#talk about catharsis in tragedy

[wumiings]

Wait wait wait also!! AU where, when the Disir tell Arthur that Mordred will only be healed if magic is freed, they don’t mean that they’ll heal him. They are challenging Merlin not to allow Arthur any more ‘exceptions’ to his own laws — Mordred can be healed by magic only after it is made legal to use magic for healing. Of course, the paradox is the same: If Arthur refused to change the law and Merlin healed Mordred anyway, it would symbolize him ‘giving Arthur up’ to fate by ‘choosing’ Mordred, knowing that it would lead to Arthur’s death

[todayisafridaynight]

idk what's wrong with rgg studio and why do they need to kill every major antag i mean ?? some of them wasn't THAT irredeemable!!! most of them are just stupid or/and dramatic and i don't know what do THEY think but my HUMBLE OPINION is that half of their antags could have better story ending by NOT DYING and redeeming themselves and being better people !!

aaaand yes i am also salty about aoki i get u man it COULD BE SUCH A BEAUTIFUL STORY ABOUT. ACCEPTING YOUR FUCKUPS AND LIVING WITH THEM. they could have killed sota kume instead if they needed to meet their killing quota no one cares about this mf like whatever

rgg is able to write really compelling characters and villain but they just utterly refuse to commit to a redemption arc. why i dont know but its so frustrating. closest we get is hamazaki but even HE bites the dust and it sucks so much we can't have one (1) redeemed character stick around

aoki's case is the one that makes me want to grind my teeth into dust the most because his death was at the literal very end of the cutscene- there was like thirty seconds left and they just had to fill the quota. ichi had successfully talked him down and had seemingly made a breakthrough to him- HELL, AOKI EVEN SAID HE WAS READY TO TURN HIMSELF IN so for RGG to pull the biggest Go Fuck Yourself is ACTUALLY blood boiling

[geekyglamour413]

Guys….i accidentally became the person who introduced Oedipus to a bunch of christian theatre kids……god I hope I don’t get parent emails….

[bulletbilltime]

Between Ethel Cain's Preacher's Daughter, Shisumo's Bookstore Max AU, and whimsicalcotton's polluted marrow Max AU (and let's be real pretty much all of Life is Strange 1 & True Colors), I am noticing that I may be latching on to stories about traumatized ppl more than may be healthy

[uriekukistan]

i wanna talk about this thing gege said

i’ve seen a lot of people saying that this is a bad way to write a story, and i couldnt disagree more. from a writer’s perspective, there is no reason to kill off a character if it’s not going to have impact.

in any case, i think this reaction points out two things i’ve noticed about the jjk fandom.

i. jjk fans prioritize enjoyment of characters over the plot

which is fine, i guess. i’m not gonna begrudge any readers the space to enjoy their fav characters. however, what i disagree with is the constant trashing of gege and jjk as a story because the narrative doesnt treat the characters as you want it to.

i mostly talk about these things from the perspective of someone who has been writing for a while, so i will take a second to acknowledge from the reader perspective. it’s easy to get attached to characters and see them as real people in your life.

but they arent real people. they only exist for the author’s intentions. every time i see someone complain that “x character only died because plot” i just think “yes?” characters exist for the plot. they exist to serve the narrative. they live and die for the plot, and that isn’t a bad thing. this is a story. that is how stories work.

with characters like gojo or choso, it’s easy to look back and see their character arcs and how their ends fit their purpose in the story, but i think people get so caught up in wanting to fuck the character, or fanon, that they forget their original purpose is to do what gege wants them to do.

this is a war against the most powerful, most evil sorcerer in history. of course characters are going to die, and of course it’s going to be characters we love. it’s honestly unrealistic to expect anything else.

and i think it’s really disrespectful to say so many rude things to gege because he is thinking about the story he wants to tell, and not the story that best suits your favorite character.

ii. few people want to feel anything from what they’re reading anymore

which again, is totally fine, but maybe read something else?

tragic stories have existed and enjoyed immense popularity for millennia. and theres nothing wrong with that. there’s nothing wrong with authors intentionally stirring up their readers’ emotions.

i wanna bring attention to the origins of the words “tragedy” and “catharsis”

“tragedy” is a genre that stems from greek drama based on human suffering and the terrible or sorrowful events that befall the main character. the intention of of tragedy is to invoke “catharsis”

“catharsis” is commonly used to refer to the purification of thoughts and emotions by way of expressing them. in terms of tragedy, this refers to arousing a negative emotion with the intention of expelling it so the audience can walk away feeling relieved.

for all intents and purposes, jjk is a tragedy. it’s meant to make you feel sad. that’s gege’s intention. yet every time people feel upset by a specific event, they call “bad writing.” if anything, according to what jjk is, it’s good writing if you feel sad.

i have seen some people say that jjk wasn’t set up this way, and i disagree so strongly that it’s hard to comprehend.

jjk0 ends with gojo having to kill his best friend, his one and only. tragedy. yuuta’s story is tragic too, having cursed rika and accidentally isolated himself just because he didn’t want her to die.

jjk starts with yuuji faced with execution just because because he wanted to honor his grandfather’s dying wishes. within a handful of chapters, there’s yuuji’s “death” and junpei, and there’s a clear set up of tragedy and repeated loss, despite characters giving their best effort.

i could get into how this relates to my interpretation of the themes of jjk, and sharing burden/responsibility to be stronger together, but that’s another point.

tldr; the point of this post is to say that gege killing characters and making readers feel sad is not bad writing or a bad narrative choice. it’s true to his intentions and the essence of jjk. if you don’t like that, then don’t read. but there’s no reason to disrespect gege and his hard work just because it’s not your cup of tea

[yurozo]

the monomyth, (leon kennedy x reader)

the exodus, also aptly known as retirement, has been sending leon for a loop. you are there to pull him back down to earth. (smut/fluff/overuse of greek references)

a/n: 18+ readers only! anyone under eighteen will be personally chased by me at full running speed. i am very much a classics nerd, as will be glaringly obvious in about three seconds. i love you nerd leon, no one understands you like i do.

shoutout to @vaaaaaiolet who was forced to listen to me ramble about this fic for three entire days

a single structure repeats itself in an endless loop of tragedy and non-tragedy, operating through the cycles of aristotle’s poetics in order to create a universal narrative of the roman hero. prologue, parados, episode, stasimon, and exodus– recycled and reused to form the endless configurations of misfortunes that befall the heroes. what is pervasive, and often tragic, about these heroes is not their moral struggles against the physical evils, but instead an internal and divine battle against a common enemy– time. 

ultimately, what defines the perfect tragedian hero is the prevailing feeling of inescapability. they cannot run from the ties of fate that rely on them as a catharsis for conflict, and instead must emotionally resolve themselves to their social positions as a weapon for the gods, regardless of the institution’s ideology. this priori of obligation forced by an infinite and perfect consciousness is what makes the tragic hero tragic; this life is not one that they choose for themselves, but one they are forced to live until that last grain of sand slips through the hourglass. 

leon’s eyes had started to burn thirty minutes ago, long ignored in favour of another jstor binge at a truly ungodly hour of the night. he, at least, had the chivalry of keeping his phone brightness on the lowest setting, screen carefully tilted away from your resting eyes. 

this whirlwind of information had started with the myth of perseus, followed by odysseus, and then a countless amount of papers analyzing the hubris of the tragedian heroes. supplementary material for tomorrow’s breakfast conversation, so that he can talk at length over eggs and coffee across from your bright eyes and eager expression. 

that’s what always killed him, just how genuinely interested you were in whatever he said. god knows that was especially rare, particularly from the other women in his life. claire was always half-listening whenever he lost himself on a tangent, and don’t get him started on trying to get ada interested in anything he had to say. 

but ada was long gone, and claire was always delighted on your talent of getting leon off her back. 

how contentedly boring his life has gotten that the most exciting part of his day is your opinion on his recent fixation, just to listen to you fill in all the missing pieces he never realized were absent. you were like that in almost every aspect of his life, the golden glue that slowly puts poor humpty dumpty back together again. 

wrong type of mythology. regardless, you were something he never realized he desperately needed until that warm feeling of being content started filling his chest. a passing comment on his resemblance to a greek god had established this whole spiral– a form delicately cut in marble and praised over the centuries for the countless deeds committed in a long war to protect his people. 

perseus, maybe. or odysseus, but that was too easy. too cliche. leon was never one for divine glory, instead preferring the silent type of satisfaction that came from finally putting some good back in this world. or preventing more terrible things from happening, more like. a careful balancing act, another stupid cycle of finally feeling like a person again until he can get home and stop the dreams of people screaming in your ever-so-loving arms. 

bellerophon is the final choice. a figure riding into battle against the monstrous chimeric beast with only a tamed ally and a lead-tipped weapon. a hero that was never satisfied, choosing bigger and bigger fights until he falls from the heavens and into the dirt below. a god angered at his success, a product of an institution that brought him into a war he never asked for as a weapon, and left him crippled to wander the world alone when he ascended too far. 

maybe retirement really was getting to him. this so-called period of exodus, a final parting song and the materialization of the final crisis. 

you stir in your sleep then, arm sliding across his chest until your head is tucked against his bicep. he moves to rest his arm  underneath your head instead, which instead of achieving its original purpose of comforting you, only causes your eyes to blink blearily up at him. 

