#way I see it the authors were trying to portray a similar main idea

[piniatafullofblood]

I can't believe jorge managed to make a more succinct critique of the way that nihilism inevitably leads to unnecessary violence and fascism and hope is the strongest form of rebellion than what suzzane collins did with coriolanus's devolving worldview and gault's lockeian 'state of nature' ideals in tbosas

[ketrindoll]

Russian imperialism and colonisation as a twin to Western colonial culture

Translated from the original post written by Ukrainian historian Yevhenya Havrishenko. [While mainly focusing on Ukraine, it applies to all countries formerly occupied by Russian Empire, USSR, or Russian Federation.] It’s a long text, but worth the read if you’re interested in colonization and examples of it beyond Western states.

So there is this post-colonial theory. It is a theory that has been developed by scholars in post-colonial countries who are trying to revise the established cultural attitudes about their occupants. For a long time, this discourse was confined to a reassessment of the position of the former colonies of Western Europe, but guess what happened? A little spoiler. The research concluded and proved the colonial nature of Russia (RI, USSR, and RF are just different names for the same empire).

In this post, I will try to briefly outline the main colonial narratives that the metropolises imposed on their colonies in order to: a) justify predatory exploitation and b) keep the colonies docile by convincing them that this is the way it should be. This was when the "sharovar" stereotypes began to form, and these ideas spread. Transculturation (the replacement of an enslaved culture with an alien one) was perceived by Ukrainians as a transformation of themselves and increasingly used as a representation of themselves. The acceptance of a surrogate culture as one's own is rooted in stigma - if the stigmatized (in our case, those discriminated against on the basis of ethnicity) see that resistance is impossible, they try to gain secondary benefits and start playing along with the stereotype.

1. Exoticizing colonized space The colonizer traditionally depicts the colony as something exotic, fantastic, highly romantic, and even erotic. Everything that happens there is exalted and overly emotional and fun. The purpose of colonized culture is to entertain the white master with a safari helmet, and therefore, it should not be overloaded with content. Bright, unpretentious, and silly "so as not to disturb the authorities with its sophistication," and, God forbid, if it leads to complexity. In our case, a striking example of this is, unfortunately, Gogol's "<...>Little Russia", where Ukraine is portrayed as a place full of idyllic or fantastic adventures, jokes, and artificial villages. Because of their exotic nature, the stories were popular in St Petersburg's high society circles. The same can be said of the welcoming of delegations dressed in national costumes, with songs and soldiers. Many of the former colonies have something similar - local exoticism.

2. Objectification All colonialists describe the enslaved as a community that is not only non-subjective, i.e., lacking a will, but has never had one, and therefore needs the firm hand of a master and the supervision of a "truer nation." If you portray the indigenous as infantile and helpless, then it is easier to explain the need for colonialism, whereby the 'master' supposedly brings order and civilization and helps the immature to manage themselves. In Russian historiography, in whose paradigm we have been living up to now, there is a gaping hole between Ruthenia and the time of the Khmelnytsky uprising because it is striking to some people that we have had a wonderful life without the advice of the Big Brother. The stereotypical Ukrainian is either an apolitical villager who cares about his own backyard or a narrow-minded nationalist (in the sense of aggressive, not determined, liberation). And Russians, in the same Soviet cinema, have always been assigned the role of committee chairman, militiaman, and teacher. Because he is a representative of the government, who looks at a broader context, thinks more globally, and is a representative of the "statist" and "mature" people, who are paternally concerned about the interests of the whole empire.

[The same was done to Lithuania. Lithuanian Grand Duchy achieved statehood earlier than Russia, went through Renaissance with all of its ideals, unlike Russia, and was a large and powerful central Europe nation. However, during the Empiric and Soviet occupations, Russia tried to erase that history. Present Lithuania’s past as flawed and corrupt, or inherently Polish and thus not national at all.]

3. Cruelty, chaos, and reservoir of the colonizer's fears The general tendency of colonizers when describing the indigenous population is to attribute savagery and cruelty along with infantilism. If the former is always well-adjusted, highly educated, rational, and truthful, the enslaved is the embodiment of the local devils, who are frightening, elemental, irrational, dark, superstitious, villainous, hostile, cunning, and lustful. Despite the generally accepted canon of witty, good Ukrainians who will eat dumplings and sing a song, Russian propaganda has always been full of horror stories about Petlirovtsy/Banderovtsy/Azovtsy, who is a threat to the civilian population that must be 'saved' from everyone. Gogol's evil spirit also comes under this heading because the colony is a 'demonic' place that can only be cleansed by the 'blessing' of the emperor's boot.

[During Soviet occupation, national resistance to occupation and guerrilla warfare in Lithuania was depicted as a vile bandit movement, who assaulted civilians and only wanted money. That belief was so strong, a lot of people born between 1940 and 1980 still believe in it. There is proof that NKVD - later renamed KGB - officers and local collaborators would dress up as guerrilla fighters to terrorise rural populace in order to extinguish support.]

4. Primitivity Of course, the culture of a colony must be more primitive than that of a colonist, and it doesn't matter if this is true. This thesis is the basis for the many prohibitions against modernising Ukrainian culture on its own ethnic basis. By introducing various rules and orders and by artificially preserving it in an archaic, censored, castrated folklorism on a social-domestic level. As a result, the best representatives of science, art and culture have been repressed for centuries, and simulacra have been created in the form of various unions and collectives which were supposed to control the development of culture, preventing it from overstepping the set boundaries. Is it really worth wondering at the vast amount of literary works about serfs, the obsession of theatre, choral and dance groups with domestic and rural themes, as this was all that was allowed, and anything that was created that was different remained outside the law? The Ukrainian was to be portrayed as something parochial, rustic, without glamour, manners and high culture, which only opened up through the mediation of the elder brother and the master. Slavist Eva Thompson refers to the terminological appropriation of one culture (the colony) by another (the colonist) as a distinct feature of Russian colonialism - a stabilization method that consists in the regular, systematic, and purposeful incorporation of the "25th frame" into mass culture. That is to say, by inserting hidden narratives that Russians are civilizationally superior to the people of the national republics of the empire and that they are capable of doing everything better. These were unobtrusive messages, allusions, and comparisons, often deliberately distorted and completely false, disseminated through films, television programs, magazines, textbooks, fiction, and the like, where Russia, Russians, and Russian culture were elevated, and local culture was presented as inferior, provincial and backward.

[Despite Lithuania having theatres, operas, and Universities centuries before Russia did, Soviet occupiers tried to present themselves as givers of high art and culture. As a teacher of all that is culturally superior. To this day, we are reminded, sometimes by fellow Lithuanians who grew up with this propaganda, that they built us hospitals and schools - regardless of the fact that we had those before they came and many they destroyed while annexing us. Even earlier, during the Empire’s occupation, Russians closed our University, which was one of the beacons of Enlightenment in Europe - the Metric system originated in Vilnius. During the 50-year era of Soviet occupation, the idea that Lithuanian national identity was kept alive purely by serfs and farmers got planted into the national psyche, with many folklore festivals and museums originating specifically during this period of time. So many of our writers and scientists were denied submissions for Nobel awards as well.]

5. Deprivation of ownership rights to national history As in the case of Orientalism as described by Said, the Russians have not given up trying to prove that the local ancient culture, which, as in the case of the Eastern Europe and Ukraine, is older and more pronounced than the culture of the colonizer, is more likely to be the cradle of their own culture than that of the Ukrainian. The local population is not allowed to identify itself, and in films, cartoons and fiction, medieval Ruthenia is portrayed only as Russian. Ancient artefacts are plundered to appropriate and represent their own culture, while Ukrainian history is uprooted all the way back to the Enlightenment and presented as lacking a serious tradition of statehood, aristocracy and politics.

[Lithuanian royal palace and Vilnius Museum of Antiquities had a large collection of artwork by history’s most renowned artists, as well as archeological artifacts. Lithuanian nobleman Tyshkevich had the largest collection of Ancient Egyptian artifacts - all collected decades before Carter and with official permits from the local officials - which he donated both to local Museums, the Louvre, and other notable places. All that was in Lithuania disappeared during WWII - stolen by both Nazis and Soviets alike, likely taken to Russia, never to be returned or sold by looters.]

Russia's national policy in Crimea was similar but with some differences. For several centuries, the indigenous population of the peninsula has been orientalized and humiliated, discriminated based on their religion, Islam. Most of the indigenous population were exiled from their homeland or forced to emigrate to save their lives, even during the Empire era. After the Bolshevik occupation and annexation by the USSR, despite a brief period of so-called "indigenization," Soviet policy reverted back to what D. Brandenberger calls "Russocentrism". The Crimean Tatars were expelled from Crimea and replaced by Russians and later by loyal Ukrainians, who finally established the peninsula as a colony. Crimea was turned into a cauldron of nationalities in which absolute supremacy was given to the Russians and Russian culture, from which a new type of identity was to be born: the Soviet man. As a result, the descendants of the settlers developed a separate local identity and, through the mediation of birthright, could already claim this territory. As you can see, the indigenous peoples of Crimea were not even left with the option of a kitsch culture but were simply wiped off the face of the earth.

[USSR did the same to the Baltic states, replacing whole families exiled to the Siberian wilderness to die with the Russian population, most moving into the houses of exiled people, with their belongings still left there. Russian Federation is doing this to Ukrainians nowadays, where locals are replaced by Russians who then participate in “referendums.”]

Whatever name it picks over the years, Russia has always been a colonizer. An Empire of Evil that plagues its neighboring states. Equally genocidal, equally cruel as its Western counterparts. And while many Western states are now moving towards a reevaluation of their history, presenting it in a negative light, Russia never did. Russia invaded Ukraine on that same false pretense that Ukraine is “theirs.” You cannot support Russia or its culture without also being pro-colonialism and pro-Imperialism.

[average-guy-reviews]

Blank (2022)

"Claire find herself trapped at an AI-operated writer's retreat and must outsmart the technology to make it out alive."

This a film with a simple premise. A writer, struggling to complete her latest work, goes to an AI controlled retreat that is designed specifically to help her work and relax at the same time. Then something corrupts the AI controlled assistant and things take a dark turn. Often, when a film has a simple idea like this at its core, it seems like the filmmakers overdo it and make a movie that simply doesn't work. Natalie Kennedy has bucked that issue, and made a claustrophobic, tense thriller that really hits home with a level of personal pain for the protagonist that has a lot of things within it that many people might identify with.

The location for the movie, like the story, is deceptively simple. The main story, and flashbacks, are both filmed in single locations and this really adds to the tense claustrophobic nature of the story. Natalie's directorial choices really hit home and work brilliantly within the framework of the story. I look forward to more films from her in the future.

The main cast for the film is a small one. Rachel Shelley plays author Claire Rivers, Heida Reed is Rita the AI assistant, Annie Cusselle plays a young Clair and Rebecca-Claire Evans plays Helen Rivers (Claire's mother). Annie and Rebecca are in flashbacks and portray a relationship marred by tragedy and abuse that highlights a lot of the intensity that the older Claire goes through in the main part of the movie. They work really well together , but I got the impression that filming the scenes they did was probably hugely emotionally draining. They should both be very proud of the way they dealt with it.

Wayne Brady, best known for his incredibly funny work on Whose Line, is Henry, an AI hologram, that introduces Claire to her retreat and tries his best to help her when things go wrong. I know he has acted in other projects but not many that I have seen so to see him in this is a nice change from his comedy skits on WLIIA. IT's not a huge role but he pulls it off in a more than competent fashion.

The stars of the film are, of course, Rachel and Heida. Playing an emotionless AI that gets corrupted cannot be an easy thing to do, and yet Heida absolutely nails it turning in a performance that is both believable and, at times, quite terrifying. Her mannerisms and movements are done with great skill, and really help to bring to the fore just how inhuman Rita really is. Rachel brings to life a world weary writer, struggling with her own issues to date, and trying her hardest to overcome the awful history she lived through as a her younger self. Watching Claire's transition through the film as she spirals downwards, with a level of anticipation as to what was going to happen, really drive home the skill of Rachel's performance. All of the performances were on point, but Rachel and Heida were absolutely superb.

Overall this is a really good film. With AI being such a huge thing in the news right now, especially when it comes to art and movies, this film being released on digital download is perfectly timed. Is it a denigration of AI, or a warning about the potential dangers of relying solely on this kind of thing in our lives? I'm honestly not sure, but it joins a long list of films with similar themes that definitely don't paint AI in the best of lights. This is a decent film that I really enjoyed watching, but also a movie that provides a lot to think about in terms of the future and how to deal with with trauma that you may have gone through in your life. It's getting a 4/5, with a definite recommendation to check it out on download/streaming from 8th January.

Blank will be available on UK Digital Download from 8th January 2024

[xx-slug-xx]

Some interesting points I wanted to show off, thanks @e-icheshire for sharing your perspective :D

I feel like it honestly really just depends on how someone is using the dd:dne tag. I’ve seen some fics where taboo/dark subtexts are explored in a sexual fashion. But then again, I’ve also seen dead doves that just include character deaths as a main story element, and nothing more. Overall, especially in modern fandom, I see a lot of people using it to say “hey, this fic includes some dark content as a main plot element that can trigger and squick people out!”. But, yeah, it’s originally meant as a way to say “this fic portrays morally irredeemable subjects in a positive and/or neutral light!” in conjunction to “read at your own risk! This has triggering and dark elements that are the main focus of the plot!”. I always try to check the other tags that’s used in a fic before I try to gauge how the author used the dd:dne tag though, especially with more “newer” fics.

Dead dove is certainly a fandom-specific tag, whereas creepypastas tend to dwell more in the realm of original fiction (though, that’s not always true). I’ve read creepypastas that, by all means, would fit nicely in with the more graphic dead dove fics I’ve read. Some creepypastas I’ve read have the same plot elements, themes, and positive/neutral approach to things that are morally apprehensible in real life that dead doves do. It just depends on how the story explores certain dark subjects in the lense of the horror genera.

Grimdarks are kinda like a grey area to me tbh. Grimdarks are meant to have a tragic ending, the characters suffer, and bad things happen just for the sake of the author exploring them. Some tend to have horror elements to them, but it’s not a rule for all of them. Sadness and despair are the emotions that the author wants you to feel above all else. I’ve read grimdarks that could very easily be called a creepypasta or a dead dove. But not all would fit into these categories either. Just depends on the grimdark tbh

I compare these three together simply because a lot of antis can’t seem to understand that dark subjects being explored through fiction aren’t comparable to the author condoning these actions in real life. They also like to say that dark concepts shouldn’t be explored at all for xyz reasons. Plus, antis love to say that it’s purely sexual to explore these subjects in any capacity. Some creepypastas that I’ve read were written due to the author exploring dark subjects through fiction because they were sexually attracted to these ideas in a fantasy setting. Same can be said for certain grimdarks. Antis love to say that because some people enjoy dark subjects in a sexual way, then that means all people who enjoy it are also sexualizing it (but really, I don’t care if it’s sexual for the author, or for anyone else lol). That’s the comparisons I was making with the original post tbh. All three are different in their own respects, like you said. However, since a lot of antis I’ve seen lack critical thinking skills, I’m kinda surprised there’s not more of them saying things like “creepypasta bad”, or anything similar lol. There’s an overlap with the terms, but they are their own categories and are not synonymous with each other by any means

Hmmmmmy my gears are turning

Creepypasta really is just dead dove with a different name. It just focuses on horror-themed elements through fiction.

So my question is, why are Creepypastas fine with antis, but as soon as the tag “dead dove” is applied, suddenly it’s wrong and awful?

