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mishasminions · 4 years ago

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The Last Time I’ll Write a Long Post About Supernatural (15x18-15x20)

15 YEARS OF WATCHING THIS SHOW. 11 YEARS OF RUNNING A BLOG ABOUT IT. IT’S BEEN QUITE A RIDE.

[15x20 Speculation + evidence at the bottom]

First off, I just wanna come clean and say, after all these years, I still think they should’ve ended at Season 5.

If you’re going to come at me with “Then why’d you stick around to watch it if you didn’t like it?”, your question is immature, and the answer is simple: I just want to know what happens next (I also love the main characters and their actors too). You can watch a show and still think it’s shit.

Call me a clown, but despite all the disappointment and trust issues that this show has given me, I would still look forward to the day where it might just turn itself around and bring back the quality it once had, or realize the potential of each story it was trying to tell, or at the very least, do justice by my favorite ship.

Never happened.

They’ve had a few good episodes here and there. I can’t imagine the SPN Universe without The Man Who Would Be King, The French Mistake, and Scoobynatural. Seasons 6-10 were enjoyable at times. I blocked out most of 7 & 11-15.

If you’ve been following this blog since its heydays in 2010-2014, you’d know I’d try my best to defend Destiel and this show’s decisions regarding it no matter what.

Because you know what, as a CONCEPT, this show is good. If you take a look at all the worlds its storylines have birthed in fanfiction/fanworks, you’d see how much Supernatural has wasted its own story arcs. The writing got shittier as each season progressed, and they’ve obviously given up in production as well because the quality in the execution has noticeably gone down too, but if you take a step back and take a look at the bigger picture, you’ll see that this show still tries to make sense of itself.

[If you’re still following this post, please bear with me, I know this is long, but I just want you to understand how jaded and pessimistic I am with regards to this show, so maybe you can buy into whatever hopeful thing I’m about to say later on.]

SO LET’S TALK ABOUT DESTIEL

Never in my wildest dreams did I think that they would give us Castiel’s “I love you” speech. To the point where, if I weren’t so desperate for it, I would argue that it was completely out of character for him to word vomit the way he did (but I’m not gonna diss on that right now because I’ll take what I can get).

I’ve valued every meaningful and obscure exchange that Dean and Cas have had in the earlier seasons, and I was willing to accept their relationship as just that--undefined, without any clear boundaries as to what they really are. And I think that was beautiful on its own.

But now, they’ve chosen to define it.

After they’ve driven every possible wedge between Dean and Castiel in seasons 11-15, to try to explain away their feelings as something they offer to a collective.

Dean can’t mourn and pray for JUST Cas, he has to mourn and pray for EVERYBODY--even Crowley, even some chick he just met, because god forbid he cries about just the guy who has given up everything for him--that would be “too homo”.

They’ve even set Cas on a path to abrupt fatherhood just so he can care about something other than Dean. Make it seem as if Dean wasn’t his purpose through and through.

And after all these years of this stupid show trying to deny it, they choose to acknowledge it at the worst possible circumstance, at a time where they’ve been so far apart, that it seems so foreign for them to suddenly come together.

But here we are. And they’ve chosen to tell us.

Chosen to tell us that everything that Castiel has done leading up to his death, he has done it because he was IN LOVE WITH DEAN WINCHESTER.

Chosen to tell us that the ONE THING THAT WOULD MAKE CAS HAPPY IS DEAN WINCHESTER.

Chosen to tell us that BEING WITH DEAN WINCHESTER is something that CAS WANTS BUT KNOWS HE CAN’T HAVE.

And they’ve also chosen to tell us nothing about how Dean feels.

Sure, finding out your angel made a deal, the stipulations of said deal, his newfound happiness philosophy, his long-winded monologue of why he loves you and why you’re worthy of his love, and to top it all off he tells you that being in love with you is enough to make him happy while he subtly hints that he’s always wanted to be WITH you romantically, was a lot to process in the 5 minutes after you’ve just had an existential crisis.

It’s whatever, right? Let’s culminate 11 years worth of tension and feelings in 5 minutes. Let’s waste the entire episode with cringey expository dialogue, and irrelevant sequences. The whole season was a waste anyway.

You know what Supernatural? FUCK YOU FOR THAT. They deserved better. WE deserve better.

And I would love nothing more than to hurl every possible insult your way,

But for the last time, I’m going to HOPE that you’re finally going to try to make it better for the fans that stuck by you all these years.

No more baiting new viewers, no more placating casual viewers, no more excuses. 15 years. Bring it home for the people who have actually been around.

SO HERE’S HOW I THINK 15x20 IS GONNA GO

There’s two ways this series is gonna end. Horribly or Spectacularly.

First let’s all take into consideration what Andrew Dabb says about it:

So, let’s start with

ENDING HORRIBLY

In this scenario, Misha is telling the truth about his last day of filming being 15x18. His “camping trip” during the last few days of filming 15x20, was actually a camping trip. He doesn’t go to Vancouver to shoot.

Jensen wasn’t “being careful” during the zoom interviews that it was just him and Jared quarantining for the shoot, it really was just him and Jared (althought most of these were done pre 15x19) Supernatural isn’t smart enough to do misleading PR, and they’re once again oblivious to the potential of their own story.

Misha hasn’t posted a “Goodbye Castiel” tweet because he’s probably saving it for last episode or he forgot because it was overshadowed by the Destiel trend that night.

So what we get is:

Sam and Dean are on the road again, up against the monster of the week. Only their world no longer has actual Supernatural beings anymore, so the monsters they’re fighting are humans.

Humans end up killing the Winchesters (despite having gone up against literally every powerful being imaginable INCLUDING God himself). Dean and Sam end up in heaven and relive their greatest hits.

Meanwhile, Castiel rots in The Empty because he died after realizing that he was happy and gay. Jack doesn’t bother rescuing him—his surrogate dad, the guy who made this specific deal to spare him—even though it was so easy for him get Cas in and out of The Empty when he had a fraction of the power that he has now.

Dean never speaks of Castiel’s confession because despite all the hints of a profound bond in the earlier seasons, and the fact that Dean has never cared for anyone (who isn’t his actual brother) as immensely as he does Cas, Supernatural just can’t have its main macho character be “suddenly bisexual” because that would hurt the male ego or some shit.

His heaven would probably be living happily ever after with his family. “Family” meaning Mary and John Winchester--two of the shittiest parents ever (but they’re not going to include them in this episode like they were supposed to because of Covid) and Sam.

Sam also gets a dog. As usual.

I wouldn’t put it past Supernatural to do this. After everything they’ve pulled, this would be right up their alley. I actually expect this ending.

Anyway, onto the next possible ending

ENDING SPECTACULARLY

In this scenario, Supernatural tries to stick the landing, and Jensen’s whole “It didn’t sit well with me at first, but then I took a step back after talking to Kripke, and realized that I had to view it from an audience perspective, I am now really excited about it” (DC Con 2019) anecdote about his thoughts on the final episodes, were actually about Dean potentially ending up with Cas. (Which would totally make sense because Jensen at first didn’t see Dean as anything but hetero, but as of late, he has been throwing in Destiel jokes of his own, so he seems to have warmed up to the idea)

Backed with Misha’s tidbit (DLConline 2020) that he and Jensen had conversations about Destiel, and that they wouldn’t have gone through with it if Jensen wasn’t onboard with it, but Jensen didn’t push back at all. (Why would they need to check with Jensen if it was just Cas going all in?)

Robert Berens (writer of 15x18) also wrote the script at the beginning of Season 15, but made Misha privy to the concept a year prior (Season 14), so they went into this season knowing about Destiel going canon.

This one’s a reach, but this scenario also supposes that Misha was lying about his whereabouts during the filming of the final episode, and him saying that 15x18 was his last episode is part of the diversion to avoid taking away from the weight of Castiel’s death.

And that Supernatural is actually self-aware of its own material (similar to how they have wrapped things up in the past—lots of expository dialogue, poor execution, but fulfills the story arc)

Since Season 15 is basically a Meta Season (Chuck/God as a writer, pretentiously calling out how he created the worlds, its characters, and basically invalidating the past 14 seasons), and 15x19 is supposedly the finale for Season 15, written by two of the worst Supernatural writers, Brad Buckner and Eugenie Ross-Leming (Bob Singer’s wife), then we can assume that 15x19 is where the shitty writers kill themselves--as Chuck, of course.

So we get a badly written episode that produces a bad ending, or as Becky put it, “All action, and no Cas”

So we get the bad writers season ending at 15x19.

And 15x20 is where Sam and Dean write their own stories, and where the cast had a hand in pitching ideas for it.

Dabb has mentioned that 15x20 (Act Two) is a SERIES finale, where they try to resolve the characters’ journeys.

Because as everyone has acknowledged, Supernatural isn’t about the story, it’s about the characters.

So here’s what we can get out of it:

With no more Supernatural beings left to fight, Sam and Dean are in a stalemate. They’ve resigned themselves to fighting to the bitter end, but the “end” has passed, and they’re still standing.

So they try to figure out who they are now, and what they want out of the life they still have.

Sam still wants a normal apple pie life. Before Dean dragged him out of college to go hunting with him, he had a whole life planned out for him. Become a lawyer, settle down with a nice girl, and get a dog. He gave all that up because they had work to do, but now the work is finished, he can finally go back to wanting that for himself again.

Dean finally realizes his self-worth after Cas saves him again. His prayer to Cas in purgatory may have helped him come to terms with his anger, but the whole “you’ve done everything you did for love” speech finally put him in his place, and he learns not to hate himself anymore.

But of course, he cannot fully reconcile with himself if he doesn’t get Cas back, and tell him how he feels.

Because Dean actually wants something for himself this time. Something he knows he can finally have if he can just salvage it.

So maybe this time around, with the help of Jack (off-screen), Dean saves Cas. Grips him tight and raises him from perdition.

They bypass The Empty deal by turning Cas human, and he lives the rest of his days with Dean.

Dean and Cas know they deserve to be saved, and they know that they deserve to be happy.

(Wishful thinking, maybe they kiss a little)

Anyway...

I’m just saying, there’s NO WAY that they’d have Cas go through that whole rushed speech, if they weren’t going to do anything about it later on.

But again, after 10 years of disappointment, I wouldn’t put it past Supernatural to pat themselves on the back and say, “Okay, we sort of gave them what they wanted. We’re good now”

If that’s the case, Supernatural, I’m sorry I wasted my time on you.

Here’s to hoping 🤡

#THE LAST TIME I'LL CLOWN FOR THIS SHOW #SUPERNATURAL #DESTIEL #15x20 #15x19 #15x18 #UNTAGGED #INSIGHTFUL INSIGHTS

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cherrynojutsu · 3 years ago

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Title: Like Gold

Summary: Sasuke grapples with love and intimacy regarding his developing relationship with Sakura after returning to the village from his journey of redemption. Kind of a character study on Sasuke handling an intimate relationship after dealing with PTSD and survivor’s guilt in solitude for so long. Blank period, canon-compliant, Sasuke-centric, lots of fluff and pining, slowly becomes a smut fest with feelings.

Disclaimer: I did not write Naruto. This is a fan-made piece solely created for entertainment purposes.

Rating: M (eventual nsfw-ness)

AO3 Link - FF.net Link - includes beginning/ending author's notes

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Chapter 4/?: Soothe

Sasuke arrives outside her building shortly before seven in the morning, an ubiquitous aubade sung by birds, polished and practiced for many years, lilting into his ears along the way. The village for the most part is still slowly awakening from its slumber; no merchants in the streets yet, and he only passes a few people here and there as light slowly seeps higher into the sky.

He carefully pushes open the glass door of the exterior portion of her complex, making sure to keep it quiet in case her neighbors are still asleep. As he goes up the stairs, he notices that all of the downstairs tenants’ lights are on, emanating from beneath the trio of entryways. Once he reaches the upper landing, he sees that Sakura’s light is on, too, though her other two neighbors' are not.

The doors of each unit are all painted different colors. Hers is sage green; he hadn’t been able to discern that previously, with the desaturation that night brings.

He's wondering if maybe he should knock to let her know he’s here, but then she emerges a few minutes early, beautiful and bright-eyed and full of life, pale yellow sunshine coating her from the large window with diamond patterning behind him.

She seems pretty awake already; she must be an early riser. She's carrying her tote bag again, and today she wears a dark skirt with a red top, along with a familiar pair of knee-high sandals. She's also wearing a smile, directed upwards at him.

"Good morning, Sasuke-kun," she acknowledges him softly, looking very happy to see him.

"...Morning." He keeps his voice low, because it is still a little hoarse. He tries to memorize her eyes again in the span of seconds before she turns to lock her door behind her.

It's 6:58 by the time they're out the glass door, her leading the way. They take the main road west a few blocks before turning to go north, this time. There are several more buildings that appear residential on her street. One of them has vines creeping up the sides, starting to bud after the warmer spring weather. He notes there is also a bakery on the corner, not open yet, but one that seems like the kind to also sell confections. He wonders if that factored into her apartment selection at all; he remembers she has a sweet tooth.

It is an easy silence they share on the walk there, bird calls lulling in as background noise again. There are more of them now, a more layered song than earlier, with a wider variety of voices filtering in and out.

Sakura leads them to a very small tea shop within five minutes of the hospital; it is quaint and simple, definitely not modern. It is also quite small, with only four or so small tables situated by windows, looking out towards the street. The entire establishment utilizes a spread of cinnamon-colored wood for its surfaces; floors, counters, and the shelving in the back, laden with neatly-labeled teas of several varieties in glass jars. He assumes the larger jars are store stock, with the smaller ones higher up on the shelves being available for purchase for use at home, if one decides they like a particular flavor enough.

He finds he likes the atmosphere. He figured he would. It's not a formal place, but rather one where you retrieve what you've ordered from the counter and can choose whether to stay or go. He supposes that makes sense; it’s closer to the busier part of the village. There appears to be a small area to the left of the counter where one can add cream, sugar, lemon, or honey, though he knows he won't. He vaguely remembers that she used to take lemon and sugar in her tea, and possibly cream, depending on the brew. Honey seems like something Sakura would like, too, now that he’s thinking about it.

He scans the menu briefly upon entering before deciding something hot with caffeine would probably be best. Sencha green tea is usually what he gravitates toward. He also enjoys black tea during cooler weather, and jasmine occasionally, though not often; it had been his mother’s favorite.

Once he orders, he says, "Hers, too," and glances back towards Sakura expectantly. She looks at him with a blush that rivals the color of her hair when she realizes he's offering to pay for hers.

"Oh! Um, lavender matcha. Hot, please."

His lips quirk upwards a little, because that is possibly the most Sakura thing she could have ordered.

It doesn’t take very long until it’s ready, as they’re not busy; they are the only ones there, thus far. He takes a sip while idling by the end of the counter as he watches her add honey and cream into hers, stirring carefully. It is one of the better blends of sencha he’s had, aside from a particular place nestled on the edge of the Land of Mountains, where he’s pretty sure the elderly woman who ran the place harvested the tea straight from her private garden. He had pilgrimaged there a total of five times on his journey, months scattered like the seasons in between.

