#which obviously just will lead to a big lack of characterization.

[shevr]

stuck lid hack

[darkstarofchaos]

Having seen some frankly irritating opinions from both sides of the aisle, I think some of y'all need to chill about the way the Decepticons were handled in EarthSpark.

Decepticon fans are allowed to be upset that the faction's depth and potential for development was tossed aside in favor of "Decepticons are just evil".

However, depth and potential doesn't mean the Decepticons have to be buddy-buddy with the Autobots. Depth is amoral, you can be a villain who resists "redemption" and still be a well-rounded character.

My issues with S2 vs S1 are as follows:

The lack of good explanation for why the sides are fighting again. I am not upset that the Cons are villains again. They have no reason to like or trust any human or Autobot, and gratitude for having your life saved only goes so far. My issue is that S2 literally opens by saying the Cons started the fight again just because that's what Cons do. Obviously the story is from the perspective of the main cast, and there are hints that they could be intentionally unreliable narrators (Starscream refers to them as oppressors, Breakdown challenges Bumblebee about giving up on Cybertron), but we aren't given enough time with the Cons to draw a solid conclusion about the intentions here.

The way the heroes treat Spitfire, i.e. a literal newborn. She was 100% in the right when she said that she didn't know the moral rules she was being expected to follow. But because she wasn't born with morals and an understanding of mortality preinstalled, the heroes condemned her instead of trying to de-escalate and take responsibility for their part in the situation (granted, Megatron was the only flight-capable adult present and he argued against de-escalation. Which tracks because he's Megatron. But someone should have pushed for a peaceful resolution).

How much depth do individual Decepticons still have? Who knows, Starscream, Shockwave, and Breakdown are the only ones with any focus. The others are only seen fighting, causing trouble for fun, or just standing around growling. Twitch - i.e. one of our main characters - literally spends an entire episode in the Con camp and we still manage to see nothing of Decepticon life when they're just hanging out. And yes, I know that the more characters you have in a scene, the harder it is to show their personalities. You can still show them playing cards or arm-wrestling or something. Anything to show that they're actually people and not just a hive mind that exists to fight.

Starscream. Specifically the last 20 minutes of the S2 finale, because everything else in his characterization fit S1 until that point. He literally calls the Autobots oppressors, so of course he's going to fight them. He wants Aftermath kept out of the way (that's a child, so that's perfectly reasonable) and he's frankly patient with Twitch-as-Spitfire, in spite of Skywarp's incredulity that he lets her "get away" with causing trouble (again, that is a child. Patience is the correct response). He even seems to like Spitfire after meeting the real her. The only issue I had with Starscream leading up to the second half of the finale was that his motivations didn't seem to be much deeper than "I want power" (I could be misremembering that point - there may have been an "Earth is going to be our home, let's make it better to live on" when he and Shockwave discussed Cybertron). And then the last 20 minutes happened and I can't see any logical extrapolation from S1 to that. It was just a generic "Starscream goes mad with power", and it came completely out of left field. Not even any remorse about what he "needed" to do or any attempt to justify himself, it was just, "Yeah, I'm worse than the people I called out for being oppressors, isn't it great?"

If there is some big plot twist where it turns out the heroes were unreliable narrators all along, some of my issues will actually be fixed. However, I find that extremely unlikely, for one major reason: all of the non-Decepticon characters who disagree with the heroes are either villains or they "come around". The Quintessons felt betrayed by Quintus? Nah, Quintus was a great guy, you can tell because he tortured a kid for wishing she had never been chosen by him. Prowl doesn't like the Autobots' reliance on children? Silly Prowl, those kids are special, we want them to fight. The narrative never, at any point, entertains the idea that those dissenting voices might have a point. Which means we're probably meant to take the heroes at face value on most, if not all things.

TL;DR: the Decepticons being villains makes perfect sense, even with the context of S1; it's the heroes acting like they're only fighting for power after we had several episodes about second chances and not all Decepticons being the same that makes it feel like a cop-out. And Decepticon fans are allowed to be upset that some of their favorite characters had interesting stuff going on only to be functionally relegated to Voiceless Grunt Number 3 (and yes, several Autobots have also been relegated to Voiceless Grunts. If one of your favorite characters has fallen victim to this affliction, regardless of faction, you have my sympathies).

[f0xgl0v3]

Powers in Camp Jupiter

Wow I’ve posted a lot today lol-

Finally! Another long, ‘Camp Jupiter general Hc’ post. I’ve just been thinking a lot on powers the more I’ve been dipping my toes into learning about Rome and its culture and how I want to incorporate that into New Rome and Camp (literally I mention it once so don’t get any hopes up for like in depth Ancient Rome stuff and it just affected my thought process for how the Romans might think similarly to powers as they did other things). Also this is another post going, ‘this is a weird thing in camp that is never explained but doesn’t make sense to me so this is how I’d go about explaining it’ post, enjoy :]

But first things first; I think Camp puts a heavy importance on physical skill, that powers are somewhat frowned upon. That Camp Jupiter would put a higher importance on someone’s capabilities without the powers, and that power usage is something that generally the Camp doesn’t like acknowledging- I’ll go more in depth on what I mean but first I wanna talk about how I got to this conclusion making sense in my mind,

This did make sense in my brain because it fills the little gap where we don’t see a lot of Camp Jupiter power embracing or whatever. We get Hazel being worried over her powers because of the like cursed aspect? Which is a whole other can of worms that I don’t like the plot point on- but whatever. Hazel’s thing feels weird that she wouldn’t explain it, now I am obviously not a Hazel analyzer- but I do have a pretty solid characterization of Camp in my head and I feel that is something that they would 100% want to and need to know. Along with the apparent lack of notable power usage in Camp Jupiter- we don’t see it in the same way that we see over at Half-Blood, now this could be because Camp has like 0 important characters. But I feel like during the war games there would be more people taking advantage of powers, where it’s specifically called out when Percy is doing it because it’s odd in the setting- it stands out (yes it probably was called out for Rick to be like “Look at how cool and powerful Percy is guys!” But whatever-) but that bleeds into the first gorgon chase scene, where it’s notable that again; it’s only Percy using his powers openly, it’s the legionnaires that are looking on in bewilderment, confusion.

Of course there are the 4 main outliers I think of about this power thing; Reyna, Jason, Octavian, and Bryce Lawrence. But I’ll talk about what I think their situations are.

Anyway, I believe this seeming power-aversion in camp Jupiter (was probably not planned and Rick just kind of forgot about Demigods and how probable it would be that they’d display them more often for the general quality of life improvements they’d give-) could be caused by a couple factors,

The abundance of Legacy’s at camp and at New Rome; we aren’t sure how legacies work (because they are all over the place and we never get set power levels on them) but it would make logical sense that powers became more niche or less potent through generations (this obviously has outliers, and its own holes but I’ll justify this take in another post probably just about legacies-) and this would lead to less and less importance on powers- because why would a community see them as important when the majority of them don’t have very potent ones, or very general ones and it’s more simple to just not use them than hone either a very weak skill or a very niche skill.

The importance of Strength in New Rome and Camp Jupiter’s community; based partially on Ancient Romes importance on Masculinity (which I will not be mentioning much because I am just a silly black cat on the internet and I don’t have the knowledge about Romes masculinity thing) and just what we see from the very concept of Camp Jupiter’s go through Lupa’s training and survive or die, Camp Jupiter’s no magic barrier of protection, the military camp. Conquer or Die. It all places a very big importance on one’s personal strength- their strategic mind, physical prowess, ability to work together as a unit in the army. That the powers could possibly be seen almost as a cheat- that why would you use your powers when you have your training, are you weak? Do you not trust in what you’ve been taught? The Societal idea were given for the Romans is strength- and why use your powers if you are physically capable enough. And everyone is physically capable enough to be a Roman, to Conquer or Die.

Okay on a probably lighter note (idk I was reading the upper passage and that sounded pretty intense-) but also the fact that powers just feel like they wouldn’t be a good thing in Camp’s military settings. Camp Jupiter puts its importance on their military and fighting prowess, their form, the discipline. It’s much harder to fight in coordination if everyone is doing anything that isn’t related to other skills. The fact that the Cohorts aren’t godly ancestor-specific adds to that. So it just doesn’t seem reasonable knowing Camps whole thing.

Okay those three all are my ideas on the surrounding factors that make powers less used and more taboo in Camp/New Rome. This could explain why camp doesn’t display their powers. While it gives more reason for the reactions to Percy other than everyone being suprised at how cool and powerful he is or something idk, it gives Hazel more reason to hide her precious riches power thing.

Now the Outliers, people in camp that comfortably and openly use and display their powers (not including Percy, maybe idk- we’ll see)

First Reyna; we know that Reyna openly used her Bellona strength, warrior spirit and bravery sharing powers that also take away pain? Idk how they explain it but we get that in BoO the knowledge that when leading the Romans into battle Reyna would use her powers. I think this can be explained away by 1st off it’s not that noticeable so might be likely that the legion doesn’t even know she did that, secondly it could be considered that they considered her ability a outlier to the notion- it directly helps them win so I guess they don’t mind, sure they’ll be upset about it but they won’t openly object to it.

Secondly Jason and his wild skill set; he’s Jupiter’s son, pretty much Lupa’s adopted kid and Camp’s prince. They’d let him do whatever, he’s Jupite’rs son! I think they’d be super hypocritical and think him and the powers make him stronger and cooler and whatever because he’s Jupiter’s son and canonically we know they put him on a pedestal and thought he pretty much could do no wrong when he was younger so I think it’s reasonable to assume legionnaires would go along with Jason pulling lightning bolts from thin air and just going, “That’s so cool Jason!!! Yeaaah you go man!” And then turning around and ostracizing someone that used like their water-bending because like- why not just use your actual skill, no need to be a show off, y’know Dave from the 3rd cohort could’ve done that just with his Pugio and a bendy straw.

Octavian; it’s his job. I think Augur’s generally get a pass because it’s their job to be all mysterious and otherworldly and do all the cool retelling prophecies and omens. And he needs the powers to do that so of course he gets a pass.

Bryce Lawerence; he’s a freak (nicely, I love him) but he gives 0 crap if people don’t like it. They can just go to the fields of punishment for all he cares. He literally murdered someone and lit a cat on fire. There is no way in Hades that this man cares about some power taboo. If he wants to do it he’ll do it and if anyone wants to say anything they can suck his spear handle.

Overall; Camp Jupiter are Hypocrites when it comes to powers (obviously, I feel like for many reasons they are hypocrites in many other fields-) and this gives better reason that Octavian and Micheal didn’t immediately drag Percy into the 1st cohort. Because like- you know they would’ve and I think that would’ve been more interesting than the 5th cohort underdog story (like, Hazel and Frank could’ve been the main pushers of that plot and I feel that would’ve been cooler-)

But if we want to stay with Percy being put in the 5th (which if anyone wants to know for my re-imagining he is totally put in the 1st because that gives us an opening to actually characterize notable characters a lot more-) this powers thing gives a reason. All the legion knows about this kid is that he’s got a mouth on him, attracts monsters like a neon billboard with a giant arrow on it, and relies on his powers constantly. And in Camp Jupiter where obedience and discipline are cherished, they don’t need to deal with any more monsters their hands are already full, and that everyone like collectively hates their powers from societal norms. It makes more sense that none of the more notable cohorts would want to tarnish their names or reputation by bringing him on board- so of course the 5th is forced to take him.

Okay that’s my rant on how the community of Romans don’t like their powers unless they can serve a purpose of aiding the army, your the child of Jupiter, or it’s your job.

I am sleepy and therefore I bid you all a good night.

[suckishima]

haikyuu rewatch s01e04

it wont seem like it when this posts but ive been away for over a week and havent watched anything since then so im excited to get back to it

"the view from the summit" woooo

oh yeah this is the episode that starts with the quote, and i think the manga has it too? interesting, tbh this still feels a bit like furudate finding their footing in terms of how they wanna go about storytelling. i dont dislike putting the quote in at all, but the sentiment of it (that the six is stronger than the one and how a player feeling special is done for in volleyball) is shown really solidly throughout the series and in general i feel like the show is at its best when the narrative is speaking for itself, so i guess i just dont totally find the quote necessary

ooo i do like how it leads directly into kageyama's pov on his middle school moment tho. that does work pretty well

okay the fact that he literally has nightmares about it too waah

idk if we're supposed to interpret kageyama ignoring hinata while he talks about how pretty shimizu is and whether shes their manager as him being stressed about the upcoming match or just him not giving two shits about whether people are attractive or not (both of which have a fair amount of other evidence imo), and it's probably the former but i think its more fun if i imagine it's both lol

the running gag of tanaka's ear getting big whenever people talk about him ashakjs iirc one of his trivia things on the wiki is 'has really good hearing' or something lmaoo

i know im tsukishima & yamaguchi brained at all times and im super conscious about not over talking about them, but so many questions and curiosities about their dynamic at this point in the story. tsukki is trash talking and yamaguchi is like worried about it?? worried that tsukki wont make friends? or worried tsukki will get in trouble?? either way he seems surprised tsukki is doing it at all, so has he not been doing this often??? that seems odd to me too, especially when last episide yamaguchi was smirking when tsukki was talking down to kageyama. tbhhh its probably just the worried about getting in trouble thing? that (and again, furudate still finding footing about characterization) makes the most sense to me i guess

hinata: "beh!!!"

kono imagination o kakaete !!

lmao tanaka shirt lasso

shimizu seeing hinata jumpppp it never gets old seeing people react to him for the first time lol

yamaguchi standard standing float serve directly into the net and tsukki scoffing in annoyance, ohhhh how far we eventually go :') im fine

really interesting how in kageyama's flashback we see kindaichi yell and tell kageyama his tosses are reckless and whats the point if they cant even spike them, and then internally kageyama is like 'but we can't win if we can't get past their blockers.' his initial reaction is actually about the team and not about his teammates sucking at all, but then he starts to spiral thinking about losing, about not being able to play anymore, about this ending (screams in manga spoilers) and so what he actually says to kindaichi is the infamous 'move faster jump higher!' and obviously they all get offended by that. but the characterization is what's so cool to me there, his main issue here is his lack of communication—how differently would his teammates have reacted if he had just expressed the bit about not being able to get past them? and then much later in the series when he's feeling similarly trapped he does the same thing, he stops talking—except now hinata calls him out for being quiet, and they can right things again (iirc this is in seijoh 1), and i just. the attention to detail to characterization is so good!! the character threads are so consistent!!

aaaaand yeah here's hinata stating his facts. ive essentially made this post before but yeah 'hinata whose grateful for literally any toss plus kageyama terrified of his tosses being ignored equals narrative soulmates'

AAAAAAND tsukki is being a dick about it—but what he says here too says a lot about him as well. 'so straight forward and pure. how irritating' damn how was i not fascinated by these dynamics right off the bat lmao, he clocks hinata exactly and hinata's just done a positive thing, so why doesn't tsukki like it? i simply was too naive have enough faith in the show yet to think these threads would be followed up on lol

holyyyy FUCK the 'i'm here' with hinata in kageyama's eyeball with the same framing as the ignored set from middle school rraaahhh it's ART

"i'm going to do battle with this body, win and win, and be on the court as long as i can" excuse me while i go sob..

the little sound affect when kageyama does the tiny finger point bc they dont have signals yet is so funny lol

god suga is so cool. i hope kageyama thanks him in his ghostwritten memoir, so much of kageyama's eventual success is bc of him and its so coooooooool

ooohoooooo the pinpointtt

and tsukki's acting like reality itself was shattered ahasjas to him it basically was lmao

waaah kageyama is having funnnnn when was the last time he had fun playing volleyball rrraaaaAAAAHHHH furudate ily

ITS A VIEW I COULD NEVER SEE ON MY OWN AAAAAAHHHH

its been four episodes and we're already starting to see this come to fruition—and yet it only keeps getting better!! this show is insane

[hukkelberg]

sorry this ended up v jumbled. it really irritates me that colin's s2 "are you mad?" comment was so built up when all it did was lead into the teaching plot. his apology fell so flat to me bc he never actually explains why he said that - he says he shouldn't have said it, that he thinks v highly of pen, that he's not embarrassed of her, but then why did he say that? what was going through his head? idk i just don't think you can throw in a Moment like that, actively make it a source of conflict in the new season, then not actually explain why one of our main characters did it. i can certainly come up w a variety of explanations for it but i shouldn't have to imo. esp when it's about a character sorely lacking in interiority - having him question his own motives/instincts/w/e in an already plot-relevant moment seems like such an easy route to that for me. also the teaching plot in general was useless to me (both entertainment and plot-wise) - genuinely kind of convinced that it ended up in there bc they wanted ppl who read the books to not scream at them and they felt they had to contrive a reason for pen to be rejected by the ton but were doing everything they could to not comment on pen/nic's body At All. all it did was retcon some of pen's characterization (wrt her ability to speak to ppl) which really annoys me lol. the use of debling was so weird imo - also annoys me that pen never got a second option that was really viable (bridgerton's second options aren't ever romantically viable but daphne would have been a princess whereas pen would get ditched immediately for debling's travels). also violet's comment about colin never putting himself first is so confusing to me - i've seen ppl go on about how it's referencing that colin is a ppl pleaser basically but most big show things w colin revolve around him doing w/e he wants: literally no one approved of him and marina - he plans to elope; he spends at least half the year traveling on his own during which he's beholden to no one, pursuing his only interest, and completely relying on his family's money; his help w the cousin jack thing was just not a sacrifice for him; the comment to fife - he threw pen under the bus to (presumably) avoid feeling uncomfortable in a random conversation. obviously the way he pursues pen is meant to be a deviation from his supposed history of self-sacrifice but him actively fucking up pen's chances w debling bc he's decided that he wants to marry her now just seems v in line w colin doing w/e he wants the moment it comes to him. that sounds rough on colin i promise i like him most of the time lol.