“get off wikipedia,” you mumble, shifting the blankets until it sufficiently covers the both of you. another thing he never noticed, how cold his legs were, sprawled uncovered on the mattress. this kind of comfortable routine is where you and leon thrived, so used to each other’s presence that accommodation was natural. “you should be sleeping, we have a big day tomorrow.”

“i’m on jstor. totally different site.” he supplies unhelpfully, earning a stern glare in return. his lips peck your forehead a moment after in apology. his version of proskynesis, a gesture of reverence towards his god that showed him admiration instead of ire.

“i was thinking of taking the bike,” the change in subject is nonchalant, like it’s not three thirty in the morning and you’re definitely functioning enough for idle conversation. 

“hell no,” you grumble, sinking further into the mattress. “i’m not getting on that thing with you.”

leon shifts until he’s on top of you, now wide awake and grinning slyly down. “not a fan of my chariot?”

“while i usually do love riding you, that thing is a death machine.” the glimmer of amusement in your eyes now match his own. finally, you’re actually awake. an unspoken question, a command, given from the divine to its mortal instrument. “and i’ve seen the way you drive it. i very much value my life.”

“that’s different. i can’t exactly go slow on those things when there’s rabid dogs chasing me.” he alleviates his statement with a slow string of kisses down your neck, soft and gentle like he can’t snap someone’s neck with his bare hands. “and i’ll be careful. promise.”

“like you promised not to get hurt in alcatraz?” your rebuttal doesn’t phase him, his mouth still preoccupied with tracing down your neck until his fingers start to pull the collar of your shirt down. 

“extenuating circumstances,” he mutters, lowering himself down the blankets until his mouth is in line with your hips. divine fate, maybe, or some other twisted machination of a higher being that decrees his near-death every six months. it’s hard to stare up and curse at the gods when they brought you to him, his own piece of olympus pliant in his hands. 

your hips lift off the mattress as he pulls at your shorts, another directive he is all too happy to follow. hunnigan would be furious at his obedience, like a dog all too happy to head the leash. 

“besides,” he continues, lips brushing against the frail skin of your upper thighs. “i’m officially a retired man. long past my prime.”

why does tragedy exist? is it purely to show the power of the gods, that they so fiercely defend the threads of fate that control every aspect of their existence? is it simply a consequence of the endless cycle of war invited by a world whose very frame requires an institution to desire it? regardless of its source, a world born of this mindset cannot escape an endless cycle of war that legitimizes a world-destroying violence, with no true winner other than the institution that began it. 

his clothes are pulled off quickly, following yours. scraps of fabric thrown haphazardly around the room, ignored in favour of hands tracing along the contours of your body. gentle, reverent. nails tracing down every scar, every piece of evidence that you are real, that you are alive, and there’s nothing within these four walls that can take this away from him too. 

“not too far past to not be horny in the middle of the night.” you huff, curling your hand in his hair to pull him back down to you. his breath ghosts over your thighs, his tongue darting out instinctively to wet his lips. 

“i’m a simple man,” he lowers his mouth to you, licking a premeditative stripe up your folds. “got a beautiful wife in my bed. just can’t help myself.”

the hand in his hair pulls him closer, and leon understands the simple action for what it is. a cue to stop talking and get to work, to use his mouth for something other than popping off one-liners at inopportune moments. a man’s place is on his knees, and all that.

where leon is rough in every aspect of his life, he is always careful with you. he eats you out like it’s somehow the last time he’s ever going to do it, and the first time he’s ever tasted anything so divine. equal parts eager and careful, even as his fingers prod at your entrance. 

you jut your hips up again, and he slips two in easily. every part of you is familiar with every part of him. his tongue and hands start a rhythm, a soft push and pull that slowly eases you to the peak. a peaceful trek to that coiled tension starting in your legs, thighs squeezing around his head in the way you know he likes. 

that one took a while for him to admit; that he liked the feeling of being crushed between you. it was a long-drawn experiment on how far on the pain threshold he could bear before it got too much for him, until it started to push past pleasure and more into the drowning in the too-high waters of a lab territory. years of experience has taught you where to stop, his secret little tells that no one else knew about burrowed deep into your memory for safekeeping. 

that furrow between his brow deepens, and you know to ease off a little. he kisses your clit in a silent thanks, before his rhythm resumes. while leon may not feel the decreased stamina of age yet, you are too aware of your limits to handle two orgasms, so you have the mind to pull him off before that point of no return. 

leon sprawls on the mattress next to you, hands gently easing you up until your knees are bracketing his hips. not usually his preferred position, considering his penchant for control. 

“my back hurts,” he mumbles softly, bringing your hand up to his mouth to kiss along your knuckles. “want you to ride me.”

“if you make another chariot joke, i’m seriously going to hit you.”

“ye’ of little faith,” his hand drops yours to line himself up with you, and a gentle push of his hips drives the tip of him into you. “i never make the same joke twice.”

your only answer is a shuddering gasp until you gain your bearings enough to sink down onto him fully. he lays still for a few seconds, letting you get used to the intrusion. his breath stutters in his chest as your hands lay flat onto it, right palm splayed right over his heart. 

an uneven thump, beating so fast in his chest that its a god-given miracle he hasn’t keeled over yet. 

there’s a unique type of mythmaking when it comes to the tragic heroine. it is a story of fear; innocence; fall from innocence; catharsis; being desired by the right people; being desired by the wrong people; by dangerous people; by excitingly dangerous people. revision is a privilege given to so few who desire it, and to be tender-hearted in a world defined by tragedy is to die. 

and yet, the fruit of consideration when it comes to tragedy is not the moral resignation that comes with that acceptance. instead, it is a revealing of the self’s utter dependency on others. the reason that tragedy works is that character is built through this adversity. just as the nature of goodness appears in the face of moral evil, tragedy shows what is fragile and ultimately human about us. 

but you are not a god, and he is not a myth. there is no divine fate here, only a random calculation of ethereal and clunky moments that controls so much of his life that he just has to live it. that dependence is the one good thing that has come from all the fighting, and the aching, and the loneliness. a perverted sort of serendipity that leon thanks the heavens for every waking moment. 

he is real, and you are real, and that’s enough for him. 

both of you are moving in tandem, chasing the upcoming release with a soft desperation. his hands are firmly grasping at your hips, kneading the flesh there like its the only thing tethering him to this reality. that heat of pleasure starts to coil in your gut, and judging by the twisted expression on leon’s face, he’s not too far behind. 

“please,” he gasps, shoving you down until your chest is pressed against his. “i need-”

“i know,” you answer softly, pressing a chaste kiss to his lips that delightfully juxtapose the depraved way his hips are slamming against yours. 

it’s like falling  down from the heavens, except this time there’s no splatter of a body onto the earth. only a light feeling crawling through his limbs, like that final moment of peace before succumbing to the darkness. if the gods had asked him now for a sacrifice, he would have gotten on his knees all over again to keep you. when tranquility was once the bane of his existence, now it is the center of it. 

you tense above him, like a goddess struck in stone until you are returned to the flesh, crumpling on top of him. a soft cough escapes him, a wheezing sound that signifies that you are most definitely crushing his lungs. the forces that be roll the both of you to the side until you’re facing each other, his hand unconsciously reaching for yours under the mattress. happy, warm, and sated– leon’s husbandly duties have officially been achieved. 

“i love you,” he whispers, and he doesn’t even realize the tear escaping his eye until you gently wipe it away. every part of him now is soft and malleable, even the parts so carefully hidden from everyone else. 

“love you too, old man.” 

a final kiss to your forehead before he tucks you into his chest, “we’ll take the car tomorrow.”

two more hours until he can eat eggs and drink slightly shitty coffee, and finally fill you in on his newfound epiphany. his arms wrap around your half-conscious figure, body curling around you like something to protect. you hug him tightly in return, bare skin soft on your cheek. your arms hold him like he is sacred too. 

[maharellasa]

I've given it a lot of thought about making a post like this, because I didn't want to just add to the already extended discourse on the subject, but I keep reading opinions and I just can't stay out of it.

Before I continue I want to make clear that I've done high approval solas playthroughs and I do believe that a befriended solas cares deeply for the inquisitor. He respects and values them, and you could even argue that they forge a kind of sibling bond or a mentor/apprentice one. So for him to betray that, it's really a tragedy in the end—the inquisitor hurts deeply for their lost friend/mentor.

That said, and I am truly, honestly, not saying this as a solasmancer, but from a storytelling point of view, the story of a romanced solas is still far more impactful.

Please let me make my case before you draw conclusions.

I am not saying it's more valid, or that you should do it, or that it should be the canon. Just, simply, that it is a more powerful story narratively, and that acting like the high approval run somehow has an equal narrative value is completely unbased. It's a meaningful story, yes, but it does not have the same impact. (To be clear, I'm not speaking in comparison to other romances here since that's based on taste and preferences, just the case of befriended vs romanced solas specifically.)

