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linkspooky · 5 months ago

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Okay, so I received an ask in response to an MHA critical post I received last night that I originally responded to, but then decided to delete the ask and the original post because I didn't want to get into an argument.

However, I feel like I should address one of their complaints about a post I made last night. That I was being too dismissive on the cultural reasons for some of the writing choices Horikoshi made because I am obviously not a part of the culture that Horikoshi grew up in and is commenting on in his piece of work.

I tried not to dismiss the cultural reasons entirely in the post though, I just said I don't think you can entirely blame Hori's writing choices on them. My cited example was there are other shonen jump mangas that don't go out of their way to gruesomely kill their villains (which is what I'm taking fault with.) I understand that the death penalty is a common response to murder in japan, but within the realm of fiction of shonen manga doesn't have a trend of killing all their villains.

But yeah, that might have been a shallow argument.

So there are different lenses of fiction you can criticize Horikoshi's writing on, because every piece of fiction is in fact influenced by the culture it's in, as well as obviously the author's personal life and unconscious biases but that's not all. There's also genre to consider, and influences / inspiration the author might have taken from other works.

For example, there is also genre in particular MHA is written as a response / commentary to both western comics and classic shonen jump manga. Horikoshi said in an interview:

“Probably have to be Goku and Spiderman. To me, when mentioning heroes, these two are the ones that I think of. In Goku’s case, it’s the reassurance that everything is going to be fine he brings when arriving.”

There are multiple critical analysis lenses that you can analyze a story from. If you're talking about MHA from a feminist lens then you're likely to stick to topics relevant to that, like say japanese feminist movements. If you're talking from the sociopolitical angle then it's relevant to discuss collectivism, and especially how it inspired the Todoroki Family. However, my intent wasn't to dismiss sociopolitical reasons as why Horikoshi chose to write the story this way, but to say it's not the only reason that informs Hori's storytelling choices. MHA isn't just one thing it's multiple thing, me deliberately choosing to talk about MHA as a response to both eastern shonen manga and western comics is a valid critical lens to apply to the manga. You can talk about both obviously, but that was a pretty short post. Perhaps I didn't word my post the best but please try to be understanding that I can't make a post covering all of my bases on leaks night.

For a manga where Horikoshi cited his concept of heroism comes from Goku and Spiderman, they both don't kill their villains, Goku specifically let Vegeta live so if those are his inspirations the choice to kill every villain is weird to say the least.

I can make the argument that MHA fails as any kind of meaningful commentary on comics in general because it doesn't seem to understand the comics it is taking inspiration from. The X-Men are the underdogs in their story, not members of the privileged class they are the outcasts. Batman doesn't kill people because he believes that most of his mentally ill victims turned villains deserve a second chance and he can't dictate who deserves recovery and who doesn't.

If anyone reading this post is curious, here are posts by @siflshonen that discuss both the manga influences and comic infleunces easter and western infleunces on MHA, and also the cultural ones. They are also really long posts because those topics require a great length to discuss critically. This one is about MHA's manga DNA in regards to Bakugo's character, and specifically references Yu-Gi-Oh and Kaiba's character as well as Jonouchi as response for Bakugo's development arc from bully to best friend. This one discusses more about the nuances of collectivism. This one is in reference to the Todoroki family, it discusses both collectivism / japanese family roles / honnae and tatamae concepts that the Todofam is critiqueig, and also how Enji is inspired by eastern ideas of heroes while All Might is inspired by western ones. (Therefore it's not a wrong critical lens to compare MHA to other shonen manga and western comics because that is literally what the manga is taking inspiration from and commenting on).

Here's a powerpoint presentation by @sans-san that discussed Hegemonic Masculinity in Tokyo Ghoul in terms of work culture and how the CCG is inspired by that, which I think also applies to Enji's character as well.

This post by @bnhaobservation spoke about how the Todorokis decision for not disavowing or abandoning Toya after he was sentenced to life in prison would still be a progressive ending to the TODOFAM arc, and while I still wouldn't have been satisfied by that ending I'd at least be able to accept it. That is however, not what we got, we got Toya dying a slow agonizing death while hooked up to life support. So we could have still gotten a slightly softer ending where Toya's at least allowed to live that would have still been in line with the values of the culture that produced MHA.

This post by @bnhaobservation also talks about how the Todofam plotline can still be seen as progressive in some ways in regards to his criticism of Enji's parenting, because of certain outdated attitudes of parenting that still exist about Enji pushing Shoto to his absolute limits.

However, I don't want to debate the person who sent the ask, I just wanted to clarify I'm not trying to make a reductive statement that sociopolitical circumstances have nothing to do with Hori's writing choices, but that you can also analyze it from a lens of genre, commentary on comics and shonen manga, and also the predecessors he's taking inspiration from. All of these things have an inspiration on Hori's storytelling choices.

Since I'd rather not debate, now that I've gotten clarifying things out of the way I'm actually going to use this post as a book reccommendation.

Here's Shigaraki with Underground, one of my favorite books. It is a non-fiction work from famed fiction author Haruki Murakami about the Saren Gas attacks.

On a clear spring day in 1995 five members of a religious cult unleashed poison gas in the Tokyo Subway system. In an attempt to discover why, Haruki Murakami talks to the people who lived through the catasrophe and lays bare the Japanese Psyche.

For those who are unaware the Saren Gas attacks were a terrorist attack where members of the Aum Shirikyo cult released saren gas in the public subway system. It is the biggest japanese terrorist attack in modern japanese history and at the time and even the modern day it was a great shock to them as a whole.

The book consists of several interviews with the victims of the attack, and they are incredibly harrowing to read I remember crying while reading this book multiple times. However, at the end of the book after giving considerable time to let the victims share their stories Haruki Murakami also devotes space in the book to interviewing former members of the Aum Shirikyo cult.

Haruki clarifies his intent in his decision to include testimonial from the cult in the afterword of the novel. "As I worked on this book I attended several of the trials of the defendants of the Tokyo Gas attack. I wanted to see and hear those people with my own eyes ad ears, in order to come to some understanding of who they were. I also wanted to know what they were thinking now. What I found there was a dismal, gloomy, hopeless scene. The court was like a room with no exit. There must have been a way out in the beginning, but now it had become a nightmarish chamber from which there was no escape. [...] To all of them I posed the same question, that is, whether they regretted having joined Aum. Almost everyone answered: "No, I have no regrets. I don't think those years are wasted" Why is that? THe answer is simple - because in Aum they found a purity of purpose theycould not find in ordinary society. Even if in the end it became something monstrous, the radiant, warm memory of the peace they originally found remains inside them and nothing else can replace it. [...] However, as I went through the process of interviewing these Aum members and former members, one thing I felt quite strongly was that it was't spite of being part of the elite that they went in that direction, but because they were a part of the elite. [...] However, we need tor ealize that most of the people who join cults are not abnormal; they're not disadvantaged; they're not eccentrics. They are people who live average lives (and nmaybe from the outside, more than average lives), who live in my neighborhood and yours.

Haruki interviews members of Aum Shirikiyo because he wants to make the point that the people in these cult aren't from a dangerous fringe element of japanese society, but rather they are normal people, some of them even highly educated. The capacity to commit those crimes exists in normal people, and also the capacity to fall victim to a cult.

The Ikuhara anime Mawaru Penguindrum is heavily inspired by both the Saren Gas attacks and the questions that Haruki Murakami asked in the Underground. Fully covered here in this article: Exploring Mawaru Penguindrum 2011 from a historical, cultural and literary perspective here.

Underground was Murakami’s attempt to interview survivors of the Sarin Subway Attack. Apart from learning the perspectives of ordinary citizens involved in that shocking incident, he also managed to interview several members of Aum Shinrikyo and tried to get their point of view on the matter. (In the Japanese edition of the book, the interview with the cult members were published in a separate book, titled The Place that was Promised.) It was an important piece of journalistic work that criticized the public’s attitude of questioning what happened, instead of asking the proper question of why it had happened. In the anime, viewers knew that an event took place in 1995 that affected all the characters, but what exactly was the event about? Why did the people do that? What social factors attributed to the occurrence of such event? These are the questions that Mawaru Penguindrum asked, and one that we were left to ponder on.

Ikuhara and Murakami both exist in the same culture as Horikoshi, Haruki is an incredibly prolific japanese author and he was born in 1945 but both of them are able to ask more meaningful questions about the society they live in then Horikoshi accomplishes with the league of villains and the todoroki family. Haruki Murakami emphasizes the humanity of the aum shirikyo members and that they are not lunatic fringe members, and Mawaru Penguindrum is about the extreme social pressures that people especially children can be a victim of.

Literature is influenced by the culture it takes place in, but it's also a response to that influence and the piece of art that Horikoshi wrote just isn't as thoughtful of a response than what was written by both Ikuhara and Murakami.

More book recommendations if you're interested. The Setting Sun, by Osamu Dazai. Pachinko by Min Jin Lee. How do you Live? by Genzaburo Yoshino. In the Miso Soup by Ryo Murakami. People who Eat Darkness by Richard Lloyd Perry. Night on the Galactic Railroad by Kenji Miyazawa (I'd argue this is an example of good collectivism). The Memory Police by Yuko Ogawa. Out by Natsuo Kirino. There was a couple more I wanted to include but they had cannibalism in them so I thought it better not to reccommend them.

