#some people (not the majority of common citizens though. see character story) think he's getting out of things

[willow-jade]

Gonna be honest, it annoys me (in a casual, not-actually-annoyed, 'he does not say that' way) a tad bit when people write Kaeya INSISTING and verbally trying to convince people that he totally slacks off all the time; every time I can remember, when Paimon accuses him of doing as much, he gives a reassurance about how he's gotten all his work done, is doing something for Jean, is actually on business, wouldn't be here if he wasn't on top of work, delegated to xyz, etc.

He doesn't respond to those allegations by confirming them - at least not to someone who he wants to think highly of him. Maybe it's different when he's trying to bait criminals (we wouldn't know), but to the Traveler, to his coworkers, and very likely foreigners he'd be meeting professionally + common citizens, he denies it. Not aggressively or insistently, but he also doesn't... declare that he neglects his job??

If he ever has in front of us, it was an outlier. The closest I can think of, though, is the voiceline where he calls it comparatively unfun.

[a-master-procrastinator]

Long ass post about the Eternal family not being a copy-paste from ATLA (aka I like the memes but my god can you please stop)

Because some people truly think that Vaylin is off-brand Azula, Arcann is Zuko and so on.

It's. Called. A. Trope. (I mean how often do we come across abusive manipulative fathers in media? Mothers who couldn't much to change anything? Children, desperately looking for their parent's approval no matter what?)

Of course, you have to consider the fact that the writing of ATLA is simply better than of KotFE/ET, so this might have been one of the reasons why people say that.

Spoilers for Avatar: The Last Airbender, Knights of the Fallen Empire and Knights of the Eternal Throne expansions!

Okay, so here's my unprofessional, maybe biased, not super deep take.

(not going to mention that all of them are members of royal, ruling family, kinda obvious)

What roles do they play in their stories? Well, both Valkorion and Ozai are main antagonists, but their presence throughout the story is very different. Ozai is rarely shown in first two seasons, we don't even see his face until season 3. He doesn't have a direct connection to the protagonist, they only meet at the very end of the show, and Ozai's role is to pose a threat to the world, while Aang's is to save it. Valkorion, on the other hand, is constantly on the screen, interacting with the main character, challenging their viewpoint and influencing them directly. His end goal is similar to Ozai's (destroy everything and be the only ruler of the his nation), but with one major difference - he's trapped in Outlander's mind, so to achieve his goal Valkorion attempts to take control of the main character. Their interactions play important role in the story, and we spend a lot of time with Valkorion.

In addition to that, their relationship with children are also not exactly the same. It seems like Azula is Ozai's favorite and Zuko is a failure in his eyes until he meets his expectations, and the same goes with Vaylin, Arcann and Valkorion, right? Well, partially. Indeed, Valkorion and Ozai's treat their sons in similar ways (are disappointed in them until they meet their expectation by doing something that goes against their morals), but when it comes to Vaylin and Azula, it's not that easy. See, Valkorion claims that Vaylin was always his favorite creation (even though we know it's actually his empire), and he certainly seems to take pride in her potential in the Force. But her power is the very reason he's afraid of his own daughter, and in this fear Valkorion literally locks Vaylin away and allows to put her through physical and mental torture just to make sure she won't become a threat, won't overpower him. Maybe he thought of her better than of Arcann, but she wasn't his favored child for sure. I don't want to say that Azula hasn't experienced abuse from Ozai, but for the most part he clearly favored her over Zuko. He has never shown fear of Azula's power and abilities (or at least I haven't noticed), quite the opposite - allowed her to do a lot, as long as she brings results.

I could also mention their slightly different characterization (mostly that we get more characterization of Valkorion, get to learn his motivations, views, philosophy and all that, also he's portrayed as more nuanced, even if he not really is) and role in their respective governments (ozai is one of many Fire Lords and arguably not the greatest, while Valkorion is a god to citizens of Zakuul, their only Immortal Emperor), but those are details, and I think you get the point.

What's similar: role of the main antagonist, manipulative and abusive father, goal of destruction of everything that isn't their nation/empire, relationship with disgraced son.

What's different: presence in the overall narrative, relationship with the main character, relationship with daughter, role in their societies.

Senya and Ursa are even less similar. Yes, they both are mothers who love their children, but have to leave them, but these are probably the only things they have in common. Just as with Ozai and Valkorion's presence throughout the story, Ursa is only shown in flashbacks (for obvious reasons), and Senya is one of major characters in KotFE and (a bit less major) in KotET. Ursa leaves because she has to kill Azulon in order to save Zuko, and later isn't present in the story (I'm aware that her fate is told in comics, but we aren't talking about it). Senya leaves because when she tries to take children with her, they refuse, and she understands that she can't force them to, nor she can help them to break free from Valkorion's manipulations. For a long time she's absent from Arcann ad Vaylin's lives, but at the time of game events she attempts to save her children and stop the madness and destruction they've caused, and it isn't a small part of the story.

I also want to add that their relationship with Ozai and Valkorion are also different, but can't say much about Ursa. I heard that she didn't choose this marriage and suffered emotional (and maybe physical???) abuse from Ozai. I can say with confidence, though, that Senya genuinely loved Valkorion, and strangely enough, he seems to at very least respect her. But, of course, this wasn't the best marriage either.

Plus, we see more of Senya's relationship with Vaylin than Arcann or Thexan, but with Ursa we see her more with Zuko than Azula. Just a detail to remember.

(also Senya is simply a better character but that besides the point, moving on. in this house we stand Senya)

What's similar: role of loving and caring mother, abandoning their family at some point.

What's different: presence in the overall narrative, relationship with husband, characterization in general.

Boy, where do I even begin. Vaylin and Azula are similar in that they are both extremely powerful (one is firebending prodigy, the other is potentially stronger than Valkorion), both are cruel "craaaaazy" (i hate that cliché), both are younger sisters, have serious mother issues (seemingly more so than father issues), both go through betrayal of people they could always rely on, which eventually leads to their downfall. But when I took a look at their personal arcs, it became clear that they aren't the same (unfortunately, Vaylin's arc is very rushed and underdeveloped, but we'll have to go with what we have and my personal view, sorry).

There's a really good video about writing corruption and madness, and I'm going to base my thoughts on it. To summarise it: a good corruption arc should have 4 components:

- the character has a specific goal (or a goal and subgoals);

- in pursuit of said goal they become the cause of a significant event that brings serious consequences;

- as the result of these consequences, character abandons their morals, ideals or a code in pursuit of goal;

- character either will not achieve their goal or will succeed, but it won't be enough to satisfy them.

And then the author brings Azula's arc as one of the best examples of compelling story of corruption (so basically, she represents it perfectly). In short, Azula's main goals are perfection and control, and subgoals help achieve the main ones. In pursuit of these goals, Azula causes Mai and Ty Lee to betray her (by pushing them too far to do something they wouldn't do), which then causes her to become paranoid, which makes her to attempt controlling everything and everyone around her, *breathes* which makes her lose control over herself and ....

Now, I thought if Vaylin's arc could fit into a corruption one, and next part will be based a lot on my assumptions and personal view of her character (plus rushed writing doesn't help), but I think yes (or at least mostly). The difference is in goals, ideals and details.

While the story strongly makes us think that Vaylin's goal is freedom (or control over her life and everything around her) or power and destruction, I think it's actually self-determination (which was said by Tenebrae in 6.2) and feeling safe. Let me explain (and here I thought this would be a short comparison). Sure, when Valkorion caged Vaylin on Nathema, he took choices and control over her life from his daughter. But let's not forget whom Vaylin blames for this (even more than Valkorion): her own mother, and I think this details tell us that the most important thing that Vaylin lost on Nathema is feeling safe. Then, after Arcann brought her home, I assume Vaylin still didn't feel safe enough under Valkorion's rule, still too afraid that he'd simply send her back to that hellish place.

It's when Valkorion is struck down Vaylin finally has a feeling of personal safety, even if she isn't the one on the throne. Why? Because back on Nathema there were two people who haven't turned on her - Arcann and Thexan (yes, this is also a huge assumption, bc the game states that only Thexan visited her, but it doesn't make much sense).

I've always noticed (and I'm not alone in this) that her behavior in Fallen Empire is different from the way she acted in Eternal Throne. Most likely bc of rushed writing, but I see a character driven reason here. In first of these expansions, Vaylin is the second person in power on Zakuul, and with Arcann being in charge, person she can trust more than any other living being, she feels safe - she can test her power, and now Valkorion won't prevent it, she can do pretty much everything she wishes, and the most Arcann will do about this is mildly complain (without blaming her). Really would be nice if we got to see any normal hobbies of Vaylin (like wasn't there something about books or art?), but I digress. She might have some questions about Arcann's tactics, but they get along just fine. The important thing to note is Vaylin not seeking to hunt the Outlander personally, to rule or conquer the rest of the galaxy, or trying to achieve absolute freedom or power. She's kinda there.

This, however, changes when Arcann doesn't allow Vaylin to kill Senya. Their relationship was getting somewhat worse towards the end of KotFE, but this is a turning event Vaylin caused by attempting to strike her mother. By saving the person Vaylin blames for all the trauma from sending her to Nathema, Arcann threatened her feeling of safety. And now Vaylin starts to believing that to achieve safety she now needs to kill people who hurt her (that's why she's so determined to find Senya and Arcann), take the throne and hunt down Outlander (she was manipulated by SCORPIO to these subgoals).

(The following is the weakest, I'll admit, but I hope I can at least express what I see). So, in trying to achieve goals she didn't want before Vaylin loses in self-determination, being either driven by overwhelming anger or manipulated by others (SCORPIO or Commander on Odessen), desperately trying to accomplish anything, or even goes against her morals (like by erasing GEMINI's free will protocols, when earlier she agreed that freedom to choose is important; or breaking the deal on Odessen). All of these result in her downfall.

But even this isn't the end. The key difference between arcs of Azula Vaylin lies in it's resolution, or that Vaylin have a chance to overcome corruption in the main narrative (and Azula doesn't. again, not including comics here, sorry). After death, Vaylin is again controlled by Valkorion in Outlander's mind. First time physically (she can't resist it), second time mentally. This is where Vaylin has to choose - kill brother who betrayed her and Commander who killed her, or go against Valkorion, person responsible for almost all of her pain and trauma. She has t choose by herself, and I think it's a good start.

Now, before 6.2 we all thought Vaylin was dead for good, but that story update hinted at possibility of her coming back to life. What I like to think is that now that she dealt with people responsible for her trauma (helped defeat Valkorion and actually for once listened to Senya), Vaylin can now have a different life, finding herself with support of someone she doesn't hold a grudge against and who treats her well (Satele, I mean).

I'm so sorry for going into details, but I needed this long explanation to present the point (and I suck at explanations). As said before, this is my version of her arc, and most likely wrong interpretation, but even with personal freedom of choice, Vaylin character differs from Azula a lot.

Need I mention that Vaylin relationship with Arcann and Valkorion are drastically different from those between Azula, Zuko and Ozai?

(Also a little detail - with royal family of Fire Nation, Azula is the golden child, while with Tiralls it's actually Thexan, not Vaylin).

What's similar: role of extremely powerful, emotionally damaged daughter with little to no regard towards others, close people betraying them, resulting in their downfall.

What's different: characterization, role in the narrative, relationship with father and brother.

Arcann and Zuko is the most difficult part, but I still believe that calling Arcann just a cheap copy of Zuko is incorrect.

So, they fall into role of less successful son, always getting disapproval from father, being in shadow of more talented sibling, both obsessed with capturing the main character but ending up helping them end the war after going through a redemption arc with help of caring family member. Even both have scars on left side of face. Yeah, seems similar. I still think they are different characters.

Let's start with their relationships with family. In Valkorion section I said that his attitude towards Arcann is similar to that of Ozai towards Zuko, so not going to spend too much time here. However, there's slight difference - Zuko didn't kill his father even he had a perfect opportunity (bc it wasn't his goal), Arcann did (bc it was one of his goals), which says something about their characterizations.

Zuko and Ursa were shown to have a good mother-son relationship, and it played a role in Zuko's character. With Arcann and Senya, we don't really know (not much was shown in expansions). We know Arcann didn't hate his mother, but possibly didn't have warm memories of her either. The reason is most likely, like Senya said, her children wanted nothing to do with her (which is a bit untrue about Vaylin, but okay) and leaned more towards Valkorion. We need to remember that on Zakuul Valkorion isn't just one of many great leaders, he's the greatest, and seen as a god by most citizens, so safe to assume the same would apply to his children as well.

Zuko and Azula's siblingship (i'm out of words) is a bit similar to Arcann and Vaylin's in way of brother knowing that his sister isn't good, but still caring about them (even if not showing). At least it's what I saw. What's different is how Azula treats Zuko, compared to how Vaylin treats Arcann. I think Azula showed compassion or concern for Zuko maybe twice, but I'm not entirely convinced that it was 100% sincere. Vaylin, on the other hand, seems to trust and care about Arcann (with bits of sass and questioning his life choices), and switching to complete opposite after him saving Senya. Also, I don't she ever called Arcann a failure in their father's eyes.

Now I want to say that their roles in stories aren't the same either. Sure, both are introduced to us as antagonists, but in reality, Zuko was never a true antagonist (we get to learn this somewhere mid-season 1), when Arcann remains the main antagonist for whole of KotFE. Zuko didn't start a war and didn't participate in conquest of other nations too much, his main goal was to capture the Avatar so to restore his honor (and deserve his father's forgiveness). Honestly, I think it's safe to say the Zuko is one of two main protagonists of ATLA. Why does Arcann want to capture the Outlander? Solely because his father's spirit still lives inside this person's mind, and the best solution to keep Valkorion away from the galaxy is not letting the Outlander free (hence the carbonite freezing). And Arcann doesn't want or need Valkorion's forgiveness when he attempts to kill him (or kills him, depending on your choice. anyway, his action directly leads to Valkorion's "death"). And right after that he becomes a ruler of Zakuul and begins the conquest of Republic, Sith Empire and everything he can reach (the reasoning behind this is still unclear to me though; maybe because he was raised with ruling Zakuul in mind and he didn't anything else, idk). Point is, he's responsible for war and main's character imprisonment, which makes him the main antagonist of KotFE. They have it the opposite ways - Zuko starts as disgraced prince, supported by a little group of people, and in the end he's recognized and appreciated by his nation, and Arcann starts as respected by his empire, later becoming less and less loved, until some groups start rebelling his rule, and in the end he doesn't get to rule Zakuul again.

This leads me to their morals. See, Zuko didn't have the worst morals in Fire Nation, even more, he expressed care for loyals soldiers of his nation before getting punished by Ozai. During first season (and about a half of second one) his views on other nations are what he was taught before. However, these views are challenged by travelling in Earth Kingdom, witnessing people suffering from war Fire Nation started and hating its people (you already know all of this), and with this he comes through final stage of redemption when he's back home. Unfortunately, Arcann doesn't go through this, and he's shown to be more ruthless.

Alright, when it comes to their redemption arcs, well let's say they are different (both in quality and the way they go through it), I'm just a bit tired of long explanations at this point. Zuko's arc is one of the best ever put on television, and Arcann's... well, it definitely has potential, but is criminally underdeveloped (there are other people who will explain it better than I ever could).

What's similar: role of disgraced son, living in shadow of their sibling, serious injuries on the left side of face (though with different meanings), obsession with capturing the main character, having a redemption arc.

What's different: role in the narrative, role in their society, characterization, relationship with sister and mother, different end goals (before redemption), paths to redemption.

[shihalyfie]

02′s themes in relation to its finale

By “finale” I don’t mean “epilogue”, but rather the final battle and confrontation that make up 02 episodes 48-50. Generally speaking, 02 is a series that is much less about progression of plot events as much as it’s about theme and message, and my feeling is that this becomes increasingly so the deeper you get into its second half and approach its ending. Narratively speaking, we need a big, bad enemy to beat up in a fight, but if we shift our perspective a bit, what does this finale say as a close to 02′s themes and concepts?

The thin boundary between good and evil

Our major enemy for the first half of the series was the Digimon Kaiser, who was later established to be the very naturally kind Ichijouji Ken -- which is a pretty massive swerve, considering that most series with “reformed villains” would usually make them a bit of an edgelord who happens to be a little nicer. But instead, the series goes very deep into the psyche of what could make such a kind child be tipped over the edge, and, even though it’s all revealed to be accelerated by supernatural interference, it’s made very clear that his own trauma and insecurity was most of what did it.

So, anyway, it’s revealed in the end that the “final mastermind” behind it all was none other than Vamdemon, an effective midboss from Adventure. Vamdemon’s popularity aside, this initially seems like a very strange choice. But looking at some statements about 02′s initial planning is somewhat revealing: the original planned concept for the final boss was a Digimon that would ultimately be reduced to only “an idea” (and was rejected on the grounds of being too gory for the Sunday morning kids’ timeslot). When you think about this original concept of “a Digimon that had been reduced to only an idea,” that explains the initially odd-seeming combo of defeating a Digimon with the combined power of idealistic positivity, because it’s a plot point that would certainly make more sense if said Digimon had been reduced to a spirit of malice.

However, the interesting part about this is that the replacement for this original final boss was not Vamdemon but Oikawa and his lackeys, which means that, substantially, the real “final enemy” of this story is actually Oikawa, and the ideological questions he poses for the Chosen Children and those around them. Vamdemon may be the “mastermind” from a plot perspective, but, ironically, his important role is actually to define Oikawa’s narrative -- and, as if to drive this in further, he’s not even voiced by his original voice actor from Adventure (Ohtomo Ryuuzaburou), but Oikawa’s own, Morikawa Toshiyuki (and this voice change is actually pointed out in the series proper, too).

So why Vamdemon and not just a random spirit of malice? Well...

Vamdemon’s presence specifically establishes the precise moment in time Oikawa lost complete control of himself -- and, more widely, establishes the connection between himself as a “Chosen Child who could never become one”. Prior to this episode, we knew that Hida Hiroki’s death and their shared childhood had some relevance to Oikawa’s downfall, but the August 3 “Odaiba fog” incident in 1999 is the exact moment where everything could completely crash down in front of Oikawa’s eyes, with Hida Hiroki having just died, and Oikawa personally witnessing Digimon, the Digital World, and the Chosen Children (and boy, the way this scene is framed with him right next to the waterfront, you might even wonder what he might have done with himself had Vamdemon not interfered...). The Digital World didn’t have a huge amount of contact with the world before then -- in fact, Oikawa not being able to make much contact is a huge part of his character arc -- which basically leaves this as one of the only moments you can have this exact moment of Oikawa being ready to go over the deep end in this way. All of his regrets, of never being able to make proper contact with the Digital World, of Hiroki having died and left him alone, are ready for him in this exact moment -- as his own lackey Archnemon had said earlier, “human weaknesses are easy to manipulate.”

Moreover, of all of the “entities of malice” that made up Adventure’s villains, Vamdemon’s the only one who brought it all the way over to the real world (where the majority of 02′s conflict is set). This brief moment of contact with the real world was established in 02 episode 14 to be the defining moment of “contact” that would lead to Daisuke and Iori becoming Chosen Children. Particularly in the case of Iori, you can see the parallel -- Hiroki’s death and the resulting incident here would shape Iori’s strive to become a model citizen and a hero as a Chosen Child, whereas the exact same incidents shaped Oikawa’s descent into villainy.

Oikawa’s “sacrifice” in the end is not really a sacrifice in terms of sacrificing his life -- it’s said outright that his body is deteriorating, and so he would have died either way. What Oikawa does sacrifice is the ability to take one more step and make proper contact with Pipimon -- it is explicitly stated that he has to use the power of the dream world to grant his wish, meaning that he would never be able to take a proper step into the Digital World as a human, and therefore would never truly be able to have his initial wish granted in the way he originally wanted.

Thus, Oikawa leaves off with one last “regret” -- that, perhaps, if things had been different, he could have been just like the Chosen Children, going on “adventures” like them. But Iori points out right after that he did achieve his dream in some sense -- he got to reunite with the Digital World, and he did get to meet his partner, and so: it’s all about mentality. All of what happened to Oikawa was because of his own closed-in way of seeing himself and his place in the world, instead of being able to move on productively from his perception of what he “could and couldn’t do”.

