#summer narrative

[rebfile]

On the shores of a turquoise sea, where the waves lapped like a lullaby against the shore, there was a girl named Isla with a spirit as wild as the ocean itself. Her hair cascaded like a waterfall of liquid amber, kissed by the sun and teased by the salt-laden zephyrs.

Isla's soul thrived amongst the call of the seagulls and the rustle of palm leaves. Her swimsuit, a tapestry of lush florals on a canvas of seafoam green, fluttered in the breeze, its ties and frills dancing to the rhythm of her movement. A pair of delicate earrings, shaped like the shards of a sunset, dangled from her ears, a hint of the fire that burned within her heart.

Today, Isla was more than a mere visitor to the beach; she was its enchantress, her silhouette a part of the coastal poetry, her presence the brushstroke of nature's own masterpiece. With every step, she wove a story of freedom, her eyes reflecting the vastness of the sea, a wanderer's gaze, forever seeking the line where the sky embraces the water.

[littlenastieswewhispered]

“buffy ended the show single :)” ok but only because her current love interest just DIED!! (he near quite literally died in her arms! in sacrifice for her!) her last words of the entire series were telling him she loves him and then saying his name in admiration. she isn’t single; she’s a widow.

[twinkle-art]

no more once upon a time and so on and so forth

[captainsploosh]

the black and white doomed by the narrative yaoi stans are about to be well fed :)

ORV, Link Click, AND The Summer Hikaru Died ಥ⁠‿⁠ಥ

[budd-ee]

I want you to be by my side even if you are fake

[motorway-south]

i know its pointless to debate meaningless tumblr litcrit terms but "haunting the narrative" as a concept gets thrown around all too much for my liking. you can't use haunting the narrative to describe absolutely any character who was grieved over (especially if the character functionally exists within the narrative to die i.e. the dozens of dead dance era targs)

i think to truly haunt the narrative the central thread of the story needs to be a clash of interpretations over what the characters intentions or feelings were (or at least a clash of perceptions). the first one i can think of is Suddenly, Last Summer by Tennesee Williams

in this story, cathy is a young woman who witnessed the death of her cousin sebastian last summer, and she wars with sebastian's mother violet over what exactly happened, who sebastian was, if cathy is or isnt mad. it's revealed that sebastian was queer and also kinda a predatorand also catherine was super into him, and obviously violet doesn't want this getting out. cathy and violet both mourn the versions of sebastian they each have in their heads: as a mommas boy or a sexy older cousin, while they both aim to stamp out the secret they both hold about him. but sebastian is slowly revealed to the audience in a careful peeling back of his character, in a way that his ghost physically occupies so much of the page

the other example is the titular rebecca from rebecca by daphne du maurier, who's character the audience and narrator have to uncover entirely posthumously through mr de winters or mrs danvers or whoever else. the narrator is literally haunted by rebecca, but the narrative form is too - it is deciding what her intentions are, and how this untimely death with resolve itself in the characters

its why i balk at the idea of robb stark "haunting the narrative" (no hate to robb we love robb here). first of all hes alive for 2.5 books but second we don't really uncover more about him after his death. his siblings mourn him but theres hardly a question of what his legacy/intentions/or character were like before his death that is reshaped afterwards

[duckwnoeyes]

Obsessed w Joyce Summers’ wilful ignorance. Buffy’s speech to her in becoming asking her ‘what did you think was going on? How many times did you have to wash blood out of my clothes’. The implications that the truth was spelled out right in front of her but she had gotten so good at closing her eyes. How many times was Joyce involved in vampire activity and then she immediately rolled over and ignored it? Joyce knowing that Buffy was sneaking out, was fighting, was doing something, but choosing to live in ignorance. For what reason? To cling to the last remnants of a normal life? The belief that maybe if she ignored it, it would go away? More than that, she’s living in Sunnydale!! The horrors are literally everywhere and this woman is covering her eyes and ears and going lalala and it somehow works??? Imagine successfully ignoring the fact you are stuck in the horror genre for two whole years by gaslighting yourself. Joyce Summers the woman you are.