#spooky speaks #Mha critical

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selfaware-bungou-stray-dogs · 1 year ago

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What kind of interaction would the reader have with the Decay of Angels. (Mainly Fyodor Dostoevsky, and Sigma ,Nikolai Gogol) how would they treat the reader?

(my poor baby need some Love Sigma <3)

Here you go. As I said before, all characters will get their own entries later. Same with Decay of Angels. Until then, I can share this headcannons with you.

On the side note. A little update on main entries progress. Self-Aware Dazai Osamu entry is in progress. The first third (Becoming self-aware) is almost finished.

Self-Aware! Decay of Angels x GN! Reader

Headcannons

Warning: OOC. Yandere. Stalking. Mentions of world domination. Mentions of killing. English is my second language.

General

🐾 Group, that take longest to join the others.

🐾 Not because of you or their feelings towards you. Because of how slowly they were introduced in the manga.

🐾 Their plan has failed. What they should do next? How it should be connected to you?

Bram Stoker

🧛 At first, he doesn't care, that he is fictional. It's not like he is walking around. Besides, right now he has no one, he can consider his friends.

🧛 But it changes, thanks to Aya. The girl is mesmerized by you and your world, and, after being appointed as Bram's 'guardian', she tried to show Bram, how wonderful your world is.

🧛 Slowly, Bram warm towards you. You don't seem bad. Besides, your emotions feel nice. Also, there is so much interesting in your world.

🧛 Like to watch videos with you and Aya. Sometimes, two of them watch something on their own.

🧛 Will try to find a way to get his body back and control his ability again. Because this ability will help you. He will give you an army of vampires, ready to serve you.

🧛 You are normal human. You are an interesting human. You treat someone like him is human. He will help to bring the human world to their knees for you.

Sigma

🃏 At first, Sigma is on the cross road. It's not like he is entirely human, so knowing that he is fictional, doesn't hit him as hard as the other characters. Bit, still, it hurts, to know, that he was created for someone else's entertainment. And the voice of Guiding Light. They were praising him. Lowing him. Did you try to trick him? Was it the same situation, as with Dostoevsky, three years ago?

🃏 No. It was different. You aren't fake. You were real. Not only that, but you liked him for simply existing. You liked him as he is. No need to use his ability or do something for you.

🃏 Sigma would observe your messages. To make sure, that people won't try to scam you.

🃏 One time, on The Internet, you were discussing with other people what would you do, if you had a chance to see Sigma in real life. Sigma was disgusted by some responses. But then, he heard you.

"I would give him a cookie and ask for a hug".

Congrats, Sigma is now as red as a tomato.

🃏 Sigma will memorize everything about you. He doesn't want to lose you. Near you, he has a scene of purpose.

🃏 His purpose - be in your life. To make you feel happy.

____________

Sigma grumbles under his breath, looking another scam message from your mailbox.

The same person has been trying to scam you for a while.

Sigma send the scam letter to Fyodor. He will help to deal with thief.

Parasite, that want to hurt you. Who wants to steal from you. He deserved to be punished.

Sigma looked at the Little Light, floating above him. One day, he will see the true you. One day, he will bask in your emotions. And he will give you a hug you want so much.

Nikolai Gogol

Fyodor Dostoevsky

🤡 Let's just say, after some time of internal conflict, reassuring words and conversations with other characters, Gogol will see you as the embodiment of freedom. A real person, who doesn't need to follow the plot and can do anything they want.

🤡 Gogol is one of the characters who became obsessed with you. He believes, that he will become free, if he stays near you.

🤡 Your influence broke the plot chains. Your influence make him realize, that he is fictional. Nikolai is grateful. He will do anything for you.

🤡 Like to watch videos with Circus performances with you. If you liked some magic tricks, will learn, how to do it.

🤡 He is perfectly sane, and knew, that killing is bad. But, for your sake, he will kill.

🤡 You are Their Guiding Light. You are his bird. He will fight for your freedom. For his freedom. For freedom of other BSD characters.

____________

Nikolai Gogol was angry. He heard from Sigma, that someone tried to steal from his Birdy. He wished he can drag the thief there. To make his last moments the real Hell.

Gogol wished, that you were there. His Birdy is so weak. They don't have ability. Everyone can take their freedom away.

Gogol looked at Little Light, circling around his hands. The proof of your existence. The proof of your emotions. Untouchable...

But don't worry. They are near. Soon he will be near you. Soon no one will dare to take away your freedom.

Fukuchi Ouchi

🐀 Became self-aware earlier, than other DOA members.

🐀 At first, he was simply curious about your world. Then, he became curious about you. Then, he became obsessed with you.

🐀 You don't have an ability. You live in the world with no abilities. His perfect world. You are perfect in his eyes.

🐀 Fyodor Dostoevsky is one of the hackers, who hacked BSD Mayoi Inu Kaikitan app. One of the creators of the portal.

🐀 Watch whatever you are watching. He just wants to spend time with you.

🐀 Perfection must be saved. And Dostoevsky will save you. He spent enough time to start trusting other characters. But he also won't stand back. He will protect you.

___________

Fyodor Dostoevsky smirked. Nikolai Gogol and Sigma were standing near him.

Fyodor has found the scammer. Found him and post all his personal information for everyone to see.

And put a special virus on their phone. The one, that will connect his phone to the portal. The scammer will be the perfect lab rat for a testing.

Bright light.

Scammer was laying there. Bleeding, but alive. Fyodor Dostoevsky smirked. The next second, Gogol's hand grasp scammer's head.

Little Light were floating above them, as always. And his Perfect Guiding Light will stay perfect and safe.

The next day, BSD gang find the body of a scammer. Fyodor, Nikolai and Sigma didn't hide, that it was their doing. That they have tested the portal and protected Their Guiding Light.

"Aren't you afraid, that 'Kamui' will be angry at you doing things without an order?" mocks Dazai, looking at Fukuchi.

Sigma was first.

"I was working for Kamui for three years. Never heard anything good from him. And Guiding Light were nice to me. They are more deserving of my loyalty."

Then Gogol.

"He promised me freedom. He lied. But Guiding Light is there. They are my freedom. They are more deserving of my loyalty."

And then, Dostoevsky.

"Kamui promised the world without sin. He failed. But Perfect Guiding Light already live in sinless world. They are more deserving of my loyalty."

Fukuchi Ouchi knew, that he has lost to you.

#self-awareau #self-awarebsd #bungou stray dogs au #bsd #bsd x gender neutral reader #bungou stray dogs #gender neutral reader #bsd anime #yandere #decay of angels #Self-Aware Decay of Angels

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identityflawed · 4 months ago

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feels to me like the primary division between pro and anti jedi sentiments is narrative perception. pro jedi individuals tend to adhere to the ideas that are explicitly stated by lucas himself or very clearly put out and acknowledged within the fictional universe, whereas anti jedi individuals tend to lean more into analysis of the in-betweens. they both apply real-world morals and experiences to a fictional plane (and despite its various nonfiction influences, star wars IS fictional), and they do it in such excess that it makes the majority of more level-headed fans less eager to interact in such a heated fandom.

are the jedi bad? no. the majority of them were good people doing good things, even while the sith corrupted the galaxy around them. did the jedi deserve order 66? no. anyone who says that is insane. are the jedi completely blameless in the events of the clone wars? no. they became complacent in the idea that the sith were warriors and were incapable of changing their ways in order to win, despite victory being a key part of their code. the jedi are not paragons of perfection — they are human, and humans can be ignorant. did the jedi cause anakin to fall? yes, in part. while palpatine was the primary driving force towards anakin’s destruction, the jedi’s ignorance towards both anakin’s trauma AND his burgeoning relationship with palpatine did contribute to the rise of darth vader. (i know they let palpatine and anakin interact because they were concerned that denying palpatine would cause problems in the future, though this is sourced from legends. i take that and raise you one: what kind of grandmaster uses a 10 year old as a political game piece? and even in lucas’ canon, you can’t ignore that yoda, who is said by palpatine to be about equal in his strength, failed to sense that there were sinister things afoot, and failed to discern that having anakin spy on his pseudo father figure — and yes, his manipulator — would only cause problems)

as a fan of palpatine i can say wholeheartedly that the majority of the events leading to anakin’s fall are his doing, and that palpatine is not much of a tragic character at all. if you want someone to talk about where the dark side is your CHOICE, look no further than palpatine. thats called being self aware. any pro or anti jedi who believes you can’t blame someone for something they cant control — such as anakin's past or palpatine deceiving the jedi — becomes inherently hypocritical because CONTROL is a key theme in star wars. control of your emotions, control of yourself, control of others, on political, emotional, psychological scales. anakin’s lack of control in his life was not aided by the jedi, and when he finally got the chance to choose for himself, he fucked up. bad. and it WAS his choice, at the end of the day, though the odds were stacked against him, at least in his mind. (which is another issue — anakin is a traumatized individual. trauma victims are going to act differently than what adheres to common sense and logic. an ex-slave with attachment issues and a savior complex is going to freak out if he thinks the woman he loves is going to die if he can’t save her)

people tend to forget that lucas actually SOLD his rights to the franchise away, and nowhere in the contract did disney promise to adhere to the nuances (and there are very few nuances with lucas, unfortunately) of lucasfilm's initial six movies. george lucas was not even a good writer by most standards. he inserted a lot of racist stereotypes into his films, and drew from history in both thoughtful and moronic ways. he was a product of his time, sure, and he created an incredible idea that has gone strong for 40 years, with a solid idea woven within it of compassion and hope. but it isn’t his story anymore, and he cared more about the money than the message, at the end of the day. i have a hard time agreeing with anyone — on any topic, within star wars or otherwise — if they only listen to one person as their end-all.

