#sometimes i make a character one way but i can sense a narrative gap within the cast that needs filling to “get conversation going”

[heybiji]

In reference to the last ask you posted! Do you mind going over your tips on role-playing as that active-type character and/or digging up the thread of conversation it seems the original asker was referring to? I'm so interested in your experience role-playing for both prep in possibly joining a game someday and also bc it sounds like such good character creation and general writing advice!!!! I tried checking you blog but didnt turn up anything that touched pn it more (No worries if not though!)

Sorry for this late response!

My advice is make characters that create opportunities for story.

Reacting to a story is fun! Reacting to a character is fun! But if you're always reacting then you're creating opportunity for other characters to react, so sometimes you gotta Act to let the other characters and the story React.

To do this, characters should all want something. And not something vague (like "to be happy"), it should be something more tangible, more specific, and everything else can stem from there. It'll guide your character naturally. It's their Motivation.

More under the cut (or skip to the end for more standard advice)

For example, my dnd character Dandelion wanted more than anything to go home. "Going home" meant a lot of things, yeah it means being happy, it means he wants to be with his family, it means he wants to be loved, it means he wants to feel safe, it means he wants to belong somewhere, but the tangible idea is "go home."

Because I knew this is what he wanted most of all it guided all his actions, and his actions for better or for worse all made sense because of it (and I made it clear that was what he wanted "on-screen" on multiple occasions). So anything that involved the idea of getting home would activate him, and he'd also deeply empathize with anyone and anything else away from home/away from family. Giving him one strong, clear motivation instantly made him an active participant in the story. This made him active with other characters too, any mention of home, any mention of family, any idea of not belonging, it drew him toward them.

(as a DM now this is also what I need more than anything, what's your hook? how can I tempt you? how can I make your character move forward? how can I make your character react? also characters that create opportunity for story take a LOT of work off the DM's shoulders in my experience, it shows you're engaged and it feels less like dragging a cat around on a leash haha like "are you enjoying this? do you want this? i don't know! please give me something!")

my more standard advice?

Be a good listener

Be present (in the moment)

Be curious

Be the biggest fan of all the characters

Put your story on-screen frequently, give people the opportunity to react to it and join in on it (this can be as simple as "my character's body language changes at the mention of 'home')

Create opportunities for the other characters to have their story on-screen (ask them questions! if you know what the character's buttons are and it makes sense in the moment, press them! listen to what they're saying, pay attention to what they're doing, and react to it)

Interact with the world! Interact with each other! And make these things mean something to your character!

Your character should make mistakes. Mistakes create opportunity for everyone.

If there's a genre, or theme, play toward them earnestly.

The more you RP, the better you'll get at it! It's a process and that's okay!

my little tip for knowing whether your character is Active vs Reactive: if the story were a musical, do they have an I Want song? do they have multiple moments for songs within the narrative? have they shared a duet with another character? do their songs change, evolve? songs happen for important moments in a musical so if you're not contributing to important moments, it may mean you're reacting more than you're acting. which is fine if you're playing a game solo and are granted access to the narrative by virtue of being the designated main character, but because RPing is collaborative storytelling, everyone should be doing their part!

[wanderingmoonmen]

Hi! I just wanted to come here and gush about how much I love your half doomed and semi sweet series real quick! I binged it all in two days and you guys have done such a good work on it. I honestly think the first installment is probably one of my favorite pieces of fanfic ever just due to how great the mix of character interaction and action is within the fic. I also just adore how Mary is handled with James and how he realizes that Mary wouldn’t say a lot of the stuff his hallucinations are saying but also it’s still overwhelming and hurts despite this! I’ve also been enjoying the lot more day to day ness of the sequel fic too, where issues still come up but it’s also not, running from monsters all the time (unless those monsters are silent hill remnants/bad thoughts, sorry James!).

I don’t know if it’s ever detailed anywhere, but what exactly inspired you to write the sequel fic if you don’t mind me asking?

aaaaa this has been sitting in my inbox for a bit because I saw the nice words and it makes me melt into a puddle and I want to take time to properly answer your question. Thank you ❤️

I ended up writing way too much in my answer so the tldr; I have way too many thoughts and ideas and with @fly-rye 's encouragement and participation we're now in a place where there's a whole timeline and already drafted events still out there to do.

My ramblings and more detailed explanation under the cut

I think in the preface to Promise, or somewhere, I've said that literally all of this started as a joke. I'm also going to keep to my guns of coming up with it back in 2018 (albeit a joke that I kept to myself lmao). I had sort of kept my 'joke' meeting in some sort of filing cabinet in my mind. And honestly if @fly-rye wasn't a super cool and amazing friend and didn't indulge my bullshit we wouldn't be here (also I'm pretty sure that DBD audio of Leon sounding very......... y'know affected it too. I also started a playthrough of RE4 on Oculus at the same time. Also also this literally started I swear a couple months before remakes were formally announced.) ANYWAY this isn't an answer to your question, I just like rambling.

Now that sort of plays into what inspired the sequel, I think I am a 'too many thoughts head full' type of person and just have too much to say sometimes (and perhaps also too much imagination). I also like trying to explain things so the in-fiction lore makes sense (like... extensively thinking about how to actually for real explain how James got to Spain or What Is The Scientific Explanation For Silent Hill etc etc. I just like to make things Work in my head, idk how to explain it).

When Promise turned into a project, there was more serious thought into how their relationship worked and how to explain Leon's character changes in future media. Then it was a thought of 'how could things be better for the both of them?' Or 'what if they were allowed to heal and grow as people' and whatever else that can be narratively satisfying about seeing hurt people finding each other and helping each other.

Then that turns into 'let's put that thing into a situation.'

Which, of course, there are A Lot Of Situations considering Leon has... 4 movies and 1 game he's in after RE4.

There's also the interest of exploring the mechanics of Silent Hill and exploring how SH3/SH4 can become entangled with the mess.

There's then the flip side of the domestic life and living as """""normal"""""" people.

So to fill the gaps between Situations we've brainstormed a Lot of timeline stuff and certain relationship beats that should occur (yknow like their gay wedding, spoilers). I'm also trying to show how James integrates with the rest of the RE crew and with Harry and Heather.

So... Basically I've thought... a lot about how to make their ship and this universe integrate into all the canon events and have some random drafts for it (of course much credit goes to @fly-rye to a) indulging me b) getting sucked into this c) being super supportive d) brainstorming the Situations with me) because there's just so much potential!!

Now, this is kinda where I get stuck and why there hasn't been more posted, if you're wondering

I like to be thorough and in my head I think I need to explain and show character development in detail because, again, in my head, I think it'll then be viewed as 'bad' or idk, 'not well written' or 'not making sense' (as if any of this makes sense). So I feel like I need to show how these relationships develop so it's more convincing or whatever. I think about how some media is panned or criticized for bad relationship writing, ie 'we've been best friends for 10 years and he really helped me out, right bob?" Like who says that.

So in starting PE I wanted to try and thoroughly and logically explain how we get to the current point.

Obviously this is also literally fanfic and [insert meme here] it's my AU and I can do what I want [just tell you This Is How It Is]

But... I'm not great at writing fluff or character interaction stuff just for the sole purpose of development. I thrive on hurt/comfort and angst stuff (if that wasn't obvious) whereas trying to come up with story beats for a beach trip or something is much more difficult for me. So I've struggled to move forward because it's just not my forte and it takes practice and patience...

Unfortunately, I can be rather impatient.

It's really annoying when you're trying to be thorough! So even when I've got a plan, I just get annoyed with my writing because I just wanna get to the good stuff!!! Why can't I write this out faster!!!! I need to beam my thoughts into a document!!!

I keep on feeling like I'm making empty promises, but I do really wanna keep writing and posting. I am trying and I think about sitting down and writing a lot, but between all those other hangups and not having time, I just haven't.

I know a lot of this isn't exactly what you asked, but I hope it answers your question and then some. Thank you again for reaching out it means a lot to hear from readers!!!

[corellianhounds]

Curious to know your thoughts on Din’s separation from Ran’s Crew… (you said you wanted a discussion topic 😉)

I meant for this to be a two paragraph response and then when I looked up three hours had passed and my back was stiff from sitting at the keyboard for so long. I wrote ninety-five percent of this in one go, then made a gyro and literally went to go rewatch the episode to double check my quotes and notes before coming back 😆

~ 3.1k words

This ended up being a LOT more context because I don’t feel like I can give a solid answer without laying the groundwork for how I come to the conclusions that I do. I’m nothing if not able to justify my reasons/interpretations, but I also try not to lock into anything unchangeable when it comes to more nebulous parts of a character’s history because I can see how things can go several different ways, all of them interesting and plausible.

One of the things I’ve always loved about Mando from a mechanical/storytelling technique perspective is that he’s one of those characters with a mysterious past we only get in relevant bits and pieces, leaving so much open to speculation and interpretation. (I think that does contribute to how many wildly different takes we see in fan spaces about his character, but I digress.) He’s like Wolverine or Snake Eyes in that, when he’s being written well, his entire past and backstory isn’t spelled out in concrete detail which frees up storytellers to add things in later as they become relevant without contradicting themselves or having to refer back to/be confined by too much rigidly established history or canon.

(Personally I think more authors should do that when it comes to how characters are used in a story (meaning, the character should serve whatever story you’re writing first and you shouldn’t get too precious about elaborate backstories and irrelevant details if they end up blocking you from making stronger narrative decisions). I like only getting bits and pieces because we as the audience fill in the gaps for ourselves and stay intrigued by the remaining sense of mystery)

Because of that, I don’t have a concrete idea in mind for how Din got involved with or left Malk’s crew, and I hope it never gets spelled out unless the writers have a specific story in mind where that comes up.

As much as I like writing Din as a genuinely good man with a strong moral compass and personal code, that does also mean that I think there were times he wasn’t a good man. People are a lot of things in life, and it’s only through genuine trial and error, making mistakes and actively bad decisions and learning hard lessons from bad experiences that people grow into being good people (keeping in mind that everybody is capable of making good and bad choices in life at every step of the way. ‘Being good’ takes active work and it takes even more work to maintain that consistently).

Characters are more compelling and dynamic when they’ve actually done things that are contrary to how they behave in the present (provided the audience is shown the meaningful progression of that change). To that end, I think Din Djarin has done some things in his life he deeply regrets. Some of those decisions may have been forced out of him by virtue of circumstance, and some of them may have been on purpose (or the lesser of two evils).

Sometimes making the right choice will end up costing you something important, up to and including your life. Survivors of any kind have done a lot of things to ensure that survival. Everybody is capable of change, but change can go in a lot of different directions.

I think erasing a character’s flaws or implications of a flawed past does those characters and stories a disservice by uncomplicating the people and world within which the story is taking place. It truncates what decisions those characters are able to get away with as a story progresses if you insist they’ve only ever been morally upstanding up to the present. It closes off opportunities and directions for writers to take regarding the character’s future. That’s not a hard and fast rule, but if you start off with Steve Rogers being a good guy, you can’t have him do a complete 180 in a story unless that’s going to be given the time and focus it would take to make that arc believable and satisfying, and sometimes you just don’t have the time to dedicate to that if that isn’t the main story.

All of that to say, Din has probably done some bad things. You don’t end up working with criminals for (it’s implied) an extended period of time without having to make moral compromises, and though I believe Din’s faith as a Mandalorian has been steadfast since childhood, there are probably aspects of the more honorable teachings that he’s lapsed in at different points of time. (He did, at one point in time, turn over the life of a child to known enemies for payment.) He probably had to not ask questions about targets they were sent sabotage or steal from because if he doesn’t know for a fact that they were innocent people, he can tell himself that he’s not at fault for senselessly hurting people or robbing them of their livelihood (even if his guilt, intuition, and conscience tell him otherwise when he tries to sleep at night).

You know what you’re getting into going into mercenary work, so you can’t get tied up into moral quandaries every time you see the person on the other side of it. The more impersonal you can make it, the more you can do the job swiftly and mitigate as much suffering and collateral damage as possible.

I say all of this because Mando doesn’t exactly refute most of the things the crew says about him during the planning and travel phase of the mission, and I don’t think he has a problem correcting people when they’re objectively wrong about him (even if he’s at a disadvantage here being outnumbered, desperate, and coming to them for work). When Ran says they did a lot of crazy stuff back in the day, Din says “That was a long time ago,” which does admit to at least some of it being true, it’s just something Din makes a point to say he’s distanced himself from. He’s saying that he’s a different person than what he was like back then, which means there had to have been things he did that he’s not proud of.

Sometimes the more you protest though, the more people will pile on the jabs and mockery, especially if said jabs come from elements of truth you as the target can’t completely deny. If you don’t give people the response they want, oftentimes they’ll get bored and move on to something else, or at least won’t linger on that particular insult.

It’s also worth pointing out that anything the other members of the crew say about him could have been false or taken out of context or were perceived entirely different than what the reality was, them not knowing what Mando’s motives were at the time because he’s not exactly forthcoming. Anything they say that implies he did some shady things could have also been things Mando did in those moments that were actually cover for something else. Him letting them think the worst of him so they don’t notice how he’s freeing hostages remotely as they work, or sabotaging their demolition-heavy escape that would have hurt bystanders, or hailing the law to show up and interfere before things go too far and people end up dead when they could be saved. The quieter you are, the more people will reveal themselves and overlook you as part of the background, leaving you free to do what you need to.

Some of the things the mercenaries say about him could also be their skewed interpretations of events. Mando could have been quick, heavy-hitting, and ruthless, but ruthlessness doesn’t always equate bloodthirsty— Ruthlessness just means the most efficient route or means from point A to point B. If he went in on a mission and had to incapacitate people quickly and cleanly, they might have interpreted that to mean Mando was a violent person who liked killing or beating people up for the fun or glory or pleasure of it if he was volunteering to be the first one going in. The reality could have been Din not wanting people to suffer or be killed at the hands of mercenaries he knew would be harsher/more careless if they went ahead of him on a job.

Maybe the mercenaries all thought he was trigger happy because he would shoot first without asking questions, but Din was, in reality, six steps ahead of everybody else and had already analyzed the situation and come to the conclusion that that was the necessary thing to do at that juncture. Maybe the fact that he was brutal and quick to fight back when people on the crew antagonized him in their downtime or tried to take his things made them think he had a short temper and was always raring for a fight, when the reality is you have a much better chance of winning if you hit hard and hit fast, and he wasn’t going to put up with anybody’s disrespect or antagonism by rolling over and letting them think they could get away with pushing him around. As soon as you give people an inch they’ll take a mile.

Even if he was doing some shady jobs, there are still things he’s not going to do even if he had the skill sets for it. Din’s not going to torture people and wouldn’t have stood for it from others of the crew. He’s not a murderer and even when he’s had to kill people in the show it’s always done quickly and efficiently. (One reason why I can’t definitively say Mando would be entirely against hurting someone for information is that he did leave Gor Koresh to be torn apart by dogs at the beginning of Season 2, so he obviously thinks there are some people who have it coming. “You won’t die by my hand, but I don’t have to save you.” He gave Koresh a clear and concise opportunity in the arena to back off and give him the info he came for without killing him though and Gor Koresh didn’t take the chance Mando gave him, so Mando’s not going to lose sleep over what he did in leaving the don hanging there in the street. It’s probable there were similar instances like that while working for Ran.)