In the end, Iori, the one who had once been so cold towards the idea of anything remotely associated with evil, is the one to guide him to that answer, and the other Chosen Children, who had previously not been very sympathetic towards him, still grieve over his death because they understand what it means to have a partner, and the sense of loss it would entail to be separated from one. It’s the one commonality they all can understand, and in the end, none of them were really all that different; it was just what they chose to do with what they had.

This is especially because we see extensive flashbacks of Oikawa in 02 episode 47, and his design is that of a completely average adult in 02, nothing like the “look at this instant villain!” design he had during the course of the series. Oikawa was, for all intents and purposes, a completely average person who had dreams that he shared with his friend, dreams that they carried into adulthood -- it took this little to push Oikawa over the edge, and yet the things that did it were the exact same things that, in a different context, Iori took to become a Chosen Child who fought him on the other side.

False happiness and pointless fixations

Tying into Oikawa’s fixation with “regrets” and an unhealthy mentality about his own position, Oikawa blames his inability to go to the Digital World in 02 episode 48 on himself being a “tainted adult”, not recognizing that it’s his own having fallen off the deep end that’s the likely reason he’s being rejected. Oikawa is, effectively, maintaining a fixation on “regrets” and a past he can’t get back; he’s still stuck on the image of his happy childhood playing with Hiroki, and all of the things he “couldn’t do” as a child after having his initial contact with the Digital World cut off. The ending reveals that he had met Pipimon before, and so you can interpret everything he’d done beforehand -- including creating two Digimon that are ultimately his “minions” more than they’re his actual “partners” (and were ultimately ripped away from him by the very same malicious spirit that represents his nihilism) -- as an attempt to reconnect with that partner, even if it resulted in him forgetting his actual purpose.

Beyond that, the Chosen Children themselves are momentarily sidetracked by a “fixation” of sorts --

02 is a series about “accepting things and moving forward”, so each of the illusions presented by BelialVamdemon have to do with a fixation that’s holding each respective kid back:

Takeru’s idea of seeing his family together again might not be completely impossible, but it’s probably not happening anytime soon -- and, as far as 02 episode 17 and 47 showed us, relations are at least improving and everyone else is doing a much better job of actually moving on and accepting the current state of affairs than he is.

Iori’s fixated on the idea of being able to please and be with a father who’s long dead (again, his issue is technically the same one Oikawa’s fixating over).

Hikari’s fixated on a future idea and dream that she wants to see pass, which won’t happen unless she can proactively work towards it now (and the 02 epilogue itself establishes that getting there won’t be all sunshine and roses).

Miyako’s fixated on her surface mood of stress and a desire to escape it, only to be confronted with the fact that it doesn’t actually make her all that happy either.

Ken’s fixated on ideas of “punishment” and “forgiveness” that ultimately won’t get him anywhere.

In the end, the one to avoid it is the most “forward-thinking” of all of them, Daisuke, who’s least likely to get caught up in such fixations. But even he has this to say:

Daisuke understands that not everyone is as simple-minded as him, and that’s not inherently a bad thing -- it’s just that when you need to go forward, you need to go forward (and people who exploit others’ weaknesses against them are still unforgivable jerks). You need to accept that things are the way they are at current, and use the information you get from it to keep moving forward and do something productive with it rather than clinging onto things you can’t have to the point you can’t do anything. Nobody was giving anyone shame for having those internal worries that BelialVamdemon plagued them with -- it’s just that staying in there forever, instead of moving on with important things they had to do, wouldn’t be good for them either.

Hence, that’s what Oikawa actually sacrificed -- he had a choice to use his final moments to spend his remaining short time with his partner that he’d spent so long unconsciously chasing after, but he instead decides to do something to help the Digital World and reverse some of the damage he’d personally caused instead of continuing to fixate on that regret. At the very least, he can continue to be with Pipimon in some other sense, even if it’s not what he originally wanted.

The pressure to be a “perfect person” as imposed by society; the conflict between that and pursuing one’s own happiness

In the last section, I mentioned that Oikawa was the kind of person who fixated on regrets about what he “couldn’t do” during his childhood. You can identify a bit of what was leading up to this in the prior episodes:

We learn in 02 episode 47 that Iori’s grandfather Chikara made the mistake of barring Hiroki and Oikawa from getting too deep into their connection with the Digital World, considering it “nonsense”, which led to the two of them becoming disconnected from it and continuing to wistfully chase after it -- which also led to Oikawa being driven further over the deep end when Hiroki, the only person who understood that, died.

Moreover, Oikawa ended up developing a complex not entirely unlike the Kaiser’s fixation with being a “perfect” person in the first half -- and, just like how he blames his inability to enter the Digital World on being a “tainted adult”, he fails to have the self-awareness that it’s this exact nihilism keeping him out of it, taking even further offense at the idea of him being a “tainted existence” (because of what he’s embracing) and deciding that his reaction needs to be sinking even deeper into it. And while he implants the Dark Seeds into the children with the intent of exploiting their power, he also indicates that he thinks he’s doing them a favor by enabling that ideology of “becoming a perfect person” within them.

Remembering that the final battle in this series is not necessarily about the physical fight as much as it’s about the ideology that Oikawa espoused, in the end, what Oikawa really “implanted” in these kids along with the Dark Seeds was the pressure that they should sacrifice their happiness to be “perfect” people. The Chosen Children reach out to them by asking about their dreams, and the children list off careers that have certainly gotten their parents scorning them for not being “good enough” for them, or gotten them mocked by other people (Hiroshi says that he gave up on his manga artist dreams because people laughed at him for it). In the end, “the pressure to be ambitious” is pressure in itself -- what if what you really want isn’t ambitious as much as it’s something that makes you and others happy (like, for instance, ramen making)? And especially when you’re a child -- shouldn’t this be the time when you enjoy yourself to the fullest?

This is even alluded to in Ken’s Spring 2003 track, in terms of how he and Osamu weren’t able to enjoy their childhood because of that pressure:

You were demanded to grow up fast, weren’t you, Brother? Because we were always being evaluated and compared by someone, we didn’t get a chance to have more freedom. We didn’t have any chances to run down an alley because we felt like it, or pull up weeds, or tumble around… meaningless things, things that didn’t bring any value to us at all. Just like the cat napping on the roof… we weren’t able to fully enjoy any everlasting freedom.

Like Ken and Osamu, the Dark Seed children accepted the Seeds because they decided that it would be better to trade in their happiness in exchange for getting closer to that ideal of “perfection”, only to destroy their own selves in the process. Which is accentuated when acknowledging their own selves is what leads to them meeting their own Digimon partners.

Takeru had said, earlier, that the Digimon will appear if you wish them to -- and given that a Digimon partner is a metaphor for the inner self, it says a lot that the point here is “the key to connecting with your partner is to connect with your actual self”. Like how Ken managed to reunite with Wormmon in 02 episode 23 by accepting everything about himself and resolving to live with it, and how Oikawa will later meet Pipimon after having come to terms with what he was actually looking for the entire time.

And in the end, what we see of Vamdemon isn’t really all that different from the original “reduced to an idea” concept we got from the original 02 final boss concept -- remember that BelialVamdemon has effectively become the incarnation of Oikawa’s own nihilistic ideology; perhaps he took on a lot more than just a voice actor! Actually, the whole sequence in 02 episode 50 with everyone listing off their dreams and destroying BelialVamdemon part by part is relatively similar in substance to the original proposal (the staff must have been really attached to that idea). And, hence, why what destroys him for good is the combined feelings of everyone together, resolving to move forward instead of chasing after meaningless things.

Oikawa ultimately recognizes that what was holding him back was his own mentality -- everyone here, Ken, the Dark Seed children, and Oikawa himself, all thought they were becoming “strong” and “perfect” people by ignoring them, but instead ended up as pawns for others, and all of these people could have found better ways to cope with their problems through embracing themselves and finding support, and would have come closer to those “dreams” while they were at it. Instead, Oikawa exploited others and clung onto shallow symbols because he thought that kind of straightforward idealism was an impossible route for him, and locked himself out of all of it. But in the end, he’s able to do something -- he’s able to use his “dreams” to have the Digital World healed -- and with that, is able to have his last moments in happiness.

Incidentally, back in 02 episode 49, Daisuke had even outright said that there’s no inherent issue in striving for self-improvement (after all, both Adventure and 02 were about people slowly getting past their insecurities and becoming better people). Daisuke himself is a person who’s improved a lot over the course of this series! But that’s something you need to do on your own terms and in a way you’re comfortable with -- not forcing yourself into the mold of an “ideal person” at the expense of losing everything about yourself, like Ken, the Dark Seed children, and Oikawa all did at some point.

[theanimeview]

My Nitpick Issue with Sherlock in Moriarty the Patriot

By: Peggy Sue Wood | @pswediting​

It may surprise some of you to know that I have degrees in book reading and writing. While earning those degrees I studied one specific time period more than the others--that being British Literature from late-17th/18th century through the early 20th century. This is to say that it is a time period I know a little more about than you might think. And early 1900s is probably my favorite period out of that timeline, particularly England under Victoria’s rule. 

And, perhaps, because of this strange obsession I have with the period, I presently have a small bone to pick over Moriarty the Patriot. 

It’s not the minor inaccuracies of the clothes, nor the adaptation of character designs. It’s not even the adjustment to social tendencies depicted that are more Japanese than British-English of any period thus far either--because those kinds of things happen frequently in adaptations. And it's not Moriarty or his backstory too! Because, again, this is an adaptation, and liberties will be taken to fit the new story (besides, even in the original works by Doyle the man’s backstory was inconsistent). 

My issue is with the character of Sherlock and his supposed “deductions.” Well, maybe more accurately it's with the writing of Sherlock. 

You see, Sherlock is almost always introduced the same way in an adaptation. He makes a judgment about someone (usually about Watson or the Watson stand-in) and then proves it using his observational skills. This introduction is important because it clarifies that the world of the characters is one based on where common sense and science not only work but make sense. His deductions are logical and based on some semblance of rationality. Here is an excerpt from the original novel: 

“I knew you came from Afghanistan. From long habit the train of thoughts ran so swiftly through my mind, that I arrived at the conclusion without being conscious of intermediate steps. There were such steps, however. The train of reasoning ran, `Here is a gentleman of a medical type, but with the air of a military man. Clearly an army doctor, then. He has just come from the tropics, for his face is dark, and that is not the natural tint of his skin, for his wrists are fair. He has undergone hardship and sickness, as his haggard face says clearly. His left arm has been injured. He holds it in a stiff and unnatural manner. Where in the tropics could an English army doctor have seen much hardship and got his arm wounded? Clearly in Afghanistan.' 

How does this prove we are in a world where common sense and logic works? Well, because he didn’t pull any of these deductions from thin air. He just used his eyes and common knowledge to make a quick judgment. 

In the example above, everything that Sherlock assumes is true and based on reasonable assumptions about the time period and about what he can observe of the person before him. 

The tan of Watson’s skin is something he notes because London is usually dark and wet around this season, so you’re unlikely to get a tan. The way the man walks and stands is also a thing he can observe, and fresh military men walk very differently from the average citizen or gentleman. These two observations, coupled with noticeable injury and limp could lead one to think that maybe he has just come back from the current war (the First Anglo-Afghan War). Of course, maybe he wasn’t injured in the war at all--maybe something else happened; however, you can make a pretty good guess that an abled bodied soldier would not be home and looking for a room in the middle of war-times if something hadn’t happened to him on the battlefield.

My point is that all of Sherlock’s deductions come from observing details, paying attention to the basics of the world (such as the ongoing war or understanding rigor mortis), and using your senses. Sure, there may be a few things the average person doesn’t know that Sherlock does, but that’s because Sherlock has studied different things and to a more serious degree. The level of understanding is different, but not impossible to achieve in one’s own time or effort. And, as another note, Sherlock is not perfectly observant all of the time. There are plenty of examples of him needing to take breaks, of him closing his eyes to block out distractions so he can better focus on what someone is saying, and of him smoking to zone out for a bit so that he can come back to a problem with fresh eyes at a later time. 

It’s absolutely vital to Sherlock’s character, and the original story, that all of the deductions are based on the “possible,” which is why the introduction of Sherlock in Episode 6 of this adaptation immediately irritated me. Here is the scene:

Side note:  I’m sorry it’s shown as a poorly made gif--I literally could not find a copy of the clip with English subtitles on YouTube so I could not include it as a video. If you want to look at it in the episode itself, it starts at about the 13:00 minute mark. EPISODE LINK)

Here is what bothers me so much. Why would a mathematician be checking to see if the staircase on a ship fits the golden ratio? More importantly, why would that in any way matter to Moriarty as a character? Based on what we’ve seen so far of this character, and we’ve had 6 and 1/2 episodes to define him so far, none of Sherlock’s statement makes sense here. 

Like, at all. (And I know that this also happens in the manga--doesn’t make sense there either.)

You know what would make sense though? For the time period and the character development we’ve seen of Moriarty thus far? A pause to consider-- and maybe even compare--staircases on the ship between the main steps for passengers and the steps for commoners or staff. 

Why would that make sense? Oh, thank you so much for asking. Time to get real nerdy here for a minute: 

Class issues were a serious problem in Victorian England (as they are now, though in a different way). These issues were not necessarily the same as depicted in the show but it was still consistently present throughout the society as a whole. (A good, short read on the subject can be found here for those of you interested: Social Life in Victorian England.)

One way that this issue came out was in the very architecture of homes. In Victorian England, nobleman homes and estates were built with main staircases, where the residents and guests walked, and servent staircases, where the staff and other temporary employees walked. The difference in these stairs was huge, as the servant staircases were basically death traps. 

In the late 1800s, a mathematician (and architect) named Peter Nickolson figured out the exact measurements that would generally ensure a comfortable and easy walk upstairs: 

BTW: Here is a great video on the subject and how they were death traps: Staircases in Victorian England

However, Nickolson’s math and designs were not used regularly in the design of houses for years to come. 

By the setting of the story, and given Moriarty’s interest in maths, his understanding of class issues, and beyond--this kind of knowledge would make far more sense than searching for the golden ratio in a man-made set of stairs. 

Moreover, the golden ratio is generally interesting to mathematicians (to my understanding) because it can be seen in nature frequently. It is a pattern found everywhere, from the way that petals grow on flowers, to how seashells form, to freaking hurricane formations! So why on Earth would Moriarty be interested in an architect's choice to use such a ration when planning a staircase? 

He wouldn’t, I believe. Nor would Sherlock generally be able to make that assumption based on his time gazing at the staircase, distance from said staircase, nor angle. 

So what can he deduce, if not that? Well, he may be able to deduce that Moriarty is a nobleman based on his attire. He may also be able to deduce that the man is a student based on age, as in an earlier episode we were told he’s quite young to be teaching in university and appears close in age to his students. Maybe he’s a student of architecture? But, if he’s a nobleman--as we suspect he is based on his attire--then it's unlikely he works a labor-intensive job or one close to it. So, he must be in academia for academic reasons such as mathematics. Physics during that time, as an academic subject, focused more on lighting, heat, electricity, magnetism, and such. And, Sherlock notes that Moriarty is specifically looking at the stairs, not the lights of the ship. 

So, BAM! I’ve deduced Moriarty is a young nobleman who is likely a student of mathematics. Perhaps he’s recently had a lesson on staircases or another algebraic concept that’s caused him to pause with momentary interest. 

It makes a heck of a lot more sense than finding a “golden ratio” in a man-planned and man-made staircase... don’t you think? And, maybe, we can even deduce that rather than a student he’s a professor who has just thought up an interesting lesson--though that would be a BIG jump from the data we’ve been provided here. 

Deductions that come from major leaps in logic make it seem like Sherlock is doing magic... and he is--because it is magical that people find it impressive or believable. It’s not. And I would argue that the original character would find it insulting based on his comments to Watson regarding being compared to other fictional detectives.

Pay in mind, I have this feeling about several adaptations, so my judgment on Moriarty the Patriot isn’t technically exclusive. It just hit me so hard in my first viewing that I felt I needed to share because generally, this issue of deductions becoming magic rather than stemming from logic doesn’t happen in the first two minutes of meeting Sherlock Holmes.

So... yeah. Thanks for coming to my absurd history/lit lesson through Moriarty the Patriot. I appreciate you sticking with me to the end and hope it was enjoyable.

You can watch the series on Funimation.com right now at: https://www.funimation.com/shows/moriarty-the-patriot 

Overall, it’s a pretty good series; although there was a lot more child-murder than I expected...

[sylvies-chen]

Chicago PD's Characters and the Role of Reform: an Analysis (???)

Hi everyone! The finales of One Chicago aired a couple of weeks ago by now but I've been preparing this post in my head ever since PD's finale aired. I wanted to talk/write about each character's (and maybe even the writers') interpretation of police reform and how it affects the plot. This will also talk about police reform in general. Before I start, I'd just like to state that this will be a bit long and probably biased since a lot of it is influenced by my own views on reform. I'm not interested in debating people on the internet, just putting out interesting perspective on an interesting TV show. Anyway, I hope you enjoy this and feel free to add thoughts of your own— as long as they’re respectful!

Chicago PD's handling of reform in this season was far from perfect but I did enjoy a few things they did with it. We had Kevin, a POC, stand up and fight back when even the people closest to him tried to shut him down. I did have some issue with the way they reduced Kevin's entire set of beliefs/morals to something so trivial and disrespectful as a "woke card" but I think the writers chose to do that on purpose to show how blinded white people can be sometimes. It's more the characters using that term, not the writers, which I thought was a good move since in both situations— Kevin v. Voight in 8x02 and Kevin v. Adam in 8x16– they made sure it's clear that Kevin is in the right. Voight may have been frustrated and Adam may have been spiraling over losing Kim (love me some #Burzek), but Kevin was still in the right. If only we could have some more varied representation on this show! That way, Kevin wouldn’t have to be used as the emotional punching bag all the time for these white characters and their misplaced frustrations with the system (added onto their personal frustrations which fluctuate on a episode-to-episode basis).

Now, onto the view on reform because this is where it gets interesting. I'm going to go ahead and say something that might be controversial: I think the majority of conflicts in this season have come from a gross misinterpretation of the concept of reform. This is especially highlighted in the finale when we see Adam saying he should be able to change/bend/break the rules to save someone he loves. It's also shown in the case with Miller's son Darrell and how they need to break the rules to save him, the case in 8x11 that Hailey considers breaking the rules for. It could even be loosely applies to 8x06 when Jay feels the need to break the rules only slightly in order to serve proper justice for their victim's father. Proper justice, in this case for Jay, being mercy towards the father and doing what's right in Jay's mind. Notice a common theme? These characters who are against reform (I know Voight was so good most of the season but he still falls into that category because of the first and last two episodes) all have one thing in common: the way they view reform. Voight, Hailey, and Adam, somewhere along the line (in my opinion), have all come to think of reform as a social push to get police officers to adhere to the proper guidelines when in reality, that's only a small fraction of an otherwise complex concept. Reform isn't all about getting police to follow the rules-- reform in and of itself is recognizing that the rules that are set into place aren't always effective. There are rules that are discriminatory, rules that are bureaucratic nonsense, rules that disproportionately affect specific groups of people, and rules that create roadblocks to solving real problems. Hell, the original police systems in North America especially were created to persecute minorities and maintain military power over citizens. The need for reform is referencing a larger systemic issue and getting police officers to follow the most basic procedures is just the tip of the iceberg. I don't want to get too much into the principles behind reform here because I am no expert. I recognize that because I am white I benefit from these rules/systems put into place so my voice shouldn't matter in the grand scheme of things, but I do think the majority of the tensions in this season of Chicago PD stem from the extreme oversimplification of reform. It surprised me too when I thought about it because they've managed to explore the grey areas/more complex aspects of it, but I think the writers are intentionally making that decision which makes it really interesting.

Throughout the season, I couldn’t help but feel that these characters considered reform as the push from the public to adhere to guidelines-- as they should, obviously-- but while ignoring the more nuanced principles of reform such as asking themselves questions like: is what I'm doing truly helping the communities we've sworn to serve and protect? Are the solutions us cops in Intelligence are offering permanent solutions? Should we be rethinking our principles of justice to be less retributive and more procedural-- or even more restorative?

