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wonda-cat · 4 years ago

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Misconceptions About Tommyinnit’s Character That Genuinely INFURIATE Me

Since the recent events following the second L’Manburg Festival and subsequent war, I’ve seen many, many hot takes surrounding the nature of Tommyinnit’s character on the SMP. Some of which annoyed me to the point where I felt compelled to sit down and actually write this. I’m going to only be highlighting the most common complaints or questions I’ve seen, one by one, in hopes of providing a better understanding of Tommy’s character for anyone interested. (I also briefly discuss Techno and Tubbo’s characters as well.)

If you’ve said similar things to what I’m going to be discussing below, please know that it’s perfectly understandable how you’d come to these conclusions. Some of these aspects of Tommy’s character are not always obvious; especially if being watched from another streamer’s POV. This may become quite lengthy, so bear with me for now.

“Tommy’s motives are all over the place. He can’t decide whether he wants the discs back or not.”

Tommy is actually one of the most motivationally consistent characters on the entire Dream SMP. Even Techno, someone completely confident in their ideals, does more motivational flipping than Tommy. From the very start of the story, Tommy has always cared for three things; L’Manburg, Tubbo, and his music discs. However, him caring for something is not itself a motivation.

Surprisingly enough, his motivation isn’t even just, ‘Get my discs back,’ like many assume it is. Tommy’s one true motivation, since the end of the Independence War, has always been, ‘Keep things the way they are now.’

Tommy’s one fatal flaw is that he is resistant to change and refuses to let go of the past. This is seen through all of his actions and words; in all conflicts involving him. This flaw is the drive to all of Tommy’s mistakes. Burning down George’s house, an action which resulted in him getting exiled, was done out of a desire to pull pranks the way he used to before the first war. His friendship with Ranboo started because Tommy said he reminded him of Tubbo, back before he was President.

Tommy still talks highly of Wilbur because he chooses to remember him as the wise, kind mentor who cared for him. This motive is the reason he defends L’Manburg so fiercely; it’s his memory of a better past. This is why he holds grudges more often than any other character; especially refusing to forgive Techno after he killed Tubbo during the Manburg Massacre.

It’s why Tommy falls under extreme distress whenever Tubbo or Quackity tell him that something will never be the same again. This motivation is entirely formed from an underlying desire for peace and comfort, something Tommy has been denied since being forced into a life wrought with war and death. To accept change, to Tommy, is painful and terrifying. But he will only ever truly be happy when he finally learns to let go.

“Why do the discs matter so much to Tommy? They’re not actually worth anything.”

Tommy’s discs are much more than just any ordinary pair of music discs. They were never important for their material worth, but for what Tommy was willing to sacrifice in order to keep them. Tommy is entirely what gives the discs their value.

Tommy also commonly operates under the Sunk-Cost Fallacy, wherein he’s invested too much of himself into something to just abandon it, even if it’s causing him problems. This mentality is a huge piece of what keeps him tied to both L’Manburg and to his discs. He’s sacrificed too much at this point to simply let them go. If he admits the discs are worthless, then he’s admitting that he wasted all this time and effort, just to keep them.

The discs also act as a constant source of hope for Tommy because they are directly tied with his motivations as a character. They’re something he’s had since the very beginning. They’re something he used to listen to with Tubbo on their shared bench.

To Tommy, they symbolize a life before war, filled with comfort and peace. They are a love letter to his country and his late mentor Wilbur. They are a physical representation of Tubbo’s companionship. They are the only thing, besides L’Manburg and his best friend, that gives him the hope that he can one day return things to the way they used to be.

This ideal, paired with Tommy’s refusal to let go, has left him ruthlessly pursuing the things he’s lost. Not his music discs, but his peace and comfort, his friendship, his country, his mentor Wilbur, and his life before war.

In his desperation to hold onto his prized possession, it has only hurt and pushed away the people that love him. If Tommy continues to ignore this reality, while still refusing to resolve his major flaw entwined with it, he will lose all that the discs had once stood for. He will lose his country, then his friend Tubbo, and then he will lose himself.

“Tommy never grows or learns from his mistakes. This makes him a badly written character.”

Characters do not have to constantly learn from their actions to be well-written. Tommy is one of the best examples of this. The fact that his growth is infrequent is the entire point of his character; it’s completely stemmed from his fatal flaw.

By addressing himself, he would be accepting change, something that terrifies him; something he stubbornly resists until he is absolutely forced to confront it. Contrary to popular belief, Tommy knows when he makes mistakes, but he pretends to be ignorant as to avoid facing reality. He digs his head in the sand despite knowing better, puppeteering the person he used to be during happier times, now gone.

In spite of his infrequent growth, the idea that Tommy still hasn’t learned anything isn’t quite correct either. Tommy, as of the last three plot streams, has shown incredible character development. By giving up his discs again, he had finally demonstrated that Tubbo is more important to him than his possessions. Speaking as a makeshift leader, he put aside his issues with others to rally them together against a common threat, something which Tommy had never been able to do before. He owned up to all of his mistakes openly, apologizing to everyone he’s ever hurt in one place.

He apologized to Tubbo after they were reunited and came to terms with the fact that Tubbo was forced to exile him without choice, finally forgiving him. He was kind to Sapnap and learned how to be his friend after months of bitter rivalry. And these are only a few examples. This isn’t to say Tommy has overcome/fixed everything because he clearly hasn’t. There are still major things Tommy needs to work through that remain unaddressed, the biggest being his complicated relationship with Technoblade.

“Tommy only cares about himself. He does everything in his power to be the hero, always putting himself in the center of attention, especially during Doomsday.”

Tommy, since the start of the L’Manburg War for Independence, has never set out to be a hero. Not once. He may fall into the role of the protagonist, but his identity as a hero was pushed onto him by others. Giving up the discs was his only option during the Independence War.

So when Wilbur called him a hero for it, Tommy said he didn’t feel like he was. During the November 16th War, Tommy again said he didn’t feel like a hero because he had lost what he thought was everything at the time. During exile, Tommy certainly knew he was no hero. And upon reuniting with Tubbo, he admitted to feeling like the farthest thing from it. That he’d hurt everyone and all he wanted to do now was fix it.

The day before Doomsday, Tommy only took a leadership position because no one else was willing to, filling the role for Tubbo, who was crumbling under pressure. He had no choice but to try to bring everyone together, or fight alone. Most viewers never saw this during Doomsday, but before the battle, almost everyone who had vowed to fight alongside L’Manburg had abandoned them the very next day. They were convinced it was going to be destroyed either way, no matter what they did, so they chose not to see it through to the end; ultimately leaving Tommy and those who remained to fight a losing battle, alone.

After about a third of the way through the battle, it became clear to everyone that they could do nothing to win. One by one, everyone stopped fighting and stood by to watch their country go up in smoke. Tommy was the only person on the battlefield who refused to stand down and give up. And so he took over the role as leader again, trying his best to keep them alive, to keep Tubbo hopeful; to keep fighting, no matter what.

However, what most people don’t realize, is that this isn’t Tommy trying to be a hero or force himself into the spotlight. This is Tommy trying to convince himself to keep going. Because whenever things start to look hopeless, Tommy simply chooses to ignore them. He puts on a happy face and soldiers through it because that’s all he knows how to do. Tommy, at his core, is someone who wants peace through stagnation. He doesn’t want to fight, although causing the occasional friendly conflict is how he finds fun. He doesn’t set out to purposely hurt others.

Tommy may come across as self-centered, but this is because he is an extremely extroverted character. He finds energy and joy in the attention of others, both good and bad. It’s why he’s always seeking the approval of others and, oftentimes, will destructively insert himself into another person’s life in order to find it.

Out of every character in the story, Tommy is the most drawn to praise and positive reinforcement. He is constantly seeking out mentors and friends because Tommy needs someone else to help him feel confident in his own identity and abilities. It’s why Wilbur was such a positive influence on him. His boisterous confidence has always been a front because if anyone were to actually hurt him, he knows it will make his self-esteem crumble instantly.

This is part of why Dream’s manipulation was so effective against him. By isolating him, he’s left without energy and looking to another person’s guidance. Tommy outwardly may seem independent and rude, but just under the skin, he’s unconfident and lost when he’s by himself. Tommy will only grow from this flaw when he finds his own identity and inner confidence; when he finally learns to be okay with being alone.

“Tommy goes to the festival solely to get his disc back and then tells Tubbo to give it away immediately after. That doesn’t make any sense.”

Before the screaming match between the two friends during the second L’Manburg Festival, Tommy had been in exile, manipulated by Dream for long enough to lose his will to carry on. It is because of him that Tommy’s reality becomes distorted, long after fleeing from his abuser. This mangling of ideals leads Tommy to subconsciously believe that L’Manburg and Tubbo are unsalvageable.

Therefore, the only thing he has hopes of retrieving are his discs, which are easier to manage than the latter two things. And so Tommy does reprehensible things at the behest of Techno in a vain hope of getting them back, going so far as to kidnap and torture for them. This ultimately culminates in a confrontation between the ex-friends, quickly turning violent. It is in this violence that we see Tommy has sunk to his absolute lowest point in his journey.

Swinging his axe, he nearly kills his friend as he delivers a string of words that cause the room to silence instantly. He says the discs were always worth more than his friend. Within the quiet of the room, Tommy is forced to reflect on everything he’s done. How he kidnapped and tortured Connor. How he accidentally drowned Fundy. How he traumatized Ranboo.

And now he’s hurt Tubbo, the one person he has always sought to protect; someone he vowed to never hurt. This realization causes Tommy to break. He’s so ashamed of himself that he can’t look at anyone. Tommy knows now that he is worse than anyone he’s ever hated.

With pain in his voice, he tries and fails to apologize to Tubbo in the moment. The only way he knows to redeem himself now is to prove to Tubbo, after everything, that he can still put the discs aside. And so he does.

“The fact that Tommy is still trying to get his discs back after L’Manburg was destroyed is unreasonable and ridiculous.”

Tommy deals with grief in an interesting way, doing something very similar to Techno. His grief almost instantly becomes anger and a drive to prove himself. It morphs into a need for vengeance in response to injustice, always.

After the destruction of L’Manburg, Tommy saying he wants the discs back is a double-sided motivator. The obvious side being: Tommy still needs them to feel comfort. The subtle side beneath it: Tommy is using them as an excuse to find Dream and kill him. To make him pay for helping destroy their home, hurting his friends, and abusing him in exile.

Upon the loss of his home, I’d also argue the discs have only grown more important to Tommy in the aftermath. Typically, in grief, people hold onto things that survive devastation far more than if the tragic event never occurred. If your eldest child dies, one may hold their surviving children tighter. If your house burns down, one may deeply treasure a box of items that survived the flames. Tommy’s desperation after losing so much is entirely understandable.

On top of this, the discs are still the core to Tommy’s fatal flaw. They are what keeps him from achieving total happiness, so him getting over this intrinsic part of himself so easily would make for an unsatisfying character arc. He still has to work for his happiness in order to change for the better.

To add, I’ve seen a lot of people complaining that Tommy is still prioritizing the discs over Tubbo, especially in that moment. And while I mostly agree, there are some interactions that stand out to me as being different between the pair that may imply otherwise. Tommy says a few times that despite L’Manburg being destroyed, he still has something left to lose; each time, turning to look at Tubbo.

This subtly implies that losing Tubbo would be as devastating as losing his home. Tubbo also never voices disagreement over Tommy’s continued pursuit of the item. However, Tubbo frequently does what he thinks will make others happy, so this doesn’t implicitly mean support for Tommy either. Besides these two things, this is still Tommy’s fatal flaw shining through, continuing to hurt others around him.

I only hope Tubbo can learn to stand up for himself and voice his real thoughts to Tommy now, after everything. It would provide at least some desperately-needed closure for Tubbo’s character.

“How could Tommy betray Techno like that? Techno told him upfront what he was going to do.”

While it’s true that Techno was obvious about his plans, Tommy was also just as upfront with Techno about what he thought of it. In fact, maybe even more so, considering Techno attempted to hide them from Tommy for a good portion of their partnership. Whenever Techno brought up the idea of destroying L’Manburg or hurting Tubbo, Tommy would always remind Techno that he didn’t want to hurt anyone. And that if Techno ever did, Tommy would be there to stand in his way. He never once stopped saying this.

Tommy’s two major positive character traits have always been his undying loyalty and his strength to never give up, even in the face of death. Two classically heroic qualities, both of which, ironically, reinforce his fatal flaw. His refusal to change makes him stubborn; stubbornness being the only quality that makes unwavering loyalty and extreme persistence feasible.

Because of these two traits, it was impossible from the start for Dream to completely break Tommy’s spirit and for Techno to get him to agree to anything too extreme. Despite this, Techno already had no hope of keeping Tommy on his side after the events of the day before the Festival. During it, Tommy had asked multiple times for Techno to give his word not to hurt anyone. That they’d only threaten to spawn a wither, get Techno’s remaining weapons in exchange, then leave. That’s it.

Techno avoided directly promising Tommy but still agreed not to regardless. So when Techno chose to spawn the wither anyway, despite Tommy urging them to leave multiple times, whatever trust Tommy had with him went completely out the window. Thus, when the threat was finally real, that Techno would make due on his promise to burn his home country to the ground and slaughter his friends, Tommy intervened. It would be unreasonable to expect Tommy not to stand against him in that moment, especially after his mental breakdown which ensued as a result of him nearly killing his best friend.

Adding salt to the wound on Tommy’s end, Techno decided to also align himself with Dream, someone Techno knew Tommy was afraid of. This might have been a way to purposely hurt Tommy. More likely, it was because Dream and him shared a common goal in the moment and Techno desperately needed allies.

However, the implication of Techno siding with Tommy’s abuser most certainly hurt him, regardless of its original intentions. This is possibly why Tommy kept insisting through Doomsday that Techno betrayed him, avoiding actually telling anyone the reason as to why. If he couldn’t find the words to describe what Dream did to him, even to Tubbo, he certainly wouldn’t be able to tell Techno either.

“Techno gave Tommy everything, only to be repaid with betrayal.”

This statement regarding Tommy is the one I see most often. (It is also the one I get the most heated about.)

Dream’s character is well known for his manipulation tactics against other characters; pitting them against each other, crushing them under his heel, bending their will to conform to his own. It’s what makes him an interesting villain. It’s something fun to discuss.

But is it still fun to discuss manipulation tactics if they’re so subtle, almost no one notices them? This is the paradigm Technoblade’s character falls into. While people know Techno for his laid-back personality, dry humor, and complex motivations, many fail to recognize him as a manipulator. The reason why this is so hard to spot is because it is mostly unintentional on behalf of the character. Dream performs his craft with intention, Techno does it without realizing.

As well as this being unwitting, it is sandwiched between Techno’s actual attempts to connect with Tommy and care for him. Thus, making the manipulation feel less damaging. The only problem is, this still hurts Tommy just as much, regardless of the intentions behind it. Especially after just escaping Dream, Tommy’s reality and sense of identity are horribly distorted. In this vulnerable state, he desperately needs healing and someone to help ground him. This is what makes him even more susceptible to Techno’s influence.

And because it is much subtler, it is harder to notice, and much harder to break free from. Despite Tommy claiming to hate Techno for what he did on November 16th, he still chose to flee to his house because it was the only place he could think of going, as well as being the safest area possible. After the failed execution, Techno mentioned potentially hurting Tubbo through a vengeance plot. Tommy voiced extreme distress over this, to which Techno threatened to kick him out of his house.

Tommy then says he’s fine being homeless because he doesn’t want anything to do with someone who would hurt his friend. This is when Techno decides to weaponize Tommy’s own trauma against him. To be fair to Techno again, Tommy never told him the extent of the abuse he suffered in exile. But Techno isn’t stupid. He knows Tommy is extremely afraid of Dream, and for good reason.

So he tells Tommy that if he were kicked out, he’d be defenseless. That if he were out there all alone, Dream would find him very easily. That Dream would drag him right back to Logstedshire in an instant. He notices the way Tommy reacts to this, how quickly he changes his mind about being kicked out. He continues to use this trauma repeatedly in order to keep Tommy under his roof, no matter how disagreeable he gets about Techno’s plans. He knows he can’t retrieve his weapons alone because he has no leverage.

Therefore, using Tommy like a wild card was a major side strategy. Techno knows it will hurt Tubbo by doing this and may make the President more willing to compromise. In addition to this, many of the strategies Techno utilizes are Narcissistic manipulation tactics, categorized by their intent to keep the victim in a position below the abuser in terms of worth. This includes Techno using the silent treatment as a punishment, something which hurts Tommy since he craves affection from others.

He also attempts to isolate Tommy by telling him he doesn’t need anyone else; that everyone abandoned him during exile (something which Dream has also said.) He tells Tommy that he’s only alive because Techno is there to defend him and supply for him, as well as constantly reminding Tommy to not let any compliments he receives get to his head. These are both meant to make Tommy depend more on Techno and doubt his own abilities. Techno also occasionally engages in subtle gaslighting, attempting to sow doubt in Tommy’s mind about his relationships with Tubbo, Quackity, Ranboo, and Fundy.

It’s also vital to keep in mind what exactly separates Dream and Techno in this regard. The most important thing being that Techno actually does care about Tommy. He trusts him and wants to earnestly help him. He knows Tommy has been traumatized and abused in some way, but he doesn’t know how to help because he’s not that great with people. It also doesn’t help that Tommy is unable to tell anyone what happened.

In the end, Techno really does want to be a shield for Tommy. Despite debating handing Tommy over to Dream, it’s more likely Techno was using this as bait for Dream to waste his favor on something useless. After all, he could always save Tommy, should he ask for him to. Techno’s warnings about Tubbo and L’Manburg also come from a place of love, as Techno was personally hurt by them and wants to protect Tommy by telling him to leave it behind. However, just because something is done out of love, doesn’t mean it’s automatically helpful or good for someone.

There’s no better example of this than in Techno’s most damaging and frequently used tactic: ‘Buy Their Love,’ a technique commonly used on children by narcissistic parents. At first glance, nothing seems wrong. Techno gives Tommy most things he asks for; providing him with food, gifts, protection, and a place to sleep. The manipulation within this arises when the act of kindness is counted as a debt against the person who receives it. That by receiving so many good things, they would be ungrateful to go against their abuser. Doesn’t matter if they emotionally or physically hurt you, they gave you gifts, so you should shut your mouth and allow the abuse to continue.

Whenever Tommy speaks out against Techno’s violent actions or his plans to hurt his friends, Techno would frequently bring up all his ‘good deeds.’ He consistently reminds Tommy that he could’ve just thrown him back to Dream, but he was too kind. That he went out of his way to give him gear, food, and a roof over his head. That he was kind so Tommy should be quiet and let Techno plot to hurt the people he loves. Or else he’s selfish and ungrateful. Or else Techno will take all of his gifts back and leave him with nothing.

Knowing this, it is horrifying seeing people justifying this behavior by mocking Tommy’s character and calling him ungrateful using this very same fallacy. (Especially for those who grew up being controlled by this very tactic.)

It is through knowing Techno’s use of the ‘Buy Their Love,’ method that makes Tommy’s, ‘I am worthy,’ response, not one of betrayal, but one of triumph. This moment is a major positive character change for Tommy for many reasons. When Tommy decides to stand against Techno, this causes him to fall back on his most reliable tactic. He insults Tommy and then asks for the Axe of Peace back. Instead of caving, Tommy refuses.

By keeping the Axe of Peace, Techno’s final gift to him, he is not only rejecting the destruction of all he loves, but he is breaking free from Techno’s manipulation. He says, ‘I am worthy,’ because now he knows his own self-worth. He doesn’t need Techno or Dream to decide it for him. This moment is Tommy finally breaking free from not just Techno, but Dream as well. He is finally free.

“Tommy was only using Techno and never thought of him as a friend.”

