#the bear character archetypes

[yannaryartside]

THE BEAR CHARACTER ARCHETYPES

So, this particular wheel of archetypes was invented for conceptualizing brands, but many writers use it as the base for creating characters. Here is the key to understanding it:

The character belongs to the element of their personality that responds to the deepest desire of their souls, but because of it, it is also what they can provide for others. A "creator" does it because it heals them, but they also "create" for others. Your identity is your purpose. The first weel is their name, the second is their objective, and the third weel is their purpose in the plot.

Carmen/Hero-wants Mastery: wants to achieve mastery to prove he is worthy (of love) but also is a kind teacher and mentor (when he is not being abused precisely for feeling not good enough). He wants (deep down) to collaborate and inspire others because mastery changed him, and he believes in the beauty and legacy of this craft.

Nat/ Lover-wants Intimacy. She wants a life full of love because she felt she had to sacrifice herself to deserve it (earning the love Donna didn't give her). Because of this, she is in a maternal role to everyone; she provides love, comfort, guidance, and compassion.

Fak/ Jester-wants enjoyment. idk shit about their past, but he seems to care about the "vibes" and wants to provide good vibes to the clients.

Richie/ Everyman-wants belonging. he didn't feel valued in his family and was desperate to belong to the Berzattos; now he wants to help the people around him to integrate into the family and business (the pep talks he gives to Syd, Carmy, Fak, Nat)

Syd: Creator-wants Innovation. We still don't know why she is this way or what wound haunts her. Still, since S1, she has said she wants to "make a difference" and innovate in the bear's defective system (Carmy's recklessness, the environment's toxicity, lack of purpose). She has made a difference in each of these areas.

Gif de livelovecaliforniadreams

Marcus/Explorer-wants freedom. He has made decisions out of responsibility and has not felt like he has had a dream for a long time; now, pastry has provided a place where the sky is the limit, and he wants to push his previous frontiers. He keeps supporting others in enjoying their crafts and has faith in them.

gif by @ladespeinada

Tina/Outlaw-wants liberation. She didn't feel like she had true potential but wanted to be free of the anguish of economic difficulties/uncertainty. She had a rebellious and prideful attitude, and now she talked about any challenge with the strut of an outlaw because she is a wild card in this industry.

gifs by @goodsirs

[blackjack-15]

Hi I just got through reading all of your liveblogging posts about The Bear! It was a delight to read all of your real-time predictions that ended up coming true, you really had this show’s number from the jump lol. Do you have any predictions for next season? Most fans think Carm and Syd are headed for an explosive confrontation, but are any other storylines, scenes, character beats, etc. that you think we might see?

This is super nice of you, anon! thank you so much for following my chaotic ramblings XD and hey it's a lot easier to know what might happen in the show when they've got such competent writers/directors! tho they surprised me a fair number of times (i don't think i'll be over the interplay/intercuts of claire, carmy, and syd at the end of 2X07/start of 2X08 any time soon), which keeps things fun

as far as predictions for next season...i think it's hard to say without having the first five minutes of S3 in front of me (they do such a good job setting up the tone and conflicts of the season in the first little bit of S1 and S2!), but i've got

a couple things i'm pretty sure about:

-more REM songs (only thing i'm 100% positive on)

-more kitchen/cooking time for our mains, especially carmy. last season's renovations + cliche john hughes nonsense kept him mostly out of the kitchen from ep 3 on, and i'm 99% sure he'll be back with a knife in hand come S3

-nat giving birth to a girl (i'd love it but am not solid on predicting she'd be named some derivative of 'mary' (or a name meaning 'victory', such as nicole), given the berzatto family prayer).

i know the temptation for her to have a boy named after michael is strong b/c it's TV, but this series (rightly, in my mind) tends away from Lionizing the Dead simply b/c they're dead, and after spending S2 breaking down mikey (and showing mikey and nat's relationship, which like ever berzatto relationship wasn't super healthy), i'm hopeful and trusting the writers to avoid this. it wouldn't make me hate the show or anything, but it would honestly disappoint me unless done in a way (i honestly can't think of what way) that would make it okay. plus pete kinda screams girldad to me, and seeing carmy and richie with a little niece would be incredibly precious

-sydcarmy dustup of some kind, but i doubt it'll be as explosive as we've seen in the past, mostly b/c syd was stressed but exhilarated by success at friends & family and b/c i think carmy's (lack of) mental health will be brought up in relation to it

-solidifying of a secondary staff at the bear to let our regulars breathe a bit and have the bear feel like a real, functioning kitchen, not a mom and pop greasy spoon -- this started at the end of s2 but it needs to continue

-cicero setting the tone of the first few months of The Bear (and probably his commentary on carmy's relationships) -- we're not out of the realm of Complete and Utter Failure yet, lads, and the money is gonna come due -- whether by the guise of Friendly Uncle Jimmy visiting with Nat, or the mask of Cicero the Loan Shark coming out in full force

-art storyline with carmy figuring out what will replace the awful painting (i'm going to guess it'll be something of his design, but it'll at least be something he feels represents him, given the comments last season)

-major theme of carmy figuring out what he wants vs what others want for him. him analyzing his relationship with claire by himself -- or, my preference, talking it out with Tina, who he seems to be able to open up to pretty well -- is part of this

things that have to happen but i have no idea how/to what resolution:

-carmy and richie addressing the "donna" fight/comment. it's gonna be multi-ep (neither one is great at complimenting the other to their face and tend to do it behind the other's back, but richie is especially bad at it), and it's gonna hurt.