This is all in reference to the characters, of course, not the writers. We have Voight, Hailey, and Adam resisting reform because they don’t see value in following the rules. But reform, in its purest form, is recognizing that the rules need changing, which is why it’s so interesting to see the “opposing side” against it even though they also believe the rules aren’t helping them. So I think it's really good and interesting how the writers have written these characters as having very complex and layered discussions/arguments about reform and about justice while still doing that. Because their contempt for the rules comes from a place of wanting to carry out justice, just like Kevin and all the others who push for reform, but they’re motivated by ideals closer to retributive justice and using their position of power to exact a more personal form of justice. Because of Hailey, Adam, and Voight’s more personal and intimate views of justice, their solutions always feel short-term. For example, Voight murdering suspects, bashing in cars, etc. This is all stuff that creates a temporary fix but their passion towards justice makes them care more about the personal, emotional release that kind of justice brings than the actual, long-term change. This is especially shown in that one scene where Hailey tells Jay the story about how a clerical error made an offender walk, which she sort of views as a reason why breaking the rules should be allowed whereas Kevin would view that as a reason why the rules need changing. Again, short-term vs. long-term.

This is not to say that Hailey, Voight, and Adam are evil, obviously. They're complicated, but they're far from evil. (Well, the jury’s still out on Voight. Haha!) What this show is portraying, however, is how the ideas of reform can be fleeting and temporary and all-around fickle in the minds of these characters when they reach a certain breaking point. They're able to throw this aside because they're all white, so it doesn't affect them personally. But right off the bat in season 8 we've seen it affect Kevin professionally AND personally in every single way. Others are almost viewing it as a social trend or a push to be a rule-follower though which is why both Adam and Voight, when put under emotional distress, are so easily able to downplay Kevin's push for doing things the right way. (Even though, really, he's asking for the bare minimum here of following the rules and not killing people.) Kevin, ever the conscience of the group, doesn’t put up with it and keeps people in check which can be extremely aggravating when you’re in a very emotional state and want to let your emotions lead you on a rampage. Hence, this is the root cause of the majority of tensions between the unit— in season 8 especially.

Anyway, this is all to say that I think this season of Chicago PD has done quite a lot in terms of portraying reform and the need for systemic change while still staying true to their characters and delving into how their privelege has led to them misinterpreting reform. Which leads to the portraying of some fairly corrupt policing, but never condoning it. At the very least, they show how it's less important for these characters since they all have a breaking point where reform becomes moot whereas for a black man like Kevin, it's more firmly ingrained into him. That’s a concept that is all too common in the real world, and one I appreciated that they represented even though some things weren’t so great.

[fantastic-rambles]

Ahhh yaknow what you’re right. I just went back and looked over some of the rod, and I didn’t see Langa explicitly agree to not to skate with Adam. He promised that he wouldn’t quit skating with Reki, but he only acknowledged Reki’s warning to not be reckless. It actually makes a bunch of sense why Langa would be confused by the distancing and argument. I see now why you were upset with Reki’s behavior. It feels kind of like a ‘secret contract’ sorta thing where Reki got upset over a broken rule Langa never realized he was supposed to abide by. And not only is that unfair like you said, but it flipped the situation as if Langa was being untrustworthy to his word when really Reki didn’t trust Langa not to quit skating with him just because of danger/injury. And especially since I’ve seen people make solid arguments for Langa being neurodivergent or neurodivergent-coded, it’s really not a stretch at all for him to see the situation like you did. Langa most likely saw the issue as solely reckless behavior leading to quitting. But clearly Reki’s own jealousy/insecurities added Langa preferring better skaters as potentially leading to them not skating together without ever discussing it until Langa was blindsided during the argument. I would’ve looked a better apology from Reki where he fully explained why he was upset when they were making up. It’s human for his feelings on the issue to change, but that should’ve been better expressed to Langa. Although Langa did a great job of accurately smoothing over what was bothering Reki without that. Maybe that’ll be rectified if he apologizes to Miya. I think Miya deserves one especially since Reki physically shoved him after he opened up about why his actions were such a sore spot for him. I actually thought Miya’s words would help Reki see the other side of things so seeing Miya get pushed was like a “Bro wtf??” moment for me. Again it’s understandable that people act out when they’re angry and Reki was obviously already struggling with his emotions, but it should be acknowledged again how wrong that was. Boy are you opening my eyes to a lot of problematic stuff lol.

Also, I’m very curious as to why you hate Shadow. For me, it’s because I can’t move past that comment in ep 1. I know ppl brush it off as just an (unnecessarily misogynistic) act for his persona, but that woman literally didn’t say anything to him and he insulted her for no reason by using her body as trophy to be defaced if he won. Ew. And just because he’s super nice to the flower shop lady, he does not get a pass. If he’s only respectful to women he’s attracted to and jumps at any other the opportunity to degrade women, he’s still a misogynist. And I’m pretty sure that he already new flower shop lady when the series started, so I don’t think you can argue that his character developed to be better towards women as a whole because of her or that he wouldn’t do something like that again at this point in the story. Especially since the goal of proving yourself as a “strong man” has not historically worked out to men being compassionate with women. (Tho within a vacuum devoid of his other actions, I can appreciate his commitment to a makeup routine)

Oh! And I would totally wanna read that fanfic if you write it!! I’m not even as gung-ho about Adam going to jail as most fans and Adam-haters tbh. Mainly because it’d probably be for political corruption via money bribes which is already kinda common and I don’t think the show has stated him to be doing anything particularly bad with it I don’t think so?? Like it seems to be mainly for the purpose of keeping S secret which is indeed a waste of money and effort when he could just buy it, but on the other hand, there doesn’t seem to be any ill consequences on the citizens the politician represents. So yea, it’s illegal so the jail time is technically deserved. But also like... no harm no foul🤷‍♀️ If he would be getting charged for assaulting other skaters than I definitely think that’s fair, but I doubt that’ll happen in the show just because I feel like no one will actually say anything when the time comes partially due to the shock of his arrest if they’re even involved. And I mean, Cherry was pissed at Adam for getting skaters hurt but still rolled out the hospital and joked like he was fine, so I just don’t particularly see anyone calling him out on it to the point of it being apart of his sentencing. The end of ep 11 with Cherry and Joe arguing about one of them going against Adam just doesn’t sound like condemning him to battery charges to me XD

But yaknow I’ve been loving hurt/comfort type fics lately, so I’d be really interested in seeing Adam truly work and change himself for some type of redemption in that setting. I can see hitting rock bottom as being really good for him given it may provide a reprieve from having to manage his image. Adam is underrated in complexity so it’s always cool when people try to flesh him out more and dive into his inner world. And of course Tadashi is kind of my fave (if you couldn’t tell) so I love anything healing for him as well :)

Yep, I was majorly pissed at Reki for how he treated Langa and Miya. His behavior is absolutely problematic. Not as bad as Adam, obviously, but with everything I’ve said and you’ve realized... yeah. I’m glad he made up with Langa and will probably make up with Miya, but it doesn’t invalidate everything he’s done before. Yes, he’s still an immature teenager, but I don’t think he realizes how messed up his behavior was, even after making up with Langa (the resolution seems to be based on him accepting that he’s not an ace skater, rather than recognizing how toxic his behavior was), so I’m still not satisfied. But hey, it’s probably just me being hyperfixated on trivial details that nobody else even cares about. /shrug

(I’m glad to know that I wasn’t misinterpreting the “promise,” or lack thereof, though!)

And I have two major problems with Shadow. My first--and biggest--problem is, as you’ve pointed out, that he’s an enormous misogynist. At “S,” people have the freedom to be exactly who they are beneath the facades that they show to the world. For example, Adam is someone desperately searching for someone who can understand him, not the perfectly put-together politician Shindo Ainosuke. Cherry and Joe are more true to their “real life” selves, but there are differences in their behavior on the track and off. And then there’s Shadow, the overcompensating “strong man” who threatens to make a guy tattoo “Dumpster Slut” over his girl’s name. So I 100% agree with everything you said about Shadow. He’s a chauvinistic pig.

The second problem is that I honestly think his actions when he’s racing are worse than Adam’s, and the only reason it’s not made out as such is because he’s the buttmonkey rather than the villain. I believe that, as problematic as Adam’s antics are, he does not intend to cause severe physical harm to his opponents. I’ve discussed this idea in more detail in other posts, but in short, even in the most extreme case--Cherry’s--his injuries were far lighter than they would have been if Adam had seriously wanted to hurt him. Death, coma, etc. were all highly probable outcomes of that situation, so the only reason they didn’t happen was because Adam was holding back. Or anime logic. But even anime logic can only stretch so far. And against lesser opponents like Reki, he generally holds onto them to ensure that they don’t accidentally hurt themselves when they’re panicking.

Of course, Shadow doesn’t intend to cause severe physical harm to his opponents either, but he does not exert any control over the situation after he throws fireworks at his opponent or shines a laser in their eyes. We’ve twice seen his opponents fall off the course as a direct result of his actions: Reki in the first race, Harry in the quarterfinals. They could have just as easily fallen off the cliff or slammed into a wall (at full speed) and been badly injured. If Shadow were an actual villain, I fully believe that he would have an actual body count of people who died racing against him (as opposed to Adam’s trail of injured opponents). So it bothers me that people shrug off what Shadow does while screaming for Adam’s death.

As for the scandal subplot... I’m *pretty* sure it’s a lot more serious than Adam bribing the police to leave “S” alone. I think he’s actually involved in some majorly shady/illegal activities politically. Like, in Episode 7, when the other Diet member gets pulled over, arrested, and has his house searched... there’s no way that has anything to do with “S.” At the very least, the two of them were collaborating on something really bad, something serious that Adam lied about under oath, and that’s enough for Adam’s staff to worry about what’s going to happen, especially Tadashi. We don’t know what it is specifically, but it’s definitely a lot more than just passing out bribes to hide “S.”

Lol, I’ll have to see how it goes. Probably won’t start it until after the anime finishes at the very least so I can see how it turns out for Adam and Tadashi, plus I have another half dozen WIPs at the moment and nowhere near enough time to work on them all. xD

[scripttorture]

My setting is a fantasy historical setting set roughly around the late 1800s to early 1900s that focuses on a fantasy species currently subjugated by humanity. They're generally forced to serve on the front lines of an ongoing war, in part because they're seen as "not people" and "repairable". A major antagonist is a human member of the military who is officially supposed to be treating their injuries but who has the blanket approval of the government to do what he feels is best. (medical 1/2)

As a result, he often purposefully lets soldiers die or lie there in agony if he feels they've been disrespectful or disobedient to him- death is not permanent for this species, so he isn't really wasting soldiers. His motivations are both to have a more "obedient" army and some degree of bigotry from being raised with the idea that these beings' lives don't matter. (medical 2/3) Would the withholding of medical treatment by a government official be torture if it were motivated by similar motives to most torturers (ie political difference, belonging to a specific group, wanting obedience/information)? Do you have any advice on this setting or story? Thanks in advance! (medical 3/3)

-

I think that this fits with a lot of the general pattern of how torture occurs but- My instinct is that the legal definition probably matters less in this case.

 In terms of the time period I think this is before our world had international laws against torture. It’s before this sort of thing was codified in a standardised fashion. This doesn’t change the effects but it does change things like- what a culture views as torture.

 In our terms? Yes I think this meets the legal definition of torture. It’s conducted by a government official who has power over/responsibility for, these victims. He knows his actions are causing pain. And he’s doing it to punish them, individually and collectively, which is one of the possible motivations listed in anti-torture law.

 That means that it’s likely the research I talk about is relevant to what you’re writing.

 But we shouldn’t ignore cultural views of particular practices. By which I mean that commonly held unethical views impact your world building and characters.

 This pattern of individual and collective punishment was common in most armies historically and is still used today. Forced exercise as punishment has led to deaths in UK army training facilities and (prosecuted as such or not) this is torture. Whippings, beatings, stress positions and starvation have all been used historically to ‘punish’ members of the military. In fact much of today’s clean torture might come from European military punishments.

 (Side note, the origin of any one particular torture is incredibly hard to trace and since they are simplistic it’s likely they don’t have one standard point of origin.)

 As general advice- I think it’s worth considering what these subjugated people get from being part of the army.

 There have been a lot of historical cases where subjugated people and second class citizens were an integral part of a country’s armed forces. But if violence and threats are the only ‘reasons’ for participation then the results are unlikely to be positive.

 If you’re aiming for a system with a reasonable ‘success’ rate (we are taking success to be a non-human who is an obedient part of this army and makes a reasonable effort to fulfil most of their duties) then I think there should be some kind of benefit to the soldiers themselves.

 It doesn’t have to be a big positive and you can use it to highlight just how shit their general situation is.

 I’ve got a broadly similar scenario in one of my stories: with a fantasy sub-class that’s strongly associated with the armed forces.

 The reasoning that I came up with was that life was genuinely better for them as part of the military. They were systematically barred from ordinary jobs and housing, the other main employment option open to them was a particularly dangerous form of mining and without some sort of patron they were routinely attacked and harassed. The military consistently provided shelter, food and a higher degree of comfort/security then the other options open to them.

 In contrast to the mines, where their kind routinely went unfed and were typically dumped on the street when too injured to work, the military looked like a ‘good’ option. Not so much ‘positive’ as ‘better then the typical alternatives’.

 I’d encourage you to think of similar back-handed ‘benefits’ in your story. Better food, better pay, perks that benefit their family, something that gives an understandable reason for these people to stick around.

 I’d caution against trying to make it completely impossible for them to escape or refuse orders because that’s never the case in reality and doing that makes these people… well less human, less relatable.

 For analogous situations in real military organisations you might want to look up the British Empire’s sepoys and the role of black soldiers such as Thomas-Alexandre Dumas* and the men who served under him in European armies.

 In the sort of environment you’re building up I think that a lot of these supernatural people would know about what this doctor is like. They might not know the specifics of what he does, but the rumour mill is likely to make it clear he does something bad.

 This doesn’t mean that characters will always be able to avoid him and it doesn’t mean every character would hear the rumours. But people in these situations, where an abusive figure is in an entrenched position of power, do try to warn each other.

 It’s common for people in these situations to try and help each other and try to resist. The methods available to them are often small and sometimes ineffective but I think it’s important to try and capture the attempt.

 One of the things I’ve noticed in fiction that uses abusive situations with this kind of hierarchy is that there’s a tendency to ignore any action that isn’t obvious and violent. You occasionally write about the victims attacking abusers or enablers and we write about escape attempts. But we generally ignore other smaller acts. Sabotaging equipment or plans, victims educating each other, helping each other, prayer, ‘magic’, keeping illegal traditions alive.

 I think cutting out these smaller acts can flatten the portrayal of victims. It presents a false binary of responses: passive acceptance or violent resistance. And that makes resistance appear much rarer then it is in reality.

 In situations like the one you describe survival and self expression can be forms of resistance.

 If you’re not writing about a real world group of people then I think concerted historical research in that area is less important. By which I mean: if you’re showing a fictional group then you want to capture the kind of responses that happen in this situation rather then say specific aspects of Cuban culture and history.

 I’ve found reading about the history of black resistance to slavery in the new world a really good starting point for understanding… well how people respond in systematically awful abusive situations. That’s partly because it is really well studied and recorded. (And also available in a variety of languages). I’m not sure what to recommend as a good starting point though. James’ The Black Jacobins is traditional, I also liked Barcias’ West African Warfare in Brazil and Cuba but it’s been a while since I read it and the focus was violent resistance.

 People keep their humanity even in terrible environments and I think it’s important to try and capture that.

 For the doctor himself there are two sources I’d suggest looking at. The first (somewhat inevitably) is the appendices of Fanon’s The Wretched of the Earth where he describes two torturers he treated for mental health problems. The second is The Immortal Life of Henrietta Lacks.

 I’m suggesting that as well because of the examples it gives of doctors who were definitely not acting in the best interests of their patients. The focus of the book is the origin of the HeLa cell line, the standard cell line in all medical testing. It isn’t an exaggeration to say that Henrietta Lacks’ cells changed medicine and the production of pharmaceuticals forever. Research on these cancer cells has done immeasurable good.

 They were also taken from a dying black woman in America without her consent. People have made billions off of these cells while the Lacks family never received a penny.

 And doctors have done indefensibly dangerous things with them.

 I think having a look at both will help you find a way to frame this doctor’s personality and the way he justifies his actions. Because while he is a torturer there are more discussions of that in a policing or military context then there are in a medical one.

 I’ve found that discussions of doctors as torturers tend towards a different set of tropes. They’re more likely to assume that the abuse is an experiment, without questioning whether the record keeping, accounting for variables etc is strict enough to yield meaningful results. They also tend to portray the torturer as ‘charming’. And there can be significant ableist ideas (anti-disability and anti mental illness prejudice) built into the story.

 The kind of situation you’ve outlined is already pretty realistic in a lot of respects: this is the kind of situation where you see doctors acting as torturers.

 But it’s also not how authors tend to approach writing doctors as torturers. Which means I’m not sure what to add. I think you’ve already avoided most of the usual traps by virtue of how you’ve constructed the setting.

 Overall I think this a pretty solid idea. It has enough similarities to real world historical situations that it feels ‘real’. And there are plenty of sources to draw from. It brings in fantasy elements in a way that I think is really interesting, almost playing out generational trauma within the same generation. And it feels like an original situation. I don’t often see doctors used in this way or the combination of period and fantasy elements you’re proposing.

 I think it’s going to be a very interesting story and I wish you the best of luck. :)

Available on Wordpress.

Disclaimer

*No not that Dumas, his dad. The other one.

[popwasabi]

The monster of “Shin Gojira” is government incompetence

I know it doesn’t feel like it but we’re just three months away from March again.

It’s been almost a year now since the beginning of quarantine, when the world had to be shut down due to the escalating nature of COVID-19 and things have…largely only gotten worse.

In the US specifically.

On March 13th we had 2,204 cases of COVID in the United States and a total of 49 deaths.  Today we have 14 MILLION cases across the country and currently 274,000 plus deaths. To put that in perspective we have nearly as many cases of COVID in the US alone as there are people in the cities of Los Angeles, New York, San Francisco, and Chicago combined and we’re experiencing a 9/11’s worth of new deaths every day.

This is not even to mention the economic strain the pandemic has put the country under. Lockdowns and quarantines, without supplemental income to bolster those losses have led to closures, massive unemployment, people running deeply behind on their rent, and crushing debt for many if not buried in medical costs from being infected. Common people are trying their best to navigate a year unlike any other and are largely floundering with little to no help in sight.

And all this can be chalked up to one culprit in particular: our government’s incompetence.

(Remember all that fuss made about “breadlines” in the global south back during grade school?)

From the beginning when this virus first reared its ugly head in 2020, not enough was done to prepare the country for what would come next. Call it hubris or American Exceptionalism, but our government just was not taking it seriously as the President boasted cases would just “disappear” after late February and our leaders largely pretended it either was a) not a big deal or b) would never be a big deal.

Nearly nine months later senate Republicans still think another massive bailout for the nation’s richest coporations is the way to go, all while giving us $1,200 band aid for our troubles.

And make no mistake, the Dems have hardly been guiltless during this crisis themselves.

(“It’s a biiiiiig club, and you ain’t in it...” ~ George Carlin.)

As we see other countries largely find ways to navigate around COVID and create a safe environment where some normalcy can be maintained it becomes increasingly clear to anyone who isn’t a psychopath that the US has grossly mishandled this threat from the beginning. It’s a slow moving disaster that could’ve largely been avoided if our leaders gave a damn and it feels increasingly like we’re all just going to get the virus at some point because there’s virtually no structural safeguard in place to protect us.

This lamenting of the futility of our government’s response to crises is the central theme of one of my favorite monster movies of all-time; “Shin Gojira” (or “Godzilla Resurgence” for American audiences). Directed by “Neon Genesis Evangelion’s” own Hideaki Anno, “Shin Gojira” tells a similar story of a literal slow-moving disaster in the form of titular atomic fire lizard rising from the Pacific Ocean to decimate Japan once again and how the government poorly responds to it.

