#she actually does lack agency is the thing

[whetstonefires]

i mean i was mad because they set up her using her speed-mastery of the rulebook, in the bit that led up to her getting conned into nearly marrying a villain, but then during the story climax she did not get to actually use that for any real advantage.

even though the other bad guy was breaking rules and she had a bunch of rule-enforcers right there, whom she could have used for something to try to avoid sacrificing anybody. she could have made an attempt!

instead she finally asserted her agency and Being The Boss status by deciding to sacrifice Earth and her own life for her loved ones, and telling her subordinates to stay out of it.

and then afterward, having already surrendered, she changed her mind about that, so late that the only reason it didn't get her and her family and the planet earth all killed

(because if she died, and they hadn't personally murdered her, the title to the planet reverted to the other two assholes)

was that her flying dog boyfriend and the cops, her theoretical subordinates, ultimately didn't listen to her, did their own thing the one time she gave a direct order, and saved her ass.

and like, it's all very well to be worth saving to someone, that's a good angle, and in a different plot in the same fucked-up setting their ignoring her orders to save her could have been a high point in itself, with more setup.

but a story that repeatedly reinforces that the female lead is wrong to attempt to do anything, especially make decisions about her own life, was very frustrating to watch.

i got no catharsis on the repeated hammering of the theme of jupiter being helpless and feeling trapped, because her smacking Eddie Redmayne in the face in a context where it accomplished nothing useful didn't address the patterns that actually distressed me.

so i walked out of the theater all knotted up, feeling narratively blueballed.

Jupiter Ascending: *is literally entirely about how Jupiter reacts and the choices she makes in the scenario she finds herself in*

Critics:  Waah waah Jupiter lacks agency.

She has to choose whether or not to save the Earth at great personal cost and she lacks AGENCY?  Did Harry Potter “lack agency” because Hagrid told him he was a wizard?  Put a girl in a showpiece dress once and that’s it, it’s over, no more decisions for her?

I think prokopetz is totally right when he says people are failing to read this movie as a “lost princess” story.  If you want to put this story in a literary and cultural context you have to read it as a princess story.  

Listen up, people, here’s what makes princesses so special and princess stories important: Princesses are simultaneously perfect objects and powerful agents.  “Princess” is a culture hack for women.  If we have to live in a world that’s unequal, then at least we will carve out this one niche sheltered from most of the misogynistic shit women get pelted with.  How and why “princess” and fairy tales about princesses turned into this dual space of desirability and power is long and mostly lost to the mists of time, and has a lot to do with women writing novels in 17th century France and Charles Perrault being a fuckhead, but let’s not get into that.  Let’s just take it as read:  Princesses are special.

Women get objectified a lot, which literally means, “turned into objects”.  We’re defined entirely by the judgments of other people: Are we attractive, do we behave pleasingly, do we have the right attributes and do the right things.  We collude with this to some degree because we want people to like us, because we’re a social species that still instinctively fears abandonment as a precursor to death.  But most of the time the patriarchy makes us compromise: to be good objects, it makes us give up our agency, our ability to make decisions and be actors in our own lives.  To be attractive often means being malnourished, weak, and physically incapacitated.  To be liked means to be meek, mild, and powerless.  The right things we’re supposed to do are let other people make all our decisions for us and not inconvenience people.

Princesses, by some miracle, exploit a loophole in the patriarchy where we can be both.  A princess can both be seen as good, beautiful, wise, deserving of loyalty and devotion, and loved by everyone who sees her, and make her own decisions.  She can act out, run wild, escape the palace, make mistakes, choose the wrong guy, do anything she likes, and still be a princess.  The only thing she did to become a princess was be born, and since the title isn’t “earned”, she can’t lose it by bad behaviour or inadequacy.  It is an inherent state of worthiness.  That is some powerful shit, my friends.

Yes, Jupiter is surrounded by people who suddenly love her and want to defend her and dedicate their lives to her–but that doesn’t take away her right to make her own decisions.  She’s the boss.  She doesn’t have to go it alone and fight all her own battles, although she can if she has to, because women aren’t buried in the toxic masculinity bullshit about being a “lone hero”; her life gets to be rich in meaningful relationships without compromising her.

[stardustdiiving]

Me explaining in terms of strictly how I read canon I think Nahida not severely punishing the Sages is just meant to convey that Nahida, even when wronged, is not a very vengeful or harsh person and makes the choice to be kind instead, but in my mind I have this idea of a Nahida interpretation which elaborates on that where her self punishing tendencies extend to her being someone who internally downplays her own experiences constantly, and as a result has a hard time feeling she’s allowed or justified in placing a lot of blame on the Sages for what they did to her So while she is following her own philosophies regarding teaching lessons/wisdom/etc in how to handle the Sages and genuinely doesn’t want to be really angry or punishing because of who she is as a person, her decision is also influenced by the fact she’s basically blocked herself out of grappling with how to handle people who hurt her by blaming herself for said hurt instead as a coping mechanism. And like this is all just me being insane about Nahida Trauma and not something explicitly implied in canon but also I really do think this isn’t a far stretch from her canon characterization especially when my vision isn’t to conclude that Nahida needs to be angry and vengeful but she should extend the kindness she shows others to herself and also every day I get tormented thinking about she was the mental equivalent of an average human child when the Sages found her and how they basically specifically discarded her for being a child and the idea of how Nahida would pick up on + internalize that and eventually need time to unlearn it

[sskk-manifesto]

Ep 7 :)

[eliotquillon]

i love how you get to see cassia’s prefrontal cortex develop in real time in wayward. she literally goes from “everything my brother has ever done since birth is a calculated manipulation designed to make me feel bad and bring shame on our family” to “wait maybe my brother stole my toys when he was seven because he was, uh…seven” in the span of 500 pages

[hypermascbishounen]

I think it's an interesting choice that they gave her those red shoes that stand out so loudly against the rest of her outfit. To me it could read as a bit of a Dorothy from Wizard of Oz thing, which might inform her character somewhat. A friendly rural girl that easily makes friends with different people without judgement, and is well suited for an adventure.

(It would also be symbolically fitting HoD's queer-coding, bc Dorothy is one of the original Queer Icons, and "Friends of Dorothy" specifically was a code phrase to refer to queer people).

But also, it honestly looks like she's wearing riding boots. That's not the outfit you would ride a horse in, but those aren't the shoes for light indoor activities either. They're not even particularly feminine for the time period. She's kind of wearing the equivalent of a floral dress with combat boots, so a somewhat tomboyish reading of her character doesn't seem very far-fetched!

Iirc, Lydie also made Juste and Maxim's friendship bracelets, but didn't make one for herself, which is also a potentially interesting insight into how she feels. Especially because that isn't necessarily how Maxim always saw things, if his insecurities were anything to go by. Or even how Juste might have seen things, given the different endings.

She's also younger than Juste and Maxim by a couple years, and the true ending always gave me the impression she's used to mediating arguments between them and breaking up fights, lol. Her sprite directly stands between them with her arms out like she's refereeing velociraptors. Which takes a lot of guts and/or trust to get directly between two heavily armed people who are also a wizard and a ninja respectively. And they listen to her!

An idea that won't leave my head is that Lydie is an excitable tomboy.

Think about it. Lydie, who in appearance is a frilly delicate girl, has two boys as her best friends. Two rough warrior boys, at that. How did she become part of the group? Surely she does more than just sitting demurely as they spar?

