#women-- i should say girls -- but female characters in general RARELY get the kind of arc she's getting

[adarkrainbow]

Given French variations are spoken about here I can mention a few things - though this all makes me want to make a more general post about the Delarue-Ténèze classification of this fairytale type. But already what I can add is:

YES the concept of fairy godmother is French and comes from literary fairytales, I can confirm this. The very idea of a fairy godmother comes from French literary fairytales, they did not exist before - and even their medieval ancestors (not quite fairy godmothers yet, but fairies/deities of fate invited by specifically-numbered groups at meals during which one gets offended) were French (Le Jeu de la Feuillée and Perceforest being the most famous, though it all ties to an actual folk-belief/pagan practice of France in honor of "Dame Abonde", which herself became a fairy godmother from the fin-de-siècle fairytale onward)

Actually while the Cinderella variations seem not very present in oral culture and only literary, there are Cinderella ancestors in oral French fairytale tradition... But they belong to other types of fairytales. Now, it will be clearer when I make my post about the Delarue-Ténèze classification, but long story short when they made their classification they realized they couldn't make a proper category for Cinderella, because it was too intermingled with other "fairy-tale types", and as such their "Cinderella" section is one of three sub-types of one same fairytale type.

Madame d'Aulnoy having Finette be a cunning and self-reliable Cinderella is to be expected when given the two info of 1) Finette is actually meant to be a female version of the Hop-O-My-Thumb character, defined by his cunning and self-reliance and 2) madame d'Aulnoy was a feminist of her time, who was really into women being clever and self-reliable and saving themselves, compared to men who are either a danger or incompetent (something that was influenced by her very own life, since madame d'Aulnoy had herself to be cunning and self-reliable in her youth to escape first her abusive husband, and then the death threat that loomed over her).

Might I ask who wrote "The Black Cat"? I haven't hear of it as a literary story but the plot is very similar to a folkloric fairytale I once read from the Bretagne region, an oral tale known as "The Two Witches".

While both the stories of Perrault and madame d'Aulnoy highlight forgiveness, one should not ignore the irony in it all. For Perrault the forgiveness seems to be genuine, but madame d'Aulnoy adds a Moral at the end of her tale (which is interesting because, unlike Perrault, d'Aulnoy rarely writes Morals), and what does she says? That Finette's wicked stepsisters are "more cruelly" punished when Finette does them gift that when the ogre tried to kill them ; while Perrault presented a virtuous girl acting like a new Jesus if I dare be so blasphemous (she forgives with all her heart those that abused her), madame d'Aulnoy begins her Moral by pointing out Finette's apparent forgiveness is actually a "noble revenge" that puts her sisters in her debt. By forgiving them, gifting them, doing them favors, using her position to help them, they are indebted and dependant to her, while being unable to touch or harm her. It is a very mundan, courtly, "noble" (literaly) way to take revenge. Cendrillon's main virtue is kindness and endurance ; Finette's main virtue is cunning and intelligence.

An extension of the point above: we see clearly the different takes on the same character by comparing how the two authors wrote the Cinderella-in-disguise treating her sisters. Perrault's Cendrillon surprises them by chatting casually with them and offering them oranges to eat, as if they were the best friends in the world. But when Finette goes near her sisters while riding her magical horse? She makes sure her horse covers them in mud and road-filth (the text even says they have a "mask of mud") before laughing and explicitely saying "Cinderella despises you as much as you deserve it." (It is the only time the word "Cendrillon" appears in madame d'Aulnoy's story, and it is an explicit reference to Perrault. A lot of madame d'Aulnoy's fairytales were reactions or continuations to those of Perrault, including this one, so comparing the two tales is not just a game - it was always intended to be for a dual reading)

In Heidi Ann Heiner's Cinderella Tales From Around The World, I've now read the variants from Germany, Belgium, and France.

*Of course the most famous German Cinderella story is Aschenputtel by the Brothers Grimm. If you don't know it from reading it, you probably know it from Into the Woods, and if you don't know it from there, you've probably heard of it in pop culture. Too many people mistakenly think it's the "original" version of Cinderella. But there are other German Cinderella stories too – all similar to the Grimms' version, but with differences here and there.

*In nearly every German version, and in both of the two Belgian versions the book features, the heroine gets her elegant gowns and shoes from a tree. It throws them down to her, or opens up to reveal them, after she either recites a rhyme underneath it or knocks on it.

**Some variants, like the Grimms', have the archetypal "father goes on a journey and asks for gift requests" plot line, and the heroine gets a hazel twig, which she plants on her mother's grave and which grows into a tree. But in other versions, the tree is seemingly a random one, which either a dove, a dwarf, or a mysterious old man or woman advises her to ask for finery.

**That said, there's one exception: a German version called Aschengrittel, where the heroine meets a dwarf who, like the fairies in some Italian versions, gives her a magic wand to grant her wishes.

*As in the Egyptian, Greek, and Italian versions, it varies whether the German versions have the heroine abused by a stepmother and stepsister(s) or by her own mother and sister(s), whether her father is alive or not, and whether the special event she attends is a royal ball/festival or a church service. In both of the two Belgian versions, the heroine's abusers are her own mother and sister(s).

*While in the Mediterranean versions, the heroine's future husband is always either a prince or (more rarely) a king, in the German versions he's occasionally a knight or a rich merchant instead.

*Other typical German and Belgian details are (a) the (step)mother forcing the heroine to sort lentils, seeds, or grain, usually by picking them out of the ashes, which is usually resolved by birds doing the job for her, (b) the prince (or king, or merchant) having the palace or church steps smeared with pitch so that the heroine loses her shoe, and (c) the notorious detail of the (step)sisters cutting off parts of their feet to make the shoe fit, which is revealed when either birds or a dog call out that there's blood in the shoe.

**One Greek version has the prince catch the heroine's shoe by having the church steps smeared with honey, but the Mediterranean Cinderellas usually lose their shoes either by accident or by choice, while in Germany and Belgium it's usually the prince's doing.

**The foot-cutting episode is clearly typical of German and Belgian versions, but the Grimms' other notorious detail, where the stepsisters' eyes are pecked out by doves at the end, isn't typical. The Grimms themselves added that grisly detail to give the story a more "moral" ending with the stepsisters appropriately punished.

*The Grimms' footnotes for their version are included in this book. They mention several other German variants, including two that continue after the heroine's marriage and have the stepmother and stepsister try to murder her, and one where the stepmother starts out as the heroine's childhood nurse and murders the girl's mother by pushing her out a window, then claims she committed suicide.

*The German, Belgian, and French Cinderellas aren't quite so cunning and unfazed as the Greek and Italian Cinderellas. Now we see more heroines who cry over their hardships, and/or who beg to be allowed to go to the ball/festival or church, and whose magical help is more given to them and less in their own control. One notable French exception to this pattern, though, is Madame d'Aulnoy's cunning and self-reliant Finette Cendron.

*France doesn't seem to have the same pattern of culturally-distinct oral versions of this tale that other countries do. Instead, the French examples in this book are nearly all literary versions, and each one is almost completely different from the others.

**Of course the most wildly famous and important French Cinderella is Charles Perrault's Cendrillon. This is the Cinderella we all know best, with the fairy godmother, the pumpkin coach, the magic only lasting until midnight, and the glass slipper.

**Published in the same year as Perrault's version was Madame d'Aulnoy's Finette Cendron. This is an interesting, much longer variation that starts out as a Hop o'My Thumb/Hansel and Gretel story, where three sisters are abandoned in the woods and nearly eaten by an ogre, only for the clever youngest, Finette, to outwit him, but then turns into a Cinderella story when the older sisters abuse Finette after they make the dead ogre's castle their home, but Finette follows them to a ball in finery she finds in a chest.

**Another French literary variant is The Black Cat, which starts out as a Cinderella tale, but then has the heroine be stranded on an island and give birth to a black cat son (long story), then turns into a Puss in Boots tale as the cat helps his mother. Yet another is The Blue Bull, where the heroine runs away from her stepmother with her only friend, a magical bull, only for the bull to be killed protecting her from lions, and which then becomes a Donkeyskin/All Kinds of Fur-type of story, where she becomes a servant at the prince's palace and gets her ballroom finery from the bull's grave.

*Perrault and d'Aulnoy's versions are the only two Cinderellas so far where the heroine has a fairy godmother. Yes, in some others there are fairies or mysterious old women who help her, but the concept of a fairy godmother seems to have French literary origins.

*These same two versions, Perrault's and d'Aulnoys are also where we first see strong emphasis on the heroine's virtue and kindness, even to her cruel (step)family. While some oral versions do have her forgive them in the end, these literary versions not only have her do that, but have her constantly be gracious and kind to them (Perrault) or save their lives even at great personal sacrifice (d'Aulnoy).

*Now that I've read Finette Cendron, I can see its slight influence on Massanet's opera Cendrillon. In Finette Cendron, instead of Perrault's choice to have the slipper taken from house to house, all the ladies are invited to the palace to try it on, and Finette's fairy godmother sends her a horse to ride there – just like Cinderella's fairy godmother transports her to the slipper-fitting at the palace in the opera. Finette Cendron's Prince Cherí also falls deathly ill with love for the mystery girl, but is cured when he finds her. (A recurring theme in many different variants, which I forgot to mention when I covered the Mediterranean versions.) In the opera, this has its parallel when Prince Charming faints in despair over the seeming failure of the slipper-fitting, and before that when Cinderella herself becomes gravely ill because she thinks she'll never see her prince again.

@adarkrainbow, @ariel-seagull-wings, @themousefromfantasyland

[erwintiddies]

gabi braun is a revolutionary female character because of her introduction in the final act of a male-dominated story as a character who shoulders the role of the manpain vengeance-seeking male protagonist, only in this repetition she serves as a chance to address the vengeance and blind hatred and cycles of violence that were perpetuated and remained largely unexamined by her predecessor, exposing viewers’ hypocrisy and making the male fanbase cry and piss their pants and throw up. in this essay i will

[audreydoeskaren]

Hello hope you're having a nice time! uwu

What do you think of the cdrama "Miss S" set in Republican Era.