-pete spilling the beans to Someone (not nat but not sure who) about donna being at f&f

-resident claire's poor little hurt feelings from trespassing into the kitchen and eavesdropping on then leaving carmy in the middle of a really, really bad attack (yes i'm phrasing it that way because it's true <3)

-something about tiff's upcoming wedding (marcus getting contracted/recommended to make dessert for it would be painful but oh so crunchy)

-carmy meets syd's dad. he's proud of her and her success and you know he's gonna want to meet her business partner

nebulous predictions:

-ebra's storyline with him carving out a niche at the sandwich window getting screentime

-tina coming more into her own and maybe getting a designated storyline (about what? no idea)

-more gary nonsense. man lives the wildest life and we see almost none of it

-carmy working through what cooking means to him and what it means in relation to the bear/the berzattos/sydney

-nat's water breaks/she goes into labor at the bear. not sure the baby will actually be born there (i'd guess probably not on the whole), but the process will Begin there

-syd distraction/love interest storyline. not even her dating particularly, just her attention being Split and having the shoe be on the other foot for carmy as they navigate what being business partners means outside the kitchen

-fak time. he's a little uncertain, a little wandering in the restaurant, and he was a major...antagonistic force, let's say? in S2. his place in the world of the bear needs clarification and harmony, and his identity needs solidity and sureness

things that aren't impossible/improbable but would be a Little Treat for Me specifically:

-chef jess being invited to the bear by richie (let the man have people outside the bear and his kid/ex! garrett may come too i'll allow it)

-the return of louie my beloved (helping out at the sandwich window? he makes a good foil to Young Carmy, so i would like to see him more -- carmy in Full Mentorship would be a thing to see, and it would be a being-better-than-mikey-was-to-him thing as well. it's narratively crunchy and provides lots of room for growth, but can be done in ways that don't involve louie, so that's why it's here)

-syd's best meal + comment about being a regular at The Beef coming back. do i think they eventually will? yes. am i aware that my desire for them is prolly stronger than it narratively should be be predicted? also yes. could this easily be combined with carmy meeting syd's dad? yes and i will break the sound barrier

-carmy drawing a dish syd comes up with. a hand-drawn menu for the bear would be Incredible, and syd's face looking at a sistine-chapel-style drawing of a dish she came up with? tremendous, chef

thing that i want to be brought up more than Anything but don't predict it'll be touched (at least directly):

-carmy yelling for syd during his attack in the walk-in (i'm sorry you can't have the man yelling "MARCUS GET ME SYD. GET ME SYD" and expect me not to want it on a billboard

that got long, sorry anon, but there we go -- 4am rambling off-the-cuff about S3...only months to go, hopefully....

[urhoneycombwitch]

one ‘my love’ from Natalie Berzatto would fix me

[mariocki]

Simon Templar meets his match in the shape of Roger Delgado, as Peruvian police chief Captain Rodriguez in The Saint: Locate and Destroy (5.12, ITC, 1966)

[shoyoist]

omfg 😭

[mummer]

[l3vi4than]

Im sorry to be that man, but it sounds just as much ridiculous as “you don’t have to be over 20 to be a DILF” 😅

I mean, probably… in some cultures… 😅

I have a friend who firmly believes twinks have to be young to be twinks and I object morally because I think twink is a social construct and like all social constructs, it has a vibe more than a definition.

just as you can be the dancing queen at any age, you can still be a twink if you put your bussy into it. don't let your dreams die. live while you're alive.

[ohnoitstbskyen]

As a bear who is into other bears, I'm apprehensive but excited about the fandom-wide adoration of Senshi's design from Dungeon Meshi. Fandom of old has a habit of framing older, heavier, hairier men as sex icons purely ironically, but the love Senshi has garnered feels... different. It feels far more sincere and any comments are at worst playful jabs. Why do you think Senshi has captured so many hearts?

Well, Senshi is a well-presented, interesting, empathetic and funny character who is portrayed really really well in the anime, that's really the core of it.

Also, a caring, attentive man who is deeply invested in his hobby and eager to tell you about it, who takes care of your needs and makes space for your eccentricities and who can also cook is the sheets-soakingly horny throbbing center of a LOT of people's erotic imagination. Dungeon Meshi presented that archetype earnestly and without ironic distance or mockery, and people responded.

It also matters a lot, I think, that the show itself takes Senshi and his physicality seriously as something interesting and worthwhile about him. I've written a post about it elsewhere, but Ryuko Kui takes character design seriously, and designs characters with a real interest in their bodies and presentation. Whether or not she meant for Senshi to be sexy, her art seems to take joy from portraying his body as something which it is worth your time to look at and appreciate.

And that's a big point of difference with how not just bear-type characters but all characters in a story are portrayed. A lot of anime treat its characters mostly as clothing racks to hang cool costumes on, and physical difference is only really employed visually as a means of abjection, a means to alienate or separate a character from the norm. Dungeon Meshi largely avoids this - in the visual language of that story, physical difference is the norm, and at least to me, that creates much more of a feeling of non-judgment about how the characters are portrayed.

So Senshi isn't stocky and hairy because ha ha eww look at the hairy man gross, he's stocky and hairy because that's a normal thing to be for him. There's a greater neutrality there, and this avoids passing bias on to the audience, and creates more space for appreciation.

... I think, anyway. I've been awake for like 20 hours and I'm loopy and this sh** is basically just off the dome in a stream of consciousness, I have no idea if any of this makes sense.

[irisbleufic]

REVIEW

Gatsby: An American Myth (Welch, Chavkin, Bartlett, Majok, & Tayeh; American Repertory Theater)

Something that most adaptations of Gatsby get wrong, whether film or stage, is the treatment of characters as archetypes rather than individuals. Symbolism drowns out most genuine attempts at capturing emotional connections and conflicts of personality. They forget that this story is not only a failure of the so-called American Dream; first and foremost, it’s a tragedy of failed roles and relationships. Almost every one of the players is attempting to be someone they are not, and even as they reach for what they believe they should want, they reveal with increasing fervor what they actually want. This is the heart of what makes Welch’s new adaptation so devastatingly, disarmingly unique, so true to its source.

