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jacquelinemerritt · 2 years ago

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Star Wars: Exploring the Canon - The Clone Wars Saga Part 1

Originally posted January 4th, 2017

In which we look at the first half of the canonical works set in the Clone Wars: the theatrical film, and the first three seasons of the TV show.

This review is part of a series of pieces on the entirety of the Star Wars canon. See them all here!

To preface this article, I want to try and point out the absurdity of following an article written about two films and a comic mini-series with an article written about six seasons of television, a comic mini-series, and a full-length novel. If you’re wondering why it has taken so long for me to get this part written, here’s your answer: there is just so much to write about that even after watching The Clone Wars all the way through, I wasn’t sure of where to start. We’re going to break this down by season though, starting by analyzing the first film and then tackling the show season by season until we reach the third. As for seasons 4-6, the comic, and the novel, expect me to cover them in my next installment.

Star Wars: The Clone Wars

When I first saw the theatrically released Star Wars: The Clone Wars, I was incredibly dismayed. I thought it was a disgrace to have a Star Wars film released in theaters when that film told such a gutless story, took no risks, and had next to no consequence within the story’s universe. To be perfectly frank, I think all of that is still pretty true. The film tells the story of Anakin and his new apprentice, Ahsoka Tano, being called away from a battle on the world Christophsis in order to rescue the son of Jabba the Hutt (yes, you read that right, Jabba has a fucking kid), and it quickly devolves into four seemingly separate “episodes” that never actually feel like a full story but technically are all connected. The ridiculousness of this plot combined with a bad sense of humor brings it down, and there is no way this film deserves to be a part of the theatrical Star Wars canon.

But, just because the film fails as a theatrically released Star Wars film doesn’t mean that it fails on other terms. See, this “film” isn’t really a film, but rather a bafflingly marketed and constructed television pilot that combines four episodes meant to introduce the characters of The Clone Wars TV show and set up the lighthearted tone the show holds onto for its first season. In that respect, Clone Wars actually works. Each of the four set-pieces of the pilot all accomplish different things: the first set-piece on Christophsis establishes Anakin and Obi-Wan’s relationship as it will play out for the rest of the show and introduces Ahsoka Tano, surprisingly selling Anakin taking her on as an apprentice pretty well; the second section introduces the clone army as actual characters, rather a faceless proxy army, Captain Rex, and Asajj Ventress while letting us see Anakin’s first attempts at being a teacher; the third set-piece introduces Padme Amidala and the political and underworld arenas of Coruscant she’ll reside in; and the fourth set-piece introduces Count Dooku as he will be presented throughout the entire series, allowing Christopher Lee to transition him from an adversarial mastermind into an over-the-top campy villain.

Don’t get me wrong. As far as TV pilots go, it’s a little underwhelming and not the most interesting thing you’ll ever see (even if you’re grading it on a curve for being the pilot of an animated kids’ show). But it works a damn sight better as a TV pilot than it ever could as a feature film, and had it aired as a two-hour special on Cartoon Network like was originally planned, it would not have gotten nearly the level of backlash it did from fans and critics like me who found it intensely underwhelming.

That’s really it. There isn’t much to talk about with this film. It has a consistently annoying tone, no real thematic tissue holding things together, and the performances by most of the actors are fairly underwhelming. The only standouts on display are Christopher Lee, reprising his role as Count Dooku for the final time (I know it’s been said, but this guy seriously never gave a bad performance in his career), Samuel L. Jackson, reprising his role as Mace Windu (you could make the same argument with this guy too), and Matthew Wood, who voices the battle droids in this film. Now, let’s be real, the decision to make the battle droids constant comedic cannon fodder is dumb, but Matthew Wood sells it like a pro, imbuing the droids with a level of personality that makes their poorly written attempts at comedy come off as charming, and when the writing of these jokes improves across the series, Wood is right there ready to use that material to make the droids pretty funny at times.

Star Wars: The Clone Wars (Season 1)

This is probably the best time to point out that Star Wars: The Clone Wars is really weird to watch because for some unfathomable reason it was aired, written, and produced out of chronological order. This makes viewing it chronologically on Netflix a pain, because you have to bounce around a whole lot just to see the first three seasons in their proper order, and as a result you see glimpses of the improvements in writing and storytelling from the later seasons but are still forced to sit through the slog of the first season that’s only interested in telling safe, episodic stories that don’t challenge the characters or the audience in any significant way. For what it’s worth, it’s still probably the best order to view the series in, as it paints a much more complete picture of the Clone Wars itself, but I found myself annoyed with the logic of airing and producing the episodes out of order, regardless of whether I watched it in the order it aired or the chronological order.

This strange ordering of episodes also isn’t helped by the fact that it pushes the series premiere episode, which is a genuine delight, to being seen after about five episodes and the feature film pilot. It is definitely a better introduction to the goals and aims of the writers than the feature film ever was.

The premiere episode of The Clone Wars follows Yoda on a diplomatic mission to persuade the king of the Toydarians to join the Republic. The episode’s main conflict arrives when Yoda’s vessel is attacked by a Separatist warship and he must land on the surface with only three clones by his side. Meanwhile, Count Dooku and Asajj Ventress are attempting to lure the king of Toydaria into joining the Separatists by proving to him that the Separatists are more capable of protecting him and his people than the Jedi and the Republic. Ventress challenges Yoda to make it to their location by nightfall, and Yoda accepts, battling an army of droids with the help of those clones in order to reach the king.

This is a fairly basic premise with clearly defined stakes and characters, and in the hands of George Lucas, it probably would have turned into twenty minutes of Yoda engaging in meaningless conflict where he doesn’t run into any significant challenges. In the hands of Dave Filoni’s team, however, this episode becomes a chance to reclaim the character of Yoda as he was presented in the original trilogy, and it’s truly amazing to see this Yoda again. Unlike in the entirety of the prequel trilogy, the Yoda we get to see is not the introspective mopey Yoda, but the silly, unpredictable guru that pranks Luke in order to test and teach him. Yoda’s students in this episode are the clones that travel with him, and he asserts to them that they are not the same faceless drones that Lucas intended, but unique individuals with differing skills and internal lives. Filoni’s team even has the wisdom to play Yoda’s strange behavior and unpredictability directly into fight scenes, as he outthinks droids with ease and uses risky strategies to play the droids’ advantage in numbers against themselves. By letting us see Yoda the incorrigible trickster again, The Clone Wars lets us know that it cares about recapturing the wonder and magic of the original trilogy, and that makes this first episode an incredible introduction to the show.

This episode also makes clear another one of Filoni’s goals, albeit in a much subtler manner. As I mentioned last time, the Toydarians as they are presented in The Phantom Menace are a harmful racial caricature of Jewish people, and that racism makes parts of The Phantom Menace pretty difficult to watch. This episode, however, hints at the way the Toydarians will be treated throughout the rest of the show. It shows the Toydarians as a peace-loving people that draw on a cultural heritage with an uncanny resemblance to ancient Judaism. This comes through far less in this episode than it does in later episodes, but throughout the show, the Toydarain people are essentially the equivalent of the Kingdom of Israel under the rule of King Solomon. They are incredibly wealthy and influential, they have a rich, long-standing culture, and they are ruled by a wise King who ultimately desires nothing but peace. I will admit that my connection with my Jewish heritage is a bit weak, so I am not the best person to judge whether this is still hurtful, but it seems to me that by keeping the Toydarian connection to Judaism and replacing racial caricature with a connection to a great cultural heritage, Filoni’s team effectively reclaims the Toydarians. This isn’t to say that their work makes the racism of the first film any less hurtful–far from it–but it adds a dimension to this alien race that, in my eyes, makes them far less hurtful to be associated with.1

Most of the rest of the first season doesn’t quite hit the heights this episode does, but that doesn’t mean there aren’t solid episodes throughout. Some standouts are “Rookies,” which introduces us to the character Fives as he and other newly deployed squadmates fend off a commando droid attack; “Lair of Grievous,” which is twenty minutes of General Grievous kicking serious ass when Dooku betrays him and sets a trap for him in his own home; “Dooku Captured,” where we first meet the pirate scoundrel rapscallion Hondo Ohnaka (voiced by the ever perfect Jim Cummings) after he captures Count Dooku; “Trespass,” which introduces us to the Talz people and sets up an interesting conflict between an authoritarian military society and a young woman who believes in the power of diplomacy; and “Hostage Crisis,” wherein a group of bounty hunters hold a group of Senators and Anakin hostage in order to break Ziro the Hutt out of prison.

There are two episodes in Season 1 that manage to be as strong if not stronger than the premiere and those episodes are “Jedi Crash” and “Defenders of Peace.” These episodes contain some downright excellent storytelling. They challenge Ahsoka by making her face the potential death of her master, forcing her to come to terms with the Jedi Code’s requirement to remain unattached, and they then quickly challenge the entirety of the Jedi order. We meet the Lurmen, a pacifist group of monkey-like creatures that culturally resemble aboriginal and African tribes, and they explain to the Jedi that their role in the Clone Wars has spread more pain and suffering across the galaxy than it has relieved. Their chief even points out the hypocrisy of the Jedi espousing a philosophy of peace while taking on a role as military generals! The episode moves from that point to challenge the Lurmen chief, as he must accept that pure pacifism isn’t an adequate philosophy when their village is attacked by Separatist forces testing out an experimental weapon, and the younger generation has to stand up and fight so the older generation’s insistence on absolute pacifism doesn’t get them all killed.

It’s seriously really good. And George Takei is in it too. Go watch it now even if you’ve already seen it. I promise you’ll thank me afterwards.

What’s wrong with the rest of the season then? Well, nothing really major. It’s passable kids’ television, but most of the episodes I haven’t mentioned by name don’t offer any challenges at all. The closest we get are in the episodes set on Ryloth, wherein a revolutionary insurgent is forced to work with a Senator he believes is corrupt and uncaring (who on the reverse believes the insurgent to be power hungry and after control of the planet), but these two characters aren’t given enough screentime beforehand for this to be meaningful to us. The other episodes are even worse, with the episodes surrounding the Separatist battleship Malevolence being solely concerned with sending the characters on MacGuffin quests and having them triumph due to Anakin being a better military strategist than Grievous. It’s fine, and well-constructed I guess, but it’s honestly pretty boring and uninteresting, and the next time I watch this show, I imagine I’ll be skipping past most of these episodes.

Star Wars: The Clone Wars (Season 2)

The second season of Clone Wars is about as solid a season of television as I can possibly imagine.

To be clear, it’s not the greatest season of television I have ever seen. But damn is it good. Pretty much every single episode in this season either challenges the characters personally, raises the stakes for conflict in the universe, or calls the morality of the Republic and Jedi Order into question. It starts off with “Holocron Heist,” in which badass bounty hunter Cad Bane breaks into the Jedi Temple and steals a holocron for Darth Sidious in order to kidnap Force-sensitive children across the galaxy. And then there’s “The Deserter,” where Captain Rex meets a clone trooper who went AWOL and established a family on an unoccupied planet, “The Mandalore Plot,” which has Mandalorians being awesome and Obi-Wan being a massive flirt, “Cat and Mouse,” which has Anakin piloting a stealth fighter against a Separatist general who is literally the only person who knows how to fight against those…

If I wanted to, I could spend a lot of time writing about each and every episode and their strengths, but that would take way too long, so you’re just going to have to trust me when I say that the entire season is solid as hell. Instead, we’re going to take a look at two standout story arcs that take place over multiple episodes in Season 2 and dissect them in detail to look at why they work as well as they do.

The first arc we’re going to look at are the episodes that follow Anakin, Ahsoka, Obi-Wan, Barriss, and Luminara as they lead Republic forces in the Second Battle of Geonosis in order to destroy a droid factory that has been recaptured by Separatist forces. Our heroes arrive with a massive Republic force, but the Separatists have them outnumbered even still. Their plan doesn’t survive first contact with the enemy, and Anakin and Ahsoka are forced to fight their way through immense odds just to get to their original landing point. After they are reunited, Anakin and Luminara work together to serve as a distraction while Ahsoka and Barriss sneak into the droid factory in order to plant explosive charges and stop the production of endless reinforcement for the Separatists.

What makes “Landing at Point Break” and “Weapons Factory” special isn’t really their plot. The mission our heroes are on isn’t particularly complicated, nor is it even that novel of a story idea (especially considering that we’ve already seen a pretty boring Battle of Geonosis in Attack of the Clones). These episodes are special because they completely shatter the perception of the Jedi as genuinely unstoppable warriors that dominates the prequel trilogy and most of the episodes of this show. Anakin and Ahsoka’s fight to reach Obi-Wan is desperate, and while at no point do they stop being powerful warriors, they are quickly forced to turn to clever tactics and their wits in order to get past the Separatist forces that would block them from their goal.

That same desperation is present in Ahsoka and Barriss’s quest to infiltrate the droid factory. They’re forced to sneak through behind enemy lines, going through a hornet’s nest where any wrong move will get them caught and lead to their failure. And you know what the writers decide to do? They have Ahsoka and Barriss make one mistake, wake one Geonosian, and when that Geonosian catches up to them, their mission is nearly brought to complete failure and they are forced to bunker down in a droid assault tank in order to both set off their own explosion and have a chance at survival. They are then stuck underneath a mountain of rubble and debris with little oxygen, and Ahsoka only barely manages to send out a signal to Anakin using her communicator, letting him know they’re still alive and leading him to continue the search until they’re rescued. These episodes are tense and filled with danger, and I find it genuinely impressive that Filoni’s team was able to get such great mileage out of a story that so easily could have turned into a retread of the battle from Attack of the Clones.

The next two episodes we’re going to look at are “The Zillo Beast” and “The Zillo Beast Strikes Back,” which besides being regrettably named, are filled with some of the most interesting and challenging material in this series. These episodes follow Anakin and Mace Windu, whose use of an electro-proton bomb on the planer Malastare causes an ancient beast to awaken in a clear nod to the Godzilla film franchise. This beast is genuinely fearsome, as its scales are strong enough to resist even a lightsaber, but Mace Windu and Anakin argue against Malastare’s leaders, who want to kill the Zillo, as to do so would be to take the innocent life of a creature that is the last of its kind. Anakin is eventually able to argue that the creature’s impervious scales would be useful for military research, so he and Mace Windu devise a plan to stun the beast and take it back to Coruscant, in order to trick the Malastare leaders into believing it is dead. When the Zillo arrives on Coruscant however, Palpatine quickly pushes to kill the beast using Malastare fuel, which the creature is weak to, and when his scientists fail to administer a lethal dose, the Zillo breaks free and wreaks havoc on the streets of Coruscant in a number of clear nods to Godzilla and King Kong. Eventually, the Jedi are able to kill the beast by hitting it with a lethal dose of fuel, and despite the lives they managed to save, all of the Jedi deeply regret the loss of the Zillo beast’s life.

The nods to Godzilla and King Kong are some of the coolest things about these episodes, but beyond that, these episodes have some pretty challenging thematic content. For one, this is the first time we get to see the Jedi Order faced with a legitimate moral dilemma, as for a lot of reasons, killing the Zillo is pretty defensible, but it still goes in direct violation of their Code. They decide against killing the Zillo, but because of their use of deception and pragmatist arguments, the Zillo ends up being put in a place where it will have even more power to do harm, close to a person who wants it to harm people so it can be put down rather than kept alive. In a lot of ways, Anakin and Mace Windu’s decision to bring the beast back to Coruscant is reckless and misguided, and we are shown just how blind the Jedi are to the dark forces that surround them on their homeworld. It is this blindness that leads them to do the very thing they sought to avoid: taking the life of an innocent creature that is likely the last of its kind. The shadows of the Dark Side are everywhere, and when the Jedi are too blind to see their own mistakes, innocents like the Zillo end up suffering more than the Jedi ever will.

Star Wars: The Clone Wars (Season 3)

This is where it starts to get incredible.

Like, really fucking incredible beyond anyone’s wildest expectations.

Season 3 of The Clone Wars does more to expand the mythology of the Star Wars Universe than George Lucas has done since the release of Return of the Jedi.

I hear what you’re saying. “Jacqueline, how can you possibly make that claim? Lucas made three prequel films after Jedi that included important details on the world of Star Wars, the Republic, and Jedi Order that it’s impossible for a single season of television to outdo that.” Lucas did a lot after Jedi, and I am not trying to deny him or his importance to this universe. George Lucas, however, was entirely wrapped up in his goal of telling a story about a fascist government’s rise to power, and in focusing on those political details, he lost sight of the wonder and mystique that makes the Star Wars Universe as compelling as it is. Dave Filoni and his team, however, do everything they can to further Lucas’s message in the prequel trilogy, and they do that without losing sight of the fascinating mysticism surrounding the Force, the prophecy of the chosen one, and the tug and pull of balance between light and darkness that defines the universe.

Now, there legitimately isn’t a bad episode in this season, but like last time, two arcs told over multiple episodes rise to the top and that’s what we’re going to focus on.

The first arc that does this is the Nightsisters arc, which follows Asajj Ventress after she is betrayed by Count Dooku and left for dead. She manages to survive her ship being fired upon by another Separatist warship, and she returns to her home planet to the witches of Dathomir in order to find her heritage and get help in her quest for revenge against her former master. She and the seemingly invincible witch Mother Talzin first target Dooku directly, sending Ventress and two Nightsisters in with cloaking magic and a poison designed to weaken Dooku and make him easy to kill. Dooku is still a force to be reckoned with, however, and he dispatches Ventress and her sisters without significant difficulty. Ventress and Talzin then hatch a more sinister plan, testing the males on the far side of Dathomir until they find one who is worthy and take control of his mind so he can be planted as a traitor in Dooku’s ranks. When Dooku takes this man, named Savage Oppress,1 under his wing and trains him as an apprentice, Ventress sneaks into Dooku’s vessel and makes Savage turn on his new master. Her plan fails, however, and Savage quickly regains control of his mind and turns on the both of them, escaping back to Dathomir and seeking guidance from Mother Talzin, who tells him of a “brother” he must seek while showing him a vision of the Sith Lord Darth Maul, a Zabrak and Dathomir Nightbrother just like him.

We’ll talk about Maul next time, when we actually get to see him in action, but suffice it to say, closing out a set of episodes that explores the dark mysticism of the Star Wars Universe by promising the return of one of Star Wars’ most badass villains is a pretty risky decision, as is the depth of exploration of the Dark Side that we get to see here. The Nightsisters are absolutely fascinating on their own as a less-than-savory mystical underbelly that neither identifies as Jedi or Sith, and Mother Talzin is an imposing figure who, if she did not prefer to keep to herself and her coven, would be a far greater threat to the galaxy than the Sith could ever dream of being.