I like to think that Lydie is actually kind of reckless and likes to play danerous games. She's the kind of girl that would ruin her skirt climbing up trees or jumping on stones to cross a river. She causes a lot of headaches for her family, who want her to act proper, and this may be why she loves to spend time with her friends, who don't care if she is improper because they just like her as she is. I don't think she is that big of a rebel, because she still looks like someone who takes care of her appearance (the hair alone requires careful styling), so she might play coy with her family and be on her best behavior... until tempted by her besties.

Generally speaking, if I were to write Lydie, I think I'd move away from the "gentle" archetype and make her a ball of energy lol. The kind of person who is constantly fidgeting, bouncing on her feet and clapping her hands because she just can't wait to spend more time with her favorite people in the world!

I could also take this artwork as proof that she likes nature and animals. She doesn't have the innate talents of a witch or a Devil Forgemaster, sadly lol. She just tries her best even if she gets her fingers picked at or bitten.

Also, we know that after Simon's victory, the Belmonts became heroes of the land, and a whole village was built around them. Juste, most likely, didn't grow up shunned for his bloodline. But! He was still born different. Frail, pale, and with strange magic potential. While discrimination due to magic is not as intense at this point in time as it was in centuries past, it's possible Juste was surrounded by rumors, perhaps even doubted as a worthy successor of his grandfather. You know, for that nice family legacy stuff :)

The point is, I think Lydie never cared. Along with Maxim, who gets to experience for himself how strong and driven Juste is, Lydie might have been the first person to not treat Juste like the latest Belmont with all that comes with it, but as a boy worth of befriending. Lydie got to know Juste's various quirks, like his stubborness, or his fastidiousness when it comes to fashion and decor (I bet they joked that she could learn from him lol), and decided he was funny and that's how a friendship started.

Oh, and the wiki suggests that her surname hints at her ethnicity being Transylvanian Saxon or Banat Swabian. I think it's pretty cool and it could influence her in some way.

I need to think of more quirks to give to her. But I really would like to flesh her out a bit because she has potential to be interesting :>

[eternal-moss]

When it comes to Farcille, most people talk about either the resurrection & subsequent bathhouse scene, or post-canon. But not many people talk about this moment from pre-canon which I think can be read with romantic connotations pretty easily

This isn’t much in the way of evidence per se, but Falin’s expression here is unusual compared to how she usually looks. Something about it feels…. gay to me lol

This 100% reads like someone introducing a partner to their family. Falin is normally pretty blushey as a default look to her face, but it’s obvious that she’s pretty excited about it, which Laios states himself

THIS MOMENT!! Possessive Marcille!! She’s never usually this forward but in this moment Marcille is pissed. Mainly because she likes to coddle Falin, and also probably wishful thinking that Falin was happier at magic school (and while meeting Marcille did make Falin slightly happier, she was pretty outcast & it doesn’t seem to be somewhere she enjoyed much. She ran away partly because she was worried about Laios, but also she never liked it much there in the first place), hence Marcille’s insistence to bring Falin back later on. That does actually happen I just didn’t add the panels

I’m sure there was genuine concern for Falin’s (presumed lack of) agency in running away, and actually considering the magic school to be better for Falin, but also Marcille is known for wanting control over certain things and probably just wanted Falin with her, from a selfish perspective & also to ‘protect’ her.

Anyway, then Falin bursts into the scene, and the whole ‘it’s not his fault’ looks so much like one of those ‘it’s not what it looks like!!’ romantic tropes, so much so that the crowd assume it to be a lovers spat lmao

Falin downplays how excited she was to see Marcille (and also because the situation is pretty tense) by saying ‘It’s been a while huh?” pretty casually.

“What we’re you thinking?” “…. Do you have any idea how worried I was?” I love these lines, they’re so Marcille. The way she snaps from furious to soft to furious again shows just how much she cares about Falin.

And then this final moment in the dungeon is so hilarious to me because it totally feels like the trope of ‘person trying to impress their love interest’ and goes just about as well as those sorts of schemes tend to work lol

[notebooks-and-laptops]

The thing about Solas in DAtV is that because they were fundamentally unwilling to engage with the question of whether or not the Veil should actually come down (which is a symptom of them refusing to engage with anything remotely 'problematic' in the franchise to date: slavery, elven oppression, treatment of both city elves and Dalish etc.) he goes from a character who is supposed to be the embodiment of wisdom to a character who is kinda stupid. And further, it affects our questions surrounding his motives and relationships, his actions in inquisition and how compelling he is.

Like, there's a lot of people arguing ATM about whether or not a romanced Lavellans relationship with Solas was meaningful/if she knew him compared to how Rook knows him/if he loved her more than Mythal. And I think the answer is very tied up in this particular issue with the writing.

Because if Solas is a revolutionary who believes that the veil must come down, not just to fix a perceived wrong he did, but for the good of elvenkind...if we take a Solas who says 'people are always dying, it's what they do' and realise that he's saying that because PEOPLE DIDNT USED TO DIE and the way their lives are now so short is terrifying to him, if we take a Solas who says that the world today is full of those who seem tranquil to him and take that SERIOUSLY, if we get a Solas who is sickened by the way spirits are yearning for the world the way it was but are stuck in the fade without any contact and that's twisting them into demons and those willing to possess others to taste a glimpse of what was denied to them by HIS actions...

Then we get a Solas whose actions don't just make sense but we can see WHY they make sense. We get a Solas who is, yes, committing an act of horrendous violence by tearing down the veil but is doing so to literally save the world rather than just fix a regret or because he's bound up in Mythal somehow and what she would have wanted for the world.

THAT Solas who leaves Lavellan because of his revolution he must lead, who leaves Lavellan after seeing what this world does to those who are left of the people, that Solas...I think that we could then argue more than the relationships he formed in inquisition were real and he was tragically forced away from them by his own goals. That in some way he is doing this FOR Lavellan.

There should be a sort of semi-horror tint to this world for us through Solas's eyes because we can see a world of tranquil walking around like he does, a world where life is too short, a world of injustice and pain and reasons to go ahead with his plan

But Solas....kinda lacks agency in DAtV. I don't hate the Solas Mythal plot stuff I think it's quite interesting, but mix it with us never considering the merits of what Solas wants to do, of EVERYONE unilaterally deciding it's evil with no real debate or queries, with ZERO elves in the narrative siding with Solas or taking what he has to say seriously...THATS where adding the Solas and Mythal plot rubs me the wrong way. I don't want Solas to need to be released by Mythal before he can let go of his evil plan...I want a Solas who doesn't have an evil plan but instead a complex one. I want the conviction of Anders in Solas; that what he's doing is RIGHT and the ONLY WAY to fix a great injustice. I don't want to redeem Solas or even understand him I want him to CONVINCE me and me BELIEVE him. Otherwise the Solas we see in inquisition is more shallow and the Solas we see in Veilguard through Rook...maybe Rook does know him better than the inquisition did.

[avelera]

Thinking about how one of Mel's flaws as a character, as I see it, is that she's fixated on being the power behind the throne, rather than the power itself, despite already having all the ability she needs to be an effective and incisive ruler.

We first see this characteristic of Mel's when she's a child, picturing the sort of hand-picked regent she would select to be her family's puppet.

But Ambessa points out even back then that there's no reason Mel couldn't rule directly. This I imagine is part of the whole fox vs. wolf theme that is a source of tension between them.