you raise such good points, my friend, and imo it all leads to the fact that season three just severely mishandled their main characters. the change of writers would've meant some friction regardless, but the hard left all these characters took was a just. jarring. and bland! i do genuinely wonder if someone in this production did not have their heart in it, but then why focus on colin and pen at all? particularly when their story is meant to happen so many years after everybody else's. did they think they'd lose nicola soon? but then why doom her to the revolving door of main actors who leave a season after theirs? and then why make her character the framework for this show if you were just going to shuffle her out the door three seasons in? oh the whistledown thing makes me furious btw. that's the one thing that i truly, truly despise about the show. so truly stupid, false, and cowardly. i have a whole rant about it but every time i get into it i just combust with rage. having her apologize to the ton????? such a disservice to the character, to the narrative device--and to what end?

that really is the losing point of this whole season. nothing matters. nothing ever really mattered at all. i kinda knew when that was one of the first clips they showed as promo was the whole scene that they wouldn't go all in with it as the big betrayal i would've gone for but the fact that it literally had. no. importance whatsoever. same with the teaching plot! same with debling! none of these things had ANY impact. there were no stakes up until cressida came in and you know who those stakes were for? CRESSIDA. the only character to suffer any consequences was her--and truly the only character to be a character at all. the cressida plot, and the eloise and penelope plot, were about the only things i thought were sufficiently emotionally riveting to watch. even the queen lacked interiority compared to other seasons. everyone did! could it have been editing? i have no idea.

on the matter of colin: my working theory is that they just fully decided to chuck everything they'd been setting up with him because the character was harder to work into the Regency Male Lead mold and they didn't trust their audience to keep watching if he was not exactly like that. but they knew it was a hard turn, so they tried to cover it up with the whole "haha we are self aware of this thing we're doing! so it is totally on purpose, but like, in a good way!" type of way modern films in that marvel tone do? like, if we get the audience in on the joke (isn't it soooo funny how colin is acting way different? haha? laugh with us.), then we're absolved. and frankly, i said it on my other blog, that could have been a good plot, if they'd bothered to use it as a vehicle to interrogate literally anything. masculinity. regency leads. colin as a character. my god.

obviously, it did not work, which is why as you well point out violet's comment completely falls flat. his previous actions do not correspond. he's never done anything for anyone but himself, but he doesn't have to. that's anthony's job! and even that could have been interesting. what if colin started helping penelope only to find he has helped nobody at all? what if you are a worse person than you've thought you were? would deconstructing that image of him not be interesting? mind you i keep trying to find purposeful flaws for him because the show filed him smooth like a pebble. they were fearful, i think, and paid handsomely for it.

[cosm1cbrownie]

I just can't get with stevetony bc consistently and repeatedly it feels like a shipper fangirl phenom where they all only like 1 of the ship and hate the other guy and just want him to be arm candy for they fave

like idgaf abt captain colonizer tho im still waiting for marvel writers to finally understand that if steve was actually the moral force they portray him as then he wouldve drop the colonizer costume and shield yesterday, but omfg why do stony shippers hate Steve sm?

everywhere i go the shippers - really theyre just ironman fans - rag on Steve and everything abt him and anything that points to him being a character that originated from a diff franchise, and the only times they don't is when theres commercial cashgrab crossover slop that characterizes him as bland and historyless as possible. like ffs they all think that shitty avengers academy mobile game is his "best" version. atp the whole ship feels like an exercise in removing character traits until theres nothing but a blond blue eyed character design left

Honestly I think it depends on which side of the fandom your in because what you're talking Abt reminds me of the MCU Stony fandom.

Most of the people who like MCU Stony are people who mostly try cope with the fact that there wasn't really much relationship build off from Steve In that universe, because he was bland, similar to how I feel about emh Steve and EMH Stony in general despite me shipping it myself.

I think that most Stony fans don't hate Steve they just wish that the writers would like.. write him, like , good. An example of a Steve I think everyone can agree on is AA Steve, which is known for being some the best Steve characterizations we've gotten in a while, because of the way Roger Craig Smith does his softer voice and normal Steve voice that displays both a captain and a caring person that would try and help out with your problems.

And as much as I don't agree with the "Captain Colonizer" Statement, mostly because Steve is a representation of the people of America not the government, as much as marvel tries to make it seem that way cap is someone that helps the little guys and unless there's a habit avengers level threat or just something happening down town, he doesn't go side with the government, evident by the fact that in AA (S2/3ish) neither Steve and tony were working with the government, it was obviously on already uneasy terms, but after they showed lack of remorse for human lives, it ended up leading the team to split up publicly and work to help everyone underground away from ultrons weird government bullshit that entire season.

And afiak, They stopped "uneasily" working with the government after this, it was really only with big events like thanos and ultron anyway, and the avengers work alone, and they don't like being controlled by government pencil necks who don't care.

Although it should be noted that, most other Steve vary on this position, Im not gonna use civil war as a talking point here cuz both the comic and the movies adaptations are shit and Steves feelings towards the government are a lot more wishy washy in 616, and the MCU is a huge example of going in the wrong direction with how to do that. And the fact that if we're being honest Steve would go down to wherever shits going down and help him fucking self. he don't take that shit, he will defend the side of the right. Hes not about that wishy washy government bullshit as much as marvel's military funded ass shitty movie cinematic universe will try to make you believe and just and fyi: all the mcus shit is from ults.. AND IT ISNT THE GOOD STUFF FROM ULTS!!!

But anyway, most people hate Steve because they don't like the fact that Steves character keeps getting worse and worse, even more bastardized, and flanderized, and written terrible, by people who don't understand the complexites or history of his character, which end us with a problem where there are conflicts with newer steve fans who like his flanderized ults-like take in the MCU, or the comic fans who like his original version and would like for him to return back to something that truly represents him as a person, whether or not he has changed since then is entirely separate and goes too indepth so I'll leave it to the wolves.

Also, yeah most Stony fans are Tony fans, you can't have one without the other, because Tony is a key part of making the relationship work, and from what I've found Most Steve tony shippers like them both but there's either a dissonance between liking one more than the other or liking them equally, and I think that remains prevalent outside of the MCU.

And for your final question, no, most Stony fans don't think avac Steve is the best character version, idk where you got that from, but it wasn't the fandom no siree, that seems a bit biased. And as I've said earlier, the consensus on "best Steve" usually seems to be either 616 Steve or Aa Steve, me personally I like aa steve more but my other friend likes 616 Steve, and I think it really comes down to these two because one is really solid adaptable and the other is the original character finally becoming good again with writers who care about him, (tony too, hes the main reason I got back into cap comics!)

Sorry this answer is kind of long, there isn't really much of a concrete answer besides that most people hate Steve because they wish he wants written so badly 😭 it's kinda sad, but I hoped this answered your question!!! If ya have anything else to ask to drop me another ask ^_^

[byzantine-suggestions]

please elaborate on the penis disease. i don't want to know but i kind of have to

so this one's kind of complicated. deep breath

Basically, Justinian and Theodora never had any children. Theodora had a daughter whose father isn't known, but they didn’t have any legitimate sons together, which obviously had big political consequences (I think a lot of things would’ve been somewhat different if Justinian had an heir waiting in the wings throughout his whole reign.)

Anyway, authors always struggle when it comes to dealing with this, because they’ve got to bring it up, but it’s kind of a foregone, anticlimactic conclusion, right? No matter how hard these characters pray, they are not going to have a baby, ever. But there also isn’t going to be a major succession crisis or anything—the crown’s going to go to Justinian’s nephew, and that’ll be that (Justin II’s mess of a reign is usually outside the scope of Justinian-centric books). So authors have to mention the fact that Theodora is decidedly not getting pregnant, but they can’t make it too big of a deal, because then readers might feel cheated when this plotline isn’t resolved by the arrival of a healthy, male baby, or when it fails to spiral into a civil war. Mention it too much, and audiences will think you’re foreshadowing a crisis that’s not going to arrive; mention it too little, and audiences will wonder when the fated heir to the throne is finally going to show up. Basically, you want the lack of a baby to be noticeable, but you don’t want readers getting too invested in it and making the wrong assumptions about where it’s going to lead.

In order to resolve this issue, authors usually establish very early on that a baby is not on the cards, just so readers don’t fixate on it. They sometimes do this by implying that Theodora has a medical problem that prevents her from carrying a baby to term—they’ll usually put her through, like, a hellishly difficult childbirth or some sort of awful miscarriage/stillbirth/etc, then strongly imply that she was left with vague, but severe, injuries that prevent her from having another kid. (That one alternate history series about Belisarius accomplished this by basically killing off Theodora's daughter, explaining that Theodora got pregnant at some point, but the birth was so difficult that the baby died and she almost died too, so she and Justinian just gave up trying.) But a lot of authors also feel the need to kind of justify? explain? the fact that Justinian didn’t just divorce Theodora and marry someone else in order to get an heir. (You might be saying “well, couldn’t these authors just say that he loves her a lot and doesn’t want to divorce her? Or maybe say it’s for religious or political reasons?” But the problem is that Justinian is characterized as an absolute hypocritical dickbag in half of these books, and more often than not, his character ends up seeming like the sort of guy who would throw his wife to the wolves for having medical complications beyond her control.) So, in order to explain why divorce isn’t on the cards, either, lots of books take great pains to establish that Justinian is the one with the fertility problems. And they usually do this by giving him some sort of horrible Penis Disease (or testicular disease, whatever), which they INVARIABLY describe AT LENGTH, often for MULTIPLE PAGES.

This is such a frequent plot point that it kind of appears everywhere, but some examples:

Stella Duffy’s duology gave him testicular torsion, I think? Some books do this and then imply that he got it from having too much sex (so it’s still Theodora’s fault)

Marie Heese’s duology also gave him a testicular problem

Stephanie Thornton’s book gave him a really vague Penis Disease that’s implied to be part of a genetic condition, neatly explaining why Justin and Euphemia didn’t have kids, either (this one comes with the weird implication that at some point Justin and Justinian sat down and had, like, a Penis Disease Conversation, which I just love to imagine)

I can probably find more, but I don’t feel like control + F’ing the words “blood in semen” or “testicular” again, so.

But, yeah. Because these books have got to mention the lack of an heir without making it a huge deal, and because they sometimes have to justify why Justinian isn’t just signing the divorce papers and ditching Theodora for someone who can make babies more easily, they give Justinian terrible penile and testicular problems to justify his lack of a child. ¯\_(ツ)_/¯

[echoeternally]

Hi there! I have a bit of a strange request for you, if that's okay. I'm currently in the process of planning/writing a longer Star Fox fic that prominently features Panther, and by extension, the FoxPanth ship, and I was wondering if you could give any pointers on writing Panther and/or him and Fox together?

This isn't strange at all! I'm even delighted, like, someone asking me about a pairing that I originally thought almost no one else would enjoy, and so they can write it too? It's like a dream, my gosh!

Give me one more second, like, I'm so amazed that this happened with my rare pair for Fox/Panther. FOXPAN! Of all pairs, I'm thrilled!

Ok, ok! Let's see what advice I can scrounge up for you.

A lot of people are under the impression that Panther is a pretty clear cut character in one regard or the other, but he actually offers a lot of flexibility to write about. That's probably why I gravitate to using him so often for Star Fox content.

Writing him playing off of Fox has a surprisingly enjoyable kind of chemistry, but it depends on what you go for with them. Coming to me means that you're in for the shipping, so, that I can help with!

Kind of prefacing that a bit because I know this is going under a cut, which I'm adding in here. More below, of course! Also, it's going to be a lot longer than you're expecting, so...I'm hoping that helps!

...

~Panther's Background~

Ok, I'll start with Panther as a character, since understanding how you want to portray him is the first part to nail down right.

People kind of mistake Panther to be a flat villain and a basically a pervy flirt, nothing more needed to build his character. It's easy to write him off as such, given how little canon support the games give.

There are some very, very crucial elements that he's given with his appearances, however, and they tend to be overlooked.

First and foremost, a lot of folks like to lump Panther in as "just another Star Wolf crony," which is fair if you don't focus on him.

However! What's critical that too many people ignore is that, in Panther's debut appearance, that's a brand new Star Wolf too. With the story for Star Fox: Assault being what it was, Panther is part of the Star Wolf team that no longer operates as mere mercenaries for the main villain and the obvious rival team, but he's part of a team that becomes allies to Fox and friends by the endgame.

Anyone can take that any way they want, but Panther is basically part of the lightest and kindest, perhaps even the most fleshed out version of Star Wolf. So, people that gleefully like pairing Fox off with Wolf because he has those "hey pup" lines? They should very well like the roster from Assault, because that's the installment that gave the most credibility to Wolf even being capable of defecting.

There's a lot of ways that it could be explained, but notably, Panther is the new big member on the main roster. Sure, they could fill a seat with anyone, but look at who they chose: this lighthearted goofball that enjoys playing with his rivals as much as he does causing trouble. A far cry from the likes of Leon, Pigma, and Andrew, who were on the more ruthless side of Star Wolf.

Many like Panther to be along that side too, and depending on how you want to characterize him, that could work out.

My personal preference, however, is that Panther is part of the catalysts that helps Wolf defect from being fully evil.

He's less interested in hurting civilians and being some kind of hotshot assassin. There's no hard support that Panther's criminal record involves heavy war crimes and murder, and canon biographies about him state him to be an elusive criminal that troubled Cornerian army officials.

Rather, Panther is entertained by causing mischief and enjoys playing around. He's cunning, but in ways to further his goals and those of his allies, not to play as a pawn in another's schemes.

I like to create the background that Wolf and Leon got low and desperate when searching for new recruits, and after meeting up with Panther, they adopt similar traits from him, easing up on their rougher traits in favor of getting their work done.

Basically, I favor the idea that Panther helped make Wolf better. (Which is totally a fun basis for Wolf/Panther, something that I've wanted to write for a few years too, lol.)

~Characterizing Panther~

It really depends on what you're doing with writing him, because you can make him a criminal even still and have that work nicely. However, I tend to give him ways out of being locked into a shadier background, focusing on his lighter traits, and making him more of a "gentleman thief" type of character foremost.

(For reference, I made him that kind of a thief in my fanfic, "Your Thieving Heart," because I really enjoy the idea that Panther's a cat burglar, as opposed to...well, whatever other people prefer.)

If you're focusing on an action or adventure story, I'd recommend using his craftier traits to help him stand out. Panther likes to play head games, because he'll tease and taunt his opponents, baffling them silly until they're clueless to his true motives.

He's also a skillful shot; in Star Fox: Command, Panther is the only playable character that does not use a Lock system for his Wolfen, which means that he makes a single shot that pierces most opponents. And in Assault, he makes a good support to both Star Wolf, and later on, Star Fox, so he can coordinate well in dogfights and combat too.

A story that's geared less to fighting, such as a drama or a comedy, would focus more on Panther's playful traits. Obviously his flirting, which I'll get to in a moment, but also, tweak the way that his playful and cunning manifests.

His teasing can be used to hide other facets of his character (maybe he's actually hurting and lonely deep down) or otherwise his goals (maybe he wants to get flowers for a partner and jokes about missing a meeting to do so).

His smarts can be used to show a more analytic or thoughtful side to him; while Panther isn't the type that would be the smartest in the room, he's absolutely underestimated by everyone, and can get away with a lot of surprises as a result.

Character flaws are pretty simple. Panther can be arrogant, so he can go a little too far touting his prowess and skill, as well as take his joking a little overboard without realizing when to back down. Since he is a criminal, he definitely has a less than luster past, which can hold him back, depending on how you want to write his criminal history. Also, I tend to think of him as a type that comes across charismatic and social, but in reality wants something quieter.

That last bit has support from a profile description in Command, which states that while Panther proclaims himself to be a "ladies' cat," he actually is known to fall "totally and completely in love" with his partner.

So, where people tend to limit him to being confident and flirty, that's the short and simple version to Panther. The deeper way to flesh his character out is to make him a hopeless romantic type, who craves and wants to find someone special to help fulfill his life.

Because a large portion of Panther's character gets limited to flirting with Krystal in his two major appearances, he's not given time to really show off the depths of his feelings. (I think Command tried, but that story got botched in a few too many places.)

He's not a misogynistic type, if I remember correctly, because he doesn't make any crude comments to berate or belittle Krystal's character, but rather, makes strong efforts to prime up his character instead, doing his best to come across as enticing and viable to her as possible.

Panther is super desperate and longing for love, and he's not above trying whatever methods he can to get there.

~Shipping With...Fox!~

So, how does Fox come into play on that? It's pretty easy, since Fox is also a flexible character as virtue of being the main player controlled character for the franchise. In other words, you can project a lot onto Fox in manners however you might like.

There are specific traits to Fox that remain part of his core character, however. He's obviously a strong leader, leading the legendary Star Fox team. If we go by Star Fox 64's ending, he's pretty humble, given that he turns down joining military ranks (presumably greater glory) to keep his life in a freer style with his contract work. (This gets played up as the series goes along, though Fox was actually pretty cocky in Star Fox 64, and somewhat so in Star Fox: Adventures as well.)

Given how his personality matures by the time of Star Fox: Assault and whatever went on with Star Fox: Command, Fox is something of a type that does abide by rules and doing the greater good type of work, but still retains some of his "off the books" or "go it alone" type of work.

So, since he's a hero that dances close to more lawful work, though still manages to find ways to slide around for what his objectives desire, that does make him a mostly "no nonsense" type, though on the friendlier and nicer side, of course. Fox can be portrayed as pretty orderly, in other words, and doesn't favor causing more trouble than he can handle, even if he's not above it.