Though there are a lot of other immoral actions that come with the kinds of jobs it’s implied that they did, Mando wasn’t killing people left and right, especially since these guys are lower level criminals and thugs, not organized crime members or assassins, and murder gets you a lot more attention than you want if your primary jobs are stealth-based. Mando retained a sense of honor while working for Ran’s crew because Qin wouldn’t have used “You need me alive to get paid; isn’t that your code? Aren’t you a man of honor?” as a guilt trip/bargaining chip at the end of the episode otherwise. Qin’s (mockingly, but probably accurately) quoting back to him what Din had said to them in the past (same as what Xi’an did in transit regarding what he says about the helmet rule). It’s both possible and likely that Din was the one reining other people in when he could, mediating or diverting the crew from killing targets, security, or civilians who ended up in the way.

The reason I think Mando only killed people back then in self defense is that he left the merc crew alive at the end of “The Prisoner” when he obviously could have killed them. To me, what we’ve seen of his sense of justice in the present shows that, had they all proven to be merciless murderers to other people, he would have dealt out equal punishment in return by the end of it has retroactive retribution. Xi’an was the only one he’d worked with before (aside from Qin) and I don’t doubt that she enjoys killing people, and she did kill Davin so she was the most deserving if he had killed her there, but Mando still gave all of them the same last chance he gave Qin years ago; left behind and captured, but alive, despite the fact they all tried to kill him.

(A possible out-of-universe explanation for why he left them alive is that the writers may have had more planned for them in Season 2; there’s concept art in the second season’s Art of The Mandalorian that has Mayfeld, Xi’an, and Burrg on Boba Fett’s ship going into “The Believer.”)

We haven’t seen any evidence of Mando taking active enjoyment in killing people. Needless murder goes against the Mandalorian code, and violence typically isn’t (or is taught that it shouldn’t be) the first resort. Mandalorians are diplomatic enough to have a conversation first, but if you instigate a fight, they’re more than ready and able to finish it. Strike fast and get it over with, don’t drag it out. If you’re going to fight, do it out in the open and be willing to consider a genuine surrender when it’s asked for.

Mando’s not a bad guy. He’s just the best at what he does, and what he does isn’t very nice.

—

So now we’ve established some plausible parameters and the atmosphere for what it was like working with Ran’s crew in the past. There’s a lot of ways Mando could have ended up on the crew, and there’s a lot of reasons why he might have stayed there. He could have been ambitious and arrogant and setting out to make a name for himself, but I’m more inclined to think it was a matter of taking whatever jobs he could that would pay a lot of money and allow him to continue forward. Poor people without resources or connections are often driven to make decisions and find crummy or unethical work that goes against their personal code or preferences, especially when there are people relying on them as a source of income.

The importance of community and family among the Mandalorians is something that’s been made abundantly clear about Din from the beginning so that was probably a driving factor in how he conducted his life and work once he became an adult, and if he was one of the few people who was able to travel to find work and bring money and resources back to the tribe, then of course he was going to do it. There are mouths to feed, children to care for, armor to be built for others. You do what you can to survive.

Now say the more jobs he does with them, the worse they get, but he makes more money that can be brought home to the tribe. Say there are circumstances with bad timing that compel him to keep working for Malk as opposed to finding somebody else (potentially just as bad) to work for; working for the devil you know is better than the devil you don’t. Maybe he’s saving up for a ship. Maybe he somehow ended up indebted to Malk and was forced to work off that debt for longer than he obviously wanted.

Maybe he was desperate for any work and theirs seemed promising, especially since he had the exact skillset that would guarantee he’d succeed. Maybe the jobs they used to do were just legal enough to pass as legitimate (if difficult) work and it wasn’t until he’d been there a while that they started to become more dubiously ethical, or Ran used the fact that they had a Mandalorian with them to bargain for better paying jobs from clients (those jobs paying more because they were dirty work).

Say that he knew it would be hard to leave the merc crew because if he didn’t do it right, he knew they’d all be suspicious about what secrets and details he’d be taking with him. Who knows who he might talk to? If that were the case, they may have come after him once he departed just to make sure he couldn’t betray them and give them up.

Say Mando had other outside obligations that kept him working with Malk despite the fact he could see the red flags, and the slow, creeping decline in honest work took place over a longer length of time. It’s a lot easier to get somebody involved with criminal activity if it starts small, starts gradual, and can be reasonably justified, especially if you don’t have all the facts surrounding the circumstances under which the job is taking place. No questions asked, that’s the policy.

I think whatever job they took where Qin was left behind was close to if not the end of Mando’s time with them. I don’t get the impression they had a great relationship to begin with, and Qin also seems like he could have held his own against Mando for a good amount of time before either of them had to back down or their fights were broken up. Almost every episode involves somebody picking a fight with Din over the armor or the helmet (or just… anything really), and it’s clear he’s had a lifetime of similar treatment and he’s able to fight back every time, so it’s not a stretch to say he was probably on the receiving end of similar scuffles while working with the crew, including those instigated by Qin.

So if Mando already had reasons why he wouldn’t have risked his hide to go back for Qin, it’s possible something specific happened that was the last straw and Mando decided he would no longer go out of his way to help or protect him, meaning when whatever mission they were on went pear-shaped, Mando left him. A kind of “Those who fall behind get left behind,” mentality, considering he knew Qin could hold his own and would end up alive if he was smart enough to know what was good for him and back down when he was caught. That was Mando’s measure of grace extended Qin’s way. Mando could have killed him on the way out, but he didn’t. He considered that Qin’s last chance.

I don’t think Qin was necessarily caught by the law on that mission, but regardless of how it shook out that crew ended up back at home base with at least one less member among them and everybody having a hunch that it could have been done on purpose, even if Mando had viable justification for why he couldn’t have gone back for him without risking the rest of the mission. Mando was able to make a clean break and walk away from the encounter (because Malk wouldn’t have let him back on the crew in “The Prisoner” otherwise), but not without everybody’s suspicions cast on him as he went, and the longer time passes between people who part ways on a sour note, the more those accusatory thoughts fester and build.

Mando may have made the objectively right call in leaving Qin and had the evidence to back him up, but people’s feelings are finicky things and tend to overrule all better judgment regardless of the facts of a situation, so the fact that he’d been with that crew for a while and had a history there— one that likely included a well-known animosity between himself and Qin— meant that it didn’t matter how justified Din was. If he’d stayed and continued to take jobs with them nobody else would have trusted him to have their backs going forward, which meant there would be no way for Mando to trust that they would have his. For all he knew, their next mission would end with him being left behind, metaphorically or literally stabbed in the back for his trouble in thinking they could work together again.

[zeldurz]

A rant about Bacta

For today's long and rambling meta, let’s talk about bacta, aka my least favourite part of Star Wars. The magical space healing goo that solves all your problems for some reason, with no considerations for anything that makes any amount of sense.

Once again, going to preface this with “I am not a medical professional and am by no means an expert in this field”

More happening below the cut:

To start, I will say that from a meta perspective, I understand why bacta is the way it is. We see it first in Episode V, where Luke is being treated for hypothermia and Wampa-related injuries - and I will give the GFFA that one. We often treat hypothermia with Luke-warm (haha) baths to raise the patient’s body temperature back to what it should be, and I could absolutely see a regulated, temperature controlled immersion tank being used for situations like this. I will even give them the “it’s a sterile solution that has antibiotic properties and promotes healing” thing, like it’s a giant vat of space polysporin or something. HOWEVER, it’s everything that came after that that I have an issue with.

You see, dear reader, the next thing that happened after the movies we all know and love was a tabletop RPG - the foundation of which all legends content is built upon. And in a tabletop RPG (like dungeons and dragons, for those who aren’t familiar), you need a system for tracking health (IE hit points, hearts, etc) and a way to quickly restore your character back to “full health”. Since Star Wars doesn’t have clerics or health potions, you get the magical healing goo that solves all your problems instead. And because you need this resource to be limited in order to give the game an element of risk, you make bacta expensive and sometimes challenging to get ahold of, but it has the power to fix any and all problems.

Now don’t get me wrong, I appreciate that in video games or DND I can drink a potion and suddenly my arm isn’t broken and I am no longer on fire, but Star Wars at its core is not an RPG (I do also, for the record, feel this way about healing spells and similar abilities in fantasy settings, but that’s for another time). I also want to make clear that I, an angst gremlin who thrives on fake science and making characters suffer, am not the average audience for this type of thing, and that narratively, action adventures like Star Wars would suffer tremendously with long, drawn out recovery times. With that being said, the gap between ‘I’m skipping over this because it doesn’t have a place in my story’ and ‘I throw the character in the goo (or have them ingest the goo?? Or inject it?????) and everything is fine now” is substantial, and I for one am really not a fan.

“But Zeds!” you cry, “what about suspension of disbelief? Star Wars has impossible laser swords and impossible galactic travel and-”

I know. And obviously bacta isn’t a make or break it thing for me, because my one and only brain cell is devoted at all times to my poor little meow meows who have committed so many war crimes - but the thing about suspension of disbelief for me personally is it has to be logically consistent within the universe, and for me, bacta makes no fucking sense whatsoever.

(if you are bothered by potential injury/medical stuff and non-graphic discussion of bodily fluids, this is probably where you should get off this train of thought)

I have a lot of issues with bacta, but I can lump them into two broad categories: mechanism of action (ie the biology) and the Bacta Economy (ie the wider implications for healthcare and best practices). 

Mechanism of Action:

To quote Wookieepedia

Promoting rapid regeneration of organic compounds, bacta could be used in a variety of both critical and noncritical medical situations. Described as being warm to the touch, the bacta liquid could aid in the healing of concussions, internal organs, and broken ribs. Furthermore, it could be placed in small dishes to help regrow fingernails, mend cuts, burns, and other injuries. Due to its "one-size fits all" use in medical applications, it was a highly prized and commonly used medical treatment for most, if not all, injuries. Bacta could also knit together broken bones

Bacta can fix everything, apparently, with the legends page going so far as to state that “it's replaced most conventional medicine.” I am not a medical professional, but the idea that one single substance could fix every ailment ever in every species is ridiculous considering that a) we can’t even treat the same condition in different people with one substance (as anyone who has been on antidepressants can tell you), let alone conditions with widely different symptoms and presentations. I could maybe see if it was some sort of stem cell activator or something like that, but even then it seems far-reaching to assume that things like broken bones or concussions could be healed by the same substance. The fact that bacta is primarily applied topically (ie to the skin either as a gel or in a tank), but can also be administered orally or by injection only makes things weirder. Does it absorb into the bloodstream through the skin? How does it reach the injured organ in order to “promote healing?” Is it entirely unaffected by stomach acid???

Which, speaking of concussions, does that mean bacta can cross the blood-brain barrier? You’re telling me that there is one goo that is perfectly matched to every being in the whole fucking galaxy (considering how many different blood types humans have and how much care has to go into matching organs or stem cells for transplant in humans, I find it a stretch to believe that one size fits all for every human, let alone other alien species), and it can fix bones and nerves and everything else? Without side effects?????? What about longer term treatments? Are we not worried about muscle loss? Nutrition? Dehydration???

Not to mention the implication that it can fix broken bones without setting them - the whole thing reeks of hand-wavey space magic, which would be fine if it wasn’t explained in universe as ‘miracle bacteria fix things and we will not be elaborating further’. This is especially problematic since Legends mentions some people have a bacta allergy (which would leave them functionally without healthcare) and because having only one substance that fixes everything from a paper cut to life-threatening injuries is a huge risk to your civilization (from possible contaminants/shortages) as well as doing a disservice to every individual. Between the implications that there are relatively few other drugs (maybe this is why everyone seems to be awake for surgery all the time and no one uses any painkillers? Because they need the bacta for something else????) and the fact that no one is going to waste their precious goo on your headache, healthcare must really suck in a “we only have the goo” galaxy (even moreso than it already does).

The Bacta economy and the wider implications for healthcare in the GFFA:

Canonically, bacta is extremely valuable and nearly impossible to synthesize. In fact, I seem to recall a scene in one of the legends books where Luke has recovered from an injury, and after being treated in a bacta tank, the practitioner is siphoning the excess bacta out of his ears so it can be reused.

In real life, we are very careful to handle bodily fluids with care to avoid accidental exposure to certain diseases - but you’re telling me that you can just soak someone in some goo for days (or weeks!) at a time while they have open wounds, and then pull them out and drop in the next patient? Is there no concern for bloodborne disease or infection at all? 

One of the things I do use bacta for in my fics is recovery after surgery - the antibacterial properties, plus the analgesics and everything else make it a reasonable choice for standard post-op procedure - but the idea of having a patient come out of a sterile operating room and into the goo tank that might have held someone with gangrene a few hours ago is a recipe for disaster imo

And speaking of contamination - how are we deciding which bacta is injected/administered orally and which is topical? Are we injecting people with goo that other people have been sitting in (again, for days or possibly weeks???) Or is only “fresh” bacta used for that purpose? Maybe it’s a class thing, and the rich can afford fresh but the poor have to make do with stuff that’s already had someone in it for a month idk, the whole thing just feels really really grody and like a good way to ensure your entire population is HIV+

And on that note - if every injury and medical condition is treated with one limited, expensive resource, how are hospitals allocating it? If you have broken ribs, for example, would you be evicted from the bacta tank if there was someone who was in a speeder crash whose life is in danger? What about a premature infant? Even if we are assuming that the GFFA operates under capitalist hellscape rules and each patient has to pay for their own bacta treatment, the fact that there’s only one resource to treat every condition must make for an absolute nightmare of triage (I imagine this is only compounded on ships, where the resources are even more limited to stocks on board, and a disaster like an explosion in an engine room could result in massive casualties if the only option for anything is “treat with bacta”)

All of which is to say - bacta works great as a plot device, but as soon as you start looking at it even a little bit, none of it makes any sense at all.

For me personally, I mainly include the use of a tank for post-operative patients - particularly after a major surgery - along with treatment of hypothermia or other conditions with poor circulation or temperature regulation. I also use a gel for wound dressings, but I rarely would have a character receive it orally or by injection. I think it is a useful thing for doctors to have, but I refuse to believe that the entire Galaxy’s healthcare revolves around one substance (no matter how great), and especially that the Galaxy’s physicians have been replaced by it.

[bigskydreaming]

Could use an extra set of eyes on this part of my Firmament stuff, and making sure I have everything I need explained within data pages specific to this one particular civilization, if anyone's willing. A big problem for me with various stories or stuff that's lived in my head forever is I'm so quick to automatically fill in any gaps in something I wrote with missing information I'M fully aware is meant to go there because like, obviously I know the ins and outs of everything and there's no point within any of this stuff where the explanation on the page is GUARANTEED to jump out at me as missing some crucial context, when like.....my mind is so quick to link up whatever info is relevant to what's on the page but isn't ALSO already on the page...I sometimes don't slow down quick enough to realize that I just glossed over a section that really needed more or specific context ON the actual page and I didn't fully notice or internalize or retain this bit as needing more fleshing cuz I was so quick and automatic to just be like 'yeah yeah and obviously this happens and there's this as part of the explanation for why that happens that way too.'