It was an odd teahouse, more formal than this one and off the beaten path, not near any major landmarks, nor plotted on any map he’d seen before or after. The lady, who had wizened eyes of a crystal clear blue, slightly lighter in hue than Naruto’s, had served the brews in eclectic and sometimes chipped mugs and teacups, from which he had assumed after multiple visits must be a fairly vast collection. The china was different every time, but he had liked the tea itself so much he kept coming back, if he was anywhere near the area. Twice he had been the only customer there, the first two visits occurring during early morning hours, and there was something extremely cathartic about sitting at the table in the far corner, looking out the window as the sun rose higher in the sky until it no longer skimmed the horizon and the mountains in the distance.

The other three visits had occurred during the afternoon, so there had been at least one or two other people present, at those times. He had noticed that third time that other patrons were served out of much different teacups than he was; he had secretly suspected, after that, that the woman tried to match the stoneware from her collection to whatever she saw in her patrons.

There had been a father sitting with his daughter, who had looked to be around six or seven, on his third visit. The father’s teacup had been robust, solid with carved detail that appeared to have been created with something like a miniature chisel, and an earthenware glaze mix of green and russet, strangely looking similar to the color of seaweed. The daughter’s had been a smaller cup, dainty finery of opalescent sky blue, with a similar mother of pearl finish coating the inside. The girl had quickly drained her glass once she realized the inside was pretty, too; she had spent the rest of the time there in awe of its beauty, turning it in the light as her father watched with soft eyes, enjoying his own cup more slowly. Sasuke had thought it must have been an expensive teacup, not necessarily what you’d typically give a child that young, but the girl hadn’t chipped or broken it. Instead, she had been enamored by its beautiful finish, even more enthralled with the inside than she had been with the outside, and had handled it with great care.

He never saw the same cup twice, for him or any other customer there. He had hoped by the third and fourth time that this was a good sign, that it meant progress. Once he figured it out, he wished he’d examined the first two cups, near five months apart, with greater care; he had thought there might have been a lesson there he had missed. His first teacup, from what he remembered, had been rather plain: rounded, no handle, slightly hard to grip, a shiny black glaze with a burnt orange rim. The second time, he’d been served the sencha in another black piece of china, though this one must have been fired differently; there was no glaze at the very bottom of the outer portion of the vessel, bare toasted clay in an oatmeal color. Carved designs on the outer portion of the piece had nearly melted glaze off it, allowing for the viewer to see the true color of the clay body beneath, creating an effect of brushstrokes in the third dimension, rippling out of the darkness. That one had had a chip at the top, but it hadn’t compromised the structural integrity of the piece, and was easily avoided simply by sipping from the undamaged side.

The third cup had taken him off guard in its uniqueness, and is what had caused him to look to the girl and her father. He had analyzed theirs, and then his own cup closely for a long time that day, thinking. Still no handle, but it had been a bit more narrow, as well as taller, easier to grip. The glaze design was fascinating, a thick glossy black base coat overlaid with a strange dissolving mixture of sapphire and indigo. It had reminded him of a night sky in the middle of nowhere, tiny amounts of galaxy blues and violets barely visible to the naked eye in their sheer scope and complexity. The glaze itself also only covered around two thirds of the vessel, at an asymmetrical angle, with the remaining half left unglazed, as if it hadn’t dripped down to be fully covered yet because the artist had liked the way it looked as is.

When he went back for a fourth cup several months later, the lady had given him an entirely too knowing look, and served his tea in a somewhat misshapen mug, this time with a handle. The handle was awkward, too small, and slightly malformed; the mug’s overall shape seemed as though it may have been an artist’s first attempt, shoddily trimmed and uneven in many places. The glaze design itself was mesmerizing, though, something like a gradient this time, shifting from splattering black to sepia to a lighter color, akin to the inside of a water chestnut. It was almost as if the cup had been constructed by a beginner and then drenched in magisterial color by a master. The sencha had tasted just as good from that cup as it had from any of the others, despite the challenge of grasping it with any semblance of comfort.

The last cup had been only a few months ago: well-designed, with a near perfect handle, easy to hold. The foot and interior of the mug was a smoky gray, well-trimmed, but the exterior body of it was a white raku crackle, twisting patterns of scale-like ivory and black outlines, small dots sprinkled in between where the unevenness of the heat must have interfered in the firing process.

When he reached the very bottom of the vessel, having finished his tea, it had been gilded gold, metallic and astonishingly bright, catching the light of the sun coming through the farthest window, where he sat in the corner alone.

He had sat there staring at it for the better portion of an afternoon. It was a peculiar artistic choice.

This sencha is good, too, he thinks as he takes another sip, here with Sakura, also at a table in the farthest corner, looking out another window. Herbaceous, earthy, and light, and in a cup that matches hers. It feels cleansing on his sore throat, corrosion, not too hot but not lukewarm, either; a rather perfect medium between mellow and astringent. It is a nice way to greet the break of day.

“Thank you, Sasuke-kun," she murmurs, after they’ve been seated for a few seconds.

He nods; she’s still flushed as she says it. He can see it better now, in the bright light of the window. He takes another sip, and continues to enjoy looking at her.

��How is yours?” She asks.

“...I like it.” He considers his next words. “You didn’t add lemon.”

Her lips quirk upward, dimple appearing. “It doesn’t go the best with the lavender. They only have this kind on hand for the springtime.” She pauses, then adds, “I still put lemon in pretty much all my tea, otherwise.”

Sasuke inclines his head again, and she takes another sip.

They sit there for a while in a comfortable silence, watching more of the village wake up and people pass by from the window, on their way to work and other responsibilities. There are two small birds across the street, perched on the awning over an apartment building’s entrance. Finches, he deduces by their plumage and size. Perhaps they are looking for a mixture of materials with which to build a nest.

“It’s a good place to just sit and watch, in the morning,” Sakura mentions after a while, still looking out the window contentedly.

“...Is that your favorite thing about it?”

She meets his eyes, then, and smiles. “One of them.”

He looks at her expectantly, so she continues. “The tea itself is good. It’s close to the hospital, and I like... “ Her voice trails off, and she glances over at the station where she added cream and honey, lips still turned upwards. “I like that they don’t overfill the cup; it makes it easier to add what it needs.”

A ghost of a smile overtakes him. Practical, as always.

Sasuke finds himself contemplating what kind of teacup the elderly lady would give Sakura, if he took her there.

XXX

"You're a little on the skinny side for your height, now," Sakura notes as she writes down his information on the form he's given her, stepping off the scale; 163 pounds. "Not unhealthy, necessarily, but you should try to put on some weight."

They are at the hospital, in an exam room this time instead of her office. Her voice has shifted to something more professional, and Sasuke knows he is now with Sakura the clinician, though her affection is still an undercurrent in the way she's looking at him carefully with warm eyes. She’s already measured his height, and has his paperwork from his last physical to compare it to; apparently he’s grown another two inches since then.

He hopes he’s done growing, in that regard. It doesn’t seem likely that she’ll grow any taller; she’s twenty now, and they already have a considerable height difference. He doesn’t know how tall she is, exactly. He must hover over her by at least six or seven inches.

"Okay," He responds, because he trusts her judgment. Being away and mulling on his failures never gave him much of an appetite. Being back in Konoha hasn't much either, so far, but he can try. “How much?”

She looks somewhat surprised that he asked. “160 to 196 pounds is considered a normal range for six feet; I’d start with ten, and then evaluate from there.”

He nods. Her eyes linger on him, as if she’s contemplating saying something more. When she turns to set down her clipboard and grab the cuff typically used to measure blood pressure, he thinks she must have decided against it, whatever it was. He goes to sit in the patient’s chair, familiar with the routine at this point. He's gotten a physical near every year of his life that he’s spent in Konoha.

She sits on the wheeled chair that’s next to the desk, rolling it closer to him. He extends his right arm, and as she carefully adjusts the cuff, she tells him, tone casual, “You’ve got an inch on Naruto, now.”

There is a very stupid and juvenile part of him that takes immense satisfaction in this news, but she doesn’t look like she’s finished speaking yet. He waits for the rest.

She smiles apologetically. “He’s got about fifteen pounds on you, though. There’s some motivation for you.”

He pins her with a pointed stare, unimpressed but also a little amused. Motivation, indeed.

Her expression turns somewhat guilty, now. “Sorry. Couldn’t resist. I did his about a month ago; he came back from a mission with a cracked rib, and it needed to be updated.”

She starts increasing the pressure, and he suddenly becomes aware that she is closer to him than before, by the nature of the operation of the equipment. He had become aware of her physical proximity at roughly this point in the exam the last time, too.

He’s thankful it doesn’t seem to affect his blood pressure. “105 over 70; good,” she concludes, before reaching to remove the cuff from his arm. Her fingertips make brief contact with his skin, this time, and he has to fight an urge to shiver, even though they’re warm.

She picks up her pen to input this information in the appropriate slot, then sets it aside and puts away the cuff. When she turns back to him, she says, “Heart rate is next. Hold out your wrist, please.”

He holds out his right arm again, letting his elbow rest on the surface of the desk this time. Both of her hands come to grip his single one, lightly and carefully feeling for his pulse. He tries to hold very still, and to not think about how soft her hands are. He distracts himself by preoccupying his gaze with the clock on the wall behind her. It feels like a very long thirty seconds, though he knows by watching the hand tick that it’s actually not.

She doesn’t vocalize what the number is, just removes her hands finally and reaches for the pen to fill it in on the paper. He wonders if it was elevated.

“Heart and lungs next.” She reaches for the stethoscope, positioning it in her ears before leaning in to listen to his heart first, over his shirt. He looks to the ceiling.

It doesn’t take very long. “Sounds good. Lungs, next.” She gets up and comes around the chair slightly behind him. He shifts to pull the back portion of his shirt up to his shoulder; he remembers this from the last exam, too.

“It’ll be cold; I’m sorry,” she warns gently, before pressing the instrument to his back. She is nothing but professional as she asks him to take a few deep breaths. Routine, and very careful not to touch his skin with anything but the diaphragm of the stethoscope, cool metal.

It feels… different than the last exam. He had been a little on edge during this part, then, too, even though she was nothing but professional then, as well.

He is just… very aware that she is behind him, and that his shirt is pulled up, and she’s listening to him breathe and can see the skin of his back. And that he's kissed her.

The coolness slips away after a short amount of time. “Lung function sounds good.” He pulls his shirt back into place, feeling a faint sense of relief as he does so. She goes back to document her findings on the paperwork.

She then lays the stethoscope back in its appropriate place. Scanning the page, she asks, “Any issues with your hearing?”

“Not that I’m aware,” Sasuke responds. She dips her head in acknowledgement, filling in that box with what he assumes is non-applicable.

“Sense of smell?”

He recalls raspberries and antiseptic. “No.” She fills another box.

“Sinus or lymph node issues?”

He shakes his head.

“I’m assuming you’ve used the Sharingan and Rinnegan since last time, so I’ll look at your eyes towards the end.”

He nods, and she reaches for a light instrument to use to look at his throat, as well as one of the wooden sticks from a glass jar in the corner. “Throat next,” she says, flicking the light on.

He tries not to furrow his brow. He wasn't looking forward to this part.

He opens his mouth for the wood, reedlike and firm against his tongue, and then she’s shining the light in and frowning.

“Say ah, please.”

He complies, feeling quite undignified, though he knows it’s necessary and just part of her job. She removes the stick after a second, setting the flashlight instrument aside, and he closes his mouth.

"Teeth and gums look good, and your tonsils look fine, but your throat looks a little raw. Have you been sick recently?"

"Yes." It is technically the truth, though not in a viral sense.

She looks thoughtful as she’s making a note on her clipboard. “Within the past week?”

He nods. She must see him from the corner of her eye, because then she asks, while still writing, “Any other symptoms? Cough? Does it feel sore?”

“No.” He pauses, then clarifies. “No cough. A little sore. Not bad.”

Verdant eyes flick up to him for a long moment. He feels somewhat guilty; even if he knows the truth, she might be thinking right now that he’s been irresponsible, that he may have given her an illness via kissing.

She breaks eye contact eventually, and sets the pen down, standing to open the uppermost cupboard door in the exam room. His brow furrows, until she’s pulling down a small box that he sees has cough drops in them.

“We only have mixed berry; they’ll be kind of sweet, but it should help. Take a few for later, and put one in now, please.”

Sasuke blinks, and then takes a handful. He puts all but one in his pocket, and then unwraps the one left in his hand, putting it in his mouth, as she asked.

She arches to put the box back in the cupboard, and he forces himself to look elsewhere.

It does feel good on his throat, soothing. “...Thank you,” he says after a few more seconds, as she makes another note on his form.

“You’re welcome,” she replies. Then, back to clinical Sakura. “Any other issues? Abdominal, neurological?”

“No.”

She flips the page. “Infectious disease screening questions are next. Obviously you’ve traveled outside the village in the past 21 days, but have you been outside of Fire Country in that time?”

He thinks. “Rain, about thirteen days ago. Wind, 19 days ago.”

Sakura inclines her head, and writes in the information. He notices she keeps her eyes trained on the questionnaire now. “Have you, to your knowledge, had close contact with a person with measles, mumps, or chickenpox in that time period?”

“No.” She checks the 'no' box.

“Have you, to your knowledge, had close contact with a person or source in that time period for any of the following: botulism, diphtheria, E. coli, encephalitis, hemorrhagic fever, hepatitis, influenza, listeriosis, malaria, meningitis, pneumonia, rabies, severe acute respiratory syndrome, smallpox, or yellow fever?”

“No.” He watches her check several 'no' boxes.

“Have you, to your knowledge, had close contact with a person in that time period who may have exposed you to any sexually transmitted infections?”

He’s glad she’s looking at the paper still, even if that answer is obvious. “No.” She checks several more 'no' boxes.

“And you didn’t have a fever earlier.” She checks another 'no' box. “And sore throat, but no shortness of breath at any point?”

“No.”

“Vomiting or diarrhea?”

“...Vomiting, yes,” he answers honestly. “No to the second.”

She nods, as if she knew that already from looking at his throat. She probably did. She’s good at what she does.

“Any kind of rash?”

“No.”

That’s the last question on the page, so she turns to the next one.

“Next is bloodwork. We’ll do a cholesterol screening, in regards to heart health, and then we’ll also do a general workup and run it for any infectious diseases. I don’t think we’ll find anything if it’s just the vomiting and resulting sore throat, but better safe than sorry.”

She then starts getting out the necessary supplies with which to get a blood sample. It doesn’t take very long; he holds out his right arm again, and Sakura finds the vein easily. “You’ll feel a pinch.” Within sixty seconds it’s over, and she’s pressing and holding the cotton to the dot of red before taping over it, a small pressure dressing.

“Leave that on for a few hours, please,” she advises, and he nods to indicate that he will. She makes quick work of labeling the blood sample, and sets it aside with the clipboard, he assumes for the end of the appointment.

She scribbles in a few more comments on the sheet, he assumes for whoever is running the tests. “Okay, just eyes and arm left. We’ll do eyes first. Any deterioration in vision that you’ve noticed?”

“No.”