In Mel's defense, there's plenty of good reasons to be the power behind the throne. It gives you a lot more deniability and an easy escape-hatch if something goes wrong. You can always throw the puppet to the wolves and start fresh. But it demonstrates a lack of commitment to always be hedging like that and it also lose you a certain amount of direct control. After all, the puppet can always grow teeth.

I think about this in relation to Jayce's Man of Progress image and how he needed to be the face of Hextech (and eventually a Councilor). Because why did he need to be the face of Hextech? Why couldn't Mel do it?

Mel was one of their first believers. She enabled their creation on the night of its inception. Why couldn't she be a partner in Hextech from the beginning, handling the public-facing side from the start? Or taken over from Jayce once it went from prototype to proven quantity?

I'd argue that if she had, a lot of the tragedies that befall Mel later would have been averted.

First of all, it's not as if there's an air-gap between the State and Hextech. There'd be no appearance of impropriety if Mel championed Hextech from the point where the Hexgates open. The Hexgates and Piltover had become synonymous by that point, there's no reason she couldn't continue to advocate and get funding for Hextech even as a Councilor. She had a skill for it, and the knowledge, and connections.

She could have allowed Jayce to remain in the lab, working on new innovations, occasionally coming out to offer the more scientific explanations as needed. But she didn't, why? (Doylist, obviously because we wouldn't have a story, etc. etc.)

I would argue it's part of the flaw or challenge she's facing in the story: she always wants to be the power behind the throne. So she helps elevate Jayce and supports his public persona. This persists until she sees an opportunity for an even bigger play by making Jayce a Councilor. Again, she sees a bright, charismatic, well-intentioned and easily-moldable person that she can work through to enact her own goals in Piltover and, because she is actually a good person, theirs too. She's not entirely self-serving and that's where she's different from Ambessa.

But this is where the problem of setting up a puppet sets in. Because Jayce has agency and he grows teeth and he pushes back on things Mel wouldn't want and does things she wouldn't advise with her superior political experience. Had she been the one in power instead of the power behind the throne, she could have avoided this, she could have molded the situation more specifically to her preferences, based on her superior knowledge. Jayce didn't want to be out in front of the crowd. He wanted to stay in the lab. Mel being the public face would have worked just fine for about 90% of the public appearances a representative of Hextech would need to make to the world. (I say this as someone who works as a public face in tech and has been a startup founder myself, such a role for Mel totally exists and often goes to someone who is a bigger name when the founders themselves are not charismatic or would simply prefer not to do all the wheeling and dealing.)

And this flaw loses her the relationship she could have had with Jayce, I'd argue. If she'd more directly worked alongside Jayce and Viktor, and taken over being the public face, she wouldn't have needed to manipulate Jayce or raise him to the Council, which were the dealbreakers that made him break up with her later.

Of course, they may not have had any reason to date in such a world but then, maybe they would have anyway as partners, now with a stronger foundation beneath them of working together, with both Jayce and Viktor relieved that the public, political side is being handled by a pro with a ton of resources (not that there wouldn't have been tension at all but certainly, this is a world in which I could see some flavor of MelJayVik happening harmoniously).

There's a Silicon Valley AU buried in all of this, free to a good home, but a world where Mel came on as a full partner early on would certainly be fascinating.

[beannoss]

Something I think about a lot and wonder if maybe gets overlooked in Twilight’s story and as vitally indicative of his character is actually in the very first chapter:

Anya isn’t needed for Strix. Twilight decides to adopt her anyway.

[Spoiler warning: Mostly this post deals with early chapters already in the anime but there is reference to chapter 62, which has not yet been animated and will be in season 3]

Twilight decides it — “I’m going to rework the mission so it doesn’t involve a child because that’s too dangerous” and he’s 100% right! Donovan Desmond is canonically a far right warmonger with fascistic authoritarian aims. His government made liberal use of the SSS — a group to mirror the Stasi — who continue to operate in morally dubious ways (much more likely they’re actively morally reprehensible, though we’ve mostly only had rumours of that so far). From what we can tell, Desmond is at best an absent father and likely actually worse than that: if that's how he treats his own children, imagine how he might treat others. And the timeline seems to indicate that the experimentation performed on Anya was done under Desmond's government — even if Twilight isn't aware of experimentation on children, he is aware of both human and animal experimentation under Desmond's government. Taking all that and also the complexity of Strix's aims, undoubtedly there were other things that could be done, more straightforward if not necessarily easier.

So. Why? Why entertain the change at all? And then, having entertained it, why go back when the reasoning is indisputable?

On the Doylist level, I think Endo wanted to ensure that Anya had some agency within the set up — Endo also does this with Yor. It would be much harder to be on Twilight’s side fully, or to trust him on an ethical level/take him as any sort of moral authority, if he were just straightforwardly using these two people. To have them be active and consenting participants (arguably to actually be affirming the arrangement: Twilight sets it up, but Anya and Yor actually make it happen) even if the audience only knows the depth of their knowledge/motivations/etc currently, shifts the power dynamic in important ways.

But it also the set up tells us important things about Twilight. He is largely impatient, cold, detached in chapter one. His overarching feelings towards Anya are, I think, real annoyance, real confusion, and real impatience. He just doesn’t understand this damn kid and it turns out she’s a person which is frankly unacceptable — he’d needed and anticipated an automaton, ideally of himself in miniature form. (Though I think one could ponder whether Twilight was, in many ways, an automaton himself at this point, but that's maybe for another meta 🙃)

He’s not entirely unmoved of course — we're given to understand he’s affected when Franky tells him how many times Anya’s been adopted and returned, and isn't amused by Franky's joke about names. Franky's comment — "Just don't get attached" — reinforces this. The prospect of “the future” perturbs Twilight when he’s reading the parenting books. His initial reaction to Anya’s kidnap is horror. All these are true too.

Then there’s also this, from earlier in the chapter:

It’s exposition, yeah, and it’s also exposing. "Hopes" and "joys" are very specific words to describe those events. It could simply have been "A marriage? An ordinary life?" but describing them as such — hope for marriage; joy in ordinary life — expose something of what Twilight feels about those two experiences and, on the flipside, they expose what he deems he's lacking. No hopes of intimacy; no joy in (an ordinary) life. There's an argument as well, of course, that he's being ironic but I don't think that actually invalidates the above analysis. Drawing attention to 'hope' and 'joy' at all are revealing, regardless of Twilight's tone in thinking of them. I think it's also interesting this panel, taken in conjunction with a pair of panels in chapter 62, Twilight's backstory. The above is almost a pulled out version of this below panel of Twilight's recollection of his childhood, and of course the returning image of not just a rubbish bin but a rubbish bin on fire when it comes to disposing of his identity:

Back to Strix. Both his final interaction with Karen and the whole everything of the framing of Strix is making Twilight think (and feel, ahem) things that he hasn't for some time. Twilight decides, I’m reworking this. It can’t proceed this way. Not because Anya is a pain in his ass, not because she’s not as (apparently) intellectually advanced as he’d originally thought, not even because he thinks he can find another child who would better be exactly what mission parameters called for. No:

And what changes his mind is Anya asking to come home.

One of the important parts of this to me is this:

He seeks consent.