The set design is literal wreckage. Crushed and warped automobile chassis scaffold the moving staircases, and concealed trap doors. The backdrop shows no clear incorporation of the infamous Eckleburg billboard; rather, it is made up of a dotted grid resembling headlights. These play out effects ranging from a downpour to camera flashes to, briefly and only once, a pair of eyes that make no effort to hide behind the owlish frames of glasses. The only thing infusing this jagged framework with meaning is the people who move through it.

The lighting design works with the set’s incongruences, deepening or excavating shadows as needed. The brightness, when it flares, is blinding. Jewel tones either enhance or diminish a costuming scheme that is composed of either very pale or very dark shades, no in between. And whether it’s the post-apocalyptic black and gray cabaret garb of the ensemble or the wealthy protagonists’ pale suits or the gunmetal and gray denizens of the wasteland, everyone’s trouser and skirt hems are conspicuously rimed with reddish dust. The visual effects are nearly impossible to describe without sounding like I had some kind of desperate fever dream.

So far, I realize that these descriptions of the set and lighting design sound like this production is about to fall into the trap of overplaying symbolism, but please bear with me. With all of that established, I can focus on what’s truly extraordinary here, what’s meant to and does shine unhindered. The acting, musicianship and vocals are all so precise that it was hard for me to believe this show is still in previews. It feels Broadway ready, West End ready, major international tours ready. If I was the production crew, I’d turn this loose on a massive scale from the get-go without a second thought.

Much like with Hadestown, the musicians are not down in an orchestra pit. They’re characters in their own right, present on the stage from start to finish on tiered risers that run up from the center on each side from one of the catwalks. I’m sure Chavkin’s involvement as director has everything to do with why this show feels so much like, moves so much like Hadestown. The company is on an equally small scale, about 23 - 25 people including the principals.

Costuming among the ensemble is delightfully gender agnostic. I mention a cabaret aesthetic earlier in this review, and I’m not kidding. If you had shown me the ensemble costume designs without showing me the principals’ designs, I would have assumed I was looking at a Cabaret revival. They’re the most talented dancers I’ve seen occupy one stage in more than a decade. The choreography relies on movements in eerie unison for a significant portion of the show, but not without allowance for individual flair within those constraints. The guy sitting next to me, when I spoke to him at the intermission, said he works as a choreographer in regional theater, and he’d never seen anything like this. I couldn’t agree more; the dancing is singular, and as impressive as the musicianship is, the dancing and unusual body movement are maybe the greatest achievements of this show on the living, breathing end of things. I could have watched the dancers for those three hours without any dialogue or vocal intervention and still understood the story. That takes so much fucking doing.

As for the principal cast, they’re constantly among the ensemble; when I say these are all triple threats in the purest sense of that terminology, I really mean it. You always expect a few of the principals to be less dance and movement focused, more polished on the acting and singing side, but this show gives you terrifying proficiency from every angle. Even the guy playing Meyer Wolfsheim is at the center of what I think is the most memorable dance number in the piece. I’ve just never seen such versatile principals all in one production. What’s even more extraordinary is that I had never heard of or previously seen any of them, and that takes some doing given how much live theater I’ve consumed in several decades of life.

Ironically, the musical composition is the one aspect of this production on which I’ll be spending the least time. I need not tell you why Welch and Bartlett were perfect for this job. They understood the assignment, and then some. There’s not a single weak number among the track listings, and I desperately hope they release a recording soon. The standout numbers all have something in common: they showcase Soleia Pfeiffer as Myrtle Wilson. You can tell that’s the role where Welch sank most of the sound that’s considered her signature style. I don’t even need to describe it; you already know what I’m talking about. What’s impressive otherwise is the restraint, the lack of over-reliance on that signature style.

The principals are fucking perfect. I’ve kept this review tautly professional without meaning to thus far, but from here on out is where I start bleeding feels all over the post. If you don’t already know who my blorbos are due to my writing history with a Gatsby-related novel (The Pursued and the Pursuing, 2021), you’re going to know by the time you’re done reading this. You’re going to know exactly who I love and why, who I hate and why, who I ship and why. But you’ll also know that I approach all three of those elements from a place of enjoying every moment of those characters, even the ones I hate. Nobody’s performance put me off or struck the wrong tone when taken in context of the novel and how the tragedy of how their relationships play out.

For a long time, I’ve been saying that there are certain support roles, certain sidekicks, that make or break the higher-profile person to whose side they’re stuck, ride or die, until the bitter end. Horatio is a great example that I’ve ranted about before; if your Hamlet production has a lackluster Horatio, then it doesn’t matter how good the Hamlet is. You have nothing if you don’t have the binary star system at the heart of that harrowing universe. I’ve seen other adaptations of Gatsby consistently fall apart because Nick Carraway is treated like the kind of voyeur who doesn’t matter, the kind of voyeur who serves as the audience’s eyes and ears, and nothing else. Anyway, this is all to say: Ben Levi Ross as Nick might be the most compelling argument I can make for the fact that the creative team behind this show understood the assignment. He’s awkward, warm, sincere, and reactive in all of the ways you need Nick to be. He’s not a passive observer; he’s in the middle of everything, and he knows it. There’s a self-deprecating response he makes when one character, Jordan if I’m not mistaken, quips that maybe he’s the reason for Gatsby’s parties for all he knows. “Maybe I am,” he says, and the tongue-in-cheekness belies a gutting meta-sincerity. We believe Daisy is the point, Gatsby believes Daisy is the point, but what’s borne out every breathtaking moment of this production is that Nick is the point. He always was. He’s also given his due as a gay man in context of the story for the first time ever. I might make some folks mad when I say Nick has always been gay; I’m going to point you to Myrtle’s apartment party and the hookup with Mr. McKee as textual evidence in the novel. The kiss with McKee, the hookup with McKee, is unapologetically here. His lack of belonging everywhere else he’s ever been, because he is gay, is unapologetically here. One of the most memorable numbers in the show hinges on the hope feels at being able to be himself in New York. Queer fans of Gatsby have been waiting a long time for this. Anyone who’s read the text closely and understood him has been waiting a long time for this. I’ve been waiting several decades as a reader, and I would’ve waited forever to have Nick so fully, lovingly realized.

