#the show tried to be more diverse but still treated the characters of color outside the main cast like crap

[whydotheycallmechimney]

every single one of Elijah’s love interests are incredibly hot and badass woman, and that’s just what happens when you’re the sexiest man in the entire tvdu

[steve0discusses]

S5 Ep6: Joey Wheeler is on Fire, Yet Again

Came down with a little sickness-not the biggie, just a little sly guy. But I took some meds, I’m a little floaty, I’ve only been listening to baroque music all morning for some reason? And I hate baroque music usually? But I’ll leave it to bro to tell me if this is fluid enough.

Just so you know, these caps were kind of a hot mess for a while and some of them read like that Garfield in of hot eat the food comic until...today. So pls don’t judge me, Judge my damn DMV where no one was following Covid regulations because I’m pretty sure that’s where I got this damn cold.

We start off with Roland getting more attention than he ever has in his entire life. Like honestly, I don’t know what Roland’s job really is...but he’s got a very diverse set of very useless skills. One of which, is knowing how to announce sports games that aren’t really a sport, while those games he’s announcing slowly fall into chaos.

Anyway, Roland’s taking so long cherishing his sweet time before everything goes to hell, that he’s boring Joey, who’s kinda turned into a ball of stress in the waiting room.

A lot of this episode is us watching them watching Joey having a break down moment by moment, TBH.

(read more under the cut)

Yugi telling Joey to study his cards and straight up--what?

Like at this point they know what’s on the cards, right? Like there comes a point where even Yugioh cards have a finite amount of words and I’m just going to assume that like...Joey probably knows them all in his own deck, right?

(bro note: they have no limit on what they will put on a card)

Then again, maybe Yugi doesn’t know what “study” means?

Also, appreciate how some artist crosshatched the hell on Joey’s nose there and I zoomed out and ruined it.

Now for some reason every duelist is hanging out in the duel lodge, including our current arch-villain guy who’s brought a book. I want to know what book this guy even reads so no one could suspect he’s actually a hacker who uses computers. He’s reading romance, right? And I don’t think he’d even be into Twilight, I think he’s straight up into hard core Mom romance like a lame ass Nicholas Sparks over there reading “Dear John” for the millionth time because he is completely un-phased by anything else happening in this room.

Joey, our hero, just out there being an asshole for no reason.

After Tea is pushed into a locker or something screaming about her need for female friends (which she screamed in earshot of Rebecca again, who I figured was on friends terms with her after last episode...but I guess not) Leon hops up to remind us that we should be caring about the fact that his character exists.

And like, I love Leon’s hair color--that’s a good choice, and legit that is the color I tried to dye my hair at the beginning of the epidemic (it didn’t work PS, my hair cannot take dye for the life of it) but also like...he just kinda feels like a weak Rebecca as far as characters go. He’s young, he’s good at cards...I think he goes to a private school? That’s all I can think of about Leon.

He mostly just reminds us that the big prize of this tourney is to duel Yugi, who anyone could have dueled at any point even without the tournament.

On the way out of the...duel room? lounge? Area? Joey decides to like...make peace with Zigfried, and I gotta tell you, I kinda have to side with Zigfried, because Joey spent the last ten minutes being a freak in the dressing room/lounge/bathroom and at one point looked like he was going to hold the entire locker room in a stranglehold.

I would also want some space from Joey Wheeler, is what I’m saying.

After insulting Joey’s style (which honestly, Joey...has a style? He pops his collar, that’s his entire style.) Zigfried assures us that Joey’s gonna lose and like...

...probably, right? Just looking at the plausible direction this season will go.

Anyway, Joey is such a mess (which is the theme of the episode, that Joey needs to learn to chill in order to win at card games) that Rebecca is like “I understand if all of you leave me to go help our poor baby Joey.” And no one felt bad for her.

Mokuba comes over to tell everyone all of the Kaiba family secrets because Mokuba has no filter.

Seto has devoted himself to staring at a computer screen for the rest of this episode. I guess he’ll put their names into Google, realize that social media hasn’t been invented yet, and then just lie his head down on the desk and take a power nap until the tournament is over. Much like I did after taking Dayquil this afternoon.

I like how Seto dressed for success and then locked himself in the server room for most of this arc so far. Maybe he’s just...really tired, I dunno. I don’t really blame the guy, he’s had a hard time.

And then Yugi was like “DAMN IT MOKUBA, JUST ONCE CAN YOU NOT INVITE THE ILLUMINATI???”

And we had a weird scene where Yugi just started talking to the ghost and it was while he was talking to everyone else, and the show didn’t treat it like that’s a weird thing to do...but it was a weird thing to do.

This show does that sometimes, where I guess they imply that Yugi’s Pharaoh conversations are split second conversations but...they’re not, right?

Also this chick ain’t gone yet, and Mokuba is just failing at his entire job for not zeroing in on vibes coming off this chick like stinky cheeseman.

So listen.

Did the Kaibas make like 3 types of Blue Eyes Caboose to one up Noah? Because Noah made one choo choo dragon, and then Mokuba and Seto were like “how dare” and then made sure that everyone ride every single version of the blue eyes caboose just to see how proud of them they were.

How many months of troubleshooting was the train? Like how long in development did Seto and Mokuba spend on these? A lot right? Like most of the time?

I did not check the subs to see if Roland said Jumping or Champion but I like to believe that Roland thought it was a cool new name he gave him.

Then these guys all showed up.

Hey so...can we talk seating arrangements?

Tea decided not to sit next to Yugi after complaining about not spending time with him for like how many episodes? Or was it too awkward to sit on top of what was probably Pharaoh?

Or did Mokuba go like “please, Tea, I cannot sit next to the others because I’m pretty sure one is a mole that is about to go cray” and was Tea like “Good, I need female friends, these ones are driving me crazy!” and then was Mokuba like peering desperately over the edge of his self made dragon train prison realizing he has to listen to Tea complain about boys for the rest of his ride across molten lava?

Headcanons abound about this weird seating arrangement that the animators drew for the reasons they did...but reasons I cannot fully understand. That and the Dayquil is making me overfixate on random stuff.

And also, Tea is kind of the Kaiba’s security’s understudy. Just there to always protect Mokuba with her ass because she’s the strongest woman alive.

PS I missed the tumblr wars because at the time I was trying to like...run a proper business on blogger. When Blogger died and I jumped over here it was like a weird ruin where everyone was like “tumblr is the most toxic place alive” and...I’ve had a really nice time here, actually. Completely missed that civil war period and I have no regrets.

Now I was there for the Petz wars (warz, I guess) where people were very militant about Petz abuse (abuze?) where apparently people were using the spray bottle on their catz too much and people were very, very upset about it to the point that they were like campaigning about it on their angelfire websites with the most bizarre grassroots campaigns that I still recall, to this day because they were like...well they looked like this:

PLAPA. Not only am I 100% positive that only this one guy ever called this movement PLAPA, but I’m 100% positive that not only are Catz not real people, but also this wasn’t actually happening and we never had any proof that it was. Either way, if people knew or suspected that you hadn’t deleted the spray bottle from your game (which at the time I had no idea how to do because I was a wee child) they would basically assume you were on a one way road to being a mass murderer in real life.

In real life we were 7 years old so like...thanks?

But that’s the closest I got to toxicity and at the time I was too young to make an email account and actually converse with these people. I was just there to download their Petz hexes, and I already made a post about how wonderful and incredible Petz Hexing was.

And y’all, I heard, just now after a little deep dive into the Petz Abuse debacle (which yes, is on the wiki), that apparently, like gardening, Petz Hexing came back in a big way during the epidemic--and I have found an active Petz forum in this the year 2021. The only problem is that I no longer remember how to use old timey forums...and I think I’m locked out of seeing most of these threads (and like this forum is so old I think I have to send them a letter in the physical mail to apply). But, I’m pretty sure they’re hosting a picture contest for who’s dogz poses the best. And I’m pretty sure someone created a hexxed Pickle Rick. Or it’s a photoshop that was made to look like a hexxed Pickle Rick.

Dammit why did it have to be Pickle Rick? That’s not worth re-installing Petz and getting it to run on Windows 10...

Guys is this the Dayquil? Is this really happening? I feel like I’m losing my mind for so many reasons...

Anyway, speaking about useless hexing it’s about time that our villain did something that was actually dangerous, so Zigfried decided to install a new virus that does more than turn off the lights. (it still turns off lights)

the Spreadsheet Virus!

Confounded by the spreadsheet software, it...um...it does this:

Straight up how does Excel make a volcano erupt? Is that why I have to pay for Microsoft office now?

All this because Joey made fun of Zigfried’s naturally pink hair? Which is the most normal hair on this series outside of like...Tristan?

Hey guys...Joey’s fine, right? Like how many times has Joey been on fire? And once in an iron cage next to like...a Fire Golem?

Joey’s fine.

MAN I miss Fire Golem. He had a good mug.

And then we just kinda watch chaos go across the park, chaos that includes: Too many ghosts in the haunted mansion (which honestly--you’ll get your money’s worth, sounds great!), the Ferris wheel goes kinda fast and thus might accidentally be fun, the lights turn off at some concert stage that only had 2 people on it (so it might just be motion detector lights and not even a virus), and um...literal fire and magma are going to set Joey Wheeler on fire.

Just...one of these events does not seem like the others. In fact most of these things sound like good improvements to the park and they should just hire Zigfried at this point.

Roland puts down his microphone and jogs across the stage, about a mile through the audience bleachers, and into the staff lounge, to go and bother Seto Kaiba, who is in a room that has a hi-def classical painting copy-pasted on the wall and I can’t look away from it.

I almost did a Google search on this painting but then thought better about it. There’s like...a billion classical paintings that look exactly like this, and they wouldn’t use like a Monet, they would have to do something that’s harder to catch to avoid copyright issues (because yes, even old ass paintings have copyright issues, but no one tell NFT’s which are going to be so freakin screwed and was such a bad idea, that I can’t even start).

Anyway, I have no idea who it is and it is legitimately driving me up a wall, but I’m on too much meds to do the effort of putting it in a reverse google image search.

Plus, a reverse google image search would only pull up Seto Kaiba.

So Kaiba takes us on a little flashback to his weird ass past, a weird ass past that just...doesn’t follow any of the established timelines, but I assume was shortly after adoption but before Seto got into a phase where he wore his school outfit everywhere and tried to shove his MMO off onto his Dad as a business model.

Seto is like 8 for some reason. I don’t know why, they kinda drew him younger this season anyway, like maybe they got a lot of fan mail and realized “Hey I think we made the 16 yo boy too sexy?” And they just toned Seto the hell down. That, and it’s a different animation team, and maybe they looked at Seto’s character design and were like “we don’t get paid enough to draw this well.” So...since Seto actually looks like a teen again, I guess his 12 year old self has to look like he’s in Elementary school.

Also, I only recognized this, because at some point in S3 as I was roasting Noah Kaiba’s weird fashion:

I remember distinctly roasting that little bow tie. I don’t remember when I wrote it, I think there was a version of this outfit that was in color...but I don’t remember where.

Anyway, it’s not the same jacket...but man that’s kind of awkward, ya? Like the maid who dressed Mokuba deffo got fired?

He um.

Turned the lights off a little bit.

Guys this villain is like...

...why does he think lights are scary? Like look at little Seto here. The boy is already bored. Seto duels on the edges of cliffs...he doesn’t care about the freakin dark.

We had a guy who killed everyone on the planet last season, and this season we have a little fashion gremlin standing in the corner and flicking the light switch going  “wooooo you never catch me!” and it’s like...

...I’m starting to think this guy isn’t a witch.

Like we’re at Episode 6, there’s still time for this guy to be a witch...but I really am starting to think this guy is just...straight up not a witch. It’s everything Seto wanted, a rival who isn’t a freakin magic person...and sets Joey only fake on fire instead literally on fire like last time...

and Seto is just completely unhinged by it.

Anyway, I’m off to go drink a bowl of soup and pass out. If you’re new here, this is a link to read these in chrono order.

https://steve0discusses.tumblr.com/tagged/yugioh/chrono

[chronicas]

Ok Leeds. It’s legally their full name, but if they need a first name quick they go by “Jersey.” A couple agents started it after their break out in the 20s and it stuck. They could probably back trace their birthday by their curse but that would be too much math. It was sometime in the 1740s though. Lacks binary. But hasn’t really had a chance to figure themselves out beyond that. They used to be really distant but with how many “newer” agents are practically immortal they’ve actually been opening up. No one has become super close yet though. They are single, but still only learning to mingle. Goddamn give them a best friend. Tried to date a couple times in their late teens. It never, ever ended well. Not only was the dating pool of fellow teen freaks a bad start, but each triste was doomed as soon as their curse snapped back into effect and their love got to have 13 years to grow up without them. Related, they don’t say “I love you” easily if it’s genuine. Says it disingenuously a whole lot easier. They’ve lived in a number of BPRD bases over the years, even in agents home’s a few times (something about getting some good influence and a “normal” childhood). They don’t love it, but they have accepted it. And hey, at least the BPRD treats them pretty well- they only have so long to live. Because they try to keep things that don’t belong to them neat, their usually considered neat. Tends to get messier towards the end of their stay though, then feel bad about it and frantically sort. Their personal situation affected them more than their environment. As a young child most agents died quickly and they never really found a parental figure, but they had a brief period early on where they tried to get close to someone, anyone. It hurt too much to watch them grow old and die as they barely aged.

Their biggest fear is that one day they’ll be overcome by their curse and never return. On the other hand, getting to just stay instead of disappearing would be their greatest wish. They lack a lot in self control, since their extra and thrill-seeking personality is just their way of selling their own self destructive streak. They would give their life without hesitation for people they’ve barely met, but less in a protective sense and more in an incredibly self destructive sense. Has ping-ponged from putting everyone else's and no one else’s needs before their own. On one hand, hedonism. On the other, no self value. Not super materialistic, despite their love of whatever luxury they can get. More about experience than items. Probably because they have exactly NOTHING to their name. They don’t easily trust others with their secrets nor with their life, but they’ve been stuck in a situation where they kinda have to do both. For similar reasons, they kinda gave up on good role models. No one survives on their timescale. Also, betrayal kinda washes off their back. They don’t really bother to give trust until it is really, really earned. Doesn’t feel they have any real talents/skills, but is an absolute Jack of all Trades. They might not be incredible at any one thing, but they can do a lot of things. If they put more effort in it could be more impressive but eh. Their favorite thing about themself is how much good they’ve been able to do. It's easy when you have so little self esteem. Their least favorite is how ignorant and naïve they can seem. They are aware their perspective on life is incredibly flawed and unhealthy but they don’t really know what else to do. Their biggest strength is actually their persistence. They don’t recognize it as such, but others frequently do. They wish they’d stop bringing it up though- though don’t like “pity.” They can express surface, “entertaining” emotions easily and often, but deeper, more personal feelings usually get buried. Their biggest strength is actually their persistence. They get lonely incredibly easily and have so, so many regrets. Living life the way they do always does. Resorts to fight at the drop of a hat, and their tail is covered in sharp spines. Get bludgeoned bitch. Worries a lot about what will happen to them after they die given what they do when they're not in control, but buries it deep down and tries not to think about it. Has been raised religious but it never quite… stuck. It’s just hard for them to believe, outside of what they see with the BPRD, that is. Can brush off A Lot but getting on their nerves enough is a good way to learn creative new insults and have your entire self confidence taken down a notch. It’s more a matter of quantity than quality, though. Their sense of humor is dark, but the jokes they like are mostly dad puns. Their laugh is B A D. They don’t even really “laugh”- they snort and honk. They laugh fairly often but get tired quickly.

On a lighter note, some misc:

- Their favorite color is Pink. If you laugh at that they will bite.

- Their favorite animal used to be dogs, but then they broke out and ate a couple. They still feel guilty.

- Their favorite music, fashion, and food changes every time they come back. They both change so much within their 13 missing years. Has a soft spot for hotdogs and pizza, though.

- Like Autumn, or Summer in the deep woods. Wishes they got out more.

- Stability over comfort.

- Envy.

- Likes extremes in their weather, but not rain.

- Chaotic good, but thinks they are chaotic neutral.

- Can’t speak any languages other than English.

- If they could make a mark on history, they would throw a truly legendary party.

- Above average pain/temperature/illness tolerance, but nothing special.

- They have no tattoos or piercings, but they would love to get some. Especially a nose ring.

- Has never been drunk or even touched alcohol, despite how much they really want to.

- Tends to smell quite sterile, but their BO is like cheap Italian food.

- Fine with kids, but doesn’t interact with them a lot. (Has never considered having kids an option, but if it was they would actually want a kid to give a better life.)

- Given a blank piece of paper and nothing to do they’d probably idly fold the paper to try and make free form origami, then burn it depending on the outcome.

- Not bothered by blood in practice, but bothered in theory.

- Old fashion, swirly handwriting.

- Has enjoyed swimming when given the opportunity, but not particularly competent or interested. More interested in playing than racing.

- Celebrates anytime they get the chance, loves the more diverse hires of the BPRD specifically for extra holiday purposes.

- Old Piney accent they’ve never managed to shake.

- Born left handed but was trained as a righty. Can't use either particularly well, but shows preference for the left these days.

okay so i'm gonna start with that i obv don't know the full context but that is SO INTERESTING! i'm really curious about the full story! love how much thought you've clearly put into this character!!

[shoichee]

Hortensias

Midorima x Takao

rpg!AU

Word Count: 5271

Synopsis: Takao, a cheeky yet innovative alchemist, accidentally crash lands near Midorima’s target and causes them to flee. Midorima is seething, not just because Takao made him fail a vital commission, but because Takao ruined his perfect streak of quest clears that he maintained for years ever since he joined Akashi’s guild.

Note: I don’t write character x character but since it is for @knbsecretsanta‘s event, and since @iseefairies had listed some ships, I thought to experiment with this and see how this went;; based off of the official art twitter of KNB’s fake RPG here !

@knb-kreations 

Merry Christmas, Aly! I hope the year has been treating you well <3 This is actually my first time writing a KNB ship as I’ve always stuck to KNB x reader! But without further ado, here’s the fic!

»»—————　☼　—————««

Another gentle zephyr slinks through the whimsical city, where dandelions flutter past the sturdy, maintained walls that embrace its citizens in everlasting security, and it is evident that the residents felt safe from the way they carry themselves. Here, everyone chatters away merrily, as mothers gossip with one another at the local produce booths and fathers drink away to oblivion in the local taverns with their friends. Children are let loose, playing a one-sided game of tag with unsuspecting pigeons, grubby hands waiting to pounce on them at the perfect opportunity.

Despite the overwhelming bustling, Takao knows everyone in the city and the city’s topography like the back of his hand. An equally chatty person himself, he can’t help but wedge himself into the huntsmen’s conversation about recent news of game or even lodge himself into the housewives’ whispers with an easygoing joke that instantly gets them giggling. The latter, well, he’s required to know the land of the local area. Otherwise, how could he properly do his job as an alchemist?

Due to his gregarious nature, everyone knows Takao Kazunari, the “friendly alchemist.” Takao, a young man described to be the next “enlightener” of the era. Takao, an alchemist gifted with the convenient ability to “see” the properties and compatibilities of the elements found everywhere; it certainly had played a critical part in shooting him to high prestige among the nation’s scholarship, even if he never took his studies seriously back in the academies. Every new discovery he made, every innovation he accidentally pioneered, were always due to his own whims and morbid curiosities.

What if he took a slime creature’s remains and melted it with an open flame?

What if he extracted oils from petals of specific poisonous plants to turn them nontoxic?

What if he took certain minerals and infused them with randomized doses of ether energy?

After all, he was bound to become utterly bored in the city if he had nothing else to occupy his attention. That was the beauty of being an alchemist. One can always find something new to tinker with out of things that already exist, to push the limits of matter and energy.

Even so, he found the excitement of being an alchemist dwindling with each passing day. Especially ever since his application to one of the most prestigious guilds was immediately rejected despite his rising stardom. At first, he didn’t mind the rejection—sure, it stung and dumped an ice-cold bucket of reality on him, but he figured to shrug it off and finally decided to work hard, hoping for another momentous opportunity to come by. Still, he was a tad bitter about the fact that he was very close to being accepted as an official guildmate had it not been for a “masterful archer” showing up to take the limited spot away. He remembered a pink-haired girl, assumed to be the guild’s recruiter and receptionist, reluctantly telling him that the guild was prioritizing an experienced warrior over a civilian alchemist due to a recent onslaught of hostile monsters roaming outside. Takao eventually came to terms with her explanation, and with that, he kept the thoughts of the guild in the back of his mind while he worked.

That was, until every time he tried to do anything, intervention was required specifically from that guild.

He needed to purchase a specific ingredient that was labeled a controlled substance? He needed special permission from that guild.

He wanted to go outside the city walls to pick a few plants and carcasses for an experiment? He needed to go through extra lengths to submit a request for an escort from that guild.

He wanted to travel beyond the local area to other regions to expand his alchemy repertoire? He needed to be an approved member from that guild.

It was beyond ridiculous—how was it that no other guild besides that guild being granted much authority over the city?

Granted, he could’ve just gone along with the established rules and merrily be on his way, but the thought of potentially meeting the person who took his opportunity away dug up unresolved feelings of bitterness.

I’ll show them… I just need to be so good that they have no choice but to notice me.

Even if he didn’t have the innate miracle of being able to wield ether energy during combat like the recent recruits of that guild, he still was undeniably a prodigy in his own arts; he just sometimes wished he was more of the first than the latter.

———

What are the odds that today was when almost every guild member was not anywhere in the close proximity of the city?

Close to none.

Apparently, local knights were apprehensive in guarding the perimeter without the comforting presence of the powerful guildmates nearby, and it looks like the anxiousness spread to the rest of the cityfolk. The fathers were by their families’ sides and stationed outside their own homes, while mothers wrapped their arms around their children inside in apprehension. Some children picked up on the mood changes, while some were confused or annoyed in why they couldn’t be outside chasing after birds.

For Takao, this was yet again, another momentous opportunity he had been waiting for.

He had his eyes set on the prize: the ether-infused hydrangea flower patches outside the walls near the forest. No one was going to be around to pay much attention to a lone alchemist moving about when they had more dire situations to focus their attention on: the rogue tribes, or hostile beasts, or even the enemy regions adjacent to the land.

His physique was quite deceiving; even if Takao was a mere lean civilian, he was more than capable of scaling up the stone walls and doing simple acrobatics to avoid authority detection, and he easily slipped to the wild with the advantage of the lack of “watch dogs” around.

“Sheesh… finally, no one here to breathe down my neck every second…”

Takao stretches his arms, sore from the physical exertion moments before, and exhales. He scans his surroundings before determining the best route to his destination and promptly jogs. Except that it took him longer than expected to get there considering that he kept getting sidetracked by every object that caught his eye, either packing them into his bag for future experiments or chasing after them in an attempt to view them up close.

Nonetheless, he reached the hydrangea patches by late afternoon, and he eagerly plucked off each flower bud by their different colors, wondering if the pH that causes the color diversity would affect the results of his experimentation.

“It wouldn’t hurt to treat myself with a quick experiment…” he murmurs to himself, looking at the colorful, tall bushels around him in the quiet meadow. “There’s no one here anyways…” His face grows giddy at the thrill of the possibilities for the first time in a while, and he hastily brings out small bottles of liquified ether energy and the melted slime remnants he had from past experiments. He pops open the cork caps and dumps each colored bud into various bottles and seals it back up with the cap, and he gives each glass a firm shake before he sets them all on the ground.

With that, he makes himself comfortable on the soft grass against the tree, taking out a small sketchbook to record his observations.

Three bottles filled with blue hydrangeas stood innocently and perfectly aligned for Takao to observe without any inhibitions. The first bottle had the blue hydrangea soaked in the ether energy, the second bottle had the hydrangea partially enveloped by the melted slime, and the third bottle had the flower mixed with both the ether and slime. Half an hour passed by uneventfully, and Takao slightly scowled.

“Oh, come on,” he grumbles. “Not even a teensy reaction from these?” He huffs and blows the stray bangs out of his eyes before he puts down his sketchbook, and he quickly crawls to lift the first bottle up. “I thought for sure the first bottle would have something happening…”

He gingerly opens the cork to smell the bottle’s contents.

Sweet, yet refreshing and crisp like cold morning air.

It would definitely make a superb fragrance for the perfume shops back home, but it wasn’t what Takao had in mind when he wanted to visit the patches.

Perhaps Takao should’ve actually paid attention to his alchemist studies back during schooling because out of agitation, he may have not noticed, or rather disregarded, the odd feeling that grew in his stomach when he picked up the second bottle. To any other alchemist who learned the basics of experiment procedures, they would’ve been much more meticulous and careful, and many would even notice the strange pressure emanating from the sealed bottle. But to Takao, he’s always believed that philosophy had done more harm than good in alchemy, putting limitations in the efforts of pushing humanity’s potential. But perhaps the stuffy adults at the academies were correct this time.