Of course, the main attraction of these episodes is that they finally put Asajj Ventress to use as the complex character she was always meant to be. Ever since I was a little girl watching Genndy Tartakovsky’s Clone Wars animated mini-series, I’ve been obsessed with this character. She has such a rich and tragic backstory, and as a young girl with her own demons boiling up under the surface, Ventress appealed to me with her mastery of the Dark Side, dual lightsabers, and dominatrix-like attitude (which is turned up to a ten in The Clone Wars, as she is referred to as Mistress by everyone around her). Up until Season 3 though, The Clone Wars didn’t really put her to good use. Sure, she was an assassin, and she had those dual lightsabers, but in this show she has been far less of a pure, unadulterated badass, as she’s the villain and the heroes have to beat her.

These episodes turn that on its head perfectly. Dooku’s betrayal of her makes sense, in only the way an abuser’s decision to abuse can; she has consistently failed to achieve victory against the Jedi after all, and as we see her backstory unfold over a few short flashbacks, watching her being taken from her family as a child and witnessing the murder of the Jedi who taught her how to use the Force, Dooku’s betrayal becomes an opportunity for her to finally exert some agency over all of the horrible things that have happened to her. She will have revenge against Dooku, because damnit, this is the first time she’s ever been powerful enough to strike back against the people who have hurt her the most. It becomes even more heart-wrenching to watch as any knowledge of the prequel trilogy’s storyline lets us know that she is doomed to fail in her quest for revenge, as Dooku survives until Revenge of the Sith to be killed by Anakin Skywalker. Despite having the power to strike back against her master with “dark magicks” and a monstrous warrior, she still ends up without enough power to take any emotional closure for herself through revenge.

The second arc of note in this season is the arc set on the planet Mortis, following Anakin, Ahsoka, and Obi-Wan as an ancient distress signal calls them to an incredibly strange planet.

But I’m not going into detail on those episodes.

They are amazing. Make no mistake.

But I would not dare spoil the details of what happens in them to anyone who hasn’t seen them.

Trust me, just take my word on this, and go on Netflix, to Season 3 of Star Wars: The Clone Wars, and watch “Overlords,” “Altar of Mortis,” and “Ghosts of Mortis” right now. If you don’t watch anything else from this show (and seriously, you should, it’s great), then still watch these episodes. You don’t even need that much context to enjoy them, because as long as you accept that Anakin has an apprentice named Ahsoka, literally anything else you could need to know follows logically from Anakin and Obi-Wan’s characterizations in the prequel films. You have my word, a Jacqueline Merritt guarantee, that you won’t regret the time you spend checking these episodes out.

Next time, hopefully not two months from now, we’ll explore the rest of The Clone Wars, the comic Darth Maul: Son of Dathomir, and the novel Dark Disciple. See you then!

Critical Eye Criticism is the work of Jacqueline Merritt, a trans woman, filmmaker, and critic. You can support her continued film criticism addiction on Patreon.

1Any of my Jewish readers who disagree with my belief that the Toydarian’s are less hurtful because of their characterization in The Clone Wars are more than welcome to challenge me on that, as I am open to hearing any criticism of my argument here.

2I could also go into more detail on the character of Savage Oppress and how he is actually quite fascinating despite having an absolutely terrible name, but exploring his character is best left for our exploration of Darth Maul in the later seasons, as their arcs are fairly closely intertwined.

#star wars #star wars the clone wars #the clone wars #tcw #ahsoka tano #anakin skywalker #obi-wan kenobi #master toda #count dooku #christopher lee #george takei #ashley eckstein #star wars canon #skip this one too #i am posting it primarily because i want it to be up here #but again #if you want good discussion/analysis of clone wars #listen to A More Civilized Age

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brayneworms · 1 year ago

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hi! i stumbled on one of your works and i had to drag my ass to your askbox immediately to let you know it was the best thing i've read in a while. listen, i skim through writing normally but i was there reading and rereading every word. i ate that up. god bless. god bless fr.

it was the fic about xiao's scars. first of all a million kudos to you for the characterization, because that's something i rarely see done well especially when it comes to ns/fw. my favorite part was definitely the intimacy - i'm not that good with words so idk how to put it, but seriously, the intimacy was so satisfying. a lot of suggestive content goes straight to the point and forgets about the emotional value (which ig contributes to poor characterization) but i loved the way you took your time to explore all his feelings and reactions. like THAT'S what i wanna read, man. it scratched an itch. it all felt so tender and loving. my heart!!!

also i cried on the inside a little when i realized it was over. i'm craving a novel over here. then a trilogy. then the shitty movie adaptations. so i'll be checking out your other works!! i get the feeling i'll stick around since you write for a few more of my interests :3

HI HELLO SORRY THIS IS . SEVERAL DAYS LATE.

thisis so fucking kind thank you SO much i dont even know what to say. i totally know what you mean abt a lot of nsfw fics sort of skipping character building and plot which is totally fine , its just... not something i can get into ? i find it really difficult to enjoy smut thats just pwp i guess. i like to give my readers a personality and some quirks or flaws, give them some pre-established relationship with the character in question . its just what i find preferable :3 characterisation is probably my biggest source of stress when it comes to writing so im SO thankful for ur comments about taht !!! xiao is my special little dude and im so glad you think i represented him well .

THAKN YOU SO MUCH . im a very slow worker because i have a couple longfics on my ao3 that have my attention , this blog was more made to get brainrot out ( hence the username lol ) but rest assured im working on some stuff for this blog !!! it's mostly genshin at the moment too so . hopefully there will be something for u !! i hope ur having a wonderful day my angel <3

#braynechats

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daisyachain · 3 years ago

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hi!! i've been reading through your ao no flag liveblogs lately and they're really interesting! i enjoy seeing someone so passionate about this manga and it makes me want to reread it .... i'm really interested in hearing what you have to say about masumi's ending though!! part of me thinks it makes sense but i'm mostly conflicted on it and would love to see it from your perspective ^^

haha well thank you! ah yes, the arc that created as much controversy as you can get in an active readership of like 10 people...

Blue Flag is an imperfect story, but it also gets a lot of flack for things that a) didn't...actually...happen, b) didn't happen in the way people think they did.

Part 1: Is it actually straightwashing?

The most common criticism I see of Masumi's ending is that she was written as a lesbian character and straightwashed at the end. Marrying off a female character as a way to 'fix' her issues is a common and harmful trope, and saying that lesbian women just need to get a man is a widespread homophobic trope and talking point. So, it's not a good look. To have a character angst over interest in a woman and end up happily married to a guy reads like a '50s pulp novel that just uses f/f attraction for marketing.

But, if the intention of the ending was to show that Masumi should give up on women and force herself to date men, then it doesn't. Mitsuyuki's description of her is 'look at my bisexual wife who has dated both women and men and could also have married a woman', which is an odd choice if the intention was straightwashing. It feels more like a clumsy way to make sure that, in a series full of ambiguity, there could be no argument that Masumi was queer. That isn't to say that cisstraight people don't view bisexuality as less/better than/straighter than her being lesbian and that making a previously gay character bisexual isn't still straightwashing (increasing the appearance of straightness).

Part 2: Was it actually a retcon?

So: Masumi's ending reaffirms that she's a WLW. One question is, was she always meant to be bisexual, or was she originally written as lesbian?

Blue Flag doesn't have a lot of straight (no pun intended) answers. Taichi never expresses any explicit attraction to guys, but there is enough subtext to suggest he's attracted to Touma well before the finale. Futaba believes she is attracted to Touma at first and is shown to be attracted to him using the visual shorthand of manga (blushing, etc.), but she later says that it was just misinterpreted admiration. Mami doesn't want to date Touma or any man, but she implies that she is attracted to Touma when she says around him she was 'glad to be a woman.' Within the main romance, Futaba says that it was specifically because Taichi was a friend to her that she grew to like-like him. The lines between friendship and romance are blurred in Blue Flag, and sometimes romance can only grow out of friendship.

Masumi has a tense conversation with Taichi in the first half after she breaks up with her boyfriend that most people (me included) read as her saying that she tried guys and she just isn't and can't be attracted to them. However, it's Blue Flag, so the conversation is unfocused and doesn't paint a complete picture.

"Even if I get a boyfriend, I can never make it work"/"I don't know why [I don't like him anymore]" seem to imply that Masumi realized that she was feeling compulsory heterosexuality and that she will never like men. "[I don't know] why he like someone like me"/"You can be friends with potential sexual partners? With both guys and girls?"/"I just wanted to hear how you men feel about [a girl liking other girls]" seem to imply that Masumi is bisexual and is afraid to date because someone might find out. Maybe she's written as questioning--she knows she likes Futaba, but she's feeling out other possibilities. It's Blue Flag, so it's unclear.

Part 3: How does it work with Masumi's arc?

Diving further into Masumi's story, she acts as a foil to Touma (and Futaba, see later). Touma feels free to show his affection for Taichi as a friend as well as a love interest and almost confesses to him of his own free will, well before he's forced to. Touma tells her that he intends to try and set Taichi up with Futaba (because they would be good for each other), and also that he intends to pursue Taichi in some way. He tells her he's "not like [her]."

For Masumi's part, she tells Touma that she wants to express more affection for Futaba--not necessarily in a romantic way, just to participate more fully in that relationship--but she's afraid to, she doesn't feel confident enough to try, and that she's "the worst" because of it. We see this theme repeated, that Masumi is pessimistic, is afraid to trust people and hates herself for being afraid. Her conversations with Aki and Mami explore this; Aki tells her that it's not bad to be insecure or unready and that it's fine to keep a secret/stay closeted until she's ready, Mami tells her that she does have people she can trust, who care about her and who will do their best to understand her and help out. Why am I typing all this out? Because Masumi is a bitter, insecure wlw and that is an Established Trope, but her twist on it is that her negativity or bitterness isn't over her attraction to women/to Futaba or even over the reaction she might get from others (as Touma's is), it's over her own insecurity. Like Futaba, she's hesitant to act on her feelings, and like Futaba, she gets frustrated and hates herself for her own inaction.

All that is to say--Masumi is never shown to have a problem with her attraction to women. Her angst isn't gayngst, she's not ashamed of her feelings for Futaba bur rather her inability to express them. Her problems are with social attitudes and more with her own personal feelings--she and Touma face similar problems, but Touma is simply aware of the consequences (being roughed up and ostracised by a certain group of people) while Masumi feels a more generalized and ambiguous fear.

If Masumi were shown to have mixed feelings about her queerness/were shown to be in denial/were shown to be trying to move on from Futaba, then her ending would read more as straightwashing. As it is, there's nothing in her character and arc to say that she'd ever want to erase that part of herself or get rid of it, rather, she wishes she could embrace it but she just doesn't feel confident in doing it. Her ending shows her as an openly bisexual woman who is out to her friends and husband at the very least, which is a completion of her arc in the manga (of learning to trust other people and express her feelings honestly).

Part 4: What context clues does the rest of the series give us?

This is branching off a little from the strict text of Parts 1-3. As I've said, as we know, Blue Flag is 50% subtext and interpretation. Characters speak, but they don't say what they mean, characters think, but they're not always honest with themselves or in tune with reality. Mami is an ominous and antagonistic figure in the first half, but then it just turns out that Taichi was jumping to conclusions. Taichi is the main character and narrator, but we get radio silence from him for like 7 chapters after the climax. Taichi is bisexual, but the reader has to guess that from the way the art style shifts between PoVs, the similar panelling between Futaba and Touma's confessions, the things he does and does not think about Touma and how he feels about them. It's safe to say that there is room for speculation.

First, there is no explicit evidence that Taichi could be bisexual before ch 54. It's easy to tell that he is, but again, there's nothing specific. Some people reading Blue Flag have said that him marrying Touma was out of character, unforeshadowed, bizarre, inexplicable, etc. because their experienced is coloured by their own heterosexuality. Masumi is shown to have dated a guy and in saying she didn't like him "anymore," implied that she did like him. Her conflicted feelings over her bf could well have been foreshadowing her liking men as well, and my reading that as comphet could have just been my own experience colouring the text. Who knows! Taichi's bisexuality was intentional from the start but could be read as a last-minute twist, so why not Masumi's?

Second, Mitsuyuki is Futaba 2.0. Same colouring, same personality. This could feel like a way of saying "Masumi just needs to like guys instead," but to me it reads deeper with some of the trans subtext around Futaba. One of my issues with Blue Flag is that it doesn't go further into Futaba's admiration/envy for masculinity and her uncomfortable relationship with femininity. As a cis woman who wants to be buff and mildly masculine, I can understand why she's a cis girl throughout and I don't necessarily think that she was supposed to be a trans guy. However, her relationship with masculinity draws a parallel to Mitsuyuki. Reading Mitsuyuki as a cis man, he is the combination of Futaba's personality and looks with her 'ideal form.' So, Masumi marrying Mitsuyuki can read as Masumi marring Ascended FutabaTM.

Third, Futaba having a faceless prop husband is interesting in the context of Mitsuyuki getting a name and personality. Mitsuyuki = Futaba and Mr. Kuze is a blank space, so the reader is prompted to reduce the scenario and slot Masumi into that blank space. Given Masumi and Touma's history as foils, I'm inclined to think that Mitsuyuki exists to show the road not taken. Back at the fireworks, Touma tells Masumi that he hasn't given up on Taichi, and Masumi says she doesn't intend to pursue Futaba even though the pining is making her miserable. Given that Futaba reacts a lot better to the idea of Masumi liking her than Taichi reacts to the idea of Touma liking him, given that we see Masumi has successfully wooed male!Futaba, I think that Masumi's ending shows that she could have ended up with Futaba if she chose to pursue her. She didn't and she still got a happy ending where she is confident in her sexuality and unafraid to trust, but she could have also had a happy ending where she married Futaba. Mitsuyuki is a man because desire-for-masculinity is a key aspect of Futaba's character, and Mitsuyuki is a named character with a personality because KAITO wanted the reader to know that Masumi could have ended up with Futaba (as Touma ended up with Taichi).

Fourth, KAITO's notes on volume give us a few hints. He comments that there was remarkably little interference with his story and that he was able to tell it as he wanted, and that the ending was meant to be a "question" to the reader. The way I see it, Masumi's ending wasn't meant to say "maybe you'll be fixed if you get a man" but rather was meant to complement Taichi's ending and say "things happen in ways you might not expect, but that doesn't mean they're bad."

Fifth, Touma/Taichi ending up together shows us that the series is willing and able to show queerness as a good thing and a happy ending, so it's unlikely that Masumi was meant to come off as "actually she just needed a man" and more as "life can be unpredictable but you can always find happiness"

Summary

It's unclear whether Masumi was written as a bisexual woman or a lesbian woman or a questioning wlw

I personally read her as a lesbian and I wish that part of her character had gotten more exploration

Masumi's ending wraps up her arc (struggling to trust other people with her feelings in general and her queerness in particular) in a satisfying and logical way

Masumi being bisexual does not in any way negate or lessen her identity and experienes as a wlw, bisexual people still face external and internalized homophobia and all the associated issues

Masumi's bisexuality may well have been foreshadowed, but the execution makes it easier to read her as a lesbian, which makes her ending seem like a homophobic cop-out in the style of the Hays Code

Masumi's ending doesn't straightwash her and goes to unusual lengths to affirm her attraction to women

Masumi's ending seems to be written to contrast Touma's ending, showing that getting or not getting the love interest depends entirely on whether you choose to pursue them

It's unlikely that authorial intent was to straightwash Masumi

#ao no flag #blue flag #itachi masumi #masumi itachi #kelsey liveblogs ao no flag #that 8 volumes of a manga where nothing happens could be so complicated...

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mojoflower · 4 years ago

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WHY is fanfiction not the appropriate venue for your political or social battle?

We can all agree, I posit, that there are changes that need to be made in the world (racism, for example; patriarchal inequalities; rape culture; capitalism; plug in your personal cause here).

We can all ALSO agree, I think, that the way culture, media, etc. portray things influences a consumer on an unconscious level.

We can agree that, in real life, certain things are clearly bad: abuse of others, non-consensual sex, systemic inequality, I can go on….

So. Let me feel my way through this. I, personally, feel like fanfiction (specifically on AO3, since that’s where I encounter it) is NOT an appropriate battleground for enforcing cultural change by:

Leaving comments about how someone’s work is (in your, the commenter’s, opinion) wrong, damaging, unfair, insensitive, etc.

Telling the writer they should change this or that.

Telling the writer they must add or delete tags.

Broadcasting your opinion of the writer’s egregiousness outside AO3 (twitter, for example, or here on tumblr).

Organizing a campaign of harassment against the author if they don’t change to suit your personal requirements.

First of all:

Be the change you want to see.

Fanfiction, unlike any other media out there, is INDIVIDUAL. It is one work, from one single person – voluntary and unpaid. You yourself are one single person. You can have as much influence as this writer. Write the works you want to read, instead of demanding that the writer change to suit you. This is how romance novels changed from non-con, non-condom-wearing, shudderingly unequal stories in the 70s and 80s to where they are now, for example. New people started writing stories, and eventually established authors started changing, too (or dwindled away).

Remember that you know nothing about the author.

You don’t know their culture, their skin color, their age, their gender. You don’t know their socioeconomic status or how much free time they have. You don’t know their current mental or physical conditions. You don’t know any of the things going on in their life. AND. You are not entitled to know these things. When you lash out at an author for not doing research, for not editing, for… anything at all… you cannot assume that they’re not fourteen, not suicidal, not a native speaker, not disabled such that writing a single paragraph is a tremendous effort. You don’t know they’re not in an abusive situation, or economic peril. You do not have the right to tell them to change. Whether you are asking them to change text, tone, tagging, ships, plot, you name it. Anything.

Dead Dove: Do Not Eat.

Don’t like, don’t read. These are simple concepts, and the tagging system on AO3 helps you to avoid many triggers. Simple common sense, once you're into a story that’s raising your hackles, will warn you away from the rest. If you say, ‘no, this person can’t write that, it’s contributing to pain in the Real World’ then you are functioning as a censor. I mean, at its most basic level, a censor is someone who strikes out passages in books or other media because it’s… immoral/bad/etc. The problem is that morality is incredibly tailored to the group you’re in, and also incredibly fluid, shifting over time. So… why do YOU get to be the censor and not the author? What makes YOU the final word? Seriously, think about it.

Fanfiction writers are the most vulnerable group you could target.

Which makes them easy prey, and possibly makes them the juiciest and most satisfying targets. Address your anger to Hollywood or Simon & Schuster or Congress – and your voice will doubtless get lost in the shuffle. Address it to an author on AO3 and you can deliver your blow personally, one on one, and witness the damage. There is no professional buffer between your resentment and their reaction.