One of the other things that Gatsby adaptations have persistently gotten wrong is the titular character himself. The invention of Jay Gatsby hides the underlying James Gatz, makes it feel as if that old self is truly subsumed, as if it never mattered. But Isaac Powell gives us a Jay who’s exactly as he should be, who can’t hide beneath his own attempt at artifice and reinvention worth a goddamn. He’s young (as young as Nick; they’re 32 and 30 respectively both in the novel and here), painfully earnest, and just barely keeping a handle on the criminal shit he’s had to do in order to get where he is. When he says old sport to Nick, it’s not an affectation; when he says it to Tom, it becomes a biting insult. This is a Jay who knows where and why he’s vulnerable; he latches onto Nick like a not because he sees a man close to Daisy that he can exploit, but because he sees another young man who’s equally vulnerable, equally an outsider, equally haunted by the things they had to do in the war. From the moment they meet, they are almost always touching—a hand on the shoulder, on the back, getting in social harm’s way for each other, eyes seeking each other without cease in the most crowded of settings. When Jay takes Nick to lunch to meet Wolfsheim (who has in this production taken on the function of Dan Cody as well), it’s not to have somebody else vouch for the artifice of who Jay Gatsby is. It’s taking Nick to meet his fucking father-figure, and all of the messy, sincere “if you hurt my boy, I’ll kill you” sentiment that Wolfsheim aims at Nick was the moment I knew just how much the Nick’s loss by the end was going to hurt. Jay’s love for Daisy is a ghost of itself, even if as painfully earnest as everything else about him. Meanwhile, his attachment to Nick is so disarmingly genuine from the start that you understand the true tragedy you’re about to watch untold: these men who need each other, maybe even were made for each other, each prove unable to step outside their parallel distractions from what they truly are to each other. Jay’s interactions with Daisy and Nick’s interactions with several male and/or gender ambiguous members of the ensemble have something in common, which is a shocking level of physicality. This show had an intimacy coordinator; that’s the level of no holds barred we’re talking about. When you look at Tom and Myrtle, you can see why that was merited, too.

Speaking of Tom (Cory Jeacoma), the treatment of him here is every bit as scary as it should be. There’s no attempt to make him palatable, unlike what I’ve seen done with him in other adaptations. He towers over everyone else in the cast, I mean everyone, to a physical degree that’s uncomfortable. The way his wife, lover, and friends all flinch when he gets too close to them speaks volumes to the fact that he’s an abuser in every sense of the term. Even Nick, the prodigal college friend from Yale, is on eggshells around him (which, by the hotel blowup at the end of the show, becomes a sneering, reckless contempt, one of the driving forces that drives Nick to put himself between Jay and Tom whenever real harm is on the table). At the same time, this is a Tom who sincerely loves his wife and was only ever using Myrtle as a fling. You can tell he never meant any of the promises he made Myrtle. When Daisy tells him she didn’t stop the car on purpose, it’s as if his wife’s unapologetic act of manslaughter (“It was her or me!”) is the thing that wins him back. They aren’t careless people; they are people who consciously choose, day in and day out, to use others until they’re bored or done with them. The ruthlessness of Tom and Daisy as a couple is impressive, played up to a level that I feel more adaptations should do without fear of exaggerating the text.

As mentioned above, Daisy (Charlotte MacInnes) is no delicate, nervous creature who can’t help her actions under duress. She knows what she’s doing every bit as much as Tom knows what he’s doing. They use people, hurt people because they get bored and restless and enjoy it. I respect a Daisy who’s in control of her actions every step of the way even if I don’t like her; it’s better than trying to depict her as weak and at the mercy of the men around her. She’s a pragmatist and a survivor. So many of her songs are about choices and being conscious of those choices. She is a person you should fear every bit as much as you fear her husband, and even Jordan knows she’s not safe in Daisy’s orbit.

As Jordan, Eleri Ward is one of the neatest personalities on stage. Like Tom, she’s noticeably taller than most, which gives her a commanding physical presence. She has no romantic interest in anyone; I fucking love that this production show her and Nick bonding on the basis of being queer and tired of everyone else’s shit. This is a more likable, relatable Jordan than I’ve seen in the past. This is a Jordan whose relationship to Gatsby is much more familiar and warm, much more akin to the friendship she forms with Nick. In fact, the queer-and-tired vibes that roll off several of the principals in this production are palpable.

Myrtle and Wilson (Matthew Amira) aren’t always played as effective foils for Daisy and Tom, but here? They unquestionably are. They do actually love each other in spite of the things they’ve done to hurt each other, and it’s a constant dance of daring each other, challenging each other. The most memorable duet in the entire show is between them, during Act II. The confrontation is positively electric. These are two people with deep, complicated history. Of all the couples in the show, they feel the most real, the most alive. It makes the loss of Myrtle so much more wrenching; she’s not just a plot device emblematic of the bad choices they’ve all been making. She’s not shallow or frivolous or anything like that. She’s a shrewd woman with complex motivations, and for the first time ever I find myself loving her and caring what happens to her. She’s thrust even further into the action in that one of her part time gigs is working as a maid at Gatsby’s parties, a conceit that works shockingly well and hastens the devastating consequences of her affair with Tom.