“Good. I’ll shine the light to check your pupils quick before I use chakra to look at them.” She grabs a different light tool, a penlight, and turns it on, before looking at him expectantly.

He blinks, curious what she’s waiting for, and then she asks softly, “Could you move your hair out of the way, please?”

Oh. He complies, and she shines the light in one eye, moving it slightly and monitoring the progress. She then does the same to his Rinnegan.

“Reactivity is good; no signs of defect.” She sets the penlight back where it belongs, then makes a note in his paperwork indicating that. Then she’s shifting her chair a tiny bit closer, so she can reach his eyes with her hands.

“Do you have a preference, which one I start with?” She asks. He shakes his head. “Okay; I’ll check the right eye first.” She reaches out with her left hand, pressing her thumb above his eye over his eyebrow, and her other four fingers lightly to his temple, just next to his eye socket.

Sasuke tries not to dwell on how close she is again as green chakra drizzles into his ocular system; he keeps his vision trained forward, as he knows he’s supposed to as she examines. There is a freckle on her right ear that he remembers focusing on, the last time; he does this time, too.

Around thirty seconds passes, before she informs him, “I’m going to funnel some chakra into the retina and optic nerve here; there’s some damage.”

He had suspected there might be, though his vision has not suffered; mostly there was just a bit of pain, sometimes. He hasn’t overworked it by any means, but he hasn’t completely abstained from using it since he’d last been healed by her, either. “Okay.”

The flow of her chakra works its way deeper, more of it now. This part has always relaxed him; her chakra really is quite calming, careful and gentle, threading its way behind his eye and wrapping around the nerve.

She works for about five minutes before the chakra starts to let up.

“...There. That should be a little better,” she says before lifting her hand from his right. “Look up, down, please.”

He complies.

“Left to right, now.” He does. “Good. Does it feel okay?”

He nods, meeting her eyes again finally. It feels stronger, no pain. He decides to verbalize that, even though he’s already nodded. “It’s better. Thank you.”

She smiles at him. “Good.” Then she’s detailing whatever she’s supposed to detail in the paperwork, before setting the pen down again.

“Left eye now.”

She repeats the process, frowning again. “There’s some damage here, too. I’ll fix it.”

This time, it takes longer; not quite ten minutes, but fairly close. He tries to focus on the wall behind her.

He had asked her once, when she was healing him following the war, if it used a lot of chakra. She had said not necessarily, but it depended on the level of damage. She also told him that it was moreso a delicate process, requiring careful manipulation, so he has tried not to talk during any healing sessions since.

When her hand finally pulls away, he’s gotten so used to the contact that it feels like a loss.

“Look up, down, please,” she requests again. Then left to right.

“Function looks good. How does it feel?”

“Better. Thank you.”

She smiles at him gently, just Sakura again for a second, before turning back to the form to finish the optical section.

Then, she turns the page. “Arm is last. Could you please roll up your sleeve to your shoulder?” He grabs his empty left sleeve with his right arm and starts shifting it upwards, rolling it so that it stays put once it’s to the top.

She touches the end of what’s left of the limb with careful fingers, soft but steady on marred skin and scar tissue. “I’ll look with chakra in a second, but any redness that you’ve noticed?”

“No.” He shifts his gaze forward, because her fingertips really are softer than he remembers.

“Any areas that occasionally feel warmer than is typical?”

He shakes his head.

“Swelling of any kind?”

“No.”

“Have you been stretching it as instructed?”

He meets her eyes, then. “Yes.” He wants her to know he listens to her recommendations.

Soft jade, and she’s smiling again. She moves her hands away momentarily, and grabs the clipboard with the papers, checking several boxes as he has indicated. He looks back forward.

“Any phantom limb pain?”

“Sometimes.”

“Residual limb pain?”

“...Sometimes.”

Her gaze flicks upward. “If you had to rate it on a scale, one being hardly anything and ten being the worst?”

“...Usually two or three.” He pauses, and she waits. “...Sometimes four or five.”

“How often, for the worst of it?”

He thinks. “Maybe twice or three times a month.” It’s a bit more often than that, but not by a lot.

She notes it on the paper; that must be a normal range. “Alright. I’ll check with chakra, now.” Her fingers come back to his stump, touching more firmly now. Green chakra starts to thread its way in.

Sakura frowns, after a second. “Nerve endings are a little inflamed. I’ll fix it.” The flow of her chakra increases, and he feels almost instant relief; he supposes it still hurt, faintly. Maybe he just got used to it. “Has it hurt in the last day or so?”

“...Late last night.”

She nods, as if that makes sense. “It won’t take too long. Maybe five minutes.”

He inclines his head just barely, not wanting to move while she’s working.

“You should let me know if it hurts again,” she suggests quietly, after a moment. “It doesn’t take much to fix.”

“...Okay.”

There is a comfortable silence for a few minutes as she works. He feels the chakra start to dilute a little towards the end of it.

“I’m going to stop my chakra and manually massage the tissue, now. It should help prolong the effect.”

He feels her chakra dissipate. She has done this to him before, throughout the rehabilitation process following the war; it was more important then, she’d said, to develop tolerance to touch and pressure of the residual limb. It had hurt, the first few times, but later in the healing process, he had secretly enjoyed it; it made it hurt much less, and the process itself felt… nice.

He had privately wondered what it would feel like on his back.

It elicits the same response now, too, kneading fingertips gradually increasing pressure to access deeper tissue, helping to work away pain that has lived there for a while.

"You wear your hair differently now," she comments after an incredibly nice period of time, still pressing tenderly in little circles, though the pressure is starting to taper off now, since they’re getting towards the end of five minutes; that was roughly the time she would do back then. Since there’s no chakra anymore, it must require less of her concentration.

He realizes he hasn’t shifted his hair back into place yet, then. He takes a moment, then responds quietly, furtively, "Most people dislike looking at the Rinnegan."

She doesn’t respond right away; just finishes massaging the end of his stump, then removes her hands to pick up her pen.

"Not me," she murmurs softly as she makes her final notations.

His heart flips in his chest, and he feels his face grow warm. He's glad she's focusing on the forms, so she can't see the effect her words have had.

The lozenge has dissolved fully, and his throat isn't as sore.

XXX

Sasuke goes to the Hokage’s office, after, to see if the dobe is there. He has some time to kill before lunch, and he wants to take him up on his offer to spar at some point, given that his eyes are freshly healed. Now that he knows Sakura’s schedule for the next few days, he can fill the rest of his time with whatever else. He’ll see her tomorrow at four, at the hospital, and then at Ichiraku’s on Saturday, and then for a bit after, too; they still need to confirm an actual time for that with Naruto and Kakashi. He assumes Sunday and Monday must be her days off. If they’re not, she works too much. He’s going to ask her tomorrow, he thinks.

Oddly, he finds only Kakashi in his office.

“Ah, Sasuke. Good morning,” he greets as he walks through the doors.

“...Morning.”

The copy ninja sizes him up with a single eye for a long moment, as if considering what to ask him. Sasuke braces himself.

"You got your physical done."

Sakura had said after the bloodwork was complete, she’d drop off the paperwork for him. "...I did."

"It went well, I assume."

"...It did."

"Wonderful," he says quietly, sounding pensive.

There is a very long pause.

“And the date, with Sakura this morning, before that? That went well, also?”

Sasuke deliberates. There is no teasing lilt to his old sensei's voice this time, just genuine curiosity, so he answers honestly, even though his neck warms and he doesn’t quite appreciate being spied on. “...It did.”

Kakashi gives him one of the widest and most genuine smiles he has ever seen him wear, beneath the mask.

“Wonderful,” the copy ninja says again, this time teeming clearly with pride and meaning.

“...Yeah.” Sasuke agrees, looking anywhere but at him.

Kakashi shuffles a few papers around his desk, and starts talking again, as if Sasuke has not just admitted to something he’s sure their sensei had suspicions about for the better portion of eight years. “Well, Naruto’s not here; I’m assuming that’s who you were looking for. Hinata’s leaving for a mission later today, around one, so I gave him the day off. I kind of assumed he’d use the opportunity to seek you out for a spar in the afternoon, after she leaves. He was going on about it yesterday, along with a Team Seven dinner on Saturday night; sounds like that will be at six.”

Sasuke just blinks, gears turning still; the scroll from yesterday is still on the desk, so he's not sure why he'd grant Naruto another day off so easily.

Kakashi further clarifies, smile shifting into something more sly. “I wouldn’t go over there before a little after one, if I were you.”

His first thought is oh, and he feels rather stupid. His next thought is gross. His old sensei is grinning, as if his reaction amuses him; he must have made some kind of face that belayed his internal thought process.

“Ah, love requited and besotten newlyweds. What a time." Sasuke's neck burns again, because he realizes after a second that the ‘love requited' portion of that is referring to Sakura and himself. Kakashi's moving on, though. "Anyway, now that I’ve given you too much information…” His voice trails off, and he looks at the intricate scroll tucked away at the table beside his desk, where Naruto usually sits. “If you’re not busy and want something to do until lunch, you could take a look at this scroll for me, since Naruto won’t be getting to it today.” He appears to be thinking, then adds. “For all his progress, he can still be less than perceptive, in certain instances. Your assistance could be invaluable, since I’m occupied with other tasks at the moment.”

Sasuke ponders for a bit; he has already read a good portion of the way through his books, and it’ll be a few hours before he needs to eat. It's not lost on him that this involves a level of trust in him on Kakashi's part, as whatever is in the scroll is likely not public knowledge.

He decides it can’t hurt, though he hopes he doesn’t get asked any more questions about Sakura. He makes his way to take Naruto’s seat, opening up the scroll.

He stares at it long and hard, rolling it out on the table to examine it more closely. Kakashi wordlessly grabs the stapler on his desk and sets it on the top end of the parchment, to hold it in place as he further unravels it. It appears to be a cipher, and quite a complicated one.

“...You think Naruto’s going to be able to crack this?” Sasuke questions incredulously, glancing towards his old sensei with his brows furrowed in doubt. His eyes catch as he does so on the framed photograph sitting on his desk; from this angle, the side instead of the front, he can now see that it’s their original Team Seven photo. He hasn't seen it in a long time.

Kakashi chuckles, not looking up from his paperwork. “Not at all, which is why I was helping him with it yesterday. It’s good practice for him, though, and at the very least, it does keep him busy when I don't have anything else for him to do.”

XXX

Sasuke ambles back to his apartment around noon. He made some progress on the cipher, enough that Kakashi said Naruto might actually be able to take it from there. It feels good to be of use.

It also feels good to have something to give the idiot shit over, when he goes to visit him later.

He empties the cough drops from his pocket into one of the cups he bought yesterday, and pops another one into his mouth before he starts getting out ingredients to cook. It feels good on his throat, menthol pleasantly numbing despite the slightly sweet taste. He pours a hefty amount of rice into a pot to start boiling, and then begins slicing carrots and scallions and mushrooms for takikomi gohan. It takes a while to slice with one arm, as holding the vegetables in place with one hand is a challenge, but he manages by summoning a clone. Once he’s done, he slips them in a pan with some salt and dashi stock. He also adds frozen peas before covering it with the lid to simmer.

Once that’s going, he washes his hand, then folds the comforter he had washed and left out to dry this morning, ultimately storing it in the closet. He stirs the vegetable mixture occasionally, after, reading more of his book while he waits for the rice to finish. The one about kenjutsu is more interesting than he thought it would be. He might finish it by the time he sees Sakura tomorrow.

He really hopes he can walk her home again; he hadn’t gotten a chance to kiss her today. She might not want him to, if she thinks he's sick, but somehow he suspects she likely understood it wasn't actual illness. She's good at what she does, and smart.

It’s a simple but savory lunch, a larger portion than he’s accustomed to. He eats all of it, albeit slowly, as he reads.

Uncannily, an abrupt and earsplitting knocking erupts on his door as he puts the last bite in his mouth to chew.

“TEME! Open up!” More incessant knocking. “I’m fucking bored, and Kakashi-sensei gave me the day off! Let’s spar!”

Sasuke rolls his eyes and closes his book before standing to rinse his dish, setting it in the sink to wash later, along with the pot and pan already rinsed and stacked there.

“Alright, dobe. You don’t need to bust down my door.”

He grabs another cough drop and removes the tape and cotton from his arm before he goes. It’s a little tender, but the blood has clotted by now.

#naruto #sasusaku #ssfanfiction #cherry writes #like gold #fanfiction #this timely update brought to you by my pure unadulterated spite for studio pierrot

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lazyliars · 4 years ago

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Thinking about Tales from The SMP...

So, If I’m interpreting things correctly, Karl canonically doesn’t get to choose when or where he time travels to, meaning that something, or if the books are any indicator, someone, is deciding where he goes, and what “story” he experiences.

“Stories like todays can show that not everything necessarily has to end in misery.”

So, setting aside the obvious question of Who, I’d like to take a moment to consider some of the Why.

Namely, why are the stories that Karl is experiencing necessary for whatever it is he’s doing/going to do?

The Masquerade makes the most sense as of right now - It gives Karl forewarning about the Egg, how it operates, and that it’s old.

It, interestingly enough, doesn’t give us more than that. The only new piece of information the viewers get is, as previously mentioned, that the Egg has been around for awhile.

This lets the theorists narrow things down a little, but the general viewership doesn’t get much out of this nugget of information, so we have to assume that the narrative purpose this serves is to bring Karl up to speed on the Egg stuff.

The Lost City of Mizu again reaffirms the information we already have. In it’s climactic reveal of the Dream Room, we learn that Dream was worshiped through blood sacrifice, and that Ranbob might have murdered the entire city, which reminds Karl and the audience that Dream’s Not A Good Fella.

We could also extrapolate that this is a warning from the In-between that Ranboo is compromised and/or has a connection to Dream, but we’ve yet to see them interact properly so that’s just speculation for now.

The other episodes are less clear in their intended message, lesson, or warning.

The Town that Went Mad gave little to no concrete links to the modern day SMP (until Ponk began to tie it into his lore, which is baller btw go check him out, but which afaik was not planned during the writing of the episode so I’m not counting it to be safe.)

Tubbo/Robin also drops a line about the “Red-Eyed Village Wars” which some have linked to Egg plot. The time period could easily line up with the Masquerade and The Wild West, but there’s every chance that this was a throwaway line from Tubbo, and completely unplanned. We just don’t know.

But more than lore drops, The Town That Went Mad shows Karl an eerily familiar scene - a community of people tearing themselves apart to root out the source of conflict. It’s not quite a 1-1, as the town did have more clear cut “bad guys” then the current SMP, but the similarity remains.

I’ll only count The Town That Never Was as tentatively part of the tales canon. It was the pilot episode, and it doesn’t involve time travel, at least as far as we know.

As for what it has to teach, it’s a clear recreation of the destruction of L’manberg. I don’t know what this teaches, but, uh, yeah.

Then there’s the Beach Episode... It’s got that early installment weirdness, Karl is still very obviously working out the kinks in his storytelling style and voice, and it’s clear that he hasn’t fleshed out what he wants this to be yet. As a consequence, the following theory is tenuous at best, please take it with a grain of salt.

At first glance, the Beach Episode seems to have no lore-relevance. It’s just a fun jaunt between a group of friends.