yes, lucas created star wars. but its not a perfect creation — it is flawed. the jedi are flawed; anakin is flawed. the progression of star wars will continue to take new views on the events of the initial six films, and guess what? that happens with EVERYTHING in the world. perspectives differ by the hour, everyone has different experiences and ideas. if you want to watch something where the morals and central ideas never change, where everything is black and white, go watch the USA's two-party debates. or maybe coco melon.

star wars is complex and nuanced at its core, nowadays, but you are none the lesser if you have differing opinions. you can believe what you want to believe, when you want to believe it. that’s freedom. you are not required to accept everything that disney puts out as canon or even remotely accurate, but the MOMENT you start to put down people (and im talking full on insulting, targeting writers, specific blog posts, bullying, etc) for thinking differently than you is the moment you have gone too far. after all, what did the sith do, and why did they do it?

#rant #idflawed thinking #star wars #jedi discourse #pro jedi #anti jedi #anakin skywalker

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jadeyarts · 2 years ago

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summary of what i’ve been doing with these guys (details subject to change)

SO BASICALLY: in the first episode of sonic underground you can see a statue of king acorn before it is demolished by robotnik’s rule, which means that king acorn still exists in sonic underground at least until somewhat recently, and would have been a major ruling force in mobotropolis prior to robotnik’s takeover. now, since aleena isn’t even originally from mobotropolis that means her ruling power would have been through king acorn in some fashion. either she overthrew him, or she married into his kingdom.

since aleena would still be of noble blood separate from any connection to king acorn as we know she is a descendant of a pharaoh, we can assume that the two having an arranged marriage is entirely plausible given how monarchies operated to secure alliances and keep bloodlines noble. now of course there’s TWO king acorns: max, pre-sgw, and nigel, post-sgw. and both of them have wives - mothers to sally acorn - that are seen, and do not resemble aleena at all. so safe to say that if one actually explored aleena co-existing with the acorns, she probably didn’t actually marry either of them.

how or why she would overthrow him without immediately reforming the entire system given what we know of her origins and her values don’t really make sense imho so i’ll just say that in the context of underground canon, i do think she did probably marry king acorn and gained rule through the relationship. i don’t think he’s the father of her children, but uh... i’m not going to get into that right now. anyways, in the context of a more satam or archie based setting... well, the clear answer is that she may have been engaged to him, but she’s not married to him, so clearly things fell through.

as a noble it would be considered her duty to go through with the marriage - but as sonic’s mother, i strongly feel that just like her son, she would strongly believe in freedom and making your own choices - and she doesn’t love max. so instead she runs off with someone she does love, a commoner - so my aleena isn’t actually a queen, though still of a noble bloodline - mostly because while i think aleena having a royal background and being sonic’s mother is cool, i don’t care much for sonic himself as a royal? so she gives up her noble title, has the triplets, becomes a freedom fighter, ect.

now, what a lady in waiting is actually depends on the specific kingdom and its system - they can be a personal assistant, OR a monarchy-assigned best friend to a noblewoman who is also noble, and depending on the specific kingdom’s system, a monarch who is married to a noblewoman may be entitled to marry her lady in waiting as well. since the acorns rule over a fantastical fictional kingdom that is AT BEST taking place on a post-apocalyptic earth i figure the functions of a fictional lady in waiting doesn’t need to be exactly accurate to a specific real life kingdom - SO! with aleena and max engaged but aleena bouncing to hook up with a commoner, and alicia being max’s canon wife, i’m going to go ahead and say that in these circumstances it would make sense for alicia to be aleena’s lady in waiting who took over her duty to marry the monarch she was engaged to as she was also a noblewoman.

but because of aleena and max’s former engagement, she managed to have a weird and complicated friendship with max and locke.

anyways, i actually like both king max and king nigel, albeit in two very different ways. max is... complicated, controversial, and sometimes not great - but i find that his flaws make him a fascinating character, and i like to watch him struggle making the right choices as a parent and as a leader because of the circumstances he was born into and dealt with! and nigel is a genuinely loving and positive influence in sally’s life that i feel she deserves, elias could benefit from as well, and contrasts well with max’s everything. so i kind of want them both to exist. so my solution is to make them brothers - max was the ruling monarch until, you know. nigel is his younger brother, who eventually takes over the kingdom. which means elias gets to stay in the woods with meg and alexis, lol.

also nigel’s dead wife doesnt have a name which is sucks but i havent come up with my own for her yet >:( anyways since i’m making max fully a chipmunk and alicia a hamster (instead of both being chipmunk/squirrel hybrids) then nigel and his unnamed wife are swapping species - nigel now a chipmunk to match max, his unnamed wife now a squirrel.

meanwhile locke and max’s affair need no real explanation. i think they were fucking around on that island even if sally and knuckles didn’t know it, argue with the wall.

#sketch #sonic the hedgehog #archie sonic #sonic underground #pauleena

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litnerdwrites · 6 days ago

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I can’t take Elriels and Gwynriels seriously when they talk about which ship is healthy while shipping Feysand and Nessian.

The way they find ever fault (which aren’t even that bad) about Azriel and Lucien to present why the other ship is toxic is so hilarious because compared to Rhys and Cassian, Azriel and Lucien are saints. Especially Lucien.

Cassian is such a f*cking creep. Azriel and Lucien have the decency and respect for Elain while Cassian just breaks into their home and starts preying on human Nesta, all that disgusting talk about what’s under her clothing, ask about her virginity and touching her without her consent. Wtf??

Nesta didn’t and doesn’t get any respect and decency. She’s constantly violated and her boundaries crossed by Cassian. The inner circle didn’t grant Nesta any protection against Cassian but ohh protect Elain from Lucien just breathing the same air as her!! Nesta wasn’t granted the chance to act like Elain and ignore Cassian cause no one would not let her.

Do I even have to talk about how everyone babies Rhys for his trauma and ignores the trauma he inflicted on Feyre?

The double standard is actually sickening, and that's true for many aspects of the fandom, as a whole.

Honestly, I think they're more interested in Azriel than Elain, and just want him to get 'what he wants' which is the three brothers three sisters thing? I don't even like Elain, but I still think she deserves better than Azriel, if his dismissal of Nesta's pain (and the thought of Cassian physically abusing her) is any indication.

I firmly believe that the Ic were under the impression 'oh, Cassian is such a great guy, and Nesta is secretly in love with him anyway' so they did nothing, which is disturbing. Like, what kind of abuse of power is that, since Cassian is in a position of power and political influence, while Nesta is a traumatised woman (not even legal by fae standards) and can't turn to anyone for help because they're the ones allowing this to happen.

That said, I think Rhys is much worse than either of them (mostly because of his willingness to use his daemati abilities, only when it suits him). He also SA'd Feyre, and leaves two thirds of his court to rot. But yeah, sure. He's the best ever, feminist king, above any and all fictional men ever smh.

The hypocrisy of sjm, her characters and this fandom are actually insane. And yet when you point out that the flaws people are hung up on exist in other ships that they have no issue with, you might as well be admitting to murdering puppies for funsies. It's actually ridiculous and takes the whole fun out of shipping. That's not to even speak on the gatekeeping of ships, especially crack ships, that happen in this fandom. The book 'isn't that deep' or 'shouldn't be analysed from those perspectives' until there's a crack ship, and suddenly 'it's misogynistic' and 'siding with abusers', etc.

Honestly though, the only characters who I think deserve better, are Lucien and Gwyn. Idc what happens to Elain or Az at this point, they can both rot.