I’ve made mention of Meyer Wolfsheim’s (Adam Grupper) uniquely enhanced role previously, so I’d be remiss if I didn’t comment on him again. This is a man who does, in fact, seem to give a shit about Jay above and beyond using him as a tool in his criminal empire. It’s not necessarily a healthy father-son dynamic, but Wolfsheim is usually played as ruthless, opportunistic, inhumanly calculating. Here, he’s a charming, but unquestionably dangerous man moved by a young soldier’s plight. He seems conflicted between his love for Jay and his need to have Jay continue to hold the party line within their business relationship. Wolfsheim is deeply conflicted about Jay in a way that I haven’t seen any Wolfsheim be played previously. And, as I mentioned earlier, the actor has a showstopper of a song and dance number. That may be the #1 “I wasn’t expecting that, but I’ll take it!” moment for me in this show. And I say “may be” only because the moment that truly stopped my heart, will stay with me until everything else fades from memory, is perhaps only understandable in the context of my engagement with the text of Gatsby as a writer of transformative works.

Daisy’s and Tom’s daughter, Pam Buchanan doesn’t always appear in adaptations because she’s a toddler. Even in the novel, she a throwaway mention plus a single scene near the end where the nanny brings her out to meet Jay and Nick. She’s most often left as a throwaway mention without even grave of the scene where she appears. The scene in the novel, however brief, is memorable—and has been captured in all its fragile beauty for the first time in this adaptation. Jay and Nick both pay bewildered, wondering attention to this kid when she’s brought out. Jay drops to his knees and takes her hand when she greets him while Nick looks on in a moment of singular focus on both of them. The child who plays Pam here has a spark, an expressiveness that made me choke up even though she’s only on stage for a few minutes, if that. The tableau is one in which you can feel the shock of reality, however brief, touch on these men—Daisy’s and Tom’s reckless actions may yet do harm to someone who’s barely even begun to live her life, but who is just conscious enough to be a participant in it. They recognize that they, like this child, are probably in for a word of ruin—and that they have let it go on for so long that there’s now nothing they can do about it. For me, the deepest tragedy was watching Nick and Jay throw off that moment of heartbroken, horrified recognition prompted by Pam and return to the parts they’d decided to play out until the moment one of their hearts stopped.

Speaking of grief, of Nick’s grief since he’s the one who loses so much: there is only one person who loses more, and that’s Mr. Gatz, Jay’s father. They preserve his arrival at the house when Nick is the only person who stays around to carry out Jay’s funeral and burial. And when he arrives, the visceral shock of seeing his dark skin, braids, and beaded elements of Native regalia in juxtaposition with his otherwise period-typical Western garb underscore the tragedy of what young Jay was running away from, of what he never quite succeeded in erasing from himself. The burial scene shows Nick reverently bringing several of Jay’s folded shirts from the house and handing them down into the grave to Mr. Gatz, who places them reverently as possessions to accompany his son into thereafter. The cultural ramifications are all at once understated and devastating. Nick has moments with each of Jay’s father figures that are among the most complex and moving in the show. The program does not make clear the name of the ensemble member who takes on this most memorable of all Mr. Gatz appearances, and this erasure in and of itself is both unfortunate and telling. This is a world that never belonged to the majority of those who inhabit it, and Nick realizes it with heartbroken clarity after having this final interaction. Even though he’s an outsider, he’s part of a world that has erased and betrayed the man he loved so much at every turn.

The closing number, “We Beat On,” felt like it needed something more, but it utilized the final line of the novel to a deeply moving effect. The lights go down suddenly as the last word is sung; it feels like the song is half finished. When the lights came up, Nick and Jay were center stage in each other’s embrace, just withdrawing from each other as the entire company transitioned into final bows. That’s how I’ll remember them, always: touching even when they’ve already lost each other, borne ceaselessly back into each other’s arms. If Nick is Orpheus, then I have no doubt that he, too, will tell this story again and again until someday, somewhere, something gives.

[aardvark-123]

~Bad Ideas for Skyrim Mods~

Stylish Lore-Friendly Vampire Lady Attire 4K CBBE 3BBA BHUNP HDT-FMSP SSE AE WACCF OWL CACO ACE: Puts Serana in a stylish tuxedo and top hat.

Immersive Mud: Replaces the mud in Morthal and along the coastline with a deformable mesh into which actors and objects can sink. Characters with legs have a chance of getting stuck in the mud, increasing with the mud's depth and their armour's weight. You can escape from the mud by jumping repeatedly or using Whirlwind Sprint, but any boots you have equipped will stay buried, and must be dug out with a spade.

Realistic Lore-Friendly Fishing Rods: Adds three thousand, seven hundred and twelve new variants of fishing rod, each with different chances of fishing up various types of treasure, rubbish and water-dwelling fauna.

Organised Bears in Skyrim: Adds stronger tiers of bears to bear levelled lists, from Dire Bears at level 32 all the way to Evolved Ancient Frozen Panda Deathlords at level 78. Diversifies bear spawns with exciting new bear archetypes, including slow and tanky armoured bears, powerful bear warlocks, deadly bear crossbowmen, and even bear necromancers who can conjure fearsome bear draugr.

Silent Hill in Whiterun: Puts a small hill on the Whiterun tundra which makes no sounds whatsoever. Maybe it could go in that empty part east of Rorikstead.

Very Realistic Horses: 2023 Edition: Speeds up horses. They now canter as fast as a human can sprint, and gallop faster still. Horses need to eat and drink at least once per day, and will feed automatically on nearby water and grass while not being ridden. When stabled, they'll pretty much take care of themselves; otherwise, they should be left near some grass and a river or lake. If you don't feed or water your horse for one day, it will refuse to run. If you don't feed or water your horse for three days, it will die. If you don't clean up your horse's manure, which it deposits by the side of the road every three hours, you will be fined 100 septims or arrested.

Immersive Dragon Bridge Bridge Dragon Overhaul: Replaces the dragon-themed bridge outside Dragon Bridge with an actual dragon. Instead of walking across her, for a small fee she'll lift you up ever so carefully in her jaws and deposit you on the far side of the gorge.