But, this was streamed on Jan 9th - a time at which Dream had just blown L’manberg up with Techno, and was hiding outside of the SMP lands. This episode also features Ranboo and Dream, the former of which has stated that he and Dream haven’t spoken once, meaning that either he was in Enderwalk when this happened, or this episode not only doesn’t fit into the timeline, but it doesn’t fit into the canon at all.

Now, there’s a good chance that this is just meant to be taken as a filler episode, and we should ignore the canon inconsistencies. However, I’m have adhd that want thing be deeper than it is.

I propose that this Episode is canonical, and takes place in an Alternate Universe - visited by Karl to teach him that, despite how horrible things are right now, they could be better, even idyllic, where a group of friends can cavort around a beach and look for treasure without a care in the world.

This explains the inconsistencies - In this Universe, Dream either didn’t blow up L’manberg, or Ranboo and the rest of the dteam + Bad didn’t mind him doing so.

This opens the door for other AU themed episodes though - silly ones, serious ones... I for one would love to see an over-the-top “darkest timeline” episode, where everyone talks in a low, gruff voice and tries to be darker and edgier than each other.

More lore-oriented, we could see canon-divergence - maybe a “Pog 2020 wins the Elections” story, or a “What if Eret never betrayed?”

I feel like this would give a lot of freedom and give some opportunities to people to explore their current characters on the SMP in ways that they otherwise wouldn’t be able to. It also serves the narrative, giving Karl reason(s) not to mess up the timeline, lest he get these strange offshoots.

Anyway, I would love to hear what people think about this, and any ideas for AUs that could be explored through the Tales format...

#tftsmp #tales from the smp #dream smp #Karl Jacobs

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lucemferto · 4 years ago

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WE NEED TO TALK ABOUT TECHNOBLADE (or A Narrative Analysis of the Dream SMP Doomsday Event) - Script

Heyo! Per request I am posting the script to my video of the same name here on tumblr. I must warn you that just reading the script will probably not give you the full experience, so I would encourage you to watch the video (linked above).

There might also still be a lot of grammatical errors in the text, because I don’t proofread.

Okay, so! I don’t want this to turn into a reaction channel OR a Dream SMP channel for that matter! I am planning on doing a big dumb, way too long analysis video on the Dream SMP which will – at my current pace – come out in five years. I am already way too late on this one.

Spoiler Alert for the Doomsday Event that took place on the 6th of January in the Dream SMP. Surely the worst thing to take place on the 6th of January 2021 … I’m sorry, what’s this about the Capitol?

In case you don’t watch the SMP and need context: The Dream SMP is a Minecraft Multiplayer Server, that, throughout the last year, has transformed from a normal Let’s Play to an ongoing new-media series streamed by multiple high-profile streamers such as Dream, TommyInnit or Technoblade. It comes complete with script – by which I mean loose bullet points – and story events. It has attracted a large fanbase specifically invested in the story and less so in the actual gameplay content. Like I said before, I will probably do a big video on the Dream SMP at some point in the future.

The storyline is long and complicated and trying to explain it all would take up the majority of the video and there are other channels who have already done a much better job than I could ever hope to do, so give them a watch. I’ll try to summarize all that is pertinent to what I will talk about in this video.

Okay, let’s speedrun this summary. Cue the music!

Major Players here are TommyInnit, a founder of the independent nation of L’Manburg, Technoblade, an anarchist who was deep in conflict with L’Manburg, Tubbo, Tommy’s best friend and current president of L’Manburg, and Dream, the ruler of the Kingdom of the Dream SMP (even though he is not the king, but we’re not going to get into that right now). Tommy had in the past been exiled by Tubbo for endangering L’Manburg’s shaky peace with the Dream SMP. Tommy had then teamed up with Technoblade, who was hellbent on destroying L’Manberg after some prior altercations – more on that later.

Tommy and Tubbo came into conflict during a festival set-up to celebrate the friendship between L’Manburg and the Dream SMP. After punching out their feelings, Tommy came to the realization that his friendship with Tubbo was more important than his vendetta against Dream and those who exiled him. Techno took that change of heart badly and teamed up with Dream to destroy L’Manburg … and that’s exactly what happened.

Techno and Dream, with little to no opposition, obliterated L’Manburg with no hope for recovery leaving its inhabitants stranded hopeless and alone.

… And that’s what you missed on Dream SMP!

Okay. So, usually I just put whatever thought slime drips out of my mouth hole into your subscription box. But then I asked myself: “Am I not taking this a largely improvised nonsense story from a bunch of 16–24-year-olds a little too seriously?”. And then I remembered. I’m a pretentious bitch. I made an 18-minute video explaining why the popular commentary YouTuber memeulous is secretly the time travelling Anti-Christ, REASON HAS NO SWAY OVER ME!

So, like the English Major drop-out that I am, I will present you with two theses, which I will then combine into one … supratheses! That word doesn’t exist, I just coined it, it’s mine! I am very smart!

[I know words, I have the best words!]

Thesis #1: The Fandom focuses too much on Character Analysis in Favour of Narrative Analysis

The Dream SMP is truly something special. It is uniquely singular in how it tells a story of this scope through its chosen medium. While there is an overarching script that lays out the plot points of the future, each of the 30+ streamers on the SMP are their own cameraman, director, writer and actor. You cannot watch “the Dream SMP” – if you attempted that, you would be 80 by the time you caught up to the Doomsday Event. You have to choose whom to watch. You have to choose your focal point character.

Because by the way the story is told and consumed – aka in such a compartmentalized fashion; you watch one streamer and get one character’s perspective – it has sort-of unintentionally conditioned fans to look at the SMP and its characters less as one coherent story with messages and themes and more as sports teams they can root for. You’re Team Techno or Team Tubbo or Team Tommy or Team JackManifoldTV (formerly known as Thunder1408) and every other side is in the wrong! It’s like Twilight for a decade old children’s game about virtual Lego!

Okay, I’m exaggerating, but the amount of discourse perpetuated by and revolving around so-called “apologists” – a terrible term that unfortunately has caught on – is really not something that I think is good for how we interact with the story of the Dream SMP.

The Dream SMP is discussed a lot on character-based level, which is, like I said before, hugely advantaged by the way the story is consumed by its audience. With traditional, visual media such as film for example, the audience can be made more aware of what messages the narrative might try to communicate on a narrative level without the need for an explicit narrator to tell you the moral.

As an example, in a movie you could have a smash-cut from the Butcher Army’s discussions about neutralizing the danger Technoblade poses to Techno being nice around villagers or taking care of animals. This would communicate on an extradiegetic level, that the Butcher Army is in the wrong with their assumptions. Alternatively, you could contrast Techno’s declarations that power corrupts and that Tubbo’s administration is cruel with Tubbo choosing not to punish Ranboo for his association with Techno – thus the narrative would communicate that Techno’s view of Tubbo and by extension the government is one-sided and not true to reality.

Stuff like that helps the viewer understanding a story holistically and manages to communicate stuff like themes and morals without having to solely rely on in-character logic and argumentation, which, as Ghostbur put it so eloquently, is comprised of a bunch of unreliable narrators.

Character analysis is great if we want dive deep, if we really want to give a character flavour and understand their motivations. It helps make the universe feel like it is alive, like it’s real. But – and this might be a shocker for you – it’s not real. It’s written. It is construction – and as such, in its construction, it has messages and themes and morals, intentionally or unintentionally.

By being so focused on specific characters and their individual journeys, viewpoints and motivation we really run the risk of not looking at the bigger picture and fail to see what the overarching narrative is actually communicating. And we may also fail to understand how characters might or might not fit into the overarching narrative.

Speaking of which …

Thesis #2: Technoblade experiences very little Meaningfultm Thematic Conflict

Okay, let’s talk about Technoblade. I’m sure I’m not going to get any hate for this one.

I want to preface by saying that I don’t watch Technoblade’s streams; I catch up though clip channels and summaries. I’m mainly watching Tommy, Tubbo and Quackity – which is honestly already more than I can handle – but I want to be clear that while I’ll try to be as even-handed as possible – like I explained previously – the way I consumed the storylines will undoubtedly leave me with some bias.

Also, needless to say, I’m talking about the character Technoblade, not the actual content creator, unless I specifically say so. That should be obvious.

Now, I’m not doing a Technoblade character analysis, because that would be hypocritical of me – seeing how I just bitched about the overwhelming amounts of character analyses in the fandom – but I’ll try my best to summarize what is necessary.

Technoblade’s interesting in that he is a very static character – at least inwardly – he doesn’t change much. He is very steadfast in his beliefs and ideals and has very little introspection. He doesn’t question himself; he doesn’t waver, he is never in a bind about whether what he’s doing is right or wrong. He is very much a parallel to early TommyInnit – who, of course, famously said “I’m always in the right”.

And I want to emphasize that I mean this in no way as a critique of Techno’s character. A static character provides a nice contrast to more dynamic characters and can balance them out. It can also be utilised by the writing as a character flaw – which is what I hope content creator Techno is going for.

Like Techno doesn’t have a lot of empathy in the sense that he is particularly skilled at or interested in trying to see the viewpoints of others. There is never an attempt to reconcile, for example, the goal of the Pogtopians to reclaim L’Manberg and install another administration with his desire for an anarchist society. This is also compounded with his overreliance on violence as the only tactic for conflict resolution – Techno has a whole thesis statement about violence being the only universal language. I’m sure you’ve heard the quote.

And lastly, what really drives this all over the edge, is his all-or-nothing approach when dealing with the enemy – he is not so much eye for an eye as he is – to use another biblical example – you make fun of me for being bald and I’ll sic two bears on you that maul and kill you and 41 other children.

There’s also the open and completely unacknowledged hypocrisy of a self-described anarchist working together with a man that installs and dethrones Kings with his every whim – someone who – and I cannot stress this enough – hits about every box when it comes to the definition of tyrant.

So, what I’m saying is that Technoblade is the Dream SMP equivalent of Dick Chenney. C’mon you know it’s true! He will bomb that freedom into your country whether you want him to or not. That’s some cogent political commentary in the year 2021.

Okay, so now that I’ve outlined his character, what kind of conflicts does Technoblade face. Well, it’s mostly physical or external. He fights a lot whether it’s against Quackity or Sapnap or bodying Karl Jacobs five times in a row. And – with the exception of maybe Sapnap – none of it is challenging. Technoblade is the best PvP-Player on the server – there really isn’t much tension to be had from a purely physical fight.

So, how are these fights supplemented emotionally. Well, internally there is not a lot going on. As I said before, Technoblade isn’t really an introspective character. Even during his shouting match with Tommy there’s not a sense that Technoblade is wavering or unsure of himself in the way that Tommy is. He exposits that one of the reasons, he acts like he does is that he feels dehumanized; that people only use him like a weapon and then discard or even try to neutralize him once he’s no longer useful.

But that is not something that Technoblade has to grapple with – it’s not conflict for him, it’s more conflict for Tommy. Technoblade is self-assured in that he’s a person and not a weapon – it’s almost like there was a character arc there, where Technoblade self-actualizes and breaks away from the people that want to use him. But we didn’t see any of it. Technoblade unleashes the withers; then he goes into retirement because he wants to be, I suppose, and then he returns to violence as a reaction to the Butcher Army. There is a story of vengeance here, but not any conflict about being used. There is never a point where we see Technoblade come to this realization or comes to assert himself.

In season 1 there’s never a push from Pogtopia where the narrative frames them as exploiting Technoblade. He fights with them of his own volition, he gives them weapons and armour of his own volition. Nobody pressured Techno into procuring their inventory for the fight. And in Season 2, he’s the one to approach Tommy about their potential partnership – he is in the position of power here, explicitly not Tommy.

Like, I’m sorry, if this ruffles some feathers, but I really don’t see this arc where Technoblade is being used. There’s a story of misunderstanding and maybe co-dependency – but not of dehumanization. This entire line of thought seems to solely reference that moment, where Tommy says to Sapnap “I have the blade” during one of their wars – which, to base an entire emotional arc around that without any further set-up, is, and I’m sorry to say that, incredibly flimsy.

Okay, so we covered physical and emotional conflict? But what about conflict on the narrative level? Well, that leads me to my suprathesis …

Suprathesis: The Narrative is Unclear on how it treats Technoblade … and that’s Not Good.

Here’s a Hot Take: The narrative of Season 1 treats Technoblade way less sympathetically than that of season 2.

Let me explain. The narrative of Season 1 revolves mostly around Wilbur and Tommy. The emotional fulcrum of the overall narrative is Wilbur’s rise and fall from Grace – and Tommy succeeding him as symbol of L’Manberg’s “special”-ness. Now I will talk about all that more in detail, when I talk about Season 1 of the Dream SMP. So, you’ll just have to go with me on this one for now.

Technoblade, by contrast, doesn’t really have much going on thematically in Season 1. He mostly exists as a sort-of utilitarian character – he is an accessory to make story beats happen. Like him executing Tubbo doesn’t open up any sort of thematic conflict involving him – on a character level it sets up antipathy between him and Tommy and it grants us some insight into how he operates with his violence speech – but on a larger-scale narrative level it really just shows how far Wilbur and Tommy have drifted apart in how they react to the event.

His biggest contribution is during the Season 1 finale, but even there he plays second fiddle to Wilbur. Not just because Wilbur does way more destruction with his explosion than Techno does with his Withers, but also because Wilbur had an emotional and thematic climax to his arc and by extension the entire storyline. Like Techno’s is a cool moment and very epic visual but in terms of thematic relevance, his Theseus-speech is really more set-up for Season 2.

And Season 1 is very unambiguous about L’Manberg being good and Tommy’s ideals ultimately being morally justified – I mean, they have a whole speech about it in the end and it was built-up throughout the entire Season – Techno is cast in a … less than sympathetic light. He is, if not a villain, then definitely an antagonist.

But with Season 2 the narrative is either uninterested in or not very clear on exploring Technoblade’s flaws.

Like ask yourselves: is Technoblade’s character ever consciously challenged by the narrative? Are his actions ultimately shown to not be in the right? Are his beliefs about government and power ever called into question? Are the negative consequences that his actions cause ever shown to be larger than the “good” he does?

I think what exemplifies this the most is how the Butcher Army event played out on December 16th. Now, during that event, the Butcher Army, which was comprised of Tubbo, Quackity, Fundy and Ranboo, managed to apprehend Technoblade, who at that point was living the quiet retirement life, and tried to have him publicly executed – without trial.

Now, smarter people than me have pointed out that the Butcher Army had a bevy of in-character reasons that can justify or explain their actions. And that’s definitely interesting, but as I said before, I want to get away from that and look into how the Butcher Army is treated on a narrative level. Because this is one of the few instances where the otherwise grey-loving Season 2 has some very clear narrative intent when it comes to morality.

The Butcher Army is very deliberately framed as almost cartoonishly corrupt and violent. They very forcefully investigate Philza, mock him and then put him under house arrest – and there’s just no remorse in the script even from normally sympathetic characters like Tubbo.