Back in my younger years in fandom spaces, grimdark was a popular type of fic too. I don’t hear antis use this term when discussing “problematic fiction” though. But, that might just be because I don’t see a lot of newer fics being labeled as grimdarks anymore :/

[mountain-man-cumeth]

What Went Wrong: An In-Depth Analysis of Muriel's Route

*Youtuber voice*

Below are the opinions of an uneducated individual on what could’ve left the majority of The Arcana audience dissatisfied. I will explore the plot, tropes, themes and morals of the Muriel route and try to explain what may have gone wrong. I will be treating the game as a novel since it's advertised as one.

1. Consistency. If you are unfamiliar with the chekhov's gun; it's a story writing principle that dictates each element you introduce should come into play (foreshadowing). Now let's start with a few story beats that were later abandoned or concluded in an underwhelming manner:

Muriel's blanket

Muriel's magic mark (on his back)

Forest spirit (spirits in general)

Lucio's upbringing

Circumstances of MC's death

Figurines/whittling/charms

Muriel's blanket is teased to be a tapestry, which would tie in with his later fascination with them later on, as it had been the only thing he had left from his past. MC neither sees nor comments on the blanket, we only know it exists thanks to other playthroughs and short stories.

Magic marks are an important point in the game. Every main route emphasises on how it affects the chosen LI. It's reveal is important in a way that it serves as a passage to a new act where the reader explores magic and Arcana pantheon as they are a monumental part of the overall worldbuilding. This exact point applies to the Heart of the Forest and how spirits interact with the world around them as well.

Whittling and Charm making are the only hobbies we get from Muriel's isolated life, their introduction helps the reader humanise the character by giving us a crumb of his everyday life. It's never mentioned again after the scene where MC asks him what he does. He doesn't idly whittle during their journey and charms only come to play in an offhanded reference during reversed ending.

The other two are also ignored but I will touch on Lucio later on.

Why do these matter? A few abandoned plot points don't make or break the story but on a grander level it hinders the audience investment. When we read, we like to think the details we notice will come to play eventually, we like recognizing references that were introduced earlier. I'm sure I don't need to give examples on this one, I don't think anyone will disagree.

2. Themes. Thematic influences this story utilized are all over the place, and it seems to me like it stems from the improper application of certain tropes;

The Hero's Journey

Home Sweet Home

Shell-Shocked Vet

Last of His Kind

etc.

Some of these tropes tackle themes such as;

Slavery

PTSD

Survivor's Guilt

Genocide

I'm not going to try to explain How to Write any of these topics. I'm not remotely qualified. I think it's better if I just give examples from popular media because whether you know how to write it or not, you can still understand when it's written well;

AtLA deals with genocide and survivor's guilt. It's in the name; The Last Airbender. Aang is the sole survivor of a culture he'd only had an opportunity to engage in for a handful of years. He left them with a childish tantrum and now they're gone forever. I can't think of another mainstream series that shows the gruesome reality of war and genocide better than this one.

When Muriel realizes his true heritage and loses Khamgalai is the point of the story where Luke sees his family's farm burned down, Aang goes back to the air temple, Treebeard walks in on the demolished part of the forest. (The inciting incident)

(Could also have been forest spirit’s death but it was too early in the story so I don’t consider it a missed opportunity.)

Up until this point the hero has their doubts, they're going through the motions but they are either underestimating the enemy or they're a passive protagonist. Either way, this is the point where the hero has to take the reins of the story. What purpose does this serve in Muriel's route instead? It simply validates Muriel's beliefs. He's useless, he isn't strong enough. We as the reader need a point to see where the hero takes a step to drive the story forward or whoever takes that step will steal the spotlight, it will be their story. As it is, this is the point where it ceases to be Muriel’s story.

PTSD got the worst end of the deal. Since Dragon Age fandom has a huge overlap with the Arcana I will use Fenris as an example; for those who are unfamiliar with the character, Fenris is an escaped slave. After the sex scene he vividly describes an experience that most people can easily identify as a flashback. The game never tells us that he was abused, it doesn’t show us him having a panic attack but it shows us that whatever transpired between him and the player character clearly triggered an unpleasant memory.

Arcana tries and initially succeeds to do something similar. We see that the character is untrustworthy, sensitive to touch, easily agitated, can’t sleep outside of his perceived safe environment… It introduces us the cause later on and the story has two options, each will drastically change the moral of the story:

Remember these as they will be important later on

Portray Muriel fighting as a bad thing; You can’t fight violence with violence angle or the fact that the villain’s forcing him into a situation where he’ll have to fight again makes the villain all the more intimidating.

Portray Muriel fighting as a good thing; He has the means to defeat the villain and he just needs encouragement. With great power comes great responsibility. By not fighting he willingly condemns everyone to an awful fate and that he is selfish.

I’d like to take a second to explore the 1. Option, I feel like the game may have intended to implement that idea but failed because of the implementation of Morga and choices presented for the player character: Morga is an Old-Soldier, these characters are often push the hero out of their comfort zone in an aggressive way towards complacency, they are a narrative foil to the mentor. For the first option to work the story had to show Khamgalai acting as a mentor and having the protagonists challenge Morga’s teachings(see Ozai-Iroh). As it is, Morga’s actions are never put under scrutiny (narratively) and her death feels hollow as a result. She didn’t sacrifice herself for the heroes due to her guilt, she died because she felt a moment of sympathy for her son which wasn’t explored before, she showed no intention to change nor any doubt.

It is clear the game choose 2. Option, it is a controversial choice given Muriel’s mental condition and the game is acutely aware of this, which is likely why Muriel’s PTSD will get carefully scraped from the story from here on out. (I won’t address other instances where his trauma wasn’t taken into account, I feel like this explanation should cover them as well.)

3. Morals. Every story, whether the author intends it or not, has a moral. The Villain most often acts against that moral and in turn can change the hero's perspective. Morals are not ideals; the morality of Killmonger isn’t that marginalised people should fight for their rights, it is that vengeance is just. Whether it’s right or wrong can be debated but what makes an ideal the moral of the story is in the portrayal. How the narrator depicts the events, how people around the heroes react... all are a part of portrayal.

The story choosing “Muriel fighting is a good thing” earlier puts in the foundation of a moral. The story tells us Muriel has to fight, it’s the right thing to do. He has to be brave for the people he loves.

This choice affects how his past actions will be perceived; now, him escaping the arena to save himself is cowardly, abandoning Morga is cowardly.

The story tells us it wasn’t, but shows us that it was. This is the end of the midpoint of the story, at this point we need to have a good grasp on what we should perceive as wrong or right for us to feel invested. If we zig-zag between the morals we won’t know which actions we should root for. But more than that, the conclusion will not feel cathartic as it will inevitably demonstrate the opposing ideals clashing at its climax.

Villain doesn't necessarily have to be sympathetic and Muriel's route makes no effort to make him as such, but they need to be understandable. What danger does Lucio pose to the status quo, what makes him a compelling villain? Whether he conquers Vesuvia or not doesn’t drastically affect Muriel’s way of life, he’s been in hiding for years. He doesn’t threaten to steal MC’s body, Muriel is not compelled to pick up arms to save his beloved. He wants to protect the people from going through what he’s been through, right? That is what the story wants us to think. But what has he been through? Fighting was his choice, Lucio tricked him into it. Lucio later tricked Morga, his own mother, to save his own hide. This tells us that Lucio is a manipulator, but he doesn’t manipulate his way into Vesuvia, he barges in with deus ex machina monsters. He doesn’t demonstrate his skills as a tactician by making deals with neighbouring kingdoms to get their armies. We don’t know his strengths therefore we don’t know his weaknesses. If he seems to be losing he can just conjure a giant dragon to burn everything down, we just can’t know. That is why the application of deus ex machina is highly taboo, the victories don’t feel earned and defeats feel unfair.

4. Tone. Playing with the genre is not uncommon and a game such as Arcana has many opportunities to do so. It is a romance story, everything else is the back-drop. The tone works best when its overall consistent but tonal changes act as shock for the audience to keep them engaged and keeping one tone indefinitely gets us desensitized. We can’t feel constant misery if we are not made to feel tinges of hope in between. Good examples of dramatic tonal change (that I can think of): Mulan - arriving at the decimated village, La Vita e Bella - the father’s death, M*A*S*H - death of Hawkeye’s friend. Two of these examples are mostly comedy which is why this tonal shift affects us so, it was all fun and games until we are slapped in the face with the war going on. There are no one liners in those scenes, the story takes a moment to show appropriate respect to the dead, it gives its characters time to digest and come to terms with loss. Bad examples are the majority of Marvel movies.

In Muriel’s route there’s never such a thing, Muriel has a panic attack and MC kisses him. This unintentionally tells us, the genre being romance, that the panic attack only served to further MC’s advances. It tells us that he’s never had the control of his life and it’s yet again stripped from him by the decisions of player character. This is not the only instance this happens. The story shoe-horns in multiple cuddle sessions between important plot beats. And it does the exact opposite during a moment where he is having a heart-to-heart with the person he loves by having the ghost of Morga appear to give an ominous warning/advice.

When he runs off during masquerade it’s built up to be an important plot point. Muriel will finally face his past, he’s been running away from it all along, and he will have an opportunity to be accepted back in. MC is supportive but ultimately, it’s meant to be Muriel's moment. But as I mentioned above this is not his story anymore so he’s not given any time to address his problems, instead a ghost appears to tell him what he needs to do, again. Because we need to wrap the story up, we don’t have time.

Remember how I said the 2 Options will be important later on, well here we are at the very end. Upright and reversed.

“Portray Muriel fighting as a bad thing”

This suggests that the triumph of Muriel won’t be through violence. Maybe he will outsmart Lucio in a different way, he won’t play his games anymore. This option suggests that Lucio will not be beaten by his own terms.

“Portray Muriel fighting as a good thing”

This option concludes with Muriel finally overcoming his reservations on violence and doing what's right to save the people he loves. And bringing justice to people who Lucio hurt.

If you are wondering why the upright ending feels random, this is likely why. The ending plays out as if the story was building on the 1st option while we spent chapters upon chapters playing out the 2nd one. It is unearned.

(The reversed ending, being reversed, also uses Option 1 path but in which Muriel can’t achieve his narrative conclusion)

The Coliseum is filled with people who are on their side against Lucio’s shadow goons. Because we can’t have people being on Lucio’s side without addressing the duality of human nature, even though it’s an important part of Muriel’s story. The people who watched and enjoyed Lucio’s bloodsport are no more, they are all new and enlightened offscreen. We completely skipped the part where Vesuvia comes to terms with its own complacency and Muriel simply feels at ease because the crowd is cheering on him now. This is what happens when you give the character a chance to challenge those who have been complicit in his abuse (masquerade scene) and completely skip it to move the story along.

Muriel doesn't get justice, ever. The people only love him now because he's fighting for them instead of his own survival. Morga or her clan doesn't answer for the massacre of Kokhuri, Vesuvia doesn't answer for the sick entertainment they indulged in and Lucio doesn't answer for Muriel's enslavement. It is not even acknowledged, nowhere in the story (except the very end of reversed ending, and even then it almost gets him killed so its clearly the wrong thing to do on his part) is a choice presented where Muriel has an opportunity to get any sort of compensation where he instead chooses to move on.

I don’t intend to straw man anyone but this is a sentiment I’ve seen a lot; “It’s a short story, a dating-sim, what do you expect?”

I expect nothing, I’m simply explaining why some people feel how they feel. It is a short dating-sim but it seems to me like it was aiming to be something more by borrowing elements that were clearly far above their weight range to tease something more and under deliver. It is okay to feel content with the story, and it’s okay to feel let down. If we had a unanimous decision on literature we would never be inclined to write our own stories.

[immaturityofthomasastruc]

IOTA Reviews: Gang of Secrets

Well... I'll give this episode one thing. It's better than what we got from both “Truth” and “Lies”, and it did do one of the things I hoped the writers would tackle this season. That's not saying much, but I'll take what I can get.

Let's get into the fourth (chronologically the third) episode of Miraculous Ladybug's fourth season: Gang of Secrets

We start off right after an Akuma battle, and while Cat Noir is eager for their victory fist bump, Ladybug seems to be on edge, insisting that they go on patrol. Cat Noir thinks of a place that they can relax at without talking... and he chooses to take Ladybug to see a romantic comedy.

We're not even a minute in, people, and it already looks like Ladybug is considering using her authority as Guardian to take away Cat Noir's Miraculous.

Ladybug goes on a brief tangent summarizing what happened with Luka (which conveniently happens to reflect the events of the movie), and naturally isn't happy with the movie. Gee, it's almost like Cat Noir's plan was a bad idea. He seriously tries the whole “pretend to yawn as an excuse to put his arm around Ladybug” trick, so you can't tell me he didn't have romantic intentions here.

Why Kagami couldn't accept Adrien's “true self” is beyond me.

After storming out of the movie theater, Cat Noir tries to emphasize with Ladybug (key word being “tries”) by going on about how “he knows what a broken heart is like”. At least he didn't ask if she was single now. Ladybug decides to go for a swim, but we cut back to Marinette's house, with Ladybug in her aqua form, implying she went to the pool while still transformed. And here's a big problem with the episode. In theory, I like the idea of Marinette stressing over her new responsibilities, as it could lead to some interesting plotlines. The problem is that when we get something like that in this episode, it's played entirely for laughs. At one point, Alya mentions hearing Marinette crying in the bathroom because of the stress she's been going through. And instead of being a dramatic scene, she just runs out in some Groucho Marx glasses for some reason, because according to the writers, we're supposed to laugh at Marinette suffering from a potential mental breakdown.

This just raises several questions about the way we're supposed to treat Marinette's behavior in this episode. Are we supposed to take this seriously? Not completely, because of how a lot of the “jokes” in the first act of the episode revolve around Marinette's anxiety being driven up to eleven. Are we supposed to see all of this as a joke? Not completely, because the end of the episode is when the writers decide to take Marinette's inner demons seriously. It leads to a very conflicting picture the episode is trying to paint with the way Marintte's conflict is portrayed.

We then cut to what seems to be the only thing the writers like to do with this character now, Alya acting like has control over Marinette's love life.

Of course those are the only pictures Alya got of Marinette.

Uh... Alya? Honey? Have you even considered the fact that maybe Marinette didn't tell you about Luka because that's none of your damn business??? What gives you the right to know every single detail about your friend's life? I understand that you're a hardcore Adrienette shipper (and an unintentional metaphor for how obsessed the writers are with the Love Square), but why would Marinette be obligated to tell you about Luka?

I know that I asked Marinette if she told Alya about Luka in my “Truth” review, but that was because she continued to force the belief that Marinette still liked Adrien onto her. Yeah, I'm still confused as to why Marinette didn't tell Alya, but the difference is that I was more confused at her not explaining it, and felt it would have made the conflict in the New York special a lot easier. I don't think Marinette has to tell Alya, I just think it would make some things easier between them with how much Alya wants Adrienette to be canon. Marinette has no obligation to tell Alya anything about who she's dating. What goes on in someone's love life is a private matter, and we'll see that Alya has no regards for privacy.

Alya, along with Juleka, Rose, Mylene, and Alix, devises a plan to give Marinette a friendship bracelet to show their support for her. And as usual, Alix has the simple idea to talk to Marinette about what's going on with her, and of course, she's ignored. Sorry, Alix, but this is an Alya episode, where smart choices don't fly here.

We cut back to Marinette's room where we get a pretty good scene where Marinette confides to Tikki about how she knows she has no chance of having a love life. She points out how she had to end things with Luka because of her secrets, and knows that even if she worked up the courage to talk to Adrien, she couldn't do anything because of the same secrets. She can't tell her parents or friends about her secrets and is forced to lie to everyone all the time. The voice actress gives a good performance, and the animators did a good job rendering the red eyes Marinette gets from crying.