From a creative writing point of view, the romance employs:

backstory relevance: fen'harel is an important part of lavellan's culture and upbringing. and yes, arguably, that's true for any lavellan, but in the case of a romanced one, there's the beautiful narrative device of—

tragic irony: she grew up specifically being cautioned about the dread wolf's treachery, hearing blessings like "may the dreadwolf never catch your scent" etc. and what does she do? she goes and falls in love with him.The dread wolf literally takes her. A befriended lavellan might love him, but will give him nothing so vital as her heart for it to be considered "a taking". And as for other inquisitors, well, they don't even know who Fen'harel is.

unique perspective: (edit because of comments on this post) solas reveals much more of himself to a romanced inquisitor than a high approval one. "it's not right", "it's been so long since I trusted someone", "it will be kinder in the long run", "you saw more than most", and to top that, the ultimate reveal of solas telling her he can remove her vallaslin, which is his way of showing her who he truly is.

denied catharsis: one of the most essential rules of storytelling is that after you've reached the climax of the hero's journey and you've dragged them through all their struggles, you should provide a form of catharsis. that doesn't happen in the case of the romanced lavellan. she ends up alone. I'm not even saying heartbroken, because losing a friend can cause equal pain, but a solas romanced lavellan ends. up. alone. After all that she went through, after having her personhood erased and being forced into a religion that is not hers, after losing her arm and potentially her clan, she ends the journey of the inquisition standing completely alone overlooking an empire that will never thank her. and added to that, we have—

continued torment: her lover still visits her in dreams and she can't even tell if he's real or her imagination.

Yes, high approval playthroughs are enjoyable and meaningful and as much a valid canon as any. And yes, it's really unfortunate that they limited such a beautiful romance to a specific race and gender in the game. But please, please, stop trying to argue that the friendship narrative is as powerful a storytelling as the romance. And stop treating solavellans like silly fangirls who can't see past their faves. I admit that there are those who are trying to force the romance as the only valid option, but I'm not talking about those, every fandom has its radicals.

This is not an argument of whether romantic is better than platonic or vice versa. And it's not an argument of whether solas cares more for a romanced inquisitor versus a befriended one. He cares deeply in both cases. It's about the fact that, narratively speaking, the romance delivers a far greater impact to the character and the story than the high approval run.

[jellyskink]

Wasn’t your pet!Ford au meant to show how toxic and abusive Billfold is? Correct me if I’m wrong, but it seems like people are genuinely enjoying this AU. I mean, I like it too! Don’t get me wrong! But it seems some people might be missing the point of it?

Hmm, I can’t really read anyone’s mind about why they like the AU, but I can talk a bit about my own thoughts and feelings, if that’s helpful. Firstly, yes, I try to make it absolutely clear that this is a terrible dynamic, and that Ford is being abused. The intention was to take their existing dynamic and turn it up to eleven by removing Ford’s capacity to resist Bill, and seeing what would happen after thirty years of that. That’s especially inspired by the torture scene in The Book of Bill. I pretty much write Bill how I see him in that book; hilarious, possessive and truly sadistic. The level of toxicity that breeds is why I explicitly DON’T write this AU as any sort of romance.

Something that I enjoy about this AU is the combination of emotional catharsis and extreme contrast; things I both really enjoy. It’s kind of why I fluctuate between content for it that is cute/funny in a way, and stuff that is depressing or otherwise wildly messed up. I love that sort of contrast, and I think other people might, too? It’s that sort of hurt/comfort fanfiction trope, where a character goes through something horrible, and it breeds this crazy intense love/empathy response in the reader. Here, I’m taking that and mixing it with humor to create a sort of black comedy/intense empathy… thing?

The idea for the AU originally came from a comic I made about the feral Ford AU, which I also really like. I wrote a story in that scenario, and felt very personally close to how I was writing Ford; again, the name of the game is emotional catharsis. Like I am in this AU, I was writing Ford as an exaggeration, only then it was directly based on experiences and feelings I’ve had myself. This is basically an extension of that.

This is sounding a bit too much like an artist’s statement for a silly AU, but I wanted to be clear with my feelings and intentions, ESPECIALLY since I’m writing something so wildly toxic. I’m the kind of person who has always found comfort in fictional tragedy. My playlist is almost exclusively songs with depressing themes/lyrics, and listening to them has helped me get through some tough emotional times. I don’t believe anything I create for this AU would be even 1% acceptable in real life. I’m actually the kind of person who can’t stand to make the “wrong” choice in a video game, in case the characters seem disappointed in me. But I think the veil of fiction, and the emotional distance of the third person, creates the ability for a powerful feeling of catharsis. That’s my intention!

[intermundia]

I'm a different anon, but your answer to that person, about how we all have our own perspectives and such, got me curious if you wanted to talk about your favorite things about Anakin? I really like how he has this earnest passion in everything he says and does, no matter what the consequences are. He lets his instincts and heart influence what actions he takes. I think you could say the same about Obi-Wan too to a degree, but I think Obi-Wan errs to keeping his emotions/intentions concealed until he has the best advantage he can get. And I think that this sort of "two sides of the same coin" contrast between them is part of what makes the ship appealing. Anyway, yeah, I wanted to know what you enjoy about Anakin ^^ And that other anon too, if they want to send another ask about their feelings/thoughts

Oh man, what a question. You've activated my trap card. Anakin Skywalker is possibly my favorite character of all time. It's endlessly fascinating to read stories about him, and writing him allows me to articulate the messy, painful, thwarted parts of myself. He's half my brain, and Obi-Wan is the other half, and resolving their differences brings me deep catharsis.

Everything you said about him is so true, his earnest passion is so deeply appealing. Obi-Wan called him passionate, fearless, forthright, and he is the embodiment of those traits, but he's flawed too, and flawed in ways I feel in my bones, and regrets the same things that I regret. He's so beautiful and so damned, a fallen and risen angel, you know?

Stover wrote that the brightest light casts the darkest shadow. He ends up at just the nadir of cruelty and violence, but he begins from a place of pure generosity and light. His intentions were so good, and he was so impossibly brave. It seems like arrogance, that cocky assurance of what he was capable of, but the universe bends around him to fit his will.

He's more than human, he's half-divine, a mirror and barometer of the entire galaxy's mood. His life is coextensive with the rise and fall of an empire, his personal tragedy from greed is both archetypal and relatable, and he is the scaffolding the narrative rests inside. Luke is the hero of the story but Anakin is the embodiment of the world he strives against.

He is painfully earnest and a liar, a villain and a victim, naive and jaded, brilliant but foolish, perfect and deeply flawed. It's so easy for me to understand why he was so beloved. He's absolutely the other side of Obi-Wan's coin, the heart to Obi-Wan's head, the passion to his reason, the instinct to his experience. The Team together is one complete and fully realized being, separation means incompleteness and disaster.

Vader is just one of the most iconic villains of all time, and Lucas defied all expectations in the prequels. He used his character to tell a cautionary tale about greed rather than give excuses for why he became such a monster. He is intentionally shown to be so generous and kind as a boy, handsome and daring as a man, with infinite wasted potential for good, it's incredible.

Idk man, I like him and I love him, I hate him and I want him; he's one of the best characters of the modern age.

[sentfromwolves]

◈—⌈ SENTFROMWOLVES ⌋ writeblr introduction ²⁰²⁴

Hi everyone, and welcome to my writeblr 2024 introduction. My name is Eran (they/he & freshly thirty) and I've been on writeblr for awhile, so you might've seen me around. ( •̀ ω •́ ) This is my yearly post to introduce the projects I'll be working on this year, what I write, and who I am. I'll be keeping it short and sweet.

I'd love to meet more writers this year, so if you write any of the following, or just like these genres, or even just wanna shout about ocs together, come holler and I'll give you a follow!

◈ — sci-fi and fantasy of any kind! cozy fantasy, romantasy, epic fantasy, space opera? this is my bread and butter, and I love shouting about it from the rooftops with others! ◈ — found families, ot3s, complicated soulmates. I am almost always writing about soulmates who have either killed each other at least once in the past or are planning some sort of murder. Complicated relationships, especially found families that aren't all rainbows and butterflies, are right up my alley. ◈ — queer and trans protagonists, large queer casts! all of my wips feature trans/nonbinary leads, and I'm always looking for more queer writer friends to connect with! ◈ — hope at the end of the tunnel, but hell to get to. I write stories with hopeful endings, with the sun on the horizon, with the promise that something better might now at long last be on the way. I love seeing characters get put through hell, but I love it even more when they make it to the other side. (if you write tragedy though, please know I will still cry on your doorstep if you'll have me) ◈ — corruption arcs, redemption arcs, sometimes both! Deeply nuanced characters with messy attitudes, and even messier actions. I'm just as equally obsessed with cool worldbuilding as I am with character-driven things, and I will yell about ocs all day, and maybe draw them too >:3 ◈ — big, epic, and sweeping worldbuilding! I am a huge fan of delving into the worldbuilding aspect of my wips. I love building magic systems, cultures, geographies, and more. One of my 2024 projects is doing a worldbuilding experiment blog at some point. I am always down to clown over worldbuilding, whether to sound board or just holler together!

There's a lot more I could say here, but this post can only get so long! Σ(っ °Д °;)っ my dms are always open, and I will follow back most of the time! But just to get all of the basics outta the way:

◈—« here's a quick and dirty rundown of how I work! »—◈

➺ I interact and follow from @calamityeden, so if you see that username, it's just me.✌️I am most active on discord, and if we become friends, you're more than welcome to ask to add me there. ➺ I am open to being tagged in writeblr games! Just know that I am not online all the time, and might be slow to respond to them. 🐌 ➺ My ask box and DMs are open, just please be respectful. I love meeting new writers and talking about projects! I am happy to chat and make new friends. You're always welcome! 💌 ➺ This is a strictly 18+ writeblr. Please DNI with me if you are a minor and respect my boundaries.