Because the moment he slowly twisted the cap off, his immediate instinct was to tilt the bottle away from his face within a millisecond, and the bottle’s contents exploded like a rocket right after in a hot goo of blue hues. Any other second later and Takao’s face could’ve been melted off with a blue stain. But unfortunately for his surroundings, the entire nearby flowers and grass patches have been repainted a cerulean blue in uneven distributions of splotches. Even in the aftermath, the bottle in his hands was abnormally warm.

“Well, I don’t think that’s what I meant when I said I wanted a reaction…” he laughs to himself and gets up to examine the results. Wherever the blue touched, it completely liquified and melted it, evident from the way the petals were dripping even despite the bottle’s contents being completely dried. “Now how do I even fit these into my bag without melting a hole through it?...”

It seems that his words completely jinxed his current situation because he felt the blue-stained grass and patches pressuring and heating up again to explode, and while he tried to leap away to put some distance, the colorful explosion was much more violent. All Takao registered was his body blown back like a leaf across the meadow before he landed harshly on the mushy soil, feeling the crunched up flowers underneath. He rapidly blinks away the blue in his vision before he saw a cloaked figure scurrying away from the scene.

“Ah… shit, how am I gonna find my stuff?” Takao grumbles, more worried about his missing possessions than whatever he just witnessed. “It looks like they fell through the bag anyways…”

“You should be more concerned about the consequences you’ll face for letting the perpetrator escape rather than the contents of your mere sachet.”

Takao jolts out of his musings to face a viridescent-haired man, with equally striking eyes. However, the scowl on his face was the most defining feature of his sharp countenance.

“Uh…” Takao averts his eyes before he turns back to stare at his intense glare with a casual shrug. “My bad?”

“Excuse me?”

“Look, look, I had no idea, really,” he protests, holding his hands up in good faith. “I just got blasted over here from some flowers just a bit away, and I’m not here to steal your game—look, see? I don’t have a single weapon on me.”

“The issue,” the man glowers. “—is that you let the man escape. You gave away our location by painting a target on our back by making explosions and permanently marking the fields with a jarring blue—”

“No, they are not permanent colorations,” Takao corrects. “Besides, you could always find him again right? I mean, he hasn’t ran too far off. Maybe instead of talking to me, you could’ve found him by now… why are you looking at me like that?”

“You… can’t be serious,” he deadpans before hardening his expression again. “Do you not understand? The enemy left, like any person with common sense would do. Every second the person is out free, there is higher risk of danger for the city and my recor—wait… you’re not even from the guild.”

“You’re from that guild?!” Shit… Takao was unbelievably screwed. Not only did he not get what he came for, but he lost the majority of his possessions and got caught on the trip by a guild member themselves no less.

The man narrows his eyes. “What’s your excuse of being all the way out here without any guildmate escort?” Takao nervously chuckles to try to dissuade him. “I will not tolerate any shit from your end.”

“Well, you know… afternoon stroll, got lost, got separated from the escort ‘cause of that, and…”

“Oh? If that’s the case,” the man said, softening his face in mild understanding but still visibly peeved. “Might you give a physical description or a name? Such irresponsibility will not be tolerated by Akashi.”

“Well… I didn’t really get a close look at this person per say…” he says. “I guess I was so excited for the potential fruits of my experiment that I—uh, didn’t bother to… look.”

“... Is that so.” The man narrows his eyes at Takao’s hesitance. “Would you like me to escort you back and you can point to me the member you’re most familiar with—wait, where are you going?!”

“It was nice knowing you, but I’m a busy man!” With that, Takao sprints away from him, hoping that he can eventually find the looming city walls as a general pinpoint for the right directions. But before he can dash past eight meters away, his senses tingle to dodge something.

It was the man’s shower of arrows.

“What the hell?! What kind of person would SHOOT at an innocent civili—”

“SILENCE or you shall receive further retribution, for my shooting range knows no bounds.”

“... But you just missed.” At Takao’s words, the man’s aura of hostility spikes drastically and he prepares his bow to shoot another four arrows at the alchemist before Takao has a revelation. “Ah, ha! Aren’t you the famed marksman, Midorima, who has a spotless record of clearing every quest you undertake and never missing your shots…? Or had a perfect reco—HOLY SHIT, can you please stop trying to shoot at me?”

“You have lip for someone who can’t remotely defend himself.”

“Yeah? Well, maybe it’s because you might be the person I have a grudge against if my intuition is correct.” Takao casually shrugs but his own hostile aura slightly catches “Midorima” off guard.

“And I am indeed Midorima Shintaro. What of it?”

“Blegh, gross,” Takao says, completely ignoring Midorima to examine his shot arrows on the ground. “These arrows are beyond functional. How can you even shoot with these, much less even keep them?”

“H-How dare you—!” Midorima grows slightly flustered, surprised that even a normal civilian would comment on his weapon of choice. “These are my lucky arrows, obviously! I have other arrows and bows for other purposes! Don’t get the wrong idea!”

“Did you really have a perfect streak?” Takao inquires, haphazardly holding the arrow by its dull head. “Even a novice archer knows to stay away from this sort of craftsmanship.”

“I’m simply testing the limits of my skills,” Midorima snaps, walking over to Takao to snatch the arrow off his hand while collecting the others. “I do as many things as humanly possible to push the limits, and that is why fate grants me favorable outcomes, regardless of whatever tool I have on hand.”

“You still missed though.”

“You will not speak a word of this.”

“You can’t make me.”

“You will not. Speak. Of. This.”

“You also failed a mission too. Oh, what would the people think of you when I run back to the city to deliver the news?”

“You wouldn’t even have a chance,” Midorima says, grabbing Takao’s arm roughly. “You’ll be sent straight to the interrogation room and get personally questioned by Akashi.”

“Whoa, whoa, whoa, whoa, whoa,” Takao protests. “Easy there pal, easy! Let’s not do something so extreme, okay? Look, here me out, I kind of need to have a good reputation to wait for an opening in the guild rosters again to reapply, and you took my spot the last time.”

“I didn’t take it, fate was more favorable to me than to you and anyone can easily see why.”

“Ugh, whatever! Hear me out, I won’t say a word about your record hiccups and you’ll cover up my trip here! We both get something out of this… deal?”

“You have the audacity to think that I’ll go along with this—?”

“Then you’re okay with me tarnishing your record? I’m quite popular with the townsfolk, if I do say so myself.”

“... Fine.” He releases his arm and shoves him away. “But I will not hesitate to apprehend you if you go beyond the walls again for your frolicking.”

“And I wasn’t frolicking,” Takao scoffs. “I was doing alchemy.”

“There’s no difference.”

“Oh shut up, dullhead,” Takao says, waving him off dismissively and ignoring the way Midorima was ready to strangle him. “Before we go back to the city, I have to go look for my stuff… they’re actually quite dangerous if an unsuspecting person picked it up.”

“Why didn’t you say so in the first place, idiot?” Midorima scowls. “Let’s go.”

———

“Are you really an alchemist?” Midorima asks, gauging Takao’s jittery behavior as he scans for his missing belongings. “The way you carry yourself is more akin to a troublemaker quack than a legitimate scholar.”

“If you’re not gonna help me look for my things,” Takao retorts, “then go sit at the tree while you wait for me, Shin-chan.”

“What the hell did you just call me?—”

“Shhh,” Takao whispers, putting an abrupt finger to Midorima’s lips. “I hear sizzling nearby. Do you hear it too?” All Midorima does in response is to send a glare at Takao for invading his personal space but nonetheless gives a reluctant nod in affirmation.

“Alright, I know you think I’m a fraud, but do heed my words when I tell you to stand back,” Takao says, tutting his finger across Midorima’s face. Midorima was this close to delivering a swift knockout and leaving him in the fields. “But if you don’t wanna listen, that’s fine, too. But if something happens, you can go cry to the stars and fate for your misfortunes.” And Midorima only rolls his eyes at his jab but still steps back a few meters.

“... Be swift about it.”

“Yeah, yeah.”

Midorima merely observes Takao waving his hand dismissively to shoo him off before he dramatically sneaks to the source of the sound (which prompted another eye roll from Midorima’s end), and he stares at Takao’s surprisingly determined face when he became enraptured during his work.

Takao notes that it was actually the third bottle from his experiment earlier today, and some of the contents have partially spilled from the opened bottle. To try to salvage the rest of the uncontaminated concoction, he pulls out a tiny spoon and tidies up the mess before promptly sealing the glass again. He sighs and stretches out his arms before he notices that despite the spilt concoction on the grass was still sizzling, there wasn’t any further reaction.

“Hey Shin-chan.” Midorima slightly flinches out of his daze at the sudden beckon of his name.

“Are you seriously going to call me that?”

“Bring your arrows here, would ya?”

“And you can kindly fuck off before you can ruin my luck for today by messing with the blessed arrows.”

“Oh for fuck’s sake, already,” Takao huffs. “Just give me an ‘unlucky’ arrow then.”

Wordlessly, Midorima tosses over a broken, chipped arrow from his sack, and Takao stares at the “arrow” and then at the green-haired archer incredulously, wordlessly demanding an explanation.

“Broken arrows bring misfortune.”

“Then why on earth did you keep it?”

“So I can bring my enemies unfavorable outcomes.”

“Gee thanks,” Takao sarcastically says, but he turns back to the liquid on the ground and thoroughly coats the arrowhead in the substance. “Step back, kay? I’mma be throwing this.”

“Wait,” Midorima interjects, plucking the arrow off of Takao’s fingers while minding not to touch the coated arrowhead. “Where do you want me to shoot it?”

“There’s no way in hell that arrow can be even drawn on the bow.”

“Watch and learn, amateur.” Midorima scoffs as he draws the bow with ease, even with a questionable arrow. “Like I said, my shooting range knows no bounds.” Takao sighs and silently points to a nearby patch of flowers as the target and watches in extreme doubt, waiting for Midorima to gauge the distance and strength of the winds before he gracefully lets the arrow go… and perfectly hit the mark. On impact, the arrow caused an explosion.

“Wow…” Takao whistles. “I’m actually impressed.”

“What the hell did you do to that arrow?!”

“Just had a hypothesis. Thought the concoction might’ve needed a catalyst to push it to that point. Guess the trip wasn’t a waste after all,” Takao chuckles, satisfaction visible on his face. “Alright, marksman prodigy, looks like you aren’t half-bad after all. I got all my things, and we can go back.”

“You never stay on a single topic, do you, alchemist?”

“Well after we get to the city, you don’t ever have to hang around me anymore,” he laughs, speed walking away and skipping from excitement at the possibilities of his experiment results.

“... So it seems.”

———

The trip back to the city was mostly uneventful, mostly consisting of Takao’s eyes sparkling whenever anything of interest nearby catches his interest and Midorima gruffly scolding him to keep his eyes on the destination instead. Still, despite the many setbacks and detours, they reached home by dusk.

“And you better not say a single word about what happened out there,” Midorima threatens, jabbing a finger at Takao’s chest.

“My word is as solid as your own, archer,” he shrugs in reply, flicking his finger off to evoke a reaction. It worked. Midorima gave his signature scowl and was about to deliver another retort, but he was interrupted by the locals, who happened to be concerned for Takao’s whereabouts the entire day.

“Kazu!”

A few children and tailing mothers run up to the pair. The mothers were ready to apologize for their children’s eagerness, but Takao reassured them that the children were always welcome to chat with him. Midorima raises a brow at the amicable atmosphere he easily exudes.

“Kazu! Where have you been all day?! I wanted to see sparkly flowers! And shiny rocks! And glowy juice!”

“I’m sorry for my child’s lack of manners, but everyone was worried where you disappeared off to… I guess our anxiousness really rubbed off on everyone today…”

“Ah ha… it’s no problem ma’am, really…” Takao laughs. “I was just occupied with alchemist duties today!” Midorima sends a pointed look on cue at his words.

“B-B-But… you’re always so busy with the grown-up stuff lately… and you never have time to show us your collection anymore…”

“Well, how about to make it up…”

Midorima feels extremely out of place, feeling like he’s intruding on a conversation he shouldn’t be a part of. Before he turned to wordlessly leave and let them talk in peace, the children finally noticed the archer and stared unabashedly in wonder.

“Who’s this scary man, Mr. Alchemist?”

“What the—? Who are you calling sca—oof—” When Midorima instinctively tried to shoot back in defense, Takao immediately jabbed him with an elbow to stop any potential harsh comments from slipping.

“He’s actually the archer who helped me with my duties today… right?” Takao sends a “secretive” wink and Midorima only averts his eyes away.

“Ooh! Ooh! He’s the super duper strong archer superhero Dad always tells me about!”

“Y-Yeah…” Midorima coughs into his fist. “I shoot… arrows.” Takao struggles to hold in his laugh at his awkwardness with the children… or his awkwardness in expressing kindness overall.

“Well… it’s getting late kids, we have to go home and prepare supper for everyone.”

“Awww, but can we play with the archer hero tomorrow if we go home now?” The children turned their puppy eyes to Midorima and he immediately took a step back, frantically eyeing Takao to step in and help. Takao gives a playful smirk before he coughs and pretends to be stern.

“You children know better now,” Takao says in a mock-deep voice. “If you listen to your parents, eat healthy, and sleep early, you’ll get to play more with me and one day be a strong warrior too.” The said “strong warrior” turned away to facepalm to refrain from any snide comments slipping.

After the locals slowly dissipate after exchanging pleasantries with the alchemist, Midorima turns to face him.

“... You weren’t joking when you said you knew everyone here, huh.”

“Yep,” he says, popping the “p” at the end. “It makes daily life less mundane for a civilian like me. Not like someone like you can understand.”

“Conversations like these are meddlesome and quite unnecessary. That being said, I bid you a decent night.”

“You can just say ‘good night’ like a regular person,” Takao scoffs.

Midorima only scoffs back and makes haste for the guild hall.

———

Maybe it’s because Midorima is finally paying attention to the city life rather than keeping his head in his own world, or maybe it’s because he personally was recently acquainted with Takao, but from that point on, all he hears throughout the chattering and gossips were talks of “Takao Kazunari, the enlightener.” It somewhat agitates him that that’s all he’s been hearing for the past several days… nonstop. It doesn’t really help when some of the city children are actually actively hunting down the said archer everyday to make him “play with them,” like Takao promised to them that night.

He’s going to punch him if he ever sees that airhead again.

Still, it was a coincidence (or not) that Midorima found Takao’s craft table in a desolate corner of the city under a modest porch for someone who was the esteemed individual. Here was Takao, carefully eyeballing the measurements with his tongue sticking out in complete concentration. Quite typical of him.

“There are measuring tools for a reason, dumbass.” Takao dumbly blinks before he registers that Midorima was right in front of the table before he frowns.

“Ugh, go away,” he says half-heartedly. “I’m busy.”

“From the way everyone talks about you, I still can’t believe that their image of you is completely different than what I’m witnessing right now.”

“So you heard, huh?” he mumbles, obviously not paying attention to Midorima as he continues to eye the beaker up close. “People can say whatever they want… I’m just doing what must be done within my abilities. Tools are kind of stupid anyways. How can you discover new things when you use such orthodox methods? Besides, you can’t talk considering that you use fucking broken arrows and shoddy sticks for your archery.”

Midorima crosses his arms and frowns. “That’s different. It was just specific days that have been granted luck by the stars.”

“Say whatever you want, but we both do our things our own ways to push the limits of what humans thought were previously impossible.”

“I suppose you’re correct… for once.” Midorima stares at his handiwork, trying to comprehend the process of the art of alchemy. “So… what are you trying to do?”

“Dunno… the results were kind of surprising but I think if I can just change a certain property of this element… it can end up being groundbreaking…” Midorima widens his eyes in genuine curiosity and then narrows his eyes in deep thought to try to think of what “property” Takao was speaking of.

“And what’s this ‘groundbreaking’ result you have in mind?” Takao looks up from his table in mild surprise.

“You’re actually… interested in this?” Midorima simply turns his face away but says nothing, and Takao chuckles. “Well, if you’re that curious, I’m hoping that this can lead to a method in harnessing the power of the elements in crafted tools and weapons and push human civilization to be more adaptive to our environment than just… being walled up here all day.”

Midorima turns to face Takao in unabashed amazement, staring at his intense gaze that was unlike what he previously knew of him. He turns away after a few seconds when he feels his ears slightly burn, unable to handle the intensity of the moment. So this was the true alchemist side of Takao Kazunari that everyone praised.

“And, well,” Takao laughs, already returning back to his happy-go-lucky character. “There’s no way that I’ll be accepted to the guild if I reapply and don’t show them anything new. Plus, I’m not gonna lose to the likes of you.”

At his challenge, Midorima tuts in irritation and hits the top of his head with his fist, which was exactly the main objective that prompted him to look for Takao in the first place.

“What the fuck is your proble—”

“I’ll be taking my leave now,” Midorima says stiffly, swiftly turning away to walk back where he came from and leaving Takao to stare at the retreating figure in mild annoyance.

“Still…” Takao grumbles. “Why did this guy stop by my workspace anyways? It’s not easy to find this spot in the back of the city, either… Surely, he must have more important things to attend to… like that perpetrator-at-large…”

Perhaps it was wishful thinking, but Takao likes to think that Midorima stopped by to learn more about his craft that he dedicated his whole life to. That same wishful thinking also paints an unfamiliar red hue across his face.

———

“Momoi-san.”

“Oh? Mido-kun!” A pink-haired woman whirls around to face the abnormally tall archer. “It’s quite rare to see you here!”

“Ahem…” He coughs into his fist. “When are guild applications opening up again?”

“That’s a good question actually…” she hums. “Akashi is kind of fickle and has been in a more volatile mood since he’s still tracking down the leader of that rebel group from yesterday, but I predict that they’ll open again quite soon, considering that the waves of enemies haven’t subsided at all… Why do you ask?”

“I’d like to put in word for a potential recruit.”

“Uhhh… are you even the same Mido-kun I know? You should know that if you recommend someone in and they get recruited, you take full responsibility for them and—”

“And form an official team with them while showing them the policies, proper conduct and customs, and other adventurer essentials. Who do you think you take me for?”

“Right… may I ask who’s this person you’re planning to recommend?”

“I’m sure you’re aware of the city’s biggest alchemist.”

“Takao Kazunari? W-Well, yes, but… I’m sure you’re aware that you were picked over him in the last recruitment session,” Momoi says, slightly cringing at the memory of Takao’s crushed expression when he found out that he was rejected.

“This time, he has something to offer to the guild that no one else can,” Midorima says. “Something that not even Akashi can afford to overlook.”

“B-But!” Momoi protests. “Wouldn’t him being paired with you be a very bad idea? I mean, I’m not sure if teamwork is even possible considering what happened.”

“On the contrary,” Midorima replies, a small smile playing on his lips. “Fate tells me that we would make a very efficient duo.”

[kathyprior4200]

The Chipper Cleaner

The Golden State of California hosted a melting pot of different cultures, cuisines and languages from around the world. The Great Depression of the 1930s hit families and businesses hard. Many people were out of jobs, some lived in the streets or in debilitated shacks close together. Mexican, European and Asian immigrants were often seen in camps, doing what they could to survive and live through the days. Men, women and sometimes children would help out in the fields and harvest wheat and food. It wasn’t uncommon to hear guitar playing or balls being kicked around or a few songs carried out in the desert air in an attempt to lift spirits up.

 To make matters worse, a terrible drought spread through the nation in 1930. Crops died from lack of water and harvests failed across farms in the U.S. Thousands went hungry as farms and homes were lost. The former prosperous economic growth and glory of the Roaring Twenties was reduced to memory.

 The 1940s would bring about World War 2, more women in the workforce and the internment of thousands of people with Japanese ancestry. For as diverse as California was, racism, sexism and discrimination were still commonplace everywhere.

 In the vibrant city of Los Angeles, California, a nifty little girl was born. Her name was Nerissa, born March 22nd, 1929. She was born to her parents: Hiroto and Akemi Nifuti. Her mother, Akemi was from Japan and arrived to Hawaii. Having only met her husband through sent pictures as a picture bride, she and Hiroto got married on the docks of Hawaii. She was disappointed to hear that Hiroto was older and didn’t have any luxury cars or clothes. Nevertheless, it was an escape from her family duties back in her home country, so she moved and married him. After working on the plantations for a while, the couple decided to move to California, where they lived in a rural area. Their small house was made of wood that was painted red and white.

 Close by their house was a field of wheat, soybeans and tomatoes growing on vines. Or at least, that’s how it should’ve looked during a good harvest. However, the drought had done a number on the family’s crops. The beans were small and dried up, the tomatoes hardly growing at all. The family had to be careful about not spending too much money…they made some of it selling their crops at a local farmer’s market. Thankfully, their jobs allowed them to keep a house and not go broke. Other families weren’t as lucky.

  Niffty’s father was a farmer and newspaper editor and her mother worked at a sewing factory. Since Niffty’s parents were often busy with work, they hired a sitter to take care of her. The sitter was white with brown hair and green eyes, in her early 30s. She would often wear pink dresses with white polka dots on it, her mousey brown hair tied back. Although Michelle Marie Ann was Caucasian, she treated Niffty like she was her own daughter. She watched Niffty crawl, babble, and slowly take her first steps.

 ��Yay, nice job!” she said in a cooing tone as Niffty took her first steps across the floor before landing in a heap in her lap.

 Michelle looked over at Akemi and Hiroto. “She’s a fast learner,” Michelle remarked. Both parents were pleased. Hiroto then went out to water what was left of the crops, while Akemi sat in a large room to get a head start on some dresses and hats.

 Niffty started crying again and Michelle rocked her gently in her lap. Michelle let out a soft sigh and carried her to a bedroom to change her diaper.

 Whenever Akemi had time to spend with Niffty, she taught her the Japanese language and etiquette.

 Niffty started learning when she was a couple years old. Her mother would sing her songs and tell her stories. The little girl loved every minute of it. Niffty’s father would smile passively at them, before returning to work or have some drinks.

 Niffty would later learn to write several Japanese characters as well, at least at home or when writing letters to distant family members.

 “Hai. Yes,” Akemi said, with a nod of her head. Niffty copied the motion. “iie. No.” She shook her head, more of a frown on her face, before Niffty copied her.

 “Onegai shimasu? What’s that?”

 Niffty answered. “Please?”

 “Very good,” Akemi said.

 Of course, Niffty had to learn several things the hard way.

 “Nerissa! iie!” Akemi scolded when a four year old Niffty had arrived into the house wearing dirty shoes. She pointed back outside and Niffty slumped back out to take her shoes off.

 “Nerissa,” called her father. “I need your help digging up some dirt out here.” Niffty raced out and grabbed a small shovel. She helped her father dig holes and seek out fresh dirt to try and plant seeds.

 At dinner time, the family had sushi, onigiri rice balls and grilled chicken skewers called yakitori. Niffty was struggling with holding chopsticks. Hiroto had to chuckle as Niffty’s sushi kept slipping from in between the wooden utensils. Niffty reached to pick it up but Akemi stopped her with a glare. Niffty kept her little hand extended, the two members locked in a sort of stare down. Niffty tried using the chop sticks in one hand before both utensils rolled off the table and clattered to the floor. Niffty grabbed the sushi and popped it into her mouth with a giggle. Akemi sighed and slapped her hand to her forehead. Hiroti rolled his eyes and helped himself to more food.

 “Nerissa, dear you still have much to learn,” her mother said as Niffty bent down to pick up the sticks.

 Akemi also showed Niffty the very important duties of cleaning the house and sewing clothing. “I work at a sewing factory,” she said. “And more than likely, you’re gonna work in a similar job if not the same. Watch closely.”

 Niffty watched in curiosity as Akemi sat down and worked both a sewing machine and used her own hands. She weaved string of different colors through loops as she moved the sewing needles around in her hands. Niffty practiced on her own, sewing together a hole in a small cotton cap to start with. She fumbled several times but slowly got used to it. Several weeks later, she had made her first scarf.

 “Quite impressive,” Akemi praised.

 Niffty had poked at her fingers several times, but they eventually toughened up. Muscle memory took over in her fingers for many of the tasks she did. The more she performed them, the easier it felt…and the faster she did them. Sewing on buttons, bows and decorations was Niffty’s favorite part. It wasn’t long before she frequently helped out her mother with sewing and cleaning the house. It became an expectation for years afterward.

 “Scrub harder, Nerissa,” Akemi said as Niffty learned how to wash dishes. “You need to really get the stains off around the bottom rim of the pot. Like this.” She grabbed a sponge and moved it rapidly up and down and in circles. Niffty laughed as she got her hands soapy and wet. On occasion, Akemi would playfully splash her with water. They would have a quick water fight with loud giggles before returning to work.

 Cleaning chimneys was Niffty’s least favorite hobby. But it was one her father insisted she do. “You’ll eventually need to learn it if you ever get a somewhat decent job,” he reminded her. Women were working more, but opportunities were still very limited for them.