[zan0tix]

Hi tumblr user Zan0tix, I have to say that I love that you draw Jake as big and hairy AND fem. It's such a rare combination outside of mean-spirited caricatures, every time I see your Jake I get a big smile on my face. :)

Hi tumblr user HermitCyclop ^u^ here is a jake drawing for you 🫶

The transmisogynistic demonisation of these features is so maddening!!! I agree! Im glad that the intent (appreciating these features) of my jake design reaches you c:

GOING TO PUT IT UNDER THE CUT BECAUSE I HAVE SO MUCH TO SAY. But jake english gender meta because i think about it Too Much and am taking this as an excuse to infodump abt it. 😁

The alpha kids and their specific defiance of both homestucks gendered narrative AND real life societal expectations are so fun to think about to me!! but since we are talking about jake, his specific defiance of both homestucks models of masculinity and femininity in the context of his queerness is like the reason he is my fav character.

He props himself up that he wants to be the adventure "hero" in the homestuck sense (the hardheaded blue femme fatale) and the western media sense (the hardheaded action man) yet whenever pressed to actually act on what he says he always refuses or obfuscates. Because really what he wants is to just be himself! I really love the alpha kids because they all just want to be Themselves, not be restricted and defined by what is expected of them, (all the characters have this but the alphas particularly really hammer this home for me)

The heavy emphasis on their beta selves, the heteronormative archetypes they embodied and what went wrong in their lives that manifest as fears in their alpha selves... im always thinking about it. How differently society affects queer ppls choices in life and then the fact that they all get a second chance and getting to watch them live out that second chance and realize their queerness and them all caring so much abt eachother and wanting to aspire to be better FOR the ones they love!!!!!! it always tugs at my heart strings to ponder😢😢

IM SO GOOD AT GOING ON TANGENTS MY BAD but basically. The alpha kids explicit queerness and how despite the comic itself protesting, they are all shown to be deserving of love (of all kinds) And as a person who super heavily relates to jake, his experience with his own identity (and dirks unending adoration and love for him and likewise jakes belief and admiration of dirk) serves to me as a reminder that yknow! We are all worthy of love!! Even if we dont think ourselves to be (this is just the message of shrek.) and there is always hope to be found in things improving!!!!

But in a text thats explicitly queer and not shy about letting its queer characters do wrong in realistic ways i think this message is incredibly powerful and certainly one of the best things about the comic in my eyes. And i love embracing that in my art of the characters! Drawing queer (but here specifically trans) characters all getting to be proud of themselves and their appearances makes me feel proud of myself alongside them and I think its wonderful to be able appreciate other trans peoples experiences and looks through it too!!

I specifically in homestuck fandom dont really see anybody but twinks (usually dirk or eridan LMFAO) portrayed to be fem in any manner 😢 when jake is the most explicitly feminine man in the comic. (I think the transmisogyny thats kind of rampant in this fandom means people dont want to consider those outside conventional attractiveness being feminine or transfem identities outside binary transwomen if even that😭😭) I am being the change i wana see in the world 🙏 The amount of transfem fat gay bear jake in the world increases by one every time i post

[raccoon-in-the-danger-room]

Sometimes I see reviews about D&W where people think Worst Wolverine's backstory is super lacking. That they expected something epic like how Mysterio tricked Logan to slaughter everyone in the Old Man comic run.

But that plot, at least to me, doesn't make The Worst Wolverine. It probably makes the Most Tortured Wolverine -- the story of a man slaughtering his own family with his bare hands because he was mind controlled. Which inevitably created a power vacuum so gigantic that the world basically collapsed as supervillains take over the world.

But the title of Worst Wolverine should belong to the Logan that completely abandons his most important moral value: to be the protector.

Sure, he tends to be nomadic and at times self-isolates, but at his core he truly knows what it means to be a pack animal: to be a part of a cohesive family unit, rely on others, be a guardian for the weak.

In a literal sense, a common backstory for him was that he just fucked off from human society after he mutated to live with a pack of wolves. He turned feral, but they also taught him about the importance of community.

Even if you aren't a fan of the wolf background (which I AM because I think it's funny and dramatic as hell), there's other stories where he got taken care of by the Blackfoot Tribe and Lord Ogun before somehow winding up in the Weapon-X Program. Then, the Hudson family rescued him and helped him gain his humanity back after the adamantium experiments. He joined Department H, and sometime after, he found his place with the X-Men.

My point being that past or present, Logan has always belonged to a family. He needs it -- his human AND animal side both need it. He's not meant to be a creature of solitude. When he is, it's a form of punishment that he inflicts upon himself because he doesn't feel worthy to be around the people he loves or he's worried about hurting them. Or it's something inflicted upon him -- aka he's been captured and is being experimented on.

So what does all this tell us about Logan's moral code? He cares deeply for others because it's in his nature to be a part of a pack and he will do anything to protect them.

He's very caring towards animals (ex. looking after wolves that took care of him, mercy killing a bear in The Wolverine, and saving the horses in Logan). He tried to save Silver Fox's life when Sabretooth attacked her. When his wife Itsu was murdered, he relied on the advice of Lord Ogun to get vengeance for her with the Muramasa Blade. He joined Department H and Alpha Flight because he owed the Hudsons so much after re-acclimating him to society. He stayed with the X-Men because Charles gave him a home, family, and purpose outside of being a weapon. He enabled him to be the good man that he is by not only using his powers for the good fight but also being a teacher for the students.

As a character, Logan was created to reflect the archetype of the cowboy/samurai with the morals of honor, integrity, and justice. He's also not afraid to be judge, jury, and executioner for the people he loves. He's a man of action.

So what is the antithetical? A man who dishonors himself by not taking his job seriously. A man of inaction who abandons those he loves. A man who doesn't seek justice but wallows in regret and guilt.