And then we get back to the stupid stuff, where Marinette decides to transform into Ladybug and demands Hawkmoth (even though he's Shadowmoth at this point) show himself. This is really just an excuse for the Girl Squad to barge into Marinette's room, where Rose sees the dollhouse Marinette uses to hide the Miracle Ball. Marinette quickly runs back in and tries to hide the the Miracle Ball from her friends, who confront her about her “problem”.

No, real friends respect boundaries and don't demand to know every single detail about someone's life. They understand that there are secrets they don't have the right to know about. If Alya found out that Alix still needs to sleep with a nightlight and told everyone, would you really be surprised if she got mad at Alya for exposing this secret of hers? Right now, Marinette is clearly uncomfortable about telling her friends about a secret she has, and rather than understand she doesn't want to, they just keep pressing on, and don't care how unhappy she looks.

Unsurprisingly, Marinette tells them all to get out, saying she doesn't want them as friends anymore. Okay, so we're in every salt fic ever written now. Again, we get a good scene where Marinette feels remorseful for what she said (as understandable as it was), while the girls leave with their heads down.

Shadowmoth sends out an Akuma for the friendship bracelet, and because the object had personal meaning to all of them, Alya, Juleka, Rose, Mylene, and Alix all get akumatized into their previous Akuma forms, Lady Wifi, Reflekta (yet again), Princess Fragrance, Horrificator, and Timebreaker respectively. Shadowmoth calls them the “Gang of Secrets”. But they were akumatized because of secrets. Wouldn't a more accurate name be something like “The Honesty Brigate” or “Truth Troop?”

When I reviewed “Felix”, I had talked about how the motivations for the three Punishers weren't didn't reflect their Akuma forms, which were twisted versions of what they were feeling like at the time. While the same thing applies here (as well as “Heroes' Day”, now that I think about it, though I always thought it was like a drawback to Scarletmoth's powers), the titular Gang of Secrets is actually a pretty good lineup.

I think my main problem in “Felix” is that we didn't get to see the three Akumas working together much because the writers were trying to prioritize Felix as the primary threat of the episode and failed miserably. Here, we get to see a lot of interesting combos and strategies I never really thought about. Lady Wifi uses her powers to freeze some civilians while Timebreaker skates by and absorbs their energy for her skates. Reflekta zaps some other civilians while Princess Fragrance sprays them with her perfume to brainwash them into looking for Marinette, even if it’s the only time this episode that we get to hear “At your service, Princess Fragrance~!”. Horrificator intentionally goes around scaring people while growing in size, acting as the muscle (even though she doesn't do anything in this episode). They all work surprisingly well together, acting like Ladybug and Cat Noir's own Sinister Six.

After making a new safe to hide the Miracle Ball, Lady Wifi breaks into Marinette's room again, so Trixx, the Fox Kwami, uses his power to create a mirage to distract her. But like when Plagg used his Cataclysm in “Style Queen”, it has a little drawback.

The funny thing is that this doesn't even crack the top 5 in terms of weirdest things to happen to the Eiffel Tower in this show.

We cut to Adrien's room so the show can remind the audience he exists before he transforms into Cat Noir. The two don't meet up in person, but Ladybug tells Cat Noir to keep Timebreaker busy so she doesn't travel back in time while Ladybug goes after Lady Wifi. Of course, she doesn't have the friendship bracelet, but that wasn't Ladybug's plan in the first place.

Her actual plan is talking to Lady Wifi in an attempt to get Alya to break free of Shadowmoth's control. It's short, but it's a nice scene, with Ladybug explaining to Alya that even though they can't know everything about each other, they're still friends. So against all odds, Alya manages to reject the bond with Shadowmoth.

Oh yeah, it's not like we saw Chloe reject an Akuma in “Miraculer”, right? And Chrismaster giving up his akumatized object for Ladybug to purify? That didn't count either. Alya is clearly the first person to ever do this, and this is why you should immediately accept what happens later on.

Alya tells Ladybug where the Akuma is, and in response, Ladybug gives Alya the Fox Miraculous, which she uses to transform into Rena Rouge... even though she was already benched in “Feast” for endangering herself by uploading a video about the history of the Guardians to the internet, just like how Queen Bee and Ryuko were benched earlier for similar reasons, and the latter only appeared again because Ladybug wanted to get Kagami away from Adrien. Because I guess we're just going to ignore one of the biggest plotpoints of “Miracle Queen” now.

The other Akumas have Cat Noir at their mercy, so Rena Rouge uses her Mirage to create an illusion of Marinette to distract them. Timebreaker goes off to chase the illusion, and while Horrificator, Princess Fragrance, and Reflekta are about to take Ladybug's Miraculous, Rena Rouge and Cat Noir are the ones to break the object. Overall, a really clever climax to the episode.

So after Alya returns her Miraculous to Ladybug, we cut back to Marinette apologizing to her friends, who never apologize for invading her privacy. And while she mentions Luka, Marinette suddenly talks about how hard is to confess her feelings for Adrien, something that was never mentioned in this episode, because the writers are desperately trying to encourage the audience to ship the Love Square again brutally shooting down Lukanette and Adrigami. And after all this, Alya goes back up after everyone else leaves because she can just tell Marinette has another secret. How does she know this?

Okay, fine, Alya can be supportive of Marinette, and even her worst moments like the New York special were motivated by what she thought would make Marinette happy. A little misguided, and yeah, her teasing can be annoying at times, but she's ultimately there to help push Marinette to be honest with her feelings. “Reporter” is stretching it a little. No matter what the show likes to say, Alya isn't a good reporter. She barely verifies her sources and just posts things online. I'm sorry, but the Ladyblog is basically the superhero equivalent to TMZ. Alya probably doesn't even know who Joseph Pulitzer or Edward R. Murrow are, because rather than reporting the news to the public, she just wants to find things that will get her clicks on her website. Alya's biggest flaw as a character is that she is incredibly impulsive, but like everything else in the show, this flaw is never acknowledged, and is basically rewarded. Why do I say that? Well...

I have a lot of mixed feelings about this scene. On the one hand, it's very well acted, and the interaction genuinely highlights Marinette and Alya's friendship. Before she tells Alya, Marinette is just opening her heart out to her friend, and the grievances are played completely seriously. Even the reaction Alya gives when she finds out is very subdued, simply showing her shocked face before she gives Marinette a hug, with no dialogue. It's a very profound moment, and it's arguably one of the best in the entire series. Even the ending card doesn't show an action scene, but rather, it continues to focus on the hug while the Kwamis watch.

And thankfully, the episode doesn't end with the standard upbeat “Duh dun dun dun dunnnn, DA DA DA DA~!” track that almost every episode, no matter how depressing, usually ends with. It's just a really great moment, and a good way to end the episode... on its own.

When you think about previous episodes, like what I've mentioned with Alya, it's just strange that despite all the times she has shown herself to be bad at keeping secrets (like the aforementioned scene in “Feast”, posting a picture of her and Cat Noir kissing on the Ladyblog without her consent, and invading her privacy in this very episode, demanding to know her secrets), Marinette suddenly decides to give Alya a chance. Even worse, she had just said that she wasn't going to force her to tell her anything, which seemed like a strong character moment for her, but then the writers go back on the lesson and have Marinette do what Alya was trying to do the whole episode and tell her she's Ladybug.

Sure, Ladybug told Alya she was the Guardian and to keep it a secret earlier, but this lesson in keeping secrets should have stuck when she first became Rena Rouge in Season 2. I don't have a problem with Alya being Marinette's confidant (lord knows she needs one at this point), but I just don't think Alya is ready for this. It's the same thing with what happened with Adrien in “Syren”, by saying him immaturely threatening to quit being Cat Noir because of Ladybug's secrets was meant to show how he was ready to meet Master Fu even though it showed how selfish he was and was anything but ready. How is an episode where Alya tries to force Marinette into telling her everything she's keeping a secret meant to show she's ready to learn Ladybug's identity. Maybe if this episode kickstarted a character arc for Alya where she learned about why people keep secrets and that getting the truth isn't the right thing to do, culminating in a later episode where Alya learns Ladybug's identity, I'd be fine with that. As it is, this just had some poor timing and was the result of the writers not really thinking this through.

I guess I'm still interested to see where this goes, and how Marinette and Alya's friendship will change as a result of this. Maybe Alya can help Marinette get away to transform, or worry about her safety after an Akuma fight. Although the worst case scenario is that if Cat Noir finds out about this, he'll use it as an excuse to bitch and moan about how Ladybug is still keeping secrets from him and of course, she'll be blamed for whatever happens as a result of that.

Though I can't help but feel like I'm forgetting to mention something. Wasn't there someone else who wanted to know the truth about Marinette?

OH YEAH, I FORGOT ABOUT HIM JUST LIKE THE WRITERS DID.

This is what really kills the episode for me, just how it goes back on everything established in “Truth”. The whole reason Marinette broke up with Luka in the first place (which motivated the conflict of this episode) was because she realized keeping secrets from him wouldn't lead to a healthy relationship. As much as it pained her, it was a necessary evil Marinette had to do in order to protect her identity.

But now you're telling me that it's okay for Marinette to tell Alya her secret? WHY? How is this any different from what happened with Luka? Like Alya, Luka also wanted to known the truth, but the only difference was the way he confronted Marinette. He calmly asked her about what she was hiding, and even though she couldn't tell him, he respected her boundaries, and they both managed to end things on good terms.

Alya, who has a history of exposing secrets to the public, who barged into Marinette's room and demanded she tell her all of her secrets, is more trustworthy than Luka? This is why I don't buy the writers making Alya Marinette's confidant. I get that they want to give her some more story presence after how she had mostly faded into the background in Season 3, but this just isn't the way to do it.

Barring that, what did I think of the episode?

Yeah, it's just... it's just okay at best, mediocre at worst. There were a handful of decent moments in the episode, and some creative action scenes. Even stuff like Cat Noir's forced movie date and Alya violating Marinette's privacy isn't anything new, and unlike other episodes, the latter actually seems to apologize for that. The problem, as I already stated, was the ending. I think maybe the ending could have worked if Alya had found out Marinette's identity, but decided to keep it a secret. That way, it would make for an interesting dynamic, with Alya learning to be more responsible while secretly helping come up with ways for Marinette to get away to transform.

But as it stands, the episode is alright, but mostly forgettable if not for the ridiculous ending.

[gedankenspaziergang]

Diversmagazin Interview  Translation

Diversmagazin released an interview with director Sarah Blaßkiewitz and Head-Writer Jasmina Wesolowski today. Read it here in German.

Jasmina (she/her), DRUCK writer since season four and head writer since season six together with Jonas Lindt. In a writers Room with Paulina Lorenz and Raquel Kishori Dukpa (Jünglinge)

Sarah (she/her) director of the last four episodes from season six

I’m leaving out the general introductory questions.

Alicia: Can you talk about the writing process? And what’s the most important thing for you while writing and telling stories?

Jasmina: We especially wanted the profound exchange with young adults who represent our protagonists. For season six we had the challenge that we wanted to tell the lovestory of a Gambian-German girl and a Vietnamese-German girl, perspectives that aren’t represented in the writer’s room. That’s why we talked a lot to research partners, to make up for our lack of knowledge/ experience, but we also talked to the actors and actresses.

Alicia: Why do different directors work on DRUCK?

Sarah: We try to produce as much in real-time as possible. And of course, we have to pre-produce but still have to work [overlappingly]. While one director is already in the editing phase, the next one already starts to shoot. Another reason is of course, that this way, also in the writer’s room, there’s more space for diversity.

 Alicia: It’s similar to the writer’s room. You’re also dividing the writing of scenes between different people. … Are you working together with racism and LGBTQIA+ experts?

Jasmina: I think we all have blind spots and that it’s absolutely impossible to end up with a perfect result. It was an important first step, that the Jünglinge collective joined. They are big advocates for queer BIPoc representation in German media. They were always present for feedback loops and made all of us, crew, actors and actresses, participate in an anti-racism workshop. We were lucky to have the brilliant author and anti-racism trainer Arpana Berndt, who advised us on these topics. On top of that, we did a lot of research on different topics. I think now it should be the only way to produce movies and shows this way, with an intensive research phase. This way you don’t appropriate the stories of others and also don’t tell inauthentic stories or, in the worst case, use hurtful clichés/stereotypes. It was helpful and needed that Black perspectives were present also behind the camera – Sara as a director, but also in the social media team, make-up department or costume design. But we are also aware that more can be done.

Sarah: It’s important to me to highlight the make-up and costume design department. When I, an afro-German person, joined this project and met other afro-German women in those departments, who can relate to me, the character of Fatou and Ava, I was really glad. I can say from many years of experience that that’s not a given.

 Alicia: How about experts on LGBTQIA+ issues?

Jasmina: To talk a bit about the process: We were set on Fatou being a lesbian pretty early on, and that was already discussed in the earlier writer’s room, where that perspective wasn’t present yet. In the beginning, those were loose ideas, and we had to implement them with the casting. The casting team Raquel Kishori Dupka, Melek Yaparak and Angelika Buschina worked closely with the directors and contacted different institutions and specifically asked for actors and actresses who could be queer. At this age this is of course a super sensitive topic. You don’t want to force young people to [define themselves/come out]. It’s a huge challenge to handle that with care and it was extremely important that the Jünglinge collective was part of the casting process.

But also, apart from the casting process, we profited a lot from the queer people in the writer’s room in the cast.

Sarah: For my part I asked the authors and queer people “What would you like? What is nice? What hurts? What’s important? Or what have I never seen before?” And then I put those different experiences into the different scenes. On top you of course need common sense (?) to portray something that you haven’t experienced yourself.

 Jasmin: I just thought of a small really beautiful example: How Fatou was given these rainbow socks as a Christmas present. You immediately notice, that was the idea of a queer person who knows what non-queer parents give to their kids as gifts. The fans notice: Queer people were in the writer’s room. Or “Ah, these actresses know, what they’re doing.“ And those are the small things that make a difference.

 Alicia: For sure! In DRUCK you notice that queer people were part of this in really subtle ways, and that [resulted] in really nice fan-moments. I can confirm that.

Right now, the community is discussing the conflict between Mailin and Ava a lot. What role does that conflict play for you and what does it teach us?

 Sarah: I’m editing the last episodes right now, so I really feel it, also because you already see the reactions online.

For me, the conflict is important because it shows over a long period of time, that not everything is always only good or only bad. That it takes a lot of time, patience and confrontation to understand all nuances of that kind of conflict.

That Ava could be prevented to outright say what’s bothering her, because we’re talking about a really serious trauma of exclusion. How do you even tell people really personal stuff when you were bullied for years? And now we have that conflict, that seemingly takes forever, and you’re always asking yourself: “Why aren’t they talking to each other?” But it’s only in real time that you realize how hurtful this conflict is. How hurtful it is what they experience. What racism means, and also what it means to [deal] with that topic as a white  German girl. And I think it’s really important that everyone is going through that with this season. That takes time and sometimes hurts. And you don’t always understand Ava and you don’t always understand Mailin. When we really [dedicate ourselves to understand this conflict] then I think, we can experience what for example a person like me experienced their whole adolescence. I’m not saying I was bullied my whole adolescence, and maybe it wasn’t because of the color of my skin, but because of something else. But that went on for half a year. After being bullied in school for half a year you’re not up for school and your classmates anymore. And you don’t talk to them anymore. And if people realize that because of this season then I’m glad. I think it’s really touching that this conflict takes up so much space.

 Jasmina: I found it really interesting what you said about the nuances, because it was a real process for me to learn how many facets this conflict has. And especially that us white people, who grow up in a society with structural racism, have a particular idea about what racism means. And that’s not a detailed and uncritical perspective of that topic: As soon as you call me racist, I feel attacked and start defending myself.

The role that this conflict played for us was to show how incredibly exhausting it is as a Person of Color, to always have to deal with these problems and that there’s a kind of fatigue, that you don’t want to talk (or should want to talk) about certain topics anymore, especially if you have other things going on in your life on top of it.