Compare and contrast with the Tommy-exile scene, which is also an act of moral ambiguity and is treated as such. And things get even worse once the Army arrives at Technoblade’s abode and attack him after he softly tells them that he has left that live behind him. They then proceed to take his horse hostage, mock him and execute him without fair trial – and I haven’t seen it but from live commentary I gathered that Techno really played up the whole softie-schtick before the Butcher Army arrived. I mean, before the big Technoblade vs Quackity fight, Quackity had whole villain monologue for Christ’s sake.

And even afterwards, the Butcher Army really plays up the corrupt angle with Tubbo proposing a festival as a guise to publicly execute someone. And again, I know that on an intradiegetic there’s nuances and it’s not really comparable to the Red Festival, but in combination with what the audience has seen up until that point and with how much it feeds into the already established themes of history repeating itself and becoming like your predecessors, it really does not paint a pretty picture of the Tubbo administration.

You can feel the heavy hand of the script on your shoulder, which is a feat seeing how – as discussed before – that’s not something that can be easily accomplished in this medium.

And that is what I mean when I say that Technoblade is not really challenged by the script and is in this case even emboldened by it. Because after this whole ordeal the thought of Technoblade taking revenge by destroying L’Manberg doesn’t seem like such an extreme response to the viewer – even though in my opinion, it is.

As of right now it is too early to say how the narrative will judge Technoblade’s actions in the future. Will they be framed as extreme but ultimately justified or perpetuating a cycle of ever-escalating vengeance? Will we ever see a government that’s not just at best misguided and at worst completely awful?

Ultimately, I believe and hope that Technoblade will be challenged by the narrative, mostly because a character that cannot, believably, be physically challenged, who doesn’t have any meaningful internal conflict about what he’s doing; and who does come out on the other side having everything he always believed in be proven completely in the right by the narrative, would be incredibly boring. Not just to watch but also to play as.

As it stands now, if the destruction Techno, Phil and Dream inflicted upon L’Manburg is framed as ultimately in the right, I would find it personally a distasteful message to send. I would ultimately say that the “correct” way to counter corruption in government is to completely obliterate the entire country. Like we’re not talking simply disbanding the government – that’s not what Doomsday was – we’re talking complete and utter annihilation. And that would be cynical and depressing. Like, call me a big softie, but even bothsidesing this argument would be bad.

Like, I’m not calling for Technoblade to be transformed into or treated a monster like Dream. But I personally feel like the narrative needs to acknowledge that the Doomsday was something that was taken way too far and that it ultimately brought more harm than good. And Technoblade needs to held accountable by someone who is not a cartoonishly corrupt government-official or who is in conflict with him anyway, like Tommy.

I thought Philza or Ranboo could do that but seeing how their storylines are progressing I don’t believe that will be the case. But who knows, maybe Captain Puffy will come through for us. We stan a Queen.

Conclusion

So, yeah, I made this entire video just to air out my grievances with how one-sided the mode of analysis is in the fandom, because no person actually involved with the production of Dream SMP will ever see this.

But after everything I am cautiously optimistic, that content creator Technoblade knows what he’s doing. He has talked in the past about how his character is a bad guy and he loves his Greek myths. After all what’s more Greek myth than hybris being rewarded with punishment? [Technoblade never dies] That bodes well for him.

Also, this isn’t the video I promised at the end of the last one!

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amwritingmeta · 4 years ago

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15x19: A First Ending

This was a good episode! Oh, I know, I know - we didn’t get Cas back. But oh, boy, that should mean that Misha shot for five of eight days for 15x20 and that makes me want to rub my hands together with the hope of what that might mean. All the good things!

Oh, don’t hang your hopes on mine btw. I had very high hopes that we’d get Cas back, or very strongly established as coming back (as per 13x04) with a final scene of him waking up in the Empty or something like it, and that didn’t happen, but omg I’m so glad they didn’t.

When Jack started praying and reaching out to Cas my heart almost stopped.

If Dean doesn’t instigate Cas’ return, then oh it would take away too much!

But then Jack’s moment didn’t lead to anything, and now, the more I think about it, there more it feels like a plant. A reminder of how he prayed to Cas the last time, and woke him. We shall see, eh?

And then we got Dean telling Chuck to bring Cas back, which was a pivotal plant as well. I’d been worried if they hadn’t mentioned Cas more than once, with Dean telling Jack and Sam that Cas sacrificed himself to save him, yeah?

If there had been no more Cas for the entire episode then, narratively speaking, I would have started wondering what role Cas might actually play in 15x20.

But Cas was mentioned more than once. We even got to hear his voice and have that fake return to stir our... I almost wrote loins, but that’s not appropriate so let’s change it to stir our... martinis.

Ah yes. We could all use a drink, I’m sure.

The dog as well! Dean was so happy and he carried the dog and petted the dog and put it in Cas’ spot in the backseat and was all, yes, emotional substitute! And then... poof. Because it’s not going to be that easy to replace Cas. *fingers crossed*

Here’s mostly why I’m hopeful for something quite different as the actual finale of the show, the proper wrapping up of these character journeys:

This first ending is for those who have followed the show explicitly to watch these two brothers. (yes there’s a word for them but let’s not)

It ends exactly how these viewers -- and quite possibly the writers who wrote it -- always saw the show ending. It gives an emotionally satisfying wrapping up of all the thematic threads of the show and gives the brothers their hard-won freedom, and keeps the brothers riding in Baby, together, indefinitely.

And these viewers and fans will always be able to stop watching the show there and keep that as their perfect ending.

Except it’s not the ending-ending. Is it?

This episode neatly and gorgeously wrapped up the Michael/Lucifer/Chuck storyline. It wiped the slate completely clean. Especially with Michael killing Lucifer and Chuck killing Michael. These characters just completely annihilating each other because they’ve all served their purpose.

And Chuck being drained of his powers and ending up ignored, never to be worshipped again, or even remembered, is such a fitting ending for him! And with Dean refusing to kill him, leaving him to his fate, I’d call that Dean integrating his Shadow.

No more fearing it. It’s powerless. Thanks to Jack (Dean’s inner child) who now holds all the power in the universe.

I’d say Dean Winchester has reached a point of internal balance.

And for all of these good things: Chuck powerless, Jack the New God, surely helping to fix what Cas broke by restoring Heaven (I’m assuming Heaven will be repopulated or that God’s grace will level it out) and Jack stepping into shoes that Cas once tried to fill and failed to, to the detriment to so many of his kin, is simply stunning.

I cried, properly, at Jack’s speech. It was beautiful.

But for all these good things and wrappings up of stuff, didn’t the ending feel kind of superficial? Like stuff was missing in those final five minutes or so? Like... I don’t know... Sam mentioning Eileen maybe? Because surely she was brought back along with everyone else, and one episode ago he was losing his mind over the loss of her.

And they didn’t even mention Cas. Jack mentioned Castiel as a good influence, but Cas was just bunched in with “everyone we’ve lost along the way”.

Meh.

Hey, it’s fine if all you care about is Dean and Sam and you think that they’re at their happiest when they get to drive along a road in Baby, listening to tunes and play-fighting and reminiscing about all those people that have come and gone, while they know they’ll always remain the same.

I mean, if we hadn’t gotten that montage at the end of this episode (a fucking MONTAGE ppl) I would’ve started thinking that maybe Misha was coming back to shoot flashbacks for 15x20, as we got to see the brothers remembering Cas (like with Mary), taking a walk down memory lane and driving around to well-known locales for a final hurrah.

But we got that fucking montage, ppl.

Leaving me to feel that they probably won’t also spend forty minutes rememberembering those same people. You know?

Also, dull. And Dabb is anything but dull. And Dabb loves pulling on stuff he’s hinted at in the first ep of the season.

And I remember reacting to Sam being the one to escort the kid and her mother into the, what was it? The high school, right? For safety.

While Dean and Cas had that tense exchange by Baby, where Dean couldn’t not ask if Cas was okay and Cas saying, hopefully, that he was, but Dean remaining stone faced and distant. “Awkward” is what Belphegor called it.

Oh. Please let there be awkwardness in 15x20. I beg on bent knees. Beg, I say!

Anyway.

What is 15x20 going to be about if it isn’t about finally answering the question of what will make the brothers happy?

A balanced universe, of course! But freedom without love... sounds kind of lonely to me.

So, have they answered the question of What do I want? yet? Is this what they want for themselves? More of the same? This season has hinted that it isn’t. It’s hinted very strongly that it isn’t.

So, I’m holding my breath that Dean’s final confrontation is to do with happiness and daring to want it for himself. Daring to admit to wanting it for himself. Daring to go after it...

Cas does not belong in the Empty.

And hope that it’s telling how Jack didn’t even think to get Cas out of there and bring him home. God got Lucifer out of the Empty so Jack definitely has the power.

And Dean didn’t ask him to get Cas out of there, not because he doesn’t still want Cas out, but because it would ruin the first ending for the people who want Cas to stay dead. Yeah?

It’s kind of beautifully done, to my mind, as a nod and a thank you to the people who have supported one reading of the show. It’ll be difficult for them to go apeshit when Dabb and the writers can simply tell them they don’t have to watch further than 15x19 and be content that they’ve got an ending that lets them cling to the brothers as the begin all, end all.

And yes, I remain believing we will get Dean and Cas together-together before the end of the show. I have no clue how much of a together-together we’ll get, but for the show not to give us a clear understanding of how Dean loves Cas back is unthinkable at this point, and will stay unthinkable until the show tells me otherwise, because nothing but those two together makes even a lick of sense to me.

Dean’s feelings were in the subtext this episode because that’s where they always have been and hopefully fingers crossed because this ending wasn’t for us, it was for other sides of fandom, giving them room for denial, if they simply don’t want to see that what Dean wants is Cas back.

Our ending isn’t happening until next week.

Dean: It’s a helluva time to bail. There’s a lot of people counting on you. People with questions—they’re gonna need answers. Jack: The answers will be in each of them. Maybe not today, but someday.

For me this may be setting up for 15x20.

Dean could be said to be accepting the reality of Cas being gone this episode. He starts off not telling the whole truth about what happened with Cas (of course), he’s drinking himself stupid, he tries to demand of Chuck to bring Cas back, he finds that emotional crutch in the doggo and he moves into acceptance because what else can he do?

Especially if he’s still reeling and is struggling with his fear of happiness, with not feeling deserving, with it being easier to simply let it all go.

But.

Letting go of the need is healthy, allowing it to make way for the real want that is about choosing Cas, not because he feels lost without him, but because Cas completes him...

That would be something.

(oh shush let’s get with the romance) (Jerry always brings it)

The brothers love each other, but throughout this narrative there’s been hints that they both long for more. So much more. It would be so weird if it didn’t all wrap up with more being wanted and chosen and offered and had.

So if the answers are to be “in each of them -- someday”, then maybe Dean just needs to reach a moment where he’s ready to admit to himself that he can’t stand the fact that Cas died not knowing that Dean loves him back.

I wonder if Sam will push for this admittance... I’d like to witness that conversation, that’s for sure.

And Eileen. I hope she’s back sooner rather than later next episode!!

What’s next episode going to be about if it’s not about the breaking of old patterns to make way for new ones...? Are we going to follow the boys around as they do laundry and cook and make a few tentative plans for their unknown future? They won’t be hunting much in 15x20, at least if Dabb is anything to go by. I guess there might be something brief as a final The Boys With Their Weapons Doing Their Thing, but... it won’t be a case episode. And it would’ve been strange if it was, you know?

So then. Hope. One more week breathing eating sleeping on hopes and wishes and we shall simply have to wait and see what we get.

I have every faith it will blow us away, but I’m also sitting pretty. Reining in those horses lest they run away with me. And whatever comes our way, I’m so grateful for this show!

#spn meta #spn 15x19 #spn speculation #dean #cas #sam #jack #chuck #michael #lucifer #deancas #destiel #hopes and wishes

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pjstafford · 3 years ago

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Meditation on The Mind of Winter song by David Duchovny.

David Duchovny's newest album is Gestureland. The song Mind of Winter is not my favorite song off the album, but it is the song that causes me to think the most. The Mind of Winter reference is to a poem by Wallace Stevens called The Snow Man. Some recent viewers of The Chair likely heard David Duchovny strumming his guitar and singing a few lines from Mind of Winter and heard Sandra Oh say "That's the only rock song I've heard that references Wallace Stevens" With all of that as the backdrop of this song, I wanted to share my thoughts on the lyrics.

First, let me express what the Stevens poem means to me. Worth noting that I did not study this poem in any academic sense or read much on it and so, my thoughts on it are my own and the reader of this may not agree or may have, in fact, more knowledge. However, these are my meditations. So, when I read The Snow Man I see two themes in opposition to each other (which is something that I enjoy).

The first is that the snowman must devoid himself of the emotion connected with winter to appreciate the landscape of winter. The second is that the snowman must be himself well familiar with cold and winter to see beyond the misery of winter and become unfeeling within that landscape.

The first appeals to me as a philosophy in that if we can devoid ourselves of preferring the beach in summer or knowing any of the literary imagery of the winter months or having walked in a snowstorm or fallen on ice, then we can experience the now and the moment and beauty of frost and junipers shagged with ice. It is the same way to me of how I see the beauty of the desert which is the environment in which I was raised and in which I now live. It has an amazing beauty if you stop associating it with concepts of a barren wasteland of heat and thirst.

The second causes my heart to feeze but I understand it so well. When you have lived without rain, then you can become accustomed to drought. In the poem then we take all the imagery of winter cold to heart and think that because I have not had warmth I have become immune to the element of cold. My emotions have frozen over because I have not felt the emotions of passion or caring I might prefer to have known.

This frames me, then, in a way for the contradictory elements in David Duchovny's song The Mind of Winter. The refrain hook of I swear that I'll be simpler is repeated in a song that seems to be not simple at all and sung by a character so complex that simpler is not possible. I have to remind myself that this is not a song of The Snow man. It is a song reflecting only a reference to the phrase The Mind of Winter from the poem The Snow Man.

So the song begins with a journey. As opposed to the snowman who cannot journey. There was weather everywhere on this journey and I bring in the emotion I have to the concept of "weather everywhere". That makes it a hard and dangerous "stormy" journey. A pretender on the throne could be someone usurping your place in a marriage or a stepfather to your kids, but it could also be a King or President who doesn't really belong in the position- but in looking back there didn't seem to be a silver-tongued pleaser who could rise to the times - another love to take the place in the relationship you've lost or possibly the person who could unite a nation?

Then the character explains the reason for the journey- if you hadn't put the words on me - if I could grow up and throw away the maps and geography. Did you tell me I was smart? Did you tell me I was born poor? Did you tell me I was a man and made me think toxic masculinity was the norm? Was I expected to get married? Was I expected to be a father? Was I expected to be a stud in order to be a man? How much of who I am and what I've done in my life is because of who I was told I was and what I was supposed to do? Can I become a better, more self-aware and self-actualized human being through this journey? Wow- that's a really great verse.