 Using thick dusters and other supplies, she could easily fit into the small space. She hated how dirty she got from the soot and ash. Niffty felt like Cinderella much of the time, from the hard cleaning work she did, to fantasizing about going to a ball and meeting a prince. Imagining herself as a beautiful princess helped pass the time. The water in the wooden wash bin would be black by the time Niffty was done washing herself off. She would scrub her skin for half an hour, trying to get the grime off as much as possible.

 Niffty soon she got some exciting news at age six: she was going to school for the first time. She was soon dropped off at Wellis Elementary, a yellow brick building. While at school, Niffty excelled at literature, home economics, art, reading, writing and history. She was also a fast runner in gym class as well. Math and science were subjects she struggled with.

 Nifty would spend hours reading the books in the classrooms. She would often be seen eagerly raising her hand to tell the answer. She had to learn to slow down on whatever activity she did…many of the classmates couldn’t keep up with her!

 “Shorty Jap! Shorty Jap!” jeered a bunch of mean older kids who shoved Niffty to the floor on her way to music. Niffty cried out, tears flowing down her cheeks. A nearby teacher arrived and took her to the nurse’s office.

 “Just a bruise on your knee but it should heal up in no time,” the nurse said as Niffty wiped her tears away.

 “Why are they so mean?” she sobbed. “What did I do?”

 “Those kids are mean to all the newcomers,” the nurse said. “They tend to pick on the little kids in particular.”

 “But I’m not that little,” Niffty said. “I just turned seven!”

 “Sorry, I thought you were four.”

 Niffty lowered her face, black bangs obscuring her forehead. Her face flushed in embarrassment. Her dress was white, her leggings tight and shoes were shiny and black. Her hair was short and black, her eyes dark brown and slanted. Her skin was a light brownish or as some bullies would mock, “yellow.” Indeed, Niffty was one of the shortest people in her class. There were rumors about her having a growth stunt, but Niffty had developed physically and mentally at a fast rate. Indeed, she was smarter than many kids her age.

 “Don’t let them get to you,” the nurse said. “Now hurry on back to class.”

 Fortunately, singing and playing instruments helped Niffty forget about the incident. “I’m gonna be a singer when I grow up!” she declared much to the bemusement of her classmates.

Niffty got home to see Michelle Marie Ann smiling warmly at her, wearing a fluffy lavender dress with a purple bow around her waist. Niffty remembered to leave her shoes outside.

 “How was school?” she asked.

 “It was fine,” she replied in a monotone.

 “Only fine? You were so enthusiastic about it earlier.”

 “Mean kids were mean to me.”

 “How so? What did they do?”

 “They said I was a shorty Jap and shoved me to the ground.”

 A horrific look crossed Michelle’s face. “I’m so sorry, Nerissa,” she said.

 Her parents shared concerned looks in the distance. Sooner or later, their daughter would have to learn the hard truth about who she was and about the society they lived in.

 “It’s okay,” Niffty said. “I still got to learn new things and do the entire alphabet in English!”

 “How wonderful!” Michelle smiled. Niffty was always optimistic, ever the imaginative one. Whenever things got down, Niffty would always see the silver lining in everything.  

 “What did the kids mean when they said that stuff?”

 Michelle sighed, trying to put words together. “Let’s just say that many people don’t like others who are different.”

 Before Niffty could ask further, Michelle said,” I have a surprise for you, sweetie.”

 She dug into her dress pocket and pulled out a stuffed animal. Niffty beamed and took the figure and hugged it to her chest. It was a stuffed pink poodle decorated with white polka dots.

 “Do you like it?”

 “Oh I do I do I do!” Niffty squealed. The two of them shared a warm hug.  

 After dusting a bookshelf, vacuuming the rugs and polishing several appliances, Niffty soon got ready for bed. Michelle tucked her into bed. Hiroto was passed out on the couch and Akemi was up in her room finishing up outfits to sell.

 “Can you read me a story?” Niffty asked.

 “Of course my dear,” Michelle answered. “Which one?”

 Niffty pointed to an orange picture book. “That’s one of my favorites.”

 Michelle picked it up and read the title. “Princess Hachikazuki.”

 Niffty cuddled up in her sitter’s lap as Michelle began. It was like she was transported to another world.

 In the story, Lord and Lady Sanetaka prayed to the bodhisattva of mercy to give them an heir. The beautiful princess was born. The mother became sick and before she passed away, she placed a bowl on the princess’s head. The princess threw herself in a river when people laughed at her but soon, a prince fell in love with her. Although her rival stepsisters tried to separate them, Hachikazuki’s bowl came off of her head, allowing her to win a ladies contest. The couple happily married and the princess was reunited with her father.

 “Oh I just love happy endings!” Niffty beamed as Michelle closed the book.

 A year later, Michelle told her a story that seemed to stay with her. It would be the last story the sitter ever told.

 “Read me a story, please?” Niffty asked.

 “But it’s your bed time, Nerissa,” she said. “You’re getting old for this, according to your parents.”

 “Please? Please? Please?” the little girl pleaded with shining eyes.

 Michelle gave in with a smile. She knew Niffty would always be a child at heart. “Alright, but just one.”

 She cleared her throat.

 “Once upon a time in a vast kingdom, there lived a beautiful blonde haired princess. She lived in a palace with her father and mother, the king and queen. While she was there, she was taught how to sing, play the violin, dance and how to rule with a firm hand. The king and queen loved to perform for their subjects. They would host grand balls for the nobility and invite the well-off to join the fun. There were jesters, jugglers, and an array of delicious food for them to enjoy. All in all the princess was very happy, surrounded by the music.”

 “But as she got older, she learned more about the land she was in. Her father had enforced strict rules on his subjects, and for good reason. Although the peasants, knights, shop owners and caretakers worked hard, they also fought a lot. It wasn’t uncommon for farmers to fight over crops, or fellow knights to raid churches and villages. Disease also spread rapidly.”

 “One day, the princess saw a horrific sight. Soldiers from a rival kingdom arrived and mercilessly slaughtered the citizens! The knights in armor were no match for the guns. After the damage had been done, those who remained had to dispose of the dead and start over, always in fear that they would come again.”

 “Father,” cried the princess. “How could you let this happen?!”

 “My army is no match for the soldier’s guns,” he replied. “They invade and kill my people for the sake of it. But there is nothing that can be done. Perhaps the troublesome workers deserved their fate.”

 “Mother!” the princess cried. “Can’t you do something as well? Those poor people suffer every day out there!”

 But the queen was busy deciding which dress to wear for the next performance.

The princess tried to talk to the people around her, offering to help in any way she could. Many of them laughed and mocked her.

 “A secluded princess trying to help us out?” they asked. “Who does she think she is? She doesn’t know anything at all.”

 Fortunately, the princess befriended a woman warrior to help her out. The woman could live off the land and use any kind of weapon, but she had a bad temper at times. The princess had an idea.

 “What if I run a refuge place to help travelers and my people get along? If not that, then at least, the poor would have a place to stay.” Her warrior friend agreed to help, provided she not get too optimistic about the iffy plan. The king and queen used some of their money to build the building by the trading route, just so they could focus on their own hobbies. They, too, didn’t agree with her ideas. The princess was saddened by her ignorant parents.

 One traveler soon arrived, a man who smoked, drank and often ran around nude. He slept with women and men alike. He was a reckless fighter as well, and had almost died fighting off rival knights on the battlefield. The princess happily welcomed him in, but the warrior wasn’t as pleased. It was slow going, but it was a start.

 Now, the king had many lords and men in his inner circle. One of them was a man who lived in the woods and hunted deer. He often wore a dark cloak and carried a staff with a deer skull on it. But he was also a devious trickster. He was feared throughout the land because of his great skill in dark sorcery. Many people had fallen prey to his curses, poor and wealthy alike…he loved making deals.

 When the sorcerer saw that the princess was opening the place of refuge, he decided to check it out. He already had a plan to get to know the members of the royal family…having a secret grudge against them. Before he did, he gathered two people to his side. One of them was a strong muscular fighter…and the best gambler in town.

 “Your skills in gambling and fighting are second to none,” the sorcerer said, soon gathering up lies. “I could use a strong hand like you. Those horrible soldiers killed my wife and children and I’m worried that I’ll be next.”

 “I’m not helping you,” the gambler scoffed as he drank more booze and drinks. “Why didn’t you use your magic?”

 “The soldiers weren’t affected by it and now…I’m left with nothing...”

 “But if you work for me, I’ll give you more drinks and money. Plus if you’re looking for a nicer place to stay, the princess has a refuge center not too far from here.”

 Reluctantly, the gambler shook the sorcerer’s hand and followed him.

 Later, the sorcerer spotted a maid who was cleaning chimneys and caring for a bunch of children.

 “You look like you’re pretty busy,” the sorcerer said. “Cleaning the same dirty place all the time sounds boring.”

 “It is,” the maid said. “And lonely. There are no handsome men around either.”

 The sorcerer then spoke in a smooth seductive tone. “It doesn’t have to be this way. Why, if you help me out, I’ll provide you with a clean house and introduce you to the most handsome of men in the kingdom. I’ll be your first friend if you wish.”

 The maid eagerly shook his hand, and the trio went off to the hotel. Once they arrived, the princess welcomed them in with open arms.

 “I’d love to help out with your place, your majesty,” the sorcerer said with an elegant bow. “Trying to make people better…that’s near impossible, but hey, it’s worth a shot.”

 The sorcerer charmed the princess with dances and magic tricks. With a snap of his fingers, the place was repaired and clean. She soon became attracted to him. The man even made a splendid dinner for everyone to enjoy.

 “He’s untrustworthy,” the warrior woman warned the princess. “I’m your best friend but please be careful.”

 “Don’t worry,” the princess said. “I can take care of myself.” She hoped that her plan would work…and hoped she could prove herself worthy to her parents.

 Then, on the next fateful day…”

 “Nerissa!” called Akemi from down the hall. “It’s time to go to sleep!”

 “She’s right,” Michelle said as she closed the book in a heart stopping snap.

 “Awww, Michelle! Mother! You can’t stop there! We were getting to the good part!”

 “Maybe another time,” said Michelle as she tucked Niffty into bed. “Good night, dear.” Michelle’s footsteps grew fainter as she left the room.

 Nifty stared at the starry sky and the full moon though her window. “Maybe my dreams will come true someday,” she sang softly to herself with a smile and a look of longing.

 “A dream is a wish, my heart makes

When I’m fast asleep.

In dreams, I will lose my heartaches

Whatever I wish for, I keep

 “Have faith in dreams and someday

My rainbow will come smiling through

No matter how my heart is grieving

If I keep on believing

The dream that I wish will come true.”

 Niffty yawned after she finished the song and settled into sleep.

                                        Yellow Peril: Chinese workers arrive to U.S. mid 19th century, restricted to railroads and mines. Anti-Chinese groups worked to pass laws to limit Asian American equality with whites. Like Irish, Italians, Chinese and Japanese were viewed as threats to “racial purity” and a source of economic competition.

1886-1924 peak: People immigrating from Japan to find work to survive. Many arrived on Hawaiian Islands, moving to the West Coast. Immigrants selecting brides from their immigrant countries via a matchmaker who paired them only using pictures and family recommendations. Some women choose to be picture brides to escape familial duties and seek economic growth. Some came to Hawaii because it was a trend. Picture brides immigrated to the U.S. to be with husbands. Men would often pose in pictures with cars and items they did not own.

Nakodo: go between/match maker who looks at status, age, wealth of bride

 Pucture brides had to go through immigration inspections. They would meet their soon to be husbands and attend a wedding ceremony on the docks.

Reality: older grooms living in racially segregated plantations

  Plantation workers, many Japanese women. Irrigated and weeded the fields, stripped cane of dry leaves, or cut seed cane. Women were also expected to take care of the house, cooking, cleaning, sewing and raising children. Many women moved to Honolulu to start their own businesses.

 Values instilled to children included filial piety, obligation to community and authority, reciprocal obligation, importance of hard work, frugality, drive for success (seiko).

 Some married husbands were abusive or alcoholic or tried to sell women into brothels but many wives stayed for their children. Wives who eloped could be sent back to Japan.

 No passports to picture brides in 1920.

   Naturalization Act of 1870: revoking citizenship to Chinese Americans

 Chinese Exclusion Act of 1882: stopped immigration from China

 Japanese workers recruited, triggering a rapid increase in population.

 Immigration Act of 1924: banned Japanese and Chinese from entering U.S.

  Japantowns (Nihonmachi) in San Francisco, Los Angeles, Seattle etc. community groups organized charity events and set up shops separate from whites, Japanese language schools.

  Pearl Harbor attack 1941: led the United States into World War 2. Americans, French, England, unified to fight against Germany, Japan and Italy.

Kamikaze suicide bombings, Pearl Harbor, Baatan Death March, American POWs killed by Imperial Japanese forces

 “Jap hunting licenses” Japanese forced to move away and close their businesses.

 Stereotype of Japanese and schools as loyal to the emperor of Japan, promoting racial superiority and violent fighting skills.

 1942: Japanese incarcerated in camps “War Relocation Camps” western U.S, 1942-1946 “one blood drop rule”

    Jan 1942: immigrants required to have certificates and IDs on them

 Unfavorable reports of Japanese action noticed by the U.S. government, (Pearl Harbor, Invasion of China 1931).

 Thin barracks with little room for privacy, barbed wire fences and guards.

(shikata ga nai) “It cannot be helped.” School lessons only taught in Englsih. Dust storms, cramped living conditions. There was baseball, bands and recreation.

Internment ends 1945/1946

Japanese businesses, homes and places of worship were destroyed with vandalism, gunshots and explosives. Some people were shot in the camps while others died from lack of medical care.

 Niffty lives her life as a Japanese American woman and teenager in the 1950s. She is little, with short black hair and pale skin. She is born in the 1920s…on March 22 (VA birthdate), 1929 (Year of the Snake)! Being the same age as Vaggie when she died at age 22, Niffty died in 1951. She is a human named Nerissa Nifuti (after the maid. Her last name is Niffty in Japanese).

 March 22 1929: Niffty’s birth in Los Angeles, California, as Nerissa Nifuti. (Capital city based on New Orleans, New York and Las Vegas populous cities of the former homelands of the other characters)

1930: age 1

 1931: age 2

 1932: age 3

 1933: age 4

 1934: age 5

 1935: age 6

 Niffty briefly lives with her parents in a rural area. Picture bride mother who arrived from Japan and to Hawaii and worked on a plantation, older alcoholic father who lived in Hawaii.

 1930s: Niffty learns to walk and talk and speak Japanese and English. She always removes her shoes whenever she enters her home and other buildings. She is fast in almost everything, crawling early, babbling early, very talkative and quick on her feet. Niffty is a fast learner as well, often ahead of her class. Niffty learns best by working with her hands. Niffty develops her love of reading and writing.

 At some point, Niffty’s father becomes abusive to both of them but Niffty’s mother has to stay to uphold her family honor.

 1936: age 7 Niffty starts school. Niffty is often chided for talking so fast and not being passive

  Niffty is bullied in Weill school for her heritage and short height. Niffty excels at literature, running, music, singing, arts and crafts, reading and writing, but not at math, sports, science or history.

  1937: age 8 With being a good housewife instilled in her at an early age, Niffty begins to clean and cook and sew early on, while also looking for the perfect husband in the future.

 1938: age 9

 1939: age 10 World War 2 begins

 Niffty reads mangas and starts writing her own stories while maintaining a clean house for her family. They also have a black poodle named Michelle.

 1940: age 11

 1941: age 12

 1942: age 13

 1942: Year of Death. Niffty and her parents are sent to an internment camp. Manzanar Relocation Center. Niffty’s father is shot for trying to escape and her mother dies of an illness at an infirmary. The walls are thin and barracks are overcrowded.

  1943: age 14

 1944: age 15 Niffty is often surrounded by the stench of death. She eats like an animal and longs to be free.

 1945: age 16

Niffty’s father is shot for trying to escape and her mother falls ill and dies in a makeshift infirmary. Niffty remains in the camp until 1945, finishing schooling and joining the band. Niffty has to live with several other families and children in cramped spaces. The lessons were only taught in English. Niffty falls in love with several boys. Niffty meets one nice one but he eventually leaves with his family, leaving Niffty behind.

 Niffty returns to her home town with nothing to return to. She finds Japanese businesses, homes and places of worship destroyed with vandalism, gunshots and explosives.

 By sheer luck, she is able to live and work for an upper class white family as a maid, cook and a person who sews their clothes. The mother is racist toward her but not the father nor the older sister, who tolerate her.

 1946: age 17 Niffty is visited by Alastor through a radio. He offers her mangas, appreciation for her work and a new “perfect” boyfriend/husband, plus a radio. She agrees to help him out later on, but she gets more than what she bargained for.

 1947: age 18 Niffty gets married to her boyfriend but still works for the family.

 1948: age 19 Niffty’s husband starts hitting on Niffty’s white adoptive sister. Niffty’s adoptive parents make her do even more work since she is so good at it. Niffty’s fanfictions are read by others and starts attracting horny older men.

 1949: age 20

 1950: age 21 Niffty’s husband beats and violates her, though Niffty still remains in love with him. She lets him violate her, feeling more and more broken and helpless. One part lasted three hours, leaving her feeling sticky and disgusting.

 Niffty asks the radio for advice and it influences her to do evil things. Jealous of her adoptive sister’s beauty and attention to her husband, Niffty kills her and cleans up the mess, serving her flesh in meat pies to neighbors.

 During one evening on the streets, a horrified Niffty glances at a man violating a corpse of a woman and stabs him to death. She darts away before she can be caught.  

 1951: age 22 The trauma Niffty faces catches up and she snaps. Niffty kills her husband as he tried to rape and stab her and sets his house on fire. At the same time, she cries over the loss of him. She writes about it in a journal, which is discovered by the mother. This draws attention to the police, the father had called them earlier.

 Niffty gets cornered by police inside her home. One of them is a relative of her husband. Niffty tries to run but gets shot three times in the thigh. Before anyone could do anything, the officer picks her up and tosses her into a burning fireplace, where she dies.

   1951: Niffty arrives in Hell, lost and overwhelmed. One demon, a black spider named Rhapso hires her to work at a clothing Emporium. Niffty is beaten and chided for every little mistake she makes, every loose thread, driving her toward perfection like in life. Niffty also has to clean her boss’s room and cook meals. Out of sheer spite, Niffty steals and wears an elegant dress made of black swan feathers, sizing it down to fit her small body. Her boss threatens to roast her in the furnace but as she is immune to fire says “Let’s say you’re in deep hot water, brat.”

 Niffty is thrown into the burning lake as punishment. Niffty plunges to the bottom of the lake, unable to breach the surface as sinners sink to the bottom instead of floating like in regular water. Though Niffty can survive in hot places, the heat and pressure becomes uncomfortable. There are also fiery underwater monsters to avoid. Niffty often has nightmares of her boyfriend sending her into an icy lake to drown, or watching her parents suffer at the internment camp. There is no way for her to interact with the world, make friends and no one to fall in love with. She dreaded having to be forcefully pulled from the surface by her boss and be forced to work more long shifts.

 Until one demon is alerted by her presence…

 After having signed the contract on Earth, Niffty’s presence is sensed by Alastor’s shadow. The shadow reaches in and picks up Niffty, the little demon gasping for breath. Then, she meets Alastor. Alastor reminds Niffty of the deal she had made in the living world and invites her to shake his hand to seal it. Niffty is eager to do so, already enamored by the Radio Demon’s charm.

 Niffty’s boss comes back and demands Niffty go back to work, but Alastor says he would take Niffty instead. Niffty sets her boss and store on fire for revenge, entertaining Alastor. Niffty calls herself Niffty.

 Niffty soon works for Alastor, making his meals, cleaning his cabin-like lair underground (Deer’s Den) (plus his above ground smaller radio studio cabin), sewing voodoo dolls and tailoring his suits. She also is handy in fighting as she is immune to fire, speedy, skillful with her hands and can fit into small places. In exchange, Alastor gives her a place to stay, money, some journals and clothing for her hobbies, plus voodoo creatures for her to eat and play with.

 Niffty is soon summoned from the fireplace and gets to work cleaning the hotel rooms and helping make meals for the hotel residents. Niffty writes erotic fanfiction and sews in her spare time. Along with Husk, Niffty protects Alastor and helps kill his enemies.

 Niffty starts an Instagram account under the name babyfeatherduster. She is seen posing at Alastor’s feet, hanging out with Husk and trying to take Alastor’s picture. People mistake her for a child, even though she is in her 20s.

 Niffty’s true intentions would eventually be revealed. Niffty seeks to be doted on by lots of men, and she lives in a fantasy world of her own. And she’ll use any means necessary to make the world of Hell her own. (she might manipulate men into sleeping with her). Niffty shares traits with Charlie from Always Sunny. Niffty loves erotic stuff and that includes fanfictions, pictures and maybe spying on nude men. She has pica, eating stuff like spiders and fabric. Although Niffty likes to get lost in fantasy and romance, she may be the most socially aware member of the group. She can also manipulate people and knows about Hell’s racist/class driven system. Her delusions of authority and emotions hide a sense of insecurity. Like Charlie from Always Sunny, Niffty is good at sewing, cooking, singing and music.

[hobbitkiller]

She-Ra, Supergirl, and Tangled: A Tale of Three Female Relationships: Part 3

*SPOILER WARNING FOR SHE-RA, SUPERGIRL, AND TANGLED: THE SERIES*

Previously on “A Tale of Three Female Relationships” AKA HobbitKiller clearly misses grad school but not enough to find secondary sources for a multi-part tublr. post (or thoroughly proofread):

In Part 2, I discussed the impact narcissistic mother figures, resentment for chosen ones, and repressing emotions has had on three female relationships in three different series: Adora and Catra from She-Ra and the Princesses of Power, Lena and Kara from Supergirl, and Rapunzel and Cassandra from Tangled: The Series/Rapunzel’s Tangled Adventure.

These posts are a deep dive into where these relationships went wrong and will eventually culminate in a discussion of what these relationships say about the portrayal of female characters and female relationships in media.

For today’s installment, I will be covering two subjects: Blond Bulldozers and I Don’t Care (I Ship It). WARNING: This one gets reallllllly long. Like, possibly multiple sittings.

PART VI: BLOND BULLDOZERS

In my first post in this series, I jokingly mentioned that one half in all three of these relationships is a superpowered blonde who saves the world.

There are of course many implications in the fact that, though all three of these shows strive for increased diversity compared to their source material (It is also interesting that these are all shows based on pre-existing franchises), the main character continues to be a fair-skinned blond woman. 

That’s mostly a matter to be discussed another day, but I do find it interesting that all of these relationships feature one blond and one not-blond. Lena and Cassandra have black hair, and Catra is...well...a cat-person. Beyond that, the blond is not only the hero, but is typically depicted as morally superior and more righteous. Kara, AKA Supergirl, was literally declared the “Paragon of Hope” in the latest CW crossover, Crisis on Infinite Earths. That title could just as easily have gone to Rapunzel whose chief characteristics are her optimism, desire to see others achieve their dreams, and belief that everyone gets a second chance no matter their criminal past and exploits (seriously, everyone in Corona--the name of the kingdom unfortunately for right now--gets one total pardon as long as they’re sorry even if the tried to kill multiple people). Adora is a little less cotton-candy that Kara or Rapunzel. She has the same moral righteousness, but actually has more of an edge to her than many of her friends due to her upbringing as a child soldier. Still, all three blondes are meant, for the most part, to be the moral center of their shows.

But, the thing is, when I look at these relationships, I can’t help but think of another popular blonde/not blonde friendship that went wrong:

Ahhh, Wicked, the prototypical female friendship story for so many of us. Wicked aims to take this classic dynamic of the morally pure blond protagonist and their dark-haired frienemy and turn it a bit on its head. Throughout the musical, Glinda is treated as pure, superior, and good because she is flattering and pretty. In reality, Glinda is often selfish and lacks the courage to stand up to people and systems she believes are wrong. Elphaba, on the other hand, is treated like an outcast because of her green skin and social awkwardness. Yet, for most of the musical, she is the one with the moral righteousness. She is labeled “wicked” by those in power for challenging them and standing up to them.

We’ll discuss Wicked more in the finale of this multi-part post.

For now, I’d like to contrast that relationship to the three being analyzed right now. None of these three shows goes as far as Wicked did to undermine this trope of the perfect blond versus the darker brunette. This makes sense as none of the three properties is seeking to deconstruct their source material or turn it on its head in the way Wicked aims to do so for the Wizard of Oz (the movie more than anything else). They seek to update and diversify certain aspects to be sure (someone heard loud and clear the criticism that there are no people of color in Tangled), but not to challenge them.

That being said, each show does try to layer in flaws in their blond protagonists approach to relationships. These flaws tend to be more subtle than those of the people around them, perhaps to protect said blondes from becoming too unlikeable, but they are clearly there.