Does that sound like something of an inverse to Panther, who tends to get into trouble and be mischievous? I should hope so!

Because they have foiled personalities from one another, that gives Fox and Panther elements of "opposites attract," since Panther can be silly and troublesome, while Fox tries to be serious and respectful. Panther has a shadier history with the Cornerian Army and his past is riddled with mystery and lack of depth. Fox, meanwhile, has staunchly strong and heroic ties with the Cornerian Army, who rely and count on his efforts to help them out. Additionally, he has a fair amount of his background explored as well, especially so compared to the enigma that is Panther.

Going by how flustered Fox gets in Star Fox: Adventures, Assault, and Command, he's also a bit sloppier in the romance department. He's seen as a stammering type, and shier around those that show interest in him, namely how Krystal does in the former two installments. He ends up being too protective of her in the last game included for that group, and kicks her from the team thinking that it was the safer option, when it really did nothing to stop her.

Those that ship Fox with Falco can also write him in angles to being oblivious to love, since Falco tends to be a bit harsh with Fox, which many like to write as him being guarded with his true feelings. So, combined with the information above, Fox is something of a romantic novice or rather inept at it.

Panther, whether he's actually good at romance or just likes to think he is, still comes across as an opposite to Fox on that level too. Whereas Fox falters and hesitates in romantic matters, Panther boldly strides forward to do his best in a quest for love.

There are some tricks to helping Fox and Panther work even better than just playing off of their foil traits however.

For starters: Both can be portrayed as very lonely souls.

Fox is a character that lost his parents at a young age, with his mother being out of the picture in every game installment, and his father dead before he's even 18. That's rough stuff, at least in my book. So, I'd consider that Fox has some isolated sides to his character that not everyone knows about, and that he has a side that grieves for his loved ones, and a side that longs to find a way to be loved and cherished in some manner once more.

Huh, does that sound familiar again? Someone that desperately wants to find love to fill a void in his life?

Oh wait, that's literally part of Panther's core too!

See, both Fox and Panther are seekers of love. While Fox may not be as forward with his intentions, he cares deeply for his team, his allies, and his planet, if not the entire Lylat galaxy. While Panther may not have such grand showings for compassion, he'd be the type that would be impressed, if not charmed, by someone so compassionate and caring.

If you take the idea that Panther helped make Wolf and Leon better, then it's likely that he also has a good deal of compassion in him too, seeing the best in people that the rest of Corneria and Lylat write off as the worst out there. Finding the light in the darkness is a kind of hopeful trait that Fox would absolutely be drawn to, since he can struggle to do the same.

Of course, both Panther and Fox are also skilled pilots, so, they have at least that much in common. Fox's skills are something that have outright impressed Panther in canon, and he compliments Fox a few times in both Star Fox: Assault and Star Fox: Command, commending Fox as his personal rival. It's not hard at all to shift that from mere respect to a deeper admiration.

Both are also very loyal and willing to see their goals through to the end. Fox proves this repeatedly in the games, but Panther shows such qualities in his appearances too, sticking by Wolf's side in spite of the challenges they face, and committing to his goals until they either are toppled enough to stop him, or until they are fully realized in a capacity that satisfies Panther well enough.

Typically, I like to mix things between "opposites attract" and "like attracts likes," to balance them out. Both Fox and Panther want to not be lonely and fall in love, to share their lives with someone. They're both also types that would be lonely in a crowd, though none are likely to suspect so, since they both come across confident and social enough to prove otherwise. Fox may find Panther's slippery side somewhat alluring, since he follows a freedom that Fox may sometimes wish he had from his more uptight and legacied life. Panther, meanwhile, might find Fox's loyalty and noble traits very endearing, because that means he'd firmly stand beside anyone that he committed himself to, something that Panther absolutely wants.

Naturally, you can play around with how you might like to portray them, based on the choices you'd make with your story, but those are some elements that I noticed and liked to help build it up.

While a lot of it is fairly made up with loose ties to canon, that's kind of the point to many fanfics. And even still, there is enough canon support to characterize Panther and Fox in a way that could make them a harmonized duo, to the point of romantic involvement.

Phew! Even I didn't realize how much I'd have to write about them until I actually put it all down, lol.

I do hope that you find this helpful. If you want any more information with building the pairing up for writing, please let me know! I'd love to increase the support that FoxPan gets out there, haha!

Thank you for asking too! This was a lot of fun to write out.

[maxwell-grant]

Cass wouldn’t even begrudingly tolerate [the Black Bat], because she’s even less lenient than Bruce on killing and far more willing to throw down.' - THANK YOU for remembering that.

Cass is my favorite Batfam member, the only one really that I have an active interest in reading about. I'd be incredibly ignorant to not bring bring up such a crucial aspect of her characterization. And even if I didn't personally care for her, well, last thing I'd want is to be another source of frustration for Cass fans. Lord knows there's enough of those to go around.

mousebrass also asked: On that note, how do you imagine a meeting between Cass and the Shadow going?

Fair warning: This one took me 6 hours to write, and it became a hell of a lot longer than I imagined. I liked Cass a lot, but I never quite realized I had this many feelings regarding her until I was tasked with writing this, and a lot of things clicked for me regarding my plans for The Shadow thanks to this ask. @mousebrass, thank you. I mean it. I think I may have found something here I've spent years looking for. Hope you enjoy the post.

I'm thankful that this scenario is only really taking place in a hypothetical fanon where both characters can get a fair shot, because I wouldn't trust DC with this premise. I don't trust DC with either of them as is.

There's a lot of ways that this crossover could go on about taking place naturally, initially because Cass is already connected to some of Batman's pulpier elements, due to her connections to Lady Shiva and the League of Assassins, and one could connect Cass to Myra Reldon (who really should just be race swapped if ever brought back so she can stand out as the cool character she is, without the yellowface gimmick holding her back). There's two things I think are crucial to making the most of this idea, and the first of which has to do with the subject of killing. I usually don't like to come up with hypothetical team-ups for The Shadow that focus too much on the fact that he kills, because it's far from the most significant aspect of his character to focus on, much of it is written from a wrong understanding of the character, and it never amounts to anything other than perfunctory. But here, not only is it completely unavoidable to discuss, here there is actually a very, very substantial grounding as to why this has to be such a big part of the story.

The first and foremost thing that's gotta be established to everyone reading that doesn't know already is this: Cassandra Cain, more so than Batman, more so than any other DCU hero, has a tolerance towards murder lower than zero, and this is completely non-negotiable. She will throw herself on the path of an assault rifle to stop men trying to kill her from accidentally killing each other. The defining moment of her incredibly grim backstory is that she was trained from birth to be the world's greatest murderer, and her first kill traumatized her so badly that she has pivoted as far away from that as possible. I stress a lot that the Shadow should not be written as the trigger-happy maniac comics made him into and that the pulp version killed mostly to defend himself and others, generally left criminals to the police if possible, offered plenty of second-chances, had stories dedicated to the rehabilitation of criminals and so on, but none of this would matter to Cass.

Cass has literally chosen suicide over the prospect of living with murder on her hands time and time again, and The Shadow kills. When he kills, he does so without remorse, with unshakeable certainty. He hates death, he doesn't want lives to be at risk in the first place. But people will die if he doesn't do anything, and what he can do, what he exists to do, is turn the tools of evil against evil, and murder is the oldest tool of evil there is. He doesn't kill because a war scarred him, he doesn't kill because he's got a demon in his soul, he doesn't kill because he's mentally off balance, he doesn't kill because he's evil or sadistic or arrogant or anything of the sort. He kills because the men he fights chose death when they sought to harm innocents and fire guns at him. He kills because he is Death itself.

Regardless of how compassionate he is or can be, regardless of the fact that he's motivated by a desire to protect people, regardless of how justified he is, he is still dropping corpses and laughing maniacally doing so. Cass's real arch-enemy isn't Shiva or David Cain, it's Death, it's the thing that she's fundamentally most opposed to. And guess what The Shadow gets compared to often enough? Literally the very first line of the very first book where we get to see him, this is how we are introduced to him:

So the premise here is that we are taking a character who is defined by her fundamental opposition to death with every fiber of her being, who understands death on a level no other human being does, who is traumatized and hard-wired to detest death at all costs and to choose suicide over it, and asking her to team up with The Grim Reaper.

Even if he received the most abject lesson conceivable on the sheer wrongness of murder, even if he does put down the guns around Cass out of respect for her, he cannot protect his agents and others if he cannot shoot or kill those who try to harm them, and the protection of the agents is absolutely non-negotiable and not at all something he's willing to fuck around with by trying out gadget kung fu superhero alternatives. The Shadow has chosen to throw his life away for their sake time and time again, and no matter how appaling or disgusting Cass finds his deeds, even if he concedes that she's right and should be right on all accounts and that he is fundamentally a monster who has no right to judge others, he would not concede on his mission and he would make it very clear she would have to put him down violently to stop him from protecting others this way, and death has not stopped him before.

And to be upfront in case there's anyone who doubts it, Cass would kick The Shadow's ass, if they had to fight. She is the strongest fighter in the DCU, she lives and breathes fighting and combat in a way no one else does. And The Shadow's not one of those characters who is supposed to be invincible and the best at everything all the time always, he can and does lose fights and scrapes to people far less adept at it than Cass. He's a great fighter, obviously, he hauls bigger men than him through doors and was disabling people with Vulcan neck pinches decades before Spock, and he would definitely have an edge in other areas, but he's out of his league here. Frankly, I don't see The Shadow raising a finger against Cass unless she's been brainwashed into killing people by bad writing. Not because she's a woman, that doesn't really stop him from dealing with evil. But because, for one, she's practically a child compared to him age-wise. Two, he'd obviously know beforehand of her capabilities and how futile it would be to fight or even provoke her. And three, the Shadow's whole thing is knowing. The Shadow Knows and all that. Knowing comes with understanding.

He'd understand very quickly that there is no way someone this young could grow so quickly into the world's greatest fighter without horrific treatment that no one should ever be subjected to. He'd see the movements too practiced and quick, the self-control, the strength and speed far beyond even the trained warriors he's seen, the places where she's been scarred and is good at covering it up. Assuming he doesn't already know about her life story, any meeting between the two would lead to him very quickly figuring out that there's something much deeper about her opposition to killing than just moral reservations, something deeper than Bruce's own gun trauma.

Denny O'Neil's 2nd Batman and Shadow story was about The Shadow secretly helping Bruce overcome gun trauma, and Bruce rejecting The Shadow's intentions to hand him a gun. And to make it clear, people tend to assume that The Shadow only helps people for utilitarian reasons, which is not true as I've tried to demonstrate many times now. I don't want to convey that he would want to help Cass overcome her trauma just so she could be more efficient or something, absolutely no, he'd help her because he helps people in any way he can. I think a story with The Shadow and Cass might involve a similar premise, The Shadow understanding that she has been traumatized very deeply by death and refuses to accept it on any terms, trying to help her overcome it, only to learn that she does not want to "learn" anything she doesn't already know, that she has weaponized her trauma into a source of strength, and wishes nothing more than to help others with it.

And here's where we get to the part that allows the two to be on less antagonistic terms, because one thing that also very strongly defines Cass, at least the Cass I like reading most, is her stubborn, almost desperate need to believe in the best of people, that people can and will change for the better. Like The Shadow, her strength too is knowing, it's perception, the things that she knows about people that words cannot convey. Just as there are many things The Shadow would grow to understand about her that others would not, there would be many things that The Shadow would not be able to conceal from her. Things that no one but her would figure out. Things that, despite her age and lack of experience compared to him, he would have to defer to her knowledge on, which reverses the usual dynamic The Shadow has with people. And perhaps one aspect of that reversal, it's that maybe it's she who winds up secretly manipulating The Shadow into overcoming a deeper issue.

Cass's perspective on killing is shaped not just through trauma, but from a painfully intimate understanding of not just what happens to someone at the time of death, but the cost of murder upon the human soul, the ways it warps people into things they never should have been. Killing is a deeply, deeply serious matter, much more so than fiction seems ever willing to go into. Of course we suspend disbelief for fiction, there's nothing wrong with that, but if a story starts asking questions, starts poking holes into fantasies, they should not be disregarded.

And so it begs a question: How has it affected The Shadow? Is he really as remorseless as he appears to be? Is the fact that he's only killing evil people really of that much use? What's the cost of living as someone who has to know so much about so much evil in so many hearts? Knowledge never comes without price, and knowing evil is his tagline. When he enlists Harry Vincent, he makes it very clear that he has lost lives as he has saved them. From when is that regret coming from? What lives did he lose then? Is he saving people by damning his soul or merely prolonging the inevitable by piling corpses on another end of the scale?

If there's a character that could meaningfully start bringing these questions forth, who could ever truly get The Shadow to stop and reveal things to the audience he never would otherwise, maybe Cass could be that character. A girl who was raised to be a monster, who is treated as a monster and an aberration in-universe (and even outside of it), and turned that into a strength she uses to help others, who cares about everyone and refuses to let others be dehumanized as she was. Who better to know what lurks in the Shadow's heart?

Sometimes when I get an ask, I bullshit my way through infodump walls of text until I can structure it into something vaguely resembling a point. And sometimes, and I know it sounds crazy, but sometimes I get a very, very clear word on my mind related to it before I start writing, that almost seems to be a beacon pointing where I need to get to, and I work my way into getting there. Once you sent me an ask about crossing over The Shadow with Cassandra Cain, the word that came to mind the very second was Language.

It's an interesting relation the two have with language. Language is of course a very substantial part of Cass's character, who does not process language and linguistic development the way most people do, and instead reads body language to the point of superpower. Many stories revolve around Cass's relation to the concept of language, the help she may require from others in getting around things beyond her upbringing, and ways in which she has mastered beyond anyone's scope. Though she is mute, language is her power, what makes her what she is, and she is someone that Batman freely admits could kick his ass if she ever felt like it.

For The Shadow, language is also his power. He speaks all languages and connects allies all over the world, he is an expert ventriloquist, he is able to project his voice beyond what's physically possible, he can imitate voices perfectly to the point of being able to conduct group conversations single-handedly well enough to fool even the people whose voices he's imitating, much of his presence and terror and manipulation are done through his voice, arguably the very reason he exists in the first place is entirely because a radio actor's voice performance was so good and captivating that it tricked people into thinking the character was a real star and not just a glorified narrator. The man you cannot see, but only hear, the perfect hero for radio. And then of course the laugh, which I have a whole separate post on and which, in many ways, acts as a substitute for language in the novels. He uses the laugh so often as a substitute for statements or words, even to himself, that it's pretty much his own personal language. And language is at the core of how he deals with people, as he knows the right language to use to manipulate and move and help them. He knows what to promise, what to reveal, what to omit. He knows what to say, how to say it, when to say it. Language is the strings by which he puppeteers the world around him (and he can talk to animals, at least of one kind).

The Shadow and Cassandra Cain have mastered two different types of Language as throughly as anyone can possibly master them. The Shadow can talk a group of hardened criminals into killing themselves, Cassandra can punch a heart into stopping without killing it. The Shadow echoes his voice "through everywhere and nowhere at once" to whip crowds of thugs into frenzies, Cassandra outraces missiles and was tanking bullets as a child. The Shadow can lie and usurp lives so masterfully to fool even the families of those he's passing off as, Cassandra is a living lie detector who gleams inner conversations from miniscule reactions. The Shadow can speak every language known, Cassandra is the greatest master of the world's most universal language other than music. The two are supposedly human, but every now and then, something comes along to call that into question because of the things they can achieve. They cannot hide secrets from each other the way they do to everyone else. They are driven by a deep desire to help others, to make something out of the circumstances of their lives. To weaponize that which dictates they should be evil and monstrous into a relentless force of good.

Language is the root of understanding. And if nothing else, as impossible as a conciliation of their approaches to crimefighting may be, I think there could be an unique understanding between the two. Perhaps, and this is a bit crazier a concept but one that seems to be where I might have been heading towards all along, even Cassandra Cain finding a calling away from the frayed dynamics of the Batfamily, away from the Bat's looming presence, to become The Shadow's successor, swearing to uphold a mission of justice through non-lethal tactics while he stays on the backseat guiding her. If The Shadow could trust the safety of his agents and the protection of the innocent at the hands of someone as capable and selfless and good-natured as Cassandra, I think he'd be all too happy to be able to trust someone in such a manner, to no longer be the Master of Darkness, but instead to serve the next generation that's weaponized darkness without submerging in it. To achieve, and perhaps return, to his strongest, highest self: A disembodied voice heard, but not seen. Once again the narrator, not the star.

It's a concept I've thought about very extensively for the years I've been a Shadow fan, but now it occurs to me that, if I had to appoint a successor of The Shadow, someone who could take up the mission but shine on their own right, even improve it with the right guidance and circumstances, it would be Cassandra Cain. The Orphan, The Shadow of the Batgirl. Daughter of the greatest assassins, meant to be the world's most lethal murderer, instead pivoted to being one of it's greatest heroes, but never allowed to shine as she should. But in the darker, less restrictive and wilder world of pulp heroes, in The Shadow's world, a beacon would shine all the harder. Perfect strengths attached to perfect opposites, joined together for a greater good, unstoppable after together having weaponized that which most take for granted: the power of language to move worlds.

[chongoblog]

Hey, I really want to watch CPU kerfuffle, is there a document that sums up the first 10 episodes so I can start at 11 and know everything important?