For most Americans, Godzilla is something of a joke as a movie character.

He’s Japan’s version of King Kong, a great fire-breathing reptile for thousands of random Japanese to scream “AAAAHHH! GODZILLA!!!” at while a man in a rubber suit knocks down model buildings for two hours. For several decades, he was even a bit of a superhero for children; the good monster who fought bad monsters like King Ghidorah, Gigan, and Hedorah.

The newer American remakes by Legendary Studios have not done much to change this perception. In these films, Godzilla is again depicted as a “titan” for the people doing battle with the bad titans set with people in mo-cap suits duking it out in front of greenscreens that create elaborate cities for the monsters to stampede through.

It is just not that deep to most people and who could blame them? Godzilla is cheap popcorn escapism for most audiences and most of his films see him as such.

(“Wait you mean to tell me this isn’t serious theater??”)

But Godzilla has a much darker origin, however. 1954’s original “Gojira” isn’t some cheap monster flick; it’s an allegory for the atomic bomb and the terror it brought upon the people of Japan. At the time of its release the Japanese hadn’t really reckoned with what happened in WWII, it was a source of deep shame and horror and it broke the spirits of many back then. After an atomic bomb test accidentally radiated the crew of a Japanese fishing boat in 1954, director Ishiro Honda became inspired to create the King of the Monsters after Japan’s own government largely mishandled the fallout. The film was a huge hit and Japanese audiences were moved by the dark allegorical nature of the story.

With “Shin Gojira” Anno brings Godzilla back to this grimmer tone. He was inspired by the events of 2014’s Fukushima nuclear plant disaster and how the Japanese government once again failed to act in a major crisis. Through his 2016 film, Anno aimed to depict the slow moving nature of a developing disaster quite literally with the character of Godzilla and how a crisis can only get worse and worse if left largely unchecked by those tasked to protect us.

(Hardly Hideaki Anno’s first forray into movies about crises, of course, but that’ll be for another write-up. Stay tuned...)

Godzilla begins in “Shin Gojira” as a small, destructive, but ultimately killable lifeform as he appears in the waters off Tokyo Bay. His beady, soulless eyes, tadpole like form, oozing putrid toxic blood everywhere through his malformed gills are pretty gross and Anno directly references Fukushima as the beast creates a tidal wave as he makes his way toward land in the opening sequence.

Meanwhile as Godzilla causes horrific damage to the city in this small (comparatively to earlier films) but powerful form, the Japanese Government tries to put an end to it. But as they try to address the escalating nature of the problem, bureaucracy gets in the way at every turn. Through the use of fast cuts and dark humor, Anno creates his own “Dr. Strangelove” set of scenes as Japanese politicians scramble from one board room to another to weigh options in cold math against the very real people who are fleeing for their lives as they debate with one another. Anno, doesn’t go out of his way to depict anyone as explicitly the villain here, but he does make it very apparent that when government officials refuse to accept the reality of a crisis people die. In a scene that is played partially for laughs, that feels all too relevant and frankly on the nose now, the Prime Minister addresses Japan on TV by assuring the people that there is “no way” Godzilla can make landfall and everyone will be safe. Moments later he is interrupted on live TV as Godzilla has in fact made landfall.

(Yea and he’s one ugly motherfucker in this movie too...)

Early in the film though, as Godzilla has done already immense damage in his adolescent form, Japan’s government has a chance to kill the monster once and for all by mobilizing the Japanese Self-Defense Force (JSDF) a move, that if you are not familiar with Japanese politics, is rife with concerning optics. The moment comes where Japan’s government can pull the trigger and kill the threat once and for all but in another, darkly humorous, turn of events decide not to as some nearby citizens who could be caught in the crossfire become a hazard for the JSDF. Godzilla goes back into the sea from there and Japan is left to pick up the pieces.

In the early months of the COVID lockdown, things appeared to slowdown. From about April to June, those states that took the virus seriously at the start saw some plateauing of the daily cases. While hardly a victory, things at least appeared to be going in the right direction. Then inexplicably in July a bunch of states declared premature victory and began reopening back up in certain areas such as gyms, salons, and some restaurants. I wouldn’t say we had the virus on the ropes but we were trending generally in the right direction (though nothing was really being done about loss of employment and cancelling rent and evictions, of course…). So, in a moment when the government could’ve kept trying, mostly at least, to do the right thing they failed to keep going and pull the trigger.

And just like in the movie, COVID (ie: Godzilla) came back stronger and even worse than before.

(Again, just the ugliest motherfucker...)

After the JSDF failed to kill Godzilla in the opening act, the big guy returns later on in the movie having evolved into his more indestructible final form. Where the JSDF’s weapons may have had an effect before they find their tanks, helicopters, and other military hardware have no effect on Godzilla now. It is too late to stop what is now inevitable. Godzilla walks literally through it all, causing waves of destruction with each step and Japan’s government watches in horror as they lament their failure to stop him when they had the chance.

This failure comes to its ultimate head in the final moment of this sequence when Godzilla revs up his dorsal fins and unleashes his horrifying atomic breath. It’s more powerful than anything he has done previously and absolutely wastes Tokyo in a brilliant display of raw destruction that is honestly one of the best most terrifying sequences in Kaiju filmmaking ever.

Godzilla is best used in cinema when he is a titan-sized walking metaphor for the destruction that happens when governments fail their people. Where the recent American Godzilla depicts him as a force of nature, like a walking hurricane, Ishiro Honda and Hideaki Anno see him more as a vengeful God coming to punish the wicked for their sins or, in the case of the government, their incompetence.

If COVID is a metaphor for anything this year, it is a microcosm for a wide range of problems that go unaddressed for too long by our leaders and only given notice when it’s far too late. Climate Change continues to get worse and worse each year as I am quite literally choking on ash as I type this due to yet another wildfire in the California area. The riots that erupted over the summer and continue to go on in response to the gross militaristic, overfunded, and racist structure of law enforcement in this country are the result of decades of not doing the right thing to curb the problem. The reason we are by far the worst equipped first world country to handle this crisis right now is quite literally due to years of gutting our social safety net, slashing our wages, and privatizing our health insurance.

Though there is a wide range of Japanese specific politics in the film, “Shin Gojira” is an unfortunately timeless film for people who have suffered from leaders who fail to act in moments like these. It shows what happens when our government drags its feet on transformative legislation and actual measures that can save lives. It criticizes our leaders for choosing to save themselves in the moment, with performative optics, over helping their own people. It argues that the results of bureaucratic red tape and bad politics will always end in disaster for its citizens. And most relevantly it states that governments have a duty to stop a crisis in its infancy before it’s too late.

“Shin Gojira” is a perfect monster film for the year of COVID and distressingly accurate to the way the US has mishandled this crisis from the beginning. Everyday, more and more people suffer and die because our leaders have failed to act in an unprecedented time, whether it’s the usual suspects who think any government social service is “cOmMuNiSm” or the feckless cowards who twiddle their thumbs and shrug each time a conservative tells them “no.”

We are far past the stage where this can be solved the easy way anymore and though there are still many proven ways to help the common people right now, it unfortunately feels like 2020’s Godzilla cannot be stopped…

Yea, things will totally get better in 2021, guys...

[se-ono-waise-ilia]

Training the Perranth City Guard

Training the Perranth City Guard

Summary: After about year of rebuilding, Perranth starts to recruit and train the City Guard.  Lorcan and Elide are invited to attend their orientation, and Lorcan has some thoughts on the role of the City Guard in Perranth. (Takes places about a year after end of KoA)

Genre: Social Justice, Community, Family, some cute Elorcan fluff at the end.

This story was inspired by current events, which calls to make major change in police training, funding, and more.  This is not a perfect story intended to capture all components of the movement.  It’s more of a nod to some of its important values.

—-

Elide wasn’t impressed with the City Guard orientation meeting, nor was she disappointed.  It all seemed standard procedure - the patrols, schedule, laws that the Guard had to follow, actions by citizens that warranted punitive measures, and such.  Elide understood this organization was necessary to the city, but it left her feeling uncomfortable.

She grew up in a place where total control was enforced by guards.  Obviously not like the guards in her up-and-coming Perranth, but with similar duties.  The Valg guards in Morath had almost the same responsibilities as this City Guard, but Perranth was supposed to be the opposite of Morath: peaceful, free, inclusive, an all-around good place to live.  So why did the duties of the Perranth City Guard remind her so much of the guards of Morath?

As she contemplated her unsettled feelings, she glanced at her husband.  She immediately noticed the subtle tells that he was also in a state of contemplation.  First of all, he was sitting beside her.  Normally, he stood behind her or off to the right - more so a warrior than lord, which was a powerful statement to her colleagues in court.  But sitting beside her, she could tell he was being intentional about his choice. There was a reason he didn’t want to come across as an intimidating warrior.

He was also hunched forward, forearms on his knees, and hands clasped together.  As though he wanted to take action, but was intentionally holding back and strategizing.

But more than his position and body posture, the expression in his eyes struck Elide.  It was the expression Lorcan used when he was contemplating one of his fundamental values. An expression he used to direct at her when he was trying to atone for past actions.

Elide no longer felt unnerved, but intrigued.  She could sense Lorcan was about to do something significant, but she didn’t know what.  She had a feeling she would agree with it and play along.

Lorcan sensed her thoughtful gaze, and made eye contact with her.  He didn’t change his facial expression. Then his eye travelled to her slightly pregnant belly.  

He continued to stare at her as the facilitator of the training continued on.  His name was Captain Chase.  He had a very text-book look and character for the leader of a City Guard: experienced, confident, strategic, no-nonsense, efficient above all else.  Lorcan didn’t seem impressed with him either, as Elide could tell he was lost in thought and barely listening to the man.

Elide tuned back in to the training, “…These patrols will be directed to these parts of the city in particular, so we have a constant presence where crime is most likely to occur,�� Both Elide and Lorcan looked at the map to see where Captain Chase was indicating, and it was the part of Perranth were the impoverished population of new immigrants were struggling to find secure housing.  It was something the council of Perranth had been discussing, but no action had been taken as of yet.

Lorcan’s face shifted to disapproval at Captain Chase’s strategy, and he looked to Elide for permission.  Elide didn’t know what her husband was thinking, but she trusted him to say and do what he felt needed to be done.  She nodded.

“Stop.” Lorcan stated.

Captain Chases stopped mid-sentence, his body frozen.  Although the attendees had been quietly listening and writing notes, Elide could feel the room stop moving and breathing altogether.  The presence her husband had…she couldn’t help but sigh internally.

Lorcan slowly stood up, and walked to the front of the room.  He turned to face the City Guard.  Captain Chase went to stand to the side, understanding that his lord had everyone’s undivided attention.  

Lorcan stood with his arms crossed, and he stared at no one in particular.  Elide could sense he intended to be careful with his words to make a point.  Lorcan did not have the charisma of Queen Aelin for inspiring speeches, but he understood how to make an effective counterargument.

Elide also held her breath, but at last her husband spoke, “You know who I am.  You know my experiences.  So you know I’ve been present in cities…at various stages of…existence.”

The attendees in the room gave a slight nod, while looking intently at her husband.  It went without saying, the stories of when Lorcan was a key part in demolishing some cities.

Lorcan continued, “I’ve see many variations of a City Guard, most of which have similar roles to which Captain Chase was instructing.”

Captain Chase did not respond with words or body language. Elide could tell the Captain was uncertain of what Lorcan was about to say, as was she.

Lorcan paused for another moment, “The Captain said there should be a heavier patrol presence in the part of our city that is struggling the most.  As if it is expected that there will be more crime in that neighborhood.”

The room, if possible, felt even more silent and still.  Captain Chase tensed up slightly at the implied critique.  

“I have a question for you all,” Lorcan nodded to himself, as if he approved of his strategy, “Why is it expected for crime to occur in this neighborhood?”

Nobody answered or raised their hand. 

Elide shook her head and said, “They may not feel safe, and they may not have choices for survival that are law abiding.”  Her answer came from her experience lying her way into a job, and breaking many other laws at a significant moment of her life.  And Lorcan’s life.

Lorcan nodded at his wife, “Other thoughts?” He challenged the crowd. 

Soon, participants began to call out:

“Insecure housing.”

“They are hungry.”

“The don’t have productive ways to spend time, like a job or school.”

There were some more answers, and then Captain Chase spoke, “They feel that their dignity has been taken away from them, due to circumstances out of their control.”

Lorcan stared at the Captain.  The Captain stared back.  Lorcan nodded in approval, and Elide swore she could see the Captain’s body relax ever so subtly.

Lorcan stared back into the crowd, “Do you think extra patrols are going to help these people feel safe and supported?”

There were shakes of heads and murmurings that gave the consensus: no.

“Although City Guard patrols are necessary to an extent, the City Guard should also spend their time supporting our community in a way that truly makes the people feel safe and supported.”

The room paused again, but with awe rather than uncertainty.  Elide beamed at her husband and lord of Perranth.

“What exactly are you suggesting, lord Lochan?” Captain Chase prompted.

Lorcan looked to the table next to time, retrieved paper and a writing utensil, and handed the materials to a random attendee in the front row, “What’s your name?”

“Gal,” the attendee responded.

“Can you record the following?”  Elide again beamed at her husband.  He had been working on asking people to do tasks rather than barking at them.  With lots of reminders from her, she might add.

The man nodded and readied the writing utensil.

Lorcan looked to the crowd, “I ask for you to call out a problem or crime, but then call out a preventative solution that would likely prevent that problem or crime.  For example, if the problem is insecure housing, the preventative solution would be constructing residential buildings.” He nodded to Gal, who wrote it down.

After a moment, people called out:

“People are hungry even though we don’t have a food shortage.  Provide more areas in the city to get food, perhaps at no little or no cost to specific populations.”

“People need a way to earn money and contribute.  Perhaps there could be a resource to help people find jobs in Perranth.”

“Some are traumatized in a variety of ways from the war and even before then.  There should be a place that helps them recover and hopefully heal.”  There were additional sounds of agreement to this point.  Elide would very much like for Perranth to have healers.  Not just to help her figure out her newly healed ankle, but also someone therapeutic to talk to.

“People need may need new skills to find work.  Apprenticeships from current businesses could help with that.”

“Some do not speak the same languages, which can escalate emotions.  Offering translators with common services could decrease frustrating misunderstandings.”

Elide spoke again, “Some people may not have had educational opportunities to learn how to read and write,” her voice trembled in insecurity, and Lorcan looked upon her lovingly.  This look gave her strength, “Perranth not only needs places to learn, but it should be the right for every person in this city to learn at no cost or sacrifice.”

She could feel loving gazes from others, in addition to that of her husband.  Upon taking up the mantle as Lady of Perranth, she tried desperately to hide her illiteracy.  But after a while, it felt like she was deceiving the council and lying to her people.  Her guilt overruled her insecurity.

With no small amount of anxiety, she began to ask people other than Lorcan for help with reading and writing.  She expected humiliation, but instead received unending kindness and support.  Not only were the people of Perranth respectful of her illiteracy, but they were overly eager to take it upon themselves to teach her.  Everywhere she went, and every conversation she had; her citizens would point out letters, numbers, and words to her and explain their meaning.

It became a bonding experience for her and her people.  The love she had felt since being open about her insecurity was incompatible to anything she had every felt.  It was such a different kind of love than the romance she shared with her husband, and she treasured the feeling.  She still had a lot to learn, but she was now able to read very simple texts and write basic prose.

So when she felt the room’s eyes on her, she felt nothing but support and admiration.  Then she winked at Lorcan, and he smiled at her.  

She didn’t know if it was her earnest participation, Lorcan’s rare display of endearing facial expressions, or the momentum gained from the powerful conversation, but answers from many more attendees come flooding out into the conversation.

An attendee next to Gal got him more paper, and many others in the room were also processing the conversation by writing down thoughts. Elide’s eyes lined with silver at the thought of her City Guard being more than just enforcers of law and justice.  

After about 15 minutes of whole group conversation and writing, Captain Chase interrupted, “Forgive me lord and lady,” the room shifted their attention on the Captain, “I recognize the value of the City Guard contributing the the welfare of the community, but these ideas seem more like philanthropic work.  Isn’t this the work of others, not the City Guard?”

Lorcan stared at the Captain, and this time the Captain showed difficulty in staring back, and eventually averted his eyes.  Elide could tell the Captain was experiencing internal conflict.  He wasn’t opposed to the community work, but Elide could tell he was also set in his traditional mindset of the responsibilities of a City Guard.

Elide understood this was her moment to lead.  She stood, and walked to stand beside her husband.  She could feel the room straightening up, even Lorcan adjusted his posture.  She first looked to the Captain, “Yes, this work is not the sole responsibility of the City Guard.  And the traditional work of the City Guard will still be respected and done,” she paused, “but on a much smaller scale.”

She then looked to the attendees in the room, “Lord Lochan and I desire the City Guard to have a presence of community support, more than a presence of law and order.

This conversation is only the beginning.  Gal, could you please recruit someone sitting near you to help write a copy of everything you just recorded?” Gal nodded, “I will bring this copy to the council.  And we will get to work on organizing departments to focus on these issues and solutions if they don’t already exist.  The expectation is that the City Guard will use their hours of work to contribute to these causes however appropriate: manual labor, administrative labor, community outreach, and such.”

The Captain boldly countered, “Forgive me my lady, but won’t that send a message to the people that the City Guard is…” he searched for the word, but Elide could tell he was trying not to say something controversial.  

She understood his intention, and silenced him with a hand, “Yes, this City Guard will not be like those of other cities.  It will not have the tone of intimidation and ultimate authority.”

An attendee stood up.  He was almost the size of Lorcan, and almost matched his intimidating presence. Elide had not observed him participating in the conversation until this point, “But if people do not feel the intimidation and authority of those in charge, why would they obey the laws?” Elide noticed this question was directed at Lorcan, not her.  She huffed internally.

She analyzed the man for a moment, and saw someone who had used fear as a tool of control.  Elide looked to her husband.

For a moment, the man and Lorcan were having a stand off in eye contact, “What’s your name?”

“Key,” he responded.  Key was looking to Lorcan for agreement, but it was clear Lorcan was using this moment as a time to think about how to spin the question.

At last, “Everyone stand up.”  Everyone did right away.  

Lorcan looked towards Elide, “My lady,” he offered his hand.  She took it.  He led to to one side of the room.  Then he let go, and positioned himself on the other side of the room, near the Captain.  Everyone remained standing.

“If you have chosen to be a peaceful and law-abiding citizen of Perranth because you know how dangerous I am, and you fear me; stand on this side of the room.” Nobody dared to move, not even Key.

“But…if you have chose to be a peaceful and law-abiding citizen of Perranth because you love and cherish your home and community, stand on the side of the room with lady Lochan.”

After a moment, the people began to move.  Elide observed the vast majority, including all of the many women, move to stand near her.  Key, and six other men who looked just as menacing and eager for a fight, moved to stand near Lorcan.  Elide looked to the Captain, and the Captain was the final person to choose his place.  

He crossed the room to stand next to Elide.

There was a moment of quiet as she felt the attendees of the room consider why they chose their place.  Elide felt an incredible sense of purpose and pride at the fact that most attendees essentially agreed to the point that they were motivated by love, not fear.

She moved to the center of the room and said, “We want the citizens of Perranth to love and cherish the City Guard as you love and cherish them.  But to do that, you need to earn their love through being of service by helping the city in the ways that matter most.”

Lorcan moved to stand next to her, “Your original squad assignments are now invalid.  At our next meeting, we will have sign up sheets for all of the causes we listed here today, and maybe some more that we have yet to think of.  Your new squad will be the people who sign up for the same cause as you.”

Before the Captain could speak up again, Lorcan continued, “We will still have a number of squads participate in traditional duties of the City Guard.  They will alternate every week, such that every squad is mostly doing community work, and sometimes doing traditional work.”

The he stared at the Captain, “And this traditional City Guard work will not explicitly focus on specific populations.  They will be fair and just in how they patrol and manage challenging situations.  I will personally observe and hold our guards accountable.” Her husband looked more serious than usual at that statement, and the Captain nodded with agreement and respect.