#anti inner circle #anti ic #nesta deserves better #anti rhysand #pro nesta #anti acosf #ask #anti cassian #anti elain #anti azriel #lucien deserves better

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jack-kellys · 2 years ago

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welcome to: rizz's extensive uksies notes, which will discuss differences in characterization, sure, but also more important things like staging, scenic and dance changes, and directorial choices (i do talk about the principal characters at the bottom so i'll forgive you for skipping down there if you wanna). i haven't looked at anyone else's posts since i didn't want them to influence my thoughts, but i'll be whipping out the third-of-the-way-through stage management degree for this shit so buckle up. spoilers/major reveals will be in this post, and this post (among all the others relating to major reveals/moments in this version) will be tagged with #newsies spoilers!!!

lets get into it, starting with the reason this show was able to be as much of an experience as it was: the space.

i think it's very important context to this version of newsies that the troubadour theater, previously, had been housing an immersive peaky blinders (popular tv show) experience. this review gives a pretty good idea of what immersive theater is, and it is... a big feat. it's more of an experience than theater, and that same goal was at the heart of the way newsies is done, too, which worked so well. both are historical fictions and are based on real things that happened, which makes it kind of easier to involve an audience imo and lets them believe what's going on.

the stage is a sort of round thrust-style in the shape of what i'm guessing is a flash/flashbulb in reference to obviously the pics we have of the strike and how "big photos attract readers" (aka the audience in this case :)). as yall know from the photos its got the same tower/skeletal setup as bway...to an extent. for bway, that's tbh all they have, but by losing the proscenium stage and moving into a space with so much more free reign, there didn't have to be one big scenic element, and it didn't have to be the only thing to steal the show. like the "big moment" for bway is when the three towers track forward in once and for all, and there's like....at least three different moments just like that in uksies and they don't even need the towers for any of them! because they didn't rely on one thing, they did so many things, and they did them everywhere. to the walls, to the aisles, to the landings, to the air, this show made sure it used every definition of the word 'space' to its fullest. initially it sounds distracting, but making sure they're all around us and making sure that ensemble characters are able to be on their own without the principals near them really humanizes the ensemble as a group of real kids who fr went on strike. i'll come back to humanizing stuff in a bit, but since we've been talking about the theater space, lemme talk abt these scenic elements because damn...

there was a slide jack used a couple times through a hatch door to escape the delanceys thru (with a little >:) wave) and escape the strikebreakers

there were mini trap doors in the stage where items were stored and revealed, and they kind of looked like the grates that sidewalks have/used to have for like rain to drain into in cities <3

there was a rope jack used to swing through and kick a strikebreaker in the face!

the penthouse actually felt like a home rather than literally just a bare bway balcony lmao, like they had mini portraits sticking to a skeletal roof-like overhang that jack probably built on his own, his art was much more obvious and hung up and personalized.

the cart with all the papers on it actually got to be used in staging in really fun ways- it was both chariot and podium for jack and crutchie mainly but they like rode around in it it was cool

medda has a huge lit-up sign for her theater instead of like. an overhang or whatever it is for bway, which is the upgrade she deserves <3

the children's crusade banner wasn't a projection, it actually dropped as a huge literal banner from one of the line sets and jack stood as a shadow behind it with a fist raised >:)

the tables for king of new york weren't the longer bigger ones from bway, it was like actual restaurant-style table for two's like in 92sies!! and they were on wheels, so they had table-ography– this was also possible due to how much more depth, physically, the stage had, like they wouldn't have had room on a proscenium. davey was pushing les around on a table and the kid was just flying around it was super cute and rly well done

speaking of 92sies, remember at the end of their king of new york when the one newsie grabs the ceiling fan and spins around? yeah, uksies does that with these huge practical lights that fly down from above- newsies get to not only hang off of them and do some acrobatics, but they can spin on them, and they not only go insanely fast, but they also are able to go higher the faster they go. seriously one of the most insane displays i've seen in a staged musical of all things, like it felt like a show and not just a musical.

The abundance of scenic and spatial elements leaves a director/choreograoher (because this guy was both, and it is visceral even in the scenes that he's both and it's perfect) with so many options, and fuckin man, did this guy absolutely use all of them to the fullest. i hadn't realized how like....recycled the blocking had been through bway and also touring, because idt they're allowed to really change it. but guys. we'd been watching the same exact movements for years, and NOW THEY'RE ALL NEW!! everything they do, each location of the stage people move to is all different than we've ever seen as a fandom, which is major, because staging is a storytelling device– since if it wasn't, we wouldn't have it. where people are in a space, where people are in relation to others in a space is also huge. the other main thing again is that it isnt a proscenium stage, so it's much easier not to stage people "in a line". think back to the livesies staging for right before the world will know when jack is telling davey about "if your father had a union". picture where they are on the stage in relation to the cart w all the newsies. its in a fucking line, bro.

this show? abused depth beautifully. the stage pictures were extremely memorable, so choreographed, and set the dynamics for scenes so effortlessly. davey is way downstage when jack's trying to convince him to join the strike, so we can see his exact thought process before the final "i guess...you do, mr. president". (speaking of, ryan kopel is genuinely the first davey to actually make that line a weirdly emotional journey?? like davey takes so long to finally say it, like he's getting over the stakes and letting jack's words sit before finally, yes, agreeing.) or when jack has his pre-seize the day monologue (of which i might make an entire post for for personal reasons and i'll link it here if i do), the three scabs are center stage, arranged in this triangle with their backs to each other and their heads down so jack gets to circle them while addressing the stage at large- it just looks so intentional and frankly very pretty to watch since they're all dancers and their posture is so clean. even something to believe in's scene staging is more dynamic because the towers themselves aren't even in a line- they're angled downstage, so even when jack and kath are high up on a more skinny platform there's still depth and an upstage and downstage they can travel on!! it's so thought through. i'll also make a post about more individual moments, but a lot of people have done that so im making the more important post first lmao.

the staging ofc was very intentional, but the transitions were also...like seriously integral to the narrative. idk if you guys know this or not but transitions can make or fuckin break a moment fr and some directors fucking suck at them LMAO but wow. these? the newsies taking on katherine's platform with the same "mornin' miss" air to their movements and kath saying a small 'thank you' to them before she sits for watch what happens, versus the transition into the bottom line where newsies push pulitzer's platform on with heads and backs bowed down, pushing slower, with more effort, like it looks painful when they push on his platform. newsies lifting medda's footlights and sort of "working at the theater" with their movements mirroring dramatic vaudevillian theatre. it was all so fluid and nearly all of it was done by the newsies and none of it was really...hidden, either, and seeing them literally "work" onstage cemented them as "the working boys of the city" really specifically, and in a very special way. like yeah, the invisible workforce, of course they're doing the transitions. beautiful, a+.

among other added elements were the new orchestrations. newsies has never sounded like this before, even excluding the new music they added. there was more base, guitar, and drums, and the tinny trumpet was much more subdued which felt more...realized and less disney, which is for me always welcomed lol. honestly it made the music sound less disney as a whole. very grounded sound overall- ALSO the sound design was so fucking excellent like you walk into the theater and it's the sounds of the city in 1899 and it's so cool...but! yes! there was new music because guess fucking what: every single dance break was extended. every single one. they all of course had new choreo (finallyfinallyfinallyfinally) but also literal new parts to the dance breaks. each by like 3-5 mins. cemented this as a show more so than only a musical which i fucking adored. in a diff post i'll go through each song (though it might. be after i see it again) and talk about the extensions because just....come on director/choreographer!! yes!!

rounding out this post specifically, im gonna nail down some characters and relationships, since honestly they were very different than we've seen before, but there's merit to all of them for real, and i appreciate a shift from how we're used to interpreting them, and honestly i hope it changes our characterizations as a fandom and adds more depth/possibilities!

starting with the romantic hero of the year, jack kelly.

he is distinctly a romantic hero in this- not in the perceived lovesick/floaty way. he's a very raw version of himself, and he's almost a loose canon (until he's forced not to be via blackmail). he's staged very intimately with others when talking one-on-one, which i know is a usual jack trait, but at michael's jack's core is "come on, look at me." every moment with those he loves is personal to him, is treasured and valued. a baseline example is crutchie, of course, who he says "look at me" to in the prologue after crutchie gets discouraged with himself. they aren't staged outward toward the audience, because jack doesn't let it– he is in line with crutchie, really looking at him, and making sure crutchie's looking back. he does this with the scabs too, except he gets to move around them because of how that trio is staged (my god that scene looks and is so beautiful..fuck).

but i think this is very exemplified with davey, actually, because what i love about michael's jack is that the emotions he wears on his sleeve aren't only ones of love- it's all passion, which includes anger. jack and davey do not get along initially. the exchange of "well if he's the best then what's he want with me" is kind of charged, which is exciting- davey really is just there for his family, he doesn't need eyes on him, and he wants to shut it down....but it's shutting it down via undermining jack, which is made clear by jack's reaction that that isn't something that happens around here. "cause you got a little brother" really feels like an 'i don't need you,' in how it's said, and any back and forth they have through that scene is an interesting animosity... which changes the moment davey and les are in danger, when snyder appears and they run (they run SO MUCH in this show oh my god, they run everywhere across everything and up and down), and once they run to the theater and jack gets them out of that situation and davey is seriously like. 'who the fuck was that guy, we had to go through that bc of you, that wasn't okay', and the way jack explains who snyder was...for the first time, jack doesnt match davey's animosity and instead just explains, in lieu/as an apology, the details on who snyder is and to steer clear of him. and instead of saying "right" as davey normally does, he says "thanks for the advice", with the staging squared and head-on to jack. and it isnt sarcastic, it's just genuine, and from that moment on, davey gets the "look at me" treatment. and jack even holds the back of davey's head during i think seize the day and lets his hand slide down his shoulder to daveys chest and daveys hand is on jack's shoulder and they're staged square and not outward like the moment is just for them.

