aren't developed, she has conflict with a few people, her conflict with Rose (which was done...okay but they kind if destroyed Rose's entire character anyway) and conflict with her dad apparently but like...I don't really give a shit about this random ass dragon(really now?!?!?!).

Anime Alisha is pretty trash overall as a character because she is the definition of a black hole sue. This is the official description. 👇. Its a sign of really poor f tier writing.

Game Alisha was flawed and sweet and went out of her way to make seraphim feel accepted. She was saddened at the losing her position as the squire because she could no longer see the seraphim and go on adventures and learnt that she has duties and a role that she couldn't run from. The manga did her more justice and clarified things far better but it stayed true to who she was.

Like people insisted Rose was a Mary Sue in the game when she was just gifted and acclimated to being armatized via certain events. She wasn't ever OP tbh but nobody would have cared if Rose was a dude with the same storyline. But then you have anime Alisha who is literally bending the world to her will and thats good characterisation.

I think my biggest problem with the anime only fans is that some of them will make snide remarks about why SorMik is popular and call it blatant fujo bait because that was all it was in the anime, bland meaningless over sensual moments that ultimately meant nothing. They don't hold a fraction of the connection these two share. Hell half the game sormik shippers were convinced they were married or something with how they acted like a couple that's settled into that years long casually intimate relationship. The anime only fans also often claim that Alisha was the best character and deserves more love and everyone else is bland and boring. And you know what? I can see why, because like I said, everyone else was cardboard. "I don't get the hype around Mikleo" well of course you don't, that was barely even Mikleo. All Mikleo was in the anime was a pretty white haired anime boy sensually screaming out to the het dark haired protagonist every ten minutes. But you tell them that canon source material is different and they use it as an excuse that "well I only know the anime" and then there's others insisting that people skip the game and only bother with the anime.

Like...anime Alisha was the biggest problem of tozx. Not Alisha. Anime Alisha specifically. Its like they watched the game's op and the ova once, liked the blonde in tiny short shorts, read a summary and made the anime.

[itsclydebitches]

Why did RT make Whitely a jerk when they didn’t do anything with it? In V4, it acts like he manipulated Weiss into getting disinherited when he had nothing to do with the event that caused it. Then he briefly distracted Weiss in V6. That’s it. Just make him a good kid in a shitty home! I would’ve loved to see 1 of Schnee kids come out of their home a nice person. He didn’t do much bad, Weiss and fndm hated him, but now they don’t because the show told us he was good now.

I’m so glad you brought up Whitley’s actions in Volume 4, anon, because this has been a thorn in my side ever since he was “redeemed” in Volume 8. I can’t tell you how many posts I’ve seen railing against Weiss forgiving him, saying that’s absurd when he caused her disinheritance, and I’m like no... no. Whitley didn’t cause anything. Whitley is the younger version of Weiss! AKA, an abused kid struggling to keep his head afloat in this household. 

“But, Clyde, Whitley was such an asshole.” Yes, yes he was. Volume 4 is filled with smirking, sarcastic clapping, knowing looks, and fake concern for Weiss. By the time Jacques disowns her in “Punished” we see why Whitley has been acting this way: 

Weiss: Whitley!

Whitley: Yes, sister?

Weiss: Did you know about this?

Whitley: About what?

Weiss: You never liked Winter. You never liked me. But you've been nothing but supportive since the moment I came back.

Whitley: If being kind to my big sister is some sort of crime, then I suppose I'm guilty.

Weiss: ...You wanted this to happen.

Whitley: It's foolish not to do as Father asks.

Now, I’ll admit I’m personally confused as to what purpose Whitley being kind to Weiss serves, or how that behavior reveals a desire for her to be disowned outside of... a general interest in rubbing it in? Idk. It wouldn’t be the first time RWBY’s dialogue implies a lot of nonsense (cough-birds-cough), but the takeaway is that Whitley just wanted this. He didn’t cause it. He has no control over what Jacques does, he doesn’t have Jacques’ ear despite being the favorite (how many times is Whitley sent from the room across the series, reduced to eavesdropping outside?), and he certainly didn’t manipulate the scene at the party. He might have. That might have been something RT wrote, an arc wherein we see Whitley carefully pulling the household’s strings to put Weiss in increasingly stressful situations until she finally does something to piss Jacques off enough... but he didn’t. A different asshole riled Weiss up with his callous remarks, the party conversation fed that flame, and Jacques’ manhandling set her semblance off. What’s Whitley doing during all this? Smiling. He’s taking pleasure in the fact that Weiss is lowering herself in their Father’s eyes, but that doesn’t make him responsible for these events. 

Just as importantly, him being pleased about these turn of events isn’t evidence of an evil nature, it’s evidence that he’s in survival mode. What do we know about the Schnee family? 1. They’ve all been abused by Jacques. 2. They’re filthy rich. 3. The kids have inherited their Mother’s fighting skills... except for Whitley. Working to please his abuser is the only way Whitley has to keep himself safe. 