Then the chorus and If I come back sounds like he is not sure he will make it back due to the dangers of the journey, but it could also be that he will choose not to come back to the life he led or from which he fled. Perhaps he will be an expatriate never to return to his country. But if he does come back he will be simpler (I will wait to discuss this further). Then the refrain from The Snowman I"'ll have a mind of winter. (a mind that will live in the moment now on whatever landscape he finds himself, will not judge the moment or the landscape based on preconceptions or will learn to accept the frozen conditions of a life without love?}

The next verse is the verse I have the most difficultly understanding. I keep thinking there are references contained within this verse not to the Mind of Winter, but to other works I cannot connect. Certainly, the person is lost at sea without land in sight. Yet, he does not accept a landless condition or the beauty of the sea as a merman (a play on Snowman) might. This is a desperate man with no end in sight to his misery and in the fog which I am interpreting as the noise, the cloud, the environment which surrounds him, he sees blame and people pointing at him, blaming him, shaming him. Perhaps they are keeping him from the land because he is not deserving. He falls to his knees among the birds and dying bees. He is desperate. When I think of the birds and the bees I think of sex. But why the dying bees? Here I think this is a call to an environmental awakening because the bees are dying, folks! Then he tries to find his tongue to trace the maiden name of God. Ok, I still think of sex, but I also think of mother earth. I have heard about the rare Jewish use of the name El Shaddai which means nurturing God or the God that should be sufficient? I don't know enough about it to know if it fits within these words.

I need to have more knowledge or more meditation but for now, I think it has the double meaning of we are adrift with no way to solve our ecological disaster and restore mother earth and the man is adrift and is to blame and he must find his connection to the sacred within women so he can understand and relate to the harm he's done. Again, this is the verse I am the least sure about even my own interpretations or what I am reading into them.

However, the next verse reinforces what I believe I understood from the verse before which is that nature is wounded and we need to throw away all of our deadly philosophy around conquering, claiming, drilling and mining and learn to live in a more harmonious coexistent with mother earth. Also, that if I can feel my own pain and the pain of others and live the isolation I deserve then I can arrive at a place where I can both appreciate the landscape and the life I have at the moment I am in now AND that I have adjusted to the lack of warmth in my life enough to not seek warmth for the sake of warmth alone. Either way, the verse takes us back to the reason for the journey - I need to learn who I would be if I could shed myself of your deadly philosophy.

Then the chorus again. So does simpler mean I will have fewer expectations for myself? Does it mean I will stop consuming as much and try to leave a footprint of less ecological impact? I think it means both. I will have a mind of winter and be ok with where I am at now because that is all any of us can do. I will live life simpler so I don't destroy the planet more?

I think this song is very reflective of the title of the album Gestureland because we all want to reflect our identity and what it means - are we woke, or we politically correct, are we fuck the establishment, but all of that is complicated. Does the snowman have to wear a sign saying snowman for you to know that's what he is? Less noise. Simpler. But then I start thinking of everything is noise, and then the I can't reverse line from chapter and verse, and I am back to all the songs in the album which, without this being a theme album, fits so well together. Then I relisten to it all and find this is the song I stop at to mediate on a bit more.

Go to DavidDuchovny.com to read the lyrics to Mind of Winter and to wherever you find music to listen to it.

#David Duchovny #gestureland #mindofwinter #wallacestevens

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there-are-things-i-dont-forget · 3 years ago

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SPOILERS FOR CRITICAL ROLE CAMPAIGN 2 BELOW

I just wanted to talk about how much the Mighty Nein and Matt and Critical Role have meant to me over the past few months. I started Campaign 2 in January this year, when I moved out for university and was able to live on my own for the first time. They quite literally saved me, because I cared so much for the setting and the characters and the story that Matt wove and how the players interacted with them that I hung on just to see how it would end.

For me, it was amazing how I could relate the characters to aspects of myself, and how watching them all get their happy endings have made me be able to look forward with a bit more hope.

Let’s start with Beau. I’ll be honest, Marisha’s characters are always the most challenging for me, because of how real they are. Marisha is a stunning actor, incredibly skilled, and Beau was the character I responded to the most as if it was a real person. Everyone else I could enjoy and play into the metagame of watching the players be characters. With Beau and Marisha, it was so real. Moreover, I could see myself reflected in the character (which is probably why I found her so challenging to begin with). Trauma, hurt, being an asshole to other people before they could reject her first. Not the best at compliments, giving in to anger and sarcasm, struggling to connect. And I got to watch her grow, and be accepted, and learn from her mistakes, and be appreciated by who she was, and in the end get vindication on her abusers, and find love and acceptance. Beau’s story is incredibly special to me.

In that same vein is Yasha’s. Manipulated, taken advantage of, forced to do things against her will. Yasha’s story is the one that I can relate to the most, in terms of trauma, and to see her quite literally rip the wings off of her abuser was cathartic in a way that I did not expect, but should have foreseen. And in the end, she also got her happy ending. I’m gonna leave it at that, because any more will make me cry. But I hold her and her character arc so close to my heart.

Liam’s performances are the hardest for me to watch because he feels so much, and I love it. He really gives it all to the scene and it is incredible. Caleb was a character that I overlooked for a bit in the beginning (as Jester had quickly become my favorite), but he quickly climbed as we began to see more of his character and his backstory. Manipulated and groomed by someone he was supposed to be able to trust, forced again to do things against his will, falling in to flashbacks and panic attacks, struggling to rejoin society and interact with others, a love and a passion for learning to a nearly obsessive sense, both for the love of it and for the possibility of gaining the power and strength needed to take back control. Slowly learning to love, to grow, to find friends and see that there can be more to life, that you don’t have to be ruled by your trauma or let it define you, but also still acknowledging it and its effects. But also just how long it takes, and how it can affect you in ways you cannot imagine. He also got his vindication on his abuser, and again, I cried, tears of happiness for him and of grief and hope for me, that one day I might be able to do the same.

Caleb, Yasha, and Beau are the ones I relate to the most because their story is my story, and watching them grow and love means it can happen to me as well. I cannot stress how important and incredible it is for me to realize that. In the more material sense, they all got closure and catharsis against those who hurt them, and they all learned to love again, to open their hearts and let others in again. And that means I can too.

This brings me to the Shadowgast love story. I know this is really controversial for the fandom and I don’t care. For me, their arc was perfectly realistic, and their ending was exactly what I expected for the characters. Finding a kin spirit, learning together, hesitant but trusting in the other’s passion for study at the very least, slowly and naturally growing closer and learning more about each other, revealing more. The betrayal from Essek, the scene on the boat, the slight recoiling on either side, and then learning again, slowly trusting again and teaching each other to forgive themselves, that they were both victims in a sense and that they can take back control and do better, and choose to do better and be better. Slowly healing, and healing together, knowing the worst of each other and choosing to stay but still acknowledging those parts of each other. The scene where they return to the T-Dock and they talk about time travel, and Caleb disintegrates the whole thing? That’s growth, and that’s growing together. And they continue to grow for years, and heal for years, and eventually they end up together, but it takes time. Of course it does. And Essek’s character and this ending really helped me understand some of my own feelings in terms of friendship and romance. Everyone upset that there wasn’t any “on screen” romance or whatever, to me, fundamentally misunderstood the character, especially since his love language does not seem to be physical touch at all (if anything it’s gift giving/acts of service - teleporting the M9 around? Helping Caleb solve the spell? Giving up to dunamis gem to help the M9 get a long rest?). But yeah. Watching characters like that help validate my own experiences in friendship and romance and it was fantastic.

The others I have a bit less in common with, but there’s still stuff to talk about. Veth having her body changed by someone else, something out of her control, feeling alien in this body and struggling to find a sense of self, then finding friends willing to pour everything into helping her be herself again? Fjord learning he is valuable whether or not he has powers/can serve others, that he has worth just as himself, and that that is enough? Those were stories I needed to hear, to know that something like that is possible.

Caduceus growing out of his comfort zone, exploring, learning, but still being a rock for the others (and for the viewers), and "Pain doesn’t make people. It’s love that makes people. The pain is inconsequential. It’s love that saves them."? Molly’s loyalty and “leave every place better than you found it”? Even if I couldn’t relate directly to the characters didn’t mean they didn’t have an impact, and these are things that I will carry with me always.

Jester. I have just about nothing in common with Jester, and I loved it. Her optimism, her jokes, and her art (including the dicks), just the absolute light and joy that was her character was exactly what I needed to get through some of the toughest times of my life. Watching her grow from episode one to episode 141 was insane, to mature but not lose her creativity and her fun for life. She was my reminder that there is good and light and hope in the world, even if sometimes you have to create it for yourself, and that is what kept me going sometimes.

And finally, Matt. I cannot give enough thanks to you for choosing to share this amazing world and this story with us. Your storytelling is what prompted me to finally put my ideas into writing, and now I’m working on my own book. Along with Jester, Essek is one of my favorites, and his story arc and characterization was incredibly important to me. I truly have no words for how Critical Role and especially you, with the care and passion and obvious love for storytelling that you have, have changed my life. And I cannot thank you enough.

Am I sad that the campaign ended? Maybe a little. I will miss these characters. But I truly believe that Matt ended the campaign at the perfect point, and I loved the final episode, it made incredible sense for the end of the characters (maybe a teeny bit more Marion/Babenon? But I digress). I’m sure Campaign 3 will be just as astounding.

My love and thanks to the cast and crew of Critical Role. Rest well knowing you did a fantastic job, and I’ll see you in campaign 3.

PS: I know there’s a lot of tags, I want to make sure I cover all my bases so people don’t get spoiled if they have these tags blocked because I have been spoiled too many times by people who tag badly.

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cakeandpi · 3 years ago

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Parker!! spoilers abound

hm, so Harry (aka Lawyer) has been fired/let go and no one gave him the memo on it. Is his old job/boss going to be this episodes mark?

oof, Harry is bad at being subtle with his ‘okay look in [place]’ comm directions

ah okay so isn’t a legal firm that’s about representing their clients to the best of their ability. it’s a firm whose about smoothing bad things over for rich clients so that there’s little to no consequences.

“I remember when you wanted to change the world.”/“World did change. We just went along for the ride.” So the world changed the boss, the boss gave up on changing the world because he saw a way to profit from it and didn’t care that he hurt others along the way.

The way that car drove up onto the curve, I thought that was Sophie in a big hurry at first. (I would have thought Parker but there wasn’t enough time for her to crack the safe, get to the relevant files, get out, and then drive there.) But no, it’s Maxwell’s thugs because the man holds a grudge apparently. So I’m going to guess he’s going to be the season big bad? Or is he just a 2-episode bad guy and we’ll find out who the real big bad is later?

Hardison: listing various problems on various international efforts he’s helping with Eliot: let’s make this a restaurant metaphor Hardison: *very much regretting ever buying Eliot that brewpub*

Nuts and bolts about bad guy details

Also that bit about Hardison being distracted by problems is definitely a distraction, there’s no way he’d pause on making sure their safehouse was secure

Eliot is not so much pissed as insulted that the world is at the point of advertising the corruption rather than him needing to beat it out of someone.

drone!!

*snort* eliot's usually the grouchy one, and he’s carrying a trashcan right now. there’s no way hardison doesn’t make some oscar the grouch joke once he sees that.

“It’s like you never stopped.”/“Yeah. Quite the act.” Sophie slows down at Hardison’s comment, then sighs and sits. She’s finding this tiring now. Is it because she’s out of practice? Or because after so many years of retirement, her hearts not in it anymore? And Hardison notices. He doesn’t say anything concrete immediately, because Sophie hasn’t really elaborated on what’s going on with her. When she does - it’s her grief, and how its affecting her grift now - there’s this concern in Hardison’s face. There’s absolutely going to be a meeting between the OT3 about how to straddle not straining Sophie too much and not babying her should she stay on for another job after this.

“But I can’t work forever, can I?” There’s a defeated tone to this, and it’s true - Sophie’s just human, one day she too will pass on. Her grief for Nate (and how being back with the team keeps reopening that wound) is coloring her view on this for sure. (Did Nate work himself to death?) It’s also, very distantly, a remark on the OT3 - they too can’t work forever. They were Sophie’s and Nate’s proteges. And it’s not that the OT3 doesn’t have anything in place if they go down - they’ve got small teams running all over the world. But they don’t have their own personal proteges. Harry’s a decent start, but they’ll need to recruit and open up their circle to at least one, maybe two more before they’re ready to retire. Before they, too, burn too hot for too long.

“You hear that? That’s a very distinctive sound.” YES

Another Basil & Brick truck! This one has.... empanadas, ropa vieja, sancocho, and I think the last one is yuca frita. Mm, yuca fries.

BREANNA!!!

Parker! Taught Breanna to tail people! (Hardison in particular?) When she was 11! Wait does that mean Parker’s met Nana?! Also Parker is so smug and satisfied that Breanna paid attention to her lessons.

“I teach every kid I meet how to do crime.” <3 be gay do crime

This is a big ‘I’m telling mom!’ argument and I love it, especially the “I think she’s napping” LMAO

“How you saved Eliot’s life all those times” Oh man Hardison is sleeping on the metaphorical couch tonight. But also I need to come back to this later because honestly and really? Hardison has - as part of a group team effort - saved Eliot’s life from himself. By giving him a way to work through his anger issues, by caring for him, by showing Eliot he’s needed and that he’s more than just a hitter. The team saved Eliot’s life. (And there’s probably a bunch of erasing digital trails/etc where Hardison did more directly save Eliot’s life but that's besides the point.)

“But hacking’s kind of old school anyway.” And as she goes on, Eliot goes from aggrieved to ‘oh, a new best friend’ because now he has someone to help him annoy Hardison.

Parker pulls Hardison into a side room (by his ear, but he’s not protesting in pain so that’s got to be just for show). And then pushes him up against the wall and Hardison is like ‘okay whatever lecture is coming can it not be like this?’ If it weren’t for the glass walls that’d be some makeout stuff right here.

LOL at Parker’s standard for a ‘normal’ person being ‘uses Uber, pays taxes, and has a birth certificate’.

“Wait is this like that time in Paris?” I... don’t remember an episode set in Paris with a robot and explosions so this must be during the time skip. And - “... but you didn’t want to hurt Eliot’s feelings so you secretly wanted us to agree.” I’m going to scream if there’s no confirmed ot3 by the end of the season. And cry. And read a whole bunch of fic.

Look at these two being honest with each and communicating and respecting each others opinions, they’ve grown so much from pretzel metaphors.

“You’re not mad. You did the Picard tug.”/“I am mad.“/“Did the tug. You know I like that.” Parker might be mad (at Hardison? Breanna? Both?) but not so much that she’s completely shutting out Hardison, giving him a nonverbal signal that she’s not pissed, just needs some time to be upset before everything’s okay.

“One. Job.” Parker says. And we the viewers know it’ll be more than one. But really what that means by now is that this is an audition. Parker may have taught Breanna some things, but now Breanna has to show that they do better with her rather than without, that she’s an asset and not a liability or dead weight.

I laughed so hard that because this shit’s illegal, there’s no cutting corners on the paperwork.

“And you didn’t get tortured.”/“Not this time.” I can’t tell if Eliot wants Harry to get a little bit tortured or if he’s just reminding Harry that this time around people were in a good mood and showing off.

Breanna stops herself before suggesting something, and Hardison, for all that he isn’t delighted at her presence and protested her being here, encourages her to speak up. If she’s going to be part of the team, even for one job, she’s part of the team and that means speaking up and throwing ideas out there for others to bounce around, even if it winds up being a football that can’t be dribbled.