This moment is a keystone, I think, to understanding Twilight. It’s also more telling than he maybe realises. Twilight is decisive — we all laugh because he spirals at the drop of a hat when his daughter or wife look even mildly upset but outside those (also very telling) scenarios, he makes decisions and he pursues them. Often he makes decisions quickly. He’s a dab hand at it; it’s a large part of why he’s as good a spy as he is.

He’d decided to change Strix.

Anya asks him, in essence, not to.

So, he doesn't.

But it's wild that he entertains keeping her request at all — why? Why even entertain it? It’s dangerous; it’s impractical; there are too many moving parts outside his direct control; Anya isn’t the sort of child he’d wanted for the mission if he’d spent any time thinking about what a child might actually be like; Strix is in many ways an extremely long shot anyway, Desmond could just stop attending for reasons unknown and unrelated; etc.

So, yeah, why? Maybe because of this —

In conjunction, I often think of this moment in the cruise arc:

Twilight first naming the feeling as lonesome, and secondly tacitly conceding that he perceives Yor as a companion and that that relationship is important to him, something to be missed. What makes this for me though is that Anya calls this out "Papa's you're so sappy" and Twilight's reaction is that of someone caught-out. He doesn’t say “nuh-uh!” but he may as well have. Essentially, something landed a bit close to home, hm? Maybe some of that hope for marriage? A soupçon of joy of an ordinary life?

Twilight’s loneliness underpins many of his decisions with his family — probably without him being fully conscious of it. I think he is at least somewhat conscious of it, but also if he looks too closely... Well, best not to. I could fill this post, I think, with images that demonstrate his loneliness throughout the series; that sorrowful/pensive close-up of his eye(s) is one of the abiding motifs for Twilight throughout. I'd probably start with this one from Twilight's backstory arc:

Anya's request plays directly off his loneliness. Still though, he doesn’t immediately capitulate — he emphasises Anya’s choice. Is she sure? The last day has been scary for a child (and for him, but he's ignoring that part) and Twilight, in his increasing recognition that Anya is a person, is probably aware in the back of his mind that he hasn’t exactly been warm or welcoming or at all patient with her. Things that people respond to — he's otherwise excellent at manipulating people, so of course he understands this. So. Given she'd just had this scary experience, given he hasn't exactly been great with her: Is she sure? She wants to come home — with him?

I think the moment may get a little lost because Anya says something riffing off his own earlier thoughts and self-revelation (featuring that shadowed, lonely eye motif again!)

Were this a post about Anya, I’d talk about how it’s an important character moment for her as well by way both of demonstrating her agency/choice and also that she isn’t nearly as dumb as Twilight thinks (and the audience, maybe, also thinks).

But in my view, she didn’t actually need to say anything about it making her cry. I think she could simply have said yes in that moment and Twilight would have agreed.

Twilight’s an unreliable narrator; he’s disconnected from his heart and that shrouds his own motivations from himself — something he actually also concedes in this chapter!

And it shrouds from us just how much he actually understands himself. He’s also a master of deflection. Easy to assume or say that bringing Anya home is just to align with Strix. Nothing more to see here; nothing else going on. But also that ripping off of the mask in the panel above — and the literal 'riiip' sound effects — also indicate to us that this is an unveiling to himself.

In my view, Twilight agreeing to Anya's request, deciding to go back to original mission parameters, actually shifts his motivations, subtly. Now he’s committed not only to the original mission goals, but also to Anya. He needs Anya to succeed at Strix, not only for Strix's sake, but also because otherwise the mission will end and she’ll have to go back to the orphanage, and he’s just agreed with her not to do that (not right away, in any case). I don’t think at this point he’s thinking it’s forever — his thoughts throughout the manga indicate he still expects the Forgers to be temporary. I don't think the shift in motivation is necessarily even conscious, but given the set up, I think something inside Twilight recognises that agreeing to bring Anya home is a compact, jointly engaged. Mostly all this has become subsumed into Strix: he makes decisions. He pursues them. He deflects, even from himself. Of course it's just for the mission; this saved him the trouble of reworking it, of figuring out something else. Nothing more to see; no need to think any more on it. And to be fair to him, Strix is very high stakes, resting pretty solely on his shoulders, so of course that is, objectively, motivation enough. Why even consider beyond that?

But I personally think that to the extent he's aware of it at all, there is something else going on, that he wants to have Anya for as long as it takes him to work something else out for her. If that's the case, then of course, we have Occam’s razor: the simplest solution may be the best one.

Maybe Twilight should just keep Anya himself, eh?

[Image description: gif from Spy x Family season 1, episode 1. Twilight and Anya have just found out Anya passed her entrance exam and are overjoyed. Celebratory, Twilight picks Anya up and swoops her into the air as they smile at one another. End image description]

[shorthaltsjester]

sorry if it was unclear but the clarification on ashton's position in 110 that has made the ugliness of his current ideology clear was not the fact that he listened to what was said to him, it was his claim after that "The shard of titan in me, it's good. If things go the way I think they're going to go... I think nature is ready to right itself one way or another. [...] I think the world is ready for a bit more chaos. I think that we could be good for this place and I think we will more than survive the gods, if it comes to it ."

First, claiming that nature as titan has any moral standing at all is a bold move, because then ashton is ascribing the exact same power structure he thinks is inherently horrible with the gods to the titans. the titans are morally neutral if taken to be part of nature, the shard is just power, ashton's assumption that there is something about the titans that makes their responses and role in the world more right, natural, or most of all good is literally just. textbook essentialism.

but second. one of the first pieces of communication in that exchange was a correction of ashton's thinking (one similar to the correction the matron was trying to draw out as she kept bringing up the agency of mortals and their power). when ashton says "i'm a part of you." they're corrected and told that actually she's a part of ashton. in the literal sense this is obvious that the shard is inside ashton, but it also speaks to the pattern of bh looking everywhere but inward for an answer to what they should do, which is rather comedic given the degree to which ashton is willing to reinterpret anything said to them to get a specific answer but not actually uphold their own agency when it comes to 'nature righting itself.'

particularly i find revealing the "we will more than survive the gods" part. even taken as generously as possible and assuming ashton is just exercising his lack of judgement and does mean all mortals in his use of the "we" pronoun there, he has completely overlooked what was explicitly said about how, if the world is remade, only the strong are likely to survive. paired with the notion that the world needs a bit more chaos after spending weeks with several people whose lives have been irreparably damaged by the chaos that the other person in exandria who is appealing to a greater power to free him from the responsibility of dealing with his trauma at any cost... even my best faith still comes out of that looking at ashton (as someone who literally earlier in the same episode pushed back against his party members being optimistic because it wasn't realistic) as someone acting with naive optimism for blatantly selfish reasons. also just, general icky feelings about ashton referring to nature righting itself, the world getting more chaos, if things go the way he thinks they're going to go in vague, hand-wavy fashion when he should well know, punk icon that he is, all the violence those notions include.