He does not have the outs that Winter and Weiss did. He doesn’t have the ability to go off to a huntsmen school like Winter. He doesn’t have that ability and an older sibling to guide him like Weiss. The only thing Whitley has is his (implied) talent for business. Running the company. Which is Jacques’ domain. Of course he’s pleased that Weiss has lost her inheritance. Of course he’s hoped that would happen ever since she left. He’s the youngest and has no other prospects except for the company. Becoming Jacques 2.0, keeping him happy, becoming someone invaluable to him (the obedient heir) is the only way for him to try and survive his own abuse. He all but says it to Weiss in that scene: 

It’s foolish not to do what Father says. 

Why would that be? Why might it be foolish to disobey him? Maybe because Jacques is dangerous - both personally and politically - and Whitley has no other means of defending himself except obedience. It’s all well and good to make grand claims like, “He should just leave!” or “Come on, Whitley, fight back!” but abuse doesn’t work that way. It especially doesn’t work that way when he’s a twiggy 14yo without the magic and physical prowess his sisters possess. When Jacques abuses Winter she leaves to go where her school and general can defend her. When Jacques manhandles Weiss she summons a boar to defend herself. When Jacques abuses and manhandles Whitley he... does nothing. Because there’s nothing for him to do. Nowhere to go to, nothing to summon, no one else to turn to. Working very, very hard to ensure he doesn’t piss Jacques off again is the only defense he has. 

You never liked Winter. You never liked me. But you've been nothing but supportive since the moment I came back.

I wonder why that is, Weiss? Why might Whitley not like you? Willow gives us one answer in the form of “You left him alone with us” but the other, simultaneous answer is because he wasn’t born with the cool abilities that allowed her to escape. Why might he hate his two older sisters who won the magical, genetic lottery and escaped this horrible household without a care for what became of him? I have absolutely no idea. Total mystery! 

Whitley is a character who has built his own defenses out of what’s available to him. If he can’t go to school to escape his Father, he’ll make sure his Father can’t find a single fault with him. If he can’t make his way as a huntsmen, he’ll happily inherit the company when big sister Weiss messes things up. And emotionally he’s constructed pretty lies to comfort himself. You think I want the powers that let you defend yourself against ordinary people (like Father), and make people love you, and open a whole world of options to you? No, no, no, they’re barbaric. Why would I want that? 

Weiss: Are you jealous? Is that it?

Whitley: Whatever do you mean?

Weiss: Is that why you hate me? Are you jealous of my abilities? Of Winter's?

Whitley: Hmm... no, not really. Honestly, I find it barbaric. It's beneath people like me. Like Father. 

It’s a classic case of sour grapes. Since Whitley can never have those powers, he’s convinced himself that he’s never wanted them, that they’re “beneath” someone like him. Like Jacques. Father doesn’t have powers, Whitley doesn’t have powers. How convenient! He has to model himself after someone and, well, everyone else left (with Willow metaphorically gone by hiding in her room, drunk). That’s his only recourse, to become what Jacques wants since he’s unable to escape him. We have seen, on screen, Jacques grabbing Weiss’ arm, dictating her movements (why are you leaving my side?), and outright slapping her. Why doesn’t he do those same things to Whitley? Because Whitley learned how to do everything Jacques wanted to get by, right down to wearing little suits and being critical of the two women who “abandoned” the family. It’s him and Jacques vs. the world. There is no one else, so he becomes a mini Jacques, both for safety and for something he perceives as acceptance. 

And the tragedy is that this snowballs. By modeling himself after Jacques, Whitley crafted a personality that no one wants to look too closely at due to that asshole exterior. Willow is too busy drinking. Winter is gone. Weiss doesn’t like him. Even Klein doesn’t like him! But he’s a teenager, not the corporate slaver enacting the abuse, and the fact that no one in the show - no one in his family - went, “Huh, I should probably help Whitley before he literally becomes Jacques in an effort to survive this household” is horrible. We watched Winter help Weiss, but not Whitley. We watched Klein help Weiss, but not Whitley. We watched Willow outright tell Weiss that he’s like this because he was left alone with his abusers, please don’t forget him... and then she forgot him. Only to turn up later demanding access to the home she’d emotionally rejected by sticking a weapon in his face and sending him to his room. When Whitley reveals what was already there, that he’s not inherently a horrible person by helping Nora, Weiss and the show treats it like some kind of “redemption.” But Whitley didn’t need to redeem himself in any way, with the exception of maybe apologizing for just being a general asshole under very justified circumstances. In reality though, his family owes him an apology for writing him off, taking their own advantages for granted, and then being surprised when he didn’t instantly turn out like them. Everyone remembers what Weiss was like in Volume 1, right? That it took leaving that house, living with new people, and having Ruby Rose as an energetic support system to teach her how to be a better person? Whitley had none of that. It’s amazing he’s currently as empathetic as he is, but the fact that so many (characters and fans) expected more without help speaks a lot to how surface emotions trump actual actions. Meaning, characters like Emerald and Hazel did objectively horrific things, including murdering/helping to murder numerous people, but because they sometimes look sad about it on screen most of the fandom defends them. They are adults who made conscious decisions to enact harm in the world, but looking a little sad made me care about them so something-something they were definitely manipulated into this/ignorant about this behavior/forced into this behavior... take your pick as an excuse. But when it comes to the actual abused child on screen whose greatest crime was a few smug comments, oh no. He’s horrible. I can’t believe the show would have Weiss forgive him. But the woman who orchestrated Penny’s death, helped with the Fall of Beacon, and was trying to murder us yesterday? Nah, she’s cool. 