Who are fanfiction writers? Overwhelmingly women, overwhelmingly queer, often very young and inexperienced. Wow. What a rewarding group to start slapping around. You wouldn't be the only one to think so. Seriously. Aim your anger at someone who is STRONGER than you. Not someone who is (likely) weaker than you. You’re kicking a kitten, while a lion lounges behind you.

Censoring someone’s thoughts is bad.

People should be allowed to THINK. And they can think whatever they want. Whether and where and how it should be expressed is another matter. AO3 is a safe place for whatever weird-ass thoughts you have. It is expressly written into their mission statement. AO3 was SPECIFICALLY DESIGNED so that authors could have a place for their dead dove fics.

So. Why is [your pet cause] okay on AO3 and not on a script in Hollywood?

AO3 requires membership before you can post anything, so it’s arguably private. AO3 provides tools for readers to avoid works they might find triggering. AO3 profits no one. Follow the money, and there are your true culprits. Not a housewife from Hoebokken.

Fanfiction writers make no money. When they write, they are not lawmakers, filmmakers, teachers or preachers. This is not their job. They do not have a responsibility to the community, because they are vested with no power and no paycheck. Please move your battlefield to one of these other venues. Your fight will be harder, but it will also do a lot more good than traumatizing some naive kid away from writing forever.

Fanfiction comprises an individual’s personal thoughts and personal works, written for their own enjoyment, shared only through AO3 to (presumably) like-minded readers. Fanfics are a person’s fantasies and daydreams. They might be an author’s therapeutic exercise. Or someone trying to explore something new, whether it be cultures, ideas, sexualities or kinks. Humans need a place where they can be wrong and make mistakes. Think about that, I implore you. If you are constantly pointing out someone’s errors, you may eventually either silence them forever, or instill in them permanent resentment. This does not further your cause.

You have your personal cause.

I’ve seen a lot of them. Incest is bad, you’re not allowed to write about it. Pedophilia is bad, you’re not allowed to write about it. Abusive relationships are bad, you’re not allowed to write about them. Racism is bad, you’re not allowed to write about it. Genderswap is transphobic, you’re not allowed to write about it. A/B/O romanticizes damaging gender inequalities. There are many. If every single one of you got to stamp out your personal crusade, then fic would be scant on the ground and many people wouldn’t try to create anymore. It’s stifling to creativity and terrifying to an author that they might slip up and be called out. No one, as far as I know, likes to think of their fanfiction as something that will be turned in for a grade.

Your standards are your own.

What are the precise parameters of an abusive relationship? Transphobia? Racism? Pedophilia? Fetishism? Where does dub-con become non-con? No one is the mouthpiece for the whole world. You are only the mouthpiece for yourself.

If you think to yourself that it’s not okay to tell someone they can’t write about, say, a gay relationship, but it IS okay to tell them they can’t write about a certain ship or dynamic (for Reasons), then maybe you should step back and check yourself and your entitlement to someone else’s endeavor.

In conclusion:

I’m not saying that racism doesn’t exist in fanfiction. Or creepy sexual abuse, or glorification of harmful dynamics. It certainly does. I’m not trying to play semantics with you.

But when you see these things, when they bother you... back right out.

That’s it. Just back out, ignore it and find a different fic. (Or better yet, write your own!) Shower the fics you approve of with love and comments about why you think they’re great. Give them kudos and bookmarks and shout-outs on your blog. Eventually, if your opinion is popular, authors who thought otherwise will realize that readership is looking for something different. They’ll change or they won’t, but the body of work will change over time, and THAT is what you’re looking to accomplish. Not to stamp out fanfiction altogether.

#mojo muses #fandom wank #censorship #social justice #fanfiction #fandom #I am not disputing the validity of your opinion on Thing #I am disputing your right to push it on a fic author #these are two separate things #cancel culture #antis

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msotherworldly · 3 years ago

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Characters Arcs

When writing a story, whether it be a novel or an epic film, it’s important to have subplots. While all stories should have, in addition to the main plot, something called a “B Plot,” C plots, D plots, and E plots should play a role too. Smaller plots wouldn’t change the entirety of the plot if removed...but when included, they can enhance the main plot, deepening it, and providing a greater meaning to the overall story.

While it isn’t always the case, the B Plot is often the “romance” of a story. While the hero is trying to defeat the bad guy, he develops a friendship or rivalry with a companion, before ultimately falling in love. Of course, romantic or platonic, the best sub plots explore the characters in relation to one another.

These character arcs - the changes to not only the characters themselves, but the evolution of their connection to others - give readers a reason to root for not only your hero, but the whole cast.

The film which exemplifies this point well is the first Lord of the Rings. While the groundwork for these characters, and their relationships, are laid in the book, I will be focusing on the movie version. When adapting Tolkien’s story, Peter Jackson knew the characters had to be more than names on a page. In order to foster a connection between the audience and each member of the fellowship, bonds were strengthened, or even invented, between the various members.

Merry and Pippin & Boromir

The bond between Merry and Pippin is solid in the books, but little is known about Boromir - beyond knowing he’s Denethor’s son, and a future steward of Gondor who attempts to steal the ring from Frodo, there is little else. In the books, he is a tragic figure and a lesson in how destructive the craving for power can be.

In the films, though, he becomes a friend to Merry and Pippin. He teaches them how to fight, and laughs when the two hobbits doggy pile him. It’s only one scene, but it gives us a relationship. When Boromir is later overwhelmed by orcs, it isn’t as punishment for his actions - instead, he redeems himself. He races to the defense of Merry and Pippin, giving his life for them. His death is that much more tragic because of his connection with the two. When they see him fall, he isn’t just their companion - he’s a good friend, who once laughed with them and ultimately died for them.

Aragorn & Boromir

Boromir also has a connection with Aragorn. The sub plot between the pair, which focuses on Aragorn’s mistrust in Gondor and Boromir’s belief in Gondor, is set up before the Merry and Pippin arc, beginning when Boromir drops the fragments of Isildur’s sword to the ground. His comment that these shards are no more than the remains of a broken sword underscores his lack of faith in Gondor needing a king - a point of tension between him, and the man who could be king if he cared to.

Boromir is an idealist, seeing the best in Gondor and loving it to an almost blind degree. Aragorn, by contrast, seems to care more for the elves than his “own” people. He leads the party towards Lothlorion, home of the elves, but makes a point of avoiding Gondor. He seems to hate Gondor, connecting it with the failure of his ancestor, Isildur; like Aragorn’s antecedent, Gondor is weak. When Aragorn refers to Gondor, he calls it “your city,” to Boromir, rather than theirs.

Following the capture of Merry and Pippin, and the seeming conclusion of their arc, Aragorn swoops in to fight off Boromir’s assailants. Though Aragorn wins, Boromir is fatally wounded. He dies, but not before regarding Aragorn with the respect he would to a king. Aragorn, in turn, seems to have hope for Gondor, promising to do what he can for their people.

This arc enhances Aragorn’s own character arc in accepting not only Gondor, but his role as it’s king. Boromir is a metaphor and embodiment of Gondor, and Aragorn’s feelings towards him are actually the feelings Aragorn has towards Gondor itself. His relationship with Boromir allows him to verbalize his inner conflict about his homeland, and who he is. In the end, he accepts Boromir as his fellow - along with accepting the city as his.

He hasn’t accepted his role as king yet, but Boromir’s relationship with him has set him in the right direction.

Gimli & Legolas

Though the relationship between Gimli and Legolas has little effect on the main plot, it adds both humour and character development to the story. Initially, being a dwarf and an elf, the pair are resentful towards one another. Gimli more or less joins the fellowship to one up Legolas, and the two aren’t above making snide remarks towards one another.

After Gimli’s own experience in Lothlorion, though, when the dwarf realizes that elves can be both kind and beautiful, the dwarf is able to soften towards his companion. Their enmity transitions into a rivalry - they aren’t friends, but they make battles fun by beginning a competition where they try to kill more orcs than the other. As they fight in more battles together, and swap kill numbers at the end of each fight, they develop an actual friendship (in the extended edition of the third film, they even end up drinking together). Their relationship is light hearted, but it adds depth to the story, and makes the audience want to root for the pair.

Both characters are enjoyable on their own, but together they are that much easier to love.

Frodo & Sam

In the books, Sam is Frodo’s gardener and servant. In the movies, he is Frodo’s best friend. While there is still a master and servant relationship between the two, with Sam addressing his friend as “Mr. Frodo,” the term comes to feel more habitual than formal. At the start of the film, the hobbits share drinks. Frodo pushes Sam into his crush, Rosie, and gives Sam assurance when he’s fretting over the competition he has for her affections.

When Sam eavesdrops on the conversation between Frodo and Gandalf, the wizard decides Sam will pay for his listening in by accompanying Frodo to Bree. On their journey, Sam panics at one point when he thinks he’s lost Frodo. He explains that Gandalf made him promise he wouldn’t “lose” Frodo.

Even when he’s no longer obligated to follow, Sam insists on joining the fellowship. Elrond notes there is no separating them, secret meeting or not. Later, towards the end of the story, Sam tries to comfort Frodo, citing his promise to look after his master. When the fellowship splits, Sam chases after Frodo. Frodo can go alone, but Sam is coming with him. He repeats the line that is the crux of his bond: he made a promise to Gandalf not to lose Frodo, and he’s going to keep it.

Sam stays with Frodo to the end, even coming back after being sent away at best (and betrayed at worst) by his master in the final movie. While their bond is implicit, the repeated promise, and the ups and downs their relationship takes, adds another layer to the story. Destroying the ring is challenging - not only because of it’s effect on Frodo’s health, but because of how it tests his friendship with someone who proves to be more loyal than most.

The bond Frodo has with Sam is also integral to the plot. After all, if it weren’t for Sam, Frodo would have been killed. With such a role, Sam needed to be more than a dedicated servant. He needed to be a loyal friend, capable of being tested and still willing to fight for their friendship.

In Conclusion

The set up of these sub plots allows the rest of the movies to be deeper too. While it goes without saying that establishing a connection between Frodo and Sam would improve their shared story arc, other sub plots are revived.

The connection Boromir shares with Merry and Pippin, for example, becomes integral to Pippin’s own arc. With Merry removed from his side, Pippin is then influenced by none other than Boromir, when guilt over his death pushes Pippin to pledge himself to the service of Boromir’s father, Denethor.

Gimli and Legolas go on to have journeys together, and start another body count contest in the third film (where an elephant “still only counts as one” when Legolas dispatches it).

New sub plots are also introduced, such as the bitterness between Faramir and Denethor, but most of the plots are established in the first movie. The relationships between characters make the story matter, and carry it through; the groundwork laid by these bonds even sparks new storylines. Even after his death, Boromir’s relationship with Pippin influences his actions.

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hanijunk · 4 years ago

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Alright boys, girls, and nonbinary folks of the world. It’s 5:36am (1/30 when I first started) as I decide to give up on my attempt to continue to focus on learning statistics, avoid studying for my two upcoming midterms, and put off my two actual essays for two different classes.

Instead we’re going into a dive about ✨ KazuFuuma ✨ . Is this me telling you you gotta ship it? No of course not, you’re entitled to your own ships! You don’t really gotta care about it as a ship. But I do want people to recognize it’s THERE canonically, and how disregarding it is extremely unfair to Kazuki as a character particularly. Also, I’m working on the assumption anyone clicking this at least knows the bare bones about what KazuFuuma (ex. You know they are a ship of Kazuki/Fuuma from Dolce, you know they are childhood friends, you know who Dolce is, you know about Honeyworks, etc.) I’ll be making references to specific things, but I won’t always go into heavy detail. Might just hope you know it or take my word for what it is, and go into analyzing it. Some I’ll put direct references to find, but some I’ll trust you can find it yourself. If you somehow read this MAMMOTH and want reference to a specific thing mentioned, hmu I can help you find it!!

Also I hate tumblr formatting sm if you legit wanna read this 7 page essay but hate tumblr format lmk I'll add it as a google doc link instead too. anYWHO

Before actually getting into the meat of things lemme preface some stuff.

Again it’s like almost 6am so this will be disorganized and very train of thought (and likely long due to the fact when I fly by the seat of my pants I’m known to get unnecessarily extensive). It’s definitely gonna be in large part why it’s important to recognize as a romantic relationship foundation and what about it shapes Kazuki’s character in particular. Maybe a bit of how it’s been built up and its general focus and implications. Dunno yet. We’ll see LMAOO

I say f*ck. Not a lot, just a handful of times. This ain’t something scholarly this is for my own enjoyment so if you don’t like that might not wanna read. And it’s not like spitefully I just curse a lot if you haven’t...read my tags before lol

Again this is through the lens of a Kazuki stan. Of COURSE I’m going to have some level of bias, but if anything that bias may help more than hurt because that means I become FIXATED and think a lot about Kazuki. Which plays into establishing just how important it is that Kazufuuma’s relationship is recognized, especially in a romantic light at this point. Lmfao.

I’ll have a few more prefaces about the actual content below but to keep this from getting too long if you wanna read come below the cut owo

I have extremely limited knowledge of Japanese just taking a few classes in highschool (so like 3 yrs ago) and live in America. This means a lot of my knowledge is gathered through the english translations of the super duper incredible and lovely people in the Honeyworks fandom who provide translations (delaix and takanenene esp have provided so much for me being able to understand Dolce) and my own limited Japanese paired with Google Translate for things that remain untranslated.

This only will be drawing on information I have come in contact with and have access to and making assumptions based on that, most (if not all) of which is in the public domain. So things like the Dolce Manga Volumes released via Animate, exclusive 4komas, and Light Novels are out of my area for the most part (apart from again snippets of translations thanks to this fandom’s godlike and generous translators).

I will not be drawing on anything from the first Dolce album with the exception of Nade Nade. From a meta standpoint, I consider those songs as songs made as performance media as opposed to character explorations. Nade Nade is the exception because (1) it was released a whole year before the album and (2) you can tell it’s explicitly an exploration of Fuuma and Kazuki’s interpersonal relationship even if it’s in a slightly more performance based context than the songs that came out with the Dolce LNs. Easiest parallel I can make to show this is if you held Non-Fantasy, Yume Fanfare, and Samishigariya up against each other, you could tell the difference in intended audience and intended purpose the same way the Dolce 1st album, Nade Nade, and the songs of the LNs do respectively. Even if there is some basis to ground Kazufuuma, for the purposes of this essay I’ll be acting under the assumption the 1st album falls under the Non-Fantasy equivalent category.

THAT WAS A LOT OF PREFACING CONSIDERING LIKE 2 PPL WILL PROBABLY READ IT I just have a tendency to anytime I do anything analytical lay down ground acknowledgements for myself to work on just...cuz it makes me feel less guilty for any accidental misinformation even if I’m writing towards my future self to read lolll IM SORRY WITHOUT FURTHER TO DO HERE’S THE BRAIN DUMP

First let’s go ahead and establish why it needs to be recognized as an important relationship. Again, I’m a Kazuki stan. He’s my favorite character not only of Dolce but also of the entire Honeyworks series, and as much as I love him for reasons outside the ship, whether you like it or not Kazufuuma is an essential aspect of his character and narrative. Of course there’s the fact that him and Fuuma are childhood friends, so that’s going to in part define their characters and interactions with each other and those around them. They’re both going to be relevant to one another and important to one another’s stories to an even greater extent than the rest of the members of Dolce. But on Kazuki’s side at least, it’s an EXTREME amount. A running plotpoint in Dolce Diary is the sheer amount of dedication Kazuki has to Fuuma and how much his thoughts and decisions are influenced by Fuuma, whether it be how he feels happiest spending time with Fuuma, how he decided to get his piercing to represent he wanted to protect Fuuma, how he doesn’t want to dislike food so he can eat what Fuuma dislikes, etc. Not to mention running jokes about his borderline overprotectiveness and downright possessiveness of Fuuma, how proud he is when Fuuma gets praised, or that one 4koma that literally explicitly states he can read Fuuma’s mind when he thinks motherfucking ‘dirty thoughts’ about his childhood friend (Fuuma). I still don’t know what the fuck to make of that last bit. Genuinely. Or the fact it’s a fucking running joke. As in it’s not a one off. It’s been brought up multiple times. Kazuki what the fuck.

That’s not to say that he doesn’t have character outside of Fuuma or he doesn’t interact with people other than Fuuma. He’s great friends with Sara, Girisha, and Kippei and is shown time and time again to have fun interactions with all of them, generally acting as the best support friend for every member of the group, not Fuuma alone. For instance how he helps Kippei with his self confidence issues or stays over at Sara’s to protect him from a cockroach (which he fails at lol). Nor is that to say all his interactions involving Fuuma focus solely on his devotion to Fuuma, especially in instances where the manga focuses on Dolce as a group dynamic (though even in that setting there are times where jokes about his devotion are thrown in). He’s kind, he’s stupid, he’s friendly, he’s an amazing character in his own right, and I love him for all those reasons. But that doesn’t change the fact a major part of his character and his character interactions are rooted in Fuuma, and arguably some of his most interesting, eccentric, and notable behaviors and traits revolve around Fuuma (again the mind reading for example).

Hell let’s take it one step further. If you look at the character bios of the Dolce members, you get everyone’s motives for being an idol and interests. Of them, Kazuki is the only one to have another character mentioned directly, not to mention that supporting Fuuma is explicitly stated to be his primary motive as to why he became an idol. Not even Fuuma’s sister is mentioned, though two arguments can be made for this. The first would be that Fuuma’s backstory about wanting to fulfill his dream for himself and his sister was decided later to explain Fuuma’s choice to crossdress though it can be argued it was intentionally done to leave it as a reveal at a later date, to which I would argue I don’t think this backstory was a choice in post. While Fuuma’s dedicated Dolce Diary extra exploring that backstory was released a little less than a year after Dolce was revealed, the preview to set up Fuuma’s backstory was actually the first thing released after the character bios on the Dolce Official Twitter page if you exclude a drawing of Dolce from Yamako. The second argument could be that information about his sister was intentionally withheld to set up the reveal when Fuuma’s extra released to explore it. However, going by that logic (which I do agree with), that would also mean that Fuuma’s inclusion and importance in Kazuki’s character bio also set up his dedicated extra, which I don’t think would be incorrect to assume considering what his actual extra turned out being.

