#well hate is strong. if it works in the narrative I can go with it

[dulcewrites]

have you read You Deserve Each Other? I was reading and it kinda reminded me of Myrah and Aemond, in the whole constantly miscommunicating

I have not! But I’ll def look it into

[yarrayora]

i like how falin being a maiden to be saved, a reward to be coveted, isn't a point to criticize in dungeon meshi. because we have various other female characters who are written as having their own agency

we have marcille, of course, whose story can be observed since chapter 1. how she's not depicted as the "girl team member" but "part of the team". when you're writing a protagonist group where there's only one female character among the male cast, you can always feel this sense of alienation in the writing, like she doesn't belong in the group as the story focuses on the rest of the boys. the way masashi kishimoto writes team 7 is a major example

but marcille is still allowed to be a "typical girl" who doesn't want to eat gross things and enjoy feminine clothing without forgetting the fact that she's a multifaceted person. she's a researcher who isn't afraid to get dirty when it's something relevant to magic and her goal, even though she's also grossed out at the idea of feces being used as fertilizer for crops

and when falin comes back as a monster who can't speak, it's still not a point to criticize. oftentimes stories involving female characters losing their speech (or, well, becoming disabled in some way) is meant to make her vulnerable, a fragile 'something' to be protected. but this is not an argument about how chimera falin is super strong, because that's a shallow way of thinking that ignores the fact that being a Girlboss doesn't ensure your female character is written as a fully realized person. this is about the fact that almost right after that Izutsumi joins Laios' party.

She joins late in the game, so it'll be easy for her to only be tacked on as an afterthought. A notable example would be Okumura Haru from Persona 5, where her character gets overshadowed a lot by the other party members' more colorful personalities, as if the writer wasn't sure how to integrate her into the already developed dynamic.

there's also how she's written as a sweet and shy girl yet the way her school uniform is designed betrays that image. it's heavily customized even compared to the trendy girl like ann which means it's impossible for her outfit to not go against school regulation. not something an obedient girl would have done. which makes me wonder if they couldn't decide on her writing until last minute.

but Izutsumi is different. her involvement and her own personal story arc eventually intertwines to the overarching plot. she hates having her options limited. she hates having responsibilities to uphold. she hates eating veggies! she hates that people expects her to do things their way! she wants freedom to do whatever she wants!

but in the end she learns that to have the freedom to choose, she has to uphold her responsibilities. starting from the simple things like taking care of her health by eating balanced meals, not just the ones she enjoy. she has to do work to get enough money for her food and travels. and she has to learn how society works so she can live independently. she has to learn which desire she has to prioritize that she can balance out with her responsibility as a living being.

her own self-realization culminates into her giving advice to laios that leads to him steeling his resolves to become king.

so you have Falin, who gets turned into a monster that cant communicate her desire and needs while under the mad sorcerer's control, and in exchange you get Izutsumi, the 'beastman' who knows exactly what she wants and throws a tantrum about it without shame, not understanding that what you want isn't always what you need. i think it's a really cool parallel!

this is a prime example of how tropes that get associated with misogynistic writing can be used as a proper tool that serves a narrative when you have more than multiple female characters having their own character arcs

in fact, you can apply this to pretty much every other things. when you're writing gay characters, having only one of them and they act camp can make people raise an eyebrow at whether this is meant to be a caricature of gay people or not. having two of them and one acts camp and one acts normie can be read as a bias against gay people expressing themselves. writing multiple gay characters, all with different personalities and desires will avoid accidental stereotyping.

even the minor female characters, be it the canaries or namari, help show that the way the narrative treats Falin isn't born from thinking that women are an alien breed compared to men. that her lack of agency means something for the themes involved.

[shsl-analyzer-guy]

got a totally random rush of Emotions about Chihiro's gender so hi let's talk about how the entire account of Chihiro 'totally being a cis dude guys' is told by Monokuma, the guy that later goes on to fake a suicide note and falsify an entire class trial just to be pissy. Ah yes top 10 most reliable narrators ever of all time, yes, yes, very convincing

Not to mention in the exact same fucking motive he's very obviously purposefully warping the truth and lying to the cast's faces?? Within the 'embarrassing memories' motive Mondo's is a warped version of the truth. "Mondo killed his own brother" but he didn't, and just about everyone is able to grasp that one. He indirectly led to the accident, but Daiya made his own choices. So wouldn't the same logic apply to Chihiro's motive? "He dresses like a girl but actually is a boy" sounds like you're actively warping her own life experience to send her into Despair.... which is Monokuma's primary character motive.... crazy how that works........

And now, a compilation of every line Chihiro delivers in her own backstory, without the narrative padding from Monokuma explaining to you why this is totally her hating being a woman and wanting to be a man

"Now nobody will be able to say anything about 'even though you're a boy'..."

"I'm... weak... Weak, weak, weak, weak, weak, weak, weak, weak...!"

"Now's my chance..."

"I'm going to get stronger... and accept who I am..."

"Strong enough so that when someone says 'even though you're a boy' it'll be okay. I'll get better!"

"Maybe talking to Mondo about it will help give me some courage..."

So yeah, once you pull out the unreliable narrator. You get like, 6 lines total. 1/3 of which specify that she IS AFRAID of people saying "even though you're a boy". Now, call me crazy, but if we're genuinely arguing that Chihiro is a cisgendered man, why the hell would she say the equivalent of "I need to accept being a boy. Gee, I sure hope no one calls me a boy while I do so!" That's. That's inherently contradictory. More than anything, looking at Chihiro's lines as the most reliable source of Chihiro's thoughts about herself, it starts to look less and less like a man who wants to rise above being gnc and be a true manly man, and more like someone who's about to get fucking outed and mocked by Monokuma and trying to do damage control, steeling herself to be called a man and strengthening her mind and body to prepare for said outing.

Earlier in chapter 2, Chihiro is already thinking of starting to try working out, but is too afraid to enter the lockers because she's well-aware she can only enter the boys' locker rooms. The inference that Makoto comes to is that Chihiro is an individual trapped in a killing game that couldn't defend herself verbally in the library the morning prior, and is visibly the physically weakest in the class. Ergo, perhaps she wants to be able to defend herself better? Well, neither of those facts that lead to said inference magically change after the discovery of her dick, so perchance, the reason she wanted to get stronger was still so she could defend herself both verbally and physically?? The ONLY reason you'd have to come to the conclusion she wants to reconnect with her assigned sex is because she is being actively threatened into it by Monokuma's motive, or if you take Monokuma's story at his word, that he'd speak respectfully of the dead. Just like he did with every other character in that game, right?

Also, it's worth noting that in the actual conversation-turned-spiral between Chihiro and Mondo before Chihiro's death, neither Chihiro nor Mondo actually talk about Chihiro's gender, only her strength and desire to destroy her weakness. Yes, Mondo is using he/him in the voiceover, but the entire class is atp, and again. Using that as genuine evidence falls flat because we see in that very same scene that Mondo WAS NOT completely present for that conversation. He saw Chihiro's willpower and spiraled, conflating Chihiro with his brother and lashing out in a ptsd-induced blackout.

Also also, if you're gonna argue Chihiro has no reason to need to get physically stronger unless it's to be more masculine, A) Sakura exists in the same game, and B) please god look up any statistics on the amount of violence trans teens receive. That alone is a perfectly reasonable justification for a trans woman to want to be able to defend herself, especially when locked in a place where you cannot escape your potential aggressors.

TLDR Chihiro is legitimately more believable as a trans woman, and every intervention attempting to explain otherwise comes from a character defined by his love of twisting the truth for the sake of causing suffering. Hi hello does anyone hear me

[hauntingofhouses]

We all already know Mizu and Akemi are narrative foils. But you know what? Lemme just say it, here's what I think:

Taigen and Mikio are foils.

Not necessarily to each other as individuals in the way that Mizu and Akemi juxtapose each other, but mostly in the contrast between their relationships with Mizu.

I've covered specific parallels between Taigen and Mikio in other posts I wrote; but as the number of parallels I'm noticing between them keeps piling up, I'm compelled to just compile them all in one post. So! This is, thus, the post in question.

First of all, let's look at their similarities.

1. Their status in society is the same. They are both samurai who lost their honour and have dreams of reclaiming it.

2. They are also both diligent as they strive to achieve this goal, they both care deeply about their work, but here as they begin to contrast, as the work in question and way they go about their goals is different:

For Mikio, his work is in taming and rearing horses; in order to prove himself, he must tame Kai—a willful and strong horse—and present it to his lord. For Taigen, his work is in sword fighting and martial arts; in order to prove himself, he must kill Mizu—a willful and strong swordsman—and present her dead body to his lord.

In the parallel above, not only are Taigen and Mikio contrasting each other, but Mizu and Kai are placed in comparison as well. And of course, Kai is Mizu's horse, and represents her. Which is why, when later, Mikio sells Kai off, it represents the way he is tossing Mizu (and their relationship) aside.

From there, the rest of the details of their character begin to contrast and juxtapose each other more clearly. So let's look at those differences, shall we?

Their backstory:

Mikio was a great samurai who was banished. A somebody to a nobody. Taigen was a fisherman’s son who rose to the top. A nobody to a somebody.

2. The first time we meet them on-screen:

Mikio is an adult. An older man. Mizu's superior in age. He is Mizu's to-be husband. A love interest. Taigen is a child. A young boy. Mizu's peer in age. He is Mizu's bully. An antagonist.

3. Their maturity and growth:

Mikio is mature, but stuck in his ways. Taigen is immature, but capable of changing and learning.

4. Their overall attitude:

Mikio is generally relaxed, easy-going and unfussy. Taigen is uptight, irritable and severe.

5. How they talk to and conduct themselves around Mizu:

Mikio is aloof, soft-spoken, and serious. Taigen is obnoxious, brash, and sarcastic. Mikio is quiet, speaking only when spoken to, even when Mizu turns to smile at him and shows openness to be near him. Taigen is loud, talking while others are silent, even when Mizu turns from him and shows no interest in conversing with him.