Elide kept the conversation on track, “Captain Chase will be in charge of the functions of traditional City Guard duties under the supervision of lord Lochan.  We will need someone in charge of City Guard community support project management, who will attend council meetings and be under my supervision.

Does anyone here have experience managing large groups of people and multiple projects?”

A woman came forward, “My name is Dominique.  I used to be in charge of a school in Perranth before… I have significant experience connecting with children, leading teachers, and managing school logistics simultaneously.”

Elide nodded with approval at the woman, “Would anyone else like to submit their candidacy?”  No one did, “Very well.  Captain Dominique, you will be in charge of the document Gal has written, meet with me, and attend tomorrow’s council meeting with me.”

Elide and Dominique smiled at each other.

Dominique nodded and went to Gal.  Elide looked to Lorcan.  Her husband addressed the room, “That is all for today.  You will be contacted when Captain Dominique announces the second orientation.”

He then turned to the group of men who stood on his side of the room, “I see you men, and I understand you.  But if you’re looking for a fight, you are not to be a part of the City Guard,” the men looked outraged, and Lorcan continued, “instead, you will be the guards of our personal estate, and get to fight me on a regular basis as sparring partners.”

The outrage on their faces simmered down as they contemplated this new offer.  Lorcan elaborated, “Your duties will include full time grounds patrol, and discretely guarding lady Lochan.  When our child is born, you will extend your duties to support the well being of our heir.

I am offering you the job you want, but the only violence you will receive is training with me,” he smiled grimly at them, and Elide noticed them begin to grin back, “Otherwise, you will act essentially as peaceful shields to our home and family.  What say you?”

The looked at each other, then took a knee.  Key stated, “We serve our lord and lady.”  The others repeated Key.  

Elide wouldn’t have known what to do with such characters longing for violence in a time for peace.  Lorcan apparently thought giving the offer the fight him was a solution…and perhaps Lorcan needed a violent outlet as much as these men did.

Lorcan looked satisfied, “Report to me at dawn tomorrow on the sparring field outside my estate.”

Elide could sense a hint of excitement from her husband.  Lorcan couldn’t really be himself around anyone but Elide, as he didn’t want Perranth to fear him.  Even though Lorcan clearly didn’t want these aggressive men patrolling a peaceful Perranth, she thought it was possible that Lorcan wanted some like-minded warriors to give him a sense of companionship.  Lorcan could likely be his true warrior-self around Key and these men.  Elide wondered what nickname Aelin would name this group…

He then looked to the City Guard, “If you notice others will an unquenchable thirst for violence, send them my way immediately.  Otherwise, dismissed.”

Every attendee showed some sign of respect to them with a bow, nod of the head, wave, some even asked for a handshake.  Including Captain Chase.  Gal gave a copy of the records to Captain Dominique, and the other to Elide.  

Lorcan pressed a gentle hand again Elide’s back, and she accepted his escort to their next meeting.  As they walked, she spoke, “Well that was an unexpected but welcome turn of events.”

Lorcan gave her a proud look, “Our home has a unique opportunity to start fresh in times of peace and plenty.”

She stopped to look at him knowingly, “And your intention was purely for the good of society?”

He stopped with her, and let his gaze wander to her belly.  With one hand, he caressed the place where their child grew, and he used his other hand to gently press his wife against him.  He looked down into her eyes, and she saw the tiniest glimmer of guilt.

“I realize that in the past, prioritizing the one I love without thought for others had devastating consequences,” he took a breath, “and I regret the narrow focus I once had.”

She put her hands on his face and lovingly caressed his cheeks with her thumbs.  He continued, “This is the time for me to love more than just you.  To love our city, so it will thrive.  And be a safe and happy place for our child to grow up, knowing that love.”

He leaned down as she pressed up, and they met in the middle for a chaste kiss.

When she pulled away, she chuckled with the thought of a silly but possibly wonderful idea.

“What is it?” Her husband questioned her as they once again began walking, his hand still on her back.

“Well, arts programming is a service that will provide jobs and entertainment, which will help sustain peace and community.”

He looked at her to continue.

She smiled up at him, “Perhaps you could train your new lackeys in flaming sword throwing, and your could start a Perranth circus,” she couldn’t help but burst out in giggles.

Lorcan’s eyes lit up and he chuckled.  They rounded a corner and he pressed Elide into a wall as she continued to giggle, “And will there be a beautiful oracle with red lips oggling me in the crowd?”

Elide quelled her giggles, “Always.”

The kissing to follow was anything but chaste.

[where-theres-smoak-2]

Future Episode Titles

 So I have just discovered that the episode titles for 5x10 through 5x13 have been released so I figured and see if there are any clues as to what might happen in those episodes. All of these titles are in reference to various movies so be warned there are spoilers for all the movies the titles have. So if you see the name of movie and don’t want to be spoiled stop reading. 

With 5x10 we’ve got a bit of an advantage as we also have the synopsis for that one. But the title is ‘The Pincushion Man’ the title is a reference to a 1935 animated short film. It is also known as ‘Balloon Land’. The story is set in a land where everyone and everything is made of balloons. Two young balloon children are given the warning to beware the Pincushion Man who lives in the forest. The Boy and Girl don’t heed the warning and travel into the woods where they end up leading the Pincushion man back to Balloon Land. He pops a load of the residents before he is finally brought down by the army. So I actually have alot of theories around this one. Obviously in Riverdale I think the Pincushion man is going to represent a serial killer, in the cartoon when he pops the residents he essentially kills them. But who in the episode could be the Pincushion Man. I mean we have a couple of serial killers at the moment. There’s the Truck Killer, TBK and even potentially The Mothman, though we don’t know for sure if they are killing people. So which one could be presented as the Pincushion Man. Well I don’t think its any of them or rather it could be all of them. The Pincushion Man could be more of the idea of a s serial killer terrorizing a town and so could be represented by a number of different characters/ killers. I actually think it could also be in reference to either Chic or Charles or both of them. The synopsis says that Betty and Alice get unexpected visitors and my theory is that this is Charles and Chic. I also think there are clues in that short film that support this theory though obviously like with all the titles that Riverdale episodes share with films I don’t think they will follow the plot exactly but there might some common themes or symbolism.

 Like I said the Pincushion Man is lead to the town by a young boy and girl. In the episode 9 synopsis it says Betty has to make a difficult decision, which if you read my previous post I said that I thought that she would find out that Charles worked on cases relating to the the Truck Killer and is trying to decide on whether to reach out to Charles. It’s also worth noting that in this episode we know from released stills that Betty and Jughead will be interacting and maybe even investigating together. So as Charles is brother to them both Jughead might also be involved in reaching out to Charles. In this scenario Betty and Jughead would be the boy and girl that leads the killer to town whilst trying to escape. Also the title of episode 9 is Destroyer. There is a 2018 film of the same name. This film is about a detective who ends up investigating a case from their past and a criminal that re-emerges after 16 years. Again this could support my theory of Charles’ old cases being reopened as the killer has reappeared. Also in the film the law enforcement officers (a LAPD officer and an FBI agent who are partners working undercover) investigating the crime fall in love and decide to legitimately join in on the crime. Again this to me seems really similar to Charles and Chic with Charles being an FBI agent who becomes a criminal. 

Going back to the 1935 short film, another reason why I think the Pincushion Man might be in reference to Charles is because in the short film the Pincushion Man gains entry through the gate and into the town through hypnosis. He hypnotises the guard at the gate to gain entry. We know that Charles has an interest/ skills in hypnosis.  

But there is something else that is interesting. In the short film the Pincushion Man is finally stopped by the army. The synopsis talked about how Archie’s former general shows up in town with some surprising news. Now I do have a theory that its to do with the Military Base outside of Riverdale but now I have another theory on what it could be. There is a department called the United States Army Criminal Investigation Command aka CID. Now I am not going to pretend I’m an expert on this department but I did some research and what they basically do is investigate felony crimes where the Army is or may be a party of interest. So maybe the surprising news is that the Army or someone in the army is being investigated by the CID in Riverdale. We know that both Archie and Betty were doing stunts for episode 10 and I’m pretty sure this might be the episode Archie is wearing a Kevlar vest so we know its likely to be a pretty action packed episode. So maybe the FBI and CID investigate together. As to who they might be investigating I think it could be one of two. Either Eric Jackson really goes off the deep end and does some crazy stuff. Or it could still be to do with the military testing theory that Pop’s had.  

Episode 5x11 is titled Strange Bedfellows. This again could reference a 1965 film of the same name. In this one a couple impulsively get married then when they realise they have nothing in common and always fight they separate. Seven years later they reunite to finalise their divorce and end up rekindling things. The next day they are right back to fighting and so decide to carry on with the divorce. But then the male protagonist finds out his promotion relies on him being married. So he woos her back. Meanwhile the female protagonist is constantly getting involved in public protests. To me this just screams Chad and Veronica. So here’s what I think is going to happen. I think Chad and Veronica will have a big bust up in the next episode 5x08. They will end up separating at the end of the episode. Then Chad will reappear in episode 11 to finalize their divorce. We know that in those episodes in between that Veronica will likely continue fighting against her father and working to save Riverdale. I think Hiram will come up with a scheme and will offer Chad this amazing job but will tell him he can only have it if he stays married to Veronica and helps distract her/ keep her away from trying to save Riverdale.   

Episode 5x12 is titled Citizen Lodge. This one is actually really interesting to me. It is obviously to do with the 1941 film Citizen Kane. What’s interesting to me is the film has this theme about trying to solve a mystery/ find the truth but failing. The film is about a man named Charles Foster Kane who on his death bed whispers the words Rosebud before dying. A man is tasked with finding out what the significance of the word Rosebud was. He is never able to solve the mystery and resigns himself to the fact that they will never know the truth. I think this part will be to do with Jughead and his search for the Aliens/ Mothmen. It is worth noting that whilst in Citizen Kane the characters never find out the true meaning of Rosebud the audience does. I think this will be what happens in this episode we will find out something really important about the Mothmen but Jughead and the other characters won’t and maybe they will temporarily give up on finding the truth. It’s the idea that not all things can be explained. 

The other thing that’s interesting about this film is that it is also about the rise and fall of a newspaper magnate. How he rises up from nothing to become one of the most powerful men in his business before then falling back into obscurity. I actually think this will be in reference to Hiram. I have heard some rumours, though to be clear I don’t think this is confirmed, that episode 12 will be a Hiram flashback episode. So I think we will see how Hiram came to be as powerful as he is. But I also think this will be the episode where it either all falls apart for Hiram or at the very least begins to. But I do think Hiram is going to take a drastic hit in this episode. 

So lastly episode 5x13 is titled Reservoir Dogs. Again another film this time from 1992. This one is about a jewellery heist that goes badly wrong and leads those involved to think that one of them is a police informant. Here’s my theories about this one and they could be seen as a little out there but it makes sense to me. We know that Veronica is opening a jewellery store by episode 13 she should have that up and running. I reckon if I am right about Hiram taking a big hit in episode 12 then Veronica probably played a part in that. Hiram is known to take out revenge on her when she gets in the way of his plans like when he had her liquor license cancelled and smashed all the rum she had. So I think he will organise a raid on her jewellery store and this will go badly wrong. Some or more characters might get hurt. As to who might be the part of the police informant well in the film the informant gained the trust of the gang and become friends with one of them, they become really close and have a father/son like relationship and when that friend finds out he is a cop he is naturally devastated at the betrayal of his friend. I actually think Reggie is a double agent and will betray Hiram to protect his friends. Also I think Ted confirmed that episode 12 covers some of Reggie’s backstory so that would line up with this episode if in the one before we get to see how Reggie came to work with Hiram. I mean to me they seem kind of close. Reggie is clearly someone that Hiram trusts and he listens to his advice which we saw last episode when Reggie convinced him to delay the turnpike and let the Coopers search the swamp. To me it would make sense for them to show us how Hiram and Reggie developed a bond in episode 12 and then for us to see it be betrayed in episode 13. In the film major spoiler alert here but I think all but one of the thieves is killed. I am hoping that the story doesn’t go exactly the same way though because if it does it could lead to a situation where Hiram kills Reggie. In all honesty I don’t think they are going to kill a whole bunch of characters like they do in Reservoir Dogs but I could see either Hiram or Reggie dying maybe even both if Riverdale are feeling really ballsy. Personally I really hope that Reggie doesn’t die because I love his character as for Hiram I don’t know if Riverdale will kill him off but I also feel like there’s not much else they can do with his character. I mean we’ve already seen him in jail and we’ve already seen him as a villain about million times by now giving him an emotional death where he’s betrayed by someone he trusts could be a good way of bringing his story to a close. 

 As for who could be representing Mr Pink the only one to survive in the movie and who tries to sneak off with the jewellery I think this could potentially be Chad. In the film its a bit ambiguous what happens to Mr Pink but if you listen closing in the ending scene you can hear him struggling to start the car, and then police yelling at him. It seems to me like he gets arrested but does survive. I think Chad will attempt to get away with the jewellery but will ultimately get caught and sent to jail.

So yeah those are some theories I have based pretty much purely on the titles of the next few episodes and the plots of various movies.                        

[wildeoaths]

LGBTQ Book & Film Recommendations

Hello! As someone who tries to read widely, it can sometimes be frustrating to find good (well-written, well-made) LGBTQ+ works of literature and film, and mainstream recommendations only go so far. This is my shortlist. 

Some caveats: 1) I have only watched/seen some of these, though they have all been well-received.

2) The literature list is primarily focused on adult literary and genre fiction, since that is what I mostly read, and I feel like it’s easier to find queer YA fiction. Cece over at ProblemsOfABookNerd (YT) covers a lot of newer releases and has a YA focus, so you can check her out for more recommendations.

3) There are a ton of good films and good books that either reference or discuss queer theory, LGBTQ history and literary theory. These tend to be more esoteric and academic, and I’m not too familiar with queer theory, so they’ve largely been left off the list. I do agree that they’re important, and reading into LGBTQ-coding is a major practice, but they’re less accessible and I don’t want to make the list too intimidating.

4) I linked to Goodreads and Letterboxd because that’s what I use and I happen to really enjoy the reviews.

Any works that are bolded are popular, or they’re acclaimed and I think they deserve some attention. I’ve done my best to flag potential objections and triggers, but you should definitely do a search of the reviews. DoesTheDogDie is also a good resource. Not all of these will be suitable for younger teenagers; please use your common sense and judgement.

Please feel free to chime in in the replies (not the reblogs) with your recommendations, and I’ll eventually do a reblog with the additions!

BOOKS

> YOUNG ADULT

Don’t @ me asking why your favourite YA novel isn’t on this list. These just happen to be the picks I felt might also appeal to older teens/twentysomethings.

Aristotle and Dante Discover the Secrets of the Universe

Clap When You Land by Elizabeth Acevedo - poetry.

Felix Ever After by Kacen Callender - trans male teen protagonist. 

Red, White & Royal Blue

Simon vs the Homo Sapiens Agenda

The Gentleman’s Guide To Vice And Virtue

The Raven Boys (and Raven Cycle)

> LITERATURE: GENERAL

This list does skew M/M; more NB, trans and WLW recommendations are welcomed!

A Little Life by Hanya Yanagihara. One of the most acclaimed contemporary LGBTQ novels and you’ve probably heard of it. Will probably make you cry.

A Single Man by Christopher Isherwood. Portrait of a middle-aged gay man.

Brideshead Revisited by Evelyn Waugh. M/M affair, British student high society; definitely nostalgic for the aristocracy so be aware of the context.

Call Me By Your Name by André Aciman. It’s somewhat controversial, it’s gay, everyone knows the film at least.

Cronus’ Children / Le Jardin d'Acclimation by Yves Navarre. Winner of the Goncourt prize.

Dancer From The Dance by Andrew Holleran. A young man in the 1970s NYC gay scene. Warning for drugs and sexual references.

Dorian, An Imitation by Will Self. Adaptation of Orscar Wilde’s novel. Warning for sexual content.

Fried Green Tomatoes at the Whistle Stop Cafe by Fannie Flagg. Two wlw in the 1980s. Also made into a film; see below.

Gemini by Michel Tournier. The link will tell you more; seems like a very complex read. TW for troubling twin dynamics.

Giovanni’s Room by James Baldwin. Another iconic M/M work.

Lost Boi by Sassafras Lowrey. A queer punk reimagining of Peter Pan. Probably one of the more accessible works on this list!

Lie With Me by Philippe Besson. Two teenage boys in 1980s France.

Maurice by E. M. Forster. Landmark work written in 1914. Also made into a film; see below.

Middlesex by Jeffrey Eugenides. An expansive (and long) novel about the story of Cal, a hermaphrodite, by the author of The Virgin Suicides.

Orlando by Virginia Woolf. Plays with gender, time and space. Virginia Woolf’s ode to her lover Vita Sackville-West. What more do you want? (also a great film; see below).

Oscar Wilde’s works - The Picture of Dorian Gray would be the place to start. Another member of the classical literary canon.

Saga, vol.1 by Brian K. Vaughn and Fiona Staples. Graphic novel; warning for sexual content.

Stone Butch Blues by Leslie Feinburg. An acclaimed work looking at working-class lesbian life and gender identity in pre-Stonewall America.

The Holy Innocents by Gilbert Adair. The basis for Bertolucci’s The Dreamers (2003). I am hesitant to recommend this because I have not read this, though I have watched the film; the M/M dynamic and LGBTQ themes do not seem to be the primary focus. Warning for sexual content and incestuous dynamics between the twins.

The Animals At Lockwood Manor by Jane Healey. Plays with gothic elements, set during WW2, F/F elements.

The Hours by Michael Cunningham. References Woolf’s Mrs Dalloway. Probably a good idea to read Virginia Woolf first.

The Immoralist by André Gide. Translated from French.

The Song of Achilles by Madeline MIller. Drawing from the Iliad, focusing on Achilles and Patroclus. Contemporary fantasy that would be a good pick for younger readers.

The Swimming Pool Library by Alan Hollinghurst. Gay life pre-AIDS crisis. Apparently contains a fair amount of sexual content.

What Belongs To You by Garth Greenwell. A gay man’s coming of age in the American South.

> LITERATURE: WORLD LITERATURE

American and Western experiences are more prominent in LGBTQ works, just due to the way history and the community have developed, and the difficulties of translation. These are English and translated works that specifically foreground the experiences of non-White people living in (often) non-Western societies. I’m not white or American myself and recommendations in this area are especially welcomed.

All Boys Aren’t Blue by George M. Johnson. The memoirs and essays of a queer black activist, exploring themes of black LGBTQ experiences and masculinity.

A People’s History of Heaven by Mathangi Subramanian. Female communities and queer female characters in a Bangalore slum. A very new release but already very well received.

Confessions of a Mask by Yukio Mishima. Coming-of-age in post-WW1 Japan. This one’s interesting, because it’s definitely at least somewhat autobiographical. Mishima can be a tough writer, and you should definitely look into his personality and his life when reading his work.

Disoriental by Négar Djavadi. A family saga told against the backdrop of Iranian history by a queer Iranian woman. Would recommend going into this knowing at least some of the political and historical context.

How We Fight For Our Lives by Saeed Jones. A coming-of-age story and memoir from a gay, black man in the American South.

In The Dream House by Carmen Maria Machado. Another acclaimed contemporary work about the dynamics of abuse in LGBTQ relationships. Memoir.

Girl, Woman, Other by Bernardine Evaristo. Contemporary black British experience, told from the perspectives of 12 diverse narrators.

> POETRY

Crush by Richard Siken. Tumblr loves Richard Siken, worth a read.

Diving Into The Wreck by Adrienne Rich.

He’s So Masc by Chris Tse.

If Not, Winter: Fragments of Sappho, trans. Anne Carson. The best presentation of Sappho we’re likely to get.

Lord Byron’s works - Selected Poems may be a good starting point. One of the Romantics and part of the classical literary canon.

Les Fleurs du Mal by Charles Baudelaire. The explicitly lesbian poems are apparently in the les fleurs du mal section.

> MEMOIR & NONFICTION

And The Band Played On: Politics, People and the AIDS Epidemic by Randy Shilts. An expansive, comprehensive history and exposure of the failures of media and the Reagan administration, written by an investigative journalist. Will probably make you rightfully angry.