Funny enough, there actually is! Around the time of 10, I created a lore document that I would try to update with each Kerfuffle. I kinda stopped doing it around 11, which is the magic number for ya. However it IS 50 pages long (and a lot of the information is out of date). Ever since then, a wiki has been created which does a good job of covering many things, although since a LOT of characters return (some with a lot of Spoilers attached to them)

Here's the lore document and here's the wiki, but for the sake of brevity, I'll include a "brief" synopsis of Everything Important From Season 1 of CPUKerfuffle You Need To Know About So You Can Start On CPUKerfuffle #11 (under the cut)

So here's the Season 1 Synopsis. CPU Kerfuffle is a tournament series featuring Level 9 CPU's with their own names and distinct characters (this characterization is ramped up in Season 2 but one step at a time). Each tournament is a double-elimination bracket of eight fighters, and the winner of the tournament goes 1 on 1 against the current Champion of CPU Kerfuffle. The Champion is allowed to slightly alter the rules of the tournament to fit their style (for instance, when ICEE was Champion, he made Freezies appear occasionally) In the beginning, it was run by me in-universe and was a largely informal affair.

In terms of the Important Story Events, there aren't too many in Season 1, so before we cover those, let's introduce some character that might be important later.

-Squid Jenny: A disciple of the god Iggy Koopa. In her first tournament, she was presented as a FIERCELY loyal subject before actually briefly defecting from Iggy while also changing her name and gender presentation. She would later go on to return as a follower of Iggy, but with a new name and a new sense of personal agency. She says Trans Rights, obviously.

-Hamburger Helper: A Red Ridley who was the first Champion and held his reign as Champion for quite some time. Is married to a Ganondorf named Dadandorf and they share a son named Jimbo, who becomes Dark Jimbo out of teenage rebellion.

-Florida Man: A white coat Joker hailing from Florida, and a being of all the chaos that entails. He doesn't do much in Season 1, but keep an eye out for him in Season 2.

-Home MD: A doctor who wishes to find the cure for losing. Over the course of the series, he loses and regains his medical license.

-Spriteman/Perfect Spriteman: Spriteman is Just a Guy Who Really Loves Him Some Sprite! He won't stop talking about his favorite citrus soda! But....what happens when his obsession goes too far? He turns into a Piranha Plant, that's what.

-Patch-Man & Hoedown: Patch-Man is the owner of a large farm known as "Patch Farms", which is a place of bountiful harvest, although there have been some very intriguing farming techniques used there, such as creating a daughter that is also a gijinka of Corn itself named Corn on the Cob. He's married to Hoedown, who is secretly a member of the pirate crew known as the Red Kraken. Within Season 1, Hoedown is the only member of the Red Kraken in CPUK

-Captain Valentine: Just an overall cool dude and the face of the tournament throughout Season 1

-The Grunk: A Big Boy who can get pretty angry. He specifically joined the Kerfuffle after Hamburger Helper dissed his Tinder profile.

-Dantoinette: More accustomed to Soul Calibur, Dantoinette came over to CPU Kerfuffle to see how the other side played. She is.....very good.

There are more, but I want to keep this at least somewhat brief. So in terms of the relevant lore, here is the series of events that take place:

After a few tournaments of Hamburger Helper keeping hold as Reigning Champion, Iggy sends Jenny to see if Hamburger Helper is up to something. And it appeared he was, as he was building a strange machine.

Soon after, a fighter appears that simply goes by the name of "Crimson". And once he joins, an incredibly strange tournament takes place that includes splitting and converging of universes. The Guy from Spy Kids 3-D is there. There's a lot of confusion (and a lot of it gets kinda retconned? Only so much you can do when you improvise things lol), but it's discovered that Crimson is a sort of hivemind demon that can control other people at will while also holding some power over the different dimensions, and it's clear that Hamburger Helper is working for the Crimson.

On the ninth CPU Kerfuffle, we approach a Season Finale, preparing for things with a set of round robin preliminary rounds. And those are eventful. Home MD loses his doctorate from how badly he's beaten, Captain Valentine becomes possessed by the Crimson, and The Grunk is actually found DEAD, killed by the Crimson.

After this tournament, there is a hiatus. In-universe, I decided that having all this negative PR was way too much to handle, leading to a lack of tournaments and leaving the battlefield in an almost Mad-Max-Style chaos for months. Amidst the Chaos, the fighters all create four factions, or "Teams", which I'll talk about later.

At the end of this haitus, Iggy himself steps down from the heavens and uses an enormous amount of his power to greatly weaken the Crimson, ridding most of its existence, but still unable to turn Captain Valentine back. In light of coming back AND saving the world a little bit, Iggy becomes the new owner of CPU Kerfuffle, bringing back my friends and I simply as commentators in-universe. Squid Jenny becomes a field reporter to help the tournament run and to help the audience see the discussions happening between fighters. Another person working for the tournament rather than fighting anymore is Home MD, whose doctorate is restored after he manages to revive The Grunk from the dead.

This leads to the tournament titled "#Reboot". There isn't much that happens in this tournament in terms of lore, but Dantoinette becomes the Champion, which leads into Episode 11, which is where you'll be beginning. At that point in time, there are 8 different teams, which will be explained at the start of CPUK11.

Have fun!

[hellsbellschime]

Ok, so I’ve always noticed some of the racism on TVD , most notably the treatment of Marcel and Emily, and the founders day parade episode (which, as a Virginian I have to say that the episode made me low-key ashamed when I re-watched it years later). But it took me a while to catch onto the racism on Bonnie‘s character. I was wondering if you have done a meta about it and could link me to it, or if you could do one?

Well it only took me like a year but here ya go!

Despite the fact that The Vampire Diaries is a show that was ostensibly created for girls and young women, the show undeniably seems to lack a certain level of respect or basic interest in its female characters. And while every single significant female character demonstrates that misogynistic point of view in one way or another, one of the most unique, distinct, and apparent instances of The Vampire Diaries' sexism is on peak display with one of it's leading female characters, Bonnie Bennett.

Bonnie obviously occupies a particularly interesting role in the series because she's the only black leading character, and it's also hard to miss that The Vampire Diaries universe has a pretty apparent issue with it's non-white characters as well.

The race problem on TVD expresses itself in a few different, extremely blatant ways. The most obvious issue with people of color on The Vampire Diaries is that those who are actually PoC within the narrative itself are typically pushed to the sidelines and relegated to supporting players at best, but there is also an issue with presenting PoC performers who are white-passing as white characters.

None of the PoC characters in The Vampire Diaries get very good treatment, but the series seems to be exceptionally problematic when it comes to its presentation of black characters. While black people arguably get more representation than any other non-white characters in this fictional world, they are almost all outrageously attractive, extremely light-skinned, and conveniently lacking in any emotional needs or inner life that needs to be addressed within the narrative, seemingly designed to show up, perform whatever service is necessary, and once again fade into the background if not just be killed off entirely.

This is an issue with every black character in the series, but given that Bonnie is the most significant and prominent in the series, it comes as no surprise that she was affected the most intensely by these biases. It's one thing to be a black character, it's one thing to be a female character, but being a black female character in the TVD universe is exceptionally crippling. But how exactly did the misogynoir of The Vampire Diaries completely neutralize Bonnie Bennett as a character?

Bonnie was mistreated, dismissed, and outright ignored in many big and small ways throughout the course of the show. But, a lot of that treatment can be pretty easily sorted into a few categorizations. The Vampire Diaries went through a pretty seismic shift from the start of the show to the end, but it has always been a series that falls primarily into two genres, the supernatural thriller genre and the romance genre.

The show pretty clearly transformed from a show that was firstly a supernatural story with a romantic subgenre into an almost entirely romantic story with a supernatural backdrop, but it's safe to say that the vast majority of the plotlines were either focused on magic or love. And, it's not particularly difficult to see how Bonnie was forcibly excluded from a predominant storyline in each genre, even when it made absolutely no sense.

Bonnie was a completely inexperienced witch at the start of TVD, so her cluelessness and powerlessness made a certain amount of sense at that point. But by the end of season 2 at the very latest, it seems fully established that she is one of the most powerful living witches in the world, and for the bulk of the series it is plainly acknowledged that she is one of the most powerful witches who ever lived. Which is exactly why Bonnie's position in the narrative is baffling.

In quite a few instances, Bonnie's magical abilities seem to be somewhat inconsistent, at least in the sense that, if she can solve some of the biggest problems that the Mystic Falls gang is confronted with, then it's very odd that she can't solve the others. And while plenty of characters in TVD are occasionally used as plot devices rather than characters, Bonnie seems to be the one who is specifically designed to show up, fix what needs fixing, and then become set dressing once she's no longer necessary as the mystical solution to every unsolvable issue.

And this is actually a significant problem with the witches at large, but of course is most recognizable with Bonnie because she is the most prominent witch. While not all witches are women of color, it seems like they are far more represented in that faction of the magical world than in any other. So then, it's interesting that the witches are presented as servants of nature who are meant to selflessly restore order to the world without actually using their abilities for their own personal gain.

Of course there are plenty of witches who appear to use their powers for themselves, but still, it's incredibly meaningful that the lone black main character in the series is constantly sacrificing herself for the sake of the otherwise entirely white cast of characters. It's even more meaningful that she seems to willingly put herself in the line of fire every time, and it's also extremely telling that she suffers and even dies without complaint for the sake of other people.

And while TVD has never been the kind of show to linger on emotional moments for too long, Bonnie seems to stick out like a sore thumb in this circumstance as well. Most of the main and even supporting characters have moments where their pain is acknowledged and at least has a second to breathe, but there are quite a few situations where Bonnie should be upset but isn't, or where her emotional journey as a character literally takes place off screen.

This lack of acknowledgment and nearly complete omission of an internal emotional life that doesn't involve sacrificing herself for her friends only further makes Bonnie feel like a plot device instead of a character. And, while no character needs a romantic relationship to make their character complete, it is incredibly relevant that, on a series that was built largely on a foundation of romance and arguably became a completely romantically driven show by its end, only one of the female leads was pretty much never presented as a viable love interest.

Nearly every character is either threatened or charmed into doing what someone else wants them to at some point during The Vampire Diaries, however, Bonnie's charm-to-threaten ratio seems to lean very heavily in favor of threatening. That in itself wouldn't necessarily be a huge issue, but it seems to punish Bonnie in a way that is so severe that it's completely illogical.

Trying to intimidate Elena or Caroline, people who at best have the strength of a baby vampire and at worst are as powerful as a normal human, makes sense. But trying to strongarm the most powerful witch in the world instead of just convincing her to do what you ask seems like an incredibly dangerous and completely baffling decision.

And yet, that is how Bonnie is forced to do nearly everything that she doesn't want to do in eight seasons of the series. By the end of season 2, TVD has canonically confirmed that Bonnie is powerful enough to destroy Klaus Mikaelson, and yet people like Klaus, Katherine, and even vampires as young as Damon get Bonnie to do things by simply bullying or even assaulting her into doing it. And what does Bonnie typically do in response? Absolutely nothing.

At a certain point, the consistent contrast between Bonnie's mystical strength and the way that people treat her in order to use that strength becomes a pretty gaping plot hole. And while it's not unheard of for someone to try to sweet talk Bonnie into joining their team, it is almost always done by a character who is far less powerful than she is and who is completely irrelevant to the narrative at large.

In contrast to characters like Elena and Caroline, the distinction between them becomes even more obvious. Perhaps a thin argument could be made that because Elena is a doppelganger that makes her a tad more unique, but when one of the most powerful creatures on the planet was wrapped around Caroline's finger, it really begs the question, why wasn't anyone ever as invested or even obsessed with Bonnie as they were with the other two female leads on the series?

After all, Elena's love was consistently treated as if it was the greatest prize that anyone could possibly win, and the two male leads were completely obsessed with her and willing to do anything they could to try to win her over. And despite the fact that Elena was at the center of the love triangle that was a significant driving force behind the story for the entire series, she still managed to score a few love interests that weren't Salvatores throughout the show's eight seasons as well.

And, while Caroline was actually treated as more of the reject love interest in comparison to the unattainable Elena, her record with romance is also incredibly varied. Even though she was portrayed at best as the consolation prize and at worst the abuse victim, she did have some sort of romantic relationship with the two male leads in the show. Or at least, that is how The Vampire Diaries chose to portray it.

In addition to her horrorshow with Damon and her incredibly brief marriage with Stefan, Caroline is also a love interest for Klaus, Matt, Tyler, and disgustingly, Alaric. Arguably the only main male character who doesn't serve as Caroline's love interest or potential love interest at any point is Jeremy.

Although this laundry list of love interests can be partially excused by the fact that Caroline is characterized as someone who wants to date a lot, the contrast bet0ween characters like Caroline and Elena and characters like Bonnie is astonishing.

Over a nearly decade-long run, Bonnie's only legitimate leading men are Jeremy, Elena's kid brother who Bonnie will willingly die for but who also prefers a literal dead person over her at one point, and Enzo, her epic love romance that comes about at the very end of the series in a relationship that almost entirely develops off-screen.

Of course, female characters do not need love interests to validate their characterization or very existence, however in an environment where every single barely significant supporting character seems to get at least two love interests, it's incredibly telling that Bonnie Bennett gets two important love stories in eight seasons of storytelling.

It seems even more relevant that the show seemingly went out of its way to sidestep almost any and all opportunities for romance in Bonnie's character arc. Whether it was Kol, Kai, or Damon Salvatore, there were quite a few instances where there was a clear and easy route to develop a love interest for Bonnie in a way that made sense and had a pretty solid amount of audience support, and yet the series always went out of its way to avoid it.

In stark contrast, Caroline is still seen as a viable option for a burgeoning love story when she's pregnant, and Elena is an acceptable love interest when she's literally unconscious. And yet, in a series that began with romance as its secondary genre and that evolved into a romance series with a supernatural backdrop, Bonnie is supposedly not as appealing of a love interest as Elena and Caroline regardless of any circumstances, no matter how insane.

If these issues existed in a vacuum then they might be excusable, but considering how poorly The Vampire Diaries treated its female characters and black characters, it's pretty much impossible to avoid the reality that Bonnie Bennett's entire character arc was likely hamstrung by the fact that she was a black girl.

In any reasonable circumstances, Bonnie would have arguably been at the center of every single supernatural storyline, and she logically would have been a far more appealing love interest to any powerful characters in the series. But instead she spent the vast majority of her screentime with her inner characterization ignored, her personal development unexplored, and serving as little more than a glorified deus ex machina who didn't even want her friends to bother mourning her when she literally sacrificed her life for them.

Representation was always an issue in The Vampire Diaries universe, and unfortunately it seems like Bonnie was the definition of their token black character. Although the series had eight entire years to course correct and had many seasons where they were desperate for new ideas and decent character development, the racism and misogyny of the series seemingly prevented them from ever tapping into the enormous untapped potential of someone who should have been one of their flagship lead characters.

[girl-in-the-tower]

WHY I LOVE THE SCARABIA CM AND YOU SHOULD TOO

Listen, I don’t even know why you’d actually need to look for a reason to love and cherish this beautiful piece of animation, but to each their own. Regardless, you’re in the right place, because I’m about to gush and cry over this CM just to convince you to show it the same level of love that I feel for it. It’ll be difficult, but don’t worry, I’ll be there with you the entire time. So, let’s start with the beginning. 

What makes this CM different from the others? Well, let’s look at the most obvious aspect: it’s narrated by two people, instead of just the Overblot victim like in the case of the Heartslaybyul, Savanaclaw and Octavinelle. There we had only Riddle, Leona and Azul speak because, obviously, as the Prefects and shadows of the villains they would be the most important characters. You could call that antagonist privileges if you want, but there’s a reason a show with a big cast doesn’t go in depth with every single one of their characters. Not only would it be infeasible, but also useless. Narratives need a point of focus, otherwise they end up disjointed and incomprehensible. 

So why didn’t this CM just have Jamil narrate? He’s the antagonist of chapter 4, after all. Shouldn’t he get his own moment in the spotlight, separate from Kalim? Well, yes and no. For you see, the thing about Scarabia is that unlike other dorms the relationship between the Prefect and vice dorm leader is much more complicated. By which I mean that no other vice dorm leader is an indentured servant to the family of their dorm’s Prefect. Trey is Riddle’s childhood friend, Ruggie sticks with Leona because it gives him a better chance for survival, the Leech twins stay with Azul out of curiosity, Rook admires Vil, Ortho is Idia’s little brother (?) and Lilia has served as Malleus’ parental figure.

(Also, yes, I’m counting Ruggie and Ortho as vice dorm leaders since that’s basically their role anyways.)

None of them are bound to their Prefect. Trey has a life outside of Riddle, Ruggie will drop Leona like a sack of potatoes if the latter gets too much to deal with, the Leech twins EXPLICITLY say that they will turn on Azul if they get bored, Rook actually points out Vil’s flaws to his face, Ortho doesn’t let his brother get away with everything and Lilia’s position is more of a trusted family friend, than an actual guard/babysitter. The point I’m trying to make is that all these people have choices when it comes to their relationships with their respective Prefects. They stay by their side out of their own will and not because someone is forcing them to be there. 

The same doesn’t apply to Jamil. He can’t just decide to leave Kalim’s side one day, because he was getting sick of looking after him. And that’s because he didn’t have a choice in being by his side in the first place. That decision was made for him by his parents. Because that’s how indentured servitude works: when you’re in the service of a lord, especially if you’re a poor peasant, your period of time decided upon entering the contract tends to extend to future generations as well since you’re not given any money to save. Most peasants that found themselves in such positions often would marry and start a family while still in the service of their lord and should they die, their family, unable to provide for themselves because their whole life was spent doing unpaid labour, will also enter the same contract. This process would go on until either slavery, which this most certainly is, was banned or the lord decided to set you free. The former was much preferable to the latter, because in a feudal system to be set free by your lord often marked you as an undesirable servant. You would be hard pressed to find a lord that would ‘hire’ you after finding out your former ‘employee’ decided to ‘fire’ you. So it would be very rare for indentured servants to actually manage to free themselves from that position. 