Which. Can be annoyingly counter productive at times.

So! If anyone has time in the next day or so to take a look at a couple of things and be like 'oh okay, it makes sense' or 'umm did you skip the some stuff here because I have no idea how you this stuff in Section A of this page has anything to do with this stuff in Section D, and Section B and C seem like they teleported in from an entirely different genre....is there an explanation for this that's just not here or is there not an explanation for this and this actually makes no sense and could be counted as a dreaded -

Me: *sweats* no dont say it, dont you say it, I TRAINED FOR THIS, I made so sure all of these were dead before I even STARTED that page....

Actual normal person: ....you kill the plotholes instead of just filling them in?

Me, some other thing that is definitely not that: What, is that not normal? Some people kill their darlings, I murder plotholes. Go full LARPing through my manuscript, Kalen the Plothole Slayer. I take the killing of plotholes very seriously. I need those assholes DEAD. Absolutely rude little fuckers just popping up out of NOWHERE and gleefully yoinking the narrative ground right out from under my protag after I put so much time and care into laying that brickwork down there, and then this smug little fucker pops into the margins in the form of a beta readers' notes being like "Surprise, bitch, bet you thought you'd seen the last of me!" and I'm like HOW THE FUCK DID YOU SURVIVE, YOU ATROCIOUS LITTLE GREMLIN, I melted your plot destabilizing face with narrative acid, and you have the nerve to respawn RIGHT IN THE MIDDLE OF MY PENULTIMATE CHAPTER? Who DOES that?

Plothole I've anthropomorphized because I have severely lost the plot of this post: You missed a page back in Chapter 3 when you went through that one and tried to snip snip me out of every scene there. You forgot the paragraph where I wasn't called out directly but my influence was still clearly visible in the fact that Character B shouldn't have fucking known who Character F was yet, hahahaha.

Me: Ohhhhh, you sunuvabitch!

Plothole: LOL oooooh does the F in Character F stand for haha you FUCKED UP lmao bet it doeeeees.

Me: THIS IS WHY ALL PLOTHOLES MUST DIE.

.....but yeah uh, so if anyone wants to do some basic soundingboard/lemme know if anything doesn't make sense stuff for some data/worldbuilding pages about a magic-utilizing human civilization in a big space opera universe lemme know! Thanks and don't feed your plotholes after midnight, they are NOT your friends and they're never cute. You want more adorable in your story, make up a dog. Death to the gremlins. Wait. Fuck. I conflated again. Dammit.

[missmrah]

what did u think of greywaren

I don’t normally get this kind of ask so this is actually exciting for me! Even though I’m still working through a lot of my feelings (and will probably require a re-read at some point to fully process), I’ll try to summarize my current thoughts without direct spoilers… warning: some of my takeaway is not exactly positive. 

I think, for me at least, the plot of The Dreamer Trilogy, and especially Greywaren, often required too much willing suspension of disbelief. 

It suffers from existing within the established universe of The Raven Cycle while attempting to vastly expand upon it. New and then subsequent revelations regarding Dreamers/Dreams, the Mods/Visionaries, and *spoilers* about Ronan himself that were meant to advance the plot and up the stakes, often felt cheaply contrived. Worse, sometimes these contrivances actually felt like Stiefvater was coming just shy of retconning the events of her previous works, retroactively adding to the narrative to the point of making it nearly unrecognizable. 

This meant that as I found myself constantly having to reevaluate my understanding of how this universe operates it wasn’t generally in a way that I felt the storytelling had earned; there weren’t enough satisfying moments of, “OMG, I should have/didn’t see that coming (that’s so cool)?!” Instead, my response was more often, “Oh… yeah okay. I guess I can accept that.” To be clear, this didn’t ruin my enjoyment, but the fact is, I might have genuinely loved the events and twists in Greywaren if there had been a little more groundwork to make them feel less unprecedented (an example would be the nature/origin of the Visionaries, which introduced about a million questions and the only explanations we were given were the ones convenient for the immediate story, which unfortunately I remain unconvinced made much sense within the context of the universe?) For me, a little extra thoughtful foreshadowing would have gone a long way. (To be honest, I felt this way sometimes while reading Blue Lily, Lily Blue and also The Raven King). Ultimately, if TDT had existed independent of TRC, the extended scope of the world and the magic that exists in it wouldn’t have introduced so many glaring gaps in consistency… but therein lies another problem: if it hadn’t been about the Lynch brothers I might not have read it in the first place.

All of that said, I actually did really enjoy Greywaren, and I came around to some of the story choices that at first I had found hard to swallow. Stiefvater’s dedication to character exploration and development in both TRC and TDT is what really makes her writing shine and both these series bring to life a compelling cast of characters that practically spill off the page with their raw and messy emotions, at once loveable and agonizingly human and so very deeply and beautifully flawed. In the end, I find that the heart she brings to these characters and their feelings and relationships with one another is more than enough to make up for the confounding plot twists that occasionally lead to somewhat bewildering or unsatisfying payoffs. But really, so what if I’m not overly attached to the world building? Let’s not pretend my investment in these novels was ever for anything other than the emotional journey of Ronan Lynch et all—and later Hennessy and co as I came to love them too—and in that department I think Greywaren absolutely delivered. (I might have liked to see more Adam Parrish, and more mentions of his dreamt motorcycle too… but this is why we have fanfic!)

I hope this wasn't too long, sometimes I get carried away xx

[team7-headquarter]

My personal stance on Naruto ships (curated to my likings and what I feel comfortable with) is that you can ship mostly anything as long as:

It doesn't have a major age gap (8-10 years) : I'm not comfortable with ships where both characters are in two opposing moments of their lives, or when it's evident that one holds more control over the relationship due the experience the other lacks. Also it can be hell of a creppy experience, depending on the fic.

It doesn't mess with family / family figures : If they were raised together as siblings or if the adult character was more of a parent figure growing up, I can't ship them. I don't know how to properly explain this, but the trope of "I called you sister/brother before because I was confused about our closeness but now I know I was actually crushing on you" is not involved here.

* IMPORTANT : I actually like when people write younger characters having crushes on older ones, as long as it explains that the older person can't take advantage of the situation. It's normal for teenagers (for example) to crush on people they admire, but there can't be a relationship there.

It makes sense within the narrative of the art : In terms of canon, you don't have to follow it all the time. Aus and OOC fics are okay with me, as long as the author provides purpose and explanation. In the end, changing details can lead to having wildly different characters and scenearios, and sometimes people just want to explore what ifs and alternative aus. What I don't like it's when stuff changes or it's OOC with no reason at all. It doesn't sit well with me, you know?

It respect the characters as their own people : I don't like ships when one is used as a plot device for the other. Even in polyamory ships, I don't like when one character is there for honry reasons and nothing else. Everyone in there should have their own agendas, their own arcs and personalities, their goals and dreams and motivations, you get me? Either you respect everyone equally (in narrative) or I'm out.

It's properly classified for what ship type it is: different ships explore different things for the author and audience. The same way, fiction can me a mechanism to explore many things about a person without hurting anyone or impacting real life. It'd be a mean to reach catharsis about a traumatic event, it could be a mean to explore any fantasy of the self in order to understand why those exist or what are they related to, where they come from. For me, that's the importance of classifying properly, so no one would accidentally find something they don't want to read or even interact with. I can't stop you from shipping whatever you want, I'm just asking to tag it so I can avoid it and we can exist on different corners of the internet, in peace.

It's interesting : a simple rule. I interact with a bunch of things I particularly would never create art for, just because I find intersting how the author manage a detail. I can like art about a ship I don't even like just because the author has an intersting way of using the color theory. I can read fics about ships I hate just because the way the author writes has me intrigued. Not everything is about the plot or the characters or entertainment. For me, it can be technical, like studying stuff under a microscope in my personal lab.

They don't try to involve me in ship wars : I hate those. I couldn't care less about those. You see, I'm not interested in them because I think they are dumb and petty and a waste of my time. What I don't like, I block. What I find interesting, I talk about. You do the same and we're okay. Done.

There are other rules, but these list is the major one. When I mean I'm a multishipper and I don't particularly care about what others ship, this is what I mean. So don't be surprised if every now and then I reblog shipping stuff snjrkdjdjdjfjfkfj

[qqueenofhades]

The Green Knight and Medieval Metatextuality: An Essay

Right, so. Finally watched it last night, and I’ve been thinking about it literally ever since, except for the part where I was asleep. As I said to fellow medievalist and admirer of Dev Patel @oldshrewsburyian, it’s possibly the most fascinating piece of medieval-inspired media that I’ve seen in ages, and how refreshing to have something in this genre that actually rewards critical thought and deep analysis, rather than me just fulminating fruitlessly about how popular media thinks that slapping blood, filth, and misogyny onto some swords and castles is “historically accurate.” I read a review of TGK somewhere that described it as the anti-Game of Thrones, and I’m inclined to think that’s accurate. I didn’t agree with all of the film’s tonal, thematic, or interpretative choices, but I found them consistently stylish, compelling, and subversive in ways both small and large, and I’m gonna have to write about it or I’ll go crazy. So. Brace yourselves.

(Note: My PhD is in medieval history, not medieval literature, and I haven’t worked on SGGK specifically, but I am familiar with it, its general cultural context, and the historical influences, images, and debates that both the poem and the film referenced and drew upon, so that’s where this meta is coming from.)

First, obviously, while the film is not a straight-up text-to-screen version of the poem (though it is by and large relatively faithful), it is a multi-layered meta-text that comments on the original Sir Gawain and the Green Knight, the archetypes of chivalric literature as a whole, modern expectations for medieval films, the hero’s journey, the requirements of being an “honorable knight,” and the nature of death, fate, magic, and religion, just to name a few. Given that the Arthurian legendarium, otherwise known as the Matter of Britain, was written and rewritten over several centuries by countless authors, drawing on and changing and hybridizing interpretations that sometimes challenged or outright contradicted earlier versions, it makes sense for the film to chart its own path and make its own adaptational decisions as part of this multivalent, multivocal literary canon. Sir Gawain himself is a canonically and textually inconsistent figure; in the movie, the characters merrily pronounce his name in several different ways, most notably as Sean Harris/King Arthur’s somewhat inexplicable “Garr-win.” He might be a man without a consistent identity, but that’s pointed out within the film itself. What has he done to define himself, aside from being the king’s nephew? Is his quixotic quest for the Green Knight actually going to resolve the question of his identity and his honor – and if so, is it even going to matter, given that successful completion of the “game” seemingly equates with death?

Likewise, as the anti-Game of Thrones, the film is deliberately and sometimes maddeningly non-commercial. For an adaptation coming from a studio known primarily for horror, it almost completely eschews the cliché that gory bloodshed equals authentic medievalism; the only graphic scene is the Green Knight’s original beheading. The violence is only hinted at, subtextual, suspenseful; it is kept out of sight, around the corner, never entirely played out or resolved. In other words, if anyone came in thinking that they were going to watch Dev Patel luridly swashbuckle his way through some CGI monsters like bad Beowulf adaptations of yore, they were swiftly disappointed. In fact, he seems to spend most of his time being wet, sad, and failing to meet the moment at hand (with a few important exceptions).

The film unhurriedly evokes a medieval setting that is both surreal and defiantly non-historical. We travel (in roughly chronological order) from Anglo-Saxon huts to Romanesque halls to high-Gothic cathedrals to Tudor villages and half-timbered houses, culminating in the eerie neo-Renaissance splendor of the Lord and Lady’s hall, before returning to the ancient trees of the Green Chapel and its immortal occupant: everything that has come before has now returned to dust. We have been removed even from imagined time and place and into a moment where it ceases to function altogether. We move forward, backward, and sideways, as Gawain experiences past, present, and future in unison. He is dislocated from his own sense of himself, just as we, the viewers, are dislocated from our sense of what is the “true” reality or filmic narrative; what we think is real turns out not to be the case at all. If, of course, such a thing even exists at all.

This visual evocation of the entire medieval era also creates a setting that, unlike GOT, takes pride in rejecting absolutely all political context or Machiavellian maneuvering. The film acknowledges its own cultural ubiquity and the question of whether we really need yet another King Arthur adaptation: none of the characters aside from Gawain himself are credited by name. We all know it’s Arthur, but he’s listed only as “king.” We know the spooky druid-like old man with the white beard is Merlin, but it’s never required to spell it out. The film gestures at our pre-existing understanding; it relies on us to fill in the gaps, cuing us to collaboratively produce the story with it, positioning us as listeners as if we were gathered to hear the original poem. Just like fanfiction, it knows that it doesn’t need to waste time introducing every single character or filling in ultimately unnecessary background knowledge, when the audience can be relied upon to bring their own.

As for that, the film explicitly frames itself as a “filmed adaptation of the chivalric romance” in its opening credits, and continues to play with textual referents and cues throughout: telling us where we are, what’s happening, or what’s coming next, rather like the rubrics or headings within a medieval manuscript. As noted, its historical/architectural references span the entire medieval European world, as does its costume design. I was particularly struck by the fact that Arthur and Guinevere’s crowns resemble those from illuminated monastic manuscripts or Eastern Orthodox iconography: they are both crown and halo, they confer an air of both secular kingship and religious sanctity. The question in the film’s imagined epilogue thus becomes one familiar to Shakespeare’s Henry V: heavy is the head that wears the crown. Does Gawain want to earn his uncle’s crown, take over his place as king, bear the fate of Camelot, become a great ruler, a husband and father in ways that even Arthur never did, only to see it all brought to dust by his cowardice, his reliance on unscrupulous sorcery, and his unfulfilled promise to the Green Knight? Is it better to have that entire life and then lose it, or to make the right choice now, even if it means death?

Likewise, Arthur’s kingly mantle is Byzantine in inspiration, as is the icon of the Virgin Mary-as-Theotokos painted on Gawain’s shield (which we see broken apart during the attack by the scavengers). The film only glances at its religious themes rather than harping on them explicitly; we do have the cliché scene of the male churchmen praying for Gawain’s safety, opposite Gawain’s mother and her female attendants working witchcraft to protect him. (When oh when will I get my film that treats medieval magic and medieval religion as the complementary and co-existing epistemological systems that they were, rather than portraying them as diametrically binary and disparagingly gendered opposites?) But despite the interim setbacks borne from the failure of Christian icons, the overall resolution of the film could serve as the culmination of a medieval Christian morality tale: Gawain can buy himself a great future in the short term if he relies on the protection of the enchanted green belt to avoid the Green Knight’s killing stroke, but then he will have to watch it all crumble until he is sitting alone in his own hall, his children dead and his kingdom destroyed, as a headless corpse who only now has been brave enough to accept his proper fate. By removing the belt from his person in the film’s Inception-like final scene, he relinquishes the taint of black magic and regains his religious honor, even at the likely cost of death. That, the medieval Christian morality tale would agree, is the correct course of action.