Hi! In terms of the costuming, short answer is I think it's not good. It's an adaptation of the Australian series Miss Fisher's Murder Mysteries, which I love, and its costuming cannot hold a candle to the original. The time setting is kind of vague----most say 1930s, but Miss Fisher is set in the late 20s and there are places where the costumer is probably trying to go for a ✨1920s flapper✨ vibe but couldn’t do it. This is definitely one of those Republican era dramas that try to recreate the vibe of "old Shanghai" or whatever using modern clothing and don't bother to be even remotely historical. Any attempt at identifying historical precedents for their costumes is reading too much into it, because it's technically Republican era guzhuang. I'm sorry if this sounds really harsh but that's the thing for this entire genre of drama costuming, and I've already covered some examples previously (see Rookie Agent Rouge, Couple of Mirrors, Fall in Love). I think I'll make a new category in my masterpost for this particular kind of stock Republican era costuming.

Miss S 旗袍美探 (2020)

We're just gonna look at some individual outfits.

The cheongsam worn by the lady to the far right is kind of legit for the late 20s, but then the protagonist in the middle is wearing a tacky modern cheongsam that just coincidentally looks a bit late 30s. Definitely not intentional though. The "Western" outfit on the lady to the left doesn't resemble anything in Western women's fashion from any decade of the 20th century, and is likely a generic Taobao "vintage" outfit.

They have a weird obsession with capes which I don't understand. The fit, collar and fabric of the cheongsam are all unusual (in a bad way). The "Western" outfit is again not legit.

Weird cape obsession, weird fabric and fit.

For reference, there was a 1928 film about a lady detective starring Hu Die (女侦探). This is what their costumes look like:

Uhh, so elegant, so classy, so avant garde. I'm swooning.

By the way, I know Miss Fisher's Murder Mysteries is a great show and generally has very good costuming, but they have some instances of characters wearing Chinese fashion and they’re all handled poorly. There is this one episode featuring a female Chinese character and her outfit is just... pure cringe. I know English language info on Chinese historical fashion is rare but, there are quite lot of films and artworks from the late 20s that should give the costumer an idea of how a Chinese girl from that era would've dressed, definitely not the cheap modern cheongsam they put her in. They even had Miss Fisher comment on how that cheap ass dress "must have been her wedding dress" or something. If you wear that to a Chinese wedding in 1929 be prepared to get roasted. I've been wanting to rant about this since I watched the show and finally have the vessel (this hellsite) to do it.

From @phrynefishersfrocks

I couldn’t find that particular episode so here is a complimentary photo of Miss Fisher also in a (highly inaccurate) cheongsam. This is a million miles away from a late 20s cheongsam, and would be more appropriate for a late 40s evening occasion. However, I can assure you this is not because the costumer wanted to put Miss Fisher in a late 40s cheongsam, but simply because they researched late 20s Chinese fashion very poorly (or didn’t bother to research at all, because how dare Chinese people have fashion and not just a single dress that didn’t change for decades).

Miss Fisher could I interest you in a dress like this:

[weirdratblogs]

I feel like Pokemon’s really missing out by not leaning more into its potential for Gap Moe. I, admittedly, might be misunderstanding that term. Still...

Basically, the vast majority of characters and trainer archetypes use pokemon that match perfectly with their appearance and ‘voice’.

A Delinquent archetype will use pokemon in-line with grunts from either their generation or past generations. Schoolchildren will have early forms of pokemon, typically as seen in the first few routes of the game. Pokemon Fans use either the series’ mascots or their generations’ Pikachu-But-Not.

If a character looks like they should have a certain kind of Pokemon, they will. If an archetype sounds like it’s inclined towards certain Pokemon, it is.

There are rare few exceptions, and they’re all Characters, not Archetypes.

Most recently is Allister, but Bugsy, Jasmine, Iris, Korrina, and Drasna all fit.

It can be argued that female fighting-type specialists might as well, but this tends to be counteracted by the fact that, cute girl next to a Machoke or no, they still tend to have designs and personalities that match archetypical female martial artists. Bea - and the usual Fight Girl or Karate Gal trainer type - are all Super Serious Martial Artist Chicks That Prove That Women Can Kick Ass Too, and Maylene is a Genki Girl Kickboxer (I think, it’s been a minute. She looks like a Genki Girl Kickboxer, she might just be in-line with others).

It could also be argue that Drasna doesn’t necessarily match what I’m talking, given her appearance, but... I like Drasna, so she gets to stay.

This might be because I’m currently fiddling around with writing a fanfiction, and that one of the concepts I’m working on for an MC is someone who’s really caring and understanding towards Dark- and Ghost-Types, but I want trainer types that do the same!

Admittedly, Characters and limited archetypes are simply better for this kind of thing. It’s a really good tool to build individual backstories without outright saying what’s going on. Like giving a meek looking girl some incredibly fierce looking pokemon - Dark- and Poison-types, especially - to show she’s afraid of being hurt, and so developed or purchased protection in a sort of “Scary Dog Privilege. Or designing a gym that’s based in a motorcycle club’s ‘Not-Bar’, but everyone inside has fairy-types or otherwise cute pokemon like that one that got a lot of attention a few years ago because they’d go for rides with a bunch of tiny dogs.

Still, I’m sure there’s archetypes that could work, too. Especially since all the trainer encounters in a given game a designed and not just... random.

[the-king-andthe-lionheart]

A Dream is a Wish Your Heart Makes - Arya Stark and her Cinderella Motifs

In A Song of Ice and Fire, GRRM often uses fairy tale motifs to help tell a character’s story.  Sometimes this motif spans all throughout the characters arc while other times it will only be used for one or two scenes, or anywhere in between.  And often one character can have several fairy tale motifs at different times in their arcs or even running concurrently.  For Arya, she has quite a few fairy tale motifs in her arc, but for now I’m going to focus on her Cinderella motifs that are mainly prevalent in A Clash of Kings but do show up at other times all throughout her arc as well. I’m going to focus primarily on Arya’s A Clash of Kings arc, but we will be stopping by A Storm of Swords and A Feast for Crows a few times too.  And I am going to use several versions of the retellings of Cinderella, including the Disney version, but only the 1950 original and none of its sequels.  I also want to note that not all the parallels are obvious due to things being more metaphorical or symbolic, while other times being whatever subversion that tickled GRRM’s fancy at the time.

There are many common aspects across the board when it comes to Cinderella retellings.  Often it entails the heroine losing one or both of her parents, being oppressed by her abusive stepmother and stepsisters and being forced into menial, backbreaking labor that leaves the heroine dirty and often covered in ashes.  It usually entails a magical guardian who helps the heroine, magical transformations, ballgowns and a ball where she falls in love with either a Prince or a King. An identifying item is also involved, usually a slipper made of gold or glass, where one of the pair is lost when the heroine is running from her beloved.  And the Prince/King almost always searches the realm for the woman that identifying item belongs to, and when he finds the heroine they usually marry.

Written out like that it’s hard to believe that this is a motif used for Arya.  After all she’s not in the position to be going to balls and she’s just a child so it seems unlikely at the time she’s at Harrenhal she’s going to fall in love.  However, this motif appears all throughout her arc in various and creative and subversive and repetitive ways, and motifs don’t have to be all or none and they don’t have to be in the order the original stories were laid out.  A lot of people also don’t like the idea that Arya has an actual Disney Princess motif in her story because she’s a “tomboy”, but the fact is that Arya is a Princess at the time she’s at Harrenhal, it’s even explicitly stated in Arya X ACOK, whether people acknowledge it or not, where a lot of these motifs take place.  I know some people will be dismissive of this and think I’m reaching, but I hope upon reading this I’ll have convinced you of this motif being present. :)

Step-Mother and Step-Sisters

Some of the two most common features in any variant of Cinderella is the “Persecuted Heroine” and the “Female Persecutor”.  Often this manifests as the wicked stepmother and the evil step-sisters, but in some versions a stepmother does not appear, and it’s the heroine’s older sisters who confine her to the kitchens instead.  In the opera, La Cenerentola, Gioachino Rossini inverted the gender roles where the heroine Cenerentola is oppressed by her stepfather.  And in some retellings at least one of the step siblings is somewhat kind to the heroine even.  We symbolically see these archetypes many times in Arya’s narrative with various types of inversions.

When we enter ACOK, we find a dirty and disguised Arya traveling with Yoren and the Night’s Watch recruits, having just lost her father (a subversion of the prevalent theme of Cinderella losing her mother very young).  She is also being bullied by two older boys, Lommy and Hot Pie:

At Winterfell they [Sansa and Jeyne] had called her “Arya Horseface” and she’d thought nothing could be worse, but that was before the orphan boy Lommy Greenhands had named her “Lumpyhead.” - Arya I ACOK

That wasn’t the hardest part at all; Lommy Greenhands and Hot Pie were the hardest part. - Arya I ACOK

“Look at that sword Lumpyhead’s got there,” Lommy said one morning […] “Where’s a gutter rat like Lumpyhead get him a sword?”

[. . .]

“Maybe he’s a little squire,” Hot Pie put in. […] “Some lordy lord’s little squire boy, that’s it.”

“He ain’t no squire, look at him.  I bet that’s not even a real sword.  I bet it’s just some play sword made of tin.”

Arya hated them making fun of Needle.  “It’s castle-forged steel, you stupid,” she snapped, turning in the saddle to glare at them, “and you better shut your mouth.”

The orphan boys hooted.  “Where’d you get a blade like that, Lumpyface?” Hot Pie wanted to know.

“Lumpyhead,” corrected Lommy.  He prob’ly stole it.”

“I did not!” she shouted.  Jon Snow had given her Needle.  Maybe she had to let them call her Lumpyhead, but she wasn’t going to let them call Jon a thief.

“If he stole it, we could take it off him,” said Hot Pie.  “It’s not his anyhow.  I could use me a sword like that.”