The fact that the show had Emerald literally do nothing to earn her redemption after seasons of villainous activity, but needed Whitley to save Nora/send ships/provide blueprints to redeem himself after being an abused side character this whole time - and the fandom’s reaction to both - says a lot about how ill-considered RWBY’s writing is. 

[zuzuslastbraincell]

☕ atla comics

been a while since i read them very closely but they’re largely trash imo.

they mostly serve as a springboard to LoK’s setting, something i’m not particularly interested in and prefer to ignore, since it’s informed greatly by western-style imperialism and liberal perspectives on modernity and politics. since ATLA is set in a late feudal / early industrial period, with at best clearly flawed and short-sighted leaders (at worst rampant imperialists), the show writers are not as invested in defending the 'status quo’ and while there are moments (e.g. Jet, Hama) where the writers’ political leanings end up manifesting in ham-fisted ways that condemn certain types of anti-imperialist resistance that do not agree with their liberal perspectives, ATLA largely serves as a decent, serviceable critique of imperialism and imperialistic war.

The comics, however, have the heroes in the driving seat of political power, with the end goal of setting up LoK’s worldstate, and that means they do some bafflingly irritating things especially r.e. Yu Dao / Republic City. IMO, I would actually be fine with Zuko, who has only recently challenged his own imperialistic upbringings, on receiving the crown and basically being left to rule a nation who at its very core is driven by an imperialist, hierarchical understanding of the world, and backsliding somewhat on those principles. Like, he is living in a palace, no longer surrounded by ardent anti-imperialists, most probably surrounded by advisors and officials with imperialistic mindsets, while he is trying to draw a line somewhere between a vision of the Fire Nation that rejects the core principles of imperialism and a Fire Nation that could be palatable to his people, not understanding the ‘people’ he is listening to right now are the elite who are able to get anywhere near close to the palace. I don’t think that Zuko being wrong is actually out of the question. What frustrates me is that this isn’t challenged and deconstructed, Zuko doesn’t realise he’s out of touch, what frustrates me is that they reach a ‘compromise’ on an issue that shouldn’t be compromised on, that Aang & co. don’t push back and say ‘nah this land belongs to the EK you’re in the wrong here’. That can’t happen, obviously, as Republic City needs to exist, and Republic City needs to be Aang and Zuko’s pet project (nevermind it’s not their land! not their people! not their business!). The conclusion reached doesn’t have anything meaningful to say about imperialism and doesn’t see the fact that the heroes are in positions of political power as an interesting opportunity to examine what being in power means and how your perspectives can shift due to your elevated position.

My other main issue is that pretty much every character is flattened, simplified, and is lacking in depth.

Katara largely just follows Aang around. She doesn’t have many meaningful arcs of her own, doesn’t develop as a character or contribute much to the plot. I recall one arc in particular showing Katara being ignored / neglected by Aang while he’s getting a load of attention and it’s frustrating how that could have been a good moment of character conflict that doesn’t.... go anywhere. Ugh.

Sokka is largely reduced to dumb comic relief, ironically, the very role that the show took pains to avoid Sokka being exactly that.

Azula I could write an essay on, but largely I hate that she was thrown in an institution without that idea ever being considered cruel or hurtful (like, incarceration isn’t fun!) and just turns her into a flat, spiteful villain and implies there’s no hope for her. Bad!

Ursa shifts from a complex character who loved her family & committed treason for them even though it’s implied she was otherwise loyal and committed to the nation before then, and is portrayed as an “uncomplicated” victim. Furthermore, despite abandoning her children, despite erasing her memory of them and replacing them, this is never treated as morally complicated decision, as a failing.

There’s more honestly. I could go on. Why are the Kyoshi warriors serving the Fire Lord? The Fire Lord who 1. who burnt down their island 2. leads the nation the world was at war with? (I love the fact that we see more Suki, and Suki & Zuko interaction, but this is not how I want to see it). Then there’s the whole way Toph & her parents are handled..... ugh. Lots of bad.

The new art style in ‘Imbalance’ is lovely, imo, but the plot of that comic is predicated on a lot of worldbuilding r.e. Yu Dao / Republic City, as well as Toph’s relationship with her parents, and contrived conflicts between benders and non-benders which don’t speak true to the actual axis of oppression (ie. between fire nation colonials and earth nation citizens) that was at play not too long ago.

I liked Katara & the Pirate’s Silver, it was a fun, sweet story, and IMO I’d definitely be interested in more side-stories that don’t touch the mess that is ATLA’s post-canon situation.