Mikio doesn't show much of who he is to Mizu throughout their marriage, despite their growing affection. Taigen openly shares his traumas and life story to Mizu during their brief alliance, despite their mutual antagonism.

6. Their external vs internal selves:

Mikio is calm, gentle, and considerate on the outside. Taigen is hot-headed, rude, and selfish on the outside. Mikio is cowardly and deceitful on the inside. Taigen is brave and loyal to a fault on the inside. Mikio tells Mizu that he wants to know and see all of her. But he scorns and betrays her, the woman he loves. Taigen tells Mizu that he wants to duel and kill him. But he endures torture to not betray him, the man he hates.

9. Their hair, a symbol of their honour:

Mikio's topknot is untied by Mizu during their spar. This humiliation occurs in private, the two of them alone in a rural location where no one can see them. Taigen's topknot is cut off by Mizu during their duel. This humiliation occurs in public, the two of them being watched by many others in the Shindo Dojo.

10. Their power dynamic with Mizu:

Mikio believes he is Mizu's mentor. He teaches her to throw knives, how to ride and care for horses, and about the tactical benefits of using a naginata. Taigen believes he is Mizu's equal. He views Mizu as a samurai like himself who received all the same teachings he did, and who possesses the same values.

11. Their perceptions of Mizu:

Mikio sees Mizu's feminine side first. He sees her as sweet and gentle, but also clumsy and incompetent. Taigen sees Mizu's masculine side first. He sees her as terrifying and deadly, but also strong and skilled.

12. The way they approach sparring with Mizu:

Mikio only spars with Mizu once. As the fight progresses and she is beating him, he tries to put a stop to it. When she teases/provokes him, he starts taking the fight personally and seriously, finding no enjoyment in it. Taigen spars and brawls with Mizu all the time. No matter how many times Mizu beats him, he doesn't back down. When Mizu challenges him with a chopstick, he is eager to compete with her and gladly rises up to the challenge.

Mikio and Mizu's one and only spar is a friendly match; Mizu is smiling and having fun while he grows increasingly frustrated. Taigen and Mizu's last-seen spar is a playful wrestling match; both him and Mizu are having fun and laughing.

Mikio cannot deal with Mizu being better than him, so he scorns her and walks off, avoiding her thereafter. When Taigen cannot deal with Mizu being better than him, he follows her to observe her moves and continues training in hopes to eventually beat her. After being bested by Mizu once, Mikio leaves her and sells the horse he'd previously gifted to her. After many times losing to Mizu and fighting alongside her, Taigen commends her and admits she is better than him.

13. When Mizu pins them down in a friendly spar:

Mikio sees Mizu's whole face objectively. Taigen stares at Mizu's mouth and eyes.

Mikio gets angry when she kisses him, throwing her off of him and snapping at her, calling her a monster. Taigen gets aroused, apologising, so she pulls herself off of him.

14. Mizu's blue meteorite sword is a reflection of her soul. She believes most are undeserving to face it, let alone hold it. And on that note:

Mikio is the first person (chronologically) that Mizu fights against using her sword. Taigen is the first person (we see on-screen) that Mizu fights against with her sword. Mikio is the first person (chronologically) to ever hold her sword, as she passes it to him, letting him wield it. Taigen is the first person (we see on-screen) to ever hold her sword, as she passes out, and he picks it up and carries it for her.

15. Then, last but not least, in Fowler's fortress, when she is drugged and in pain, she hears Ringo's voice in the dungeon. She then follows it to an open cell:

Mizu first sees Mikio as a hallucination, the sight of him haunting her and causing her to lose her grip on reality. Her eyes glow a surreal blue to represent this. Her Mama appears then and says Mizu's name accusingly.

Mizu then sees Taigen, but he is real, the sight of him a relief and grounding her back to reality. Her eyes return to their normal blue colour to represent this. Taigen looks at Mizu weakly and says her name softly.

Then, later, when facing Fowler, her revenge awaiting her, she instead chooses to follow her conscience (represented by Ringo's voice in her mind), putting aside her vengeance for a time, in order to save Taigen.

So that's basically all the ones I've noticed so far, but even then, I feel there's already so much that forms a contrast between these two.

What makes it especially incredible about these juxtapositions is that Mikio was Mizu's husband, the man she had fallen in love with, the one person she had ever been intimate with, the man who made her begin to accept herself, to put down her desire for vengeance and instead live a life of peace and happiness.

So for Taigen to have so many parallels with him... Do you see what I'm saying here!

Not to mention that Mizu clearly already has some burgeoning attraction to him, as indicated by how she thinks of him when asked about her desires. And Taigen clearly has shown interest as well (see: him getting a boner after their spar, him holding her hand and telling her, "We're not done yet.").

And on the topic of speculating future possibilities of this relationship, this post by @stromblessed has pointed out yet another parallel between Taigen and Mikio:

Mizu promises Taigen to meet him for their duel in autumn. Mizu fell in love with Mikio and duelled him during autumn.

With all that said, I do believe Mizu and Taigen's relationship is definitely hurtling towards something. But whether they will actually end up together in a sustainable relationship and have a happily ever after? Well, that is a whole other story; we'll just have to wait and see.

[inamindfarfaraway]

I love how Paul's character in The Guy Who Didn't Like Musicals is defined entirely by a lack of desire, or desire defined only as 'not what I don't want'. "What Do You Want, Paul?" is a big joke about what a terrible narrative protagonist he is. But it's deeper than that. Throughout the show, even in the smallest, most insignificant phrasing, this man only ever expresses wants in these negative forms, as if he's incapable of feeling attraction in itself rather than simply avoiding what he dislikes. And only avoiding! He never says that he hates anything, either! That would give him passion, drive, perhaps the goal of actively removing that thing. No, he exclusively uses the verb hate in past tense.

He doesn't like musicals, singing, dancing or public performances. He makes this very clear, to the point that it's one of his most significant character traits. At no point does he ever talk about liking any media.

He doesn't want to do social activities.

He doesn't want to give away his money. About both this and the above, he can provide no logical explanation or moral justification. He just doesn't feel like them.

He always gets black coffee because it has "no cream, no sugar, nothing in it"; that is to say, he might not necessarily love it, merely prefer it over its sweeter or more complex alternatives.

He doesn't believe that Emma should have to sing and dance at work - he doesn't want her life to be so unfair and annoying to the both of them.

He doesn't want to obstruct the workings of his office (saying "that's the last thing I want" triggers "What Do You Want, Paul?").

He says, "I wanna go home!" when Mr Davidson is singing at him, but means that he wants to be somewhere safe and not stuck in this incredibly uncomfortable situation.

He doesn't want to die.

He specifically doesn't want to die in Clivesdale, because fuck Clivesdale.

He doesn't want to join the Hive.

He doesn't want to leave Hatchetfield, even when it's the site of an alien invasion that is his personal worst nightmare. He actually says that "All things considered, I like Hatchetfield", arguably an exception to the standard. However, he's also well aware of the town's flaws and problems. He grew up one of its poorer residents, attending the inferior, underfunded Sycamore High School where he casually admits the students "hated [themselves]" and having to watch its more respectable rival Hatchetfield High's school play. He has no strong investment in his tedious middle-class office job. He doesn't get along with some of his fellow townsfolk, like his coworker Ted and all the employees of Beanies except Emma. He awkwardly evades giving to charity and the homeless every morning on his way to work. His life is decidedly not one of utter bliss, and yet it's good enough for him in that he doesn't have the energy, ambition or imagination to want anything more. Since he's "been here [his] whole life", his affection for his hometown could be more an aversion to everywhere else or the hassle of travelling. Sticking with the devil he intimately knows.

He doesn't think badly of Emma, and says so because he doesn't want her to or believe that he does after learning that she helped make a "hated" experience of his happen.

He doesn't want to let Bill die, which is why he goes with Bill to rescue Alice. His heroism and proactiveness at the turning point of the end of Act One start to notably erode his apathy, but his phrasing reaffirms his negative motivations: "Hey, it's not like you're asking me to go see Mama Mia!", "Emma, there comes a time in every man's life when he has to draw a line in the sand. And I will never be in a fucking musical."

He doesn’t want Bill to blame himself for Alice's endangerment, stay in the area once Alice is revealed to be a vessel of the Hive or kill himself.

He doesn't want to do some light reading on the universal truth of love and the strength of the human heart.

He has no positive motivation. He breaks one of the most basic rules of being a fictional character, let alone the main character the audience is supposed to root for. He isn't just an antihero, he's an anti-protagonist. Although this could easily make him boring or unsympathetic, he manages to seem relatable. Real. Human. He captures so genuinely an ordinary person living an ordinary life suddenly trapped in a horror story. How many of us can honestly articulate "one concrete goal that motivates all [our] actions"? Even if you can, you wouldn't undergo a narratively fulfilling and thematically cohesive arc related to that desire the way a fictional character would. We're all essentially just trying to survive each day. To make or keep our lives however we define 'good enough'. We may not have a crystal clear picture of our ideal life, but I bet we all have a long list of things we don't want in it. We're all Paul. He even says, “I want what anyone wants”.

What more appropriate antagonist for this man to face, then, than a force that exists to strip people of their autonomy, their individuality, their personhood, and force them to play archetypical characters in a conventional narrative? The Hive observes that Paul is an anti-protagonist and takes offence to this. It seeks to convert him into his antithesis, the "bold" "leading man" of its musical who the audience can "sympathize with". The Infected highlight this in the opening song, in which they eagerly anticipate and prepare the audience for his entrance... and he misses his cue. He isn't following their script. Perhaps that's why the audience is able to believe in this average, unassuming antihero's potential to succeed, to defeat the Hive or at the very least escape it, despite how fraught and grim the situation becomes. The story certainly proves itself to be cruel to its characters; but Paul doesn't operate like a normal character. The Hive promises to fulfil people's desires and make them happy throughout the play. Charlotte, Bill, Hidgens and Ted's deaths are connected to, by either direct causality or thematic relevance, their respective desires for Sam's love, Alice's safety, world peace (and the glory of a musical career) and Ted's own survival. Paul is uniquely immune to this pattern of death related to a core motivation.