How to Survive A Plague: The Inside Story of How Citizens and Science Tamed AIDS by David France. A reminder of the power of community and everyday activism, written by a gay reporter living in NYC during the epidemic.

Indecent Advances: The Hidden History of Murder and Masculinity Before Stonewall by James Polchin. True crime fans, this one’s for you. Sociocultural history constructed from readings of the news and media.

Queer: A Graphic History by Meg-John Barker. It’s illustrated, it’s written by an academic, it’s an easier introduction to queer theory. I still need to pick up a copy, but it seems like a great jumping-off point with an overview of the academic context.

Real Queer America by Samantha Allen. The stories of LGBTQ people and LGBTQ narratives in the conservative parts of America. A very well received contemporary read.

The Argonauts by Maggie Nelson. Gender, pregnancy and queer partnership. I’m not familiar with this but it is quite popular.

When Brooklyn Was Queer by Hugh Ryan. LGBTQ history of Brooklyn from the nineteenth century to pre-Stonewall.

FILMS

With films it’s difficult because characters are often queercoded and we’re only now seeing films with better rep. This is a shortlist of better-rated films with fairly explicit LGBTQ coding, LGBTQ characters, or made by LGBTQ persons. Bolded films are ones that I think are likely to be more accessible or with wider appeal.

A Single Man (2009) - Colin Firth plays a middle-aged widower.

Blue Is The Warmest Colour (2013) - A controversial one. Sexual content.

Booksmart (2019) - A pretty well made film about female friendship and being an LGBTQ teen.

Boy Erased (2018) - Warning for conversion therapy.

BPM (Beats Per Minute) (2017) - Young AIDS activists in France.

Brokeback Mountain (2005) - Cowboy gays. This film is pretty famous, do you need more summary? Might make a good triple bill with Idaho and God’s Own Country.

Cabaret (1972) - Liza Minelli. Obvious plug to also look into Vincent Minelli.

Calamity Jane (1953) - There’s a lot that could be said about queer coding in Hollywood golden era studio films, but this is apparently a fun wlw-cowboy westerns-vibes watch. Read the reviews on this one!

Call Me By Your Name (2017) - Please don't debate this film in the notes.

Caravaggio (1986) - Sean Bean and Tilda Swinton are in it. Rather explicit.

Carol (2015) - Cate Blanchett and Rooney Mara are lesbians in 1950s America.

Clouds of Sils Maria (2014) - Hard to summarise, but one review calls it “lesbian birdman” and it has both Juliette Binoche and Kristen Stewart in it, so consider watching it.

Colette (2018) - About the bi/queer female writer Colette during the belle epoque era. This had Keira Knightley so by all rights Tumblr should love it.

Fried Green Tomatoes (1991) - Lesbian love in 1920s/80s? America.

God’s Own Country (2017) - Gay and British.

Happy Together (1997) - By Wong Kar Wai. No further explanation needed.

Heartbeats (2010) - Bi comedy.

Heartstone (2016) - It’s a story about rural Icelandic teenagers.

Henry Gamble’s Birthday Party (2015) -  Queer teens and religious themes.

Je, Tu, Il, Elle (1974) - Early Chantal Akerman. Warning for sexual scenes.

Kill Your Darlings (2013) - Ginsberg, Kerouac and the Beat poets.

Love, Simon (2018)

Lovesong (2016) - Lesbian and very soft. Korean-American characters.

Love Songs (2007) - French trio relationship. Louis Garrel continues to give off non-straight vibes.

Mädchen In Uniform (1931) - One of the earliest narrative films to explicitly portray homosexuality. A piece of LGBTQ cinematic history.

Maurice (1987) - Adaptation of the novel.

Midnight Cowboy (1969) - Heavy gay coding.

Milk (2008) - Biopic of Harvey Milk, openly gay politician. By the same director who made My Own Private Idaho.

Moonlight (2016) - It won the awards for a reason.

My Own Private Idaho (1991) - Another iconic LGBTQ film. River Phoenix.

Mysterious Skin (2004) - Go into this film aware, please. Young actors, themes of prostitution, child ab*se, r***, and a lot of trauma.

Orlando (1992) - An excellent adaptation of Virginia Woolf’s novel, and in my opinion far more accessible. Watch it for the queer sensibilities and fantastic period pieces.

Pariah (2011) - Excellent coming-of-age film about a black lesbian girl in Brooklyn.

Paris is Burning (1990) - LANDMARK DOCUMENTARY piece of LGBTQ history, documenting the African-American and Latine drag and ballroom roots of the NYC queer community.

Persona (1966) - It’s an Ingmar Bergman film so I would recommend knowing what you’re about to get into, but also I can’t describe it because it’s an Ingmar Bergman film.

Picnic At Hanging Rock (1975) - Cult classic queercoded boarding school girls.

Portrait of a Lady on Fire (2019) - By Celine Sciamma, who’s rapidly establishing herself in the mainstream as a LGBTQ film director. This is a wlw relationship and the queer themes are reflected in the cinematic techniques used. A crowd pleaser.

Pride (2014) - Pride parades with a British sensibility.

Rebel Without A Cause (1955) - Crowd-pleaser with bi coding and James Dean. The OG version of “you’re tearing me apart!”.

Rocketman (2019) - It’s Elton John.

Rent (2005) - Adaptation of the stage musical. Not the best film from a technical standpoint. I recommend the professionally recorded 2008 closing night performance instead.

Rope (1948) - Hitchcock film.

Sorry Angel (2018) - Loving portraits of gay French men.

Talk To Her (2002) - By Spanish auteur Pedro Almodóvar.

Tangerine (2015) - About trans sex workers. The actors apparently had a lot of input in the film, which was somehow shot on an iPhone by the same guy who went on to do The Florida Project. 

The Duke of Burgundy (2014) - Lesbians in an S&M relationship that’s going stale, sexual content obviously.

The Gay Deceivers (1969) - The reviews are better than me explaining.

The Handmaiden (2016) - Park Chan-wook makes a film about Korean lesbians and is criminally snubbed at the Oscars. Warning for sexual themes and kink.

The Favourite (2018) - Period movie, and lesbian.

Thelma And Louise (1991) - An iconic part of LGBTQ cinematic history. That is all.

The Celluloid Closet (1995) - A look into LGBTQ cinematic history, and the historical contexts we operated in when we’ve snuck our narratives into film.

The Miseducation of Cameron Post (2018) - Adaptation of the YA novel.

The Neon Demon (2016) - Apparently based on Elizabeth Bathory, the blood-drinking countess. Very polarising film and rated R.

The Perks of Being A Wallflower (2012) - Book adaptation. It has Ezra Miller in it I guess.

The Rocky Horror Picture Show (1975) - No explanation needed, queer and transgressive vibes all the way.

They (2017) - Gender identity, teenagers.

Those People (2015) - They’re gay and they’re artists in New York.

Tomboy (2011) - One of the few films I’ve seen dealing with gender identity in children (10 y/o). Celine Sciamma developing her directorial voice.

Tropical Malady (2004) - By Thai auteur Apichatpong Weerasethakul. His is a very particular style so don’t sweat it if you don’t enjoy it.

Vita and Virginia (2018) - Virginia Woolf and Vita Sackville-West biopic

Water Lilies (2007) - Celine Sciamma again! Teenage lesbian coming-of-age. 

When Marnie Was There (2014) - A Studio Ghibli film exploring youth, gender and sexuality.

Weekend (2011) - An indie film about young gay love.

Wilde (1997) - It’s a film about Oscar Wilde.

XXY (2007) - About an intersex teenager. Reviews on this are mixed.

Y Tu Mama Tambien (2001) - Wonder what Diego Luna was doing before Rogue One? This is one of the things. Warning for sexual content.

[zampanobra]

An Elegy For Cyberpunk

The genre isn't gone, but the silver lining sure is.

William Gibson's Neuromancer is one of those books that I can't remember ever not having read. But I do remember that it wasn't long after I read it that I was introduced to Shadowrun, which quickly supplanted D&D as my go-to RPG. I'm not sure how well I understood what was going on in the plot, and was probably too young to understand a lot of what was going on. (Later on, when I started to understand self-loathing, it made a lot more sense.)

Even then, I loved the world, the technology, and the aesthetic. Gibson is fantastic at showing an entire scene through a couple of hints. He doesn't lean into a lot of what we've come to think of as "cyberpunk" aesthetic, and I prefer his much more understated settings more than a lot of his more over-the-top progeny.

Aside from how it looks, though, a common trope is its focus on people on the fringes of society--the "low life" going along with the "high tech." It's not always criminals, although these lines get a tad blurry due to the increasing corporate dominance that is another common trope of the setting. This is even more the case in the Shadowrun RPG, where your characters ("runners") are mercenaries for hire by all the corporations vying for an edge, where law enforcement has itself been privatized, and where governments' roles in their citizens' daily lives are steadily eroding. (Although a dragon is elected president of one of the major North American countries, so there is that.)

Those familiar with this setting and the tropes associated with it may have raised an eyebrow when I said that there was a silver lining associated with cyberpunk. I'd even venture to say there's an actual optimism in many of these stories.

The Cyber Trickles Downhill

There's a public intellectual of sorts named Eliezer Yudkowsky who started a ~~cult~~ website called LessWrong, and who talks a lot about technology, science, and what-not. He has various "laws" attributed to him, one of which is that "Every eighteen months, the minimum IQ necessary to destroy the world drops by one point." The idea is that, over time, increasingly powerful technology will be in the hands of everyday people. It's kind of like the cliché about how we all walk around with smartphones that are orders of magnitude more powerful and capable than the computers used to send people to the Moon.

Unfortunately, this is not how it generally works out. When better computers and connectivity end up in people's hands, so does a great deal of capture: DRM, surveillance (both corporate and governmental), monopolization, and more recently the move to software-as-a-service (where you have to pay a subscription to keep using something on your personal devices). You can get around much of these, but only but devoting significant time and effort to doing so, and you may often have to do without some aspects of those services. It's rarely going to be as convenient as the more intrusive version, and in some cases you may be outright prevented from communicating with people without using it. And this is without getting into situations where your information is turned over to third parties without your even having an option. In my own life, two of our doctors' offices use third-party portals that include some aspect of record keeping, schools and daycare facilities use them, and I'm of course subject to any of the national things like credit reporting agencies.

Meanwhile, things like artificial limbs and the like have generally made their greatest advances in times of war. Prosthetics in at least some form go back to Ancient Egypt, but a formal industry focused on their production would not come into being until far later. In the United States, it was the Civil War that would drastically increase demand, with thousands of amputees surviving the war and seeking prosthetic limbs: one study estimated that 70,000 men lost limbs during the war. Part of this was the development of the Minié ball, a more modern bullet that caused more irregular wounds to flesh and was heavy enough to shatter bone. Medical science being what it was, doctors generally decided that amputation was a better approach than trying to piece the patient's body back together. After the war, the federal government created the means for the prosthetic boom by agreeing to provide prosthetics for any veteran who needed them.

One veteran, James Hanger (who had himself lost most of a leg) was dissatisfied with the available options, and so developed an artificial leg that hinged and was shaped more like a human leg. He went on to establish the American Artificial Limb Company after the war (which still exists as Hanger, Inc.). Mass production of artificial limbs wouldn't come about for another 60 years or so. Nonetheless, this next development was again spawned by the same combination of factors: a massive conflict leaving thousands upon thousands of amputees (World War I in this case) combined with the federal government providing the money. (War is, indeed, a racket.)

Little seems to have changed into the present, when it's now the perpetual wars in Iraq and Afghanistan, combined with military-oriented welfare programs being the only ones not under constant attack by austerity.

So it is that cyberpunk's dream of widespread limb replacements seems unlikely without coming on the heels of years of additional thousands of traumatic amputees and billions of dollars in subsidies. Under our current system, after all, there is no incentive to continue improvements to artificial limbs without government footing the bill, and the government in turn seems largely unwilling to pay attention to the needs of its citizens that don't have any connection to the military.

The other technologies that epitomize the cyberpunk genre are equally captured. All the improvements to computer technology in the world don't help without the infrastructure to connect them to each other, and service providers have made sure that they can maintain their monopolies (the lucky few have two options). So it is that we get things like data caps, which Comcast introduced for its customers just a few days ago as of this writing, during a time of pandemic when more and more people are reliant on broadband internet access to work and go to school.

In a similar vein, computer and communications technology has become only selectively easier to use. The basics are much simpler, to be sure, but the kinds of things depicted in cyberpunk--hacking and maintaining some semblance of privacy to name two prime examples--are harder and harder. Privacy in particular requires a near constant battle against the hydra of corporate interests that are constantly trying to chip away at it. And not just in terms of taking data itself, but even the expectation of privacy.

Facebook, Instagram, TikTok, YouTube--they're all predicated on making us share. And of course we do exactly that. Why wouldn't we? We have an innate need for community and connection. But just as advertisers long ago figured out that they could turn our own wiring against us, so-called social networks (anti-social networks?) took our desire for connecting with other people and purified it until it became a freebase. It's difficult to avoid and even harder to quit.

It takes money, knowledge, and work to even slightly escape, and even then it's not really possible unless you happen to only interact with similar privacy-minded folk or cut yourself off from society entirely. It takes almost nothing to be entirely mapped.

Meanwhile, the task is made that much harder by the fact that it's not entirely clear why our data is worth anything. The conventional wisdom is that it's for targeted advertising, but I have to wonder if that's actually worth anything anymore. Then again, it could be completely ineffective but still something companies want to do, since marketing believes that someone has to see a product multiple times before they'll actually seek it out. Plus, there's always the possibility of Facebook et al. cooking the books, as they did in the case of view counts on videos some years back.

Regardless, this lack of knowledge makes it harder for us, because we can't target our defenses. We don't have a clear idea of what's valuable and what isn't, what data is already out there and what data is still being sought. We can't, for example, make digital chaff to flood the collectors with junk.

Chains of Chrome

I'm told that essays should have some part of the author in them, and I can't help but notice that this approach--intertwining personal anecdote with the overall point--is used all over the world. Maybe it's a matter of not getting outside my own writing, but it seems to me that simply what I'm writing and how says more about me than talking about the smells in the bookstore where I bought my first copy of Neuromancer, or some story about my relationship with the friend who introduced me to Blade Runner. I personally have more faith in readers than that.

Having written what I have already, is it really surprising to know that what draws me to the genre more than anything is freedom? It may seem strange to associate freedom with the extremely powerful corporate entities and material conditions of most cyberpunk. But notice, these stories don't focus on the corporate bureaucrat trapped in a structure they'll never escape. Instead, it's the technologically-enhanced ronin, whether their particular weapons are blades or computer viruses. They ultimately answer to no one but themselves, and can generally find a way to live their own lives within the cracks in the business edifice. Sure, drama demands that this not always be true in some way, even if it's as simple as the criminal's reputation.

It's not difficult, then, to see the appeal. I have no skills to sell even if there were still a market for such things (instead of credentials). Mercenaries are rightly outcast, since chances are they'll be put to worse use than even a state-sponsored military. There's a reason that Blackwater has had to change its name two or three times by now.

Cyberpunk allows us all of the freedom of a new frontier by finding that frontier within an existing structure. Its characters aren't constrained the way we are in our daily lives, and can overcome both human nature and human society through the technology available to them. What is now considered experimental or only the purview of DARPA is to them a child's toy, with far better ready for purchase on the streetcorner.

In many ways, cyberpunk is a product of its time, when technology seemed to offer at least as much possibility as threat. Now, we don't really trust technology to be enough. We see the slow-motion apocalypse of climate change and don't believe that we can invent our way out of it; recognizing that even if the device existed, someone would figure out how to capture its benefits. I'm not sure it'll be anything so stark as having clean cities and then a burned wasteland surrounding them, but we'll only be saved to the extent that we're useful.

Cyberpunk showed us an increasing commodification of our lives, but even those imaginations couldn't foresee the degree to which this would be true, while they simultaneously underestimated its subtlety. The trackers on every website that form pieces of the economic puzzle that is ourselves feel too small to fight, and so we sell ourselves in a thousand pieces. Even being a corporate spy in a future dystopia is more honest.

[ffwriteradvisor]

Character skill sets

Obviously, you don’t really want a character that brings nothing to the table. On the other hand, a character who can do anything and everything so good that they can compete with deities dedicated to the subject of the day is often too much for the average reader to believe. There’s also a matter of how well the skills mesh together in practice, the amount of variety brought to the table, the difference between a developed skill and a mere talent, the nature of the skills - are they the sort of thing that anyone can develop or are they based on some inherent trait? - and how age and life experience plays into building a character’s ‘resume’.

It’s, as you can tell by the small laundry list I just rattled off, a tricky business.

Good news - there aren’t any hard and fast rules to giving characters skills. There are some guidelines and you’ll often find yourself playing by ear to see if your latest take strikes a sour note or not, but there are only a few ways to really do it wrong and, even then, there’s ways to salvage it.

But let’s focus on the points I listed already.

Let’s Play ‘Pick The Protagonist’ - (The Problem Of The Unique Protagonist Asset)

How many stories have you watched or read where the main character has a special, one-of-a-kind ability that makes them stand out above all the other characters in the story?

The answer is probably ‘a lot’. It can take the form of a one-in-a-million power, a sacred sword that only allows one hand to wield it, a legacy passed down over the ages... there’s a lot to work with here.

There’s nothing wrong with doing that with your protagonist. It’s probably one of the better reasons for dragging a random person into the plot - if you’re the only person who can stop the end of the world because the anti-Doomsday weapon decided that it lives in your hand now, there’s not a lot you can do about it. But there’s also something to be said for a protagonist that doesn’t have a grand destiny giving him a fair shot at victory just by merit of existing.

Plus, like. There’s also logistical issues to deal with. So let’s address those.

Depending on the story or fandom that you’re working on, a unique protagonist asset isn’t feasible. Sometimes because such things don’t exist in-universe (One Piece would be a good example of a series where literally the only thing you need to be a contender is a will to succeed and a boat, though I guess you could consider Conqueror’s Haki or a Devil Fruit ability ‘unique assets’...), but sometimes it’s just because the canon main character of the story you’re writing for already has that asset on lock.

There are ways around the second - you can kill off the original guy and take their place through reincarnation as said-guy, plot erasure of the guy (just flat-out make it so he doesn’t exist, it’ll be fine), or just being a convenient runner-up who happens to meet the bare minimum requirements to be the guy.

You can also shoehorn your OC into position to turn the Chosen Uno into the Chosen Duo, though this path of action doesn’t have the best reputation historically thanks to the influence of the Dread Mary-Sue on fandom culture (I’ll be posting an article about that eventually), or change the story to make room for a large range of potential Chosen - this one specifically can allow for an added plot aspect, because suddenly there’s competition to achieve the final goal and complete the quest for whatever.

And on that subject, let’s jump to our next point!

The Problem With Superman (and how to challenge the man who has everything) 

Now, there’s no shortage of characters who, quite simply, are written to be good at everything - sometimes not even just good, but the very best ever. No, I’m not talking specifically about the Dread Mary-Sue, though the archetype associated with that term does often come with such a description. This is a pitfall just about anyone can fall into, irrespective of age, gender, background, or the originality of the work in question, even if the most blatant forms of it seem pretty easy to avoid.

Most writers know better than to make one character good at everything, but you get exceptions fairly regularly. Batman writers, for one, have a tendency to assume that Batman knows everything there is to know and can defeat anyone on his own ‘given enough prep-time’. There’s also the fact that a fair few Superman stories often have to call on Kryptonians or Kryptonite to make the plot complicated enough that the solution of ‘just move really fast and take advantage of invulnerability to punch/move/freeze/melt the problem before bad thing happen’ doesn’t work.

Then you have the more subtle examples. Where a character isn’t good at ‘everything’... just everything relevant to the plot and what we see of the setting. A good way to pick out this is to look at a story and start removing characters. Remove the science guy, the spy, the sidekick... If you can shave the cast down to your Super-suspect without having to change any major or middling-size plot points, twists, and story beats or having to shift the difficulty level of the setting, you probably have a problem.

Obviously, this doesn’t work for every story, especially if they have a very small cast to begin with. There’s also the fact that most stories are built around emotional journey’s instead of ‘use x skill to get to y place at z time’. But a lack of difficulty or danger played completely straight is something of a warning sign if you’re working with a genre that requires that there be some manner of challenge in the story.