This is precisely where Jamil’s frustration arises from as well. As a capable individual, he’s acutely aware of the limitations his status imposes on him. He’s a servant of the Asim family from birth, much like his parents and grandparents were before him. This is not something he chose for himself, but rather something that was imposed upon him. Herein lies the central issue that defines Jamil’s character: lack of choice. Much more than any character, Jamil’s life is governed by the limitations that arise due to his social position. We see that ever since his childhood he was forced to always take into consideration Kalim’s abilities and model his performance as not to eclipse him in any way. If Kalim placed second place in a dancing competition, Jamil must not be among the top three. If Kalim’s grades slipped, his own grades must as well. If Kalim lost two times in a row at mancala, Jamil must make sure he loses the next three games. Yet, paradoxically enough he mustn’t fall behind too much either, for that would make him a useless servant. And as I pointed out before, inept servants are not considered desirable by those in power. 

It is in essence a balancing act that Jamil must make sure he adheres to strictly, as not to bring shame to the Asim family to whom he is, in theory, loyal. In relation to Kalim, Jamil must make sure he performs poorly, but in relation to others he must make sure he performs well. It’s that precise position between exceptional and ordinary that he must achieve, and according to Azul, Jamil is excelling at that.

Azul: You usually never make yourself stand out—A wallflower, so to speak.

You make sure not to stand out academically, too. Whether it’s with class standing, or with practical training. But, at the same time…

You never get failing scores. (4-37)

Yet the question we must ask is why? Why must Jamil follow these demands? 

Well, for one it’s the issue of the indentured servant that we have discussed before. Jamil is bound to the Asims and going against them will bring repercussions not only on himself, but on his family as well. In the modern age in which Twisted Wonderland seems to be set in, this would not be much of an issue, we would guess. However, while that might be true, we must consider it not only from a logical perspective, but a psychological one as well. The human brain is fascinating in the sense in which it is able to transform information into patterns. And nowhere is this most apparent than in the impregnation of cultural norms into the mind. We tend to think of some things as innately ‘normal’ and ‘ordinary’ and everything that goes against those beliefs as ‘perverse’ and ‘immoral’. For example, up until a few decades ago, the idea of women as second-class citizens was seen as a perfectly reasonable notion. Those that did not agree with it were considered troublemakers and agitators, and if there’s anything the human individual loves more conformity, it’s ensuring that it’s enacted upon the population at large. The nail that sticks out gets the hammer, as the saying goes. 

But what does this have to do with Jamil? Well, the fact is that his role, as Kalim’s servant, comes with certain social expectations. 

Jamil: Kalim’s parents were always better than my parents. That’s why… Kalim should be better than me, too. That’s why, I could never surpass Kalim when it comes to studying, exercise, and even playing— (4-36)

The role of a servant is that of support. The Master leads while they provide the conditions and the means to do that. That is precisely the position that the Viper family is supposed to take in relation to the Asim family. For a servant to surpass his master, it leads to a deeply problematic realization: that one’s status is divorced from one’s capacity. Medieval rule was often characterized by monarchs assigning themselves as God’s anointed on Earth. Their right to the throne was not ensured by their capacity or disposition or ideals, but simply by their nature. They were meant to rule, because of the social class and family they were born into. Nothing less, nothing more. It was instinctively understood that there was a great differentiation between them and the common people and that was translated in their position as those to be considered ‘elevated’. They did not mingle with the common folk, because that was beneath them. 

And unfortunately, that is a cultural inheritance that is not easily done away with. For though we might claim we left behind the days of feudalism and vassals, there is still a great divide between social classes. It merely took a different form. Lords of the castle turned into politicians, celebrities and glamorous multimillionaires. A rose by any other name would smell as sweet, as Shakespeare would put it. Call it what you will, but the end result is that social divide still exists. And we can see that is the case in Twisted Wonderland as well.

Though the game tends to gloss over it in certain aspects, by having Leona’s reception by the main student body be as that of a lazy Prefect, and Malleus’s position is often eclipsed by his elusive attitude, it is constantly made clear that Kalim is someone with an important social background. We might have to be reminded that Leona is the second prince of the Afterglow Savannah, or that Malleus is the next king of the Valley of Thorns, but we aren’t offered the same discretion with Kalim’s character. He is almost always introduced as Kalim, the heir of a multimillionaire family. It is thus impossible to separate him from this title, and by extension, Jamil as well. Whether he likes it or not, as the servant of the Asims, Jamil is tethered to Kalim by being a part of his social image. No true Master can exist without servants, and no servants can be had without a Master. The two are reliant on each other, much like Kalim and Jamil are reliant on the other to define their position in life. 

Kalim is the son of a wealthy family because he has Jamil to prove his special status. Jamil is a servant of the Asim family because he has someone to serve. But whether he wants to be part of this system and have his identity be defined by this connection is out of his hands. And that’s the truly unbearable notion that Jamil has to deal with in his chapter: no matter what he does he is never in control of his own life. It’s always something that is decided for him.

This, in itself, is not coincidental I would say. You see, besides being interesting social commentary, it is also an unexpected look into the underlying themes of Disney’s Aladdin. If we were asked to describe what the movie is about, I think it’s safe to say most of us would cite “poor street-rat learns a valuable lesson about not pretending to be someone else and marries the princess” as the answer. And we would not be wrong. It’s obvious that “Be Yourself” is one of the most important lessons Disney wanted to teach to young children and this in itself is not a bad thing. But while these might be understood as genuine life advice at a young age, as adults we often tend to look more closely into the themes and motifs of the movies that shaped our childhoods. And thus I would argue that Aladdin is more than just a story about interclass romance, but rather a look into how the social class system functions as a whole. Aladdin, the main hero, is a street urchin with no money to his name. Jasmine, the heroine, is the daughter of one of the most powerful men in the land. Their romance and subsequent marriage is interpreted as a victory over a flawed and classist system, because they managed to surpass the limitations imposed upon them by society and ‘be themselves’. And though this is a heartwarming message to see performed on screen, it’s important to remember that there are more than just the protagonists in the story. Alongside them we have three more characters we must pay close attention to: the Sultan, Jafar and the Genie. 

To do a short summary:

The Sultan: Jasmine’s father and the most powerful man in the country, but rather bumbling and childishly naive. As is typical with Disney parents who are still alive by the start of the movie, he is a figure that possesses authority merely in name. Though kind and generally well disposed, he lacks any real power when it comes to the plot of the movie being tricked by both Jafar and Aladdin, as Prince Ali, and ultimately having to rely on the latter to be saved from the former. The Sultan is the quintessential look at a spoiled monarch whose rule is being facilitated by someone more competent than him, and this informs most of his character as a result. He himself might be a doting and benevolent figure, yet his reign is a prosperous one by accident not by his own making.

The Genie: The spirit who resides in the lamp that Aladdin finds in the Cave of Wonders and who becomes his ally in his quest to marry Jasmine. Perhaps one of the most memorable characters in the movie, thanks to the late William Robbins’ performance, Genie's entire quest in the movie is to achieve freedom by helping out his Master. The parallels between him and the indentured servant position are made abundantly clear by the fact that he is bound to Aladdin until the latter agrees to set him free. Genie’s role in the story is one that is important, but his position is one that mirrors Jafar: they are in the service of someone who is less than them, whether it be competence or magical ability. However, while Jafar detests his position and the Sultan, Genie becomes a father figure to the protagonist. The fact that the two exchange places (Jafar is turned into a Genie and imprisoned, Genie being set free and retaining all his powers) stems directly from how they relate to their social class. Jafar is self-serving and ambitious and Genie is altruistic and self-sacrificial. Genie thinks of the happiness of his Master, though he is still displeased by the concept itself, and for that he is rewarded, proving that putting the well-being of others above your interests is the way to happiness after all. That is, if you’re a Disney hero.

Jafar: The Grand Vizier and the second most powerful man in the land, but is a scheming backstabber that plans to take the throne for himself. As one of the most easily recognizable Disney villains, Jafar makes a strong impression through not only his design, but through his philosophy as well. He’s in spite of his high rank, still pretty much a servant, having to ensure that the rule of the Sultan is enacted accordingly. Yet, as an antagonist he makes certain that whatever he does is in his own interest as well. To say that he is ambitious would be an understatement, but what is it that he wants exactly? There is no clear answer, but the closest we can get to is that Jafar wants power. 

But wait, you might say. Didn’t Aladdin also want that? Why is only Jafar the villain, if they were both after the same thing?

That is a good question! And the answer to it is yes and no. Though indeed, both Jafar and Aladdin wanted power it was for different purposes. Aladdin wanted it for the sake of overcoming his social limitations and thus becoming a worthy candidate for Jasmine, while Jafar wanted power for power’s sake. The lesson that Aladdin learns is that he shouldn’t have attempted to do that, because it would have never worked out in the way he intended it to. Though Jasmine can bring herself down to his level, he cannot bring himself up to hers since it would disrupt the social system. One cannot rise up to a higher social standing through power alone, they need recognition as well. Which is why marrying Jasmine becomes an important plot point. Jafar, who achieved power through his scheming, still lacks the recognition, which can only be granted through marriage to a royal or someone of higher social standing. He fails to achieve it, because his rise in social ranks did not have a ‘noble’ purpose like Aladdin’s but it merely satisfied his own agenda and needs.

Jafar’s status as a villain is thus due to the fact that in Western media ‘Ambition Is Evil’ is one of the most prevalent tropes. Think of the Becky Sharps, the Slytherins, the Lucifers, the Littlefingers that populate our literature, their evil nature is more often than not tied to their necessity to rise above others. 

To reign is worth ambition though in hell; 

Better to reign in hell than serve in heaven. (Paradise Lost)

Power corrupts, and ambition corrupts absolutely. Disney characters thus often learn that it is better not to be swayed by power from their role in society for the sake of power, or they will pay the heavy price for doing so. That is why Jafar fails and Genie succeeds, because they related differently to their role in their Master’s lives. 

And that is a theme that Twisted Wonderland also touches upon in Jamil’s story. Twisted from Jafar itself it was inevitable that his story would deal with such a topic. However, what deeply impressed me was how self-aware the narrative had been in regards to it. 

Ruggie: I feel bad for you. By helping out Kalim you have burned your hands considerably. (R Card School Uniform)

Jamil: I want to avoid standing out. I can’t be satisfied with this. I cannot be too good, nor fall behind, and neither should I get satisfactory grades or fail. This is the best shortcut to success. (SR Card Lab Coat)

Jamil: I am a sworn servant to the house of Asim and thus have a duty to protect the master. (SR Card Ceremony Robes)

Azul: You are always welcome in Octavinelle should you find yourself freed from Kalim. (5-10)

The matter of Jamil’s role as Kalim’s caretaker is one that has been brought up at several points throughout the game. This is usually done with the express purpose of reinforcing his status as his servant, but also to affirm that it is indeed this very position that is preventing him from achieving his full potential. 

Azul: If you look at your grades, there are no visible gaps in your classroom lectures, practical skills and physical training. Even I have a weak point when it comes to flying… For you to not even have such an instability is frankly amazing. It is like you can tailor yourself to suit your needs. (SR Card Lab Coat)

Just as Azul remarks Jamil holds himself back on account of his need to perfectly perform a certain persona: the reliable valet. It is a character we often see in media disguised as the Hypercompetent Sidekick or Servile Snarker, who is by his very nature much more accomplished than the master, but must out of financial necessity submit himself to someone else. Or in Jamil’s case, out of filial obligation. And this is where the comparison with Jafar becomes important because while Jamil does embody Jafar’s ambition, it is not treated in the same manner as in the movie. Jamil’s motives for betraying Kamil are similar to the villain: he wants to impose himself upon others and overcome his social position. Having been raised in servitude since young he has been forced to ‘tailor himself’ to the demands and expectations placed upon him. However, because this position has been imposed upon him and it wasn’t of his own volition, Jamil comes to resemble the genie much more than he does Jafar. Which is completely intentional, I believe. But we’ll get to that soon enough. 

Taking this into consideration it is interesting to note how the resolution of Jamil’s arc differs from Jafar’s in terms of narrative. The end of Aladdin has us witness the defeat of Jafar at the hands of Aladdin, his imprisonment in the lamp and the release of the genie from his bonds of servitude. It is, of course, a typical Disney happy ending: the villain was defeated by his own hubris, while the heroes prevailed through self-sacrifice and cleverness. The main character has learned the necessary moral lesson (cynically phrased as: do not aspire to overcome your social class through hard work, but wait for recognition from your superiors) and all the characters that aided them during their journey get rewarded as well. It’s the culmination of the Disney formula that selflessness and altruism are the values that separate the heroes from villains, and by extension good from evil. Evil only seeks its own interests, while good works in the interests of others. So what about Jamil?

The end of the Scarabia arc is quite ‘Disney’ to a certain degree: the villain has been exposed, the heroes send to the other end of the ‘world’, they get their second wind, defeat him and live happily ever after. Well, not really. You see, what happens before the heroes go to defeat the antagonist is that Kalim breaks down crying due to Jamil’s betrayal and Azul remarks the following thing:

Azul: Kalim’s gentle disposition towards others is completely different from Jamil and I… No… Taking into account everything, he probably built a grudge over the years. You have been causing trouble for Jamil since you were little, after all. However, you are not in the wrong. You were born a cut above the others. You were loved by everyone around you and we were raised under such a good environment.

You were simply unaware of the greed you’ve been showing. (4-34)   

Jamil’s actions aren’t excused, because they are indeed those of a villain: plotting, backstabbing and double-crossing the heroes for his own gains. Yet, they are not simply attributed to his ‘evil’ nature, but rather explained by the environment in which he was raised and the morals that were instilled in him. Jamil is not evil, but rather merely desperate enough to resort to evil means. And that is a profusely important distinction. Though we might commit malicious acts that does not mean that we are malicious by nature, much as committing benevolent acts does not make one irreproachable. And Twisted Wonderland understands this notion: not in the sense that Jamil was right in what he did, but rather than we can understand why he felt like he was pushed to such extremes. 

Jamil’s story is one of the more complex ones, in my opinion. It speaks about an issue much deeper and much more insidious than any that have been explored so far in the game. The result is that unlike the other three previous Overblot victims, Jamil has no clear-cut solution to his problem. Even after the incident he is still in the service of the Asim family. Even if Kalim asserts that they are equals at school, he still will remain a servant everywhere else. No matter what he does he is bound to the Asim’s and more specifically to Kalim. 

I feel like this would be the note on which I should safely conclude this very long introduction, as we move further and into the real meat of this post: the analysis itself. Thus, without further ado, let’s see why this CM is such a treat from a symbolical and storytelling perspective.

The opening of Aladdin (1992) is perhaps one of my favorites due to the fact that it seeks out to reference its source material: One Thousand and One Nights. By that I mean that it utilizes a technique known as the ‘frame story’: a story which contains within it another story. In the novel the framing device is Scheherezade, the vizier’s daughter who upon learning that she will marry Sultan Shahryar and be promptly killed at dawn, devised a plan to subvert her fate. She would each night begin a tale that would leave the Sultan so enchanted that he postponed her beheading until the next day so she might finish her tale. However, upon finishing the previous story Scheherezade would continue with another one and so on and so on until she eventually managed to avoid death for one thousand and one nights. Hence the name of the collection. 

Aladdin uses a similar device in the character of the Merchant who appears at the start of the movie and introduces us, the viewers, to the world of Agrabah which is a place “where they cut off your ear if they don’t like your face” according to the original lyrics of the song. But it also includes a shot at the end of the movie which has the Genie lift up the ‘wallpaper’ and speak directly to the audience. These scenes, though easy to disregard, do reinforce the fact that the movie we’re about to see is not taking place as it happens, but rather a second-hand account of it. Much like Scheherezade attempts to avoid her decapitation, so does the Merchant at the start of the movie attempt to convince us to give the story a try, become immersed and then abruptly reminded of the fictionality of what we have just witnessed. And I don’t mean in the sense that it is a movie, but rather in the sense that even within the logic of the movie, this whole set of events has a certain fictionality to it. The fact that initial plans had the Genie and the Merchant be the same character only strengthens this notion. 

But the Scarabia CM doesn’t start with the Merchant now, does it? No, it does not. But rather it starts with the very first image of the movie itself: purple smoke against a red flaming background. Except that there is no red flaming background this time, but a calming blue shot of the dunes with what appears to be the Scarabia dorm building in the background, or even Agrabah itself. There is no smoke either but sparkling dust that emanates from a lamp half-buried into the sand. The images are clearly meant to evoke the general aesthetic of Aladdin (1992), but they can also be interpreted symbolically. 

The imagery of smoke is often one of ascension, of leaving the earthly shackles and rising higher towards the spiritual world. But it is also a rather solemn symbol as well, given that it can also be associated with the burning of corpses. Its presence in the movie is explained by the fact that this is after all a story about liberation: most obviously the Genie’s, but also the other characters. Everybody wants to be free in some form or another. The colour symbolism is also interesting to remark upon as according to Richard Vander Wende, the production designer of the original film, certain colours have different meanings within the movie. Red symbolizes heat and evil, while blue is a calm colour associated with water. The red background thus carries negative connotations, but it is eclipsed by the presence of the smoke in the foreground, that is a combination of red and blue. If we were to interpret this visual choice we could claim that the movie is trying to let us know that the story we are about to watch is one in which morally-grey protagonists overcome the forces of evil. For, even though Aladdin is our main character, he is not a pure hero by Disney standards as he is after all a thief and the lesson he has to learn is that he should not attempt to scam his way into a better social position. 