In the last post, I talked a lot about the resentment of the non-blondes in these relationships and how that helped lead to the relationships falling apart. Those characters are also much more the aggressors in said relationships and are much more set on taking down the other party.

However, the blondes in each relationship are not without blame for it falling apart.

In the previous post, I discussed how being friends of a so-called “chosen one” or “golden child” can breed resentment. I also mentioned that raising someone as a “golden child” is its own form of abuse. It creates a level of unrealistic expectations to always be perfect and responsible. It can be the same for a “chosen one.”

Adora, Kara, and Rapunzel all feel a tremendous amount of responsibility as the “saviors” of their respective worlds. This manifests itself in a need to constantly “fix” everyone else’s problems. Adora frequently describes her need to fix whatever goes wrong in the Rebellion. Kara feels it’s her job to fix things so much that she contacted her former boss’s estranged son behind her back to try to reconnect them. Rapunzel frequently becomes involved in the personal lives of her friends for the sake of fixing their problems.

To an extent, this is a good quality. All three of our blond saviors have good hearts and don’t want to see anyone else suffer, partially because all of them have suffered their own childhood traumas from being raised as a child soldier to witnessing one’s entire planet and species destroyed to being held prisoner for 18 years.

However, as the title of this section suggests, all three of these characters tend to take a bulldozer approach to their involvement with their loved ones’ lives. This creates tension in many of their relationships, not just those discussed in these posts. Adora’s attempts to help her friend Glimmer after Glimmer becomes queen come off as controlling and as though Adora doesn’t respect Glimmer’s position of authority. Kara, in addition to the incident with her boss’s son, had also tried to control the life of another alien (and eventual boyfriend), Mon El as well as did things like break into her sister’s apartment when she was sad. Rapunzel promises to fix everyone’s problems, which leads to friends feeling betrayed when she can’t follow through. She also frequently intrudes in Cassandra’s life and plans.

One of the most threatening things for people like Catra, Lena, or Cassandra is to feel as though they do not have control over their lives. When you already have trust issues, feeling like someone else is trying to control you can feel like you’re being trapped. Control is particularly important to Lena. In many ways, she has the same feelings of responsibility as Kara. Like Kara, Lena, having been raised by one of the most powerful and influential families on the planet, feels a sense of responsibility to be a world leader. She feels that even more keenly in light of the villainous actions of her mother and brother--that she has to restore honor to the family name. As discussed in the previous post, this feeling in Lena manifests itself in her actions towards her friends through buying them things or trying to solve problems for them such as buying Kara’s and James’s place of work, Catco, to save it from being purchased by a scumbag.

This need to take back control of her life and legacy, to me, is why Lena reacts so drastically to discovering that Kara is Supergirl. Being mad at Kara for keeping secrets is, frankly, hypocritical on several counts. Not only does Lena keep many, many secrets from Kara throughout the show, but she is also fine with the fact that Alex, Kara’s sister, never told Lena explicitly that she was an agent of the Department of Extranormal Operations (DEO). Of course, the reason why Lena wasn’t mad at Alex is because Lena had already known who Alex was, thus giving her power and control in that relationship. Finding out that her friend had successfully hidden her identity for years and had been influencing events without Lena’s knowledge took away the control Lena felt she had over that relationship.

Cassandra also feels a keen lack of control over her life and her relationship with Rapunzel due to the fact that Rapunzel is both her monarch and direct employer. Cassandra serves Rapunzel and that is the first avenue through which they formed a relationship. Early in their relationship, Cassandra resented Rapunzel’s attempts to become friends and said the chance of a Lady in Waiting and a princess becoming friends was a million to one. Rapunzel, by nature of being “irrepressible” (as her friends call her), manages to worm her way into Cassandra’s heart to the point that Cassandra almost forgets that she and Rapunzel are not equals.

What I find interesting about both Cassandra and Lena is that they both, in some ways, considered themselves the protectors of their naive blond friends. While it’s true that Cassandra always knew her station was below Rapunzel, part of her job early on was teaching Rapunzel how to be a member of the court--what to do, when to curtsy, who was who, etc. In fact, Rapunzel had so little exposure to the outside world, Cass was partly responsibly for teaching her how to interact socially in general. There’s also the added factor that Cassandra is 4 years older than Rapunzel, which can seem like a lot at their ages. Lena, as previously discussed, saw herself as a major figure in shaping the future of the world. She went out of her way to help Kara by buying Catco and tried to protect Kara if they were ever in physical danger together.

Both of these characters suffered from an abrupt challenge to the relationship roles they previously thought they had. Cassandra in this scene and Lena when Lex tells her that Kara is Supergirl.

It’s interesting that, in that scene, Lex emphasizes the idea that Lena has been a fool. (And, fair enough, I’m pretty sure everyone who’s ever watched the show found it hard to believe that Lena never once realized her best friend was Supergirl. I mean...really, glasses?) But this idea, that she had been a fool plays right into Lena’s fear of losing control. It’s the idea that someone else was pulling strings while she was oblivious that taps right into her deepest insecurities.

Catra’s issues with feeling controlled by Adora are mostly revealed in the episode discussed last post called “Promise.” They come up again in the third season finale when Adora tries to convince Catra to come with her and leave a world that is crumbling out of existence and Catra declares that she will never  go with Adora, and that she won’t “let you win” and “would rather see the whole world end (which it’s doing BTW) than let that happen.” Catra believes the way to get control back from Adora is to “win” at any cost. 

In the end, this idea of “winning” becomes part of all three relationships. It’s no longer about working together or “us against the world” for the not-blondes who have felt crushed under the weight of their friends. Now it’s about achieving their goals in spite of the collateral damage.

And the most frustrating part is that the blondes are largely oblivious to the fact that they make their friends feel this way or that they are overstepping boundaries. They just think they’re doing the right thing because they’re “taking care of” or “fixing” the problem. They’re so concerned with taking care of or protecting their friends, that they don’t realize how patronizing and condescending that can feel.

So, even as these relationship turn so sour, why are so many people not only rooting for the friendship to return, but for our ladies to go the next level beyond?

PART VII: I DON’T CARE (I SHIP IT)

I sometimes wonder how the greatest point of contention, the biggest source of toxicity, and the most exhausting part of fandom became shipping. I have seen more nastiness among fans and toward creators and actors about shipping than just about anything else.

Shipping has a long history in fandom, though that term is relatively recent. People have been writing fan fiction about Kirk and Spock getting together since the show was on and fan fiction was written and shared at either in-person gatherings or through semi-underground fanzines. 

And, trust me, I’ve been in the trenches of a ship war. Back when Avatar: The Last Airbender was airing, I was a hardcore Zutara shipper. And, to be more honest, it made me a jerk. Part of that is just because I was a teenager at the time, and teenagers don’t always realize the potential impacts of their actions due to brain chemistry etc, etc. But still, the intensity with which I argued that my ship either would or should become canon when the creators of the show clearly preferred the other relationship embarrasses me when I look back at it.

These days, fandom shipping has gotten even more complicated and contentious.

Back when those women (and it was mostly women) were typing their Kirk/Spock fan fiction and mailing it to other fans, they knew Kirk and Spock would never actually get together on the show. That was the case for the majority of fandoms until very recently--that there was no expectations of actual canon lgbtq representation. People could claim there was deliberate subtext or coding, but very few, if any people, expected shows to actually have openly lgbtq characters.

Then, it started to actually happen. Not just in a, “the actor said they saw their character as gay” or “the creators said they coded that character as gay” way. Characters actually started being lgbt on screen in ways that weren’t demeaning or stereotypes. Major characters, too.

For me, a big moment that gave rise to the hopes of many that their lgbt ships might actually have a shot at being confirmed as canon was, funnily enough, the sequel show to Avatar: TLA, The Legend of Korra.

The above was the closest the couple got to an on-screen intimate moment, and some fans didn’t believe it was romantic until it was later confirmed by the show creators. Nickelodeon was only willing to go so far, after all. The followup comics, however, are much more explicit with the relationship and the two share multiple kisses and intimate moments.

Many fans argue that Korrasami (as the ship between Korra and Asami is called) was too subtle to be considered real representation. But a wave could certainly be felt throughout the world of animation afterword. Shows became even more bold about confirming lgbt characters or at least became less subtle in their coding. 

And suddenly, the idea that a main character’s finale pairing might be anything other than straight became a real possibility and, in some cases, an expectation.

In addition to the growing visibility of lgbt relationships in media, another change was slowly taking place within fandom. 

For much of modern fandom, the most popular ships have been male/male (mlm). Back when I was getting into fan fiction (because I love reminding people that I’m old), this was called “slash.” Slash was exclusively a term for mlm relationships. Same-sex relationships between women (wlw) were labeled “fem-slash,” and were much more rare.

Multiple people have discussed theories for why mlm was, and continues to be in many cases, the most popular type of ship. Some believe it has to do with the prevalence of straight women in fandom who might fetishize mlm relationships. While I have no doubt that’s partly true, I believe the other common argument has a great deal of merit: there were more mlm ships because male characters were more interesting and more prevalent. 

Star Trek: The Original Series had only two main female characters and neither of them was given close to the emotional depth as Spock or Kirk. Lord of the Rings, which was one of the most popular pieces of media on which to write fanfic when I was younger, has so few women the movies had to add in a boat load of new scenes for Arwen.

Recently, though, not only have more shows invested in writing dynamic, interesting female characters, but they have included multiple diverse female characters with relationships with each other and not just the men in the shows. 

So, not only do more people ship wlw ships, but more people expect to actually see those ships represented in their media. Never before has a wlw ship becoming “endgame” seemed more possible.

In many ways this is fantastic. More representation being not only more possible but more expected is absolutely necessary for our media to progress and grow. This has, however, lead to some growing tensions in communities where shipping has, in some ways, become its own form of activism, which means that there is not only people’s personal feelings and preferences for ships on the line, but people who feel that fighting for their ship to become canon is a proxy battle for their own acceptance. 

All three of these wlw ships mean a lot to the people who ship them, and all three have been met with the desire, and occasionally demand, of canon validation as well as a heady mess of coding, accusations of queer baiting, and the lingering question of which, if any, relationships might get the same, and hopefully more explicit, validation that Korrasami had.

Let’s start this deep dive into these relationships as ships with the one that has, in canon, already been resolved.

Yep, that’s definitely a Disney twirl going on there.

One of the first points often made when the validity of a mlm or wlw ship is questioned is that, if you say an m/f couple do the same thing, no one would question that it was romantic. This makes it interesting, and sets off the shipping alarm for anyone who’s a fan of wlw ships when Tangled: The Series goes out of its way to not only give Cass and Rapunzel (ship name: Cassunzel) romantic moments like the above “Disney twirl,” but also directly parallels relationship moments that occurred between Rapunzel and her canon boyfriend/future husband Eugene (AKA Flynn Rider).

Look familiar? It’s almost a shot-for-shot remake of Rapunzel and Eugene meeting for the first time. In this episode, Cassandra accidentally wipes Rapunzel’s memory to the point where Rapunzel thinks she’s still in the tower. It plays out, in part, as “What if Cassandra had found her instead of Eugene?”--something every shipper had doubtless already asked themselves at least once.

Another major moment of paralleling between the two relationships is the endings of both the movie and the series. 

Eugene dies in the end of Tangled only to be resurrected by Rapunzel’s love. Cassandra dies in the series finale of Tangled: The Series, only to be resurrected by Rapunzel’s love. And it is love, that much is very clear.

The only debate really, is whether it’s romantic or platonic love. 

Cassandra and Rapunzel never get official validation in the show or by the executive producers. The most confirmation fans get outside of the text of the show are comments made by some people who work on the show saying that they deliberately coded Cassandra as gay as they could whenever they could.

Yet, for the most part, the creators of this show are largely given a pass by Cassunzel shippers for not making their ship canon. Most understand that, as a Disney property, many hands are tied, particularly given that, due the previous establishment both form the end of Tangled and from the short Tangled Ever After that Rapunzel and Eugene do get married. The reaction seems to largely be that Disney and the show got about as close to confirming it as they could without doing so.

So let’s transition from the show that met, and in some ways, passed expectations to one that has set expectations super high: She-Ra and the Princesses of Power. 

She-Ra is perhaps one of the most lgbtqia coded shows out there right now. The first season even ends with them saving the day with a rainbow.

Here is show-runner and executive producer Noelle Stevenson on queerness in her life and She-Ra:

Yet, despite these deliberate attempts to show representation and to challenge heteronormative ideas, the show has yet to show any of its primary characters or even second tier characters in queer romantic relationships. We have seen a few parents, one pair on in a photo, and their is one married couple of women, but none of these characters are prominently featured on the show.

She-Ra has set expectations incredibly high and has yet to deliver.

Even so, part of what sets She-Ra apart from the other two shows discussed here is that there are multiple queer shipping opportunities. Catra and Adora (ship name Catradora) are one of, if not the, most popular ships, but both Catra and Adora have other female characters with which they could be just as easily shipped.

On the one hand, the pressure is pretty high to establish at least one major queer ship before the end of the show. On the other hand, the pressure is much less that the ship specifically be Catradora.

The near-certainty that there will be one or more wlw ships confirmed before the end of She-Ra means, to me, that Catradora has the greatest chance to become canon.

So, there’s Cassunzel that never really had much of a chance for canon confirmation and Catradora, which has a better chance of becoming canon, but also has less pressure to become THE ship. Where does that leave Lena and Kara?

Anyone who has been in the Supergirl fandom knows that it can feel like a battleground. While all fandoms tend to have their issues, Supergirl’s can be so contentions that it, frankly, makes watching the show less fun. This doesn’t all fall on one groups shoulders, I’ve seen nastiness from many sides over different issues. However, the biggest point of contention tends to center around the potential ship of Lena and Kara (Supercorp). 

Supercorp, as a ship, is completely valid. Kara has way more chemistry with Lena than she has had with any of her male love interests, and two of those guys were played by people whom actress Melissa Benoist was actually in relationships with (though the first was an abusive dirtbag, so lack of chemistry probably makes sense there). Lena once thanked Kara by filling her entire office with flowers. There are cuddles, and Kara’s unwavering (until recently) faith in Lena’s goodness. It’s hard not to ship them.

The issue in the fandom, is not so much that people ship Supercorp (though there are increasingly more people who have issues with the ship itself, which is something I’ll address about all three of these ships in the next post) but the vehemence with which some who ship Supercorp approach whether it will be endgame.

In a way, the frustration is understandable. Supergirl is, in many ways, a show that has made a point of including LGBTQ representation. The second season featured a multiple episode story arc of Supergirl’s adoptive sister Alex Danvers (I will stan her until the end of time) realizing she was a lesbian, coming out, and eventually starting a relationship with another woman. Supergirl also made headlines for featuring the first live-action trans superhero on tv with the introduction of Dreamer in Season 4. The trans actress who plays Dreamer, Nicole Maines, has even had input on how the character is represented including a recent episode that discussed the often ignored violence targeting trans people, particularly trans women of color.

She-Ra and Supergirl have different approaches to representation. She-Ra takes place in a fantasy world and appears to take the approach that nothing about identity or sexuality should be assumed about anyone. There is no heteronormativity in Etheria, yet no major characters are in non-m/f relationships. Supergirl on the other hand, is set in a world more similar to ours which has heteronormativity, homophobia, and transphobia, which leads to the show making episodes and story-arcs specifically about those topics while also somewhat constraining the show. There are arguments to be made about the worth of both approaches and both can serve a purpose for viewers, particularly young viewers, who are searching for characters like them in media.

So, why are the people behind Supergirl so often accused of homophobia?

I mentioned in the Blond Bulldozers section that it is a bit telling that all three shows being discussed here attempt to create diversity while having the whitest, most mainstream character as the lead. There are many who would argue that the true values of the shows are represented by their main characters, and that the rest are window dressing to try to make the show look good as a form of tokenism. The point being that shows won’t really show a commitment to diversity until the main characters are just as diverse as the rest of the cast.

These are all valid arguments. 

A less valid argument is the claim that Supercorp is being deliberately baited by the creators of the show. Queer baiting is a term that seems to have a lot of subjectivity tied up with it. The general idea is that it is when creators purposefully use queer coding or other means to inspire queer shipping of characters as a means to draw in the queer community to their show but then never delivering on that potential.

In some ways, all three of these shows could be accused of queer baiting. The direct parallels in between Cassandra/Rapunzel and Eugene/Rapunzel were no accident. The coding and “anything can happen” while very little does on She-Ra is much the same. And Supergirl is trying to center a large part of the show around the relationship between Kara and Lena, a relationship they know many of the fans see as romantic.

Yet, to me, Supergirl, is actually a less guilty party, at least when it comes to Supercorp. One can, again, argue that the canon LGBT ships and characters exist to pander and draw in those audiences, but Supercorp, I believe, genuinely came out of a place of wanting Kara to have a strong female relationship with someone other than her sister, mother, or boss, and I’m sure this falling-out was in the plans fairly early on.

Has the show completely shut down the idea? No, I don’t think they would be foolish enough to do that. But I don’t believe that it rises to the level of baiting. Shows like Sherlock or movies like Pitch Perfect 3 are, to me, much more egregious examples.

Still, as I said, I can understand the frustration of Supercorp shippers, I just feel like the level of anger directed by some not just at the creatives who make the show but at other fans as well is not fully justified. (And yes, I know “not all Supercorps” and I also know other fans have been jerks. Sanvers shippers who are being asses about Kelly are just as bad.) And who knows? I’d never say never to the ship maybe becoming canon eventually after Kara and Lena work out their issues.

That being said, all three of these ships, regardless of canon status, are incredibly popular, and I want to examine more of what that is and the reason some people are wary of these ships and the potential messages they send. This leads me to our topics for our next installment:

MY WIFE IS A BITCH AND I LIKE HER SO MUCH

and

POISON PARADISE

I will try to make the next one shorter. Also, sorry for typos, I did not give this a thorough read-through. I used all my brain power just writing it.

[chasingshhadows]

RNM S01: A Progressive Review

I want to talk about diversity, representation, social issues, and the way Roswell New Mexico succeeds and fails in that particular department. It’s 2019 and we no longer live in a world where it’s acceptable to ignore the societal implications of the media we consume. That said, it’s also 2019, and Roswell is doing some things that place it far ahead of its peers in media in ways that make it an absolute pleasure to watch. Like honestly, I’m fucking thrilled with this show ok.

I’ve read and skimmed a lot of discussion about the ways in which RNM has failed to be this perfect paragon of progressive representation, and I’ve read/skimmed far less discussion – by both fans and TPTB – about the ways in which the show is trying to be better than its forebears.

However, there seems to be a wide divide between people recognizing the former and people recognizing the latter, and I very much believe it’s irresponsible to try to focus on either one without at least acknowledging the other. So I’m going to talk about those failures and successes, and I’m gonna zig-zag that line so that if you want to read about how I feel about one of those things, you’re gonna have to at least skim the other.

[read more]

I tried to be as concise as possible, but even so, this is rather long, mostly because I didn’t want to make several posts about this. I want to say what I have to say on the topic and then get back to the story because that’s really why I’m here.

Also to note: I understand – and I hope we all understand – that we are in the first season of this show. This means that they should have plenty of time to follow through on or fix many of the issues I will point out, but that also leaves room for them to torpedo many of the positives I’ll discuss. Just – please know that I know we’re only one season in, and anything could happen.

On lived race

This show does a fabulous job exploring how race intersects with these characters’ lives and how it plays an active role in shaping not only who they are, but how their story lines play out. With Liz & Arturo, their race – and immigration status – are openly discussed on screen and inform their decisions and how they present themselves to others, as well as how they are received by their town. This is, in fact, a major aspect of the first season arc/plot as a whole, not just as it pertains to Arturo & Liz (and Rosa), but as it pertains to all the characters, so it’s worth emphasizing.

With Maria, we see her discuss her race as a factor in her isolation from her hometown, as well as seeing how she owns it in the face of racist customers. With Kyle, we see his compassion as a fellow child of immigrants in treating Arturo off the books, and with his mother, we see her perspective on that situation based on her own experiences as a Hispanic immigrant. And with Mimi, we see, tho tangentially, how the intersection of her race and gender and the stereotyping around those have had a negative impact on her healthcare. Even what little we saw of Arizona was washed in her experiences as a Native woman, and her (rightful) disdain for white people.

On the other side of that coin, we have white characters, namely the three alien siblings, whose White Privilege plays an active role in their actions and how they conduct themselves. I know some people have frustrations that these three main characters were all cast as white, but I’ll be honest, after having seen 1.06 (Smells Like Teen Spirit), I would not have bought that any of these characters were a POC. Can you imagine a Black or Hispanic teen being thoughtless enough to frame a WOC – who also happens to be the daughter of a known undocumented immigrant – for the drug-induced vehicular manslaughter of two white girls and not expect the entire town to then turn on that family? Even as a teen, no POC would be race-blind enough to not have had that forethought. It would not be believable, without an immense amount of heavy lifting in the backstory, for a POC to have framed Rosa instead of either of the white women, to have made the decision to put her in the driver’s seat over the other two.

And in this way, the show also does an amazing job in showcasing how good, liberal white people can still be thoughtless where it concerns race. Especially at 17. The White Privilege of the alien siblings, and their lack of awareness of it, serves as a major negative driver of the show’s plot and is the root cause of much of the conflict throughout the first season. That’s real, that’s believable, and that’s important to show.

This, all of this, is vital in portraying accurate, true-to-life representations of how marginalized racial communities interact with each other and white populations, and also gives those communities characters they can point to that not only look like them, but also share their experiences – experiences which are unique to POC and also give white viewers a clearer picture of what it’s truly like to live in this country as a person of color.

On meaningful racial representation

I feel rather let down that the show didn’t follow through on Alex’s heritage in any of the meaningful ways that they did with the other POC on the show (see previous section). All of those characters had clear and explicit aspects of their narrative which centered their race as an part of their story – again, rightfully, as that is how it’s lived IRL. We got to see them express and experience their race as more than just the color of their skin. We didn’t get that with Alex. (or with Noah, but he’s a whole other story)

It’s particularly disappointing considering that Alex is the only POC on the show who passes (that we know of, ofc). Many people will be upset at my bringing this up, but it’s true and we should be talking about it. His ability to pass – the ability for anyone to look at him and not know immediately that he is of Native descent – does not in any way negate his POC identity. Not even remotely. Not a little bit, not at all. All it means is that as a POC, Alex has the ability to be spared from certain microaggressions experienced by others in his community. Not all, not even most, but some. But it also means that he is subject to microaggressions that others in his community will never experience – such as someone making disparaging comments about Natives as tho there aren’t any in the room, or by people assuming he’s “basically white” bc he looks white and erasing his heritage entirely. Those are experiences unique to his race that other Natives who don’t “pass” would never experience.

Roswell didn’t follow through on that this season. We saw no indication, other than the casting of his brother as a Native actor (which I was very pleased about, mind you), that Alex Manes is not as white as he appears. Portraying and giving accurate representation to POCs who pass is just as important as giving it to POCs who don’t.

On consent

WOW this show does a marvelous job at portraying how people should approach getting active and explicit consent from those around them. Active consent is so deeply ingrained in the foundation of this show that its absence is used as an indicator to the audience that something is very very wrong - and on more than one occasion. In order to pull that off, the show has had to set an abundantly clear standard for the type of consent that these characters should expect from each other when things are not horribly wrong, and that standard is appropriately high.

Max and Liz are the obvious duo with which this is explored. From the first, when Liz wants to kiss Max outside of the cave, he stops her because he’s concerned that her judgement may be impaired or impacted by the effects of his powers. He refuses to take advantage of that state, making a direct call to the behavior women wish we could expect from men when our own judgement may be impaired. This continues later when she asks to be left alone and he just immediately backs down and away, not pushing or persuading. He treats her word as law, as he should. We see even in his past, as a teenage white boy in 2008, that he consistently asked for Liz’s consent to even be in her presence.

We see it between Michael and Alex in very different but still very present ways. A lot of Michael and Alex’s communication is silent and, as such, so are their consent check-ins. Before their first kiss, you see Michael checking in with Alex, watching Alex’s body language as he approaches and making sure Alex is receptive before he goes for the kiss – and Alex is, clearly. Michael asks what Alex wants and Alex says that doesn’t matter while stepping toward Michael. Michael stops and looks at Alex and Alex continues to move closer, looking back and forth from Michael’s eyes to his lips. This type of silent communication and consent checks continues throughout the rest of the season, from the scene at the drive-in to the teenage scenes and on.

We also see clear attempts at getting explicit consent between Liz & Kyle, between Cam & Max, and even when Michael was guarding Maria at the gala (I can go get Liz if you want me to leave) and later when he approaches her following the events of 1.13.