🪄You can find my core tags here under my writing and my graphics, as well as writer reminders, game train and catharsis. (❁´◡`❁) And now onto the fun part! My 2024 main project line up!

I have my main four listed here that you'll probably hear me yelling about pretty consistently, but I've also got a lot of other projects rattling around in my brain. So if you're ever curious about a project that's not here, feel free to yell at me about it! >:3

Genre: Dark Urban Fantasy Standalone.

Status: First Draft Complete (117k)—Revising for beta round one.

There's a clock tattooed on Nemesis's wrist, and when it reaches midnight on his 21st birthday, it will kill him. It doesn't help that his mom is the one that cursed him, and the demon currently possessing his car ate her before Nemesis could convince her to break the damned thing. Thankfully, Judge came prepared with an alternative: help him break into a mythical living city and steal its heart, and in return, he'll shatter Nemesis's curse for free. Accompanied by a three-headed hellhound, a haunted holy sword, and an excommunicated exorcist, Judge and Nemesis set their sights on an impossible heist. But the closer Nemesis gets to the heart, the more he begins to realize that he isn't the only one under a curse. And if he doesn't find a way to break Judge's soon, his own life will be forfeit as well.

Genre: Space Opera

Status: 2024 zero drafting from scratch

Two hundred years ago, humanity expanded to the stars only to find a cosmos filled with graves. But then their children began displaying the strange ability to commune with the alien ruins scattered across the planets, waking ancient, extrasolar mecha from their sleep, and turned the struggling colonies of space explorers into the fledgling galactic nation of Sol Galatea.  Now, Wren Akane is on the run from the whole galaxy, wanted for the strange alien powers throbbing through his veins. His luck runs out when he accidentally awakens an ancient Relic in the desert of his planet, only to be embedded with the memories of its last pilot and the revelation that the war that littered the cosmos with graves is far from over. But no one believes Wren when he tells them that continuing to wake the Relics will bring the hostile alien empire that destroyed them back to Sol Galatea’s doorstep. Only Wren’s rival pilot, Marek Khalid, seems interested in a word Wren has to say. But Marek doesn’t want to save Sol Galatea. He has big plans for what to do when the aliens arrive, a rebellion to lead, and if Wren isn’t on his side, he’s in his way. With time running out, Wren must soon decide how far he’s willing to go to save the people that never tried to save him—or if Marek is right, and he should let the stars burn instead.

Genre: Adult Romantasy

Status: First Draft (1k/100k)

Once a year, Celestials from all across the Lumina Kingdom gather together for Eventide, the season of courtship, hoping to win the hand of the most eligible star at court. Sirius knows the game they play all too well: by day, he is the forgettable, miserable daughter of the Lumina Family, least of his seven siblings and wanted only for the royal blood running through his veins.  By night, however, Sirius is the Starweaver—the mysterious dressmaker taking the kingdom by storm. Everyone wants to know the identity of the one responsible for elaborate outfits that turn even the quietest Celestial in the room into the star of the show, outshining even Sirius’s luminous sibling, Diana. When the infamous King Beyond Midnight arrives with the intent to wed Diana, Sirius finds his secret in jeopardy when the condition for their hand in marriage is a simple challenge: reveal the Starweaver's true identity. There’s no outsmarting Octavian for long, and soon, Sirius will have to make a choice: give up on his passion and stay hidden forever, or risk everything to stay true to who he really is.

Genre: Second World Urban Fantasy

Status: Outlining

Something changes the day that Nakano Touya returns to the crumbling city of Soma Lux. It starts with voices in the radio static, blurry figures caught on camera, always out of focus. When a monster crawls out of Touya's television screen and eats him, the last thing he expects is to find a strange, shadowy otherworld lurking on the other side. But his biggest problem isn't the monsters of the otherworld that want to eat him, or the talking cat that saved him, now living in his apartment without a care in sight. Soma Lux is experiencing a strange new epidemic—one that Touya is completely unaffected by. But when his half-sister falls comatose, Touya knows he has to get to the bottom of it all to save her—and find out why he's the only one immune. Accompanied by his jaded ex-boyfriend, Touya’s nosy classmates, a part-time fortune teller, and a cantankerous old hag, Touya dives into the murky underbelly of Soma Lux, where the realities have begun to bleed together between his world and the next. 

That's all for now! >:3 Here's to an amazing 2024! (also my actual blog is a mess right now please do not mind it ksjndfskfn)

[dav-suburbiia]

another BANGER episode

some thoughts below

Hu Jing and Levi Fontana I will love you forever and ever and ever. I had headcanon’d Levi to have ASPD for a bit and I think this episode helps with that sentiment! he’s such an interesting character, just like Veronika said. giving him a (very platonic) nose kiss

I’m curious about Hu’s past . did she perhaps lack something to live for, and eventually found it either in her talent or in her more “nurturing” way of life? perhaps in a “if I can’t take care of myself, I will take care of others” deal. I adore her, I hope she’s able to find a time where she can comfortably open up about it rather than having it forced out of her.

I immediately knew why David didn’t mention Arei reassuring him. it’s, surprise, a common symptom of depression to believe you don’t deserve good things, including emotional support. so it was less difficult for him to pretend it didn’t happen than to accept that someone cared about him in that way. he probably didn’t lie with bad intentions in this case but, regardless, it was still a dick move not to tell Eden about it.

honestly, just in general, Eden needs a break from all the bullshit in this killing game …

speaking of Eden. the fork scene?! that fork should look familiar to those who have studied that mysterious “bloody hand” scene in the prologue. obviously, those hands are too light to be Eden’s, and I still stand by my theory of them being Xander’s. I do have a whole theory about this small clip with the new Eden CG in mind, but I’m a little embarrassed about it so I likely won’t talk about it with anyone but my close friends …

either way, this entire sequence was INSANELY interesting. I’m happy we got to see Arei alive and well again. I just like seeing her experience that genuine catharsis she needs, and looking to improve not only herself, but being open to see another “shitty” person improve! it is a shame that dream was cut short…

so, on another note, shocker! David wasn’t lying about having Xander’s secret. well, not as much of a shocker to me. I believed he was telling the truth for a while. I’m glad we got our confirmation- though- this means we can officially say Teruko’s mysterious brother is six feet under! whoopie!

(not something to be happy about actually. I’m sorry, girl.)

I wonder what happened. it could just be some standard tragedy but my ridiculous compulsion with connecting everything is telling me that what happened to her family has some major plot relevance. She “didn’t go with them”… where? What happened? Only time will tell us for now, and I’m no expert theorist, so I’ll leave that to the smart people-..

oh, right, Nico. I doubt Teruko is going to pursue them as the culprit? if she was, I think the “select someone” thing would have happened. I assume all she wants here is clarification and for them to elaborate more on what happened with that whole Ace situation. I look forward to what they have to say. I’d love to finally get some closure on that fiasco.

that is all! lovely episode, can’t wait for next week. hope you all had a very (un)lucky Friday the 13th. :]

[linkspooky]

You need to make another one of those "metas written by comparing characters with another show you liked" post about Getou now that you experienced FGO Morgan/Aesc.

Time to compare two characters from two different shows I liked (in this case Jujutsu Kaisen and Fate Grand Order: Cosmos of the Lostbelt 6 Faerie Britian) to illustrate what makes a good corruption / fallen hero arc. Two of the best examples I can think of in recent memory are Geto Suguru, and Morgan le Fay of Faerie Britian. They both have tragic arcs which follow similar beats which I think will illustrate exactly why audiences find these characters so compelling.

Both of these characters have their stories told out of order, appearing as villains first before their backstory is revealed but for the sake of simplicity I'm going in chronological order, the heroes they started as all the way to the villains they ended up being.

Before beginning though, a brief lesson on tragedy. Aristotle's poetics argued tragedy runs on the principal of catharsis. The audience feels for the characters on stage, no matter how terrible their acts may be. He argued in favor of moral ambiguity in its heroes. The tragic hero must neither be a villan or virtuous man, but a "character between these two extremes, ... a man who is not eminently goo and just, yet whose misfortune is brought about not by vice of depravity, but by some error or frailty [Aristotle's Poetics.]

The protagonists of tragedies are still heroes, but their good qualities are twisted against them. A tumblr post I see going around from time to time makes the argument that if Othello (the protagonist of Othello) were in Hamlet the story would not be a tragedy because Otello would just stab his uncle and avenge his father. If Hamlet (the protagonist of Hamlet) were in Othello, the story would not be a tragedy because Hamlet who is a characteristic overthinker would probably not fall victim to Iago's manipulations and jump to conclusions the way Othello did. Both of these characters are heroic, Hamlet is a clever and scheming prince, Othello is a talented general a moor who's managed to rise up the ranks in a racist society. However, they are both put into stories where those heroic values are twisted against them by the narrative framework itself. So to make the protagonists of tragedies into villains who were evil all along, ruins the moral ambiguity and therefore the catharsis of a tragedy.

Geto Suguru and Morgan Le Fay are heroes, placed in a narrative framework that twists their own heroic traits against them in ways they can't endure. They fall because of frailty, not because they were inherently evil to begin with. They are antagonists who have the qualities of protagonists, and once were arguably protagonists of the story, which is probably why they have so many fans in the audience despite the fact that they are both of them mass murderers and tyrants.