And what did the Worst Wolverine do?

He let his fondness for drinking harm his work. While he was drinking at a bar, a group of humans invaded the X-Mansion and killed a large part of the staff, students, and X-Men. He entered a berserker rage where he murdered the invaders AND innocent people. He tarnished the legacy of the X-Men.

The title of Worst Wolverine doesn't go to the man who got brainwashed and killed without knowing. The title goes to the Logan who killed indescriminantly and didn’t want to stop.

He chose to walk away when they called out for him. He went into a beast state that made the public completely turn against the X-Men in just one night. Instead of making up for his sins, he just went back to the bar -- the very thing that killed his family. He did everything he could to go against his morals of honor, integrity, and justice.

He was a man who failed his family.

THAT'S what makes him The Worst Wolverine.

[makiquas]

Its Butchtober. Bear with me for a second as I rant about children's cartoon ships, butchphobia, the conditional acceptance of butches in sapphic spaces on the basis of desirability, and feeling erased as a butch kid.

It's so funny that I realised early on as a 2000-2010s teen/kid how a lot of so called "sapphics" of social media are really, really anti butch4butch, only by interacting with certain subsets of Catradora and Appledash haters. It may be flippant to connect butchphobia with children's cartoons, but you cannot deny it is there. We finally had two canon butch4butch and masc4masc lesbian animated ships. And the fandoms decided that the best possible reaction to this is to violently hate on the ships for bullshit reasons and write up masterdocs about how the butch character actually looks better with a femme character instead (in both cases–Rarity and Glimmer, who is arguably feminine but not femme, but that's a conversation for another day, how the SPOP fandom waters down gender identities for aesthetics).

This is not just about two cartoon ships; this mindset of seeing two masc lesbians and immediately going "actually they act like bros; but this BUTCHFEMME couple has real chemistry" comes off sounding really, really bad in 2024 when you have no idea how butch identity operates, outside of depicting us as pants-wearing sexually aggressive muscular women. Butches ARE bros, even the ones who kiss each other. Camaraderie and tomboyish swagger *is* a part of their life. It's not our fault you are too fanfic trope-pilled to read these interactions are sexless friendship bantering.

It's also quite concerning, given how there are only a handful of butch4butch books in the market, and almost all of them talk about the stigmatizing of relationships between two butches/studs/masc lesbians. There are many butch lesbians who themselves face internalized butchphobia because of societal standards and expectations of being turned into the "gallant" provider of femmes. Butch and femme are not always inherently complementary, butches can be attracted to other butches, there is no "natural order" model of lesbian/sapphic attraction and your thinly veiled butchphobia is really off-putting, given you guys don't seem to extend that same rhetoric to mascfemme ships like Korrasami or Caitvi, or femme-femme ships like Harlivy.

Here, I must mention relationships like Rei and Kaoru from Oniisama E, or Jess and Lupe from A League of Their Own, who have bucket loads of chemistry but still have some vehement antis only because both the lesbians are masculine. (What's funny is the new wave of lesbian Oniisama E fans are almost all Rei/Kaoru shippers despite the show putting them into two butchfemme pairings.) Something something to be butch4butch is to be failing the tests of palatability and desirability according to conventional models of societal norms. Forever.

Again, one may have valid reasons for disliking these fictional ships (what, I genuinely don't know). But it *is* weird that you guys can watch fifty white fem4fem sapphic shows in a year and read 100+ GL with the same feminine girlish blonde and brunette/pink haired archetype and not bat an eyelid, but conjure a world of made-up "platonic" dynamics just because you read every butch4butch interaction as fundamentally platonic.

A lot of you love to throw around Stone Butch Blues as a catchphrase to educate strangers on the internet about 1950s-70s blue-collar bar culture and USA butch femme history, but how many of you actually know that within the book itself, the lead character acts prejudiced and hates on another butch for being butch4butch? How many of you know that she apologizes to her friend at the end for her hateful remarks? Fun fact: when you ostracize a butch for not fitting into your butch-femme subculture aesthetic, you're no better than lesbiphobic bigots actually.

Anyway, here are some butch4butch resources if you are a baby butch4butch and feel alienated by these kinds of weird rhetoric in online and fandom queer spaces too:

Butch4Butch romance books

My Butch4Butch books masterdoc (**being updated regularly**)

Leo Wilder's Butch4Butch writing (18+)

Butch4Butch photography archive (insta)

Boyish² Butch4Butch yuri anthology (insta)

@milsae Butch4Butch artist (tumblr/insta)

This post is made by a trans masc butch of color. Terfs, racists, biphobes and radfems kindly do not derail or interact.

[sotiredmostnights]

i know everyone likes to put tharja in the "yandere goth girl" category but tbh i feel like pigeonholing her into one specific archetype does a huge disservice to her character. is she obsessed with curses and robin? yes. is she constantly shoved into a fanservice role by intsys? absolutely.

but i think a lot of people forget just how impactful a lot of her supports are...there's something about tharja that makes nearly everyone who interacts with her divulge their deepest secrets and points of anxiety with her. we see this with libra, who tells her of the abandonment he endured at the hands of his parents. we see it with nowi, whose cheerful demeanor slips off as she tells tharja of her missing parents. and although tharja is not the only one lon'qu confides in regarding ke'ri, their support is notably the only one in which lon'qu divulges that there was romantic involvement between he and his childhood friend.

and despite her antisocial exterior, she always listens mindfully and offers to help! she even goes out of her way to discreetly help the shepherds (getting virion to do odd jobs that benefit civilians, interrogating henry to make sure he bears no ill will towards ylisse, etc).

a big thing about tharja is that she IS kind. she IS considerate. she just also has a reputation to uphold as a dark mage and that (paired with her overall awkwardness ofc) makes her true nature hard to see at first glance

[literaryvein-reblogs]

Writing Notes: Allegory

Allegory - a story that alludes to other literary works or comments on common conditions of life.