But the Scarabia CM uses a blue background instead, so this is certainly not the same message it might try to send. Rather, due to the positioning of Scarabia/Agrabah in the background, I believe that it is indeed a story about rising above, but not above the forces of evil as much as above social norms accepted as standards. The Scarabia storyline is very much centered around the notion of social positions and how they function within a system of indentured servitude, as is obvious through the way in which Jamil attempts to overcome the position of servant through schemes and planning. We most certainly encounter the thread of evil within his character, but though his methods are unsavory, his end is, I would say, understandable: freedom. 

Jamil: For me, and my family... I'll do anything for our sake!!! (4-31)

Jamil: I’m done playing servant!! I WILL BE FREE—!! (4-32)

The choice of a blue background might thus allude not necessarily to goodness as in the moral concept itself, but rather to the comfort of social norms. There is a certain stability to be had in a system that declares that all those born into wealthy families shall remain wealthy, and all those born into servant families should remain servants. To quote Aladdin: “It’s barbaric, but hey, it’s home.” (Arabian Nights) In such a system that relies on absolute conventions regarding social classes, someone like Jamil is a threat, because he questions and subverts the limitations imposed upon him. He is smarter and more capable than Kalim, yes, but because he must ensure that he does not draw negative attention upon himself, he is forced to adhere to a lifestyle that is not representative to whom he truly is. The similar shape of Scarabia and Agrabah only serves to highlight that regardless of his environment, as long as he remains a servant through his bond to the Asims, he shall never be able to change his destiny.

The lamp is the most important object in Aladdin (1992) as it is the MacGuffin that is coveted by Jafar and the prison of the all powerful entity that is Genie. The lamp in the movie has thus two connotations: power and imprisonment. The juxtaposition between the two creates an interesting image of how power changes according to one’s position in society. Though Genie’s powers are indeed great it seems that he is incapable of wishing himself free, which is I think a good analogy to the position of indentured servitude in which only a lord’s permission would be capable of restoring an individual’s freedom, even though they would be in theory capable of physically leaving their place of servitude. Their choice not to is not only a reflection of the possible corporal punishment they would endure if captured, but also due to the social contract that forced them to remain in that position. As servants they would remain branded forever as second-class citizens at best or dangerous felons at worst. Not a fate one would ever wish upon themselves in those days. 

It is clear that besides Jafar, Jamil also bears quite a lot of similarities to Genie.

It’s like being the genie of the lamp, calling me anytime and anywhere. (Jamil Chat 1)

As I mentioned above, Disney draws an interesting parallel between Jafar and Genie when it comes to relating towards their ‘superiors’: Jafar despises the Sultan and wishes to disposes of him, while Genie forms a parental bond with Aladdin and even reluctantly agrees to remaining bound to the lamp if it means his ward’s happiness. The fact that they exchange positions at the end (Jafar being imprisoned in the lamp, Genie being freed) is the result of the moral choices they make. Genie’s altruism is what allows him to be freed, while Jafar’s ambition is what traps him as thus is the rule of Western philosophy: the needs of the others are superior to our own. 

But ignoring Jamil’s OB for now, we realize that he does not truly commit to either one of those positions. He is resentful of his enslavement at the hands of the Asims, but I believe he does not genuinely wish harm upon Kalim himself, but rather towards the system as a whole, which is represented by him. This is an idea we’ll return to eventually, but it is important to mention it in advance, because it paints a better picture of what Jamil’s true intentions were during his attempt to take over Scarabia. It was not power for power’s sake as in the case of Jafar, but rather him trying to assert control over an aspect of his life, which in this case would be his position within the dorm. Jamil isn’t truly interested in the position of Prefect as is, but in what it symbolizes: freedom. As Aladdin shows power is not synonymous to freedom, but rather something adjacent to it. Even a most powerful creature like Genie is bound to the whims and wishes of a mere mortal, much like Jamil is bound to those of Kalim. To overthrow him as Prefect would mean to assert himself as independent of social bonds by having no one be superior to him anymore. Yet, because he does it through immoral means he fails and thus keeps in line with the moral of the movie: you cannot advance socially without the approval of your superiors.

The moon is one of the most referenced symbols in literature due to the fact that it innately appeals to writers and poets alike. It is fundamentally female in nature, due to its connection to the Roman Diana and the Greek Artemis, and associated as a result either with the concept lunacy, to which it lent its name, as well as with witchcraft, solitude, power and change. The moon’s circular shape as observed from Earth is also associated with the notion of eternity and cyclicity, which is perhaps the symbol that is of most interest to us when it comes to Western interpretation, as in Japanese culture the moon can represent a person’s core, unaffected by others. It is more succinctly put a representation of the Self, that which is considered quintessential to one’s identity. And it is this imagery which the CM tends to gravitate towards I would argue.

The moon is a particularly prominent symbol in Aladdin (1992) as it symbolizes the notion of change and new beginnings. Aladdin and Jasmine’s flight during the song sequence “A Whole New World” uses the moon as a backdrop and confers upon it a romantic aura of serenity and calmness, which is referenced towards the end of the movie wherein they fly towards it upon their success at convincing Jasmine’s father to allow their marriage. The moon in this regard is symbolic of unity and fortune, synonymous with true love’s conquest over everything else. But there is also a comedic twist to it as seen in the very last scene of the movie wherein Genie’s face is projected upon it. It is thus primarily a positive symbol associated with goodness.

The CM however is closer in meaning to the notion of the moon as the human core observed in solitude. Unlike the moon in Aladdin, whose shadows are barely perceptible and thus looks more natural, the moon here is overtly engulfed by darkness, with the sole space of light providing a sharp contrast in tone. It is not a symbol of unity, but rather of division creating barriers and boundaries between the characters who are positioned at opposite ends of the circle. Kalim, as a superior in terms of social and financial power, is situated upon the side that shines brighter to symbolize his role as the face of the dorm. He is the Prefect, the one that represents his dorm and the ideals that it is founded upon. Yet, upon further inspection we notice that the word ‘Scarabia’ appears on Jamil’s side, which is not only the dark part, but also takes more space. It is an unequal division but so is much of their life: Jamil remains in Kalim’s shadow, though it is only due to the former’s help that the latter manages to shine as a Prefect. This is confirmed by the positioning of their dorm’s name on Jamil’s side, as he is in fact the one that more overtly exhibits the ideals of careful planning that the Sorcerer of the Hot Lands is known for.  

Kalim’s face change is interesting if we consider the notion of the moon representing the human core on which one’s identity is formed, because it confirms that he is indeed as cheerful as he appears to be. His cheerful disposition though likened to the image of the sun, lacks the usual masculine and aggressive features associated with it in Western culture, as he tends towards more feminine ideals of pacifism and serenity, which are associated with the moon. Moreover, as it has been pointed out to me, if one is to consider the Japanese cultural context we would be able to observe that the feminine characteristics of the sun are in perfect accordance with the female interpretation of the star in the form of Amaterasu. His body language is relaxed and openly friendly and there’s nothing about him that truly stands out in terms of contradictions. 

Jamil on the other hand presents an entirely different picture. His stance is guarded, that much is certain, and his expression is to be considered at best wooden. Unlike Kalim’s dynamic movement, he remains static and unchanging, sporting merely a look of resigned indulgence towards Kalim, and it seems to a certain extent as if he asserts control over his own reaction towards it. In other words, it is not in the slightest bit natural. Moreover, what does attract our attention is not his expression as in the case of Kalim, but rather the shine of the metal of his choker. 

Unlike Kalim which is bathed in light in warmth, Jamil is surrounded by dark and shadows, with the sole point of light being the metal around his neck. This is different from Kalim whose accessories do not stand out in the same vein. The reason is that on a fundamental level they represent entirely different notions. In Kalim’s case it is a representation of his wealth and power, with the lack of focus on them hinting perhaps to the fact that he is at ease with his position as the heir of a multimillionaire family. It does not stand out because that is his right by birth and thus just a natural part of himself. Jamil’s core, on the other hand, reveals that his identity is very much forged by the Viper’s bond to the Asims. 

Jamil: I’ve been looking after Kalim ever since we were kids. That’s the Viper family’s duty. (Jamil R School Uniform Lines)

In Kalim’s case the accessories are just that: accessories. But in Jamil’s case they are a mark of servitude. They stand out among the darkness because this is how he perceives his own persona: dominated by the image of the loyal servant who is socially inferior to his master. Even the metal itself seems to have a silver tint, rather than gold, symbolizing that even though he and Kalim should be equal (both sporting gold chokers) reality is very much different, since he is forced to be subservient even though it goes against his instincts.

It is interesting to note that in Aladdin (1992) the notion of space and how it relates to characters plays a significant part. Agrabah, the setting of the movie, is a place of social division in which those of lower status live in poverty, financial distress and crowded spaces, whereas those of a higher status enjoy the luxury and the vast space provided by the palace. Compare the streets of Agrabah during “One Jump Ahead” which are constantly filled with people, objects and animals and project an image of recurring chaos, to the quiet serenity of the palace where the Sultan and Jasmine live. The contrast is staggering. But more than that it is indicative how much social class can make a difference. 

It is also interesting to note that with the exception of the Sultan, all characters have at some point transversed these two spaces: Jafar and Aladdin move between the city, the palace and the desert, Jasmine sneaks into the city in order to experience real life and the Genie has access to a fourth space in the form of the lamp. However, the Sultan always remains within the palace walls. The reason for that is rather obvious: it is the seat of power and to leave it would be to admit to inferiority in regards to his position. Unlike the other characters that long for something more, the Sultan is content in his role as representative of financial and social power. He does not need to switch locations, because his static nature is what allows the other characters to progress in their journey. 

The CM builts on this premise as well, by showing us the very different worldviews that Kalim and Jamil experience. Fulfilling the role of Sultan, Kalim is surrounded by luxury and comfort, as he rests in his room at the dorm. The colours are warm and calming, as the light very gently illuminates the room in order to cause an impression of coziness, which fits perfectly with his own character. Kalim’s personality is at its core a ‘refreshing’ one, orientated towards creating harmony and a content attitude. All his life was spent among servants that catered to his every whim and desire, so his sense of independence was greatly stifled. If we may put in blunt terms, he’s sleeping through life, relying entirely on his social position due not necessarily to laziness, but rather naivety. Because he never had to leave the palace walls, he never had to develop any sense of autonomy and thus has managed to remain faithful to his social role. He does not experience a sensation of contradiction between who he is and who he is regarded as because he lives in accordance to the characteristics deemed appropriate for him as a member of the elite.

The same cannot be said for Jamil. Juxtaposed with Kalim’s scene we see Jamil walking through the desert as the harsh light shines upon him. There is no comfort to be found in this particular shot. Whereas Kalim is sleeping peacefully and at ease, unaware of the difficulties of life, Jamil is wide awake. Unlike the former, the latter’s life is dictated by restrictions and hardships, all which he has to endure without showing displeasure as befitting his social role. He does not have the privilege of laying around not only due to the demands that are made of him, but also due to his innate desire for change. The desert can thus very easily symbolize the unfairness which he has to endure as a servant, but it can also symbolize his ambition and the effort he is willing to spend on making sure he can change his social status. Unlike Kalim, who rests in the palace, Jamil seeks to escape its confines even if it means enduring hardship. For you see, though the palace is indeed a place of stability, it is also a prison.

The similarities between Agrabah’s palace and the Scarabia dorm building are most certainly intentional. They’re places of unimaginable wealth that function as status symbols for the people that control them. Agrabah is, as we mentioned before, heavily divided, but it is paradoxically the slums that offer more freedom than the palace itself. Looking back at the movie we notice that the biggest symbol we can associate with Jasmine is the bird in the cage yearning to be free. The notion, moreover, is also supported by imagery such as setting the birds free after a talk with her father and, as it had also been pointed out by other critics, that the canopy of her bed is designed to resemble a birdcage. As a princess Jasmine is bound by social roles and conventions to adhere to the expectations placed upon her, and her journey in the movie is to assert herself as an autonomous person before her father by insisting that she be allowed to make her own choices. The problem however lies with the word ‘allow’ itself which once again contradicts her ideals. The notion of allowing someone to do what they want situates the power in the hands of the person who is recognized as the social superior. In the case of Jasmine, it is her father, the Sultan. In the case of Jamil, it is the Asims. 

The Scarabia dorm as a symbol of the prison is an obvious one due to the fact that it served as such for Grim and Yuu during episode 4. But that is what we might refer to as physical confinement, which at its core is not compatible with the message of the CM and even of the movie. Because the CM does not focus on Grim and Yuu, but on Jamil and Kalim, so this is not a case of a physical prison, but rather a mental one I would argue.

In several respects, the prison must be an exhaustive disciplinary apparatus: it must assume responsibility for all aspects of the everyday individual, his physical training, his aptitude to work, his conduct, his moral attitude, his state of mind; the prison, much more a than the school, the or the army, which always involved workshop certain specialization, is 'omni-disciplinary'. Moreover, the prison has neither exterior nor gap; it cannot be interrupted, except when its task is totally completed; its action on the individual must be uninterrupted: an unceasing discipline. Lastly, it gives almost total power over the prisoners; it has its internal mechanisms of repression and punishment: a despotic discipline. It carries to their greatest intensity all the procedures to be found in the other disciplinary mechanisms. (Foucault 235-236)

Foucault’s Discipline and Punishment: The Birth of the Prison is an interesting look into the social and theoretical mechanisms employed by prisons in order to ‘reform’ convicts. The end goal of these institutions is to reintegrate the individual into society and to achieve such a thing it is not necessary just to punish and torment them, but to discipline them. By this Foucault understood as allowing one’s life to be entirely dictated by “a disciplinary apparatus” decided by those within power. It’s main aim was to restructure one into a “docile body” beneficial for the economical and political necessities of that specific age, which in many cases referred to the idea of one being content to pursue the interests of the state and those that governed it. 

I bring this up because I can see the same ideas reflected in Jamil’s character arc as well. Foucault mentions that the prison is a space in which discipline is uninterrupted and unceasing. In other words it is a space which constantly reinforces the ideals that are considered desirable, and we can see that Scarabia unintentionally functions the same way. It is a space in which Jamil is cast as inferior to Kalim once again, trapped into the position of Vice Prefect, despite the fact that he embodies the ideals of the dorm more than he does. Though this is a different place, his routine has remained unchanged: he must still cater to Kalim’s wishes and perform the role of the servant, despite the fact that in theory the two of them should be equal now.

Scarabia Student B: Our family standing and status shouldn’t matter inside the school! We’re all equal here, right? (4-18)

Under normal circumstances, Night Raven College is supposed to be a neutral space in terms of social standing. Leona and Malleus are recognized as princes, but are not given any particular attention in terms of political and social superiority, and rather scrutinized due to their peculiar attitudes and personalities. They are, in theory, equal to the other students at the academy and the same should apply to the relationship between Kalim and Jamil as well. But things are not so.

During episode 4 we find an interesting detail about Scarabia: it seems that the building had been renovated once Kalim was accepted into the dorm. This is not usually a detail that would require any particular attention, but it reveals something about the environment in which Jamil resides: it is representative of the Asims. The ostentatiousness and extravagance are the result of their direct influence and thus molded by their own desires. By remodeling the building they have reforged it into an image of their social position and installed a member of its own family as leader. Its neutrality has been compromised and so has Jamil’s attempted escape. Attending Night Raven College is not merely a case of attending one of the best magic schools in the world, but also one of asserting one’s independence. Jamil was given the chance to finally break free from the system that has had him ensnared for all his life, only to have his hopes be dashed by being reminded that in the end the influence of his masters is much greater than he could have anticipated. Thus, Scarabia was turned into a space of imprisonment which perfectly replicates the dynamics of the Asim household and thus denies Jamil any possible form of freedom. Much like Genie and Jafar at the end of the movie, he is unable to escape his prison without the approval of his superiors.

Jamil is aware, however, that he is not and will most likely not ever be able to receive such freedom from the Asims. And consciously he knows he cannot attempt to break free on his own either. 

Jamil: My family, the Viper Household, has been serving the Asim Family since olden times. A retainer drawing his sword against his master is unforgivable. Even more so, if Kalim’s father found out about it, my family will end up being punished. I’m sorry, but I cannot put my family in danger just because of a selfish request. (4-18)

Jamil’s sense of filial duty is one of the driving forces behind his character. It’s not only that he himself wants to be free, but wants his family to be released from their bonds as well. Because the system in which he has been raised permits a master to punish an entire family for the disobedience of one member it becomes understandable why Jamil is such a guarded person. It is not merely his own person that is at stake, but the lives of those he cares about also. It is a thought that has weighed heavily upon his head since young childhood most likely, once he became aware of how exactly the social system set in place works. To go against it would not be an act of brave rebellion, but that of sentencing others to punishment to fulfill his own ambitions. Which for a character twisted from Jafar seems contradictory. Yet we must remember that he has certain traits of Genie as well. Unlike him whose loyalty lies to his Master, Aladdin, Jamil’s loyalty lies to his family. He’s only willing to endure things as they are now due to the fact that rebelling would mean having them suffer the consequences. And Jamil is aware of that.

Yet, it is also necessary to ask the following question: Why does he end up rebelling in the end?

The most obvious answer: accumulated frustration. 

As I stated before, Jamil does not hate Kalim. However, it is also obvious that his Overblot had very much to do with the fact that he had become increasingly irked by the latter’s attitude to life. His critique of Kalim’s character, though harsh, was entirely accurate. Kalim is indeed spoiled and naive to an almost ridiculous degree, even though it is not entirely due to his own fault. Moreover, it is not necessarily these particular traits that Jamil takes issue with, but rather his predilection towards inaction. To briefly reference a previously discussed shot: though Kalim is content in his passivity, Jamil cannot abide by the current system. He desires change, but he knows he is in no position to enact it and is thus frustrated that the one who would be able to perform this task is oblivious to the struggles of those around him. Jamil does not hate Kalim as a person, but rather that which he represents: the power of the system itself. As the CM shows Kalim is able to move forwards, uncaring of limits and boundaries, but uninterested in change (initially) while Jamil, though he desires to advance, is stuck in one spot. 