Now with the long preamble let's look at the stories.

Both characters start as essentially protagonists, and they foil the protagonists they are fighting against during their villain phase. Geto Suguru is a heavy foil for Yuji (we'll talk about this later) and Morgan so heavily foils Castoria because they are both the chosen one.

I'm going to start with Morgan because Fate/Nasuverse lore is a pain to explain. To simplify her story, Morgan Le Fay is from an alternate universe version of Britian. In that Britian everything is ruled by faeries. These are trickster faeries who are total jerks and extremely murderous at times. They were supposed to forge excalibur, but they just didn't do it because they were lazy. This was very bad, so the universe sent a big huge guy to tell them to forge the sword. They were lazy though so instead of listening to him they murdered him in his sleep and he died a horrible death.

The faeries could no longer be forgiven for failing to craft excalibur which is a really important sword that needed to exist, so god or heaven or fate or whoever decided to punish them and sent Aesc who will later be known as Morgan le Fay.

There's some time travel shenanigans but I'm going to skip it because it's confusing. Basically Aesc's job is to wipe out all fairy life and bring an end to their alternate universe, but she decides to defy her destiny instead. The heavens or whoever keep conjuring calamities to wipe out the fairites to punish them for their sins, but instead Aesc fights against them and saves the fairies.

I had a duty to paradise, but I knew that duty would result in Britiain's destruction. This other me, though... She loved Britiain dearly, even the lostbelt version of it. I thought about it, and I realized I wanted the same thing she did. From then on I chose to live as her. (Witch! Witch! Witch! You were the only one to survive the calamity) Countless times, I stopped the calamities. Countless times, I mended clan disputes to end wars. I did not mind. It was not the fairies I loved. I only loved britain itself and the home I would make here. It would be my very own Britian - something that was forever beyond my reach in Proper Human History. I did everything I could to make it a reality. Eventually though, I realized the best way to do that was to keep the faeries safe.

However, because Aesc is not one of them the fairies are generally ungrateful for her saving them again and again. Aesc gathers comrades around her to help ward off these calamities and save people, but she's often attacked by the same fairies she's just saved.

She continues fighting the system of her world again and again, until she's betrayed for the last time in her attempt to save Britan. The final straw is when after years of hard work she's finally brokered a piece and made a king who rules over all the allied fairy tribes, only for his coronation to be ruined, the king to be assassinated along with the entire round table. The king was also her lover, Uther.

Aaah! Aaaah! Why? Why? Why? This was supposed to be the greatest day in fairy history... Everything was supposed to change for the better! BUt they killed Uther! They slaughtered my entire round table like they were trash! They asked the world of us! They thought the world of Uther! BUt now, they've poisoned him...THey were too afraid to even face him cowards. Uther talk to me, please say something! I never let failure stop me! I've kept trying all these thousands of years! Am I doomed to failure here, too! Is it still not enough? Am I not enough? Is it not... Can I not save Britain? Is there no Britain that can be mine! Peace, equality, I never should have tried for either! How dare they! I can never forgive them ever!

You see much like Geto Suguru which I'll later illustrate, Aesc is caught in a cycle where she must continually fight disasters for the faeries to save them only to be met with their continued disdain. Her own higher minded intentions to save the people are what damns her to this painful cycle. If she'd been less heroic, if she didn't care she wouldn't have suffered. She's sacrificing herself over and over again, but sacrificing yourself is in a way just suffering. No one actually wants to walk the thorny path of the martyr, you'll get your feet hurt from all the thorns.

The people who are now accustomed to being saved despite doing none of the work themselves, are by and by completely ungrateful for Aesc's sacrifice. Aesc is a hero, but she's not in a hero's story so she doesn't get any of the benefits of a hero really. She's working with higher minded and more idealistic goals in a deeply cynical world and punished for it. I remind you, she was just there to kill all the faeries and end the world but she tried to save them instead.

It's important to emphasize their good intentions, because a shallower character reading would suggest that they just came out of the womb wanting to murder people. However, they're driven to it because they tried to be good, because they tried to be a hero. They are like Hamlet, and like Othello in the wrong story. They're also sacrificing themselves going against the system of their world and trying to be better than it, only to get dragged down. Their resentment grows against the people they are trying to save, the selfish and weak people who don't seem all that grateful for their heroism. The ones who aren't making sacrifices, the ones who are just content being saved.

I finally understood. My enemy wasn't just the calamities, it was the faeries of Britain as well. They were pure and innocent in the truest sense, they enjoyed both good and evil things alike without losing either that purity or innocence. They are at their core, no different from the loathsome humans who drove me from britain. So I crushed every possible source of malice. Vested interests. Discrimmination. Oppression. Envy. Mockery. All of it. But it wasn't enough. A few fairies took a look at the foundation of peace so many had worked so hard to build ... and tore it apart, because they didn't like it, because they could.

This is what finally leads to Morgan's breaking point, to decide that actually... fairies don't deserve rights. Morgan decides that the fairies are unworthy of salvation and rather than being the hero the only way to accomplish her goals is to become the oppressor and tyrant.

I give up, if everything has failed if it has all come to nothing, then I can never believe in people's so called goodness or understand it. Even if I did, what would be the point? Everything I did, everything I worked for... was just a waste of time. After all the times they betrayed me I should ahve known better... but I still clung foolishly to a sliver of hope. ANd now, because I wasted my time caring about something so utterly absurd, I've failed yet again. If my intent was to keep britain alive, then I was a fool to think being its savior was the way to accomplish it. No more. I will find another way. A better way. ...That's it. I won't deliver the fairies to absolution; I won't deliver salvation. Enough of this faerie of paradise, enough of being Avalon le Fae, I should have ruled this land from the start.

However, as I said it's only Morgan's repeated attempts to be the hero and save the fairies that drove her to this conclusion. However, I'd be amiss to say that Morgan didn't have flaws or selfish qualities from the start. Morgan le Fay is created from the Morgan le Fay we created with from proper legend. I'm not going to explain the lore, but basically she's an alternate universe version, who received memories from the Morgan le Fay of our universe. She knows the story of Morgan le Fay who tried to steal King Arthur's kingdom out from under him.

Alternate Universe Morgan le Fay still had the same chip on her shoulder, and entitlement that our Morgan did. She wanted the kingdom, and wanted Britain for herself. Her desire to play savior might have come from that very same entitlement that she deserves britain. Similiarly, she was most likely hurt so badly from the lack of praise because she also deserves praise for her actions. She has a bit of a superiority complex that places her above the fairies and makes her believe she has the right to rule.

However, as I said Morgan didn't start out as a tyrant she did earnestly try to save the faeries despite harboring those more negative qualities and selfish intentions. She may have had a more self-serving variety of selflessness but it's more the fragility of her that causes her fall. She didn't fall because she was rotten to begin with, she was just not strong enough to withstand years and years of ungratefulness from the faeries and betrayal. She has all the makings of a proper hero, she decides to defy destiny to save the people of faerie britain when she was supposed to be their destroyer. However, because she's in a tragedy she falls due to her insecurities and flaws overwhelming her rather than rising to the occasion.

Her manga chapter and the FGO Lostbelt game prose itself uses the light in the distance as a metaphor for this. Morgan continues going forward on the faint light of hope that things will work out for her and that even as a tyrant she can save Britain. However, it's that same light that damns her. In tragedies heroic qualities become flipped into flaws. Morgan's most heroic quality is her determination, the willpower to endeavor for thousands of years to try to save Faerie Britain, but that determination makes her unchanging, causes her to make the same mistakes over and over again, and just makes her continually suffer like Sisyphus pushing his boulder up the hill.

But that light is just an insect trap - or at least that's how it is for the protagonist of the tragedy. Road to hell, and all that.

After reaching her breaking point Morgan decides she'll no longer try to save the fairies but rather only care about saving the kingdom itself. She goes from the kingdom's hero to its oppressive tyrant after seizing the throne for herself.

That's where we meet the villain we know today.

Now shifting gears to Geto Suguru, he is someone who starts out his story trying to be a hero. A little bit of context on the world of Jujutsu Kaisen, it takes place in an urban fantasy version of Japan where the jungian collective unconscious and the negative emotions of humanity create curses that kill and eat people. These curses need to be exorcised by a few special humans who are given superpowers known as jujutsu sorcerers.

There is an institution of sorcerers known as Jujutsu High, which raises sorcerers from a young age gifted with these powers to exorcise sorcerers. THese teenagers are often sent out on msisions. This is different from most stories of teenage heroes with superpower, because fighting curses is brutal and dangerous and most of these kids are going to die young. There's also no end in sight to the fight against curses, because no matter how many curses are exorcised humans will just keep making more.

Not only do they live in a cynical, and brutal world but most sorcerers are insanely selfish. Just to give an example of how immoral sorcerers are, one of the allies of the main characters is implied to molest her brother, and if she's not she still uses her like 12 year old brother as a child soldier. Nobody ever bothers to question this because the institution of sorcerers are inherently corrupt, it's an instituion that continually sends children off to their deaths and uses people as nothing more than cogs.

Caught within this unfair system and trapped in a cycle of exorcising curses that are just going to come back anyway is Geto Suguru, who is not only a model sorcerer he's presented as much more selfless than your average sorcerer. He's directly contrasted against Gojo Satoru who is kind of just a petty kid with a god complex.

