#vs drawing two characters but I know how they’re going to be placed/interacted with a funny dialogue in mind

[appallinnballin]

Where do you most often get inspiration from?

this is a very broad question but a lot of the time I’m getting inspiration from other people (their art, memes they show me) but also my ADHD brain makes me think of scenarios involving characters and possible lore the most when I’m at work lolol. the latter is always very much out of nowhere too

[andro-dino]

I don’t talk about it a lot or ever draw it but digivalen’s story arc and the way they both draw out the most in each other and help each other come to enjoy beyblade even more through their rivalry is really important to me. When you’ve got a character like Juno and a character like kite in direct contrast to each other, the obvious direction to go in is the heart vs mind route, juno being much more emotionally driven while kite is more logical. When Juno battles kite, he’s trying to get him to meet him in the middle with that, as kite is often so focused on data that it makes him narrow minded, which can lead to frustration for kite very quickly. When Juno comes to understand this about kite, she’s trying to get him to think a little less strictly and put more of his heart into battles and not just his brain. He connects with him on a deeper level, trying to draw out the full force of kites personality, his care, his pride, his drive and passion, everything that kite is, and see him fully put that out there in his battles. Obviously kites not gonna like, entirely change his battle style or anything, but it opens him up more to loosening up a little and being able to find some indulgence in battling a little more.

The consequence of juno rubbing off on kite so much though is that once he both becomes more emotionally aware and just comes to be more familiar with juno, he’s quick to notice how much of what they display of themself is an act, or at least not the full range of who they are. Juno, for a lot of her existence, is an oddly lonesome character, connecting so much with others because she wants to get to know them, but never really opening up herself and allowing others to know him because he’s content to let himself be someone solely around for the sake of others and not being so intimately cared for in the same kind of way. She tends to go from place to place a lot, both because they want to get to know as many people as possible but also because she’s never had many friendships that go both ways enough for her to want to stick around in one place very long. They’re fine with it, but most people don’t try to get to know them closely the way they do others. As kite and her rivalry goes on though, he starts noticing those small signs in her. It starts really with Kite being one of the first people to notice juno doesn’t battle with their full strength, and after that realization, he starts being able to read behind their expressions to see there’s more to them. He cant quite figure out exactly what it is at first, but he’s quick to deduce that there’s more to them than meets the eye. As it progresses, he notices how much more attention she gives him without him ever really learning all that much new about her, though whenever they leave, he can sense that air of loneliness about them. When Juno challenged kite the first time, the line he told him (as with most of her challenges to others) was “I’ll show you my heart,” but realizing she was holding back, kite mentioned that again at the end of the battle and said it wasn’t really true. Juno only slightly faltered at that, and though he didn’t show much, it was enough to start kites intrigue. It’s much later in their rivalry though that kite, much more bluntly, confronts Juno about this, much to their surprise. I don’t know how the interaction would go exactly, but I like the idea of kite asking what juno is battling for, and when she gives her usual schpiel about wanting to understand others more and for them to understand themselves, he stops her, and asks what they really want for themself. I really like the idea of a typically selfless character having a hard time being fully self-indulgent at times, and that’s kinda the whole basis for this dynamic. Kites a good character to be the one to call this out too imo because his two most primary character traits are how much he loves eight and how much he loves himself, so if anyone’s gonna encourage juno to do things for themself just as much as they do things for others, it’s gonna be kite. I like the idea of kite eventually becoming so much stronger over the course of their whole rivalry that much like with Sakyo, juno can’t do their typical strategy of holding back long enough to have a decent battle, which forces her to put so much more energy and effort into her battles that kite essentially forces her to battle for herself, to put in the work to really try their hardest that they can’t help but enjoy themself during the battle, and that in turn ends up being the most genuine kite sees him for the first time. The fun juno has during that battle makes her want to get stronger and enjoy battling for himself just as much as she battles for others. Kite isn’t the only character who draws this out of them as I do imagine this development also being tied with her dynamics with Zyro and Sakyo, but kite is the primary relationship through which this is explored fully from beginning to end.

The fully arc of their rivalry happens before they officially get together, though there are definitely feelings there throughout basically the entirety of their relationship. The separation of digivalen pre-Juno character development and post-Juno character development is also kinda what separates the two main dynamics of them as a ship, those being 1. Juno teasing kite and being able to get under his skin and make him a flustered, angry, tsundere mess and 2. Them being the most disgustingly overly affectionate and cheesy couple you’ve ever seen in your life (/aff). Juno catching kite off guard is kinda the whole crux of the start of their dynamic, and there’s a little flirting and silliness thrown in there which just amplifies this, and further down the line this continues but instead of it making kites head completely explode, he’s able to shake it off in order to stay focused and really draw out more from juno. This is what allows their relationship to start being on more even ground, developing until kite is the one able to start catching juno offguard, and at times, he is able to make them a bit flustered (except it’s different than when kite gets flustered, bc while kite’s system completely overheats and shuts down, juno only has that pause for a brief moment before she’s like “wow, you really are cool, you know that?” in complete earnest and affection). By the tail end of their rivalry, they’re able to entirely bounce back and forth off of each other (while there were brief moments of this previously, its completely equal and mutual here), which is what eventually gives way into kite realizing that A. Juno has genuinely been interested and hitting on him for the entirety of the time they’ve known each other and B. he ended up developing feelings for them as well without entirely realizing it, and a lot of the anger and confusion and tsundere-ness that he felt around them before was because he genuinely didn’t understand that THATS what he was feeling, and now knowing that he likes them, he’s like instantly completely confident in himself in his own kite ego Mr Perfect kind of way, enough to be able to ask juno out himself (even though she tried like ten times already) and officially start their relationship. It is after that they so instantly become the corniest couple of all time because they’ve already gone through all the awkwardness and stuff just being rivals that now that they’ve both gotten to the places that they have with and because of each other, they are so instantly able to gel together romantically and completely have that connection. They are both incredibly down bad for each other and while kite still tends to be the more obvious about it of the two, juno does have more moments of also being completely and more obviously whipped for him.

[raven-at-the-writing-desk]

what about the raven herself?

Welp, I didn’t expect this one 😅 but since you asked, I’ll provide!

***Standard disclaimer: These are just my personal opinions of the character(s); regardless of what I may think of them, sharing my thoughts is NOT meant to offend or to shame anyone that thinks differently.*** Do I really need to slap the standard disclaimer on a character opinion bingo about my own OC??????

Raven 🥺 my child............................. .. . ....... . .... . .. . .. ......... . . . . .. . .... .. . my birb dotter........... . . . ..... . . . .. ..... . . . .. ... ... . . . .. . . .

WAHAHAHAH I’m very obviously going to be biased with my thoughts 😌 so I hope you’re prepared for that—

When I first had the idea for a “blog mascot” in late spring-early summer of 2020, I had no idea just how attached to Raven I would be. Contrary to popular belief, she’s not meant to be a self-insert or a Yuusona; she’s an OC with her own lore and she exists entirely separate from Yuu. While Raven isn’t a self-insert, she happens to share the same name as my online alias (which I know can get confusing 💦), and she’s also the type of character whose struggles I can relate to. I only put bits and pieces of myself in Raven, a trait or two here and there—just enough to let me comfortably project my issues onto her. She has difficulty expressing her feelings outside of writing, and she longs for the freedom to do as she wishes, to live without restraint… and to understand herself. She feels small and helpless in a world that’s dark and confusing to navigate. In a way, writing Raven gives me a chance to explore and to cope with similar real world issues, so she brings me a sense of comfort and hope. (If you’re interested in hearing a little more about my OC creation process, I’d recommend checking out this post!)

I had many different inspirations when I was designing her looks, personality, and backstory for a cohesive character. What was most important to me was creating an OC that is both layered and “makes sense”. For example, I think a lot of people would describe Raven’s personality as “tsundere”—but why is that? Why is her personality “tsundere”? Because she doesn’t believe she deserves nice things, and she doesn’t think she belongs among humans. Because she’s been betrayed by someone she once trusted, and this reaction is the only defense mechanism she knows. Because her curse may punish her for ever getting too close to anyone. Even her design speaks to who Raven is; she’s trying so hard to emulate Crowley (but more mature), because she doesn’t have a clear sense of what her identity is or what her place in the “story” is anymore, so it’s easier to try and be like someone else. That’s what makes it really fun to design other outfits for her; it feels like Raven’s finally allowed to dress how she wants instead of having to live up to someone else’s legacy. This is totally me playing favorites, but Raven’s really deep 😌 and I hope that more people come to appreciate her for that. (Why not check out this post for more about her? Read the Tale of the Cursed Raven—)

I have the most enjoyment writing Raven interacting with other characters. She takes herself so seriously and tries to act like a refined lady, so it’s amusing when that plays off the callousness of her peers and it forces the childishness she often hides to come out. Jade is particularly interesting to write with Raven, because almost every conversation between them turns into a battle of wits and seeing who can outsmart the other and get them to break and lower their guard Kaguya-sama: Love is War style. I’d like to think that they’re both getting free entertainment from it 😂 With other characters, it’s fun to draw contrasts (Kalim’s/Rook’s/Cater’s cheer vs Raven’s reservedness, Crowley’s immaturity vs Raven’s sense of responsibility, L*ona’s laziness vs Raven’s hard-working nature, etc.), as well as parallels (she and Silver are both adopted, she and Ortho are both students enrolled under “extraordinary” circumstances, etc.). I’m weirdly proud that I cam write Raven with the other students and interacting with them all so differently, because it makes me think she’s as “real” and as fleshed out as the main cast are; it makes me feel like a mom watching her kid make new friends on the playground with the other children 😌

I know that people usually like to see Raven engage with the Usual Suspects (J word, Rook, L*ona), but I would like more opportunities to have her engage with others in the student body as well. Interacting only with “potential love interests” makes a character seem flat and like they were invented solely to be shipped with someone else, so I want to expand on Raven’s platonic relationships and friendships. I don’t want her to be defined by who she loves, but by who she is as an individual. After all, finding “herself” (aka having faith in herself and in her identity) is a big theme of the Tale of a Cursed Raven, and the “self” isn’t defined only by who someone loves, right?

Sometimes I feel guilty about writing Raven and posting it publicly, because she’s a personal character and not a canon one (the latter being what most people come to my blog for). With time, I think I’ve slowly become more comfortable doing it 😌 because seeing my friends and my mutuals share their own OC creations gives me more confidence. I hope I can share more of Raven with the world.

[everythingsinred]

Let's Talk About NatsuMikan: The Anime (pt. 1)

I could go on and on about these two and I think I will, just because I don’t often see people talk about the analysis behind them. The meta I have seen about them has included a perspective that equaled the anime and the manga and I don’t think that’s an accurate way of viewing their relationship.

The anime is a different species than the manga, something that frequently happens during the adaptation from page to screen. Since they’re so different, I’ll analyze them separately.

There's going to be many parts to this so I'll keep a table of contents right here so people can more easily navigate (though you can also read through the "let's talk about natsumikan: the anime" tag on my blog):

Anime Analysis

Part 1: Exposition & Episode 7

Part 2: Episodes 8, 9, 10, & 11

Part 3: Episodes 12, 13, 14, 15, 16, & 17

Part 4: Episodes 18 & 19

Part 5: Episodes 20, 21, & 22

Part 6: Episodes 23, 24, 25, & 26 & Conclusion

The anime makes changes, as anime adaptations often do. The most outstanding changes are appearance related, as Natsume now has brown eyes instead of red, in addition to other characters who have hue-shifted eyes and hair. But there are also story changes, and I’ll be focusing on the changes that occur, specifically in regards to Natsume and Mikan and their relationship.

For one, their relationship starts evolving much earlier in the anime. I think it’s pretty undeniable that in the anime, Natsume started liking Mikan at the end of the dodgeball game. That scene never happened in the manga, but in the anime, it’s a crucial step in making sure nothing seems too sudden or forced.

The anime is 26 episodes long. If Natsume only starts liking Mikan after she saves him during the Reo Arc, then we’re already halfway through the show when positive feelings between the two appear. On the other hand, the feelings develop more slowly in the manga because there’s more time to properly develop the relationship in a more drawn out way.

My analysis will start with the anime, because it’s shorter and easier to discuss.

Exposition

It’s impossible to say that the anime was completely loyal to the manga. It very frequently couldn’t be, because it needed to fill in time in episodes or give closure early before the manga even addressed it (Natsume’s backstory in the anime, for instance, is vaguely referred to and implies deviation from the manga).

The most obvious difference between the manga and the anime from the get-go is visual. Not only do they have differing art styles (I don’t dislike the anime style but Higuchi Tachibana’s art style is so distinct and unmistakable while the anime’s isn’t so unique), but the setting is also different.

While the manga started in the depth of winter, the anime starts off in summer/fall. It always struck me as odd that while the first page of the manga has Mikan running after Hotaru in full winter-wear, the anime starts off warm and idyllic. You could almost think of that as a general warning for the difference between the anime and the manga. After all, while the anime has a reputation for being a cutesy and upbeat story about friendship and magical powers, the manga is much darker and discusses many morbid and depressing themes that can and WILL fuck you up. Warm vs. cold seems like an accurate difference, though I don’t think that was intentional.

We see way more of the village life in the anime, including Mikan’s efforts to keep the school from closing. This is a welcome change because Mikan’s passion to keep the school open is nothing compared to her friendship with Hotaru, and even after the school is saved, she runs away to see her friend, even if it means she goes to another school. The manga doesn’t imply that Mikan knew already about the school’s fate, and since she is always so preoccupied with Hotaru anyway, we don’t really get the impression that she cares very much. To Anime!Mikan, Hotaru is more important than saving the school, something she was so passionate about she rallied to get signatures. It’s an extra scene to prove just how much Hotaru matters to Mikan, and to show even more how selfless Hotaru was to go to Alice Academy, since she knew how much the school mattered to Mikan.

“Sign my petition to get a Gakuen Alice anime reboot!!!”

My boy Natsume is only introduced properly in the second episode, when we actually see his face and he speaks. His appearance is different from the manga’s too. I’m not sure if this was to appeal to a younger audience or what, but Natsume’s eyes are changed to brown instead of their iconic red, something that was always my biggest peeve about the anime adaptation. His hair is also somewhat purplish instead of entirely grey/black and, although this does bother me a lot less than the eyes, I wonder why they made this change when other characters have black hair. It might have been to differentiate him from Hotaru, another main character with black hair, though I’ve never had issue in the manga telling them apart.

His first interaction with Mikan is a lot more pleasant in the anime than in the manga, although that’s not really saying anything. Mikan’s skirt simply falls off and Natsume draws attention to it, rather than the unpleasant events that took place in the manga. This different event makes it a lot easier to support a relationship between the two of them right off the bat. They are still antagonistic but it’s not as terrible as it is in the manga. This makes it easier to establish romantic feelings earlier on, and might have been changed in order to achieve just that, or possibly also to appeal to a younger audience. Maybe both? Who knows.

“You can’t sit with us!”

With Natsume presented the way he is in the anime, it’s easier to make the claim that he’s simply a good guy who acts the way he does to protect people. And it’s true! He is! But he is also so much more. In the manga, he’s a more complicated character. Although he is a good person, he still requires character development, which is something he does go through, and something I’ll talk about more in his meta analysis later.

Most of the events at the beginning of the anime parallel the events of the manga. Mikan goes to Alice Academy at the same time of year, Natsume shows up with an explosion, Mikan has to go through the Northern Woods, she discovers her powers in her fight with Natsume, etc. Some of the continuation from episode to episode is different than the transitions between chapter to chapter, there’s extra scenes inserted to fill up time, and some of the exposition seems strangely presented (in the anime, Mikan finds out more about the school when she finds Narumi and Iinchou waiting for her at a tea party, which is…. Super weird…), but all in all the information and events are mainly the same. The big differences start with the dodgeball episode.

“Look how happy she is. Makes me wanna barf.”

Episode 7 vs. Chapter 9

I love the dodgeball episode. I feel like for the most part, the anime does deviation from the manga pretty well. With the last arc as an exception, I generally enjoy their changes and additions to the plot. The anime has to be different, has to progress at a different pace, has to introduce topics at different times. They have an episode to fill, and less time to build relationships. Natsume and Mikan are both different characters in the anime but it’s very subtle and has to happen due to the fact that the anime is shorter and seems more designed for younger audiences, in addition to wrapping up before the manga could explore more of the story.

Anyway, let’s talk about the dodgeball episode. AGAIN THIS DOES NOT HAPPEN IN THE MANGA THE SAME WAY so when discussing NatsuMikan as a concept, the anime events cannot be treated the same as the manga events. A lot of people maybe forget that the manga is very different than the anime when it comes to this episode. I see the two media conflated in plenty of fanfics, where seventeen year old NatsuMikan reflect on the dodgeball game from their youth that changed everything, and I get it because the anime version of the dodgeball game is cute! It's shippy! It's fun! But it doesn't happen in the manga the same way.

There's a similar trope with the sakura tree, which I can only remember from the anime, and yet it's such a fundamental aspect of NM fanfic it might as well have played a vital role in both anime and manga. Nothing wrong with any of this, of course. I'm just making it clear that my analysis will cover the two media as separate for the sake of a cohesive essay. Separating them in fanfic is far less important.

This look could probably kill someone. I’m surprised Mikan is still alive, TBH.

The chapter’s focus is Mikan starting to feel more at home in Class B, making friends with her once-hostile classmates, but the episode is more preoccupied with Natsume and Mikan’s perspectives on each other. While in the manga, the game ends with a tie and Mikan accidentally hits Hotaru in the face with the ball, the anime draws out the game to fill an episode and to introduce an evolution in the way Natsume sees Mikan. The first part of the anime episode is Mikan introducing her friends to her new senpai, Tsubasa. After she invites her friends, we see Natsume glowering at her and promptly ditching the next class, saying to Ruka that he can’t stand being in the same class as her. This addition to the plot already foreshadows that their relationship will change in some way by the end of the episode.

Tsubasa tells a frustrated Mikan that if she wants Natsume to be less unpleasant, he’d need to release some of his toxic energy. Thus, the sporty Mikan introduces the concept of dodgeball to the unwelcoming class. When they finally agree, Natsume gives one condition: that they play with the notorious Alice Ball, which is powered by the thrower’s alice (a detail absent from the manga). This Alice Ball is particularly terrifying with the threat of Natsume’s dangerous fire alice. Mikan also needs to get more people on her team, another aspect absent from the manga. While in the manga, Mikan only had her few friends on her team (including a wandering Ruka) and this ended up playing to her advantage, the anime has a humorous plot of Mikan tracking players down for her team, including a fake mustache she makes with her pigtails (she’s so cute, I love her), paying Hotaru to be on her team, and blackmailing Ruka to participate. This was mainly to fill time, but it makes the dodgeball game more important as well.

In the manga, we don’t see how the game ends, just that the teams tied and that everyone in class is having fun and bonding. In the anime, more emphasis is put on the “Mikan vs. Natsume” aspect, so a tie like the manga’s would be anticlimactic. Thus, the anime concludes the dodgeball game with Mikan and Natsume being the only kids left on the court, and Natsume not using his alice when he throws the Alice Ball. Even Hotaru leaving the game is something she does out of boredom instead of injury, further separating the other characters from the plot. It’s about Natsume and Mikan, and everyone else is mostly a side character. (Though Ruka also plays a vital role to this episode AND chapter, and it’s at this point that I think he started developing real feelings for Mikan as well. So when it comes to the anime, he and Natsume fall for Mikan around the same time, but in the manga, Ruka likes her first and the “he liked her first” argument for Natsume vanishes, though he never had that “advantage” to begin with.)

“Thank you!”

Natsume wins (something that shocked me at twelve years old) and is ready to walk away with his handy “tch” and all but Mikan thanks him for not using his alice and he goes off on her, demanding to know why she’s still smiling despite her loss. She says she’s happy that he had fun and was involved with the rest of class for once, and that in a way that means she wins. For Anime!Natsumikan, this is it. This is the turning point. “I just wanted you to be happy and have fun,” is what Mikan might as well be saying. “Really, this was all for you!” It’s sweet and it’s thoughtful and I don’t think Natsume ever imagined he’d be on the receiving end of her kindness, especially after all their beef. Manga!Mikan would probably not say these things to him, even if she meant them, for the sole reason that Mikan is stubborn and holds onto her pride, especially when it comes to her early relationship with Natsume, but Anime!Mikan is much more forgiving and much more willing to extend an olive branch, like in the dance episode. In any case, Natsume starts falling right then, and it’s obvious too, because he is pissed, and even more angry because he’s not even mad at her. He’s angry with himself for his change of opinion. This is the girl he was fully content to hate forever and yet here he was, starting to like her. Not ideal.

This scene, something so crucial to the development of Anime!Natsumikan, is completely absent from the manga. In the manga, Natsume still dislikes her by the end of the game although he does have fun.

He's not angry, just disappointed. In himself.

I’m not going to say one is better when it comes to starting up NatsuMikan because they’re very different creatures and I actually thoroughly enjoy both.

Anyway, the NatsuMikan after episode 7 is almost the same as in the manga, but the events carry a different weight since we know Natsume likes Mikan now (even if he would never admit it).

Summary

I hope this first part was interesting, and that it introduced the idea of Anime!NatsuMikan as being a little different from the manga's version. Yes, it is more or less the same story, but with so many thematic and plot changes, they take a different form as well, in a perhaps more subtle way, kind of like a slightly canon divergent fanfic. Fanfic where Natsume starts liking Mikan a bit earlier on in the story.

Next Part ->

[evilsillyputty]

Review

Fantasy Bishoujo Juniku Ojisan To

Or: Life with an ordinary guy who reincarnated into a total fantasy knockout

[you know looking at those 2 titles, I don’t think they say the same thing in the respective languages]

Genre: Fantasy isekai (comedic)

Summary/plot: Walking home after a speed dating party (or something like it), our MC who is drunk is complaining about not getting any girls and saying how he may as well be a girl that super cute and that all the guys will fall in love with. While the other MC the sidekick I guess just wants to get him home. Well a god shows up and forcibly yeets them into an isekai. After some complaining the goddess curses them as a threat to save the world. So they begin their journey to defeat the newly reborn demon lord (who isn’t a big problem currently, so props to the gods on keeping on top of it before it became a problem. Most the time the demon lord is already up and doing things, not here). On the way they have to deal with men going head over heels for the MC, the sidekick and MC growing romance… bromance… they think each other hot and don’t like that, meet new people including other people who have been isekaied, and monsters. Oh and the description given of this if you were to look it up says they’re old, they’re not old they are 32. If you say old I think 40s at minimum.