Which brings me to the thing that makes it inexplicable to write off the romantic implications behind Kazufuuma: Kazuki’s dedicated Dolce Diary extra, Suki. I shipped Kazufuuma before even knowing of Suki, sure. But the fact that Suki even exists is a shock to me and drove into me the fact that Kazufuuma wasn’t just my own projection. Again, it’s not a surprise that Fuuma shapes Kazuki’s life. They’re childhood friends, of course they’re going to be important to each other. But this extra explicitly brought Kazuki’s feelings towards Fuuma under a direct spotlight. At first I was thinking oh, this extra was just to acknowledge the fact that Kazuki and Fuuma’s relationship can have romantic implications, but the end of it the conclusion that we got was that it didn’t matter what type of “like” he felt for Fuuma. Originally, I thought it wasn’t anything more than saying there are all types of like, and it doesn’t always need to be explicitly defined, but I appreciated the fact they were aware that they were writing Kazuki in a way that conveyed romantic implications.

Then I thought about it because, again, I love Kazuki of course I’m going to think about his character extra, and realized...that’s not how these character extras have worked. There are only three character extras out as far as I know and have read: Fuuma, Kippei, and Kazuki. If we look at Fuuma and Kippei’s, each extra had a conclusion, sure, but they didn’t have a resolution. Rather, they were simply setting up explicitly what each character’s primary character arc and conflict were. Fuuma’s extra brought attention to the fact that he’s particularly a crossdressing idol by exploring the motives behind it. His choice to be a crossdressing idol is constantly under fire both by himself and the world around him. He’s not immune to those who consider his crossdressing strange, and a part of his story is both finding people who accept his decision to crossdress and to succeed for himself as a crossdressing idol. It’s an essential part of how we understand and define him as a character and it’s a central part of how he interacts with the world around him. For Kippei, it lays the severity of his insecurity under the spotlight and his journey and motives for improving himself. Again, this isn’t something isolated and resolved in the extra; his extreme insecurity and negativity is constantly affecting how he interacts with practically everyone from his fellow Dolce members to his fans despite the fact in all honesty? He’s fucking insanely talented in his own right, his own brother mentioning how smart he is and how he has amazing reflexes. For Kippei, his negativity is an essential part of how we understand and define him and central to how he interacts with the world as much as Fuuma’s decision to crossdress is to him.

Which brings us back to Kazuki, of course. In his dedicated extra, in the chapter that’s supposed to explore and establish and bring attention to an essential part of his character, the aspect of himself under investigation is how he feels about Fuuma. It’s not just how he behaves around Fuuma, it’s explicitly an exploration of his feelings, on top of the fact it’s explicitly an exploration about whether or not he likes Fuuma r o m a n t i c a l l y. Literally the conflict is spurred on by someone outright asking “Do you like him?” and having to clarify “I mean romantically.” What they decided to focus on for Kazuki’s character and emphasize and establish is that Kazuki’s like towards Fuuma toes the line between friendship and romance. His ambiguous feelings towards Fuuma (if we leave them inconclusive as Suki did) are just like Fuuma’s crossdressing and Kippei’s insecurity in the sense the weight of whatever those feelings may be are seen in how he interacts with the world around him and influences his behaviors. It would be another story if they introduced the potential and shut it down all within the extra, because then his central conflict would to me be less directly open to romantic potential and more simply about how his arc was meant to explore the dynamic of the behavior of an extremely dedicated best friend. The fact that he may be romantically attracted to Fuuma or may be only platonically dedicated to Fuuma is instead something that looms over Kazuki in the same way Fuuma’s decision to crossdress constantly looms over him. It’s what Dolce wanted to point to and say this is Kazuki’s central character conflict and central arc: exploring what type of feelings he has towards Fuuma.

Sure, it can be argued that there’s only three Dolce Diary character extras, there’s not enough to be sure about that being the purpose of the extras unless we get the other two’s extras. First, at this point I honestly don’t know if or when they’re going to release an extra revolving around Sara and Girisha just because not only has it been over a year and a half since the latest Dolce Diary Character Extra (Kazuki’s) was released despite the gap between the first and latest Dolce Diary Character Extra (Fuuma’s and Kazuki’s) were within a year of release but also because the Dolce 4komas and comics they’ve been posting to Twitter have decreased (last one being over half a year ago) potentially due to them deciding to focus on releasing Dolce manga content through the purchasable volumes instead. (This is not particularly related to the Kazufuuma argument, just wanted to put out there my two cents on what Sara and Girisha’s extra/focal arc would be. Based on a large part of the Dolce Diary in conjuncture with Can’t an Idol Fall in Love, I’d argue Sara’s would be his journey to regain his passion for performing, and if it’s not that I’d say it’d be coming out of his self-imposed isolation and opening up to people again. As for Girisha, I have less of a concrete idea but I’m assuming it’d be something pertaining to how people often misconceive him whether it be in tandem with his determination, his optimism and sociability, or his stupidity/ability to ignore those misconceptions and work past them. But Girisha is treated like the comedic relief 90% of the time so I’m not entirely sure, but his primary conflict is definitely rooted in misconceptions of him being his roadblock imo. #MoreGirishaContentPlz) That being said, I personally feel like the three are already enough evidence, especially considering it would be honestly even more cruel for Kazuki’s character-centric extra to be focusing on something that wasn’t essential to his character and character arc, anyway. And though it’s not explicitly stated that these chapters are extras exploring a central character, you can kind of tell based on how they are (to my knowledge) the only Dolce Diary updates with cover/title cards each which include their focal character front and center. So working off that fact, the Kazuki-centric chapter established that a pillar to his narrative was his feelings towards Fuuma and that those feelings are still open to romantic potential.

But if you follow me, this is why up until Can’t an Idol Fall in Love With Another Idol’s release, I was terrified of them writing that off. I would have been ok if it was just an arc that was given attention then continued to actively work in the background, as all the character arcs have been over all of Dolce’s content. The fact that they might be giving Fuuma a love interest and giving Fuuma a love arc while Kazuki’s feelings were still up in the air and were still the primary highlighted narrative for him would have been fucking scuffed. To me, it would be like… why would they make him so Fuuma-centric to the point that even his dedicated chapter was not just focused on Fuuma but focused on the ambiguity and potential of him having romantic feelings for Fuuma, yet reduce him to being Fuuma's designated right-hand man. Don’t get me wrong, friendships are just as important as romantic relationships. But again, rather than conclude Kazuki’s answer in Suki to be that his feelings were of friendship, they left it open ended and allow audience members to be actively aware that Kazuki’s feelings towards Fuuma still had potential to be romantically coded. It would just be so weird to quickly close off that narrative by giving Fuuma a love interest as opposed to letting Kazuki conclude it himself. It would be fucking beyond frustrating for me, at least Eventually, I kept trying to drive my hopes that they would explore Kazuki’s narrative at all down to the ground because it was a Fuuma-centric novel; maybe if anything they’d explore those feelings in his own novel after the fact. But then they kept having little drops here and there of Kazuki being even the slightest bit relevant and I’d go back to questioning “Are??? They??? Is this on purpose??? Do they know what they’re doing or are they just doing this because Kazuki’s just so important to Fuuma as his best friend that he’s there as his right-hand I genuinely can’t tell???” And um. Welp.

Safe to say Can’t An Idol Fall in Love sold me on the fact that they know what they’re doing LOL. And to anyone who thinks that Kazuki’s feelings can still be read as ambiguous in CAIFILWAI as opposed to explicitly romantic - whether it be due to a fear they may pull the “I like him as a friend” card or due to the disbelief that they have an explicit mlm main character in the Honeyworks series - I’d like to cover any bases that may make you think this way. If you think it’s just Kazuki acting like a protective friend, why do you think he calls Yui a rival? If you’ve only seen the MV and think it’s ambiguous or can be taken as the "likfe" for friend, then does that mean you think Yui’s feelings toward Fuuma are also ambiguous or as a friend? With the way Yui responds, she is trying to rival Kazuki’s feelings towards Fuuma. She and Kazuki recognize whatever feeling it is that they hold towards Fuuma, both of their feelings are the same type. I don’t think most people would argue that Yui’s confession about Fuuma was one of pure respect and friendship. Plus, if anything I’d argue of the three characters in the MV, Fuuma is the one whose feelings are left the most ambiguous despite him being the central character. It’s heavily implied that he may be forming feelings for Yui, but nowhere is it established either in the song or in the MV, especially if you compare it to Kazuki and Yui’s declarations or if you compare it to Sara’s feelings for Uru in Can’t An Idol Fall in Love. Fuuma’s romantic narrative here is trying to figure out how he feels for Yui, while for Kazuki and Yui they’ve established a rivalry because they both have mutually established they like Fuuma romantically.

If the MV isn’t enough for you and Suki isn’t enough for you for...some reason…??? You can check out the snippets of the light novel which the wonderful takanenene translated: one which revisits the conflict set up in Suki and one that covers the confession scene in the MV in more detail. If the fact that the conflict set up in Suki (aka the lurking feeling of not knowing if all he felt for Fuuma was only platonic or more than platonic) was specifically reestablished in the LN for anyone who didn’t keep up with Dolce Diary didn’t tip you off that it was something important, his behavior in the confession scene as depicted by the LN definitely should have. He’s possessive about his spot by Fuuma’s side. He doesn’t want that spot to be taken by anyone else. Even if he knows that they can help Fuuma, he wants it to be him. And this line: “Kazuki then trails off his words, quietly saying ‘That’s why…’ and then gave Yui a slightly painful smile, his cheeks turning red,” before he declares Yui a rival and states he likes Fuuma. If you can tell me you read that line and are still on the fence about Kazuki’s “like” towards Fuuma being romantic, please message me and I will see how I can get through to you. Like it wasn’t even just a romantically coded confession. It’s just a romantic confession. That “like” is romantic. And I’m so proud that he’s not only come to understand for himself how he feels, but that he’s confident enough to ask the person he sees as a romantic rival to speak in private and not only clarify her feelings for Fuuma but before she can even do that firmly establishes that he loves Fuuma with conviction. Kazuki my boy I’m so proud of you. *sniffs*

And that’s it for establishing Kazufuuma as at least canonically one-sidedly canon and why there’s not only no reason to deny it but also why denying it is a fucking disrespectful move towards Kazuki. He’s a character, sure, but that doesn’t change the fact you shouldn’t write off his struggle to come to be convicted enough to say it out loud. This has been something weighing on him at least a year, if not more (all I know is it started when both he and Fuuma were in some year in middle school). And as a character in a piece of media, I’ve been saying this the entire time, but brushing it off as non-romantic is literally chucking a fucking pillar of his character’s story into the gutter. And to those who may be saying Kazuki’s confession came out of nowhere and is pandering reread this entire fucking essay again I dare you to do it and tell me to my face it’s pandering. Again. Writing off the buildup as pandering is disrespectful to him, disrespectful to his character and narrative, and disrespectful to the wonderful people who have been creating Dolce so diligently and have crafted this narrative for us. Saying his “supposed feelings” and “ambiguous confession” is pandering is like saying Fuuma’s crossdressing is pandering which. If you say either of those I will find you and I will shank you in the fucking gut. Even if you’re not fully into Dolce, recognize these characters are actually very well developed and executed amazingly, as per every Honeyworks character that has come to exist. I don’t blame you if you weren’t aware of the weight of Kazufuuma, but now that you read this I hope you are. That’s mainly what I needed to get out there, but as follows will be me more exploring how Kazufuuma has been built up and generally waving my hand off at where it may be going. If you want you can dip, thanks for reading up to here because I know I repeated a lot because it’s just. So important to drill into your head and has been something I’ve been hung up about constantly. LOL

As for where exactly they’re taking it from this point on, I honestly don’t know. In all honesty, I didn’t even expect them to take it the direction they did. But honestly, I think the direction they went with it is really interesting and better than I could have imagined, in my opinion at least. Honeyworks never ceases to amaze me with their storytelling and narrative choices, and I don’t think there’s any that stand out to me as being severely questionable that they haven’t reapproached at some point down the line. And, again, I think they’re treating this with a lot of care and deserved respect. So I’m just gonna be gushing about how smart they set it up and how smart they’ve been executing it and maybe my own hopes on the direction it could go.

Whether they make Kazufuuma reciprocated I have no real clue or bearings, but to me my gut reaction is they will. Of course, I’m biased, but again if you trace things all the way back to 2018 and step through Dolce’s content and growth from there, I’d say even if they didn’t know if they could execute it like this and see it to fruition, I’d argue that Kazufuuma has been at least heavily implied since the beginning as a relationship they wanted to explore from both sides of the relationship. Obviously I brought up Kazuki’s character bio already, but if you look at the *goes to count* 5th Dolce Diary update already has a joke jabbing at the fact that Kazuki is technically Fuuma’s type (and the way Kippei and Kazuki excitedly react is so cute). The fifth update. And as stated before there are tons of Kazufuuma moments in Dolce Diary, whether it’s played for comedic effect or played straight (and this is post Suki but oh my god I’ve said it before I’ll say it again get yourself someone who looks at you the way Kazuki looks at Fuuma oh my jesus). But song-wise, I mentioned the one Dolce album song I would bring up is Nade Nade and this is where it comes!

Not only is Nade Nade specifically focused on Kazuki and Fuuma’s relationship as opposed to the whole of Dolce despite being the first song, it included the setup/preview of the Fuuma-centric extra prior to the full release of the Fuuma-centric extra itself and was released early as fuck. Literally between the 6th and 7th update to Dolce Diary. Sure, it could be to isolate them as a duo for marketing purposes (they’re very often the two promoted idols together if the whole of the group aren’t included), but the way it’s established as a perspective song as opposed to a general idol duet is what fascinates me. Anyone who didn’t know about Dolce prior and only followed Honeyworks for music would be first introduced to these characters through this song alone, and maybe this is where my Kazufuuma bias comes from but I was one of those people LOL. I thought it was just a cute one-off relationship that they had set up for the purpose of a song and that it was an implied friends-to-lovers story that would never get a conclusion. Also I mistakenly thought Fuuma was a girl oop-. In the full context of Dolce, this song in part helped establish Fuuma and Kazuki more solidly as a unique duo out of all of Dolce, but it also specifically explored through Fuuma’s eyes just how much Fuuma recognizes and appreciates the unwavering support Kazuki gives him to follow his dreams as he wishes. For Fuuma, he loves Kazuki too, though whether it holds any romantic potential in the same way Kazuki loves him has never been explored to nearly the same extent. But Fuuma appreciates how Kazuki’s remained by his side and does everything he can to support him, so Nade Nade explores how his way of expressing his love and thankfulness to Kazuki is by never saying that he needs Kazuki by his side. He’s glad Kazuki’s always been there for him, and his reciprocation takes on the form of being ready to unwaveringly support Kazuki and not ask for more than he already has, even if it meant Kazuki would be leaving his side, despite the fact that he really does wish they could remain together forever just as Kazuki does. The one point he lets himself say something vaguely close to always wanting to stay together, he gets a surprised expression out of Kazuki and says an ambiguous “suki dayo.” Of course, this it much less romantically coded than what we get from Kazuki in Suki and CAIFILWAI, but there is an interesting emphasis put on it nonetheless. Keep in mind, this is all established through the song, which released long before not only Fuuma’s character-centric extra released but also Kazuki’s character-centric extra released, so there is at least a substantial setup for Fuuma’s feelings towards Kazuki’s being strong as well and possibly grow to be reciprocated one day.

I think for me the most fascinating part about Nade Nade is how they tied it back around to Can’t An Idol Fall In Love with Another Idol. Again, without remembering Nade Nade, I still thought CAIFILWAI was brilliantly explored and executed, even if some people would have preferred no love triangle. But honestly, revisiting Nade Nade makes me trust even more the direction they’re taking with this. Whether or not they make Kazufuuma canon mutually (which. Even if they for some inexplicable reason didn’t I’m going down with this ship.), I’m sure they’re putting a lot of thought into the story, because the last bit of Nade Nade directly parallels the misunderstanding that arose from Fuuma mishearing the Kazuki and Yui. Fuuma is resolved to support Kazuki in any area he’s given the chance, and that explicitly includes if Kazuki had some girl he liked, which is what he assumes is going on. The fact that they tied this back around in the form of a misunderstanding was really really smart and Honeyworks is always so good at parallels and references back to their older songs, but for some reason I didn’t expect this. I don’t know how to say why, but the fact that the song that started it all, kicked off both Dolce and Kazufuuma, was directly referenced both visually in the MV with a cameo at the start and narratively despite the central dynamic being predominantly explored in this story in particular was that of Fuuma and another potential love interest and involves said potential love interest for some reason makes me think that (sorry Yui) this is all planned out for Kazufuuma in the grand scheme of things. That being said, I don’t know if me thinking it was planned all along is just me with shipper goggles, but the idea it’s come full circle nearly 3 years later is not shipper goggles and a very very well done parallel in my opinion, whether this trajectory was their plan for Kazufuuma from the beginning or not. Just wanted to gush about that some more.

There’s more I could go into especially if I went into specific details about interactions or specific implications established in Honeyworks' Dolce content about different characters that would be fascinating to explore in relation to and under the lens of Kazufuuma, but I think this is uh...plenty long enough. Plus, I doubt you'll stop seeing Kazufuuma posts from me so those ideas will probably just be miniposts or somethin.

Back to the overarching point of this segment, idk what they’ll do with this story in the end, but do I think Kazufuuma will canon? I’m used to looking at ships that aren’t explicitly apparent with a sliver of skepticism, but all things considered (as I stated before) yeah. I don’t see reason why they wouldn’t now that they’ve explicitly identified there is a romantic dimension to it ¯\_(ツ)_/¯ Like to me, the setup isn’t something that would be written off as unrequited? And this doesn’t have to play into why I don’t think it will canon, my personal opinion on the Fuuyui relationship (again albeit through the lens of a hard Kazufuuma shipper lmao) has it’s own merits and is really cute, I find it cute in the way I found Koyuhina cute. I personally never really shipped Koyuhina, and especially since they slipped Kotarou into Ima Suki Ni Naru I was more curious about who this kid was and how he played into things I didn’t really see Koyuhina as something that would come to fruition. Similarly, there’s more importance in the overall sense on Kazuki than there is Yui (considering he’s one of the 5 original and focal members of this generation of idols, this would be natural), as well as the fact there’s just way more foundation and exploration in Fuuma and Kazuki’s relationship than there is Fuuma and Yui. As for how much of a balance there is inside the LN itself, the fact that they seem to have spent a substantial amount relaying the foundation of Fuuma and Kazuki’s relationship and re-exploring it (at least in Kazuki’s perspective) at all on top of how much content there is covering their relationship prior to the LN ever since Dolce’s origin just feels like that relationship holds more weight. Pretty much Kazufuuma feels more established as a priority in general. The way I personally hope Fuuyui plays out is whether they wind up holding mutual feelings or not or whether Fuuma doesn’t feel that way towards Yui is they get a relationship akin to Kotarou and Arisa. Albeit, Kotarou and Arisa never viewed each other in a romantic light, but they had mutual respect and solidarity. That’s the type of friendship I hope comes out of Fuyui. And considering there hasn’t been a break-up in any Honeyworks’ canon relationships (nor do I expect there to be… they’re all perfect for each other LMAO) it would actually be interesting if Fuuyui get together but don’t endgame and Kazufuuma is established as the inseparable endgame after some realization or another, though I don’t expect them to go that route nor do I know if that’d be the best way to go about it anyway. Also final point, Honeyworks seems to have a thing for childhood friends trope anyway soooooo owo All in all, don’t know where they’re taking it, just excited to see where it goes.