[crybaby-bkg]

cw: sex workers reader and toji, wrestling, he puts you in a headlock, ass slapping

as a sex worker under an agency, you sometimes get the opportunity to perform certain tropes that you wouldn't think too much about doing on your own. there have been quite a few that your manager has thrown your way; medical play, light BDSM scenes, and now, mixed wrestling. you've done your fair share of oiled up fighting with other women in your career, but you've never wrestled a man before.

its all staged, much like real wrestling except—except you're not too sure why or how you were paired up with infamous actor Toji Fushigurou. technically speaking, you two aren't anywhere near the same weight class, but you're not sure if technicalities even count for a job like this.

there are a few rules: no actual striking of each other, take the others underwear off during the fight, no biting. as the ref lists off all the other little things you two need to remember, you both take each other in. Toji is, for lack of better words, fucking huge. he's got at least six inches on you, packed with muscle and a nonchalant kind of finesse that makes you just the slightest bit nervous under his stare. he stands only in a tight pair of black boxer briefs, and you can make out the outline of his soft cock, despite the fact that it still rests low on his thigh.

he grins at you when he notices your ogling, winking once when you frown at him. he's been in the industry for so long, he's more than used to being objectified, but something about your little defiance that shines in your eyes makes him want to tear into you, piece by piece.

"Go!" the ref announces once she's finished listing her instructions. Toji doesn't immediately attack you, instead grins at you, hands on his waist as he cocks an inquisitive eyebrow in your direction. with a, albeit weak, battle cry, do you lunge at him—

and quickly find yourself pinned. you don't know how he does it so quickly, maneuver you as if you only weighed a pound, but he does it. catches you in his arms and swings you around until your back meets the floor with a grunt, the wind suddenly knocked out of you. he's gentle though, where he pins you with his knees on either side of you.

"At least try to put up a fight," he teases you, pulling at the straps of your bikini. but you fight him off as much as you can, grunting and cursing at him, taking this entirely too seriously for what will ultimately end with you being fucked into oblivion by the man. doesn't mean you have to go out without a fight, though.

although, your fight doesn't mean much to Toji. by the third and final round, you're fully naked and he's still got his underwear on. your ass is slapped raw by how many times his too big hands have groped you, nipples pinched to sensitivity. you're not surprised when the ref announces your lost, tells Toji to claim his prize.

and he does just that. pins you on the floor, finally releasing the thickness of his cock. he's cocky the entire time, teasing, with how he pins you on your stomach, holding you in a headlock as he fucks his cock too deep inside of you to put up much of a fight anymore.

"Did you even try?" he asks, breathy, a smirk plastered on his face as he looms over your shoulder. "Or did you want to end up like this? With my dick in your stomach? The fight worked you up that much, huh?"

he taps your clit with too thick, mean fingers with his other hand, tightening his bicep around your throat when you try to get smart with him. he knows its all bark and no bite, if judging by the way your cunt sucks him in is anything to go by. you can only gurgle out a curse to him, eyes rolling back in your head when his wicked laugh only pushes you over the edge to climax.

(after the scene ends, he kisses your temples and squeezes your waist, telling you that you guys should do more scenes together. you only stick out your tongue at him, promising to get stronger so you can take him down next time. he laughs at you, more than happy to entertain your thoughts that will, truthfully, never come true.)

[adragonsfriend]

Congratulations, It's a Boy!

Anakin: i think our kid is gonna be a girl

Padmé: I think our kid is gonna be a boy

Fandom: aww they were both right lmao

Me: actually Padmé was right, because while she gave birth to twins, neither of them were raised by Anakin and Padme, and when Luke and Leia learned about their bio-parents, only Luke ever called himself their kid.

Leia is an adult with agency and values who does not consider Anakin anything other than a genetic donor, and would actually hate for the person who tortured her and helped kill her parent and destroy her planet to be considered her father.

Genuinely the lack of respect for the concept of her adoptive parents being her actual parents, and the insistence that she gets all her traits from Anakin and Padme is incredibly weird. (Not aimed at AUs where Anakin is not a deadbeat fascist, write on). With Luke, Beru and Owen are so often erased from his story as though he was just always casting about for family—like he didn’t already have one—it’s insane. Like yeah he called them his uncle and aunt, but they were the people who raised him. Emotionally and logistically the roles they filled were those of parents.

This is for the other Double Agent Vader fans, but genuinely one of my favourite things about those stories is that they take the Organas seriously as Leia’s parents while allowing Anakin to also be important to her. They also take seriously that Luke lost Beru and Owen and was, yk, also still grieving at the end of A New Hope

Anyway I’m tired of hearing about how Leia’s righteous anger or her bravery and sense of humor are totally from Anakin and her involvement in politics is all Padme, when she has two caring, brave, intelligent, funny parents who were involved in both politics and the rebellion.

Tldr; Anakin and Padmé have one kid, his name is Luke, and the reason he’s their kid is because he, as an adult with agency and values, decided he was their kid.

[a-town-called-hometown]

yippee! apologies if my takes are horrendously bad

my personal take on the matter is that i definitely think the dark worlds can work as a metaphor for escapism without undermining the darkners' personhood. it can be more than one thing, yknow? the darkners are important, their lives matter. and the lightners do go to the dark world as an escape from the problems they face in their own life. but that's not the darkners' whole PURPOSE, yknow? i mean. according to the laws of the universe of deltarune yes darkners' "purpose" is to serve the lightners but like it's not their whole purpose in the STORY.

it's sort of like how, in UNDERTALE, LOVE represents how distant you've become, how easy it is for you to hurt people. but it also literally gives you the power to destroy the world.

i think the biggest reason i believe escapism is at least a part of deltarune's narrative is queen.

queen's whole speech in both of her fights is about how she intends to provide escapism for the lightners (so that they will worship her but also so that they will he happy). she wants to turn the whole world into a dark world, so that everyone can live in bliss and not have to worry about the woes of the light world. she mentions "Staring, Tapping, To Receive Joy. Staring, Tapping, To Avoid Pain." which is like pretty much the definition of escapism

she wants to help Noelle with the problems she faces in the light world ("Noelle. Who Will Be There To Help Her? Her Strange And Sad Searches" and "My One Idea To Help Noelle, Failed") by just... shoving it away for a blissful fantasy world ("Wake? No, She Has Already Awakened Too Much. Let Her Close Her Eyes And Sleep Away, Into A Darker, Darker Dream.")

...i forgot the rest of what i wanted to say!

well first off, thank you for your ask! I'm going to get extremely in depth in my answer, so bear with me here. sorry it took several weeks to write this. the escapism reading of deltarune is pretty deeply entrenched in fandom, and to refute it, I felt it required a full-length essay to completely explain my viewpoint.

yes, "the lightners desire escapism" does not automatically translate to that being the darkners' actual narrative purpose. escapism can be a theme without dehumanizing those who are used in order to escape - in fact, I've read a number of stories that use someone's desire to escape to HIGHLIGHT how they're hurting others in pursuit of that. I believe that toby fox is definitely capable of telling a story about kids having a valid desire to escape, and about them grappling with having inadvertently created a world of real, living people as a result.

(I'll reiterate again that this is not the story arc that generally shows up in fanon. the common consensus is that the game will end in an omori-esque "growing out of" the dark worlds. it's why I have a huge dislike of the fanon escapism reading, given that the darkners are shown as people whose lack of agency parallels kris' own. it would feel cheap if the resolution to that plot was that the darkners were actually never meant to be agents in their own fates. but this is a digression.)

the reason why i DON'T believe that this is a story that toby fox is telling is because of the way the world, themes, and characters are written. put simply, it just doesn't come across as congruent with the story being told.

deltarune's main themes are agency, fate, identity, and control. this is a conflict that shows up in nearly every major character, is baked into the worldbuilding, and is the central struggle involving us, the player. the protagonist of deltarune is literally possessed by us against their will. the darkners are objects that have no choice but to serve and be discarded. over and over again, there is emphasis on roles that characters play - and crucially, roles that are imposed on them.

what would escapism mean, in this thematic context? in real life, escapism can represent any number of things, but in a story, a major narrative theme generally has to dovetail with other major narrative themes in the work. I would argue that escapism in deltarune would likely mean going to a place where characters are able to choose for themselves what roles they embody, or even to discard the notion of roles altogether. a fantasy of control is the only way to escape a reality where you have no agency. and honestly, it's hard to imagine that something could count as an escapist fantasy if you don't even get to choose whether or not you participate in it.

let's talk about kris.