Until:

"I can't leave without Emma”, “a friend of mine."

"Is there a chance of something more?"

"I think so. I'd like there to be. I want there to be."

He wants Emma, her life and her happiness and maybe, just maybe, her love. He wants to love her. To spend time with her. For the first time ever, he wants more out of life, not less. He's a little bit more of a character. After the Infected reprise the "Did you hear the word?" section of the opening song, building up to his appearance, this time he does enter the theatre, coming down the aisle just as he was meant to. Right on cue. Paul is now vulnerable to the narrative - the Hive's narrative. And the Hive's control.

Still he resists, even while doubting if he was ever really happy before. Not only does he use his final words, fittingly, to declare that he doesn't like musicals, but before that he firmly refutes the Hive, and the philosophy behind it and all the pressures and temptatations it might represent: "It doesn't matter what I want." What matters is the good of the world. Emma. Love. Hope. Freedom. Integrity. Humanity, which must be wonderful if we can make sacrifices like this for all the right reasons.

Rest in peace, Paul Matthews. You were the opposite of a conventional protagonist, but a true hero.

[spirantization]

I'm surprised at the hate that Sokka's character arc from NATLA is receiving. To me, Sokka's development and characterization was one of the strongest adaptations the series made.

In the original ATLA, Sokka's character arc revolves around him unlearning his own misogyny. He makes pointedly sexist comments throughout the early episodes like "Leave it to a girl to screw things up!", "There's no way a bunch of girls took us down!", etc.

Sokka's comments have a strong narrative purpose: they give a platform for women in the show (Katara & Suki mostly) to refute his attitude. Katara emphasizes traditional "women's work" (cleaning, cooking, sewing, etc), which forces Sokka to confront its inherent value. Suki is able to prove to him that women can fight too and he learns to respect female warriors. It's a great character arc and it's well-executed.

It's also characterization that is in direct response to the culture and feminism of the 90s and early 00s. The representation of women in the media at that time was...oof. It was not great. One-dimensional love interests whose only purpose is being saved by the male protagonist, mostly. Female protagonists were not as common, and certainly not ones who were depicted as being able to fight, and certainly not in cartoons. Female protagonists in animation were almost exclusively princesses.

ATLA was progressive in this regard. Katara was a complex female character in a time when there were not a lot of them, in media in general but especially in animation and kid's shows. (I grew up in the 90s; there were no characters like Katara in animation on screen for me.) ATLA incorporated the zeitgeist directly into the story, which is why we have Sokka learning to overcome his sexism in his interactions with Strong Female Characters.

If you go back and watch the original cartoon now, Sokka's sexism feels a bit dated. It's a very 90s, Girl Power, "girls can fight too" style of social commentary. It doesn't match with the media landscape of today. We've got 20 years of media with female superheroes behind us. If your message is "girls can fight too!" the response for the most part is going to be "yes, we know that. And?"

So imagine you're adapting the original ATLA for a live-action remake. You want to keep Sokka's character arc intact, but you want to update it for the 2020s. So what do you do? You look at the conversations that are happening today.

The 90s were about "girls can do everything boys can do", but the 20s are over that. The conversation is more about gender: gender expression, gender roles, gender dynamics. What does is mean to be a woman? What does it mean to be a man?

Sokka's character arc in NATLA is focused on this question: What does it mean to be a man? At the beginning of the series, it's his identity as a warrior that defines him. He needs to be the warrior, the protector, the leader. He's constantly trying to reaffirm this part of his identity, and it's completely tied up in his perception of his value as a man. Instead of his interactions with Suki being about "how could girls possibly be warriors", it shifts to Sokka saying "I'm ALSO a warrior" and trying to justify that to Suki (and mostly himself).

His arc over the series is about him accepting other aspects of himself and relearning how to define his masculinity. He can still have value as man without being the greatest warrior. He can still have value as a man by using his skills as an engineer. He can still have value as a man by offering compassion and kindness to others, like the little girl with the doll & Yue in her final moments. Instead of rigidly defining himself by a specific set of gender roles & expectations, he learns how to define himself through his own strengths and qualities.

I know there are a lot of people who are upset at this change to Sokka's characterization, and the most common thing I see is that it results in changes to Katara's character and her anger in response to Sokka's comments. I think there are valid criticisms to be made about how the show handled the adaptation of Katara's character, but I won't go there with this. In terms of Sokka and his characterization, it was well-done and thematically consistent with the original. It's not an exact port, and it never needed to be. It's still a feminist arc that centres on unlearning harmful misogynistic worldviews, but the focus has shifted from external (roles of women) to internal (his role as a man). And his journey is one that people would benefit from seeing represented.

[batmanisagatewaydrug]

reading update: October 2024

hello, ahoy, and welcome to my October reading recap.

I made a real effort to focus on spooOOOoooky books this month, in the name of the season; you may even recall that I started early and read some spooky stories at the tail end of September. (read Carmen Maria Machado's comic The Low, Low Woods, btw.)

I've never been great at sticking to a theme but I think it helped that what gets classified as "horror" can vary greatly, so I never really got bored of the genre. I did get disappointed more than once by how Not Spooky some of these books turned out to be, but that's a totally different question.

right at the end of the month you'll notice a couple of outliers with Caped Crusade and Luster, which happened entirely because I was out of library books and on the road for a conference, so I was reading what I could get my hands on! I've been working on rereading Caped Crusade on and off for a couple months and I bought Luster at a cool indie bookstore in the town I was visiting and then inhaled most of it on the way home.

ANYWAY. to the books!

And Then I Woke Up (Malcolm Devlin, 2022) - this is a novella with an interesting spin on the zombie story, where the "zombies" are actually people who have started suffering hallucinations that fill them with paranoia and force them see other people as monsters. so, like, there were never any REAL monsters, but a woman looked at her young son and saw him as a cannibalistic monster, so she killed him. so who's the real monster? it's very deep. this story's explanation for this is "the narrative," an idea so strong that it simply seems to take hold of anyone who's around a sufficiently charismatic ringleader who drives them to join in their delusions and kill innocents who don't share their worldview. it's not a super subtle zombie metaphor, but I guess very few zombie metaphors are. it's fine.

Through the Woods (Emily Carroll, 2014) - I truly wholeheartedly wish I had more to say about this but it's just a very charming creepy collection of comics. my favorite was the one that was the scariest, involving humans getting taken over by body-snatching worm monsters, but on the whole it was a very minor creepy factor. the art's great the whole way through.

Happy Medium (Sarah Adler, 2024) - Happy Medium is October's romance novel as picked by my patreonites, and I will admit: my hopes were not high going in. a conwoman posing as a psychic clashing with a skeptical hottie goat farmer didn't ping me as a great mix, but honestly? HONESTLY? it kind of served. there was a much more well-rounded emotional core to this book than I often encounter in my romance novels; at risk of sounding like a cornball it genuinely had a lot of heart. the conwoman is actually extremely charming, I was rooting for her in a big way, and her emotional journey goes so far beyond just falling in love with the goat farmer. I'll happily claim Happy Medium as my #1 romance of the year unless a challenger arises in the next two months, but it's not looking likely.

The Ones That Got Away (Stephen Graham Jones, 2010) - this is a collection of Graham's short stories that was published long before he became a huge name in horror with books like The Only Good Indians and My Heart Is a Chainsaw. and as much as I hate to say it, I think I personally prefer his longer form fiction. none of these short stories were bad, per se, and they're incredibly stylized and polished, but I think I like Jones' work a lot more when it has time to simmer out. I may have also been biased by the fact that I was desperately seeking something scary to read, because while Jones plays with some pretty narsty concepts, the horror tends not to hit until a last page reveal that recontextualizes everything that's come before. which is cool! but not scaring me as much as I wish it was.

The Salt Grows Heavy (Cassandra Khaw, 2023) - a lot of people told me I should read this because it stars a killer mermaid and a plague doctor, which are two aesthetic archetypes I love, and I will give this to Cassandra Khaw: I liked this a lot more than their other book, Nothing But Blackened Teeth. which is clearing a very low bar, since I didn't really like that book at all, but I do think Salt is genuinely a pretty marked improvement. the prose is still kind of torturously overwrought in many places and I desperately wish that Khaw would put the thesaurus away, but there's like. a Concept here. the core is fun.

Tell Me I'm Worthless (Alison Rumfitt, 2021) - this book is by far the scariest I read, because the horror is hatred and bigotry and a fucked up, evil house that brings out the very worst of everyone who steps inside of it. this book gets so fucked up and bloody and downright nasty in its exploration of the characters and the underlying bigotries that turn them against each other and drive them apart. I don't want to spoil anything, but the book follows a white trans woman named Alice and her mixed race, cis ex-girlfriend Ila. in the past Alice and Ila entered the evil house with their friend Hannah; that ended with Hannah dead and missing and Alice and Ila both scarred and traumatized, each certain that they were raped by the other. so that's what this book is like! not a lighthearted undertaking, but one that I could. not. put. down.