TL;DR of this *counts* 7 page essay, stan Kazufuuma. Not gonna proof this. Maybe I’ll edit and repost but yall are getting a confusing clusterfuck of ramblings over 2-3 hr periods of me writing across 3 different days at around 5am each day. Uh. If you got this far like and subscribe and-- jk plz reply to this mammoth anywhere you see fit or tell me if you have stuffs to add or counter or whatnot I like hearing people talk about Kazufuuma ;w; I am Kazuki and Kazufuuma brainrot can you tell after reading this? No? Lemme just remind you I’m K--

#honeyworks #dolce #kazufuuma #kazuki haiga #fuuma shirayuki #long post #analysis #character analysis #kinda?#nobody cares trash #also keep in mind this is PURELY for self satisfaction LMFAO read it if u wanna dont if u dont idgaf either way #anyway kazufuuma canon fight me #or have intellectual conversation with me #if you want it on a google doc bc it's easier to read hmu #if you can't tell i think about kazufuuma too much #how much of this is repetitive? probably a lot...

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jackcinephile · 4 years ago

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LO Fans: "I love Lore Olympus because it deals with serious themes, like sexual assault, abuse, gaslighting, trauma, and mental health issues!"

Me, who spent my life discovering and obsessing over masterpieces like this:

"You're gonna have to try a lot harder than that to impress me."

Yeah, I never understood that kind of praise. For one thing, people act like LO is groundbreaking for that reason, despite there being countless movies, books, tv shows, comics, and video games that also deal with the same themes. That isn't to say there can't be more stories like this, however. I, for one, am begging for another video game that comes close to the emotional resonance of Silent Hill 2, or for a faithful adaptation of Dracula and/or Phantom of the Opera, or for a horror movie as unsettling as The Howling! But to say any new story that deals with these themes is unique for doing so, is just simply not true. Lore Olympus is no more unique than any of these stories. Also, I don't understand the praise that Lore Olympus is great just by virtue of having these themes in the first place. Just because a story has serious themes, doesn't automatically make it good. Far too often does LO use its themes as a crutch for a plot that is standard issue among romances, as opposed to stories like The Howling, which has a very intriguing, outlandish plot that serves as a catalyst to explore themes of very real and relatable horror. Lore Olympus, without its intense themes, is just another story about the CEO falling in love with his intern. And don't get me wrong, I LOVE those kinds of stories, but Lore Olympus just doesn't really do it for me. And the poorly executed themes just hamper it even further for me.

If it wasn't already apparent, has anyone noticed a pattern between these titles? All but one are horror stories. In my opinion, that is one of the key differences between them and LO: Horror! The themes within, are ones that illicit terror, and the stories reflect that (even Phantom of the Opera--don't listen to anyone who says it's a romance). Starting with Dracula, one of the scenes that horrified me the most in the book was the one where Count Dracula sneaks into Mina's bedroom. The book describes him slitting open his own vein and forcing her to drink his blood. Mina then expresses feelings of violation, much akin to what rape survivors feel. It doesn't pull any punches in its shocking, horrific portrayal, but it never comes off as exploitative. That's because the best horror stories rely on the audience's empathy. In this case, nobody wants to feel violated, so we feel as horrified as the characters do when we read about this grotesque event. And because it is about illiciting fear through empathy, Dracula succeeds where Lore Olympus fails. Lore Olympus, before all else, is a romance. And rape should not be in a romantic story. Especially not when the narrative of LO uses this trauma to validate the relationship between the two leads. I'm not a fan of stories that use trauma to validate a relationship between romantic interests, and I think that partly stems from reading the Phantom of the Opera.

If you ask me, Phantom of the Opera is one if the best books to discuss abuse and gaslighting ever written! Despite misconceptions generated by the popularity of the musical, PotO is very much a horror story with hardly any romance at all. And it's one of the best examples about why using trauma to validate a romance is a very bad idea! You see, all the conflict of the story begins with The Phantom and his trauma. He was born with multiple physical deformities that cause him to look like a living corpse. Because of this, he is despised and rejected by the world in order to escape the hatred of the world, he commissions the construction of the Paris Opera House, complete with intricate catacombs where he can live out the rest of his miserable days. Then one day, a woman named Christine comes to work at the Opera as a chorus girl. She is sad and alone due to her being orphaned, without a friend in the world. She too is emotionally damaged and the Phantom thinks this means she'll understand him. The trouble begins instantly when he claims to be a character from a folktale that Christine's father used to tell her. This is when the manipulation and gaslighting begins. Part of what makes this so effective is how we see it from an outside perspective. The protagonist, Raoul, is in love with Christine and we get to see his confusion and growing concern when he starts realizing Christine is showing signs of an abusive relationship. What makes the relationship even worse is the fact that Christine actually does understand The Phantom. So she doesn't run away not only out of fear, but also compassion. She knows what it's like to feel isolated and dead to the world and The Phantom uses that against her. The more I describe this, the more parallels I begin to see to Hades' and Minthe's relationship. Yes, Minthe abused Hades in much of the same way as The Phantom abused Christine. Notice how Minthe keeps convincing Hades that they're the only people who understand each other, even going so far as to say, "We're the same." The funny thing is, that's exactly what the narrative uses to validate Hades' and Persephone's relationship! It tries to establish that Hades and Persephone relate to each other and they say, several times, "We're the same," to each other. But this is exactly how Hades got stuck in a toxic relationship with Minthe, so why is it suddenly okay now? Relationships that use shared trauma to validate themselves are almost always doomed to become toxic, in one way or another.

So what about the healthy relationship in Phantom of the Opera? Well, it's kinda interesting actually. You see, Christine eventually comes to realize that she needs help, so she turns to the protagonist, Raoul, to get her away from the Phantom. Raoul has an interesting character arc because he starts the novel being pretty immature and kinda selfish. He doesn't really take Christine's feelings into consideration. It's more like a boy chasing his childhood crush (actually that's exactly what happens). However, over the course of the story, as he becomes increasingly concerned with her well-being, he learns to care more about her feelings and her needs. This culminates in the climax, when he's willing to crawl through hell itself for her sake. I bring all this up because I wanted to compare Raoul with Hades as well. Hades is a very consistent character. He doesn't need an arc like Raoul because, from the very beginning, he's willing to put all of Persephone's needs before his, to a fault! That is his entire purpose within the narrative of LO. He exists to serve Persephone. Raoul didn't exist to serve Christine. He had his own journey of growing and maturing. And Christine didn't exist to serve Raoul either. It bothers me that a novel from 1910 has a more well-rounded relationship than a modern comic! Actually, now that I think about it, isn't Persephone's entire character arc supposed to be her learning that she shouldn't exist to serve others? Well, that totally contradicts Hades' role in the story, doesn't it? He exists to serve her! I guess, in the eyes of LO, it's only okay if men serve women, but not for women to serve men. Newsflash: neither is okay.

Now Dr. Jekyll and Mr. Hyde (1931) remains, to this day, one of the most terrifying movies I've ever seen! That's all thanks to its brutal depictions of domestic abuse. So Dr. Henry Jekyll believes the solution to enlightening the human race is to separate the good and evil in our souls. He solves this problem by creating a drug to do just that, which transforms him into Edward Hyde, but he becomes addicted and starts terrorizing a woman who was once a former patient of his. I think what makes this so effective, when compared to LO, is one simple factor: Fear. I am terrified of Edward Hyde, but whenever Apollo shows up, I'm just annoyed. That's because Hyde isn't being used to sell an agenda, while Apoll is. Apollo is all about making a statement about toxic masculinity, which always bothered me from the very beginning! Being an abusive cunt who rapes women has nothing to do with masculinity! It doesn't matter if you're masculine or feminine, anyone can be a cunting abusive rapist. If you are a rapist, it's because you're a monster who lacks empathy, not because of masculinity. And if you think masculinity has something to do with a lack of empathy, fuck off! Dr. Jekyll and Mr. Hyde is not about toxic masculinity. It's about how drug addiction can often hurt other people around us just as much, if not moreso, than ourselves. It also doesn't use rape to validate a relationship between characters. I'm sorry, but that is just the laziest storytelling technique. When the antagonist is a rapist OF COURSE the male love interest is going to look better by comparison! But when you take Apollo out of the equation, Hades stops looking like a desirable love interest real fucking quick.

So yeah, I think Hades makes for a bad love interest. That's mostly because he's so much like Shinji Ikari from Neon Genesis Evangelion. Yeah, the one title from the list above that's not a horror, but is no less relevant. The thing is, both Hades and Shinji have a lot in common, such as hating themselves, having a bad relationship with their father, and not caring at all about their own wants and needs. Oh, also Asuka's a better written character than Minthe, but that's a whole other topic. What makes Evangelion work, in my opinion, is that Shinji's whole journey is about learning to love himself, while Hades is portrayed as being perfect the way he is. Hades in LO is like a flawless beacon of virtue, solely because he worships the ground Persephone walks on. But the guy just doesn't care about himself at all! Like I said earlier, Hades guilty of the same self-destructive behaviors as Persephone but he's praised for it, while Persephone is encouraged to look after herself more often. Compare this to Shinji, whose life only gets worse the more he neglects himself. The only time Hades does something beneficial for himself is when he breaks up with Minthe, but immediately after that, he starts devoting every ounce of energy to Persephone! All that matters is her! He doesn't give a single fuck about himself. Sorry, but that's not good qualities in a male love interest. In all fairness, this is a problem with the romance genre as a whole. Most romances give priority to the protagonist (in this case Persephone) while neglecting the love interest (Hades). It's why I have a serious problem with the entire genre.

Now what could Silent Hill 2 have that is in any way relevant to Lore Olympus? Two words: Nightmare Fuel. Personifying trauma as literal demons is one of the smartest ideas anyone's ever had, because speaking from personal experience, that's how it feels. I just don't feel like the trauma experienced by the characters in LO is a waking nightmare like it is in real life. For one, the characters' trauma only pops up when it's convenient for the plot. Like whenever Persephone starts experiencing ptsd, it happens when she's with Hades so we can get a scene with Hades cuddling her. After that, it shows up in a scene to make her look badass by confronting Apollo. No, just no. The Howling did it better too, by making the protagonist's trauma such an inconvenience in her life! I never felt that way in LO. When you uss traumatic encounters to make your character look like a badass, kindly fuck off.

#lore olympus

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sonia7atm · 4 years ago

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BRIDGERTON BOOK SERIES REVIEW.

So here it is, before I start I just wanted to say that I’m in no way shape or form an expert in english or literature for that matter. English is my third language and I’m studying science. Having said that, I have read all eight books in less than two weeks and I have a lot of opinions that I wanted to share so here they are. Obviously: SPOILERS AHEAD

The series in its entirety

The bridgerton series is probably the best written series that I have ever read. I loved the fact that it is made up of 8 books, but also the way the books are structured. In each of the books we focus on one of the siblings and their significant others, and even when the side characters are there, they are not really a main focus of the story. This means you can pick up a random Bridgerton book without having read the other ones and you would not feel like you are missing something. I really liked this because it meant that with each book you were getting to know a different sibling, thus you are never really bored and there wasn’t unnecessary drama happening with the already established couples, which is refreshing at the least.

However, it does have setbacks. In some of the books, you find that this side characters really change from the way they appear in the background or the other novels, and it can be difficult to digest at first. Another flaw that I found is with the brothers' books. When I was reading some of the books dedicated to the men of the family sometimes I found that we don’t spend enough time with them and when you finish the books you don’t have an understanding of who they are. Maybe I’m not making sense but I’ll elaborate in each book a little bit more.

But in the end, even these little flaws, I had a great time reading the books and finding out what was happening with the family.

My favourite book - AOFAG

I know some people have trouble ranking the Bridgerton books, especially, the favourite one, but I’m not one of them. I am obsessed with “An offer from a gentleman”, I love the story, I love Sophie, I love Benedith and I love Violet Bridgerton with all of my heart. This book is great from the start, even though b, the third book you know a happy ending is what the book is leading to, it still excites you and makes you wonder. AMAZING DARE I SAY.

Sophie is one of my favourite characters in all of the books. She has a strong morals system and you get really inspired by her. All of the things she goes through are horrible, but she still remains such a calm and kind individual that I cannot help but stan. HARD. She has very strong ideas and morals and she sticks with them even when they mean losing Benedict. I found this message really important and powerful because we usually see the opposite: people changing their views for their significant other, and I don’t think it's right. So, hereby I declare Sophie QUEEN of the Bridgerton clan.

Moving on to Benedict, I heard a little bit of criticism with his actions in this book and I see where they are coming from, but I don’t share them. I think Benedict is one of the brothers that suffers from a really deep female counterpart and as such his thoughts are not fully explored. In my opinion Benedict is tormented by the fact that he is the second Bridgerton and nothing more (similar to Colin and kinda Gregory really), and also by the fact that he lost the woman at the ball. On top of that, Sophie comes along and he starts falling for her and he feels guilty that he is falling for someone else, so he doesn’t fully commit to Sophie but also doesn’t really leave her. It’s a messed up situation and he doesn’t make the best decisions but I understand his actions and I support him. The only thing that really annoyed me about Benedict is that he doesn’t recognize Sophie at all. I wanted to hit him, hard, in the head, with a fucking piano.

Now the best of the best: Violet Bridgerton. She was the surprise character of this book in that prison scene. In the previous book you still see her and like her but she saves the day in this one, and I felt like I really knew her after that. She is not the typical ton mother, she really values their children’s happiness and takes everyone under her wing. She knows who she is and the importance her family has and she uses her powers for good. I gained so much respect for her. A surprise character and a great one.

To sum it up, Benedict and Sophie are perfect to each other, like this mellow entity. Two kind souls, always happy, always calm. Of course they live in the countryside, they could not live anywhere else.

Top tier books - WHWW, RMB, TVWL

WHEN HE WAS WICKED

This book wrecked me, I have to admit I was a mess, I could not deal. A tragic story with so much longing and guilt and despair, I love a drama, man this is great. I went in knowing the basics of it but I was not prepared.

The poor Francesca has the most devastating story in my opinion: she suffers from infertility, her husband dies, she doesn’t feel like she fits in her family, and when she falls in love Michael is sick, WHY?!. Throughout the book you get to see how strong she is, how strong-willed she is. We are not talking about this enough. She loves with all her heart and she suffers with all of it too. She and Michel have a really strong chemistry and it translates really well. I think she was really clever to wait and think before committing to Michael, and I see how she would need to see him in danger to really let herself fall completely. In the end, she knows what losing someone you love feels like and she doesn’t want to feel that again. I understand. Also, an important part of Francesca's journey is to realize that loving someone else doesn’t diminish her feelings for John, and I love how Michael acknowledges it.

Michael is a really interesting character who falls in love at first sight with the wrong woman. He is fully aware of this fact and it is really good to see that he doesn’t doubt his love for her, but is instead aware of the impossibility of doing something about it. Even when he can do something about it, his respect for his cousin is always present. The guilt he feels for loving Francesca both when John was alive and after he died is so different but so well written. It’s eating him up and It is painful to read to be honest. However, I found that said guilt disappeared rather quickly after his conversation with Colin. I may be the only one but I was a little bit put off by it, and that’s why this is not my favourite book in the series.

THE VISCOUNT WHO LOVED ME

The bees, I could talk about the bees for days after reading this one. This one has a lot of Bridgerton backstory, and it explains so much of the rest of the bunch even if not directly. So I would say not to skip it (but why would you skip any of them?).

Kate Sheffield is one of the best written characters in this series. She is complex, fierce but delicate, confident but self-conscious. I would kill for her, she deserves it. Her family dynamics are impeccable. You feel the love between these three women and the roles they have, and you get them really quickly: Edwina is the little sister, a little naive but good-hearted, Kate is the fierce older sister and Mary is the compassionate step-mother. I really enjoyed their dynamics. The introduction of Kate’s character is by presenting her goal for the season: defend her sister. When Anthony enters the pool of suitors, she obviously opposes and their back and forth shows she is very witty. But as the story goes on we get to see her insecurities and fears, in a way that it’s so in character but at the same time so different from the start. It’s amazing and I can see why she is such a fan favourite.

Anthony is a baby.We can see how Edmund’s death really scarred him, and those wounds are deep. He believes in his own demise so blindly that it is conditioning all of his decisions.He grows a lot until he is able to share them with Kate and they bond so beautifully over it. Getting to see that, was something that I loved and enjoyed so much. It makes you really connect with both of the characters and it explains so much of his behaviour, that even if he frustrates you, you can’t be mad because you understand where he comes from.

Newton is the guest star in this one and I would like to take our time to appreciate the captain of the Kanthony ship. This little dog is such a plot device, put there to cause havoc and bring Kate and Anthony together, it is so funny. He smelled Anthony and decided he wanted a new dad. Put a plan in march, probably alerted his friend, THE bee.

ROMANCING MR BRIDGERTON

The message of this book is amazing. The journey they both go through to re-know each other is beautiful. Penelope and Colin have known each other for years, and they both have a version of the other in their minds but as the story progresses they unveil hidden personality traits about each others and I love how it is acknowledge and developed into a clear message of “people are flawed and not the perfect individual you wish them to be, and that’s ok”. It is really necessary and it made me reflect on my own relationships and how I could improve them. Colin and Penelope have to be my favourite couple of the series, but, because they were because of the show and not the books, when I finished this book I was left feeling like I wanted more, and that is why it is not my favourite one.

This is the book where readers find out Penelope is Lady Whiseldown and it is a big plot line. However, this revelation is maybe halfway through the book and until then, Penelope's inner monologue doesn’t reveal anything. I would have loved to really focus on it and know from the start how she really did it but at the same time, we get to see so much of Pen’s growth anyways. She is shy and kind but when she is with someone she trusts (in this case Colin and Lady Danbury), she is full of wit and boldness. I see myself so much in these characteristics that I cannot help but make her my favourite character in the series (totally biased but it is what it is). She starts with a sense of discontent about her, she knows her fate and accepts it but, she doesn’t necessarily like it. She is trying to change the way people see her and Lady Danbury helps a lot with it. She and Colin spend a lot of the book kind of on opposite sides in part because of their own demons, she wants to prove herself and at the same time is faced with the realization that the Colin she made up in her mind is not the real one. It really makes you wonder if it’s a happy ending at the end of it, because they both have such strong points but they are so diverse. At the end, after they talk about it, their relationship is full of devotion and you feel how they are making each other focused and better. I would die for them.