I see a lot of discussions around kris that say that kris goes into the dark worlds to escape. the dark worlds are posited as kris' fantasy of heroism. it's a world where they can seem heroic and cool, a world where they can have friends. this theory makes a decent amount of sense on the surface level, but only until you consider that kris is being controlled in order to go into the dark worlds. and it is not a control that they appear to welcome.

if those worlds represent kris' fantasy, then why don't they get to choose what happens in those fantasies? why are they being controlled by an external force, one that they actively push back against? if it's really an escape, then why does everything about this world reflect their lack of agency? if they really think this world is just a pure fantasy, then why do they care if spamton falls when his strings are cut?

because they're being deliberately obscured to the player, it is hard to say how kris actually feels about many subjects... but I do seriously doubt that they view the dark worlds as an escape. they don't act in a way that is consistent with that. they resist their lack of agency, and what little we do see of their reactions to darkner characters doesn't suggest that they view those characters as part of a disposable fantasy, either. they seem to have complicated feelings on ralsei. and of course, one of their biggest emotional reactions in the game is to the spamton fight. I would argue that that suggests they have empathy for spamton, which is a hard emotional reaction to have if you believe he's just part of a fantasy. not impossible, mind you, but it seems unlikely that kris believes that all this is simply fantasy.

also, considering that snowgrave both actively discredits the idea that the dark worlds are mere fantasy and is actively traumatic for kris... I seriously doubt they'd open another dark world in chapter 3 on a snowgrave run if their motive was purely to escape. on that route, they've seen the damage we can cause in a dark world. they know that berdly has sustained lasting damage due to our actions, assuming he's not outright dead. why would they want to try and "escape" to a place like that again now that they know what can happen?

the only answer is that they have a motive that isn't escapist.

now, as for ralsei... what part does he have to play in all this?

ralsei does play a lot to the fun, fantastical elements of the dark worlds. he delivers the prophecy that kickstarts the adventure. he flatters both kris and susie endlessly when they act appropriately heroic. he welcomes them into the castle and even makes nice rooms for them. he initially seems tailor-made to enable a fantastical experience where no real issues can ever complicate anything, and where the pain of reality can successfully be hidden from. but there's a lot of complications to the idea that he might represent an escapist fantasy.

the first, and what honestly seems the most important to me, is that he doesn't encourage kris and susie to remain in the dark worlds. he is welcoming and kind, but once the adventure is over, he prompts them to return to the light world. he wants them to deal with their more "real" problems like homework. that doesn't feel like he is trying to facilitate escapism in them. a real fantasy would encourage you to stay in it, wouldn't it?

and while ralsei is definitely invested in making sure the lightners are happy, there are always cracks that show. he isn't able to make kris ignore what happened in the spamton fight. he isn't able to convince susie to be peaceful and kind. and in his very essence, he represents a number of uncomfortable ideas. very importantly, he represents a number of uncomfortable ideas to kris.

this probably ain't your first fandom rodeo, so I'm not going to explain all the different ways that ralsei interacts with kris' personal issues. there's plenty of posts on it out there. what i will point out is, once again, it feels odd that a character who seems tailor made to bring up kris' most uncomfortable associations with their lack of agency and their outsider status in their own family would be part of a fantasy of escapism to them. you'd think that they'd prefer something that didn't have an inbuilt hierarchy, a prophecy that denied them autonomy, or especially a person that reminded them how little they fit into hometown.

that doesn't mean kris doesn't care about him at all - it seems very likely that they do. what I mean to say here is that he just seems ill-suited to an escapism reading, both behaviorally and on a conceptual level. it doesn't seem like that's at all part of his servitude towards the lightners.

of course, there is another non-lightner entity that ralsei seems diegetically engineered to serve. but I'll discuss that later.

now as for susie...

yes, susie definitely views the dark worlds as more fun than the light world. and why wouldn't she? the light world sucks for her, and she doesn't seem very aware of the fact that the dark world can also suck. you could definitely make the argument that she views the dark worlds as a fantastical escape from reality... were it not for the fact that she treats her darkner friends with just as much importance as she does kris and noelle.

can someone treat components of an escapist fantasy as real and important? of course. but given deltarune's themes of agency and control, as well as the fact that darkners exist in servitude to the lightners, I feel like you'd have to make escapism tie into forcing others into a lack of agency if you wanted the theme to feel coherent with the rest of the work. this would require susie to be limiting the agency of the darkners around her. and obviously, she doesn't do that. her presence around them might be inherently limiting, just by simple virtue of being a lightner, but she isn't aware of it, and clearly is uncomfortable with the idea of limiting anyone's agency. she encourages ralsei to make choices. and she supports lancer in basically anything he wants to do. her treatment of lancer is integral to chapter 1's narrative, and it seems like that treatment of ralsei is integral to the ongoing narrative as well!

her preference for the dark world feels very rooted in her engagement with it as its own reality. rather than trying to avoid her real-life problems by engaging in a pretense, she seems to simply want to spend time with her friends in a place that isn't cruel to her. she isn't ignoring any of the dark world's problems in service of that, either. she notices when things don't line up. if she thought of it as a fantasy, wouldn't she be inclined to ignore issues that impede the fantasy?

and critically - like kris, she does not intentionally choose her imposed role in the prophecy at first. she steps into the role of bad guy to resist it, but that role is limiting too, and she eventually acquiesces to being a hero. it's never something she's completely on board with, though. she actively pushes back the limitations that the role places on her. I find this important to reiterate when we are discussing the notion of the characters viewing the dark worlds as fantasy.

noelle has a complicated relationship to the dark worlds. susie tells her that it's a dream to make her accept the strange reality she finds herself in, which works well on her. she continues to think of it as a strange dream throughout the chapter. (though, like the others, it is not a 'dream' she entered of her own volition!)

it is also a markedly unpleasant 'dream' at times. she has her agency restricted, is kidnapped, has to evade a controlling monarch, and is even tied up in a weird evangelion cross thing on the hand of a giant robot. it's not purely fun. noelle does like scary things, and while it might be healthy for her to have an experience where she stands up to a controlling adult figure... again, the circumstances make it difficult for me to assume that this is a fantasy she would choose for herself. not impossible, mind you, but it's not the first reading of the situation that comes to mind.

and while she does say she wishes she could dream like this every day in the normal route, that does happen specifically because she was talking to the girl she likes. it makes sense she'd find that pleasant. I don't think that necessarily equates to her finding the dark worlds escapist.

and importantly, this isn't the sentiment that she expresses in every route.

again, there's a lot of analysis on snowgrave, so I won't bother regurgitating it much here. but it's nightmarish for both kris and noelle, and very likely fatal for berdly. noelle needs to believe that the event is a dream, for her own psychological safety, but one of the most important parts of snowgrave...