Gawain’s encounter with St. Winifred likewise presents a more subtle vision of medieval Christianity. Winifred was an eighth-century Welsh saint known for being beheaded, after which (by the power of another saint) her head was miraculously restored to her body and she went on to live a long and holy life. It doesn’t quite work that way in TGK. (St Winifred’s Well is mentioned in the original SGGK, but as far as I recall, Gawain doesn’t meet the saint in person.) In the film, Gawain encounters Winifred’s lifelike apparition, who begs him to dive into the mere and retrieve her head (despite appearances, she warns him, it is not attached to her body). This fits into the pattern of medieval ghost stories, where the dead often return to entreat the living to help them finish their business; they must be heeded, but when they are encountered in places they shouldn’t be, they must be put back into their proper physical space and reminded of their real fate. Gawain doesn’t follow William of Newburgh’s practical recommendation to just fetch some brawny young men with shovels to beat the wandering corpse back into its grave. Instead, in one of his few moments of unqualified heroism, he dives into the dark water and retrieves Winifred’s skull from the bottom of the lake. Then when he returns to the house, he finds the rest of her skeleton lying in the bed where he was earlier sleeping, and carefully reunites the skull with its body, finally allowing it to rest in peace.

However, Gawain’s involvement with Winifred doesn’t end there. The fox that he sees on the bank after emerging with her skull, who then accompanies him for the rest of the film, is strongly implied to be her spirit, or at least a companion that she has sent for him. Gawain has handled a saint’s holy bones; her relics, which were well known to grant protection in the medieval world. He has done the saint a service, and in return, she extends her favor to him. At the end of the film, the fox finally speaks in a human voice, warning him not to proceed to the fateful final encounter with the Green Knight; it will mean his death. The symbolism of having a beheaded saint serve as Gawain’s guide and protector is obvious, since it is the fate that may or may not lie in store for him. As I said, the ending is Inception-like in that it steadfastly refuses to tell you if the hero is alive (or will live) or dead (or will die). In the original SGGK, of course, the Green Knight and the Lord turn out to be the same person, Gawain survives, it was all just a test of chivalric will and honor, and a trap put together by Morgan Le Fay in an attempt to frighten Guinevere. It’s essentially able to be laughed off: a game, an adventure, not real. TGK takes this paradigm and flips it (to speak…) on its head.

Gawain’s rescue of Winifred’s head also rewards him in more immediate terms: his/the Green Knight’s axe, stolen by the scavengers, is miraculously restored to him in her cottage, immediately and concretely demonstrating the virtue of his actions. This is one of the points where the film most stubbornly resists modern storytelling conventions: it simply refuses to add in any kind of “rational” or “empirical” explanation of how else it got there, aside from the grace and intercession of the saint. This is indeed how it works in medieval hagiography: things simply reappear, are returned, reattached, repaired, made whole again, and Gawain’s lost weapon is thus restored, symbolizing that he has passed the test and is worthy to continue with the quest. The film’s narrative is not modernizing its underlying medieval logic here, and it doesn’t particularly care if a modern audience finds it “convincing” or not. As noted, the film never makes any attempt to temporalize or localize itself; it exists in a determinedly surrealist and ahistorical landscape, where naked female giants who look suspiciously like Tilda Swinton roam across the wild with no necessary explanation. While this might be frustrating for some people, I actually found it a huge relief that a clearly fantastic and fictional literary adaptation was not acting like it was qualified to teach “real history” to its audience. Nobody would come out of TGK thinking that they had seen the “actual” medieval world, and since we have enough of a problem with that sort of thing thanks to GOT, I for one welcome the creation of a medieval imaginative space that embraces its eccentric and unrealistic elements, rather than trying to fit them into the Real Life box.

This plays into the fact that the film, like a reused medieval manuscript containing more than one text, is a palimpsest: for one, it audaciously rewrites the entire Arthurian canon in the wordless vision of Gawain’s life after escaping the Green Knight (I could write another meta on that dream-epilogue alone). It moves fluidly through time and creates alternate universes in at least two major points: one, the scene where Gawain is tied up and abandoned by the scavengers and that long circling shot reveals his skeletal corpse rotting on the sward, only to return to our original universe as Gawain decides that he doesn’t want that fate, and two, Gawain as King. In this alternate ending, Arthur doesn’t die in battle with Mordred, but peaceably in bed, having anointed his worthy nephew as his heir. Gawain becomes king, has children, gets married, governs Camelot, becomes a ruler surpassing even Arthur, but then watches his son get killed in battle, his subjects turn on him, and his family vanish into the dust of his broken hall before he himself, in despair, pulls the enchanted scarf out of his clothing and succumbs to his fate.

In this version, Gawain takes on the responsibility for the fall of Camelot, not Arthur. This is the hero’s burden, but he’s obtained it dishonorably, by cheating. It is a vivid but mimetic future which Gawain (to all appearances) ultimately rejects, returning the film to the realm of traditional Arthurian canon – but not quite. After all, if Gawain does get beheaded after that final fade to black, it would represent a significant alteration from the poem and the character’s usual arc. Are we back in traditional canon or aren’t we? Did Gawain reject that future or didn’t he? Do all these alterities still exist within the visual medium of the meta-text, and have any of them been definitely foreclosed?

Furthermore, the film interrogates itself and its own tropes in explicit and overt ways. In Gawain’s conversation with the Lord, the Lord poses the question that many members of the audience might have: is Gawain going to carry out this potentially pointless and suicidal quest and then be an honorable hero, just like that? What is he actually getting by staggering through assorted Irish bogs and seeming to reject, rather than embrace, the paradigms of a proper quest and that of an honorable knight? He lies about being a knight to the scavengers, clearly out of fear, and ends up cravenly bound and robbed rather than fighting back. He denies knowing anything about love to the Lady (played by Alicia Vikander, who also plays his lover at the start of the film with a decidedly ropey Yorkshire accent, sorry to say). He seems to shrink from the responsibility thrust on him, rather than rise to meet it (his only honorable act, retrieving Winifred’s head, is discussed above) and yet here he still is, plugging away. Why is he doing this? What does he really stand to gain, other than accepting a choice and its consequences (somewhat?) The film raises these questions, but it has no plans to answer them. It’s going to leave you to think about them for yourself, and it isn’t going to spoon-feed you any ultimate moral or neat resolution. In this interchange, it’s easy to see both the echoes of a formal dialogue between two speakers (a favored medieval didactic tactic) and the broader purpose of chivalric literature: to interrogate what it actually means to be a knight, how personal honor is generated, acquired, and increased, and whether engaging in these pointless and bloody “war games” is actually any kind of real path to lasting glory.

The film’s treatment of race, gender, and queerness obviously also merits comment. By casting Dev Patel, an Indian-born actor, as an Arthurian hero, the film is… actually being quite accurate to the original legends, doubtless much to the disappointment of assorted internet racists. The thirteenth-century Arthurian romance Parzival (Percival) by the German poet Wolfram von Eschenbach notably features the character of Percival’s mixed-race half-brother, Feirefiz, son of their father by his first marriage to a Muslim princess. Feirefiz is just as heroic as Percival (Gawaine, for the record, also plays a major role in the story) and assists in the quest for the Holy Grail, though it takes his conversion to Christianity for him to properly behold it.

By introducing Patel (and Sarita Chowdhury as Morgause) to the visual representation of Arthuriana, the film quietly does away with the “white Middle Ages” cliché that I have complained about ad nauseam; we see background Asian and black members of Camelot, who just exist there without having to conjure up some complicated rationale to explain their presence. The Lady also uses a camera obscura to make Gawain’s portrait. Contrary to those who might howl about anachronism, this technique was known in China as early as the fourth century BCE and the tenth/eleventh century Islamic scholar Ibn al-Haytham was probably the best-known medieval authority to write on it extensively; Latin translations of his work inspired European scientists from Roger Bacon to Leonardo da Vinci. Aside from the symbolism of an upside-down Gawain (and when he sees the portrait again during the ‘fall of Camelot’, it is right-side-up, representing that Gawain himself is in an upside-down world), this presents a subtle challenge to the prevailing Eurocentric imagination of the medieval world, and draws on other global influences.

As for gender, we have briefly touched on it above; in the original SGGK, Gawain’s entire journey is revealed to be just a cruel trick of Morgan Le Fay, simply trying to destabilize Arthur’s court and upset his queen. (Morgan is the old blindfolded woman who appears in the Lord and Lady’s castle and briefly approaches Gawain, but her identity is never explicitly spelled out.) This is, obviously, an implicitly misogynistic setup: an evil woman plays a trick on honorable men for the purpose of upsetting another woman, the honorable men overcome it, the hero survives, and everyone presumably lives happily ever after (at least until Mordred arrives).

Instead, by plunging the outcome into doubt and the hero into a much darker and more fallible moral universe, TGK shifts the blame for Gawain’s adventure and ultimate fate from Morgan to Gawain himself. Likewise, Guinevere is not the passive recipient of an evil deception but in a way, the catalyst for the whole thing. She breaks the seal on the Green Knight’s message with a weighty snap; she becomes the oracle who reads it out, she is alarming rather than alarmed, she disrupts the complacency of the court and silently shows up all the other knights who refuse to step forward and answer the Green Knight’s challenge. Gawain is not given the ontological reassurance that it’s just a practical joke and he’s going to be fine (and thanks to the unresolved ending, neither are we). The film instead takes the concept at face value in order to push the envelope and ask the simple question: if a man was going to be actually-for-real beheaded in a year, why would he set out on a suicidal quest? Would you, in Gawain’s place, make the same decision to cast aside the enchanted belt and accept your fate? Has he made his name, will he be remembered well? What is his legacy?

Indeed, if there is any hint of feminine connivance and manipulation, it arrives in the form of the implication that Gawain’s mother has deliberately summoned the Green Knight to test her son, prove his worth, and position him as his childless uncle’s heir; she gives him the protective belt to make sure he won’t actually die, and her intention all along was for the future shown in the epilogue to truly play out (minus the collapse of Camelot). Only Gawain loses the belt thanks to his cowardice in the encounter with the scavengers, regains it in a somewhat underhanded and morally questionable way when the Lady is attempting to seduce him, and by ultimately rejecting it altogether and submitting to his uncertain fate, totally mucks up his mother’s painstaking dynastic plans for his future. In this reading, Gawain could be king, and his mother’s efforts are meant to achieve that goal, rather than thwart it. He is thus required to shoulder his own responsibility for this outcome, rather than conveniently pawning it off on an “evil woman,” and by extension, the film asks the question: What would the world be like if men, especially those who make war on others as a way of life, were actually forced to face the consequences of their reckless and violent actions? Is it actually a “game” in any sense of the word, especially when chivalric literature is constantly preoccupied with the question of how much glorious violence is too much glorious violence? If you structure social prestige for the king and the noble male elite entirely around winning battles and existing in a state of perpetual war, when does that begin to backfire and devour the knightly class – and the rest of society – instead?

This leads into the central theme of Gawain’s relationships with the Lord and Lady, and how they’re treated in the film. The poem has been repeatedly studied in terms of its latent (and sometimes… less than latent) queer subtext: when the Lord asks Gawain to pay back to him whatever he should receive from his wife, does he already know what this involves; i.e. a physical and romantic encounter? When the Lady gives kisses to Gawain, which he is then obliged to return to the Lord as a condition of the agreement, is this all part of a dastardly plot to seduce him into a kinky green-themed threesome with a probably-not-human married couple looking to spice up their sex life? Why do we read the Lady’s kisses to Gawain as romantic but Gawain’s kisses to the Lord as filial, fraternal, or the standard “kiss of peace” exchanged between a liege lord and his vassal? Is Gawain simply being a dutiful guest by honoring the bargain with his host, actually just kissing the Lady again via the proxy of her husband, or somewhat more into this whole thing with the Lord than he (or the poet) would like to admit? Is the homosocial turning homoerotic, and how is Gawain going to navigate this tension and temptation?

If the question is never resolved: well, welcome to one of the central medieval anxieties about chivalry, knighthood, and male bonds! As I have written about before, medieval society needed to simultaneously exalt this as the most honored and noble form of love, and make sure it didn’t accidentally turn sexual (once again: how much male love is too much male love?). Does the poem raise the possibility of serious disruption to the dominant heteronormative paradigm, only to solve the problem by interpreting the Gawain/Lady male/female kisses as romantic and sexual and the Gawain/Lord male/male kisses as chaste and formal? In other words, acknowledging the underlying anxiety of possible homoeroticism but ultimately reasserting the heterosexual norm? The answer: Probably?!?! Maybe?!?! Hell if we know??! To say the least, this has been argued over to no end, and if you locked a lot of medieval history/literature scholars into a room and told them that they couldn’t come out until they decided on one clear answer, they would be in there for a very long time. The poem seemingly invokes the possibility of a queer reading only to reject it – but once again, as in the question of which canon we end up in at the film’s end, does it?

In some lights, the film’s treatment of this potential queer reading comes off like a cop-out: there is only one kiss between Gawain and the Lord, and it is something that the Lord has to initiate after Gawain has already fled the hall. Gawain himself appears to reject it; he tells the Lord to let go of him and runs off into the wilderness, rather than deal with or accept whatever has been suggested to him. However, this fits with film!Gawain’s pattern of rejecting that which fundamentally makes him who he is; like Peter in the Bible, he has now denied the truth three times. With the scavengers he denies being a knight; with the Lady he denies knowing about courtly love; with the Lord he denies the central bond of brotherhood with his fellows, whether homosocial or homoerotic in nature. I would go so far as to argue that if Gawain does die at the end of the film, it is this rejected kiss which truly seals his fate. In the poem, the Lord and the Green Knight are revealed to be the same person; in the film, it’s not clear if that’s the case, or they are separate characters, even if thematically interrelated. If we assume, however, that the Lord is in fact still the human form of the Green Knight, then Gawain has rejected both his kiss of peace (the standard gesture of protection offered from lord to vassal) and any deeper emotional bond that it can be read to signify. The Green Knight could decide to spare Gawain in recognition of the courage he has shown in relinquishing the enchanted belt – or he could just as easily decide to kill him, which he is legally free to do since Gawain has symbolically rejected the offer of brotherhood, vassalage, or knight-bonding by his unwise denial of the Lord’s freely given kiss. Once again, the film raises the overall thematic and moral question and then doesn’t give one straight (ahem) answer. As with the medieval anxieties and chivalric texts that it is based on, it invokes the specter of queerness and then doesn’t neatly resolve it. As a modern audience, we find this unsatisfying, but once again, the film is refusing to conform to our expectations.

As has been said before, there is so much kissing between men in medieval contexts, both ceremonial and otherwise, that we’re left to wonder: “is it gay or is it feudalism?” Is there an overtly erotic element in Gawain and the Green Knight’s mutual “beheading” of each other (especially since in the original version, this frees the Lord from his curse, functioning like a true love’s kiss in a fairytale). While it is certainly possible to argue that the film has “straightwashed” its subject material by removing the entire sequence of kisses between Gawain and the Lord and the unresolved motives for their existence, it is a fairly accurate, if condensed, representation of the anxieties around medieval knightly bonds and whether, as Carolyn Dinshaw put it, a (male/male) “kiss is just a kiss.” After all, the kiss between Gawain and the Lady is uncomplicatedly read as sexual/romantic, and that context doesn’t go away when Gawain is kissing the Lord instead. Just as with its multiple futurities, the film leaves the question open-ended. Is it that third and final denial that seals Gawain’s fate, and if so, is it asking us to reflect on why, specifically, he does so?