jack's emotions are more visceral than they've been, he's very hot-blooded and it just makes everything hit more. the fucking seize the day monologue. poc fans we finally won. michael took so much time with it, making sure each line was heard and intentional and the audience was doing that thing they do at more serious straight plays with the little "mmhs" when they agree with something and like. he just made sure it was taken so seriously, same with the something to believe in scene. "what is this.. about, for you?" just the way michael structures jack's word is so smart and emotional. he also has this sort of break in his speaking voice that reminded me of jerjor actually, but it obv is just the way he acts and a choice for jack, this cracking of the self when he's vulnerable with someone at the expense of himself.

lemme say that again. this jack's voice literally has an emotional crack in it when speaking vulnerably at the expense of himself, which is SO FUCKIGN SPECIFIC GOD I LOVE HIM FSKDFJSDJ FUCK. it's genius. he does it with katherine during "i ain't stupid, i know that... girls like you, don't end up with.. guys like me." oh my god the FUCKING NOISE THE AUDIENCE MADE. oh it was heartbreaking, like it was genuinely crushing. made me tear up for sure, for obvious reasons lmao. michael is the jack i've always wanted- a little vain (he admires himself in a hand mirror during carrying the banner<3), absolutely turbulent, and painfully, horribly aware of his own stakes in this all. and black LMAO I WONNNNNN HAHAH I WON!!

speaking on crutchie next because he is the narrative of this production.

the fandom has sort of strayed away from the jack+crutchie team and fallen into this jack+race team, and this production makes damn sure that doesn't happen. it is so jack and crutchie, all the way, to the end of the fucking line. he is with jack, central, through all of act one's staging and major numbers- by jack's side for carrying the banner, with him on the cart when it spins around center and moves around the stage for world will know, he leads the newsies up to the world's door to make way for jack, les, and davey to enter it, he's included in seize the day choreo moments, he cries out for jack to get away ("jackie, run! run!!" im. i am. a mess) at the end of the brawl when he knows he's in a situation he can't get out of.

he also has this hug with jack and race when he returns from the refuge that nearly made me yell out loud LMAO (me and @roideny grabbing hold of each other in the theater and all), and the three of them have a personal spot of the stage together looking over the paper when davey makes his first appearance- crutchie is just staged very intentionally near anyone with leadership, cementing him as a leader and is certainly no longer jack's kid-brother anymore. any infantilization is really worked on getting completely gone in this production, the effort is apparent likely especially bc the actor (matthew duckett!! sweetheart supreme!!) is disabled himself!

another really key thing about this crutchie is how loud he is, in every way he possible could be. his color palette is the most stark right along with jack's, he's wearing overalls which no other newsie has, his speaking voice is almost abrasive- it's not rough, per say, but it's sort of coarse and nasally (he's so new yorker and im in love w it), and very distinct. he's also taller than jack (michael my beloved is 5'9", furthering my jack is 5'9" agenda) and like... most of the other newsies tbh.

this production does not give you a choice but to notice him, does not give you a choice but to look at him, does not allow you to ignore crutchie in any way. it's visually and audibly impossible, and that is spectacularly intentional.

he is also like... sunshiney in a rough-around-the-edges way, in a this-is-all-i-have way. he's so himself, he's abrasive and almost snide in how he talks. very self-aware, but choosing actively to be brighter about it even though you can tell his situation weighs on him. crutchie is genuinely so dynamic in this show and he's amazing to watch, and he is finally, finally, truly shown as equal to the rest of the newsies, and certainly to jack.

this is so specific but the "we have the right to starve, let's just get our papers" line is so decisive of him. like i'm realizing that that line hasn't given him power before, but it does in this show- he can raise a definitive solution to the group without being jack, and i.. don't think anyone else does this, at all, when they're discussing the strike. it's just crutchie who states what he believes they should do. like. that's never been emphasized before thats so fucking cool for him idk

alright davey time woooooo

davey is the king of defensiveness in this and i genuinely fucking love that choice for him. because he is trying to find a 'way out' within the text but also metaphorically within the story before world will know. so like– this production had davey try and contradict every time someone comments on what davey says. he'll start to say "i didn't say-" "that's not what i-" "i didn't mean-" before cutting back into the script's dialogue again, which is SO fascinating. since initially, davey is trying to separate himself from the newsies, so he uses ad-libs like that to break away, but then after world will know, those same ad-libs are used inversely it felt like, like he'd say something in a way that didn't quite fit and he'd try to rephrase so that it did? very interesting to watch.

he also was very nervous to speak in his first appearance when getting his papers, like he was very nervous about speaking in front of wiesel. this davey had sort of trouble finding words in a timely manner, but what he always has are the right ones, which was a good dynamic for he and jack. he does know what to say, and what he says is intentional, he just isn't great at saying it until act two which is so. cool. even in act 2 at the rally he's still finding his footing, and then when he's at pulitzer's office with jack and spot, he's in his own. he's nearly flippant about his words, since he's found his confidence in them through jack uplifting them the whole show. it almost..... like he and jack kind of have a mentor-y relationship? jack really feels like he does show davey the ropes (despite how biting the "well my father taught us [indicating that jack shouldn't lie so easily in front of les] not to lie" is), and davey learns from jack while jack learns from davey.

speaking of les though wow is mans protective as fuck. his arms are always around this kid, he rests his chin on his head really casually and les is so easy with it too like yeah they're brothers asf. and their moments in king of new york are so precious, and they have the center table together at the start of act two.

speaking of act two! can't talk about davey without discussing wwh reprise :). the way he talks to jack in this scene is so confident that jack's "have they busted up your brains or something" feels like it's more about that- davey hasn't spoken against jack since before world will know, and jack isn't used to the dynamic davey is trying to establish. he's so persistent, and urgent, and like... in it. "won the battle, jackie think about it" like this davey wants to win. at every single turn in this show, davey wants what he believes to win. he will speak against anyone, he will try and change his words' meaning ("that's not what i mean-"), and he will persuade whoever just so that he can win. he feels so competitive and it shines in different ways and everything he says really is so argumentative. maybe he's a little quieter, his voice is shyer, but davey isn't shy, and that's made clear. also ryan kopel hugged me at the stage door and i love him and he's so fucking sweet wowowow

ok katherine and we'RE DONE i promise.

staging made absolutely sure to ground her. she was watching a lot of the scenes she wasn't in, like she appeared during world will know in one of the aisles- felt very much like those moments in 92sies when we'd just see denton around takin notes, which i loved. showed her as a very active journalist. she also like... spoke like an american newscaster?? like she had a News voice lowkey? which was a fun choice.

her scene with jack when she's asking him questions is so serious for her and i love it, it really makes sure that she cares about what she's writing and who she's writing for. jack's "we both got a lot riding on you" takes her downstage as her desk gets set up, and we get to see jack's words weigh on her which is fuckin nice as hell.. like she just felt more grounded than she's been. she still got to be bubbly, but she was more aware of the situation than like... kara lindsay's katherine. she knew the stakes for the newsies i feel like, which is why the name reveal was more intense and the STBI pre-scene was... the best i've seen. she was embarrassed at herself for lying to jack- not telling him everything, and when she defends it she knows it's weak and doesn't try to back it up.. i just appreciate it bc that scene normally feels so superficial despite its context and what they're talking about, but kath and jack really did everything they could to save that scene's writing... they reeeeally fuckin tried LMAO. this katherine was more willing to put herself in the action for sure

her back and forth with jack in jacobi's was so fun, and the defining line of their arc through the show was definitely "this is entertaining...so far." because it's fun to flirt, until it isn't, and someone you care about his ruining his name at the city-wide rally, or revealed to be the daughter of the man sending cops to beat kids into submission. whew. they're really good together.

very quickly: THIS PULITZER IS >>>>>. HE IS SO GOOD. I CANT LIE LMAOOO HE'S SO EVIL I HATE HIM!! and MEDDA WAS SO. that's jack's mom. she also really does serve independence, and i love it so much.

anyway thanks for reading this far guys LMAO i now this is so extensive and i didn't even talk about the ensemble fr... but that's for the second viewing. the direction this production underwent took major precedence, since it's so different and so much more fleshed out.

hope this gave a clear picture on the vibe of the show and the principal characters/relationships!! more to come asf!!!

#newsies spoilers #WHEW OK WE DID IT for now #newsies #uksies #newsies uk #west endsies #britsies #analysis #newsies design #fizz freaks #jack kelly #crutchie morris #davey jacobs #katherine pulitzer #medda larkin #rizz.analysis

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go-to-the-mirror · 1 year ago

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Becoming a Fear Entity Avatar in The Magnus Archives, and Trauma

The characters who become monsters – or avatars – in The Magnus Archives also become something else: traumatised. The Magnus Archives, a horror fiction podcast written by Jonathan “Jonny” Sims tackles nuanced topics such as personality change and addiction due to trauma, as well as the perpetuation of the cycle of violence, through the lens of becoming an avatar.