OT3 TEAM JUST GOT DUBBED ‘DRILL TEAM’. (why is that also somehow a dirty joke i’m dying here)

Oh one of the baddies is a Com4r4t fan... oh wait no this is the beginning of a plan backfiring.

Aww Breanna is so proud of what she’s done! It’s very much like season 1 Hardison. So Sophie and Hardison go to do their own thing, only that means the baddies are here to talk to Breanna and she doesn’t have backup.

THE 'LET ME GET MY BOSS’ THE SPIN AROUND AND THE ‘WHY ARE YOU BOTHERING MY STAFF’ I LOVE BREANNA.

“I’m your neighbor who runs a business built on discretion.” This is going to go very badly depending on how Breanna plays this. At least she gets the earbud in to call for help!

Another Brick&Basil truck! Etoufee and jambalaya, dammit eliot stop choosing delicious food to advertise.

“I monkey-shamed the DJ” I. Love. Her. Also Sophie’s already read Breanna as having the skills to just need general guidelines for an impromptu grift rather than needing to be fed specific lines.

“Okay here’s the thing.” And there’s a pause, we’re thinking he’s about to come down real hard on Breanna, and then we get “I love Com4r4t.” he is a fanboy I guessed it right!! And then he does go through with the threat, but not as a ‘cancel it or die’ sort of threat, but a ‘if i’m disappointed you die’ way.

Breanna nails the impromptu grift though she’s understandably a bit shaken by the threat at the end. (What newcomer wouldn’t be?) But the threat is what pushes Parker into deciding Breanna should go home ASAP. This is Hardison’s family, from before the team, and Parker isn’t about to risk messing that up. If she pushes for Breanna to stay when Hardison doesn’t want Breanna to, and something goes wrong? Parker would never, ever forgive herself.

But as Sophie has pointed out, they’ve all been out of their depth at one point or another. That doesn’t mean that someone should be sent packing.

Lmao Eliot being possessive of the drill.

“Then you ain’t got no more problems ever again.” There’s a certain sense of morbid humor with the team, one that’s both necessary but also a reality. They deal with this level of danger on a semi-regular basis. Harry just hasn’t caught up to that fact yet.

I have a feeling this particular baddie is going to end up dead for managing to drive a 40% cut.

“I’m just saying dude.” I love that Eliot and Hardison don’t have to rehash their entire arguments anymore unless they’re really enjoying themselves, that they can just be all ‘you know I’ve said my piece’.

“Don’t get distracted by the side gig.”/“Is it a side gig?” For all that the team has been their main focus for so long, for all that they all have side projects and gigs, this has been eating up more and more of Hardison’s time. What I thought was him pretending to be distracted earlier may have been a real distraction. And Eliot’s noticed, and he’s noticed that Hardison hasn’t noticed, that Hardison needs to make a choice here.

“In our line of work, you’re one of the best. But in that line of work you’re the only one, man.” Eliot has a soft smile at the end of that, and it's a bit painful, even as I saw it coming, to hear Eliot suggest that Hardison begin to step away from the team’s day to day.

“It’s okay to grow up, to realize you’re not the person you used to be.” None of them are the person they used to be. Not Sophie, not Parker, not Hardison, and certainly not Eliot. They can see that in each other if not in themselves. (Eliot, being the most grounded of all of them, already knew he’d changed eight years ago.)

“You never grew up.”/“Yeah. I achieved perfection pretty early, huh?” Even as Eliot’s the most grounded, even though he’s the one saying that there’s no one else that could fill Hardison’s role in that other work, the idea that Hardison might actually choose to step away from the team is too raw to handle without turning to humor.

Harry’s a bit jumpy, but he’s learning to play it off. I like that he’s a very different character from Nate, that it’s not his anger or ego driving him so much as a desire to make restitution.

And a “Dammit Hardison”

Ooh, Eliot’s in the vents too, just in time to help Parker. (She doubtless has her beloved taser but that would take time away from getting into the vault.)

“I smell lasers” Ahahahahaha

“You’re going to compare me to Eliot right now?” (’over the comms, where others who aren’t Eliot can hear?’ Hardison did not say out loud.)

ouch, okay, Hardison hurting his back like that might be what actually makes him choose the other gig over the team, or at what makes him take a little vacation so he can heal from that. (back injuries are nothing to play around with!)

how did Maxwell get past Eliot? but it’s all good, Eliot’s right behind to disarm him. And Parker’s been doing her hitting lessons, she didn’t even need a taser or to stab anyone!

Oh Harry, the bomb will be used, it’s just not time yet.

New Orleans gumbo is its own food group.

Okay so Hardison’s done a lot of work getting this place in order... WAIT IS THAT A PUNCHING BAG? That’s a punching bag! It might not be the love-letter the brewpub was but it’s definitely a thing added specifically for Eliot.

Oh no, Eliot might realize what Hardison’s doing with this, but Parker hasn’t caught up yet that Hardison’s going to be taking a break from the team.

Parker’s blindsided by this, and she’s upset, but she’s not mad because why didn’t she see this coming she should have seen it, so she leaves to deal with her emotions alone. Hardison follows, naturally, she knew he would, but she can’t face him because then he’ll see her crying, and Parker doesn’t do emotions easily. She’s torn between wanting him to help people and wanting to be with him (and she can’t go with him, she needs to be helping people too).

And Parker doesn’t want Breanna there without Hardison. Again because it’d put Hardison’s family in danger and that’s a step too far for Parker if Hardison doesn’t okay it. And also because with Hardison leaving, Breanna’s just going to be reminders of what Parker’s missing. And Breanna doesn’t have Hardison’s skillset, can’t fill his shoes - not that she should but she can’t, and Parker, I think, is already mentally preparing herself to go it alone again. Because if this job needs Hardison so bad, then surely Eliot’s got some project that needs his specific attention, and it was just one job for Breanna, and Sophie’s been adamant that this is one last job for her, and Harry’s still new and will probably decide to do his own thing given time to think... I think that’s where her brain is at, at least for the next thirty seconds, before she catches up with herself and realizes that more like the time she busted her leg than the team dissolving around her. (This kind of went weird places but that’s stream of thought for me)

And as they come back in Parker’s already cheering up some, because that wave of despair has already blown over. Yeah, she’s not a parent, but she’s good at teaching when she tries.

“It could be a reunion tour.”/“No. I’m retired.” It’s very different from Nate’s old protestations. He was not a thief. Whereas with Sophie it’s not ready. And while they all point out that she’s been happier while doing cons, that they could use the help, it’s not forceful or overpowering. It’s still Sophie’s decision. They’re not going to make her house their new base and taunt her with it; they’re not the sort of people who’d do that anymore, and anyway that’d be cruel instead of a fun sort of goading.

And because they give Sophie space to make a decision, while she doesn’t want to make a long-term commitment, she’s willing to take on ‘just a few more’.

#leverage redemption spoilers #leverage spoilers #spoilers #redemption 1x02 #MAJOR SPOILERS

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redxblueihateloveyou · 4 years ago

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spill the yoi hot takes :o

I’m really flattered with the amount of asks (I hope you won't mind that I combined at least 5, it's just easier this way), interested in my yoi opinions, I wasn’t planning to get into that honestly, until I mentioned it to my friend Alex (I’ve mentioned him here before without a name tho, he’s gay, he’s very into anime, he was also the one behind that 4am text “but how do u think Rin’s teeth feel on Haru’s dick” lol).

I just didn't want to rewatch it, as I've said before, but something he said got me very intrigued and last week ended up with me staying until 7am for a virtual watch party that got pretty hilarious, but not for the yoi reasons lol.

So just know that to be completely fair we did it and I'm saying everything below with a very fresh impression, which hasn't changed really bc like I'm 25, I was watching it the first time when I was 21, not 14 xD. I think it got worse actually.

Once again, I know that since they’re both gay sports animes comparisons are inevitable, but to me one has nothing to do with the other and no matter the fact that I adore Free! and don’t like YOI, I don’t want to throw words like smth is “superior” out there, bc I don’t want to be like those YOI fans back in the days, who thought that none other gay ships should exist after this (unless they say smth specifically for me to counterattack, then I can say whatever lol).

Like if you love stories like this, it’s okay. Like what you like. But to yell at everybody that they must think that this is how relationships should be and trash every other gay ship in existence, you maybe should not, especially when you don’t really have much to be proud of. Just like kisses don’t make a love story high-quality, full censorship doesn’t take away a good love story.

"Heaven official’s blessing” is also censored, but no matter how much you censor it, their love for each other is seen in their actions so clear, that it is in fact will not take anything away from the power of their feelings and the greatness of their love story if at the end they won’t show them kissing. Just like if I kiss a random stranger on the street, it won’t make us the best couple in the world.

Now I went into watching YOI unbiased the 1st time I watched it (I did watch it after Free, bc it was in “recommended”). I did not expect it to be “like Free”, I just wanted smth that’ll give me the same kind of emotion, investment in the story, ship, etc. It didn’t, so I just moved on.

I didn’t even think deep about why. I thought I just grew out of the “Cinderella” stories a long time ago or as it was here not very gracefully called “how to turn the pig into the prince”.

Like if you want the “she’s all that” but with the boy instead of a girl, you’ll probably enjoy YOI. But once again, love stories I enjoy are the opposite of those. It's really nothing bad, if you enjoy the stuff like “Someday my prince will come” in whatever age tbh, but I since a certain age just wasn’t invested in those anymore and began to obsess with stories like “Anastasia” instead, and I’m talking about love stories with less naivety in between and feelings out of nowhere, but more stuff like “yes, bitch, I find you attractive, true, but whether I fall for you unconditionally or not, only real life situations will tell later on”.

And I don’t mean stuff like going through war together or some epic journey, but grown ups must know those. Those life situations or even tiny things someone do, that make you not only fall for someone, but think “yeah, I can imagine my life with you”.

Like in my humble opinion, you can’t fall in love with someone bc of the way they swim or skate, for example. What ppl call “love at first sight” is in fact “attraction at first sight”. So yes, we do joke about Rin falling in love at first sight, bc he did in fact walked into the hall, saw Haru and was like “dat bitch is so fine”, even tho he was just standing there, but once again, he was just attracted to him. What happens after this is you can go on a whole beautiful journey with tiny Rin putting together the prettiest puzzle of why he falls for Nanase Haruka. In such little things like when Haru slowed down when he saw Nagisa feeling bad during running and Rin was like “omg you’re so uwu”, how he mentions that he always helps ppl, but never asks for help himself, he slowly gradually paints a picture of what kind of person Haru is, same goes for Haru about Rin. And then you have a whole story of them falling for each other all over again when they’re already adults, and you again watch it through their eyes, and once again I’m not in fact talking about some grand gestures like 1x12, I’m talking about stuff like them focusing on Haru’s eyes shaking, when he saw that Rin secretly helps Rei to learn how to swim. It’s the little things, that you watch and you get why they feel what they feel for each other. And that also makes you fall in love more with their characters by seeing how the other sees them.

YOI doesn’t have those moments. Not only they weren’t in any situations that would make them know each other for who they really are, they hardly even know the basic info about one another. Hell, the viewer doesn’t know anything about them. And this is why to me it goes into the category of those typical romcoms I can’t get invested in.

So I don’t think these two can be compared. And while some yell “bc you’re not canon, but yoi is canon”, I think they can’t be compared for another reason. Bc some ppl are trying to prove to me that a 27 years old man fell head over heels in love with someone overnight during a drunk banquet, then watched a vid of him skating and flew to another country and hey “if you win a gold medal, lets get married”. This is not the kind of relationship progression I’m looking for like at all. Between that time he started training him and their “censored kiss” there was nothing and I mean nothing that’d made me go “yeah, I see why he loves him”.

But anyways, lets live piecefully really, you can like one, you can like both, it’s all okay.

Like I know many have ptsd and it’s true that back when YOI was popular, most of their fans for real did annoy to death almost everyone, bc they yelled that No.6 is trash, when someone said “but you’re not the only one gay story that’s not based on sex”. They yelled that Free! has no right to exist bc its queerbating (LOL). By that time, I’m not gonna lie I was ready to poke my eyes out each time I saw smth YOI related, bc it was like: you make a multigay shipping vid - “how dare u not include YOI”, you make a gifset - “you forgot YOI” like I HAD TO like it just bc it’s gay. There is no such rule to me. Just like I don’t care for some hetero romances, I don’t care for some gay romances. Simple is that. Once again gay has nothing to do with the relationships dynamic and the story.

Yeah, comments about fanservice. Like why should I watch Victor’s naked ass for several minutes every episode, but don’t get to see Haru or Rin’s at least once? So salty rn.

Free is more fanservice-y.. well, it’s hella fanservicy, yes, but like we can’t swim in shirts, you can tho not show naked ass in each episode, I thought you were skating.

See, it’s all debatable.

But I do wish ppl stop putting yoi relationships on a piedestal, their relationship are waaaaaaaaaaaaaaay too far from being inspirational for many and not even close to the what love is in my opinion. If you seek smth of a very high standart of gay love, choose MDZS for example, idk. But don’t throw YOI at ppls faces as a “this is how should be”. Not everyone wants that.

I don’t need a half-assed engagement and esp the censored kiss (like either do it or don’t do it at all honestly). Also stuff like this should carry weight. I don’t want things for the sake of things.

Like to me Rin’s “the only thing that hasn’t changed in my life is how I feel about you” speech, considering the fact that he felt like that throughout all those years, means hella more, than this.

I think 1stly, it’s because of the “it’s like it was a destiny xD” factor and 2ndly, bc at least this scene gives a little more sense to the fact that he flew to another country to train him. Now it’s if “I fell MADLY in love in one drunk night and was pining my whole life after that and that vid was a sign for me to go see you again” makes any sense to you. At least that’s how some fans read it.

Once again it might be a good thing for a passable one-time romantic comedy. But plots and pairings like this is what made me turn to anime in the first place, so.. sorry lol.

All this mega tragic posts of “Victor was soooo in love for such long time, it’s so sad” made me laugh so hard. Like he feel in love so hard during a one drunk banquet with a guy who was so drunk he didn’t remember anything he did? WHY? HOW? what could he possibly do to make him fall that hard, no one knows. Like to me the only reason u can fall for someone in one night is if you saw him risking his life saving a kitten or a puppy from a car or smth.

I’m just not the kind of person who thinks you can fall for someone for no reasons. Again, you can find someone attractive and go from there, but there must be things along the way that will make me believe in the progression of it. It can of course all come in the future, but the story was what the story was. Whatever you are trying to add to it is already a fanfiction.

YOI is not boring per se, bc everything goes way too fast and sometimes with no reasoning, so I was more surprised that “this was it?” lmao. But their relationships are dull, yes. Bc there is nothing to even discuss really, you can only assume things, bc the whole thing didn’t give u much, esp in the characters department. It’s just really funny to me that someone would write a whole post of “I love this character bc I presume he’s like that”, usually it’s “I love this character bc facts, facts, facts”.