Tommy and Techno’s relationship is complicated, which is why pretending only one side was in the wrong isn’t entirely accurate. Their friendship, in summary, is tragic when fully examined; being doomed from the start. Techno and Tommy are brought into conflict often because they are simultaneously so similar and so different. Techno and Tommy both deal with grief in the same way. They both long for a life of peace and comfort. They each long for companionship, hold their ideals in kind, and are both naturally resilient in the face of adversity.

Yet, their personalities and courses of action are polar opposites. What makes this friendship one of tragedy is the fact that not just Techno, not just Tommy, but both of them, actually thought the other was their friend. They had each wanted to be the other’s friend since the day they’d met. Tommy never stopped wanting to impress Techno and get on his good side, even if his methods annoyed the target of his affections. Him calling Techno ‘The Blade’ was never meant to dehumanize him; it was a title of adoration.

Along the same spectrum, Techno is a character who generally longs for friendship, but pretends not to after a lifetime of hurt. He’s been burned too many times, and so he chooses to stay alone. Techno is generally very reclusive and awkward around others, so when he likes someone or cares for them, it’s noticeable from a mile away. Their friendship has a very brotherly dynamic, and the fact that Techno allowed him to stay in his house, implies Tommy is a step above pretty much everyone else but Phil. Putting up with Tommy’s shenanigans is itself a sign of affection.

However, when their goals come into conflict and the two start to drift apart, they deal with this in massively different ways. With Tommy devastated and enraged, and with Techno withdrawn and hurt, once more burned by someone he slowly learned to trust. They were once both friends, neither one was pretending. Yet, both of them thought their companionship was unreciprocated.

On top of this, both Techno and Tommy were using each other. Techno used Tommy to get his weapons back by manipulating and lying to him. Tommy used Techno to protect him from Dream and get his discs back. They each hurt the other and refused to listen, both shouting valid complaints at the other that they refused to hear.

Their relationship is also deeply affected by the themes of vengeance in the current arc, which is something I haven’t seen many people talk about. Most of the current conflicts this past month have resulted from characters being unable to forgive, resorting to revenge as a way to cope with loss. L’Manburg was the first to initiate this, through the influence of Quackity. The Butcher Army was formed to punish Techno for a war crime he committed. And while this is perfectly reasonable, what isn’t is the way the incident was orchestrated. It was an unchecked abuse of power to execute someone without a fair trial, as well as punishing Phil, who was not involved whatsoever.

This was also particularly unfair to Techno, as many projected their anger at Wilbur onto him. Even Tommy did this, finding himself unable to blame his late mentor, so Techno was the next best option for him. However, it was Techno’s response to this that was interesting. He chose a path of vengeance, the same way L’Manburg did, after vowing to live his life as a pacifist. By doing this and following through, he hurt everyone, not just the people he claimed needed to pay for their actions.

Instead of just picking the weed in the garden, he set the entire flower bed on fire. Through L’Manburg’s destruction, he gets what he wants. He destroys their government, but he also scars the earth and shatters the sky. He leaves uninvolved people homeless, deeply hurting Ranboo, Eret, and especially Ghostbur. Philza turns to vengeance as well, taking his anger at the death of his son out on people who do not deserve it.

Tubbo, a day before the second Festival, was given another chance to seek revenge when Techno had spawned a wither on their land. Instead, all Tubbo could say was, ‘We do nothing … It’s pointless, vengeance. It’s poisonous.’ By doing this, he has managed to be a bigger person than even Techno was, with the strength and maturity to turn the other cheek. And now with Tommy’s plan to kill Dream, the conflict continues to escalate; only ending where forgiveness begins.

It’s sad to think, if Techno didn’t choose a path of vengeance and Tommy was strong enough to tell Techno how he really felt, the two might have remained friends. Who knows? Maybe they still can.

“Tommy was the one in the wrong. Techno was right to destroy L’Manburg.”

Techno is a lovely character. He’s well-written, engaging, funny. He has many values and quirks that are generally relatable and interesting. His motives are deeply understandable and sympathetic. And yet, he is perfectly capable of being evil, in just the same way that Tommy can be deeply flawed despite being the protagonist.

I’m sure most people already know that Technoblade is a villain. Or more accurately, a tragic antagonist. Techno (the streamer) knows he is and he’s having fun playing that part. Just because a character is morally in the wrong doesn’t mean their values and ideology don’t have merit. The best character I could compare Techno to is Thanos.

They have completely valid concerns and points, but it is the way in which they go about achieving their goals that makes them into evil people. And despite this, many will still agree with them, even after they do something reprehensible. Contrary to popular belief, Technoblade’s tendency towards violence isn’t a good thing, no matter how you look at it. Even Techno himself knows this, that’s why he decided to reform and become a pacifist with Phil. He was not a good influence on Tommy, on top of also manipulating him.

Techno caving to hatred and vengeance makes him no different to the resolve of the Butcher Army that pursued him. It is precisely the fact that he went on to destroy the home of not just Tommy, but also Ranboo and Ghostbur, that puts him in the wrong. He is allowed to despise all government and remove himself from it, but the moment he decided to insert himself into someone else’s country and take their home from them in order to destroy it, he abandoned an integral principle to his own values.

This principle being: ‘Choice.’ The act of letting others be free to decide what they want for themselves. It is a huge component to the concept of anarchy, the freedom to choose. And yet Techno robbed this from, not just the ruling powers that hurt him, but individuals who were not even involved in the first place. He justifies this by saying it’s for their own good, that he’s helping; while acting in a self-serving manner.

In his anger, he became the punisher, stooping lower than L’Manburg has ever gone. There is also the issue of Dream weaponizing Techno to destroy the one thing that has been a thorn in his side since the very start, manipulating Techno’s grief to achieve his goals. Tommy’s biggest sin in the Doomsday War was standing up to Techno and getting in the way of him hurting his friends and destroying his home.

This isn’t to say Tommy is perfect, because he still hurt everyone he ever loved. But the only way he knew to redeem himself was to fight for what he knew was right. And so he chose to fight alongside his best friend, Tubbo. However, just because Techno is in the wrong doesn’t mean others are wrong for wanting to side with him, or by finding joy in his ruthlessness. The biggest appeal of Techno is the fact that he opposes people like Tommy.

He knows how to put people in their place and it’s satisfying to watch. Some people love rooting for villains and it’s entertaining to see a being with so much power crush everyone else down so effortlessly. Especially because it’s so easy to sympathize with Technoblade. Sympathetic villains are the best kind; where they have understandable motivations, relatable flaws, people they love, and something they can lose. Dream is a villain you love to hate. Technoblade is a villain you hate to love. Simple as.

Despite the destruction of L’Manburg being either devastating or fantastic depending on who you are, there is one major good it has done. It has pushed Tommy more towards the completion of his character arc. By losing one of the three things he loves, it will be impossible for him to pretend any longer. He will be forced to confront reality very soon. It all depends on whether Tubbo will have to die first for him to finally see it.

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cyndavilachase · 5 years ago

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I’m Looking Forward Now 💖Thank you and good bye

So, it’s been a little over a week since Steven Universe Future ended…

I’ve been hesitant to write this, honestly, but I’m tired of holding myself back from properly expressing myself in fear of appearing overly invested in the media I consume, even in private. Writing helps me organize my thoughts and feelings, and I feel like these thoughts in particular may resonate with many, so I want to share them. I want to talk about what Steven Universe has done for me personally, both as an artist, and as a person.

I’ve been around since the day the first episode of the original series aired. I actually remember when Steven Universe was just a logo on Wikipedia’s “List of Upcoming Cartoon Network Shows” list, back when I was a freshman in high school. It piqued my interest, but when commercials finally dropped for it, I thought it was going to be bad because of the way marketing handled introducing Steven as a likeable character. There was still something about it that made me want to give it a chance though, so I went online and watched the pilot before the first episode's release. I was hooked immediately. I knew I was going to love it, and I did. I fell so absolutely in love with Steven as a character, and the world that he and the gems lived in. I became obsessed. I was always so excited for new episodes to come out. Little did I know what else it would do for me as I went through my adolescence alongside it.

As the show progressed, it was evident that what I wanted out of a western animated childrens’ cartoon was finally coming into fruition: this show was becoming serialized. There was continuity, there was plot, there was character development-- it was getting deep. It was pushing the groundwork that Adventure Time laid out even further (thank you, Adventure Time).

I will give credit where credit is due: earlier western childrens’ cartoons I grew up with like Hey Arnold, and Rugrats, among others, also touched on heavy topics, but Steven Universe was able to take similar ideas (and even more complex ones, concerning mental health and relationships) and expand on them outside of contained episodes and/or short arcs. These themes, which were a part of the show’s overarching story, spanned across its entirety. Continuity was rampant.

What did this mean? It meant kids cartoons didn’t have to be silly and fun all the time and characters weren’t just actors playing a part in 11-minute skits. Steven and the gems would remember things that happened to them, and it affected them and how they would function and play a part in their story. This was a huge deal to me as a teenager. I always wanted the cartoons I grew up with featuring kid characters to feel more. In my own work, I often felt discouraged when combining a fun, cutesy western art style with themes as dark or layered as anime would cover. I always thought it had to be one or the other because an audience wouldn’t take a combination of the two seriously enough, based on discussions I had with classmates, friends, and online analysis I read at the time. Steven Universe proved to me otherwise. This show was opening the door for future cartoons exploring in-depth, adult concepts. I felt so seen as a kid, and was inspired to stick with what I love doing.

I was actually very worried about the show’s survival. It was in fact immensely underrated and the fandom was miniscule. Then in 2014, JailBreak dropped, and it’s popularity exploded. Part of it was because of the complex plot and the themes it was covering like I mentioned, but also because of its representation.

I remember when fandom theorized that Garnet was a fusion due to grand, tragic reasons. Turns out, she’s simply a metaphor for a very loving w|w relationship. This was huge. I cannot stress how important it is that we continue to normalize healthy canon queer relationships in childens’ media, and Steven Universe finally was the first to do that proper. Introducing these themes offers the chance for a kid to sit there and ask themselves, “Why is this demonized by so many people?” I asked myself exactly that. Ruby and Sapphire were my cartoon LGBT rep. They were the first LGBT couple I ever ecstatically drew fanart of. I was dealing with a lot of internalized homophobia at the time, and they showed me that I was allowed to love women and feel normal about it. The process of overcoming this was a long one, but they played a part in my very first steps into becoming comfortable with my sexuality. I could go on and on about it’s representation in general-- how it breaks the mold when it comes to showcasing a diverse set of characters in design, in casting, and in breaking gender roles. It’s focus on love and empathy. Steven himself is a big boy, but he's the protagonist, and the show never once makes fun of his weight, or any other bigger characters for that matter. It wasn’t hard to see why the fandom had grown so large.

Fandom was always a joy for me. It was a hobby I picked up when I was in middle school, like many of us here did. I would always cater my experience to fun, and fun only. I only started getting more deeply involved in SU’s fandom when I had just turned into an adult. During the summer of 2016, between my first and second year of college, I drew for the show almost every day non-stop when the Summer of Steven event was going on and posted them online. This was a form of practice for me in order to become not just more comfortable with experimenting with my art, but also to meet new artists, make new friends, and learn to interact with strangers without fear. I dealt with a ton of anxiety when I was in high school. When I was a senior applying to art school for animation, I decided I was going to overcome that anxiety. I made plans to take baby steps to improve myself over the course of my 4 years of college. Joining the fandom, while unforeseen, was definitely a part of that process. I started feeling more confident in sharing my ideas, even if they were fan-made. I fell in love with storyboarding after that summer, when I took my first storyboarding class, and genuinely felt like I was actually getting somewhere with all of this. I remember finally coming to a point in my classes where I could pitch and not feel hopelessly insecure about it. I was opening up more to my friends and peers.

But this process, unfortunately, came to a screeching halt.

My life completely, utterly crumbled under me in the Fall of 2017 due to a series of blows in my personal life that happened in the span of just a couple weeks. My mental health and sense of identity were completely destroyed. All of that confidence I had worked for-- completely ruined. I was alone. I nearly died. My stay at college was extended to 4 and half years, instead of the 4 I had intended. I lost my love for animation-- making it, and watching it. I could no longer watch Steven Universe with the same love I had for it beforehand. It’s a terrible thing, trying to give your attention to something you don’t love anymore, and wanting so desperately to love again. I dropped so many things I loved in my life, including the fandom.

Healing was a long and complicated road. I continued to watch the show all the way up until Change Your Mind aired in the beginning of 2019, and while I still felt empty, that was definitely a turning point for me with it’s encapsulation of self-love. I was hoping James Baxter would get to work on Steven Universe since he guest-animated on Adventure Time, and it was incredible seeing that wish actually come true. The movie came out and while I enjoyed it and thought highly of it, I was still having issues letting myself genuinely love things again, old and new. It was especially difficult because cartoons were my solace as a kid, when things got rough at home. I remember feeling sad because the show ended, and not getting the chance to love it again like I used to while it was still going.

By the time Steven Universe Future was announced, I was finally coming around. I was genuinely starting to feel excitement for art and animation again. I wasn’t expecting there to be a whole new epilogue series, but happily ever after, there we were! Prickly Pear aired, and the implications it left in terms of where the story was going did it. I was finally ready to let myself take the dive back into fandom in January of this year. My art blew up, something I wasn’t expecting considering my 2-year hiatus. Following this, I was invited into a discord server containing some of the biggest writers, artists, editors, and analysts in the fandom. I had no idea there were so many talented people in the fandom, some already with degrees, some getting their degrees-- creating stuff for it on the side just for fun. The amount of passion and productivity level here is insane, and so is the amount of discussion that has come out of it.

I didn’t realize it at first, but it was actually helping me gain back the courage to share ideas. I lost my confidence in pitching while I was taking the time to heal, and graduating meant there would no longer be a classroom setting I could practice in. This group helped immensely.

I have made so many friends through this wonderful series, and I have so many fond memories talking to like-minded creatives, getting feedback and a myriad of sources for inspiration, as well as all of the memes and jokes and weekly theorizations that came about as we all waited on the edges of our seats for episodes to air. I needed this so badly, I needed to get back in touch with my roots, when I would go absolutely hog-wild over a cartoon I loved with people who loved it as much I did. Future has been a blessing for me in this way. I graduated feeling like I was back at square-one, but now I feel like I’m on my way again.

It’s 2020 and while I’m doing great right now, I am honestly still recovering from the total exhaustion that followed after graduating a few months ago, and finally leaving the campus where my life fell apart behind. Needless to say, watching Future was like looking into a mirror. Watching one of my favorite characters of all time-- one that grew up with me-- go through so many of the same things I went through not too long ago was absolutely insane to watch unfold. It’s such an important thing too, to show a character go through the process of breaking down over trauma and all the nasty things that come with it, and to have them go on the road to healing. Steven got that therapy. He wasn’t blamed. The gems were called out. The finale was everything I could have ever hoped for. The catharsis I experienced watching it was out of this world.

As I continue my own healing journey, I will always look up to the storyboard artists, revisionists, and designers that I have been following over these past 7 years, as well as the new ones introduced in Future. It's been such a joy watching these artists release their promo art for episodes, talk about their experiences working on the show, and post the work they've done for it alongside episodes airing.

Thank you Rebecca Sugar, the Crewniverse, and the fans, for making this such a truly wonderful and unique experience. Thank you for reminding me that I am, and always will be, an artist, a cartoonist, and a fan. Thank you, my followers, for the overwhelmingly positive response to my artwork. I have had so much fun interacting and discussing the show with you all again over these past few months. Steven Universe and it’s fandom will always have a special place in my heart, and it will always be a classic that I will return to for comfort and inspiration for decades to come. I am sad that the cartoon renaissance is over, but so many doors have been opened thanks to this show. I am so, so excited to see what this show will inspire in the future, and I hope one day I get the opportunity to be a part of that.

Goodbye Steven, thank you for everything. I wish you healing, and I wish Rebecca and the team a well-deserved rest. ♥️

-Cynthia D.

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hospital-wh0re · 4 years ago

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gendered fears and online male audiences: the road to mass misinterpretation

a comparison of fight club by chuck palahniuk and gone girl by gillian flynn

trigger warning for mentions of sexual assault, violence and abuse

modern literature, in comparison to literature produced pre-1900, has the privilege of being transcribed into multiple mediums within years of an author’s release. books being quickly adapted to film allow audiences to choose multiple mediums through which to consume the same story, and as a result have access to various popular interpretations of it. movies, as part of the entertainment industry, have a wide reach and therefore the potential to make a particular version of a story more widely known or popular, but also allow audiences to express interpretations of the story on extreme ends of the spectrum. many messages can be entirely overlooked by an audience member’s refusal to accept what they are being presented with. gillian flynn’s gone girl and chuck palahnuik’s fight club have become cult classics in their own ways, and the various receptions to them, specifically by male audiences, have shaped this. while online communities mostly consisting of men have twisted fight club to glorify and justify violence, they have also used gone girl to justify a critique of the way women respond to their treatment by man. these misinterpretations are driven by a refusal to accept the fears typically attributed to either men or women, and can have dangerous consequences.

gone girl and fight club represent similar things. amy and the unnamed narrator (implicity suggested to be called jack) confront the audience with the potential consequences of gendered fears being fulfilled. within literature at least, the female fear is ‘being used’ and the male fear is ‘being useless.’ amy feels used by her husband nick, and the events of the novel are driven by her reaction to this, and jack is made to feel useless by his life in general (but specifically his job) and the events of the novel are driven by his reaction to this. the two texts are received wildly differently, particularly by male audiences.

chuck palahnuik’s fight club, the movie adaptation of which was directed by david fincher, is often recognised for the gritty satire of masculinity and consumerism that fincher intended it to come across as. however, the narrator (and by extension his alter ego tyler durden) is often the subject of misdirected envy or identification by fans. men who identify with tyler durden or see him as an idol to model their behaviour and ideas upon tend to misinterpret many of the text’s messages. the book and movie are decidedly anti-capitalist, with tyler’s monologues and jack’s voiceover narration constantly critiquing the need to buy products and shape a life out of purchases. jack and tyler work low-wage jobs and tamper with the food they serve to rich customers, mocking them as an act of rebellion. despite this, many online fans seem to overlook this clear theme in favour of a totally different aspect; violence. to a large and worrying proportion of fight club’s fanbase, the book and movie cater to their male entitlement: entitlement to express anger and aggression in a very particular way. it allowed them to indulge in a purely deterministic idea of masculinity. this particular misinterpretation of palahniuk and fincher’s work feeds into the idea of men being predisposed to violent behaviour and that it is acceptable to ‘undomesticate’ themselves. the idea of a dominant, brutal, independent figure being what truly makes a man is an outdated caricature of masculinity. rather than promoting the idea of unlearning social etiquette and becoming wild and violent, the text instead promotes unprogramming one’s consumerist framework and desires. it does so by utilising the aforementioned ‘male fear’ of being ‘useless’ to demonstrate an extreme version of this reprogramming. it is likely that a refusal to openly acknowledge this fear is part of why certain online circles, namely incels, fail to understand the intentions of this text. palahniuk recognises in his book that patriarchy harms men just as much as it does women, and in fact that somewhat becomes the crux of the book; durden’s project mayhem serves as an extreme way of exploring how capitalism and patriarchy join forces to create and condition men that crave more raw and fulfilling expressions of themselves, and end up finding it in violence behind closed doors, or devotion to a destructive cause.

gillian flynn’s gone girl utilises gendered fears in a similar way; it portrays both typically feminine and masculine fears being fulfilled and reacted to, but subverts the customarily gendered expressions of this. while men are conventionally those who are permitted to react to what they perceive as threats strongly, flynn depicts amy as the character with the most intense and perverse reaction to being made to feel used. the movie adaptation of this is interestingly also directed by david fincher, who intended to convey somewhat similar ideas to that of fight club; rather than being a piece of media that justifies violence, it uses extreme examples to explore the commodification of marriage. While it does not serve as a direct critique of capitalism in the way palahnuiks’ work does, it investigates and demonstrates the influence of the media, particularly in terms of reinforcing both traditional and modern ideas of marriage. amy recognises how the media (more specifically, news channels and talk shows) values and attempts to embody traditional values, including the sanctity of marriage, and she uses this to punish nick for making her feel used. from the reception that can be found online, the same communities that use fight club to justify aggression perceive amy’s actions as a legitimate threat, and liken them to situations involving false rape allegations. their misinterpretation of gone girl allows them to feed into the narrative surrounding false accusations, and build a culture within their online communities that dismisses and blames victims of abuse, sexual assault and more. amy is an extreme example of the female fear being fulfilled and being responded to; these men see amy as a threat because her behaviour confronts them with the idea of being punished for their treatment of women either online or in their real lives. these circles often share more right-wing ideologies, explaining their more conservative ideas on both marriage, gender roles and capitalism.

the book and film are subversive in that they allow the female character to be just as sadistic as a typical male character, and the husband’s actions are met with genuine consequence. often the media attacks or blames female victims, but in this instance amy is martyred. what makes the text such a clear critique of the commodification of marriage and the media is not only how it works to amy’s advantage but how it works to nick’s detriment. amy’s initial act of disappearing is what makes nick’s male fear fulfilled, what makes him feel useless, but the media’s presentation of the events and criticism of nick’s reactions to it are what prolong this feeling and drive his actions throughout the text. eventually, it pushes him to partake in a television interview and recite a speech that he knows will appeal to both the news channels, talk shows and amy, who have so far collectively been his biggest critics. while this moment in the text is a turning point for the protagonists as they both reluctantly find false harmony in their relationship by acting ingenuously, it additionally serves as yet another evaluation of how relationships are presented to the public by the media. nick must navigate a storm of misinformed opinions surrounding his marriage in order to find the words that will appease as many people as possible, and accept that the majority of thoughts about him expressed on tv are not true to his situation but will ultimately decide his fate regardless. this is, at core, what fulfills his fear of being useless.

ultimately both these texts do handle the subjects of their misinterpretations; fight club is not solely about masculinity, but it is a core theme, just as gone girl does not revolve around false allegations but does undoubtedly discuss them. palahniuk, flynn and fincher craft stories that explore gendered fears being reacted to in the most extreme ways possible, partially in order to demonstrate their dangers and their links to culture (consumerism and media). an inability or unwillingness to admit to these gendered fears, whether due to fear of ridicule or having to confront one’s own treatment of others, is what prevents men in these right-wing online communities from understanding these texts for what they are. should men or others in these groups admit to these fears, they would have to ask themselves: ‘do i feel useless? am i useless? am i using women? do the women in my life feel used by me?’ which is, ultimately, not a conversation many are willing to have with themselves.

i.k.b

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rebornthestage · 3 years ago

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[2021.08.22] Kitamura Kento (Hibari) 17LIVE livestream

(I live translated his stream, so there may be details I'm missing/misheard.)