Personality change is hypothesised to be a symptom of trauma, specifically childhood and complex trauma (Rutkowski et al.) (Taycan and Yildirim). Helen is a formerly human character in The Magnus Archives who gave a statement of her supernatural experience to the Magnus Institute but was taken and transformed into the same monster which took her (Sims, “MAG 47”) (Sims, “MAG 101”). Helen is the character with the most drastic change when she becomes a monster, as even the fact that she was ever Helen is called into question, because of the way the Distortion, the creature that she has turned into, functions. Helen’s transformation into monsterhood is directly paralleled, by the Archivist’s. Both she and the Archivist are afraid or are stated to be afraid of what they are becoming and what them becoming means for their identity.

ARCHIVIST. You’re still wearing her face. HELEN. Not this again. I’m not “wearing” anything, Archivist. I am at least as much ‘Helen Richardson’ as you are the ‘Jonathan Sims’ that first joined this Institute. Things change. People change. It happens. ARCHIVIST. We’re not people, though, are we? Not anymore (Sims, “MAG 131”).

This dialogue is after the Archivist chooses to wake up from a six-month coma by sacrificing his humanity. He is having a difficult time coping with his loss of humanity, as evidenced by this quote. Both Helen and the Archivist use different titles to their actual name, the Distortion instead of Helen and the Archivist instead of Jonathan Sims. The Archivist’s acceptance of his title is directly correlated to his monstrosity, as he begins to call himself “Jonathan Sims, the Archivist” in his introductions to reading statements only after he chooses to become a monster (Sims, “MAG 122”). Additionally, he is called only “the Archivist” in the description of episode 142 – an episode mainly about the Archivist’s growing monstrosity – and throughout season 5, when he is much less human than he was in seasons 1 to 4 (Sims, “MAG 142”). In this quote, the Archivist and Helen use their names as shorthand for their identity, and their identity changing as they became monsters.

DAISY. And of course, for John there’s survivor’s guilt in there too. He thinks he’s not human. Makes him very... self-destructive. MARTIN. Yeah, well, we’ve all had trauma. DAISY. And everyone’s changed (Sims, “MAG 142”).

This dialogue takes place during episode 142, immediately after Martin, a main character and the Archivist’s boyfriend from episode 159 and beyond, takes the statement of one of the Archivist’s victims, a woman named Jess Tirrell who was forced to recount her traumatising supernatural experience to him (Sims, “MAG 142”). The Archivist’s friend and former supernaturally influenced corrupt cop, Daisy, has no idea that the Archivist has been hunting for victims. She is discussing the Archivist’s decision to go to a Norwegian town to stop the potential end of the world due to a ritual planned by a cult based there (Sims, “MAG 142”). Martin is worried about the Archivist and does not understand why he repeatedly puts his life in danger for seemingly no credible reason (Sims, “MAG 142”). Daisy explains that the Archivist is suffering from trauma, survivor’s guilt, and a belief that he is not human, which makes him believe he does not deserve to live (Sims, “MAG 136”) (Sims, “MAG 142”). Due to the context of this episode, Daisy is unknowingly referring to the Archivist’s change into the kind of person who would perpetuate the cycle of violence and harm an innocent bystander at a café. The Archivist’s personality changes due to becoming a fear entity avatar are equated with the personality changes that come from the many traumatising events he has experienced. This is most notable in episode 142, when both Daisy and Martin are commenting on the Archivist’s changes, though Daisy’s perspective is of the Archivist’s guilt and feelings of inhumanity, and Martin’s perspective is of his victimisation of innocent people and repeated, unexplained, self-destructive actions.

Many avatars go through a similar change to the Archivist, beginning their journey to become a monster due to a traumatic event or events. For example, Daisy Tonner – a corrupt detective who killed many, both monsters and people, while working for the police – experienced a traumatic event when she was eleven years old, when her friend was influenced by the supernatural and attacked her (Sims, “MAG 82”). This directly led her to becoming an avatar, as her former friend was the first human she killed (Sims, “MAG 82”). This parallels the Archivist’s reasons for working at the Magnus Institute. The Archivist had an encounter with a giant spider monster when he was eight years old that ended up eating his childhood bully (Sims, “MAG 81”). Trauma is linked to becoming an avatar, connecting to the hypothesis that victims are likely to become victimisers, also known as the cycle of violence. The Magnus Archives also tackles the abuse of power, and how this relates to the cycle of violence. In season 5, the Archivist gains significantly more power over other avatars, and uses this power to kill the avatars who hurt him in previous seasons. At first, Martin encourages this, seeing the Archivist killing avatars as a righteous quest for vengeance, however in episode 174, the Archivist decides not to kill an avatar, who, notably, had not hurt the Archivist, but had hurt Martin (Sims, “MAG 166”) (Sims, “MAG 174”).

ARCHIVIST. I just— This whole... avenging angel thing, I, I'm not… It doesn't feel right. MARTIN. (With a humourless laugh) It seemed to feel right when we were avenging all the wrongs done against you. ARCHIVIST. I-I know. I, I, I know, alright? But well ah—That's kind of the problem; I-I have all this power, and, and I, I want to use it totry to help, but I — (under breath) I don't know — (normal) I mean, I do. (emotional) I-I've done so much damage, and- and anything that might help to balance that is— (composed) But killing other avatars is, is not— I, I don't think it makes anything better. I think it just makes me worse (Sims, “MAG 174”).

This quote is from a conversation between Martin and the Archivist. Martin asks the Archivist to kill Simon Fairchild, an avatar who threatened to throw Martin off a rollercoaster. The Archivist feels guilty over his role in perpetuating the suffering of billions of people and wants to make it up as best he can, however he recognises that making more people suffer is not fixing the situation. Martin is angry as well, and he too is perpetuating the cycle of violence by encouraging the Archivist to take revenge on both the Archivist’s and his victimisers. The Archivist’s acknowledgement of the fact that killing other avatars is repeated back to him in episode 194, where Martin corelates the Archivist’s satisfaction in seeing his victimisers suffer with the desire that the supernatural entity that made him into an avatar, The Eye, gives him to replace the main antagonist of The Magnus Archives in the Panopticon, which would grant him immeasurable power (Sims, “MAG 194”).

MARTIN. I know what it’s like to be powerless. A-and I know you do too. And I also know what it’s like once you get a taste of— wh-when you’re finally able to— ARCHIVIST. That’s not what this is! MARTIN. I’ve been out there with you. I saw the kick you got out of making them scream for once. ARCHIVIST. (Snarky) What happened to “Kill Bill”? MARTIN. You weren’t meant to enjoy it this much! ARCHIVIST. Why won’t you believe me when I say that this isn’t something I want to do? MARTIN. Because I saw your face when we walked into that room! (Despondent) That wasn’t fear, it, it wasn’t even anger. It was envy. And it scared me more than anything else I’ve seen (Sims, “MAG 194”).

This quote takes place during an argument between the Archivist and Martin. The Archivist believes that right course of action is to take his place in the Panopticon and try to make the world fairer to the billions of people he trapped in eternal torment. Martin believes that this desire is borne out of the Archivist’s self-sacrificial, and oftentimes suicidal, tendencies, in addition to his feeling of empowerment when those who have victimised him suffer at his hand. During season 5, the Archivist perpetuates the cycle of violence, due to desires that originate from trauma, and desires that originate from the supernatural entity influencing his mind. These desires are often equated, and it is unknown where one begins and the other ends. This is especially apparent in episode 174 and 194, where both the Archivist and Martin recognise that his revenge on other avatars and desire to take his place in the Panopticon is borne of a desire not to feel powerless or guilty, emotions often seen in trauma survivors.

The Magnus Archives is influenced by the writer, Jonny Sims’, personal experiences and fears regarding addiction (@jonnywaistcoat). This is apparent in the Archivist’s hunger for statements and its in-text parallels to addiction (Sims, “MAG 107”). The Archivist experiences both supernatural and mundane addiction, relapsing in his smoking addiction in episode 80, and struggling with his addiction to statements in season 3 and 4 (Sims, “MAG 80”).

GEORGIE. So, what? You were just packing this away? ARCHIVIST. Georgie, I just, I needed to do one more. GEORGIE. I asked you not to record them here. ARCHIVIST. I’m sorry, I… I honestly forgot. It’s been a hell of a week (Sims, “MAG 93”).

This quote is from episode 93, where the Archivist and his friend, Georgie, have a confrontation regarding the Archivist’s self-destructive habits and recording statements in Georgie’s home when she asked him not to. Their conversation has parallels to a conversation regarding addiction, with the Archivist stating he “needed” to read one more statement. Self-destructive behaviours, such as risk-taking and substance abuse, are common in trauma survivors and are symptoms of PTSD. Here, the Archivist’s compulsion to record statements is directly related to the traumatising events of the past week and are implicitly connected to addiction. This becomes more explicit in season 4, particularly in episode 147.

So, I thought perhaps I should leave a little something to reassure you that, yes, your actions and your choices have all been your own. Have they been controlled? No more than gravity controls you when you walk, or hunger controls you when you choose your meal. There are certainly new forces, new instincts and desires that influence you and shape your actions. Perhaps you’re unprepared for them, but if you choose to believe in free will, then yes, all you have done has been of your own free will. They have all been your choices (Sims, “MAG 147”).