This has honestly been so fucking cool to see like this, on a CW show especially, to see how easy and essential it is to get that consent in all situations. It’s an important representation that we don’t see laid out clearly enough in media today and I’m so fucking proud of Roswell for doing it so effectively.

On disability & erasure

This show started to do something that was really incredible in portraying one of the main characters as an amputee. We see his crutch, we see the way he moves with it, we see how he struggles with it, and we see how he is determined to life his life as an amputee, and not just despite it.

There was certainly plenty of room to improve in even that regard - specifically where it concerns coaching on exactly how a recent amputee might move their body and center their weight and whatnot, even, or maybe especially, if that person were trying to hide their struggle. But it’s clear that the show was trying to represent a type of character we don’t get to see often.

But then Alex loses the crutch. Rather suddenly and very cold turkey. This is not an accurate representation of how someone with a recent loss of limb would experience their recovery, no matter how much that person may want to hide it. Recovery takes time, it takes practice, and it includes bad days. We didn’t see any of that.

It's particularly frustrating considering the show gave themselves the perfect opportunity to do this transition far better and didn't take advantage of it. There was a six-week time jump between episodes 8 & 9. Had we seen Alex try to go without his crutch when he confronted Liz in ep 7, and then have to return to using it after the long day out, and again in episode 8 with his father - wouldn't it have been so amazing to see him collapse in his chair after Jesse leaves and rub his leg because he's been ignoring the pain all day in an attempt to intimidate his father? And then we could see him moving more independently after that six-week jump.

The show dropped the ball there, in my opinion. In a big way. That beautiful representation was given and then promptly taken away. And then the show set itself up perfectly to explore how the invisibility of disability can be experienced, and has not followed through on that at all. Quite literally the last indication at all that we get of Alex's amputation is Michael commenting on his having lost the crutch in episode 9.

One of the harsh truths of disability is that no matter how much one might try to ignore and hide that aspect of who they are, it will always be there and it will make itself known. It might be invisible to others, but Alex will experience it anyway, will be affected by it anyway. He may be able to do anything that anyone else can do, but he’s gonna have to work ten times harder at it. We should have gotten to see that.

This same problem of erasing disability happens with Michael’s hand in the last episode. Michael’s scars, what they prevented him from doing, how they affected his work - all of that was so important to see, and then he gets the unconsensual healing power of magic and suddenly he gets his happy place back. And as happy as I was as a Michael!Stan to see him find that, this sends a bad message, that people with disabilities just need to be “fixed” to be happy. And as I mentioned above and in other posts, it is wildly apparent that Max healing Michael’s hand without his consent is meant to be an indicator that Max is Very Not Okay and is a prelude to him literally going so mad with power that he kills himself to resurrect Rosa. That noted, from a representation standpoint, I wish another mechanism had been used to show that.

On unapologetic politicism

Roswell makes it absolutely clear where it stands on the political spectrum and who this show is for. This show exists in the post-2016 election, post-#MeToo era and it embraces that culture and does not shy away from being political, on everything from race, sexuality and misogyny to immigration status, gun control, and even research science. It uses context and even hero dialogue to make the audience aware of what is right and what is wrong on these topics, and it does so without ambiguity or nuance.

It (appropriately) paints ICE as the enemy of good, hardworking people in literally the first scene of the show. Liz starts ranting about being stopped because she’s Latina and I just did a little dance inside because Yaassss, these are my people. And the show doesn’t let up there - the shadow of ICE hangs over Arturo’s - and by extension, Liz’s - head the entire season in a way that makes the audience uncomfortable and angry on his behalf.

The show consistently, from multiple characters both in law enforcement and not, refers to undocumented immigrants, the homeless, and prostitutes as “the most vulnerable members” of society, and not as a scourge or a menace to that society. These are good, worthy people deserving of protection and justice. The show paints anyone who views differently as firmly In The Wrong, from the disgusting Wyatt Long to the self-righteous Sheriff Valenti.

The dialogue calls out everything from subtle racism in police descriptions to building a wall to #AllLivesMatter to fake news to the terrifying ease of buying a gun to homophobia to the president himself  - it does not hold back and it does not leave room for excuses or sympathy on the part of the more conservative characters.

Most of the dialogue on the show that wasn’t explicitly Alien-centric feels very organic in the ways that it makes offhand quips about immigration and racism and sexism and everything in between - that’s the way I and my friends speak and converse. That stuff just filters into our conversations about really anything because it’s always at the forefront of our minds. We call those things out when we see them and talk about idiots like they’re not sitting right in front of us (“I think that’s Hank speak for ‘he wasn’t white.’”) There aren’t a lot of shows that nail that so perfectly and the only one that’s coming to mind at the moment is Dear White People, which was the first I saw to pull this off so well.

This is media that doesn’t try to paint a picture of “there are good people on both sides.” This media isn’t playing middle ground, or trying to please everyone. It’s making a statement in these choices and it doesn’t shy away from pissing off toxic people - this media isn’t for them. Most popular successful media (*cough* MCU *cough*) achieves that status by very carefully toeing the line between left and right, by using subtext to attract progressive viewers while keeping the explicit storyline clean and moderate. Roswell doesn’t do that - its progressivism is explicit and unmissable, as it should be. And that makes it, truly, an absolute joy to watch.

On Maria’s arc

Maria DeLuca did not start this season as an extension of Michael’s - or anyone’s - storyline, and I’m incredibly frustrated that, narratively, that’s how she ended it. That’s easily my biggest disappointment regarding the season as a whole, exaggerated by the fact that Maria is a black woman and because of that, her storyline carries more weight than many of the others. This post does a good job of discussing why POC rep matters more, and while it focuses on race-bending (which this show has also done with Maria, in a positive way), I think it still makes the point that Any POC Rep will just always hit harder, good or bad.

When that Rep is good, it’s fantastic. When it’s bad, it’s terrible.

And for most of this season, it was hitting very very good well. Maria throughout most of the season was this fierce, beautiful firecracker of personality and suppressed issues. She had a history and a deep well of issues both pre- and post- the loss of one of her closest friends, followed by the physical separation from her other two best friends. She’s got an amazing relationship with a mother who is slowly losing grip and slipping away from her. Those things, how they shaped her, and how they expressed themselves made her relatable, tangible, and easy to love.

That was actually one of my favorite parts about her hooking up with Michael, that these were main characters seeking comfort and distraction in one another, rather than just with throwaway characters. Maria is her own person with her own story that we had already seen explored as an independent arc from any of the other main characters

However, that arc never quite got the same attention as Kyle’s or Alex’s and certainly not as much as Liz or the Pod Squad. A lot of that likely has to do with her ignorance of the alien presence in the town (which appears to be coming to a close, but I won’t speculate on that) and that makes sense, narratively. As she couldn’t be actively involved in pushing the alien mystery plot forward, there was only so much the show could do with her, and I think they did take advantage of what little wiggle room they had there.

That said, given that she’s the only black woman on the main cast, it’s very disappointing that she rounds out the season by being drugged, possessed, and either talking about, pushing away, or engaging with Michael. My own perspective on this show may revolve around Michael, but that doesn’t mean I think our black woman should share that fate narratively.

And I’ll note that characterization-wise, I understood the ways Maria’s thoughts and actions could become consumed and fixated on a love interest. Oh, holy wow, have I Been There. But allowing that - and essentially, only that, narratively for Maria at the end of the season, as the only MC black woman on the show - is a disservice to her character and the community she represents. Which is not to say that I take issue with how Michael and Maria come together at the end, either from a narrative or a character development standpoint; what I take issue with is that that is all we get of her in the later episodes. Maria deserved more, and so did we.

On fighting for WOC

One of my favorite things about this show is how the characters on this show again and again come to bat for the two main WOC, despite that both of them are portrayed as absolutely capable of fighting for themselves. Both Liz Ortecho and Maria DeLuca are shown to be strong, multifaceted, beautiful (neither because of nor in spite of their race - just beautiful, end of story), desirable, and worth fighting for - and unapologetically and undeniably women of color.

Our “main hero” Max makes it absolutely clear that he will Throw Down for Liz Ortecho. He risks his own life and the lives of his siblings to save her, and nearly torpedos those relationships entirely on her behalf. He loves her absolutely, flaws and all. And he acknowledges those flaws - he doesn’t put her on a pedestal or pretend she’s perfect - she doesn’t need to be for him to love and respect her.

We see Alex and Michael and Liz all show up for Maria at different points in the story, fighting on her behalf, defending her, and making the statement that Maria is precious and should be protected. More than that, through Michael’s eyes, we stand in awe of Maria DeLuca - she is a standout, she is impressive, she is powerful, and she is her own savior, every time. And through all of that, she is beautiful and desirable and absolutely worthy of being the center of attention.

These storylines and characterizations are unfortunately still incredibly rare for women of color in modern media. Women of color rarely get to be these fully fleshed out characters with their own backstory and own motivations, and even more rarely do we get to see them be viewed by others as special and valued. Roswell isn’t sidelining its WOC or centering their storylines around white men (my comments above re Maria’s last couple episodes notwithstanding). And that’s amazing and should be celebrated.

On aesthetics

No matter how important something is to the plot or how in-character it would be, the sociological aesthetics of media are still relevant. Plot-wise, the roundabout Wyatt leading to Maria leading to Noah was an interesting mechanism, and it makes sense, character-wise for Cam and then Isobel to suspect Maria’s involvement. And it makes sense, character-wise, for Liz to then defend Maria against those suspicions.

But - aesthetics matter. And watching a scene in which two white blonde women accuse a WOC of horrible crimes at another WOC is immensely uncomfortable and very tone-deaf. That wasn’t fun or engaging to watch, I don’t feel drawn into the mystery of it all in that moment, I feel pretty grossed out, actually. Because this show has set a standard for itself of being better than that, and in that scene, it failed its own test.

On bisexual representation

This one I’ve already talked about at length and having finished out the season, my feelings haven’t changed. This show does a damn fine job showing us a bisexual character living out his life, his pain, and his unhealthy but entirely relatable coping mechanisms. They don’t try to portray him as perfect because he’s not and he shouldn’t have to be for us to respect and love him.

On bi-baiting

I’ll admit to being disappointed that Isobel’s feelings for Rosa turned out to be artificial and driven by the man living her in mind. It took the whole situation from amazing bi rep to aggressively heterosexual. Not only was our queer woman not actually queer, but all of those feelings and attraction toward another woman were actually driven by a really toxic man that was actively violating Isobel to pursue that attraction.

Once again, the show started to give us something really fucking amazing - two bisexual main characters - and then appeared to take that away. We’ve been given no indication that Isobel’s attraction to Rosa was anything more than Noah in her head or that she herself is anything other than Very Straight.

This doesn’t diminish the amazing bi representation they’ve given us with Michael, but that amazing representation does not excuse or erase our having been baited into falling for another bisexual character only to find out it was all very likely a sham. While there are certainly not enough bisexual men in media, there is also not enough queer women at all. So dangling that in front of the audience before yanking it away is frustrating.

On respecting survivors

*Content Warning: sexual assault* 

So I’m going to talk as a survivor for a moment and explain how Holy Shit Muther Fucking Important it was to see another survivor being told that other people’s feelings and needs didn’t matter. What She needed mattered. I was sobbing through that scene because no one has ever told me that. No one ever told me that what I needed trumped other people’s comfort or anger or needs.

But Isobel got to hear that. She got to hear that her brothers’ needs Did Not Matter (and that, particularly, hits hard for me). The only thing that mattered was whatever She needed to get through this, to feel better, and to heal. She got to hear that taking care of herself was the most important thing, that she was allowed to be selfish and think of herself. She didn’t have to put others first, or make sure everyone got what they wanted. What they wanted is nothing compared to what she needs. I needed to hear that just as much as Isobel did.

The show did not shy away in facing just how violently violated Isobel was by her husband - body and mind. It doesn’t brush off what he did as just another evil act by an evil man - this was invasion of Isobel in every possible way by someone she loved and trusted.

And it doesn’t try to artificially portray her as too strong to care, or too weak to handle it. She’s strong, but she’s affected. She’s shattered inside, and she’s handling it. A lot of us know what that’s like in ways people that haven’t experienced it never could. And as someone who finds therapy in being understood, in seeing my experiences in media, this scene was everything I needed.

On villainizing POC

This one has sparked a lot of valid discourse. Media has a really ugly history of telling society who is good and who is bad based on casting choices and always always always making the villains the POC, particularly MOC. It’s unconscious bias leading to more unconscious bias, teaching viewers that we shouldn’t trust POC bc they’re always the bad guy.

It’s a problem and every additional casting choice like this contributes to that problem. No show or movie is immune to it simply because they had a good reason, or even because they wanted to give a POC a job. Studios can give POC jobs by writing roles for them from the beginning, rather than slotting them into damaging stereotypes.

While I do acknowledge that it is unfair and in many ways problematic to deny an actor a role simply because of their race, aesthetics matter. There has to be some forethought in the casting choices regarding the message that choice will send. If the desire is to have more POC characters, then write more POC characters.

And that’s another way in which Roswell doesn’t really succeed with Noah. While there’s at least mention of Noah’s race on the show, he falls into the same category as Alex in that we never see his race expressed or lived. They cast a South Asian actor to play a raceblind role, which means they cast a POC actor to play a white role. POC characters have different stories than white characters - Roswell dropped the ball on giving us that with Noah.

Roswell does a lot right where it concerns race on this show, and it is refreshing that our POC villain is far from the only POC on the show. That said, I was taught something in college that I will never forget:  oppression is a moving sidewalk. In order to work against it, you cannot stand still (i.e. casting POC on both sides). You must actively walk the other direction in order to affect change.

Like with the issue of Isobel’s baited bisexuality, giving us amazing representation in one hand doesn’t change that you’re using the other to flick our ear.

On centering queer stories

*hugs myself in delight* This is a big one and is probably the aspect that Roswell gets the most right. Both in impact, screen time, and even in literal scene-splitting, Roswell again and again makes it clear that Michael & Alex’s love story is just as vital and central to this story as Max & Liz’s. They intercut their scenes at numerous points, and characters even within the show compare how similarly their stories have played out. The two relationships experience major milestones on the same day on more than one occasion.

Michael and Alex’s relationship has depth. It has conflict, it has history, it has heartbreak. There is tension and pain and softness and love. It has laughter and safe spaces; it has big gestures and powerful words. These two men who crash together and fly apart but whose whole beings seem to orient toward the other and who, at the end of the day, are willing to let themselves be destroyed for their love.

This queer love story playing out on season 1 of Roswell has more foundation, development, chemistry, and payoff than some of the most romanticised straight couples in media history. It’s been a week since the finale and I’m still just utterly in awe at what we’ve been given here. Roswell is absolutely succeeding in giving us thorough, relatable, meaningful queer representation with Michael and Alex. They are not holding back or sidelining or tokenizing. And they are following through on narrative promises instead of just baiting or relying on subtext. And that’s…. so fucking insanely satisfying to finally get to see.

.

Ultimately, I’m far more happy with how the show treats its underrepresented identities and modern social issues than I am critical. Most of the content on this show is akin to looking in a mirror and seeing my own worldview reflected back. I am a queer progressive woman and a survivor, so many of these issues are personal for me.

But I’m also white, and my disabilities are not physical. As such, I am not and should not be the authority on some of these issues. I am more than open to feedback from those who feel I was either too harsh, or not harsh enough, where it concerns those issues.

But for now, this is essentially Chasing’s Progressive Review of Roswell New Mexico, Season 1. And now I’m gonna go roll around in meta and fanfic and gifsets for the next several months cuz I sure as hell ain’t done talking about this show.

[thewellzine]

High Fidelity, Racial Ambiguity, and the Myth of Universality in Film and Television

By Amber Delgado 

I rarely binge watch television shows, I try my hardest to avoid it. I go to the movie theater pretty regularly—the ease of entering a specific viewing space to consume a story where I know I’ll receive a beginning, middle, and end typically within a two- and half-hour time span (to include trailers) is efficient for my busy millennial lifestyle. With the advancement of streaming services within the past decade, television series are getting better, more “diverse,” more abundant, and simultaneously longer in episode length and shorter in number of episodes within a series. I avoid binge watching for two reasons, the first being due to the capitalist society I’ve been brought up in; it makes me feel like a lazy, worthless blob of a human being to have sat or laid still for hours on end looking at a screen. How dare I spend that much time being unproductive? The second is that these shows, the good ones at least, are so damn tempting to binge they practically require it. The next episode button counting down in the right-hand corner basically taunting you as the music of the quick credits plays in the background. A black screen with white text pops up and you’re stuck with that immediacy to decide: should I continue being a worthless blob or finally go to the gym? Because I can at times have an addictive personality, I always go in for the kill when I occasionally find a show that I enjoy.

I hadn’t heard much about the new Hulu adaptation of High Fidelity starring Zoe Kravitz until about a week ago, through Instagram. I believe someone I follow shared in their Instagram story a promotional photo that Zoe Kravitz took for the show. Due to my years long crush on Zoe, I looked further into what exactly this show was about. I had never heard or seen the original film High Fidelity, adapted from the novel by Nick Hornby. So I was interested to check it out, and on Saturday night after returning from the gym and starting some laundry, I decided to attempt to watch only a couple of episodes.

In the opening scene of the first episode Zoe Kravit’s’ character Rob, is breaking the fourth wall in tears about the breakup with her boyfriend Mac. It really draws you in. (I personally haven’t seen much Zoe Kravitz has acted in. I’m aware of her most recent role in Big Little Lies, but was never too interested in giving that a watch; take that with a grain of salt because again, I’m not watching much television generally compared to the average person). The acting in this scene, and also how stunning Kravitz is, instantly pulls you into the series. Rob replaces the main character played by John Cusack in the original film adaptation. While I was watching the show, I found myself Googling more about both the novel and the film, and scanning reviews for more context regarding the show.

Little to no surprise, I read multiple headlines claiming how groundbreaking it is to have Zoe Kravitz replacing a white male lead. What was surprising for me however, is how in the ten episodes, the character Rob—played by Kravitz, a Black woman—rarely acknowledges her identity and rarely has dialogue with other characters in the show. I enjoyed High Fidelity for its incredible costume design; lighthearted moments; the comedic champion who carries the show, breakthrough actress Da’Vine Joy Randolph (who has one of my favorite character introductions in television history);and its nostalgic and fun soundtrack. Where the series falls flat for me is unfortunately through the writing of the main character, Rob. I want so badly to like her and root for her; I see a lot myself in how she shows up (or doesn’t) in relationships. I enjoy newer series giving complexity to female leads in terms of romantic relationships. Being shown the representation that women don’t always have their shit together, we can be confused, we can seek multiple partners, we can hurt people and don’t always conform to the predetermined, hetero-patriarchal assignment of care-giving nurturers, we can crave sexual relationships and pleasure without seeking long term commitments.

This review is me wading through something I’ve constantly been thinking about. A couple of months ago, while having a conversation with a friend of mine who is a cis-het white filmmaker, we discussed him writing in characters that are people of color within his scripts. And got into disagreement about representational writing and universality. He was arguing that there are certain stories and emotions that transcend race and identity. And also, that not all television and film consisting of Black and Brown characters have to directly be attached to their identity, they can just be “everyday people with everyday stories doing ordinary things.” This is what the writing of High Fidelity feels like to me. I suspect a predominately white writers’ room casting a Black woman lead character in replace of this story about a white man who owns a used record store.

My discomfort around Rob’s character are in the writing; I’m not arguing for a monolithic representation of Blackness and Black womanhood or a script that consistently states that Kravitz is a Black woman. I don’t think that Rob isn’t written “Black” enough for me to enjoy. Moreover, I feel when Black characters in television and film are written through the lens of universality, so much context of living life as a Black person is lost. That type of representation is one we cannot afford to lay to rest when Black people can never “put down” their Blackness and while white supremacy remains entrenched within the foundation this country was built upon. White people need to understand that Blackness can never be detached from our everyday lives, both white people who are consuming media and culture and those creating it who want to have a fun diversity party.

The myth of universality serves white supremacy, white people having the historical advantage of defining rules and building institutions. I can’t help but associate a yearning for universality with objectivity. The argument of make this “neutral enough so everyone can enjoy it” undeniably has historically served and prioritized whiteness. This always brings me back to the amazing Toni Morrison quote which I feel directly addresses the myth of universality:

“I never asked Tolstoy to write for me, a little colored girl in Lorain, Ohio. I never asked [James] Joyce not to mention Catholicism or the world of Dublin. Never. And I don't know why I should be asked to explain your life to you. We have splendid writers to do that, but I am not one of them. It is that business of being universal, a word hopelessly stripped of meaning for me. Faulkner wrote what I suppose could be called regional literature and had it published all over the world. That's what I wish to do. If I tried to write a universal novel, it would be water. Behind this question is the suggestion that to write for black people is somehow to diminish the writing. From my perspective there are only black people. When I say 'people,' that's what I mean.”

Rob lives in Crown Heights in Brooklyn, and a majority of people she dates and hangs out with are white people, with the exception of her brother and her co-worker and friend, Cherise, who she seems to have a complicated relationship with. I think this show is able to literally write off Rob’s Blackness, due to Zoe Kravitz being a lighter skinned, almost racially ambiguous Black person…which has long been in discussion within how Black people are represented in media. Major production houses and casting companies are most comfortable seeking Black actors who confirm the loose curl pattern, light skin preference. Even Zendaya has acknowledged her awareness of her career being due to how she looks, and how she looks being preferred by the industry. What does it say that in the year 2020 we have the nerve to celebrate representation when so many of the Black actors getting work have all these same physical attributes? Where is the diversity, really?

Lastly, like in the film and the book, Rob goes through her top five worst breakups of all time, and seeks to contact them as a means for understanding why her relationships are failing. As she goes through this list, four out of five partners are white people. I myself, being biracial and growing up middle class, understand firsthand how their specific experiences can lead to a Black person ending up in predominately white spaces. However, these contexts are never presented for Rob in the story of her character; the series treats, as natural, that a Black woman just happens to have always had a bunch of white people in her life…and that needs no explanation as to how? This is particularly hard to take in throughout the series as she consistently disrespects, undermines, and ignores her only Black woman friend and employee, Cherise. At times, outside of her Black most recent ex-boyfriend, Mac, I questioned if Rob really cared to have any Black people in her life, which wouldn’t be difficult to do living in New York City. Why were the writers content with making those decisions? It was enough to have a Black woman lead and one Black supporting character—the diversity box is checked and then the rest of this cast can be mostly white.

Rob feels so flat to me; there was potential in this remake but it feels the writers were striving for the clout of having a Black female lead without actually writing a Black female lead. I’ve also had a similar feeling about the 2019 film Waves, starring Kelvin Harrison Jr. and directed and written by a white man. When watching the trailer for Waves, I felt like I had no idea what it was about, and after a Google search and seeing that the film was written and directed by a white man with a predominately Black cast, I instantly lost interest. I did follow through on seeing it out of curiosity, and for me it was my least favorite film of 2019.

At this point, I’m sure you’re asking yourself, especially if you’re a white person, “So what, white people can’t write in characters they don’t have a lived experience of? Isn’t that art? Can’t I be free to make whatever I want?” White people don’t need my approval to create, or much less do anything. White people have been doing whatever they want to since the beginning of this land mass (see colonialism). What I am saying through this review, is that if you expect a hoorah for your forced universalism via pre-approved Black and Brown bodies that you call diversity, we’re gonna continue to see right through that. So hire some Black and Brown writers, there’s plenty out there.

[shaineybainey]

Lab Rats: Elite Force – What Exactly Went Wrong?