...is that its events, and the world it took place in, are very, very real.

noelle wants to have the strength to face her problems, both in the regular route and in the snowgrave route. rather than escaping from them, she views the "dream" as a chance to practice dealing with her day-to-day issues. it's just that in the regular route she finds that strength authentically, and in the snowgrave route, that desire is manipulated and pushed until she is forced to kill berdly. she doesn't interpret snowgrave as an escape gone wrong. she views it as a dream that became a nightmare. and those are two extremely different things.

but i haven't even gotten to the biggest thing that undermines the concept that the dark worlds are a metaphor for escapism! which is: this fucking guy is dead wrong about everything.

so full disclaimer - I really love berdly. I think he's slept on a lot in the fandom because he's annoying and weird. which is fair, I suppose, but I think ignoring him hinders a lot of people's understanding of deltarune's overall narrative. because berdly often illustrates a lot of concepts in the game, but his narrative framing as a joke (usually...) prevents the player from taking it completely seriously. he has things to say and ideas to show off, it's just that he's often very loud and kind of dumb in his expression of them. which is kind of the point!

ralsei brings up the idea that the darkners are meant to serve the lightners very seriously in chapter one. by extension, and by way of the literal mechanics involved in a dark world's creation, we can infer that this logic is probably something that also applies to the dark worlds themselves. they are allegedly worlds and characters that only are supposed to fulfill a dream of the lightners. but due to narrative framing and deltarune's themes, we know that that's not the full truth. however dark worlds and darkners are created, they deserve to have their own agency. they can't just exist to fulfill a higher being's wishes.

you know who else undermines that view of the dark worlds? berdly! berdly does!!!!

because berdly is the only lightner in the game so far who does take the dark worlds to be an escapist adventure! he wants to turn cyber world into smartopia. he views this as a chance to be a cool hero. he believes he's going to get the girl, he's going to shape this world to his own liking, and maybe also he's going to get queen to acknowledge him or something so he stops being a forgettable little bluebird. and not only does none of this happen, his steadfast belief that it will happen is continually a joke within the narrative!!

berdly's wishes for uncomplicated escapist fantasy are flat-out denied by the dark worlds themselves. as a lightner, those worlds should be serving him. he should have the power to do whatever he wants within the bounds of an escapist fantasy. these npcs should be singing his praises!

but he doesn't have the power. and this world doesn't sing his praise. because it just isn't an escapist fantasy. he isn't right to view it that way. his wishes for heroism are always going to be thwarted.

so now that I've gotten all that out of the way, let's swing back over to the subject of your original ask. queen.

because, like berdly, queen's entire character arc is about how she's completely wrong about what the lightners actually want.

queen would in fact like nothing more to place the lightners into an escapist fantasy. she believes that that's the best way to serve them and make them happy forever. as a darkner, queen has very much internalized the idea that a lack of control is what actually makes people happy. since darkners have no choice in their destinies and are supposed to be happy in it, and since she personally finds her role as a darkner fulfilling, she believes that that's true of all people everywhere. if you want to make people happy, you just have to remove that pesky personal agency!

so she spends the story trying to force the lightners and particularly noelle into situations where she controls them in order to make them ostensibly happier. she does genuinely believe that this is the right thing to do, but as she finds out eventually, she's just wrong. noelle doesn't want that. queen believes that escapism is why the lightners use the internet... but that's totally wrong too.

while there are other searches mixed in, noelle is trying to use the internet to find her sister. instead of trying to hide from whatever happened, noelle wants to figure it out. queen's thesis about noelle and the lightners is proven wrong even before she personally encounters noelle in the dark world. it's just that queen doesn't realize it due to her limited perspective.

the concept of escapism being brought up with both queen and berdly is not there to say that the dark world is escapist. rather, it's there to say that it isn't. despite the dark worlds being a fantastical place, they are extremely real. to view them as a means of escape is foolhardy at best. you cannot act as though you are above consequences within them.

themes and ideas exist within the story for a sake of an audience. so let's get into the final character I need to discuss here. hopefully this will tie my thesis of deltarune together neatly.

that character is of course us. the player.

when creating a piece of fiction, an astute author will often identify and anticipate an audience's reactions to certain things in their work, and write things in such a way that they elicit the desired reactions. in essence, a writer is directing the "character" of the audience. how we feel and how we are anticipated to react to things is an integral part of nearly every fiction.

that effect is far more overt when dealing with metanarrative fiction that diegetically involves the audience. since the fiction is saying a lot of things about the general 'you,' the audience in aggregate, your reactions to certain things in the story have to be finely cued and anticipated by the author, so that the author can thus commentate on the reactions that you have to the story. the "character" you are assumed to inhabit is posited by the author to have certain traits.

to explain what I mean in plainer terms, I'll use the player of undertale's no mercy route as an example. because undertale is commenting on the way rpgs generally work. the player's behaviors in no mercy are attributed by characters in the story to be the result of us acting like a typical gamer. we kill the characters in the game because we want exp. and more than that, it's because we want to see everything the game has to offer. the role we inhabit in this role-playing game is that of a completionist. you could say that that's assumed to be our "character" in no mercy.

deltarune also posits that certain things are true of its audience. by being written to evoke certain cultural ideas, rpg tropes, and references to undertale, it guarantees that its audience will probably have certain traits, and spends a large amount of its conceptual focus commenting on those traits. one of those traits is nostalgia, which is probably an idea that I'll expound upon in a further essay because it's quite integral to my reading of deltarune. but the main one I mean to discuss here, and why I went off on this tangent about how audiences are dealt with in metafiction, is that we are posited as someone who believes in the logic of certain narratives.

deltarune's writing evokes a lot of portal fantasy narratives. alice in wonderland, narnia, pretty much every story where it's revealed at the end to be all a dream... the story of deltarune superficially resembles a lot of those. this, I think, is responsible for the popularity of the escapism theory. because those stories are often at their end about a child learning to put away fantasy and grow up, people tend to believe that deltarune must be about the same thing. but I truly don't think that deltarune is trying to do anything with that aspect of portal fantasy narratives, at least not directly. its main characters aren't involved in that exact type of coming-of-age arc.

instead, deltarune is very concerned with what happens to characters in fantasy, and specifically fantasy rpgs. if your world is deemed to not matter because it's a dream, what does that mean for you, who has no choice but to live in it? if you are an npc whose role has been predetermined for you via script, then can you ever decide for yourself what you want? what if you want to matter? what if you want to be your own person?

as the major controlling force of deltarune, we are initially cued to believe that deltarune is like a dream. it superficially fulfills so much of what we want from undertale fanon. hometown seems like it's a perfect idyllic town, at least until you start noticing the obvious cracks. and remember what I said about ralsei earlier? he is so reminiscent of asriel, and extremely eager to help us. it's not a stretch to say that making us specifically view deltarune as dreamlike and idyllic is probably part of his purpose in the game.

I would not say that we are posited as escapist. but the idea of escapism as brought up with queen and berdly is meant to strike at the heart of a much deeper idea that deltarune is trying to deconstruct. because if we view deltarune as a dream, escapist or otherwise, then we are inclined to write the internal realities of the characters inside off. the dark world can disappear without it mattering. we can control kris without it mattering. if it's all a dream, what does it matter? why should we care to let its characters go free? aren't we supposed to be in control?

if deltarune is an rpg... what is the significance of us interacting with it?