Starting remarks:

He wants to play Hibari more

He usually has great memories of the plays he's worked on, but not quite for this one; It doesn't feel like it ended yet.

He feels like they can do the play again, do the future arc again

His little bro is a big fan of Amano's works, especially KHR, so he's very familiar with this series

His brother is babysitting in the US, so he sends him clips of the play lol

It's only been half a year since he started Twitter and he appreciates all the support (likes, RTs, replies)

His faves are Dino and Primo in the manga. He loves their visuals. He thinks they look cool.

He actually wants to play as Primo lmao

Was excited when he heard James was playing Dino; he's worked with him in at least 3 plays (?, Hakuouki SSL, Hataraki Saibou); Met the first time in a while thanks to this stage

Q&A Section:

Q: Why do you have so many Hibird photos in your makeup area?

A: They're from Yamamoto Ryosuke! Ryosuke receives a Hibird photo from the production team every performance, so he gives them all to Kento since he's Hibari after all. He has around 8 of them. Sometimes Ryosuke forgets to give it to him and he feels unnecessarily disappointed lmao

Q: Thoughts on receiving Hibari's role A: First he wondered a lot about how he'd portray Hibari's fighting style, and tried to portray his cloud-like, untouchable feeling. Kento was set on fighting with "pauses" and "urgency" for Hibari. Hibari's the fastest in thinking and acting, like that time when everyone was panicking about Byakuran's attack, while Hibari immediately left to check on Namimori since that's where the attack landed.

Hibari can also be misleading. When the Real 6 Funeral wreaths landed at Namimori, he was first to speak. However, just when you think he was going to propose a plan, he just states that one of them landed in Namimori, which makes you wonder just how much he loves the place haha.

That unexpectedness makes him interesting to the viewers. He tends to speak, pause in the middle, and then change his tone/aura when he continues his sentence.

Q: Thoughts on Hibari before and after playing him A: He talked about this in his blog post. After playing him, he thinks of other people more than you'd expect. He acts to protect Namimori, and as a result, saves people.

Q: Have you planned the curtain call interactions with Ryohei and Lambo beforehand? A: Nope. That was all thanks to Kimeru adlibbing, and Kento has no idea when Ryohei will jump in lol.

On a tangent, but he very much admires Kimeru for perfectly playing his role. He has already perfected the role even when they just started rehearsing. He has the formula for Lambo down pat. This makes it easy for someone to copy and stand in for him during rehearsals.

Q: Can you share more info on the action parts? A: Every week he gets the stunts instructor to teach him something new, then he practices it on his own for the rest of the week.

Apparently, he practiced while facing a tree at the park, haha. A lot of people commented, saying they want to be the tree. He was like, "No way lol". There were so many people wanting to become trees that he said they were going to turn into a forest lol.

He then talks in detail about how to do a roundhouse kick properly lmao. The left leg/standing leg is important apparently lmao. He repeats this sentence a couple of times and demonstrates it with his fingers.

Sometimes he got tired after doing it so many times. However, when he started doing 1 hour stretches everyday, it became a lot easier.

Does aftercare? (Is that the right term to use here? haha) after practice because it's a lot of strain on his left leg and arm.

Q: What are your similarities with Hibari? A: He likes to do things on his own. Hyperfocused on what he likes. Is stubborn.

He likes to have a lot of preparation before taking something on...

He'll leave when he feels like leaving, lol

Q: Thoughts on Tsuna and Hibari's relationship, and your relationship with Takenaka Ryohei A: Tsuna is an important person in Present and Future Hibari's life.

Takenaka Ryohei is amazing. He has a different reaction to Present Hibari and TYL Hibari and he can really see and feel it... Ryohei's act really contributes to Kento's own acting. It's because Ryohei reacted that way that Hibari seems even more fearsome.

Ryohei can portray Tsuna's fear of TYL!Hibari, but then also show a different reaction when he stops Present!Hibari during Choice.

Usually, it should be the protagonist who would do something proactively while everyone else reacts. As the protagonist, but it's hard to give large reactions. However, in KHR, it's often Tsuna who reacts. It's because Tsuna reacts in a certain way that you can figure out what type of person the other character is. Ryohei is amazing for being able to do that role.

Q: Was it you playing as Alaude's silhouette? A: Yes. Yamamoto also played as Ugetsu.

Random tidbit: At the part where Deisy gets caught with the huge handcuffs, they didn't have those huge handcuffs until they were at the venue lol. So they've been practicing without it until then.

That's why his actions during that scene slowly started to change, since he began to have ideas on what else he could do at that scene.

Q: Thoughts on the Hibari switch scene A: He asked viewers when they realized it wasn't Kento as Hibari onstage? On their first watch? During the stream?

Daiki tried really hard to copy Kento's Hibari, like his walk so people wouldn't catch on. Was really happy when it was decided Daiki was the one who'll be his body double. He actually thought it would be an ensemble doing it, until 2 weeks (?) into rehearsals

Q: Happenings onstage? A: He doesn't really want to talk about it... However, after he turned 25, he's become more open to his mistakes so he can talk about this now haha.

When wearing suits, he wants to look suave and used to wearing them. Having the box in his pants pocket ruins the silhouette of the suit, and so would placing it in his chest pocket, even though the latter seems cool. He talked with the costume designers to add some sort of leather pouch (?) at his waist.

However, after putting the box in and out of the pouch so many times, the leather pouch worse out and became looser. In one performance, the box dropped to the floor sometime without his notice. ("Roll rolled." LOL)

During his fight with Genkishi, he stuck his hand in the pouch while talking and realized it wasn't there. He was like, Oh Shit, lmao. Then clumsily tried to hide the fact that he has no box by taking out his hand and only showing the back of it to the audience, lmao.

He watched a clip of that performance afterwards and learned that the box fell while he did a roundhouse kick.

Also, during the fight with Deisy, he can't see anything. The lights were so bright. When he twirls the handcuffs, it has to face a certain side so that the cuff would close, but sometimes it ends up facing the wrong side, so he has to twirl it back. However, it's hard to figure out if it's facing the right side or not because of the light, so he accidentally dropped the handcuffs once.

(There were actually a few fan reports saying that Kento seemed to drop his props often lol)

Q: Thoughts on Hibari unbuttoning his suit before fighting A: When raising your arm while wearing suits, the middle part scrunches open and he doesn't like that. He wants Hibari to look flawless, so he tried to make it part of the act to unbutton the suit.

He doesn't do this for the part where he trains Tsuna, since he doesn't want to make it like Hibari's doing it for appearances. He tries to make it seem like it's an act Hibari does when he expects a good fight.

Q: Any special training? A: He has a lower center of gravity because he played ice hockey seriously for 9 years. He's jealous of actors who took karate and dance since they are useful skills as an actor. He believes that playing ice hockey and balancing on ice skates really contributed to doing action scenes.

Q: Do you do any weight/muscle training? A: He used to go to the gym, but stopped because of covid. He apparently started classic ballet recently. He likes gaining strength without getting too bulked up. Before he hated wearing tight clothes, but now he has embraced it lmao

Q: Any KHR weapons he would like to try? A: He likes Japanese swords, so he likes Yamamoto's sword style.

When Chrome was handed the Devil Lens, he wondered how one would fight with it? How do you make it look like you use it often? Do you twirl it like a pen?

He's seen James' whip skills live during Secret Bullet and was very impressed that James was able to use them to the fullest. It's a weapon you can more easily hurt yourself with after all.

During rehearsals, there wasn't a center door to come out from, so he had to wait at the sides while Dino and Deisy were fighting. Hibari often comes out from the center door, so he calls Hibari a "Center Door Guy", lol.

Q: Judging from how fast you changed into the yukata during curtain call, are you the type of person who changes clothes fast? A: He has to change from suit to yukata in 1 minute and 30 seconds and be careful not to make Hibari look sloppy, so he was really worried about it... That's why you'd see him touching his collar from time to time.

Final Words

He asks fans to answer the Reborn! The Stage questionnaire and request for a rerun of the Future arc stage plays. They were able to change the future in Future arc, so he believes we can change the future in real life as well. A rerun isn't impossible in his opinion.

He'd love to livestream again sometime with others, like Daiki-kun (Glo Xinia/Dino), and Daiki-kun, and Daiki-kun.😂

#katekyo hitman reborn #khr #reborn the stage #episode of future #kitamura kento #translation #livestream #kento is part of the primo gang lol congrats #also the staff was the one who took his photos for him apparently #but the idea on the poses and stuff was all him #lol in hindsight i shouldve done a couple of screenshots but i was too busy typing #i actually have some summaries for kohei and daikis streams that i never posted here oops #tho my notes on koheis were messy since i hadnt planned on writing an actual summary

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aspoonofsugar · 4 years ago

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RWBY Chain Of Faves

Who are your top 10 favorite RWBY characters and why?

Hello anon!

Thank you very much for this ask! I love talking about faves!

1) The murder kids aka Emerald and Mercury

I have talked about them here and here and I’ve shared some minor thoughts here and here.

I think their story has yet to enter its climax, so the metas on them are not as finalized as those on other characters. Still, the set-up is all there and I love it. As I say in the metas linked, they are a unit (body and soul, weapon and semblance). They are also two of the characters who mostly explore the cycle of abuse (together with Cinder, who is both victim and perpetrator).

I like how they are given the chance to screw up very very badly (and are given consequences for their actions), but are also always framed as two kids who try to be toughter than they are.

What is more, I love their relationship and their dynamic with Cinder. I think both bonds are very complex and are shown rather than told. This is why Emerald and Mercury’s body language is very effective imo. Their closeness is mostly conveyed through them glancing at each other or how they move around each other. This makes sense because they are in a place where they can’t speak freely.

In particular, I like that their relationship is deep, but not idealized. They care about each other, but are too scared to save each other. This is why Emerald needs the help of an adult (Hazel) to leave her abusive environment. This is also why she is recovering in a healthier environment that also lets her understand the consequences of her actions better. At the same time, Mercury who is instead stuck with another abusive mentor can’t currently escape.

When it comes to each one of them individually...

Emerald’s design and semblance are among my personal favourites. Her semblance especially is at the very top of my list. It has so much potential thematically and flexibility in terms of use (invisibility, transformation, specific illusions fitting a character’s flaw). I hope they use it more and in diverse ways in the future to show Emerald’s growth. For example, how cool would it be if she used it to help another character overcome a panic attack? Or if she helped Ruby enter the mental state to use her eyes with it?

I also really like she has a specific fighting style that fits her thief motif and is very different from others. It is less scenographic, but very pragmatic and I love it.

I also liked the focus she received this season and I think it needs to be finalized. I am curious on how it will happen.

Mercury’s background is the one which breaks my heart the most. The little we know is horrible :( I also think it is a story that heavily relies on symbolism to convey the idea of abuse...

Marcus took Mercury’s legs, so he can’t psychologically escape the cycle of abuse... Marcus told Mercury he needs no crutches and Mercury is refusing to aknowledge his hurt and to heal... Marcus’s violence messed up Mercury so much he is not sure what he wants and his semblance is missing to underline it.

I wonder if we will discover more about his background or if what we have so far is all. I can see it go both ways to be honest. Also, Tyrian’s interactions with Mercury are interesting and meaningful, but also terrifying. I both want more and I am scared of having more :’’)

I am also looking forward to see how his allusion will be used. As for now, he has the potential to have at least three different motifs going on. The one of Mercury the God, the one of Mercury the metal and the one of Mercury the planet. Curious to see what is done with them!

Finally, I’m the One is one of my favourite songs because it is full of foreshadowing and perfectly conveys what their characters are about. I would love to properly analyze it one day, even if I have used it in multiple metas already :), so I am not sure I have new things to say.

The same can be said about their fight against Coco and Yatsuhashi and their fight with Cinder against Amber. In a sense, those two fights are complementary, since the first one foreshadows their major assets that are properly shown and charged symbolically in the second.

In short, their fight with Coco and Yatsuhashi is how they want to appear:

I'm the one that your mama said 'Don't mess with them or you'll end up dead That type they don't follow any rules'

Their fight against Amber is who they are deep down:

I'm the one That was born in a nightmare a murderer's son

I'm the one Who rose out of filth and was loved by no-one

3) Penny

She is the protagonist of the Atlas Volumes and has my favourite arc so far.

Her arc is contradictive, sad and powerful. In a sense, her whole character is written to hurt :’’’) She is given a happy and enthusiastic personality to hide how tragic her story is.

Penny is an example of how to write a specific kind of tragedy, where the main conflict does not lie in the character’s flaw, but in the environment she is in. Penny wants to be a “real” girl, but others won’t let her. This conflict escalates until she tragically manages to affirm her personhood in death.

At the same time, she is given self-issues that can be seen as a flaw and tie to her environment. She is self-sacrificial and struggles to see herself as a true person. Still, this flaw does not really drive her plotline (others’ control of her does) and, as @hamliet has stated, it does not eat everything around Penny.

So, she dies tragically because she never gets the chance, not even to overcome these self-issues, but to properly face them. At the same time, her death is powerful and cathartic because she negates others’ control and manipulation. She negates the mechanisms that had her develop self-issues to begin with.

Is it a happy outcome? Not at all. It is sad and contradictive. It is gray, but this is precisely why it is powerful. It manages to convey and explore complex and contradictive ideas. It does not offer an answer, but only bittersweet questions.

I also really like how Penny’s allusion is used in the story. It is played straight in terms of plot since Penny becomes human as the story goes on. However, it is problematized in terms of themes. It conveys that humanity is about making choices and experiencing both happiness and pain. Finally, Penny’s final scene is an inversion of the original novel.

Penny is not the Blue Fairy’s creation, but the Blue Fairy’s creator:

She goes from Creation (passive, a child) to Creator (active, an adult).

Incidentally, Penny too has one of my favourite songs. Friend is beautiful and it perfectly describes her arc. It conveys how much she loves humanity despite how complex and painful it is. The music starting slow and melancholic to gain more power as it goes on describes Penny’s life beautifully. It is a story that ends too soon (the music interrupts at its most vibrant), but it is still a melody full of love for life:

An answered prayer A chance to Share the world To be a girl Who fin'lly felt alive

4) Cinder

Cinder is probably the most complex and best written character so far.

She manages to make me feel for her and to make me incredibly angry with her at the same time :’’’)

I have written several metas on her, so you can read my thoughts on her background, the focus she received this volume, how I think her arc will end and some minor symbolism.

Cinder is built on an equilibrium between victim and perpetrator. She is both and the narrative strikes perfectly with its framing of her. It is both sympathetic and strict and most of all tragic because no matter if Cinder wins or loses... she keeps spiralling either way and she can’t understand she is fighting a worthless fight.

She is also full of interesting motifs and symbolism. One I would like to explore more in the future (and for it to be explored more by the story itself) is her fall motif.

She chooses the surname “Fall” herself when it is decided her first target is the Fall Maiden. This makes for a nice juxtaposition between her and Winter.

Cinder is born with nothing. Her own name refers a substance almost completely burnt, something with almost no color. It is a very humble name, so she chooses a surname which is important. It is a surname that hints to her role as a vessel of the Maidens.

She is not chosen to be a Maiden... she is not supposed to be one. However, she decides she is going to take the power even if it is not hers. She is taking destiny in her own hands.

Winter is born with apparently everything. However, this is also why everything gets decided for her. She is given the name Winter before she was born. Similarly, Ironwood chooses her as the Maiden even before she discovers about them.

Cinder sees Winter as having everything Cinder deserves. However, she misses how Winter is facing very similar struggles. She might be given what Cinder is negated, but she too has to make that destiny hers. She has to take her story in her own hands, just like Cinder.

At the same time, Cinder’s fall motif is linked also to the idea of falling. She falls and makes others fall. Exactly like she burns and is burnt. The orange of her flames aesthetically calls back to the orange of the falling leaves.

This idea is also conveyed through Cinder constantly mistreating and even killing characters representative of sides of herself.

She abuses Emerald and Mercury aka her child selves.

She kills Watts aka her negative foil.

She kills Pyrrha and Penny aka her Maidens’ foils.

It is clear that all this hurting and killing parts of herself won’t end well for her. I mean, she, not Salem, is the one responsible of the two major deaths in the series (Penny and Pyrrha), so she is bound to receive consequences.

Another thing I love about her is how her intelligence is people focused. She is very good at reading and manipulating others and this is how she wins her major fights. This is both her flaw and her major asset. I like it because I think RWBY is good in showing different kinds of intelligence and Cinder’s one is very coherent with her personality.

Finally, I love how her Cinderella allusion is used. It is a deconstruction of the original fairy tale that is born from a question: “What if Cinderella were not the kind victim of the story, but a bad victim?”. It is also interesting how the key character in Cinder’s allusion is not the Prince or the Stepmother, but the Fairty Godmother who fails her twice (Rhodes and now Salem).

As a side note, I can’t wait for The Truth to be out in its complete version.

5) Oscar

Aka the one who deserves nothing of what he gets :’’’)

I love him because he is an example of how to write a character who is a cinnamon roll, but that also is not boring and has complexity.