Art Style: It’s good. It’s nothing special, not a unique style or anything, but it is draw well. People, animals, background all good. Otherwise not much to say.

Personal thoughts: The main motivator I had for reviewing this one is that there is an anime being made for it, and I already reviewed the other genderbender isekai being made into an anime so here we are, fair treatment. So, this is an isekai with the twist that the MC gets turned into a girl and now the bromance between him and his best friend is turning into a romance (reluctantly). Straight to point, I like it. It’s full of comedy. Mostly slap-stick, banter, and “well this bad thing happened, and we have to deal with it” kind of humor. Other than the comedy it has some drama relating to the two MCs relationship. It’s the kind of “you’re way better than me and only look down on me” vs “you’re the only other human I actually like, and I am also unable to express my emotions about it” thing. They meet colorful characters along the way, including some other isekaied countrymen. So far, they’ve meet two. I think the characters are pretty well fleshed out. They got those developed and unique personalities, and the interactions between them are great. It’s a lot of one funny/annoying guy and one straight man going on. Which is a dynamic I like. I have no idea if they have an overarching goal currently in mind because it seems like they are just traveling around aimlessly. I think they have short term goals that involve going to a place but outside that I think they just go place and deal with problem that shows up and they get involved with. As is one of the MCs abilities, “troublemaker” the ability to easily get into trouble. Oh yeah, they got levels and a status screen like most isekai. I mentioned earlier that the goddess cursed them so they had to save the word, not curse them to save the world just so they would have the motivation. I don’t know what the curse is. The characters have an idea on what they think it is, but I’m not sure that is correct. I’m hoping it is flat out reveled at one point.

Now for the important question for any isekai. Is this worth being an isekai? Does being an isekai bring anything to the story? Well, sure I guess. The sidekick MC has an ability to conjure a door that leads to the MCs apartment (not back to their world but like a pocket dimension). He also is always wearing a suit and tie. There are more than just them that were summoned. So it piggybacks off of the generic “gods summon people to the world to save it” thing. They are very obvious outsiders wherever they go. Other than that, I don’t think they bring any helpful info from their world to this one.

Characters:

Tachibanta Hinata: Our MC who gets turned into a girl. He was gifted (or cursed) with Peerless Beauty, which makes any men who see her fall in love. Luckily his friend Jinguuji seems to be able to not get caught up in it unless he drops his guard. He’s spent his life as the loner loser guy who can’t get a date. Especially with his overly attractive friend around who seems to draw all the girls to him. So he’s got that complex. As a girl he purposely uses his ability of being cute a couple times, but it always ends with over effectiveness problems. Other than that, he doesn’t really do a lot of the things you’d expect a guy to do when turned into a girl. Those problems just aren’t mentioned. Other than being so cute that guys just craw all over you. He’s the less serious stupider one of the pair who also still acts like a kid. Especially now that he has the body of a young girl.

Jinguuji Tsukasa: The sidekick to the MC, but that doesn’t mean he has any less important of a role. In fact, I may say he is actually more of a main character then Tachibanta. He is the hot guy who gets all of the girls except he doesn’t want any of them. He just wants to spend bro time with his best friend Tachibanta and he’s not gay guys I swear, there is nothing gay about rejecting every girl you see based off the fact they’re a girl and only wanting to spend your life hanging with your best bro I don’t see a single gay thing about that. He’s the straight man in the comedy duo (see “straight man”, straight! Totally not gay) he’s smart, doesn’t take bullshit, quick to using force, and very untrusting to anyone else. He has to deal with trying to not magically fall in love with his best friend now that he’s a girl. He wants to be best bros not husband and wife. I mean he knows Tachibanta has that beauty ability that makes people fall in love with him and if he is going to fall in love he want to do it naturally I mean not at all because that’s gay and he isn’t gay (ok I’m sorry I’ll stop that joke). He just wants to get back to his normal life.

Elf Chieftess (I don’t know her name): After being defeated by our heroes and losing her long hair (a cultural symbol of pride for elves) she goes on a journey to get revenge or something. She shows up now and again. I’m pretty sure she snapped at one point.

Schwarz: Another person isekaied. He is whatever the equivalent an edgelord is but to a hero. He’s impulsive, stupid, and needs to know how strong he actually is. He is the worse traits in a stereotypical hero.

Interrogator (I also don’t know their name): Basically, the same as Jinguuji but mentally stable. As the title suggests they are an interrogator. They take no bullshit and don’t believe outlandish claims off the bat. Fairly strong and competent.

Merchant (either they don’t name these people or I just can’t find them): Shady guy who helps out the MCs for a short while. He defiantly has his eye on Jinguuji.

Other Info: As of 1/4/22 there are 88 chapters out, but they haven’t updated in a while. It may take some time to get through them all so be wary of that.

 All in all: I like this manga. It has the comedy style I like. There are fights every few chapters and plenty of gags. If you want something that’s not too stressful and that will make you laugh, give it a go.

[caffernnn]

OK so.. the movie spoilers suggest that there's some big drama going on between Haru and Rin (and if there's big drama between characters in the first movie, then of course there's bound to be a big emotional resolution in the second one); also, Makoto and Sousuke seem to be spending time together in the movie, so.. I'm almost afraid to ask but.. do you think it's possible KyoAni has decided to go with rin/haru and sou/mako for the 'endgame' ships after all?

⚠️ Talking about Free! Final Stroke spoilers below the cut ⚠️

From the different spoilers, summaries, and fan reactions I’ve seen so far, I’m not necessarily getting that vibe.

For one, I wouldn’t think that they’d lean too far into establishing any ships as endgame, especially any ones with those big four. It benefits them too much to keep things ambiguous, letting different pairs have their moments together (whether in the show, side stories like the birthday stories, or positioning/proximity to each other in different merch campaigns). Maybe I’m wrong here, but considering how heated people can get with certain pairings, I’d doubt they’d make a full leap into any of those camps and potentially polarize large parts of the fan base.

Outside marketing interpretations aside, it makes a lot of sense to see more of Haru interacting with Rin and Makoto interacting with Sousuke. I think I mentioned it in one of my first theory posts about the movie, but it seemed natural that Rin would come back to the forefront alongside Haru after their relationship being pushed into the background for a large chunk of DttF. Now they have the proximity (competing in Sydney together, Rin coming back to Japan for a bit) and motivation to check in with each other as friends and rivals. With how things lined up at the end of DttF and with some scenes in Timeless Medley, it makes sense to see Sousuke and Makoto spending more time together alongside Nao, as their current dreams are placing them on that supportive training/coaching path. They’re supportive of their best friends who are off racing (there were apparently moments where Sousuke and Makoto reflect specifically on their relationships with Rin and Haru), but they’re also in Tokyo with their own ambitions to work hard towards. All of this is to say that getting to see those pairings and relationships (not implying if they’re anything beyond platonic; choose what makes you happy) get more screentime doesn’t feel like it’s out of left field to me, which I might expect if certain agendas were to be forced. I talk about my personal favorite ships a lot on here, but I think part of the draw of fr! comes from how swimming has allowed these characters to make so many strong and important bonds together beyond just their best friends. The “everybody knows everybody” phenomenon in the Free!verse does feel bizarre at times, but it does do a good job of feeding into the show’s emphasis on swimming being the thing to encourage interconnectivity (even if characters’ own demons occasionally warp the sport into a means of isolation and self-destructive behaviors).

Looking at Haru and Rin’s drama (with the few details we have without seeing the movie for ourselves yet) I think it’s important to recognize how the conflict is probably bigger than just the two of them. The details I’ve seen lead me to believe that their blowup comes at a peak moment of Haru beginning to implode on himself, much like Makoto and Haru’s fight in ES. Haru lashing out at Makoto was about them, of course, but it was also a chance for Haru to blow up about feeling cornered by way too many people in his life to go down a singular expected path. I imagine Haru and Rin’s fight functions largely the same way, where he’s using their own bumpy past to lash out, but the heat behind it all stems from a greater feeling of loneliness, from a fear that everyone is leaving his side again and the choice of “swimming vs. bonds” will be made for him when he’s left all alone. It seems like they make that point more obvious too, with the whole “Albert possessing him” angle (which sounds weird on its own and I saw many fans angry about the “unexpected darkness,” but hear me out). The important part, at least from the details I’ve seen, isn’t that Haru is being mean in a way that feels foreign, but that he is recognizing in the moment that these aren’t the words he should be saying, that he’s actively regretting destroying his relationship with Rin for a separate agenda, even if he feels he can’t stop himself (the “ghost of Haru” floating outside of his body and yelling or whatever). I’m super excited to see this moment for myself, because so many people described it as a huge tone shift from the majority of the movie and feeling uncomfortable and potentially ooc for Haru. I want to see for myself if it actually feels out of left field, or if it lines up with the growing darkness we’ve been talking about seeing start to manifest in Haru for awhile.

Final thing, even though I’ve seen less details or consistent accounts for it, Makoto and Haru end up having their own rift start to form as Haru begins making his sacrifices for swimming. Makoto seems to have another nightmare sequence where he can’t reach Haru (which I am SO pumped to look more into, especially to compare it to other dreams shown throughout the series), and that fear starts to manifest when Haru starts closing himself off and saying that they won’t be seeing each other for awhile. I want more information about Makoto’s position in that conversation, because it doesn’t sound like it was a big blow up, and there’s apparently something concerning going on with him. People were saying that it seemed like he wanted to say something or give something to Haru, but before he could confront him again, he conveniently gets whisked off to go check on Ran and Ren. It’s hard to make any statements on any of these details before knowing fully what happened (playing telephone with spoiler recaps will be the death of me). The point of me even bringing up their conflict is that Haru choosing to “give up someone/something for swimming” was always going to ripple out beyond a single bond, and he’ll have a lot of burnt bridges to mend if or when he figures out a lonely path to glory isn’t glory for him after all.

[ordinaryschmuck]

Top 10 Favorite Fictional Couples

Happy Valentines Day, people on the internet who probably won't read this! I'm an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons. And even though I'm a lonely bastard who will absolutely die alone one day, I am also a sucker for romance. If a story decides to include a cute couple in it, then you better believe I'm going to gush over them for an unhealthy amount of time for a man my age. Even more so if they answer the three most essential questions that I think applies to every romantic couple in fiction:

Why do they like each other? (Looks don't count. It can be an option, but it shouldn't be the only option.)

Would it make sense for them to be together? (Like, if this couple would exist in real life, would you expect them to last.)

Do they have chemistry? (This is the most important one as a couple can dominate just by the chemistry alone.)

So today, I am going to rank my top ten favorite couples in fiction, who just so happen to answer most, if not all, of these questions. Now, I could be cute and make a top fourteen list...but not too long ago, I just listed off the twenty best-animated series of the 2010s, so I think it's best if I stick to the basics. Also, I should make a few things clear:

A. These are couples, not ships. The pairing has to have a canon kiss, or at the very least, a canon confession to be on the list. This means sorry, Lumity fans, but Luz and Amity are not going to be on this list...even though they would absolutely be #1 if they could be!

B. The couple has to at least spend an entire episode being together, which means no last-minute hookups because the writers wanted to drag out the romantic tension. (Sorry, Catradora fans)

With that out of the way, let's get started with--

10. Laura Hollis and Carmilla Kernstien from Carmilla (Web Series)

The chemistry between these two is on point. Laura’s and Carmilla's actors Elise Bauman and Natasha Negovanlis are so convincing when acting like a couple that I am honestly shocked to find out they never actually dated. This is good because everything else about Laura and Carmilla's relationship is...kind of the worst. Don't get me wrong, as a couple, these two are fantastic, adorable, well-written, and well-performed. But the writers seem very fond of keeping them bickering and broken up rather than actually having them together. And that is where the issue lies. If the writers committed to Laura and Carmilla being together instead of doing this whole "will they or won't they" crap, on top of them being selfish idiots in season two, then you better believe they would be in the top three, at least. As they are, they at least act adorable enough to make the top ten.

9. Gregg and Angus from Night in the Woods

Ok, I'm gonna level with you: I just wanted to put an mlm relationship on this list, and this was the best I can come up with (I haven't seen Good Omens, nor have I finished Kipo and the Age of Wonderbeasts yet to see Benson's relationship with Troy. Leave me alone). As a male bisexual, I'm kind of disappointed. I know that male pairings exist in media, but for the life of me, I don't think they are as celebrated as much, or as frequent, as female pairings have been. This is sad because I would honestly love to see how more couples like Gregg and Angus.

These two act so much like a real couple. Gregg and Angus care and support each other so much, yet they still have big arguments as any couple would. They clearly love each other but still have issues they both need to deal with if they want to grow. Plus, I'm just a sucker for opposites attract. And you can't get more opposite than the loud and bombastic Gregg and his quiet and serious boyfriend Angus. There are probably better mlm pairings than these two (And if there are, then let me know. I'd love to check them out), but Gregg and Angus prove that any relationship, no matter the gender, can be the same as any other. Both the wholesomeness and the faults.

8. Peter Parker and Michelle Jones from the Marvel Cinematic Universe

I put these two a little low because we barely see them spend time as a couple. Peter and Michelle got together at the end of Spider-Man: Far From Home, and we only get a glimpse of how their relationship works in the last few minutes. However, I'm willing to argue that they count because they are guaranteed to be a couple in the sequels, and we'll be allowed to see them grow. How often do you get to say that for other fictional couples who get together at the end of a long story? Plus, Peter and Michelle earn extra bonus points for being the best couple in a Spider-Man movie. Michelle is a league's better character than the MJ in the Sam Rami trilogy, and the chemistry is still adorable but not overtly cutesy like it was in The Amazing Spider-Man movies. So even though Peter and Michelle just got together, they show a lot of promise, if you ask me. Their interactions are adorable, you can tell that Michelle likes Peter for Peter, and they are the most accurate depictions of young love you’ll ever see. Just look at that first kiss. It was one filled with inexperience and awkwardness and I just love it! I’m already interested in what these two have to offer and I can’t wait to see what happens next with them.

7. Andy Dwyer and April Ludgate from Parks and Recreation

The best description you'll ever hear about this couple is that they are what happens when a dog and a cat fall in love. Andy is dopey, happy, and loyal to no end. April is intimidating, cynical, and is already plotting your murder as we speak. What I'm saying is that these two shouldn't work...but they do. Somehow, by every leap of logic, Andy and April complete each other. They are both so far gone from reality, yet at the same time, both keep each other grounded in more ways than one. It's a weird paradox that never ceases to amaze, nor does it cease to be adorable. They do go through bullcrap love triangles and a "will they or won't they scenario" in seasons two and three, but once that crap is over, the writers lean into the potential these two have as a great couple. And trust me when I say that it is all lovely to watch.

6. Rapunzel and Eugene from Tangled: The Series

Huh. I guess romance really does exist after Happily Ever After.

Joking aside, I was surprised by how well these two work as a pairing. Usually, when the Disney Prince and Princess get together in the end, there is nothing more to the relationship. And even if their movie gets a spin-off series, the dynamic is as generic and forgettable as it can be. For Rapunzel and Eugene, it is different. Their chemistry is top-notch, their constant love and support for each other are admirable/adorable, and the complete trust they have for one another is absolute perfection. I was already surprised by how good Tangled: The Series was, but the fact that the main couple is somehow better here than they were in their own movie is something I would have never expected.

5. Rigby and Eileen from Regular Show

And seeing how we're talking about surprises, who saw these two being the best couple in the series? With the number of times that the writers focussed on Mordecai's romantic hang-ups and how often Muscle Man and Starla were considered the only canon couple, I was shocked when it turned out Rigby and Eileen have the best loving relationship in Regular Show. Even crazier, their relationship is built entirely in the background of the first six seasons. Since her introduction, Eileen has been head over heels for Rigby since the beginning (for reasons I'll never understand), and Rigby slowly reciprocated. Until the big reveal in the season six finale, there was nothing but implications as they were trying to hide their relationship and not rub how perfect it is in Mordecai's face (no matter how much Rigby wants to). But once we get to see them as an official couple, it all becomes clear why they work so well. Eileen loves Rigby for Rigby, and will always support him, faults and all. Rigby pays it all back in spades, wanting to be a better person, as well as a better boyfriend, for the one person who always believes there was something good inside. Not even his own best friend had that much faith in him. And on top of all of that, they're just cute. They may not have been the central hook in the series, but they are definitely much appreciated.

4. Chris and Elise from Dan Vs./Millie and Moxxie from Helluva Boss

These four are tied because they pretty much have the same dynamic. Chris and Moxxie are these pathetic losers who somehow managed to marry Elise and Millie: Badass assassins who could effortlessly marry any man they want. And what they want are their pathetic losers. It's extra wholesome for Chris and Elise, as Chris really can't do that much right, especially in comparison to the ever-perfect Elise. Yet, she still cares deeply for Chris and will promptly destroy anyone or anything that causes him harm. That being said, while Millie and Moxxie are both equally deadly, there is an odd hilarity to the fact that these literal demons from hell are so gosh darn wholesome. Seriously, their literal job is to kill people who screw over those who went to hell, and I'm always going "D'aww" when M and M always do something cute. Explain that logic to me!

There's nothing more I can say about these four, as they're adorable couples that prove love comes in the most impossible circumstances and the unlikeliest places.

3. Ruby and Sapphire from Steven Universe

I'll always remember that Ruby and Sapphire are the first couple that proved to me that there is nothing wrong with a same-sex pairing, especially in children's media. Before Steven Universe, I wasn't necessarily told that same-sex couples are wrong, but they're not meant for kids. Then I found out that these two girls, on a kids show of all places, we're madly in love and my first response was: "...Huh." And this was before I knew I was bisexual, so I wasn't even that obsessed about it at the time. But the more I saw Ruby and Sapphire, and the more I learned about how starved the LGBTQ+ was for representation, the more I really appreciated them. Ruby and Sapphire never fail to be precious, and the fact that they barely spend any longer than a few minutes apart is downright heartwarming (and incredibly literal if you've seen the show). They also broke a ton of barriers to proper representation. Not only were Ruby and Sapphire one of the first explicit lesbian couples in children's animation, but they're also the first ones to actually get married. Because of such a power move, many networks and shows make it less of a challenge for writers to include more gay characters in their stories. There is still a lot of hard work that those writers face, but it certainly seems it's less of a challenge than it would be before Steven Universe came out (Ha!). Ruby and Saphire are the first fictional gay couple I have been introduced to and have made an incredible impression ever since.

2. Princess Bonnibel Bubblegum and Marcelene Abadeer from Adventure Time

But while it's Ruby and Sapphire that introduced me to the concept of a same-sex couple, it's Princess Bubblegum and Marceline that made me root for one. In (I want to say) 2017, I started rewatching Adventure Time, knowing that queer relationships were indeed a thing. This means that not only did I finally caught the INCREDIBLY noticeable subtext in "What Was Missing," but I was legitimately chanting, "Kiss! Kiss! Kiss!" when I got to the episode "Varmints." And when they finally did kiss in the series finale, I full-on jumped out of my chair and screamed, "YES!" That never happens. Not even for the straight couples that I've obsessed over before this. Either I coo at how adorable they are, or just smile a warm and gentle smile. But letting out a very audible cheer that my college roommates definitely heard? That shows how deeply I cared for these two. And can you really blame me?

Not only is the chemistry on point with Bubblegum and Marceline, but it's interesting getting to see their relationship evolve through the course of the series. They have a dynamic of a couple who broke up on bad terms (long before "Obsidian" confirmed this), and you slowly get to see them reconnect to that spark they lost long ago. Plus, the more you see them interact, the more of their history is revealed, and thus it becomes clear why they fell for each other in the first place. Bubblegum keeps Marceline responsible, while Marceline helps Bubblegum learn how to loosen up. They balance each other nicely, and after some much needed growing up from the both of them, that spark returns. And they're much more of a loving unit than they were years ago. It's incredible to watch, and I would honestly see an entire spin-off series about them. But, as great as Bubblegum and Marceline are, there is a reason they are not my number one.

(There’s no art for this one because they’re characters from a book and I don’t want to steal someone else’s fanart for the sake of my crappy Tumblr post)

1. Percy Jackson/Annabeth Chase from Percy Jackson and the Olympians/Heroes of Olympus

And that reason is that I can't resist the first-ever pairing that I obsessed over. Percy and Annabeth might just be the example I live by for how couples should be written in media. Dynamic wise, of course. In terms of telling a story, their relationship was handled poorly in Percy Jackson and the Olympians. It was filled with agonizing love-triangles, a very long wait, and they were one of those couples who didn't get together until the end of the series. Which is a major no-no, in my opinion. But, when they finally get to be a couple in Heroes of Olympus, it is downright perfection. Percy and Annabeth are what happens if these two badass warrior heroes fell in love. They worry about each other and are willing to die for each other (if need be) but still have an intense amount of faith and trust for one another. The number of times Percy or Annabeth knew they would be alright because they have each other is incredibly high, no matter what series of books they appear in. They work well together, as well as off each other. Percy is this bumbling idiot who wins his battles through a mix of luck and skill, where Annabeth is this intelligent warrior who has trained since the age of seven. They compliment each other perfectly, and their constant playful bickering is always fun. I love these two, I love their love, and they will always be one of my favorite fictional couples in media.

(That is until Luz and Amity from The Owl House become cannon. In which case, you better believe they'll be number one.)

------------------------------------------------------------------------------

And those are my favorite couples. Out of curiosity, what are yours? Or, at least, what are your top five? Don't feel afraid to let me know or even make a list of your own.

Have a happy Valentine's Day, with whoever you want to celebrate it with and however you want to do it.

Now, if you don't excuse me, I have an entire to-do list of s**t I have to do, and I gotta figure out which to work on first.

(Should I review Rise of the Teenage Mutant Ninja Turtles next, or do that scene breakdown for Amphibia? Oh, the possibilities are killing me...)

[jubberry]

oohkay let's go tua with those ship asks: fiveya, horrance and alluther.

thanks el i love you

Send me a ship and I'll answer three questions based on if I ship it or not.

fiveya obvs i ship this since this is 90% of my tua drawings lol

1. ill wait ill wait (to be the one) by georgiestauffenberg made me ship it cause holy fuck dude. I dont know if i ship them romantically when i saw them onscreen cause first of all, age difference is kinda weird lmao. Second, they dont rlly interact much outside literally the first couple of eps. But he was so soft for her, and i felt like they had so much unexplored history.

so i looked at fanfics cause i was wondering if ppl still ship it, then i liked the description of this one so i gave it a go.