Lommy egged him on.  “Go on, take it off him, I dare you.”

Hot Pie kicked his donkey, riding closer.  “Hey, Lumpyface, you gimme that sword.” […] “You don’t know how to use it.”

[. . .]

“Look at him,” brayed Lommy Greenhands.  “I bet he’s going to cry now.  You want to cry, Lumpyhead?” – Arya I ACOK

In the first two quotes we have Arya likening the behavior of Hot Pie and Lommy to that of Jeyne Poole and Sansa. In AGOT, Sansa and Jeyne took on the “evil step-sister” archetype (and before anybody attacks me, I don’t think these two are actually “evil”, just children who think it’s okay to bully someone who is different from them), but now we are shown that this archetype has temporarily shifted onto Lommy and Hot Pie, with some subversions.  These two are now male and they aren’t related to Arya in any way.  Some variants of the Cinderella story do portray male siblings mistreating the younger “Cinderella” sibling though.  One of the stories in One Thousand and One Nights depict a story called “Judar and his Brethren”, in which the main character is poisoned by his biological brothers in the end, depicting a rare tragic ending for this retelling. However, these subversions are completely fine because either way, they took on the role of the “bully” to Arya’s Cinderella archetype currently in the narrative.  

Furthermore, while Septa Mordane was the obvious “wicked stepmother” archetype to Arya’s Cinderella archetype in AGOT, I think arguably this has fallen to Cersei now (and the Lannister’s as a whole).  Cersei may not be present, but she is the reason why Arya is in the situation she is in right now.  After all, Cersei takes on the role of “Evil Queen” for Sansa and Jon (they both share Snow White and the Seven Dwarfs motifs) so I do think she is the metaphorical “wicked stepmother” in this equation regardless of the fact that Cersei isn’t anything remotely close to a stepmother to Arya in the narrative, but she fits the general archetype of “female persecutor” the most in the current situation.  For the case about Septa Mordane being a “wicked stepmother” archetype, I want to point to Cenerentola by Basile, in which the “wicked stepmother” started out as being the heroine’s governess, and Septa’s are the closest substitute to a governess in the universe of ASOIAF.

This isn’t the end to these archetypes being in play.  As the early chapters of ACOK go on we see the animosity between Lommy, Hot Pie, and Arya disappear to the point where they become allies and then friends. With this shift in dynamic we see the archetypes disappearing with some of these same characters taking on entirely new Cinderella archetypes, while the “wicked stepmother” and “evil step-sibling” archetypes move onto other characters as well.

At Harrenhal we are introduced to two wicked women who next take on the “evil step-sibling” archetype, Goodwife Harra and Goodwife Amabel.  These two even comment on Arya’s feet:

When Arya's turn came round, Goodwife Amabel clucked in dismay at the sight of her feet, while Goodwife Harra felt the callus on her fingers that long hours of practice with Needle had earned her. "Got those churning butter, I'll wager," she said. "Some farmer's whelp, are you? Well, never you mind, girl, you have a chance to win a higher place in this world if you work hard. If you won't work hard, you'll be beaten. And what do they call you?"

Arya dared not say her true name, but Arry was no good either, it was a boy’s name and they could see she was no boy.  “Weasel,” she said, naming the first girl she could think of.  “Lommy called me Weasel.”

“I can see why,” sniffed Goodwife Amabel.  “That hair is a fright and a nest for lice as well. We’ll have it off, and then you’re for the kitchens.”

“I’d sooner tend the horses.”  Arya liked horses, and maybe if she was in the stables she’d be able to steal one and escape.

Goodwife Harra slapped her so hard that her swollen lip broke open all over again.  “And keep that tongue to yourself or you’ll get worse.  No one asked your views.”

The blood in her mouth had a salty metal tang to it. Arya dropped her gaze and said nothing. If I still had Needle, she wouldn’t dare hit me, she thought sullenly.

“Lord Tywin and his knights have grooms and squires to tend their horses, they don’t need the likes of you,” Goodwife Amabel said. “The kitchens are snug and clean, and there’s always a warm fire to sleep by and plenty to eat.  You might have done well there, but I can see you’re not a clever girl.  Harra, I believe we should give this one to Weese.”

“If you think so, Amabel.”  They gave her a shift of grey roughspun wool and a pair of ill-fitting shoes and sent her off. – Arya VI ACOK

Later Goodwife Amabel even threatens to rape Arya:

Three Frey men-at-arms were using them that morning as Arya went to the well. She tried not to look, but she could hear the men laughing. The pail was very heavy once full. She was turning to bring it back to Kingspyre when Goodwife Amabel seized her arm. The water went sloshing over the side onto Amabel's legs. "You did that on purpose," the woman screeched.

"What do you want?" Arya squirmed in her grasp. Amabel had been half-crazed since they'd cut Harra's head off.

"See there?" Amabel pointed across the yard at Pia. "When this northman falls you'll be where she is."

"Let me go." She tried to wrench free, but Amabel only tightened her fingers.

"He will fall too, Harrenhal pulls them all down in the end. Lord Tywin's won now, he'll be marching back with all his power, and then it will be his turn to punish the disloyal. And don't think he won't know what you did!" The old woman laughed. "I may have a turn at you myself. Harra had an old broom, I'll save it for you. The handle's cracked and splintery—" - Arya X ACOK

Menial, Backbreaking Labor

When Arya is enslaved and forced into the oppressive walls of Harrenhal, she is forced to scrub floors and do other menial, backbreaking work from sunrise to sunset, just like Cinderella:

Weese used Arya to run messages, draw water, and fetch food, and sometimes to serve at table in the Barracks Hall above the armory, where the men-at-arms took their meals. But most of her work was cleaning. The ground floor of the Wailing Tower was given over to storerooms and granaries, and two floors above housed part of the garrison, but the upper stories had not been occupied for eighty years. Now Lord Tywin had commanded that they be made fit for habitation again. There were floors to be scrubbed, grime to be washed off windows, broken chairs and rotted beds to be carried off. The topmost story was infested with nests of the huge black bats that House Whent had used for its sigil, and there were rats in the cellars as well . . . and ghosts, some said, the spirits of Harren the Black and his sons. – Arya VII ACOK

She spent the rest of that day scrubbing steps inside the Wailing Tower. By evenfall her hands were raw and bleeding and her arms so sore they trembled when she lugged the pail back to the cellar. Too tired even for food, Arya begged Weese's pardons and crawled into her straw to sleep. – Arya VII ACOK

Magical Transformations and Mice

In Disney’s Cinderella, the fairy godmother transforms mice into different creatures.  On the road to Harrenhal, Arya not only likens herself to a sheep, but a mouse and continues her time at Harrenhal referring to herself as a “mouse”.  This is also a subversion, while Cinderella in the Disney incarnation befriends mice, in our story Arya becomes the meek mouse:

On the road Arya had felt like a sheep, but Harrenhal turned her into a mouse.  She was grey as a mouse in her scratchy wool shift, and like a mouse she kept to the crannies and crevices and dark holes of the castle, scurrying out of the way of the mighty. – Arya VII ACOK

He does not know me, she thought.  Arry was a fierce little boy with a sword, and I’m just a grey mouse girl with a pail. – Arya VII ACOK

She was very small and Harrenhal was very large, full of places where a mouse could hide. – Arya VII ACOK

Even Jaqen calls Arya a mouse:

She crept up quiet as a shadow, but he opened his eyes all the same.  “She steals in on little mice feet, but a man hears,” he said.  How could he hear me? She wondered, and it seemed as if he heard that as well.  “The scuff of leather on stone sings loud as warhorns to a man with open ears.  Clever girls go barefoot.” – Arya VIII ACOK

However, through Jaqen, Arya begins to feel more in control of her situation, stronger and is transformed, if only for a short time.

“…Some are saying it was Harren’s ghost flung him down.” He snorted to show what he thought of such notions.

It wasn’t Harren, Arya wanted to say, it was me. She has killed Chiswyck with a whisper, and she would kill two more before she was through.  I’m the ghost in Harrenhal, she thought.  And that night, there was one less name to hate. – Arya VII ACOK

I was a sheep, and then I was a mouse, I couldn’t do anything but hide.  Arya chewed her lip and tried to think when her courage had come back.  Jaqen made me brave again.  He made me a ghost instead of a mouse. – Arya IX ACOK

Lucifer the Cat

In Disney’s Cinderella, Lucifer is Lady Tremaine’s cat who is described as being a sly, wicked, and manipulative mouse consumer.  He spends the whole film trying to torment and catch the mice.  I feel that Weese takes on aspects of this feline character, and I think this because of certain descriptors that are given to Weese to make him appear almost catlike:

“Weasel,” Weese purred, “next time I see that mouth droop open, I’ll pull out your tongue and feed it to my bitch.” – Arya VII ACOK

In his own small strutting way, Weese was nearly as scary as Ser Gregor.  The Mountain swatted men like flies, but most of the time he did not even seem to know the fly was there.  Weese always knew you were there, and what you were doing, and sometimes what you were thinking.  He would hit at the slightest provocation, and he had a dog who was near as bad as he was, an ugly spotted bitch that smelled worse than any dog Arya had ever known. Once she saw him set the dog on a latrine boy who’d annoyed him.  She tore a big chunk out of the boy’s calf while Weese laughed. – Arya VII ACOK

So here we have Weese purring, strutting, being compared to the Mountain who swats at peoples, and being watchful and observant, very much like a cat.  And like in the movie, a dog attacks him.  Now Weese didn’t fall from a tower window, but Chiswyck fell/was pushed. Considering these two are the two people Arya had Jaqen kill, I wouldn’t be surprised if they are meant to make up two halves of a whole in this regard.  After all, they are both wicked creatures who prey upon the weak, just like Lucifer and they both got their just desserts for it.