His struggle is about his sense of self. He starts the story by wishing to become more than what he is, but he does not like that this “more” turns out to be about fusing with another person. He wants to grow not to lose himself to another entity.

This is his major fear:

Who will you see? There in the darkness When no one is watching Who will you be? When you're afraid And everything changes Will you see a stranger? Feel proud or betrayed?

This is well conveyed also by his relationship with the rest of the group. He starts as the odd man out and others mostly rely on Ozpin rather than him. He sometimes even seems to disappear behind Ozpin. However, as time goes on, he forges genuine bonds and he becomes dependable on his own. He becomes even more so than Ozpin because he has something Oz lost out of cynism. The ability to trust.

In the Atlas volume he is the character that embodies the thematic statement about trust:

Oscar: You want him to trust us? Then trust me.

The point is that to be trusted you should trust first, even if there is no guarantee it will work.

It is interesting because the theme of trust is explored starting with Ozpin, Oscar’s foil, who does not trust others, so our protagonists feel betrayed. However, in Atlas they find themselves in Ozpin’s shoes and must choose if to trust Ironwood or not.

Here, we explore a form of conditional trust. This idea is presented by Ruby, who wants to be sure it is safe to trust Ironwood. So she keeps secrets and studies him until she decides she can trust him... only to discover that was not the case immediately after. This happens because trust can never be completely safe. Actually, in its most negative declination, this kind of trust becomes the control symbolized by Ironwood.

No matter what, trust is always a leap of faith. This is why trust is a risk. Oscar shows this concept well. He decides to still trust Ironwood at the end of volume 7, but it does not work. Still, he does not stop and decides to trust Emerald and Hazel. This time his trust and faith are repaid. He is fred and gains a new ally:

I love Emerald and Oscar’s interactions btw :’’’) It is good that Oscar is the one who is growing closer to her. They escape Salem together and Oscar has not been hurt by Emerald the same way the others are.

Anyway, even if trust is worth it, the exploration of this theme in Atlas actually ends on a negative note. It ends with Cinder who is an enemy of trust because she uses others’ trust and feelings against them.

Anyway, Oscar is a key character and I can’t wait for his story to develop more!

6) Ironwood

He breaks my heart.

He is a an excellent tragic Hero.

He thinks he is the Great Good, but this is precisely why he spirals out of control and falls with his own Kingdom, hated by his allies and forgotten by his enemies.

His downfall stems from his inability to trust, his refusal of emotions, his single-mindness and mostly his convinction he is better than others. This idea is structural of Atlas society and is seen in many of his inhabitants. No matter the social class, we see multiple people thinking they deserve better and that they are above others. This is why Atlas falls and his people becomes refugees in the poorest Kingdom of Remnant.

Anyway, Ironwood thinks he is better than others, so he should be the one deciding for others as well. This idea is flawed and perfectly conveyed through his ideology of sacrificing everything. He feels he has everything, so he can sacrifice what he wants. Still, this is not the case. Others’ lives and feelings are not his. He doesn’t own them.

7) Weiss

I love Weiss. She has one of my favourite designs and one of my favourite semblances and fighting styles.

Her snowhite allusion being played to explore the idea of a dysfunctional family is very good.

In general, I love how much she has grown slowly, but steadily and how she has progressively become warmer. I enjoyed her interactions with her siblings this season. She also gets many moments where she shines for her humanity and intelligence.

She is both Snowhite and the Prince, but also the Huntress that changes and makes others change. She becomes an inspiration for her whole family and since the Schnees are all in Vacuo and she will eventually join them, I am curious if there is going to be more about their family dynamic.

Other than this, I am excited about her Nevermore summon, what is means symbolically and when she will use it.

8) Ruby

I think Ruby’s arc must still enter its climax and that she will shine towards the end of the series.

That said, I love her as a protagonist. She has an interesting set of skills that makes her competent, but not invincible. Moreover, I like how she is important and a participant of the plot, but also does not single-handedly solves everything by herself. She has to learn just like the others. For example, this volume she learns that trust is a risk and the importance of taking risks.

Moreover, she is actually very rarely the protagonist of a volume climax. Speaking of the most climatic volumes, Pyrrha is the protagonist of the climax in volume 3, Yang and Raven are in volume 5, Penny in volume 8.

The climax where she is the most in focus as a character is volume 6 and that is the volume where her eyes are explored and her personal arc is set up. That said, she still manages to be important and to contribute to the action in many ways.

I think her role is to inspire others and I guess that by making that speech this volume she is gonna grow into a symbol even more. If that happens it will be interesting to see what this means for her.

Apart from this, I am curious about her subplot with her mother and if it will tie to her choice to save Cinder with her eyes (since I think this is where we are going). She is going to be both Hood and the Huntsman who kills the Wolf and saves the Victim.

9) Nora and Ren

They are my favourite canon romance.

Their story starts with Ren getting focus (with Nora as a support) and is slowly shifting to Nora developing as her own person (with Ren as a support).

It fits for them to be one of the series main romances because as characters they both explore the concept of emotions and emotional intelligence.

I would say Nora is one of the most emotional intelligent characters in the cast. She is aware of her own feelings for Ren and tries to push their story forwars. She quickly picks up on Pyrrha’s crush and encourages her to make a move. Honestly, she sees herself as a dumb jock, but she is far from it. She is one of the wisest and most sensitive characters:

Nora: You shove people out so you don’t have to feel things that are hard!

Ren is ironically the one struggling with feelings, even if his semblance is all about emotions. In a sense, it is as if he develops it precisely because he struggles with this part of himself.

As a child he is easily overwhelmed by emotions like fear, which goes in the way of his actions. So, when he is under stress he deveops a magical power that lets him control this part of himself. However, as time goes on, it becomes more and more obvious that he should face his own feelings. And once he faces them:

Ren: No! No one is replaceable.

Then he becomes able to see both himself and others more clearly.

In general, both Ren and Nora must overcome their issues if they want to end up together.

Ren’s issue was his fear of being completely vulnerable and to open up with another person. Nora’s is her complete dependance on Ren and how she sees herself as only a part of him, while she is much more.

As a side note, Ren finally confessing his feelings for Nora only to be (temporally) rejected is a great note for his character arc. He was repressing his feelings out of fear, but now he has grown enough to take a risk (opening up, showing vulnerability). Well, this risk does not pay off immediatley. Nora asks him for some time and this is surely not how Ren would have hoped things to go. Still, he understands and supports her. He takes an emotional risk that does not pay off immediately, but he is able to live with it.

In terms of writing, I also think Raven is top notch. Moreover, Winter is a lowkey favourite as well.

I also like some minor characters like Ilia, whose background is built on a very interesting premise that fits her chameleon motif, and Whitley who manages to be helpful even if he is not a fighter. Velvet also has a cool weapon and semblance that tie with her photography motif.

I also love Yang, Blake and Jaune aka the other members of the main cast.

In terms of design, many of my favourites have also my favourite designs (Emerald, Weiss, Mercury, Cinder, Penny, Winter, Ruby, Ren and Ilia).

Other than them, I love Neo’s design, characterization and fighting style:

Finally, I also like Tock’s design and concept, even if she only appears once.

Thank you for this ask! I had fun with it!

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ayuuria · 4 years ago

Text

Yashahime Translation: Livedoor News Interview

Please do not repost this translation without my consent! This includes screenshots of any type and amount. If you wish to share this translation, simply link to this post.

For more information regarding the use of my translations, click here.

The New Story That Continues the World of Inuyasha, Anime “Hanyō no Yashahime” Director x Producer Interview

With the Resolve to Reopen the Concluded “Inuyasha” World in Their Hearts. The Behind-the-Scenes Production of “Hanyō no Yashahime”

For 12 years from 1996-2008, “Inuyasha” (original creator: Takahashi Rumiko) which was serialized in “Weekly Shōnen Sunday” (Shogakukan) was a feudal fairy tale that depicted the heart of the battle between demons, humans, and half-demons for the Shikon Jewel.

Anime “Inuyasha” broadcasted from 2000-2004 followed “Inuyasha the Final Act” from 2009-2010, after the original work was concluded. It is a timeless masterpiece that is now loved around the world.

Continuing that world of “Inuyasha” is the new original anime, “Hanyō no Yashahime”, which began broadcast in October of 2020. Many Inuyasha fans were surprised at the shocking set up that the daughters of Sesshōmaru, a popular character in “Inuyasha”, would be the protagonists.

With everything from the production, background music, and cast performance having an Inuyasha flavor mixed in, being moved from seeing the new characters and the “Inuyasha” characters coming together on the TV screen, to the absolutely unclear mysterious developments, the hearts of fans around world have been grabbed once again.

Since broadcast began, despite having completed one cour (translator’s note: Cour = 3 months or 13 weeks/episodes), the full picture of the story still cannot be seen. We carried out an interview conversation with director Satō Teruo and producer Naka Toshikazu regarding the things of interest about the work up until now and ahead.

We Prepared a Device That Would Allow Inuyasha Fans to Enjoy (the show)

— One cour has passed since broadcast began. Are the responses reaching you?

Naka: The response is incredible. Especially on social media.

Satō: You’re right. I’m also on Twitter, so I get reactions from all over the world. I truly get a sense that it’s work that’s receiving a lot of attention.

When I look at comments on the official (Twitter) account, most of them are from overseas. Not only do I once again realize that “Inuyasha” boasts a worldwide popularity, I do my best while feeling the pressure of “Hanyō no Yashahime” being a work that inherits that world.

— Apparently the one who suggested the project was Suwa Michihiko of ytv Nextry, who was the producer for anime “Inuyasha” and “Detective Conan”. How did you two feel when you first heard about the project?

Naka: “We’re going to do a story that’s been neatly concluded once before again!? How!?” is what I felt at the beginning.

From the moment I first heard about it, I was still floating around what kind of story it would be. “I might make it a story about Sesshōmaru’s daughter.” was as far as I had gotten. I thought “If I’m not mistaken, if we make it like that, then there might be something to do”.

Satō: There were talks of “wanting to do it” for 2-3 years and Rumiko-sensei, Suwa-san, and the “Inuyasha” staff had mulled over the idea.

It’s just that not only was the story of “Inuyasha” itself was very neatly concluded, after “Since Then” (the special edition (chapter) depicting the after story) we had Rumiko-sensei tell us “There’s nothing left to do in “Inuyasha””.

There was a rather heavy responsibility in touching that and as an Inuyasha fan myself, it made me really think about “In order to create a new story out of a work that was neatly concluded, what sort of form does it need to take?”

I think Inuyasha fans would watch, so I felt that I wanted to release something that everyone would agree to as much as possible without breaking their (idea of) “Inuyasha”.

— In terms of the target audience for “Hanyō no Yashahime”, do you consider Inuyasha fans the main target? Or do you focus on the new audience that does not know “Inuyasha”?

Naka: For us, we want people to like the new characters so in that sense, we keep in mind the new people.

It’s just that a lot of time has passed since “Inuyasha” was broadcasted and I think among the people who watched “Inuyasha” back in the day are people who have become parents. I think watching it as two generations, parent and child (Mom and Dad who liked “Inuyasha” and the children who are touching it as a new work), is the most ideal.

Satō: The voice actresses who voice the three princesses (Towa, Setsuna, and Moroha), are from a generation that watched “Inuyasha” right when they were kids. They chit-chat while recording every week (laughs).

It would be great if the new target group could go back and watch “Inuyasha” because of “Hanyō no Yashahime” and think “There are demons that appeared in “Hanyō no Yashahime” too”. On the reverse side, I would like those who watched “Inuyasha” to enjoy “Hanyō no Yashahime” from the point of view of “It’s the demon from that time”.

For that reason, we inlayed different devices and components into the story.

Naka: We periodically put in devises that would make people who like Rumiko-sensei’s other works smile a little bit. Like the hoodlums who appeared in episode 2 or the monkey gag in episode 9.

— In other words, while still keeping in mind those who don’t know “Inuyasha”, you are of course creating a work that Inuyasha fans can enjoy as well.

Satō: Making sure we don’t destroy the image of “Inuyasha” characters is at the forefront of our minds, especially when we bring them out into the “Hanyō no Yashahime” world. This is so that people watching don’t think “That’s not the kind of character they were”.

Of course, when we bring them out, we always have Rumiko-sensei review the scenario. She’ll tell us “It should be fine if it’s like this” and apply that to the scenario which is how we’ve been doing it.

Naka: We’re careful so that when “Inuyasha” characters take the mound, they don’t eat into the spotlight of the new characters while also not losing their “status”.

— Among the fans, the way the broadcasting order of “Hanyō no Yashahime” to “Great Detective Conan” is similar to “Inuyasha” to “Conan” became a popular topic of conversation. Was that formation something Yomiuri TV-san was particular about?

Satō: The order is the same as when it was broadcasted during the golden hour of 19:00-20:00 (7-8pm on the 12-hour clock). We’re grateful that they’re nostalgic about it.

Naka: I don’t know if they were particular about it or not, but it was decided from the start that it would be broadcasted during that timeframe (before “Conan”). It’s possible that it just turned out that way, but from the production side, it felt “just like before” in the end.

Satō: It’s like (Yamaguchi) Kappei-san (role of Inuyasha and also Edogawa Conan/Phantom Theif Kid in “Great Detective Conan”) has 2 consecutive appearances (laughs).

Naka: Not only is the connection between the timeframe the same, but also when we heard that SixTONES would be doing the opening for the October cour, we thought the flow looked the same as “Inuyasha” since it would be a group from Jonny & Associates that would be singing (Editor’s note: In the past, V6 and Tackey & Tsubasa were in charge of the theme song for “Inuyasha”).

In the end, we’re also curious as to how the structure is the same as during “Inuyasha”.

A Character Cannot Come to Life Without Working Out the Fundamental Aspects

— Next, we will ask how story the of “Hanyō no Yashahime” was created. We just heard from Naka-san that “When I first heard about it “I might make it a story about Sesshōmaru’s daughter.” was how far I had gotten”, but were there any different ideas regarding the direction after that?

[Characters bios written following the question but I’m skipping it]

Naka: We proceeded with that intention as is.

It’s just that even if it’s a daughter, we couldn’t quite settle whether the daughter would be twins or an only child. We couldn’t decide until right on the line of “If we don’t decide what sort personality the character will have at this stage, we may have to relook things including the broadcast timing” (laughs).

Satō: We pretty much decided after directly talking to Rumiko-sensei.

— What did Rumiko-sensei tell you?

Naka: Regarding the character persona, she pointed out things such as “With only the setting, you don’t know why they speak that way” and “Why they dress like this doesn’t feel right to me”.

Especially with Towa, it took a long time for Rumiko-sensei to understand and agree to the part where “She dresses like a boy because she’s this kind of persona”. That’s where we struggled the most.

Satō: For Rumiko-sensei, apparently, she understood Setsuna and Moroha straight down like “So this is the kind of child she is”.

However, only with Towa did she say, “If you don’t clearly boil down and solidify how she will grow and what sort of foundation she’ll have, the story development will become blurred wouldn’t it”.

With that point, it was a lot of work deciding Towa’s character.

Naka: Not just the settings, but we had Sumisawa Katsuyuki-san (in charge of series composition for “Inuyasha” and now this work as well) vigorously write the scripts for episodes 1 and 2 and show Rumiko-sensei “With this story flow, Towa will respond like this” and “We’ll use this language”.

With that, we put things in order in a “But, we probably don’t need this kind of language after all, right?” kind of way.

— It was explained in the story that Towa dresses like a boy because “It’s easier to fight in”, but is that one of the settings that was solidified like that?

Naka: Yes. The result of coming up with different reasons and many ideas was that we ended up settling on a conversely simple reason.

Satō: Rumiko-sensei casually said “Isn’t “it’s easier to fight in” good enough?” (laughs). We were turning up a lot of different rationalizations. (translator’s note: Not confident on this sentence) For example, “As a girl, there was something she didn’t like”.

But it also became “I don’t think that’s true” …… It made us realize it was fine to have something simple and straightforward.

— So Rumiko-sensei was involved with the character persona starting from the foundation.

Satō: I learned a lot from speaking with Rumiko-sensei as I was creating the characters. Rumiko-sensei’s way of thinking is very logical and upfront. For example, “Because (she’s) this kind of child, (she) behaves like this” or “(She) Won’t say something like this”.

That’s why, people who view the work will see their foundation. In my head, I knew “If you don’t work out the fundamental aspects, the character won’t come to life” but I came to realize that once again.

In the anime, there were many people who put out ideas starting with Sumisawa-san, but I thought it must be a lot of work for Rumiko-sensei to create a manga while consulting with the editors.

We’re Mindful of the Composition that “Towa Sets the Story in Motion”

— With the characters solidified, did you receive any orders from Sumisawa-san as you planned the story?

Naka: With “Hanyō no Yashahime”, it started with Sumisawa-san first writing the scenario that would become the first manuscript.

In that regard, we discussed with him things such as “Keeping in mind of the development ahead, please pay attention to this part” or “Please put this device in”.

More precisely, there was a lot of discussion about Moroha’s position at the beginning. There was the fact that Moroha was the easiest character to move, but we wanted him to keep in mind as much as possible that she (Moroha) should show her concern for Towa and Setsuna in a way that ensures they’re at the forefront.

Satō: To the writer, Moroha is like a “Mini Inuyasha”. Hence there was a tendency to naturally center the story around her.

However, Sesshōmaru’s daughters, Towa and Setsuna, are the protagonists this time so we wanted (the writer) to keep that in mind.

Because Moroha is easy to understand with her character and Setsuna is a female version of Sesshōmaru, when their vectors become conspicuous, Towa appears overshadowed no matter what. “The protagonist getting overshadowed by those around them troupe.” is something that happens in original works.

That’s why we’re conscious of the composition of bringing Towa into the center and using her to move the story whenever possible. That’s the part we especially placed importance on when putting together the story.

— Next, please tell us the appeals of the three protagonists. Starting from Towa please.

Naka: Regarding Towa, she inherited Sesshōmaru’s silver hair, has a boyish outfit, and has an outward appearance that would make girls think she’s attractive.

However, her values are surprisingly modern, and she has a naiveness about her which Setsuna calls out within the story. I don’t think there have been many characters who have been balanced like this thus far.

Although, at the current phase, there’s a point that what the goal behind her actions is might still be a little weak.

Satō: Just as Naka-san said, Towa has a half-hearted kindness and naiveté; how that will change as she travels with Setsuna and Moroha. Please look forward to that growth as you watch the story.

I think there are people who get impatient seeing Towa’s current indecisiveness (laughs).

What will that kind of protagonist experience and how will her feelings change from that. It will make me happy if people think “Towa’s changed; she’s matured” at the end.

Naka: I think having lots of room for growth is what gives her that protagonist feel. Conversely, Setsuna is a relatively standard character. However, on the one hand, she does have a kind side.

Satō: She does show a little affection after all (laughs)

Earlier I said “a female version of Sesshōmaru” so I think her nonchalant kindness is the same as his. The vector of her character direction is easy to understand which is her appeal.

— It seems Setsuna coldly pushes Towa away, but also shows concern for her. Despite saying, “The curse of the Dream Butterfly doesn’t need to be broken”, she goes along with Towa’s search for the Dream Butterfly.

Satō: Just as the line “I can’t readily accept that” in episode 3 said, Setsuna cannot accept Towa as her sister.

However, I believe she understands Towa’s virtues as an individual. We would like everyone to pay attention to how Setsuna draws the line of “I can understand Towa’s good qualities, but I can’t acknowledge her as an older sister” and the point at which that line is crossed.

Will the day ever come where Setsuna will address Towa as “Towa nee-chan” ……

— It feels as though the distance between them is getting shorter, like when she almost went along with Towa’s high-five in episode 11.

Satō: Little by little. Within that, we would like for you to please look forward to how their feelings intersect when the time comes.

Naka: In that episode, it looks as though she gets along with Towa, but when Towa tried to lay her head on her lap, she didn’t allow it. I was watching with great interest like “So that’s where she draws the line” (laughs).