The brief image of Kalim reflected in the surface of running water captures this concept perfectly. Jamil is not looking at Kalim as he is, but rather as perceives him to be: an unclear image. Water has the same reflective properties of mirrors, but due to their unstable state they cannot portray accurate images. Jamil attributes maliciousness to Kalim’s denseness as not only a means of explaining his actions, but as a way to excuse his own eventual betrayal of him. If Jamil considers Kalim as a representative of the system, he feels justified in his actions and thus more willing to go through with them, since he can project his frustrations upon a material, solid person rather than an abstract entity. Kalim is in a sense a scapegoat for Jamil’s anger.

The snake is laden with multiple meanings being both a manifestation of evil (Satan taking the form of a serpent to trick Eve into sinning) as well as a symbol of rebirth and transformation. In keeping with the colour motif of the movie the serpent staff that Jafar carries with him has eyes which glow red when he’s using it to hypnotize the Sultan to indicate his evil influence upon him. In the CM we have the image of a red snake coiling around Jamil’s feet which is the physical manifestation of all his feelings of dissatisfaction regarding his position as a servant finally bursting apart. But before he is overtaken by those negative feelings we notice interestingly enough that the snake takes the form of an ouroboros: a snake which eats its own tail. A symbol of eternity.

Jamil: I’ve been raised as a retainer to serve his family, so I really can’t understand. A master is a master and a servant will be a servant. Most probably for as long as we’re alive. (4-26)

When discussing Jamil’s character we must admit to a certain cyclicity. Not one he engages in, but rather one in which he is stuck. He is the son of a family that has served the Asims for generations, creating a chain of servants and masters that is currently supposed to be replicated by him and Kalim. His sense of autonomy is constantly denied due to the intervention of forces beyond his control. Moreover, in chapter 4 itself his plans get constantly ruined by either Grim or the Octavinelle Trio, creating a sense that the universe itself has aligned itself in opposition to him. 

But there is more to it still. Jamil is a highly ambitious person, who desires to establish himself through his talent and skill, thus giving him the perfect reason to despise a system that requires some individuals to be subservient to others for arbitrary reasons. However, by his own admission he cannot envision a life outside the system either. This is in essence the insidiousness of such phenomena: they entrap not only the person physically but psychologically as well. Once one’s identity is dependent upon a certain ideology and philosophy of life it is extremely difficult to extract themselves from that mindset. Much like Foucault said, once the mind is disciplined and the individual turns into a ‘docile body’ they become reliant on that particular system in order to form a coherent identity. 

Though Kalim can step outside the bounds and limits imposed upon him, by virtue of his social position, Jamil is only allowed to operate within those boundaries. It is precisely why he stops advancing further once he reaches the end of the round court. Though physically he should be able to overcome such obstacles, mentally he is unable to not. Not as long as he remains under the governance of the Asim family, at the very least. It is obvious however that he cannot simply rise against them, and this realization is what causes him to hit the limit in terms of patience. He finally realizes that he has been robbed of his independence even before he was born.

Jamil: But if I have, it’s better you don’t know what I really think of you. If everything goes to plan… I’ll finally be free. (Scarabia CM)

Sight is an important theme to Jamil’s character as he, much more than any other character perhaps, actively attempts to manipulate the perception of others about him. He is not what he appears as Azul remarks in many of their interactions, and that is because to Jamil allowing himself to be genuine would come with a price: revealing his true feelings regarding his social position. And that, as previously stated, is not something he can afford.

Eyes are often called the ‘windows of the soul’ in the sense that they reflect a person’s true intentions and thoughts. Moreover, the notion of sight is one that literary authors often like to explore in their works. Out of all the senses, sight seems to be considered the most unreliable, since it often fails to discern that which exists in obscurity. The notion is explored in Aladdin (1992) too to a certain degree. Everybody sees only what they desire to see, and because the images they form are so contradictory that it creates misunderstandings and unnecessary conflict. Jafar’s power of hypnotism is even more interesting in this context since by definition it allows him to influence a person’s perception of reality and thus a part of their identity and how they relate to their environment. 

The end of the CM hints towards this notion as well, as we see that the Overblot first manifests itself is his eyes, obscuring his sight from the reality around him. He’s chosen to throw himself into the negative emotions that have finally overtaken him, and as a result given him the power to recreate reality to his discretion. We see the parallel with Genie and Jafar in his Unique Magic as well, since though he possesses one of the most potent powers, he’s still considered an inferior. Jamil’s Overblot is thus one formed by the depressing realization that for as long as he exists within the system, he’ll be forced to endure the continuous cycle of subservience forced upon him since before his birth. His transformation moreover is the result of a desperate yearning for freedom which has driven him to extreme actions. The appearance of the red eyes behind him symbolize more than the eyes of the serpent staff. They are a stark reminder that he is consumed entirely by the realization of his own powerlessness and over-dependence upon the Asims, even if it’s against his desire. 

To note is also the fact that out of all the Overblot victims, Jamil’s expression is the only one that is peaceful. If we take a look at the Heartslaybyul, Savanaclaw and Octavinelle CMs all of the Prefects display either rage or shock during their transformations. It is clear that this process is a horrific one, which explains their reactions, yet strangely enough Jamil seems serene and accepting as if he has come to terms with this course of action. Unlike the Overblot victims before him, his transformation is liberating to a certain degree, because it allows him to finally achieve his goal: get rid of Kalim and instate himself as leader of the dorm. Not because he covets the position itself, but rather because through it he manages to finally become free and unburdened by his social position. In a way, the dark appeal of Overbloting is just that: unlimited power, and for a character like Jamil, who very much lacks this, it is especially hypnotic. 

Out of all the Overblots so far, I consider Jamil’s the most tragic because in the end there seems to be no obvious escape for him, perhaps except in the case of Kalim setting him free. But this is still an event that will happen in a few years at best. It does not answer his current need for autonomy. Yet, despite this we see in chapter 5 that there is indeed some improvement. Though he has refused Kalim’s offer of being friends, he nevertheless has begun acting more like his equal within school grounds and their relationship overall seems less hostile on his end. The fact that much of the action of chapter 5 takes place in Ramshackle Dorm is also an important thing to note as it manages to create a neutral space, untainted by the Asim’s interference. In Vil’s system of meritocracy Jamil is finally able to act as himself and stop performing a role for others, thus he is finally able to assert a degree of autonomy over his own person, which he was not capable of doing before.

Coming now to the ends of this post I think it goes without saying that in terms of narrative cinematography the Scarabia CM is currently unmatched. Though short it manages to give a perfect summary of the themes explored in episode 4, the relationship between Kalim and Jamil and a brief but insightful look into the latter’s psychology and reasons for Overbloting. 

So, there’s really nothing else to do but thank Yana for giving us such a wonderful CM for what I consider the best dorm and best boys in the whole game.  

Additional Links

Indentured Servitude: https://www.youtube.com/watch?v=Qt--B1Y-u6Y

https://www.youtube.com/watch?v=Ti7Kbd6gSIo

Twisted Wonderland, Episode 4: https://kanadesmusingsblog.wordpress.com/2020/06/01/masterpost-twisted-wonderland-episode-4-translations/

Jamil Chats, Personal Stories: https://twisted-wonderland.fandom.com/wiki/Jamil_Viper/Personal_Story

https://twisted-wonderland.fandom.com/wiki/Jamil_Viper/Chat

Scarabia CM: 

https://www.youtube.com/watch?v=EVSx_BvTlmQ

Aladdin (1992) commentary: https://filmschoolrejects.com/38-things-we-learned-from-the-aladdin-commentary-fd9f1d8573b3/

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

The peeps over in the Twisted Writings discord know this has been brewing for a while, but I’ve finally managed to sit down, write and edit this monster. It bears witness to the fact that I adore Scarabia more it is healthy (lol). 

Also wanted to thank fellow Scarabia stan buddy @chillableu​ for proofreading and brainroting with me about these boys. You’ve been such a great help and I’m so thankful to you!  ❤️ ❤️ ❤️

All the translation sources have been linked in the last section of the commentary.

[filipinoizukuu]

I saw your post about the FA's translations, and I totally agree. Sometimes, when they do not translate accurately, is to make it sound better or cooler in English, but it just ends up taking away a lot from the context and characters. We know how one of the most affected character interpretations is Katsuki's, a main character, no less. And Izuku and Katsuki's relationship too, which is something super super wrong, considering is deeply intertwined with the main plot of the series, thus if someone misinterpreted their dynamic, this person would miss a bigass chunk of the message the story has.

Here is the panel you mentioned before btw

I remember when I read this, only 10 or 11 chapters into the manga (?), and I was like "...I'm...pretty sure this guy didn't say that" khshsjdhs

OK FIRST OF ALL LMAO HELLO MANG!! THANK YOU SO MUCH AND DW ABOUT IT I TOTALLY GET WHAT YOU MEAN !!

(this is your warning for a long post ahead!)

In any case, I still think you're very correct on this! Not to ramble a bit, but Horikoshi's particular talent in developing the plot of MHA is actually very very brilliant and there are a lot of blink-and-you'll-miss-it details that together, assemble the big picture of what MHA is.

Translations are such an integral part of being able to understand foreign media. MHA or otherwise. The simplest of details say a lot about a character and often times make or break a series because everyone knows that strong character dynamics are what carry even the shittiest of plots.

First and foremost, I want to clarify that because of the nature of fan translations and the fact that most of it is volunteer work/ written out of pure enjoyment of the manga--we shouldn't judge these fan translators too harshly (if at all) for interpreting it the way they want to. FA, as far as I can tell, is a fan-based group that works out of donations.

The first thing I wanna bring up is that when it comes to fandom and its works, there are two types: Curatorial and Transformative. Now, the transformative part is something that must be very familiar to a lot of you. Fanfiction, fanart, and most headcanons fall under Transformative Works (i.e. AO3) because they are all about transforming the canon world to fit each individual's personal preferences. Meta-analysis posts and Character Breakdowns are also classified under this.

Curatorial on the other hand are fandom interactions made with the explicit purpose of being as close to canon material as possible. This is working out the logic of quirks, for example, or memorizing as much canon content about your favorite villain as possible. These are more cold, hard undeniable facts that lend themselves to the DIRECT VISION the creator/author had while making this media. If you were to ask me my opinion on this, this would be the moment where I tell you that the Curatorial side of fandom is where fan translations should (for the most part) fall under.

What people need to know though is that oftentimes, fan translations do not.

Translating isn't and has never been a one-is-to-one process. There are hundreds of thousands of aspects in a language that make it so that it isn't perfectly translatable. Colloquialisms to sayings to dialects, to just plain-out words that don't have a proper English translation to them! Manga is made by and for a Japanese audience, so obviously in a lot of instances, there will be cultural nuances that will not be understood by anyone who hasn't immersed themselves in Japanese culture/language.

So what does this mean then for fan scanlations?

It means that a vast majority of translators teach themselves to only get the essence of the message. They take the dialogue as they understand it and translate it to something of their interpretation. When language and cultural barriers exist, translators do what they can in order to make it understandable to the general populace. This means making their own executive decisions on how they see a character speaking. In example, if they see Todoroki using very direct and impersonal Japanese--one translator might interpret it to mean that Shouto is stiff and overly formal, while another may see it as him being rude and aloof.

The problem is, translators are fans just like us.

Like with the image Mang posted above, the translator based the usage of curse words off of their understanding of Bakugou's character. The lack of foul language in the original Japanese might have made the translator think "Oh. There just aren't enough Japanese cusses for his character." And took that as an initiative to make Bakugou's lines more colorful and violent because this was working off of the image Bakugou had had at this point in canon.

But Codi! You may cry. Wasn't it proven multiple times that Bakugou prefers concise and short lines? They should've known better!

Yes. Maybe they should've known better. But tell me honestly in your first watch-through of MHA, did you perfectly understand Bakugou's character either? Did you catch the whole 'direct and no flowery language' aspect of his language when you first saw Season 2?

Most people don't. I only really understood this fact after I'd read multiple discussions of it and even double-checked the manga myself. These are the kinds of things that only become noticeable with a sharp eye and some time to scrutiny. But the fact of the matter is that when it comes to fan translations, the clout and recognition are always going to go to who can post the quickest.

Am I excusing erroneous translations? A bit, I guess. It's hard for us to go in and expect translators to catch all these errors before release when we ourselves only catch these errors like 4 months in with a hundred times more canon context than these scanlation groups did at the time of its release.

Still, there are plenty of harms that come with faulty translations.

When a translation is more divorced from the original's meaning than usual, it creates a dissonance between what is actually happening versus what the audience sees is happening. This looks like decently-written character arcs being overruled and rejected by most of the readers because of how 'jarring' and 'clumsy' it seems. By the time translators had caught on to the fact that Bakugou was more than just a ticking time bomb, we were already several steps into showing how significantly he cares for Deku.

The characters affected most by these translation errors are often those with the most subtle and well-written character arcs. A single mistake in how the source material is translated can make or break the international reception of a certain character to everyone who isn't invested enough in them to look deeper into the canon source.

It creates hiccups in plots. Things that seem out of character but really aren't. Going back to MHA in specific, the way that inaccurate translations hurt both the 'curatorial' and 'transformative' parts of the fandom is that people have begun to cite them as proof of the main cast's characterization.

Bakugou and Todoroki are undeniably some of the biggest examples of mistranslation injustices.

Katsuki, in a lot of people's minds, has yet to break out of the 'overly-aggressive rival' archetype box that people had been placing him in since Season 1. One of the most amazing aspects and biggest downfalls of Hori's writing was that at first, nearly every character fit into a very neat stereotype for Shonen Animes (Deku being the talking-no-jutsu sunshine MC, Uraraka being the overly bubbly main girl, Todoroki being the aloof and formal rival). He made the audience make assumptions about everyone's characters and then pulled the rug beneath our feet when he revealed deeper sides of them to play around within canon.

What made this part about Horikoshi's set-up so good though were the many clues we were given from the very beginning that these characters were more than what they acted like. Even from the very first chapters, for example, we learn that Katsuki (as much as he acts like a delinquent) dislikes smoking because it could get him in trouble.

That is just a single instance of MHA's use of dialogue to subtly divert our expectations of a character.

Another example is when they replaced 318's dialogue of the Second User saying that Katsuki "completes" Deku with him saying that Katsuki merely "bolsters" him. This presents a different situation, as that line was meant to reinforce the importance of those two's relationship as well as complete the character foils that MHA is partially centered around. By downplaying their developed connection, it becomes harder for the MHA manga scanlations to justify any future significance these two's words have on each other without mottling the pacing of the story.

AKA, it butchers the plot.

With every new volume, there are dozens and dozens more of these hints and bits scattered around! So many cues and subtle foreshadowing at the trajectory of everyone's character arcs--yet mistranslations or inaccurate scans make it so that we don't notice them. This is what I mean when I said that some character arcs are being done great injustices.

Until now, many people can't accept that Katsuki Bakugou cares for anyone other than himself (much less his rival and MC, Izuku Midoriya), nor can they accept that Todoroki would ever willingly work by Endeavor's side. The bottom-line then becomes that because of people missing heavy bits of characterization that become very plot-significant in the future.

When it comes to the point where people can no longer accept or fit their interpretation of the earlier manga events to what is happening in canon, the point of a translation fails completely because it has lead people to follow an entirely different story.

TL;DR - Fan scans are hard. Translating is hard. Don't get too mad at fan translations, but also maybe don't treat them as the catch-all for how characters truly operate. Thanks.

Side note: DO NOT harass FA for any of these things. FA is actually a pretty legit and okay source for scans (they've been operating since like 2014 ffs), but regardless of that they still don't deserve to get flack for their work. You can have any opinion or perspective of canon that you want, I don't care. These are just my two (more like two million tbh) cents on translations. I suggest reading takes from actual Japanese audiences tbh if you wanna know more about the source material of MHA. ¯\_(ツ)_/¯

[dsmp-shitposts]

OKAY I'm in an analysis mood so!!

Here's why "Savior" by Rise Against is such a good song about c!wilbur and c!Tommy's relationship in the dream smp!

Firstly tho I just want to give an honorable mention to the first lines of the song: "it kills me not to know this / but I've all but just forgotten / what the color of her eyes were / or the scars and how she got them." it's such a good c!bee duo line and I might have to analyze it in another post lol

(there's kinda a tldr at the bottom if you don't want to read the specific lyric analysis and just was the overall analysis!)