Jaq the Mouse

In Disney’s Cinderella, Cinderella rescues mice from traps, as well as from Lucifer, and dresses and feeds them.  They perform favors in return.  At the beginning of the film, a mouse named Gus is trapped in a cage, and the leader of the mice finds him and retrieves Cinderella to free him.  The leader of the mice is a mouse named Jaq, and he was also a mouse that was saved by Cinderella from a cage.  This sounds awfully familiar…

Rushing through the barn doors was like running into a furnace.  The air was swirling with smoke, the back wall a sheet of fire ground to roof. Their horses and donkeys were kicking and rearing and screaming.  The poor animals, Arya thought.  Then she saw the wagon, and the three men manacled to its bed.  Biter was flinging himself against the chains, blood running down his arms from where the iron clasped his wrists.  Rorge screamed curses, kicking at the wood.  “Boy!” called Jaqen H’ghar.  “Sweet boy!”

[. . .]

“Good boys, kind boys,” called Jaqen H’ghar, coughing.

“Get these fucking chains off!” Rorge screamed.

[. . .]

Going back into that barn was the hardest thing she ever did.  Smoke was pouring out the open door like a writhing black snake, and she could hear the screams of the poor animals inside, donkeys and horses and men.  She chewed her lip, and darted through the doors, crouched low where the smoke wasn’t quite so thick.

A donkey was caught in a ring of fire, shrieking in terror and pain.  She could smell the stench of burning hair.  The roof was gone up too, and things were falling down, pieces of flaming wood and bits of straw and hay.  Arya put a hand over her mouth and nose.  She couldn’t see the wagon for the smoke, but she could still hear Biter screaming.  She crawled toward the sound.

And then a wheel was looming over her.  The wagon jumped and moved a half foot when Biter threw himself against his chains again.  Jaqen saw her, but it was too hard to breathe, let alone talk.  She threw the axe into the wagon.  Rorge caught it and lifted it over his head, rivers of sooty sweat pouring down his noseless face.  Arya was running, coughing.  She heard the steel crash through the old wood, and again, again. An instant later came a crack as loud as thunder, and the bottom of the wagon came ripping loose in an explosion of splinters. – Arya IV ACOK

So here we have Jaq who is leader of the mice, who also helps Cinderella by doing her favors.  Then we have Jaqen H’ghar who is the leader of Rorge and Biter (this name seems even more fitting now) and who is performing favors for Arya, which leads me to Jaqen’s dual Cinderella archetype: Fairy Godmother.

Magical Helpers

Some versions of Magical Helpers come from fairy godmothers or talking animals or genies.  In other versions this help comes to the heroine through her dead mother, often manifesting through animal aid.  In One Thousand and One Nights, in the story of “Judar and his Brethren” Judar is our Cinderella figure, whose own brothers betray and poison him, but before that he was gifted a genie named Al-Ra’ad al-Kasif who granted Judar’s wishes.  In the passage below Jaqen grants Arya three “wishes” which is typical for genies to grant in our popular consciousness:

She remembered that she hated him.  “You scared me.  You’re one of them now, I should have let you burn.  What are you doing here?  Go away or I’ll yell for Weese.”

“A man pays his debts.  A man owes three.”

“Three?”

“The Red God has his due, sweet girl, and only death may pay for life.  This girl took three that were his.  This girl must give three in their places.  Speak the names, and a man will do the rest.”

He wants to help me, Arya realized with a rush of hope that made her dizzy.  “Take me to Riverrun, it’s not far, if we stole some horses we could—”

He laid a finger on her lips.  “Three lives you shall have of me.  No more, no less.  Three and we are done.  So a girl must ponder.”  He kissed her hair softly.  “But not too long.” – Arya VII ACOK

Later, we also see that “wishes” have consequences, which is also prevalent when genies are concerned.  GRRM himself is a big fan of consequences and unintended side effects.  

Jaqen is not Arya’s only form of Magical Help at Harrenhal however.  Jaqen may take on the role of Fairy Godmother/Genie, but we also see Arya experiencing the help of not only an animal aid, but from a dead parent.  For instance, the heroine in Aschenputtel, by the Brother’s Grimm, is given a hazel twig by her father that she plants over her mother’s grave.  She waters it with tears and over the years it grows into a glowing hazel tree.  The girl prays under it three times a day, chanting, and a bird emerges from it that grants her wishes.  There are two instances of something similar happening in the books:

In the godswood she found her broomstick sword where she had left it, and carried it to the heart tree.  There she knelt.  Red leaves rustled.  Red eyes peered inside her.  The eyes of the gods.  “Tell me what to do, you gods,” she prayed.

For a long moment there was no sound but the wind and the water and the creak of leaf and limb.  And then, far far off, beyond the godswood and the haunted towers and the immense stone walls of Harrenhal, from somewhere out in the world, came the long lonely howl of a wolf.  Gooseprickles rose on Arya’s skin, and for an instant she felt dizzy.  Then, so faintly, it seemed as if she heard her father’s voice.  “When the snows fall and the white winds blow, the lone wolf dies, but the pack survives,” he said.

“But there is no pack,” she whispered to the weirwood.  Bran and Rickon were dead, the Lannisters had Sansa, Jon had gone to the Wall.  “I’m not even me now, I’m Nan.”

“You are Arya of Winterfell, daughter of the north. You told me you could be strong.  You have the wolf blood in you.”

“The wolf blood.”  Arya remembered now.  “I’ll be as strong as Robb.  I said I would.”  She took a deep breath, then lifted the broomstick in both hands and brought it down across her knee.  It broke with a loud crack, and she threw the pieces aside.  I am a direwolf, and done with wooden teeth. – Arya X ACOK

Here we see an inversion. Arya’s mother isn’t dead at this time, but her father, Ned is.  He is who we hear through the heart tree giving Arya this empowering “Mufasa” moment that gives way to Arya’s true transformation in this arc, she reclaims her identity.  And as soon as Arya asks the old gods for aid, a wolf howls in the distance as if in answer.  It’s not confirmed but I do truly believe that this howl came from Nymeria, by way of the Old Gods/Greenseers, who somehow helped strengthen their bond.  It is after this moment that Arya starts having full on wolf dreams in earnest and it’s through her first wolf dream that we see that Nymeria may have become Arya’s animal aid:

Her dreams were red and savage.  The Mummers were in them, four at least, a pale Lyseni and a dark brutal axeman from Ib, the scarred Dothraki horse lord called Iggo and a Dornishman whose name she never knew.  On and on they came, riding through the rain in rusting mail and wet leather, swords and axe clanking against their saddles.  They thought they were hunting her, she knew with all the strange sharp certainty of dreams, but they were wrong.  She was hunting them.

She was no little girl in the dream; she was a wolf, huge and powerful, and when she emerged from beneath the trees in front of them and bared her teeth in a low rumbling growl, she could small the rank stench of fear from horse and man alike.  The Lyseni’s mount reared and screamed in terror, and the others shouted at one another in mantalk, but before they could act the other wolves came hurtling from the darkness and the rain, a great pack of them, gaunt and wet and silent.

The fight was short but bloody.  The hairy man went down as he unslung his axe, the dark one died stringing an arrow, and the pale man from Lys tried to bolt.  Her brothers and sisters ran him down, turning him again and again, coming at him from all sides, snapping at the legs of his horse and tearing the throat from the rider when he came crashing to the earth. – Arya I ASOS

We see here that Nymeria and her pack protected Arya, Gendry, and Hot Pie against their pursuers after their escape from Harrenhal.

Here is another instance of Arya praying under the heart tree:

Arya went to her knees.  She wasn’t sure how she should begin.  She clasped her hands together.  Help me, you old gods, she prayed silently.  Help me get those men out of the dungeon so we can kill Ser Amory, and bring me home to Winterfell.  Make me a water dancer and a wolf and not afraid again, ever.

Was that enough?  Maybe she should pray aloud if she wanted the old gods to hear.  Maybe she should pray longer.  Sometimes her father had prayed a long time, she remembered. But the old gods had never helped him. Remembering that made her angry. “You should have saved him,” she scolded the tree.  “He prayed to you all the time.  I don’t care if you help me or not.  I don’t think you could even if you wanted to.”

“Gods are not mocked, girl.”

The voice startled her.  She leapt to her feet and drew her wooden sword.  Jaqen H’ghar stood so still in the darkness that he seemed one of the trees.  “A man comes to hear a name.  One and two and then comes three.  A man would have done.”

Arya lowered the splintery point toward the ground. “How did you know I was here?”

“A man sees.  A mean hears.  A man knows.”

She regarded him suspiciously.  Had the gods sent him?  “How’d you make the dog kill Weese?  Did you call Rorge and Biter up from hell?  Is Jaqen H’ghar your true name?

“Some men have many names.  Weasel.  Arry. Arya.”

She backed away from him, until she was pressed against the heart tree.  “Did Gendry tell?”

“A man knows,” he said again.  “My lady of Stark.”

Maybe the gods had sent him in answer to her prayers. – Arya IX ACOK

In Cenerentola, the heroine’s (Zezolla) father is given a date seedling by a fairy and he gives it to his daughter.  Zezolla cultivates the tree in which a fairy lives.  This fairy gives Zezolla magical aid.  When Arya prayed beneath the heart tree in the above quote it almost seems like Jaqen appeared from the trees, leaving Arya to question if the old gods sent him.

And like in Aschenputtel and Disney’s Cinderella, Arya spends time at Harrenhal singing/chanting to herself as well:

Barefoot surefoot lightfoot, she sang under her breath. I am the ghost in Harrenhal. – Arya IX ACOK

This is very strange for a couple of reasons.  When we first meet Arya she claims not to like songs and doesn’t sing.  She continues this up until she goes to Braavos. There she discovers that she likes the bawdy songs when she is using the name, Cat of the Canals.  The only exception to this is when Arya is at Harrenhal. Another reason this is odd is because of where Arya is at physically and mentally.  So either Arya was always lying about not liking songs, or Arya singing here is supposed to tell us something.