Gojo uses his powers selfishly, he only fights because he's really powerful and killing curses is a way to test and use his abilities. (This is literally stated as canon by Nanami don't fight me on this I'm simplifying his motivations because this is not a Gojo meta look at the entire fight with Sukuna saving Megumi was a secondary concern he wanted to fight a strong opponent). Whether people are saved by his actions are a secondary concern.

Geto on the other hand goes against the grain for most of Jujutsu Society, and believes that they as stronger people have a duty to use their strength to protect the weak. This idea of noblesse oblige is way way different from the attitudes of most sorcerers, who as I said usually turn into petty little people with god complexes.

Not to say Geto doesn't have a god complex, but we'll get to that later. Geto is explicitly contrasted against Gojo who's the only other powerful sorcerer and his best friend, but doesn't think they have an obligation to use their powers to help anyone.

Right away we have two things in common with Morgan le Fay, number one they hold themselves to a higher minded ideal that of using their powers to act as a hero and protect the people underneath them. Number two, this is a choice they make to be better than the people around them. Morgan's destiny is to destroy the faeries and she tries to save them. Sorcerers usually just keep their heads down and do their jobs, they're not heroes, they don't save people they kill curses. In fact, the sorcerers who are selfish assholes (Mei Mei) are wildly succesful, the ones who try to help other people like Nanami die young.

They sacrifice themselves for others. Geto pursuing his higher minded ideal is faced with the same kind of tragedy that Morgan is, where his attempts to save a teenage girl named Riko not only blatantly fail, they fail because of Toji a person who cannot use cursed energy. Everyone they tried to protect died, and they're shown first hand not only does the world not really care about their idealism, but they're not really powerful enough to change this world in any way.

Morgan's lover Uther and all of her allies is ruthlessly slaughtered, by the same faeries she was trying to save after she brokered peace. Geto tries to save a little girl, and he not only watches her die, but he sees an entire crowd of normal people, the people he is fighting to save applause for her death. They all applaud her death because they're a part of a cult that believes that the girl was an affront to their god, but she was mostly just a normal teenager. He witnesses first hand that normal people do not care for the fate of Jujutsu Sorcerers whatsoever.

If Geto were more selfish he would be rewarded. If he didn't attempt to save people, if he just only cared about exorcising curses like Gojo did he'd probably become more powerful and he wouldn't succumb to despair the way he had. Geto exists in a narrative where selfishness is rewarded, and his selfless, heroic traits are continually punished.

This traumatic event makes him aware similarly to the brutal cycle he is caught up in. Morgan le Fay can't save the faeries, because faeries are jerks who can't change. Geto will just continually exorcise curses over and over again. Not only is humanity just going to keep producing more curses, but humans are vastly indifferent to the sacrifices that sorcerers (who are mostly children) keep making to try and save them.

Geto's choice to protect people is the cause of his suffering, because sacrifice is inherently taking on suffering for the sake of someone else - therefore sacrifice is suffering.

This too, leads to Geto's eventual breaking point where he lets his resentment for the same people he's trying to save corrupt him. An incident where just after seeing his dear friend die because of a curse, he's brought to a village of people. The whole village put two little girls in a cage, who were capable of seeing curses and blamed them as the scapegoat for a curse reflecting his village. Geto sees a flash of what happened to Riko again, a crowd full of normal people who don't have to fight curses applauding for the sacrifice of a little girl who was innocent. It's the macrocosm, all of society forcing a few sorcerers to die exorcising curses for them, shown on the microcosm, one village scapegoating two little girls who did nothing wrong.

That's what leads Geto to snap and massacre the whole village. He's now turned against the masses he wants to protect. He then decides that instead of protecting the masses, he's going to kill them and build a world of only sorcerers. He's no longer trying to save them, like Morgan le Fay he's turned to the hero and the Tyrant.

They both even utter similiar words.

I will never save the faeries! I will never forgive the faeries! I don't like monkeys. That's the truth I chose.

Monkeys is by the way, the word Geto uses to refer to normal people who cannot fight curses or even see them. People who don't have superpowers.

One more time I want to emphasize Geto did not come out of the womb wanting genocide. Hamlet didn't start out the play stabbing people. He does have his flaws, just like Morgan by assuming the role of the hero he sees himself in a separate, superior category to the people he wants to protect. There's a line I like in a youtube analysis for for Yuji that applies to Geto as well.

(Other people exist to be saved, which gives Yuji a role in the world) In a way Yuji thinks other people exist to validate his own existence.

Geto begins the story not seeing other people as people. They exist in a category separate from himself. Part of the reason that his failures hit him so hard, is because they disprove this idea of superiority he has for himself. He's shown his god complex is just a complex and he's as flawed and capable of failure as any mortal.

It's an inability to recognize that failure, learn from it, and reconcile it with themselves that causes both Morgan le Fay and Geto to spiral. They are the hero, they are trying to be just, they should reap the just rewards for being a hero. Geto even says as such in a moment of rare jealousy for Gojo, that Gojo is someone who also has godlike power and if Geto had that same power he could change the world the way he wants. He could create his more just world.

Morgan and Geto are characters who begin their narratives with superior complexes and senses of entitlement, selfishly selfess heroes and those negative qualities eventually lead them to fail. Geto thought being a sorcerer made him superior, he just also thought that with that superiority came a responsibility to protect others. Morgan le Fay thought she was the rightful king of Britain, she also thought that divine right to be king also came with an obligation to protect Britain. However, they're not meant to be seen as people who all along wanted to oppress and hurt others.

The key word with tragedy is catharsis, we are supposed to feel for the protagonists of tragedies. We're supposed to see our own traits reflected in them. It's their human qualities to drive them to tragedy.

After all, you reader on tumblr would probably not be able to be a perfectly selfless hero. If you saved someone and then they immediately tried to kill you, you would probably just be a little bitter about it. If you were like Geto and you were working tirelessly to exorcise curses, and all you got was your friends dying, I don't think you'd be like "This is okay :D". If anything, going mad in their extreme circumstances seems like a reasonable response, because could we as the audience do any better in their situations?

Of course the last similarity between Geto and Morgan (besides the fact they both adopt daughters they raise up to be little psychos but this post is getting too long already) is the fact that they both heavily foil the heroes of the story they occupy. They see themselves as villain, they play the role of villain, but they're really just heroes of another story.

Paradise or god or fate or whatever in Faerie britain eventually conjures up another chosen one. This chosen one Altria or as the fandom calls her Castoria is far less heroic. IN fact unlike Morgan who embraces the role of savior she would rather do anything she could to avoid Britain.

This is because for similiar reasons as Morgan, the faeries have basically abused her and tormented her all her life. Yet they still expect her to selflessly step up as their chosen one and save the day from the evil oppressive tyrant Morgan.

You have one protagonist who embraces their heroic quest, and even goes above and beyond by ignoring her destiny to wipe out the faeries and saving them instead. You have another who continually runs away from the heroic quest, and honestly doesn't seem to care that much about saving faeries.

Morgan is actually openly sympathetic to Castoria, and even offers to ally with her a couple of times because she bears the same burden as chosen one. This is another example of how Morgan doesn't quite fit the role of either hero or villain, the ambiguity who makes tragedy.

However, while Morgan does everything to defy fate, Castoria just kind of keeps marching along every step of Joseph Campbell's the heroes journey until she ends up defeating Morgan. Well she doesn't truly defeat her, but Morgan meets her tragic end and gets stabbed a whole bunch of times.

There's a similiar foiling between Geto, and the series protagonist Yuji who both start out the story believing that as sorcerers they have a duty to save others. There are several in story comparisons and direct parallels between the two.

Yuji attempts to save others with his power as a sorcerer over and over again, and is met with the same continual failure that Geto has. Yuji is the only real sorcerer in his generation that cares about saving strangers with his powers. Nobara wants money to live in Tokyo, Megumi only cares about protecting Yuji and his sister, Yuta only cares about his friends, Maki only wants revenge against her clan. Like Maki blatantly says whether people get saved or not by her actions is none of her business.

His own attempts to save people not only fail badly, but he watches people die. He watches a lot of people die in a situation where he is powerless to stop them.

He's met with the same tragedy of Geto but he doesn't succumb to it. The same for Castoria she doesn't decide to be a Tyrant the way that Morgan le Fay did. I would argue this isn't because of any inherent goodness that Castoria or Yuji have but rather because both of them are able to let go of their egoes. Yuji kind of believes the same thing Geto does, that other people exist to be saved by him. He's broken when he realizes that he's not a savior after all...but he's able to continue in a way that Geto isn't.

Yuji lets go of his ego entirely and believes that he's just a cog in the machine and he doesn't need to be some big hero or be rewarded at the end of his hero's journey.

Geto and Morgan le Fay both long for a role in the grand scheme of things. They are still employing narrative thinking, they need to play a story role to validate their existences. It's just that they flipped their role, they tried being the heroes but it didn't work so they're the villains now.

Geto is similiarly rebuffed by Yuta who is his eventual killer by saying that he doesn't actually care about saving the world or if Geto is right that sorcerers are superior to humans, he's only fighting for his friends.

I would say for both castoria and yuji it's not a matter of being inherently good people, but rather of being better at enduring than their counterparts are. Morgan le Fay and Geto try to take the world's suffering on their shoulders, and it breaks them because they're not heroes they're just normal people. Yuji, Castoria and to the same extent Yuta kind of learn to let go of their great heroic aspirations but because of that they're able to take on suffering better. They're trying to live in reality not a grand heroic fantasy.