A Sunny Place for Shady People (Mariana Enríquez, trans. Megan McDowell 2024) - what is there to say? Enríquez is my short story queens, and her new release absolutely lived up to the precedent set for me by The Dangers of Smoking in Bed, which was originally published in 2009 but not translated into English until 2021. this collection is sooo aptly named, because many of the stories are obsessed with the terror of places: hotels haunted by memories, neighborhoods filled with ghosts, junkyards where bodies are hidden, towns abandoned and taken over by something sinister. also, completely detached from the quality of the writing, this book has one of the most striking covers I've encountered this year. the screaming yellow cover and bold purple text looked SO COOL under the purple string lights in my bedroom, which was a little +1 to my mood every time I saw it :)

Thirst (Marina Yuszczuk, trans. Heather Cleary 2024) - I think if I had to pick a favorite book from my spooktober reading, Thirst would edge Tell Me I'm Worthless out by just a hair, because I'm just SUCH a sucker for a modern gothic. this novel is split into two chunks. the first is narrated by a vampire (hinted to be one of Dracula's infamous brides) who flees the Old World and crosses the sea to find safety in a young Buenos Aires, where she struggles to figure out how to slake her thirst and escape from loneliness while avoiding detection in a modernizing world. ultimately she seals herself away in a crypt to escape the relentless pace of change around her, and that's when our perspective shifts. here we join a modern woman with a young son, an ex husband, and a dying mother, who's struggling under the pressure of grief as she watches her mother waste away. she ends up accidentally reawakening the vampire from the first half of the book, and you can imagine things get weirder from there. honestly, for me, the part of this book that's most brilliant is the latter half and it's deep meditation on grief, but the historical portion of the book also plays the vampire gothic to the hilt. delicious!

The Caped Crusade: Batman and the Rise of Nerd Culture (Glen Weldon, 2016) - this is a really fun piece of pop culture history, tracking how Batman came to be DC's little #1 it boy alongside the developing prominence of nerds and fandom as a cultural force to be reckoned with. as I said above, this was a reread for me, because I wanted to circle back now that I've actually read most of the major comic events discussed in the book. Weldon weaves between Batman in comics, TV, and movies to examine on how one portrayal influences another - for instance: the goofy '66 TV series saw a huge backlash in comics, which went way dark to reinforce a grim and serious Batman for 'real' fans who objected to the show making Batman a joke to much of the normie population - and I think that's a really neat lineage to trace. while I think Weldon is sometimes a bit too transparent with his own disdain for certain adaptations, he overall has an extremely levelheaded approach to Batfandom and a conversationally informative approach that I really enjoy. of particular note is the fact that Weldon is himself a gay man, making him one of the only writers I trust to talk about why he personally dislikes Joel Schmacher's movies without getting homophobic about it.

Luster (Raven Leilani, 2020) - this book!!! this was one of three novels recommended to me by Bonnie at Snowbound Books, and Bonnie if you are on this website I owe you my LIFE because you were 100% correct. I was obsessed from the very first line and it only gets better from there; Leilani's prose is painting a searing, witty Sistine Chapel to render her protagonist's miserable life in vivid color and detail. the short version is that our 23 year old hot mess finds herself jobless and homeless and ends up moving in with her married boyfriend who's 23 years her senior, where she forms a powerfully weird connection with his rage-filled wife and develops a bond with the couple's nerdy adopted daughter, as the two of them are the only Black women in the excessively white neighborhood. (spoiler alert: she also realizes that her married boyfriend is a fucking loser.) it's a simple enough premise but the execution is bananas in its flair. I couldn't believe this is Leilani's first and so far only novel; if she ever drops another I'll drag myself through barbed wire to get my hands on it.

Juniper & Thorn (Ava Reid, 2022) - I first became aware of this novel via twitter thread of Reid's that made its way to tumblr, in which Reid bemoaned being harangued by readers who were shocked that her dark fairy tale retelling had, you know, dark shit in it. having now read the book, I have to say: these people are fucking pussies. going into this book I was under the impression that there was full on-page father/daughter rape happening, which is actually NOT the case, so you can breathe easy if incest is a hard no for you. what's actually here is a wizard dad who's emotionally abusive, non-incestuous sexual abuse in the backstories of the main character and her love interest, some moderately explicit consensual sex, some bulimia, and [spoiler alert!] admittedly a lot more cannibalism than expected. it's not a lighthearted romp but it's also like, come on. come on. grow up. in terms of the actual book, rather than its controversy, I didn't LOVE it but I'm still compelled enough by the world building (particularly Jewish author Reid's Hueli people, who are a fairly obvious stand-in for Jews down to people claiming that they have horns and using phrenology to prove the have an unfair advantage at making money) that I'm going to check out Reid's earlier novel, The Wolf and the Woodsman, a novel set in the same world. it felt a little repetitive in places and the characters were largely pretty predictable, both of which may be a byproduct of trying to encapsulate the vibe of a classic fairy tale, but I had a good time reading it.

[yuri-is-online]

I'm asking this question because I find it an interesting topic. It relates to the criticism the Tokyo Debunker MC receives.

It's not just TD's MC—it's a common theme in otome and gacha games. Genderless MCs in games like *Obey Me!* and *Twisted Wonderland* face less criticism than female MCs. Even though the genderless MCs get some hate, it’s nowhere near the backlash female MCs receive. For instance, *Twisted Wonderland* had debates about a female MC being unsuitable for an all-boys school, despite the presence of monsters and robots. This debate ended with a female MC in the *Savanaclaw* manga.

Another example is *Tears of Themis*, where the female MC is well-received in my opinion due to her having a character. I am very happy that she isn’t a self insert and people seem to agree.

In contrast, female self-insert MCs like TD's MC and *Love and Deep Space*'s MC get a lot of hate for what seems like trivial reasons. TD's MC is often criticized for being ordinary, while LADS's MC, who is strong and brave, also faces backlash, with some claiming she's rude despite evidence to the contrary.

In conclusion.

woman mc in this day of age can’t have flaws now….wait no they can’t be prefect either! As then they are Mary sue! What do you mean that LI are grey sue as well? No that not true Leo having a backstory would justify his actions don’t you get it? What do you mean we should hold the male characters as same standard? Jin treating mc as a servant is her fault as she didn’t say no…..😐 

... so I have two lines of thought about this particular topic, it is something I have thought about for a while because I am working on my own game/games and pay a lot of attention to what people think.

It isn't personality people like it is competence

The love and deepspace MC and Rosa from tears of themis actually have very similar personalities. They are bad at/hate studying. They really love food. They both are sort of dorks and known for being kind. What people like about them isn't any of those things, what they like is that both of them are adult women who you can believe live on their own. They actually have skills related to their jobs, you can believe Rosa is a lawyer and that MC is a hunter, the love interests aren't the only competent people in the narrative. I think this can sort of relate to the target audience for both of these games being working women, but that's for a different post. Right now I really want to focus on that concept of competence: the two other otomes I really love and want to bring up are Amnesia: Memories and Hakuoki. The Amnesia MC makes a lot of really stupid decisions, but as the game title gives away she has amnesia. There is an underlying explanation for why she's a bit dim so I don't see too many complaints about her personality (outside of Toma's route but that is a different story) because you don't exactly expect her to be competent. The same goes for Hakuoki's MC whose name escapes me at the moment, she is the daughter of a doctor so she is never made out to be incompetent in medical matters, but she isn't the best fighter. And she doesn't need to be that's the male love interest's role in this particular story.

The problem with MCs like our dear Luna? I believe you said her default name is, in Tokyo Debunker is that we don't exactly have anything she is stated to be good at beyond boosting Stigmas. The various ikmen games get around this by giving their MCs a job, but we don't have that for Luna so we don't have anything to show some backbone or character so people read her as being a bit of a doormat. Like I have said numerous times before, I don't mind this and think that so long as they keep allowing us to see her thoughts this the writing will be good. A relatively easy fix to this could have been to make her someone who really loves music and constantly talks about it, she was going to a concert at the start of the game so that little bit of character would go a long way for her to be more of a human for people to project themselves onto. Generally speaking, when writing an MC, it is perfectly acceptable to give them certain personality traits and a history. But if you do that you need to make sure the narrative respects that interest and does not use it as an excuse to make the male lead look cooler.

Gender Neutral MCs

*sigh* so you bring up Twisted Wonderland and I uh... have some experience with that fandom! And I have observed the gender wars over Yuu with a weary heart. I genuinely could not care any less about how people identify or the type of o.c.s they make, but some people really really care and if I am honest I find that a bit disturbing. It honestly makes me sad to see fanfic, which used to be a really accepting space, fight over writing... well anything really. m/m blogs screaming about how they don't want fem aligned reading their things, f/f blogs screaming about men, the f/m fic writers feeling the need to defend themselves writing for a female reader- doesn't that exhaust you? Why do you care so much? I do not have the energy to care about people writing fanfic I am not interested in reading, is this because I am anemic or have I managed to be normal about one singular thing?

My personal theory is that the commodification of fanfic and fandom has made people think there is something fundamentally wrong with properties that are marketed towards people who are not them. The reaction to Love and Deepspace not having a male MC option sort of cemented that for me, there is nothing wrong with wanting a game where you can be a man or non-binary and date anime boys. There is also nothing wrong with writing m/m fanfic for a property like lds, or wishing you could play as a man in it. I think there is a genuine market gap in good games for people who aren't fem aligned, but you do not get good games by harassing people or implying they suck for wanting games where you can play as a woman. You get that by financially supporting projects aimed at you! There is a blog I follow on here called @amaregamesdb. They post a bulletin of projects, both vn and if, with an emphasis on making people aware of projects that aren't simply otome (ie male love interests with a female protagonist.) I think the people who run it are also the people who coined the term "amare game" to use for games where the MC isn't necessarily female. They also ran a blog to help people like me learn how to code if/vns so I am very grateful for them, so please do give them your support.