[rameiixo]

“then what was it all for?”

( please no spoilers in tags! )

[schneiderenjoyer]

Help...save me...it won't leave my head...

[5bi5]

Kinda wish we got a buffy/faith dream where buffy has the stab wound instead

[borgialucrezia]

cesare and juan were never slick once in their lives...

[leciraofthewilderness]

So, despite some faults, I really enjoyed totk, and on its anniversary I want to say something about it. Other people have said similar things before but it’s really important to me and actually a big part of why the story of totk was meaningful to me, so I want to also say it:

Zelda needed to come back from draconification. The story needed that. It wasn’t lazy and just ignoring “consequences” because (imo) that was the *point*

The point is to feel like there are going to be terrible consequences and then say actually, no. You can come back from this, with the help of other people.

To me at least, that was the theme of the whole story.

If botw was about how the world goes on past loss and grief and starts to heal (how flowers grow in the ruins and the world can be beautiful again, be worth saving, even if it has changed)…then totk was about a more personal kind of healing.

The weight of the world should not be on your shoulders alone…you, alone, should not have to fix everything…you should not have to sacrifice yourself, but when you do, someone will be there to save you from it.

This turned into a really long ramble so:

You (Link) gained so much and now it’s gone. It feels like you’re back to where you started and yet you know you have to do it all again…you were weak and you failed and you’re weaker now…but

You go down to the surface. Monsters swarm across it once again. Other people are fighting them too though. You help, but it’s not just you…

You go to the Rito, the Gorons, the Zora, the Gerudo…just like with the divine beasts, there are friends who help you save each region. But this time, part of them comes along with you when you leave. It’s nice, you realize, the first time one of them protects you from a monster you weren’t prepared for. You’re still weaker than you were before, but someone has your back…

When you go up to the sky you see a strange new dragon there. There’s something about them that feels familiar. You try not to think about it.

You go down to the depths too. It’s terrifying at first. You hate it. You only want to get what you came for and get out of the dark….but slowly, the light grows. You get stronger. The dark feels like a challenge you can face (and someone has your back).

There are spirits down there. You don’t know when they’re from, but some part of you wonders…are these all the people you let die in the Calamity? (You help them find rest from their wandering. The weight on your shoulders feels a little less heavy).

There’s so much gloom. The first few times the sky turns red and hands chase you (a reminder of what you’ve lost, how you failed) you just run. Eventually though, you have to fight. It feels like the (second) worst day of your life again. But you manage to get free of the grasping gloom and stand and fight, as wild and desperate as it is. Beneath the manifestation of your worst fears, there’s another thing to fight, but this time it has a face (a voice in the back of your head says…you know this isn’t all on you and your failure…it’s really Ganon’s fault right?). You get through it.

At every turn in your travels, it seems like something reminds you of Zelda. Her passion, her curiosity, her kindness. You miss her.

At first, the tears you find reassure you. She may be in the past, but she’s safe. She’ll come back somehow…but then you hear the word draconification for the first time. You want to believe she wouldn’t do it but you know her and the fear sits cold inside you. (Zelda is a lot of things. She’s been allowed to be more of them, since she was freed from her hundred year battle, without her father holding her back. But deep down inside her, there’s a vein of self-sacrifice that still runs strong. It’s what saved the world before, after all).

She did it. She really did it. She’s gone from you (from Hyrule) forever, and it’s all your fault. If only you hadn’t failed so utterly in the battle (you can hardly even call it that) under the castle. If only you’d caught her. If only you hadn’t let the sword break. You should have protected her you should have been better it’s all your fault and now she has to live with the consequences, forever. Everything really is on you, you should have been better.