And while this might not mean anything, I found it interesting that Arya spends a lot of her time in ACOK barefoot.  Now Cinderella isn’t really said to be barefoot in the stories, but she did usually lose a shoe when running away from the Prince/King, hence making her barefoot. When Arya decides to escape Harrenhal, she does don a pair of shoes again and from then on out she mostly wears them.  This also leads to a fun bit of subversion.  In the originals tales it’s always the Prince/King saving Cinderella from further oppression.  But in Arya X ACOK, not only did she (a princess) plan the escape, but she saves Gendry, a lost (albeit bastard) prince, along with Hot Pie, from further oppression (and torture and death) by their slavers in their prison camp.  (Hot Pie definitely reminds me of Gus Gus as well by the way :D)

From Rags to Riches

In many versions of Cinderella, we also see the heroine become physically transformed.  The heroine is usually dirty, covered in ashes, and wearing “rags” before they are made over.  In the most popular version, Disney’s Cinderella, the Fairy Godmother magically turns her from dirty household servant to highborn lady, adorning her in a silver ballgown and glass slippers.  In Ye Xian, magical fish bones, help the heroine dress appropriately for a local Festival, including a light, golden shoe.  And in Aschenputtel, the doves that emerge from her hazel tree, that grant the heroine wishes, drop a gold and silver gown and silk shoes down to her to wear to the ball.  Also, noticeably, this is the time the Prince/King notices Cinderella and finally “sees” her.

While we didn’t get anything like that in ACOK, we don’t have to look much farther than ASOS, when Arya goes to Acorn Hall and meets Lady Smallwood, who puts her in two different dresses:

And afterward, they insisted she dress herself in girl’s things, brown woolen stockings and a light linen shift, and over that a light green gown with acorns embroidered all over the bodice in brown thread, and more acorns bordering the hem. – Arya IV ASOS

It was even worse than before; Lady Smallwood insisted that Arya take another bath, and cut and comb her hair besides; the dress she put her in this time was sort of lilac-colored, and decorated with little baby pearls.  The only good thing about it was that it was so delicate that no one could expect her to ride in it. – Arya IV ASOS

And while there is no ball, Arya and Gendry spend their time in the forge together.  This is the very first time Gendry has seen Arya look like a proper lady.  Cinderella and Arya are no longer dirty and in rags and they are now in gowns looking their place in society, despite Arya’s dress not being nearly as grand.  However, it’s enough of a change for Gendry to finally realize just who Arya truly is when it comes to her place in the world.  And judging by his behavior after this event, he also begins to acknowledge that if he continues to stay by her side he could potentially love her romantically in the future as well:  

Gendry reached out with the tongs as if to pinch her face, but Arya swatted them away.

[. . .]

Gendry put the hammer down and looked at her.  “You look different now.  Like a proper little girl.”

“I look like an oak tree, with all these stupid acorns.”

“Nice, though.  A nice oak tree.”  He stepped closer, and sniffed at her.  “You even smell nice for a change.” – Arya IV ASOS

Runaway Princess

Now we may not have had a ball, but while taking shelter in a stone stable with the Brotherhood Without Banners, Arya does run outside, trying to get away from everyone:

His words beat at her ears like the pounding of a drum, and suddenly it was more than Arya could stand.  She wanted Riverrun, not Acorn Hall; she wanted her mother and her brother Robb, not Lady Smallwood or some uncle she never knew.  Whirling, she broke for the door, and when Harwin tried to grab her arm she spun away from him quick as a snake.

Outside the stables the rain was still falling, and distant lightning flashed in the west.  Arya ran as fast as she could.  She did not know where she was going, only that she wanted to be alone, away from all the voices, away from their hollow words and broken promises.  All I wanted was to go to Riverrun.  It was her own fault, for taking Gendry and Hot Pie with her when she left Harrenhal.  She would have been better alone.  If she had been alone, the outlaws would never have caught her, and she’d be with Robb and her mother by now.  They were never my pack.  If they had been, they wouldn’t leave me.  She splashed through a puddle of muddy water.  Someone was shouting her name, Harwin probably, or Gendry, but the thunder drowned them out as it rolled across the hills half a heartbeat behind the lightning.  The lightning lord, she thought angrily.  Maybe he couldn’t die, but he could lie. – Arya VIII ASOS

Now it’s not explicitly clear that it was Gendry who ran after Arya, calling her name, but due to the possible symbolism in the scene, and also his behavior in AFFC, it makes me think it was him.  But whether he was or not I believe just Arya believing it might be him makes this applicable enough as a loose parallel for the Prince chasing after Cinderella, only for Cinderella to disappear like in many of the Cinderella retellings.  

Searching the Realm

At the end of ASOS in the epilogue we learn that Lady Stoneheart and the Brotherhood Without Banners, who Gendry is a part of is actively searching for Arya:

The outlaw gave him (Merrett Frey) an encouraging smile. “Well, as it happens, we’re looking for a dog that ran away.”

“A dog?” Merrett was lost.  “What kind of dog?”

“He answers to the name Sandor Clegane […] Did you see him at the wedding, perchance?”

[. . .]

“He would have had a child with him,” said the singer.  “A skinny girl, about ten.  Or perhaps a boy the same age.”

“I don’t think so,” said Merrett.  “Not that I knew.” – Epilogue ASOS

In many retellings of the Cinderella story, the Prince/King searches the realm looking for the heroine with an identifying item, and typically that item is a shoe of some sort.  Once the shoe is placed on the heroine’s foot it symbolically means the heroine is reclaiming her identity.  Arya, however, didn’t lose a shoe, and I’d argue that when Ned/the Old Gods/the Greenseers spoke to Arya through the heart tree, empowering Arya, that’s when Arya reclaimed her identity, at least for that time as Arya must reclaim her identity multiple times in her arc.  I’d argue that Arya’s connection to the North and her family is her overall identifying item. But I fully believe Gendry himself might be another “identifying item,” along with him still taking on the archetypal role of “prince”.

Why do I say this? Because in AFFC Gendry is stationed at one of the last known places Arya was sighted at with the Hound, the Crossroads Inn, where he is blacksmithing while also helping to look after orphans. He was likely stationed there by Lady Stoneheart and the Brotherhood Without Banners because he knew Arya the best out of everyone (remember LSH would probably have a hard time recognizing Arya after two plus years and a resurrection).  So if she returned, he would not only have a better chance at recognizing her, but also possibly a better chance at keeping her there compared to anyone else.  If people are doubting that this is Gendry’s role, just remember that the BWB is actively looking for Arya, and also note Gendry’s personality shift post-ASOS. Gendry has always been rude and moody, but in AFFC it has been taken to the extreme.  He is absolutely furious and instead of being just plain rude, he’s actually become mean and more violent.  He also seems to have something against the Hound now, someone who he previously had nothing against during the Hound’s trial by combat earlier in ASOS:

…The boy came and stood beside her, his hammer in his hand.

Lightning cracked to the south as the riders swung down off their horses.  For half a heartbeat darkness turned to day.  An axe gleamed silvery blue, light shimmered off mail and plate, and beneath the dark hood of the lead rider Brienne glimpsed an iron snout and rows of steel teeth, snarling.

Gendry saw it too.  “Him.”

“Not him.  His helm.” Brienne tried to keep the fear from her voice, but her mouth was dry as dust. – Brienne VII AFFC

That “him” was very pointed and because of the symbolism in the scene surrounding that “him” and the overall change in Gendry’s behavior I definitely take it to mean Gendry does have a problem with the Hound now.  So what changed?  The Hound kidnapped Arya.  I think it’s safe to say that Gendry is just as invested as the rest of the BWB, if not more so, to finding Arya again, hence making him the “prince” searching the realm for his lost Cinderella.

A Dream Is a Wish Your Heart Makes

In Disney’s Cinderella, songs like “Bibbidi-Bobbidi-Boo”, “So This Is Love”, “Cinderella”, “A Dream Is a Wish Your Heart Makes”, “Oh, Sing Sweet Nightingale”, and “The Work Song” are included into the film.  This isn’t the first time we’ve seen something like this in the previous retellings however.  Like I mentioned earlier the Brother’s Grimm, Aschenputtel, features this as well to some extant.  In Aschenputtel, the heroine would “sing a chant” to call upon the white doves that came from her glowing hazel tree.  These birds would help her grant wishes and help her complete tasks, and it was most likely the inspiration for why birds were included in the Disney version, although birds have featured in more than just Aschenputtel.  I mention this because GRRM wrote Arya a song in the novels:

“My featherbed is deep and soft,

and there I'll lay you down,

I'll dress you all in yellow silk,

and on your head a crown.

For you shall be my lady love,

and I shall be your lord.

I'll always keep you warm and safe,

and guard you with my sword.

 “And how she smiled and how she laughed,

the maiden of the tree.

She spun away and said to him,

no featherbed for me.

I'll wear a gown of golden leaves,

and bind my hair with grass,

But you can be my forest love,

and me your forest lass.”

This is very clearly a love song also and we know it’s most likely about Arya and her foreshadowing a possible future relationship with Gendry.  And it’s very clearly about them as Gendry is a bastard Baratheon “prince”, hence the mentions of “yellow silk” and a “crown”, and also because Arya quite literally is dressed as an oak tree at this time and almost a maiden and will be a maiden when they reunite later in the series.  We also know the song is meant to foreshadow them because of the context.  Tom O’Seven’s specifically winked at Arya as he sang this song, and after the song was sung Lady Smallwood, when taking Arya to get changed into a different dress, said to Arya, “I have no gowns of leaves,” which further tells the readers that this song is Arya’s song, her future love song.

A Mother’s Legacy

In the Magical Helpers section above I mentioned that a dead parent may be the one to help the heroine instead of the typical fairy godmother, by either sending an animal to aid the heroine and/or granting wishes, or by the heroine’s mother transforming into an animal.  In some Greek versions, in “the Balkan-Slavonic tradition of the tale”, and in some Central Asian variants, the heroine’s mother comes back as a cow who is then killed by the heroine’s sisters.  The heroine eventually gathers the bones and from her mother’s grave the heroine is gifted wonderful dresses.  In other variants, the heroine’s dead mother comes back as a fish or a female dog. These animals represent the heroine’s mother’s legacy.