— Next, Moroha.

Naka: Moroha is pretty much just what you see (laughs)

Satō: She’s a hybrid of Inuyasha and Kagome. If her theatrical elocution is like Inuyasha’s, then her actions are understandable like Kagome’s.

In that sense, I think she’s a character that viewers can easily connect with. There’s also the fact that currently, all the gag lines are relatively being placed on Moroha (laughs).

Naka: In earlier episodes, her level of participation was high but lately she’s been in charge of punch lines (laughs). For example, when they didn’t take her to the battle in episode 10 or when she got caught up in Setsuna’s attack in episode 11.

Earlier, we discussed how “We were careful not center too much around Moroha” but it put us at a disadvantage as a result and I feel a little bad (laughs). However, Moroha will be taking charge in episode 16 next week (1/23/21) so please look forward to that.

Satō: Not only will Moroha play a very active role, but it is also an important episode that depicts the environment that she grew up in. Why she has to collect bounties and what kind of relationship she has with Jyūbee will be touched upon. If you watch that, I think you’ll come to understand her actions up until now like “So that’s why she was doing things like that”.

From a composition standpoint, episode 15 revealed Towa and Setsuna’s past, episode 16 will reveal Moroha’s backbone, and furthermore, the story of Setsuna’s childhood will come hereafter. If you watch that far, the full story of this will work will become clear for the most part.

The first cour was a period of planting seeds, but now going forward, the composition is set up so that the fruit of the tree will ripen and fall, so please continue to look forward to it.

The Casting of Miroku Was Entrusted to the Sound Director for “Inuyasha”

— Next, please tell us about the casting. On what points did you decide the cast group?

Satō: It was fundamentally decided through auditions. If we don’t progress the script to some extent, sound director Nagura Yasushi-san can’t determine the direction of the roles, so when the script amount had accumulated, we gathered up people who could picture the characters and carried out the auditions from there.

It was right about the time when the COVID crisis was escalating, so we worried if we could really start broadcasting in October.

Naka: The balance between the three was the deciding factor. After we narrowed it down from a number candidates, we took a “If this person did this character, then the balance would probably become like this” kind of view and decided from there.

Satō: There’s going to be a lot of dialogue between the three of them not matter what, so in order to avoid having similar voice tones and similar ways of speaking, we created the characters based on that assumption.

Towa’s thought process and actions are modern and Moroha acts on her emotions. Conversely, Setsuna is always calm and collected like Sesshōmaru and makes decisions after observing the entirety of the situation. Then she’ll look for the best solution and take action.

Because each of the characters has that kind of nature, we ordered Nagura-san to look for a balance that enables you to easily tell the three of them apart when they’re conversing.

– Did you not look at it from a standpoint that the voices should or should not sound similar to those of the parent generation like Sesshōmaru, Inuyasha, or Kagome?

Naka: That is a point that we were not at all concerned about. We proceeded with a viewpoint that the person should match the outward appearance, the actions within the story, and the nature of the character.

When balancing the three of them, balancing the twins seemed difficult, so from there we decided on Moroha first as her position takes a step back. We decided on Towa and Setsuna at the end after looking at the balance between them and considering Moroha for a second time.

— What were the key points in selecting the cast outside the three girls?

Naka: We left it up to Nagura-san. There were times when he asked for our review and opinions.

For example, there was an idea for Riku (CV: Fukuyama Jun) to have a more feminine voice. But when we spoke to director Satō, he said “A masculine image”, so we went with that direction.

— The Miroku that Yasumura Makoto-san, who replaced the late Tsujitani Kōji-san, played was a hot topic but did Nagura-san decide on that casting as well?

Satō: Regarding Yasumura-san, we asked Tsuruoka Yota, who was the sound director for “Inuyasha”, to decide. We thought that fit more under the category of “Inuyasha” rather than “Hanyō no Yashahime”.

Of course, I’m sure the viewers knew (the voice) was going to change, but we received a lot of feedback saying “It’s Miroku-sama!” and “It doesn’t feel out of place at all!” when episode 1 was broadcasted.

I was in Tsujitani-san’s care many times as a sound director prior to him playing Miroku. I was still a newbie producer back then but even when I met him after that at the “Inuyasha” set, he spoke to me like “Hello~”

I was producing while my heart was pounding hard. During testing, when I was panicking because I couldn’t match up the lip-syncing, he reached out to me like “We’ll do the syncing so it’s fine”. The figure of him reaching out to me so nicely is strong in my memory.

It was such a shame that he died so young. However, this time Yasumura-san, who was also his junior at the same agency, is working hard as his successor, and I think he was casted well.

Naka: Director Satō, you said “The air around Yasumura-san is completely different now compared to when I worked with him in other works”.

Satō: In episode 1, it seems he was really nervous having to record with the cast of “Inuyasha” who are high level seniors.

He was relaxed to some extent in episode 13 which was Miroku’s episode. He said to me “I’m sorry about before when I was extremely nervous” (laughs).

Creating Scenes in A Way That’s Distinct from the Popular (Methods)

— In order to make viewers feel that this is a work that inherits the world of “Inuyasha”, do you do any devising on the production side?

Satō: I would say scene creation. We don’t really get onboard with the popular trends. We split the cuts and show things the way they did in “Inuyasha” in order to smoothly give it that “Inuyasha” feel. I think it’s distinct from what’s popular nowadays.

This might be weird way of saying it, but it’s like we’re using an old-fashioned way of creating. By purposely doing things in a “Works from about 10 years ago felt like this” sort of way, it brings out that “Inuyasha” feel.

For other parts, Sumisawa-san directs the theatrical elocution and we have the same sound team from “Inuyasha” working, so no particular explanation is needed. In that aspect, they’re making it a lot easier for me (laughs).

For me, “Inuyasha” was the first work I did as a freelance producer. Not only was it a work that taught me the fundamentals of producing, but I also learned (how to make) storyboards from “Inuyasha”. In that sense, it’s a very memorable work.

— At the beginning, you said you “Put in devices that connect to “Inuyasha””, but between episode 9-12, demons that appeared in “Inuyasha” were continuously making appearances and it became a topic of discussion.

Naka: That section was the “devoured by Mōryōmaru” series. We had to speed through things in “Inuyasha the Final Act”, so I brought out those demons thinking “If we could just use the demons that we couldn’t properly show back then, even just a little”.

Satō: After fall for Meiōjū, we only had the scene of Mōryōmaru taking the armored shell (laughs)

Naka: We explain that “The demon that appeared this time is actually in “Inuyasha”” on the official Twitter account. It would be wonderful if there are people who take an interest in “Inuyasha” after watching “Hanyō no Yashahime”.

Satō: I think there’s also a wonderful world laid out in that work, so we would certainly love for you to watch “Inuyasha” while enjoying “Hanyō no Yashahime”.

Picking Out Noteworthy Episodes and Explaining Them!

— From here, we will have you look back on episodes that have already aired. We have picked out a number of impressionable episodes, so please tell us some secret (behind the) production stories, memorable recordings, and scenes that left a lasting impression on you.

Episode 1: Inuyasha Since Then

Satō: It was like a “class reunion” (laughs). Although, we couldn’t have everyone record together due to the COVID crisis.

We had everyone take turns recording but they were all was greeting each other like “Oh my god~!” as they passed by one another. Likewise, it was a teamwork that went without saying.

Jaken (played by Chō-san) was adlibbing a lot and that situation made me really think “This is “Inuyasha””.

The first episode was mainly “Inuyasha” basically, but at the very beginning and end, we had the story connect to episode 7 of “Hanyō no Yashahime”. In that sense, the episode was pretty much full “Inuyasha”.

Naka: While we had director Satō do the storyboard and production, I saw the storyboard and felt “Ah, it’s “Inuyasha”. It will be okay”. Like feeling relieved (laughs)

Satō: When 10 years goes by, the producers from back then aren’t around anymore. The people I worked with are now at the director level. Explaining something like the rules of “Inuyasha” from square one to the new people is a hassle, so I was like “I’ll do this myself” (laughs).

The surprising thing is, we had the same group of people from 20 year ago with chief animation director Hishinuma Yoshihito (in charge of character design in “Inuyasha”. In this work, he oversees animation character design) and the animators from back then. It felt as though “Ah, nothing’s changed”.

I remember working while saying “Back then, I never thought we would do something like this 20 years later”.

Episode 2: The Three Princesses

Satō: You could say this episode was episode 1 for “Hanyō no Yashahime”.

Due to the COVID crisis, we couldn’t have the three princesses record together and it made me realize how important it was for everyone to record together. Even though it’s a conversation, when you have one person record first and the other person responding while listening (the recording), it changes the mood and rhythm.

Nagura-san tried to match up schedules so that the three princesses could record together as much as possible, but in the end, we couldn’t record with everyone. In a sense, episode 2 was very memorable to me in that it left the impression of “So we’re going to have to record like this from now on”.

I think all the works that started airing in the fall were in the same situation, not just “Hanyō no Yashahime”. Since we were recording in chunks, it became necessary to pay even more attention than before to ensure that we didn’t forget to record anything.

I’m grateful to everyone involved that we somehow managed to air every week, despite these difficult times.

Naka: The first demon that appears in episode 2, is a point where we kept “Inuyasha” in mind as we pulled Mistress Three Eyes from Mistress Centipede.

I think it was an episode where we appealed that “We’re aware of the “Rumik World”” by putting in the hoodlums mentioned earlier and Towa’s gag face.

Even though the original “Inuyasha” leaned a little more to the serious side, I think Rumiko-sensei’s taste of allowing a little bit of leeway while not shaking off just that (aspect) is there.

This time as well, including the broadcast time, there were views from inside stating that they didn’t want to make (the episode) too serious. However, director Satō had already added that kind of relaxedness even before that was directly said. He splendidly created that balance that wasn’t too serious.

Episode 7: The Apple Meeting

Satō: Riku, who appears in episode 7, is a character we aimed to have revitalize the story by plopping in a new character just when the story was about to get stuck in a rut. Rumiko-sensei also uses this technique; for example, Kōga and Mugen no Byakuya in “Inuyasha”.

I spoke with Sumisawa-san at the beginning, expressing my desire to introduce a new character to revitalize the story before viewers could start thinking “We’re going to just keep watching this journey?” as they watch the three princesses progress on their journey. He’s a keyman who stirs up the story.

Plus, the three Yashahimes are girls, so there was also the idea of having a romantic component like with Inuyasha, Kagome, and Kikyō. Although he ended up having the feel of a pick-up artist as a result of trying to add that component in (laughs).

Naka: Episode 7 is an episode that connects to episode 1. We intended to put in the device of connecting episode 1 to another episode when we organized it, but after watching episode 7 I thought “It connected pretty well”.

I think it was nicely organized as it turned into a spoiler episode where you found out why Towa was there and what Setsuna and Moroha were doing while Yotsume was telling the old tale.

Satō: Going forward, Riku will gradually involve himself with Towa, and we wanted to show why that is over a number of episodes.

I think you’ll understand to some extent in episode 15, but he’s a character that you don’t know which side he swings to (friend or foe?), so he’s a character to look forward to in that sense.

Episode 13: The Delicious Feudal Monk

Satō: It was a parent child episode with Miroku and Hisui (CV: Urao Takehiro) that we added with the desire to develop Hisui. He is the son of Miroku and Sango (CV: Kuwashima Houko) and I think everyone was wondering what Miroku was currently doing, so we thought it would be nice to introduce what Miroku was up to here and depict the parent-child relationship.

Naka: It’s an episode where Hisui finally plays an active role. It was a feeling of sorry to have completely kept you waiting in the first cour. I am glad we were able to give him an active role to some extent. Moroha ended up going somewhere else though (laughs)

Finally, Setsuna stole the show at the end when her true power was released. I think it brings out Miroku and other “Inuyasha” characters in a good manner while still having highlights for “Hanyō no Yashahime”.

Episode 14: The Mastermind Who Burned the Forest

Satō: This is the episode where the truth behind the fire that attacked young Towa and Setsuna is revealed. It’s a real binding episode you could say, and I think it’s a story that could be put in a modern setting.

Also, from this story, the distance between Towa and Setsuna that we talked about earlier will somewhat destroy a line, I think. There’s Towa who shows her anger towards Homura, the one who tore them (the twins) apart, and Setsuna who has some thoughts from seeing that.

If you can feel that, I think how you view episode 15 will change.

Naka: I thought Towa’s comparison to a smartphone at the beginning was a little off as she doesn’t understand the concept of jealousy (laughs).

Also, something that I thought was strange after rewatching episode 14 was how the gardener and the cook were fine with working in such a dangerous place (laughs). I thought it was amazing even though they’re just regular humans.

Demons and humans unexpectedly coexist in this world. In a sense, you could say it’s very open-minded for a demon. Demons were depicted in all sorts of places in “Inuyasha” too, so it was an episode that made me realize once again that it’s this kind of world.

Episode 15: Lunar Eclipse, The Sorrowful Parting of Fate

Satō: Why did Towa and Setsuna have to grow up separated (from their parents) when they were young? This is the episode that answers that and depicts the continuation of the brief flashback in episode 8.

Why Sesshōmaru and Kirinmaru confronted Inuyasha and Kagome becomes clear. With this, I think you can start to understand Sesshōmaru’s actions.

Naka: This episode was a little different. To begin with, we thought that patrons would be happy to see Inuyasha and the others at the end of the first cour, so we organized it so that the past would be discussed at this timing.

It’s just that it felt completely independent from the main story and Riku just suddenly narrates it, so I’m sure viewers were surprised. Riku was in there as like the navigator.

The three Yashahimes don’t particularly know this, and this episode was purely for the viewers. It would be great if everyone looks forward to what’s to come while keeping this in mind.

— Thank you very much. Lastly, please give a message to our readers who are looking forward to what’s coming up ahead.

Naka: Cour 1 has just ended and we have entered cour 2, so from here on you will learn the things that you wanted to know. Please see for yourself how Towa, Setsuna, and Moroha will grow as you look forward to the mysteries being unraveled.

Satō: After episode 15, “what each character must do” will continuously become clear, and it will become a story that pursues that. On top of that, it would make me really happy if you could enjoy watching what will happen to the three (girls).

#yashahime #hanyou no yashahime #yashahime: princess half demon #translation

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sou-ver-2-0 · 4 years ago

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Sou Hiyori and Kanna’s Sister Parallels

In my short time in the Your Turn to Die fandom, I haven't seen anyone discuss the similarities between our Sou Hiyori and Kanna's older sister Kugie. This subtle parallel is one of the many fantastic writing details in this game, and it happens to be my favorite one. So I wanted to talk about it!

I love the irony that the characters in YTTD draw a more obvious parallel between Kugie Kizuchi and the game's protagonist, Sara Chidouin. Both Sara and Kugie are high-school aged girls, and Sara often plays the part of Kanna's big sister, leading Kanna to project her feelings for Kugie onto Sara. Although this is sweet, it's still a superficial parallel. Sara and Kugie play the same role, but how similar are they really? If you choose to chat with Kanna on the first day of Chapter 2's storyline, Kanna will tell you the truth about her adoptive sister. Instead of idealizing her, Kanna paints a more complex picture of a flawed young woman. Unlike Sara, Kugie bullied Kanna when they first met. It took time for the pair of them to feel like real siblings. On a deeper level, Kugie's own mini-character arc is very different from Sara's arc, but it perfectly mirrors Sou's arc!

Both Kugie and Sou have a cruel streak and they each make rash judgments about other people. However, they eventually reveal with their actions that they truly love Kanna deep down. While Sara can make the choice to abandon Kanna, both Kugie and Sou would die for the girl. Because of the striking parallels I see between Kanna's memories of Kugie and Kanna's present relationship with Sou, I want to believe that Kugie was just as willing as Sou was to die in order to save Kanna's life. Kugie's story effectively acts as a microcosm of Sou's story. So let's take a close look at it.

KANNA: ...Sara... / You're just like... my sister.

SARA: Huh...?

KANNA: Your strength... and your kindness... / ... / But my sister... / Wasn't always kind from the moment we met.

SARA: (The moment they met...?)

If you speak to Kanna during negotiation time on Day 1 of Chapter 2, the girl begins her story by telling Sara that she's just like her sister, since Sara shares Kugie's "strength and kindness." However, she admits that her sister "wasn't always kind from the moment we met." This is the first major difference between the two girls, and it's what clued me into the idea that Kugie's story might be a metaphor for Sou's story instead. It's also an early moment in which Kanna reveals that she's not as naive as people think she is. She's aware that Kugie was flawed, just like she's aware of Sou's flaws. She keeps choosing to believe in their capacity for good, even as she understands that they are capable of hurting her.

Following this revelation, we come to a notable choice.

1. CHOICE: You aren't blood-related?

SARA: ...Kanna. Are you and your sister not blood-related...?

KANNA: ...Right...

2. CHOICE: Guess I win

SARA: I was nice from the start, so guess I win.

KANNA: Ah... Even the way you say weird things like that is just like my sister...

SARA: (Strangely, that just got her more emotional...)

Sara can either ask "You aren't blood-related?" or smugly observe "Guess I win." Either way, Kanna will steer the conversation back to her adoption by the Kizuchi family. But the choice to declare "victory" over Kugie here fascinates me, since it's easy to connect this competitive sentiment to Sara's relationship with Sou. While Sara and Sou are obviously in a competition for their lives, what ends up mattering more is their competition for Kanna's affections. In both cases, Sou is painfully aware that he's the underdog with "zero percent chance of success." Sou is sure that Kanna would choose Sara's life over his life, if she were forced to make that awful choice.

For Sou, who believes that Kanna loves him less, his moral dilemma is whether to support Kanna in spite of this. The fact that he supports her unconditionally in the second Main Game speaks to his strength of character. He proves that he truly values Kanna more than his own life. For Sara, who already feels comfortable in the "victory" of Kanna's devotion, the moral question becomes whether the player will make choices that are worthy of the girl. Will you help Sou protect her? Or will you decide that Kanna's life is worth less than Sou's hacking skills? Sara's choice determines whether she truly shares Kugie's "strength and kindness."

I'll come back to Kanna's feelings on this "competition" later. For now it's enough to say that she recognizes that competitive streak in Kugie too, and that memory makes her "emotional." It shows how she loves these three characters even when they say "weird things." Again, Kanna is aware of Sara, Kugie, and Sou's flaws but still feels affection for them. That's just how it is when you love someone.

Kanna continues her story:

KANNA: ...See, Kanna's adopted.

SARA: ...!

KANNA: She came to her current family from an orphanage when she was little...

SARA: So you had different parents, too?

KANNA: Mom and dad were really kind... / Kanna... was determined to always smile, childishly thinking "I can't trouble them." / ...And Kanna's sister didn't seem to like her...

Here, Kanna reveals that she has always had the type of personality where she tries hard to please others. She was worried about being a burden long before the Death Game, but for a more ordinary reason; she's adopted. She's always been self-conscious. Her ongoing heartbreak and anxiety comes from a deep place of worrying that her big sister doesn't love her. This informs her current relationships with both Sara and Sou.

At this point, the narrative shifts to a flashback of Kanna's memories.

MOM: Stop it, Kugie! Why do you do such cruel things?!

KANNA: No, it's fine! Kanna's not angry... She's not, really... / Look, see! Ahaha... Ehehehehe...

KUGIE: ...What're you always laughing for?

KANNA: Huh...?

KUGIE: ...You're creepy. I hate it.

DAD: Hey, stop that! Apologize, Kugie!

Kugie calls Kanna "creepy" and even says that she "hates" that part of her. Sara can't ever say such cruel words to Kanna; the worst you can do as a player is speak sternly to her sometimes. But Sou absolutely can say cruel things. He has called Kanna "stupid kid," "dead weight," and a "hindrance" in front of the entire group. And just like the Kizuchi parents scolded Kugie for her mean words, our group members condemn Sou for his mean words.