This quote is from Annabelle Cane, an avatar, in a statement, regarding the Archivist taking statements from innocent bystanders. In this quote, she compares the Archivist’s dependency on statements to a hunger, however it can and has been compared to an addiction due to the Archivist’s compulsion to take statements, and how it feels like it’s out of his control. In her statement, Annabelle states that “addiction is one of the strongest vectors of control there is” (Sims, “MAG 147”). A common stigma around addiction is that it is a choice or a moral failing, and a common result of that stigma is hiding one’s addiction and being afraid to get help (Canada). This is what the Archivist experiences throughout season 4, as he is repeatedly blamed for his choice made under duress to become an avatar, and once his addiction to statements is found out, he blamed and threatened for that as well. The Archivist’s addiction to statements is paralleled to real life ones, in how it affects the Archivist, how the Archivist and those around him view it and how it affects his morality, and its formation because of an experience that can be equated to a traumatic one.

The Magnus Archives uses the process of becoming an avatar as an allegory for trauma and its effects. It highlights this in many ways, such as personality change because of trauma being compared to the loss of humanity that comes with being a fear entity avatar; the Archivist’s revenge on avatars who hurt him in the past as a way he perpetuates the cycle of violence; and the comparisons between mundane and supernatural addictions, both in how they directly affect the Archivist and his actions, and in how the stigma around it causes him to hide it.

Works Cited

Canada. Health Canada. “Stigma around drug use.” Canada, 2 May 2023, canada.ca/en/health-canada/services/opioids/stigma.html. Accessed 19 June 2023.

@jonnywaistcoat. “Just to say, this episode of Magnus is a lot, so please read the content warnings. A few people have asked, so I'll say that this episode mainly comes from my own experiences with addiction and the fears I associate with it and, like all of season 5, it is about fear, not truth.” Twitter, 18 June 2020, 12:38 p.m., twitter.com/jonnywaistcoat/status/1273656411025784832. Internet Archive, 7 November 2020, web.archive.org/web/20201107031909/https://twitter.com/jonnywaistcoat/status/1273656411025784832. Accessed 19 June 2023.

Rutkowski, Krzysztof, et al. "Effect of trauma onset on personality traits of politically persecuted victims." BMC Psychiatry, vol. 16, no. 149, 17 May 2016. Gale OneFile: Psychology, link.gale.com/apps/doc/A452641704/PPPC?u=ko_k12hs_d73&sid=bookmark-PPPC&xid=a8229ab3. Accessed 13 June 2023.

Sims, Jonathan. “MAG 47 – The New Door.” The Magnus Archives, Episode 47, Rusty Quill, 12 January 2017, play.acast.com/s/themagnusarchives/mag-47-the-new-door. Accessed 13 June 2023.

Sims, Jonathan. “MAG 80 – The Librarian.” The Magnus Archives, Episode 80, Rusty Quill, 31 August 2017, play.acast.com/s/themagnusarchives/mag80-thelibrarian. Accessed 19 June 2023.

Sims, Jonathan. “MAG 81 – A Guest for Mr. Spider.” The Magnus Archives, Episode 81, Rusty Quill, 23 November 2017, play.acast.com/s/themagnusarchives/mag81-aguestformr.spider. Accessed 19 June 2023.

Sims, Jonathan. “MAG 82 – The Eyewitnesses.” The Magnus Archives, Episode 82, Rusty Quill, 30 November 2017, play.acast.com/s/themagnusarchives/mag82-theeyewitnesses. Accessed 19 June 2023.

Sims, Jonathan. “MAG 101 – Another Twist.” The Magnus Archives, Episode 101, Rusty Quill, 17 May 2018, play.acast.com/s/themagnusarchives/mag101-anothertwist. Accessed 13 June 2023.

Sims, Jonathan. “MAG 107 – Third Degree.” The Magnus Archives, Episode 107, Rusty Quill, 28 June 2018, play.acast.com/s/themagnusarchives/mag107-thirddegree. Accessed 19 June 2023.

Sims, Jonathan. “MAG 122 – Zombie.” The Magnus Archives, Episode 122, Rusty Quill, 17 January 2019, play.acast.com/s/themagnusarchives/mag122-zombie. Accessed 14 June 2023.

Sims, Jonathan. “MAG 131 – Flesh.” The Magnus Archives, Episode 131, Rusty Quill, 21 March 2019, play.acast.com/s/themagnusarchives/mag131-flesh. Accessed 14 June 2023.

Sims, Jonathan. “MAG 136 – The Puppeteer.” The Magnus Archives, Episode 136, Rusty Quill, 25 April 2019, play.acast.com/s/themagnusarchives/mag136thepuppetter. Accessed 15 June 2023.

#tma #tma meta #the magnus archives #the magnus archives meta #jonathan sims #helen distortion #landscaping your mind chapter one #landscaping your mind is garbage and here’s why #< meta tag

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therealslimshakespeare · 8 months ago

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What got you into writing/how long have you been writing?

What’s your writing inspiration?

Do you write in silence or need background sounds? Like music?

Do you struggle more with dialogue or detail?

Any tips for someone who wants to write fanfiction?

How do you differ all your OC’s so you don’t rewrite the same characters over and over?

Do you do research?

— from someone who would love to write their own stories lol but yours are great!

My darling. So many apologies for how tardy I’ve been in replying to this, I really wanted to give it due thought because I’m quite touched you’d even ask.

1: I’ve been writing since I was little, my mama was always reading me classics and my greatest ambition was to be some kind of author every bit as colorful as their characters, a la Oscar Wilde. 🥳

2. Writing inspiration? Oh that’s a hard one only in that I could cite a million things and chat your poor ear off, but to be boring and also frank -I just love stories. I think they’re so inspiring and healing and necessary for making sense of things, or else resigning to things that can’t be explained. I love to study love and how very human and fallible and also indestructible it is in its many forms. I love to dig through tragedy and find the refining purpose of it, I love to take characters through hells I’ve been through so that I can imagine their triumphs, too, and my own through them. If this can happen to -name your hero- then I’m no smaller for it happening to me, if -name your hero- can get through it and be loved and admired by a whole fandom? -I deserve the same commendation from myself at the very least. Stories are essential and fun and I never ever imagined I’d have a little group one day liking my own where we could all scream about these things together. I’m legit so humbled each time I log on here and find y’all ready and waiting and interactive. The community of it, that’s the biggest drive right now, tbh. What a sweet season.

3. I usually write in silence, or else at any chance where I have a moment, so that could be public transport or lunch breaks or in the loo during family holidays, ha. However I do find music to be an inspiring mood setter for writing later that day. Especially as i juggle many ongoing projects at once, the genre im listening to before may very well influence what gets worked on.

4. Detail!! Dialogue can be challenging but I hear it so clearly in my head most of the time that it’s not hard. Details can devastate me.

5. Ooof, I still feel like I’m a baby at it, this is only my second fandom to dare for. I’d say for sure write what you find inspiring instead of what appears to be wanted, i firmly believe that’s the only sure way to keep up any inspiration and the niche will draw its own crowd, one’s who will like it all the better for its specially crafted world. Also, for dialogue -replay and replay dialogue from the character before you write. Are they terse or do they ramble? Are they sarcastic or earnest? Do they have a word they repeat often? -I noticed the other day how Rosenthal uses “you know?” often in the show. Also, sometimes switch up sentence structure from character to character, it helps feel like hopping brains without a fully jarring POV change. All these are things I’m currently working at myself, but that’s the best I’ve got for advice.

6. Oh boy I’m still figuring this out myself. Three things come to mind as little helps I use- first off, read real biographies, it helps tremendously with crafting fully dimensional fictional people. Two -have a maturing arc for your OC during the story, separate from whatever adventure or romance that occurs, this will make it feel less like a inserted person into the broader story. Three, choose a personality type or something similar to both keep them separate from the next but also to ensure their virtues have corresponding vices.

7. I do research a lot. But I find that it’s a fine line for myself of when that drains all creativity or bravery. Im massively indebted to so many mutuals who generously share their own with me.

#best of wishes to you Nonnie! dare bravely!!#writing woes #about the author 💋

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jazzyjj · 1 year ago

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My rant about the Apple TV show Invasion that I need to type out or I'm gonna scream.

I just absolutely NEED to talk about this show...and how much I fucking hate Monty as a character.

Yes, I know this is a fictional child but the individual playing him is 18 and I'm only a few years older than him so I'm justifying that its ok. We good? All bases covered? Not really? Well fuck it I'm still gonna do it.

As of right now I have only one episode of the second season left to go but because I don't see much change of his character occurring in the finale, I'm just gonna lock in my feelings about him now.

Monty is a selfish, control freak who never actually changes his ways. He just has a couple conversations with a decent human being where he takes a break from being a bigoted dickhead. And because Jamila SOMEHOW found it in her heart to be nice to Monty, the fucker imprinted on her since she's the 1st person to try and be kind to him not out of fear. This is technically wrong cause Casper was nice to him too, but you know how that went.