Jon chuckled. “Perhaps you should do the same thing, little sister.  Wed Tully to Stark in your arms.”

“A wolf with a fish in its mouth?” It made her laugh.  “That would look silly…” – Arya I AGOT

That night she went to sleep thinking of her mother, and wondering if she should kill the Hound in his sleep and rescue Lady Catelyn herself.  When she closed her eyes she saw her mother’s face against the back of her eyelids.  She’s so close I could almost smell her…

…and then she could smell her.  The scent was faint beneath the other smells, beneath moss and mud and water, and the stench of rotting reeds and rotting men.  She padded slowly through the soft ground to the river’s edge, lapped up a drink, then lifted her head to sniff.  The sky was grey and thick with cloud, the river green and full of floating things.  Dead men clogged the shallows, some still moving as the water pushed them, others washed up on the banks.  Her brothers and sisters swarmed around them, tearing at the rich ripe flesh.

[. . .]

The scent was stronger now [. . .] Only the scent mattered.  She sniffed the air again.  There it was, and now she saw it too, something pale and white drifting down the river, turning where it brushed against a snag.  The reeds bowed down before it.

She splashed noisily through the shallows and threw herself into the deeper water, her legs churning.  The current was strong but she was stronger.  She swam, following her nose.  The river smells were rich and wet, but those were not the smells that pulled her.  She paddled after the sharp red whisper of cold blood, the sweet cloying stench of death.  She chased them as she had often chased a red deer through the trees, and in the end she ran them down, and her jaw closed around a pale white arm.  She shook it to make it move, but there was only death and blood in her mouth.  By now she was tiring, and it was all she could do to pull the body back to shore. As she dragged it up the muddy bank, one of her little brothers came prowling, his tongue lolling from his mouth. She had to snarl to drive him off, or else he would have fed.  Only then did she stop to shake the water from her fur.  The white thing lay facedown in the mud, her dead flesh wrinkled and pale, cold blood trickling from her throat.  Rise, she thought.  Rise and eat and run with us. – Arya XII ASOS

“So you sewed his head on Robb Stark’s neck after both o’ them were dead,” said yellow cloak.

“My [Merrett Frey] father did that [. . .] I only drank some wine…you have no witness.”

“As it happens, you’re wrong there.”  The singer turned to the hooded woman.  “Milady?”

The outlaws parted as she came forward, saying no word.  When she lowered her hood, something tightened inside Merrett’s chest, and for a moment he could not breathe.  No.  No, I saw her die.  She was dead for a day and night before they stripped her naked and threw her body in the river.  Raymund opened her throat from ear to ear.  She was dead.

Her cloak and collar hid the gash his brother’s blade had made, but her face was even worse than he remembered.  The flesh had gone pudding soft in the water and turned the color of curdled milk. Half her hair was gone and the rest had turned as white and brittle as a crone’s.  Beneath her ravaged scalp, her face was shredded skin and black blood where she had raked herself with her nails.  But her eyes were the most terrible thing.  Her eyes saw him, and they hated.

“She don’t speak,” said the big man in the yellow cloak.  “You bloody bastards cut her throat too deep for that.  But she remembers.”  He turned to the dead woman and said, “What do you say, m’lady?  Was he part of it?”

Lady Catelyn’s eyes never left him.  She nodded. – Epilogue ASOS

In the Chinese retelling of Cinderella, Ye Xian, the heroine befriends a fish, which is the reincarnation of her deceased mother.  In The Story of Tam and Cam, a Vietnamese version, the heroine Tam also had a fish which was killed by the stepmother and the half-sister, and its bones also give her clothes.  And a typical scene in Kapmalaien tales is the mother becoming a fish, being eaten in fish form, the daughter burying her bones and a tree sprouting from her grave.

So not only is Lady Catelyn a symbolic fish, a daughter of House Tully, but she’s also been resurrected (reincarnated), and is looking specifically for our heroine, Arya, who I believe will be gifted several various things (both good and bad) by this incarnation of her mother, but we shall see if the parallel continues when TWOW and ADOS come out.

Conclusion

I really hope that after you read this monster you were as convinced as I am that Arya indeed has Cinderella motifs, and an extensive amount of them as well. Whatever it may mean I don’t rightly know, but what I do know is that at the end of the day, the many stories of Cinderella are an analogy.  An analogy about someone “who unexpectedly achieves recognition or success after a period of obscurity and neglect”.  Of someone whose attributes were unrecognized in their society, only for them to be recognized.  And I don’t know about you, but that sounds pretty hand in hand with one of her other biggest fairy tale motifs as well that runs concurrently with the Cinderella motif, and that is the story of “The Ugly Duckling”, who after years of neglect, finds acceptance within society, as well as self-acceptance within themselves. :)

[the-ghost-king]

You know how everyone has at least one minor rrverse character with no significance but they're you're favorite? Okay Mitchell from the Aphrodite Cabin is one of mine...

Make him Italian, probably Southern Italian I like to imagine his family immigrated from the Florentine area

Trans masc

At first he thinks he's just a gnc trans guy but after he starts medical transition he realizes he's nonbinary

Uses he/they pronouns generally

But when people he's close to talk about or to him and they're using nouns to describe him they use female gendered nouns (ex: daughter, lady, girl, etc), and yes these are a part of his gender expression

Also the type of person to hyphenate their deadname with their original middle name as their new middle name

They definitely are the type of person too who just invites invasive and awkward questions (as long as they're being asked in good faith) for educational purposes, and he'll give you the most derailed answer if that's what you want

Also he might be femme but he's not weak and he will beat you up if you're just being unnecessarily transphobic

His dad is a high quality fashion designer and because of this Mitchell is kind of spoiled (okay very spoiled) about clothes, always having high thread count clothes and also personally tailored pieces

They've got some casual plans to take over their dad's business but he thinks that he wants to expand it out into a more affordable fashion market for the average person (they like affordable and sustainable fashion too! The artistic pieces are nice but it's not a long-term sustainable business model!)

He personally dresses very camp, even the cishets look at him and go "oh he's you know... _/‾"

They love a good suit, very gender to him

Him, Nico, and Chiara all getting together to talk in Italian; and have culturefests or something

Watching Italian films, and TV shows, updating Nico on modern Italian culture, etc

Bi or Pan, but doesn't really feel the need to label himself, usually just says multisexual or mspec unless someone doesn't know what that means

His attraction to women is gay, his attraction to nonbinary people is gay, his attraction to men is gay... If you can't handle that you're not their target audience

Idk how old they are but Rick's timeline is fake and so are ages then, so him and Austin are dating

Very cute couple, very casual dynamic, probably have won "cutest couple award" or something at some point

Definitely went to all their high school dances together

Their favorite color... Probably green or pink... Yellow is also a good option

Mitchell probably wears glasses for the "aesthetic" but has worse vision with them on

Would not put it past him to be a social media influencer but have a secret Twitter account for BL

He definitely reads GL too

Very into anime, jdrama, and manga, likes manhwa and kdrama and any other variation of those things

Yeah probably kpop too

They probably like stuff like "My First First Love" and "Cherry Magic!" etc

First anime was probably one of the ones everyone seems to start with so maybe "Your Lie in April" or "Ouran High school Host Club"... His all time favorite is probably "Given"

First Manga... Probably "Orange" or something unexpected like "Black Butler"

He's definitely the person who introduces Nico to anime and such... The whole thing just sort of confuses Nico but he likes a couple of them, "Death Note" and some other psychological or horror type stuff

Definitely has some talent when it comes to hair styling, lots of people at camp are always going to him for haircuts and styles so he starts charging $2 or something for it and basically has a summer job at camp

He lives in the New York area year round (honestly, he probably goes home on the weekends sometimes from summer camp and goes to camp for the weekends sometimes in the school year)

Because of how close he is to camp other people in the area will often call him to do their hair and makeup for homecoming/prom/etc and he always agrees unless he's visiting family in Italy or he's touring with his dad

Likes to chill with Austin at the infirmary, partially to hang out but also probably because that's one of the few places in camp that has air conditioning

Will is always getting after him for sitting on the counters, something about it being unsanitary but they don't think it should matter as long as they're not in any of the operating rooms

Austin likes him too much to tell him no but yeah it's not sanitary, but to Austin the choice is a sanitary counter or a happy and comfortable boyfriend... He's picking happy boyfriend

Also Mitchell is very supportive of Austin's music career and always trying to convince Austin to let them use tracks of his music on the runways at their dad's shows

But Austin always says no because he wants to "make it big on his own" which Mitchell thinks is a bit silly but if it's what Austin wants he'll support it

Mitchell is super into camp's drama, they don't do anything with the information or all the secrets they just like knowing all of it

If you ask them to keep a secret they absolutely will

But that embarrassing story about you that went around camp five years ago that you lowkey wish everyone would just stop talking about, he's the one that keeps restarting the cycle

He babbles to Nico all the time about all the ongoings of camp because Nico is also good at keeping his mouth shut, but Nico doesn't care about the drama for the same reasons though (Nico: "Hold on, back up, you said Drew knows Sadie Kane? Interesting..." Mitchell:"okay Mr. Ominous, and also yeah, I did say that, so anyhow... ")

Very artistic person in general, he can probably play the piano okay, he's no professional and no Apollo kid but he can play some songs, and they have enough practice to learn new songs on their own!!

Definitely was voted by camp to have the worst taste in music though

Says his favorite movie is probably "Bring It On" or "Heathers" of something similar, but his actual favorite film is one of those cliche silent black and white ones that's only available in French

They definitely did dance for a few years growing up, has a ballet, tap, and hip hope background to work with but he left it behind when we was 13 or so but eventually they start to get back into hip hop and keep up with various types and lessons and places through their 20s

He's always the person to start groupchats

They think they're fun but they rarely take off without prompting from him

Also often times plays matchmaker for people ("they would be a cute couple wouldn't they? I don't know though, does she like girls? I think so?")