Basically the premise is that vanya dates a much older man who seems to know a lot about her. And it was amazingly in character and just provided their characters some depth that u wouldnt find outside of a romantic relationship between them. (The implication of five pining while she doesnt know who he is, their missed chances when he time travelled, fives missed chances of living and having a 'normal' life bec of his own hubris, vanyas insecurity and being able to open up bec shes with someone whos known her since childhood). Its so sweet and thats how i was like, oh yep i can do so much more with these two, and what has kept me interested in drawing them etc.

2. My favourite things are the shippers cause i made some friends in the fandom who are super cool and supportive! I dont get super involved in fandoms and usually just watch from afar so finding people to talk to and muck around with in this tiny fandom is super cool 😭

Though thats not to say I havent come across some bad apples in this fandom and things that I dont like. I think thats the importance of carving out a place for yourself and ur friends in fandom tho.

Another thing I like about the ship itself, i just like the grumpy person whos soft for one person trope. Its so cute. I like all the little clues in canon on how their relationship as kids is quite warm, which is interesting cause five is basically the star student and he can be quite cold vs vanya who is the black sheep of the family.

I also like how five likes her powers even when she caused the apocalypse he spent the majority of his life in lol. Like its a popular hc that five is just a wife guy and i love that.

I see vanya as the type who has a lot of love to give, and she sometimes has unrealistic expectations of what her partner can give. Betrayal and lies really angers her, but also when her partner cannot meet her expectations of love she gets very upset bec its also an indication of how shes not good enough, or not loveable enough to be able to have this in the relationship (her insecurity means every failing always comes back to her, even if its out of her control).

I feel like five would be a level-headed person enough in the relationship to not be afraid to say 'vanya ur being stupid' (ie. the s2 confrontation lmao). Also, five's personality means she will never have to doubt his actions bec she knows hes the type who will not give u the moment of the day if hes not interested.

Not to mention they also have the whole apocalypse vs. saviour, hero/villain thing. Theres just a lot to explore!

3. I probably have several. But mostly I dont mind five being a dick to vanya bec first, even if the appeal is hes soft to her hes already kind of a dick in canon lmao. Also, vanya isnt a child. Shes grown and she can handle petty af things like five telling her shes not good at cooking lol. I also dont mind it cause I feel like people are getting too afraid to write... conflict for fear or portraying an abusive relationship or smth. Like, chill. Conflict is fine, resolving it is how u get a story. However in saying that, nobody should be obligated to write any way unless you want to! Fanfic is for comfort so if what your doing is making u happy then its good enough!

horrance which i also ship but i love the platonic and romantic relationship equally:

1. I came in tua in general not shipping anything so Im honestly not sure. I do remember someone doing a meta before s2 came out that was basically how ben acted weird when klaus summoned dave in s1 that made me go 👀 Otherwise, tua s2 rlly made me like them cause tua FED horrance shippers. Like..... the fact that klaus didnt want ben to leave him, and ben knows thats why he stayed 😢 or the fact that klaus was all over him for some reason???? Somebody also mentioned gay ben once and I resonate with that deeply. Like i get that jill exists but i resonate with gay ben deeply.

2. I love their bickering, theyre so cute together. I just like ben being angry bec hes self aware that hes got both shit and amazing taste. Shit bec he cant believes he likes Klaus (and also amazing also bec Klaus). I think the idea of them being kind of underdogs, theyre not rlly leader types and dont want to be, helps them bond together even in platonic horrance. They're both down to earth, and even tho they can annoy each other, they also know if they want a space to feel comfortable its with each other. Theyre not pressured by rivalry over leadership, or any sort of competition.

I love the idea that even tho ben is like klaus's ''conscience'', hes also down for chaos and bitchy. I feel like klaus rlly enabled that side of him, its not exactly a good thing but its p funny lol

3. I know some people think their dynamic is unhealthy but i dont care lol

alluther. So id say i dont ship this, mostly due to the fact that im not invested? Just like all tua ships so far I rlly came out not wanting anything but platonic relationships cause I feel tua doesnt do romance very well. With alluther, theyre so cute but im not super invested in either of their chars so they havent stuck for me. I appreciate seeing them and talking about them tho, and I'm def open to exploring them further.

1. I think tua canon romances are just so lackluster 😔 Idk who writes the romances but I was just like 'nice' but afterwards I dont really think about them. I love their dance scene and the message behind it! Otherwise, theyre sweet like most of the tua romances but im not super invested, same with all the non canon ships.

2. I really feel like tua needs to decide on what their relationship is. Like, just say its incest or not and stick with it 👀 Or if you wanna support it or not, just make up ur mind. I think I would've liked it better if I found the characters more interesting. Allison especially I feel like suffers from the fact that tua just doesn't want to make her ''mean''. They want to make her supportive and are less interested in making her flawed (ie. she should've had a conflict with Vanya in s2, but the writers didnt want to write the girls fighting which is stupid imo and not what that conflict is about).

In regards to Alluther, the scene where Allison gets annoyed at Luther for sleeping with someone else felt out of line. Like, how are you marrying other people and moving on but Luther isn't allowed to? But honestly, I don't mind if they actually just acknowledge it and make it a deliberate part of Allison's trait that Allison can expect a certain loyalty automatically from other people (which can tie in to her childhood being a star, and the rumour).

Luther is a big simp for Allison, which is sweet, but at the same time it would be nice to have him explore himself for a bit, and who he is outside of the academy. Then maybe they can rekindle their relationship again as new people and see where they go from there.

3. I don't hate them, but they're ok. I'm not super invested in them, just like all the tua canon romance. But I wouldn't mind making content for them if I were a bit more invested in their characters. I love their dance scene in s1 and I feel like its super a underrated portrayal of what their relationship is meant to be. I know no one talks about it but it's just such a great scene, and I'm pretty sure the choreographer was into interpretive dance? The scene had a lot of meaning that I don't see people dig around with.

Essentially I'm pretty sure the fairy lights are obviously a throwback to their childhood together, spending time outside of Reggie. So the dance scene kind of symbolized that pocket of space they made for each other in their life (even if theyre far away, or with other people, they will always have that space for each other).

The way they danced was more like playfighting than dancing, which means their relationship isn't sensual. It's more ''pure'', and romantic. Its basically two kids rekindling their love as adults. I also think this is a response to the incest, cause in s1 tua klaus literally said that 'thank god Regg is not their real father' right before Allison and Luther meet lmao. So its kinda like saying Allison x Luther isnt supposed to be 'ohh step sibling hot' but two people who experienced the same trauma as kids and finding comfort with each other (and rekindling that love after many years).

[sssn-neptune-vasilias]

RWBY vs Comic

Alright, I said I was gonna do this back when the comic first started getting published but I got so frustrated reading it that I couldn’t actually keep up with it enough go through with it. I think I stopped around issue 4 because that was when I just got angry and threw my comic back into the plastic. I figure now’s as good a time as any since I’m actually rereading it now. My whole issue with the RWBY DC comics is that they’re super canon divergent but somehow still canon material. It’s so frustrating that this is the case because we’re supposed to take into account things that happen in the comic as gospel- things like Adam revealing he’d always been genocidal, Bumbleby’s bottlecap, Weiss’ zoo animal arc, etc, but a lot of these different story arcs don’t make sense in our current canon. So I’m gonna talk about them because why not.

 Issue #1:

The first issue actually isn’t that bad- mostly because it’s just an intro to the series- but there are still some huge inconsistencies between the comic and official canon.

These two panels are a fucking mess.

1) Ruby was passed out when she was delivered to Patch by Qrow. She’d just used her Silver Eyed Warrior powers for the first time, hurt Cinder, frozen the dragon, and passed out. We were literally forced to listen as Qrow carried Ruby out of the rubble and back home, because she was unconscious. But the comic has her just arriving back home all on her own. “I came back to my dad’s house.” No you didn’t, you literally woke up in your bed after what must’ve been days of being unconscious.

2) We know Blake didn’t get to Menagerie on a little wooden boat. We all watched the episode. It was a decent sized ship with multiple crew members, dozens of passengers, and literal armaments designed to destroy Grimm. Sun can’t hide in a robe for 3+ days on this boat. This boat wouldn’t have survived a Grimm attack in the first place. Idk why they decided to draw this boat instead of just drawing the Pride the way it was designed in the first place, but whatever I guess.

RNJR didn’t tell Taiyang they were leaving. Ruby and her team just left. There was a whole scene dedicated to showing the shock and horror on Tai’s face as he saw Ruby’s letter and ran out of the house hoping to catch up to his daughter before she left. Also not as important but still relevant, RNJR left during winter. There was snow on the ground. I don’t see no snow in this panel- that tree looks real green. That last issue is mostly a nitpick- who cares what season they left in tbh. But the fact that they just wrote this panel into the comic despite the fact canon shows Taiyang had no idea of Ruby’s departure- and the fact that Ruby’s departure is actually really important to a bunch of later scenes in this show is really fucking weird.

Issue #2:

I know we know next to nothing about Raven Branwen, but holy fucking shit do I wanna believe this is ridiculously out of character for her. You’re telling me that Raven actually did come visit Yang and Tai and Ruby, but the one time she ever made her presence known to any of them was to berate and terrify Ruby the one time she’d learned anything about Summer?! Like BRO. This is so fucked up! This is too fucked up! This is straight early 90′s level villainy right here. What was even the point behind this?! This scene tells us that she felt so negatively about Summer Rose that she was willing to break her silent cover just to disillusion Ruby for no other reason than to tell her she was weak. Which makes no fucking sense because when we finally meet her during season 5 Raven has nothing bad to say about Summer at all! What did Qrow say to her after they spoke? “Hey sis why the fuck are you flying around your ex’s home scaring his daughter who just lost her mother? You realize you’re talking shit about the woman who raised your child too right?” Like, this is so wildly terrible, that if we’re meant to take this into account, I don’t see how anyone who reads these comics could say anything positive about Raven ever again. This is strike one, two and three for her entire characterization.

Issue #4:

I’ve said it already but fuck this boat.

Not so much an issue with the comic as it is with RoosterTeeth’s sometimes sloppy storytelling, but we really need an exact age on Adam. Is this man a pedophile? We know Blake is about twelve here, meanwhile- besides looking maybe a little scrawnier- Adam looks the same as he did during the show. How old is this kid right here? Fifteen? Seventeen? Was he 20 during the events of volume 1? Was he 25? I really dislike this specific problem RT has created because at no point during canon were we led to believe that Adam was significantly older than Blake or our other characters, but here in the comic we’re getting huge pedo vibes. Idk if this was RoosterTeeth retroactively trying to throw Adam’s character even further into question but... Idk man, RT y’all need to hurry up and carbon date this kid because I’m really not liking this.

I’m not gonna harp on the whole “Adam as a revolutionary vs Adam as a genocidal maniac” issue again. Most of y’all already know where I stand on this and have either made up your minds that either, yes, Adam’s sudden change towards being genocidal after being forcibly conscripted by Cinder doesn’t make much sense, or, no, Adam’s behavior is entirely in line with what little we’d seen of him up to that point in the story. I’m not trying to change anyone’s opinions on this issue, I’ve got about a dozen other posts for that. My issue with these panels specifically is that this is the moment Blake discovers Adam is genocidal. This is the moment Blake realizes that Adam never wanted peace, never wanted coexistence, never wanted what the White Fang actually wanted in the first place. He wanted Faunus supremacy- a goal entirely removed from the White Fang’s goal of equality between Faunus and humans. This is the moment Blake realizes that his ideology is so far from what it is she herself wants. If this is correct, why does Blake never mention this AT ALL when she’s talking about Adam. When the conversation comes up during season 3, she specifically states that Adam’s change was gradual. Not that he’d been hiding who he really was from her but that he’d become a completely different person from the man she’d originally known. I recognize that a lot of people say that this could be explained away as evidence of Blake’s abuse- oftentimes abusers don’t even realize just how monstrous their abusers are, even after they’ve escaped from said abuse. But this is just such a monumentally larger issue than manipulation and abuse. Adam is outright saying that he wants genocide! He’s not trying to hide it, he’s not trying to lie, he’s not trying to manipulate her! He’s telling her explicitly that he wishes he could kill as many humans as possible. But during the Black Trailer she’s still asking Adam about the crew members as if they hadn’t had this conversation hours ago! During season 2 she’s drawing him in her notebook as if she misses him! During season 3 she’s explaining that he’s simply misguided! This is apologia of the umpteenth level that is absolutely inexcusable. If I’m honestly supposed to be made to believe that Blake knew Adam was genocidal from before the events of the Black trailer and season 1 but still had feelings for him... I’m sorry but I’ve lost any and all respect for her entire character. You can’t have feelings for someone who’s genocidal- who you know is genocidal- and expect sympathy. No amount of abuse would forgive someone for having feelings for Hitler.

I recognize the comics aren’t supposed to be a shot for shot recreation of the show, but what the fuck is this panel? The frame of Adam dismembering Yang was such a good, amazing, impactful frame. The black and red framing, the yellow of Yang’s hair and weapons, the red of Adam’s sword. Why would you not even try to recreate that?

Leaving nitpicks for the end, really wish they hadn’t used “sunflower” here. That’s Yang/Ren. But again, the comic is made by people who aren’t in the fndm and don’t interact with the RWBY community at large in the first place, so of course they wouldn’t know.

Issue #5:

Why does Blake seem so ooc here. Like, the fact that she’s trying to make Weiss feel guilty for “cheating” in a “win by any means necessary” free for all match is really??? Weird??? When we know Blake isn’t above using underhanded tricks herself considering what she did to Reese during the tournament and her Semblance in general??? But whatever, that’s mostly a nitpick as well.

Issue #7:

My issue with this story is that it ends with Yang like, wistfully thinking of spending more time with Blake. But this is before she even put the prosthetic on. This is before she even got to talk with Weiss after meeting up with Raven. This is so early on in her healing process that I find it extremely difficult to believe that Yang is fondly remembering any time she spent with Blake. When Ruby talks to her during 3.12, she was angry that Blake had left her! Abandoned her! And then in the conversation she has with Weiss that happens after this event in the comic she’s still frustrated with Blake for leaving. So like... did she suddenly forgive Blake just a few weeks into her recovery and then relapse back into feeling like she’d abandoned her? Wtf is this?

Issue #9:

I know she’s obviously supposed to be drunk here, and we barely got to know her during the short scenes she had, but like... she never struck me as this kind of person. To literally forget how old her daughter is? Like...???? The same woman who was so perceptive she was able to recognize that Whitley was acting out because he’d felt lonely and abandoned by his sisters? Doesn’t know how old one of her children is? This is silly.

This isn’t the same woman we met during season 7. This isn’t the same quick witted woman who immediately directed Weiss to the cameras she’d hidden around the house when it was time to spring the trap on Jacques. This isn’t the same woman who was so honest when she admitted to her own faults just a few short months after this scene supposedly took place. You could argue that the events of this comic are what led Willow to become the person we meet later on, but like... That’s an absolutely ridiculous amount of offscreen growth you’re expecting me to just assume has happened. These aren’t the same people. This is ridiculous.

Issue #12:

This seems so ooc for Sun. Why is he literally begging her to run away and not face a problem when his entire relationship with Blake up to and past this point is him teaching Blake to love herself enough to face her problems head-on in the first place? This is so weird and gross imo because it just feels like they’re warping Sun’s character to make it look like Yang is the only good influence in her life when that’s simply not the case. Every conversation Sun has with Blake from season 1 to season 6 is him telling her that she deserves happiness, love, and to forgive herself. There are multiple songs about this aspect of their relationship! Sun has helped Blake grow just as much as Yang has. Why is Sun taking this approach to manipulate Blake into staying silent about something that’s bothering her? On top of that, Sun’s never been the brightest banana of the bunch anyway, why the FUCK is he smart enough here to recognize that if Blake tells the truth and makes those people feel bad, that they’d draw more Grimm? He’s never been this intuitive before. It really feels like they made him smarter than he normally is just to make him scummier than he’s ever been so that we could feel that Blake’s relationship with Sun is less than her relationship with Yang. Awful writing and characterization from the RWBY DC team here

Issue #13:

This is so wrong and despicable and manipulative and terrible. Again, this isn’t the same woman we met in the show. 

Willow never made excuses for herself or her actions like this. Not once during the entire time she was on screen did she do anything like this. She knew she wasn’t a great mother and she took full responsibility for her actions- and inaction- I don’t know WHY she’s trying to excuse herself here. This is more Cruella De Ville than it is Willow Schnee.

I’m not gonna explain how lumping this “prized menagerie” story with “Faunus slave labor” story together is godawful but just recognize that it’s Black History Month and this plot point they decided to write in is not MLK approved.

Anyway, that’s the whole RWBY DC run. All in all it wasn’t the worst adaptation of an established series, but goddamn. I’d rank this up there with Eragon or Percy Jackson or the end of the Soul Eater anime or something. This is such a slap in the face by people who obviously only ever skimmed through the show for the explicit purpose of writing this series that I’ve read fancomics and fanfiction that handle canon better than this. It’s really frustrating too because this comic run is like, beloved by certain people in the fndm who are only in this for the ships, and people who refuse to see anything wrong with this series ever. The healthy servings of Bumbleby and crumbs of Monochrome and White Rose are apparently enough to make people go “fuck all the inconsistencies, this comic is great.” Cannot express how much these people make me wanna slam my head into a wall. 

I did this just to highlight all the issues I have with the run, but I’m sure other people have other issues with this comic than I do. Have fun in the comments I guess.

[anextraordinarymuse]

I need your thoughts about why you read Shane and Oliver being intimate in To The Alter. The longer the better.

Well, I am happy to oblige!

As I mentioned in that original post, I have no doubt that this isn't a popular take on Shane and Oliver's relationship, and I know that SSD is a faith based show, but I think that Shane and Oliver's interactions in To The Altar were purposely written to be ambiguous. So, let's break it down, shall we?

To start, I personally don't believe that Oliver and Shane sharing that last intimacy would diminish either their faith or their connection in any way. Oliver is old fashioned, but only to an extent, and while this is a faith-based show it also doesn't exist in a vacuum. Hence why I think there is ambiguity in the way their interactions are presented: so you can interpret them in whatever way you like.

So. In To The Altar, we see Shane and Oliver interact in ways that we have never seen before. It's not out of the ordinary for Oliver and Shane's wardrobes to match, but right at the beginning of the movie they don't just match: they're dressed almost identically. Both are wearing their dark green plaid outfits; Shane's coat is blue, and Oliver's tie is almost the same color blue. This is pretty innocuous except that it immediately made me wonder how they pulled that off, because the match is too exact to be accidental (IMO). My first thought was "how cute, they must have done that on purpose", and then the next thought was "well, how would they have done that?" Now, this isn't really important except that it's what kind of set me on this track in the first place.

The first interaction that really set me off was the teasing between Oliver and Shane on the post office floor. Oliver tells Shane that he can't bend the rules just because "You and I are ... especially because you and I are ...". But Oliver can't finish the sentence, and his inability to articulate what exactly they are triggers something playful in Shane. She gets right into his personal space, goes up on her tiptoes and whispers in his ear, "I love it when you get all 'Ms. McInerney on me.'" Now, we've seen Shane being playful before, and Oliver as well to some extent, but this is ... well, this is new. The way Shane whispers in his ear can be interpreted as being at least lightly seductive; the fact that Oliver can't seem to stand still while Shane is in his personal space seems to indicate that this moment makes him feel some sort of way as well. He literally bounces on his feet - more than once - but there's no discomfort in his expression. He's smiling, but it's a playful, secretive sort of smile. Honestly, there's so much playful intimacy in this moment that it should be illegal. No matter how you read it, it's clear that these are two people who are very comfortable with and in love with one another. It was all of these things together that struck me: here they are in identical outfits as if they got dressed that morning together, sharing a playful and perhaps thinly-veiled seductive moment, and Oliver can't finish his sentence with "just because you and I are dating?" There are two alternatives here: one is that Oliver doesn't say dating because he's already started thinking about the future and what ends up being his proposal ... and one is that the end of his statement would have referenced their new intimacy, which he could not find a way to do appropriately so did not finish the sentence at all. This interpretation would also tie in nicely to Shane's sudden teasing, because she knows what he's trying not to say and decides to tease him about it.

The very next scene that Oliver and Shane share is the infamous wedding dress scene. The intimacy of their previous moment is directly carried into this one. The way that Oliver steps forward to fasten the buttons and then he and Shane watch each other in the mirror is just ... my brain immediately went "oh, they've done this before." I don't know how else to explain it, except that this moment felt new to us as the audience, but not new to Shane and Oliver. Shane has been caught with the wedding dress, yes, but that's where the surprise of the moment seems to end. This moment is reminiscent of countless romance movies where the leading man zips the leading woman into (or out of) her dress. Oliver is the playful one in this moment, and all of Shane's shyness stems from the fact that he's seeing her in a moment that she didn't intend on him seeing; again, aside from the wedding dress, this moment seems so familiar to them that Oliver is comfortable teasing Shane. That's a huge thing in my mind, because Oliver is not playful in moments of discomfort or uncertainty. Also! We don't see Oliver approach Shane at all - one moment he's staring at her from a few feet behind her, and the next moment he's reaching out to do up her buttons. How did he know that the buttons were undone? There's no way he could have seen that detail from where he was first standing - so did he know that they were undone because he knows that Shane has a hard time reaching that spot? It just felt so .... deliberate that we were shown Oliver's hands buttoning the dress.

The next scene that stood out to me was actually the moment between Norman and Oliver at the tuxedo fitting. Norman has just admitted that he and Rita are both virgins, and that he's nervous about "going to the movies" as he's termed it, because he's afraid he won't be good at it. Oliver's advice is both sweet and confident: "Norman, you aren't going to the movies, you and Rita are the movie. You are the stars of your own love story. And when the time comes you will know your lines, and it will be beautiful." Now, nowhere in this moment does Oliver seem to overtly draw on anything personal, and we know that he's just good with words and giving advice overall. This moment could be nothing - just some beautifully worded advice - but in many ways, Rita and Norman are foils for Shane and Oliver. If Norman and Rita are both virginal, then the foil would be for Shane and Oliver not to be. That tracks with their characters, since we know that Oliver was married before and Shane is not as old fashioned as Oliver (so theoretically might not have the same 'wait for marriage' attitude that many people assume Oliver has). Again, this moment might be nothing, but given that it comes after those moments with Shane and not before it makes me think that Oliver is actually drawing on how he feels about his relationship and intimacy with Shane to set Norman's mind at ease. Also, since we've moved past Holly so completely at this point it wouldn't really make sense for Oliver to be drawing on those experiences (especially at what is, in many ways, the height of his relationship with Shane). Thus, if Oliver is drawing on anything personal in this moment it must be with Shane.