Now, we know Sou wasn't actually speaking his heart with those words. He didn't have malicious intent. (In fact, he was trying to save Kanna's life.) Sou said those words because he wears a mask to cover his true self. That's the essence of his character. He tries to sound tough and logical to force people to take him seriously. He assumes that once he lets his guard down and shows weakness, everyone will vote to kill him. He becomes a bully because he's insecure.

What if Kugie was also wearing a mask when she bullied Kanna? Not because of the Death Game like Sou, but for a more ordinary reason. Maybe she was simply trying to sound "cool." Maybe Kugie bullied Kanna because she was also insecure, and it would be easy to take out her insecurity on a little girl like Kanna. Kanna is an awkward child who speaks in the third person and laughs for no reason. It would be easy for an older girl to look at Kanna and think, "At least I'm not as embarrassing as that." Even though we don't know Kugie as well as Sou, I think it's a logical assumption.

KANNA: Even then, I kept on smiling... I didn't... want to make sister out as a villain. / But one day, when it became unbearable... I ran away from home.

This is the saddest part but I love it because it's a direct parallel to what Kanna says about Sou!

During the Second Main Game, when Kanna confesses that she took the Sacrifice card from Sara, she says, "Kanna...Kanna...!! She didn't want to let Sara die...!! And also...!! She didn't want to make Sou a murderer...!!"

The things Kanna does for these two!!

In other words, there comes a point for both Kugie and Sou where their actions are so harmful that Kanna feels like she has to throw herself away to thwart their "villainy." She runs away from home. She takes the Sacrifice Card. Because she doesn't want these two people she loves to become villains.

We continue Kanna's story with another flashback. This time, it's accompanied by visual imagery of a small Kanna sitting by herself and crying while hiding her face under a bucket.

KANNA: ...sniff... sob...

KANNA: (narrating) I couldn't go home. I didn't want to... Thinking that to myself, I sat in the park with a bucket on my head and cried.

This is Kanna at her most vulnerable. She is isolated and alone. She has given up.

In the present day, Kanna has many hopeless moments like this since she has just lost her sister, the person she loved most. We can judge any of the game's characters by how well they treat her, the most vulnerable among them.

In Kanna's memory, there is a character who comes to speak with her at this time. A little boy who tries to joke with her and cheer her up. Kanna only remembers him as "Brat," but to the player, he looks an awful lot like a small Joe Tazuna! The following confrontation between Kanna, "Brat," and Kugie is my favorite part, because it leads to my favorite parallel.

BRAT: Hey! Whatcha doin'? / What's with the bucket?! Yer funny!

KANNA: ...sniff... sniffle...

BRAT: Huh? You cryin'?!

KANNA: ..........

BRAT: ...Alright. / *He lifts his shirt over his head.* How's that! Ehh?! Look at me! C'mon! Funny, right?

KANNA: ...uuuuu...

VOICE (KUGIE): What're you doing?!

BRAT: ...Huh...?

KUGIE: How dare you put a bucket on her head and tease her!! Beat it, you!!

BRAT: I-I wasn't teasin' her!

KUGIE: Liar!! Kanna's crying, isn't she?! D-Don't... be so cruel to my little sister!!

KANNA (narrating): ...That was the first time she called me "little sister"...

In the scene, "Brat" greets Kanna and tries to cheer her up by being a goofball. However, Kugie sees this and gets the wrong impression. She assumes that the boy is hurting Kanna and she rushes to her little sister's defense. As a result of Kugie's actions, Kanna finally sees Kugie's true loving heart.

This is, beat for beat, exactly what happens when Sou confronts Sara about Kugie's smartphone. Just like Kugie wrongly assumed that Joe was bullying Kanna, Sou wrongly assumes that Sara tampered with Kugie's smartphone to make it seem like Kugie hated Kanna. Even though Sou is wrong--Sara was trying to fix the smartphone, just like Sou was--this is the first moment that the player can see Sou's true heart. We learn that Sou's reasons for targeting Sara aren't due to him being some scheming mastermind; he's simply suspicious by nature and he makes rash judgments. He acts the way he does because he genuinely believes that Sara is dangerous. And for the first time, we see how deeply Sou cares about Kanna. We see him stand up to Sara to defend her. Then we see how he wrote a message full of love and hope on Kugie's phone.

When Kanna finally receives the phone, she cries "tears of salvation" over Kugie's new message. But Kugie's words are really Sou's words. And by the time we reach Chapter 3, we learn that Kanna knew the truth the whole time.

(KANNA): Kanna was always with her big sister. / Because she loved her a lot… / But Kanna was always just a bother to her… / Even that time when it mattered most, she couldn't do anything. / So she thought she was hated… / But that message... made her remember. / That surely, her big sister was watching over her… / That she had to stay strong on her own… / But, well… / The truth is, she knew… / That it wasn't her sister who wrote that message… / *Kanna remembers Sou's face.* .... / ...There's people who tried to protect Kanna. / There's people who worked to encourage her. / So... she doesn't want anyone else to die. / Because... they're all such kind people...

In the game, Kanna shares these thoughts with the player in the aftermath of Sou's death. This is the scenario in which Sou gets to complete the same arc as Kugie. They both sacrifice themselves to save the little sister they love so much. I'm sure that Kugie would have been grateful for Sou's help in writing that message and saving Kanna's life.

I'll finish sharing the rest of Kanna's story about Kugie:

KUGIE: ...You still crying?

KANNA: S-Sorry... sister...

KUGIE: ... / ...So you cry too, Kanna.

I think the wording of that last sentence in English is interesting. The obvious interpretation is that Kugie realizes that Kanna has been secretly crying and hiding her true self all this time. But on another level, I wonder if Kugie is admitting that she herself "cries too"? That would confirm Kugie's insecurity. And it would make this a moment in which Kugie sees herself in Kanna, just like it's implied that Sou sees his "weak self" in Kanna. In any case, this "unmasking" of Kanna's true heart is a good parallel for Sou's story as well. Kanna also hides her feelings like he does.

KANNA: ..........

KUGIE: .......... / Kanna... I'm sorry...

KANNA: ...Sister...

KUGIE: Mom and dad are worried, so let's get home quick, okay?

KANNA: O... Okay! Eheheh...

It is possible for Sou to apologize to Kanna in the prologue of Chapter 2, Part 2. His wording is more ominous than Kugie's, though he keeps Kugie's sentiment about returning home: "...Sorry. / Just relax. If you’re obedient, I’ll tell you how to survive."

Continuing with Kanna's story, the narrative shifts back to the present day.

KANNA: ...Ever since then, my sister and I got along really well.

SARA: I see...

KANNA: Without any blood relation... Kanna and her sister got along really... really well... / ..........

I love this line because it can apply to Sou as well, since he isn't blood-related to Kanna either. All of Kanna's protective siblings commit to her well-being by their own choice.

SARA: Kanna...

KANNA: Kanna... will definitely go home...! Because she needs to tell mom and dad...! / Determination... / A kind of determination... much too heavy for a girl her age to bear. / ...I should be going soon. Sou might wake up, after all... / Thank you very much... Sara.

Kanna ends her story with a determined speech to return home and honor Kugie's memory. As we read earlier, Kanna gives a similar determined speech in the aftermath of Sou's sacrifice. Later in Chapter 3, she further expresses a desire to honor Sou’s memory, saying “I want to know more about the man who sacrificed himself for me.” This is Kanna at her strongest! This is a Kanna who wants to live!

I mentioned earlier that I would come back to Kanna's feelings on the "competition" between Sou and Sara for her affections. Because Sara resembles Kugie physically, everyone believes that Kanna would choose Sara over Sou. Kanna even says that Sara is "the person she most wants to live." That is Kanna's emotional appeal to save Sara from being voted as a candidate. In the event that Kanna dies, Keiji rubs Kanna’s words in Sou's face at the beginning of Chapter 3, leaving Sou desolate.

But it's important to note that Kanna's choice was always to save both Sara and Sou. To say that she would abandon Sou discredits what actually happened. After Kanna makes an emotional appeal to save Sara's life, she shrewdly makes a logical appeal to save Sou's life. And when Sou tries to direct the votes to Kanna, thinking she has the Sacrifice card, Kanna easily thwarts his efforts by simply telling the truth. Kanna was the only character who chose to be honest about the Sacrifice Card, because she never intended to let anyone else die for her.

Kanna's choice was to reject the “competition” outright. She doesn't even take it seriously. Her reasons for taking the Sacrifice card were twofold: to save Sara's life, and to save Sou's soul. It's never a real question for her which person she values more. She would have died for them both.

This matters because Sou doesn't parallel Kugie in such an obvious way like Sara does, but the parallel is still there. It's subtle enough that Sou can't even see it. He never feels confident in Kanna's affection, which is why he ordered her, "Kanna. / Don’t you betray me." He can't see what's right in front of him: that Kanna cares about him as though he were her own brother.

In contrast, Sara feels self-conscious about the comparisons people draw between Kugie and herself. She always feels awkward about it. She is fully aware that Kugie was her own person, and Sara can only pretend to understand what she was like. I really like the way that the manga treated this issue. Although the manga cuts out many of the excellent character moments from the game, it adds more focus on Kugie.

Sara thinks to herself, "I don't know...how many regrets that person had..." which neatly foreshadows that Kugie would have regretted bullying Kanna. Speaking of regrets also reminds me of Sou, who--in the route where he dies--regrets not trusting everyone sooner.

I wanted to end this piece on a happy note, so I'll just say that I like to imagine that Sou and Kugie would have gotten along! Maybe they would even be able to see through each other's masks and help each other. They could work together to protect Kanna, and the Player could choose whether Sara joins them.

#yttd #your turn to die #kimi ga shine #sou hiyori #kanna kizuchi #shin tsukimi #sara chidouin #kugie kizuchi #sou and kanna #sara and kanna #kizuchi sisters #sou and sara #mine #meta #my meta #your turn to die spoilers

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soupthatistohot · 4 years ago

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Why do I write primarily mlm fanfic?

This was something I asked myself the other day. I am a girl, I think I'm queer (but I am attracted to men, whatever I am), so why do I fixate on mlm relationships? Why do I never feel compelled to write wlw or even just some good 'ol straight stuff? I brought this up to a few friends of mine who also watch anime. One of them said that it’s because lots of popular media only really focuses on developing their male characters well, and I think this to be a very suitable explanation (as well as the fact that I’m queer and thus gravitate towards queer stories).

Take Sk8 the Infinity for example. I could count the number of female characters in this anime on one hand, and one of them is a robot. The others are supporting roles who only serve to support the male main characters. I love Sk8 very much, and with the possibility of a 2nd season I’d love to see a prominent, well-developed female character (but if they make her Reki’s love interest I will literally stab someone). But as the anime stands right now, there are no female characters that aren't just basically plot devices.

Another show I love dearly, Yuri!!! on Ice, is much the same. While there can be more of an argument made here because 1) competitive figure skating is split up between men and women, and 2) I believe that the story Yuuri and Victor is absolutely meant to be a romance, so having the two men as the focus is somewhat necessary, there's an overwhelming lack of fleshed-out women in the story. All the female characters are supporting members that only exist for the benefit of male characters. Yuuko and Minako support Yuuri, Lilia exists so Yuri P. can improve, Mila is just... kind of there, and Sara's whole character is centered around her brother being overprotective of her.

Okay, so let's look at something a little less... fruity. Horimiya. I've only watched the anime, so if there's stuff I miss from not having read the manga (yet), please forgive me. I still think this is a valid perspective, though, because if there's female development that the creators decided was so unimportant that it could be cut, that still supports my point here. In my opinion, Miyamura is a lot more developed than Hori. He has his tragic backstory of being a loner, and having his secret piercings and tattoos and all that. A lot of the story ends up focusing on his side of things... despite the fact that Hori is the protagonist. The story follows her perspective for the most part, we learn things about Miyamura as she does, yet I feel like she's a bit dull. She has a uncommon home life and has to take care of her younger brother, that's her big bad secret? I get that it's kind of unexpected since she's the pretty, perfect, popular girl, but I still feel like it's a tad anticlimactic. It's hardly ever addressed beyond the first few episodes, too, and it just kind of exists as a fact within the story. Even beyond our main couple, it seems like the other female characters development and stories are all focused on the boy they're interested in (except for Sawada, but she's there for like a couple of episodes and then doesn't really show up all that much again... and her crush on Hori is handled really weird, I didn't exactly love it). Remi's entire character is pretty much centered around her boyfriend, and Sakura and Yuki are basically competing for Toru. Meanwhile, the guys have story beats themed around the girls they're interested in, but I feel like it's not as obsessive or dramatic as how the girls are depicted.

So, we're given these female characters, who are really watered-down and honestly kind of boring, and we're not super compelled to write about them. When we are given flat female characters, there's nothing to work with. It's more fun to use the characters who have had development and play around with the "what ifs" and our own personal headcannons. The characters who get this special treatment are primarily male. And while I commend a lot of shows for developing their male characters in such a way that doesn't exactly fit with society's idea of masculinity (ex: Reki's insecurities and depression, Yuuri's anxiety and femininity, Miyamura's isolation and depression), in the end these characters are still boys, men, males.

I also think mlm is so prominent because of both straight girls and queer people. For straight girls, it can often be fetishization (forgive my generalizing, I'm sure not all straight girls are like that, but an overwhelming amount definitely are). I think one of the best examples I can give for this is Phan. This is a bit different since it's not anime, but instead real people, but if anything that really drives home the point even more. The way Dan and Phil were (and probably still are) treated in the fandom internet space is disturbing, to say the least. Their audience, while much of it was queer, was also made up of an overwhelming amount of heterosexual girls who not only shipped them intensely, but also often sexualized them. And look, there's nothing inherently wrong with being a straight girl and writing smut, but it gets to a point where it can be kind of weird if its excessive. Like, if that's all the relationship is really about, and if the people you're writing about are real human beings, that's definitely overstepping. I will admit that I had a Wattpad and that I wrote Phanfic way back when, and this is something I'm not exactly proud of. Granted, I did not write anything explicit, it was still super weird, whether or not I was queer. And I'm not saying all the problematic aspects of the Phandom were because of straight girls, because what I contributed was arguably problematic, and I did not identify as straight at the time. At the same time, though, there were straight girls who wrote exclusively smut (or "lemons" as they might've been referred to at the time). There were those who analyzed every post, every bit of information they could find about these men on the internet. They obsessed over the fact that they occasionally shared clothes (which is fairly common for roomates of similar sizes to do), and gathered evidence to support the theory that they shared a bed. It was bad. It was invasive, and it got to the point where it wasn't about the people, it was about the fetishized fantasy these girls made up in their heads about these real, actual men.

Dan and Phil's online presence kind of disappeared for a few years... and I don't blame them.

Getting back on track, mlm is prominent for queer people because it's the LGBT representation they so desperately want to see actualized in media. If a show doesn't make their favorite queer ship canon (and they often don't), they'll do it themselves! That's what fanfic is for! I also know that queer people project onto these characters a lot, and that writing about them is almost like a form of therapy. They see these characters as queer, and they see themselves in these characters, so they write about these characters experiencing similar emotions to them. The thing is, the most compelling characters are male, so those are the characters they end up focusing on, even if the person in question is strictly sapphic. My best example is how I project onto Reki. Personally, I end up thinking of him as (and thus end up writing him as) having some internalized homophobia around being bisexual. That's literally what I am currently going through. I can't project this onto any of the female characters in Sk8, because I couldn't see them going through this experience because they're not developed enough to.

Despite all of this, I still enjoy all of the shows I mention a lot. I think it's just an interesting topic that I was thinking about. I'm not trying to bash anything that I used as an example, these were just my personal observations based off of what I know about these shows and their fandoms. I do, though, believe shipping real people isn't super cool, and I stand by that as someone who used to do it. I'm not going to stop you... I just think it's intrusive and inappropriate to pretend like you know enough about influencers to dictate who they should be involved with romantically. Their love life is, frankly, none of your damn business.

So, long story short, we should make anime (and popular media in general) less misogynistic.

(Also, please leave Dan and Phil alone, they deserve privacy)

#fandom #anime #mlm #queer #lgbt #lgbtqia #sk8 the infinity #yuri!!! on ice #yuri on ice #horimiya #kind of an essay #kind of a brain dump #I hope I got my point across #I spent a little bit too much time of this probably #yes I was a phannie a little while ago #don't judge me #I didn't want to tag this as phan for fear that they would attack me #I don't need the wrath of the phandom

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rivamikaislife · 4 years ago

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About chapter 138...

Okay, so i just read the full chapter, and to be honest, i was left with even more questions than answers. And the pain of losing more nice characthers all over again. I hope they can be turned back somehow, or the sadness will be even bigger in the last chapter.

Connie realizing what was going to happen to them, so sad. Some might say Levi was to harsh here, but he's still the Captain of SC and has to guarantee the survival of those who can stop the rumbling. I'm very sure that was really hard to him to give this order and leave Jean and Connie behind. But again, that's why he's the best character in my opinion, Levi doesn't often let his emotions speak louder than his duty. His main goal is to protect the rest of humanity, he always put the greater good above his desires. I'm glad he's alive and still keeping everyone focused on the mission. A true captain.

First, i wanna say that Levi worries so much about this girl, since the beginning! But his words are always priceless LOL, it wasn't "Hey, you're okay?" or "Mikasa, what's going on?", indeed, was a very Levi way of showing concern "get your shit together". It is very funny to see him trying to help but at the same time scolding her. And the "we're the only ones who can kill Eren", wow, that was so powerful, because yes, they are the only ones. And there is nothing that i love more than seeing they fighting together.

And the huge development in their relationship? At first, Mikasa used to hate him because he hurted Eren, but now they are working together to kill Eren. Mikasa now trust and relies on Levi. I live for my Ackermans crumbs.

Now, about this...I have a lot of questions about this "dream", "illusion" or "alternative reality", whatever, that Mikasa was seeing.

I'm still confused and not sure of what it was. I saw some people saying this was an alternative reality Eren sent to Mikasa's mind so she could see what would have happened if she had told him that she was in love with him back in chapter 123 events. And i saw some saying it was all an illusion or dream that she made up to herself, as a way of achieving her desires to live peacefully, away from the war and everything. There's also the theory that it was an old memory, from other life that she lived before, but ended bad too. I definitely cannot say which seems more true or possible. If someone has a good idea of what it really was, please explain to me.

What intrigues me the most is this whole conversation, which is pretty similar to the conversation child Mikasa and child Eren had in chapter 1. It's like a dejá-vu, but not exactly the same, cause their roles are switched. So, it's Mikasa's dream? Or Eren's dream? Or is it something else? It is really and alternative reality that both of them dreamed about? Also, when Mikasa says "i'm not sure if i am supposed to be here", it was a weird statement. Like she was instantly back from somewhere else, starts crying unconsciously and wonder if she is where she needs to be. I don't know why, but this caught me. "Supposed to be here". I need answers Isayamaaaaa

And the last point in the "dream" that i would like to comment. When Eren tells that they ran away alone because Mikasa asked. Literally everything in this part of the conversation seems to absurd for me to believe. I doubt Eren would give up of his promised revenge to destroy their enemies just because Mikasa asked him to do. She asked him many times to believe in the others, to share his thoughts and he never did neither of them. Mikasa and Armin always tried to understand and show support to Eren, and he was the one always acting on his own. So no, excuse me, but i don't believe he would leave it all behind and go to live in a cabin in the middle of nowhere knowing that Armin and the others were fighting for their home. He was the one who promised to take revenge, he was the one asking "if we kill all enemies in the other side of the ocean, will we be free?"

The same goes for Mikasa, i strongly doubt she would abandon Armin, Sasha and the others just to live with Eren while the others has to fight and face a war all by themselves. Yes, she loves Eren, but she love her friends too. Mikasa isn't that egoistic and reckless teenager anymore, she changed. So, that other reality is many ways, a impossible one at least in my interpretation. However, it could have happened if Isayama decided to ignore the main goal of the protagonist and the entire development of Mikasa.