Those are just some ideas off the top of my head, hopefully you enjoy!

[where-theres-smoak-2]

Hiya 👋 I find it fascinating when people point out stuff about main characters that are brushed over and was I was wondering what’s your top reasons you dislike Alina and what scenes made you dislike her / made no sense.

Well I don't dislike Alina in the show but in the books I do think she is badly written. But here are some things that made the book character less appealing to me than the show.

I think the main one is her complete lack of agency. She very rarely makes any decisions for herself and just seems to go along with what everyone else (mostly male characters) say. There is a problem and instead of Alina being the one to make a decision or think of a solution she is told this is what we are going to do by either, M*l, Nikolai or the apparat. She is pushed around the plot by others actions instead of taking control herself and so often appears more as a puppet than as a commander or influential person in herself. For example in the show Alina is the one who tells M*l that they should seek the stag and kill it for it's amplification powers before the darkling does. Yet in the books this decision isn't hers but M*l's and Alina just goes along with it. There are also several instances where she clearly doesn't agree with the course of action or doesn't want to do something and yet she does it anyway, an example of this is when Nikolai and M*l want to attack the Volcra nest in the fold. She clearly has qualms about it but ends up folding to their will, another example is M*l insisting that once the fold and the darkling are destroyed that they seek a way to remove the amplifier, again this is something Alina doesn't want to do but she agrees with M*l and doesn't tell him her true desire. So what we end up with is a female protagonist who very much seems to be a pawn to the male characters in the book.

Another thing I disliked about the character's storyline is that she was often the victim of men, held captive and used to their advantage and this included one the supposed heroes. The darkling takes her captive twice wanting to use the amplifiers and control her to meet his own goals, Nikolai also at one point takes her captive and only really gives her freedom back to her because she agrees to help him, and the apparat takes her captive so that he can use her to gain religious power over the masses. She also never gets herself out of these situations, she just accepts her situation and waits to be rescued, for others to save her so that they too can use her for their own gain. I find this theme of her either being a victim of men or the pawn of one really worrying.

Another issue with the way she is written which again ties into the two above is that she is made far too dependant on M*l. Not only does she make herself very ill by suppressing her powers to stay with M*l but when her powers are revealed her refusal to let go of her attachment to M*l means that she struggles to master her powers, she becomes physically unable to summon because her refusal to let M*l go. Later in book two and three she spends a lot of time pining after him and getting in arguments about their positions of power. M*l feels useless and resents Alina's new position and power, he wants things to go back to how they were. He really does hold her back in many ways and this really should have been a love that they both grew out of but instead despite it being made obvious that they don't really fit together they both refuse to let the other go which means one or the other has to make sacrifices in order for them to be together. Not only that but Alina often puts M*l's needs, wants and safety above the greater good, rather than save the grisha or other vulnerable people she will safe M*l even going so far as to let 30-40 innocent people die in the fold so that she can save his life. This co-dependant relationship that she has with M*l is very unhealthy and toxic which would be ok if this was recognised within the narrative and then steps were taken to fix it, but instead this relationship is presented as some grand love story despite how damaging it truly is to Alina. In the Tv adaption they show us that Alina can be very happy and actually thrive without M*l in ep 5, its the happiest we ever see her and the most confident, yet she never gets this opportunity in the books.

Alina is also very insecure and jealous and we often see her pitted against other females, in particular Zoya. If there is one thing I really am not a fan of its authors pitting women against women particularly when it is over a man. Throughout all of the books Alina is insecure that Zoya is more beautiful than her and is insecure about her own looks, particularly when is comes to M*l, she is often jealous believing M*l will be turned by other pretty girls instead of him staying loyal to her. She often worries that she won't be good enough as the Sun Summoner and that the people will come to hate her. Again all of this would have been fine if it were limited to just the beginning of her story arc and it was something she overcame, but she never really does. She often comes across as being quite sulky as well. There was this one quote that I kept seeing in the tag that Alina says which is 'I am the Sun Summoner. It gets dark when I say it does.' Obviously before reading the books I kept wondering the circumstances of her saying this. It is a bit of a badass quote so naturally I was imaging all kinds of grand, dramatic scenarios, her shouting it across the battlefield to the darkling, her saying it in a war meeting as they are making plans as a way of instilling hope and confidence in her troops. So you can imagine my disappointment when it is actually said whilst she is lying outside on the ground, sad and feeling sorry for herself. When presented with a problem or a wrench in a plan she doesn't rally her team and try to come up with a solution instead she just sulks which as a reader I found very frustrating. The thing is both Alina and M*l are written as rather realistic teenagers, but the problem is this doesn't fit the world they are living in. They live in a world based off imperial russia and yet the characters do not behave as if they are, instead they act like they are modern day teenagers attending high school with petty jealousy and childhood crushes.

There is also her identity as a grisha and relationship with the grisha. One of the more interesting aspects of the grisha trilogy is the grisha's story, their oppression and their fight to be recognised as human beings and equals. Yet Alina shows very little care for the Grisha. In fact to me it seems like the author just made Alina grisha to serve the plot. Alina is grisha because the narrative needs her to be, they need her to be powerful enough to defeat the villainous darkling and destroy the fold. Instead of striving to improve things for the Grisha Alina supports the monarchy that has spent centuries oppressing them. The moment LB no longer needs Alina to be grisha she is stripped of the identity and the grisha are left in their misery in a world that still hunts, kills and enslaves them.

Alina is also often punished in the narrative by other characters but also by herself. She is often shamed for the attraction she felt towards the darkling and is called things like stupid girl. Not only is she blamed for falling for the darkling's manipulation she is also told she is greedy and power hungry for seeking out the amplifiers and political power. It's a very twisted message that is sent because we are told she is seeking the amplifiers to stop the villain which is a heroic cause and yet we are also told that she is doing out of greed. There seems to be this message that women should not seek power or a change in their position because that means they are greedy and evil.

Then after three books of the protagonist being used as a chess piece by the men in the story she gets one of the worst endings a heroine could. Both Nikolai and M*l get what they want in the end but its at a cost to Alina, Nikolai gets the Ravkan throne and M*l gets the quiet farm life with Alina as his wife. But Alina loses her powers and the position of power she got with them. The two things she explicitly asks for and tells us she desires, her position as general of the second army and her powers/amplifiers. In fact she even tells us in the second book that given a choice she would not give up her powers not even for M*l. Yet that is what happens and worse than that the narrative tells us that she was wrong and greedy for seeking power and influence, they present this ending she gets as a happy one because she gets to spend her life with M*l living a nice normal life. As a reader I found this difficult to except because the character had told us on many occasions that it was not what she wanted, we are shown often how miserable she is without her powers and yet we are expected to believe that this was some wonderful fairytale ending for her when it seems like whilst the men got their happy ever afters it was at the expense of Alina.

There is probably more but before this turns into a full on rant I think it best to leave it here.

[autisticcassandracain]

I have many thoughts on the weird phenomena in the DC fandom and the Batfam fandom specifically where probably the majority of people just straight up. haven’t interacted with the source material. and almost all of those thoughts can be summarized as ‘lmao that’s weird and mildly concerning’.

and because I’m annoying I will list them all here right now <3

1. To preface this post, I mean, obviously, comics are inaccessible as all hell, both in the disability kind of way and the ‘you need to understand the concept of hypertime to fully comprehend the DC timeline’ kind of way. Because of this, even if you don’t have a disability that prevents you from reading comics, I don’t think it’s unreasonable to look at the amount of comics you need to read to have even a base understanding of a character and go ‘no thanks <3′ and just enjoy fanart and fanfic in a vacuum. Ultimately, this is fandom, this is supposed to be fun, it doesn’t really matter.

2. That said, it’s VERY weird to me that the majority of this fandom just straight up hasn’t interacted with the source material, and moreover, that it’s considered rude to tell people that they should do so. It’s especially weird considering the amount of fanon-only fans I’ve seen who straight up have a superiority complex over canon. The idea that it’s gatekeeping to tell fans of something to actually interact with canon is just. so weird, and a fundamental misunderstanding of what ‘gatekeeping’ actually entails. 

3. But honestly I’m less interested in discussing the ways in which canon and fanon fans should interact with each other (personally, I think it would be helpful to create separate tags of some kind, but that’d require quite a big overhaul of the current fandom state) than in figuring out how this actually happened in the first place. On the one hand, it’s obvious; long-running superhero comics the way DC writes them have made themselves so thoroughly inaccessible that most people are simply too daunted to even try. Most media has a cohesive beginning and end (or at least, a planned end somewhere). Comics just... don’t.

But I do think it says something that, even among people who are clearly interested in the characters (since they have, you know, entire blogs about them), the effort to get into comics just seems to be too much to even bother. This really doesn’t bode well for the future of DC Comics. Obviously, I am no expert on anything at all ever, but I’d personally be surprised if DC survives beyond the few decades, at least in its current form/without a big overhaul.

4. But on the other hand, I don’t think the confusing state of DC Comics is the only thing to blame here. Fandom has a well-known problem with reducing any character down to archetypes to more easily ship and write fic/make content with. This problem is particularly prominent in fanfic, which, if you read enough of it, you’ll eventually start seeing not just the same tropes and trends, but essentially the same fics over and over again. And not just within the same fandom; everywhere, or every large fandom, at least. 

Fanon Batfam is entirely built on a bunch of those tropes; insecure/depressed sadboy Tim, team mom with optional hidden trauma/emotional problems Dick, bad boy with a heart of gold + sadboy combo Jason, abused sadboy Damian/angry easily-villified-for-fic-reasons monster Damian, good dad Bruce for found family fic and bad dad Bruce for angst fic, etc. This all culminates in a found family dynamic that’s generic and malleable to whatever fic the writer wants to write.

(This isn’t getting into the ship fic, which I avoid like the plague because the vast majority of it is incest, but I’d bet real actual money that the tropes in those fics fall under what is often preferred by the Migratory Slash Fandom.)