Colin is such a tumultuous character and it is a stark contrast on how we get to see him in the previous and following books. He is used to putting the charm on and fooling everybody but, of course, in this book we explore his inner workings and now we know the truth. He is just a lost puppy, looking for something to do with his life, and he is so focused on this search and runnin away for his family that he doesn’t see that there is already something that he is good about: writing. His relationship with Pen is obviously key in all of this searching because it pushes his limits and makes him think. His realization, of both his vocation and his love are slow and steady. He sometimes jumps to conclusions and rushes things *ahem*the proposal*cough* but not love, and once he commits he does it fully. The “stay, stay, stay” scene is a monumental hallmark in the book. We see Colin really deciding and choosing Penelope and Lady Whistle down with all that it entails. And later on, he opens out about his jealousy over her work, but he does it when he is ready, and Pen allows him to come to her when he needs without judgement. They are so perfect it hurts.

The lack of Eloise is an insult to my soul but we get Lady Danbury as the guest star. She is on Penelope's corner helping her navigate the ton and her relationship with Colin, as a mother figure would. I believe she at least has a big suspicion that she is LW, but I might be wrong.

All-nighter books - OTWTTW, IIHK. ON THE WAY TO THE WEDDING

Gregory’s book is full of twists and turns that you just cannot put it down. Not the fact that the main female character is Lucy and not Hermoine, like Gregory thinks half of the book, just because you don’t. It is pretty clear that Lucy is our heroine so the fact that Gregory falls for her is not a twist itself because we (and Kate) already know. But in my opinion, the fact that it starts with Gregory interrupting the wedding and then it goes back and explains the backstory to you, so it is constantly leading up to it.

Lucy is not the most interesting of the female leads but it is part of her charm. She is a normal girl, her life is already arranged, so she doesn’t feel the pressure the rest of them do, she is just enjoying herself. She doesn’t believe in love, and it is so funny how in denial she is about it, until it all explodes.

Gregory’s life was influenced by her brothers before him and his big family but he feels so alone because of the age difference. He is trying to find his place in life and, because he saw all of his siblings fall in love he wants the same thing so badly, that he confuses desire with love. He is so precious, and must be protected at all costs.

The last few chapters are action packed, there’s an urgency in everyone's actions: Lucy, trying to save her family and Gregory, trying to save Lucy. I couldn’t figure out what was going to happen and that hooked me. The fact that the wedding actually takes place is the most shocking plot of all of the books.

To conclude, Gregory owns my heart and I trust him with it.

IT’S IN HIS KISS

This story is another “all-nighter”, because it revolves around a mystery and the search for Gareth’s grandmother lost jewels. This quest brings Hyacinth and Gareth together, with a lot of Lady Danbury’s help. It’s really interesting to read about the felonies they commit, all of them instigated by Hyacinth, who, in my opinion, is chaos personified.

Hyacinth is the most forward-thinking woman of this series. She is outspoken, confident, loud and apologetic. All of these traits really set her apart, because she doesn’t play by the rules of society, she does what she pleases, and she should. She is the typical little sister, a little spoiled but with a good heart. Her conversations with Violet are really touching.

Gareth on the other side, is not in a good place with his family, and it is endearing to see how shocked he is by the Bridgerton’s closeness. He has a severe lack of self love, and sees himself as an imposter, and not worthy of Hyacinth. But when he falls, OMG, HE FALLS. His attitude towards Hyacinth’s personality is amazing because he loves her exactly as she is, and knows he will be following her orders for the rest of his life. Adorable. (He is the “That’s my wife” meme).

Lady Danbury is again the guest star and it only helps to cement her as the cool grandma that we all aspire to be. An honorable mention is Anthony getting super-duper happy that all of his sisters are married and therefore he is free (my poor guy).

However, the main issue I have with this book is that the decision of getting married is really attached to Gareth’s need to vex his father, who is a horrible person, and it makes me mad.

Not my favourite books - TSPWL, TDAI

TO SIR PHILIP WITH LOVE

In this book Eloise decides running off to meet a possible husband is a great idea. Her brain, I can’t. Obviously the Bridgerton brothers follow her and force the two to marry anyways, although they were already falling in love when they found her. Phillip, Eloise's love interest is a loner and lives outside of the ton and I think that these traits really work with her because they are polar opposites but at the same time they fit so well. The relationship Eloise has with Amanda and Oliver is so cute, because you can see that these kids just need some attention and help navigating the world without her mother and Eloise is there for them.

However, even though I loved their storyline and I wanted to rank this higher I couldn’t. The other Bridgertons are a big part of this book and when I was thinking back on it the parts that I remember fondly the most are when Anthony, Benedict, Colin and Gregory arrive to kill talk to Philip, and then when Charles is ill and we get to see Benedict and Sophie as parents. So, I like this book because of side characters and not the main ones, even though I know there is nothing wrong with them. However, I do think the book is ok and I would recommend it nevertheless.

THE DUQUE AND I

I don’t have much to say about this book. The r*pe is completely unnecessary in my opinion. Daphne and Simon have terrible communication skills, but so do Kate and Anthony, for example, but still, the repercussions are not that severe. It is so much worse in the books and it has no consequences whatsoever. Up until that point, the enemies to secret dating to falling in love is such a classic thorpe that I usually like, but I cannot separate the two of them. In fact, I would advise to skip this one.

Hapily Ever After

Thank you to the heavens for this book. It is just a little exploration of all of the sibling’s future and an extra story for Violete.

Daphne’s story revolves around her last pregnancy. A surprise one when she is quite old. I found it really sweet and it looks like she and Simon are really happy with their life so good for them. Also, Colin and Penelope visit with all of their children so I’m obligated to like it.

The TVWLM continuation is a get together in Aubrey Hall for a Pall Mall rematch. I had so much fun reading it and getting to see all of the Bridgertons interact in a “relaxed” manner.

Sophie and Benedict’s story focuses on Posy and her search for a husband. She is lovely and I do want her happiness but getting to see Sophie and Benedict interact while actually together was a treat. I feel very blessed to see them be the balls of sunshine they both are.

Then we get to see how Eloise found out Lady Whisheldow’s identity. It was fun, and we get to see Pen and Eloise being friends, which we don’t get enough of in their respectives books. Colin and Penelope leaving the wedding early, was a gem. They are a couple of horny idiots and I love to see it. After that, we focus on Eloise again and we get to see a little bit more about Amanda and Oliver.

One of the main things about Francesca in her book is the fact that she wants a baby, and it is never resolved. In this one, we get to see how Francesca and Michael become parents and it's another heartbreaking one. We get to see how worried Violet is for her and also how Michael and Francesca talk and understand each other. They are one of the best relationships on this series, I said what I said.

In IIHK the diamonds are never found, but we find them here. It is great to know they were not missing and also a relief to know that Gareth was able to rescue the family even without them. The fact that Isabella actually finds them and proceeds to say nothing is hilarious. But when Hyacinth finds them the happiness she feels is so wholesome.

Then we get to see Gregory and Lucy’s twins be born (their 8th and 9th children). It is not an easy task and for a moment I was afraid for Lucy but it all works out in the end. It was filled with great moments but the one that I like the most is when Gregory says that Katherine gave him purpose in life, because he was meant to be a dad. I cried ngl.

And lastly, we meet Edmund. He is very present throughout the book but I was not expecting to grow so attached to him with this little story. It is divided in different stages of Violet’s life and obviously we get to see her romance with Edmund. I loved the little details, his behaviour reminded me of Gregory but he eats a lot like Colin so it is great to see where they get their traits from. The later parts, after he dies, show you how much importance Violet puts on remembering him and preserving his memory. They were truly soulmates, and it is such a shame that their time together was cut short.

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where-theres-smoak-2 · 4 years ago

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Barchie 5x06 Review.

So I usually just do one reivew for an episode but I have so many thoughts on this episode that I decided to split it in two otherwise it’ll be way too long, I figured two smaller reviews will be easier for people to read than one novel of a review. So in this part I am just going to be talking about the Barchie content. Then I’ll post a second half covering the rest of the episode later on today. As always these are just my own interpretations and opinions and naturally there are spoilers. So if you want to know my thoughts on Barchie this episode read on.

The Teacher’s Lounge

The first scene we get of Barchie is the one where they are in the teacher’s lounge. Now I have seen some people who are disappointed or using the argument that Barchie have become only sex and that they never talk. To me though I don’t think that is true at all and this scene is proof of that. When Archie first approaches Betty they are talking about the Polly situation. Betty is confiding in her friend about what is going on in her life and is sharing her worries with him. In return he tries to reassure her and comfort her when he reminds her that Alice had said Polly would disappear for days at time before showing up again. Another thing I’ve seen some people worry about is that Barchie are just using each other as a distraction. Again I totally understand why some shippers might be worred about that. But to me I’m kinda like well yeah they are. I mean maybe I misinterpreted the situation but I kind of thought that’s what their whole friends with benefits arrangement was about. It’s a friend that you can use to help you work out your frustrations and to be a distraction for a little while. Also this idea of using sex as a distraction and coping technique is hardly a new thing to riverdale both v*rchie and b*ghead have used sex in the past to distract themselves from their problems and they were both long term established relationships, them using sex that way didn’t negate from their very real feelings for each other. So I don’t think that just because Barchie are sleeping together in an attempt to escape for a moment, that means they are doomed or that their relationship is shallow and only about sex. If anything its a good thing because it shows that when they are feeling stressed and worried its each other that they choose to turn to. I think we often get so distracted by the sex part of the arrangement that its easy to forget about the friends part of friends with benefits.

What I did love about this scene was how cute it was. Like when he calls her Ms Cooper and just the fact that he came to check up on how her day was going in the first place was adorable. And of course I loved that little hand touch it was just so soft. I also thought their smiles and that playful look Betty gets when she’s thinking about a plan for where they can hook up was really funny.

The Titanic Sails Again.

Growing up Titanic was my favourite movie and in my young mind it was the most romantic of movies, so naturally I was thrilled about that iconic titanic moment being recreated for Barchie. At the same time I couldn’t help but laugh a little at it too. That being said there is no denying that the scene was on fire.I mean I don’t know if its just Barchie and their chemistry or if its because they’re depicting adults now or a combination of both but is it me or do these sex scenes seem so much more explicit than they used to be? I mean holy firecracker.

I also thought the song choice was perfect. I’ll be honest I had never heard it before but I do think the lyrics and also what the song is about is significant. I talked about songs a bit before and how in tv shows the lyrics can often hold significance because the producers have to shorten the song to fit the scene, therefore they have to chose not just a song that will fit the scene but which lyrics specifically work for the scene. Obviously it was a sexy scene so they wanted a sexy song to go with it. But the song, by the writers own admittion, is a love song. Bazzi said this about the song and I just think it is so in line with Barchie at the moment "It became more than just a love song to a girl I was with…Lyrics were just flowing out, because I had felt this certain love and acceptance from this girl, and I wanted to take that and on a bigger scale give that back to people." This is exactly how I see Barchie’s relationship, its about love and acceptance. They have always loved each other, whether that’s romantically or as best friends or both. Also they have always been supportive and accepting of each other.

So what about the lyrics that are actually in the scene. Well like I said some of them I just think are because they go with the whole sex of the scene. I mean lyrics like ‘hit it from the back and drive you wild’ and ‘hands on your body.’ Those don’t really need much analysis, pretty damn obvious why those lyrics were chosen. I mean you can look at it as simply its a song about sex and they are having sex, its not that deep. But I actually think there are some lyrics that could indicate that there’s something deeper to Barchie. The lyrics ‘girl I lose myself up in those eyes’ for example is actually a rather romantic line about how he is enamoured with the girl and I do feel like that’s how Archie feels about Betty and always has. Also the line ‘I just had to let you know you’re mine.’ Again this to me seems deeper than just sex. I do wonder if on a subconcious level they both see each other as theirs but that they aren’t willing to admit to themselves or each other. My favourite lyrics though are ‘feels like forever even if forever’s tonight.’ To me this makes me think that when they are together they let themselves feel all of those feelings they have for each other. Just for those moments they aren’t hiding, they just feeling it all and it feels like something that can last, it feels like forever. But neither one of them is ready to confront that so instead they just settle for tonight, they are willing to take what they can for now.

I also feel like when they choose a song they probably do so knowing that either the audience have heard it before or that they will go and listen to it in full. So maybe there are some more clues as to where Barchie are heading in the rest of the song? (Probably not, its probably me just over analysing everything as per usual but hey let me live in my land of denial a little longer, its fun here.) In the full version of the song it starts out with a speaking part where the guy announces that he’s had a bit too much to drink and now he needs to tell her how he feels. I do wonder if this will be how Archie ends up confessing how he feels, like he has a bit too much to drink maybe at this point Glen has shown up and he’s feeling some jealousy and so he just goes to her and admits to how he’s feeling? Anyway back to the song, he then goes on to talk about how much he loves her smile and how he gets lost in her eyes. Again really romantic notions that we often associate with being in love. Later in the song there’s another similar lyric ‘Even when it's rainy, all you ever do is shine.’ Again this idea of someone being the sunshine in the rain is a very romantic notion and again I do feel like this is how Barchie feel about each other and kind of ties into what I was saying above about how when things are bad they turn to each other. I mean those scenes when they are together they look happy, they are both each others sunshine when things are getting stormy.

Throughout the song there is also alot of the idea of belonging with the other person and this idea of a long term relationship. Outside of the obvious ‘you’re mine’ lyrics and the title of the song itself. I talked a little about the feeling like forever lyrics too but there are some other lyrics that I think are important. For example ‘Man, this feel incredible, I'll turn you into a bride, you're mine.’ Again this lyric isn’t about sex its goes deeper than that this is talking about being together forever not just a fling. But I think another even more interesting lyric in the song is ‘Swear to God, I'm down if you're down, all you gotta say is right.’ I’ve said before that I think that Archie is the one that is more willing to explore a relationship than Betty right now. I do feel like this line reflects how Archie is feeling like all Betty would have to do is say the word and I think he would be all in. Now I am fully aware that I could be reading way too much into this but I just find it interesting that they chose a song for a Barchie scene that is talking about how in love a guy is with the girl he’s with and how that guy is longing for more.

So like I said earlier there is no denying that this scene was all kinds of hot so naturally I was very amused when the fire alarm started to go off. I don’t know I just found that really funny, like a literal fire broke out whilst they were doing it. Of course this is because some Stonewall Prep footballers set a fire in the school. One thing worth noting though is that obviously those two guys saw both Archie and Betty there at the school I can’t help but wonder if they’ll go back and tell Reggie this. I mean I don’t think they will but its possible they could do some scenario where Reggie tells Hiram and considering how Archie later tells everyone that he was alone and out running when he discovered the fire, Hiram is going to know that Betty and Archie are wanting to keep things quiet and maybe he or Reggie will use it to try and blackmail Archie. Like stop what you’re doing or we’ll tell everyone about you and Betty. I mean Betty didn’t do her blouse up all the way when they came out so I think the students probably would be able to guess what they had been doing. I’m not entirely convinced on this theory but the thought did cross my mind. Speaking of Betty’s state of dress, that leather skirt and the heels with the blouse, our girl came all dressed up for Archie and I loved that outfit. Also I really loved the scene where Archie was trying to explain why he was at the school in the middle of the night to see the fire. I mean Archie does go night jogging, he has in the past at least so the excuse was a believable one but his delivery was far from smooth.

On a less fun note I have seen some people comparing the Barchie car scene with the one with Miss Grundy and that’s just not ok. They are very different situations one scene is between two consenting adults and the other was a person of authority and an adult manipulating a teenager into having sex with them. The fact that people are using that scene as a way to prop up their own ship or to try and say its evidence that Barchie are wrong is quite frankly disgusting and disturbing so please just stop.

The Shallows.

So this was on the surface such a small scene but in truth I actually think in terms of Barchie’s relationship it was one that held the most significance. Whilst Veronica sings the lines ‘Tell me something boy, aren’t you tired of trying to fill that void.’ It zooms in on Archie’s face and you can see he is feeling some things. He is clearly got some things on his mind that have been stirred up by those particular lyrics. I said before the episode aired when I saw the clip of them in the teacher’s lounge in the promo that I wondered if Archie was already beginning to get tired of sneaking around and after seeing this episode I do think that’s the case. I think Betty and Archie have been in love with each other since the pilot, maybe even before, but they’ve spent so long pushing down those feelings and ignoring them that I’m not sure they know how to do anything else. But as a result, I think not acting on these feeling has left a void in their lives/ hearts. Now they’ve reunited and they are both single and they’ve realised those feeling are still there, but like I said, I think they spent so long denying their feelings its become second nature to them. I think they both fear losing the other if they take it to the next step and it doesn’t work out, then they’ve lost their best friend. But I also think this void they’ve created is becoming too much so they instead try to fill it by sleeping together hoping that it might be enough to make them feel more complete.

When Veronica sings the next line ‘Or do you need more?’ this time it zooms in on Betty who you see gets a little sad and looks down at the ground, like Archie those lyrics have got her thinking and feeling things. Again these lyrics are so significant and I think the mesage is pretty clear. Barchie want more with each other, as much as they are enjoying the whole FWB thing they’ve got going on they’re realising that its not enough. They are also probably feeling a lot of fear and uncertainty around that revelation. The next line Veronica sings is also very meaningful. ‘Is there something else you are searching for?” What’s really interesting to me is obviously I think this lyric is suppose to indicate that yes Barchie are searching for something other than the FWB deal they’ve got going on. But I actually think the writers show us exactly what it is Barchie are looking for. At this moment they zoom in on Kangs. I think its important that at this moment they show us a happy, stable couple, who have a deep relationship and who fell in love when they were in high school and who still had those feelings for each other all these years later. This is what Barchie want with each other.

Also the song talks about the shallows. Shallow water is indicative of safety as oppose to being in the deep end which makes you think of being out of your element or in danger. Barchie has always been associated with safety, Betty on several occasions has talked about how they feel safest with each other. I also feel like they feel safe with the whole FWB arrangement. The song continues to go on to say that they are ‘far from the shallows now’ and talking about ‘I’m in the deep end, watch as I dive in.’ This line is talking about willingly throwing yourself into the deep end, to embracing the unknown and just going for it. I do think this is suppose to tell us that this is what Barchie will do. That eventually they’ll take that leap of faith for each other and just dive in. A large part of the reason why I think this song is about Barchie despite it being sung by Veronica and Chad (well truthfully I think it had signifcance for a few couples but I’ll cover that in the other half of the review) is because one the fact that they zoomed in on them both. But two because right when the song finishes Archie immediately turns to look at Betty and she flicks her eyes to his. I think this shows that they were thinking about each other during that song.