On the other hand, we have Mailin, who has a strong desire to understand. She’s not aware of her privileges as a white girl. We want to take this journey together, when she starts to realize things and when she goes through different stages; until she understands, what it is really about. We also have an arc there that isn’t finished. Because in real life, you have to deal with some topics over and over again. We think it’s especially important to show that it’s not the job of Black people to explain racism to their white  friends. By now, they have all the resources to educate themselves and to talk with other white people about this topic, to unburden Black people.

 Alicia: That’s really interesting! The lovestory of Kieu My and Fatou is an important part of season six, which many queer young adults love. How is the relationship between Fatou and Kieu My representative for a generation?

Sarah: I can actually also see it in an older generation. When I send the cuddle clip of Kieu My and Fatou to my grandpa, he says “Wow, how amazing that a Viet-German and a Afro-German girl are lying in bed together, talk in German and are in a relationship.” This generation hopefully isn’t alone anymore, for example in the sense of: being the only Afro-German person in a small city. That changed and now we see it in that second and third generation. And that’s why it shows me something very real and beautiful.

 Alicia: Which scene are you really proud of and why?

Sarah: My favorite scene, and one I’m really proud of and that was really important concerning the pressure of school, was with the main character Fatou. It’s about a path of finding yourself from Fatou and a [Reinigungsmoment] with her brother. Two people, who know each other from the moment of their birth, are sitting together. When I read that scene I thought yes, I can relate, I can feel that, and when we shot that, a world opened for me. And that was partly because of the music, which was decided before we shot this scene. Then we shot it and it was fucking cold, but we shot it again and again but every time we really felt it like the first time. And when I now watch that scene while editing, it really is the perfect moment. Every facial expression is perfect, every reaction. And that’s that kind of truthful (?) moment you’re looking for as an actor, actress, director or author. When everything fits.

 (There’s a script for every social media part, What’s App Chats and ideas for social media stories. )

 Alicia: When can we expect the next season and what will it be about?

Jasmina: For now, DRUCK is finished and we have to wait how it will continue. Fingers are crossed and of course we’re hoping for a new season.

[Note by me: We‘re not gonna spiral, Jünglinge looked for more writers, Black writers, on facebook a while ago. Nothing is safe but they probably don’t want to make any promises]

[shadowscans]

Translation of natalie.mu's Interview with Soumatou

Source: https://natalie.mu/comic/pp/shadowshouse03

With the TV anime “Shadows House” starting its broadcast on the 10th of April, Comic Natalie is running a special feature on the work. In this third installment of the series, the original author Soumatou makes their long-awaited appearance. Here, we are given the chance to hear them talk about the behind the scene of the production, the sense of speed that comes from the short amount of time between the adaptation decision and the broadcast, the background behind the creation of the original work where the characters have no face and whose expressions cannot be seen, as well as the story behind the creation of the 2-person unit Soumatou, with Nori in charge of design, and Hisshi in charge of drawing. It should be noted that in this interview, they are answering not as Nori and Hisshi but as Soumatou.

“It’s probably a work that’s hard to adapt into anime”

──Soumatou-san, when did you hear of the anime adaptation?

In 2019, about 50 chapters were made free to read online, and amidst the great response, we learned that the anime adaptation was greenlit.

── Making something open to the public has such an effect, huh?

When “Shadows House” started, it was a relatively subdued serialization. With the chapters being made free to read, people started sharing their thoughts through various means like Twitter, and the paper volumes were selling out. In regards to the public release, back when the person in charge proposed the idea, we approved of it since our impression was that “If not many people were reading it anyways, then let’s just give that a try.” Therefore, in the midst of all that, when we heard of the anime adaptation, we were very surprised. “Is there such a thing?” Because production starts immediately after the decision, it was very speedy.

──With how short the time period is between the decision and the start of broadcast, it doesn’t seem like you have much time to rejoice huh (laugh).

We were happy at the time of the decision of course, but apart from that, “It’s probably a work that’s hard to adapt into anime” was what we thought. In the first place, we’re the type that only believe in something we can see, so it didn’t really sink in for us. We were thinking something like “This project might not even fall through” (laugh). That is why ever since the anime adaptation was publicly announced, the feeling of joy finally sinked in.

──Soumatou-san, in what ways were you involved with the anime?

We supervised roughly all the main processes. When the anime adaptation was greenlit, since the person in charge advised me that “If you will be involved, then be involved with everything. If you won’t be involved, then don’t be involved with anything at all,” we thought “If it’s going to be like that, then we will do as much as we can.” However, the supervision of the script was quite hefty, and having to do that concurrently with the serialization was rather physically difficult.

──I had the chance to watch the first episode, and the thing that surprised me was the original development related to Emilyko’s establishment. Was it difficult to supervise these parts?

We had thought to draw that in the original work, though we decided not to since we thought it wasn’t particularly important. That was just a story from the original work which was added on. However, what was difficult were the adjustments made based on the decision at the script meeting to also depict elements or episodes which are not yet revealed in the original work. We have to think two steps ahead of the current plot of the ongoing serialization, then we have to put in stories or elements that would put us closer to that in the anime. It was a maddening task (laugh).

──If that’s the case, then it seems like it would be fun to compare the original work with the anime huh. Even though it’s difficult, was it refreshing to work on the anime?

Yes. Since we didn’t know anything about anime, or rather, we had no production know-how, so at first, we had no idea how everything would progress. To begin with, we gave them the material created for the serialization. Because we have already created a vast amount of material like the building’s 3D layout, it was easy to say “This is what the layout looks like.” In addition, even though the creation of the colored edition was intended for overseas readers, that material seemed to have been of use for the creation of the colors in the anime. In that sense, there might have been little materials that must be created when it comes to adapting it into an anime.

Supervising as far as the way soot is emitted and the movement of the Clingers

──Soumatou-san, what kind of impression did you have when you saw the anime?

We were amazed by how much more profound the atmosphere was than what we expected. We knew the character’s line drawing and the colors that go on them since we supervised it, but we can’t visualize the final image with just that. However, when we saw the processed recording with the background attached, we felt it was close to the impression of the original work.

──How about the directing?

Expressions that aren’t possible in the manga, such as the movement of the soot, Emilyko rolling on the ground or the inclusion of the song that the Living Dolls sang to themselves, left me with a strong impression.

──As for the soot, I was convinced that it would move like that. Was that also supervised by you?

As for the soot and the clingers, we were shown a few patterns, then we fine-tuned it from there.

──By the way, what kinds of patterns were there?

As for the soot, there was a difference in how it was emitted, be it softly or firmly. For the clingers, there was a difference in the movement, like whether it would move slowly like a cockroach or quickly. Such were the patterns that were there. We did quite a bit of trial and error.

Only the voice actors for Kate and Emilyko were entirely decided by others

──Did you go to the dubbing location?

We only visited for the first time to say hello. The voice actors went through the performance about 3 times. As we listened to the anime staff's directions without giving any input ourselves, we felt it fit our image. On the other hand, when the voice actors were asked by the director “Is there any part you want to re-record at the end?,” they responded with things like “I want to re-record this part” or “would this part be better like this instead,” one after another amending it. It was also the first time we observed a dubbing session, so we were very impressed.

──Well then, did Soumatou-san have any particular request?

There were one or two scenes where we thought “This doesn’t seem to come through, so we want it like this,” and asked them to redo the intonation. However, because anime has a fixed length, I felt that it was better to leave it to the director to draw out the best performance within that time limit. The rest of the time, it was alright for us to really just watch.

──That’s roughly how I imagined it to be. Well, then, please tell us about the impression you got from the main characters. First , how were Kate’s by Kitou Akira-san and Emilyko’s Sasahara Yuu-san?

The rough images of Kate and Emilyko’s voices in our own heads were just “calm” and “cheerful.” That’s why we were able to express our wishes after the audition for the other characters. However, just for these two, we only said, “Please use the person that fits the best'' and left it for others to decide (laugh). When we heard the audition, our impression was that Sasahara-san would fit Kate’s voice, and Kitou-san would fit Emilyko’s voice. However, when we looked at the results, it turned out to be the other way around. There are differences between the performance they did at the audition and at the start of the dubbing, though now we felt that this way was definitely more fitting.

──The other shadow and living doll pairs are played by one person each. What was your impression when you heard of that?

We stated in the original work that the shadows and living dolls have different voices. However, for the anime, when the idea to have the same person performing the roles was proposed, we told them that “we are looking forward to the voice actors doing their best.” The voices are altered based on vocal ranges, and I think the end result is that you will be able to enjoy the voice actors’ varied performances.

──Currently, the cast for four sets of characters has been announced. Please tell us your impressions about each of them.

Sakai Koudai-san’s duet between the hearty, easily carried away John and the cool-headed Shaun is very amusing. Both characters sound good, and their voices are cute. As for Sakura Ayane-san, she was able to portray the very different atmospheres between the lively Louise and the calm Lou.

──Those two consist of clearly different characters so it might be easy to work with, but I felt that the remaining two seem difficult.

Indeed. Kawashima Reiji-san has to play Patrick and Ricky - two characters whose voices and personalities are quite similar, so we thought it was quite a hard role. However, he was able to perform the roles with the understanding of the fine differences in the character of the two. For Shimoji Shino-san who plays the role of Shirley and Ram, there is a lot of dialogue with the imaginary friend, and she has to portray a different image than that of others. She said that “It’s a type of character that I have never played before,” but her voice fitted perfectly.

The pair’s 20-year relationship

──Well then, let’s move from “Shadows House” and let's hear about you Soumatou san, and your past works. You two work together as a pair, but when did you get to know each other?

We have known each other since when we were students, so it is already a roughly 20-year relationship.

──Why did you two start making manga together?

When Hisshi stopped submitting to manga awards, they no longer drew their own manga and ended up settling down as an assistant. I thought that this was a waste of potential, so when I quit my own job, I told Hisshi that I would write my own stories and asked Hisshi to draw them.

──Afterwards, you seemed to have created doujinshi for a while huh.

Yes. Because Nori normally doesn’t read manga and had not created a manga before, we thought to make a lot of them and send them to publishers. Since around 2008, we made a few and showed them at exhibitions. Afterwards, we were able to thankfully get in touch with Shueisha.

──It sure is amazing that you called out and said that you would “make your own story” even though you had no prior experience. Nori-san, what is it about the manga that Hisshi-san made that drew you in?

The composition is very skillful. To phrase it slightly poorly, even if the story is not that interesting, the skillful composition has the power to make you read from beginning to end. That is why Hisshi was able to receive rewards from various magazines.

──I see.

However, since I’m the type to make a manga from whatever episode or idea I want to draw, I have a good grasp on it, but I’m bad at putting things in order over a long span of time. I can draw one-offs, but they did not lead to serialization at all. It seemed like I was slowly running out of things I wanted to draw.

──How do you two divide the work for making the manga? For example, please teach us the making of a single chapter of “Shadows House.”

Firstly, Nori describes the entire course of events, then after bouncing the ideas off of Hisshi, it’s all put together into the plot. With that as the base, Hisshi makes the mini storyboards, which Nori then uses in the briefing session with the editor. Afterwards, Hisshi draws up the real storyboards, and after another meeting with the editor, we head to the rough draft. Hisshi checks that rough draft, then we work on things like new characters, backgrounds, minor characters and the frontispiece’s design. Then, Hisshi inks a pen sketch while Nori does assistant work around the characters. Finally, Hisshi puts the finishing touches and the manuscript is complete. Also, Nori makes the final adjustments to the dialogue right before submission.

──You sure communicate in great detail.

We think we go back and forth more than others whose original works and drawings are separated. Furthermore, we also consult each other when we come to a standstill in our work.

Both “Kuro” and “Girigiri out” have the same ingredients

──Well then let’s return to “Shadows House”, please tell us how and from where you got the idea for the work.

I was staring at a mannequin at a clothing store when the idea suddenly flashed in my mind. The rest is a mishmash of things such as Hisshi’s specialty of clothes and backgrounds, as well as our shared interest in buildings and everyday life in a strange setting.

──Even if you have come up with the idea, it must take courage to make the main characters pitch black, right?

Mangaka are tasked with doing works like drawing facial expressions, though we wondered whether it was possible to present emotions without facial expressions in “Shadows House.” Nori simply thought that “It can be done in novels, so it should be possible in manga too,” and Hisshi hates drawing characters’ faces (laugh). Hisshi even says that “I just want to draw clothes and backgrounds” all the time. Of course Hisshi tries to draw the characters cutely, but that’s without a spontaneous desire to do so.

──That’s surprising to hear, since in your previous work “Girigiri out”, the charm of the beautiful heroine is pushed to the forefront.

Originally Nori was a graphic designer, and Hisshi was a Mangaka’s assistant, so it was deeply ingrained in us to accede to others’ demands. There wasn’t anything that we could say “We want to draw that!” about as Soumatou. Because of that, basically, we are the type to start by fumbling at themes and genres that the editor has an interest in. From there, we come up with various things, and the engine gradually starts. Moreover, at the serialization meeting, among the three works we submitted, “Girigiri Out” was a discarded idea to give the impression that we were trying our best. We thought that if we submitted three works at the serialization meeting then it could look as if we’re trying our best (laugh). Since we didn’t think of anything aside from the 3 chapters submitted at the meeting, when the time came for the serialization, we were worried about what to draw from there.

──”Girigiri Out” is about a situation surrounding a girl who wets herself when she’s nervous, and a boy with the power to suppress someone’s urge to urinate through touch. Even though you have only thought of 3 chapters, during the serialization, you drew quite a few variations on wetting oneself huh.

Generally speaking, we were motivated to make every chapter a different situation (laugh).

──Furthermore, among your previous works, “Kuro” has parts that felt connected to “Shadows House”, but “Girigiri Out”’s style was surprising. I understand now that it’s a story that started from fumbling about with themes and genres of interest to the editor.

However, maybe it’s hard to notice, but the themes drawn in “Kuro” and “Girigiri Out” have quite a bit in common. Everyday life in a strange setting, strange characters that are not people, restlessness, action, surreal jokes, familial love, release from trauma, folk beliefs… the packaging is different, but “Shadows House” also has roughly those same ingredients.

We want to do a gag manga next, but it might be difficult?

──Please let us hear a bit more about “Shadows House.” The story was carefully foreshadowed from the beginning, but just how far ahead did you plan at the start of the serialization?

Since the beginning we have faintly thought about what happens very far ahead into the future, and from there we flesh it out. However, we don’t know how long each part will take if we haven’t drawn it, and parts do change due to the characters’ relationships. For example, at first we had planned for the Debut to end in about 3 chapters.

──In reality it took a volume and a half. That sure is a big change.

We have a bad habit of putting off thinking about the minute details.

──The garden in the Debut also had such a complicated map that I didn’t think it was planned to end in just 3 chapters.

The person in charge is someone who likes exciting and shounen-like things, so we were told that “If I go to the garden then I want a map of the garden.” Though, since we haven’t thought of anything, we spent the next day making a map of the garden as well as all of the gimmicks (laugh). We feel like without that, the story would have been aimless, so we appreciate the advice.

──It certainly has an exciting adventurous feel to it, so the Debut looks like something that would shine in an anime huh. By the way, when I was reading “Shadows House,” the thing that surprised me the most was how screentone was not used at all. I’m sorry that it’s a simple question, but isn’t that quite difficult?

It normally is difficult (laugh). Originally, for a drawing method that suits the work, we wanted something that is reminiscent of old printed works. It started when Nori, who was simply bored, lightheartedly suggested that “This time let’s use hatching (Method of filling in space using uniform parallel lines).” It limits the range of expressions, so now we do regret it a little bit.

──I will continue to enjoy your wonderful drawings from now on. Lastly, you mentioned that “there wasn’t anything that you wanted to draw as Soumatou,” but when you finish drawing “Shadows House,” please tell us what genre you want to tackle next.