An Opinion Piece from a Viewer’s (and a Writer’s) Perspective 

[written and posted on another site september 2018]

Let me begin this piece by stating one important fact that could or could not affect your acceptance of this piece: besides the finale, I’ve seen none of this show’s episodes. None. I only ever knew what was happening in it through the reports of others who had watched the show and had formed their own opinions about it, most of which were either negative or neutral. Could that have affected my own view of it? Of course. Could those have turned me off from the show more? Sure. But, the fact remains: the project that seemed to be the biggest and most promising in its time only had one season, ran only a few months, and was never renewed. When the show and its cast were first announced, I was admittedly upset. My favorite character was not included. I found it unfair since this spin-off seemed to be a new, exciting arena with a fresh concept. It bothered me a bit to see the five main characters in the promo image posted on Twitter, too. It was a little too...monotonous compared to how the audience had known Lab Rats and Mighty Med to be. But eventually, I’ve learned to accept that Tyrel Jackson Williams, the actor who played Leo, may have wanted to move on to new projects (and he did) and that maybe the creators just thought that the five actors they handpicked could carry the show a lot better. It was all okay. Soon, though, it became apparent that the negative feedback that had surprisingly come from some of the most loyal fans of Lab Rats, Mighty Med, or both were actually a reflection of how the viewers felt in general. When the finale aired on October 2016, the news that it was a series finale rather than just a season finale had already rocked the fandom. Twitter and Tumblr were flooded with complaints against Disney XD for canceling “another great show” in favor of a “trashy one”—which seemed to be an indirect snipe at the network’s then newest program, Mech X-4. Fans took to the actors’ Instagram accounts, asking them when the second season would come or why there wouldn’t be anymore episodes. They were understandably heartbroken over this loss. They tried to save it for months but – it didn’t work. The plea for #RenewLabRatsEliteForce didn’t carry the impact the petitioners wanted it to have, sadly because those left were too few in numbers. Many of the most vocal and most outspoken ones—the viewers whose voice when Lab Rats aired were the most powerful—have unfortunately already left the show long before and could not be counted on anymore for any help. Thus, Lab Rats: Elite Force never came back on air. It may be a wonder to some how that could have happened. Lab Rats, the main ‘universe’ this show played in, still remains as one of Disney XD’s powerhouse shows due to its iconic interracial family, bright and bold sets, and seamless, innovative plots. Meanwhile, the lore and mythology that came with Mighty Med was the most complex and held the most potential. These two combined should have generated a show worth the four-season run that Disney treats their most exciting and popular programs with. So, what exactly went wrong? Below is just a few of the things that I think may have caused the show its demise. The Reasons 1. When the shows combined, they were both stripped of their characters of color (save for one) – which resulted in lack of both visual diversity and diversity in storytelling. When Lab Rats aired in February 2012, there was already a considerable buzz about it. Besides its predecessor, Pair of Kings, Disney haven’t been playing much with the idea of featuring an interracial family. That was why it piqued the interest of many people when trailers of a Black teenage boy finding himself in a new family with his Black mom, White stepdad, and three White stepsiblings aired. It was icing on top of the cake, too, when at the time, it appeared that the main character might actually be of color this time. Mighty Med followed this diversity trend to a degree. The two main characters were both White, but the rest are of other races—two Hispanic and one Asian, to be exact (or Calderan, if we’re speaking of the character rather than the actress). These characters offered different voices, backgrounds, and personalities to their shows. They also served as beacons, lights of hope that maybe, just maybe, Disney is starting to understand that there were also other races and ethnicities they could pick to tell their stories and that they didn’t have to worry about it ‘not working.’ Everything was working, but fast forward a couple of years later, one of Lab Rats’ creators announced that the two shows would merge, and here, they are your new team! To be exact: William Brent, Kelli Berglund, Bradley Steven Perry, Jake Short, and Paris Berelc. Two of the stepsiblings from the Lab Rats fandom, and the three main characters from Mighty Med. Of course, this is not to knock them as actors. They’re all quite good, in my opinion! In fact, Paris Berelc is still unbelievably wonderful in her new Netflix show Alexa and Katie as Alexa Mendoza. Kelli Berglund and Jake Short have new projects they’re currently involved in as well. However, as a viewer, I thought the production could have put together a better combination. Past the shiny and admittedly impressive costumes and cool vibe of the cast, the promotional image and the trailers that subsequently followed lacked the oomph! the other two shows, as separates, had. The characters as a collective weren’t visually interesting anymore because they didn’t reflect the way the viewers saw the world. It was like Disney XD went back to how it was before Pair of Kings aired. It would have been better if they made a few switches. It could have even been somewhat forgivable if there was a recurring minor character of color. Sadly, there wasn’t. Everyone looked the same. 2. There were two Chases, two Brees, and one Adam in the team. Disney has long ago earned the reputation of having repeating archetypes in their programs—and the two shows, even as separates, weren’t safe from this. Still, they were all balanced out. Lab Rats' book smart, shy, sometimes egotistic, but truly kind character Chase Davenport was balanced out by his stepbrother Leo Dooley, who had impeccable street smarts, was rather mischievous, dangerously curious and clumsy, but was also ultimately good at heart. At the same time, Mighty Med’s resident teen doctor Oliver, who was resourceful, introspective, and the voice of reason, was balanced out by his best friend Kaz - his impulsive but loyal partner-in-crime who prevented him from being eaten up by his own seriousness through jokes and lax regard to the rules. When the shows merged, well, things went off-kilter. All of a sudden, the show had two young men (Chase and Oliver) with the leader personality. It was also evident from the sudden changes in the character’s clothing style that Skylar Storm had lost her individuality and her rather funny but genuinely heartwarming curiosity of the world around her. She had adopted Bree Davenport’s style and also, subtly, her treatment of the world and the people closest to her (which, if you haven’t seen the original show, wasn’t stellar at all). Kaz was the only one safe from the character cloning. Kind of. He remained to be the sense of humor in the show, but I can’t help but think when I saw the finale that he essentially served the same purpose Adam Davenport did in Lab Rats’ narrative. This lack of variation in personalities made for a bit of a static storytelling. One fanfiction writer who used to be really into Lab Rats told me a few months into the show that the characters brought out the worst in each other. Gone was the sweet Chase Davenport and was replaced instead by a character who had to constantly assert his dominance over his teammates. Oliver, whose affection towards Skylar had been cute and heartfelt to watch, had become obsessed with her and had turned stalker-ish, reportedly pressuring her into becoming his girlfriend. And the team as a whole had become a bratty bunch, too consumed now by their own importance and their own problems to show warmth and kindness towards one another. Again, this could have easily been prevented by making a couple of switches. The fanfiction writer part of me thought that it would have been better if the team was instead made up of Bree, Leo, Oliver, a new WOC character with a rather stoic personality, and Skylar, who would serve as the team’s leader. That could have offered an interesting dimension to the show: varying voices, potentially initial conflicts that can turn into warm, lasting friendships, and varying strengths and weaknesses that can play well with each other and can definitely move the story forward for a couple of years. Lab Rats: Elite Force was trying to achieve a Teen Titans feel, and those five could have done that. But, reality turned out differently, and there's no undoing what had been done. 3. The Villains in the Mask, Part 3. As much as I love the writers and creators of the Lab Rats universe, I do have a few complaints, one of which is: do the villains always have to be concealed or be wearing a mask? Victor Krane, and now Roman and Riker. All of them were introduced to the show wearing masks! Also, they all had the same reason for doing the villainy they did: revenge. Now, from the outside looking in, that may not be as bad. Revenge is a rather strong motivator, but in comparison to the best ones this show had seen, did it really have to be that again? I’ll give you the best villain Lab Rats had as an example: Marcus Davenport. He was an android bent on destroying Adam, Bree, and Chase—and most specially, Leo—for the sole reasons that (1) that was his order, (2) he hates them, and (3) he hated them because they had their father’s affection and attention, and he didn’t. What made him complex and gave him a nice layer as a character was that despite his manipulative and murderous nature, at the end of the day he just wanted affirmation and affection from his dad. From what had been revealed, the spin-off’s villains had a reason of their own to go after the protagonists. Roman and Riker’s father had been drained of his powers for his own good, but the boys and the rest of their family didn’t see it as such. They saw it as an insult to them, although if I’m not mistaken, the show didn’t really explain why they felt that way. It was just a reason that was just...was. In the finale, they introduced another villain: Roman and Riker’s sister, Reece. Oh, she was manipulative and cunning. She also seemed promising because there was a moment of doubt when she was caught red-handed by one of the good guys. She was torn on whether she should hurt him to make her escape or not (spoiler alert: she chose the former; she blinded him). But, that was as far as it went. As mentioned, the show didn’t come back for a season two—which still haunts the rest of the fandom even after two years of its sudden end. 4. Everything was rushed. Good stories take time. Like flowers, the characters and the plot need time to grow. The writers of Lab Rats understood that when the original show first began. We saw character development and storylines that were quite impressive, mature, and relatable despite the show being marketed for children. There were also plot twists that were actually incredible. It became a memorable show because the writing team took their time. In the spin-off, they didn’t. The best example is the Oliver/Skylar pairing. The two years of slow burn between the two characters quickly changed into a wildfire that was erratic and didn’t make sense. Oliver was strangely out of character, and Skylar only seemed to have agreed to the relationship because she got annoyed. The relationship was awkward because it was handled impatiently. Reece’s introduction was rushed, too. She was maybe shaping up to be the big bad of the next season, but unlike Marcus, whose presence and role were built slowly and surely, she was pushed in. So, maybe she wasn’t going to be the main villain? The ambiguity created by all of these off-paced writing turned off the viewers one by one. At the end of it, I heard more unhappy responses to the show than I did positive. Maybe, somehow, the show-runners knew about that, too. They just didn’t say anything about it. 5. ‘Who’s your audience?’ It’s important to know the answer to that question because if you don’t, it will show. Lab Rats was marketed to children, perhaps in the ages 8-11 demographic. However, it was crafted to also appeal to teenagers and adults who may have been curious about the new project of the That 70’s Show’s former creators. Mighty Med, basing on its writing, appeared to have been meant for ages 6-11. Fans of the show might disagree with me on this, but it’s good to remember that one of its creators also made ANT Farm, which had silly humor oftentimes. (Not a bad thing at all. It’s just revealing of its audience.) Lab Rats: Elite Force seemed to have had problems identifying who it should actually appeal to. Should it be written like Lab Rats had been written? With silly humor here and there but also with jokes that teenagers and adults would appreciate? Or should it be written like Mighty Med, directed to the younger viewers and used laugh tracks more often? Well, the winner remains unclear. The characters’ sudden immaturity suggests they wanted to appeal to the new audience, but their rushed treatment of the Skoliver pairing also showed that they wanted to please longtime viewers somehow. They also gave Bree a new ability, perhaps to keep the interest of the loyal fans, but it didn’t really serve its purpose. It was probably meant to have been a wow factor. Sadly, it was another thing that didn’t work because the people they were trying to direct it to have lost interest—probably because they felt that the writers had ignored them for far too long in favor of newer, younger viewers who didn’t even stick around to watch the show. Concluding Thoughts At one point, I kind of hoped, too, that the spin-off would be green lighted to have a second season. When it finished, the hard feelings I had against it was almost gone, and I was earnestly hoping they would come back. Whatever the real reason(s) may have been for it not being able to, the cast and crew still deserve credit for doing their absolute best to make the show as enjoyable as possible. The finale, in particular, had a few highlights, and the set where the battle scene took place was impressive. The cast also put their best foot forward. The writers, meanwhile, perhaps despite knowing about the impending end, really did craft something special for those who had stuck with them until the final second. Despite its problems and potentials that were not explored, Lab Rats: Elite Force still graduated as a nice show with moments of excitement, dashing costumes, and memorable sets.

[dauntlcssly]

☾ — SCOTT SUMMERS/CYCLOPS is here! HE has found themselves wandering about new gotham attempting to find their place in this challenging world. they were once a HERO who used to be associated with THE X-MEN. hope they make it in this world. 

PINTEREST BOARD LINK.

the basics —

NAME: scott summers

ALIASES: cyclops, the first x-man, scotty, cyke, fearless leader, slim, captain commander

AGE: 34

BIRTHDAY & ZODIAC: unknown & virgo

MBTI: entj

PREFERRED PRONOUNS: he / him.

FACECLAIM: bob morley

a deeper look —

FAMILY: christopher summers (father), katherine summers (mother, deceased), jack winters (foster father), alexander summers (brother), gabriel summers (brother), jean grey (wife), nathan summers (son), rachel summers (daughter), hope summers (granddaughter)

AFFILIATION: the x-men (he’s their leader)

THREE FAVORITE THINGS: laser tag as a training exercise in the danger room, a hot bowl of soup, eighties music blasting through the speakers of his car  

THREE HATED THINGS: sentinels attacking his people, not remembering what it’s like to see the world in color outside of everything being red, living with the trauma from his abuse growing up as a child

EDUCATION: college graduate, xavier’s school for gifted youngsters

SKILLS:

EXPERT PILOT: an expert pilot of fixed-wing aircraft, a skill he shares with his father.

MASTER TACTICIAN AND STRATEGIST: has spent most of his superhero career as the leader of either the x-men and has developed exceptional leadership skills. it is notable that regardless of their general attitude towards him, all of the x-men tend to obey his orders in battle — because they know that he is usually right.

EXPERT MARTIAL ARTIST: cyclops also has extensive training in martial arts and unarmed combat, holding black belts in judo and aikido. his level of skill is sufficient to defeat six normal men with his eyes closed, and he has in the past held his own against dangerous hand-to-hand enemies.

WEAPONS: he doesn’t need one

ABILITIES: cyclops is an alpha-mutant.

OPTIC BLAST: possesses the mutant ability to project a powerful beam of concussive, ruby-colored force from his eyes. his powers come from ambient energies (such as solar radiation, photons, and cosmic rays) absorbed and metabolized by his body into concussive blasts released by his eyes.

cyclops’s mind has a particular psionic field that is attuned to the forces that maintain the apertures that have taken the place of his eyes. because his mind’s psionic field envelops his body, it automatically shunts the other-dimensional particles back into their point of origin when they collide with his body. so, his body is protected from the effects of the particles, and even the thin membrane of his eyelids is sufficient to block the emission of energy.

the width of cyclops’s eye-blasts seems to be focused by his mind’s psionic field with the same autonomic function that regulated his original eyes’ ability to focus. as cyclops focuses, the size of the aperture changes and thus act as a valve to control the flow of particles and beam’s relative power. the height of cyclops’s eye-blast is controlled by his visor’s adjustable slit.

his narrowest beam, about the diameter of a pencil at a distance of 4 feet has a force of about two pounds per square inch.

his broadest beam, about 90 feet across at a distance of fifty feet, has a force of about 10 pounds per square inch.

his most powerful eye-blast is a beam four feet across which, at a distance of 50 feet, has a force of 500 pounds per square inch.

SPATIAL AWARENESS:  possesses an uncanny sense of trigonometry, in this sense used to describe his observation of objects around himself and the angles found between surfaces of these objects. cyclops has repeatedly demonstrated the ability to cause his optic blasts to ricochet and/or reflect off those objects in a trajectory to his liking. this is commonly called a “banked shot” when applied to this talent. cyclops has been observed causing beams to reflect from over a dozen surfaces in the course of one blast, and still hit his intended target accurately.

ENERGY RESISTANCE: is resistant to the effects of his own powers. this is linked to him being capable of withstanding his brother’s ability with no ill effects, a result of their close genetics and a quirk of mutant genetics that is common among siblings.

TELEPATHIC RESISTANCE: years of being in intimate situations with telepaths have allowed cyclops to hone his mind to the point where he can resist telepathic intrusion and withhold certain information from high level telepaths.

the questionnaire —

WHAT IS SOMETHING YOUR CHARACTER LIKES ABOUT NEW GOTHAM? SOMETHING THEY DISLIKE? DO THEY MISS THE WAY THINGS WERE - OR DO THE LIKE HOW THE WORLD IS NOW? IS IT WEIRD TO THEM TO SEE MULTIPLE TYPES OF PEOPLE AND CREATURES AROUND? OR ARE THEY USED TO IT? WERE THEY ORIGINALLY FROM ONE OF THE TWO MAIN CITIES - OR SOMEWHERE ELSE?

scott is used to being around so much diversity since he grew up as a mutant. he cares about his people a lot, willing to do anything to protect a fellow mutant. he will also stick his neck out for almost anyone that needs help, no matter where they’re from and what their genetics say. it’s more about doing the right thing. he hopes that maybe with this new world, the changes will open up for more acceptance from humankind this time around. between the sentinels and the purifiers life can be exhausting, being out through so many hate speeches, but scott is a leader. he isn’t afraid to speak up for mutants especially the children.  this of course is why he doesn’t mind seeing other creatures walking around — more open to treating them as an equal. he does miss the way everything used to be, it seems less chaotic now that he looks back on it. he‘s always been busy between leading the x-men and the geometry classes he taught back in his own reality. scott wishes to return back to his version of normal, not sure if these changes will offer the promise of hope he wants his people to have. plus he worries about the kids being left behind if they’re all showing up here. he needs to explore new gotham to figure out what’s to like it dislike necessarily. his kind has been occupied by other priorities.

WHERE WAS YOUR CHARACTER WHEN EVERYTHING CHANGED? ARE THEY SUSPICIOUS OF EVERYONE OR ARE THEY TRYING TO REMAIN UNDER THE RADAR? HAVE THEY REUNITED WITH THEIR FRIENDS OR ARE THEY LOST? WERE THEY AT HOME IN BED? OUT PATROLLING THE STREETS? IN THE MIDDLE OF A WAR? WHAT’S HAPPENED TO THEM NOW?

scott was just coming back from a mission when everything changed. he had his glasses in hand — about to change out his visor for them, but then everything was different. he should be thankful to have been transported with his uniform and his casual eyewear. he was concerned about what caused the worlds to collide like this. scott has more questions than answers right now. he’s mostly spending his time looking for his team, viewing them as the priority more than anything else.  scott is always suspicious after what happened as a child, the abuse and manipulation from sinister and his adoptive father makes him hesitant with some new faces. he’s been working on it, even if that man somehow always finds away to keep an eye on him. which he hates, but is going to try being open minded to making new alliances. the x-men would need to unite with the unknown to somehow make it home OR make a new, safe haven here in new gotham.

ADDITIONAL INFORMATION —

ANYTHING YOU WANT US TO KNOW? ANY HEADCANONS?

origin —

scott summers is the oldest son of major christopher summers and katherine summers. he was born in the largest city in alaska. his father was a test pilot for the united states air force. his younger brother was born a couple years later, and his name is alex.

when the two boys were flying home from a family vacation on their father’s vintage plane, a scout ship from the alien shi’ar empire materialized suddenly — setting their plane on fire. their mother pushed scott and alex our of the plane door with the only available parachute. the parachute caught on fire, and this is when scott used his optic blasts for the first time to slow their descent. he was a mutant! the boys were completely unaware that the shi’at teleported their parents before the plane exploded. they were believed to be orphans.

one night scott woke up and destroyed the entire roof of the hospital with his optic blast. the next time waking up after that an entire year passed. once recovered he was placed into an orphanage in omaha, nebraska called the state home for foundlings. here it was that scott was forced to be subjected to batteries of tests and experiments by the owner of the orphanage — mr. milbury which was just an alias for mr. sinister. sinister placed mental blocks on scott and took on playing the role of the boy’s roommate that would bully him constantly. if anyone tried to adopt Scott sinister would intervene.

when scott was a teenager he started to suffer from severe headaches and he was sent to a specialist — also sinister in disguise. he provided the boy with lenses made of ruby quartz.

soon after his mutant power erupted from his eyes as an uncontrollable blast — demolishing a crane, causing it to drop the payload toward a terrified crowd. he uses another blast to obliterate the object, but the people believed that the teenager tries to kill them. an angry mob formed, so scott fled onto a freight train.

this is where the mutant would meet a criminal named jack winters, who would became his foster father for a short time. he would use his telepathic abilities to manipulate scott into joining up with him. he was physically abused if there was any refusal.

the use of his abilities attracted the attention of professor charles xavier. he was rescued from the clutches of jack winters, and taken in by charles to be the first member of the x-men. a team of mutants trained to use their powers for the professor’s dream for mutant equality.

the original x-men became best friends, and were tutored by professor x. he trained them to use their powers inside of the danger room. scott was provided with a special visor made of ruby quartz to help him control his powers in the field.

scott takes on the alias cyclops. he becomes the leader of the x-men, and continues to hold that position. he’s completely aware of what mister sinister did to him growing up during his traumatic experiences at the orphanage, and him playing the role of his doctor.  

he also moves on to become a professor at the school when reaching adulthood. scott taught geometry mainly, while also offering a leadership and tactics course. if the students wanted to form a small team of their own it has to be approved through him. he misses teaching now that the world has changed.

weaknesses —

POWER REGULATION DISABILITY: due to psychological trauma and physical injury at a young age, cyclops is unable to control his optic blasts. In connection, his eyes have become more reliant on the ruby quartz he uses rather than affecting change to the injury. emma frost has claimed the psychological trauma of losing his parents and being separated from his brother are primarily responsible for his inability to control his powers. sinister has also claimed that his eyes have become reliant on the ruby quartz sunglasses and visor, therefore making it hard for cyclops to control the blasts on his own. after overcoming the trauma, he was able to control his blasts and open his eyes for a period of time. however, he gradually began losing control of the blasts and had to revert back to using the sunglasses and visor again.

SURPLUS ENERGY: he needs to fire blasts frequently, because he gathers surplus energy within him if not. he apparently needs an outlet for that energy

equipment —

VISOR: to prevent random discharge it’s lined with powdered ruby quartz crystal. as a safety factor their is a constant positive closing pressure provided by springs. there is an overriding finger-operated control mechanism on either side of the mask, and normal operation is through a flat micro-switch installed in the thumb of either glove.

he also has emergency ruby quartz contacts.

X-SUIT:  current costume of cyclops is a variation of the basic costume designed by charles to their first and original x-men.

[cassandraclare]

Malecparty, Red Scrolls, and women writing for money.

havisha1212 said: Hi, I just want to say that i've been seeing a lot of discourse online. [There are those] trying to boycott RSOM because apparently they know that your intentions with the book are to get money, even though you were offered more money to write Clace. I just want to say that you have thousands, if not in the millions of people who understand that you write what you want to write. WE LOVE YOU and we appreciate you.

I appreciate the love, truly. Of course I’m also distressed to hear about a boycott of The Eldest Curses, since it will be a book with a main interracial gay couple and a secondary interracial lesbian love story. A vendetta specifically targeting a book like that won’t be seen by the outside world of publishing as an act of support for something else. It would be seen as exactly what they expect — a lackluster interest in books about LGBT+ characters.

I guess there are a few things to talk about here: one is the realistic situation of LGBT+ kids’ publishing and one is about women’s writing. In terms of the first, it’s very strange to suggest I wrote these books for money when I did, as you say, take a pay cut to write them. I was paid a third of what I was paid for the Dark Artifices to write them though they are the same number of books. I was paid less than what I was paid for my adult Sword Catcher series which features a world and characters no one has any familiarity with at all — a completely unknown brand. Many of my international publishers still won’t publish TEC. One bought it and has as of now cancelled the deal, though they have bought different books from me since. There are a thousand things I could have written or done that would have made me more money. That’s the stark reality of the “cash cow” the boycotters are discussing. 

Someone in Hollywood once described Alec’s being gay to me as “a strike against the character’s likeability.” So far in publishing I have experienced publishing TEC as “a strike against its marketability.” As you all know, it was pushed back: that was because my publisher wanted Queen of Air and Darkness to come out first and set a record of strong sales — while they support the books completely, they want to be as pro-active as possible about getting diverse books front of as many people as possible.

I’m in a lucky position; I’m a bestselling author and if these books don’t sell at all, my career can take the hit. That’s partly why I’m writing them now, when I finally can: I think it’s important to make sure books like this are placed front and center in bookstores as expected bestsellers, but if these books blow up on me, I’ll survive it. Other writers who are writing books with LGBT+ content wouldn’t be so lucky, and the message of boycotting a “big” book with a gay main couple isn’t “We don’t like this author” (because my other books are doing just fine) — it’s “We don’t like this subject matter.” (It is also a strange punishment for Wes Chu, my cowriter, often forgotten in these debates — a man of color writing about another man of color.)

I am of course not saying anyone who doesn’t want to read these books should buy them. We should consume the entertainment we think should entertain us; that’s what it’s for. But the idea of punishing female writers for their moral failings is an old and unfortunate one. It’s always been acceptable for men to write for money, or for attention; “she wanted attention” is one of the worst things you can say about a woman, but an inoffensive thing to say about a man. Similarly I’ve often been told online that I don’t deserve to be paid for what I write, or that my creative work should be taken away from me and given to men. It has always been expected since the Victorian era that writing about complex people and complex stories is a man’s job, and women should write simple moralistic tales in which the good are rewarded and the bad are punished. When a good character in a man’s book does something wrong, he is congratulated for his complexity; I get told at great length how morally terrible I am personally, since female writers are not generally assumed to have the emotional distance from their characters that with men, is a given.

The roots of taking away women’s ability to profit from their work goes back centuries into the idea that it’s evil for women to own intellectual property at all. One of my favorite writers, Colette, died in poverty because her husband owned the copyright to her bestselling books. There is a deep discomfort with the idea of a woman being paid what she’s worth at all. Writers are entertainers and they don’t work for free any more than singers or actors or TV showrunners. I am the sole breadwinner of my family and I support my parents and others with the income I derive from working on the intellectual property I create. A man would be congratulated on his success. I am called a money-grubbing bitch. A man would be credited for his work. I get people spitting at me that Red Scrolls is “fanfic”, as if these were not characters I created myself, so intense is the need to shame women for the act of creation and the desire to take it away from them.

One of the reasons we self-published Ghosts of the Shadow Market was because I wanted to write a novella about a genderqueer lesbian and I wanted it to get the same attention as the other stories in small invisible ways sometimes readers don’t even notice — the same time spent on the cover, the same hiring of a great audio reader, the same time being edited, the same advertising. When EET came out we all sat around wringing our hands and hoping it would at least sell half as much as the others: it sold just as well, and we were thrilled. We can hang onto those numbers. We can prove important points in future to the publishing world about the viability of non-binary LGBT+ characters. Sales do matter. The Red Scrolls of Magic is a book, and sales expectations are higher for books than short stories, so I know I will be in the same state of fear and hope when it comes out.