[bloodraven55]

as someone who’s struggled with the exact same flaw i really like how falin’s tendency to be too people pleasing and in most cases conflict/harm avoidant even to a detrimental extent is actually treated as something unhealthy for both her and others that she needs to work through

tho i also appreciate there being exceptions e.g. her not caring about hurting others to save laios or marcille/considering accepting toshiro’s proposal despite not being in love with him bc it makes her more realistic and well-rounded than a lot of characters in that archetype

and honestly i don’t get the take that falin’s a flat or uninteresting character when there’s a lot to be said on how her presence and agency being removed by death or chimerafication reflects the lack of a true sense of self which her happy ending is finally getting to discover

like maybe i’m just projecting with that angle but regardless for me it’s just like…….. yes she serves as a plot device however so do many or even most characters in stories to some extent and it isn’t inherently a bad thing nor does it automatically make them one-dimensional

[leavemebetosleep]

Alright here's a short version of how I'd fix Bride of Discord. As a sort of mental editing exercise.

While not really a good fic for a lot of reasons, Bride of Discord actually has a lot of potential as a story. There's a lot of great imagery, and it has a lot of fic tropes I like and are fun to read. I actually would probably change less than some people would. (If your "rewrite" doesn't keep any of the original anything, it's not actually a rewrite babes)

It's just that a lot of stuff in it is maybe played from the wrong angle.

Also there's no saving the Applejack/Spike thing. That's just gross. I think you could keep a similar subplot, just change it so AJ's crushing on someone else. I like AppleDash, but RariJack would probably work the best here. Maybe in this version she's afraid to confess bc she thinks Rarity is straight since she's so femme.

As for the main couple, I think you could actually make the demanding a wife thing work, just have it play out differently.

Like, Discord is old. He spent a lot of time as a statue, and might not be up to date on modern society. Maybe instead of it being a VERY creepy request that screams "sex slavery" make his request explicitly a somewhat less creepy political marriage.

That was common back in his day, and he IS trying to make a peace treaty with Twilight. Being married to one of her people is a show of good faith, that she won't go back on her word, and he won't go back on his, as well as metaphorically uniting their kingdoms.

He doesn't care who it is, because he's not intending to fall in love with them. At best they're gonna be an extended house guest.

They can even point out that's dated and weird, but he can also counter he doesn't know how else to get a proper show of trust. He doesn't trust them with his own safety, but he does trust they won't go after one of their own.

That could also play into why he's so insistent they get married already. Fluttershy trying to avoid the marriage once she's in his kingdom makes it feel like he's being set up, and like the treaty is tenuous. Or maybe he's even suspicious that she's avoiding because the ponies don't plan to stick to their deal.

That could even factor int the climax, but I'll get there.*

Discord can be lonely, and he can still also be a little desperate for companionship, but I don't think that should be his reason for the marriage. Otherwise he could've just asked for a companion, not a wife. Plus, I feel like per-reformation Discord would be in denial about being lonely. I think he'd only start to realize how much he's been missing out on until AFTER he's gotten to know Flutters.

*So in the climax, Fluttershy declares she doesn't love him bc her friends are badgering her, and he gets creepy possessive and tries to hypnotize her and there's a fight and what-not.

Yeah, instead of that what if it's his paranoia that she's avoiding getting married because they plan to betray him coming to a head?

He hears Fluttershy say something to her friends that out of context sounds like they're going to blast him back into stone after all. So he's think she's a traitor who played him for a fool.

I'd nix the hypnotism, just have him and the six fight it out, and then he kicks everyone out before Fluttershy can explain because he's heartbroken and doesn't want anyone to see.

Lot of minor fixes I'd throw in too, cutting out plot threads that go nowhere. Less heteronormativity. Fixing a LOT of OOC-ness. A LOT.

Oh and I'd change Discord's backstory too. The Megamind rip off thing is meh, and I think Discord's a character you could do a lot more interesting things with that that.

As for Fluttershy, a huge problem I have with this fic is she lacks real agency. I want her to choose to go with Discord, not out of the weird sense of feeling she has to sacrifice herself. (It comes off, for lack of a better word, suicidal.)

Maybe instead, she chooses to go because despite her shyness, she's bold when it matters. She will stand up to him. She's not going to be afraid of him anymore. She's gonna tame him like every other wild animal she's had to deal with, and save her home in the process. She's going to come back. He can't keep her there if she really decided to leave.

Have her be the Fluttershy who tried and failed to use her stare on him.

Also, in the original I never at any point felt like she fell in love with him. Just that she gave up resisting his advances. She's always wary and hesitant to do anything with him. That's fine for the beginning of their relationship, but for this to be a good love story that has to change at some point.

Where's the moment she realizes she finds him a little attractive actually? He's weird looking, but he's so confident and funny and fun and that's really appealing. Where's the part where she's having fun and forgets she's a prisoner? Where's the real bonding? Setting boundaries?

Maybe she convinced Discord to let her friends visit, not because she's marrying him already, but because she convinces him to try to make other friends. And he does it, because he loves her already at this point. And she thinks if he and her friends could get along, they could work thing out. Maybe she was hoping things would go well so she could tell him she wanted to marry him after all.

Maybe she really did want her friends at her wedding, but also to be able to have her parents, her brother.

This last bit has nothing to do with the author's writing. This fic was originally written before the show ended, and we got a lot of lore afterwards she couldn't have known about. That's not her fault she couldn't see the future. But just for my sanity, I'd add in more cannon lore.

And uh. I guess that's all got with what I remember of it. Yeah.

[mitigatedchaos]

The right have developed a counter to "just sit there and let the crazy people on the subway scream at you and don't look them in the eye, like a tough guy": they call it "prey behavior."

Recently, it was reported that a homeless woman was set on fire on the New York subway by an illegal immigrant with prior arrests. She burned to death, right there in the subway car.

In theory, left-wing policy is supposed to be about protecting the weak and marginalized. In practice, insisting on the belief that crime is "random, " and refusing to imprison or isolate violent criminals, is not actually safe for the weak and marginalized. A healthy, strong, young, non-homeless, and awake cis white male could probably have fought off or at least threatened the attacker.

This is the empty space at work.

In the interest group layer, each interest group or NGO pursues its own favored policy. In the top layer, there is no agentic leadership to tell them "no" and harmonize left-wing policy. The system does things that a human would not do, because there is no human pilot.

Left-wing tribal moralists see that the system affiliated with their tribe is causing this outcome, and go, "Welp, guess we're defending this now."

Because they're responding to a perceived moral command which is actually from a nothing, from an absence of leadership, they will bend themselves out of shape.

"Uh, Daniel Penny would have just walked by. Uh, if she were awake he would have killed her."

Before understanding that this is tribal moralism, and reflects a lack of personal development, it is rage-inducing. After understanding that it is tribal moralism at work, it is still difficult not to radiate an overwhelming aura of contempt. It is only after seeing such tribal moralism as a lack of development, as a result of the empty space, that approaches other than pursuing leverage to punish social/tribal moralists into giving up such positions start to feel more obvious.

Tribal moralism has a functional purpose. Unlike a solely self-focused morality, it allows a larger scale of cooperation. However, when there is not a human being in charge, social/tribal moralism not only doesn't adequately adapt ideology to the underlying reality, it also lacks a means to negotiate a binding agreement, which reduces its ability to de-escalate and achieve lasting peace.

Some would say that focusing on agency is a right-wing approach. It makes sense for a right-winger to say that. The right-wing position is that left-wingism is entropic.