Let’s see… how about gag manga? We originally started with drawing gag manga, and the works submitted together with “Shadows House” at the serialization meeting also had comedy in them. However, the gag portion was so hard to do that the editor was put off by it. It might be difficult, but it would be nice if we could publish it some day (laugh).

[kitkatopinions]

I just watched the video from twiins iink and other youtubers about toxicity in the fandom and its super cool and better late then never but its a bit late? To confront the fandom i mean. Like i remember when v5 was airing that people where actually pissed that Jaune was touching Weiss... in the healing scene and that Ruby took his hands away so he wouldnt non con touch Weiss, not to you know see what is happening to the wound. Like it was a whole thing, it wasnt one person? And now we are at v9 so i just wanted to ask your opinion if there is some hope for this fandom i guess ✌

Short answer... No, I don't really think there's hope to fix this fandom. It's gotten to the point where the fans aren't even listening to writers like Eddy Rivas and pro-RWBY youtube streamers like Murder of Birds about maybe not wanting the r/rwby subreddit mods to ban all rwby criticism posts from the subreddit.

Long answer, every fandom is toxic to some extent, but the way the RWBY fandom is, is worse than anywhere else I've seen. Every fandom has ships and characters you're expected to like and get hated on if you don't, every fandom has at least one character that people have decided it's illegal to like, every fandom has at least one character that makes mistakes but is good that gets huge and unjustified hate, every fandom has writer-worshippers who get angry at criticism or dislike or people pointing out author bias, every fandom has characters who got assigned sexualities whether or not it's canon, that results in people getting attacked for 'not adhering to it,' every fandom has an evil/bad character that has fans who will get angry at anyone who doesn't feel sympathy for said evil/bad character, and every fandom has tons of people presenting their headcanons as accepted fact. I can't think of a single one outside of the most niche/tame fandoms I've been in that doesn't have these.

But in the RWDEdom, it's considered a rite of passage to get a hate anon, it's treated as 'making it.' Even after blocking likely over a hundred people, I still see the people posting in the RWDE tag that all RWDE posters are horrible bigots. I recently have gotten several messages from someone calling me - a queer woman - a sexist homophobe for criticizing the sexism and homophobia in a man-written show, and what seems like the same person has sent similar anons to tons of other RWDE blogs.

I've openly admitted that there are bad RWBY critics and I've even gotten in arguments with and wound up blocking fellow RWDE posters. I've also disagreed with several RWDE posters who I don't block, because disagreements are just that, disagreements. I also admit that there are tons of regular RWBY fans and posters who are very nice people, who are just trying to enjoy the show, who just like the show. I don't mind, I don't have any problem with that, we just exist on different sides of this fandom and I think that's good. And you know what? Lots of them have points, because there's lots of good in RWBY. But the toxic RWBY fans will never admit that there are lots of good RWDE posters, or that some RWDE posters have a point because there's lots of bad things in RWBY, and that it's okay to disagree on some things. The toxic RWBY fans have in the past harassed and insulted even the easiest on the show, most generous towards the show RWDE blog I've ever seen. And no matter how much RWDE posters try to avoid interacting with the general RWBY fandom and especially the toxic people, people still insist that we're trying to destroy the show and force others to hate RWBY - while they themselves try to bully people into dropping their blogs and demand that they like RWBY.

Honestly, I only have a couple of working theories on why this fandom in particular has gotten so bad. Peer pressure taking over and guiding the generally accepted viewpoints is common in fandom, but I think one reason why RWBY has it worse than usual is because the fandom is smaller than other, bigger works like ATLA or Harry Potter, so while fans are just as devoted, there's less 'subfandoms,' less variety, fan theories get around easier... I don't know, it's just a theory. Another theory is that first off, the starting fandom of RWBY was already loyal to Rooster Teeth and into their content, and the people involved in RWBY have this kind of 'friendly interactive' persona with their fans that make their fans feel a deeper and more personal connection. So they feel personally criticized or feel like a friend is being personally criticized, and get offended. And it doesn't help that people involved in Rooster Teeth and the making of RWBY like writers and voice actors sometimes insult or get angry at critics themselves and make it public that they feel that way, which just encourages the toxic RWBY fans. And sometimes it feels like they put their anger at critics into the show - making Nora (portrayed as in the right) yell at Ren (portrayed as in the wrong) that Yang and Blake definitely make sense as a couple, having Yang and Blake respond to Marrow asking if they ever do missions apart with anger and coldness, having Robyn drag Clover's name through the mud after people were angry at them over queer baiting Fair Game, and turning Ironwood into a comic book level pure evil villain after some people weren't siding with Team RWBY in volume 7 - which again, just fuels the toxic RWBY fans.

Toxic RWBY fans will often say that they're fine with criticism, just not hate and bashing. Ignoring the fact that bashing is also not illegal and is fine so long as proper tags are used, and how they should just block the tags if they don't want to see it since it's their responsibility to cultivate their internet experience... The goalposts for what they consider 'allowed and good' criticism is varied, always moving, and incredibly hard to follow.

1. Criticism is fine, so long as every post with criticism also recognizes the good things about the show. 2. Criticism is fine, so long as it's completely unbiased. 3. Criticism is fine, so long as it includes no insults, no rudeness, no sarcasm, and nothing that's less than the nicest delivery - despite any actual hurt or offense the show might've caused you. 4. Criticism is fine, so long as it only is for small things and not big complaints. 5. Criticism is fine, so long as it only is for big things and doesn't include any nitpicks or personal opinions. 6. Criticism is fine, so long as it doesn't have anything to do with the moments people have generally agreed 'no longer matter.' 7. Criticism is fine, so long as it's not criticism of the main characters or other characters people 'should like' and isn't in favor of characters that we're 'not supposed to root for.' 8. Criticism is fine, so long as you criticize the actions of characters and not the writers, actors, productions, etc. 9. Criticism is fine, so long as you're only criticizing technical things and not bringing up any mistakes the writers might make on things like the portrayal of women, their people of color characters, their handling of real world issues, ableism or toxic masculinity. 10. Criticism is fine, so long as the criticism only fits the exact ideas of every RWBY fan that might get offended, and adheres to every headcanon we should have come up with and immediately accepted.

It's an impossible struggle. And I think that at this point, the toxic RWBY fans have dug in their heels so deeply that even if Miles Luna himself came to them directly and told them 'hey, stop being so irrational and just block the RWDE tag instead of bullying people,' they would say 'Miles, I'm sorry but you don't understand that these people are of the devil.'

[oharascholar]

Why Sanji meeting Yamato has LGBTQ+ readers on edge - Scholar’s Summaries #1

(Image originally posted to Tumblr by user Rumenta)

As the Wano arc in One Piece progresses steadily, the cast of the series expands ever more. Amongst the unique cast of new characters, we meet Kaido’s Son - Yamato, a young man who wishes to be just like the beloved ex-hero of the country, a man named Oden.

Yamato is an exciting character to see for many LGBTQ+ people like myself. He is a man who was assigned female at birth, who has plump lips, long eyelashes, and breasts. This, to many LGBTQ+ readers, and definitely to myself, brings up the idea of masculine people being allowed to exhibit traditionally ‘female’ body parts, and a comforting reminder that you can be a man without paying for gender-affirming surgery or binding your chest. This speaks to me as a transmasc nonbinary person - I, too, was assigned female at birth, refer to myself as a man, and have a traditionally female body in the same way. I do not once think of myself as a woman.

(One Piece Chapter 984, page 17 of 17. First published in Weekly Shonen Jump 2020, issue 31)

My opinion of Yamato thus far, as a transmasc nonbinary person, has been entirely positive - I enjoy seeing a man who is openly referred to as a man in universe (for example, ‘Kaido’s Son’), who has features which are traditionally seen as non-masculine. It is how I feel about my own body - I rarely give a second thought to the fact that I have breasts. They don’t make me any less masculine, and I tend not to dwell on them at all. It makes me feel happy to see a character who I can truly relate to on such a personal level.

Yamato is a positively portrayed character in the series, and is a supporting character to our main protagonist, Luffy. He plays an important role in fighting against the main villain of this arc. He was even shown to be good friends with Portgaz D. Ace, one of the most beloved supporting characters in the series - even giving Ace the much important ‘vivre card’ which played a vital role in the Marineford Arc. Yamato is given plot importance within the story as a whole with this, linking him throughout the story.

(One Piece Chapter 1000, page 9 of 19 first published in Weekly Shonen Jump 2021, issue 5-6)

It is also easy, as a transmasc person, to read heavily into Yamato’s situation with his father. Initially, it seems positive - Kaido refers to Yamato as his son openly. To an outsider, Kaido accepts Yamato’s identity... Then enter the ‘Oden’ issue.

Yamato wishes to be just like Kozuki Oden on all fronts, changing his appearance to try and look just like him. This part of Yamato’s identity has caused contemption in Kaido, with Yamato even recounting that Kaido would beat him over it. Ever since Yamato first wanted to be like Oden, from the age of eight, Kaido has kept him shackled up inside of his residence.

Yamato states that he can’t truly be Oden until he is free of his shackles given to him by his father. To many, this strikes as a direct parallel towards living in a transphobic household.

When Luffy, a character who has represented liberation throughout the series, first tries to remove these shackles, Yamato is instinctively afraid. He explains that the shackles will explode, and that they’ve been on him for twenty years. He also ponders if he is being kept in by a lie - wondering if his father would really let his son be blown up for merely leaving the island.

(One Piece Chapter 985, page 9 of 19. First published in Weekly Shonen Jump 2020, issue 33-34)

No matter how you put it, Yamato is transgender. Though it has not been officially stated as such, it seems to be heavily implied that he is a transgender man, without issue.

Yamato instinctively wants to keep the status quo, one which technically keeps him safe, at the expense of his identity and freedom. The danger, of course, is purely created by his father. This something which many transgender people can resonate with, the idea of staying ‘in the closet’ so as to not cause contemption within your family.

Luffy removes the shackles and throws them away, causing them to explode - this event causes Yamato to become enraged and upset, stating that he no longer thinks of Kaido as his father. This is a powerful moment, the act of breaking the ties with an abusive parent who does not accept his identity.

It is important to be aware of why Elizabeth or Tibany was so offensive, whilst Yamato feels progressive. Transgender women in media are often presented as predatory, as if they were men in dresses who only want to prey on young men, and Elizabeth is a prime example of the worst of this transmysogynistic stereotype. Had this character been on their lonesome, along a multitude of other transgender women with different body types, and had Elizabeth not been predatory, this would be a fine character. Transgender women and transfem people as a whole should not feel guilty to exhibit as much body hair as they like, and to have as deep of a voice as they like, without worry of being mocked or ridicule. 

… Or, without issue, so far.

Sanji appears to be on a direct collision course for one Young Master Yamato, which puts a lot of anxiety into LGBTQ+ readers. Rightfully so, as in the past, Sanji has been used as a vehicle for horrific transphobia in the series, as touched on by the One Piece Podcast in text and in audio. This alone brings up multiple concerns - the most worrying of all is the possibility that Yamato has been a long setup for a particularly horrific transphobic punchline. The author, Eiichiro Oda, has been more than capable of writing transphobia into his series before, such as with the character Elizabeth (or Tibany, as this character is known in the manga), a transgender woman coded character who is a walking offensive stereotype - even acting in a predatory way towards young men. There is definitely a certain validity behind such worries.

But, when the only representation in this part of One Piece is predatory people with deep voices and stubble all over, you can see why this is completely different to Yamato exhibiting breasts and such.

(Chapter 543, page 1 of 20. First published in Weekly Shonen Jump 2009, issue 26 / Chapter 994, page 17 or 17, first published in Weekly Shonen Jump 2020, issue 48)

Another concerning path is that Sanji will see Yamato and fawn all over him - only for him to act horrified and disgusted upon hearing Yamato affirm that he is a man. During the infamous Fishman Island arc, Sanji had a life-saving blood transfusion given to him by two transgender-coded women - this alone was enough for him to start screaming and flipping himself around the bed in horror - a truly upsetting act of transmisogyny that many agree should never have been put in the series at all.

However, our combined worries may be for nothing. Oda has also written nonbinary and transgender characters who have been delightful to witness, and have been much accepted and adored by the LGBTQ+ community as a whole - Characters such as Bentham, a character who can shapeshift and monologues about their gender, or Kiku, a transgender woman in the current arc, who has been portrayed respectfully thus far, being in the series for almost 100 chapters. There is still hope that Oda has changed his ways from his dark Fishman Island Days.

In the most hopeful outcome, this meeting will serve as a character growth point - Sanji has matured as a character, and is ready to treat transgender people as human beings. This outcome seems tantalisingly possible to me, especially since characters will openly reffer to Yamato as male without issue.

(One Piece Chapter 979, page 14 of 17. First Published in Weekly Shonen Jump 2020, issue 23.)

Another hopeful outcome is that Sanji will simply not address it - but it certainly seems intentional that Oda has sent Sanji specifically towards Yamato, and I am certain that there is a reason. But, notably, Sanji had a meeting with Kiku in a similar vein, and nothing of note happened in that interaction.

I myself dearly hope that the day will not come where I look at this article and think, ‘This has aged horribly.’. I have a lot of faith in Eiichiro Oda to do the right thing - especially since almost 10 years has passed since his last major act of transphobia and transmisogyny. Surely, in today’s climate, and with the progressive nature of One Piece as a whole, he has learnt and is ready to write the LGBTQ+ characters that are respectful and progressive as a whole, without falling back on poor-taste punchlines.

As for now, only time will tell the true nature of Eiichiro Oda in 2021. Or, as many of us like to put it … "Who knows with this guy?!"

-

The Ohara Scholar / Róisí “Puppy” Law, 17th April 2021

[scripttorture]

I'm not sure if this question has been asked before, but what would be usually the reason why people would torture someone? Not to justify (torture is unjustifiable in any situation) but I really needed a driving force for a villain why they would w/o sounding ridiculous or implausible, and any reason I come up with falls kind of flat (... Which I suppose is expected, since that's how the reasonings behind tortures are in rl I guess)

I can help you out here. And I want you to know that from a writing stand point this does make perfect sense. Motivation, however shallow, is important for capturing a character.

 Yes a lot of the motivations in reality are flat, shallow and outright stupid. And it can be a careful balancing act, showing those motivations making them understandable without straying into justifying them. It can also be hard to make an interesting character with flat motivations.

 I think I’ll start off with talking about motivations/‘reasons’ in reality and then talk a little about when and whether we should break from reality when we write about torturers.

 Remember that there isn’t a lot of research on torturers. So I’m working from the little bit of research I can access, interviews with torturers and anecdotal reports. It isn’t perfect, but this is (so far as I can tell) the best information we have at the time of writing.

 Understanding why torture occurs means understanding that it is structural violence.

 I do take questions on abuse, I personally don’t see much point in sticking to the strict legal definition of torture when I’m trying to help authors do a decent job portraying trauma survivors. But sometimes the definition matters. And torture is essentially defined as abuse by government employees*, by public servants in positions of authority.

 Over and over again the reasons torturers give for their crimes come back to flaws in the organisations they were part of. Consistently, across cultures and time periods, they describe understaffed, high pressure environments with no training, little supervision and the instruction to produce results or else.

 This combines with cultural messages that violence ‘works’ and existing sub-cultures of torturers within organisations to perpetuate abuse.

 It’s also worth mentioning that for most torturers they’re coming into an organisation where there are already established sub-groups of torturers. The group dynamics do seem to play a role in all this. Though it’s difficult to say how much when we’re entirely going from what torturers say and they are… demonstrably inaccurate when it comes to talking about torture.

 Having said that; torturers do seem to encourage each other to more and more acts of violence. They treat it almost competitively. They will also, sometimes, approach new recruits and bring them into the torturer sub-group, pressuring them to participate.