So, let’s take a look at some of the more specific issues with power distribution.

Equal Opportunity Asskicking vs. There Can Only One Chosen One In This Town (how common is power in the setting and how does that affect the plot)

Have you ever thought about how many series - video games in particular - have the protagonist solve all the problems they come across, even the ones that seem like the sort of thing any rando could handle? Especially when you have a big organization that could theoretically handle a few of these things without the protagonist being present for everything?

It’s often hand-waved as ‘they’re not strong enough to deal with it’, but why would that make sense? If the setting is so dangerous, why isn’t there more people operating at or above the protagonist’s power level without being a member of the primary cast herd? If there’s such a dangerous colony of animals on this island, why are these fragile citizens still living there? Why is this martial art that’s so powerful and useful so goddamn rare and special despite its utility? How did such a weak person climb so far up in an organization that seems to value the punchinating power of its employees above all else?

It doesn’t make sense.

This is a problem that plagues a lot of series with an emphasis on fighting. The average person becomes an alien creature as the protagonists and antagonists gain more and more power and take down bigger and bigger opponents. The ante keeps going up and the rest of the world stays down where it started, which... well. Doesn’t make sense.

Think about Dragon Ball for a moment. On the Earth of that series, how many people would you say represent any kind of physical threat to the protagonists or the antagonists at any point in the story? I’m not asking over the course of the story if Dragon Ball-era Goku could stand even half a chance against Cooler, but if you took a specific episode from like... oh, I don’t know, the Cell Saga, how many people on the planet at that time would stand a chance of surviving the events of said-episode if they were brought into the blast radius of the plot?

The number is probably in the low tens. And the fact that, even with a lifetime of training in setting, the best chance for a person in that setting to survive that specific scenario would be coming from ‘superior’ alien stock such as the Saiyans.

And Cell isn’t even the top of the danger totem pole in setting.

Going back to our previous example, One Piece is a fairly good example of how to handle this. There are many routes of power in the series - Devil Fruits, Haki, training, inherent species traits, and more are possible in terms of physical strength, but there is also value given to intelligence and the ability to strategize and create unconventional solutions. Even the ‘weakest’ member of the Straw Hat Pirates, Usopp, who has no Devil Fruit, species ability, mutations, or, alterations, and only one form of Haki (fairly recently awakened and not even one of the offensive utility variants), is able to keep up with the rest of the crew by having a variety of weapons and skills he has developed himself. There’s also the fact that people in the setting tend to be fairly well developed to the danger levels of their relative environments, either in terms of physical strength or having strategies to deal with the dangers around them.

It still suffers from the emphasis on combat before most else, which is common in Shonen, but it at least feels fairly balanced compared to some other series that have a similar approach to strength in setting.

Besides power distribution in a setting, there are other things to consider beyond combat applicable skills.

Combo Platters/The Five Basic Food Groups (the importance of variety and moderation)

There are different types of skills that you need to balance when making a character, both in terms of variety and rationing them out in a reasonable manner.

There are career skills (good for making money, but not overly relevant to day-to-day life), utility skills (cooking, cleaning, basic home repair, etc.), recreational skills (art, music, other specific skills that aren’t necessary for day-to-day activities but lack the immediate financial reliability of career skills), interpersonal skills, and combat skills (self-explanatory).

Obviously, different skills have different ‘weights’ in terms of plot impact. A fighting series probably won’t make much of a character’s house painting skills unless it has an impact on their combat skills (which is entirely possible depending on how the writer goes about it), but someone knowing how to use a sword at a high level means that they’ve got a lot of physical capability to quite literally cut through the competition.

If you need a combat skill for a character... well, I already dedicated a post to talking about that specific range of skills. You can also apply their non-combat related skills to their fights in a tertiary sense - a lack of primary offense can lead to unorthodox tactics to bridge the gap.

But other skills have their uses too. It can allow you to make use of your characters outside of a combat context, reveal things about their character that might not be immediately obvious from their appearance - not just their interests, but background as well, though I’ll cover that a little later in more detail -, and bring them into the orbit of other characters naturalistically. You can only have so many Crash Into Hellos before the charm wears off for the audience.

In giving your character skills, you need to balance those skills. Making a character a ‘master of combat’ who can use any weapon under the sun like a master doesn’t work without some kind of supernatural explanation - martial artists tend to specialize. I’m not saying that you can’t have a character with multiple weapons skills - there’s a lot of historical real-world precedence for that, actually, usually in the combination of ‘ranged/close range/mid-range’. But a lot of those multiple weapon sets tend to be in sets that cover the weaknesses of the other weapons - sword, bow, and spear cover different combat ranges and needs, and there are various martial arts that teach their students weapons handling in conjunction with unarmed skills.

A generic ‘swords skill’ is non-functional - there are many types of sword in the world, varied by their size, weight, shape, and intended use in combat. Some swords are intended more for stabbing, others for slashing, and while you have more than a few that can do both, there are some are simple not built to stand up to the stresses of the other style.

They Didn’t Cover This In Kindergarten! (why you need to tailor skill-sets to your character’s life experience and background)

Another thing that can affect the size, nature, and diversity of a character’s skill set is their age, life experience, and background.

You wouldn’t expect a character that comes from nobility to have any concept of how to street fight without some kind of explanation attached. The same rule applies in reverse - you wouldn’t expect a character living in the gutter to know the nuances of fine manners and etiquette of nobility without a good reason. Depending on the period, a person from the second background couldn’t even be expected to know how to read.

That’s not to say you can’t use those things, but you have to have some kind of structure to support those additions. Maybe your noble doesn’t have the spotless background most would expect from one of their station or, in another scenario, someone pulled a Prince and Pauper switch back in the day and then neglected to switch them back. Same with your gutter rat - maybe they’re a fallen noble, maybe someone made a go at pulling a Pygmalion with them before losing interest, or maybe they’re an autodidact (that is to say, self-taught).

The age of a character can also affect the width and breadth of their skill set pool. People don’t expect five year olds to know much about anything - their reading skills are just getting started, their language skills a bit rough around the edges, and their ability to prepare food is generally limited to toast and toast-adjacent goods like sandwiches.

On the other hand, an elderly character, while having plenty of time to collect lots of skills, may not be able to utilize all of them anymore or might have even forgotten enough of them to be counter productive.

My grandmother, over the course of her life, has worked at several jobs that had fuck all to do with each other. She was a carhop at a drive-in, worked at a grocery store, worked at a local medical factory, worked at a guitar factory assembling instruments long enough to have a hand in every part of the process along with possessing the know-how to design a thing to make winding strings (I might be miss-remembering her exact description of the thing) faster and safer (and then not getting paid or credited for it after the company started using it), and drove bus for several years. She also had all the skills of an at-home housewife, a professional upholsterer, unprofessional seamstress, knows how to treat and care for wood furniture, knows how to work with and maintain leather (not how to make it though), was a very good cook until her physical condition no longer allowed her to handle such tasks, was physically capable enough at one point in her life to help with construction on her own home, and was a good enough artist that she was given two separate opportunities to go to college for the subject back in the 50′s.

That’s a lot of stuff. Each career - including housewife, as there’s a lot of work involved in homemaking - might provide for three to five distinct skills, a few of which would be extremely specific to that particular career path.

On the other hand, a lot of these skills haven’t been used for decades, meaning that not only would she be extremely out of practice, her understanding in a certain field might be anywhere from thirty to sixty years out of date. There’s also the fact that her physical condition is very different from what it was back then, meaning that even the skills she remembers how to preform correctly might not be feasible thanks to her own body failing to cooperate.

The Humble Bundle (varied skill-sets that come from specific careers/backgrounds).

As I touched on in the previous section about how to select certain skills for a character based on life experience and backgrounds (admittedly based on variety + how time factors into it, but that’s the point of specific focus sections), we‘re going to take a closer look at ‘skill clusters’.

You don’t have to cluster all of the character’s skills - in fact, I suggest making sure that you don’t do that, unless the character is specifically a bit character who is there to perform a specific function rather than being a long-term fixture in your cast - but there are some that simply are more expedient to cluster and can sometimes boggle the mind if the character sometimes lack some of those vital skills.

Say you have a character who’s a trucker (or, if you’re working with fantasy/sci-fi, the local equivalent of). They’d probably know how to handle a few different kinds of vehicles (in a mundane context, they’d probably be qualified for both commercial driving licenses and the unregistered kind most people have, but possibly also know how to handle loading vehicles), know how to repair their vehicle if it is damaged (this can vary in skill - knowing how to jury-rig a solution to a small inconvenience is very different from resurrecting a dead engine), have a good understanding of navigation, access to a trade-specific tongue (radio jargon, for one, if we’re still sticking with the mundane modern AU), know how to handle long hours of relatively boring work... and that wouldn’t even be the sum total of their skills tied in some way to this particular profession.

Still, it doesn’t read as an unrealistic amount of things for a single person to know how to do, does it?

On the other hand, if I gave you a character who’s... I don’t know, a generic protagonist of no particular employment and said that their list of skills includes navigation, medical knowledge, being an expert chef, trained fighter, classical ballerina, multiple languages, and limited telepathic ability, it reads as a bit much, doesn’t it? Especially when it just comes up out of nowhere without warning or even an allowance for being less than good at those things.

Part of it is that it takes time to learn how to do things, as we covered in the previous section. Having a talent or instinctive understanding for a particular subject can help cut down on that, but that can only excuse a few things - someone who’s a natural born fighter usually can’t turn that natural instinct towards language acquisition or legal understanding. The other part is that everyone knows that most people aren’t good at everything they turn their hand to, so even with a lot of effort, we wouldn’t expect a single person to be good at everything.

That’s why a diversified cast is important, so the needs of the group can be met in a more believable way, though there are also work arounds that can be used to keep the cast smaller or the inability of the group to meet those needs can be used to raise tension in the story. Injuries become a lot more notable when there’s no healer in the group, after all.

Gifts, Loans, and Hard-Earned Pay (the difference between talent, training, and temporary trades)

Now, there are a couple things you could use to ‘explain’ why a character is good at things. Like most of the points I’ve made so far, this is expanding on a few things I mentioned off hand in earlier parts of this article, such as the importance of age and life experience.

Now we’re going to be explaining the mechanics of why a person might be good at certain things. There are a few different approaches to this.

In terms of purely mundane ways, you have talent and training to explain why a person would have a certain level of ability with specific skills. These can’t universally be applied across the board, of course - you’d prefer someone with medical knowledge over someone who says that they have a ‘talent’ for it and there are other fields that require a person have a certain amount of instinctive ability to flourish. Most would agree that it’s important to have both in any given field - for example, art requires both talent (the ability to visualize what you want) and training (to transfer that vision to reality).

When dealing with supernatural settings, there are other routes. Boons from supernatural beings, familial inheritance, memories from a past life, temporary grants of power from special artifacts, and so on.

This can allow for a skill to be acquired quickly while also pushing along the plot in various ways, but there are a number of drawbacks to this one as well - a character who has been granted a supernatural power might lack the practical experience in how to use that power well, the memories of a past life don’t confer the physical conditioning required to actually pull off some of those skills or the world has moved on since those days, rendering those skills out of date and possibly useless, the artifact has a mind of its own and opinions on how it can/will be used, etc.

There are drawbacks to the more mundane routes as well. Training takes time and effort, along with coming with the risk that the character has been trained wrong or in a way that isn’t helpful to their current situation - ex. a medic who’s extremely competent in a hospital setting but is now stuck in a place where they have none of the resources they’re used to, a self-trained martial artist who doesn’t know how to modulate their force well and has a lot of holes in their technique because they never had a trainer to point that sort of thing out.

Talent can lead to a person becoming complacent with the idea that they’re automatically going to be good at a thing forever despite evidence around them to the contrary and make them frustrated whenever they do run into something they don’t quickly understand or make progress with.

On the upside, you can also use these to build off of each other. Training can help refine both talent and control over new gifts, a well-chosen gift can make a well-trained character something breathtaking, and discovering a previously untapped talent can throw a character who’s previously had to struggle for everything in their life a well-deserved bone.

Now, hopefully this covers enough points thoroughly enough to be helpful to everyone. If not, please shoot me a comment and I’ll try to expand on any areas I might have missed.

[captain-black-water]

I’chi “Black Water” Tia

The Basics ––– –

Age: Thirty-seven

Race: Seeker of the Sun Miqo’te/Highlander Hyur

Gender: Male

Sexuality: Gay

Marital Status: Single

Server: Mateus - Crystal

Physical Appearance ––– –

Hair: Thick black hair with a constant shine. He doesn’t care for it as often as he should, usually letting it get slick with grease and sea salt until someone negs him enough to do something about it. When down his hair reaches down to about his midsection but, more often than not, he will usually put his hair up in some thickly bound braids that he then bundles in a knot.

Eyes: A keen feline yellow, with the trademark Seeker pupils. However, his right eye is marred by a cloudy texture. A birth defect that labels him as blind at a glance. Though his left eye is without this distinctive feature, it’s certainly no more capable of focusing on any one detail.

Height: 6′3″

Build: Broad chested, with well-defined muscle. I’chi keeps himself well in shape, focusing mostly on his naturally strong Miqo’te legs and his chest.

Distinguishing Marks: One of the first things anyone might notice about I’chi are the tattoos that decorate his face. They resemble the stripes of a tiger, turning his already intimidating features all the more grim and fearsome. But those aren’t his only tattoos. On his back, I’chi sports the image of a white tiger immerging from the depths of a black sea, surrounded by brilliantly marbled koi and vibrant orange petals. The colors are vivid and distinct with strong black lines, perhaps so that I’chi himself might be able to see them in a mirror’s reflection.

Common Accessories: I’chi finds himself in many different outfits but one accessory that he maintains throughout all of them is the gold earring near the tip of his right ear. It is sometimes, but not always, accompanied by some other rings that don’t shine quite as brightly.

Personal ––– –

Profession: Self-employed. I’chi runs the show that provides the downtrodden and poor with what they need to survive and get back on their feet, employing the street rats of Eorzea’s major cities to keep their eyes and ears open. He learns and deals with secrets, often using what intelligence he gathers to blackmail and bring down corrupt nobles and politicians in Ul’dah. Meanwhile, in Limsa Lominsa, he anonymously provides the Maelstrom with tips and information on criminals within their jurisdiction. Any gil I’chi earns through his efforts - often taken from those who stole it to begin with - is redistributed to those in need. None of these dealings, however, are public knowledge and he does not speak of these dealings openly.

Hobbies: In his free time, I’chi occupies his time by drinking or getting himself into someone else’s bed. Often both at once. There’s no better way for him to forget about the past than to be too busy finding pleasure in the present. 

Residence: Owns a home in Shirogane known as “Tiger Lily Cottage” where he often frequents and stays during his visits to the Far East. He as well owns a rundown and abandoned mansion somewhere within Thanalan, given the deed to the place after the owner passed away. He’s done little to nothing with the places, aside from paying it the occasional visit.

Birthplace: Details of where I’chi was born are unknown to him, but his best guess is wherever the I tribe of Miqo’te make their home. He never bothered to learn where that may be.

Patron Deity: Llymlaen.

Fears: True vulnerability. Getting too close to someone. His past. Being submerged underwater. Losing what very little sight he still has. 

Relationships ––– -

Spouse: Negative

Children: N/A

Parents: Miqo’te Mother, Deceased. Highlander Hyur Father, MIA.

Siblings: Yes, though he doesn’t know of where they are or if they’re still alive. None share his mixed heritage.

Other Relatives: Yes but, similar to the above, he doesn’t know them. Nor does he wish to.

Pets: Some fish back home in Shirogane.

Traits ––– -

Extroverted / In Between / Introverted

Disorganized / In Between / Organized

Close Minded / In Between / Open Minded

Calm / In Between / Anxious

Disagreeable / In Between / Agreeable

Cautious / In Between / Reckless

Patient / In Between / Impatient

Outspoken / In Between / Reserved

Leader / In Between / Follower

Empathetic / In Between / Apathetic

Optimistic / In Between / Pessimistic

Traditional / In Between / Modern

Hard-working / In Between / Lazy

Cultured / In Between / Uncultured

Loyal / In Between / Disloyal

Faithful / In Between / Unfaithful

Additional information ––– –

Themes and more: For the comfort and well being of all involved, it is very important that I make clear some potentially triggering subjects. I’chi’s past deals with themes of sexual violence, other non-violent sexual situations, parental death, murder, and strong language. Additionally, I’chi himself deals with depression and copes poorly through alcoholism and non-violent sexual acts. All that being said, I roleplay I’chi lightheartedly and save the darker themes for when I am sure that those participating in the roleplay are comfortable exploring those heavier themes. Just as people in the real world are flawed and multidimensional, so too is I’chi (or at least that’s how I hope to depict him), which means there are some things to his character that are rightfully considered to be bad. I will not fault anyone for only wishing to see the lighthearted side of I’chi’s character.

What I’m Looking For: I’m hoping to broaden my horizons as a roleplayer by roleplaying with many different people and experiencing new and interesting situations! I am always open to making friends and discussing potential plot ideas. I appreciate many different themes, but I would lying if I said I didn’t have a preference. While I can enjoy comedic and lighthearted stories, I find I am only ever truly invested in those with emotional weight, nuance, and depth. I prefer dark and/or romantic themes, but not so much in that I crave constant edge and agony or only erotic entanglements. Balance, y’know? Most of all, I have a story for I’chi that I wish to see unfold, and I want to welcome others to join me in telling that story - and yours too!

RP Hooks ––– –

Black Water: I’chi was raised amongst the Bloodtides crew under the careful watch of their captain, a man who held the title of “Black Water”. Under Black Water’s command, I’chi and the rest of the Bloodtides laid siege to many innocents, earning their name by turning the tide’s red with blood. Around the time I’chi entered his adulthood he began to plot to overthrow the reigning Black Water and usurper his title, successfully convincing enough of the crew to join him in his bloody revolution. His actions left the Bloodtides fewer in numbers, yet I’chi’s reign as the new Black Water led the crew to riches untold. However, as fate would have it, I’chi’s time as captain was cut short as he was done in by the same fate as the Black Water before him. Although he survived being tossed overboard with weights strapped to his arms and legs, his reputation did not. I’chi was declared dead and, though he later showed his face again to the Maelstrom that sought his head, the people were content to let that be the end of his story. Perhaps your character was affected by the Bloodtides at some point in their life, either before, during, or after I’chi’s reign as Black Water. Perhaps your character was one of the Bloodtides on his crew. Or perhaps you simply knew the legends as they were so often told around Limsa’s docks. Either way, there are plenty of different avenues to explore with this legacy!

White Tiger: One might think that I’chi being as large and distinctive as he is might be why the eyes of Kugane’s citizens can’t seem to look away, but the name they whisper under their breath tells a different story. The tale of the ‘White Tiger of Kugane’ they mutter to those not in the know. A tale regaling the exploits of one beastly figure, more animal than man, whose loyalties they cannot disconcern. They speak of how he once worked as the muscle for a gang of criminals who terrorized Kugane’s merchants, taking a cut from their profits in exchange for the kindness of leaving them and their wares be. But suddenly, one day, the White Tiger turned his blade on the very master that held their leash. He severed their head from their shoulders on the city streets, turning his white coat red and stirring panic and awe in the people. As the authorities gave chase, he led them back to where the criminals made their home, vanishing from sight and leaving the others to take the fall. His actions freed the people from a threat they could not oppose on their own, and for that they are grateful. But were his actions truly selfless? Your character may have had a run-in with I’chi during this time in his life, or maybe they were witness to his infamous deed. Perhaps they only know the legend. I am open to discussing any connections, just let me know!

Contact Information/About the player ––– –

Hello, and thank you for reading this far! My name is Blake, and you can usually find/contact me here or on I’chi Tia on Mateus. Btw I 100% stole this format from my friend Speedie, who you can find here. I keep a bit of an odd, migrating schedule, but I am always happy to make room for some RP whenever we can make it work! 

[kshitij1997]

Greetings, people!

Oh, damn I haven't done this in some time.