Now, at the beginning of the movie Shane and Oliver's wardrobes are either very in sync/complementary or downright identical, as mentioned before. But as we get to the middle of the movie and later, their wardrobes are no longer as in sync (or are in the same color palette, but not really similar). This coincides with Oliver's preoccupation - but it also made me wonder if it doesn't signal the nights that Oliver and Shane spend together vs. the ones they don't. Since Oliver is old fashioned, and Shane isn't, there could be a compromise there: maybe they spend one or two nights a week together, but not all of them.

So. I think these things were meant to be ambiguous so that the audience could interpret them how they chose. It could be that these interactions are clues hinting at the evolution of Shane and Oliver's relationship ... or not. There's not a lot of them, but the fact that they exist at all - and that these interactions really aren't present in any other movie, or with any other couple - is what caught my attention. Obviously I fall into the "their relationship has evolved" camp. Given what we know of the characters I think this the most realistic interpretation. Oliver and Shane are at least in their mid-thirties; one has been married and the other has had at least one serious relationship previously; this isn't a first serious relationship between young people (like with Norman and Rita). By the time we get to To The Altar, Shane and Oliver have been dating for a year (based on when the movies aired, since we don't have a concrete timeline in the show), and I think based on the giddiness of their interactions that any intimacy they've shared is still new, so we can safely assume that they probably took their relationship progress slowly. A year is a long time for two adults in a seriously committed relationship to wait to have sex. Like I said, I know that this is a faith-based show, but it doesn't exist in a vacuum and it aired in 2018. Also, I wish I had gifs of all of these moments to include here!

The best thing about this is that it can be interpreted in any way that you want it to be. I have interpreted it the way I have based on the things I've laid out above, but that doesn't invalidate any other interpretation.

So, what do you think?

[twisted-clown]

Lets Talk About 2020

I’m making a full, long twisted wonderland fandom/blog 2020 post and I would love it if you could stay and listen, but I respect your decision no matter what. Have a beautiful, wonderful New Years, and make sure to eat good food. 

Read my 2020 Year Post Below:

2020 overview

This twisted wonderland year was insane for me. 2020 in the twst fandom (I don’t pretend), was extremely difficult. There were a lot of hardships, but there were also a lot of laughable and fun moments, and a few moments that made me very sappy. I created three fandorms, THREE. I scrapped two, and found my favorite. I was in a bad place and hurt a lot of people, but I had so many friends that helped me understand that it’s okay, because I’m acknowledging I made mistakes and I hurt people, and I’m trying to move on, and be a better person. Thank you for helping me. 💖

I got into a lot of internet drama, I even got a stupid death threat. I tried to apologize, but even I have hurt some people so much and can’t fix the broken pieces. To those people, I hope you have an amazing new year, and I am so, so, SO sorry for how I hurt you. I hope you’re well. I had to attempt to take breaks over and over and over, confusing people because I, myself was confused. I had to leave the fandom for two weeks. I deleted my blog, twice.

After all this chaos, I finally found a group of people that I can fit in with, I have supporters, I have followers, and I even just did a follower celebration. I did have some friends that stuck with me all the way through, and I can’t thank those people enough. You helped me through so much, so thank you. I remember making adoptables, people actually buying them, and I remember talking so, so much about oc interaction with new and already existing friends, and I remember all the kind comments people made, and all the fun art made for me by others, which I keep close to my heart. Thank you to all those people for making me feel welcome in this fandom. I hope I can continue to goof off with you, you’re all so talented, so kind, and I hope you have the most wonderful new year. Go 2021!

Things to get off My Chest

I want to say some things this year, to end the year. 1. I may be a hypocrite for saying this, and it may be easier said than done, but please try to not be so hard on yourselves. Your art is beautiful, you are all beautiful, and you are all insanely talented. I understand that sometimes anxiety gets the best of us, and we overthink every like, every comment, every reblog, but at the end of the day, they’re just numbers. You work so hard on your art and your writing. It’s going to be okay, you’re all doing an amazing job.

This may be the internet, though it is very, very easy to talk on the internet vs in real life. I apologize for being anxious, or for talking about my anxiety online. This is a fandom just to have fun, but when I made internet friends here, I consider them real friends, and sometimes I over-speak and over-share. I’m sorry. The friendships here mean a lot to me. A lot. Thank you for being so kind to me, and thank you for answering when I speak, or giving me compliments. I’m very verbal, so talking and compliments and complimenting others is very important to me.

Thank you to every single blog and person who has included me in artwork, tagged me in posts, and just showed support. You all have helped me feel included, and I love you all so much, have a wonderful new year. 

Twisted Wonderland New Year Goals

I wish to: Make more art for fandom and for Vaudedrome, but to take care of myself first. Find a balance between the fandom, and my own time.

I wish to: Manage and clean up my blog, and all my ocs. Organization!

I wish to: Make more friendships, learn more abou others characters, and support others as much as I can.

I will: Realize that writing counts as well, and I don’t have to make myself draw 24/7. I don’t have to make a New Years art piece, I make this art for myself, to make myself happy, and to support my friends. Not because U have to pump out art/content. I will work on myself so I can come back to the fandom, happier, and healthier. 

YOU WILL: Take care of yourself, eat good food, drink water, get rest, and know that you are all trying your hardest in these difficult times. You will have a wonderful New Years, and you will all have the best of luck given to you for this upcoming year. Stay fabulous and sparkly.

With all that being said, I am going to attempt to step back from social media for the like 100th time (lol I am really trying, I promise), and take care of myself. Please don’t forget about me. Vaudedrome still lives on, and I do too, and I will come back. Have a wonderful New Years!

[aredletterday]

change da world. my final message

I believe it’s been about two months since the discourse surrounding Freemance vs. Freehoun started, though I don’t exactly have a great grasp on the passage of time right now. I’ve spoken on this a few times already. Many of my posts on this topic have been born out of deep frustration, and I even left Tumblr entirely for about a week to calm down and gather my thoughts. I’m going to try to lay out a coherent statement on the Freemance discourse and why it has completely changed how I interact with HL content.

I also know that at least one vocal anti-Freemance blog has me blocked, and there are probably many more (which I honestly don’t care about because I blocked many users myself today), which means this post will most likely fall on deaf ears. That’s fine. I just need to speak. EDIT: This also seems like a good opportunity to plug the Freemance charity zine that might be happening?

I was first exposed to Half-Life in late 2018, played the games for the first time in March 2019. So I’m certainly not an original member of the fandom, but I’m not “new” either, per se--at least, not relative to many of the people who have flooded in from the popularity of Half-Life But The AI Is Self-Aware. 

It used to be so quiet around here. There was a new post in the tag maybe once every two or three days. When Half-Life: Alyx came out I had hoped it would revive older members of the fandom and maybe bring in some new ones, and it did--but was quickly overshadowed by the odd success of HLVRAI. I really can’t shy away anymore from the fact that I vehemently dislike most of the people in the HLVRAI fandom. I think a lot of these people are the ones who are starting and continuing unnecessary discourse because they’re young and don’t have anything better to do, or don’t know better (even though they should). 

It is canon that Alyx was around four years old at the time of the Resonance Cascade. It is canon that Gordon was 27. It is canon that Alyx is 24 in Half-Life 2, and, get this, it is canon that Gordon is 27. During the gap between HL1 and HL2, Gordon was in a place that is outside of the normal flow of time, and, therefore, didn’t age at all during that time. This is supported by eli_greeting.ogg: “... My God, you haven't changed one iota! How do you do it?”

Because Alyx was a child while Gordon was working at Black Mesa, I commonly see anti-Freemance people using the idea that Gordon interacted with a young Alyx as a reason the ship is not viable. While this is definitely a valid headcanon to have, it’s just that, a headcanon. In al_imalyx.ogg, Alyx says, ���... My father worked with you, back in Black Mesa. I'm sure you don't remember me though.” This would imply that Alyx was such a minor presence (if a presence at all) in Gordon’s life, he wouldn’t even have a reason to remember Eli having a daughter. It could even go as far as to imply that he barely knew Eli. 

There is also a scene at the end of Half-Life: Alyx where Alyx sees the G-man and immediately mistakes him for Gordon. If she had met Gordon as a child, the fact that she can’t even remember what he looks or sounds like indicates it did not have any large impact on her. In fact, there are many instances in HL:A where Alyx speaks of Gordon like a complete stranger.

And, if you’ve played HL2 and the Episodes, you certainly remember many scenes with the Vances where Eli hints at the idea he would like to see Alyx and Gordon as a couple; several times throughout these games, Alyx also shows some degree of romantic interest in Gordon. I personally find this a strange and uncomfortable artifact of mid-2000s era heteronormativity, that’s something I’ll absolutely admit even as someone who ships Freemance. However, it’s something I think is worth pointing out.

So. Gordon isn’t a pedophile if he is characterized as being attracted to Alyx, because she’s a grown ass adult. Gordon isn’t preying on Alyx, because there’s no actual, canon basis for the idea that he was any more than vaguely aware of her existence before she was an adult.

It’s well within your right to dislike Freemance--I’ve met people before this who just had a distaste for it, it wasn’t their thing, and that’s okay. What I don’t appreciate is this campaign to get rid of all Freemance content because… you personally think it’s gross? Because you personally have decided based on fanon and not canon that it should not exist?

The thing I think that’s really bugged me more than the specific problem of Freemance is the wider implications of this discourse, one of which being the worrying amount of infantilization of Alyx. People have denied doing this, but will defend their anti-Freemance statements by saying they’re “protecting her,” when she’s a grown adult. She’s 24 and very clearly capable of taking care of herself--for Christ’s sake, she literally kills fascists. She spat in the fact of a dictator. 

I also see a lot of people who hate Freemance turning around to ship Freehoun. Disclaimer: I love Freehoun. It’s up there equal with Freemance for me, I seriously adore the ship. The fact that it’s Freehoun isn’t what bothers me--it’s that people seem to look at a M/M ship of two white guys and go “this is progressive of me to ship,” but yet the M/F (notice how I don’t say “straight” because M/F couples aren’t inherently straight!) interracial ship is somehow gross, or heteronormative, or whatever other word has been thrown out there. Another thing I see is people casting Alyx entirely to the wayside in favor of Freehoun, or even going as far as to dislike her. That’s awfully familiar, isn’t it? The phenomenon of shippers hating a female character for “getting in the way” of their gay ship?

(Side note: I also am heavily bothered by the fact that I think a lot of new Freehoun shippers are coming over from shipping Benry/Gordon, and also the fact that a lot of people seem to think Barney and Benry are somehow the same, when they’re not, but I digress on that.)

The ongoing discourse has made being in the Half-Life fandom completely unbearable for me. I am tired. I can’t draw or write for it anymore. This was my favorite thing in the entire world, one of the only things keeping me going through quarantine, and now it’s just hardly worth bothering with. So this is most likely my final statement on this matter unless something drastic happens.

Freemance-critical and HLVRAI blogs will be blocked upon following me. I don’t care about being courteous anymore, I’m sick of interacting with you and gifting you my patience.

[thejustmaiden]

Fiction and Real Life Go Hand In Hand

This blog goes out to all those pro-Sessrin fans out there who refuse to acknowledge the very real effects fiction can have on our world and vice versa. I highly encourage other Inuyasha fans who defend/enable these shippers to read this, as well. I assure you, by no means are my intentions here to stir up trouble. Honestly, I just want some good healthy discourse for once if that’s not too much to ask. If you do decide to engage, please be mindful of that and treat others with respect and I will do the same in return. All in all, the goal of this blog is to exercise my right to speak out and be critical about content I believe to have very potentially detrimental repercussions. I ask that you not attack me or insult me simply for stating an opinion. Thank you! 

It’s like the title says, meaning fiction does matter. Where do you think we get ideas for all the stories we tell? Where do we draw inspiration from in the first place?

Real life, that's where! And yes, always with a touch of imagination! Long story short: fiction matters because real life does.

Allow me to elaborate.

Shippers of the Sesshomaru x Rin (Sessrin) pairing say it's not fair of us to throw around serious accusations or use certain deragatory terms that suggest such awful acts like child grooming or pedophilia because of the harmful implications. One of their reasonings being that some people IRL have actually lived through these traumas, so we shouldn't dare to assume they're comparable since one is just fiction and the other is not. But this isn’t about which is worse than the other, because they’re both super problematic. All we’re literally doing is making a link between grooming in real life and grooming in fiction. They mirror each other. Same issue; different mediums. We’re not undermining any one’s past experiences with grooming or the like, nor are we prioritizing fiction to diminish real life abuse. They’re both awful in numerous ways and that’s all we’re trying to say. In fact, if anything we’re attempting to demonstrate just how crucial this correlation is between them. In order to protect past victims and prevent future ones, we must remain vigiliant of the content we consume, and yes, sometimes that means we have to challenge it too. Just because it’s widely-viewed does not make it widely-accepted or well-received. It is paramount that we educate ourselves on how to be more critical of some of the harmful tropes and images that are still way too prevalent in mainstream media. Sexualizing young and pre-pubescent girls is way more normalized than some of us even realize. It’s sad but true that Sessrin is just one of many examples. I know it feels like society has failed us in a lot of ways, but it’s never too late to re-evaluate and re-learn better and more improved ways of viewing and processing information presented to us.

Our mission: Let’s not show our kids that grooming or any other form of abuse are acceptable if they may ever come to experience or encounter it themselves. Be it the real world or on screen. Deal? 

There have been a number of occasions where real life victims do speak up against the Sessrin ship and express how extremely uncomfortable it makes them feel by what it represents. The problem is that it’s becoming more evident now that many of their fans will dismiss anything purely on the basis that we pose a threat to their ship and nothing more. What it comes down to is they have no real leg to stand on and cannot possibly top any of what we have to say so instead they simply disregard it. Our inconvenient truths don't fit into their ideal *cough* OOC *cough* narrative so they just choose to be willfully ignorant. It conflicts with their fantasy, so rather than present a sound argument of their own, they flat-out reject it and offer no plausible back-up behind their reasoning besides "I don't interpret it that way." GUYS, CHILD GROOMING IS NOT UP FOR INTERPRETATION.

Just because you so desperately want your ship to come true does not mean you can up and decide to redefine a word so that it caters to your stance. Remind yourself that these are complex AND objective terms that we have no right to fiddle with to serve our own selfish purposes. This is why we can conclude that there's no debate about Sesshomaru's actions towards Rin embodying child grooming.

I apologize if any of my words are triggering by the way, so please feel free to take a break and return later if that’s more suitable for you. it's just really important that everyone in this fandom comprehends the extent in which Sessrin going canon is catastrophic. And no, I'm not exaggerating; I'm simply speaking the truth. Shippers justifying these horrible acts- yes, even in fiction- is usually due to the stubborn refusal to hear us out. No offense to anyone (just stating facts), but more times than not antis like myself feel as if we’re talking to a brick wall when we interact with Sessrin peeps. They go in circles and never expand on their perspectives. 

Just a head’s up: THIS GETS LONG. Stick with me. :p

Just look at their take on the Inukag vs. Sessrin relationships for example. This isn't a question of age gaps, this is a question of physical/emotional compatibility. Inukag are the same age mentally wise regardless of one being demon and the other not, whereas Sessrin is not and never will be, and yes, even once she's an adult. The thing is we have debunked this time and time again, because they’re not the same and therefore not comparable, but for some reason these fans won’t drop it. Nothing has changed in their argument, yet they’re persistent in bringing it up. I choose to not go into more detail, since like I said, you can find it around everywhere. I just wanted to touch upon it briefly to prove a point. Maybe it will come up again later in my blog though! 

Where was I earlier? Right, child grooming! Haven't you guys realized that what you’re doing is precisely what child groomers do to make excuses or deny any grooming took place at all? (FYI: I’m not accusing you of being child groomers yourselves.) “They reciprocated so the feelings are mutual" is a typical groomer response, but of course it varies. More often than not, victims of grooming aren't even aware they've been groomed until much later. That's how manipulative groomers are that they can legitmately convince you that maybe you're wrong in questioning their motives. Perhaps in the victim’s mind that because one huge indicator of grooming never actually took place it technically cannot constitute as grooming. They start to doubt themselves even though their intuition is telling them something’s off. They should just ignore it then since it can’t possibly be grooming if that one particular thing never happened, right? Wrong, grooming isn’t strictly this or strictly that. It's much more complicated and multi-faceted. This is why the “but Sesshomaru left Rin in the village” point upsets me greatly. HE WAS STILL INVOLVED IN HER LIFE, Y’ALL.  

On top of that, are you aware that this is the exact same kind of predatory mindset pedophiles use to describe their infatuation with children? They'll say things like, "I don't see them as an adult and a child. I see them as two people with a soul connection." Okay no joke, I wish I was lying, but that is literally a point one pro-sessrin fan on here recently used to defend this ship. It both astounds me and terrifies me that they don't see the glaring similarities they share in common with actual pedos.

Alright, I want to quickly return to what I was saying earlier about fiction's impact on real life. (Sorry, I’m a bit of a scatterbrain!)

The characters and their worlds in our stories that we dream up and bring to life are nothing short of awe-inspiring and magnificent if we so choose them to be. If it wasn't for our imaginations, stories like Inuyasha would have never come to exist. Fiction provides us an amazing outlet where we are given the opportunity to express ourselves and explore its infinite creative possibilities.

But strip away all the demons and magical components of this show we all love so dearly and what are we left with?

At the very core, Inuyasha is a story that's very reminiscent of the human experience: love, camaraderie, a sense of purpose, and much more!

So perhaps we got a full-fledged dog demon like Sesshomaru, but does that necessarily mean we can't relate to him or understand him simply because dog demons don't exist in the real world? Well, I hope that's not how you view it or else you're missing the whole point of why humans create stories to begin with. We create them to make better sense of and thus connect with the world we live in. And when you really think about it, our stories are just a celebration of life- both our struggles and our triumphs. Now I'm no philosophy professor, but I'm pretty sure they'd say I hit that nail right smack on the head. ;)

All shitty jokes aside, the whole reason I’m mentioning this specific example in the first place is because this recently came up with another Sessrin supporter. That supporter tried to defend the ship by stating that we aren't allowed to use Sesshomaru as an example to judge by since his kind don't exist in the real world.

Now if it isn't evident already, this "it's just fiction" argument is a popular go-to stance many Sessrin fans will resort to once they've run out of ideas and are metaphorically backed into a corner. The funny/sad thing is that they seem to sincerely believe this is strong enough evidence to defend their ship with, but per usual, they fail to see how hypocritical that would be. I’ll clarify soon down below. 

Seriously, since when did we decide that fantasy- or any story genre for that matter- stopped reflecting the real world we live in? I mean, we humans are the ones writing these stories. Our human influence is bound to make an impact in some capacity. In fact, we want it to!

Obviously none of us have ever met a dog demon like Sesshomaru, because how could we? Let me tell ya, this is gaslighting at its finest! This is a fictional story with fantasy elements, so of course there will be beings and creatures in their world that don't exist in our own. Does that somehow translate to the fact that nothing from the story of Inuyasha can be applied to our own personal stories or that there aren't meaningful messages to be taught and learned?

So on the flipside, if they're not screaming at us "it's just fiction" for the hundred billionth time, then they are, believe it or not, doing the reverse and comparing it to real world history. One instance of this is how they tell us we're making a big deal about something that isn't real, but go right ahead and use the history of feudal Japan to support Sesshomaru's decision to court (aka GROOM) a young girl because that's how it was done back then. And so, your point being?? It wasn't right then just because it was legal, and it's most certainly not right now. This is how all of their arguments go by the way, where you'll constantly witness a cherry-picking approach. It's agonizing to endure contradiction after contradiction in their arguments filled with nothing but holes in their logic.

I'd just like to add that if we're overreacting to this fictional ship like they love to say we are then technically so are they. They tell us things like "grow up" or "nobody is telling you to keep watching," yet fail to realize they're reacting just as fervently as we are but just on the opposing side of the same damn argument. I find it interesting how they're as invested in this show but pretend they aren't then STILL have the audacity to say it's only us who care this much!? So thank you Sessrin shippers for further proving our point that fiction is more than capable of affecting reality and the people- YES, US- who reside in it.

It's insane that people act like pedophiles and other creeps don't enjoy entertainment too like the rest of us. Believe it or not, they look just like you and me most of the time. Yes, that means they can easily pass as a “regular guy” if they so wished to. My question to you is how do you think pedophiles will take it when they discover others- underage fans more specifically- who dig the same kinda media they get off to? Maybe not in the exact same way, mind you, but there's a thin line between them when you really think about it. I mean, what other explanation is there for why literal pedos on the internet have been known to sneak into pro-sessrin group chats here on Tumblr before? (Thankfully, they were later kicked.) I know that for a fact! It's almost as if the universe is trying to tell them something they refuse to listen to elsewhere. Hhmmm I wonder what that may be. 

I imagine it’s possibly one of the hardest things to admit out loud and to themselves, but I can almost guarantee you that most of these Sessrin shippers who are victims of CSA and who still see no issue with Sessrin must be living with some sort of unresolved trauma caused by the very abuse they claimed to have undergone. It's been proven that victims who do not seek or properly receive the help and treatment they need in order to address and live with a traumatic experience such as this are more likely to perpetuate that very same abuse themselves in some way, shape or form. What if in this case fiction is enough for them, but who's to say it won’t eventually manifest itself in other more dire and far-reaching ways? It's not like we haven't seen this vicious cycle before, and I can promise you that Sessrin won't be the last. LET'S STOP NORMALIZING & GLORIFYING THE ROMANTIZATION & SEXUALIZATION OF CHILDREN. Fictional example: Usagi Drop. Need I say more? Real world example: Woody Allen. Again, need I say more?