The lyrics I want to analyze (these are more about characterization) are: "as the telling signs of age rain down / a single tear is dropping / through the valleys of an aging face / that this world has forgotten." this is about wilburs resurrection. the first lyrics, "as the telling signs of age rain down" are about how much more different Wilbur looks to Tommy after he was resurrected. wilbur was in limbo for what he perceived to be 13 years, and he shows it physically. he has the white streak of hair that signifies his revival, and I know there's a popular headcanon that wilbur came back "wrong." "A single tear is dropping" is referring to Tommy's reaction to the revival. we know he was in disbelief and even angry at wilbur being back, but intense emotions also can bring on tears. it's a very natural response from your body. The third line is pretty much the same as the first, but "that this world has forgotten" is about wilburs impact on the history of the smp. obviously he's been a very big player in many major plot points, but since his death he has mainly faded to the background in most characters minds, especially after ghostbur's library with all the records from lmanberg got destroyed. as the smp progressed, wilbur got talked about less. focus shifted from him to dream who really emerged as the villain in the story after wilburs death. we can see the impact of this after wilburs revival. everyone on the smp had gotten used to living without him for so long, growing past the people they were when Wilbur was alive. and now when Wilbur gets revived, he expected fanfare and everyone welcoming him back, but in reality people's memory of him faded.

okay now that we have the preface lyrics, we can go into the ones that are more about tommy and Wilbur as a duo. the first ones before the chorus are "but seldom do these words ring true / when I'm constantly failing you / walls that we just can't break through / until we disappear." I'm gonna analyze this with the first two lines and the last two. the first two lines are from Tommy's perspective about him trying to constantly please wilbur. we see this with him gathering lots of stone for him and following Wilbur to stand against Las nevadas and quackity. but even with all of this, Tommy still feels like he's "constantly failing" wilbur and that he needs to do more in order to stay in high regard in Wilbur's mind. we could even look at these same lyrics from wilbur's perspective! wilbur might have felt like he's failed Tommy for not being there for him for the time he was in limbo. I know Wilbur doesn't know about what dream did to Tommy in the exile arc, but I'm betting that if/when wilbur finds out about that, he will feel horrible for not being there himself to stop dream because wilbur cares about Tommy. (this could even lead to him resenting ghostbur more because ghostbur was there but wasn't able to do anything). now with the second half of these lyrics, the "walls that we just can't break through" is referring to the emotional vulnerability, or lack thereof, between the two. I'd argue that wilbur is more emotionally vulnerable to Tommy than Tommy is to wilbur. now, there is a severe lack of communication between the two, but wilbur drops "trauma bombs" where he'll unload something all at once and suddenly. he doesn't do much internal reflection of his feelings, instead wanting to share with others, Tommy in this case, to get validation. with sharing, he wants people to agree that he's a bad person but at the same time wants them to refute those ideas so he feels like he's healing without actually doing anything. now Tommy does more introspection about his feelings (cc! Tommy monologuing) and doesn't feel as big a need as wilbur to share his feelings and trauma. and besides, Wilbur dominates the conversation most of the time anyways so Tommy wouldn't likely be able to carry a constructive conversation about his own feelings without getting talked over by wilbur.

now we're moving onto the chorus! it goes: "that's when she said / 'I don't hate you / I just want to save you / while there's still something left to save' / that's when I told her 'i love you / but I'm not the answer / for the questions that you still have.'" I see this as a conversation between Wilbur and Tommy; Tommy saying the "I don't hate you" section and Wilbur saying the "I love you" section. it's important for Tommy to make it clear to wilbur, and himself, that he doesn't hate Wilbur despite his past betrayal of lmanberg. wilbur thinks everyone hates him, so Tommy consistently sticking by his side is a reminder to Wilbur that he isn't alone. Tommy staying by wilburs side is also how he's ensuring that wilbur doesn't spiral again ("I just want to save you"). he knows that wilbur still isn't in the best mental place, not having the right environment to heal in limbo, so it's more crucial in his mind to be wilbur's crutch right now because it'd be very easy for wilbur to spiral again ("while there's still something left to save"). wilbur, with his part of the lyrics, wants to ensure that Tommy knows he still cares about him despite being gone for a long time. now for the last part of wilburs lyrics, I would love for it to mean that "wilbur understands that he can't be a good mentor to Tommy anymore because of everything that happened. he wants Tommy to realize that he does care for him but their relationship shouldn't function with Wilbur as a mentor anymore," but that wouldn't be accurate to their canon relationship. wilbur still wants to be Tommy's mentor because that's how their relationship has always functioned. my hope is that in wilbur's healing process that he realizes he doesn't have to be a mentor to Tommy, they can just exist as friends. and I would love for Tommy to realize that it's not his job to save Wilbur! while having friends you can talk about your emotions with is good, he shouldn't have to push his own feelings aside to prioritize wilbur's. wilbur also needs to learn that self reflection is a part of healing

the final specific lyrics I want to analyze are: "one thousand miles away / there's nothing left to say / but so much left that I don't know / we never had a choice / this world is too much noise / it takes me under once again." the first three lines, in my opinion, all relate to the fact that Tommy had gone through so much while wilbur was dead, such has dream's manipulation. the last three lines of this section, which are honestly my favorites, are relating to both of their revivals. even though wilbur and Tommy have developed so differently since the lmanberg and pogtopia eras, they have this one thing in common. Tommy didn't have a choice in his death or resurrection. both were committed by dream and have contributed to the massive amount of trauma and PTSD that Tommy has. wilburs death was practically by his own hand as it was an assisted suicide, but his resurrection wasn't his choice, again done by dream murdering ghostbur. that line could also refer to wilbur not feeling like he had a choice in living anymore, feeling like death was the only option for him at the end of his spiral. the last two lines refer to the mental problems that both Wilbur and Tommy are still facing. we talked about wilburs a bit with his need for validation and him villainizing himself in his mind. Tommy still struggles with suicidal ideation, seen most recently with his comments while on the balcony in Las nevadas. he also struggles with his triggers from the final control room and the prison that we see him try and speedrun exposure therapy for. what I'm trying to get at with this is that wilbur and Tommy have developed so differently while away from each other but they have their resurrections in common.

OKAY CONCLUSION TIME!! (also kindof a tldr)

while Tommy and wilbur have been apart from each other for a while and developed in different ways, their relationship after both of them have been revived is centered around both of their relationships to healing from their trauma. Tommy feels like he's the one who has to "save" wilbur and keep him from spiraling again, letting his own feelings be pushed aside to prioritize wilbur's. wilbur lets himself be the saved to Tommy's savior. he consistently seeks out validation for his own feelings instead of taking the time to sort out how he really feels about the things that have happened to him.

if you read this far then oh wow thank you!! I hope this made sense and I'd love to hear what you think of the comparisons to this song!

[mallowstep]

hi matt!! sorry for the dredfully overwhemlming amount of asks, but i just wanna ask- any tips 4 beginner ficwriters? i'm working on a songfic oneshot ("are you satisfied?" + cinderpelt) and just wanted some tips 4 a beginner writer

you're not overwhelming me! fear not. i try to say when things bother me so that like. there's no lack of clarity. unless i ask you to stop doing something, it's fine.

on that note: i prefer matthew over matt. mateo and mallow are also good.

(note to said note: this is by no means a big deal so don't fret about it.)

aanyway

some disclaimers: i am not a published writer or anything, this advice is just advice that works for me so take what works for you and ignore the rest, and i'm giving advice wrt writing fic, which does have its own genre quirks that means this isn't necessarily broadly applicable. but some of it is.

kay first piece of advice: if you're not having fun, don't do it. this is a hobby, being good at it is not required. if getting better makes you happy, then by all means, strive for improvement. but if you stop having fun, stop.

everything else under a cut.

second: there's no shortcut. i've been writing since i could hold a pen, and writing with concentrated effort for over a decade. i had a shelf full of notebooks. i try to hit at LEAST a thousand words a day, and i'm usually writing about three thousand.

writing is hard. it's the kind of hard i enjoy, but it's hard. i derive satisfaction out of it, but it is work.

third: wrt that point, getting better at writing requires working on your writing. that might sound obvious, but there are all sorts of writing Exercises which are designed to help you get better at doing things. i've got a HUGE library of them and i'm always happy to share.

fourth: don't compare yourself to others. it's a little cliche, but...really, it's best to avoid. there are certainly ways to do this that are helpful, but i...think it's best for especially beginning writers to avoid doing that. it's hard to see the years of experience that lead up to being a Good Writer, and comparing yourself when you're starting out is just...not helpful.

fifth: being out of character is a lie. this is pretty warriors specific but like. most of these characters don't have very consistent characterization. be in character for yourself, make sure they resemble canon characters, and don't stress about it.

sixth: make a plan. i'll leave what that means and how you do it up to you, but even if your plan is a scribbled sentence, make one.

i also want to add that the plot might not be in the physical actions of characters. this is something i had to figure out for myself, but a story can just be driven by emotions, with very little happening. now, you definitely have to be careful with this, because anything longer than a couple thousand words usually needs a decent amount of Physical Plot, but most of my chapter level outlines focus on emotions.

anyway there's a million ways to do this but everyone i know does something, even the ones who claim to do nothing.

seventh: it's okay if you feel like you need an audience. for me, the Point of writing is to share it with people. "writing for myself" for me REQUIRES i share things and publish them. there's no such thing as a story i write for only my eyes.

and related, but that audience doesn't have to be the whole internet. i've been recently sharing quite a lot of things just among my friends, and it's been Really Good for my writing and for my...i don't want to say mental health, bc that implies not doing that wasn't healthy, but it did just...make me feel good.

obviously not everyone has that opportunity but i just wanted to throw these two ideas together because they work in concert.

eighth: write a lot. what it's important.

ninth: tag your works appropriately. what that means is a whole other topic i'm not really qualified to get into but. seriously. as someone who was raised in ffn, ao3 is a GOD SEND and y'all should appreciate it. overall, tagging culture on ao3 is good, but just...remember to tag. i'm not a huge fan of tumblr style tags on ao3 but i do have a few, such as "another au i give u 0 context for."

tenth: nothing is permanent. write a lot, post fast, don't be afraid to edit. p sure i'm going to b making mosskit they/them in hitds bc vox's got me on it. there's lots of my works with edit notes, but that's because i'm a programmer who was taught to always explain my edits.

you don't have to do that.

anyway the point is if you don't like something, change it! it's your writing.

i do recommend not deleting things, because i feel it's unproductive, but if you really hate having something up, delete it!

have a good time.

<3

[ramblings-of-a-mad-cat]

I really want to read the post where you say "why Ravenclaw is the House that suits MC the most in the main story" but I dont find it

I haven’t ever made a full length post about it, come to think of it. I’ve talked about it in previous Ask responses but admittedly I have quite a few of those. So I suppose now is as good a time as any! 

Ultimately, HPHM’s story is designed so that any House can work for Jacob’s Sibling. Obviously, no one House is “canon” over the others. But in my personal opinion, certain Houses do make more sense for different reasons. Everything can change based on how you characterize MC, but setting aside the dialogue choices, they tend to have a general personality that fills in for most of the scenes. It’s average, a kind of “everyman” type. And certain choices can arguably be considered “canon” when they’re the ones that are free, placed next to choices that are locked behind attributes or friendship checks. That is the general vision of MC that I’ll be analyzing. 

But first, the characters. 

One of the primary reasons that MC fits Ravenclaw the best in the Main Story is because there are several characters who are aligned to MC in their Sorting. They always follow MC to whatever House they go to. Thus it becomes a question of which house suits them the most. Rowan Khanna, I think, speaks for them-self. I could see them in any House but they are a Ravenclaw through and through. I bet the only reason they ever get Sorted anywhere else is because they ask the Hat to let them follow MC. They are absolutely brilliant, with a love of reading and learning new things. They’re eccentric as well, deeply creative and good at coming up with plans. They dream of being a Professor, and they turn to books above all else. Next we have Jacob. Another character who could go anywhere based on interpretation, but he strikes me as a Ravenclaw too. Several of the options you can give when expressing speculation about him suggest that the reason he probably investigated the Vaults in the first place was his thirst for knowledge, his desire to know their secrets. To be specific, his stubborn and obsessive need to know. I feel like Jacob couldn’t let this go until he had learned all of the hidden magic and secrets of the Vaults, until he realized far too late that he was in over his head, mixed up with R and everything. 

Then there is Flitwick. A canon Ravenclaw of course, and one of the four Heads of House. It could be coincidental, but even if it is, Flitwick is easily the most developed of the Heads of House within this game. McGonagall is totally in character, but she’s part of the sideline outside of a small section of Year 2. Sprout contributes absolutely nothing, and Snape is likewise in character, but lacking anything to do until Rakepick shows up. Flitwick prepares MC for the first duel with Merula and gives them counsel. I suppose it’s not that much more than McGonagall teaching them the revealing spell in Year 2, but this felt so much more personal. You have the chance to make a promise to Flitwick, and either keep it or break it. In Year 4, he is I think the only teacher to speak up in Rakepick’s defense, and this leads into even further development of his character. By Year 5, he starts to warn MC not to investigate the Portrait Curse, but stops mid-sentence as he realizes that nothing he can say will stop them. I bring all of this up because Flitwick being such a fleshed out character in this game kind of goes hand in hand pretty well with the idea that he is MC’s Head of House. He is the only Head who shows the slightest bit of remorse when banning MC from Hogsmeade. With him, you really get the sense that he’s being overruled and doesn’t agree with it. That he’s in MC’s corner. And god I love him.  I won’t stray too far into the Quidditch characters, but I will say that Murphy and Orion are two other characters that stick with MC, who I could very much see as Ravenclaws, both in different ways. But still, it’s Jacob and Rowan who are most important in affecting the story.

Which brings me to the story itself. 

Hogwarts Mystery is different from the story of Harry Potter. This is the tale of Jacob and his Sibling. In HP, we know from the beginning who the villain is, that he’s an evil monster. We know what he wants, and that he failed. It gets fleshed out more later but everything you need to know is in that first book. We see him, he clashes with Harry, and loses. The books are a hero’s journey. A story of good versus evil. They do have mystery aspects, each of the books has a mystery told within it’s pages. But the overarching story is not about what’s hidden in the trapdoor, or who opened the chamber of secrets. It’s about Harry and Voldemort’s rivalry, their hero/villain dynamic. Everyone knew going into DH that Harry would defeat him in the end because that’s how these things go. OOTP basically confirmed it but most fans had known for years. 

HPHM is different. 

There are heroic moments, and Merula in particular compares MC to being a “hero.” But nothing they do is heroic in the same way as Harry. They both take active roles in the story but in different ways. Harry is still reactionary. He takes it upon himself to solve the problems, but he still waits until the problems show up. MC plans to open the Vaults even before the Curses show themselves. They arrive at Hogwarts with a goal in mind, finding Jacob. And with Hogwarts Mystery, the overarching story is not a hero’s journey. Because MC is so much more ambiguous than Harry. It might seem redundant to say that this story is a Mystery, but it is. An ongoing investigation, the unraveling of a conspiracy. Learning the truth about just what went down during Jacob’s years at Hogwarts. By HBP, Voldemort was such a familiar presence that we were learning the ins and outs of his childhood, right down to how his parents met. By Year 6, we still have no idea what R really is, or what they want. We don’t even know what it stands for. The black and white of the books, the heroes and the villains...that’s all replaced with shades of gray. Jacob is constantly in the gray. So is Rakepick, at least at first. Don’t get me started on Merula. Ben is another character who is definitely good, but has gone through such a roller coaster about who he is and whether he can be trusted. 

Then there’s the ambiguity of MC them-self. The hints that they don’t share everything with people, are prone to tricking others, and for all we know, might wind up on the Dark Side someday. I’ll admit, this can also lend itself well to MC being a Slytherin, and indeed there are dialogue choices that are locked behind being one. But I still feel as though MC playing detective throughout this entire game, that whole premise lends itself pretty damn well toward a Ravenclaw MC. They’re trying to defeat the bad guys, but their main method of preparing for that fight is not train up an army of students, it is to investigate the Vaults, and investigate R. Even going as far as to work with Wizarding police. Granted, I know Harry poked around a lot too. And MC does form the Circle of Khanna, just like how Harry formed Dumbledore’s Army. Both of them do exhibit both behaviors, but MC specializes in covert investigation more than preparation for combat. Again, at least they do so in the main story. The Circle of Khanna was not meant to be like Dumbledore’s Army, at least not in concept. MC first conceived it as the idea of standing toe to toe with the Cabal by having a secret organization of their own. I know that didn’t really land perfectly in actual practice but that was the whole idea. And if there’s one thing MC has a constant stream of, it’s ideas. Not always the right ones, not always fast enough, but they do have them, and these ideas steer the plot. In the main story and otherwise. 

It’s probably a bit cheap to get meta, but so be it. 

I can’t help but notice how, if we take every other contribution to the Potterverse into account...well then, we’ve got a Gryffindor Protagonist in the form of Harry. We’ve got a Slytherin Protagonist in the form of Albus Severus. And a Hufflepuff over in Fantastic Beasts with Newt Scamander. If MC is a Ravenclaw, then that completes the quartet. But there’s another Quartet out there as well - that of the Original Four. Rowan, Ben, Penny, and Merula. The Year 1 characters and the OG leads of the Hogwarts Mystery story. Notice anything about them? We have a Hufflepuff, a Gryffindor, and a Slytherin...but no Ravenclaw. None that is, unless MC, and therefore Rowan by extension, is a Ravenclaw. MC being Sorted into the House of Eagles completes both of these groups. I dunno, I just find it curious that unless the Player goes to Ravenclaw, the first student character we meet in that House shows up in Year 3. Because Jam City wrote in some amazing characters for Ravenclaw. My love of Tulip Karasu is well documented, but I also think Talbott is pretty damn fascinating. Andre and Badeea rock too! Ravenclaw is also a relatively neutral House. I’ve said before that HPHM ignores the House rivalries, and that’s easiest to incorporate in the House of Eagles, which mostly keeps to itself. It would not be socially strange for a Ravenclaw to have so many friends from different Houses. I’m not saying a Slytherin MC couldn’t befriend Ben, for example, but he’s a Muggle-born Gryffindor and that would be a big deal to everyone else. Again, not saying it couldn’t happen, just that it would turn heads and people within Slytherin might go as far as to treat MC like a traitor. I like this premise, but...would Felix seriously help MC prepare to fight Merula, a fellow Slytherin, on behalf of someone like Ben? There are other trivial problems, like the question of two male Prefects if MC is Gryffindor, etc. 

But that’s just a few thoughts. Again, there’s clearly no “canon” House, and neither of my MCs are even in Ravenclaw. But I think it’s fun to explore the idea as Ravenclaw is a House that, I think, is sorely needing development.