But that's the thing, it doesn't seem like that happened. It's more like a illusion of what she wanted but knew it couldn't happen.

So, how the hell when she's back, Mikasa suddenly knows the exact location of Eren's head? I mean, no one knew the exact location before, and the shifter usually is supposed to be on the neck. Maybe i missed something? She was certain of his location and headed to without hesitation.

The moment she comes back, after Eren asks her to forget about him, is interesting too. After listening to his wish, she decides to finally kill him and to do the opposite of his desire. Here she is in her full control and is her decision. I need to gush over Levi accepting immediately her words and helping her to fulfil her decision. He's always so supportive with her. Armin too! Her two best boys by her side, as she has to do the thing she postponed the most.

And the moment that surprised me the most (the kiss was gross, but okay, nothing special), her last words to Eren are the exact same words that Eren listened in his dream/memory in chapter 1 and is the last thing he saw before he dies. That confused me so much. So it really was a memory of something that happened? Or the dream got mixed with reality and sent through the paths to young Eren? What this all means?

The fandom always liked to theorize that the dream of Eren with Mikasa saying goodbye "see you later" with her short hair was his last vision before death. But it would make sense if it happened inside the main line of the events, and not in a dream of a supposed alternative reality, right?

I think i'm going crazy, i don't know what to think anymore. And i honestly don't know if we gonna get all the answers in the final chapter. I just hope it ends the better possible, given the options left. And i just want my Ackermans to be happy and live a good life from now on. Together if possible. In the end, rivamika survived it all. I can be grateful for that :)

Sorry for the mega text, if someone read all this and have some thoughts to share, please, you're welcome!

#snk meta #snk 138 #rivamika

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vanessakirbyfans · 4 years ago

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Vanessa Kirby suggests we meet on the Mall, the central location for her on-screen triumph as the young Princess Margaret in The Crown. I’m standing outside the shuttered Institute of Contemporary Arts when she strides into view, a slender, leggy figure with bleached hair and brilliant blue eyes, clad in trademark black, but for her gleaming white Converse trainers.

"I haven’t been here since we were filming!" she marvels through her mask, gazing up the processional avenue towards Buckingham Palace. "I was whizzing up the road on a motorbike, holding onto the back of Matthew Goode [as Antony Armstrong-Jones] and feeling so exhilarated about what on Earth was happening to my life – being in a job I loved, playing someone I loved."

Her ebullient mood was dented when Margaret’s handbag, into which she’d put her own phone, was blown away from between her feet, and an opportunistic passer-by ran off with it. "By the time I could check Find My iPhone, it was already in Leicester Square," she says. "Of course, the costume department were furious because the bag was vintage and a one-off." We both laugh, rather ruefully, for such anecdotes already seem to belong to a more carefree time. This bright, crisp lunchtime in lockdown, the Mall is all but deserted –there would be no need for roadblocks or filming at dawn today – while the roles Kirby is here to discuss are light-years away from her embodiment of a pampered royal party girl.

The morning of our meeting, Pieces of a Woman has launched on Netflix to rapturous reviews and critical acclaim that has seen Kirby, in her first lead role, picked as a front-runner for the award season’s most coveted best-actress gongs.

It is not, however, an easy watch. Kirby plays Martha, a first-time mother whose baby dies moments after being born; the film follows Martha’s subsequent disintegration, alongside that of her close relationships. Her labour, which comes at the start of the film, is some 26 minutes of one unbroken take that manages to be simultaneously intimate and menacing as the camera swoops around the apartment and hovers beside the traumatised protagonists.

Kirby’s performance is astonishingly unselfconscious, which is the more surprising since she never went to drama school (turning down the offer of a place at Lamda in favour of stage roles at Bolton’s Octagon Theatre) and says she couldn't bring herself to dance in front of her friends. "I’m the one who sits in the corner and watches." She describes seeing herself on-screen as "disconcerting", and "not a very natural human experience", and indeed even finds making Zoom calls a trial. "There’s nothing to hide behind!"

For Pieces of a Woman, the director Kornel Mundruczo decided that the birth scene would be the first to be shot, she tells me, as we stroll around St James’s Park, conducting ourselves like a couple of spies in a Le Carré novel. "I knew I’d have to be naked, and literally open my legs and give birth in front of a group of strangers I’d only met that morning. I was actually quite thankful – I thought, the rest of it’s going to be a lot easier."

In fact, she says, she found herself swept away by the emotion of the story. "Normally, it’s so hard to forget there are machines in your face, but I had no idea that a camera was even there." Was it traumatic to act? "The first time we shot it, I was literally sobbing for 10 minutes afterwards. I couldn’t get out of it. My brain was telling me it wasn’t real, but my unconscious didn’t know the difference, especially with having a real baby in my arms.

"Kornel came over onto the bed and held me so tight. He didn’t let go of me for five minutes, and he said, 'Just remember this feeling.' That really helped me for the rest of the movie, when the character doesn’t express anything, but almost has to be doing the howling without speaking a word."

Kirby took her research seriously, even asking a mother-to-be –a total stranger – to allow her to be present in the delivery room at the birth of her son in a north-London hospital. "I remember every single second of it," the actress says emphatically. "I was there, glued to my seat, for seven hours, not even a loo break! I was just amazed, in awe. I saw a woman completely surrender and go on this spiritual journey, which involved indescribable pain, clearly, but also ecstasy. It gave me a whole new respect for women and how powerful they are, and a new empathy for men, because they feel so helpless. And obviously, seeing the baby come out was the most incredible thing in the world I’ve ever seen, by far. After he was born, all of the mother’s colour returned, she looked like an angel, she had a kind of holy glow." Bathetically, it was only then that the couple recognised Kirby. "They were going, 'Oh my God, it’s Princess Margaret! This is so weird!'"

The experience has given her a new philosophy on life, she says. "I was watching the mother go through these contractions, which were excruciating, and the pushing, and then there was a moment of calm, and of expansion. And so, when I’m going through things in my life, I say to myself, this is like a contraction, surrender to it, because there might be something born from it. Sometimes we don’t want that; when we’re feeling something horrible, we want it to pass as far as possible. I’m teaching myself to allow it to be there and not resist or push it away, and that’s because of that woman."

But her character’s storyline also demanded that Kirby understand the experience of stillbirth. A friend introduced her to a woman who had lost her baby Luciana under eerily similar circumstances to those in Martha’s narrative. "She shared everything with me." They have become close friends, and the film’s ending is dedicated to Luciana. Kirby continues to work with Sands, the Stillbirth and Neonatal Death charity, and is voluble in her admiration of the Duchess of Sussex and Chrissy Teigen, both of whom have recently spoken out about their own experiences of miscarriage.

"I feel so close to them and so proud of them for breaking that silence," she says. "Meghan is probably the last person who would feel comfortable sharing her very personal, intimate feelings. It’s that courage that I want to continue to honour. What they’re saying is, if you’ve been through it, we have too, we share your story. I think that makes you feel less lonely. But one in four pregnancies ends in miscarriage, which is far more than I knew about. Society finds it difficult to hold space for that kind of pain."

Her parents, to whom she is very close, have both seen the film and wept throughout, she says. As if on cue, her phone pings, and her eyes soften when she checks the message; it’s a childhood friend who herself miscarried, getting in touch to say how much the film has meant to her.

The integrity of Kirby’s performance has already netted her the Volpi Cup for Best Actress at the Venice Film Festival. "It doesn’t seem real," she says. "I have it in its case – I wouldn’t have it on display, it looks like a football trophy – but occasionally I glance at it and think, 'Did that really happen? Or did I make it up in a weird dream?'" In a similar vein, she is reluctant to engage with the Oscar buzz surrounding her. "I don’t even know when they are," she admits. "My 13-year-old self would have a heart attack. It’s ridiculous, isn’t it!"

Kirby’s other film, The World to Come, is set in mid-19th-century America but touches on the same themes of bereavement and redemption. The central character Abigail, played by Katherine Waterston, has also lost her young daughter, and in her grief, turns away from her husband to have an affair with Tallie, her free-spirited, flame-haired neighbour. "I was glad I was playing Tallie rather than Abigail, because it might have been a bit too much," Kirby confesses – though without giving away spoilers, that role is pretty traumatic too...

The screenplay is taken from the short story of the same name by Jim Shepard, which was inspired by an entry he found in an antique diary: 'My best friend’s moved away, and I don’t know if I’ll ever see her again.' "It was one woman’s voice, like an echo from the past, and we’ll never know who she was," says Kirby. "The World to Come really educated me about what life was like for women not that long ago. They didn’t have a choice about anything they did with their time. You were owned by the house, and the man, and you had no freedom outside that. The best thing about doing this mad job sometimes is having your ignorance illuminated. I gravitate towards things that push beyond my experience, I want to go to places I don’t know, I’m not familiar with."

The experience of making both films has changed her profoundly. "I can’t do anything unless it means something to me now," she says. "It’s a better way to work, because you’re not focused on yourself at all. So maybe I’ll only work once every 10 years!"

To ensure that this is not the case, and in order to find more untold, female-led stories, her ambition is now to set up her own production company. "Even a few years ago, a film about a woman losing a baby would have been unthinkable. There are so many voiceless people, and I have a voice in this industry, and I want to make sure the tribe is represented properly."

It is undeniably awkward, therefore, that her male co-stars in the films, Shia LaBeouf and Casey Affleck, both of whom play violent, abusive husbands, have been called out for their treatment of women. In December, the British singer FKA Twigs filed a lawsuit against LaBeouf, her ex-partner, alleging that he "hurts women. He uses them. He abuses them, both physically and mentally". While LaBeouf largely denied the accusations, he admitted in a statement to The New York Times: "I have a history of hurting the people closest to me. I’m ashamed of that history and am sorry to those I hurt. There is nothing else I can really say."

Meanwhile, Affleck was sued by two female crew members working on his 2010 film I’m Still Here, one of whom accused him of sexual harassment. He denied the allegations, and the lawsuits were settled out of court, but he later told the Associated Press: "I behaved in a way, and I allowed others to behave in a way, that was really unprofessional, and I’m sorry."

Kirby is understandably reluctant to get into any of this. "I can’t comment on a legal case that’s going on in someone’s personal life," she says. "I feel really protective of Pieces, so that’s what I want to speak about. Because it came out at eight this morning, all I can think about is the mothers I spoke to, and wanting them to be my focus. I just know my job is to honour them."

Perhaps counter-intuitively, starring in Pieces has awakened in her the desire for a family of her own. "It’s definitely made me want a baby, for sure," she says; but she hasn’t currently got a partner, having split up from Callum Turner (Frank Churchill in last year’s Emma), whom she met when they co-starred in the 2014 film Queen & Country. "This year has made me think a lot about the home I want to create. I like the idea of inviting someone into a space that’s mine, preferably before I have kids."

In the near future, however, Kirby has nothing on her plate except for getting through a third lockdown. "I’m free as a bird! I’ve read a lot of stuff, and said no to a lot of stuff..." She currently shares a flat in Tooting, south London, with her sister Juliet, an assistant director, and two friends. "I was just about to move out to live on my own in north London – my God, I would have been so lonely! My sister saved me. It was so nice to have routines together. We were trying to take a bit of exercise, cooking together, watching films that made us feel better, drinking wine on Friday nights..."

By now, having circled St James’s Park several times, we are strolling back towards the Corinthia Hotel, where Kirby has a full programme of Zoom interviews lined up for the afternoon. "That’s why I’m so happy to have actually had the chance to go out and meet you in real life," she says enthusiastically. "It’s funny when everything in your life closes down, and you have to sit with yourself, and you suddenly notice all the things you have and you’re grateful for. I hope that feeling never goes away – I will never underestimate how lucky I am."

#Vanessa Kirby #Pieces of a Woman #The World to Come #Interview #Articles

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starry-sky-stuff · 4 years ago

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Historical Sortings

I've done a lot of reading about royalty in the 19th century and I decided to have some fun and try my hand at sorting historical figures.

I wonder if you can tell who my favs and unfavs are from my sortings.

Cut for length.

British Royals:

Queen Victoria: Snake/Lion. An unhealthy Snake Primary who expected that level of unhealthy devotion from everyone around her. Probably burned a bit after Albert died. Also an unhealthy Lion Secondary who strong-armed, controlled, and domineered others, particularly her children.

I don't know too much about her husband, but I think Albert might've been an Idealist.

Edward VII, aka Bertie: Lion/Badger. His charm strikes me as more of a Badger than a Snake. He seems to me to be the ‘I know a person’ guy. Just the vibes I get. He also really liked routine and wasn’t a particularly good conversationalist, just genuinely interested in others. Not too sure about his primary, but I didn't get Loyalist vibes so I went with Lion.

Alexandra of Denmark {wife of Bertie}: Snake/Badger. She usually gets characterised as the long-suffering wife so it’s not surprising she’s the love interest sorting. She was loyal to her husband despite all his infidelities, and her interests were confined to her children and pets

Princess Alice {daughter of Queen Victoria}: Bird/Badger. Experienced a crisis of faith in middle age which I interpret as a Fallen Bird trying to reconfigure their system. Her dedication to helping others makes me think Badger Secondary. Also, she died after contracting diphtheria from giving her sick son comfort which seems like a very tragic Badger.

Prince Alfred {son of Queen Victoria}: Lion/Lion. He was wilful and abrasive, and had a no-nonsense attitude, so probably Lion Secondary. I can’t really get a read on his primary but maybe also a Lion. That would mean he and his wife houseshare, which might’ve contributed to the breakdown of the marriage.

Grand Duchess Maria Alexandrovna {wife of Alfred}: Lion/Lion. Very caustic and abrasive, I definitely wouldn’t want to be around her in real life but I admire her no-nonsense attitude and no tolerance for BS. Her marrying off her daughters young because she thought it was right makes me think Lion Primary.

Princess Beatrice {daughter of Queen Victoria}: Snake/Badger. She subjugated her entire life to fulfilling her mother’s needs and the only major conflict they had was over her wanting to get married (Snake on Snake loyalty conflict maybe). Very much a background character who worked behind the scenes, so Badger Secondary.

I don't know enough about Queen Victoria's other children to sort them.

George V: Badger/Badger. Dull, dutiful and dependable is how he tends to be described, which always makes my mind go to Badger (I swear, I love Badgers, they’re great but they’re not very flashy). Considering he refused to give sanctuary to his cousin Nicholas II because he was afraid he might threaten his own country and throne, I’m going with Badger Primary who put the good of his group over individual loyalty.

Mary of Teck {wife of George}: Badger/Badger. Duty and dignity defined her, so I think she was a Double Badger who was loyal to the institution of the British Monarchy and her family (above any individual member). Her and her husband houseshare, which might explain some of their parenting issues since neither could compensate for the other’s shortcomings.

Marie of Edinburgh, aka Missy {daughter of Alfred}: Snake/Snake. Charismatic and flamboyant, she started out as a young bride in a foreign country with no support and she ended her life as a beloved figure and the most popular member of the royal family. Part of this was her finding meaning in her life by working for the benefit of Romania, which makes me think she was a Snake whose loyalty came to include all of Romania. Also, she was disgusted with her son’s selfishness and his (initial) abdication of his rights.

Victoria Melita of Edinburgh, aka Ducky {daughter of Alfred}: Lion/Lion. Strong-willed, temperamental, and uncompromisingly honest, Ducky unabashedly followed her own course in life. She divorced her first husband despite family and social pressure, married her second husband despite protests from his family, and was no-one’s fool.

German Royals:

Victoria, Princess Royal, aka Vicky {daughter of Queen Victoria}: Lion/Lion. I read in her biography that someone was quoted as saying she was “always clever, never wise”, which I think just fits this sorting. You’ve really got to admire her steadfast belief in liberalism in the face of Prussian conservatism, but sometimes reading about her aggravates me because I’m like, can’t you chill for just a second. Like, stop doing the same thing and expecting a different outcome.

Frederick III, aka Fritz {husband of Vicky}: Lion/Badger. He and Vicky were really united in their shared Lion Primary and belief in liberalism, from which they never wavered. His indecision and constantly subjugating his beliefs to family loyalty make me think he of an unhappy Badger Secondary loyal to a group that doesn’t value him.

Wilhelm II {son of Vicky & Fritz}: Lion/Lion. Considering his fraught relationship with his mother I find him and Vicky having the same sorting to be kinda funny. But he was such a Glory Hound Lion, a total egomaniac, bombastic, and a bully. A deeply unhealthy Double Lion.

Augusta Victoria of Schleswig-Holstein {wife of Wilhelm}: Badger/Badger. Definitely an unhealthy Badger Primary, she exalted anything that was German and was prejudiced against anything that wasn’t. Probably a Badger Secondary too, who dedicated herself to her husband, children, and throne.

Otto von Bismarck: Lion/Snake. Also a Glory Hound Lion judging by his visceral reaction to the implication anyone but him was responsible for German unification. The ultimate politician and opportunist, his Snake Secondary allowed him to stay in power for decades and outmanoeuvre pretty much everyone until the system he created failed him. The irony of that is hilarious to me (Bismarck’s a figure I find interesting but utterly despicable)

Russian Royals:

Nicholas I: Badger/Lion. I’m going with Badger just on his dehumanisation of ethnic minorities, liberals, and anyone who opposed him. And he was known as the Iron Tsar, so definitely a Lion Secondary who crushed any dissent both large and small. Very ironic that he’s the Protagonist sorting, since he was someone who really wanted to do what was right for his country, but what he believed was right was the worst and he's generally considered one of the worst tsars.

Alexandra Feodorovna {wife of Nicholas I}: Snake/Badger. Similar to Alexandra of Denmark, she was defined as being the perfect wife, loyal to her husband and overlooking his infidelities, with few interests outside of her family.

Alexander II {son of Nicholas I}: Lion/Snake. Definitely not a Loyalist based on the way he treated his wife. Loyalists can commit adultery too, but if he’s a loyalist than he’s not one who valued his wife or their children. And he definitely gives me immature Lion Primary vibes, doing what makes him happy to the detriment of others, his family, and his country. He was known for his charm and congeniality, but his way of dealing with his ministers was to play each of them off each other which makes me think Snake.

Grand Duke Konstantin Nikolaevich {son of Nicholas I}: Lion/Lion. A total firebrand and idealist, he pursued his goals relentlessly and often tactlessly. Burned later in his life after his brother took a conservative bent and then Konstantin was basically removed from power after his brother’s death, so he retreated to life with his mistress and second family.

Alexander III {son of Alexander II}: Badger/Lion. Very similar to his grandfather, Nicholas I. Dutiful and hardworking, but also a lot of dehumanisation and running roughshod over others. Treated his family better than his father, and family was very important to him which could also be Snake.

Maria Feodorovna {wife of Alexander III}: Lion/Badger. She was vivacious and friendly and flourished in court life, which makes me think either Courtier Badger or Snake. I think Badger because she really understood the institutional power of the role of empress and was also really suspicious of anyone outside of the family. Nothing about her suggests Loyalist to me, but she was very firm in believing in the correctness of her own opinions. Her conflict with her daughter-in-law definitely makes sense when viewed through the lens of a Lion/Badger vs Lion/Lion

Nicholas II {son of Alexander III}: Badger/Badger. He garnered a reputation for duplicity because, since he hated conflict, he would agree with a minister during a meeting and then fire them via note the next day, so definitely not a Lion. Probably a Badger since he was obsessive over doing every single aspect of his job, including even sending letters and he refused a secretary. His attachment to autocracy derived at least partly from duty and he was very attached to his family, so maybe Badger Primary. He was also very close to his cousin George V and they houseshare.

Alexandra Feodorovna {wife of Nicholas II}: Lion/Lion. A deeply unhealthy Lion, she was obstinate, imperious, and completely inflexible. Wholeheartedly believed that she was entirely correct in her opinions, often based on little evidence, and objectivity was completely beyond her.