Bottom line is that Sessrin shippers don't want us to think too critically about this ship of theirs, because if we dig too deep then they're forced to face the very troubling implications this pairing really stands for. Of course they'll never admit to them, because instead they rather double down and grasp at the same old straws as long as it means their precious ship is protected at all costs. Screw everyone else if that's what it takes, because they'll threaten to burn down legit buildings in real life if that ensures Sessrin goes canon! (True story, this happened on Twitter.) They’ll taunt and bully anyone who disagrees. Even if all you literally say is that you don’t like the ship, they’ll gang up on you. Tell them about your past experience with being groomed? They’ll laugh in your face. I wish I was kidding, but I assure you I am not.  And they say we're ridiculous and taking this way too seriously? Yeah...

The typical behavior of a Sessrin shipper demonstrates an overly aggressive front since they're usually on defense mode anyway. They only want to ship their sick ship in peace in other words. But just because neo-nazis have a right to spew their bigoted ideology, doesn't mean we don't got the right to punch them! Freedom of speech doesn't equate to freedom from consequences. And Sessrin shippers wonder why they got so many haters. Just sayin'.

Their presence on other platforms like Twitter and Reddit are some examples of how delusional and unstable some Sessrin fans are capable of becoming. Even recently, an anon here on Tumblr sent Richard Ian Cox (English VA for Inuyasha) a totally uncalled for ask telling him that "sessrin is love and there's nothing he can do about it." (That's not verbatim, but if you're interested I'll link you to it.) It appears they discovered that he didn't like Sessrin based on how he had been replying to asks, and just for that reason alone they thought they had the right to harass him. For simply stating his opinion, y'all. They didn't even have the decency to show their face either. Talk about immature and cowardly! 

Just yesterday (or was it the day before?) a fanatic Sessrin user on Tumblr- who’s also been known for hateful remarks on Twitter but those tweets have of course been deleted since then- went out of their way to not only lurk in a group chat they don’t belong to on here but to then proceed to harass a few of us in there. They had the guts to take screenshots from that group chat, tag us in posts on their page regarding what they read in there, and without our knowledge or permission went ahead and actually blogged them?? I mean, who calls out people behind their backs while they're just minding their own business?? It worries me how unhinged and out of touch with reality some Sessriners are. Not all of them, but a whole lot of them. 

It seems all they are doing is looking for trouble, as they just can't stand how much we hate this ship. So it's more than okay if they love on their ship but it's not okay if we don't and we should just keep our mouths shut. But since when do Sessrin fans have authority over our opinions? Even if they were officially canon, nothing is ever gonna change our opinion. Now when they actually do decide to participate in discourse with antis, you'll see them fishing for excuses to bow out. How they normally go about this is by fabricating a way to blame us antis for their exiting a conversation as if we're being the irrational ones here.

There’s no denying that some antis can also be overly blunt or aggressive (nobody is saying we’re perfect here), but speaking for myself, I know I would never make such nasty comments about other fans and their personal lives. And honestly? It would make me feel like shit talking bad about someone I don't actually know. Nah, I won't stoop to that level or give haters that satisfaction. I may not attack them as people, but that doesn't mean I can't attack some of their messed up ideas that threaten to distort how we should or shouldn’t perceive certain dangerous situations and events. Seeing as how for me this is more than just a matter of opinion- it's a moral responsibility and even an obligation.

I know it's difficult to remain civil when things get heated and people start taking things personally- yet more proof that fiction impacts our lives- but that's the only way any of us will ever have constructive discussions about serious topics like this. Unfortunately, Sessrin shippers, from what I can tell, are incapable of engaging in real discourse for the most part. They may be vocal but that doesn't mean they can pack a punch. I’d really love to be proven wrong someday.

Okay, moving on! If they're not involved in some big-time gaslighting then they're using their infamous strawman argument approach.

Sessrin fans’ sole purpose isn't really to defend their ship, per se, but rather to deflect and antagonize. They like to mislead in order to shift the focus/blame onto their opponent or something else that's not related so that they can stray from the main point. 

Take the drama CD for example. It's officially NOT considered canon, right? But that hasn't stopped many fans from referencing it anyway so let’s too consider it for a moment. The point is that they use its "existence" whenever convenient then deny it or downplay it whenever it’s not. So on one hand, it's plain as day that they celebrate it as proof of a romantic future for Sessrin. But then later once we point out to them that Sesshomaru is essentially confessing to Rin that he will wait for her until she's of age, they'll brush it off and quickly add that they didn't interpret the scene that way and leave it at that. I mean how else would you interpret it? And if it's not a proposal of sorts then why exactly are you bouncing off the walls about it to begin with?? If that's all it means is nothing then why are we even talking about this?! You see what I mean here??! And somehow we're the crazy ones? 

Let me to be frank with you. If you haven’t listened to it already, this proposal he offered her sounded like a declaration of love in a multitude of ways, which is wildly inappropriate since Rin was only 12 at the time. Signifying that Sesshomaru was/is indeed grooming her. Well, that is if you choose to recognize the drama CD. Nevertheless, whether you do or not, I personally hate that this non-canon satire is even associated with the Inuyasha name to begin with. Ugh. 

Intentional or not, Sesshomaru made a deliberate decision in that moment to tell a little girl- and not just any little girl mind you but a girl he's taken in under his care for a good year- that he would wait for her if she so chooses once she's old enough. 

The issue is that it isn’t only age of consent we’re concerned about regarding this pairing. What Sessriners fail to see is that this grown male authority- her vassal, her guardian, her adoptive father, or whatever you wanna refer to him as- is basically making a move on this girl he had in his company for quite some time. There's no sugarcoating that. Us antis call it how it is, and I'm sure as fucking day other people who don't watch the show would most certainly agree that the Sesshomaru/Rin bond is filial. Set aside those rose-tinted glasses of yours, and going by everything we’ve been delivered in the manga and parts of the anime (and NOT the drama cd), there are literally no hints that indicate a blossoming romance between this adult male demon and this small human girl he’s taken under his wing. You can imagine them all you want if it pleases you, but that doesn’t mean they’re there. Adult!Rin is a figment of your imagination, nothing more. The idolization of this pairing is pretty disturbing seeing as all we have to go off of in canon is Child!Rin. There have only ever been sweet and innocent moments passed between the two, which is why I’m positive that an unbiased viewer or an outsider would state their dynamic resembled something akin to a father-daugther relationship. I would bet a shit ton of money on that, believe you me!

Rin's inhibitions are low because children are naturally naive and don't know any better. Remember, she adores and trust this man with all her heart, so why would she think any of this so-called grooming is not normal behavior. (I only say “so-called grooming” because I don’t think Sesshomaru bringing her gifts in the village has to be a romantic thing.) Or how would she ever be able to understand that she’s being taken advantage of if she has no previous experience with it? Maybe if she was present for that time Inuyasha and the gang scolded Miroku when they had learned that years previous he had supposedly proposed to this young girl in the village they were visiting, then Rin would. And he didn’t even assist in helping raise her but look at how they reacted! How is this any different than Sesshomaru hooking up with Rin later? It’s actually worse in Sessrin's case. Do you honestly believe that Inuyasha and the others would take kindly to this?

It's not uncommon and considered harmless for young children to have crushes on adults, after all, but the adults in these scenarios should never resort to using and abusing the position of power they held or continue to hold over this child for any reason whatsoever.

What I'm trying to get across here is that no matter how you spin it, Sessrin can NEVER be deemed a morally acceptable pairing. Like ship what you want, we're not saying you can't ship Sessrin. What we're saying is this:

STOP referring to their bond as "pure" and not expect backlash for your grossly inaccurate statements. Just admit it's toxic, because it's extremely harmful to many viewers- and not just victims- to pretend and suggest otherwise.

Please remind yourself of the very real canon fact that Rin traveled with Sesshomaru and they established a bond all while she was just a girl. Oh, and he saved her life too many times to count, not to mention brought her back from the dead TWICE. This is why I don't care much for your counter argument "that dynamics can change over time," because although that's true, like with everything in life there must be standards we adhere to. Exceptions to rules, if you will. Our own basic morals demand it.

For instance, it’s normal that some childhood friends begin to like each other as more than friends years down the road. Nothing wrong with that, because that's a natural and healthy occurrence. Now you cannot apply this to an adult and a child for obvious reasons, but what you also cannot do is apply this to an adult who met and knew another adult while they were still just a child. Why? Well, because it'd be like betraying and perverting that former child's view of you. They were never your equal because your established dynamic resembles that of one an adult posesses with a child even once they've grown up. Think about it this way: it's in the same bracket of family members or family friends who've watched you grow up and mature into an adult. Then later just because they're all grown up, does that mean that those children "are not off bounds" - that's quoting a Sessrin shipper by the way- to these certain family members and family friends? 

If you're still struggling to grasp this, I urge you to take a moment (or all the time you need!) to really put yourself in that child's shoes and self-reflect. Would you truly be alright with a family friend you haven't seen in years (but sorely missed because they used to occasionally babysit you) just someday coming back into your life and then very inappropriately flirting with you or even making sexual advances on you? (Sorry for the run-on!) Or even worse, can you picture this happening to one of your own children??! Seriously, ask yourself that and sit with that for a while and really take it all in. It’s not fun, I know, but if that’s what it takes to help you finally understand then please try and practice more ways to utilize your self-awareness in the future. It’s for everyone’s benefit, not only yours, I promise! You'll also find it makes it tremendously easier to empathize with others.

I got news for those fans who don’t view Sesshomaru as a father figure to Rin. The title we give him doesn’t hold as much weight as a lot of us are making it out to be. Let’s try to be neutral here and stick to the hard facts, shall we?

*Sesshomaru is an adult male authority whose protection Rin is under*

*It’s safe to assume that Rin has grown attached to him and maybe even looks up to him*

*They care about each other and the other's well-being*

*He has has played a crucial part in her supervision and care for a significant period of time (yes, even if it’s just passing a message along to Jaken)*

Not so random anecdote: In an Inuyasha episode I recently revisited, Sesshomaru had just rescued Rin from Kohaku who had been possessed by Naraku and was ordered to kill Rin. Anyway, at the end of their scene you can hear Jaken ask out loud, “what should we do for dinner, Lord Sesshomaru?” And that’s about the most domestic thing I’ve ever heard come out of his mouth. They’re such a family dammit and nothing will ever change that!! <3

This is precisely why I could never in a million years view those past students of mine in a romantic light. I don't care how many years have passed, it's just not possible for me. Just the idea of pursuing a romantic and/or sexual relationship absolutely repels me.

Speaking as a former teacher, you don't need to be a parental figure who's around all the time in order to have great love and affection for a child. I would've done absolutely anything in my power to protect them even though they weren't my own. Then again, I did consider them my children in a way even if wasn't in a familial sense. Does that make my love for them any less unique? No, it's just different but not inferior. When you stop to think about, it really doesn't take as long as you may think to establish rapport with a person, particularly children. Connecting with a child is almost instant (but of course some are more receptive than others), and once you do make that special connection one can only make with a child, a strong and overwhelming need to guide and protect them kicks in almost automatically. The unconditional love an adult feels for a child is powerful and constant, and nothing should ever change that. As much as some of you really want to believe otherwise, that feeling doesn’t just go away because they turned 18. In your eyes, they’ll always be that kid.

I get it, sometimes when we escape into these fictional worlds of ours, it's difficult not to project our own wishes and desires onto certain characters. I don't blame fans for picturing themselves with Sesshomaru- I know I did haha- but never once did I self-insert myself as Rin. I know she's one of the biggest catalysts for his character growth- if not THE biggest- but how and why does that need to turn romantic? There are other antis who I have spoken with on this. They informed me that they used to live vicariously through Rin and ship them together, as well. As they got older, they later learned how weird and twisted this ship actually was. That's what's supposed to happen, y'all, you're supposed to grow out of that fixation. 

Now take your mind out of the Inuyasha universe for a second and hypothetically (or not hypothetically if you have kids) answer me this: if and/or when you ever have a child, would you genuinely be comfortable with the idea of them dating and eventually marrying their father’s best friend who was also there to witness them grow up? Be honest please. 

I highly doubt you would want that- or at least I hope not. You see, that's another MAJOR point I've made a few times already and yet you Sessrin shippers continue to avoid the question. It's pretty obvious it hasn't been rhetorical either. Ignorance is bliss?

Finally, I’d like to address one more point. It seems there is a HUGE misconception and I'd like to clear it up real quick. That is Sessrin shippers misinterpret one of the issues we have with this ship. They chalk up our complaints of Sessrin being canon (which is a LIE, nothing has been confirmed yet) to us just being salty because that somehow means our ships aren't or won’t be. I assure you, readers, other antis and I will attest that this ain't about dumb shipping wars, this is so much bigger than that!!!

I noticed recently that some Sessrin fans have even begun calling us Karens lolol like if anybody is a Karen it's them! This ain't about some mere difference in taste, this is very likely to have LONG-LASTING NEGATIVE EFFECTS. Sessrin going canon is a very harmful message to send viewers and children/teens especially. So if anything, it’s these shippers who are being the entitled ones here thinking that the fact we don’t support their ship is the worst thing in the world. NO, THE REAL PROBLEM IS CHILD GROOMING. GET OVER YOURSELF.

Out of nowhere, some of them even started assuming all us antis were white, which in their books is also equivalent to Karens or even white supremacists somehow?? Those aren't one in the same, but it's easy to make it appear that way when the US is currently tackling major systems of oppression and racial injustice. Because to them, all antis must be from over here. (Yes, I'm American. But no, I'm not white.) How else can anyone explain not shipping Sessrin, right?! Somehow they have it in their heads that ALL of Japan and surrounding places are super approving of this ship, and that everyone else isn’t because of their upbringing and “Western way of thinking.”  

To give you an idea of what I mean, look back at what I talked about earlier with their incessant mention of Sessrin vs. Inukag. Because THIS is another popular example of how these shippers present their side and then ignore all the facts. Many fans have already proven how fucked up and inaccurate it is to label whole countries and cultures. It’s like they simply think mentioning it makes it count even though we’ve discredited their points over and over. Nah, you got to back it up with good reasons that support your side of the argument. That’s How To Have An Argument: 101. So at the end of the day, all they're actually achieving in doing is making dumb and entirely unrelated accusations based on nothing just to lead to deductions that are equally unfounded. Nothing at all is accomplished but more gaslighting and hurling of insults on their part = a complete waste of time for antis = an excuse for them to peace out early from the conversation & that’s what they wanted all along

We’ve reached the end (finally! sorry for all the rambling!), and I hope those of you who stayed till the end or read enough can take something positive out of this. As many Inuyasha fans are aware, there will be a livestream with the VAs for Sesshomaru and Rin coming out within the next few hours. We don’t have all the details yet, and afterwards we probably still won’t. I’m not just talking about Sessrin here but about the sequel in general. Whatever happens, please just remember to be kind to one another. If you don’t think you’re capable of doing that, then it’s best you vent and fume elsewhere. Easier said than done, I know, but just try. Throughout this blog, I admit there were moments where I got frustrated and took some jabs at Sessrin shippers. Please believe me when I say that I do not and would not ever wish any of you ill will. 

Inuyasha was such a huge part of my childhood, and I’m not gonna lie, I’m anxious as hell that Sunrise will ruin one of the best things I loved about this show. So pardon me if my reactions are too visceral for your liking. haha Also, like the movies and the drama cd, this sequel is not in fact canon. Therefore, for those of you who disagree or who still plan to enjoy this new series, respect the fact that some of us fans will definitely “cancel” it if we feel that’s what we have to do to come to terms with it and move on. Fans have that right, after all. Why should we get on board with something if it’s so uncharacteristic of and unrecognizable from the original source material? If all this is some sort of cash grab of Sunrise’s doing, then count me out. I truly hope that this sequel turn outs being a lot more promising than a lot of us are expecting. I’m begging you, Sunrise, I wanna believe you’re better than this. Please and thank you!   

By the way, if you’re interested, feel free to check out my two other blogs on this same subject. Click here and here. The last two screenshots do not come from something I’ve written myself. If you’d like to read more from where those came from, let me know and I’d be more than happy to send you the links. Okay, bye for now. Peace out and stay safe, everyone! 

[aboveallarescuer]

Daenerys Targaryen in A Storm of Swords vs Game of Thrones - Episodes 3.7 & 3.8: The Bear and the Maiden Fair & Second Sons

In this series of posts, I intend to analyze precisely how the show writers downplayed or erased several key aspects of Daenerys Targaryen’s characterization, even when they had the books to help them write her as the compelling, intelligent, compassionate, frugal, open-minded and self-critical character that GRRM created.

I want to make it clear that these posts are not primarily meant to offer a better alternative to what the show writers gave us. I understand that they had many constraints (e.g. other storylines to handle, a limited amount of time to write the scripts, budget, actors who may have asked for a certain number of lines, etc) working against them. However, considering how disrespectful the show’s ending was to Daenerys Targaryen and how the book material that they left out makes it even more ludicrous to think that she will also become a villain in A Song of Ice and Fire, I believe that these reviews are more than warranted. They are meant to dissect everything about Dany’s characterization that was lost in translation, with a lot of book evidence to corroborate my statements.

Since these reviews will dissect scene by scene, I recommend taking a look at this post because I will use its sequence to order Dany’s scenes.

This post is relevant in case you want to know which chapters were adapted in which GoT episodes (however, I didn’t make the list myself, all the information comes from the GoT Wiki, so I can’t guarantee that it’s 100% reliable).

In general, I will call the Dany from the books “Dany” and the Dany from the TV series “show!Dany”.

Episode 3.7, "The Bear and the Maiden Fair", was written by George R. R. Martin himself and is one of the two scripts that he wrote and that show!Dany appears in (the other is episode 1.8, "The Pointy End"). Because the quality of show!Dany's screentime is obviously improved thanks to the influence of her creator, I decided to talk about episodes 3.7 and 3.8 (which was written by David Benioff and D. B. Weiss) in a single post in order to highlight the former's strengths and the latter's weaknesses.

Episode 3.7: The Bear and the Maiden Fair

Scene 6

JORAH: Your Grace. Yunkai. The Yellow City.

BARRISTAN: The Yunkish train bed slaves, not soldiers. We can defeat them.

JORAH: On the field, with ease. But they won't meet us on the field. They have provisions, patience, and strong walls. If they're wise, they'll hide behind those walls and chip away at us, man by man.

DAENERYS: I don't want half my army killed before I've crossed the Narrow Sea.

Dany's initial conflict in the books is different from that of her show counterpart:

“Are those slave soldiers they lead?”

“In large part. But not the equal of Unsullied. Yunkai is known for training bed slaves, not warriors.”

“What say you? Can we defeat this army?”

“Easily,” Ser Jorah said. “But not bloodlessly.” Blood aplenty had soaked into the bricks of Astapor the day that city fell, though little of it belonged to her or hers.

“We might win a battle here, but at such cost we cannot take the city.”

“That is ever a risk, Khaleesi. Astapor was complacent and vulnerable. Yunkai is forewarned.”

Dany considered. The slaver host seemed small compared to her own numbers, but the sellswords were ahorse. She’d ridden too long with Dothraki not to have a healthy respect for what mounted warriors could do to foot. The Unsullied could withstand their charge, but my freedmen will be slaughtered. (ASOS Daenerys IV)

As the quote shows, in the books, Dany's victory against Yunkai is quite likely, but it comes at the expense of the Astapori freedmen's lives, which Dany isn't willing to risk. Unfortunately, as I mentioned before in previous reviews, the Astapori who decided to follow Dany in the books are not introduced in the show, so this conflict can't exist for show!Dany.

Instead, the show focuses on the possibility of the Yunkish refusing to surrender by staying inside the city and letting show!Dany's army starve. I'm not a fan of this change because it's uninspired; it's too much like Dany's initial problem in Meereen:

“...Perhaps we can starve the city out.”

Ser Jorah looked unhappy. “We’ll starve long before they do, Your Grace. There’s no
food here, nor fodder for our mules and horses. I do not like this river water either. Meereen shits into the Skahazadhan but draws its drinking water from deep wells. Already we’ve had reports of sickness in the camps, fever and brownleg and three cases of the bloody flux. There will be more if we remain. The slaves are weak from the march.”

“Freedmen,” Dany corrected. “They are slaves no longer.”

“Slave or free, they are hungry and they’ll soon be sick. The city is better provisioned than we are, and can be resupplied by water. Your three ships are not enough to deny them access to both the river and the sea.” (ASOS Daenerys V)

It seems that this change was made not just because the Astapori freedmen were not included in show!Dany's story, but also because the events of ASOS Daenerys IV are being stretched out for four episodes (from this one until the season finale). This would explain why the show writers ultimately decided to introduce the sellswords in the next episode instead of in this one, which is another departure from the books, where they're introduced right away:

“Those are sellswords on the flanks. Lances and mounted bowmen, with swords and axes for the close work. The Second Sons on the left wing, the Stormcrows to the right. About five hundred men apiece. See the banners?” (ASOS Daenerys IV)

In the books, Yunkai is already prepared to wage war against Dany if it's necessary. The possibility of a siege is never brought up.

In the show, we'll have two scenes with Dany and her counsellors assessing the enemy forces (one in this episode and another in episode 3.8, which I'll discuss below), unlike the books (which only has one). Each is quite similar to one another, with the second more closely (though not entirely, since, again, the Astapori freedmen are nowhere to be seen) resembling the conflict in the books for actually introducing the sellswords.

Also, it's disappointing that we don't get to see onscreen quite a few moments from the books that showcase Dany's intelligence. The first is that she eagerly wants to apply her lessons with Barristan about how to assess her enemy forces, so she goes with Jorah to see them and then makes a reasonable guess about their strength:

Her Dothraki scouts had told her how it was, but Dany wanted to see for herself. Ser Jorah Mormont rode with her through a birchwood forest and up a slanting sandstone ridge. “Near enough,” he warned her at the crest.

Dany reined in her mare and looked across the fields, to where the Yunkish host lay athwart her path. Whitebeard had been teaching her how best to count the numbers of a foe. “Five thousand,” she said after a moment.

“I’d say so.” (ASOS Daenerys IV)

What's also missing from the show is Dany applying the knowledge she acquired from the Dothraki to contextualize the danger that her Astapori freedmen are going to face against the sellswords:

Dany considered. The slaver host seemed small compared to her own numbers, but the sellswords were ahorse. She’d ridden too long with Dothraki not to have a healthy respect for what mounted warriors could do to foot. The Unsullied could withstand their charge, but my freedmen will be slaughtered. (ASOS Daenerys IV)

Finally, unlike in the books, we don't have a scene on HBO displaying that show!Dany learned important lessons with both the Qartheen and the Astapori. Such lessons inform why she's certain that both Yunkai and the sellswords will at least come and listen to her offer:

“But if they do not come—”

“They’ll come. They will be curious to see the dragons and hear what I might have to say, and the clever ones will see it for a chance to gauge my strength.” (ASOS Daenerys IV)

That being said, there is good in this scene too: 

JORAH: We don't need Yunkai, khaleesi. Taking this city will not bring you any closer to Westeros or the Iron Throne.