To bring the example back to FGO, for Castoria and for Morgan the light of hope that led them down their heroic journeys mean two different things. For Morgan that light is an insect trap. Her flying towards that light just causes her to keep suffering through her sisyphian task. Castoria has a much more realistic point of view, she's not trying to get a happy ending or even save people, that light is the hope that at the end of her journey her actions will have meant something. It's more about the journey itself and the people she met along the way, then some big grand reward at the end.

Morgan le Fay and Geto both fail because they are fragile, because they are human. That's the most important takeaway of this long rambling post. They may be selfish, they may be entitled but they're flawed in human ways. After all, who doesn't want a happy ending?

[crooked-wasteland]

Oops: Rushing to Catharsis, Dodging Accountability

There is much to be said about the latest episode of Helluva Boss, and it is a bit of a tragedy that the animatic release felt like a more complete version of the episode than the actual finished product. From losing out on the visual intensity of Fizzarolli's injuries to the complete erasure of Barbie in the background of the disaster, it feels like these small changes removed the visceral intensity of the scene and its repercussions. Especially as Barbie is now the obvious point of conflict in Blitz's storyline, it feels like the impact of that part of the story is now devalued by her absence.

But that is hardly the end of the issues at play.

Medrano and her team rushed this story arc.

There are clear parallels to Bojack's two major story beats of Bojack abandoning Herb and the Sugarman Summer Home season arc. It is obvious that Blitz and Fizzarolli have a relationship paralleling that of Herb and Bojack in season one. However, Medrano pulls back in a multitude of ways and fails to commit the plot to a natural conclusion. While Herb rejects Bojack due to the fact that the latter never came to check up on him following his public disgrace and outing, Blitz is absolved of even that.

In the Bojack episode, Herb makes it clear that he doesn't blame his old friend for not standing with him when he was removed from Horsing Around. While he may have been upset at one time, he had cooled off and recognized that if the studio had let them both go, that would have been terrible for both of them.

Rather, it was Bojack assuming Herb's desires and thus avoiding his best friend for years under the belief that he had betrayed Herb so completely that the other wouldn't want to see him anyway. Bojack's insecurity was his own undoing in that relationship, even though it showed that both Herb and Bojack were still very compatible friends. Bojack's background of conditional relationships from his own parents set the groundwork for his hyperavoidant personality and how allowing generational trauma to dictate your relationships in life is a good way to lose everyone you ever hope to keep.

Here, Blitz didn't abandon Fizzarolli. Skipping to the end, Blitz was kept from seeing Fizz in the hospital by a currently unknown third party. Which removes his flaws on a fundamental level. While one could argue ripping off the storyline wholesale would have been just as bad, at least it wouldn't feel like a fanfiction retelling of that Bojack episode. It feels like Medrano had a very negative opinion of Herb and how he rejected Bojack and that this reiteration with her own characters is her way of "fixing" that relationship. At the same time, what Blitz ended up doing is far and above worse than Bojack simply not risking his career.

The episode takes the sequence as dark as they'd dare, Fizzarolli crawling out of the explosion as his body burns and disintegrates. The show really does want to bank itself on the emotional impact this sequence should have, picturing how afraid Fizz must be. The amount of pain he would be in as his mangled body turns to ash as he forces himself from the fire. His flesh melted, his horns seared red and glowing like it would if they were made of real keratin, his bones themselves falling apart as he forced his body to escape the disaster. And he calls out to the one person he held such admiration for, his best friend since they were kids, who turns his back on him and runs.

And somehow, that is not the reason the relationship has become so bitter and vile. Not because Fizzarolli, most likely believing he was going to die, watched his best friend run away and "save himself" (from Fizz's perspective), leaving him to die alone in this calamity. It's because Blitz never came to talk to him. And even then, it wasn't Blitz's fault.

While that reveal worked for Bojack and Herb, it doesn't actually work for when a character almost actually loses their life. The figurative end of the world that comes with losing a job you love and a creative passion project stolen and bastardized can not begin to amount to the physical act of dying. That is actually the entire point of Herb's story as well, why Bojack's initial betrayal is forgivable, but his avoidance was not. It's because what felt like the end of life in the moment didn't actually end anything substantial for Herb. He still lived a full and complete life, minus his best friend who left him to rebuild on his own. And you can not, in fact, make up for lost time.

Speaking of comparisons, the dialogue of this sequence in particular feels quite off-putting. Blitz's line of "You have e no idea what I lost in that fire" is accusatory and draws up a direct comparison to what each character lost. Fizzarolli is physically scarred by the events as well as mentally and emotionally. Horns are shown to be a source of social pride for imps, adding self-esteem and identity to the list of things Fizz lost in the disaster. But because it is implied that Blitz's mother actually did die in the fire, that is a tragedy somehow beyond belief for someone like Fizzarolli. It would be safe to assume that Tilla's death would have been felt by everyone who survived the circus, or at the least for the kids. The dialogue sets up a divide that somehow Blitz watching how his careless moodiness almost killed his crush is not at the top of the list of traumas Blitz has to sort through from this sequence is hard to believe.

Speaking of crush.

And that gets to why this episode as a whole fails to work on a fundamental level. For what it is, what it wants to be, and what it is trying to set up, this episode consistently drops the ball. It is confounding to think that Medrano believed that the relationship for Stolas and Blitz was for more necessary to show than this.

This episode should have been a flashback.

The entire episode should have been the lead up to the disaster. Show us the relationship of Blitz and Barbie and Fizzarolli. Show us the way Blitz is treated by others at the circus even as he ages.

Show us Tilla for five minutes for the love of everything meaningful. It's so hard to believe this should be important to the characters or story when we are given nothing concrete about who Tilla was as a person or mother. We lived the flashbacks of Bojack, no matter how short a snippet they were. We experienced Beatrice's callous nature or his father's self-centered abuse. For as important as she is implied to be, Tilla is not so important as to be an active participant in the story.

At the end of all this, I believe that the greatest issues boil down to a set list

- Characters do not have any lasting responsibility to the situation, their actions or the outcome.

- Somehow a character like Tilla who has never been seen and lacks any personality outside of early Steven Universe Rose Quartz perfection is a loss that is elevated over the trauma we are allowed to very distantly experience in Fizzarolli's monologue.

- The fact that we still have no idea about who any of these characters were to appreciate the sense of loss that this episode was supposed to supply.

- Fizzarolli and Blitz make up completely by the end of a single episode.

- The lack of buildup to the disaster causes confusion as to why it ever happens. Blitz throwing the confession letter on the ground and walking away has no rhyme or reason to it.

This episode is a literal laundry list of bad choices and poor structuring. When a school teacher writes in the margin, "Show, don't tell," this is what they are talking about.

[andy-wm]

Aesthetic Emotions and the Catharsis of Tragedy

How I feel after watching Jimin's Production Diary - The Truth Untold.

Why do we feel so drawn to emotional outpouring of others?

Why does the suffering and pain of artists make 'meaningful' art'?

I'm going to tell you why I think Face is a Greek Tragedy and why, even though the album is a complete and perfect story, we still needed Letter.

You know how sometimes you just need a good cry? And afterwards you feel better, like a weight has lifted... that's catharsis.

Based on the philosophy of the ancient greek philosopers Aristotle and Plato, the catharsis offered by tragedy in art is good for your soul.

The tragedy I'm talking about is not like a natural disaster. Its not like an unfathomably sad real life situation such as war, or the failure of the referendum for The Voice to pass in Australia.

I'm talking about Tragedy as a literary and artistic genre.

Simply put, Tragedy as a genre is identified by pathos and passion. And the work must have a narrative structure - a beginning, a middle, and an end.

Pathos being the ability to identify with and pity a person going through hard times.

Passion referring to strong emotion (of any sort).

But how do we find the equivalent of that literary theory in work that's not a typical story? In a song, or in art?

In my opinion, we can see something similar in music if we combine literary theory and art theory. After all, what is a song but a story delivered with emotion through music, and experienced as art is?

There's a school of art theory called Aesthetic Emotionalism.

In a nutshell, this means that the VALUE of the artwork comes from the way it communicates or expresses emotion. Mood, colour, tone, language all contribute to the feelings we get when we experience that work, whether it's looking at a picture or listening to music. They help us pick up on the emotions the artist is conveying.

So what happens when you experience those emotions through art? What is catharsis?

The experience of tragic events in art, whether it's a heart-rending drama, or a beautiful sad song, or a dark and menacing painting, can give you access to emotions like fear, pity, and regret. Feeling those emotions through art lets you purge the heaviness of them from your mind and body, giving you a sense of relief. That's catharsis.

It seems counter-intuitive but ultimately the experience is uplifting. It's like having the benefits of a therapy session, but without having to face YOUR OWN demons.

Becuase of the narrative structure, and the resolution of conflict, there's always relief at the end of the story.

You feel cleansed of those strong emotions, reengergised and ready to go on. But you also feel a sense of calm understanding. The pathos part of the tragedy gives you insight into the suffering of the character in the story.

Think about the narrative structure of the album Face.

The album has a carefully planned narrative, and a sense of rising and falling energy with these songs that's strongly reminiscent of the structure of a Hero's Journey.