(Zelda POV: you couldn’t call upon Hylia’s power in time, you were too content to let it wither and fade away from you, ready to be free of it. You shouldn’t have. He got hurt, the sword got hurt, it’s your fault…Sonia and Rauru help you channel it again, Sonia helps you learn how to turn back time…but you don’t save her. She dies because you couldn’t save her. Rauru dies not long after. There is no one left to guide you, once again. You could spend years trying to figure it out on your own. But you did that last time. It didn’t work. Self-sacrifice, stepping in front of someone you love, that worked. (You do what you can, to call upon the sages, to help Link in the future, first). And then you swallow the stone. You’ve come a long way, in the past five years, allowing yourself to exist. But in the end, self-sacrifice worked last time. It’ll work this time too.)

You (Link) go down beneath the castle. You were supposed to bring the sages but you didn’t. It’s nice, for someone to have your back. But no one else should get hurt to fix your mistakes.

They follow you anyway. They fight with you, against the hordes, against the greatest enemies you defeated together, along the way. They’ll have your back, even if you don’t think you deserve it.

You fight Ganondorf, and then the demon king, in the hardest battle of your life. You think it’s over and then the demon king decides it’s better to lose himself completely than let you win. You’re exhausted and afraid of yet another battle, but up there in the sky, when you’re falling, the Light Dragon catches you (you wonder why she changed her path to catch you, you wonder if there’s still something of Zelda left in there to save). With her help, you win.

And then you’re in some other realm. The spirits of Sonia and Rauru are there. You remember how the two of them and Zelda channeled such incredible power together. You think about Recall. Turning something back to the memory of what it was before, like Sonia said. You stand with them and you allow yourself to hope. Maybe the Light Dragon can remember the form she took so long ago, the person that she was.

And then you’re falling, and Zelda is falling, but this time you catch her. You catch her. She’s back home with you, finally, finally.

And maybe, one mistake doesn’t have to be the end of the world. You don’t have to be perfect. Sometimes, someone else can stand with you, and it’ll all turn out alright. (You can put the weight of the world on your shoulders, you can sacrifice yourself, but someone will be there to catch you, someone will be there to pull you back to yourself, when all is said and done).

[pinesorneedles]

the thematic narrative in season 6 of the three OG Scoobies struggling with powerlessness and dealing with it in different ways (Buffy not feeling anything at all, Willow by abusing the material power she does have, and Xander repressing), and all three of them being brought out of it by reaffirming their connection to the world through their platonic and familial connections

[beau-gar]

MARC

www.beau-gar.tumblr.com

[anthurak]

So I think we all understand at this point that much of the Fairy Tales of Remnant and various other in-universe folktales and legends that have been told or otherwise mentioned up to now are IMPORTANT. That these stories, particularly the ones that are given some kind of focus, are meant to relate to specific events or characters and generally foreshadow things that will happen or be revealed in the show. Whether in the direct sense of ‘this story is actually relating real events that are significant to characters’ like The Story of the Seasons to the Maidens and Oz, or in more indirect, symbolic fashion like Oscar and Ozpin idly discussing The Girl Who Fell Through the World in Volume 8.

Suffice to say, fairy tales in RWBY clearly MEAN something. Especially if a fairy tale is clearly being connected to a character or characters.

To that end, going forward I think we should really be looking at The Warrior in the Woods, and in-particular the animated short, as being narratively tied to Summer, Raven and Taiyang. And specifically meant to foreshadow what Taiyang’s relationship with Summer and Raven was REALLY like.

For one, the connection the animated short draws is not exactly subtle. The short is flat out framed as Tai reading the story to Ruby and Yang for bedtime, with the boy in the story looking like a young version of Tai while the titular Warrior looks literally like a combination of Summer and Raven. And to top it all off, the story even broadly reflects what we already know about the relationships of the three; with the young man losing the woman he so admired and loved just like Tai lost Summer and Raven. Again, the connections are not in ANY way subtle here.

So with that base established, what more can we potentially glean as foreshadowing here?

Well, as I’ve stated in previous posts, I think it is telling that while the Boy in the story did love the Warrior, it is ultimately a tragic, doomed love that was never meant to be.