The film could play with both this question and its overall tone quite a bit more: it sometimes comes off as a grim, wooden, over-directed Shakespearean tragedy, rather than incorporating the lively and irreverent tone that the poem often takes. It’s almost totally devoid of humor, which is unfortunate, and the Grim Middle Ages aesthetic is in definite evidence. Nonetheless, because of the comprehensive de-historicizing and the obvious lack of effort to claim the film as any sort of authentic representation of the medieval past, it works. We are not meant to understand this as a historical document, and so we have to treat it on its terms, by its own logic, and by its own frames of reference. In some ways, its consistent opacity and its refusal to abide by modern rules and common narrative conventions is deliberately meant to challenge us: as before, when we recognize Arthur, Merlin, the Round Table, and the other stock characters because we know them already and not because the film tells us so, we have to fill in the gaps ourselves. We are watching the film not because it tells us a simple adventure story – there is, as noted, shockingly little action overall – but because we have to piece together the metatext independently and ponder the philosophical questions that it leaves us with. What conclusion do we reach? What canon do we settle in? What future or resolution is ultimately made real? That, the film says, it can’t decide for us. As ever, it is up to future generations to carry on the story, and decide how, if at all, it is going to survive.

(And to close, I desperately want them to make my much-coveted Bisclavret adaptation now in more or less the same style, albeit with some tweaks. Please.)

Further Reading

Ailes, Marianne J. ‘The Medieval Male Couple and the Language of Homosociality’, in Masculinity in Medieval Europe, ed. by Dawn M. Hadley (Harlow: Longman, 1999), pp. 214–37.

Ashton, Gail. ‘The Perverse Dynamics of Sir Gawain and the Green Knight’, Arthuriana 15 (2005), 51–74.

Boyd, David L. ‘Sodomy, Misogyny, and Displacement: Occluding Queer Desire in Sir Gawain and the Green Knight’, Arthuriana 8 (1998), 77–113.

Busse, Peter. ‘The Poet as Spouse of his Patron: Homoerotic Love in Medieval Welsh and Irish Poetry?’, Studi Celtici 2 (2003), 175–92.

Dinshaw, Carolyn. ‘A Kiss Is Just a Kiss: Heterosexuality and Its Consolations in Sir Gawain and the Green Knight’, Diacritics 24 (1994), 205–226.

Kocher, Suzanne. ‘Gay Knights in Medieval French Fiction: Constructs of Queerness and Non-Transgression’, Mediaevalia 29 (2008), 51–66.

Karras, Ruth Mazo. ‘Knighthood, Compulsory Heterosexuality, and Sodomy’ in The Boswell Thesis: Essays on Christianity, Social Tolerance, and Homosexuality, ed. Matthew Kuefler (Chicago: University of Chicago Press, 2006), pp. 273–86.

Kuefler, Matthew. ‘Male Friendship and the Suspicion of Sodomy in Twelfth-Century France’, in The Boswell Thesis: Essays on Christianity, Social Tolerance, and Homosexuality, ed. Matthew Kuefler (Chicago: University of Chicago Press, 2006), pp. 179–214.

McVitty, E. Amanda, ‘False Knights and True Men: Contesting Chivalric Masculinity in English Treason Trials, 1388–1415,’ Journal of Medieval History 40 (2014), 458–77.

Mieszkowski, Gretchen. ‘The Prose Lancelot's Galehot, Malory's Lavain, and the Queering of Late Medieval Literature’, Arthuriana 5 (1995), 21–51.

Moss, Rachel E. ‘ “And much more I am soryat for my good knyghts’ ”: Fainting, Homosociality, and Elite Male Culture in Middle English Romance’, Historical Reflections / Réflexions historiques 42 (2016), 101–13.

Zeikowitz, Richard E. ‘Befriending the Medieval Queer: A Pedagogy for Literature Classes’, College English 65 (2002), 67–80.

[bettsfic]

Hi Betts. Do you have any advice on describing facial expressions? I find myself returning to the same old "furrowed brows" and "raised eyebrows" etc. and can't seem to communicate the subtleties of the expressions that I see in my head. Thank you so much!

unfortunately, while prose is an excellent mechanism with which to describe the internal experience of being, it is a deeply ineffective one with which to describe our external reality, despite what the show-don’t-tell purists would have you believe. the more i think about the idea of fiction as existing in part to render reality, the more i wonder why historically so many english novelists have chosen to shoot themselves in the foot by committing to that ideology, considering how fucking hard it is. 

i plan to touch on this in a different sort of context in february’s newsletter which will be about the depiction of compulsory reality in fiction, but for now let’s focus specifically on facial expressions.

part of the magic of fiction is being able to “see” something in your imagination, condense that image into language, write it, and then have it be read by an audience who can then see that very same image, or at least their approximation of it, in order to derive meaning within a narrative. and isn’t that all raised eyebrows really do? what does it mean to witness someone raising their eyebrows? in fiction, writing a non-pov character raising their eyebrows means:

you, the writer, have defined the non-pov character’s cognition > you, the writer, have then developed that cognition into a facial expression for your pov character to witness > you, the writer, lend language to the depiction of that non-accessible cognition cum facial expression through the pov of accessible cognition > they, the reader, witness the image of the non-pov character’s raised eyebrows > they, the reader deduce (through the pov character’s narration, through the non-pov character’s action, through the non-pov character’s non-accessible cognition, through you, the writer’s, intention) that the non-pov character is surprised

so with all that said, how the FUCK can you be expected to do that transaction elegantly.

first i’m going to tell you what i think most writers and writing teachers would tell you, and then i’m going to tell you how i see it, and neither of them are going to be fun answers.

many writers, particularly of the show-don’t-tell variety, would tell you (and of course they’d never show you, because they’re hypocrites) that it is simply your job as a writer to understand the english language well enough -- and take enough time on the page to -- describe, as you say, the subtleties of the expressions that you see in your head. but of course, those same writers may also tell you never to use adjectives or adverbs, to elevate your verbs, and complicate your diction. they would tell you that if something is worth rendering (and to them, everything is worth rendering), then it’s worth rendering meaningfully. it’s worth taking an entire paragraph to artfully convey the exact way one’s eyebrows rise up one’s forehead, without resorting to “telling” the reader that one is shocked. 

oof city. i mean, i get it. fiction exists to lend us the witness of alternate realities we can’t otherwise experience. but also it can also only ever be a facsimile of that experience through what is basically groupings of squiggles on a page. with writing, to paraphrase an ancient text, you’ve gotta pick your battles. and then, pick fewer battles. put some of those battles back.

so here’s my answer, which is easier but also in some ways harder: you can never truly convey the subtleties of the expressions you see in your head. the work of the writer is not, as much as we may like it to be, the same as a cinematographer or an actor. at some point, you have to let go of the idea of descriptive control. once it’s out of your head and into someone else’s, it’s no longer in your grasp. eventually, a story belongs to its readers.

i know, this is a deeply unpopular opinion and one which does not make me any friends in the literary community. it goes wholly against the entire history of “show don’t tell” and the lovely work of early novelists to lift the form to its present regard. 

what i’m saying is, sometimes you just have to fucking say “he looked surprised” and move on.

so, that’s all the theory surrounding raised eyebrows to hopefully offer you some deeper insight, or at least an alternate perspective. here’s some practical application you can play around with to see what works for you:

when editing, remove ALL of your descriptions of facial expressions

i’m sorry if you feel like you’ve just been socked in the stomach. bear with me here. do a revision where you get rid of all of your descriptions of facial expressions to see how the piece stands up. you will very quickly see the narrative gaps, the places where you lose or flatten meaning. then, add only those expressions back in. you’ll be surprised how little you need.

play with telling over showing, or vice versa

replace a few “he raised his eyebrows” with “he looked surprised.” replace a few “he looked upset” with “he lowered his head and glanced down at his clasped hands.” see how they differ? “showing” is factual and requires the reader to interpret the action. “telling” is an interpretation/conclusion drawn by the narrator and conveyed to the reader. one is not inherently superior to the other. they both do different kinds of work, and have different narrative effects.

use facial expressions to complicate or conflict with dialogue, not confirm it

“he raised his eyebrows. ‘i’m surprised,’ he said.” <-- that’s a very silly example, but i just want to show you how sometimes you can let the dialogue do the dirty work. if a character says something, and their facial expression matches the thing they’re saying, it is maybe not worth mentioning the expression. or vice versa, maybe they make an expression instead of saying something. or maybe there’s a reason you do need both. it’s going to depend on the scene and your narrator.

however, if what their face is doing is in conflict with what they’re saying such that it would alter the meaning of the dialogue, then perhaps it’s worth noting. 

“he glanced down at his clasped hands. ‘i’m fine,’ he said.” <-- in this case, the factual description of his action gives us, the reader, the sense that he is l y i n g.

bonus: “’i’m fine,’ he said, but he looked upset.” <-- what’s wrong with that? nothing. it’s simple, it’s concise, it tells us about the perception and capacity of the narrator. no, it doesn’t allow the reader to “see” anything, but as i’ve mentioned, i don’t think the work of fiction is to “see” things. it’s to experience them, and sometimes that has more to do with the capabilities and limitations of your narrator than it does by clinging to the belief that you have to render the shiny surfaces of reality.

i hope this helps! more on the depiction of reality in february’s newsletter. 

my carrd | writing advice masterdoc

[mrskurono]

a/n: Alright so I have baby feels (bc I’m ovulating, fucking hormones) and like all the kids I ever see are people giving the characters girls. Which, yeah its cute, but you know I want some hq headcanons with boys! So here we are me feeding myself content like a heathen :) tags: timeskip spoilers, fluff, parent!HQ characters, nothing that invovled its just kids headcanons, fem!reader involved  character(s): Kageyama Tobio (hq), Hanamaki Takahiro (hq), Kindaichi Yuutarou (hq), Suna Rintarou (hq)

Kageyama Tobio + Two Boys

;| You know what’s funny, these boys were both 100% planned but Kageyama is that idiot that forgets each time you end up pregnant

;| “It’s positive???”  “Love, you literally circled the ovulation day on the calendar so you could tell Fukuro you’d be late.”  “Oh....That’s right.”

;| They both look like Mini Tobios™

;| He’s exceptionally proud of that in fact, dresses them up in volleyball gear constantly and makes sure each kid has a volleyball

;| Closer in age than he and his sister were. The oldest is about three when the other is born

;| They’re exceptionally close simply by the fact you both do everything with them if Kageyama is working

;| But conversely when he’s not training or working this man has his kids with him everywhere

;| Schweiden group actually loves these two (and you) Romeo adores kids as does Fukuro. Toshiro and Tatsuto are like the best weird uncles they could have. Kourai is just a larger child. And Ushijima keeps crayons in his work locker for the kids (and draws with them)

;| Work takes up a lot of time but in honor of his grandfather Kageyama stresses the importance of family a lot

;| Be default his kids really get along and love each other as well as kinda being momma boys

;| But Kageyama is whipped for you anyways so it would make sense both his sons listen to mom without hesitation 

;| Often mistaken for twins even though ones older

;| Avid volleyball players as they grow up but Kageyama never pressures them to be as competitive as he was, constantly reminded of how bitter it was during middle school and high school to be alone, so Kageyama prioritizes fun before anything else

;| The oldest might follow in their father’s footsteps but both of them always keep interests in other faucets of life that Kageyama appreciates because he wants to see his kids happy how they want to be happy and not just because he’s a volleyball player

Hanamaki Takahiro + Three Boys

;| “Lets have another one.”  “Well, what’s one more.” 

;| Basically that’s how you end up with three kids

;| Makki adores kids and honestly he’s never had an issue with them and they listen to him really well (maybe it’s the deadpan stare)

;| One boy leads to another, then two lead to three, no you were never “trying” for a girl and honestly Makki is over the moon with three boys. Having had just sisters, he thinks it’s terrific

;| They’re close in age, like, 2, almost 4 and maybe 6, you guys wasted no time and really it paid off

;| All three of them are tight knit and at some point you had to worry if they were ever gonna make friends outside themselves (don’t worry they did)

;| While you might not have ended up with three mini Makki’s, they all three have “the stare” that sometimes you get all four of them sitting together and looking at you it feels like a judgement 

;| Really they’re just looking at you but it’s hard when they look so unenthused and judgey

;| Makki is super involved (whether he’s working or a stay at home parent is up to you) Regardless he puts other dad’s to shame 

;| This man adores each of them in their own way and never pushes the volleyball narrative on them

;| One or two of them might but none of them really make something of it. All of them though are incredibly smart and end up being Seijoh kids

;| Uncle Mattsun is their favorite because he has gross stories to tell but Uncle Iwa is a close second because apparently it’s genetic all three boys wanna beat him in something

;| Makki’s pissed because Iwa lets all three of them out do him in whatever sport it is they like

;| Makki is still trying to arm wrestle Iwa

;| All four of you men are incredibly soft and down to earth, Makki still makes time for you even with three kids and somehow makes you feel like the sexiest person alive

;| But no, a fourth kid is 200% off the table

Kindaichi Yuutarou + Two Boys

;| After Kindaichi gets through with his apprenticeship and is working, suddenly he’s found himself as a nervous first time parent

;| Not that it wasn’t planned, you both just stopped trying to prevent it

;| The first one was hard, neither of you will lie but Kindaichi’s dedication to mastering this baby stuff really sold you on another one when he asked if you son should have a sibling

;| A little bit more of an age gap, think four when the second is born, but honestly your first is as touchy and sensitive as their father so being a big brother comes naturally

;| Out of all three of them, Kindaichi’s kids end up the perfect blend of you both. Except the hair, both boys have widows peak and dark hair there was no avoiding it I’m sorry

;| Somehow having the second one was easier. Kindaichi kept them strapped to his chest or packed them around while big brother helped and suddenly you were way more free than the first time around

;| Both boys are incredibly smart and very personable 

;| You joke that at least they didn’t inherit their father’s anxiety

;| Kindaichi finds this less funny

;| Both boys though are avid learners, great at making friends and enjoy volleyball

;| Yeah they end up Seijoh kids again and they’re like class 6 and up, they’re smart its scary

;| Thankfully as adults Kindaichi’s been able to reconnect with or stay connected with everyone so the boys have a huge support net

;| Uncle Kunimi swears up and down he doesn’t like kids, but somehow knows these boys so well that their birthday and Christmas presents are amazingly thoughtful. 