The Porch

Ok so now I want to talk about the scene that seems to have caused some differing opinions within the fandom. A lot of shippers are saying that the scene where Betty comes to the door and they kiss, that Archie had a strange look on his face as he closed the door after she suggested they go upstairs. Now I agree there was a strange look on his face. I did see a lot of people speculating that this was because Archie was jealous over Veronica and Chad and was distracted by that so wasn’t really that enthusiastic about hooking up with Betty at that moment. Respectfully I am going to completely disagree with that reasoning. I was actually kind of surprised when I saw so much speculation that Archie was jealous of Chad, particularly over on twitter because me personally I didn’t see any indication that Archie was jealous. He was definitely wary and suspicious of Chad and obviously still protective of Veronica but I don’t think that situation was the reason for the conflict Archie seemed to be feeling. However whilst I don’t think that Archie was jealous I do think that at some point some element of V*rchie is going to come back into play and that was being set up in this episode. One thing I noticed as I’m sure many others have is that so far the time jump has had a lot of parallels and throwbacks to season 1. But the interesting thing about these parallels is that they each have different outcomes then the original parallel. For example the scene in 5x04/05 when the core four reunite at Pop’s. This scene parallels the one, I think is in 1x02, where the core four sit together for the first time, the one where Betty and Veronica are there and then Juggie and Arch come in and Betty offers for them to join them. Both scenes are very similar but the outcomes are different, in the original scene the four of them are relaxed and laughing together, in the season 5 scene they are a little tense and its awkward. Well I think the V*rchie and Barchie storyline is going to parallel the one in season 1. I think Betty will once again feel jelaous of Veronica and Archie. I could also see Archie get confused about whether his concern for Veronica is old feelings returning or just a friendly kind of concern and whether or not what he feels for Betty is deeper or just an attraction. Basically Archie is going to find himself in the same situation he was in in season 1 but in reverse. In season one he was confused about whether what he felt for Betty was just a friend thing and whether what he felt for Veronica was something deeper or just attraction. Now I think it’ll be the other way around. Back in season 1 ultimately Archie chooses Veronica, sort of, especially after Betty shuts him down during his ‘a part of me always thought’ speech. What else I find interesting is there is another kind of role reversal here between Betty and Archie. In season 1 it was Betty who had feelings for Archie and believed he didn’t have feelings for her. I think in season 5 its Archie that has feelings for Betty but believes she doesn’t have feelings for him. I think they’ll hint at V*rchie but I don’t actually think they will put them back together. I think how it will go is Glen will show up and Archie will feel jealous when he realises that there was something between Glen and Betty. As a result he’ll start spending more time with Veronica which in turn will make Betty jealous. Evenutally in 5x10 it’ll come to a head and Archie having one too many will show up at Betty’s door and declare his feelings. But I don’t think anything will happen right there. I think Betty will just look after drunk Archie and it’ll be the next day that they’ll talk about their feelings and then get together because this time Archie will choose Betty.

Speaking of parallels that brings me back to this porch scene. Obviously I feel like this porch scene is a parallel to the porch scene in the pilot where one has shown up at the others door. Last time it ended in rejection but this time they kiss and sleep together. Also I couldn’t help but notice that during this scene and the one where they a laying in bed together the theme playing is the same one that was played during that first porch scene, which can’t be a coincidence. Ok so what about that strange look? If its not about Veronica then what was it about. Well I think it was because Archie wants more with Betty but feels like she just sees him as a hookup.

There was another parallel between this scene and the one earlier in the episode in the teacher’s lounge. In both scenes it starts out with Betty talking about how she is worried about Polly. Again this is showing that friends element of their relationship and how they still go to each other for comfort when things are troubling them. Archie in turn confesses that he himself was feeling crazy and frustrated and whilst I do think some of that relates back to Veronica and Chad, I mean Chad had been a huge dick to him right before this, some of it also probably had to do with Reggie and that situation, but I also think some of it is that he is frustrated about where his and Betty’s relationship is, which was brought on by him hearing Veronica sing shallow. Another parallel between the two scenes is in both it is mentioned that Jughead is out and at work. In the first scene Betty says its too risky for them to be together at Archie’s even if Jughead is out. But this time she doesn’t seem worried about it. I think she just wants to be with Archie and so just doesn’t care what the risk is. I do think this is a small indication that things are changing between them. There are more little hints in this scene too. For example unlike after the scene in the teacher’s lounge where we next see them going at it in the car, in this scene they don’t show them in the act. Instead they show them after. I actually really loved this scene, even more than the car scene. Because here they were just cuddling together, it wasn’t about sex in this moment, they just wanted to be near each other and were taking comfort in each other. I am going to come back to this moment in a bit but first I want to go back to the porch and talk some more about that.

After talking about how he is feeling frustrated, Archie and Betty kiss. But this kiss to me seems different from the others they’ve had post time jump. For one the others were during their hookups and so were passionate and urgent. This kiss however was just so soft. I also think its worth noting that when I first saw the scene I thought it was Betty that initiated it but I actually think it was Archie. Archie takes a small step towards Betty but also as Betty moves forward you can see Archie’s shoulders move almost like he is pulling her too him. Now I feel like if it was a case of he was distracted by Veronica and wasn’t that into being with Betty he wouldn’t be the one pulling her too him for a kiss. Also Archie is the one that deepens the kiss too. Another thing worth noting is that despite Betty’s concerns about the risk and that they up until now have been very careful about not getting caught. Well they kissed each other on his porch with the door wide open. Literally anyone could have seen them. But again in that moment I don’t think they cared, I think they just wanted to be together. Also despite Betty aksing to go upstairs after I don’t feel like that kiss was meant as a prelude to sex, or that it has anything to do with sex. The kiss wasn’t passionate or heated. It was a much more romantic kiss and maybe I’m projecting but to me it seemed to be more fuelled by their real feelings for each other than by desire or lust. And this is exactly why I think Archie had that look on his face as he closed the door. I think he poured his feelings into that kiss hoping she would know and to me the look on his face was one of frustration and I think its because when she wanted to go upstairs he felt like it was a case of her only seeing him as a hookup option. However I think judging from the look on her face as she looks at him after they kiss I don’t think that is true. Again I could be projecting but to me she just looked so in love with him.

Ok so going back to the scene where they are cuddling in bed together. Like I said they both have pensieve looks on their faces but the really sweet thing is that Archie is stroking Betty’s shoulder and Betty is stroking Archie’s side and I don’t know why but those little details made me feel all soft and gooey inside. When Betty’s phone goes off Archie is just staring at her the whole time with such a loving look, he looks completely besotted by her. Also there is that moment when Betty says that she has to go and then says ‘but this... was really nice.’ That hesitation before she says really nice, to me, showed that Betty was trying to think what ‘this’ was exactly and it seemed like she couldn’t quite find the right words to define it. Again they both just looked so in love when she was saying it. Also as a FWB type arrangement I’m not sure it was necessary for her to kiss him goodbye like that. Like the kiss on the porch it wasn’t a heated or lust fuelled kiss it was soft and tender, again as if there were real feelings behind it. Also as she goes to leave you can see Archie almost reach out to stop her and say something. It’s pretty obvious in this moment that Archie doesn’t want Betty to go and wants to say something, maybe about his feelings for her, but he changes his mind and again looks deep in thought.

Overall I thought this was a really good episode for Barchie and I do think that they are moving more towards becoming something more than just friends with benefits. I know that there is a possibilty they might go back to the original couples but as of right now I don’t see that happening anytime soon. I do feel like as a fandom us Barchies have been let down so many times that we just expect to be disappointed but for now I’m staying optimistic and I’m just going to enjoy speculating and enjoy any scenes we get.

#barchie

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duhragonball · 3 years ago

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Disinterpretation

I finally finished the Sarah Z video about “pro vs. anti”. It’s pretty long, and I ended up watching it in chunks over several days, but I think it’s worth watching, especially if you’re sort of partially connected to online fandom, but not enough to be aware of all the lingo.

As I expected, the whole thing was vague and confusing because the people involved in the conflict made it vague and confusing. In theory, the full terms would be “pro-shipping” and “anti-shipping”, but it seems like it’s more about particular kinds of ships that could be considered controversial. But that’s a slippery slope, and apparently the whole conflict mutated into both sides deciding that every hypothetical relationship between fictional characters is either equally valid or equally dangerous.

Long story short, it’s just purity culture, which was what everyone on Tumblr was calling it around 2012. But now, if you’re a sane person who genuinely asks: “Who gives a fuck about Voltron?”, these people will jump your ass and accuse you of being on the side of their enemies. “Children have died over the importance of Lotor/Hagger! Your callous indifference proves that you yourself must have murdered children!”

I think what Sarah Z really hit upon in this video was that media consumption has become so ingrained in our culture that people feel like it has to go hand-in-hand with our morality. That is, it’s not enough for me to watch Star Trek, I have to justify Star Trek as evidence that I’m a good person. Maybe this is where the expression “guilty pleasure” comes from. Conversely, it’s not enough for me to not watch Dr. Who, I have to somehow convince everyone that Dr. Who was invented by the devil.

I’m pretty sure the Reylo ship has a lot to do with this, since it’s kind of understood to be a dark, problematic concept, and fans either embrace its flaws or recoil in horror because of them. Star Wars itself is a dumb story about space wizards, so people try to give the debate more weight by linking it to freedom of self expression and/or enabling real world harm. Suddenly it’s not enough to just think two actors would look cute making out instead of fighting. Now it’s this battlefield for the soul of civilization or something.

I grew up in the 80′s, when “concerned parents” and grifters would accuse the Smurfs and metal bands of promoting satanism and witchcraft. I used to hear stories of teens going out into the woods in the middle of the night to do occult stuff, and all I could ever think about was: “Why would anyone bother wandering out in the woods in the middle of the night?” Which is why “concerned parents” turned their attention to things that were closer to home, like Saturday morning cartoons. It had nothing to do with the content; it was just about finding a safe, accessible target for their hysteria. Some people want to go on a crusade without leaving the house, so they pick a fight with Papa Smurf instead of confronting the real evils in the world. Even as a kid, I knew this was a con, because I’d watched the show for myself and knew it was too saccharine to be threat to anyone.

The pro/anti folks have tried to disguise this with a lot of terminology. I wondered why they seemed to reluctant to use the full terms “pro-shipper” and “anti-shipper”, and it’s probably a couple of things. First, the word “shipper” is basically an admission that this is pointless bullshit that doesn’t matter, and they’d like to avoid that connotation. Second, they seem to have decided that this goes beyond shipping itself, into practically anything else they want it to involve. It’s all part of the con, which is to make you believe that it’s “us vs. them”, and you can be part of “us” by curating specific attitudes about Steven Universe.

Seriously, “about Steven Universe” is such an incredible punchline. You can make anything funnier by adding those three words to the end of a sentence. “Do not interact if you blog about Steven Universe.” “Hey, what’s up, YouTube, this is SSJ3RyokoLover69, and this is going to be kind of a serious video about Steven Universe.” “Mrs. Johnson, the results of your biopsy are in, and I have some bad news about Steven Universe.” It’s a fucking kids show. “Oh no, all the characters look like the characters in all the other kids shows!” Yeah, that’s because it’s a kids show. Marvin looks like Garfield, this isn’t new.

The common denominator here seems to be that both sides try to wrap themselves in the flag of vulnerable groups: impressionable minors, trauma survivors, harassment victims, etc. The “pros” want to protect those people so that they can feel free to explore weird subject matter on their own terms, and the “antis” want to protect the same people from being exposed to weird subject matter that they might not want to see. It’s all about establishing a moral high ground. Back in the day, it was called “sanctimony”.

But people get roped into this, because at their core, people want approval, and this stupid conflict offers them a sense of community. As long as you support the cause, whatever it may be, you’ll have this online friend network that appears to support anything you do. But if you deviate from their norm, you’ll be cast out. Does this sound familiar?

To use a more familiar example, I still sometimes find people clamoring about Gochi vs. Vegebul. I’ve never understood this, because both ships were canon, and I never saw much direct evidence of a war between them, but people would still talk about how crazy the Vegebul shippers were, and how crazy the Gochi shippers were, and it was like some huge thing going on just over the hills. It’s the same idea, since the idea that you could like both or neither never seems to occur to anyone involved. I never gave a shit, because I used to see the same dumb agendas in the Harry Potter fandom.

Okay, so let me take you back. It’s 2005 through 2011, and I’m hateblogging all seven Harry Potter novels, because fuck you, that’s why. The funny thing I encountered was that occasionally fans seemed to want to pretend like my bashing of certain characters was proving them right somehow. They were like “See? He hates Ron Weasley too! That proves that Seamus Finnegan is the coolest guy ever.” The Slytherin stans would do this all the time, because I would constantly take the piss out of the Gryffindor characters for being self-important dopes. I think they just liked hearing it from an outside perspective. But I had to keep reminding them all that I hated all of them. Every character from Harry Potter sucks ass. Voldemort was my favorite, but only because he was the one guy who wanted to kill all of the others. But he sucks too because he failed.

And the shippers were the same way. I’d say something shitty about Ron, because Ron sucks, and some smartass Joss Whedon fan would be like “Yes! Boost the signal! That is why Harry/Hermione is the best ship!” And I’d be like “No, Harry and Hermione suck at least as bad as Ron does. They’re all terrible and I hate them.” I really do think there was some sort of Stockholm Syndrome going on with Harry Potter books, where everyone secretly knows they suck, but the fans sort of latch on to one or two characters and go like “Well, he’s not as shitty as the rest.” Like finding spaghetti in the trash and picking out the meatball with the least amount of lint on it. Then you’d go and start a flamewar with some other starving person over whether your meatball is shittier than theirs. This is what people mean when they say to read another book.

Anyway, the big thing I picked up from Sarah Z’s video is “disinterpretation”, a term coined by MSNBC columnis Zeeshan Aleem. The Twitter thread is worth a read, but the short version is that he once remarked that a Julia Louis-Dreyfus routine wasn’t very good, and someone got mad at him for insinuating that women are incapable of being funny. They just took his dissatisfaction with one performance by one comedian as being a universal condemnation of women comedians in general. And this sort of thing is all over the internet. Everyone sees what they want to see and then they take it as permission to overreact.

I ran into this myself a while back, because someone saw who I interacted with on Twitter and decided that they’re all bad guys and if I have any interaction with them, then that makes me a bad guy too. At the time I tried to play it cool, but the more I think about it, the more it ticks me off. And over the course of that conversation, it was said that I don’t talk about myself much, and that’s kind of funny, because all I ever do on social media is write long-ass blog posts like this one. I don’t expect anyone to memorize them, or even read them all the way through, but when I write all this stuff and someone goes out of their way to say they don’t know anything about me, the message is that they just didn’t pay attention to what I was saying, and they didn’t bother to try.

So I’m a little jaded from that, because I got called out for a bunch of stuff I didn’t even do or say, and apparently that’s just a thing that happens. People will reject you for completely arbitrary reasons, not because of anything you actually said or did, and you’re left thinking you made some terrible mistake. Except, no, I’ve seen it happen to other people, people a lore more conscientious than I am, and if they can’t satisfy the bullshit purity standards, then I never stood a chance. If the game is rigged so I can’t win, then I’m not going to play.

And it’s that same condition that probably draws people into these online holy wars, because if you declare yourself for the pro or anti side, at least then you’ll have a posse backing you up. Only they don’t support you, they support your willingness to support them. Once your commitment to their agenda wavers, even in the slightest, they will turn against you.

Sarah Z suggests that both sides of the war drop the pro and anti terms, since they lost all meaning long ago. But that just invites a new set of useless terms to perpetuate the same cycle. Her more useful advice is for fandom people to broaden their horizons. She got a lot of flak for tweeting “Go outside” once, but the ironic thing is that it’s sound advice. I had lunch with my mom yesterday and it was just nice getting away from things for a while. People need to do that more often, and unfortunately it feels like it’s harder to do than ever before.

But “go outside” isn’t just a literal thing. It can mean going beyond your usual haunts, reading the same books, watching the same shows, rehashing the same conversations. I think the reason this stuff always revolves around “shipping” is because there seems to be this deep-seated compulsion to pair fictional characters off like this, and for a lot of folks it’s the only way they can consume a story, so they do. And they do it lot, and there’s a lot of them, and they do it the same way every time, and lo and behold the same old conflicts start up. So maybe “go outside” should mean “go outside of that cycle once in a while.” Just a thought.

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drinkthehalo · 4 years ago

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Macro perspective on each Lymond book

I've been listening to the Lymond Chronicles audiobooks, which has given me a different perspective than reading them. With audiobooks, you’re less inclined to stop and dive into the details, to look up an interesting word or obscure historical fact; instead you get swept along with the larger arc of the book.

So, I thought it would be interesting to look at what each book is about from a macro perspective.

Spoilers for the entire series follow.

The Game of Kings

In genre, it's a mystery told in a historical adventure style; it asks the question "Who is Lymond?" and gives us a ton of contradictory clues, then finally reveals the truth - in a psychological sense by stripping away Lymond's defense mechanisms and revealing the human being underneath, as he breaks down in the dell, "the guard was down... every fluent line and practised shade of Lymond's face betrayed him explicitly"; and in a narrative sense via the trial, which examines each "clue" we received throughout the story and tells us what it really meant.

Thematically, it's mainly about "serving honesty in a crooked way" - that morality isn’t simple and that sometimes you need to break the rules to do the right thing. Nearly all Lymond’s acts are apparently bad things done for a goal that is actually good. We see the theme also in Will Scott (who learns that the world is more complicated than the "moral philosophy" he learned in school) and the various characters who help Lymond, breaking the rules of society by aiding a wanted outlaw (Christian, Sybilla, the Somerviles).

It is also about the balance of looking out for self vs the obligation to the greater society - Lymond is not completely selfless (after all, he is back in Scotland to clear his own name), but when forced to choose, he always chooses the greater good above his own goals. He is contrasted with Richard, whose great mistake is to put his obligations to Scotland at risk in pursuit of his personal vengeance, and Margaret Lennox, who is purely and grotesquely out only for herself.

The historical context is part of this theme, as we see the various border families playing both sides between England and Scotland, with the heroes being those who ultimately stand up for Scotland, even as we understand that some have no choice but to profess one thing while doing another.