I write for a gender neutral reader because I wanted to write interactive fiction and felt like I needed to practice doing so. I have continued to do because honestly? I really enjoy it. I love seeing how many different people identify with my writing and are moved by it. There are some projects I want to do in the future (original works, not fanfic) that I probably will lock the MC to female for, but I want to continue providing gn fic for people for as long as I write. And original projects too! I have two in particular I am working on behind the scenes. The solution to the problems like "what gender is yuu really," if you will permit me to preach for a second, is to not care. Yana said Yuu was meant to be you, and dear reader I don't actually know who you are! So you can be whoever it is you wish to be in your heart and I will make room for you to sit next to me. I'll even make tea (｡•̀ᴗ-)✧

[colduncrustable]

the martin antis working so hard to make waves is so funny. like, you are very much allowed to like/dislike any character you please! but making it your whole personality or acting like you’re cooler for it is a little bit silly. you are not morally or intellectually superior for hating on a fiction character.

not to mention all of the characters in tma are very nuanced and complicated, just like real people (!), and erasing all of that to serve a certain narrative is a complete disservice to the entire body of work. jon and martin’s relationship was never meant to be easy, they first and foremost worked closely together as boss/employee, and in a workplace that was actively putting them in dangerous and horrible situations. the whole point is that they’re both super fucked up but they have each other anyway. they both have flaws, they both have gone through a great deal both with and without each other, but they found love anyway. the idea that the dynamic change in s5 is due to martin just being this villain is so wild? like he’s not a doormat anymore but he also loves jon so fiercely and stands by him over and over again?

jon hated him, jon ignored him, was verbally horrible to him again and again, literally sent him on a dangerous investigation and said if anyone had to die might as well be him, jon accused him of murder, screamed at him, jon was on the run, jon died. martin was his number one defender through everything, even when honestly? he didn’t do a lot to prove he deserved it. but martin was strong in his loyalty and did his best to be a supporter anyway. he picked up extra work, he thought of him kindly when no one else did, he mourned him, and he put himself directly in the line of fire for jon. for everyone, yes, but especially for jon, he says that. because after everything, protecting jon is still his number one priority.

it’s so important to his character that he isn’t s1 martin anymore—that he learns to be a real person who has thoughts and feelings and a backbone. jon wanted that, and does it not say something that they don’t work out until martin learns to have a little bite? there’s a difference between being a real complicated traumatized human person, and just straight up being evil, or an asshole. jon had to learn how to be a lot of softer things but martin had to learn how to square his shoulders and stick out his chin. they had different arcs, and that doesn’t make either of them inherently evil or bad. it makes them real and not perfect and very multilayered, yeah.

martin didn’t handle every choice or action perfectly, he made a lot of mistakes, and he never claims to be the best person ever. but jon also fucked up, a lot. it isn’t a competition or a comparison, that’s really not how that works. but they work because of their flaws. that’s a big part of them fitting together. martin represented the humanity they were saving, with all his good and bad. jon was well beyond that, and while that doesn’t inherently compromise his character, it does mean he’s viewed in a much different light.

(meaning i think jon’s sins are seen very very different to martin’s.) (to be clear i think both deserve to be looked at critically, but hating either of them devoutly seems sort of silly.)

i’m not sure how you can listen to tma and all the ways it dissects and reflects on humanity and turn around and run blogs or make posts in the fandom about how you hate one of the main characters for being all of that.

jon never would’ve made it through without martin, even if martin wasn’t the key to everything, he was the reason to push through and not give up. martin is why jon didn’t go full monster mode, why he held onto who he was and his humanity, even with the whole ‘kill bill’ thing. martin gave him a reason to keep going, to try, to care so deeply. obviously there were other factors but jon says it himself, martin you are my reason.

if you can’t handle the fact that martin isn’t a grade a soft boy by the end of the show that’s a lot more about you than it is about him. he grew and maybe not always for the better but he could be a real person for jon instead of some kind of mirror or blank slate to be reflected on. i genuinely don’t understand how he can be misunderstood so deeply.

they’re both fucked up ! and if they are alive Somewhere Else you bet your ass they’re having long talks and going to therapy and fighting and making up and pacing the floors and figuring it all out together. it isn’t clean or easy or necessarily enjoyable all the time, but humanity isn’t either, love isn’t either. they went through unimaginable trauma, and expecting either of them to be holding it together any better than they already are is wild. context, it’s important. but let’s not turn multi-dimensional characters into flat one word answers.

it’s very human to like and dislike, love and hate based off of bias and experiences and perspective. but also opinion does not make fact. everything is relative, everything is subjective, everything everything everything. it’s an open discussion yada yada idk i’m just screaming into the wall about all the nonsense.

and beyond all of that, discourse is so useless. criticism and constructive conversations are really really important but discourse is pointless! oh you ship these people? well that inherently threatens my ship! oh you like this character that i hate? well that makes me feel invalid for hating them. like what you like, hate what you hate, have your feelings. but if you post shit on the internet you will get people who disagree, sorry, that’s how it is. partaking in little arguments over who is right or wrong when it doesn’t actually have to do with anything harmful or unhealthy makes no sense though. posting on the internet about all the hate you have in your heart when the world is already so full of it doesn’t actually do anything but add more bad to an already very large pile of bad.

things can be discussions not arguments sometimes, i promise. it’s not always tooth and nail, and let’s not forget, most of it is over things that never need to be fought over.

[pruneunfair]

"My feelings on" part 5. How to get my husband on my side and how it properly tackles abuse, eating disorders, and relationships.

Another super popular manhwa that I can understand why it's so beloved. The Borgias were actual people in history that inspired characters like the protagonist Ruby, and the title itself already feels different since the world of OI is all about being a perfect badass woman, funnily enough, HTGMHOMS does this better than most.

Rudbeckia/Ruby starts off with the behavior of the og fls that a lot of OI make fun of. She is surrounded by what appears to be loving family members and is already being prepped to be married of to Izek, she looks excited and ready to do whatever her family wants until her inner monolog reveals how she really feels about them especially her older brother Cezar. She hates almost all of them and her real reason for being excited for marriage is so she can get away from her abusive household and avoid death which shouldn't be hard since the transmigrator doesn't plan on poisoning her sister in law like og Ruby did. She's a master of hiding her feelings already which is attributed to her past life in a similarly abusive adoptive household.

Right off bat, Ruby is shown to be strong in the mental sense. Not only is she walking on eggshells she also suffers from an ED (likely bulimia), there a quite a few scenes where she's throwing up, refusing to eat a lot, or in later chapters, eating a lot more out of stress. Her family too is whole new level of psychological horror. They aren't cartoonist evil, for example Pope Borgia is usually kind to his daughter and treats her with respect until he feels like she's defying him, all of a sudden that kind caring nature is gone, then he becomes threatening, or her older brother Cezar who has been abusing her for years both physically and sexually, he keeps her in place through fear, intimidation, and attacking her on occasion which is only enhanced after he kills Rubys bird and feeds it to his turtle which gives Ruby a phobia of turtles. It's actually heartbreaking with how eerily realistic it is when these types of people are easily placed like normal family members in certain scenes, because that's often how abusive family members blend in, almost no one knows what they are really like and if you looked at a first glance without context, you'd think "Ah yes, that's just a brother next to his siblings." They're never truly gone, they just know how to hide their true colors so well.

This is why Ruby is so much stronger than a lot of people give her credit for, she's dealing with all of this at the same time and her only hope of respite is being as far as possible from her home country. It's easy to jump to the conclusion that Ruby is just a weak stereotypical protagonist everytime you see her pretend to fawn over Izeks presence but if you read further, you'd know that Ruby doesn't like it any better but she thinks she's doing what's right to avoid Izeks Wrath since she's the only one who knows what he is the one who kills the og Ruby in the novel.

Speaking of which, while Izek isn't my favorite ML ever, I still was shocked to find that I liked the typical cold nobleman persona on him. Unlike a lot of ML's Izek is allowed to be flawed and his negative traits and moments aren't brushed aside, they cause some issues like Ruby going out of her way to appear dainty and sweet so Izek won't kill her. He acknowledges how he has hurt her and grows from it and doesn't push her boundaries. It's possible for the cold Duke archetype to work but a lot of the time, the whole war hero past gets thrown to the side for baseless fan service or they're just unapologetically abusive. Izek however is in the in between. His cold and dangerous persona stays consistent but that doesn't make him one note and he gets to have geninue moments of care for those in his life rendering Izek to still be likeable.

Ive noticed that the narrative also makes sense instead of twisting itself for a stupid chance at a fan service plot. An example is Ellen and Freya.

An unfortunate sideffects from the fandom was on and off hatred of Ellen for considering what Freya had to say, taking her side or not even choosing a side at all. The readers know that Freya tried to get Ruby killed by tricking her into going into a monster infested forest or when she tried to frame Ruby for poisoning her, but does Ellen know that? Realistically she's not going to immediately turn her back on Freya since they were childhood friends along eith Izek but that doesn't mean she screams at Ruby either. Ellen does care about Ruby but she knew Freya longer than she knew Ruby. From her perspective, it' makes sense that Freya would be innocent.

But perhaps the best part about Ellen that makes her my favorite character is how she notices the little details on others. She's the first to find out that Ruby has an eating disorder and it's not out of nowhere either, Ellen and Izeks late mother also suffered from a eating disorder that Ellen witnessed more than once so it gives an explanation on how she can tell what Ruby is going through.

Side characters are treated just as well as the main cast too. From the other guards to the friendly monsters to minor antagonist and even the children are all given attention to be their own beings, it doesn't have to be a lot since most of what I mentioned are minor characters but then you got characters like Ivan who has a life outside of just being by Izeks side.

Out of all the side characters I gotta say the monsters are my favorites. It makes me wish there was a side story where Ruby successfully runs away forever and lives as a little witch with monster companions.

Of course like all media, HTGMHOMS has its flaws but I think I'll chill on this one since the flaws aren't large enough to ruin it and I want to stay positive on something I like for once.