;| The oldest actually ends up playing more professional volleyball while the other one either dips into another sport or works in the healthcare field 

;| They’re both huge momma’s boy’s though and do not be surprised that they still ask for your advice and approval no matter how old they get

Suna Rintarou + One Boy

;| This little shit looks exactly like their father

;| Middle part, black hair, unenthused look, what the hell was the point of carrying him for ten months for him to look exactly like Suna

;| Who obviously thinks its the best thing on earth and gloats about his Mini Me more than he will admit

;| Suna excels in the weirdest parenting aspects

;| Physical touch and comfort? Amazing, can get his son to stop crying instantly. Remembering to do things like point at colors and say the names? Kinda forgets that

;| Another one who packs his kid around but opts for a carrier so his hands are free

;| Does workout with his kid attached to him, Suna ends up being an avid walker/hiker afterwards because it was low impact for you after childbirth and your kid loves the outside

;| Will never allow the twins within twenty feet of his offspring

;| Komori and Washio though? Oh yeah no shows his kid off constantly to those too

;| Gets asked when you’re gonna have another one by the way Suna is so over the moon with the first one

;| Inherits the knack for volleyball like their father has and Suna won’t lie he kinda enjoys it

;| Sets up a net outside and the both of them play a lot

;| Though he won’t admit it, Suna really appreciates Kita’s and Aran’s interest in his kid and feels a little proud when his old senpais tell him what an amazing kid he has

;| Suna always deflects it and says it’s only because it’s your kid

;| Deep down though he’s screaming because seeing his kid toss a ball to another Japanese Olyimic player melts his heart to no end

;| Maybe one more....maybe

[angeloncewas]

I feel guilty about it (that’s just me being me, not anything else lol) but at this point I would prefer just answers and outlines to what they planned on the dsmp story wise rather than them struggling through planning streams and dropping plot lines left and right. I love the effort and how dedicated they are to the story so much. It even inspired me to get back into creating after a giant burnout. But so many things have been completely dropped due to life stuff and lockdown lessening up and just not being able to get people important to the storylines there, that all we really have right now is las nevadas, pandora’s box, jack, and wilbur (and the quick wrap up of the egg arc if they ever get to it).

I just don’t see there being anywhere else for them to go if that makes sense? Ranboo’s character has been at a standstill since like early 2021, Tommy’s character is mostly just healing now, the egg arc just kinda tapered off, the syndicate has gone nowhere, there are so many questions that revolve around major events that haven’t been mentioned at all.

It’s nothing to blame on the ccs as shit happens and some things just weren’t possible, but just narratively it’s become a mess.

I understand ! The last time people discussed this, a lot of people called those who complained about the gaps in lore "selfish" and "demanding" but I wholly stand by what I said then - I don't think that's fair. As the consumers of the content, of course we're gonna want said content. And its creators either don't understand or don't care about the issues with the way they're handling it at the moment - busy or free, like it or not, stretching a story so thin like this over such a large amount of time makes it lose so much; plot threads are forgotten, emotional investment is lost, timelines get messy and so on and so on - which makes it all the more worrying in regards to a cohesive and satisfying conclusion. I don't know if I wholly agree with you in terms of wanting that glorified reddit post (sigh... like Wilbur's eleven page essay he considered releasing), but if we were told all of the endings now at least then we'd know that this was what was meant to happen and instead of theoretically being given some switched up semi-retcon ending sometime within the next five years.

I almost wonder if some of the content creators we consider "core" to the storyline aren't having fun with it anymore. I could be totally off because this is just my speculation, but every time Tommy and Tubbo talk about their characters it's in reference to season 1, the L'manberg era, and how amazing of an experience that was for them. It's almost never anything after that, even though Tommy was so much more involved in the writing of season 2. If they just don't want to do it anymore I really do understand - nothing can go on forever - but I do wish they'd be more transparent with us. Like yes, people get busy and I'd never want a creator to miss out on opportunities for something that does run on its own schedule, but also the audience isn't gonna stick around forever (well it might, but they're meant to think like it shouldn't) and I feel like it's gotta have something to do with priorities because it's been a very, very long time now.

I don't know. I'm similar to you in that the SMP has really inspired me unlike any other piece of media - I got really deeply back into story writing for the first time since like, middle school, and I was able to get a lot of blegh feelings out via the characters - so I've got such a deep love and personal connection to it. But I also really haven't touched Twitch in a hot minute and while I miss the storyline a lot, I'm not sure what I'd do if it came back because I'd know that it's just one tiny thing to keep us going while nothing else happens. I can't imagine what's gonna happen next and while I've read that people have stuff in the works, hearing about the changes Ranboo's had to make and all of the stuff that's just sort of tapered off is... hard (?)

I think I'm rambling. Point is, you shouldn't feel bad; I get it.

[sally-mun]

After re-reading Season 1 of BHO, I can only think of two questions! 1. What scene hurt you the most while writing it, and which scene left you the most positive while writing it? 2. How hard was it to come up with ideas for this era of the Echidna history, given just how much of it gets blown over in the original Knuckles and Sonic comics? It's kind of amazing that almost everything between the white comet and Edmund and Dmitri's brotherly spat is just a fat load of nothing in the source material!

It's probably not a surprise to say that the most difficult thing I've written so far in this series was the last sentence of the last episode. Per my original outline I hadn't intended to have Kayla's death depicted within an episode, but it's the sort of thing that just sorta presents itself as necessary while you're in the middle of working. The worst thing about scenes like that though is the fact that I'm well aware that I COULD change things around if I really wanted to, but I'm less able to live with present an inferior story than I am with having to kill off characters I like.

Most positive thus far, incidentally, is also a last sentence. In this case, it's the last sentence of episode 7, Abandon Ship. Somewhere over the course of writing that ep, or maybe it was the one before it, was when I realized that Kayla was actually the original Guardian, but it was SO HARD sitting quietly on that epiphany until the right time. If I blew the lid early, that last line wouldn't have so much punch! Finally getting to post that was definitely a release for my nerves.

(Next section is long, so below the fold it gooooeeess)

As for how I came up with my version of echidna history so far... honestly, I don't know if it's a matter of easy or hard. The way I come up with pretty much any of these stories is by sorting out what things I -am- going to keep from the source material, and then continually asking myself questions. "What sort of thing would explain [x]? What kind of person would be needed in [y] situation for [z] to occur? If I take [a] as a given, what would be the expected consequences/side effects of that status quo? If [these characters] have [this kind] of relationship, was it always like that? If not, what changed to get it there?" Those sorts of things.

I think my way through these questions and come up with plausible answers, and if the answer makes sense and I can use it to further the story I'm telling, I add it into my outline, and then I start asking the same sorts of questions about this new element as well. By repeating this process over and over, I gradually fill in the gaps in the narrative and gain insights into characters, organizations, and other elements, which I wouldn't have realized without that analysis. It's not always a fast process, either; sometimes the answer to a question takes weeks or even months to finally work itself out! There are also times when I only suddenly realize something literally RIGHT before I need to use it, and I get the writer's equivalent of a near-death experience as I think about how things would've turned out if I hadn't had that epiphany.

This also works in reverse if I stumble across a piece of canon I hadn't accounted for previously; if, say, I'm looking something up in one of the Sonic wikis and I trip over a bit of information I didn't have before but that I know I want to include, I start asking questions in the other direction to see where I can fit the new element into the existing outline. Sometimes things slip right in easily, sometimes the outline needs to be adjusted in order to incorporate it.

(This, by the way, is the reason why I constantly recommend writers outline their shit. Even one or two rounds of this process will leave you with a LOT of information in your lap. When your brain is continuously working out the details of your narrative, it's going to get to a point where there's too much data to keep track of just in your own mind. You WILL lose track of something at some point, that's just how the human brain works. Making note of any information you've decided to include saves you from having to remember, which frees up your mind to do other things.)

Anyway, a lot of this takes care of itself in the back of my brain on auto-pilot these days. Sometimes I'm sitting around and pointedly working on my story with all of my focus, but there are other times when I'm doing something completely unrelated but some background process in my brain that I'm not even aware of is still analyzing, and all of a sudden a critical idea that fixes a huuuge problem I've been struggling with will just spontaneously fall into my lap, seemingly out of nowhere. It only feels out of nowhere because I wasn't consciously working on it, but my subconscious still was, and every now and then it spits out a receipt.

SOOO YEAH, like I said, it's really not a matter of it being hard or easy, but moreso a matter of asking myself questions and having enough patience for my mind to reach the answers. It's a very long and gradual process, and each time I gain ground I just have to be sure to make a note of it.

[bestworstcase]

Hi, I really love your thoughts and analysis on tts so I wanted to ask if you have read The Vanishing Village Book? It made me really think about Eugene's character. I sorta disliked him in the book and felt his relationship with Rapunzel was different and strained. I guess my question is if you think Eugene is a good character? I feel that I am biased for liking the story and relationship between Cassandra and Rapunzel so perhaps I am not seeing him in a fair light but there's just factors that make me feel he might not be the best for Rapunzel. I love their relationship and value & dedication towards each other but their relationship can feel a bit stale sometimes and Eugene can come off as not understanding and dismissive towards Rapunzel sometimes so ig I'd like to be proven wrong and be reminded that Eugene is good for Rapunzel

i have read vanishing village (and i remember liking it better than lost lagoon) but i have to admit i don’t remember anything but the very broad strokes of the plot, so i don’t feel equipped to do any analysis of eugene based on it; that being said -

i do really like eugene as a character in the sense that he is. interesting / engaging / compelling, which yeah to my mind that’s what makes a “good character” but also has nothing to do with the, kind of, moral or personal question of but is he a good guy or is he likable or sympathetic or that kind of thing. and on that my feelings are more ambivalent kfjfjdhs

on the one hand i do find his relationship with rapunzel in tts to be fairly refreshing. it’s nice to see a fictional m/f couple that is just… comfortable with each other, friends with each other, able to talk about their problems collaboratively with each other. that is so rare in fiction, where the tendency is so often to rely on miscommunication to manufacture relationship drama or do the will they won’t they, on again off again nonsense which is just so tiresome - and it feels good to have a m/f couple that eschews that altogether. and it’s also imo really nice that the m/f relationship fades so much into the background vis a vis the wider plot, which i know is not necessarily a popular opinion [vague gestures at all the ‘eugene was sidelined’ discourse] but, like, i feel like i can count on one hand the number of stories i know where the female protagonist *has a male love interest* without the story being ABOUT him, and with the male love interest filling this supportive narrative role while quietly and subtly dealing with his own problems on the side? it’s so difficult to find stories where men aren’t centered and so i appreciate eugene and new dream a lot for that reason too.

but at the same time like - eugene def falls victim to the plot-driven writing just like every other character does and that frustrates me because i think ultimately having all these loose threads hanging with him means his character feels a bit stagnant, and that in turn makes his flaws more glaring because they’re never… worked on or addressed, they just sort of persist or silently fade away for the most part. (which again, is true of literally every character because the storytelling of tts is highly plot driven and episodic)

& that phenomenon can make character interpretation a little convoluted, because… well the intentions of the narrative are signaled pretty baldly (eugene grows out of his selfishness and becomes a compassionate hard working leader for corona, which he has embraced as his home) without having much if any on-screen development to back it up (indeed the premise of flynnposter involves eugene shirking his new responsibilities, and then it concludes with a commitment from him to take the captain gig seriously - but thereafter the only time we get to see this demonstrated through him encouraging project obsidian [which makes him look the opposite of compassionate or responsible given he is excitedly planning to extrajudicially murder cassandra] and then joining the fight against zhan tiri [which literally everyone in corona does]). so do we take what the textual development shows us and conclude that eugene is, at the end of the day, just another cop, or do we take the narrative signaling as a given and fill in the textual gaps with our own imaginations? i tend to fall heavier on the textual side but i do try to take intentions into consideration when they are signaled so clearly, because i understand the structural and corporate limitations on what the tts team were able to do with the story.

anyways - i also have some fraught feelings about new dream because, in the film, it’s not a relationship that i can buy into at all. rapunzel is 17, a few days shy of 18, when an adult man in his mid-twenties tumbles into her bedroom, hits on her, tries to take advantage of her naïveté so he can recover his stolen goods and screw her over because he’s spent his life cultivating an attitude of selfish disregard for anyone but himself, but she’s so sweet he decides to give emotional vulnerability a try and within three days they’re in love and then they get MARRIED?? and he’s literally the first person rapunzel has ever met who wasn’t her “mother”? excuse me???

and i get the impression the tts team was fully cognizant of that problem and made a real effort to address it, as much as they could within the context of the designated disney princess couple - that’s how we get things like the BEA proposal and rapunzel and eugene talking their feelings out afterwards and agreeing to take things slower, and that’s how we get things like rapunzel having cass and eugene having lance so they have lives and identities and relationships outside of each other, and it’s why eugene has a little arc of becoming less self-absorbed in the front half of s1 and why cassandra overtly criticizes his treatment of rapunzel in BEA and so on and so forth. like no one says it OUT LOUD in the series but rapunzel’s and eugene’s relationship is fraught with peril because of the way they met and came together, and it takes significant emotional work from both of them to navigate that to arrive at a healthy place, and i enjoy watching that play out.

so yeah eugene is sometimes too in his own head to notice when something is wrong with rapunzel, like how he misses how unhappy she is in BEA because *he’s* so jazzed about palace living, and sometimes they struggle to get on the same page with each other in general; but that’s just, kind of the gig where relationships are concerned. what matters to me is that whenever these hiccups happen we see, typically some confusion or distress from him or rapunzel or both, and then they reach out for each other and talk about it until they reach an understanding, which is the correct healthy way to manage this sort of conflict in a relationship. and of course through it all eugene is pretty unflagging in his absolute support of rapunzel - even if he doesn’t always *express it* in a good way, he is always very invested in rapunzel’s happiness and well-being. like even the BEA proposal, eugene’s fuck up lies in assuming that rapunzel felt the same way he did about everything and that proposing now would make her happy - there’s self-absorption there but not to the point where he isn’t concerned about her feelings, so when he upsets her he immediately realizes that he screwed up and shelves his own feelings to focus on hers, which is very Good Partner of him.

and then again on a metatextual level i do kind of hate that rapunzel’s arc is essentially, trapped in corona -> adventure! -> adventure is traumatic time to go home -> exact same circumstances she started in but she’s happy about it now. not to say i object to rapunzel embracing her role as a princess/queen per se, but in an ideal world i would like that to come from a place of rapunzel remaking her role to suit herself rather than just kind of… this ‘well got the wanderlust out of my system forever!’ vibe i get from plus est. this isn’t directly related to eugene at all but i think it does splash over onto him on account of him being so closely intertwined with her life in corona. if rapunzel were given an arc about tearing down institutions that stifled her in s1 and really rebuilding corona to be better (something that is lightly implied in canon but never quite makes its way to outright text) then of course eugene would have been her number one supporter - but she doesn’t get that arc and so eugene ends up just kind of being there while rapunzel settles into the role laid out for her. (the destiny narrative being played painfully straight in this regard doesn’t help either.)

this is all a bit of a ramble but i guess what i’m getting at is i think at the end of the day the thing that makes new dream feel a bit stale or stagnant is the series sticking to this aggressively pro-monarchy, status quo is good, mass market appeal narrative enforced by the reality of Disney Princess Show, and that’s not eugene’s fault or any character’s fault, it’s a corporate issue and writing issue.

oh and also personally i think eugene’s biggest flaw in the new dream relationship is he has a tendency to enable rapunzel’s worst impulses via unquestioning support - a little healthy skepticism can be very good for a relationship vs just being your partner’s yes man. so when i imagine a character trajectory for him post-series it involves eugene getting more comfortable pushing back when rapunzel is pursuing ideas that are bad in some way.