#sortinghatchats #it's certainly interesting to view this through the lens of family dynamics #and how your family's sorting affects your own #so many female snake/badgers #I wonder if that's their real sorting or just gender roles

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saphira-approves · 4 years ago

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Don’t Compare My Boy To K*l* R*n: In This Essay I Will—

okAY I’m talking about it

So I can’t find the post right now, but a few days ago I saw a post on my dash comparing Murtagh of the Inheritance Cycle to Kylo Ren of Star Wars, citing parallels for their similarities.

Since we all know this blog is really just a poorly-disguised Murtagh stan blog, I decided I’d share my thoughts on this comparison. I’ll be discussing character backgrounds, character roles, character motives, and character actions.

Part One: Character Backgrounds

Murtagh and Kylo Ren are both descendants of the “previous generation.” Their mothers were both prominent rebels, their fathers were both considered handsome and rogueish, and both sets of parents eventually separated. But that’s about where the similarities end.

Kylo Ren’s—or rather, Ben Solo’s—parents loved each other and loved their son. They may have been flawed in the way they showed it, but then again, the only account we hear of Ben’s childhood (as I recall, anyway, and I’m not rewatching those movies just for a tumblr post) is Ben’s, after he’d been groomed and manipulated by Snoke for many, many years. Han Solo died believing he was helping his son; Leia Organa died saving her son; at the very least, they both loved him enough, even while he was serving the Dark Side, to give up their lives for him.

Murtagh’s parents, on the other hand, were a mess. From Murtagh’s account of their relationship, Morzan didn’t care much about Selena except for her usefulness as a weapon; he was happy to manipulate her and her emotions, but I highly doubt he actually loved her. He certainly didn’t give a damn about Murtagh, throwing a sword at his own three-year-old son. Selena, meanwhile, although she obviously loved Morzan at first, loved Murtagh even more, and clearly recognized that Morzan didn’t care for her the way she had once cared for him—when she recognized an opportunity to work against him, she took it.

Kylo Ren despised both of his parents, but that hatred seemed hollow, shallow—it had no real reason. They led busy lives, perhaps didn’t make enough time for him, but their actions revealed that they did, truly, love him despite his mistakes, and Kylo’s loathing reveals itself to truly be the manifestation of a spoiled child’s anger, magnified tenfold. Murtagh, conversely, had very good reasons for his complicated view of his parents: he loved his mother, but she was kept from him (and him from her), and she died—possibly in front of him, though he never says, and, unbeknownst to him until much later, having just hidden his brother in Carvahall. There was no love lost between him and Morzan, who was in the best case just an angry drunk, worst case—and more likely—an abusive father, and the only thing Murtagh ever expected to receive from him as inheritance was his sword (which is by itself another whole post in the making).

Part Two: Character Roles

Both Murtagh and Kylo Ren played the role of foil to the protagonists of their stories.

Murtagh and Eragon were very similar in many ways; I’ve mentioned before the many “subtle” hints Paolini gives to their true relationship (”a pair of matched blades” and “brothers in arms” come to mind off the top of my head). Their differences clearly highlight their different upbringings: Eragon thinks in the moment, with his heart and his compassion, while Murtagh thinks ahead, makes plans and contingencies—this difference is most clearly seen when Murtagh kills Torkenbrand and Eragon's strong moral code makes him protest, even though killing the slaver was, objectively, the best course of action they could take. Yet Murtagh is not only Eragon’s foil in action, but also his foil symbolically: they are both sons of Selena, which binds them, and yet the sons of opposing fathers, which others unwittingly use to pit them against each other (yes, this is also a whole other post in the making. like i said, poorly-disguised murtagh stan blog). Murtagh’s foilness to Eragon is deeply interwoven into their friendship and their parallels, showing up in many subtle and unsubtle moments throughout the series.

Kylo Ren’s foil status, on the other hand, is… complicated in a different way. For one thing, he’s not just a foil to Rey, he’s also a foil to Finn—in fact, I’d argue he’s more foil to Finn, and more just a complete opposite to Rey. He’s the experience to Rey’s raw talent, he shifts toward the Light while Rey shifts toward the Dark, but with Finn, their stories of pulling away from the Empire could have been fantastic foil stories. Wasted opportunity. And I’m so mad about it but this isn’t a star wars blog so—

Part Three: Character Motives

Of course, both Murtagh and Kylo Ren’s motives change over the course of their own stories, so we’ll be looking at what they are and how they change.

Kylo Ren starts his story in TFA as a ruthless, power-hungry fanboy who cherry-picked his history lessons and simply ignored the fact that his oh-so-esteemed Darth Grandvader was actually redeemed in the end because Luke refused to give up on whatever scrap of good was left in him and I hate hate hate hate hate Luke’s sequel characterization UGH and so Kylo is “emulating” a false image of what he thinks Vader was: the power, the presence, the mask and modulator aesthetic, the “I’m on the Dark Side because it’s fun, and I get to do whatever I want consequence-free.�� Which… no! So, at first, what does Kylo want? Power! Sure, he’s serving Palpatine’s Smeagol puppet Snoke, but eventually he’s gonna be the most powerful person in the galaxy. …well, but then eventually starts getting a little boring, so in TLJ Kylo ups his timetable, tries to get Rey on his side after torturing her for information (OF HIS OWN VOLITION! BECAUSE HE’S A JERK! He did not CARE about even trying to convince her at first, he asked the few questions necessary to justify meeting her resistance with a Force mind-rape), and then when she doesn’t join him on the Dark Side he fights her, again and again and again until he nearly DIES, and then HIS MOTHER DIES TO SAVE HIS UNGRATEFUL ASS, so now Kylo’s priorities switch from “power” to… uh… what, again? Redemption? By… how? Sacrificing his life for Rey?

Oh, now he remembers how his Darth Grandvader history lesson ended.

he’s still a copycat though

Murtagh’s motives, conversely, actually make sense for his situation. When we meet him, he has in the last few months run away from Urû’baen and lost his mentor and father-figure. His two priorities: keep himself and his horse alive, and see what the deal is with the new Dragon Rider he’s heard so much about. He meets Eragon and Saphira by saving their lives from the Ra’zac, and he’s there when Brom dies, and Eragon loses his own mentor. Having just recently gone through that pain himself, Murtagh gets attached, and joins Eragon on his adventure/vengeance quest against the Ra’zac. Murtagh doesn’t reveal his parentage, but he and Eragon find that they have a lot of similarities and get very close, sparring and bantering and becoming “a set of matched blades” and “brothers-in-arms” and other such friendly roles that are not-so-subtle hints at their true relationship, and even when they fight—notably when Murtagh doesn’t want to go to the Varden, because they might kill him, which would be actively violating his first priority of staying alive—Murtagh still agrees to help Eragon because he’s a nice f*cking person okay. And then, through shenanigans, Murtagh ends up getting kidnapped, assumed dead by his few new friends, and then

TORTURED AND MIND-RAPED FOR AT LEAST THREE OR FOUR MONTHS.

And Murtagh’s will never broke! Not until Galbatorix gave him a dragon egg, and that dragon egg hatched into Thorn, and Thorn bonded with Murtagh, and Galbatorix threatened Thorn.

Murtagh fought Galbatorix until Thorn’s well-being was put into danger.

After that, Murtagh’s priorities are skewed; he’s forcibly sworn to Galbatorix’s will, which sucks, but he’s also given fantastic power, which is great; but he and Thorn still get tortured as punishment for messing up, which also sucks. And then Nasuada, someone Murtagh actually likes, is captured and brought to Urû’baen, and Murtagh tries to hide his face behind the silver mask when Galbatorix forces him to torture Nasuada (physically, because Galbatorix never forces Murtagh to attack Nasuada’s mind) because he doesn’t want to torture his friend. In fact, he does everything in his ability to help her. And in the end, he cares about her so much that he realizes hang on a minute, I would actually put SOMEONE ELSE’S health and well-being over my own, which means something in me has fundamentally changed, WHICH MEANS I CAN DEFY GALBATORIX, and so what does he do? He gets rid of Galbatorix’s wards and lets Eragon finish him off. He gives up the Eldunarí to Eragon and Saphira, which were a huge source of his power, because in the end, he’s not a power-hungry maniac, he’s a nice person that shitty things happened to.

(And if Murtagh is a nice person that shitty things happened to, then Kylo Ren is a shitty person that nice things happened to)

Part Four: Character Actions

If you don’t believe me, then perhaps we’ll let actions speak louder than words.

Kylo Ren: In his first appearance, he orders his troops to kill an entire settlement. From there, he tortures Poe for information, obsessively pursues the protagonists who have the key to Luke’s location, becomes obsessed with Rey, who seems Force-sensitive, attempts to torture Rey the same way he tortured Poe, kills his own father even as his father apologizes and tries to help him, chases Finn and Rey (again) into a snowstorm on a planet that’s imploding in on itself because of a lightsaber; and then he’s chasing the Resistance—including his own mother—across the galaxy, killing Snoke and calling himself Supreme Leader (yeah, totally something a secret good guy would do), cornering the Resistance on Crait with the threat of DEATH. STAR. TECH. (miniaturized, but like. what’s the miniature of a planet-killer???? half a planet killer??????), and then ALLYING HIMSELF with PALPATINE (the stupid crusty meatsack didn’t even have to groom this one, he got a new apprentice for FREE), while also PLANNING TO DOUBLECROSS… PALPATINE… and continuing to chase Rey across the galaxy, trying to get her to join the Dark Side, and he only stops when his mother gives up her life to save his.

His mother… who, just recently, he THREATENED WITH DEATH STAR TECH.

All this to say, his “redemption” arc is hollow and stupid. Dying while doing “good” is not redemption, it’s a cop-out. Vader was ruthless not because he took pleasure from killing, but because it was efficient; he was redeemed because he found out he had been lied to, manipulated, used, and abused. Kylo Ren was fully aware of his situation, an abuser himself who took pleasure in his power and in killing people; and he was not redeemed by a kumbayah force-life-transfer BS or for turning on Palpatine, WHICH HE WAS PLANNING TO DO ANYWAY.

Murtagh: Helps Eragon, helps Eragon even when he could get captured or tortured or killed, helps Eragon even though he’s surrounded by people who would suffer no regret over killing him, helps Eragon even though he will get tortured for it later, helps Nasuada because he doesn’t want to torture his friend (let me repeat, he DOESN’T. WANT. to TORTURE. his FRIEND. And he even ends up sneaking into her cell, AT RISK OF PUNISHMENT WHICH WOULD INVOLVE TORTURE, to talk to her and heal at least some of her wounds, and give her a way to tell reality from illusion when Galbatorix does try to force his way into her head), helps Eragon kill Galbatorix in the final battle, helps a little girl he’s only just met and gives her an enchanted fork, because why not, and only waits to rejoin Eragon and Saphira because he recognizes his own need to heal, to take time for himself and Thorn, and later, if FWW is anything to go by, probably to redeem himself by helping people, and fighting whatever threat he’s hearing rumors about in the north. Murtagh doesn’t take pleasure in hurting people, and he goes out of his way to do good things, even at risk to himself, as much as he’d hate to admit it.

Murtagh is hardly perfect; on the one hand, I fully agree with his decision to kill Torkenbrand because what else were you gonna do with him, Eragon, but on the other, yes, he’s flawed. Notably, there’s the moment of him killing Hrothgar, which I’ve discussed, his anger issues, his potential alcohol issues, and his general tendency to put himself first (which… yes, but also, he really doesn’t). Best thing about this, though, his his enormous potential for change, because we’ve already seen him change! And it saved the whole war! One tiny thing, one small moment of self reflection and realization—he changed himself, without any outside influence except for finding someone to care about.

TL;DR Don’t insult my boy Murtagh. Come back when Kylo Ren gets some actual character development.

#started this post #had to look something up in Eragon #got sidetracked #placed a hot topic order #came back #got so fucking tired #please just. just don't compare my son to kyle #i really really hate k*l* r*n #what a dipshit. what a wasted opportunity.#everything after force awakens was a waste of brilliant character development opportunity #murtagh tornacsson #murtagh (inheritance cycle)#inheritance cycle #star wars #cw kylo ren #saph rambles #saph scribbles

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theleafpile · 4 years ago

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Mazikeen and the Importance (and Frustration) of Sub-Plot Characters

Looking over Lucifer Season 5a and the frustration fans are feeling toward the writers’ treatment of Mazikeen has me thinking about the role of subplot characters. More than any other reason, Mazikeen exists in the Lucifer universe in order to be a foil for our titular character, and that is why when we see Lucifer rise, Mazikeen falls.

--- Warning: Spoilers For Season 5a ---

According to The Anatomy of Story: 22 Steps to Becoming a Master Storyteller by John Truby, there are four main types of characters that populate every story: the hero (or protagonist), the opponent (or antagonist), the ally, and the subplot character. These characters can be further differentiated by adding in second or third opponents, a fake-ally opponent, or a fake-opponent ally. The more complex the story, the more characters that are needed to populate it, and the more often characters change or overlap in their duties; for example, in Lucifer Amenadiel, Linda, Charlotte, Dan, and Eve flip between being allies and opponents depending on whose side they are on, which is usually determined by what they know and dependent on whose character POV we are seeing them from, generally Lucifer’s. From Lucifer’s perspective, Chloe can be an ally one moment and an opponent the next for the same reasons, and vice versa.

So what, exactly, is a subplot character? According to Truby,

The subplot character has a very precise function in a story, and again it involves the comparative method. The subplot is used to contrast how the hero and a second character deal with the same problem in slightly different ways. Through comparison, the subplot character highlights the traits and dilemmas of the main character.

Before moving on, let’s examine Mazikeen’s arching story lines over the years:

Season 1: Maze is disdainful about the changes Lucifer appears to be undergoing; Lucifer is curious and takes steps to seek out what might be causing it. She consistently goads and riles him up to be the Lord of Hell she desires him to be, but her actions have a way of backfiring and pushing Lucifer toward further emotional development. As a result, she teams up the opponent (Amenadiel) against Lucifer.

Season 2: Lucifer’s mother enters as the opponent. Maze maintains her stance against her as Lucifer begins to befriend her. Mazikeen begins the process of developing emotional connections (notably with Trixie and Tribe Night), eventually moving toward allying with the opponent to spare Lucifer’s feelings, but becomes a temporary opponent toward him when she feels abandoned/wrong by his thoughtlessness. When the opponent threatens those she cares about, her actions ally with Lucifer’s (predominately in saving Linda’s life).

Season 3: Mazikeen sets out to discover her true self away from Lucifer. Amenadiel and Linda’s burgeoning relationship threaten Maze’s abandonment issues. She begins to demand more respect and care from Lucifer and others. When she doesn’t receive it, she desires to return to Hell. When that is denied her, she teams up with the opponent (Pierce/Cain) in order to get what she wants. Her emotional growth prevents her from taking further action, and she is allied with Lucifer once more.

Season 4: Linda’s motherhood story line brings up Mazikeen’s feelings about her mother and subsequent abandonment, causing her to project her insecurities onto Linda. As a result, she tries to discover her identity outside of the friendship, culminating in a desire to have a relationship with Eve. When Lucifer treats Eve badly, Maze teams up with her desire to have Lucifer return to Hell with Eve as his Queen, resulting in their switching over to become Lucifer’s opponent. When Eve’s desires threaten Linda’s well being, Maze returns as allied to Lucifer and helps defeat his opponent.

Season 5a: in an attempt to distract herself from both Lucifer and Eve abandoning her and Linda’s focus on Charlie, Mazikeen works with Chloe in Lucifer’s stead. When that backfires, she lashes out and learns that Michael is masquerading as Lucifer. Though her anger at Lucifer causes her to contemplate aligning herself with Michael (the opponent), her ultimate refusal causes Michael to turn on her. When Lucifer’s return and Michael’s reveal about Lilith brings up her abandonment issues, she projects it onto Linda’s motherhood, attempts to reconcile her problems by imitating Ella, then ultimately decides to team up with Michael in the hopes of him giving her her own soul. When Michael goes “a step too far” in threatening her established relationship with Chloe, she turns on him and allies herself with Lucifer once more.

The fan’s frustration comes from Mazikeen’s story lines feeling repetitive, which they are. She begins and ends allied with Lucifer, but at some point switches to being allied with the opponent.

However, each story line develops and challenges her emotional/character-driven issues in the same way that Lucifer’s are developed and enforced. Lucifer, too, backslides in his development and behavior, but the difference is that he is the protagonist and therefore is unable to side with the antagonist in an effort to get what he wants, because that would make the antagonist an ally. When it appears the antagonist is doing what Lucifer wants--Mum leaving of her own accord and Cain dying--these actions are taken because Lucifer has won the battle he set out to fight, making him the hero victorious.

Mazikeen is, essentially, one step behind Lucifer in terms of character development. Her role in season 1 was most similar to his opponent, and from that point on she is relegated with “chasing” him. Lucifer has also projected his issues onto someone else, desired to return to Hell, desired to feel wanted and needed in his job, imitated a coworker, felt threatened by others’ developing emotional connections without him, and so on.

The difference between Lucifer and Mazikeen’s development, however, becomes most stark at the end of each season.

Lucifer wins, but Mazikeen loses.

How so?

Season 1: Lucifer saves Chloe and Trixie, is brought back to life by his father, and sends the bad guy to Hell. Mazikeen uses her one ticket back to Hell to save Amenadiel’s life.

Season 2: Lucifer’s sends his mother away peacefully, reconciles with Chloe, and decides to move forward with the truth. Mazikeen’s final shot is of her unsure and in tears watching her loved one (Linda) bloodied and badly beaten being wheeled away on a gurney.

Season 3: Lucifer saves Chloe’s life, exacts retribution on those who would harm her, and kills the bad guy. Mazikeen, drugged, bloody, and badly beaten, is told by Linda that emotions are hard and then apologies for her behavior.

Season 4: Lucifer is told by Chloe that she loves him; he returns to Hell to save the lives of everyone he knows. Mazikeen, after defeating the bad guy with Lucifer et all, is told by Eve that there is an emotional connection between them, but it is not enough to keep her around.

Whatever season 5 will ultimately bring may or may not be similar.

But why is this the case?

Truby continues,

The subplot character, like the ally and the opponent, provides another opportunity to define the hero through comparison and advance the plot. The ally helps the hero reach the main goal. The subplot character tracks a line parallel to the hero, with a different result.

(my emphasis)

Mazikeen is consistently denied her heroic, triumphant moment at the end of each arc, because Lucifer gets his. All her heroic triumphs are in relation to Lucifer, not her own character growth. As a result, her character is the most likely to slide back and/or side with the antagonist because nothing she does benefits her in the end.

Despite Lucifer’s arguments otherwise, Mazikeen is still very much his henchman, his lackey, his subplot character.

At their core, Lucifer and Mazikeen share the same weakness: they are fearful of being left by those they care for. Since they approach the problem in different ways, we the audience get to see the pros and cons of each. It is important to note that the subplot character is rarely also the ally, and as a result they are allowed to change between being allied with the hero and opposing him.

It is because of Mazikeen that we understand Lucifer. She is our comparative tool. Her character showed us more about Hell and its dynamics than Lucifer. She showed us what Lucifer could have easily been, and throughout the stories, showed us what Lucifer has consistently grown from. Because of her, we know how far our hero has come. By comparing the two characters, we get to see how much each of them has changed in relation to where they began and where they stand in relation to one another at any given moment.

Mazikeen’s role in important in Lucifer, but it is a subservient one. No matter what arc she is given, the story centers around Lucifer. It is the same with any other character, but because we compare the two more often, her pitfalls are more obvious. I love Mazikeen, but given the way this story is structured, she would be unable to be the protagonist and as such is often left bereft.

The writers can change this by giving her happier endings at the culmination of each season, and the best way for them to do that is to not have to have her crawl her way back into our hearts after needlessly siding with the opponent again.

Give Maze a true happy ending please! Here’s to season 5b, and season 6!

#lucifer #lucifer on netflix #mazikeen #on writing #lucifer meta

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