Queens Play

In genre, it's a spy novel; thematically, it's about what Lymond will do with the rest of his life. The question is asked explicitly several times (most obviously, "You have all your life still before you." / "The popular question is, for what?") It's important that Lymond loses his title at the start of this book; he has to figure out who he will be without it.

The main characters all represent possible paths Lymond could take -

O'Liam Roe, who sits back and laughs at the world with detachment, while abdicating all responsibility to use his mind and position to change the world for the better.

Robin Stewart, who loses himself in bitterness about the ways the world has been unfair to him, and in fixating on how he deserved better, fails to take any action to improve himself.

Oonagh, who works passionately to change the world for the better, but whose ideals have become corrupted because she has attached herself to a leader who is more out for himself than for their cause.

And of course Thady Boy and Vervassal, two extremes of himself that Lymond tries on, and (by the end of the series) must learn to reconcile.

The recurring imagery of the first half is the carnival, the masks, the music, the parties, and our hero in danger of losing himself amidst the debauchery. In the second half the imagery every time Lymond appears is of ice, the ultra-controlled, hyper-competent version of Lymond at risk of losing himself by denying his artistic soul. (There’s a wonderful essay here that explores these motifs.)

In the end, Lymond comes to the conclusion that he must not withdraw into detachment or bitterness, that he must find a way to make a positive difference in the world, but that he also must not attach himself to a powerful figure who may be more out for themselves than for Scotland (ie, his refusal to attach himself to Marie de Guise). This sets up the creation of his mercenary army in the next books, as a way he can exercise independent influence in the world.

The Disorderly Knights

This book couldn't be more relevant to the world today. It's a portrait of cynical hypocrisy in pursuit of power; it lays out step by step the tactics of propaganda and manipulation used by despots to build up themselves and tear down their rivals: pretend to be pious, accuse of others of your own crimes, tear down straw men instead of engaging in real debate. It tells us to "look at his hands"; what matters is what a leader actually does, not what he professes to believe.

It shows us how leaders use charisma to manipulate, and, in showing the battle between Gabriel and Lymond for Jerott's loyalty, shows how Lymond takes the harder and more ethical path, by refusing to use his charisma to seduce (a lesson learned from his experience with Robin Stewart) and instead guiding Jerott to come to his own conclusions by means of rational thought instead of hero worship.

At every level the novel advocates for tolerance and internationalism, and against petty sectarianism, as Lymond questions whether the Knights of St John are really any better than the Turks, and as he tries to get the Scottish border families to abandon their feuds in favor of the greater good of the country.

In terms of genre, it’s a pure adventure novel. I never get bored of the masterful action sequences with the battles in Malta and Tripoli, and the extraordinary duel at St Giles in the end. (Also in terms of thematic imagery, there is some crazy S&M shit going on in this book, with Gabriel and Joleta's sadism and Lymond's self-sacrificial masochism.)

I love Disorderly Knights so much. It is nearly perfect - well structured, thematically coherent, witty, fun, breathtaking, and heartbreaking.

Pawn in Frankincense

In genre, this is a quest novel. In several places it explicitly parallels The Odyssey.

In theme, it explores -

Do the ends justify the means? How much sacrifice is too much? Lymond gives up his fortune, his body, and his health; Philippa gives up her freedom and her future; we are asked often consider, which goal is more important, stopping Gabriel or saving the child? We even see this theme in Marthe's subplot, as she gives up the treasure, her dream to "be a person," to save her companions. Perhaps the most telling moment is right after Lymond kills Gabriel; despite all his claims that Gabriel’s death mattered more than the fate of the child, he’s already forgotten it, instead playing over and over in his mind the death of Khaireddin. If you do what is intellectually right but it destroys your soul, was it really right?

The other big theme is “nature vs nurture.” What is the impact of upbringing on how people turn out? In its comparisons of Kuzum vs Khaireddin, and Lymond vs Marthe, it seems to fall firmly on the side of nurture.

It’s also a kaleidoscope of views on love, with its Pilgrims of Love and their poetry, and the contrasting images of selfless, sacrificial love (Philippa and Evangelista for Kuzum, Salablanca for Lymond, Lymond for Khaireddin, perhaps Marthe for Lymond as she helps him in the end) with possessive, needy “love” (Marthe for Guzel, Jerott for Marthe or Lymond, arguably even the Aga for Lymond).

This novel is also a tragedy. Its imagery and the historical background complement the themes by creating an atmosphere lush, beautiful, labyrinthine, overwhelming, and suffocating.

The Ringed Castle

I have to confess this is my least favorite, in large part because I find the historical sequences (in Russia and in Mary Tudor's court in England) go on way too long and have only tangential relationships to the themes and characters.

It seems to be primarily about self-delusion as a response to trauma. Lymond spends the entire novel trying to be someone he isn't, in a place he doesn't belong, because he is too damaged to face reality. (His physical blindness as a manifestation of his psychological blindness; the sequences at John Dee's, surrounded by mirrors, forcing him to see himself.)

Lymond convinces himself he can build a wall around his heart to block out all human connection, that he can be a “machine,” but despite his best efforts, he cares for Adam Blacklock and develops a true friendship with Diccon Chancellor. And of course, by far the most important moment is after the Hall of Revels, when Lymond's heart unfreezes and he suddenly sees one thing VERY clearly. (And then tries, desperately, to escape it.)

The only reason I can think of that the book lingers so long on Mary Tudor (so boring omg) is the parallel with Lymond, her false pregnancies as a manifestation of her desire to see the world as she wants it to be, and her failure to see reality as it is. Ivan of Russia also is a parallel: delusional, unable to trust, and dangerous. Their failures, and the failure of Lymond's Russia adventure and relationship with Guzel, tell us that you cannot hide from reality forever.

The book spends so long painting the backdrop of 16th century Russia that it makes me think that Dunnett got too caught up in her research and needed a stronger editor, although there is also a parallel with Lymond in the idea of Russia as a traumatized nation struggling to establish itself, and of course, Lymond subsuming his need to deal with his own issues into a goal of building a nation.

It's also about exploration, about the intellectual wonder of discovering that there is more to the world, as we learn about Diccon Chancellor and the Muscovy Company. It’s wonderful imagery, but I struggle to how this fits coherently into the overall theme of the novel, and am curious how others reconcile it.

I like the idea of this book more than the reality. If you’re going to do to your hero what Dunnett did to Lymond in “Pawn,” there has to be consequences. But hundreds of pages of our hero in such a frozen state is difficult to read.

That said, the Hall of Revels is one of the best things in the series, and I’ll always love this book for that.

Checkmate

Checkmate is about reconciliation of self and recovery from trauma, as Lymond is forced (kicking and screaming) to accept who is and what he's done, and to allow himself to love and be loved. Philippa is his guide, as she discovers the secrets of his birth, understands his childhood, hears his tales of all the terrible things he's done, and loves him anyway. As far as genre, this is definitely a romance.

There are villains in this book (Leonard Bailey, Margaret Lennox, Austin Grey) but they're all fairly weak; the true antagonist is Lymond himself. From the beginning, he could have everything he needs to be happy (he's married to the woman he loves, and she loves him back!); his true struggle is to stop running from it (by escaping to Russia or committing suicide) and to break through his own psychological barriers enough to allow himself to accept it.

The primary parallel is with Jerott and Marthe, who also have happiness almost in their grasp, but never manage to achieve it.

The heritage plot looms large and is (IMO) tedious; it's so melodramatic that it takes some mental gymnastics to get it to make thematic sense to me. It ultimately comes down to Lymond's identity crisis and childhood trauma. His “father” rejected and abused him, so he based his identity on his relationship to his mother, but his suspicion that he is a bastard means he lives in terror that he doesn’t really belong in his family and that, if his mother isn’t perfect, he is rotten. (I love him but, my god, it is juvenile. The only way I can reconcile it is that his fear about the circumstances of his birth is really just a stand-in for his self-hatred caused by his traumas.) He also continues to struggle with his envy that Richard was born into a position with power and influence that Lymond has spent the past six books struggling to obtain, and that Lymond’s terrible traumas (starting with the galleys) would not have happened if he had been the heir. The discovery that he actually IS the legitimate heir is what finally snaps him out of it, since his reaction is to want to protect Richard, and this also reconciles him to Sybilla since protecting Richard was her goal too.

There are some other parts of this book that I struggle to reconcile (Lymond's inability to live if he can't have sex with Philippa; the way the focus on heritage seems to undercut the nature vs nurture themes; that no one but Jerott is bothered by Marthe's death, which undercuts some of the most moving moments in "Pawn”; and I mostly just pretend the predestination and telepathy stuff didn’t happen). On the other hand, I do sort of love the way this book wholeheartedly embraces the idea that there is no human being on earth who will ever be as melodramatic as Francis Crawford.

In terms of the historical elements, in addition to providing the narrative grounding for the character stuff to play out, it sets up the idea that Scotland has troubles coming up (the religious wars, the betrayal of the de Guises) and that Lymond needs to go home, let go of France and Russia, and focus on Scotland where he belongs. I’m sure there is also some political nuance in the fact that our Scottish hero, after spending so much time and energy in France, ends up with an English wife.

The conclusion in the music room is perfect - it brings us back to the amnesiac Lymond who innocently played music with Christian Stewart, to Thady Boy whose songs made the cynical French court weep, and fills the “void” Lymond described to Jerott where there was no prospect of music. The aspects of himself are finally reconciled and he has a partner to share his life with.

I am curious what others see as the macro / thematic big picture meanings of these books. :) And if anyone can find the key to make “Ringed Castle” and “Checkmate” make more sense to me...

#lymond #the lymond chronicles

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padawanlost · 4 years ago

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If you don't mind me complaining about something: I just happend to read some comments in a star was sub on reddit, and apparently some think that the clones knew about order 66?? and then there was some statement that cody doesn't really care about obi-wan and that he had always been more loyal to the republic than him?? like, did they miss everything?? it just bugs me so much. Do you think there's a reason behind this line of thinking? are they in denial of canon or something?

Yes, there’s a reason behind this line of thinking. Before the 6th season of The Clone Wars(2008) premiere the lore regarding Order 66 was clear: everyone knew about it, including the Jedi.

Before season 6, Order 66 was simply one of the 150 Contingency Orders for the Grand Army of the Republic. The clones learned these orders in Kamino but they were not these super secret orders no one knew about. The clones knew about them and they were openly discussed in canon. So before TCW the clones, in fact, fully aware of order 66.

Order 66: In the event of Jedi officers acting against the interests of the Republic, and after receiving specific orders verified as coming directly from the Supreme Commander (Chancellor), GAR commanders will remove those officers by lethal force, and command of the GAR will revert to the Supreme Commander (Chancellor) until a new command structure is established. —From Contingency Orders for the Grand Army of the Republic: Order Initiation, Orders 1 Through 150, GAR document CO(CL) 56–95 [Karen Traviss. True Colors]

Ordo had never understood it, either. He could recite any statute or regulation, including all 150 Contingency Orders for the Grand Army—which all clone officers had to know by heart—with all the ease granted by his eidetic memory. But making sense of rules was another matter. Why start a killing war if you were going to slam on the brakes and declare one way of killing someone morally preferable to another? [Karen Traviss. True Colors]

It’s not clear how much of this the Jedi knew but we do know they didn’t investigate the situation on Kamino THAT deeply so it’s debatable if they actually knew about these Order (or at least Order 66). Regardless, the clones knew about the existence of Order 66.

As for Cody, yeah, this idea they had a super close relationship is fandom. I mean, TCW portrayed them as working well together but, before the chips became a thing, Cody had no remorse for trying to kill Obi-wan. Afterwards, he spent many years happily working for the Empire. So it’s not like Cody was a huge Jedi stan who spent the rest of his life mourning his former Jedi general.

Cody was portrayed as a loyal soldier with orders and he executed them as he was trained to do. So, again, yeah, people aren’t wrong for saying Cody was more loyal to the government (Republic and Empire) than he was to Obi-wan. It’s not that the clones were malicious, they were in fact very loyal. Arguably, as loyal as the Jedi. and when they were told the Jedi were betraying everything they were srown to protect they reacted accordingly. It’s not that Cody didn’t like Obi-wan, but he was a soldier and he had government to protect. When the order came he did what he was trained to do, no personal feelings (the jedi way). I mean, he didn’t know the orders were coming from a sith lord, that he was being used or that Obi-wan was innocent. So he obeyed.

This is why so many people are critical of the chip storyline, because it robs the clones of their agency and strips the story of so much complexity. It replace themes like loyalty, obedience, war crimes, politics, agency, etc with a simply ‘the chips made them do it’. In a way, it makes the clones more sympathetic but it also made them less complex. Instead of men forced into a impossible position we have living robots with no agency. It’s complicated but I get why they did it. the chips were much easier to explain on an animated show with limited time. I mean, the previous lore explored the issue on multiples platforms over many years. and the kind of introspection that works beautifully on novels and comics don’t always translate well to screen.

So, no, people are not ignoring canon or in denial. They are just going deeper into the lore :)

#ask #anon #sw meta #tcw meta #cody #obi wan kenobi #clone troopers #meta: clones #txt

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triplecrossroads · 4 years ago

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Cinderella is Dead review (Warning- spoilers and mentions of violence)

Cinderella is Dead is a YA fantasy book set 200 years after the story of Cinderella. It was written by Kalynn Bayron; a black queer woman and mother of four, and was published 7 July 2020, making it a very recent book. The book explores themes of misogyny, the patriarchy, heteronormativity and queer love. It’s a fresh take on an old tale and despite being based on a well-known fairy-tale, Bayron’s novel is a very original concept that feels brand new.

As the blurb states, Cinderella is Dead isn’t about Cinderella but instead is about a young girl named Sophia and her rebellion from the homophobic and patriarchal society she lives in. In Lille, the kingdom the story takes place in, all eligible girls must attend an annual ball in “honour” of Cinderella and must be chosen by a man at the ball. Those who are not chosen are considered forfeit. Rebels and queer folk are also considered forfeit, often given up by their own family. Most of the book follows Sophia and another young girl, Constance, an exile from Lille who has dedicated her life to taking down King Manford and freeing people from his oppressive rule. While the book is fantasy, it makes many relevant points about those in power, men’s feelings of entitlement and those who uphold oppressive structures. Constance says that the most dangerous people are those who follow blindly and support leaders in all their actions, even when said actions actively harm the community and the people themselves. This point is incredibly important in today's climate and opens up the door for more criticisms like it. No system can exist without followers, and no leader can oppress people without help from those in society. Another thing that is brought up in the book is how Prince Charming felt he deserved Cinderella’s love because of the money and life he provided her, ignoring that he violated her consent and took her away from those who loved her. His reaction to the constant rejection is violence and ultimately leads to Cinderella’s death. As we have seen before, especially in 2021, this feeling of entitlement isn’t limited to fiction and is common in our society. Just like in Cinderella is Dead, many boys are socialised to view women and girls as objects, as property. They are told if they are persistent in their advances then eventually women will say yes. They are taught to expect romantic feelings and sexual favours from women simply because they want them. While this doesn’t take the responsibility away from men as individuals, it is crucial we recognise how the environment in which we grow up can affect our beliefs. We see this in Cinderella is Dead. The King isn’t the only man who shares this sentiment; in fact, most of the men in power see things this way. So many of them feel women owe them things simply because of their social status and gender. This book is the perfect opportunity to start needed conversations about why this is and how dangerous it is to women all over the world.

Just as much as the story critiques sexism, particularly discrimination against women queerness is also a key topic in the book. The main protagonist is a queer woman. By our terms she would best be described as lesbian. In the book, her parents’ main issue isn’t necessarily her attraction to women but more what it means for her safety and theirs. This non-acceptance but not rejection either is common in families with a queer child. Sophia’s parents would rather she be dishonest to herself and everyone around her and hide who she is to fit in with the rest of society. Similarly, Erin; Sophia’s partner at the beginning of the book, denies Sophia a lot of affection and gives up on their relationship because she believes there is no way out. Like many queer people, Erin is afraid of disappointing her family and having them disown her. Unlike Sophia, she would rather stick to the status quo and avoid punishment and shame. This inevitably leads to the breakdown of her and Sophia’s relationship, Sophia becomes exhausted with constantly having to fight for love from the other girl and Erin too terrified to leave with Sophia and go somewhere their relationship is accepted or to help create a place where it could be. However, Erin is not the true love interest in this story. No, Sophia’s romantic counterpart for most of the book is the sword-wielding, rebellious and dangerous Constance, who is opposite to Erin in every way. Constance, like Sophia, spent her entire fighting the ways of Lille, albeit in more obvious and violent ways. Her entire life she fled from the clutches of the king, all the while preparing for the day she might get to take him down. Having not grown up in Lille, she is not scared to go against their rules for femininity and sexuality, therefore making her more openly express affection for Sophia in a way the protagonist never has before. The two are perfectly matched. The one other openly queer character in the story is a side character named Luke, who’s male lover was given up as forfeit by his own family when their relationship was discovered. He and Sophia bond over their shared experience of being different and living in a society that doesn’t accept them. He delivers one of the most powerful lines in the book; “Just because they deny us doesn’t mean we cease to exist”. Other than Erin, Luke is the only other queer person Sophia has met at this point and he could be considered one of the biggest reasons Sophia rebels. However before this, Luke proposes a “lavender marriage” between him and Sophia so they could escape Lille together. This never happens and Luke isn’t in much of the book beyond that scene.

Queer love is central to the story and driving motivation in Sophia’s journey. First her love for Erin, then her pity for Luke’s lost love and finally, Constance and the relationship she develops with her.

Personally, I really enjoyed the book. It is well-written, concise and not too flowery but still descriptive and full. While I did predict the twist, I don’t think that is a bad thing. In my opinion, if a reader can make a guess about a twist in the story, that just means you did a good job establishing the world and characters. If the readers are shocked by a plot twist that is great as well and the other twist nearing the end was not one I was expecting but made so much sense considering the context. Sophia was an interesting main character and the perfect perspective to tell the story from. I loved her personality and how she interacted with others; she was relatable, slightly awkward and determined. She was also realistic. Despite her being opposed to the rules and disagreeing with how Lille was ruled, she even believed the lies told to her and had internalised struggles with how different she was. Her relationship was a welcome change from the unrequited love and pining so common in wlw media. Both her and Constance cared for each other and desired each other equally. There was a passion in their relationship not present in Sophia and Erin’s relationship.

A huge part of why I enjoyed the book so much was because of the representation. Not only of queer folk and women but of people of colour as well. Sophia describes herself as having tight curls and brown skin, the cover art is of a black woman, and many of the other characters were poc as well. As a queer woman of colour, this book is hugely important to me and is an example of how I think things should be done in regards to representation.

#cinderella is dead #wlw books #writing #book review #mentions of sexism #mentions of homophobia

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