 I’m unsure how much of a role the social factor plays in torturers starting to torture, but it definite seems to keep them torturing when they say they’d rather stop. There are a couple of reasons why.

 First of all there’s a sort of implicit threat; refusing to torture is seen as a threat to the torturer sub-culture. And these are people who have already shown a capacity for violence. There have been cases of torturers attacking other members of the same organisation for their opposition to, or refusal to, torture.

 There’s also a social aspect; once involved with the torturer sub-culture the individual tends to become more and more cut off from the rest of the organisation. The group of torturers becomes more or less their entire social circle.

 We’re social animals. So leaving, rejecting the entire social group, is a big deal. It’s hard for us to do.

 The toxic sub-culture torturers form encourages them to root part of their identity in their capacity for violence and how ‘good at it’ the other members of their group think they are. They tend to tie ideas of toughness, dependability, achievement and (often) masculinity to torture. They frame themselves as especially manly, strong and ‘willing to do the tough jobs no one else has the guts to’.

 It’s complete nonsense but it’s what they do.

 And it means that facing up to the fact torture is pointless feels like an attack on their self worth. A lot of them choose to double down rather then face that reality.

 This isn’t a definitive list of relevant factors. It’s my assessment of the ones that always seem to show up. There are usually other factors that feed into particular situations. Rejali’s Three Systems is a worth a read on that front.

 Ideas about social hierarchy and transgression are common features. So things like ‘anyone who does That Terrible Thing deserves to be tortured’ or ‘no one Like That would be in this part of town for an innocent reason’.

 All of this means that motivation can be tricky to write, because the real motivations are often not the sort of thing we’re taught are ‘interesting’.

 Real, honest motivations are often things like:

‘I think those people deserve it’

‘I was told to’

‘Everyone else was doing it’

‘I couldn’t think of anything else to do’

‘I got angry and took it out on someone else’

‘I thought it would work and no one ever taught me another way’

 That’s not a definitive list but you get the idea. And probably get the point about these sorts of shallow motivations being narratively unsatisfying.

 So let’s step back from the reality and tackle the writing problem at the heart of this: how do we make this interesting?

 There are a couple of different approaches.

 The first approach I see is to accept that the motivation and the villain are shallow and shift the interest away from the villain.

 Villains don’t need to be interesting. And they don’t need to be the focus.

 If your story is structured in a way which primarily makes the villain a looming threat and focuses on the heroes, their journey, their relationships then adding detail or depth to the villain is unnecessary.

 The Lord of the Rings trilogy does this with several of its major villains. The Shape of Water does it for the main villain. Zelda: Breath of the Wild (yes I bought a switch during lock down, and it’s my first Zelda game I am not sorry) does it with Ganon.

 Another approach is to accept the motivation is shallow and shift the focus away from the villain’s motivation.

 Villains do not need to have a grand philosophy or deep motivation or underlying pain in order to be a good read. They don’t need to be an intellectual threat to the heroes in order to be a legitimate threat.

 For instance Joker in Batman: The Animated Series, I’d argue one of the best takes on the character ever. But if you go back and watch the episodes he isn’t deep. His motivation almost always boils down to pettiness, greed and a vindictive streak a mile wide. It is incredibly shallow.

 But he’s fun to watch, because he’s unpredictable and funny. He’s also a legitimate threat to the heroes because he’s so incredibly destructive. More then any other villain his crimes are aimed at effecting large numbers of people. That sets the stakes high without any motivation or philosophy coming into it.

 The focus is on what he does each time he shows up, not why.

 Persona 5 pulls off a similar trick. Every single one of its villains has a shallow motivation. But each of them also has power over one of the heroes or another innocent person. They don’t need a deeper or more interesting motivation in order to make life miserable for the heroes. And every caper hinges on the heroes trying to stop that worst outcome.

 As much as Fullmetal Alchemist is a deep story which touches on many complex topics, neither version (the original manga or the 2003 anime with it’s very different plot) had a particularly complex villain at the end of the story. In both cases the ultimate leader of the ‘bad guys’ just wanted more power. And didn’t care how many lives they destroyed to get it.

 Not all stories need a Killmonger.

 It’s always worth taking the time to consider what your story needs, rather then what’s fashionable in fiction at the moment. On a personal note some of my favourite stories have been either entirely focused on the heroes or had explicitly shallow villains.

 The reality is that most of the time motivations for large scale atrocities are shallow and unsatisfying. Giving fictional villains deeper or more complex motives can work, but it can also mean twisting the narrative up to make it look like the villain (and hence their actions) are more reasonable then they are.

 Killmonger’s twisted vision of what would make Wakanda ‘better’ works in Black Panther, just as White Wolf’s similar motivation did in the comics a decade or so earlier. They work because they’re directly competing with the hero’s vision of what would make the world better. And because ultimately it’s about showing why T’Challa’s way is better then the villain he’s facing off against.

 But I can think of other stories where giving the villain a ‘deeper’ reasoning just served to make them look reasonable. While they were arguing for torture and genocide.

 And… I just think we’ve got enough of that in real life.

 At the end of the day your villain should be serving a role within the story you’re creating. Motivation is one of many ways that we try to make sure they serve that function effectively and entertainingly.

 But, despite what some people would have you believe, it ain’t the be all and end all of whether a villain or story is entertaining. Personality, plots, aesthetic and sometimes how satisfying it feels to see their day ruined, all feed in to how well a villain works.

 The threat they represent in the story isn’t dependant on whether their motivation is deep or nuanced or rational. It’s about their ability to follow through and sometimes the horrific nature of the desire itself.

 So I guess a lot of my advice here is to consider what your villain actually needs to do in the story. Then take a step back and consider whether deeper motivation adds anything to that.

 Be aware that the more complex motivations and drives you add the further you’re getting from a realistic torturer. Which is not inherently apologia, or inherently a bad writing idea, but consider what any deviation from reality implies.

 I hope that helps. :)

Available on Wordpress.

Disclaimer

*The international definition can include groups that control territory, ie an occupying force. In some countries the definition is slightly wider and encompasses some international criminal gangs.

[martvota]

Reading “The Ballad Of Songbirds And Snakes” by Suzanne Collins [1]

✴ The switch of perspectives, an utterly rotten setting, the return of various symbols, something about proper character crafting and should we even like Coriolanus Snow? ✴

The first thing I’ve noticed was that people worried Collins might try and give Snow a redemption arc or use the new book as an excuse for his latter actions but I wouldn’t fret – doing so would only invalidate the universe she has built, would make one of the most important characters inconsistent. No proper writer wants that.

If anything, the way I see it, the book is intended to give us more insight on the beginnings of the system and state we (along with Katniss and Peeta, and all the rest) already know. Which is somewhat fascinating, as all well-crafted universes are.

We are given some more information on the civil war/First Rebellion that has spawned the Treaty of Treason but it (mostly?) doesn’t come in form of a history class; it flows quite freely with the main character’s thoughts and other characters’ conversations. There is no excessive detail or raw facts. Instead, we are presented with broken memories and broken homes, traumas, political and economical outcomes – and none of it is impersonal. Susanne Collins has successfully portrayed a society that has just experienced war. The streets that remain ruined years after “peace” has been achieved, the fierce… nationalism, I’d say? Though Panem is technically one state. What I meant was the approach of Coriolanus’ grandmother, almost teary-eyed over Capitol’s completely false glory, extremely hostile while speaking about the Districts. The “us versus them” mentality, the extremely protective kind of patriotism (post-war patriotism, I’d say). The state is trying to lift itself up, the old money families are attempting to regain their riches, and they are choosing the most cruel tactics to achieve that. 

We got to know the situation in the Districts thanks to the previously published books – but this time we are taking a look at the Capitol at its least glorious (and if the Capitol hungers, then it’s easy to say the rest of the country is dying of starvation).

That being said, I think it is crucial to remember whose perspective we are adopting for the sake of the novel. In this case, it is young Snow’s so – a ruined upper class family’s heir, raised to believe that he deserves what is the best solely due to his surname. Yes, he is to become the cold-blooded tyrant and killer of millions. No past excuses those crimes, ever.

But we have to keep in mind his upbringing, his origin – he has never been taught to empathise, only pity or detest; he has never been taught to respect people from the Districts unless that brings him gain (and even then, such respect should be faked – think of his beginnings with Lucy Gray).

So of course he was not crafted for us to enjoy. In fact, painting him as an obviously likeable, misunderstood boy would make for a redemption arc or an excuse, wouldn’t it? Instead, we are given a young representative of an extremely corrupt system, by no means its victim but rather product. He might not be a straight-out villain just yet but this book is our chance to observe him grow into one, all the while remaining not entirely bad nor good – he is remarkable at many things and it shines through the pages; he is remarkable at playing the protagonist. He is not one, he was never supposed to be one, and a great feature of this book is that the narrative tricks the readers into forgetting that fact.

If we are looking for a just and compassionate lead, this novel is not the right place for our search. Few of the characters are outrightly bad, as in, even the ones we’d expect to have no remorse whatsoever show some of it every now and then (and I am mostly talking about the Capitol’s citizens). Which is good – I’d say it prompts the reader to question, why would they do that? ( ← I might touch upon that in another post or add examples in reblogs. )

The only actually good characters I am seeing so far are Sejanus and Lucy Gray, but I believe that might have been the author’s intention.

Speaking of which, I have seen someone accuse Collins of (perhaps unknowingly) attempting to lessen the value of a compassionate and vulnerable stance (such as the one displayed by Sejanus) in the eyes of the reader, due to the way the lead character views it as. I disagree – the reader should not agree with any of the ideology Coriolanus follows from the very beginning of the book. Him being the main character doesn’t mean that the author agrees with his views. And if the reader falls for that narrative for a moment, then that is completely okay – the way I see it, it mainly shows that the character has been written properly (he does with the real life audience the same thing he does with the fictional people around him, tricking them into looking at things from his perspective).

Besides, there is plenty of wake-up calls (though once you get lured in by the narrative they may become less striking), such as the bizarre scene where teenagers are brainstorming how to make a mass execution more interesting. Under a teacher’s guidance, in class, just freely exchanging ideas that will later take a toll on the lives of thousands. That’s terrifying.

Or the entire concept of the monkey cage, the message it conveys; they are locked up in a rundown zoo, out in the open for other human beings to view and mock – as if they themselves weren’t human, as if they were humanoid. Similar, but not developed enough, not bright enough, clever but not intelligent and never equal. And then the privileged masses that put them there dare to act afraid.

That’s disgusting. That’s cruel and absolutely outrageous, and I love how Suzanne Collins has not given up on her expert usage of symbols (another example: the names, but I could go on and on about that), even if I do think some of those metaphors could have been disguised better and not just served on a platter.

( I’m aware this review might come off as void of criticism but it was completely unplanned— my first impression, if you will. )

I though I would wait with voicing my opinion until I finish the book but now I’d rather update this post as I go, as not to forget anything.

I found out about this prequel by pure chance, just because I had been meaning to give the HG trilogy another read after a long break (so chances are I wasn’t and won’t be able to pinpoint all the allusions to the saga).

[love-a-little-less-archived]

So I decided that for my day nine, I’d do a list of some of my favorite fics to give the fandom authors some recognition. Of course, all of our fanfic authors are amazing and I’m so grateful that they do what they do, but these are just a few of my favorites. 

I tried to tag any authors that had a tumblr account, but it’s entirely possible I missed some, so if I did, sorry

This post isn’t super long but it’s pretty damn long so all below the cut

(also do note that my interest in bellarke is only a few months old so I have a lot more clexa fics than I do bellarke sorry)

Bellarke

Canon AU

Set The Dark On Fire by @talistheintrovert (complete)

Okay okay so this is a pretty dark fic, but god is it beautiful. After waking up from Cryo, Clarke and Spacekru try to figure out what to do about this new planet situation, but Clarke isn’t handling it very well and attempts a suicide. Like I said, pretty dark and serious, so if that isn’t your thing don’t read, but it’s amazing

Three Lives, Three Loves, One Face by @these-dreams-go-on (complete)

This fic has a ton of my favorite themes all mashed together and it’s amazing. Basically it’s similar to the Josephine!Clarke situation of s6, but Wanheda is an actual manifestation also inhabiting Clarke’s body so when Josie gets put into Clarke, Wanheda takes over and goes mass murder on Sanctum. Phenomenal fic, I’ve read it so many times and I adore it

Into The Anomaly by @fuckitup-in-style (WIP)

Time Travel AU!!! Starts after s6, but resets back to s1 canon divergence. The hundred all wake up on dropships and they all remember up until their deaths, and then it’s this thing where the mains all take charge and start herding up their crew. Just- if you like time travel fix-its, this is p e r f e c t please read it

And Now You’re Home by @asroarke (complete)

I just read this one recently and g o d is it amazing. After being left alone during Praimfaya, Clarke finds herself becoming desperate after being alone for so long. Until she finds out there’s been a grounder watching her the whole time. Grounder!Bellamy AU, with some accidental pregnancy that just makes it even cuter

Modern AU

I Found Peace in Your Violence by @eyessharpweaponshot (WIP)

I just found this fic a few days ago and holy shit is it a piece of art. I finally went through and read the entire 80k fic last night, it’s absolutely enthralling. Basically, there’s this gene called HTS and Clarke ends up having it, and so does Bellamy, and it’s just a beautiful story from both a romance and a plot standpoint. Such an interesting concept

our stars came in a packet of two by @millipop (WIP)

This isn’t a super long fic, it’s 20k right now and hasn’t been updated in a few months but what’s there is amazing. So the delinquent group is desperately trying to get Bellamy and Clarke together since they’re constantly denying their chemistry, but what the delinquents don’t know is that Clarke and Bell have actually already been together in secret and it’s such a fun fic, highly recommend

Don’t Wake Me, I’m Not Dreaming by grumpybell (complete) (I can’t find their tumblr sorry)

A very interesting AU where Clarke can see into other people’s dreams. She’s been meeting Bellamy in his dreams for years, him being the only person who could actually see her. Guess what happens when they meet in person? Probably not what you expect. Read the fic to find out, you’ll love it

reelin’ through the midnight streets by @detectivebellamyblake​ (WIP)

I haven’t finished this fic yet, but what I’ve read so far is wonderful. Basically Clarke, Bell and Octavia all grew up in a trailer park together, and eventually Clarke has had enough of her mom’s bullshit and decides to get out. Bellamy and Octavia go with her

Clexa

Canon AU

Broken Body, Broken Spirit by @vmplvr1977 (complete)

I love love love this fic!! It basically mashes together the worlds of The 100 and Deus-ex, and if you don’t know what the latter is don’t worry too much, the fic gives all the backstory you’ll need!! Basically Clarke gets severly injured and ends up with augmented limbs, and Lexa, thinking Clarke dead, has some pretty severe reactions to it all. Kind of an enemies-to-lovers, but it’s set after the s2 finale

Clarke Kom Azgeda by FMLClexa (WIP)

This fic combines so many of my favorite ideas it’s amazing. Coming back after a long hiatus, basically Clarke gets sent down to Earth alone and ends up in Azgeda territory. She’s tortured and trained into Nia’s top assassin for years, and eventually gets the order to infiltrate Polis and kill the commander. You can guess how that goes

A Riffle and the Sea by Follower_Of_Mania (complete)

I will say it’s been a while since I read this fic but it’s amazing. Another Clarke gets sent to Earth alone AU, but she gets adopted by Floukru and trained to be a seriously badass killer grounder, like even Lexa is pretty put off by her. Clarke and Lexa develop this really interesting relationship where half the time you can’t tell if they love or hate each other and it’s amazing

Ascendants by whiteleopard1124 (WIP)

So this isn’t entirely clexa, it’s also clarke x luna but it’s clexa enough. Basically Clarke and the hundred get injected with this solution before being sent to the ground, and it causes certain people to develop supernatural powers. But Clarke gets injected with a special serum that causes her to be extra-OP but like in a very very good way

doing the impossible (with you) by snowandwolves (WIP)

Another Time Travel AU where Clarke kills herself and, after having a discussion with the goddess of death herself, wakes up back in time. She (and her accomplices) work out how to rewrite their story and make everything go better than it did last time. One of the best time travel fics, in my opinion

Healer on the Ground by Owlmemaybe (WIP)

This has long been one of my favorite fics, I love AUs where Clarke turns grounder, and that’s exactly what this is. Basically Clarke has a healing talent, so she can heal herself and others on command, and during s1 gets separated from the 100 and ends up with Heda. Another fic that isn’t likely to get updated, but it’s 100k of goodness that you h a v e to read

Whispers In The Dark (Lead Us To The Light) by JadelynDeath (WIP)

This one also hasn’t been updated very recently, but it’s still 50k good words to enjoy. Wanheda!Clarke AU where Death is a real being and takes a liking to Clarke before she even touches the ground, and once on Earth Clarke is an absolute badass in leading the delinquents.