DAENERYS: How many slaves are there in Yunkai?

JORAH: 200,000, if not more.

DAENERYS: Then we have 200,000 reasons to take the city.

ASOS Daenerys IV doesn't have a scene where Dany explicitly states that she is in Yunkai because she wants to free the slaves (though her thoughts and actions speak for themselves, making it obvious that she is). The show, on the other hand, makes that fact loud and clear for anyone to grasp it. Dany's selflessness is probably the most important aspect of her characterization, so it's no wonder that this scene (which draws attention to it) was written by GRRM himself. (Benioff, in contrast, focuses on Dany's supposed "Littlefinger style ambition" or on her "divine mission", but never on her moral principles)

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Before I talk about this show scene in relation to the books, I want to reiterate that yes, it is racist at its core; it employs North African extras as slaves who will be freed by a character played by a British actress, after all. There's no excuse for this and I don't blame any person of color who dislikes show!Dany for this.

That being said, as @yendany​ already laid out in this post, the slaves of the books are of multiple ethnicities; they range from "pale Qartheen" to "ebon-faced Summer Islanders". This stems from the fact that GRRM never meant for the slavery that Dany is battling against to be race-based; he was, instead, inspired by the slavery in the ancient world. Parallels between Dany's storyline and US slavery, on the other hand, are non-racial in nature. Furthermore, it's crucial to notice that Dany is the only major character of ASOIAF interacting with people of color and caring about their struggles in the first place.

All of this is to say that yes, there is racism in this scene (and the books aren't exempt from it), but this is the fault of the show's production. Neither show!Dany nor Dany are white saviors because of it and their storylines still have thematic significance despite GRRM's and D&D's shortcomings. 

In the books, this is not the mode of transportation that the Yunkish envoy chooses to get to Dany:

The envoys from Yunkai arrived as the sun was going down; fifty men on magnificent black horses and one on a great white camel. Their helms were twice as tall as their heads, so as not to crush the bizarre twists and towers and shapes of their oiled hair beneath. They dyed their linen skirts and tunics a deep yellow, and sewed copper disks to their cloaks.

The man on the white camel named himself Grazdan mo Eraz. (ASOS Daenerys IV)

That being said, I would argue that this was a good change because it illustrates the oppression of the Yunkish slaves (who, let's remember, come from lots of different societies and cultures in the books) and reinforces the necessity of show!Dany's revolution.

Meereenese seldom rode within their city walls. They preferred palanquins, litters, and sedan chairs, borne upon the shoulders of their slaves. "Horses befoul the streets," one man of Zakh had told her, "slaves do not." Dany had freed the slaves, yet palanquins, litters, and sedan chairs still choked the streets as before, and none of them floated magically through the air. (ADWD Daenerys VII)

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The Brazen Beasts did as they were bid. Dany watched them at their work. “Those bearers were slaves before I came. I made them free. Yet that palanquin is no lighter.”

“True,” said Hizdahr, “but those men are paid to bear its weight now. Before you came, that man who fell would have an overseer standing over him, stripping the skin off his back with a whip. Instead he is being given aid.” (ADWD Daenerys IX)

Considering that the palanquins (along with the whip and the tokar) were used to call attention to the mistreatment and the oppression of the unprivileged in the books, it's not surprising that they were also added in the show in an episode written by GRRM to convey the same point.

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MISSANDEI: Now comes the noble Razdal mo Eraz of that ancient and honorable house, master of men and speaker to savages, to offer terms of peace. Noble lord, you are in the presence of Daenerys Stormborn of House Targaryen, Queen of the Andals and the First Men, Khaleesi of the Great Grass Sea, Breaker of Chains, and Mother of Dragons.

Again, thanks to GRRM's influence, Dany's and the envoy's titles are both announced as a formality, not as comic relief (at best) or as a sign of Dany's arrogance (at worst) like, for example, in her first scene with Jon Snow in season seven.

Also, this is not a key detail, but the Yunkish envoy's name was changed from Grazdan mo Eraz in the books to Razdal mo Eraz in the show. I don't see any reason why GRRM would change his name, which makes me question to which extent the show writers altered certain parts of GRRM's script to their convenience (and they certainly did, as I will show below).

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RAZDAL: Ancient and glorious is Yunkai. Our empire was old before dragons stirred in old Valyria. Many an army has broken against our walls. You shall find no easy conquest here, khaleesi.

In the books, the Yunkish envoy speaks Valyrian like the Astapori did:

“Missandei, what language will these Yunkai’i speak, Valyrian?”

“Yes, Your Grace,” the child said. “A different dialect than Astapor’s, yet close enough to understand. The slavers name themselves the Wise Masters.” (ASOS Daenerys IV)

And yet, we are seeing the actors talk to each other in English, which is used in the show to indicate that the characters are speaking the Common Tongue. On its own, this is a superfluous change. Still, it's irritating that the show writers allow show!Dany and the Yunkish envoy talk to each other in English here and then will later prevent her from speaking to the freedmen in the same language (which she does in the books, because they also speak Valyrian) at court in episode 4.6. The implications that she's too removed from reality (and her subjects, as seasons five and six will imply), that she is actually quite similar to a master and that she should abide to the Meereenese traditions are all distasteful and completely out of line with what happens in the books. Unfortunately, it could be argued that the seeds of these negative implications are in this episode (though they only become negative in retrospect because of later events and not because of GRRM's writing).

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Unsurprisingly, the Yunkish envoy's words are almost copied word by word from the books:

RAZDAL: Ancient and glorious is Yunkai. Our empire was old before dragons stirred in old Valyria. Many an army has broken against our walls. You shall find no easy conquest here, khaleesi.

~

“Ancient and glorious is Yunkai, the queen of cities,” he said when Dany welcomed him to her tent. “Our walls are strong, our nobles proud and fierce, our common folk without fear. Ours is the blood of ancient Ghis, whose empire was old when Valyria was yet a squalling child. You were wise to sit and speak, Khaleesi. You shall find no easy conquest here.”

Small changes are made in show!Dany's response to his statement, however:

DAENERYS: Good. My Unsullied need practice. I was told to blood them early.

~

“Good. My Unsullied will relish a bit of a fight.” She looked to Grey Worm, who nodded. (ASOS Daenerys IV)

In the books, this is a subtle but affectionate moment between Dany and Grey Worm. Dany is alluding to Grey Worm having previously told her that the Unsullied "thirst[ed] for blood" and that he hoped to show her that "the Unsullied learn the way of the three spears" (in stark contrast to the Yunkish bed slaves).

In the show, while the context surrounding show!Dany's mention of the Unsullied was changed from the books, I would argue that the scene is no less effective for it. It displays show!Dany's intelligence by having her recall Kraznys's advice and be intent on following it.

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In both versions, the Yunkish envoy attempts to bribe Dany into leaving the city:

“And yet, why should we speak thus harshly to one another? It is true that you committed savageries in Astapor, but we Yunkai’i are a most forgiving people. Your quarrel is not with us, Your Grace. Why squander your strength against our mighty walls when you will need every man to regain your father’s throne in far Westeros? Yunkai wishes you only well in that endeavor. And to prove the truth of that, I have brought you a gift.” He clapped his hands, and two of his escort came forward bearing a heavy cedar chest bound in bronze and gold. They set it at her feet. “Fifty thousand golden marks,” Grazdan said smoothly. “Yours, as a gesture of friendship from the Wise Masters of Yunkai. Gold given freely is better than plunder bought with blood, surely? So I say to you, Daenerys Targaryen, take this chest, and go.”

Dany pushed open the lid of the chest with a small slippered foot. It was full of gold coins, just as the envoy said. She grabbed a handful and let them run through her fingers. They shone brightly as they tumbled and fell; new minted, most of them, stamped with a stepped pyramid on one face and the harpy of Ghis on the other. (ASOS Daenerys IV)

~

RAZDAL: If blood is your desire, blood shall flow. But why? 'Tis true you have committed savageries in Astapor. But the Yunkai are a forgiving and generous people. The wise masters of Yunkai have sent a gift for the silver queen. There is far more than this awaiting you on the deck of your ship.

DAENERYS: My ship?

RAZDAL: Yes, khaleesi. As I said, we are a generous people. You shall have as many ships as you require.

DAENERYS: And what do you ask in return?

RAZDAL: All we ask is that you make use of these ships. Sail them back to Westeros where you belong and leave us to conduct our affairs in peace.

In the show, the envoy offers her even more rewards than he had in the books; while the Dany of the books was offered "fifty thousand golden marks", show!Dany was offered an unspecified amount of gold that fills the deck of a ship and "as many ships as [she] require[s]".

In both versions, Dany declines the offer. Show!Dany is explicitly shown refusing it because of her moral duty towards the slaves (who, let's remember, come from lots of different societies and cultures in the books), which is a callback to episode 3.3:

Even if we don't have show!Dany attempting to spare the Astapori freedmen's lives like she does in the books, GRRM still hammers home that her ultimate goal is selfless - to free the Yunkish slaves and end slavery in the region.

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Dany's "gift" to the Yunkish envoy was altered from book to show, but her sole request was largely kept the same:  

DAENERYS: I have a gift for you as well. Your life.

RAZDAL: My life?

DAENERYS: And the lives of your wise masters. But I also want something in return. You will release every slave in Yunkai. Every man, woman, and child shall be given as much food, clothing, and property as they can carry as payment for their years of servitude. Reject this gift, and I shall show you no mercy.

~

“I have a gift for you as well.” She slammed the chest shut. “Three days. On the morning of the third day, send out your slaves. All of them. Every man, woman, and child shall be given a weapon, and as much food, clothing, coin, and goods as he or she can carry. These they shall be allowed to choose freely from among their masters’ possessions, as payment for their years of servitude. When all the slaves have departed, you will open your gates and allow my Unsullied to enter and search your city, to make certain none remain in bondage. If you do this, Yunkai will not be burned or plundered, and none of your people shall be molested. The Wise Masters will have the peace they desire, and will have proved themselves wise indeed. What say you?” (ASOS Daenerys IV)

I would say that these scenes have the same spirit, though there are some differences between them as well.

In the books, Dany tells the envoy that she'll give him three days to free the slaves only to deceive the Yunkish and attack them when they least expect it. This, as I've argued before, is no proof of Dany's "tyranny", but rather her prioritization of the freedmen's lives (who would have been slaughtered against mounted warriors if not in a surprise attack) over the nobility's, which is an attitude that she should have maintained throughout the rest of ASOS and the entirety of ADWD.

On HBO, show!Dany will not attack Yunkai in the same night, so having her give the master three days to decide what to do wouldn't have the same significance. One could argue that show!Dany is being more explicitly threatening than Dany ("Reject this gift, and I shall show you no mercy") during her interaction with the envoy, but this line is certainly not out of character for Dany, who tells Barristan that "Yunkai will have war" in the same chapter where her talk with Grazdan takes place.

There are key things in common between the books' depiction of the scene versus the show's as well: Dany promises that "Yunkai will not be burned or plundered, and none of your people shall be molested"; show!Dany's gift is the envoy's life "and the lives of [his] wise masters". Dany asks for as much "food, clothing, coin and goods" as the former slaves can carry "for their years of servitude" after three days; show!Dany asks for "every man, woman and child" to "be given as much food, clothing and property as they can carry for their years of servitude". These show lines exhibit that, ultimately, show!Dany is also primarily focused on freeing the slaves and on attempting to be as conciliatory as possible.

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One small detail is altered from books to show regarding the envoy's answer to Dany's offer:

RAZDAL: You are mad. We are not Astapor or Qarth.

~

“I say, you are mad.” (ASOS Daenerys IV)

In both versions, the envoy calls Dany mad, but Qarth is never brought up as an example of Dany's "treacherous" nature, only Astapor:

“You took Astapor by treachery, but Yunkai shall not fall so easily.” (ASOS Daenerys IV)

~

“And yet, why should we speak thus harshly to one another? It is true that you committed savageries in Astapor, but we Yunkai’i are a most forgiving people.[”] (ASOS Daenerys IV)

This addition was most likely made because, on HBO, show!Dany locked show!Xaro and show!Doreah inside the former's vault to die. I suppose that it makes sense for the show writers to pay attention to their own continuity, though that makes me question why Kraznys and the other Astapori slavers weren't also aware that show!Dany was not (in their perspective) trustworthy by the time she arrived to negotiate with them. It wasn't convenient to pay attention to the continuity in the beginning of season three, I guess. I also doubt that GRRM wrote this bit of his own volition (unless he was told to do so).

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Now we get to what some people tend to see as the most controversial parts of Dany's exchange with the envoy. On HBO, it's show!Dany's decision to take the envoy's gold; in the books, it's Dany's burning of the envoy's tokar:

RAZDAL: You are mad. We are not Astapor or Qarth. We are Yunkai and we have powerful friends. Friends who would take great pleasure in destroying you. Those who survive, we shall enslave once more. Perhaps we'll make a slave of you as well.

REZNAK: You swore me safe conduct.

DAENERYS: I did, but my dragons made no promises. And you threatened their mother.

~

“I say, you are mad.”

“Am I?” Dany shrugged, and said, “Dracarys.”

The dragons answered. Rhaegal hissed and smoked, Viserion snapped, and Drogon spat swirling red-black flame. It touched the drape of Grazdan’s tokar, and the silk caught in half a heartbeat. Golden marks spilled across the carpets as the envoy stumbled over the chest, shouting curses and beating at his arm until Whitebeard flung a flagon of water over him to douse the flames. “You swore I should have safe conduct!” the Yunkish envoy wailed.

“Do all the Yunkai’i whine so over a singed tokar? I shall buy you a new one ... if you deliver up your slaves within three days. Elsewise, Drogon shall give you a warmer kiss.” (ASOS Daenerys IV)

People who think that the Dany of the books is more morally grey than show!Dany tend to use the event above as an example that supposedly "proves" their point, since Dany's burning of the envoy's tokar in the books doesn't happen in the show. Not only this conveniently ignores that the show cut so many of Dany's moments of compassion and self-deprecation and that it gave show!Dany many scenes that complicate her character's morality more than any from the books (e.g. her decision to feed one master to her two dragons arbitrarily), it also overlooks the fact that Dany uses her dragons to intimidate the envoy (rather than to punish him in any way). By making sure that he takes her seriously, Dany's threat of a "warmer kiss" becomes much more alarming, which is only necessary in a world where men think that it's normal to underestimate her and dismiss her as a "whore". More importantly, it must be remembered that Dany's threat to the envoy (who was never actually hurt) was made because she wants to free the slaves of Yunkai. All in all, considering a) the level of damage she caused (none), b) her selfless intentions and c) that we're talking about a book series/TV show full of rapists and murderers from a pseudomedieval world, this is not a morally grey action.

It must be noted, however, that GRRM himself observed that show!Dany's burning of the envoy's tokar was a moment cut from his original script and that he wishes that it had been included. I suppose I can understand why the author is frustrated by this particular change, since this has ramifications later when Yunkai remembers what happened to Grazdan and then refuses to accept any peace agreement until Dany marries another slaver.

Still, I think that the exclusion of this moment is compensated by this show change:

RAZDAL: Take the gold.

DAENERYS: My gold. You gave it to me, remember? And I shall put it to good use. You'd be wise to do the same with my gift to you. Now get out.

~

“You’ve soiled yourself. Take your gold and go, and see that the Wise Masters hear my message.” (ASOS Daenerys IV)

In the books, Dany doesn't take the envoy's gold. In the show, however, she does.

Like with Dany's burning of the envoy's tokar, show!Dany's decision to take his gold is not really a morally grey action because it's motivated by (and will finance) her anti-slavery campaign.

Like with Dany's burning of the envoy's tokar, this decision leads many fans to judge show!Dany much more harshly than they should, as this stupid gifset shows. @yendany​ has already exhaustively laid out why neither Dany nor show!Dany (whose actions, albeit often undermined in comparison to her book counterpart, are still in keeping with Dany's motivations) are imperialists, so check out her metas about this issue.

By comparing these two scenes, my intent is to argue that the omission of Dany's burning of the envoy's tokar isn't that detrimental in the grand scheme of things. Its purpose was not to make Dany more morally grey as some people think, it was meant to complicate the negotiations of a peace agreement between Dany and Yunkai (which never occurs in the show). If they wanted something to complicate the peace agreement (which, again, was never added into season five), they could have brought up show!Dany taking Razdal's gold (which, while also not a morally grey action, would certainly piss the Yunkish slavers off), but they would have to have cared about adapting Dany's ADWD storyline well to think about that.

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BARRISTAN: The Yunkish are a proud people. They will not bend.

DAENERYS: And what happens to things that don't bend?

This response from show!Dany portrays her as more unyielding than the books do. This is not necessarily a bad thing (and it's not as if Dany didn't struggle with accepting the slavers' actions, opinions and customs in the books as well), but it goes against how the books have Dany still developing her political values along the way based on her experiences. Also, while this original line is fine on its own, in light of the show's ending, it may have helped to portray show!Dany as inflexible enough to become a Well-Intentioned Extremist in the eyes of the show writers and some fans (we know, however, that this ending is OOC for show!Dany as well and that it carries many, many horrible implications).

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DAENERYS: He said he had powerful friends. Who was he talking about?

JORAH: I don't know.

DAENERYS: Find out.

Again, is this from GRRM or the show writers? In the books, as I already said, Dany knows who the Yunkish's "powerful friends" are right away:

“Those are sellswords on the flanks. Lances and mounted bowmen, with swords and axes for the close work. The Second Sons on the left wing, the Stormcrows to the right. About five hundred men apiece. See the banners?” (ASOS Daenerys IV)

This was changed because, again, they want to make the events of ASOS Daenerys IV last for multiple episodes. Still, I wonder if GRRM cared enough to respect the show's continuity or if the show writers made changes to what he wrote.

Episode 3.8: Second Sons

We get back to D&D's writing of show!Dany with "Second Sons".

Scene 7

Remember when I said that we would get two scenes of Dany and her advisors assessing the enemy forces in the show (this only happens once in the books)? Well, we have reached the second one.

BARRISTAN:  Men who fight for gold have neither honour nor loyalty. They cannot be trusted.

JORAH: They can be trusted to kill you if they’re well paid. The Yunkish are paying them well.

Show!Barristan's and show!Jorah's counsels above are show only.

It's not out of character for Barristan to distrust sellswords and men who don't behave in a way that is socially perceived as honorable in general. The problem is that the show writers have him express his feelings only for show!Jorah to question and refute them without show!Barristan being allowed to give any response, which undermines the latter (like they did in episodes 3.3 and 3.5 as well) in the eyes of the audience in favor of show!Jorah's perspective.

In the books, both Jorah and Barristan are shown distrusting sellswords, especially Mero:

But when Mero was gone, Arstan Whitebeard said, “That one has an evil reputation, even in Westeros. Do not be misled by his manner, Your Grace. He will drink three toasts to your health tonight, and rape you on the morrow.”

“The old man’s right for once,” Ser Jorah said. “The Second Sons are an old company, and not without valor, but under Mero they’ve turned near as bad as the Brave Companions. The man is as dangerous to his employers as to his foes. That’s why you find him out here. None of the Free Cities will hire him any longer.” (ASOS Daenerys IV)

What's irritating about this change in show!Jorah's character is that Jorah's attempts to isolate Dany from other men are a key aspect of their relationship in the books. Having show!Jorah trust the sellswords if they're well-paid overlooks this side of their dynamic and portrays him as reasonable rather than often motivated by jealousy like he is in the books. It also helps to popularize stupid takes like this one.

I would also like to call attention to Dany's response to their advice in the books:

“It is not his reputation that I want, it’s his five hundred horse.[”] (ASOS Daenerys IV)

As I said before, I find it interesting that Dany isn't really concerned about the sellswords' lack of morals. Moments like this and the one later in ADWD Daenerys VIII when she finds that being “dishonorable and greedy” can be advantageous if she wants the sellswords to turn to her side show that Dany is actually quite down-to-earth and flexible and doesn’t suffer from moral righteousness like the show writers seem to think.

Show!Dany expresses a similar view by thinking that the Second Sons might turn to her side because she has a larger strength (more on that below). That being said, she is mostly shown listening and making questions:

DAENERYS: You know these men?

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DAENERYS: Is he more titan or bastard?

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DAENERYS: How many?

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DAENERYS: Enough to make a difference?

The books don't show Dany being as dependent on her advisors' feedback as show!Dany is. I don't want to be overly judgmental of show!Dany, but this is something that irks me because Bryan Cogman has said in an interview that he thinks that Dany relies too much on Jorah to obtain information about Essosi culture. It's not untrue that he gives her knowledge that she doesn't have, but this statement ignores the fact that Dany applies that knowledge and has her own (because she's lived in Essos for longer than Jorah) and that she has her own opinions and makes many decisions on her own as well. The show often overlooks these nuances because the writers are intent on making her more ignorant and ineffective than in the books to "compensate" for her strengths and achievements (more on this later).

*

JORAH: Only by the broken swords on their banners. They’re called the Second Sons. A company led by a Braavosi named Mero, the Titan’s Bastard.

DAENERYS: Is he more titan or bastard?

JORAH: He’s a dangerous man, Khaleesi. They all are.

A rare occasion where show!Dany is allowed to have a sense of humor (which her book counterpart displays much more often). What's a shame is that the show writers only know how to write offensive jokes for her (see also this one) and for most of the other characters in general.

I also dislike the implication that show!Dany's joke indicates that she is underestimating the threat that the Second Sons pose. It's certainly not out of character for Jorah to be condescending towards Dany, but I don't think that's how the show writers intended his response to come across; as I've talked about exhaustively by now, the show writers have a much more positive view of Jorah than GRRM does.

*

Another change is that the show writers increased the size of the Second Sons. In the books, the Stormcrows (which was condensed into the Second Sons in the show) have five hundred men and the Second Sons five hundred as well, making them one thousand rather than two thousand men:

“Those are sellswords on the flanks. Lances and mounted bowmen, with swords and axes for the close work. The Second Sons on the left wing, the Stormcrows to the right. About five hundred men apiece.[”]

~

DAENERYS: How many?