Well, the life of an engineer is a hectic one and I had written myself into a corner and was blocked for many days as a result. Not anymore. I have decided that I would update this once a week from now on.

We're getting somewhere in this, hopefully you people enjoy it.

All frozen and Tangled characters belong to Disney, all I own is this head-cannon and the original characters.

Let's continue!

Chapter 6: Of children fortunate and not so fortunate

Throughout Europe, the new year was always celebrated with utter pomp and show, what with firecrackers bursting in the city centres and town squares and if there weren't any firecrackers at hand, one could always fire a musket up in the air. Singing, dancing, drunken behaviour, smashing of public property, brawls and general noise. It was comforting to see that even though the major empires were coming up and clawing at each other's throats on a regular basis, nothing would really dampen the typical European spirit even if some drastic changes ever happened.

Which is not to say they didn't have different customs. The Ottoman Sultan for example, would start celebrating three days in advance, binging and drinking while being surrounded by scores of concubines, throwing golden medals and eggs onto the streets for all his citizens to collect. This pious act of charity was ample for the people to forgive the Sultan his misgivings. As for the Tsar, the rumoured massive drinking appetite of the typical Tsar held strong and displayed itself in all its glory during the coming of the new year, singing, jumping on tables, screaming Moktor! a drinking chant he had borrowed from his Arendellian ally, banging a kettle drum while removing his royal tunic and tying it around his forehead, it certainly wasn't a sight the typical Russian nobles would forget easily even as they were busy distributing free beer and bread throughout St. Petersburg. The royal family of the Southern Isles always started as a family dinner but dissolved into everyone getting wasted and threatening to kill each other right then and there. However, for some unexplained reason, they always ended up weeping and caressing each other. One could be forgiven for thinking that it was an Irish wake, unsurprising as the Southern Isles had some sizable Irish ancestry. As for the Duke of Weselton, it was an opium binge, smoking up into the wee hours of the morning. If one made the mistake of asking the duke his plans during such a session, they could be trapped there for the rest of the day and miss the blessed celebrations. Now that his merchants had begun smuggling Marijuana from central America, those plans became more outlandish every passing year as the intoxicant made its way in the duke's habits. The Monarchs of Corona were more chaste and less dramatic in comparison, nevertheless it didn't stop them from holding a quirky national lottery at the end of the year in which save the crown, the state and the Monarchs, nearly everything was for grabs.

It could be a normal brooch, or a kettle, or something outrageous like the ancient Dusseldorf cathedral, or even better, the Munich Palace of Justice. However, short of the royal palace, nothing truly awed the people of Corona as the Mansion, a building so singular and unique in the Rhinelands that it had acquired a legend of its own. How that massive building was built during the earliest crusades in the holy lands, had sheltered thousands of innocents in the mindless massacres which was a hallmark of said crusades, how the same building became a terrible final place for those unfortunates who were accused of witchcraft and found guilty, how said building harboured the Coronian resistance as they battled the Habsburgs for the identity of Corona in the thirty years war. One could see that the Mansion was home to centuries of history both good and bad, a monument to human suffering and human triumph; it was a matter of prestige and honour to those who lived there.

Since the passing of the Patriarch, the Mansion was up for bid for the first time in fifty years. Unfortunately, the Mansion had been burned down, some said it was a careless baker, some said it was a figure as dark as night, yet many believed that it was Flynn Rider, the little boy who cast a gargantuan shadow in all of Rhineland, where some thought he was a hero who avenged someone dear to him and brought down tyranny, while some thought he was a rat bastard, who sold out everyone from his trade to escape the noose and ruined the businesses of the Rhinelands. Ah well, the public could never make up its mind.

Even though the public was upset by the loss of the Mansion, they had to agree that the Monarchs were generally generous in the lottery and accepted the loss with a heavy heart. After all, a cooking pot was much more useful in cooking than an entire monument , no matter how symbolic it was and how brightly it burned into oblivion.

Last but not the least, the kingdom of Arendelle often saw a lot of parades and street performances around that time of the year. Typically the various students who had come from abroad to study would often bring out a procession, banging some drums, beating some cymbals and singing songs in unison in their native languages, becoming a crowd of thousands as they used to go door to door, either offering food and gifts, and inviting those to join them who weren't in severe want. The fact that It always snowed in the final fortnight of the year as if on clockwork never dampened their spirits. The evenings would often see people from all strata of Arendellian society coming together without social barriers. In recent years, the crowds had started becoming rowdier and more rambunctious, but they all settled as the Monarchs addressed them from their pedestal at the Royal Palace, bringing the year to a dignified end and rousing hopes for the new year. The Palace courtyard itself often became a fair ground, with various stalls selling delicacies, trinkets and souvenirs.

Queen Iduna had always enjoyed the fairs at the palace and meeting foreigners in the parades when she was a commoner, and now she loved it even more as she had her husband to share that joy with. It was a common sight to see the royal couple strolling around, meeting the stall owners, trying some exotic foods and relishing them. Now with baby princess Elsa, they had developed a very sweet tooth as well, they had been spoiled for chocolate as the baby girl always went gaga over the sweet. Even though she hadn't yet spoken, by now her parents were well acquainted with sounds of disapproval or enthusiasm coming from her. For example, when Elsa tried to nibble on any sweet, she would always gurgle and moan and form wisps with her tiny fingers, which always succeeded in bringing a smile to the couple's lips. After the exciting parades and stalls of food, the evening had surprisingly become calm as it approached the new year. Princess Elsa had had an active day, and now was sleeping in Queen Iduna's arms in the royal bedroom, her face buried into her mother's bosom.

"I guess Sophia is to take the credit or the blame for this" grinned Agnarr.

"Ha, yes surely. I wouldn't put it past her at all." smiled Iduna "However it's a shame Elsa can't drink the hot chocolate yet. It's getting lonesome drinking it by myself."

"What does that mean? It is OUR drink, right?"

"It was once, but then you got self-conscious about your health and everything." Iduna teased.

"Well, I can't really flaunt my stretch marks for my certification of fatherhood." Agnarr teased back.

"That was rough. Parenthood has changed you for the worse." Iduna laughed after staring at Agnarr for nearly a minute about that comment.

"On the other hand, I think you've become soft, I still remember the day you made the Duke of Weselton shit himself." Agnarr smirked.

"Boo you, I'm with child." Iduna accepted the challenge "I can still drive you around in circles, you know? You remember earlier today, when I made you cook an Artichoke salad for my cravings. Oh god, you were hunched over the damn stove. Good fun. And a story the whole litter would enjoy someday." Iduna finished with a laugh.

"A whole litter? Dammit woman." Agnarr laughed.

"Yeah, better stay in shape." Iduna smirked.

"Alright, I admit defeat. I swear I can still hear the blessed kitchen ladies sniggering." Agnarr backed off "Ah well, another bun hmm?"

"Yes, another bun. Due in early spring, if Dr. Klaus is to be believed."

"I would wager my life under his knife, should the day come." Agnarr said quietly.

"Hush, don't say that." Iduna whispered. "It'll be a new year in a matter of minutes, how can you think of doom at such a precious moment?"

"It's because I know how life can turn out for a lot of people. I tell you Iduna, all things considered we are luckier than most, and I know fate has a way of balancing the scales." Agnarr replied with an inscrutable face natural to kings, but Iduna knew better.

"Look, it's true we have been fortunate. However, we've had our share of suffering as well. We both have lost a lot in order to find each other and come together. You know, I still wake up sometimes looking towards the North, reminiscing what could have been if somehow war didn't break out, and I would have become a herald for the voice, be one with the fifth spirit, who knows? However, I do know that if I hadn't ventured south, I would have never met you. Not to mention the peace we brought together, the people we have allied with, the thousands of opportunities that have opened for the people because we have worked together and a lot more. Sure, we can lament what we were forced to give up, but then we wouldn't have this, and we certainly wouldn't have Elsa." Iduna consoled him.

The king of Arendelle gave a weak smile and continued " That is true, but her abilities do make me nervous. I hope we can mitigate any problems that arise from the fifth spirit's blessing."

"We got some time to figure it out. I know what you're insinuating, no need to say it out loud, anyone could hear us. Look, the key here is proceed carefully, and to make sure she's not afraid of herself. We'll be there every step of the way, and I tell you this, our baby is going to dominate the world." Iduna reassured the king.

"We certainly can't let them do what they did to Rapunzel." Agnarr shuddered at the mere thought of the incident.

"That will certainly not happen, believe me. Elsa's a light sleeper, if anyone other than us dares to take her, she'll shriek and bring the castle down." Iduna tried to ease his worry with some humour.

"Ha, our proud little banshee." Agnarr grinned.

They were interrupted by the fireworks bringing in the new year.

"godt nytt år, Iduna." "godt nytt år, Agnarr." Said the royal couple as they embraced, and Iduna felt Elsa smiling in her sleep.

While Elsa may have been at perfect peace with the world in that moment, another infant was not so lucky.

"Another fucking year gone." Hissed princess Paulina of the former kingdom of Poland, as she tried to rock the five-month-old prince Hans to sleep in his cradle. The baby prince had always had trouble sleeping, but that was to be expected as babies generally need contact to grow properly, however the princess in question didn't believe in it.

"Another year gone to shit, and I am just another windbag for your fucking father, eh kid?" the princess made a point not to join the new year's celebration, citing colic as her cause of worry, but truth be told, she could never tolerate the whole family together at once. She was alone in a strange land, among strange people who didn't think too much of her; Afterall, they had seen many like her come and go over the years. The only joy she found in her life was the one thing or person she could claim to be her own; her infant boy Janus, or Hans as his father preferred to call him.

"Your father professes his love for me, yet betrays me everyday with those loose women that lick his balls all day, his heart condition doesn't flare up then, does it? He doesn't fucking keel over then, does he? Your father promises he'll bring justice to my homeland, and then has the entrails to stab me in the back by sending his fucking lapdogs to participate in the massacre of my poor people?!" She foamed at the mouth. Little did she care that her kid could not console her or understand her yet, her bitter vitriol needed to flow somewhere, and her infant was in the unfortunate way.

"But remember this Janus, someday you will bring glory to all of Warsaw, and bring justice to all of Poland and her murderers." Whispered the princess as she calmed down and reached out to her child. The baby was only too glad for the contact and grabbed it with both hands.

"Good boy" whispered the princess with a smile to her fateful son, but the smile disappeared as she remembered what she had set out to do. The sheer memory of her father's murder by the Russians' firing squad as her family's ancestral home of over three hundred years burned to nothing, made her blood boil to vapour. But she knew better than to make a public display of her misery. No, she would wait, and hold fast as her fateful kid would hopefully bring Europe to heel one day. But for that to happen, the child needed toughening up and foolish superstitions and fancies like love and family had to be quelled before they did any damage to her 'chieftest pearl'. She pulled her hand away from Janus and walked to the window, not caring that the baby prince had started wailing loudly.

"Great, let it out, it's just pain and anguish leaving you, little prince of destiny." Whispered the now inscrutable princess as she witnessed the coming of the new year fireworks and chants from her dark little room.

"Godt nytår, Janus."

More than 900 miles away, a craven boyish figure on a horse had nearly crossed the borders of Corona into France as he approached the city of Alsace, when he decided to take refuge into the chapel two miles ahead of him. The new year celebrations had long ended and everyone had fallen asleep, save for the priest in the chapel. Eugene walked up lead footed and tired from the expedition up to the chapel doors and then he knocked on the door.

The priest opened the door silently and saw the gruff boy and took him in at once. Now, Eugene's week-long ordeal had exhausted him, and anything he could beg for was enough to feed only either him or his horse. More often than not, Eugene chose to feed the worn-out horse. But now, finally some good shelter for both the horse and Rider.

"Comment tu t'appelle?" the priest asked in a language Eugene didn't fully understand. When the priest didn't receive any answer that he could expect, he got up and peaked outside in the direction from which the little boy had ridden in.

"Tu parle Francais? Parlez-vous allemand?" The priest asked.

"Je parle allemand." Eugene replied in the little broken French that he knew.

"Ah, Deutsch." Replied the priest. Then he went in, brought a spare change of clothes and some bread and stew left from the celebration, and a quilt and mattress for the little boy.

"Essen, mein Kind" spoke the priest as her made the bed.

As Eugene bit into the bread, he couldn't hold back any longer, and burst into tears.

The priest patiently waited for him to calm down, then asked him in German "What's your name?"

"Flynn" the kid replied, his voice still raw from sobbing.

"You are far from home, aren't you?"

"I don't have a home, not anymore."

"What happened to your home, your family?"

"It got burnt down, I tried to get help, but it was too late." Flynn lied, fearing what could happen if he answered honestly.

The priest replied "It's alright, my child. Please rest now, you may stay on or leave in the morning if you wish."

"Danke, Vater" Flynn said.

"Frohes neues Jahr, mein Sohn. And don't worry, your horse is safe." The priest smiled and said quietly.

Well, it was a different tempo for me in this chapter, trying to show one day from a lot of different perspectives. I'll just say poor Hans for now.

As always, constructive feedback is always welcome.

[nclkafilms]

The reality we decide to ignore

(Review of ‘Joker’. Seen in Nordisk Film Biografer, Aalborg on the 6th of October 2019, in Biffen Art Cinema, Aalborg on the 8th of October 2019 and at home on the 11th of January 2020.)

What do you get when you cross a comedy director with no previous directing experience with other genres with one of Hollywood’s finest character actors and the perhaps most famous and notorious comic book villain? When that director is Todd Phillips (of ‘The Hangover’ and ‘Road Trip’), the actor is Joaquin Phoenix and the villain is Batman’s The Joker, you get one of the most surprising film achievements of 2019. ‘Joker’ is a gritty, poignant and surprisingly profound character study that is telling us much more about the society we live in than it does about Batman’s arch enemy. As such Joker becomes a haunting reflection of a society in which virtues such as love and empathy have been long forgotten and replaced with fear, division and egocentricity.

In the film, we follow Arthur Fleck, who works as a clown-for-hire while he lives at home taking care of his ill mother, Penny. Arthur is in psychological and medical treatment for a - to us - unknown mental illness. He dreams of becoming a stand-up comedian and as we are quickly shown in a dream sequence he also dreams of being acknowledged and feeling valued; in this particular day dream: by his idol, talk show host Murray Franklin. But this version of Gotham - set in what seems to be the early 80’s - is no place for dreaming. Garbage strikes have been going on for weeks, the streets are being overrun by thugs and ill-adjusted citizens in line with an increase in the split between the top and bottom of society. In the opening credits, Arthur is attacked by a group of young people, but it is him who gets in trouble for losing a sign rather than them being punished for their attack. As Arthur points out: things are getting crazier out there. What follows is a thought-provoking and morally challenging journey to the bottom of Gotham City.

The main attraction in ‘Joker’ is Joaquin Phoenix. The character of The Joker has produced some amazing performances from Jack Nicholson and, especially, Heath Ledger, and it must be quite the role to take on for any actor. Phoenix puts himself right up there with the best, though, with a manic, nuanced and deeply human portrayal of Arthur Fleck. His physical transformation and performance alone is awe-inspiring: not only did Phoenix lose a lot of weight, no, he manages to infuse Fleck with a crippled physicality that mirrors his mental state. The way he runs, the way he laughs and the way he stares. It all highlights the state that Arthur is in. 

The idea of giving Fleck a physical condition that causes him to laugh in certain situations is clever, and Phoenix takes it to the next level in the scenes where this laughter causes him physical pain or alienation from his surroundings; his eyes convey a different story than his laugh and it is deeply fascinating to study. However, it is in the gradual change from being socially awkward and unresting to becoming more calm, more cynical and more unpredictable, that Phoenix truly manifests his qualities. The scene in which he calmly goes from panic and despair to an almost trance like dance in a worn down and darkly lit public bathroom is as beautiful as it is alarming; one of the single most memorable scenes from any film in 2019. A scene that is only made stronger by the beautiful score - but more about that later.

While ‘Joker’ is Phoenix’ film, it still boasts a high quality gallery of supporting roles with brilliant performances from Robert de Niro as talk show host Murray Franklin, Brett Cullen as Thomas Wayne, Frances Conroy as Arthur’s mother Penny, Glenn Fleshler and Leigh Gill as Arthur’s colleagues, Shea Wigham and Bill Camp as two police officers and finally Zazie Beetz as Arthur’s neighbour, Sophie. Common to them all is that they all highlight different aspects of how society - in Arthur’s eyes - is letting him down. Murray mocks him on live tv, Wayne distances him and everybody beneath him, Penny neglects him, the police hunts him and Sophie is not the girlfriend he imagines her to be. The fascinating thing here is, though, that Phillips is telling the entire story from Arthur’s perspective. He is not a narrator per se, but with him being present in every scene it is clearly his version of the story and, as such, he is highly unreliable if we are looking for the objective truth. And to be fair, I do not think that is what the filmmakers set out to do either. Here, the important truth lies both in Fleck’s imagination and reality and as such the ending is very fitting even though it has caused a lot of criticism for being a “cop out”.

In stead, Todd Phillips and Scott Silver want to give a voice to the people who are being shut out of society. The people we tend to look away from or distance ourselves from on the bus. The people who we laugh at when their weird mannerisms or actions are filmed and exposed on TV. The people who governments often find it easier to ignore or talk down to in stead of reaching out to or accommodating. The people who sadly sometimes end up causing unbearable tragedies. It’s a daring choice for Phillips and Silver to write their screenplay with this perspective but it pays off by creating one of the best films of the year.

This, of course, demands more than a brilliant ensemble as well as a daring director and screenwriter. When it comes to the quality of the crafts, ‘Joker’ is also right up there with the best of 2019. The cinematography is stunning as it really manages to show us the devastation of the state Gotham City is left in, but also in the way it centres on and helps Phoenix’ performance. Let me once again highlight THAT bathroom scene and the films use of mirrors. The film’s cinematographer, Lawrence Sher, rarely leaves Arthur out of sight whether it is in intimate close-ups or montages through the city. Equally as impressive is the production design, which manages to make Gotham feel alive and very real; dark and gritty when we are in the streets and colourful and exuberant when we are among the top of society. Additionally, you have to raise your hat to editor, Jeff Groth, who has created a tightly composed film from an excessive amount of material as Phoenix did a lot of different versions of each scene.

The most impressive aspect of the film’s technical aspect is, however, the score by icelandic Hildur Guðnadóttir. Her score is haunting to say the least with its deep and towering string sections combined with an ominous vibe that makes the score sit heavy on your shoulders as if it is the burden carried by Arthur. Guðnadóttir worked with Johan Johansson before his death and you can hear his influence, but make no mistake! Guðnadóttir is an artist on her own terms; her score has a unique sound that has landed her nominations at all the major awards and for which she hopefully will receive numerous wins too. The next strongest thing in the film after Phoenix’ performance. The score blends perfectly with the great overall sound design and it is perfectly balanced with the well-picked songs such as “Smile”, “That’s Life” and “My Name is Carnival”. I cannot count the times I have listened to this soundtrack since watching the film the first time.

I have seen the film three times now and I have been really unsure whether it was a 4,5/5 or 5/5 film, but considering it has stayed in my head for many days after every viewing, I have to say that I see it as a masterpiece. A film that I would never have expected to see from Todd Phillips. ‘Joker’ is a ruthless and brutally honest depiction of some of the deepest issues in modern society and a grim look at the possible consequences! From its core (Phoenix’ electric and mesmirising performance) it forces us to look at, to acknowledge and to reflect upon and discuss issues that popular culture and governments are normally too afraid to face and handle. In such, the entire discussion about the film in America is nothing but ironic and poignant. The film does in no way glorify violence or murder, nor does it convey unambiguous sympathy towards Arthur and his ultimately repulsive actions. 

What it does, however, is that it dares to show us the person - the human being - behind the tragedies and horrific events that sadly are becoming more and more “normal” in the world today. The people in the periphery of society that we are letting down when medical centres are closed, when we don’t support them, when we expect them to behave like everyone else. That is tough to watch, and it is - of course - easier to just condemn these people as clowns or cheer on a caped crusader as he battles this evil. But in ‘Joker’ there is no Batman, there is no cartoonish villain, there is no looking away. There are only humans and their nuanced nature.

5/5