(my) Destruction Within Your Mouth by @entirelytookeen (WIP)

It took me so long to actually finish this fic once I started reading because oh my god the angst, it was actually too much for me. This is a beautifully written story, so many emotions, can’t recommend it enough. Basically, Clarke gets separated from the 100 and ends up temporarily mute while she’s taken in by Heda

She’s a maniac by ChocDog (complete)

Another big-time favorite, this has badass commanders Heda and Wanheda. The grounder culture is different in this fic, but in such a good way. They’re much more tribal than is portrayed in the show, preferring not much clothing, bloodthirstiness, but it’s amazing. Also Bellamy comes in and makes a fuss of things

Through the Looking Glass by RhinoMouse (WIP)

Role Reversal AU where Lexa comes down with the 100 and Clarke is a BAMF Commander of the grounders. It’s been a really long time since I’ve read this one but I remember loving every second of it. Faintly follows the s2 plot, but it’s different enough that not a second of it is boring

Can you See Me? by clexawarrior (complicated)

Okay so basically this story was discontinued, but the author left a summary of how it would’ve played out at the end, so it’s... complicated. But this is another one of my favorites!! Lexa was at the explosion on the bridge and got injured, Clarke brings her back to the dropship to care for her. A lot of sexual tension ensues

From The Ashes by ArchonsVoice (complete)

I love love love this fic!!! So basically the dropship landed in the sea rather than on land, the ship explodes, leaving Clarke stranded alone in the middle of the ocean. She’s rescued by a clan called Tseekru and after years of living with them, has a run-in with our one and only Heda and sets this whole thing going. Amazing fic, so many twists

Returning to Hell by ElseworldKara, littleraider99 (complete)

If you haven’t read this fic what have you even been doing honestly. Set two years after the s2 finale, Clarke leads the coalition beside Heda, and she’s returned to Arkadia to finally tell them to get their shit together or suffer the consequences. Very dark, a lot of character bashing on Abby, Bellamy, and others. An inspiration for many of my own fics

Then There Were Two by TheWorldNeedsMoreOctaven (WIP)

I haven’t read the most recent chapters of this, but it’s phenomenal. ABO universe where Clarke is the only omega sent down in the hundred (later followed by Raven), and they have to deal with the grounders and nature. It’s a lot more interesting than I make it sound, promise. Also very octavia/raven based too

Doctor on the Ground by @underneaththecovers-au (WIP)

Very angsty, very smutty fic. Clarke finds an injured Lexa while out of camp and takes her to the bunker to help her heal. Lexa pretends she can’t understand English, but even with the barrier, things get heated very quickly. You can imagine the chaos when Lexa’s secret gets out. Must-read

Modern AU

Vantage Point by thatoneloser_kid (complete)

This is pretty short, only 16k words, but god is it good. If you like dark!clarke, this is the story for you. Clarke, Lexa, Octavia, and Raven are all a bunch of criminals who run around- saving people?? That makes it sound like a superhero story but no, they’re all badass. Clarke is literally a psychopathic ex-assassin. It’s just an amazing fic

Are You A Kidnapper? (Because You Abducted My Heart) by 707 (complete)

This isn’t normally the type of fic that I like to read but I’m so glad I picked it up. So Clarke and Lexa have this hatred going on between them that’s actually just hidden attraction, and they’re finally forced to address it when they get kidnapped and locked in a room together. This fic has it all, fluff, smut, angst, an amazing plot, it’s just all around wonderful

Make Two Halves Whole by awkwardrainbow, Lexawoodz (WIP)

This one I also don’t remember all that much about other than that it was amazing. It’s been years since it was updated, though, so I doubt we’ll get any more, but what’s there is 80k worth of goodness. Clarke and Lexa meet online through Twitter, living on opposite sides of the US, but still manage to fall in love with each other

breathe into my lips the life i do not have by @ur-the-puppy (complete)

So this is another long-time favorite of mine!! It’s a 36k oneshot where Clarke moves into a house that ghost Lexa haunts but instead of being creeped out Clarke just starts chatting up the ghost and they become roommate buddies. Such a good fic, I highly highly recommend this one

You See the Smile That's On My Mouth (it's hiding the words that don't come out) by heartshapedcandy (complete)

Another fic I need to go back and reread, but I remember being absolutely absorbed in this fic!! Childhood friends to lovers AU, with a fuck ton of angst and confusion and oblivious pining dorks that you can’t help but love it to death. Also a lot of ‘’’’platonic’’’’ kissing

Other AU

Storm of the Heart by @cruellanita-bby (WIP)

Mermaid AU!! Clarke lives on an island where they grow up hating the mermaids that attack their fishing ships, and she hates them too until she finds Lexa the mermaid washed up on the shore, injured, and starts taking care of her. They fall in love and try to mend the relationship between their people. I’ve been keeping up with this one for a while, it’s so good, please read it

Hold Me Till The Stars Dim by @ur-the-puppy (complete)

I’m putting this one down here rather than in modern AU just because of how different it is from most modern AUs. Lexa goes camping with her friends out in the woods, some shit happens, and she meets what’s basically grounder Clarke, with a twist. This fic is so captivating, I loved it

You’re safe with me by I_am_clexa (WIP)

ABO modern AU where omegas are sold as slaves to alphas. Clarke is an omega who is bought by Lexa’s father as a gift to her, but Lexa doesn’t like the way omegas are treated and goes out of her way to give Clarke the best life she could possibly have

Other Pairings

Canon AU

Three Loves (Pieces Of Us) by @kendrene , @bae-in-maine (WIP)

Clarke/Lexa/Anya fic where Anya takes Clarke back to Lexa as a kind of prize, Clarke ends up making an alliance with the Trikru and maybe also falling in love with the commander and her general along the way. I’ve read this fic so many times, but it hasn’t been updated in years. It’s still 150k worth of amazing fic though

Twisted Steel by Steelehart (complete)

A clarke/raven fic where an explosion on the Ark leaves Clarke with two prosthetic arms. Follows fairly closely to the s1 plot once you get into it, but deviates in the later chapters. It’s an amazing fic I promise, please read it

Modern AU

and four makes home by @dreamsheartstory (complete)

This is over 300k worth of Clarke/Lexa/Octavia/Raven, which seems like a lot but I promise you it’s perfect. It’s been a bit since I read this, but from what I remember it’s your typical fall-in-love modern fic, just with the added angst of figuring out a four-way poly relationship

[ariainstars]

Star Wars, the Last 20 Years or Can We Please Try to Stop the Blame Train?

I would like to touch a subject that’s starting to grate on my nerves a little.

Anyone here knows that I disliked The Rise of Skywalker heartily. And I’m not the only person here or elsewhere who tore it to shreds. But I am reading (again) over and over why and how JJ Abrams, Chris Terrio, Kathleen Kennedy and Co. made this mess. Instead of searching for culprits, this time I would like to point out a few things.

I. Star Wars Prequels

Jake Lloyd, Ahmed Best and Hayden Christensen had to endure awful harassment in their time: the audience largely vented their frustration on them because when the prequels hit theatres, they did not get the Star Wars they had wanted. Politics are a dry subject, and young Anakin and the Jedi Council were all too human to be liked by fans who expect coolness in a hero more than everything else; which is probably why Darth Maul is a huge favorite although we hardly learn anything about him and he says almost nothing. Ditto Obi-Wan although he is clearly not suited to train Anakin and it’s him who maims him and leaves him to burn in the lava. (Until I saw the film, I had always assumed Palpatine had tortured Anakin to push him to the Dark Side.) 

The prequels’ messages in general were not liked: the Jedi were not perfectly wise and cool wizards, the Old Republic was stagnant, Anakin was a hot-headed, frustrated young man desperate to save his wife and unborn children. The films do not want to excuse what he did; however they portray him not as a monster but as a human being who was under an almost unendurable pressure for years and years until he finally snapped.

These messages may not be “cool”, but they were realistic and most of all, humane. Portraying the Jedi as well as Anakin as powerful, flawless heroes and the old Republic as a just, prosperous and balanced place would have meant undermining a central theme of the original trilogy: the former generation could not have been all that powerful and wise, else the collapse of their world and the failure of their convictions would not have happened in the first place. It is a sore point, but still twenty years later Obi-Wan and Yoda denied that Vader was human and expected Luke to commit patricide. 