BARRISTAN: Two thousand, Your Grace. Armoured and mounted.

As I will show later, this goes in line with the show writers' tendency to undermine Dany against the sellswords in comparison to the books. It also goes in line with how they previously undermined the value of show!Dany's possessions compared to what she has in the books to undermine to extent of her sacrifice.

*

DAENERYS: How many?

BARRISTAN: Two thousand, Your Grace. Armoured and mounted.

DAENERYS: Enough to make a difference? (after Barristan nods "yes") It’s hard to collect wages from a corpse. I’m sure the sellswords prefer to fight for the winning side.

JORAH: I imagine you’re right.

DAENERYS: I’d like to talk to the Titan’s Bastard about winning.

Like in the books, show!Dany is also aware that her military strength vastly surpasses that of the Yunkish's and that this might persuade the sellswords to turn to her side.

My gripe with the show (which I'll talk about below) is that it'll challenge the fact that show!Dany would indeed triumph in a battle against Yunkai more than the books ever did. There, the conflict for Dany was not about whether she would win or not (she certainly would), but rather that winning would have meant allowing more freedmen to die as collateral damage than she's willing to do. Once again, the show writers are going to miss the point, which makes show!Dany seem less effective than her book counterpart.

*

DAENERYS: I’d like to talk to the Titan’s Bastard about winning.

BARRISTAN: He may not agree to meet.

DAENERYS: He will. A man who fights for gold can’t afford to lose to a girl.

In the books, Jorah is the one who questions if the sellswords will meet with Dany:

“The slavers like to talk,” she said. “Send word that I will hear them this evening in my tent. And invite the captains of the sellsword companies to call on me as well. But not together. The Stormcrows at midday, the Second Sons two hours later.”

“As you wish,” Ser Jorah said. “But if they do not come—” (ASOS Daenerys IV)

Which is in line with his tendency to question her authority (though, to be fair, this is one of the least offensive examples). Meanwhile, Barristan is the one who respects Dany as his liege.

Dany's answer to her advisor is also different:

“They’ll come. They will be curious to see the dragons and hear what I might have to say, and the clever ones will see it for a chance to gauge my strength.” She wheeled her silver mare about. “I’ll await them in my pavilion.” (ASOS Daenerys IV)

As I had already mentioned in my review of episode 3.7, this moment indicates that Dany learned important lessons with both the Qartheen and the Astapori, which is why she is sure that they will agree to meet with her.

On HBO, show!Dany brings up the fact that sellswords "can't afford to lose to a girl", which is true, but why would that be a reason for them to agree to meet with her? Isn't it more likely that, because she is a girl and, therefore, not perceived as a threat, they don't even bother going to meet with her because they (think they) know that she will lose? I don't really understand her point, which seems more like a typical moment of faux empowerment from this show.

*

BARRISTAN: Your Grace, allow me to present the captains of the Second Sons, Mero of Braavos, Prendahl na Ghezn, and, um…

DAARIO: Daario Naharis.

Much has been said about how none of the two show versions of Daario resemble his book counterpart in physical appearance (check out his description in the books here), so I'm only making a brief acknowledgement of that (admittedly radical) change in this review and leaving it at that. It's not really relevant to what I want to focus on (i.e., the changes in Dany's characterization and storyline from book to show) and I dislike how some people keep overfocusing on his looks to point out that Dany supposedly has a ~bad taste~ in men. It's much more important to acknowledge that Daario (both versions) gives Dany the chance to have sexual autonomy for the first time in her life.

*

MERO: You are the Mother of Dragons? I swear I fucked you once in a pleasure house in Lys. JORAH: Mind your tongue.

In the books, it's not Jorah who answers this asshole, it's Dany herself:

“I believe I fucked your twin sister in a pleasure house back home. Or was it you?”

“I think not. I would remember a man of such magnificence, I have no doubt.”
 (ASOS Daenerys IV)

His next insult is also adapted word by word from the books, which hints at the show writers' priorities:

MERO: You’ll all be slaves after the battle, unless I save you. Take your clothes off and come and sit on Mero’s lap, and I may give you my Second Sons.

DAENERYS: Give me your Second Sons and I may not have you gelded.

~

“What say you take those clothes off and come sit on my lap? If you please me, I might bring the Second Sons over to your side.”

“If you bring the Second Sons over to my side, I might not have you gelded.” (ASOS Daenerys IV)

Heck, the amount of profanity in the books is already problematic and the show makes it worse by adding even more:

MERO: Why? I didn’t mind hers. She licked my ass like she was born to do it.

~

MERO: Show me your cunt. I want to see if it’s worth fighting for.

~

MERO: After the battle, maybe we’ll all share you. I’ll come looking for you when this is over.

And that's not even considering that the sellswords get one scene for themselves in this episode (more on that later), ugh.

To top this all off, many of Dany's excellent comebacks to the sellswords' remarks in the books are erased in the show:

“Woman?” She chuckled. “Is that meant to insult me? I would return the slap, if I took you for a man.” Dany met his stare. “I am Daenerys Stormborn of House Targaryen, the Unburnt, Mother of Dragons, khaleesi to Drogo’s riders, and queen of the Seven Kingdoms of Westeros.”

~

“No need. After my eunuchs cut it off, I can examine it at my leisure.”

~

“So it is from you they get their courage?” Dany turned to Ser Jorah. “When the battle is joined, kill this one first.”

The last remark is included, but is also decontextualized in a way that prevents it from displaying Dany's competence like it does in the books. I'll get to it later.

*

DAENERYS: Give me your Second Sons and I may not have you gelded. Ser Barristan, how many men fight for the Second Sons?

BARRISTAN: Under two thousand, Your Grace.

DAENERYS: We have more, don’t we?

BARRISTAN: Ten thousand, Unsullied.

DAENERYS: I’m only a young girl, new to the ways of war, but perhaps a seasoned captain like yourself can explain to me how you propose to defeat us.

DAARIO: I hope the old man is better with a sword than he is with a lie. You have eight thousand Unsullied.

Like in the books, Dany inflates her number of Unsullied:

“Five hundred of your Stormcrows against ten thousand of my Unsullied,” said Dany. “I am only a young girl and do not understand the ways of war, yet these odds seem poor to me.” (ASOS Daenerys IV)

~

“It is true that I am only a young girl, and do not know the ways of war. Explain to me how you propose to defeat ten thousand Unsullied with your five hundred. Innocent as I am, these odds seem poor to me.” (ASOS Daenerys IV)

However, the show writers have show!Daario find out that show!Dany was lying about her military strength when this never happens in the books. Indeed, they seem hellbent on undermining show!Dany, since they even decreased her actual number of soldiers from eight thousand and six hundred in the books to eight thousand in the show.

This change heavily implies to me that the show writers believe that show!Dany is indeed "only a young girl, new to the ways of war" and that they want the audience to perceive her as one. (see also David Benioff saying that show!Dany goes "back to being a really frightened little girl" when her dragons are stolen in season two or Bryan Cogman's comment on her supposed ignorance of Essosi culture)

And this is just so wrong because this is the opposite of what GRRM is doing in the books.

As I already analyzed in this meta, in the books, Dany is the one who correctly guesses the enemy's military strength (yes, she is the one who gets to do that in the books, not Daario). Dany is the one who is shown applying her knowledge of the Dothraki forces to understand (on her own) that her freedmen are vulnerable against the sellswords. Dany is the one who applies her historical knowledge of the Second Sons to intimidate Mero. Dany is the one who gets to outline the tactical plan to take Yunkai (which the show writers will frustratingly have show!Daario concoct in the next episode). Dany is the one who stayed in the room and listened as her military commanders worked out the details to implement her plan. The latter case is particularly noticeable because GRRM cared to show Dany exposing her plan onpage, but he didn't care to write about how her advisors fleshed it out: that's because he prioritizes the development of his female lead character over his supporting male characters'. Despite certain flaws in his writing, GRRM goes out of his way to portray Dany as more than just a "young girl, new to the ways of war". It's a shame that the show writers can't do the same with her show counterpart.

The thing with Dany (both versions) is that she is a power fantasy in so many ways; she is the female protagonist of ASOIAF, she is genuinely kind and selfless, she is mother to three dragons and to thousands of people, she is a dragonrider and will become an action heroine, she is the only monarch with a claim to the Iron Throne who gets her own POV chapters, she is from a family renowned for their godlike beauty, she is a messianic hero, she fulfills so many prophecies, she has so many titles (and all of them were hard-won), she is the Fire of the song of ice and fire...

To many fans (including the show writers), she just can't be that big of a deal! There must be something wrong with her! If she is holding so much power, there must also be the risk of her becoming a tyrant. If she is a successful conqueror, she must also be ignorant (sometimes she is, sometimes she isn't, like a normal person) and arrogant (she isn't) and not think far enough ahead (she does). If she is a revolutionary who gets to enact her idealism (and deal with the negative results of her mistakes) onpage, she can't be the embodiment of hope for the future at the same time.

What I'm saying is that the show writers' tendency to undermine Dany's positive qualities and overstate her flaws (or create new ones or judge her by unfair double standards) mirror the ASOIAF fandom's and that the underlying assumption behind these attempts (i.e. that Dany can't be as great as she seems to be) is misogynistic at its core.

*

PRENDAHL: Our contract is our bond. If we break our bond, no one will hire the Second Sons again.

This is not a very important change in the grand scheme of things, but, in the books, Mero is the one who says something along those lines:

“You are worth fighting for, it is true,” the Braavosi said, “and I would gladly let you kiss my sword, if I were free. But I have taken Yunkai’s coin and pledged my holy word.” (ASOS Daenerys IV)

Prendahl, on the other hand, brings up that the Stormcrows (which is his company in the books) has the support of Yunkish forces and predictably dismisses Dany as a "whore" in order to explain why he won't join her side:

“The Stormcrows do not stand alone [...] We fight beside the stalwart men of Yunkai.” (ASOS Daenerys IV)

~

“What you are,” said Prendahl na Ghezn, “is a horselord’s whore. When we break you, I will breed you to my stallion.” (ASOS Daenerys IV)

His anger at Dany stems from both his misogyny and the fact that Dany's sack of Astapor led to the deaths of some of his relatives:

“That Prendahl is Ghiscari by blood. Likely he had kin in Astapor.” (ASOS Daenerys IV)

While these changes are not the most significant ones, it's noteworthy that Prendahl only appears in one scene seen through Dany's perspective in the books and receives more detailed motivations than in the show, where he gets a scene of his own (more on that later).

*

DAARIO: You have no ships. You have no siege weapons. You have no cavalry.

DAENERYS: A fortnight ago, I had no army. A year ago, I had no dragons.  

While I like that show!Dany is at least allowed to offer a response to show!Daario's remark, this wasn't supposed to have happened in the first place. Neither Daario nor any of the men that Dany interacts with are shown questioning her in this way in the books. It's another infuriating attempt to undermine show!Dany. Moreover, she is the one who is shown to be conscious of her own limitations in the books, not Daario:

Dany considered. The slaver host seemed small compared to her own numbers, but the sellswords were ahorse. She’d ridden too long with Dothraki not to have a healthy respect for what mounted warriors could do to foot. (ASOS Daenerys IV)

Why was this changed? I'm not sure. Because the show writers are deliberately trying to make show!Dany look worse than her book counterpart? Because they are unaware of the sexism underlying their writing choices? Because this makes show!Daario seem "more interesting" in his introduction (to the detriment of show!Dany's characterization)? All of these reasons or something else entirely?

Also, while I enjoy show!Dany's assertion on its own, I also know that it's probably informed by Benioff's false belief that Dany "feels like she has this almost divine mission and nothing is gonna prevent her from achieving it". The Dany of the books is neither prophecy-driven nor aware of her heroic destiny and, while it wouldn't be a problem if she were, it is a problem in the show because its writers constantly undermine, look down upon and villainize her character for her ambition, her drive and her self-awareness.

*

MERO: Show me your cunt. I want to see if it’s worth fighting for.

GREY WORM: My Queen, shall I slice out his tongue for you?

DAENERYS: These men are our guests.

In the books, as I've already mentioned in my review of episode 3.7 above, Grey Worm and Dany's brief interaction is different. I like how their show interaction displays his protectiveness of her, though it was unnecessary to add more sexual harassment to do so. Also, in the books, Jorah is the one outraged at Mero's treatment of Dany, though not primarily because she doesn't deserve to be treated like this, but rather because he wants to keep her to himself:

“I will like the taste of your tongue, I think.”

She could sense Ser Jorah’s anger. My black bear does not like this talk of kissing. (ASOS Daenerys IV)

*

DAENERYS: You seem to be enjoying my wine. Perhaps you’d like a flagon to help you ponder.

MERO: Only a flagon? And what are my brothers in arms to drink?

DAENERYS: A barrel, then.

MERO: Good. The Titan’s Bastard does not drink alone. In the Second Sons, we share everything.

In the books, Dany gives Mero a wagon of wine too, but there is a strategic reason behind why she does so - it makes them easier targets to attack at night:

“An hour past midnight should be time enough.”

“Yes, Khaleesi,” said Rakharo. “Time for what?”


“To mount our attack.”


Ser Jorah Mormont scowled. “You told the sellswords—”

“—that I wanted their answers on the morrow. I made no promises about tonight. The Stormcrows will be arguing about my offer. The Second Sons will be drunk on the wine I gave Mero. And the Yunkai’i believe they have three days. We will take them under cover of this darkness.” (ASOS Daenerys IV)

In the show, there's no purpose behind her favor, which is ultimately just what it seems to be. Unfortunately, this goes in line with the show writers' tendency to diminish Dany's skills and agency, which I've already criticized above.

*

MERO: In the Second Sons, we share everything. After the battle, maybe we’ll all share you. I’ll come looking for you when this is over. DAENERYS: Ser Barristan, if it comes to battle, kill that one first. BARRISTAN: Gladly, Your Grace.

I've said above that Dany's order to kill Mero first in battle was decontextualized from the books to the show in a way that prevents it from showcasing her competence. Here's why:

“The Second Sons have faced worse odds and run. At Qohor, when the Three Thousand made their stand. Or do you deny it?”

“That was many and more years ago, before the Second Sons were led by the Titan’s Bastard.”

“So it is from you they get their courage?” Dany turned to Ser Jorah. “When the battle is joined, kill this one first.”

The exile knight smiled. “Gladly, Your Grace.” (ASOS Daenerys IV)

As we can see from the quote, in the books, Dany orders Jorah to kill Mero first in battle to Mero's face in response to his poor attempt of self-aggrandizement. By doing so, she aptly manages to undermine him, which makes this a noteworthy display of her rhetoric skills and her self-composure.

On HBO, show!Dany tells show!Barristan (instead of Jorah) to kill Mero first as an emotional response to him slapping show!Missandei's butt. This change is both gratuitous (since it's more harassment that was never in the books to begin with) and superfluous (since we already knew that show!Dany has admirable moral principles, but we didn't get to know more about her capabilities like we do in the books).

Scene 8

This scene is pointless (for being about minor characters who were never meant to have scenes of their own and taking up time that could have been invested on show!Dany's development and storyline), redundant (for not telling us anything about them that we didn't already know) and offensive (for giving us more unnecessary profanity and female sexualization).

First, the scene doesn't even spend that much time on these commanders' decision-making, it's mostly about being gratuitous for its own sake:

MERO: She won’t talk so much when she’s choking on my cock. DAARIO: Eight thousand Unsullied stand between her and your cock. MERO: My cock will find a way. Tell him. Is there any place that my cock can’t reach? DAARIO: She’ll tell me whatever you pay her to tell me.

What does this say about Mero other than the fact that he's a misogynistic prick (which was already abundantly clear)? Why are we getting a scene featuring him that isn't seen through show!Dany's eyes?

PRENDAHL: That dragon bitch. She talks too much. DAARIO: You talk too much.

Like I said above, the show gives us more time with Prendahl and still manages to give him less detailed motivations than in the books (where he's not just driven by misogyny, but also by resentment for the deaths of his relatives during Dany's sack of Astapor).

MERO: Daario Naharis, the whore who doesn’t like whores.

DAARIO: I like them very much. I just refuse to pay them. And I’m no whore, my friend.

MERO: She sells her sheath, and you sell your blade. What’s the difference?

DAARIO: I fight for beauty.

PRENDAHL: For beauty?

MERO: We fight for gold.

DAARIO: The Gods gave men two gifts to entertain ourselves before we die, the thrill of fucking a woman who wants to be fucked and the thrill of killing a man who wants to kill you.

MERO: You’ll die young.

I'm gonna talk more about this when show!Daario meets with show!Dany in the next scene, but I really dislike the implication that he is only motivated to fight for show!Dany because of her beauty rather than because she has more chances to come off as the upcoming battle's winner. In the books, Dany's victory against Yunkai was certain (her main struggle, as I already said, was that she didn't want so many of her freedmen to die in battle).

Show!Daario's hedonistic nature is arguably in character with his book counterpart:

“...I count no day as lived unless I have loved a woman, slain a foeman, and eaten a fine meal ... and the days that I have lived are as numberless as the stars in the sky. I make of slaughter a thing of beauty, and many a tumbler and fire dancer has wept to the gods that they might be half so quick, a quarter so graceful. I would tell you the names of all the men I have slain, but before I could finish your dragons would grow large as castles, the walls of Yunkai would crumble into yellow dust, and winter would come and go and come again.” (ASOS Daenerys IV)

But this is beside the point. Again, why are we spending time with him and these men when they were only meant to service Dany's development and storyline in the books?

Their strategic concerns are only briefly addressed and their plan to solve them is ridiculous and nonsensical:

PRENDAHL: What do we do about the dragon girl? We can’t beat eight thousand Unsullied on the battlefield.

MERO: There won’t be a battle, and we don’t have to deal with her eunuchs. We only have to deal with her.

PRENDAHL: She’s wellguarded.

MERO: Tonight’s a new moon. One of us slips into her camp past her Unsullied and her knights.

What's even stupider than the plan itself is the fact that it works in the show. Yes, the show validated Mero's plan, because it would rather show off his abilities rather than those of its female protagonist. To validate anything that Mero says or does reinforces how tone-deaf the show writers are to the unfortunate implications in their writing.

In the books, Dany's guards are actually competent and catch Daario when he attempts to meet with her, so this plan obviously wouldn't have worked there:

“The Unsullied caught one of the sellswords trying to sneak into the camp.”

“A spy?” That frightened her. If they’d caught one, how many others might have gotten away?

“He claims to come bearing gifts. It’s the yellow fool with the blue hair.”

Daario Naharis. “That one. I’ll hear him, then.” (ASOS Daenerys IV)

To top it all off, their moronic plan is worked out while another woman is being sexualized just for the sake of it:

DAARIO: Which one of us?

MERO: Close your eyes, love. Three coins. A coin from Meereen, a coin from Volantis, and a coin from Braavos. The Braavosi does the deed. One for each of us, darling. No peeking. 

DAARIO: Do you hear me? Follow my voice. I’m right here. You have something for me? Valar Morghulis.

I'm not trying to say that the books are free from gratuitous sexualization and misogyny; they are definitely not. That being said, the military commanders' and the envoy's slut-shaming of Dany stands in contrast with how Dany becomes a mother and a cult figure to the Yunkish freedmen by the end of the same chapter. This contrast could be interpreted as social commentary about how Dany falls prey to a Madonna-whore dichotomy based on whether she's loved or hated by the people of this patriarchal world. The moments where Dany interacts with these men in the books (and the show) add to such social commentary; this show only scene where these men interact with each other without show!Dany's presence don't have anything meaningful to say. It manages to be both pointless and offensive at the same time.

Scene 9

DAENERYS: Nineteen?

MISSANDEI: Yes, Your Grace.

DAENERYS: How can anyone speak languages?

MISSANDEI: It only took Your Grace a year to learn Dothraki reasonably well.

DAENERYS: Yes, well, it was either learn Dothraki or grunt at my husband and hope… What do you mean, “reasonably well”?

MISSANDEI: Dothraki is difficult for the mouth to master. So guttural and harsh.

DAENERYS: Drogo said I spoke Dothraki like one born to it. It gave him great pride.

MISSANDEI: Athjahakar.

DAENERYS: Athjahaka.

MISSANDEI: Athjahakar.

DAENERYS: Athjahakar. Well, I suppose I’m a bit out of practice.

MISSANDEI: Your High Valyrian is very good, Your Grace. The Gods could not devise a more perfect tongue. It is the only proper language for poetry.

I love show!Dany and show!Missandei's relationship and am up for any scene where the two get to interact with each other just for the sake of it. That being said, why does their first bonding moment have to be about how show!Dany's Dothraki language skills aren't as developed as she thought they were? Ugh, she is so lacking in self-awareness because she's too arrogant, amirite? Only a man who's sexually interested in her would praise her skills, amirite (more on this later)? The underlying implications in these show only additions are annoying and unintended at best and offensive and malicious at worst.

Besides, why couldn't they have had show!Dany and show!Missandei talk to each other about their difficult past experiences and how they empathize with one another? Why couldn't the scene have focused on showing that they are growing fond of each other or explored the interesting aspects of their book dynamic (With the necessary adjustments to fit show!Missandei's age, of course)? So much wasted potential.

Also, I hate that they have show!Dany say that her Dothraki is rusty, since it implies that she hasn't been interacting with her khalasar at all (unlike in the books, where she constantly talks to them and/or thinks of them and/or is shown to be in the same room with them).

*

I've already talked about how Daario never successfully invades Dany's camp in the books because her guards are actually qualified there and how this is another way to undermine her character's competence. I'm going to address other things now.

For starters, the setup of show!Dany and show!Daario's second meeting is changed from the books. There, she was fully clothed in the company of her retinue. On HBO, show!Dany is much more vulnerable: she is naked, taking a bath, with only with Missandei by her side and at the mercy of show!Daario's willingness to spare her. It's an unnecessary and offensive change made solely for the sake of hyping up show!Daario's character (at the expense of the female lead character's effectiveness).

I also want to focus on this part of their interaction:

DAENERYS: You were sent here to kill me? So why haven’t you?

DAARIO: I don’t want to.

DAENERYS: What do your captains have to say about that?

DAARIO: You should ask them.

DAENERYS: Why?

DAARIO: We had philosophical differences.

DAENERYS: Over what?

DAARIO: Your beauty. It meant more to me than it did to them.

DAENERYS: You’re a strange man.

DAARIO: I’m the simplest man you’ll ever meet. I only do what I want to do.

DAENERYS: And this is supposed to impress me?