[katsidhe]

Hello as a long time silent lurker with post notifications on, and someone who has been very into the minecraft roleplay for about 9 months, I am oh so incredibly intrigued on your thoughts! I hope you don't mind if I ramble a little. Sam (both minecraft and spn, but in this context the minecraft one) is one of my favourite characters because he's so incredibly complex. The prison story has sparked so much discussion and conflict in this fandom, so I would love to hear your thoughts if you want to share!

oh noooooooooooo don’t enable me. (Jk <3)

I’m putting this under a read more for those of you who don’t want to be inflicted with my minecraft roleplay brain worms. I would apologize but I think we’re well past that.

So, like, full disclosure that I am pretty new to dsmp and am surely missing out on big ol swathes of Essential Character Content, etc etc. But I do know the basics, and I’ve (naturally) watched all the Torture Box Content, because I mean come on, that’s my brand.

k so First of all, THE most essential part of any media: x-coded y girl. Dream is a textbook Cas-coded Sam girl. Sam (Minecraft) is a Cas-coded Dean girl. Quackity is a Dean-coded Sam girl. I’d say Tommy is Dean-Dean. Techno is, hmm, Cas-Cas. Okay, important part done.

Minecraft Sam is very fun! I find it absolutely delightful that he clings to moral high ground while torturing and starving a prisoner. And at least from what I’ve seen, there’s a lot of room for interpretation as to the level of guilt and involvement he actually feels about what’s being done to Dream. He goes back and forth between justifying the treatment as something Dream categorically deserves, and justifying it as a means to an end. Whether that end is the book itself, or whether it’s Quackity’s cooperation/satisfaction, or whether it’s some twisted and bloody sense of justice and duty, seems to vary wildly. On top of that, of course, is the irony that Dream was the one to give him this commission and this job in the first place: in every respect, it’s a duty to Dream (to punish him; to secure him; to uphold his rules) that Sam’s fulfilling. Dream isn’t the only one to suffer from Sam’s inflexibility surrounding the entire concept of Dream: Tommy and Ponk do too.

And yet it’s not the inflexibility that ends up hurting Dream the worst: it’s the gaps in that rigidity. If Sam had kept the prison operating as apparently originally commissioned, it would be inhumane but just about bearable: hardly the level of absurd, over-the-top war crime that it’s reached by now. His choice to begin starving Dream in earnest seems to have been mostly an emotional reaction, after Tommy’s death. (Ironic, too, that Tommy also suffered the result of this choice.) And this is fine, because it’s not active: it’s passive, something that’s happening by inaction. Same with giving Quackity specially made weapons and total carte blanche.

The level of trust that Dream has in Sam’s sense of duty is also fascinating. Even as late as the most recent stream, after the guy’s been permitting him to be tortured for months, Dream appeals to Sam’s need to keep Dream static, in one place as his prisoner, in order to save his life. Incidentally, I do think that convincing Sam to keep Quackity from straight-up murdering him is the only concession Dream was actually hoping to win with that conversation. because like, food and a courtyard visit? after a jail break? Like hell is Sam going to grant that, even before the stunt he and Techno pulled, and Dream knows it. I think that the rest of that conversation was just to deflect, and keep Sam from questioning Dream more sharply about whatever he and Techno have planned. Bringing up Tommy and letting Sam go off on his predictable diatribe about morality and just desserts seemed similarly strategic: Dream knows what Sam thinks about what kind of treatment he deserves. He’s had months to figure it out, and it wasn’t exactly rocket science to begin with.

Anyway, that trust is the same reason Dream appealed (unsuccessfully) to Sam when Quackity first showed up: it devastated him to realize that he’d miscalculated the degree of Sam’s willingness to set aside his duty in this one particular way. Quackity in general represents a HUGE blind spot in Sam’s otherwise completely rigid inflexibility: so huge it’s almost baffling, given what Sam was ready to do to Tommy and Ponk and Ghostbur. But Quackity represents a loophole Sam badly wants. He badly, badly wants some good old-fashioned vengeance, without dressing it up with any pretensions of procedure or justice, but he can’t allow himself to actively act on those impulses—or else he would be Bad, and he can’t have that. He has to believe himself to be Good, and he wants to indulge himself with Dream’s suffering anyway. So he explains that, actually, Dream’s treatment is Dream’s own fault. It’s hilariously deluded.

Which brings me to Quackity, because what makes Quackity fun is that he’s actually NOT hilariously deluded—not about this, at least. Unlike Sam, he’s not laboring under the insane mental acrobatics necessary to convince himself that torture is Good Actually. He knows that what he’s doing is terrible, but he owns it: he’s fine admitting that he enjoys it, that he’s doing this for personal gain and personal vengeance and not for reasons of high-minded civic duty. He’s justifying the torture with brutal simplicity: Dream has hurt him and Dream has something he needs, done and done. He seems to be a firm believer in vengeful and disproportionate retribution, just as with his whole Butcher Army thing. To which I say, neat and fun! I also really really enjoy the power dynamic between him and Dream. Dream is someone who commands respect and fear and power, who could murder Quackity with one hand tied behind his back if they were on equal footing, and who probably barely spared him a thought as a threat. Quackity lives in terror of the thought of Dream escaping and wreaking his vengeance. And Quackity is trying his very best to wrestle that power away from him.

He seems to be pretty unpracticed and ineffective at torture, too—like, yeah, I get this is Minecraft and props are limited, but torturing someone long-term with an ax and a sword is going to be more than a bit unwieldy. and did he even bring in health potions his first day? It’s pretty telling and hilarious that Sam is the one who offers the shears, a far more practical choice of tool. Not to mention that the entire premise of his interrogation gives Dream massive, massive incentive to never give Quackity anything. Quackity straight up admits to Dream that the information he wants is the only reason he’s letting Dream live, which is utterly counterproductive if he wants the book sometime this year. Functionally, he needs to torture Dream not merely into admission, but into suicide. And as the days and weeks and months pass, he’s still got nothing to show for it but growing vindictiveness, paranoia, and frustration. By the time of the latest stream, he’s completely lost the plot—his threats don’t even make sense, his violence is ineffective and unhinged and indiscriminate. He’s lost all leverage and he’s needlessly (re)made a powerful enemy in Technoblade.

So, like, characters like Lucifer are fun because they’re good at torture. Characters like Quackity are fun because they’re bad at torture. But that doesn’t much matter. He doesn’t need to be particularly talented, or strong, or skilled to make Dream’s existence hell: the bare facts of the situation are more than enough for that. What does he learn, over the course of these visits—what skills does he hone, what kinds of violence does he discover that he can stomach? What depths of ruthlessness and creativity and hatred does he discover within himself? What threats does he make that he finds himself following through on before he’s even thought through the implications? It’s a learning curve, for him and Dream both. They’re learning each other, they’re learning the corners of this little hell together. Dream wasn’t expecting him to be capable of this degree of hostility or violence. Quackity is sick of being underestimated.

Which brings me finally to Dream. My general and hastily-gleaned impression of the fandom gives me the distinct impression that there is somehow a school of thought convinced Dream’s earned this treatment? Which baffles me. not only in how its absurd extremity (daily torture in a tiny box for literal months, jesus fucking christ) isn’t something even the most terrible villain could earn, but also in how Dream himself strikes me more as a morally gray fallen/falling antihero type than anything else. I was honestly completely prepared to find him to be a straightforward Bad Guy pre-prison, but that’s not at all my impression. He’s clearly got people and things he cares about and wants to protect, and big picture goals he’ll ruthlessly sacrifice anything to advance (ahem Cas-coded Sam girl). Really, it’s more that roleplays don’t tend to lend themselves easily to those types of narrative classification: nearly every character is a POV character; consuming the content from every perspective is nearly impossible. There aren’t super neat ways to sort antagonists and protagonists in essential terms, only in their relationships to one another. In terms of manipulation, war crimes, power-grabbing, and general destruction, practically everyone on the server is guilty to some degree or another. Dream’s treated Tommy pretty damn terribly, but that hardly makes him unique. What does make Dream unique is that he’s been singled out for near-universally-agreed-upon confinement (which oh so conveniently aligns with him being held as a tool, for information). And that’s neat!

…Look, tldr I just like it when people are in torture boxes. more media should have torture boxes, they are good and fun. 

[furubabes]

Okay. Somebody Asked. @shoujobell and @cryptidaicat, y’all encouraged this. I’m gonna tag this #long post if you wanna filter.

So here. I got the urge to write and so I ranked the Fruits Basket couples from my favorite to least favorite. These aren’t my complete thoughts because I could honestly do multiple full meta posts on each pairing, but I tried to justify and explain all my choices. Standard disclaimer, this is subjective and we can agree to disagree.

Part 1: Just the reasonably popular ones

1. Kyoru: Someone’s gonna call me unoriginal for this but it’s fine. Kyoru is the main romance of Fruits Basket! They bring out the best in each other and build each other up as characters. Kyoru is basically my gold standard take on Sunshine Girl x Grouchy Dude, and I’m not even usually into that trope otherwise. Their romance is one of the few that feels so genuinely necessary to the story. They love each other and like each other. Kyo understands Tohru in a way no one else in the narrative does, and vice versa. They’re in love like soulmates and also like awkward teenagers. Kyoru invented romance. If it’s boring to like healthy romances with realistic development, I’ll be boring.

2. Tohrin: If Tohru didn’t end up with Kyo I would only want her to be with Rin. I guess they have some of the same appeal as Kyoru for me - Rin reads Tohru in a way a lot of people don’t. I also like how honest and raw they are with each other. They yell! They fight! Rin is down to just straight up knock Tohru over to keep her from rushing off. Also, they’re both absolute fashion icons. Goth x Prep rights. I firmly believe Tohru Honda is bisexual.

3. Yukeru: This is my favorite Yuki pairing. I followed @yunsoh way back when the reboot first started and her blog has got me absolutely hooked on Yukeru. I think Yuki’s arc would have just made a ridiculous amount of sense if he was gay. It screams comphet. Kakeru is an excellent complement to Yuki, and their bond feels incredibly natural. Honestly I feel like it’s the most organic romantic development outside of Kyoru. I think realistically they wouldn’t have gotten together until post-canon and frankly Yuki shines in his friendships much more than romances, so I’m not absolutely dying for them to be together, but if Yuki’s going to date anyone Kakeru is my pick.

4. Arisaki: Man... I just like them. They strike me as less of an epic love and more of a comfortable partnership. I also read them both as lesbians anyway lol. Honestly I think they both had feelings for Tohru at one point and bonded over it. The way I picture them happening is honestly just Arisa at 25 frantically googling “is it gay to hold hands with my girl roommate who I spend all my time with and also we never date men“ because Saki bought them rings that look like wedding bands but they could just be super close friendship rings and oh god she’s in too deep. They’re dating for four years before they notice.

5. AyaMine: But Jessie! You literally never post about this pairing! Yeah, you’re right. I never think about them actively. But when ranking the canon ships I realized that I like the two of them together because they’re chill and understated. They’re huge loud personalities on their own but as a couple, they just feel like two people who are happy together and like spending time with one another. No drama, no mess, very understated. No plot contrivances driving their relationship. Good for them.

6. YukiKyo: Okay, so I can be convinced to put on my YukiKyo goggles more often than not. It feels iffy because there’s debate about how closely related all the Sohmas are and these two are called “cousins” a lot in school, but since half of the Sohmas are dating each other anyway, I err on the side of them being more of a clan than a proper blood family. Anyway, YukiKyo is my designated angst fuel. I think it would realistically be pretty one-sided from Yuki’s side, since we see him wanting Kyo’s approval from a very young age, but I like exploring the what-ifs of their lives if they’d been friends instead of rivals. In canon, I like to think that after high school they’re not best friends in the traditional sense, but either one could show up with a dead body and the other would help them bury it, no questions asked.

7. Yuchi: Really? Yuki’s wife is my third favorite pairing for him? Look, I adore Machi, and I still like Yuchi. But as I’ve been watching the reboot and reading others’ metas, I think I agree that their relationship could have been very powerful as a platonic one, sort of running parallel to Yuki and Tohru. I like them together but I think there wasn’t quite time for a complete character arc for Machi and her growth sort of begins and ends with Yuki. I don’t object to them being a couple in canon and I think they’re genuinely very sweet, but once again, I think Yuki stands out in his friendships more than anything. I would have liked to see Machi strike out on her own a little more.

8. Haru x Yuki: I don’t have any particular feelings towards them but I love their dynamic already and I think as a couple they’d both be really easygoing and comfortable with each other. I think a childhood crush turned close friendship is honestly the narrative that works best for them so I have no need for the two to date canonically, but every time they interact in the anime it gets a laugh out of me. They’re cool. They’d make a very pretty pair.

9. Mayutori: I’m Mayutori-neutral. I think they suffer from Fruits Basket’s pair the spare syndrome, but out of the side pairings that don’t have too much impact, they’re one I enjoy. Mayu’s fun as a character, and painfully relatable, and I like that Hatori’s eventual romance isn’t with someone who reminds him of Kana or something like that. I also want good things for Hatori. Mayutori has serious heterosexual energy though. I’m not saying this as a pro or con, they’re just very straight.

10. Hatsuzu: Okay, Haru and Rin aren’t this far down because I hate them. I’m perfectly fine with them being together in canon. But I think their romance almost... functions better as individual motivation for their character arcs than it does as an actual relationship, if that makes sense? Rin’s backstory episode is heartbreaking and her motivation to protect Haru is compelling and sympathetic, but their actual scenes together just don’t move me that much. Their romance is the least interesting part of either character for me.

11. Hiro x Kisa: Yeah I never got into it that much. It’s cute, it’s a sweet depiction of childhood crushes, but I’m not a fan of the idea of them ending up together. Kisa’s a cutie and Hiro is entertaining but the two of them together don’t actually do much for me. The dynamic between them is almost like if someone did Kyoru with none of the nuance. Ultimately though, they’re kids. I don’t expect them to have a deep and complex romance.

12. Yukiru: I think it would be a disservice to their characters if they were a couple. People far more eloquent than me have already written plenty of meta on why Yuki and Tohru aren’t what the other needs romantically, so I won’t get into it, but basically I just think their canon friendship is so beautiful and meaningful that I wouldn’t want to change it. Yuki and Tohru support my thesis that not all soulmates are romantic.

13. Tohru x Momiji: Welcome to the subjective dislike corner! This pairing is reasonably popular among people theorizing who Tohru would be with if not Kyo, but for some reason it just sits poorly with me. I can’t rank it any lower because there’s nothing evil or morally wrong about it! I just really don’t like it. I’ve quit a few fics because this pairing came up and I just can’t enjoy it.

14. Kakeru x Komaki: Idk, I just think Kakeru latching onto the one girl who was nice to him and put up with his bullshit and then being with her forever isn’t compelling. Komaki’s also probably his beard. She’s likable as an individual though.