______

Now back to the beginning of my post and to the funny story that happened. We were randomly discussing shit, when I mentioned about possibly rewatching YOI, bc I didn’t want to start talking about smth in case I forgot some stuff (I didn’t btw lol) and turned out that he freaking disliked it a lot. I never even asked, for some reason, and we’ve been yelling about Free! and other stuff for ages and like his boyfriend is in love with Sousuke and they both adore rinharu to death.

And he has lots of gay friends who love Free (this made me happy the most, btw during our YOI chat I asked and it was 4:1 harurin:rinharu haha I win) and some ships from Haikyuu too, but turns out that literally none of them were into YOI. And the funniest thing he said was “bc it felt more heterosexual than some heterosexual stories I’ve watched”. Now I don’t know if it would make sense to anyone else out there, but I kinda did get what he meant.

I asked if it was bc of the “fairytale setting” and the fact that no one cared that they’re gay (bc “in front of the stadium?!” was the reaction, when I told them “there was a cencored kiss here” (btw not everyone got it lolz) and then “did they just write the story with a girl, but then changed it by the end?”), but they said “no, just the overall feeling”.

And like everyone knows that YOI targeted audience is hetero girls. It wasn’t made for the sake of the LGBT community and none of the homophobic ppl will watch it either, no matter what some think. So for whom they did it the way they did it is very questionable tbh. They say it’s the LGBT representation in anime, and yes, good, great, always happy about, but isn’t it kinda funny that some of LGBT representatives don’t even feel like it apparently.

Now I’m just saying some, I’ve asked him to ask around out of curiousity, and it was only 11 gay guys in total, who watched it, including our company and his bf who was forced into it haha, but 11 is quite a lot, considering the fact that not even 1 liked it. But then somehow stuff like MDZS and even uncanonical mikayuu was highly appreciated and loved, bc it accidentally made a dent in some extra conservative parents and dull ppl.

It’s just much more interesting to hear what guys who are actually dating guys think about all those kind of animes and ships, than some girls here who yell at me stuff like “why are you supporting queerbating”. Btw I asked Alex if he’s offended by that, he said “no, but we for real think they’re doing it” lmao.

It is supposed to be funny. You didn’t get it wrong. But if you saw many ppl would aggressively disagree with you. I just thought that “analysis” was an “interpretive process that draws conclusions from a set of facts”, not “writing a fanfiction based on assumptions”, but then again to each their own.

The problem is that I don’t even get what’s cute about it, it’s just absurd to me. Like it’s pulled out of an ass, for real. They’re not in the stage of a relationships, when I would find such thing romantic. And all the agressive denying of the fact that it was indeed wedding rings made this scene cringy, too. The whole thing is cringy to me idk. The “win the gold, only then we’ll get married”.... It all gave me a weird feeling. The opposite of “touching”.

So in conclusion, when you skip most of the important parts of the love story and jump into stuff just for the sake of it, then also make fun of it, it leaves a hella weird impression and aparently not just to me.

And once again trying to market some primitive story as an epic love story, just bc it’s gay is extremely weird to me. If you make 50 shades of grey gay, it’s not gonna suddenly become a pulitzer prize winning kind of book, it’ll stay the same dumb af story with dumb af characters, but gay.

So being happy about some representation (and btw they still managed to add stuff like “its not gay if you exchange rings with your hommies” here and there and make it “hahahaha joking”), I get it, but to say that this what all the gay ships should aim for, pls stop. We really don’t wanna. Sincerelly.

We here stick to a motto “I can picture the kiss of the characters whose story is so amazing, that the kiss is the only thing missing, but if I basically have just a picture of two guys kissing, I won’t write a whole story myself.”

P.S. I will forever laugh now tho at the fact that calling your bf a “pig” and being an arogant asshole without any canonically established reasonings is a great relationships, but Adam with his past gets what he gets now for the “dog” comments even tho his bf enjoys it lmao like I did not remember this bits in YOI. I honestly thought it was like completely “unproblematic” one, but it’s like hilariously not. So what ppl are trying to even put out their as a “pinnacle of the lgbt representation” as you say, like there are for real older yaois that are much better than this.

#answered #anonymous #anime

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spiders-hth-is-an-outlier · 4 years ago

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Today in Strongly Worded Opinions (That You Didn't Ask For), I'm going to assert that there are too objective ways to measure whether or not a relationship is strong in story terms – by which I mean, unrelated to whether or not readers/viewers personally like the dynamic or the chemistry of the actors (in such cases as there are actors involved).

So for the sake of clarity, be ye advised: this isn't about shipping, fuck it, ship whatever you want idc. Shipping a strong relationship isn't inherently better than shipping a weak one – heck, you could just as easily argue that it's the lazier, less creative route. Also, I don't care? I don't care, it's just fandom. Follow your arrow. This is about ways to discuss whether or not a relationship introduced into a text succeeds or fails as an element of the story – or really as I'm going to prefer calling it, if a given relationship forms a strong or weak story element.

For this I'm presuming that you're creating a relationship between a protagonist and a secondary character introduced as a piece of the protagonist's overall story – protagonist/protagonist relationships aren't really a different situation, but they do have more moving parts, so for simplicity's sake, let's stick with a Main Character (we'll call that M) and a Significant Other (S for short). Also, these relationships by no means have to be romantic; any relationship can be measured as weak or strong in story terms.

Also, I'm going to say everything here as though it were factually true, even though it's just my opinion, which is correct, but if you disagree then it's only my opinion, but I am correct. Ready? Okay!

Strong relationships have story functions; in reality nothing means anything and people just like each other because they do, but fuck reality, it's a huge narrative mess. And my basic premise here is that the story function of a strong relationship falls under one (or more, if you wanna get real fancy) of these three categories:

The relationship can unlock under-explored elements of M's story or character through mirroring or intimacy (often shows up as “friends to lovers”). There is backstory that hasn't been unearthed yet, or some reaction or experience in M's life that could advance the story, and S can serve as a means to get at it. Maybe M and S share a similar trauma or life story; maybe S is the first person M feels able to open up to about something profound and relevant. Maybe part of M's story is a conflict between how they seem to others and how they see themselves or their own potential; maybe S is the person who sees them the way they see themselves...or sees M as the person they're afraid they'll never be. The story goal being met here is giving M a boost toward successful completion of their story arc, so even though there could be conflict, S is fundamentally pulling on the same side as M in the major story conflicts, in such a way that by the end, the reader should feel like M's success is at least in part because of what they gain from their relationship with S.

The relationship can function as a piece of the story's overall conflict, or as a secondary subplot conflict (often shows up as “enemies to lovers”). Traditional romance novel plotting effectively slots the love interest into the role of “antagonist,” because the romance's conflict is generally driven by people not getting what they want from each other until certain win conditions are met. In this kind of relationship, M and S might be actual-facts competitors, or be divided by ideological concerns, or they might be forced into proximity by the plot but clash on some personality level. The arc of this relationship is typically going to be about the M softening up as the relationship develops – if M starts out ruthlessly single-minded, maybe realizing that they're running roughshod over S in the process is part of their character breakthrough; if the story is about M realizing that they've underestimated the complexity of the world around them, maybe coming to recognize S as an equal is how that gets concretized for the reader. Basically this is a story where S presents a problem that M has to solve, and the more central to the narrative solving that problem is, the stronger the relationship is.

The relationship can serve to divide M's goals (often shows up as “love versus duty”). This is a story where M has to accomplish two separate things in order to fulfill their arc, but those two things aren't easily integrated. One of M's goals might be fulfilling a vow, or filial duty, or seeking revenge, and the other goal is some form of protecting or obtaining S. If the story puts M in a position of having to choose, then the relationship is inherently strong; it's providing narrative drive, whether or not S is especially well-developed as an individual character. This one can be tricky, because a very weak relationship can serve a superficially similar purpose, by demonstrating M's devotion to duty or obsessive pursuit of whatever when M rebuffs S to keep them out of harm's way or to avoid distraction or whatever. The difference is that in those superficial cases, the audience is meant to recognize that aw, that's sad, M has really had to Make Sacrifices – but there's really no dramatic tension involved; we know all along that M is going to Make Sacrifices in purusit of the real goal. When this is done seriously with a strong relationship, the audience is meant to feel divided as well; Romeo and Juliet just doesn't work as a story unless the audience likes Juliet and Mercutio, unless they fully identify with the dilemma that Romeo is in when he has to either avenge Mercutio's death or spare Tybalt for Juliet's sake and the sake of their future together. That's a big fucking story moment, and it only works because the audience buys both relationships – Romeo's with Mercutio and with Juliet – as narratively strong, to the point where Romeo's choice is not a forgone conclusion. This one is much easier to get wrong, I think, than the other two are!

What I'm saying here is that a strong relationship isn't really determined by how personally compatible two characters seem to be; a lot of movies that fridge a character's wife, for example, rely on actors convincingly portraying, in a brief window of time, two compatible people who care for each other – I'm thinking of, like, Richard Kimble and his wife in The Fugitive, who I think do sell the idea of a loving and happy marriage, but the relationship itself is a weak one. The story only really needs the bare fact of it – “Kimble had a wife that he loved and then this happened” – to kick off the actual story; the relationship between Kimble and Gerard is a stronger one narratively, because much of the emotional tension of the movie, what makes it more effective than just a series of chase scenes, is the way their mutual respect evolves as they compete against each other, and the story question of “Kimble really needs an ally, is this the right person for him to trust?” It's such a strong relationship that it comes as a huge relief of tension when he does make that gesture of trust and it turns out to be the right choice. The audience is happy that Kimble will be exonerated, but the audience is equally happy that the conflict between these two charcters is over – we didn't like them being at odds because we didn't want either of them to lose! Now, would these two people ever be close friends, let alone come to love each other? No? Yes? Who cares? Kimble loves his wife more, but has a stronger relationship in this story with Gerard. From a writing perspective, it's trivially easy to introduce an S and say “M loves this person,” but it means relatively little. It's harder to introduce an S and say “some part of this story now hinges on how M navigates knowing this person,” but that's kind of what has to happen in order to create a payoff that's worth the effort. A strong relationship provides skeletal structure for the story; it can't be stitched on at the margins.

This is an even tougher sell in something like a television series, where the introduction of S may come in well after the story is underway and the bulk of M's characterization is already in place. That's why introducing a late-season love interest is a notoriously dodgy proposition! To demonstrate weak vs strong relationship in action, I'm going to take an example of what I think was a failed attempt and pitch some ways to doctor it up into a strong relationship: Sam Winchester and Eileen Leahy.

This is objectively a weak relationship. She doesn't materially affect the metaplot of the series, or drive any major choices, or reveal anything about Sam's character. She's just, you know, generally nice and attractive and Sam likes her, which is a fine start, but then the writers just leave her idling in the garage forever. But it didn't have to be that way! Say we wanted to make it a Type 1 relationship: super easy, barely an inconvenience! Eileen is very like Sam, actually, in that she lost her parents as an infant and then had the entire rest of her life shaped by the trauma and the pursuit of revenge. That's amazing. How many other people, even hunters, share that specific experience with Sam Winchester? Sam was physically changed by drinking demon blood in infancy; Eileen was physically changed by being deafened by the banshee or whatever it was in infancy. Even just allowing them to talk about that would have made the relationship stronger. Sam is affected by the fact that there is no Before Time for him; even now that they've long since had their revenge on ol' Yellow Eyes himself, he grapples with the fact that he's forever robbed of any memories of innocence or safety or a life that wasn't lived in the shadow of this killing. Eileen also has had her life's quest for revenge fulfilled, and also has to reckon with the fact that it doesn't actually give her access to the innocence that was stolen from her. Maybe she struggles with that. Maybe Sam can open up to her because she knows what it's like to look back on your child self and feel that however strong you've made yourself, you're never strong enough to protect that child.

What if you want to write something spicier than Sam and Eileen talking about their sad feelings? Okay, let's take a Type 2 story. Eileen has been a lone hunter with a disability all her life; it's fair to guess that even if she can't match Sam's physical strength, the fact that she's survived at all means that she's pretty indomitable. Maybe she's had to be ruthless, even brutal in her hunting style; maybe she has a shoot-first-ask-questions-never approach to hunting that she credits with her very survival, but that Sam finds excessively rash and bloody. Maybe they fight about it. Have her kill some ambiguous, maybe-not-dangerous monstery types, a werewolf or something, and Sam's like, hey, we really can't just-- and Eileen is like, look, I hunt how I hunt, come with me or don't. I mean, this is a retread in some ways of early season conflicts about who to kill and when, but everything in the latter seasons is a retread anyway, so whatever, and it provides something interesting to have Sam deal with this whiplash of how there seem to be two Eileens, the smiley, jocular sweetheart who eats pancakes with him and the one who kills like she's swatting flies. What if he wants one but not the other? It doesn't really work that way, does it? Is this something he can dismiss as a foible, or is this a dealbreaker? The dude is almost forty, if he distances himself from Eileen, how many more hunters does he think he has a chance to meet and marry? If she won't even listen to his concerns seriously, is it really a good relationship anyway, or will Sam's needs always end up taking a backseat to Eileen's?

A Type 3 fix could just come down quite plainly to, what if Eileen is ready to retire? She's had her revenge. She's lived her life on the hunt. Maybe she's done, and maybe she wants Sam to be done with her. Doing this in season 15 would circle Sam back to his season 1 story conflicts in a nice way, I think – why does Sam do this at all, if it's not for revenge any longer? Does he feel personally responsible for every dead person he could've saved but didn't – is that a reasonable boundary, or lack thereof, to set? Is a compromise possible – could he continue to coordinate hunts while also getting out of the field and starting a family, or is that still putting his family in the shadow of too much violence and danger to tolerate? What's Dean going to say? He's pitched a fit in the past when Sam said he wanted out, but he's mellowed with age, hasn't he? Maybe he'll get it now? But maybe Sam also feels guilty and fearful, because he knows Dean will hunt without him, so now he's in more danger because of Sam's choices, if Sam makes this choice. It's a little heteronormative, as story conflicts go, but it's thematically appropriate to Supernatural, and the fact that Eileen isn't speaking out of timidity but out of the same weariness that Sam has so often felt about the whole endless cycle makes it feel a little less “the little lady won't let me go on adventures anymore.” This might not be my pick of the three, but the point is that it makes for a strong conflict, a legitimate divided loyalty for Sam to wrestle with, and one that doesn't have a clear right answer.

Anyway, hopefully that helps illustrate what I mean when I say that the narrative strength of a relationship doesn't have anything to do with how likeable an S character is – Eileen is very likeable! But that doesn't substitute for building her into the fabric of the story in some way. My expectation is that a serious protagonist relationship should bend the story arc in a way that requires response, and if it doesn't, I don't take that relationship particularly seriously. Canon can declare a relationship real by fiat, but it can't automatically declare a relationship meaningful without, you know, making meaning of it.

Oh, and there's not anything really wrong with weak relationships – most M's are going to have several in the story. My point is just that the difference between a weak relationship and a strong one isn't really a matter of taste or preference, but has a functional meaning that can be tested and measured, and if there's argument to be had about it, the argument can take place on evidentiary grounds. Thank you for coming to my TED Talk.

#apparently i give writing advice now?

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