But the fact Every Exquisite Thing did well means something else, too: I believed there was an audience for it, and every person who bought it proved me right. The outpouring of love during the contest for an early Red Scrolls of Magic copy was amazing, and I scrolled through the #malec and #malecparty tags (thank you so much you guys! Winners will be notified!) with tears in my eyes, overwhelmed by readers’ stories of coming out and having their eyes opened to new ideas, and most of all by their love. Before I ever had attention or money, I had the joy of creation. One of the most amazing feelings when writing is to make up people, and to have real people invest in your inventions. I created Magnus and Alec, building them into characters I could love block by block, and yesterday I got to see other people love them too. I have been awed by and grateful for the support of every reader who has embraced the diverse world I have tried to create, and the increasing diversity I try for as I keep on writing and am allowed to have more freedom in what I write than when I first began and was turned down by publishers because I wouldn’t remove Alec from my books. I am hoping to help change attitudes and create, along with many writers and readers who believe that diverse media makes a difference, a world in which a book with a main LGBTQ pairing will be judged purely on its literary merits. We’re not there yet! I wish we were. But the increasing call for and support for diverse literature makes me hope we are getting there. I trust in my readers. I have to believe that anybody calling for a boycott of The Red Scrolls of Magic is in a small hateful minority who has lost sight of how their actions would be perceived by the world, and the effect their actions would have on the world. I have to believe that there are far more people who are open to loving and supporting diverse stories.

Money and attention are great. But in the end, I write because I do believe words have the power to change people, and change the world. Ultimately, I have to do what I think is the right thing, and trust that other people will too. My readers haven’t let me down yet.  

[I decided to remove the part about the television show from the original ask. Unfortunately the asker has been forced to delete their tumblr because of responses to this post, and so I cannot ask them for clarification. I hope they are all right.

This answer is in response to this ask and others like it — it was not the only one — about people having decided to boycott Red Scrolls because they believed it was “an attempt to make money”. Their alliances aren’t important and I’m getting the sense this may have been an attempt to drag me into a fight I’m not interested in having and which I have deliberately avoided knowing or saying anything about since the show was cancelled. I’m interested in talking about keeping diverse lit front and center, and I’m interested in talking about how female creators are treated, online and off. I am irritated — and partially with myself — for having been dragged into internecine warfare between fans of different things. It’s not my place to opine on those things or on the fighting itself. I also removed the word “stan” from the original ask as I think it’s an insult. Fans are fans, whatever they like.]

[th3okamid3mon]

[SPOILERS] Review/Ramble on Roma (2018) Dir. Alfonso Cuarón

So i just watch Roma, a movie around the 1970´s (1971 to be precise) in México, Ciudad de México

For anyone who doesn´t know, there´s this suburb called Roma, that´s why it has that name, its not in Italy or anything jaja. 

By now, probably everyone has seen it or has been like ¨OH, SPANISH! i don´t want to read the english subtitles ¨ (i hope that´s not the case because SO HELP ME DOG), in my unprofessional and cinema student-ish opinion, I like it. 

The movie is recorded in black and white, not sure with what camera or why the decision was to make it that way but the image has great quality and it makes the focus more on the story and characters than the surroundings (not that the art wasn´t important, in fact, it must have been a hell of a work to make certain pallets of colors to make it contrast different to each, also to not make everyone blend together into a weird spot). Cuarón direct, write and was in charge of the photography (which is what he is known for) , his writing was actually really balanced between the serious main parts of the movie, the common daily basis humor and interactions between the characters. 

Most of the shots were master shots with panning, there were no medium shots nor close ups (At least not until the end of act 3) . Doing this type of shots gives the viewer a chance to see the surroundings of the characters and to view whats going on around. I think this is because, even if we follow the main family and the protagonist Cleo (Yalitza Aparicio), the main point could be that they aren´t the only ones with a life and with problems. We can see other people, we can see them doing their own thing, it gives the film a more genuine feeling about a really busy street, city or town, we can see there´s more life outside the house of the protagonists. 

The whole story has a lot of tragedy, in fact there´s 2 whole stories full of tragedies: Cleo´s (the maid) story and Sofia´s (the employer or ¨patrona¨) story. Cleo is working like a maid and nanny for a family, she doesnt seem to be miserable, just indifferent about that job. It doesnt mean she is uncaring towards Sofia´s children or anything, its just her usual routine that she already knows. It is really nice to watch 2 people which share the same language talking like a usual common thing, other than just spanish. In this case, Cleo and her friend talk in mixteco a native language of México, im glad to see it treated as something usual for them and not like a surprise because there´s still a big community of indigenous people that still practice certain traditions and still talk languages. This includes more people and shows the diversity in the country as well as introducing more talent to the filming industry (not just certain type of people). Cleo isnt mistreated by anyone at the house, which is nice to see (other than the usual racist comments and mistreament), however she has this impotence appearance when her employer gets angry at her (obviously anyone would be terrified, specially if you lived with them and you could be potentionally thrown out). At some point, Cleo gets pregnant and its horrified when she: a) cant convince Fermín (motherfucker 2) that he is the father, and b) isnt sure wether her boss will throw her out of the house or not. 

Sofia is the employer, her children are Sofia, Paco, Toño and Pepe. Her husband Antonio (motherfucker 1) is a doctor which she loves, but once the story starts developing you get to know in the background that their marriage is crumbling. He goes on having adventures with other woman and lying to Sofia, meanwhile Sofia tries to keep it together while her children are acting like children and pre-teenagers. 

One thing i found interesting is the decision the writer (Cuarón) took when he made almost every male character an asshole. You have Antonio which lies and cheats her wife and then you have Fermin who bails on Cleo once she tells him she´s pregnant, also he threatens to kill her and her unborn child with martial arts (it...got a bit weird...). I would add the kids Paco and Toño because they were acting like disrespectful asshats, but I´ll pretend it was the hormones of teenage years and the whole situation between their mother and father. There´s also el compadre (i think its brother in law) of Sofia who tries to ¨comfort her¨. In general, this movie has certain violence towards female protagonists. 

Another thing i found interesting was how everything was according the era, like everything around the characters was moving independently of the characters. Everyone had to move according to the circumstances around them which they didnt had control over. Most notorious example: 1971, 3 years after Tlatelolco 

[NOTE: the image above is a real picture took from the protests from 1968]

The characters move around while events like the protests of students are still going around, the children are talking in one scene bout someone who got shot and in another sequence we see Cleo and her patrona going to a store to buy a crib which is interrupted by the screams of horror from the students, then a pair gets inside the store screaming ¨They are killing us!!¨. Then a group of porros (people who are paid by the government to start riots and make the opponent side the responsible of the excessive force used by the police, AKA, making them the guilty ones) get inside and shoot them. That whole scenario is independent of the characters, yet they are involve in it because they are there, and they cant do anything because thats what a person would do in a stressing situation: nothing, besides, Cleo is pregnant at that point so she would obviously wouldnt make any dumb move, specially when she sees that one of the porros is Fermin. 

[NOTE: this shot is from the actual movie, AKA: ITS NOT REAL]

Including social and politic events in the movie gives it a more authentic atmosphere, it makes the viewer get inside the story and give a view and let us appreciate how México (my country) looked back then as well as giving us a look to everyones personalities during this different time period. 

The interactions of the children and Cleo was the sweetest most adorable thing i have ever seen. Cleo is looked like a human being and not like a third type character, she has a voice and a personality, which is something we dont usually see when it comes to maids. She shares fun with her friends, she has dates, she laughs, she cries, she is human. She also shares part of her culture, with the children and Sofia isnt bother at all. Cleo sings lullabies in mixteco to the little girl Sofia, who gleefully sings with her. Making it so common, so normal and such a nice moment normalizes it; in the shot Cleo and Sofia says prayers first and then Cleo sings her lullaby. Its great to see the interactions and intersections of cultures like that, both are mexicans but come from different homes and cultures, yes, cultures because at the end of the day México is very diverse, it doesnt have just one way to live. There are different cultures within the country. It is really important that we see it as the normal, our normal because we need to include more people, to make it ok for everyone to feel included in the same place, we are from the same place after all. 

Other important point is the fact that this women have each others back in some sense and in most of the movie. Cleo helps Sofia during her times of need when she is stressing over her husbands infidelity and economic state, while Sofia helps Cleo during her pregnancy. Teresa, Sofia´s mother, also helps Cleo by getting her to a store to buy a crib and Cleo´s doctor is actually a woman, so most of the movie is woman helping woman. NOTE: Im not saying the men in the whole movie are awful people, SOME of them are, the one who have more interactions with the main protagonists. I dont want a radical feminist group to take this movie and twisted like they usually do with EVERY fucking thing. The main point of the movie is looking the hard and tough lives of women from different cultures and how they move on, some man do help like the guy who drive them around or Ramon (a side character which i think it was Adela´s boyfriend, Adela is Cleo´s friend), END OF THE NOTE

CONCLUSION: 

It is a good movie that shows a common part of life which involve good and bad things, from tragedies like infant death or civil massacres to the hopefulness of a better way to live, because the end of the movie comes full circles with everyones life but with hopefulness of a bright future. In this case the saying ¨What doesnt kill you makes you stronger¨ fits perfectly. 

The photography and art departments did a great job making the ambient from the 70s and giving the atmosphere to each scene and sequence a heavy and light feeling depending on what was going on. My mom was delighted to see certain places during those times because she remembers during her childhood looking at those different signs and streets, so the ambience was on point. For some reason I feel Netflix sold their soul or something to make this movie cause THOSE CARS LOOK EXPENSIVE, or maybe it isnt as expensive as i thought (should look up that later). The only complaint i could think of is that it should have pass to movie theaters a bit longer or at least project it again cause it can be more appreciated in those places than in your home with a faulty internet (my internet went out at least 7 times); also the effects of the babies were... really awkward to the point of being distracting and funny. They really looked like dolls, they bounce a bit, specially during the scene where Cleo gives birth to the death child (I shouldnt have laugh to that scene...but that damn doll look so plasticy... ) 

All and all, it was enjoyable to watch, the acting was good, even for the children. They did a great job, some of the lines were spoken awkwardly by the oldest kid, as to sound more mature? i guess that was the direction they went for. The characters were likable, they could make you laugh or cry during different times and make you feel for them. 

I think anyone could watch this but it is, what everyone could consider, a slow movie. So make sure to have everything you got and take time to appreciate everything around them, because i think this is like a candy you need to look around, everything they put its meant to be looked at. I give the movie 8/10 

[LOOKATTHATDAMNFUCKINGSHOTHMMMM!!!!GOODSHITRIGHTTHEREIFIDOSAYSOMYSELF!!!HOLYSHIT!!!NOMAMESESTASUPERCABRONALABERGA!!]

[inthedayglo]

Still alive, and Who S11

I’ve been away, largely, for the last few months because of Doctor Who. I’m back now, though holidays, etc. may make that kind of spotty for a while.

I started watching this series late (hence avoiding Tumblr to avoid spoilers), which is pretty unusual for me--I’m usually chomping at the bit. Not this time. Why? A couple of reasons.

1. General wariness of the gender swap and Chris Chibnall. I don’t know if I’ve said this on here before, so forgive me if I’m repeating myself, but I was never a proponent of the gender swap, because I’m not a proponent of “just because we can!” in storytelling. I am a proponent of “because it would let us do X, Y, and Z that we can’t do with our current setup.” There’s no guarantee of success with either, but at least one shows some forethought and purpose. “Just because we can” shows neither. And with Chris Chibnall in charge, and his incredibly inconsistent writing--it’s an oxymoron if ever there was one, putting the man who wrote “Cyberwoman,” one of the most incredibly misogynistic things I’ve ever seen, in charge of a male-to-female gender swap--I was not about to hold my breath that any forethought actually occurred.

2. The BBC and apparently everyone else deciding to trash Peter Capaldi in order to promote Jodie was a massive, massive turnoff. Any decent marketing person can tell you there are better ways to create hype than alienating the viewers who are still mourning the previous Doctor. But no, they went for it. I waited until November to start watching--and wouldn’t have started then if one of my friends hadn’t begged me to so she could discuss them with someone.

My short verdict? “Jodie’s a great actress. The fact that watching Doctor Who has never, ever been a chore for me before does not fall on her shoulders. Chris Chibnall, on the other hand, has a hell of a lot to answer for.”

Because the fact is, this series was a chore. A largely incomprehensible, forgettable chore. I have trouble remembering that at least half the episodes even existed--including the ones I liked, like “Kerblam!” And I suspect that number will grow with time. There’s just nothing memorable going on here.

I appreciate what they tried to do, or what I can only guess that they tried to do, but it feels to me like “tried” is an overstatement. I’ve come to call this TARDIS crew the “ticky box” team, because it feels to me as if they said, “Ooh, let’s tick all the boxes for every possible kind of diversity! Won’t that be great! Then we’re done--nothing more we need to do on that front!” And it just doesn’t work that way.

I mean, there should be an interesting relationship between Graham and Ryan...but no. There’s almost nothing, and what little we do get comes so close to the end of the series as to beggar belief. Those two should be, at the very least, getting in each other’s faces right from the beginning--or else pointedly avoiding each other, or one of each. Instead, it’s as if nothing happened, except to Graham, just a little, here and there. And then right back to Situation Normal--until we suddenly get Ryan and Graham Are Best Buds out of NOWHERE at the very end.

Now, I’ve become kind of tired of the big giant overblown series arc over the years, so I’m not saying that going more episodic is a bad thing. I’m just saying even episodic telly in 2018 is being viewed by an audience that’s going to expect more than that, and that, frankly, deserves more. We didn’t get it.

After 10 episodes, I still have no idea what purpose Yaz serves, except to have given us a Partition episode--which was the only truly memorable one of the year, but she was just an excuse for it. For all she sees during that episode, there’s hardly any character development (do we sense a theme here?) But that fits with the fact that Ryan never seems to mourn his Nan, except in that YouTube video in the very first episode, or deal with his father’s absence, and even his conveniently invisible disability gets so little attention that it might as well not be there (and it’s so poorly explained that I was baffled in the first episode that someone his age could not ride a bicycle and why this was such a big deal. I guess we were required to do outside reading to figure it out--which, by the way, explicitly violates the BBC’s charter).

So basically we ticked all the boxes and still managed to make the old white guy the most interesting character on the show. Oops.

A lot of people liked “Rosa”, and it is better than most of what we saw, but here’s why I have issues with it:

1. Ryan seems to serve one purpose in this episode--to be slapped by a white man for trying to return a glove, and to fawn all over Rosa and MLK like a teen meeting Justin Bieber. The episode basically reduced him to the color of his skin and nothing else. (This is exactly what I mean about ticking all the boxes and deciding that’s enough.)

2. The villain is so negligible that he might as well not even be there. And, in fact, had they made systemic racism the villain instead of some unlikely 267684th century nobody, they’d have had a far better episode. That villain’s baked in, and this meaningless yahoo just distracts from it.

3. My biggest gripe: It paints Rosa Parks as a woman who took independent, spontaneous action when that couldn’t be further from the truth. A historical should know better, because a historical should do its homework. It didn’t. Rosa’s action was planned carefully with local NAACP folks who couldn’t use another woman, who’d already done the same thing, as a flashpoint because she was pregnant and unmarried. There is just plain NO WAY that what Rosa did would have set off a movement like it did if that movement wasn’t assembled and ready to respond to her arrest. Rosa could have picked any bus on any day. It didn’t matter. And yet, the episode hinges on the faulty historical read that says otherwise.

Is it a better episode than, say, “The Turanga Conundrum”? Sure. But so is the average episode of “Teletubbies,” because Tsuranga is literally unwatchable, and I know this because I kept trying and couldn’t do it. It illustrates every reason why Chibnall should not have been put in charge of this show, primarily that he tries to do more than the format will allow for, and he does all of it badly. His Doctor spouts meaningless technobabble more often than Geordie Laforge, and with far less plausibility and logic. She doesn’t even bother to notice that she’s endangering other people. And there are not only four lead characters to keep busy but also a handful guest stars who have almost nothing to do--nothing meaningful, certainly, because they each get about three minutes of screen time--but yes, absolutely, do bring on the pregnant guy just because you can. (Why “Just Because You Can” Is A Bad Idea, Exhibit A.) And the less said about the ridiculous villain, which on paper should have been phenomenally threatening and yet just wasn’t, the better.

The whole Tim Shaw thing is irritating for a series that went episodic, as if it wanted the best of both worlds and couldn’t manage either. Having him turn up in the finale is just annoying, and not just because I found the teeth thing revolting, but because it comes out of nowhere (yes, really, sending him back to wherever with NOTHING in between is still nowhere. Any setup you can find there is so thin you’d need a scanning electron microscope to show it to me). Mark Addy and Phyllis Logan should have made for good telly no matter how bad the script, but that concept apparently never met Chris Chibnall before, because even they couldn’t save it. And Graham’s dilemma, such as it was, should have been more interesting, but ended up just being utterly predictable instead. It’s all surface stuff. Style, perhaps, but no substance.

“The Witchfinders” is interesting more because Alan Cumming camps it up and because Downton Abbey’s O’Brien is the Big Bad, proving that Siobhan Finneran has the serious Big Bad chops we...already knew she had. It stands out for one reason only, for me, and that’s that, for the first time all year, the Doctor actually faces some sexism. Pity Chibnall thinks we have to go back to the 1700s to find it--I guess he figures we’re past all that now? The lack of realism in how the Doctor is treated on Earth grated on me for all ten episodes, including this one, because how did it take so long? How was this not part of the PLAN for a female Doctor? (Oh, wait--did I say “plan”?) “Honestly, if I was still a bloke, I could get on with the job and not have to waste time defending myself” is the story of every woman watching this show, every single damn day. I presume the people who wanted a female Doctor wanted it because they wanted to feel represented by this character--but this isn’t it. If I can’t call tech support without having to establish my tech cred every. single. time because I have the audacity to call while female, the Doctor shouldn’t be able to, either, much less wander into a situation and just take over. And yet, she does, again, and again, denying my everyday existence and that of every other woman on the planet. And we’re...not supposed to notice? Decide the 2018 on the screen is some sort of utopia we know doesn’t exist? What, exactly, are we to make of this whitewashing of reality? Yet another missed opportunity in a series riddled with them.

“Demons of the Punjab” is the only episode I really liked, because it’s the only episode that really told a conflicted, compelling story, though Thirteen is still saddled with being the Unnecessary Exposition Fairy and Yaz is frustratingly pointless in a story about her own past. It could, and perhaps even should, have been a bigger story. Continued lack of development for Yaz notwithstanding, it’s solid telly. More like this, please.

The Atlantic ran a piece extolling the show for “allowing” Thirteen to be weak and ineffective. It was, to my horror, written by a woman. It was not satire. I can’t say if Chibnall intended this outcome, to explore this “theme,” but if he did, he picked the wrong Doctor to experiment with. I’m as deeply offended by the idea that making the first female Doctor weak and ineffective is a good thing as I am by the implication that sexism died 300 years ago and by the way Ryan is presented in “Rosa.” IMHO, this take is a fundamental betrayal of what this character has stood for for 55 years--and of all the women who watch the show, and who wanted to see themselves in the title character.

On the other hand, this excellent, stunningly thorough piece looks at the whole series in great detail (seriously, fortify yourself and block out some time on your calendar, ‘cause it will take a while. It’s worth it, though). It works very hard to be as fair as possible. It also makes a very interesting argument that the surface appearance of Chibnall!Who is very progressive, but the inner workings are astonishingly conservative, and I think the author is on to something that explains, for instance, why CC thinks it’s okay to tick the boxes and then move on without a second thought. Appearance is meant to trump substance in S11, and whatever else you can say about progressive intent on S11, the fact remains that a white guy is still in charge.

(I find it fascinating that my biggest concern when I heard the show was coming back in 2005 was that, if given an actual budget, particularly for special effects, it would lose its charm and become a highly rated show that was all about effects driving the plot rather than plot driving the effects. It’s taken 13 years for that original fear to be realized, which is one hell of an accomplishment considering how easily it could have gone this way from the beginning--but that’s still cold comfort considering the quality we’re used to from Who.)

The second author’s most cuttingly insightful commentary might just be this (emphasis mine):

...the abiding moral of the Moffat era was that kindness and compassion were worthy ends of themselves. The Twelfth Doctor’s final advice to the Thirteenth Doctor was simply, “Be kind.” It is a damning indictment of the Chibnall era that the Thirteenth Doctor has failed so spectacularly at that one single piece of advice given to her by her direct predecessor. The eleventh season is a meditation in indifference and obliviousness, with the Doctor at best ignorant to the suffering of others and at worst actively complicit.

(This observation also harks back to my list of reasons for being reluctant to watch in the first place...)

Really, go read it. Even if you don’t agree with it, it’ll make you think. (You can skip the first several paragraphs about production improvements if that’s not really your thing, though his comments on the attempt to make DW “prestige TV” and what that means are insightful.)

I didn’t really mean to write this much, but this year realized my worst fears for the future of my favorite show. If you disagree with me, that’s fine; you’re certainly allowed--but please don’t ask me why I kept watching. It’s such a dismissive question. The obvious answer is “because I kept hoping it would get better, all evidence to the contrary.”

This show has sat in my heart for 32 years now. It made me who I am. I’m not about to abandon it without a fight. But this year was the biggest fight I’ve had to put up since I was 15 years old, and the closest I’ve ever come to despair while watching (which is saying something considering I was not a RTD fan--but S11 is giving me a new appreciation there).

I can only hope that Chibnall will resign and let someone who can do Thirteen justice take over. We need no repeat of the Series of Wasted Opportunities.

[monochrome-typewriter]

@wanderingthroughwickford

Unfortunately, elves already have a very defined place in my fantasy world. There are elves that fall outside the norm, but they fall into that group that isn't quite enough to make up their own class of people. :/

@i-demand-a-hug

Suggestions would be more than welcome! I was gonna message you, but then I thought I'd post this publicly in case anyone else had feedback. Here's what I have so far.

Angels- Of the humanoid creatures, they're the most naturally powerful magic users. They all have very light hair/eyes and the iconic feathered wings. They're very self-righteous and see all others as beneath them. They don't actually do much with their powers, but they claim they're the pinnacle of purity and perfection. Fallen angels are sort of a thing, but they're only really acknowledged as separate by other angels. They're the ones that are viewed as embarrassing or impure, and most angels don't want to associate with them. Other creatures just see an angel as an angel. The only real way to distinguish a fallen angel is that they're more likely to wear casual clothes with color, while most angels wear fancy, white clothes. Oh, angels are also all technically genderless. They can choose to present as whatever gender, but they aren't assigned one at birth.

Elves - Elves are really proud as well, but not nearly as self righteous. They value hard work and knowledge. They're very advanced and are often magically talented due to study and practice rather than natural ability. They're also a lot more colorful than angels. This is a weird metaphor, but if you compared them to laundry, angels would go in the whites and elves would go in the brights. Their hair and eyes come in a variety of colors, and there are a larger number of dark skinned elves than dark skinned angels. Traditionally, they keep their hair long as a sign of pride. Delinquent elves looking to challenge expectations will often cut their hair in defiance. Most elves see this as improper, but they'll still begrudgingly respect the skills of a delinquent elf as long as they're hardworking. Basically, elves tend to be more traditionally feminine, but if an elf cuts their hair and becomes a blacksmith, they may be considered strange, but other elves will at least acknowledge their skills as a blacksmith.

Fairies - They tend to work more closely with elves than any other creatures. Aside from that, they tend to be shy. They're also not nearly as prideful, and they value morality more than anything. If you're a good person, fairies don't care how you look or what you do in your spare time. They're the most diverse of the three mentioned so far. They don't have much of an internal hierarchy, instead preferring to work as a unit as much as possible. They're guardians of nature, so they have to work together to keep the seasons changing and the plants healthy. They don't have time for being judgmental. Just don't shirk responsibilities or harm nature and you'll be fine.

Dwarves/halflings - They're different races, but their cultures are very similar. They're very down to earth and practical, and they're more likely to get their hands dirty with manual labor than messing about with books and magic. They tend to not be fond of the pride of elves and especially angels, but they judge individuals based on their own actions rather than stereotypes. Dwarves are more rough and hairy. They're inclined toward mining and blacksmithing or other things that take substantial muscle. Halflings resemble children even when fully grown, and they're more likely to be farmers or shepherds. Both races get along quite well with one another, though halflings are on better terms with elves than dwarves are.