Conclusion: This is a story that does such an amazing job with its commentary. Instead of just saying "Cezar abused Ruby in the past! Feel bad for her now!" For example, we are given actual flashbacks to respect the show don't tell rule. Other characters besides Ruby suffer from their own traumas and they get their own arcs on their hardships and how they recover from it, it handles eating disorders and trauma responses in a respectful way that has an actual effect on the plot. Most of all, it does all of this with the type of protagonist that has been deemed as "weak" before in the manhwa community. Ruby isn't a boss girl who is always successful and smart. She makes reckless decisions, she cries, she isn't always able to one-up her enemies like Freya. She's a human woman stuck in a world that's not her own but she still rises to the task at hand even with all her blunders. Ironically making her more feminist then many of the female leads before her.

[alexissara]

The Best Ships of 2024

If i’m anything I am a lover of love. I pretty much only engage stories with some kind of sapphic love element with some rare exceptions for strong ships I've seen, particular cool women with no love interest, or my partners wanting me to check something out. So as always strap in for a collection of sapphics at the very top tier of great to imagine having little dates and shit because this year was a really packed year for amazing women I wanted to to kiss each other. 

The list is not just new ships from 2024 media but any ship that I just happened to get into this year or had something to reinforce it in my life.  If you like you can see last years list https://www.tumblr.com/alexissara/739778084236050433/top-10-ships-of-2023?source=share and if you enjoy my little top 10 lists and want to see the lesbians I make ahead of everyone else go to my patreon https://www.patreon.com/AlexisSara.

10. Falin Touden and Marcille Donato [Delicious In Dungeon]

One of the most canon non canon ships of all time. One can hope that the anime rectifies the manga and has these two kiss in the end. This ship was one of the biggest ships of the year and while I am a contrarian and a hipster I am not immune, I really love these two, their sweet, cute and have a really strong dynamic and a sense that they truly love each other and would do anything for each other as well as a strong sense of attraction to one another. These pretty white women simply are delightful and worth every bit of hype and love they got this year. 

9. Velvet Crowe and Magilou [Tales Of]

I hated the of Tales Of Berseria but I love both these characters so much, they are so much fun and their like just a perfect dynamic. The extra goth edgy girl who eats people with her demon hand and the silly traitor clown girl mage who is always just treating life like it’s a game make for this really fun dynamic. Women deserve edgy OCs and they deserve those Edgy OCs to kiss a cute little silly lil clown girl. I just don’t know what else to say, their just kinda perfect together you know? 

8. Ayaka X Hiriko [Ayaka is In Love With Hiriko]

So this book and show is called Ayaka is in Love With Hiriko so you know it’s about these two doing a romance but the thing is that Hiriko is a stupid ass loser boss and Ayaka has to put her whole pussy into getting this girl to fuck her. I don’t totally love their we need to be in the closet at work kinda deal I think it’s weak to a lot of the other themes in the story but Ayaka and Hiriko genuinely are loaded with charisma and are actual lesbians textually in the narrative which is just rare even for stories with explicit sapphic relationships it’s not normally said out loud as a word and so Idk these two are special to me and their really funny too. 

7. Olive and Callie [My Dragon GF]

This is a ship that could be on a list every year really, since My Dragon Girlfriend debuted Olive it’s been a top tier ship but this years My Dragon Girlfriend gave us a very delicious date chunk of time focused on Callie and Olive doing a date and it was such a fucking cute date so here they are. Trans girl vampire and her cat girl GF it’s just perfect, I don’t know what to say, shy dorky trans girl vampire with her confident cat girl GF and the little ways they interact and feel the life and stuff. I just love them. Every time Courtney puts up little a little smut comic of them or draws them or whatever I am excited, I want these two girls to just ya know be married or whatever, they are the stars of the show to me. 

6. Tama X Koko [Sword Of The Necromancer]

I fucking love these two so fucking much. There is just nothing that beats a woman going to the depths of impossibility to revive the woman she loves no matter the cost, the toll of the consequences, dammit this woman is going to live, that’s not how her story ends and she will save her. That energy, that drive to just say “A World Without Her Isn’t A World Worth Saving” that is the kind of energy that immortalizes a piece of art to me and we see that energy from Tama but then we see Koko’s perspective and she has that same energy. Both of them see each other as this important part of the world, something worth giving up everything for and it’s so special with one of the worlds most amazing payoffs in a game. 

5. Emilia and Valentine [Sunset Phoenix]

Oh to be a magical mob boss with a little butch spy in your pocket who maybe also wants to betray you. These two are a very complicated relationship but ultimately bail each other out of awful situations again and again and again. These two are not dead yet but every piece of the world wants to fucking rip these two to shreads and it’s amazing how they endure everything going on in the plot and how their dynamic shifts over the time of the story. I can’t wait till the second arc of this story and to see if these two get together or not but their gay and their great and it’s so action packed and fucking great. 

4. Honey Trap and Rapid Rabbit [Superwomen In Love]

I finally finished Superwomen in love this year after years of following the series from it’s early scanslations to now and it was even better than I would have expected. These two girls are utterly perfect for each other, their happy ending with explicit love confessions and them raising a kid together is just super sweet and I mean when girls fuse together it’s always a top tier ship. The Kamen Rider fun is great even for me who doesn’t do a Kamen Rider and has no interest in it. Their dates are fun, their desire for each other is fun, their little struggles don’t feel based on just misunderstanding and I really enjoyed the little short body swap story they added too. Their just so damn cute and I love them and I wish there was more of them to enjoy. 

3. Harlivy [The Strange Case of Harleen and Harley Quinn]

Okay, so I didn’t want to repeat any ships this year but there was a new version of Harley and Ivy in the utterly brilliant The Strange Case Of Harleen and Harley Quinn and what am I supposed to do when a brand new version with new origin stories in a YA setting that still lets the characters be radical and cool criminals and be in love since they were teens but gives them a little bit of mess despite a younger audience comes out!  Harleen and Harley both have great dynamics with Ivy, it’s nice to see the different ways they try and support her and also each other. Unlike a classic Dr. Jacklet and Mr. Hyde story the pair of them aren’t really portrayed as “good and bad” side of someone or a “Civilized and wild” side but instead just like alters that live together in the same mind and body. They are different people that have different skills although they draw from similar experiences. Pamala is already in love with Harleen at the start of the story but she falls for Harley right away too even before she realizes they are separate people.  These two are amazing criminal GFs and I love them in every universe basically. 

2. Syliva’s Sapphic Polycule [Potionomics] 

Potionomics put out their Masterworks Edition update and it made it where Sylvia could romance every single character in the game at once if she wanted and therefore making this one of the few games in the world with actual sapphic polyamory possible. While you don’t get to talk about dating other people with each other it’s still a cut above so many other games that simply don’t let you date other women once you’ve locked in.  Syliva’s got chemistry even with the guys in the game but obviously if your a lesbian like me your probably gonna just have her date all the girls and their all fucking fantastic relationships. Sylvia’s gonna keep herself busy between running her shop and kissing all the girls she is dating but she deserves the fun and joy they all bring into her life. All of their little romantic arcs are great and I love how the relationships feel very two sided where you grow through mechanics cuz your relationship with them and they grow in the arc not just being in a relationship with you but growing to some new place in their life. 

1. Sevika X Jinx [Arcane]

Sevika is one of my favorite characters of the year and Jinx is one of my favorite characters just in general. While neither will show up on my best characters list it’s because I didn’t love Arcane Season 2 so I just felt weird putting them there when I have up and down feelings on how they were handled yet, I can’t deny they are here on my top ship and a lot of that is carried by how cool they are. The way Jinx prioritizes getting Sevika her new arm she made for her over saving her own dead brother’s goggles, the way Sevika is willing to risk her life to fight enforcers so that Jinx can finish what she wants, the way Sevika believes in Jinx and wants to see her do things in the world, the way Jinx trusts Sevika without needing to say anything to her, these two are just so good and it really is a relationship between equals which shifts Sevila from her normal dynamic of being under someone. Every scene these two were in together was just a delight, an utter tree and honestly, they wree the heart of this season to me that felt neglected by needing to big up another region of the worlds lore and set up these magic giant stakes that just weren’t needed. Long live Zaun, via la revolution, the people deserve more than one seat at the table.

[theriverbeyond]

#SPOILERS

ok so I watched arcane s2 act 1 and my immediate reaction is mostly mixed -- I think there was gorgeous art and strong individual emotional beats but I think it all got watered down by everything else -- I did LIKE it, I guess (?) and am reserving full judgement for the whole season until the next 2 acts release, but yeah.

warning for SPOILERS and also critiques below:

the deluge of new characters I have no reason to care about, and whom i am given no specific reason to care about (besides the itty bitty one, and that's just bc they are a child) does not hit. I dojt get it. why are these people special or chosen for the strike squad. they're just randos, and fangirls and one of them is a random dude you all seem to have grabbed off the street (?) also who tf is amara. was she even in season 1 at all?

the integrated music videos felt significantly LESS integrated this season than the last. last season it felt like the "music video" segments were just like.... really well done and stylized parts of the show, here they feel more like clipshows or standalone music videos during which the actual show takes a pause. some of them do advance the plot and all are gorgeously done but like, I dunno. feels a bit much, honestly, especially in a show that NEEDS to be incredibly economical with its time

relating to that, it feels as if nothing really happened at all besides setup, and I guess that was perhaps narratively necessary, but using THREE episodes of a 9 episode season to set up the plot feels..... REALLY wasteful, especially when i feel like those 3 episodes didnt have a tight plot OR tight character focus. everything feels very loose. the timeskip between s1 and s2 is like.... idk! why did we skip that. why didnt we just skip farther. how is Vi suddenly beloved by topside those bitches hate her!!! anyway. there is a lot happening and a lot being set up and, as i said before, a LOT of new characters being introduced and I'm not very emotionally invested in most of them. The differences between act 1 s1 and act 1 s2 are feeling incredibly stark right now.