When a work or its passages are allegorical, they are similar to an event, character or setting in a story that is universally known: a fable, a parable in the Bible, or a Greek myth.

Allegories have 2 levels of narration occurring at the same time: the actual events, characters and setting presented in the story, and the ideas they are intended to convey or the significance they bear.

3 Literary Forms that you might use when discussing allegory:

Fable. A fable is a short story, often featuring animals with human traits, to which writers attach morals or explanations.

Parable. Parables are most often associated with Jesus Christ, who used them in His teachings. They are short narratives that exemplify religious truths or insights.

Myth. Myths are stories, either short or long, that are often associated with religion and philosophy and with various races and cultures. They embody the social and cultural values of the civilization during which they were written.

When writing about allegory, determine whether all or part of the story is allegorical.

Sustained allegory. This occurs when a story’s allegory continues throughout the work, from beginning to end. The sole purpose is to convey the dominant idea. The idea is emphasized rather than the story’s actual (literal) details. For example, The Pilgrim’s Progress is a story about Christian’s difficult journey from his home in the City of Destruction to his new home in the Heavenly City. But the main idea is about the rigors and trials of Christian life.

Episodic allegory. This occurs when a story contains an allegorical episode or passage. The passage is based on both the actual (literal) events in the story and the allegorical elements. For example, during one scene in the film Star Wars, Darth Vader imprisons Luke Skywalker, and Skywalker must exert all his skill and strength to get free and to overcome Vader. This temporary imprisonment signifies those moments of doubt and discouragement that people experience while trying to overcome obstacles. Similar heroic deeds have been represented allegorically in the stories of Jason and the Argonauts and Beowulf and Grendel.

When analyzing allegory, ask yourself the following questions:

The application of allegory. Does the allegory (fable, parable, myth) refer to anything or anyone specific? Does it refer to an action or particular period of history? Or does the allegory refer to human tendencies or ideas? Does it illustrate, point by point, particular philosophies or religions? If the allegory seems outdated, how much can be applied for people living today?

The consistency of allegory. Is the allegory maintained consistently throughout the work, or is it intermittently used? Explain and detail this use.

Do extra reading and research:

To understand allegorical implications in a story, you have to become familiar with the source of the similarities.

Allegorical sources include world history, classic works of literature, and archetypal ideas, such as the “quest” or “coming of age.”

You might need to use a dictionary, encyclopedia, or other reference book. For example, you would not recognize that the musical West Side Story is allegorical unless you were aware of its similarities to a classic work of literature: Romeo and Juliet. Thus, to see certain implications in West Side Story, you have to have a general grasp of Shakespeare’s play.

Remember: As long as the similarities are close and consistent, your allegorical interpretations of the story will be valid.

If these writing notes help with your poem/story, do tag me. Or send me a link. I'd love to read them!

Writing Notes & References

[writers-potion]

Vampires, Werewolves, Zombies

They are human, but not quite. Although these entities are deeply embedded in the human psyche, they have not single definite form.

Here are some notes about these paranormal creatures of 'The Universal Unconscious', and ideas about how to tweak them.

Vampires

First stories about vampires as we know them appeared in the 18th C and developed in the early 19th C.

In 1819, a young English doctor wrote The Vampyre, featuring the character Lord Ruthven. An aristocratic fiend, immortal, seductive, and dangerous, he soon became popular.

It inspired Bram Stoker's novel Dracula. Count Dracula then became the archetype from whom most literary vampires evolved.

Sparkling vs. Traditional

Broadly, vampire would fall into 2 types:

Sparkling ones where vampires are more or less benevolent/heroic, less of a monster but a tormented human.

Traditional vampires who are creepy and dangerous.

It doesn't matter which of these you write!

Vampire Tropes

is 'undead' in a state between living and dead

drinks human blood

has an adverse or strange reaction to sunlight

sleeps in a coffin

needs to sleep on native soil, therefore carries some soil with him

remarkably handsome

seductive

pale

low body temperature

has two long retractable fangs

averse to garlic and silver

cannot bear the sight of a crucifix

suffers pain or injury when touched by holy water

cannot enter a home without being invited

can hypnotize humans

can impose his will on humans

not reflect in mirros

can fly

may be a loner or part of a hierarchical society

drains human's life force to replenish its own

immortal (almost)

superhuman strength

can be killed with a wooden stake through the heart

vampires are former humans, "turned" by a bite

when bitten by a vampire, a human weakens, dies, or becomes a vampire.

Werewolves

While wolves are the most common were-humans, humans turning into other animals are also popular.

Werewolf Tropes

normally lives as human, but turn into a wolf with certain triggers

the full moon is a common trigger

superhuman strength

possessive

loyal

dangerous

jealous

organized in hierarchical packs

may be able to change shape at will

lives an ordinary human life and keeps the turning a secret

can be killed with a silver bullet

a bite from a werewolf infects, and the bitten person becomes a werewolf.

immortal

Zombies

Through flesh-hungry undead have been a feature of ancient stories like the epic of Gilgamesh, the zombie as we know it today is rather modern, stemming from George A. Romero's 1968 film Night of the Living Dead.

The word "zombie" stems from the Haiti Vodun tradition, but was not applied widely to flesh-eating undead corpses until the second half of the 20th century.

Zombie Tropes

reanimated corposes

infected as a virus (often in a worldwide pandemic)

mindless, cannot be reasoned with

hunger for human flesh

appetite for brains

craving for salt

relentless, purpose-driven

retains some physical features and personality traits of the person they used to be

sickening smell of rotting flesh

body slowly rots, with parts dropping off

move in hordes

keeps living in this undead state despite injuries that cannot be survived.

besiege human dwellings.

─── ･ ｡ﾟ☆: *.☽ .* . ───

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