Nymphs - This includes elementals, dryads, sirens, and similar creatures. They're mostly solitary, so they don't have communities or social expectations in the same way as the previous creatures. They usually run wild in bogs where there's plenty of shelter and resources for their needs. I haven't figured out a ton about them, but yeah. I might as well throw selkies in here, too. They're more friendly and live in oceans rather than bogs, and they're all female unlike nymphs, but they're also solitary and prefer to roam free.

Gorgons, orcs, and ogres - I haven't given them as much thought yet. I'm including them here just to specify that there are less humanoid creatures. I have characters that would fall into this category, but I haven't decided any specifics (or even which creatures, exactly, I want to include).

Spirits - These are the closest I have to humans in appearance, but they're generally pacifists and empaths. They don't engage in combat or use offensive magic. They exist to find those who are suffering and help them through their struggles. They also don't need things like food because they're immortal. The only form of sustenance they get is through the wellbeing of those around them.

Dark humanoids - I'm still picking a name for these creatures, but they resemble the undead without actually being undead. They're pale, have sunken features, and lurk in shadowy places. There are different classifications based on abilities, including shapeshifters, banshee-like creatures, and soul-suckers. They're not universally hostile, but they're stereotyped as such and are considered dangerous by most. There are certainly those who would do you harm, but you're just as likely to find an amicable individual among these creatures. Because of the way they're viewed, they tend to be solitary, though there are a small number of social groups.

Dolls - These are artificially created beings typically only belonging to wealthy and powerful magic users (mostly elves). They are created typically for no purpose outside of being dolls. They're like a cross between Pearls from Steven Universe and real world pets. They aren't slaves and aren't typically treated with active cruelty, but they're treated like children or even like cats or puppies. They're something to dote on and show off, and they're expected to behave in a way that's most convenient for their owners. They don't get to pursue their own dreams or goals or decide what they want to do with their lives. It's meant to be unclear whether or not this is unfair, because they're not technically a species of their own. They're designed by their owners, and their level of apparent sentience is dependent on how they're made. There are simple, childlike dolls that don't express much desire for anything outside of their pampering, but there are also very complex dolls that would be nearly indistinguishable from humans if they were to be part of this world. They're like my fantasy equivalent of androids because I love artificial intelligence.

There are also unicorns, gryphons, phoenixes, and dragons. Of these creatures, dragons are the closest to elves in intelligence, though really they're superior to all other species in terms of both that and magical power. They can shape-shift, though that's not their signature ability, and they're mostly content to stay in their dragon form. They don't play a role like dragons in fairytales, and "slaying a dragon" isn't considered a noble quest or even acceptable. Dragons are respected, and killing one would be akin to murdering one of your own species. Most wouldn't stand a chance even if they tried, though.

I also have three other humanoid species that I'm unsure where to put. There's a cyclops-like species, except they aren't at all like the ones seen in Greek mythology. They're just like humans but with one big eye. The other two include a species similar to spirits, but with combat abilities, and they're the least diverse in appearance. They all have straight black hair and black eyes. They're very distinguishable. The last species is also very distinguishable. They're similar to fairies in a lot of ways, except fairies are tiny and have wings. Also, this species all have very puffy hair. On animecharactersdatabase.com, I came across a character named Moa from Show By Rock. Her hair is the kind of puffy I'm talking about.

Then there's the possibility of humans or something similar. That's about where I am.

[a-sky-full-of-skams]

Cries in French: Skam France Episode 1

Introduction:

Skam France is the first Skam Remake. Poor Skam France didn’t have much time to shine because Druck and Skam Italia aired before the first season had even finished. Skamfr has completed Season 2, and is renewed for Season 3 & 4. Despite its success, it doesn’t seem to be the most popular remake judging by the response on Tumblr. often called a “copy and paste” version of the original.

While there’s definitely a lot of similarities with the original, I still liked and appreciated some aspects of this episode.

This review is my opinion only and isn’t meant to offend anyone.

Clip One:

The episode begins with Yann’s video. I have issues already; isn’t the same dialogue as the original? Additionally, the video contains clips of the girl squad that occur later in the series. It breaks the realism. All criticism aside, when I watched this episode the first time I still felt chills seeing the yellow Skam logo again after the original ended.

Emma and Yann discuss his video project like the original. Ingrid and Sara (I see you Alexia!) walk by, with the Skam theme playing. Jonas tell her she’s better off without them. I guess Emma is supposed to feelsad seeing the girls, but the actress doesn’t convey any emotion. Hopefully, she’ll improve. Anyway, I’ll list a few thoughts on Jonas’s line.

1: It’s more reassuring and sweeter than the original scene.

2: I don’t think Yann has the right to say Emma is too good for Ingrid and Sara, when he used to date Ingrid.

3: For new French viewers who’ve never seen the original, it’s spoils the eventual confrontation between Emma and Ingrid at the party. They now already know the girls used to be friends.

I do like how the scene is shot. It’s a sterile, cold environment symbolizing Emma’s isolation, with the only color being Yann’s bright red jacket.

Bragging about his essay grade, Lucas walks up to them. The rest of the scene plays out similar to the original;Lucas and Yann tease Emma about her grade and then leave. I like Yann’s line about Emma making great pasta, it’s sweet.Yann and Lucas are decent actors, it’s only Emma who is unconvincing.

“Don’t Kill My Vibe” by Sigrid plays at the end. The lyrics highlight Emma’s loneliness and frustration at Yann.

Clip 2:

The song from the first clip continues. This scene is pretty similar to the original, Emma tries to write her essay and Lucas Skypes her. She questions him as to what time Yann left french!Elias’s (forgot his name, sorry). Yann climbs in through the window and sees Emma’s actual grade and reads the essay.. The only line I’ll point out is when Emma says he could have used the door as her mom isn’t home, alluding to the later reveal of Jonas never having met her mom. Skamfr is definitely more obvious than the original.

Clip 3:

Sitting in the library, Emma watches Ingrid be rude and dismissive to Daphne. I liked this little glimpse into Daphe, it makes her eventual attempt to reconnect with Ingrid’s group that much sadder as they didn’t treat her well to start with. This part wasn’t in the original and it’s one of the few changes that enhances the story. Theatre kids approach Emma, they’re amusing as usual. Emma agrees to attend said party.

Clip 4:

Emma tries to convince Yann to attend the party with her. Emma’s argument involves saying how cool is it that Adrian’s whole family will be there. First of all, neither she nor Yann know this guy so neither would care his family is coming. Secondly, how does that make the party more entertaining?

At the end of the clip, the camera lingers on Lucas’s disappointed face. For viewers unfamiliar with the original, it’s definitely a clue. They probably wouldn’t guess he likes actually Yann, but they’d think Lucas has a crush on Emma. The fake “reveal” of Lucas liking Emma is definitely foreshadowed. Most of these hints mentioned don’t add to characterization, they just make the plot more predictable.

Clip 5:

Emma sits at home, and there’s no watching Dr. Phil like in the original. Emma decides to attend the party after looking at Ingrid’s Instagram. I wished they’d replace that with an equivalent because “don’t let yourself be a victim” was a theme of Eva’s season.

Emma arrives at the party and is approached by the theatre kids who tell her about their after party. There’s a brief moment where Ingrid kicks Daphne off...whatever the french equivalent of Russ is. She finds Ingrid and the conversation happens similarly to the original. Manon approaches Emma. She seems a little nerdier than Noora, mentioning lab rats which I liked. The conversation has issues. Emma is barely listening to Manon and is dismissive, watching Ingrid dance in jealousy. Emma is physically not looking at or facing her. Manon is the one who is more invested. I can’t see Emma obsessing over whether Manon accepts her friend request like in the original or awkwardly fumbling her first message to Manon and worrying whether Manon dislikes her. Emma doesn’t care about her.

She heads to the bathroom and runs into Daphne, who is crying and asks for Alex. In the original, Eva had to ask a lot of people if they were male!Chris. He’s the first person she finds. It doesn’t have the same impact when Daphne tells her she has the wrong Alex. In the original, Vilde and girl!Chris talk about all the paper they bought and now can’t sell, later we find out Vilde was kicked off Ingrid’s Russ bus and can infer that the crying scene was after Ingrid kicked her off. Alexia tell Daphne they don’t need Ingrid or her friends. I like that Alexia seems more actively supportive than Chris, but after seeing Ingrid oust Daphne it’s very redundant and again, obvious.

Emma walks away after Daphne tells her to leave. male!Alex asks if they were going to talk as well, I really like this line a lot better than the original don’t be a dick tease, it’s a lot nicer. “Homeless” by Maria Kaye plays. It’s a lot more overstated than a lot of the more understated music played in the original, but I like it. The shot of Emma walking through the crowd is very nicely shot, with the music they chose this is the first time I feel like Skam France has a district identity from the original. Also, there’s a scene of Emma walking outside the building texting one of the theater kids about the afterparty. They don’t respond and she heads home. They’re background characters, Emma, they aren’t coming back! Anyway, it’s sad because it’s another failure at a potential friendship for Emma and she’s feeling lonelier than before.

Conclusion:

I liked the music. There’s a greater examination into Daphne’s character so far than Vilde. Alex and Emma are cute. Yann and Alex seem nicer than their original counterparts. Some of the shots are very aesthetically pleasing. Hopefully, Alexia receives more character depth than Chris in the original because I prefer her at the moment. I enjoyed the final scene. The added diversity is also great.

Skam France not only struggles as a distinct show separate from the original, but also struggles even as a copy and paste version. Almost every change they make cheapens the plot by removing suspense or emotional impact. In regards to originality, there isn’t much yet. The actress portraying Emma’s acting isn’t great. I could be biased though, because Eva was my favorite character in the original.

I hope you enjoyed this review! Druck’s first episode is next.

[ikesenlemonadestandstories]

Lightning In Her Soul

Good afternoon party people! Here is part three of the Retrograde Spell story. For previous installments and all my other Ikesen works click the here for the master list! Enjoy the read!! I may or may not have been listening to some super intense music while I was typing this (o.o) so ya know...

xoxo

Admin T~

[YN]

You were fuming when your brother came on over the system “Way to not escalate that situation idiot. I know you’re not super good with your words but what was that?”

You huffed “I couldn’t help it. You heard them. Absolutely incredulous lot of men. You’re sure I had to go with them?”

“Yes now stop talking, someone’s coming.” you had to resist the urge to answer your brother but you managed as Ishida Mitsunari glided up behind you.

“Excuse me Karasu-san, would you allow me to show you to your room?” He was polite, always had been. If not a little confused but it was a weird situation. You gave him a smile since he was the only one that seemed to treat you with any shred of respect.

“Please. Also we’re about the same age and while I appreciate the formality, I would like it if you called me (YN).” His eyes went wide, and you noticed they were a beautiful swirl of amethyst.

“If you insist, but then please feel free to refer to me as Mitsunari.” he had a soft smile, one that made your heart flutter. I’m sure he was quite popular around here with the maids.

“Alright, thanks. Mitsunari. Now, which way to this room?”

It had been almost a month now and while you were slowly warming up to the others Mitsunari was the only one you ever really sought out for company. Every so often Mitsuhide or Masamune would drop by, but Mitsuhide was clearly still trying to figure out what your objective in staying with people you disliked so much was and Masamune wanted in your proverbial pants...so you had started avoiding being alone with them as much as possible.

You had been told to do whatever girly things you wanted so in a show of defiance you had started cleaning the halls, rearranging the flowers, dusting the rooms, doing laundry, and all other manner of household chores. Mitsunari had tried to help you several times but it was clear that for as smart as he was, he was equally as clumsy with these sorts of things. Though nothing quite compared to his general inability to make and pour tea...how had he even managed up until now.

One day you were dusting the book shelves in the library when you stumbled upon Mitsunari at a table in the back reading. You hadn’t seen him today yet, so this is where he had been? He had seated himself by a small window probably for natural light, but the sun was setting.

“How can you possibly see anything in this low light?” though you hadn’t thought you were being quiet he didn’t respond. Curious. I guess he wants me to leave him alone. Shrugging your shoulders you headed to the Main Hall feeling a little disappointed.

Dinner came and went, and you never did see him drop by to join everyone...I wonder if he’s still reading. Overhearing Hideyoshi and Masamune's conversation a few spaces down the table, you headed off on a new mission.

“This is the third dinner he’s missed this week...what are we going to do with him?” Hideyoshi commented.

“I’ve found the most effective tactic is to just take off his glasses, that usually breaks him from that spell he puts himself in.” Masamune explained

Quietly excusing yourself, you made for the library, sure enough he was still in the back cornerwhere you had left him. You weren’t even sure he had moved, if it wasn’t for the now lit candle he could easily have been mistaken for a statue.

…

[Mitsunari]

Something was very clearly wrong. I had stopped not to long ago to illuminate the space so I could continue reading but now all the characters on the page were blurring together. I looked up and my eyes focused in on (YN) holding a tray of food and my glasses. Oh.

“Is it time to eat already?”

“No, you missed dinner. I overheard something and figured you hadn’t moved all day though, so I talked the kitchen staff into letting me make you something.”

Trying not to let the surprise show too much I thanked her for the meal and started eating.

“This is very good, usually Masamune is the one that feeds me.”

She giggled and the room seemed to sparkle, I wonder why.

“Dork, you really should pay more attention to stuff like this. Weren’t you getting hungry?”

Now that I think about it, I was.

Before I knew it (YN) was bringing me food almost every time she found me in that library corner. It was something I now greatly looked forward to. I began realizing I was much less focused as the natural light in the library began to fade, I’m sure it had something to do with knowing she would be arriving soon with something delicious she had made.

I had been waiting for her for a bit now, completely unable to concentrate on the tactical book I was reading. I had already lit the candle and my stomach was audibly complaining. This was unlike her, but then again, something may have come up...she had become very diligent in running the castle after all. Making my way out of the library, leaving a note behind in the event we missed each other, I went to go look for her.

Searching for what seemed like a lifetime, only to have everyone tell me they hadn’t seen her today, which was discouraging and a little concerning. There was a knot forming in my stomach, something was not right. The sun had set hours ago and it was raining, a thunderstorm disturbing the warm summer night. I would try her room one last time, but I may need to notify the others at this rate.

As I traveled the halls to her room, a group of five or six maids scurried past soaking wet. Why had they been outside in this weather. They bowed to me, and went on there way. As they were rounding the corner I heard a snippet of their conversation, in a panic I took off for (YN)’s room.

Sure enough there was a candle lit, and it sounded like she was talking with someone. Knocking just enough to let her know I was coming in I slid the door open. She was in the middle of her room, black hair slick and dripping from the rain, water was running in rivulets down the expanse of her bare back, puddling on the tatami below her. Wait. Bare back? Oh no. My entire face went hot but I was too shocked to move. She turned her head around at my mumbling an apology, her eyes were dangerous at first, a deep orange that held me frozen in place. Something had happened. Before she turned her head away the storm lifted and friendly honey colored pools danced in the fire light.

“If you’re going to stand there, at least shut the door.”

She pulled her hair in front of her to wring it out and my eyes locked onto her back as I slid the door behind me. Covering the expanse of her pale porcelain skin was a stark black design mimicking a wing and talons. Oh I get it, Karasu means crow, that must be a family emblem. Unthinking and enchanted by the intricate lines, I moved behind her, my fingers tracing the complexities of the design, only stopping when she shuddered under my touch.

“Ah, I’m sorry!” I bowed deeply. Why had I done that? “I didn’t...I didn’t mean to intrude. I’ll wait out in the hallway.”

Backing away quickly I headed straight for the door. As my hand reached the soft wooden handle she grabbed my shoulder and squeezed.

“Wait,” her eyes were darting around the room, looking at everything but me, as a soft rose color decorated her cheeks. “I could actually use the help.” flashing her very bloody arm at me.

...

[YN]

You had been out in town running errands, along the way picking up food here and there that you could use for your meal with Mitsunari tonight. He had become increasingly aware of your presence and it was getting harder and harder to sneak up on him while he was reading. Just the other day he actually caught your wrist as you made for his glasses before smiling the brightest smile you had ever seen. He had you seeing stars ever since, but he seemed so oblivious to the entire thing so you would just have to continue to swoon with the rest of the female castle staff.

Speaking of castle staff, a few of the women who worked the kitchen were over by one of the food stalls, presumably picking out ingredients for tonight's meal. You walked over to join them for the rest of the afternoon’s shopping adventure.

It was the last stall before you started getting into ‘sketchy’ territory and the sky looked like it could open up any minute. Just as you though the green color to the sky was a tad ominous you brother spoke up over the communication system. You ducked into the neares alley so you could have a quick conversation with him.

“I hate to ruin your shopping trip.”

“So don’t” you replied before he could finish. With a deep sigh, you laughed imagining the face he was making right now, he continued.

“I’m picking up a signal on the outskirts of Azuchi, I want to ask you to check it out but I’m a little concerned it’s a trap to lure you away from the castle.”

“Glad I’m not the only one…” you replied to Yuuto.

He had been right, the blip he had been picking up had been a diversion, and because of that you were now stuck out in the rain protecting a flock of kitchen maids from four QA grunts. It’s not like they were hard to manage, but with all of these people to protect you attention wasn’t exactly where you needed it to be.

The last of them lunged for one of the girls towards the back, without thinking you stepped in front blocking as best you could. A searing pain shot through your left arm as you behead the monster immediately.

“Lady (YN), are you alright!” the girls behind you screamed. One of them grabbed your now bleeding arm to examine it, sucking in a breath through your teeth to keep from yelping.

“I’m fine thank you, I’ve had much worse.” they looked horrified “See I’m not actually a princess, but shhh, Nobunaga doesn’t want anyone to know. I was raised in a Samurai family and my father thought it important for his daughters to be able to protect themselves from the evils of this world.” You came up with the most believable excuse you could on the fly hoping they would buy into it.

“Oh that makes sense! As thanks for saving us we won’t tell a sole!” They bowed deeply to you.

“Ahh, no need to be so formal, what do you say we get out of the rain before we all catch colds?” and with that you headed back to the castle.

Parting with the maids in front of your room, lighting a candle and shutting the door behind you Yuuto spoke up. “You know...you don’t do a very good job of blending in.”

“What did you want me to do...just let them get attacked.” You started working off your soaked kimono

“I mean no...but you should at least be more careful. You could have put on your armor in places not visible...you know...like on your arm...I’m not there to fix you. When you do stuff like that it makes me worry plus it would have saved you a lot of clean up.”

“I know, I know, but thanks for worrying...I’ll do better next time.” with one last response for the evening you slide the fabric past your shoulders down your back. As it stuck to your rear you heard a wrap on your door, and before you could answer you heard it slide open. Great...please don’t be Masamune…

Looking over your shoulder you saw Mitsunari, his normally opalescent amethyst eyes now clouded to reflect a dark violet, reminiscent of a byzantine tapestry. No sooner did he flush red clearly frozen in shock. Blushing would only make this worse so you calmed your now racing heart and with a hint of casual, albeit forced, indifference you asked him to at least shut the door. A soft shifting noise let you know the door had been shut, taking the opportunity to wring out your hair. Concentrated on the slight burning in your forearm when you made a fist you hadn’t noticed him creep closer until he was tracing the outlines of your tattoo, you shuddered involuntarily when he reached the sensitive part of your back right along your spine. Lightning coursing through your veins as your heart rate picked up to match the pace of the storm raging outside.

He had tried to leave the room apologising for touching you, but he had made you feel warm and you weren’t quite ready to give that up yet. Thinking of an excuse to keep him in the room with you, you grabbed his shoulder and flashed your wounded arm.

“Wait, I could use the help.”

Since that incident the idea was to just keep a low profile and discreetly fight the Quandom Army when they popped up. You had been relatively successful, minus the fan club of maids you were starting to attract, until today...when they showed up in the hallway.

You had never been delicate. Never, and you were not about to start now. There had to be about eight small fries and another exceptionally large ogre of an experiment blocking the hall.

“You guys new? Haven’t seen you around, either way...I can’t really let you past here. Private party going on inside and all.” Knowing that the six warlords were currently in the Main Hall beyond you finishing up a late night war counsel.

“Why do you insist on talking to them...you know they don’t understand you (YN)” Yuuto chimed in. You brother had been assisting you throughout these last few weeks in building plans with your sister to help you two keep history on track, plus it was nice to have someone to talk to during the day.

“I don’t know...I’m an enigma. Besides how come you only ever speak up when I’m in trouble...don’t feel like just talking.” you drew you blade, waiting for them to advance.

“Can we focus please...that last one is massive! You’re exasperating.”

…

[Mitsunari]

We had spent the back half of the war counsel after everyone else had been dismissed talking about the princess, or (YN) rather. It was clear everyone here trusted her now, even Hideyoshi couldn’t deny her efforts in the castle. Nobody out to get the lord of a palace would go to such lengths to see a hallway shine like that. Especially an enemy’s hallway.

About a week into her stay with us she had started running errands for the maids and pages when Nobunaga gave assignments, especially in dangerous parts of the city or in the evenings.

She showed no fear in dancing with Mitsuhide in a battle of wits, every so often she would surprise us with a win.

(YN) had been dropping off herbs and medicines at Ieyasu’s manor and had played a large part in assisting the injured soldiers who had returned from the field after we arrived back at the castle last week.

Masamune would sit in the kitchen’s and watch her make her own food, she had stopped humoring his flirting long ago, but he was still following her around hoping to get a taste of whatever smelled so wonderful.

I also found the little breaks she offered me by visiting while I was in the library quite wonderful. She always had food or tea with her, and she never talked too much. She had terrific people reading skills. I wanted to know more about her, I wanted to know why she had come back soaking wet and bleeding two weeks ago, I wanted to know where she came from, why did she have a sword, who was she always talking to, what had she been doing before we found her?

I found myself wishing her mind were the open pages of a book, and while they were closed off now, I wanted to figure out how to gain access to the library behind her eyes, those bright amber eyes that flickered and danced like a fire.

“Hello, anyone home?” Masamune’s hand was waving in front of my face bringing me out of my thoughts.

“I apologise what is it you were asking me?”

“You seem to be the closest to her. Do you have any idea why the kitchen maids seem to be smitten with the young princess? They fawn over her the way they do for Hideyoshi...it’s...different” Mitsuhide spoke.

He had to be talking about the maids that I saw coming back the same night (YN) was injured, but even I wasn’t sure what had gone down that evening. Without anything concrete to go off of I responded the best I could without tipping anyone off.  “I cannot fathom a reason, unfortunately.”

There was a creak followed by a loud pop and we had part of an answer, as (YN) came bursting through the paneling of the shogi door. She appeared to have been thrown across the room, slamming hard against the back wall as three creatures, ones I recognized from the night someone tried to assassinate Nobunaga, lumbered in.

Her eyes were like a prism, sparkling with flashes of vibrant oranges and yellows, like a sun-set playing out in the sky above the clouds before a storm. Paying no heed to anything else in the room. She stood with remarkable grace squaring her shoulders to the beasts, taking a strong stance sword drawn. It was clear to everyone in the room now she hadn’t lied about being well versed in warfare.

“Well guess that’s that. Yuuto, my cover has officially been blown...can I please just decimate these things?”

Yuuto? Who was she talking to. There was no verbal reply from anyone in the room but her eyes shined and a terrifying smile graced her normally sweet features.

“Fantastic.”

The air around her shuddered momentarily and as if I had blinked she was now standing before the room covered head to toe in soul swallowing black. Clad in what appeared to be lightweight armor glowing the same radiant orange as her eyes where the plates met.

Masamune was standing urging everyone back to give space, this had to be serious if even he wasn’t looking to engage. Hideyoshi turned to him “These look like the men that attacked us at Honnoji, how did you manage to defeat them that night?”

He said four words and my heart sank to my stomach, thundering in my chest. “I didn’t...she did.”

Shouting as her blade sliced through one, it disappearing in a fog of thick purples and gray. “Wasn’t me, hrk” she grunted as she perried a monsterous swing. “I was dealing with Nobunaga...it was probably my sister.”

She moved much faster than anyone I had ever seen. Racing at them, an unfamiliar, shrill hollow clang echoed through the hall as their swords continued to meet. Seeing an opening she kicked up hard connecting her foot right underneath it’s jaw, it teetered. Taking the opportunity she drove her sword forward through the center of it, and it burst into a kaleidoscope of fragments dark as the night.

A heavy silence filled the room, the only thing to hear was her heavy breathing. The floor was littered with remnants of clothing and weapons but not a single body could be seen, there was no blood except for the drops flowing from her injuries. Everything had just vanished in a blast of smoke. I would call it a fever dream if not for the five other witnesses in the room, or the fact that it seemed to fill in the last gap of the puzzle. Now it made sense why her body had been littered with small scars, presumably from old battles. These creatures were the reason she appeared to be a walking tapestry of near-misses and fights we could never dream of.

Sheathing her sword she tapped the gemstone attached to her choker. As the black armor disappeared so did her strength. She sank to her knees, closing her eyes letting her head roll back as she exhaled deeply. We made eye contact befor she offered me a bright and familiar smile.

“So who wants to go first?”

Tagging @little-mini-me-world have a blast!