To me, Arcane has always been a character driven work, so I can forgive it of plot issues if the emotional focus and character arcs are strong. I.... didn't feel that here! and even the big character moments didn't quite hit. for me. like ok CaitVi kissed. but like. they've known each other for a week? Why are they acting married? The most resonant and emotionally intense part of the CaitVi arc in act 1 was when Caitlyn HIT HER with HER GUN, in a way that felt deeply reminiscent of how encorcers probably hit Vi when she was in prison. And that was like at the very end. sorry but the kiss just did not hit for me. sorry. so sorry. you can kill me with Hammers if yuo want to

A lot of characters seem to be making plot centric decisions that simply do not feel within their character. Vi becoming an enforcer -- I literally do not care about the game, it is emotionally inconceivable for show!Vi to do be super down with gassing the undercity. Jinx and Sevika suddenly being buddy buddy is weird, even thought i LIKE it, it just feels.... fast. Jinx's arc, emotionally, feels the best and most consistant, and I feel like there's so much setup happening it isn't given the space it needs to breathe. Caitlyn becoming a facist is like.... fine, I guess. I really like the emotional conflict this inserts to the story but again it just feels inconsistant with her lifelong characterization as someone who is out of place on the force. also didn't she actually get fired lol. why is there a Kiramann supercomputer.

a lot of stuff just feels emotionally really off. Cait going wild with anger in her grief is fine, but then it feels.... bad that the redhead bitch who's CHILD Jace KILLED last season is a villian for wanting revenge also? maybe this is just an inherent weakness of the genre. or the source material. or whatever. i mean season 1 was pretty enforcer-critical at least in the first 2 acts. sorry for wanting a story made by people with money to be consistant in its negative framing of cops :/

l am deeply confused about the Noxian angle here -- I think it serves a meta narrative function of giving Topside and Bottom (aka, all the characters we care about, who hate each other rn) a common enemy to rally against, but there is just. a lot going on, honestly. too much? only time will tell. this all makes me deeply concerned/curious about the governmental system of Piltover though. why is Caitlyn like the town King now. why are they not electing new councilors.

don't even get me started on viktor being undercity jesus

Anyway. things I liked: the opening, especially its contrast to season 1. Jinx & Vi's fistfight was incredible I just wish Vi felt more emotionally consistant BEFORE it happened. I really LIKE jinx being given essentially a second chance in the form of saving and caring for a child in a situation that puts HER in a reversed position from her youth. like OK it definitely feels way out of left field but like, that's fine I guess. I like what they're doing with the kid. the art is gorgeous as always. I love how the enforcer squad is represented like hunting hounds, coming out of the gas. unfortunately i think their gas masks are wildly erotic. anyway. what was i saying?

that's my immediate thoughts. I'm definitely open for comments/explaining, but i really don't like the "it makes sense if you play the game/pay attention to LoL meta" kind of explanations I see thrown around -- it's a narrative weakness to be relying on viewers to know LoL lore, especially on the heels of season 1, which didn't need viewers to know anything.

[yannig]

Koisenu Futari’s Kazu-kun: one step further into the amato-normativity discussion

So. What’s up with Kazu-kun. Why does he deserve his own post.

Kazu-kun starts as a background character, and then progressively becomes the third main character of the show.

And I love him. Which is not a small feat because I started out hating him. And all of it was very much on purpose.

Kazu-kun, I believe, exists as a vessel for the allo audience.

He’s there to asks all the questions the allo viewers are asking themselves, and then to learn and grow from the answers, and become both a friend to our protagonists and an ally to aroace people in general.

He exemplifies the arc the allo viewer would ideally go through while watching the show.

The thing about Koisenu Futari is, it’s a show made from the perspective of aroace characters, for aroace viewers. It’s about our fears, our insecurities, our experience with amato- and allo-normativity, our lives.

And it’s good thing! It’s a significant part of why I love it so much!

But it also means that it’s risking loosing it’s allo audience a bit. (I’d be curious to know how many allo people have watched this show at all tbh). Almost all the other allo characters in the show exist so our protagonists can experience being faced with yet another form of amatonormativity. Kazu-kun exist so an allo character can experience being faced with aromanticism and asexuality.

And it impacts his entire character, including and especially the flaws that made me hate him at the beginning.

Part of it is, of course, because a character needs flaws to grow out of, as the most basic way to write a character arc.

For example, he begins as the most Straight Man™ ever. He thinks Sakuko belongs to him because they dated in the past (are kinda technically on a break the situation wasn’t clear the expectations were very different), thinks cooking is easy and a woman’s job and of course doesn’t know how and thinks it’s perfectly normal because he’s a man, absolutely cannot fathom how a man could not be sexually attracted to a woman he’s even somewhat close to.

All those traits are flaws he will overcome as he grows and becomes a better man.

But part of it is also traits he needs to play his role well.

He is, for one, a very nosy character, with a strong sens of entitlement that means he’ll stop at little to get his answers. Which of course makes him absolutely insufferable at the beginning! I spent almost all of episode 4 wanting to slap him! But it’s a necessary character trait for him to actually ask out loud the questions the allo audience is quietly wondering about. If he was a proper and polite Japanese man, he wouldn’t be asking those questions, and therefore wouldn’t be fulfilling his role in the story.

And then he learns. All his questions and indiscretions get him somewhere, which is a much better understanding of aroace people. And with some luck, the allo audience learned with him, without needing to invade actual aroace people’s privacy!

(yes I’m still salty about ep4, why do you ask. just because it was narratively necessary doesn’t make it any less hard to watch)

To be perfectly honest, from a pure character development perspective, I think he changes a bit too quickly. But, well. The show is only 8 episodes. Also that’s my only complaint about this show.

He first learns how to cook, and most importantly, instantly apologizes to Sakuko for asking her to cook like it was nothing. This ability to 1) recognize when he was wrong and 2) apologize for it, is key in his whole development and one of the main reasons I’m ready to accept that he did a 180 so quickly.

Cooking, of course, if a synecdoche for every gendered expectation about couples. He’s not just learning how to cook, he’s learning that the things he was taught to expect from his future wife actually take work and are very much doable and enjoyable as a man.

Most importantly, he learns that romance is not the only register he can use to interact with women; in this case especially Sakuko. In fact, at the end of episode 4, he offers that since she is aroace, they could have a QPR together.

(the show doesn’t call it a QPR, doesn’t use the word at all, but that’s exactly what it is, both the actual arrangement between Sakuko and Takahashi, and what Kazu-kun offers to Sakuko)

So, big points for getting what Minori can’t seem to grasp in ep 6: QPR are not reserved to aromantics! Really important lesson that a lot of allies never learn.

In this specific case, I don’t think it would have worked, and it can very well be interpreted as him refusing to let go. I don’t think a QPR with the woman he’s still very much in love with is a good idea. And while he has learned a lot, he’s still pretty new to the whole thing, and I think he’d still have too many expectations that would end up hurting Sakuko.

And once Sakuko has taken the time to think about it and tells him no, not only does he listen, not only doesn’t he get upset, but he immediately reassure her that they are still friends and will keep being friends.

In that way, this whole journey of his allows Kazu-kun and Sakuko to get back the easy and joyous friendship they seemed to have lost when they broke up. Which is both the biggest and final proof of maturity on his part and the best thing he got from the whole adventure.

Once he understand that Sakuko and Takahashi are aroace and quite happy with it, he also becomes their first defender. He tells Minori off twice when she steps out of line, and is ready to correct one of their colleagues when he assumes that he and Sakuko are a couple. Good example of how to be an ally.

Faced with micro-aggression (or even overt and intentional aggression), minorities:

might get overwhelmed by emotions and are almost certainly more sensitive to it than allies

are less likely to be listened to if they correct the person, because they are a minority

often cannot afford to be angry or aggressive or anything other than incredibly diplomatic about it without being told off, a problem allies face a lot less

Hence why a big part of allies' job is correcting other privileged people. Great ally-ship, take notes everyone.

In conclusion, I said last time that Minori and Haruka exemplify how amatonormativity also harms allo people. I’d argue that, with all this:

Kazu-kun shows what allo people have to gain from getting rid of it.

(his best friend back, at least one new friend, a new vital skill, and a lot less expectations)

[theheirofthesharingan]

I don’t know if you’ve talked about this here but what do you think was Itachi’s motivation for torturing Sasuke?

I did. I wrote about it here and some relevant words here too. The first post will answer most of your questions, but I'm going to answer this one anyway.

Itachi did not torture Sasuke because he thought he was doing something right. He knew he was very, very wrong, but it was necessary because he'd been threatened by Danzo that if his brother learned the truth, Sasuke would go against the village, and get killed.

Danzo, even when Itachi was alive, sent Sai to kill Sasuke, on the name of protecting the village, whereas he wouldn't do anything about Orochimaru, knowing full well Team 7 was actually chasing Orochimaru as well.

Think from Itachi's POV who was leaving his brother in Konoha.

Konoha was a place Itachi had killed his parents. The same place and the people in power to whom he lost Shisui. Sasuke, a defenceless child, could be in a much worse state. Itachi hoped if he were cruel, Sasuke would have a reason to want to live and get strong. Uchiha are driven by emotions and that's what helps them get stronger. Sasuke with Sharingan or MS would have a better chance at survival than a Sasuke who had no access to those powers.

One more thing is that he wanted Sasuke to kill him. So, Sasuke hating the monster that Itachi had become was important. And after killing him, he wouldn't want Sasuke to live in a regret that he'd killed a brother who loved him. Therefore, he wanted Sasuke to remember him as a monster, so that if anyone ever told him 'Hey, your brother loved you', Sasuke would only remember all the pain Itachi had caused him, not all the love he had in his heart. Because Itachi knew what that would do to Sasuke.

In his whole life Itachi had never known a life that was not traumatizing. That was like a default mode for him. To him, a life like that was still better than being dead. He still cried leaving Sasuke, because causing him pain was the last thing he wanted to do.