And more than that, the story notably only gives us the perspective of the boy, and never the Warrior. And likewise, we never learn how the Warrior truly felt about the boy. She clearly cared about him, enough to consider him something of a friend, but did she feel about him like he felt about her? The story never makes this clear, and I think that in and of itself is rather telling: Despite the boy’s attempts to reach out to her, the Warrior maintains her distance. Whatever growing care or affection she might have felt for the boy, it clearly wasn’t nearly enough to get her to break her isolation or duty to safeguard the village in secret. While the boy may have loved the Warrior, it was a love that in all likelihood, could not and was not returned.

So when we apply this to Taiyang, Summer and Raven, a rather bleak picture emerges: That Tai’s relationships with Raven or Summer were NEVER going to work out. Or that neither Summer NOR Raven actually loved Tai in the same way he loved either of them.

And the thing is, this IS supported even by what little we have seen of Tai, Summer and Raven. Just like in the story, we have been told of Tai’s love for Summer and Raven, yet told precious little of how either of THEM felt about Tai. And what little we HAVE been told or shown has left it rather questionable how either of them cared for Tai.

Raven has made it clear that she cares little for Taiyang in the present, which really raises the question of how or if the two were ever in a relationship in the past. And while the existence of Yang might imply some kind of relationship, let’s also consider the possibility that Yang was actually an unplanned pregnancy. The result of a possible drunken, one-night-stand between Raven and Tai. Which would certainly put Raven’s reluctance to be a mother in a VERY different context.

Then we have Summer, and thanks to Ruby’s tree-vision, I think we can count her feelings for Taiyang as being at best ‘ambiguous’.

For one, as I’ve stated elsewhere, Summer’s scene with Taiyang is curiously lacking in especially overt romantic gestures. A lack of noticeable flirting or particularly romantic physical acts like a kiss. They do hug, but as I’ve said before, RWBY has used these close, intimate hugs just as much if not more often to convey platonic or familial affection. Note also that Taiyang is the one to clearly initiate the hug, not Summer

More than any of that, it’s clear that Summer is putting on an act for Tai in this scene. In the scene she is clearly pensive and uncertain and maybe even afraid, but the moment Tai walks in, Summer immediately adopts a mask of ‘everything is normal, don’t worry about anything’. Which calls into question how much of anything Summer does/says in this exchange is truly genuine, and how much is simply an act for Tai’s benefit.

Summer clearly does not trust Taiyang with the truth of what she is ACTUALLY doing. And the clear ease with which Summer assumes this mask implies that this is likely far from the first time Summer has done this.

Just compare Summer’s scene with Tai to both her previous scene with the sleeping Ruby and Yang, and her following scene with Raven; both showing Summer not putting on any kind of act for anyone else.

Most notably, despite whatever resentment she might feel towards Raven for leaving them (or perhaps just leaving her), Summer clearly trusts Raven, more than ANYONE, with helping her on this mission she considered so vitally important.

Summer certainly cared for Taiyang, that much is clear. Otherwise she wouldn’t put so much effort into reassuring him that everything was fine.

But did she love Tai in way that he loved her? Or was it simply a role she went along with for his, and possibly more-so Ruby’s and Yang’s benefit? Given the clear emotional mask and barrier we see her put up when around Tai, I would call the answer, at BEST, ambiguous.

Which all ties perfectly into what we see in The Warrior in the Woods.

The boy in the story, who is presented as looking just like Tai, loved a mysterious but noble warrior, who is presented as looking like Raven AND Summer. But the love the boy felt could not or was not returned and the warrior would instead vanish into the night. Just like Summer and Raven did.

Oh, and the ending of the story match-cutting a shot of the ‘cross between Summer and Raven’ Warrior to a shot of Ruby who likewise has a lot of visual similarities to Raven as well as Summer MIGHT be hinting at something too…

[tequiilasunriise]

I love when the toxic yuri is absolutely DOOMED by the narrative and they’re so in love they’re going through a divorce they are seeing each other in full for the first time they’re each other’s first (and last) love they’re gay and kissing and gay they’re still signing those divorce papers and yeah these is all happening at the same time