But let's give him some credit, he did undergo some character growth. Instead of being the bane of Caspar's existence via physical and verbal abuse and plotting to trap his entire class in a ravine until they starve to death just so he can be in control of them; he switches to pretending to be apologetic and remorseful to Casper about all the pain he inflicted upon him, and then shortly after tries to manipulate Jamila into fearing and abandoning Caspar so she'll run into his arms instead. Yes, I know that was an insane run-on sentence. The dude basically tells Caspar, 'I know you're risking your life for me, and idk the entire fucking world by trapping yourself in the upside down, but I could actually give a rat's ass. Please sacrifice all you want but give up the one good thing you still have and let me have her instead, I'll look after her when you die.

He takes the choice away from Jamila to make her own decision about this because apparently, he knows better? And don't worry I'm not leaving Caspar out of this. He's also taking her choice away and then proceeds to purposely hurt her feelings and invalidate her efforts she made to finds him because he believes that's better for her instead of allowing her to fight his demons with him. My guy, she crossed the CONTINENT for you, she almost died like 80 times FOR YOU. The girl is ride or die and you just need to accept that. But I will give him some leeway because he's extremely mentally vulnerable right now and has always been to Monty's influence even when they were in school.

And then I have to painfully endure the classic "I'm no good for you" spiel? I'm pissed. The season is almost over, and I'm broken that this is where Casper and Jamila relationship is, and it's all because of fucking Monty. I was so excited for some 'kids on bikes' when Alfie and Darwin joined Jamila and then Monty had to go and fuck it.

SIGH

I have some hope that maybe the last episode will fix this, Caspar will get his full self back and maybe if a season 3 happens, a brighter future for them will occur without Monty purposefully interfering.

Also last thing, why oh why must Caspar be such a good person, that's what sucks the most about it. The boy has been through so much, watched his mom's abuse and taken on the guilt for her paralysis and then lost her completely, he dealt with his seizures, has been tormented by Monty at every turn and every time he still had empathy for him and showed him kindness and apologized when Monty did not deserve it and it was never returned genuinely.

He's my little guy and I just want him to be happy. Is that so much to ask?!?!

#apple tv #invasion #caspar morrow #invasion apple tv #jamila huston #monty cuttermill #this is long as fuck but it had to be done #I wrote this as I was watching episode 9 #This teenage romance should NOT have me this bent but I can't help it #love triangle

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lumine-no-hikari · 8 months ago

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Dear Sephiroth: (a letter to a fictional character, because why not) #93

Late last night, M, J, and I finished going through the second part of your new story. I didn't end up going to sleep until after 2 in the morning.

…I know I said before that I'd try to treat sleep as something more important. I definitely dropped the ball on that. I'm sorry.

I'm gonna try to get it together when I go to sleep tonight. But I'm not sure how well I'll be able to do that; seem to have me a spot of the post-game blues. It's basically the same thing as post-book blues, or post-series blues, or even post-creation blues. It's the sense of emptiness that occurs after you finish a game, finish a book, finish an episodic series, or even after you finish creating something.

What's more, for this particular thing, I'm left wondering so much. There are several scenes in which it seemed like two polar opposite things were happening simultaneously. And then there's you, or… is that even you? A lot of emphasis was placed on the notion of there being a manipulative cosmic shapeshifting horror running around causing havoc, masquerading as folks that people love or hate, so…

…did we see you in this part of the story at all? And if so, when? And how are we supposed to tell the difference? Guess we'll find out in another 4 or 5 years.

Whether is was you or something else running around in your shape saying all those very unkind things that seem to betray a lack of understanding that other people have thoughts, feelings, and rich inner worlds… I'm still worried for your safety. I still wanna see you turn yourself around and make it through all this okay in the end. I still wanna see you heal so you can continue to make kind, gentle, loving choices. So you can have the peaceful, normal life you wanted. So you can go around helping people recover from circumstances that were similar to yours; even without effort, you've done this for at least one person - I'm standing right here, against all odds. I can't even begin to imagine how many more folks you could reach if/when you manage to finally get your shit together.

…And. I know that reassembly of the self after being shattered is extremely difficult work. I know that making drastic changes to the self - to one's values and morals, to one's behaviors, habits, and thought patterns - takes courage, patience, lots of time, and an astounding capacity to endure pain. But I stand here before you as proof that it's possible. And I know lots of other people who serve as proof that it's possible. The notion that someone can, under the right influences, do a complete 180 in terms of their temperament and fundamental way of being is not NEARLY as "unrealistic" as lots of people in my world seem to like to believe.

And it doesn't HAVE to "make sense"; I know this because the old version of me is, in a lot of fundamental ways, the polar opposite of who I am now. If you asked 20-year-old me whether or not certain kinds of people deserve love, compassion, and mercy, I would have laughed right in your "stupid fucking face" (🙄) and told you that this world only has a place for people who scrape and scrounge and suffer in order to earn it, and that everyone else deserves to disappear, preferably slowly and painfully for having the audacity to have existed as weaklings in the first place (I picked up a lot of REALLY WEIRD SHIT from the people I was raised by). I don't think like that anymore, and frankly, the thought of EVER returning to that frame of mind is abhorrent enough to make me feel a little queasy; I'm gonna stop thinking about who I used to be, at least for now.

The point is this: you can simply wake up one day, take a look around, and decide, "I want to be something other than what my life circumstances tried to shape me into." And then you go and you do it - preferably with some kind of help. Because as far as I know (and I could be wrong about this!), undergoing changes this massive is next to impossible without help. And unfortunately, finding that kind of help can often enough be a very rare thing, at least in the world in which I live; if I had a freaking nickel for every person who looked at me and decided my baggage was too much for them to warrant giving me any kind of chance… goodness… might have enough to retire right the fuck now, hahaha!

I got ASTOUNDINGLY LUCKY that M saw and was willing to fight for whatever tiny shred of goodness he saw within me all those years ago. Most people in my world think that people like me are repulsive and hopeless, and that means that lots of fallen people, who are otherwise amazing people with a lot of good to offer this world, end up never having any opportunity to rise up into becoming who they actually are, because so few people think that they deserve that chance, because conventional wisdom says they're "too far gone".

There's no such thing as a person who is "too far gone". You're not too far gone, and that's why I'm going to keep calling out to you like this. I don't want to live in a world in which I'm stronger than you. Because… who, then, will I look up to? I don't want to go back to having no one to look towards when I feel scared or alone or when I don't know what to do. I don't want to go back to having nothing on the distant horizon to strive towards.

Cloud and the others, as people, are all well and good and whatnot, but… I'm not like them. I've looked to you because I'm a lot more like you than like them. They know what it's like to have at least one loving parent, someone who is happy that they exist, and I… I didn't get to grow up with that as the norm. So many people in my world say things like, "Cloud and Tifa and Barret and the others all have trauma and THEY didn't make bad choices, so anyone who doesn't live up to that example is bad", but…

…those people who can say that with such confidence, I would wager, don't know a whole about what it means to have no one and nothing - not even untainted memories to hold onto - if you find yourself scared, weeping, or alone in the dark. They can't understand how the utter absence of something so fundamental can break a person. They don't understand what a huge difference it makes to have this thing that so many take for granted - a loving basis of comparison which helps them to understand that there is more to this world than hostility and suffering and hate, even when bad things happen.

I have all these things now. I was 22 when I met M, and it has been a very long and bumpy road to get to where I am now. But as I looked to you and to M for guidance, and as I began washing the grime off my psyche bit by bit, I found myself able to notice and appreciate the friendships of different kinds of people, able to notice and appreciate different things to love and be grateful for, and different choices at my disposal, regarding who I wanna be and how I wanna speak, act, and show up in this world.

You can do this thing that I've done, this thing I continue to do day by day. Of course you can do it; you're far more awesome than I could ever hope to be, in every possible way. You can become a new self simply by taking a single step, and then continuing to take that single step day after day. And I know that maybe one step doesn't seem like a whole lot, but… I make rice pudding, and a bowl of that is nothing more than a huge collection of single, tiny grains of rice, falling into my rice cooker one by one. I weave trees together, one tiny twist of the wire at a time. I arrange music boxes, one little note at a time. This blog started out as basically nothing, but in a week, I'll have 100 letters to you, because I write a new one, one day at a time. Change of the self works by similar principles - it's one small change at a time, sustained over a long period, until it becomes something bigger than how it started.

Sephiroth. You can do this. I believe in you. I will NEVER stop believing in you. You can make a difference in the best possible ways, if only you begin to realize the true power you wield in your hands. Because that power does not have its basis in breaking things; breaking things is FAR too easy, even for regular mooks like me; literally anyone can do that, and it's boring as all fuck. No, the power in your hands, and indeed the power in everyone's hands, if they choose to use it, is the capacity to weave together something new and beautiful from the pain that came before. So get on it, willya??? For fuck's sake. Take your own advice and uncloud your eyes; don't get yourself killed by continuing to cling all sentimentally to some stupid, lame-ass, destructive shit, because doing that helps NO ONE, and it's not who you are. Okay?

In the meantime, in an effort to distract myself from the post-game blues, I'm gonna Salt some Sanctuaries for a while. If you wanna chill with me, you can do that here:

twitch_live

I love you and I'll write again soon.

Your friend, Lumine

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