DAARIO: Yes.

It's true that the Daario of the books also brings up Dany's beauty as a reason why he decided to join her, but we shouldn't take his word for granted. Unlike in the show, the books never question that Dany's odds of winning a battle against Yunkai are indeed very high, so it stands to reason that Daario turned to her side primarily because he's opportunistic and, as Dany puts it, "would sooner sup on gold and glory than on death".

Meanwhile, on HBO, because of the writers' numerous attempts to undermine show!Dany's military strength, skills, possessions and accomplishments, show!Daario's statement that he decided to join show!Dany because of her beauty seems like something that we're supposed to take at face value. This is gross and, in light of how they tried to imply that her subjects followed her primarily because of her beauty in the final season, predictable.

*

In the books, Dany is suspicious of Daario for a few reasons: she is initially afraid that he's spying for the sellswords and Yunkai (and that that would lead to her surprise attack backfiring) and considers the possibility that he's not really turning to her side, but rather that he simply wants to save his own skin. She accepts his service because she knows that he would have nothing to gain by betraying her (especially after he had already betrayed his fellow captains and after her dragons themselves failed to convey any hostile reaction against him), that his five hundred men would guarantee a victory against Yunkai and that she must be open-minded and trust other people, in spite of the prophecies about the upcoming treasons.

On HBO, show!Dany is also initially wary of show!Daario:

DAENERYS: You were sent here to kill me? So why haven’t you?

DAARIO: I don’t want to.

DAENERYS: What do your captains have to say about that?

~

DAENERYS: And this is supposed to impress me?

DAARIO: Yes.

DAENERYS: Why would I trust a man who murders his comrades?

However, as we can see, her questions are not the same. Unlike in the books, show!Dany is at show!Daario's mercy, so she questions why he didn't kill her right away (which signals, to her, that he might be trustworthy). Unlike in the books, show!Dany is (rightly) more doubtful of the killings of his fellow captains as indication of his reliability, especially since he could eventually do the same to her (though, again, he never does so when he has the perfect opportunity here) and since, unlike in the books, her dragons are not present in the scene (and, therefore, are not shown to lack any suspicion of him). It's certainly reasonable of show!Dany to accept show!Daario's service, though I wish she had more agency like she does in the books. It's irritating to see show!Dany being threatened (just for the sake of making a male supporting character seem more interesting to the audience) when she never had to be.

*

As a final note, Mero's early death is another change (along with Barristan's early identity reveal) that prevents Jorah's betrayal from being revealed the way it was in the books.

Main differences in GRRM's writing versus D&D's writing

GRRM's episode reinforces show!Dany's selflessness by showing her explicitly put her fight for the Iron Throne aside to focus on freeing thousands of Yunkish slaves and by having the Yunkish envoy offer her even more rewards than in the books (which highlights the extent of the sacrifices she's making for the Ghiscari slaves). D&D have undermined the extent of show!Dany's sacrifice in comparison to the books before and don't care about highlighting this aspect of show!Dany's character in episode 3.8.

GRRM's episode portrays show!Dany as competent and poised in her interactions with the Yunkish envoy. D&D's episode goes out of its way to undermine her and make the sellswords look better.

GRRM's episode features a new scene from the viewpoint of a minor character that adds to the storyline (because it highlights the oppression of the slaves). D&D's episode features a new scene from the viewpoint of minor characters that doesn't add add anything to the storyline (because it's focused on being gratuitous for its own sake).

With crucial differences like these, one can tell that show!Dany's portrayal would have improved if GRRM had been more influential in the show's writing choices. This is not to say that he's flawless or that the medium of a TV series doesn't have its own inherent limitations, only that he cares about her characterization, development and storyline in a way that D&D never did.

My comments on the Inside the Episode 3.7

Weiss: Daenerys is coming into her own in a powerful way in the season. She's always been very negatively predisposed towards slavery because she knows what it feels like to be property, I mean, she was a very fancy slave for all intents and purposes, she was somebody who was sold to another man, taken against her will and I think that her feelings about slavery have started to really inform her reasons for wanting the Iron Throne, it's finally started to occur to her that, if I want to take on this responsibility, it's almost - it's incumbent upon me to do something with it, and she sees this great wrong, probably the greatest possible wrong surrounding her, and she's decided that she's not just going to take back the Iron Throne because it's her right, she's gonna take back the Iron Throne because she is the person to make the world a better place than it is. She is going to not just take it, she's gonna use it for something greater than herself.

This is actually quite an insightful comment from Weiss's part; it's certainly much better than most comments (from him and especially from Benioff) that came before or that will come afterwards. I especially like that he acknowledges show!Dany's past as a sex slave and that he associates these past experiences with her decision to become an abolitionist.

I would only add three things: first, in the books, Dany is always aware that "it's incumbent upon [her] to do something with [power]", it's not something that only occurs to her after she becomes an abolitionist. Second, while show!Dany (and her book counterpart) imposes higher moral standards on herself than most characters of this series do, this doesn't mean that we should do the same. In other words, we shouldn't judge her too harshly if she ever decided to abandon her anti-slavery crusade, for she would simply be doing what any other feudal lord would do: focus on her individual goals. Third, to view show!Dany's attempts to do good (and her reflections about whether she's doing good) as something that anyone could or would do is dismissive of her character's individual principles and experiences and creates a lot of double standards against other characters.

Show!Dany's clothes

A Storm of Swords doesn't give us any description of Dany's outfits during the moments that the show is adapting in these two episodes, so I don't have much to comment. Here's a mosaic of all the outfits show!Dany wears during these two episodes:

I like that the white dress that show!Dany is wearing has a slave collar in homage to her freedmen, for what was once a symbol of oppression becomes one of social justice. Also, that dress is quite similar to show!Missandei's, making this another instance where they are seen with matching outfits: 

Also, @slytarg​ has speculated that show!Dany's clothes in season three were a homage to Mother Mary, which is an interesting possibility.

[thedreadvampy]

So this was sent to me by @atiredpan weeks ago when the White Jon conversation was very live and I'm posting it (belatedly) with their blessing (they didn't want to put it up publicly and have it seem like an attack which I really very much appreciate but wouldn't have minded) and I percolated for a few days and then got very busy for a few weeks. Response follows.

So I feel weird about how I'm responding to this stuff, I'm launching rapidly into taking about/explaining my own experience in a way I'm worried maybe comes across as a direct comparison. It kind of feels like I'm talking in a way that's like brushing off your experience and saying OK BUT HERE'S WHY I'M RIGHT and that's not what I'm trying to do, it's just that there's not much I can usefully add to what you've said - you know your experience better than I do, and I'm not gonna go around trying to read into it or reexplain it. So I'm going to talk about where I am/have been coming from, but not with the intention of countering your points, all of which I think really resonate.

First off, the post where I was like "Jon is white and if you disagree you're Wrong" was, unreservedly, just a shitty post and I'm not suprised it upset a lot of people. I'm really very sorry about that, it was thoughtlessly written and pretty stupidly posted.

I totally get that my whiteness has fed into how I hced Jon (and as I think I've said before I saw Jon a certain way well before I engaged with any fanworks, just as you did). There's a lot of reasons I imagined Jon as white from pretty early on, a non-negligible one of which was like...That's Jonny. This is a podcast by Jonny, about a character with the same name and mannerisms as Jonny, and Jonny is extremely white. It would have felt weird, when I was listening to TMA as a Friend Podcast, to stick a brown face onto what at least appeared at the time to basically be a self-insert character of my white friend. Now that's a really personal thing informed less by the story and more by the circumstances under which I've interacted with it, but it certainly laid a baseline. I didn't really have a clear mental picture of Jon (or most of the characters) for a looooooong time (for an artist I'm really not a very visual thinker) but I had a few sort of mental sketches (Jon is short white balding and awkward, Martin is tall biracial and scruffy Basira is fat and somali Melanie is my friend from work etc) which I developed a long time before I encountered fanworks.

I saw the alienation you mentioned and I connected it to class and gender, not race, because I’ve met a lot of cis men, white and otherwise, who interpolate trauma, class insecurity, insecurity about their own abilities, and so on into withdrawal, denial and snappiness. So for me I had an interpretation of that element of his personality which was pretty much race-neutral, and then I had these existing cues leading me to assuming he was white (largely that Jonny is white, but also wee stuff in the story that...it’s not like anything substantial enough to remember, let alone justify, but there were certainly interactions that pinged whiteness for me personally)

There are actually iirc a few throwaway references to Jon being promoted above more qualified candidates throughout (or at least I thought I knew that before s5), but the time I decided I thought White Jon was an obvious conclusion was of course the conversation where Sasha expresses frustration about it. and the context of that conclusion (at least as far as I can see) wasn't "people of colour can only exist in subservient positions/defined by oppression" but was informed by two things that were going on with my life around the time that episode aired

I had been having several conversations with friends of mine (and largely friends of Jonny's) who work in London in the museums/archiving sector and who are the only women of colour in whole departments or even whole museums, and who experience so little career mobility compared to their less-qualified white counterparts (we're talking about women graduating top of their class at Oxbridge with anthropology or library science masters and stellar original research, with a decade or more of impeccable work experience and acting up, being left in internship and low-grade positions, while white men who "fit the culture" but have 0 museums experience sail into upper management positions and then stay there until they retire). So I'd come almost directly from these conversations into what to me sounded like exactly the same gripe in TMA.

I'd been at that point working for about a year and a half on co-coordinating the anti-oppression committee in my workplace, which was a very Good Progressive Activist Charity with Good Lefty Principles, and over the course of experience sharing and discussions both with colleagues of colour and along lines of wealth, disability, class etc, I was very much confronted with the realisation of how much 'being adequately qualified' meant different things for middle-class good-university white men vs much more highly skilled and hardworking women of colour or people of different class and wealth backgrounds. Obviously I'd known that before in principle, but not really having been in Salaried Workplaces (as opposed to like. service and retail hourlies) I hadn’t got so up close and personal with it. So that was also very fresh in my mind, this like...big substantial experience of how Good, Well-Meaning, Caring, Thoughtful, Woke white men just........did not need to think about this. at all. and were startled and discomforted to face it. and that this was also true of most white middle-class women. and these conversations were really carved down the middle between white middle-class European women saying ‘this is such a surprise when we have such an equitable hiring policy and diverse staff, that there’s this gender gap’ and women of colour in the room wearily saying ‘yeah, there’s a gender gap, there’s always a gender gap and it is always a racialised gender gap’ so yeah I was definitely thinking about the intersection between being passed over at work because of gender and because of race.

The point about Tim is interesting because I think for me what’s getting lost is that I don’t think Jon is entitled as like...a Character Trait. He’s not like...Toxic Masculinity Man. He is very anxious about boundaries and about his own capacity to do harm. But it has to be pointed out to him where he’s doing harm. He doesn’t notice where he’s been unfairly advantaged, and that’s to me much more reflective of most people’s relationship to white or male entitlement. 

As I say, that exchange with Tim and Sasha cemented the Jon Is White hc in my head specifically because it was so reflective of conversations I had had with women of colour working in similar workplaces, about white men, usually about white men they generally liked or at least didn’t have beef with beyond their unfair advantages. 

It seems odd to me to frame ‘bitching about your boss on your friend’s behalf to make her feel better’ as more similar to white entitlement/white privilege than any of that tbh? That’s just...being friends with someone? 

Anyway I recognise that it’s not white entitlement to accept a job. Obviously it’s not, it’s just sensible under the circumstances, you get lucky and you grab it. For me my sense of Jon as white-because-of-this is not “he took a job he shouldn’t have taken,” it’s more about his obliviousness to the impact he has on others, and also primarily how people react to him. The interaction between Sasha and Tim is saturated with the of course it would be him I mentioned above, but even before that he walks through the world not expecting to have to think about anything but his conscious decisions, and he’s caught aback when people see him as out of place or as having power above his station.

I think it’s impossible to extricate ‘this is where my head was at’ from that interpretation, and also like obviously my own whiteness is a big factor. And not just my own personal whiteness but the place I grew up (which was 98.3% white) and the world which reflects back whiteness. So this is in no way intended as a bolshy This Is The Correct Headcanon the way my Bad Post was bc examining it I’m like...yeah I mean this is about how I personally interpreted this based on where I was at at the time. But I do feel like there’s some communication gap in what it is about this unqualified promotion thing that pinged me - it’s not that All Bosses Must Be White And All Brown People Must Be Downtrod, it’s something quite specific about the tone and tenor of the interactions around the getting-a-job.

But also? Idk. Kind of unrelatedly, and people obviously should feel free to disagree with me on this, it feels kind of off to frame this as defaulting to a white Jon? I sort of think that my idea of Jon as white is very much not ‘white until proven otherwise’ - part of the reason for my original strident tone was that I felt that I was being expected to drop a headcanon I had for specific reasons and default to the fanon version of Jon without actually having any reason other than ‘this is how the community thinks he should look,’ and without really understanding anything about what that means, and while obviously defaulting to a non-white headcanon isn’t like...entrenched in the way that defaulting to a white headcanon is, it does seem to me like this is perhaps part of why white fans slap brown skin onto a character without thinking into what that means or why they’re doing it.

The thing I’m struggling with as regards my personal headcanon here is that I could decide to only ever draw Jon as Fanon Jon, but it wouldn’t be because I had strong reasons to see him that way, it wouldn’t be the same as why you see Jon as brown, or why I see like...Melanie as Indian, it would literally be Default To Standard in a way it isn’t for you. And I don’t feel that I have Defaulted To Whiteness, or where I have it is for reasons specifically to do with Jon (I visualised Jon as white because I visualised him as Jonny, who is white), not because I think every character is White Until Proven Otherwise. Like, my reasons for understanding Jon as white may be bad reasons, but they are reasons, not post-hoc excuses (I can’t like...prove that. but I know it to be true at least on a conscious level). I didn’t go Oh Jon Is White Because Everyone Is Unless I Have Reason To Think They Aren’t, Hooray, Here Is A Post-Hoc Justification For Why It Isn’t Racist To Think That. So while I am totally on board with the idea that it may be shitty, harmful or poorly thought through to hc Jon as white, I’m not sure I can fully see it in myself as being default. But I do understand that that isn’t necessarily what came across in my original short post.

Honestly, the reason I took issue with Fanon Jon and Fanon Martin in such a bolshy way in the first place was that I didn’t get why these characters were universally seen as Asian and white, respectively, and had such strong and consistent fanon images, when none of the other characters did, and when I was seeing people drawing people like Sasha and Melanie and Tim as white way more when in my mind there was no reason to assume they were white. On an emotional level I guess I think either there’s Fanon As Lore, or there’s no fanon (and I prefer the latter) and my discomfort came from the place that the one character I absolutely saw as coded as white in the core cast had this one really specific Ambiguously Brown Fanon Look (which from what I’d seen at the time didn’t seem to be like...backed with anything or coming from any personal interpretation for most of the white fans I was seeing on like Twitter and Tumblr) but white headcanons are everywhere for characters like Melanie or Sasha or Georgie, who seemed to me to be unambiguously people of colour, or characters like Tim or Martin (who could perfectly reasonably be people of colour and who I hc as Rroma and biracial respectively)? I don’t know, it’s difficult to express, but I find it frustrating.

[housewarningparty]

Thanks for recommending Gideon the Ninth! It was so good! Do you have a book rec tag I could check out? :)

honestly i should, huh? i’ve read more books than probably ever before this year and i’ve talked about ‘em intermittently, but not with a consistent tag. i’ll recommend some right now, though, with a healthy dose of recency bias!

sf/f

the priory of the orange tree by samantha shannon - a truly epic fantasy novel with one of the most beautiful, satisfying f/f romances i’ve ever read. the novel takes account nearly everything i hate about fantasy as a genre (overwhelmingly straight, white, and male centric, bland medieval European settings, tired tropes) and subverts them. incredible world-building, diverse fantasy cultures, really cool arthrurian legend influence. one of my favorite books i’ve ever read tbh.

gideon the ninth by tamsyn muir - which you’ve read, obviously, but for posterity’s sake i’m keeping it here! sci-fi + murder mystery + gothic horror. genuinely funny while still having a super strong emotional core and more than enough gnarly necromantic to satisfy the horror nerd in me. makes use of some of my favorite tropes in fiction, namely the slowburn childhood enemies to reluctant allies to friends to ??? progression between gideon and harrow. absolutely frothing at the mouth for a sequel.

the broken earth trilogy by nk jemisin - really the first book that helped me realize i don’t hate fantasy, i just hate the mainstream ‘medieval europe but with magic’ version of fantasy that dominates the genre. EXTREMELY cool worldbuilding. i’ve definitely described it as like, a GOOD version of what the mage-vs-templar conflict in dragon age could have been, with a storyline particularly reminiscent of “what if someone got Anders right?”

this is how you lose the time war by amal el-mohtar and max gladstone - i’m not usually big on epistolary novels, but this one really worked for me. spy vs spy but it’s gay and takes place between time traveling agents of two opposing sides of a war. the letter writing format really plays to el-mohtar’s strengths as a poet, the unfolding love story is weird and beautiful. it’s a really quick read, too, if you’re short on time or attention.

empress of forever  by max gladstone - i just finished this one this week! if you’re in the mood for a space opera, look no further. imagine if steve jobs was an asian lesbian and also like not a shitty person. this is where you start with vivian liao. you get the classic putting-the-band-together arc with beings from all across the universe, your romances and enemies-turned-friends and uneasy alliances all over the place. really satisfying character development and some extremely cool twists along the way. it’s just a fun good time.

the luminous dead by caitlin starling - this one rides the line of horror so it’s closest to that part of the list. it reminds me of the most inventive low budget horror/sci-fi films i’ve loved in the best way possible because it makes use of the barest narrative resources. it’s a book that takes place in one primary setting, featuring interactions between two characters that only meet each other face-to-face for the briefest period. the tension between the two characters is the most compelling part of the story, with competing and increasingly unreliable narratives and an eerie backdrop to ratchet things up even higher. the author described it as “queer trust kink” at one point which is, uh, super apt actually and totally my jam. the relationship at the center of the book is complicated to say the least, outright combative at points, but super compelling. plus there’s lost of gnarly sci-fi spelunking if you like stories about people wandering around in caves.

horror

the ballad of black tom by victor lavalle - we all agree that while lovecraft introduced/popularized some cool elements into horror and kind of defined what cosmic horror would come to mean, he was a racist sack of shit. which is why my favorite type of ‘lovecraftian horror’ is the type that openly challenges his abhorrent views. the ballad of black tom is a retelling of the horror at redhook that flips the narrative by centering the action around a black protagonist. 

lovecraft country by matt ruff - more of what i just described. again, lovecraftian themes centered around black protagonists. this one’s especially cool because it’s a series of interconnected short stories following related characters. it’s getting a tv adaptation i believe, but the book is definitely not to be missed

rolling in the deep / into the drowning deep by mira grant - mermaids are real and they’re the ultimate deep sea predators! that’s really the whole premise. if for some reason that’s not enough for you, let me add this: diverse cast, a romance between a bi woman who’s not afraid to use the word and an autistic lesbian, really cool speculative science tangents about mermaid biology and myth. 

the haunting of hill house by shirley jackson - it’s halloween month so i’m thinking about hill house again. one of the greatest american ghost stories ever written. especially worth the read if you follow it up w the 1964 film adaptation (the haunting) and then the 2018 netflix series.

the hunger by alma katsu - i’ve always been fascinated by the donner party even though we now know the popular narrative is largely falsehoods. still, this highly fictionalized version of events scratched an itch for me and ended up surprising me with its resistance from the most expected and toxic racist tropes associated with donner party myth.

wounds / north american lake monsters by nathan ballingrud - nathan ballingrud is my favorite horror writer of all time. one of my favorite writers period regardless of genre. in ballingrud’s work the horror is right in front of you. you can look directly at it, it’s right there. but what permeates it, what draws your attention instead, what makes it hurt is the brutally honest emotional core of everything surrounding the horror. the human tragedy that’s’ reflected by the more fantastic horror elements is the heart of his work. it’s always deeply, profoundly moving for me. both of these collections are technically short stories, but they’re in the horror section of the recs because delineations are totally arbitrary and made solely at my discretion. 

short stories

her body and other parties by carmen maria machado - tbh i almost put this in w horror but there’s enough weird fiction here for me to be willing to straddle the line. it was really refreshing to read horror that centered queer women’s perspectives. the stories in this collection are really diverse and super powerful. there’s an incredible weird fiction piece that’s like prompt-based law and order svu micro fiction (go with me here) that ends up going to some incredible places. there’s the husband stitch, a story that devastated me in ways i’m still unraveling. the final story reminded me of a more contemporary haunting of hill house in the best way possible. machado is a writer i’m really excited about.

vampires in the lemon grove by karen russell - my friend zach recommended this to me when we were swapping book recs earlier this year and i went wild for it! mostly weird fiction, but i’m not really interested in getting hung up on genres. i don’t know what to say about this really other than i really loved it and it got me excited about reading in a way i haven’t been in a while. 

the tenth of december by george saunders - i really like saunders’ work and i feel like the tenth of december is a great place to start reading him. quirky without being cloying, weird without being unrelatable.

misc

the seven husbands of evelyn hugo by taylor jenkins reid - there’s something really compelling to me about the glamour of old hollywood. this story is framed as a young journalist interviewing a famously reclusive former starlet at the end of her life. the story of how evelyn hugo goes from being the dirt-poor daughter of cuban immigrants to one of the biggest names in hollywood to an old woman facing the end of her life alone is by turns beautiful, inspiring, infuriating and desperately sad. by far the heart of the book is in evelyn finally coming out as bisexual, detailing her decades-long on/off relationship with celia st. james, another actress. evelyn’s life was turbulent, fraught with abuse and the kind of exploitation you can expect from the hollywood machine, but the story is compelling and engaging and i loved reading it.

smoke gets in your eyes by caitlin doughty - a memoir by caitlin doughty, the woman behind the popular ‘ask a mortician’ youtube series. it was a super insightful look into the american death industry and its many flaws as well as an interesting, often moving look at the human relationship with death through the eyes of someone touched by it early and deeply.

love and rockets by los bros hernandez (jaime and gilbert and mario) - this was a big alt comic in the 80s with some series within running on and off through the present. i’m not current, but this book was so important for me as a kid. in particular the locas series, which centered around two queer latina girls coming up in the punk scene in a fictional california town. the beginning starts of a little sci-fi-ish but over time becomes more concerned with slice-of-life personal dramas.