And think about the individual songs in terms of Aesthetic Emotionalism too ...how they convey emotions through tone, pace, language, colour etc.

I'm going to go ahead and say that the strength of the Aesthetic Emotionalism in these songs (and in BTS's music in general) is a major reason they have such impact even when you dont understand the lyrics.

Now let's combine them... look at the emotions conveyed in these songs and how the literary theory of a tragedy might apply to the album :

The first song is the slow and devastating Face Off, with its hypnotic rhythm and strange, discomforting sound effects. It reallly does transport us into a dreamlike/nightmare landscape. But the last few words of the song foreshadow that it's gonna be alright.

Then we have the surreal, melancholy Dive, drawing us further into this dystopian world. It also uses sound effects to make us feel like we are being pulled through time. Dive is reminiscent of a soundtrack from a video, but it's been separated from it's film reel, leaving the listener to guess and imagine the scenes unfolding. It feels like jimin has come untethered from his reality.

Like Crazy comes like rising action in a novel, and we get character development, a bit of plot information, and conflict. But the song itself is a viby dance track with a party atmosphere (if you don't look too closely) so we get a reprieve from the darkness of Face Off and Dive. Its hypnotic beat is enough to keep us locked in the surreal dreamlike world that's been built around us by the previous songs, and the lyrics echo that.

Alone takes us back down into the darkness of Jimin's state of mind, both lyrically and with its low tones and slow pace. We get the metronome, the marking of slow time.

Set Me Free has a totally different energy. Jimin's tone of of voice is much brighter, but hard and determined. Set Me Free isnt a request, it's a demand. The music is forceful. It's like a battle march. The story has reached its climax.

Returning to Like Crazy (English version) after Set Me Free, is like returning to a gentle refrain. Its so much softer and more plaintive than the demanding Set Me Free, echoing the earlier melody and words, but it hits sightly different in English. We are into the denouement of this story, the resolution has come.

But it's not the end.

It is not the end, because after a few minutes of silence, time to breathe, we get Letter.

Why is letter here?

Jimin could have released Letter on Weverse or Soundcloud or directly onto Spotify. But he chose to include it at the end of the album.

I feel this is so important, because the specific set of circumstances of this album means this Tragedy we've just experienced isn't entirely consistent with the literary genre.

FACE ticks all the boxes for a Tragedy in the literary sense, it has pathos and passion and narrative structure. If you were a casual listener and you got to the end of the album you would have a sense of catharsis, as intended. But there's a complication.

ARMY aren't casual listeners.

This is personal.

We know Park Jimin, the real person.

We know this isn't fiction. This shit is real. It was real for him when he wrote it and it's real for us now.

Achieving catharsis isn't that easy when it's personal. Not when the hurt is real.

That's why he gave us letter.

That's why he gave it ONLY TO US.

Letter is a soft sweet gift, a sentimental dedication full of reminiscences that only ARMY will understand. The melody is gentle, like a lullaby, and Jungkook's backup vocals are enough to make you weep, if you aren't weeping already.

(**I have a theory that jk either didn't know about letter or didn't know Jimin was going to ask him to sing. See this post for why)

Letter does exactly what it's meant to - it fills us with warmth. It makes us overflow with love. It's a soothing balm to heal our hearts.

And its everything we need in order to let go of those heavy feelings of fear and pity, of worry and sadness for Jimin that the album brought to the fore.

Jimin knew we would need more. That's why he he sent us letter, right at the very end.

"I'm sorry. Thank you," It says.

"Don't cry. It's gonna be alright."

[whydidoth]

As someone who frankly watches too much hbomberguy, I was fairly startled by the tone he adopted in his latest video in regard to his own sexuality. He has been openly bisexual, coming out (as far as I’m aware) on his channel five years ago in a video on adaptations of HP Lovecraft, but his bisexuality overall hasn’t been particularly present. Even in instances like discussing the queerbaiting of Sherlock or the ability in Fallout to officially play as a bisexual character, he tends to approach the topics in such a way that if you didn’t already know his sexuality, you’d probably just assume he was a good ally. Genuinely, I would not be surprised if casual viewers of his channel had had no idea. I saw someone else suggest that he centered his own bisexuality so much at the start in order to dissuade accusations of him targeting Somerton for being gay. While I think this is certainly plausible, on a pure narrative level, I can’t help but see this most recent video as a book ends to his one on Lovecraft.

In that video, he talks about the value of adaptation and how adaptation at its best doesn’t recreate the work but is a response in concert with it. He speaks very personally about how the film Cthulu embodied the deep, crawling horror of being an outsider in a way that he resented as a kid. As a queer adult, he came back to find not only catharsis but also that it understood the essence of Lovecraft and of his own experience in a way he had been unable to when he was younger.

In his video on plagiarism, he emphasizes how the harm extends past the simple act of stealing someone else’s work, and how plagiarism goes on to suppress genuine dialogue among new voices with new ideas. In some regard, this is a direct response to his original thesis, and the response is one of despair. We are without adaptation. We are without queer voices and narratives.

This shouldn’t be where things end, and I don’t think he would have bothered uploading this video if he had seen no hope for things going differently in the future. I know it’s fun to revel in the scandal of this call-out, but ultimately, we’re witnessing a tragedy. In addition to supporting and giving small creators a shot, I think we should also take this as a chance to be less hesitant about promoting and sharing our own stories.

I have a youtube channel that’s been sitting in the corner collecting dust for a year now, but I’m going to try picking it up again. I’ll be putting a link to both hbomberguy’s video on Lovecraft and my own channel in the notes, and I would encourage everyone to similarly shamelessly self-promote in the comments—literally everything from soundcloud to twitch to personal blogs, go nuts. Let’s all make sure the future is over-saturated with authentic, marginalized voices, yeah?

[palmettoshenanigans]

Aftg is really a Shakespearean tragedy. I’m learning about Titus right now and just.. Nora really checked all the boxes for a Shakespearean tragedy

Hello Anon Bestie, I've returned from war with my essay as promised! Okay, quick and dirty Betty Crocker Box recipe for a Shakespearean Tragedy (nuance and academic rigor not included):

A person with a flaw that can get em killed - spoiler: it gets em killed. (Tragic Hero + Hamartia)

Ghosts, witches, gods, oh my! (Supernatural Elements)

Good deeds go unnoticed and bad deeds go unpunished and everyone dies, hero included (Tragic Waste + Lack of Poetic Justice)

Look Anon Bestie, I took pages of notes, and I was almost going to talk about how everyone's Hamartia (Ambition, Devotion/Loyalty, Power, etc) were just functions of Love where Exy was the conduit everyone had in common. I even almost talked about the importance of how everyone's Deep Wounds had their origins in Parents (sins of the father, parental neglect and attachment, parents as one's first lesson on love). And THEN I almost talked about how neither villains nor heroes are born, they're made and the personal decision to remake one's self in the aftermath of the forge that shaped you-

But fuck all that honestly. All I care about here is the classic Tragic Hero and Tragic Waste hooplah. "The hero dies in the end" and all that.

I know what you're probably thinking, "But Tragic Waste doesn't apply to AFTG because the Tragic Hero doesn't die in the end! Neil is alive and so are all the Foxes!" I get it, I do, but here's my take. The Tragic Hero isn't Neil.

It's Nathaniel.

Which immediately brings me to my opinion on how AFTG manages to have a Supernatural Element as well. "But AFTG takes place in the real world!" stop interrupting me- listen- Neil isn't fucking real. He is not a real boy. Pinocchio in his wood state is more real than Neil is. Andrew knew Neil wasn't real from the fucking jump and was on that boy like white on rice. Nathaniel knew Neil wasn't real - how many times did he try to hold back his home grown Smart Mouth A La Attitude Problem for the sake of his store bought Meek and Mild disposition? AKA how many times did he suppress his Material because it would ruin the integrity of his Form? From page one our Tragic Hero was Nathaniel Wesninski trying to survive blah blah blah pretend to be Neil blah blah blah leave Nathaniel buried in Baltimore with his father yadda yadda roll credits- Throughout the entire first three books Neil Josten starts basically obtaining Life and haunting the narrative. He was a painting that triggered the uncanny valley, he was a statue that seemed like it was gonna reach out and touch you, he was a mask that accidentally welded itself to your face like that one movie from the mid-90s. Nathaniel is trying to beat this fake-boy back with a stick while also keeping his name but it doesn't fucking work that way. Neil wanted friends. Neil wanted Exy. Neil wanted a home. Neil wanted to stay. Nathaniel? He could have had friends and a home and Exy in another life. But Mary rewrote history and said "Put on these masks. Hide, Nathaniel. These masks will help keep you safe." And it was working tbh. But then one of them came to life. And our Tragic Hero died to make room for him.

Whoops.

There's nothing fancy about my arguement here, only that AFTG really does fulfill the Shakespearean Tragedy format, Supernatural Elements and Hero Dies and all. Anyway, here's a couple excerpts from my notes that didn't make the cut in my final essay: "The tragedy? All the villans are dead. Drake, Riko, Nathan, etc. But the ghost will forever haunt the house (flashbacks, nightmares, triggers, scars) and those who remain inheret the ruins they didn't raze (Ichiro, Exy)." "The hero dies and the villain dies but both good and evil still prevail so catharsis is bittersweet and yet that's what makes it the most realistic."