All of this goes to show that the Jedi’s moral standard was flawed and their attitude not rooted in compassion and pacifism the way they claimed. In the end, what they cared about was winning, no matter the cost. In this, they were no better than the Sith.

~~~more under the cut~~~

II. Star Wars Sequels

J.J. Abrams, Kathleen Kennedy, Bob Iger and company were the ones who introduced the Star Wars sequel trilogy and with it its themes, characters, setting etc. to us in the first place: I think we should give them credit where it’s due. Rian Johnson made a very beautiful second chapter with The Last Jedi, but he did pick up where the others had left. 

Kelly Marie Tran made experiences similar to Jake Lloyds or Hayden Christensen’s when The Last Jedi was hit theatres. She was disliked for not being “Star-Wars-y” enough, chubby and lively instead of wiry and spitfire, and also taking a lot of screen time while many fans were impatiently waiting for some grand scenes from Luke and / or Leia. 

That Episode VIII, the central and most important one, was called “The Last Jedi” cannot be overstated. Luke was literally alone with the heavy task of rebuilding a religious order that was gone and destroyed long before he even learned about it, and at the same time he had to patch together his own family and atone for his father’s sins. This is a crushing burden for anyone to carry. It was important both for Rey and for the audience to meet Luke to see that he was a good man, but still just a man.

When Luke spoke openly to Rey about the failure of the Jedi Order, it was the first time he ever spoke about it that we know of; this wisdom he obviously acquired only after his nephew’s fall to the Dark Side. Luke has understood that the ways of the Jedi were wrong; but he does not know a better alternative. Force users are still born all over the galaxy, and they have to learn to use their powers - only how? Again, Luke is not to blame. How is he to know, when the Jedi of the Old Republic had lost sight of Balance in the Force for so long that they didn’t know what it actually meant anymore? 

Same goes for Leia, the princess without a realm, who tried to rebuild the Republic after the galaxy had been terrorized by the Empire and devastated by war for many years. She assuredly did her best, but she was only human. That she failed her son is of course shocking, but after the horror she had to endure at the hands of her own father it is not surprising that she would be terrified of her son possibly going the same way. Ben, like Anakin, was crushed under a legacy and responsibility that was by far too heavy for him. The tragedy of his life and the disruption - and in the end, obliteration - of his family was another proof for the failure of the ways of the Jedi. 

All of these lessons until now were not learned from. But let’s be honest: how many of us come from dysfunctional families? If we do, was getting away from them enough to heal the wounds of the past? Did we find out what to give our children on their way in life, or did we fail them because we had not elaborated the past enough to make way for a better future? Such problems are very common, and to heal them is complicated and takes time. A “happy ending” e.g. in form of finding a new family is not enough, on the contrary, it can lead to wanting to leave the past behind, leaving wounds unhealed that will fester their way through our lives again, sooner or later. Star Wars always was an allegory of the human mind, even if deeply cloaked in symbolism. The saga also abundantly takes inspiration from the Bible, and I think it’s not coincidentally said there that the sins of the fathers are visited upon the children. 

As fans, we would have wanted to see films that cemented the Jedi as guardians of the galaxy, with the Skywalker family right at the center. Which in itself is impossible because Jedi are supposed to remain unattached, making the mere idea of a Jedi having a family absurd. If the prequels told us that the Jedi were flawed, the sequels tore down the myth of the Skywalker family. And both trilogies showed that you can’t be a Skywalker and / or a Jedi / Force user and have attachments and a happy family of your own at the same time. At least, not until now. 

 III. Film production

Many fans of old complained because the sequel trilogy implied that the “happy ending” of the original trilogy’s heroes had not been so happy after all and that after having made peace for the galaxy, they had failed to keep it that way. Other viewers however liked the new trilogy and new characters right away and began to root for them. But they, too, jumped on the blame train when the trilogy had ended: expectations were not met, and now director, producers, script writers, cutters etc. are faulted all over again.

The first person coming up with the idea of Han’s and Leia’s only child turning to the Dark Side was Lucas himself. It always was a main theme of the saga that war separates people who actually belong together, like family, couples or close friends; that is not played for mere drama, but because it emphasizes the absurdity of war.

We as the audience do not know how production went - it is very possible that Lucas approved the general storyline, and there is always a whole team on board. It is not easy to purchase such a large and immensely popular franchise; it was to be expected that if things went not the way the audience expected, the Disney studios would be blamed harshly for having “ruined Star Wars”. With the prequels, at least Lucas was still at the helm; it was conceded that maybe he had lost his magic touch with storytelling, but certainly not that he was trying deliberately to ruin his own creation. And the fans who could not praise the Disney studios enough after The Last Jedi came out, now blame them over and over.

The Disney studios have long-term politics to consider and contracts to observe, and we don’t know their contents. We have every right to be disappointed, but I think it’s not fair to blame one or a particular group of persons who are trying their best to satisfy as many viewers as possible. If they simply wanted to satisfy the average dudebro who sees nothing but clichés, two-dimensional characters and Good against Evil - then why did they allow The Last Jedi to be produced in the first place? The studios obviously are aware that there are fans out there who are ready to look deeper in the saga’s themes, who wish to see the Force coming to Balance, who value family, friendship and love over “victory at any cost”, and who do not place the Jedi on some kind of pedestal.

In a sense, The Rise of Skywalker seems like a bow before The Last Jedi: the weakest chapter of the saga followed one of its strongest. Maybe the authors were aware that equaling or even topping what Rian Johnson had created would be next to impossible, so they patched up the open threads of The Force Awakens together with some fan service hoping to be out of the business as quickly as possible.

In retrospect, the infamous podcast with Charles Soule might also be tell-tale: Soule obviously is not elbows-deep in the saga and largely ignores its subtext. Since his The Rise of Kylo Ren comics are quite well-made, I assume that the general storyline did not stem from his own creativity and that he only carried out what he had been advised to do. The production of the whole sequel trilogy may have happened in a similar way. I am not excusing the poor choices of The Rise of Skywalker; merely considering that one or a few persons cannot be blamed in a studio that has thousands of creative minds on board.

I am still hoping for the next trilogy to finally bring Balance to the galaxy, and also into the fandom. Rian Johnson had negotiated the rights for the next trilogy along with The Last Jedi; I assume it is very possible that there was a clause about intellectual property saying that only he would continue Episode VIII’s topics, nobody else. This would at least be an explanation, given the embarrassing, jumbled mess that Episode IX was.

The overall title of the saga assuredly never wanted to inspire the audience to start online wars attacking the studios or the actors or other fans out of the conviction of being entitled to blame someone else’s worldview. The saga’s message is compassion. Both George Lucas and the Disney studios are telling us their story; the idea and the rights do not belong to us. Harping on “whose fault” it allegedly is won’t bring us anywhere; what we can do is make the studios understand that we’re not too stupid not to understand the subtext, the symbolism and metaphysics of the saga beyond the action story. If they listened to the Last Jedi haters, in all fairness they are bound to listen to us, too. 😊

  IV. Will Ben’s story continue?

My husband already warned me years ago that Ben most probably wouldn’t survive, or at least not get a happy ending. As Kylo Ren he had already been the head of a criminal organization for six years at the start of The Force Awakens, but all of that perhaps could still have been condoned within the scope of war. It was the very personal and intentional act of patricide, the killing of an unarmed, forgiving man, who turned him into a damned person. And after the deed, Ben was aware of it. He knew there was no way out for him, he had gone too far.

Many members of the audience did not understand that Kylo / Ben is not an out-and-out villain and that this narrative ultimately was about his redemption. Bringing him back to the Resistance after the Exegol battle alive and by Rey’s side would not have been accepted; how was Rey to explain everything when she hardly understood it herself? How would the audience have reacted to the former head of a criminal organization, a patricide, suddenly standing out as a hero? Remember how in Return of the Jedi Luke asked Vader to come away with him. Now suppose Vader had complied? It would have seemed (and been) sheer madness. Nobody would have believed neither father nor son that the terror of the galaxy had had a sudden turn of heart. Nobody knew that he was Luke’s father; Luke himself did not know Anakin’s backstory; nobody knew what had transpired between Luke and Vader so far. Yes, Ben was young and healthy, but he still had terrorized the galaxy for years and killed his own father. He knew himself that he was damned and could not go back to normality, as Vader did.

Rey was coded as the heroine: narratively, the sequel trilogy was her story. Ben couldn’t become the hero, with or without her, at the very last moment. She usurped power like her grandfather in his time, the Skywalker family was obliterated the way the Jedi were, she takes over another mantle (Skywalker) the way Palpatine did (becoming the Emperor). Balance in the Force never was truly in the cards, it was only vaguely hinted at in The Last Jedi by the Force mosaic in the Ahch-To temple. Balance is a complex and difficult subject; it would have been extremely difficult to develop it in the sequel trilogy together with introducing the new characters and giving the old ones closure.

However: if Ben is brought back in the next trilogy, his sacrifice for Rey will have been his atonement. If his role this time is not that of the villain but of the hero, it would reverse Anakin’s path and make clear that he no longer is the same man. Vader was redeemed, not rehabilitated. His grandson might still have the chance to go that way.

- Luke had promised Rey a third lesson, and it happened. He also had promised Ben to “see him around”, which has not taken place yet.

- On Tatooine, Rey watches the twin suns setting, same as Luke before he met the other half of his soul (his twin sister) again.

- The studios had said that the sequels would be “very much like the prequels”; the prequels were a tragedy where the Dark Side (Palpatine) won that was followed by a fairy tale where the Light Side won.

- The Skywalker saga is closed, so if Ben comes back it would be justified by his being a Solo, i.e. the story of his own family and not his grandfather’s.

- Given the parallels with Beauty and the Beast, the Beast died before the broken spell brought him back, making him a wholly new person - his past identity, purged and redeemed.

- George Lucas repeatedly said that the prequels and the classics belong together as one narrative, with Anakin Skywalker at its center. First news of the next trilogy came up with The Last Jedi. Since there are strong parallels between Ben and his grandfather, we may assume that this six-chapter instalment will be his; Anakin also was left for dead but came back with a wholly different role and name.

- When Anakin was reborn as Darth Vader, he “rose” slowly from the ground, clad in his black armor. Ben fell to the ground abruptly and shed his black clothes, disappearing. This could be another clue. (It was also already speculated that Leia’s body dissolved exactly in this moment because she gave her life-force to her son for him to have another chance to live. Both Han and Luke had done what they could to atone for their remorse towards Ben; this might be her turn.)

- Much as I love Luke Skywalker, I can understand that Lucas did not see him as the saga’s protagonist. The overall arch is not so much about Luke’s heroism than about Anakin’s redemption and atonement. It is unusual because we expect the story’s “hero” to be the one who kills the Bad Guy; and indeed Anakin is, because he kills Palpatine in the end, the twist being that technically he is also a villain though not the archvillain.

- Ben had promised Anakin he would finish what he started. Anakin had been meant to bring Balance to the Force, and he had started a family. Until now, Ben did neither.

- If Ben and Rey are a dyad, i.e. one soul in two bodies, then Rey is in urgent need of her soulmate for her future tasks. She has her friends of course, but none of them gets her the way he did.

So, I still see reason to hope for a continuation, and, hopefully, satisfying conclusion of The Last Jedi’s themes.

  Film production: on a side note…

In the Nineties, Kirk Wise and Gary Trousdale were the directors both of Beauty and the Beast and Atlantis: two more different stories are hardly imaginable with regard to everything - drawing style, setting, characters, development, music etc. This outcome can’t have been only due to the director’s choices, there must have been a wholly different idea behind both films right from the beginning. Just saying.

[immaturityofthomasastruc]

I really don't get the complaint about Ironwood. His descent into a villain honestly made perfect sense.

Okay, look. Before I begin, let’s just get one thing straight. The way I view Ironwood is mainly my opinion, and it is not an objective fact. Love or hate him, I hope we can all have an intelligent and rational discussion on the way General Ironwood was portrayed, okay? Okay.

My problem isn’t necessarily how Ironwood became a villain in Volume 7, but rather, how he acted as villain in Volume 8, and what the story was trying to say about him and his actions. Buckle up first, there’s some infodumping to be done before we get there.

Now, for those who haven’t seen RWBY (and be warned, spoilers are obviously ahead), General James Ironwood was a supporting character introduced during the show’s second “Volume”. He was in charge of all the military forces of Atlas, the most militaristic of the four main kingdoms in the world of the show.

He had a bit of a bad reputation in universe for bringing a lot of his troops to Beacon Academy (where the first three Volumes took place) for a fighting torunament to serve as security. Long story short, thanks to an act of sabotage from the villains, an army of monsters called Grimm and a faction of former equal rights movement turned terrorist organization known as the White Fang attacked Beacon, killing a lot of people and forcing the survivors to retreat.

Ironwood had a handful of scenes in the next Volume, showing his support for one of the main characters, Weiss, and donating a robotic arm to another main character who had lost hers in the Fall of Beacon, Yang. After, that, he was mostly silent until Volume 7, where our heroes made their way to Atlas to deliver one of the four MacGuffins the main villain Salem needs to Ironwood.

We see that since the Fall of Beacon, Ironwood has been stretched thin in protecting Atlas over the run down town directly below it, Mantle. It’s clear that Ironwood can’t really keep up with handling both towns, to the point where not only is Mantle protected by a single robotic supersoldier named Penny, but Ironwood is also diverting supplies meant to fix a wall to keep Grimm out of Mantle in favor of working on converting the same stadium used for the tournament in Volume 3 into a satellite to restore global communication, which had been down since the Fall of Beacon.

The heroes are naturally conflicted about their loyalties to Ironwood, as while he has given them his trust, they don’t really trust him to tell him some of the secrets they learned. Blake and Yang, two of the heroes who have always been more opposed to authority, leak classified information regarding the satellite to the leader of a group of freedom fighters, Robyn Hill (who is actually voiced by Christina Vee), who at this point, was someone Ironwood viewed as a threat. 

Now you could make the argument that these college drop-outs are severely unqualified to handle a tense situation that even a seasoned veteran like Ironwood is struggling with, but the point is when Ironwood finds out, he’s pissed. It’s really not hard to agree with him when you consider everything he’s done for Team RWBY and their friends only to be betrayed like this. So Ironwood declares all of the heroes fugitives and place a warrant for their arrest

At this point in the story, you can understand both sides of the argument regarding how to handle the situation. Ironwood’s anger is very understandable, and while he acts as an antagonist to out heroes, he’s not really a villain.

And that’s when he shoots a fourteen year old child. Granted, he currently had the soul of an old friend of Ironwood in him, but Ironwood literally just tried to murder someone, and almost succeeded.

Volume 7 was very polarizing among RWBY fans for the portrayal of Ironwood. It doesn’t help that when Salem, the main villain of the series, launched an invasion of Atlas, Ironwood’s plan was to launch Atlas and keep Salem from getting the MacGuffin, essentially distancing it from the rest of the world... when Volume 7′s final episode aired in February 2020.

Now, you would think, after being forced to stay in their homes to minimize Covid deaths, the writers would understand what they were antagonizing Ironwood for was basically what every government in the world did a month after they finished work for the Volume, and maybe realize that maybe they shouldn’t portray someone like Ironwood as a complete monster.

Volume 8 opens with him killing a councilman who disagrees with him. And it all goes downhill from there.

This Volume goes out of its way to portray Ironwood as a genuine psychopath, mainly to stop the people who agreed with him over Team RWBY from supporting him. He does things like working with one of the villains to achieve his goal, gives his soldiers permission to torture people for information, and after Salem is neutralized temporarily, rather than continue to evacuate Mantle like he had originally planned before the villains and Team RWBY screwed up his plans, he decides threatening to bomb Mantle to use as leverage is a better idea.

And then there’s the whole idea the the writers want to treat Ironwood losing his arm in a fight and replacing it with a robotic one like Yang as a symbol of him “losing his humanity”. It’s... kind of insulting when you realize that Ironwood is a man suffering from PTSD, and the show is basically demonizing anyone who uses prosthetics in their daily lives, or is traumatized from war.

I’m not saying Ironwood is just like Chloe, but the way both narratives choose to demonize both characters to spite their fans is why I draw the similarities in the first place.

There’s also the fact that the writers claim Ironwood is acting this way because of his Semblance (they’re basically Quirks from My Hero Academia) giving him an iron will that won’t make him change his mind on his decisions... when it’s never addressed in the show, is only mentioned at a fan panel, and not even Ironwood’s voice actor knew about this until a fan told him. It’s a stupid way to handwave away the criticisms that Ironwood is acting out of character, and is universally considered by fans to be the dumbest Semblance in the show.

But overall, the point I am trying to make is that instead of portraying him as this morally grey villain who merely opposes the heroes because he has a different way of solving problems, the writers decide that isn’t a good thing, so they demonize him just to make Team RWBY and the heroes (who many have claimed do a lot of bad things this Volume) look better by comparison.

I’m sorry if you disagree with me, but I just want to understand that I am not trying to attack anyone who hates Ironwood. Like Adrien, I don’t hate the character entirely, I just don’t like the way he is handled, and simply prefer his fanon self over what we got in canon.

[lordeasriel]

Would you say the characterisation of Lyra in the hdm books is sexist? Feels like she is diminished in book 2 and 3 and ends up much more constrained and trapped in the "docile woman" role (which is weird to me bc she is so bold in book 1)

Oh, hello anon, this is a tricky question because I think yes, it is and also no, it isn't and I will elaborate lmao

Yes, I definitely think Lyra's portrayal in TSK and TAS is rooted in sexism, but I don't think Philman did so deliberately. I don't think he woke up one day and decided to downgrade Lyra's character throughout the series. Her character - and that of most if not all women in the series - follows a certain pattern in how they're written and that is certainly rooted in how he was brought up, and sure he is progressive enough for a man who grew up through the 50s and 60s. For today's standards that just won't do, but when reading older authors and older books, it's important to keep this idea in your mind, especially while doing analyses. So this is why I think Lyra's portrayal is rooted in sexism, but it probably wasn't something deliberately done.

I hate that portrayal of hers in the following books and I don't think there are any excuses for that; I see some people say she changed because of trauma, but nonetheless, her docile attitude is never explained in the books, which in itself alone it's bad. It's not even addressed, she just changes overnight. I remember being super excited for TSK and then reading a few chapters and being so, so disappointed. Will was awful, Lyra was downgraded to his stupid sidekick, no Asriel, very little Marisa... It was a bad experience overall lmao

Lyra being docile and lacking assertiveness - which do not match her behavior in book 1 - is the most disappointing thing for me. Growing up, I never had female main characters that I could see (I only read HDM at 18) unless they were a girl having to choose between two dudes, which to me always felt silly. This is a recurring problem in literature, you always find female protagonists being overwhelmed by a male side-character. It's not different in HDM, it's just considerably better written and hidden behind a curtain of "this is based on Paradise Lost." It's YA at its core and like YA, it commits virtually the same sins.

But Lyra's changes in behavior shouldn't have been surprising, because Mrs Coulter also changes, and all the women are written vaguely the same. Philman has a couple of patterns he follows (intentionally or not, it doesn't matter, this is where your cultural and social upbringing takes its place in your writing) and they are somewhat similar between themselves:

1) The Mother: most women in the series either play maternal roles or are actual mothers. They all have a sense of caring, healing and nurturing that is displayed as natural to them, and they often are found caring for their offspring or in a similar role towards unrelated characters. (Such as Hannah for Malcolm, in case you read TBOD, or Mary towards Will and Lyra). Lyra already displays some nurturing skills when she helps Iorek in book 1, but as the series progresses, she becomes less independent and begins to exist solely to serve as Will's motherly guide: changing his bandages, serving his Will, the only exception being her decision to go to the land of the dead. This also happens to Mrs Coulter, as her arc ended with her realising how much she loved Lyra and how this feeling overwhelmed her and changed her. It's disgraceful, but I'm saving this for my Mrs Coulter post because I have too much to say lmao All the Gyptians we meet are women serving men and acting as mothers and the witches whole culture is about reproducing. Womanhood is haunted by motherhood, apparently.

2) The Lover: now this as trope is tricky, but it happens in HDM. Both Lyra and Marisa tame their wildness in front of their "lovers" (I hate calling Will a lover but there u go), becoming malleable and less assertive, Marisa still escaping this trope because she was a vastly better written character than half the women in HDM, but at the end of books 1 and 3, she is very much downplaying herself in favour of Asriel. For Lyra, this happens way before she considers liking Will, and this is why I hate it: I know Philman could have done a better job with this, he didn't have to hide Lyra's savagery and wildness just so she could kiss a piece of shit of a boy. The Witches are examples of women written as lovers too, in fact, like the mother trope, their whole culture is based on this. They are young-looking, beautiful, sensual women (all slender *coughs*) that seek men and become obsessed with them unless they fuck them. THAT is fucking insane; sure, on its own I wouldn't mind as much, but together with everything else, writing the women, who are supposed to be the opposite of what "good women" in Lyra's society should be, as crazy sex driven is just. Something Else. Not to mention the fact they threaten men's lives. I mean this one is pretty bad as it is.

3) The Elderly Woman: now, this one also is tricky because as a trope it is versatile, but I'll try to be quick. If you are not in the range of fuckable (of age and/or body type) you fall into this category. Crazy, I know, but when you look at it it's exactly what happens. The women portrayed as desirable or attractive, they all fall into the lover category, and occasionally the mother category, but some women aren't written as sexually desirable, so they just end up as old ladies who are helpful/unhelpful. Hannah Relf is the biggest example of that, but you have other women here too: Miss Charmichael, Sister Fenella, Sister Benedicta, Will's piano teacher. In fact, if you read La Belle Sauvage, you'll realise that not even the nuns escape the trope: the younger nuns are still sexually desirable, so they fit into the lover category, and they all tend to be motherly towards Lyra.

So there you go: sorry for derailing this, but I think this is a tricky question that I can't just answer with yes or no. It runs much deeper than that in the series; it's not just a Lyra problem, although Lyra's issue is the biggest one in my opinion; it was so disappointing to read I nearly dropped the series altogether. And I plan to write two metas that will touch on this subject, but for now, this should do. Thanks for the ask!