And when he returns the second time, Itachi didn't want to come across Sasuke at all. He sees Sasuke from afar and learns he's alive and he leaves before Sasuke can even spot he was there. He then leaves the village to capture Naruto. Itachi's purpose of coming to the village was to check on Sasuke. He does that when he sees him. The next was to show Danzo and the elders that he was still alive and he does that with confronting the Konoha Jonin. And then he follows Jiraiya and Naruto out of the village. If it was only to leave the message that the Akatsuki were after Naruto, he could have done it easily without having to follow Naruto out of the village.

He did it because he didn't want to come across Sasuke. Sasuke isn't a sensory-type ninja, so how would he know where Itachi was, even if he were to learn that he was back in Konoha? He wanted to see Sasuke only when Sasuke was ready to kill him. But things didn't turn out that way.

It's not Sasuke's fault that he was there and Itachi was 10000000% wrong in going to the extreme to torture him, but I despise the narrative that 'Itachi was a cruel and manipulative bastard' when literally every single moment leading up to this moment tells us he was trying to avoid Sasuke, let alone hurt him.

Itachi 'manipulated' Sasuke - the word manipulation works only with your textbook definition of the term because a lot of lies and deceit was involved in how Itachi treated the whole thing, but manipulation always is done with the purpose of using someone for their own good and with a self-serving goal in mind.

Danzo manipulated Itachi to exterminate the Uchiha clan. Orochimaru manipulated Sasuke because he wanted his body. Obito manipulated Sasuke so he could use Sasuke against Konoha. Kabuto tried to manipulate Sasuke to fulfill how own goal of attacking Konoha.

What personal, selfish goal did Itachi have in mind that he wanted to achieve by making Sasuke live? His safety? His life?

The foundation of Itachi's morals was rather fragile because of the way he'd lived, killing people, preferring one kind of lives over the others, and having to make the decisions where lives were always at stake and he had to save them. To him, either it was a strong, powerful, and traumatized Sasuke or a dead Sasuke. And he loved Sasuke too much to kill him. And if he had some better options (in which he was certain that Sasuke would be happier too) he would not have taken the extreme measures. He saw the world was cruel to the Uchiha and once he was gone Sasuke would be all by himself. He only understood Sasuke had a better chance because he had Naruto. But it happened after he had already hurt Sasuke enough.

As outsiders, yes, we understand he choices he made were messed up and thoroughly wrong, but they were made in wake of the life and experiences he'd lived through, and violence and hopelessness he'd experienced firsthand.

[creatingblackcharacters]

Hi Ice! Follow-up to your response, with a few more details (I tried to keep it short, but I can tell that might have made things unclear). I think you misunderstood my question - the thing is that I'm more than willing to go back and change him (I already know there are several scenes where he's depicted having and taking care of straight hair, for starters) but I am not sure I should. If I was to write this story with a Black MC, I would straight up have to Start Over.

First off, we're talking about Infinite the Jackal from Sonic forces, just to clear that up.

In canon, he's a pretty straightforward one-note villain. He's obsessed with an "only the strong survive"-mentality and does not exactly have a lot of depth, and at the end, SEGA has made it pretty clear that they're putting him in the shame-vault because people thought he was cringe. He's not dead-dead, because they might change their minds in 8 more years, but it's also not inaccurate to say they killed him. He helps start a war, kills a bunch of people, then get defeated by the heroes and then he's gone.

In my story, (well first of all he's alive and around obviously), I aim to add that depth. Where did he come from, how did he get here. I've made up a lot of stuff that is clearly not intended by canon. Basically the willing-a-whole-rounded-complex-person into existence that I've since learned that Black characters are often denied in fandom.

HOWEVER, and here's the parts where it's like, I've clearly written a white man in a white story and it would most likely be Extremely Distasteful to put a Black MC in this role:

His motivations for his past villainy is 'I suffered, so now everyone else should too'. This is framed as bad and something he needs to unlearn. When from the perspective of 'one guy made you and then didn't take responsibility, you never learned how to ask for help, and now you're taking that out on literally everyone around you', this makes sense. However, a Black man wanting to tear the whole world down and start over would have a whole different vibe and feel a lot more justified. Having him then be taken in by a (majority white-coded) cast and be taught that if he just stops being so mean, he won't have to struggle so much because people will gladly help him ... Kinda Yikes!

Secondly, part of the arc he's currently going through is realizing that now that he's lost his powers and this is widely known, most people don't hate him enough to attack him in the streets. I don't imagine that the anthropomorphic animal society has the same amount of structural racism as we do, but I would still be a white person writing a Black man entering society and finding that it hates him Less than he expected, rather than more. Which ... just seems tone-deaf.

I've built this entire character on the concept of unlearning toxic masculinity as I see it, though my own white lens. If he was Black, I would have written a different story. That's the part I mean about how I could change how he takes care of his hair, but not the structure of the entire narrative. This shit is unsalvagable. It will always be racist to an extent.

It would be so nice if it was as easy as just going back and changing him, which says a lot, because that would not be easy 😂

So FOLLOW-UP QUESTION I guess is: ...What if I can't do that? Is your main takeaway that I should stop publishing this story? I suppose that Is the conclusion that makes the most sense, seeing as I'm realizing I probably shouldn't have written it the way I did and I wouldn't have written it was I starting now. I'm ... not gonna start over, I can admit that. That's too much effort, it's already taken 7 years of my life 😂 I've got other projects I wanna work on. With intentionally written Black characters whose narratives work with that, for one.

I'll admit to my own tolerance-of-antiblackness here: I really care about this story. I would like to continue it. That was why I was wondering if there was a way to like, put a band-aid on it. I'm realizing the right thing would probably be to take it down? I'll admit that I'm not certain I will do that. But I will consider it strongly.

I should mention that I have other Black-coded characters in this story that I'm trying to be intentional about, among the hero cast, because I was made aware of their coding up-front. Is a whitewash that many would consider up to interpretation (though I do disagree) enough of a minus to delete a story that also aims to show the supporting Black cast in a positive light? It's a whole dilemma and that's why I wanted some actual Black people's opinions on it.

I realize this is a lot, you absolutely don't have to put in more effort in your response than "delete that shit" if that's how you feel haha, I'm not here to have my feelings coddled. Any other Black readers are obviously free to do the same in the comments.

Once again, I really appreciate all your work, and you, and Hot Chocolate. You deserve a million dollars for it honestly

All right, calling for other opinions!

I feel like it sounds like you already came to your own conclusions about things and just needed someone to vent to 😅.

No, I personally don't think the good side Black characters makes up for the overwhelming whitewash of the MC you now think is Black, no. If it were me, and you don't want to take it down, but you don't want to do the work to fix it, then just cancel the writing. Leave it up and be done with it. But that's just me, and you're looking for multiple opinions!

[captainuranium543]

I'm gonna say smth maybe controversial, I do not fw star dresses.

Listen I'm all for a Lucy power up but idk it just feels too close to erza's thing ig, especially with the fact she can mix them now.

Like my favorite thing about erza's fighting style before was how versatile it was with her main fighting power being her physical strength Which she could apply to almost every situation and, because of how low cost requip was magic wise, she could constantly switch armors and weapons to exploit any weakness.

Now all the versatility aspects I liked about erza's fights before seem to be going more to Lucy's fights, which is fine, but because of that erza's fights tend to be a lot more like natsu's these days where she relies on raw power to beat everyone which I honestly just don't like as much. I love natsu but I really never liked his fights and even then raw power battles make more sense for him than her just because of his magic type.

Erza and Lucy had similar summoning abilities before, the difference was in magical cost. Erzas was low cost and mostly relied on the physical strength and weapons skill of the user so she ended up being a very reactive fighter, meanwhile Lucy's magic has a much higher cost so she had to be careful about her summons and strategize a lot more.

With the star dresses though it is cool and all but it just feels like there was other things she could have gotten. If I'm being totally honest I think enchanting as a magical ability makes more sense for her then it does erza just based on magic style. Like I said earlier, erza is a reactive fighter, enchantments take thought and patience to complete and it's not the kind of thing you can do on the fly

The only way I think enchanting works for erza as a power up is if she was enchanting her own armors in her downtime, then using those armors in battle, I think that would be perfect actually because it would

A) give her a new ability connected to her mother

B) explain where she's getting the armors to remove the ambiguity of where she's picking these MFS up from

C) just fit better with her fighting style as a whole.

Besides this however I think using enchantments in battle is a perfect magic for Lucy because Lucy is that kind of wizard. We know for a fact she has an insanely high amount of magic power from the fact she can summon several golden keys at once and use a star dress when not even 2 silver keys were thought to be possible. She also already has several other casting based spells like urano metria. You wouldn't even have to make it the same kind of enchanting you could make it some kind of celestial based casting thing because tbh I think that kind of ability makes more sense to me as a gift from the mustache king than a bunch of cool outfits.

Hell if you wanted to make Lucy more of an active fighter then you can just do that. Half the time the weapon erza is using is just a regular ass sword, she's just really good at using a sword. Just let Lucy take a martial arts course, I know lucy "Lucy kick" heartfilia has some crazy strong legs so honestly get her into a karate class or smth and let her go nuts for a year.

I like Wendy as an enchanter for sure but girl is already dual wielding healing and attack magic. I think she's pretty good in terms of how much magic she can use honestly. Also before anyone gets on my ass about this I KNOW that enchanting makes most sense for Wendy and erza to use NARRATIVELY, I just mean from specifically a fighting style perspective I just think that type of ability makes more sense for Lucy then erza.

Anyway this isn't a hate post I just think star dresses feel kinda same-y and I'd like it better if she had some kind of ability, like something similar to heavenly body magic but obv not that exactly. Also I liked erza's more physical attacking style because of how unique it was and though it's nice that she has a power up It just doesn't really feel like it matches her style of fighting as well as it could.