15. Akigure: There’s plenty to say about the age gap, Shigure being in love with Akito since she was a fetus because of The Dream, the implications of a 15-18 year old knowing he’d one day want to be with a then-10-year-old... yeah, you get it. But even if I was able to put all that aside because Soulmate Destiny Logic, I still don’t think I’d like Akigure. I think they’re interesting as bitter, codependent exes, but I don’t like the idea of Akito ending up with anyone who she abused or who abused her. I think she has so much growing to do as a character and staying in a relationship within the Sohma family to do it can’t be healthy for her. I can’t see them living happily ever after, nor do I really want to.

16. Kurisa: I think what frustrates me the most here is that I want to like Kureno and everything about this romance is written to dull his most interesting traits. First of all, the age gap. Yeah, it’s gross, I don’t like it. But even past that, the love at first sight, instant fixation with each other, and lack of actual chemistry just kills me. Arisa’s stated reason to like Kureno is that he reminds her of Tohru, basically piggybacking off the chemistry she and Tohru already have, and his total lack of agency means the plot just sort of carries him along. It frustrates me that Takaya could have done something pretty cool by making them simply friends who have a chance encounter and then build a friendship from there that parallels Kureno’s abusive dynamic with Akito. It would be neat if a stranger’s kindness was the push Kureno needed to get himself out of the Sohmas’ grasp, without all the nonsensical drama about them being in love. It would also be less of a disservice to Arisa, who basically just spends the whole series pining for Kureno after they meet and I hate it. I could write a whole post about this. Maybe I will sometime.

17. Kyoko x Katsuya: I don’t think their story is romantic. I think it’s tragic for Kyoko, and if it were framed that way within the narrative, I wouldn’t object so much to its existence. But... Takaya just really likes age gaps with a younger woman and an older man, so the narrative romanticizes this man marrying his student. Katsuya can be depicted as well-meaning as you want, but he’s still got a ridiculous amount of power over Kyoko. She was also still pretty young when she had Tohru, which doesn’t make things any better because it’s clear that the relationship turned physical when Kyoko was a teen, thus dashing the idea of Katsuya legally marrying her to save her but not actually doing anything creepy. I wish Fruits Basket framed this as a story of Kyoko escaping one dangerous situation by entering a relationship with a huge power imbalance, because that happens to girls all the time and it’s tragic and compelling. The events of the story could stay the exact same and if the framing changed I would be fine with it. But this is not that. This is just a really romanticized teacher/student age gap. I’m not into it.

Part 2: Rarepairs, weird shit, and others (oh my!)

1. Yuki x Kakeru x Kimi: OT3. I’m enamored with the idea of this hot mess polycule.

2. Momiji x Kimi: Chaos meets chaos. This couple would say uwu without any irony and also steal your car keys. They’re both perceptive and smart hidden under a layer of cute and I’d wanna watch them play 4D chess with each other.

3. Kazuma x Kunimitsu: Idk how old Kunimitsu is so if he’s like 20, strike this one from the record. But I saw one post once that was like Kyo slowly realizing Kazuma and Kunimitsu were gay and had been dating for years and it was funny as hell.

4. AyaTori: It’s cute. Opposites attract, black and white hair, and Aya only listens to Hatori anyway. It’s just fun to think about.

5. Megumi x Hiro: They don’t interact in canon I just think Goth x Punk-Ass Bitch is a great concept.

6. Motoko x Nao: They’re both loud as hell and Nao having a gf that towers over him is funny. Maybe Yuki would finally get some peace.

7. Machi x Kimi: I don’t see them actually being compatible in canon but I think they could have a really homoerotic college friendship.

8. Hajime x Mutsuki: This is just YukiKyo, the non angst version.

9. Akito x Hanajima: I’m so wary of shipping Akito with anyone but this is kind of fun. The two are friends in canon and Hana isn’t remotely afraid of Akito. Plus Akito never abused Hana. I can sort of see it.

10. Hiroshi x Yusuke: Makes no sense, wouldn’t be relevant, but if those two just never spent any time apart and continued being a pair for life it would be a really good bit.

11. Akitohru: I don’t think it’s healthy to date anyone who’s previously stabbed you.

12. Kazuma x Hanajima: Stop. Go to jail. Hana’s one-sided crush is funny though.

[letterboxd]

Bridging the Gap.

Filmmaker So Yun Um highlights ten underrated Asian American and Pacific Islander films set against the backdrop of America.

Asian American and Pacific Islander Heritage Month has many film lovers seeking to celebrate Asian American cinema. Beyond Minari, Always Be My Maybe and Crazy Rich Asians, there are dozens of films that depict the Asian American experience. In choosing to focus on ten of the lesser-seen, I contemplated the notion of what defines AAPI cinema.

For me, it goes deeper than films that have been directed by, or star, Asian American and Pacific artists. Having watched a wide selection of Asian American films, I can firmly say our cinema, no matter the genre, puts Asian Americans at the forefront on both sides of the camera. I believe the essence of Asian American cinema was born out of resourcefulness, mining themes and ideas that distinctly bridge the gap between Asian and American culture. These films tell stories that explore the vast differences between the two, and the ways in which they coexist, whether comfortably or uncomfortably.

In selecting these ten underrated AAPI films, I searched deep to find stories with uncompromising vision and character; stories about Asians that could only be told within, and against the backdrop of, America. These ten films highlight intimate, distinct and unfiltered experiences mostly unseen at our local multiplexes: family and cultural obligations, generational and cultural gaps, and raw, mostly obscured views of American life.

Chan is Missing (1982) Directed by Wayne Wang, written by Isaac Cronin and Wayne Wang

There would be no Asian American independent cinema without Wayne Wang’s Chan is Missing. Shot on black-and-white film, this striking noir follows Jo, a San Franciscan cab driver, and his nephew, Steve, as they track down the titular Chan after he disappears with their money. Wang’s unpredictable directing career spans neighborhood intrigues, rom-coms and family movies; alongside which, he has kept a strong focus on Asian American stories (he helmed the adaptation of Amy Tan’s generational bestseller, The Joy Luck Club).

In Chan is Missing, for the first time on screen, we get to finally see an “ABC” (American-Born Chinese) story from the source, with an all-access pass to the often misunderstood terrain and people of Chinatown. It’s the tightness of the plot and the authenticity of its characters that make this movie such a classic. Even after 40 years, Chan Is Missing doesn’t feel dated—its laugh-out-loud dialogue (they actually utter the word “FOB”!) and moody tone capture why Chinatown continues to be an enigma. Spoilers: Chinatown runs by its own rules.

Available on DVD via Indiepix Films.

Better Luck Tomorrow (2002) Directed by Justin Lin, written by Ernesto Foronda, Justin Lin and Fabian Marquez

Justin Lin’s directorial debut film is a visionary portrait of Asian Americans that’s still relevant two decades on. Since its release in the early aughts, there has yet to be a film that explores the nuances and complexities of the average Southern-California Asian American teen like this film does. Better Luck Tomorrow focuses on a group of Asian American overachievers who become bored with their lives and enter a world of petty crime. It’s loosely based on four Sunny Hills High School students and the real-life murder of Stuart Tay, a teenager from the OC.

With its depiction of overachieving A+ students who are also foul-mouthed, drug-taking kids, this film was the launching pad for many iconic Asian American actors today—Sung Kang from the Fast and Furious franchise, John Cho (Star Trek) and my personal favorite, Jason Tobin, star of the Warrior TV series. (It’s entertaining to see the seeds of the Fast and Furious series planted in this film in the character of Han, played by Sung Kang, before the explosion of the franchise: one of the characters mutters, “Rumors about us came and went fast and furious”—and the rest is history.)

Better Luck Tomorrow still stands as the most iconic film to capture the suburban Asian American teen existence in all its good, bad and ugly light. “I was part of a movement,” Tobin recalled in this GQ oral history of the film, “and it was a culmination of all the battles I had fought before that to get Asian faces on the big screen.”

Available to stream and rent on multiple platforms.

The Grace Lee Project (2005) Directed by Grace Lee

If you’re an Asian American who grew up in California or New York, chances are, you know at least two Grace Lees in your life. But growing up in Missouri, Korean American filmmaker Grace Lee was the only one she knew with her name. She soon discovers that with the name comes a certain stereotype, that of the “good” Asian—quiet, well-behaved and a hard worker. Lee goes on a quest to interview a wide range of women who have the same name and soon discover if this wildly common stereotype is true.

Lee’s witty, autobiographical documentary is effortlessly funny and insightful. The Grace Lee Project dives deep into identity politics to reveal that sometimes, a name is simply a name. This was the start of Grace Lee’s journey as a filmmaker and she continues to be an important voice in not just the documentary space but in narrative stories as well.

Streaming on Kanopy.

Saving Face (2004) Written and directed by Alice Wu

Alice Wu’s Saving Face is a timeless queer love story. Produced by none other than Will Smith (yes, that Will Smith), Saving Face follows a Chinese American lesbian woman and her traditional mother (played by Michelle Krusiec and Joan Chen, respectively) as both battle with their reluctance to go against cultural expectations and reveal their secret loves. It’s part family drama, part rom-com, exploring expectations specific to Asian women across generations.

While most Asian American films focus on familial obligations through the point of view of the children of immigrants, Wu’s film considers the conflicts of both daughter and mother. For Asian Americans, it’s a tale as old as time but with a twist that shows that no matter how old you get, you still have to, unfortunately, fight to be who you are. I also highly recommend Wu’s spiritual sequel, The Half of It, on Netflix.

Streaming on Amazon Prime and Tubi, and for rent on various VOD platforms.

In Between Days (‘방황의 날들’, 2007) Directed by So Yong Kim, written by Bradley Rust Gray and So Yong Kim

So Yong Kim’s debut feature, In Between Days, follows Jiseon Kim, a Korean teen immigrant, who falls in love with her best friend while navigating the challenges of living in a new country. Director Kim is a masterful storyteller and captures life as it should be seen: unfiltered and trivial at times, but using the mundane to find cinematic magic.

I like to categorize So Yong Kim’s work as a showcase of extreme intimacy. Her story features painfully delicate characters and moments so real, you’ll wonder how any of these scenes could be fiction. There’s a sense of vulnerability and loneliness that fills the air as Jiseon struggles to assimilate to a new country, replete with toxic relationships, self-sabotage and unrelenting jealousy. So Yong Kim’s work is so painfully real, it hurts to watch.

Available on Kanopy and Amazon.

Ping Pong Playa (2007) Directed by Jessica Yu, written by Jimmy Tsai and Jessica Yu

There are two things that embody countless Asian American men’s experience: their love for basketball, and their love of rap music. Ping Pong Playa covers both, and is exactly the kind of Asian American comedy I’ve been waiting for! Christopher “C-Dub” Wang (played by co-writer Jimmy Tsai) is a wannabe baller and a supreme slacker who has to step up to the plate when his family’s business and ping-pong-champion reputation is on the line. In addition to being centered around an Asian family, the core of the film rivals any other low-brow, underdog sport film.

Laugh-out-loud hilarious, this is Academy-Award-winning filmmaker Jessica Yu’s first narrative feature, following a groundbreaking career full of daring documentaries (her Oscar was for this portrait of writer Mark O’Brien, who spent much of his life in an iron lung). Seeing C-Dub as an NBA-loving slacker turned ping-pong playa felt validating; it showed that even if you’re a lazy and immature Asian, you can always find something to succeed at.

Streaming on Tubi, and for rent on Amazon and iTunes.

In Football We Trust (2015) Directed by Tony Vainuku and Erika Cohn

While Salt Lake City, Utah, is seen as predominantly a white Mormon town, it in fact has the largest population of Pacific Islanders in the US mainland, due to the strength of the The Church of Jesus Christ of Latter-day Saints’ proselytizing in the Pacific. The documentary In Football We Trust follows four Polynesian high-school students, as they chase their lifelong dream of attaining professional recruitment. Told in moments of adolescence, the film follows the greatest challenges for these four young men, as they chase their dreams while trying to grow up.

In no time, they’re faced with the harsh reality that just maybe, football isn’t all it’s cracked up to be. As much as their hefty attributes and builds serve as their greatest advantages, these boys’ cultural and familial obligations become both their greatest motivations and, possibly, their downfall. Filmed over the span of four years, first time filmmakers Tony Vainuku and Erika Cohn chronicle the NFL hopefuls as they navigate the pressure to balance dreams and family to win a golden ticket out of gang violence and poverty.

Streaming on Kanopy, and for rent on various VOD platforms.

Spa Night (2016) Written and directed by Andrew Ahn

In his directorial debut, Andrew Ahn perfectly captures a specific corner of Los Angeles’ Koreatown. Spa Night’s focus is David, a closeted Korean American teenager who takes a job at a Korean spa to help his struggling family, and then discovers an underground world of gay sex. You may recognize Joe Seo as the goofy bully in the Netflix hit show Cobra Kai, but it’s Spa Night where you can see him truly shine—he won Sundance’s US Dramatic Special Jury Award for Breakthrough Performance.

Seo delivers a powerfully restrained performance, exploring the burden of hiding your true self from your family. Spa Night is more than a coming out story, it’s also about the broken American dream that so many immigrants experience. Ahn’s direction is finely tuned, honing in on the specificity of Koreatown. It is an acutely queer story of second-gen Asian Americans, where coming out is never really about just you, but also your family.

Streaming on Kanopy, and for rent on various VOD platforms.

Punching at the Sun (2006) Directed by Tanuj Chopra, written by Tanuj Chopra and Hart Eddy

Mameet is young, angry and has always lived in the shadow of his basketball-legend brother, Sanjay. When Sanjay is suddenly killed during a robbery at the family store, Mameet spirals and takes his anger out on anyone and everyone. Coping with loss at a young age is hard enough, but Punching at the Sun mixes in the specific anxieties of being a South-Asian man amidst the backdrop of post-9/11 America. In doing so, the film addresses the difficulty of juggling teenage angst and immigrant identity—Mameet is not afforded the option to express his anger and grief.

Cathartic and emotionally validating, this is a simple yet nuanced slice-of-life story that conveys the heaviness of growing up with the weight of the world on our shoulders. In Mameet’s case, thank goodness, he ultimately shares some of that burden with his comical friends and knit-tight family.

Available to rent on Vimeo.

Meet the Patels (2014) Directed by Ravi Patel and Geeta Patel, written by Ravi Patel, Matthew Hamachek, Billy McMillin, and Geeta Patel

In the romantic documentary Meet the Patels, Ravi Patel is a dutiful first-gen son whose parents are continually nagging him to marry a nice Indian girl. With Ravi's sister Geeta Patel co-directing and co-writing, and his parents in the frame, his film (and true-life story) are indeed a family affair. What starts as his journey to find a wife to make his family happy becomes an enlightening intro to Indian culture and modern love—think dating apps, weddings and a Patel Matrimonial Convention (gotta see it to believe).

Humorous as it is outrageously charming, Meet the Patels ultimately shows the struggles and cultural expectations most immigrant offspring face, on top of the million other obstacles of trying to find your one and only true love in this mad, mad world.

Streaming on various platforms.

Related content

Ten Underrated Asian American & Pacific Islander Films, a Letterboxd list

Best Asian American Films: So Yun Um’s list

Debbie Chang’s comprehensive Asian American film canon list (also features Asian-Canadian, Asian-British and other diaspora)

Bellamy’s list of feature-length films directed by Asian Americans

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