By having a decent excuse not to get into canon (the inaccessibility of comics) and a, by now, well-established fanon fandom, many fans feel free to use the batfam fandom as essentially an excuse to write whatever fic with reduced archetypes and tropes they personally feel the itch to write, without having to bother with even consuming a canon. This is compounded by the fact that canon itself is often contradictory and frankly bad, meaning that whatever interpretation of a character you want/need to go for your fic is at least theoretically backed up by canon (for example, you can just as easily cast Bruce as an abusive shithole dad who his kids need to get away from as a loving father figure who cares deeply for his children), which you can always use as a defense if people question your characterization.

5. This focus on fandom trends and tropes over actual creativity or care for the characters is also visible in the way bigotry manifests in this fandom; namely, in literally the exact way you’d expect. The female characters and characters of colour are shuffled to the side, non-existent, vilified, and/or reduced to harmful stereotypes. 

Barbara is probably the one I saw the most often in fanfic, but usually just as ‘Dick’s girlfriend’, and even then, she was often vilified for Dick angst (especially in fics about examining Dick’s trauma from his canon sexual assault; Kori also often gets the short end of the stick in those). After that, probably Stephanie, who fanon fans don’t really seem to know what to do with, so she’s basically just there as comic relief waffle girl, most of the time, though sometimes she can be used to either further Tim angst or further vilify Tim, whatever the fic calls for. Cass has gotten included more in batfam fics as of late, likely in response to critiques of fandom racism for leaving her out, but again, it’s clear people don’t actually know what to do with her. She’s often reduced to a racist stereotype of a quite, stoic therapist for whatever guy du jour needs it. That, or she’s in Hong Kong and just not there. Duke especially gets left in the dust in fandom, usually just being non-existent, but when he’s there, he’s almost always nothing more than the straight man for the actual fun characters to play off of. Talia probably has it the worst, though, and almost universally gets vilified by fanon stans in order to write sadboy Damian.

All of this is extremely predictable behaviour and falls entirely in line with general fandom misogyny and racism; ignoring or vilifying women and characters of colour, or using them as very minor characters at best. The only two characters of colour who aren’t regularly left out of fic are Dick and Damian, who are both also conveniently the two characters most often drawn and written in a whitewashed manner. In addition, there’s a real trend of demonizing Damian in fanon fics where he isn’t written as an abused sadboy, which I’d argue is in no small part due to fandom racism, considering Damian’s behaviour is in no way as bad as Jason’s, who doesn’t get anywhere close to the same demonization and gets woobiefied instead. I also find it convenient that Damian is probably the batboy who receives the most vilification in fic, when he’s the most obviously non-white of the batboys they’re willing to acknowledge.

Fandom often cries for more diversity in canon, only to ignore the diversity already there and focus on the same generic white guys. The batfam fandom is a brilliant example of this.

Which is not to say that fandom racism and misogyny isn’t present in the canon parts of the fandom (and canon itself); it absolutely 100% is. But I’ve found that canon fans are also more likely to like and care about at least one of the characters I’ve listed as ignored/vilified, and are willing to create and consume content for them, whereas fanon fans... aren’t, really. I’ve never seen a fan of fanon Cass the way I’ve seen fans of fanon Dick, for example. Obviously, this could just be by coincidence, or I’ve just surrounded myself with people like that, but it’s been a trend I noticed. Racism and misogyny is present in every part of this fandom and should be addressed as such, but I feel like it manifests the most blatantly in the fanon parts of this fandom. 

(I’d also recommend the articles Migratory Slash Fandom’s Focus and Beige Blank Slates, which expand more on the type of fandom racism I think is especially prominent in the batfam fandom, as well as literally every article in the What Fandom Racism Looks Like series.)

6. All this leads me to conclude that the majority of fanon fans don’t actually like the characters all that much; they’re convenient excuses for them to participate in fandom. Which I also think is, in no small part, a reason why so many of them react so negatively to being told to pick up a comic; they came to this fandom specifically to consume it as a fandom, because they wanted the fandom experience without having to consume a canon. 

This is not a phenomena unique to the batfam fandom (again, see the Migratory Slash Fandom), but it does fascinate me. While fandom is often said to be an experience focusing on transformative art, I think it’s also safe to say that, especially as fandom has become more mainstream, an increasing amount of people are looking to it less as a way to engage with their favourite pieces of media, and more as a type of media in and of itself. I think the reasons for this are similar to the reasons mass media entertainment like the MCU are so popular; you gain a lot of enjoyment out of it with very little risk involved. 

By consuming the same fics of the same characters (or the same archetypes) over and over again, you are rarely at risk of being challenged or even disappointed. It’s often very clear right from the start whether or not a fic will appeal to you, and if it isn’t, it’s easy to just look for another one. It requires less emotional investment than most other types of media, even ‘popcorn media’ like the MCU - or, yes, DC Comics. It’s safe, it’s enjoyable, it’s comforting, like McDonalds, but just like McDonalds, it’s ultimately bland and unsubstantial. 

7, TL;DR. Ultimately, I don’t think it’s like, wrong to enjoy the fanon version of the batfam without wanting to engage with canon, and I certainly don’t think it’s okay to harrass people over it. But I do think it’s in large part based on a desire to interact with fandom rather than other pieces of media because people are scared of being let down by those pieces of media (or worse, just uninterested in actually thinking), which is mildly concerning. 

[absolutebl]

Manner of Death - It’s A Murdery Series

Episode 1 Analysis

I’m not sure I can do my normal flippant BL tropes analysis + pop culture crit with Manner of Death. Because: 

This is not BL, it’s romantic suspense 

Different tropes for different folks 

We are also in cozy mystery city, sweetheart

Or should I say cozy mystery small town?

Anywhowhatwhenwherewhyhow... 

Romantic Suspense in a BL blog? 

This is MaxTul and I have been waiting YEARS for them to appear in something decent, so sure, here we go...  

What’s romantic suspense? 

Romantic suspense is a literary sub genre of romance fiction in which both the romance AND the suspense/mystery/thriller elements are integral parts of the plot. This means that if you remove the romance thread the story would fall apart. And/or if you remove the crime element the story falls apart. It’s primarily consumed by romance readers. 

Why do I think Manner of Death qualifies as Romantic Suspense? 

Well at first I thought we were getting a cozy mystery with a gay romance sub-plot. (Which means if the romance element is removed, the story could still occur.) But after watching episode one, I think it’s actually romantic suspense because:

So much of this episode was built using romance tropes as well as mystery tropes. 

The gaze of the filming lens was very romance-driven in terms of lingering on longing glances and shirtless Dr Bun. 

We followed Dr Bun into his bed. Suspense (even cozies) rarely follows the protag into household intimacy zones in the first episode. (Victims = yes, protags = no.) Romance almost always does. 

Finally, we have got a kiss in the first installment for Dr Bun, plus a lot of screen time spent on their meet cute, and that kind of pacing indicates romance. 

Why is it EXCITING that Manner of Death is romantic suspense? 

Well, romantic suspense is a HUGELY hot genre amongst readers that has gotten VERY little attention from Hollywood. (Something like True Romance qualifies as do a few others but there isn’t much out there...) There’s also little to NO queer rep in suspense films in general (except as plot drivers and victims). 

Generally speaking, the Hollywood film industry prefers straight up suspense in which the heterosexual love story, while it can be present for the protagonist, doesn’t drive plot and usually doesn’t end happily (think Mission Impossible franchise). Or the alternate which is cozy mystery TV series, which I’ll address in a moment. 

In short? This is a massive untapped market in visual media. 

Cozy Mystery 

Cozy mysteries, AKA cozies, are a sub-genre of crime fiction in which:  

sex and violence usually occur off stage (AKA don’t be too graphic)

the detective is an amateur sleuth 

the crime and detection take place in a small, socially intimate community.

While I think Manner of Death is demonstrating all core elements of a cozy, I don’t think it is going to be a cozy because they wouldn’t have hired MaxTul if they weren’t going to give us some serious skinship (violating the too graphic rule above). And it has already gotten a bit violent for cozies. 

That said, it’s a REALLY smart thing to put a romantic suspense into a cozy framework because...

Cozy mysteries are SUPER popular, often times with exactly the same demographic that tends to watch BL and read romantic suspense. Which is to say: mostly straight women of a certain age. (What Hollywood calls the apple pie demographic. Don’t blame the messenger.) 

Also cozies are more popular as TV series, rather than one-off films. And what do we have with Manner of Death? A SERIES! 

So I’m calling Manner of Death as:

A gay romantic suspense series in a cozy mystery framework. 

And if they can stick to that, and have done their marketing properly, they could have a run away hit on their hands. 

There are some things to be wary of: 

The lingering gaze and romantic lens can upset mystery watchers, who are probably going to be coming to this show fresh (expecting a cozy) not understanding what it is. 

Also the captioning of the medical terminology and awkward phrasing of certainly dialogue may turn these viewers off. They are less forgiving than BL watchers. 

The director is going to have to tread a VERY thin line with romantic suspense to keep new (non-BL) viewers. As is the script - the mystery is going to need to be executed well. Finally, much as we like Dr Oak and the comedic element, that style of humor probably won’t translate well to a mystery audience, so I’m hoping they pull back a bit on that. 

Some stuff I really loved? 

The soundtrack. It’s way more mature than BL and I am really happy to hear music that doesn’t interfere with my enjoyment or beat me over the head with its mistrust of the actor’s ability to execute emotion.

The filming style, they have left off triple shots and other BL fillers. 

The lack of comedic sound effects. I have learned not to mind them in BL romantic comedies but they have no place in romantic suspense. 

Lack of product placement. Although I worry about how they are funding this baby. 

Tul’s acting. I seriously did not think he had it in him and I am really excited to see him carry this thing. I was confused as to why they gave Dr Bun to him and not Max, but now I totally get it. Tul has a soft sweetness to him that Max doesn’t and it’s perfect for this character. I am already very worried about him. That’s one of the dramatic tensions of a cozy - fish-out-of-water driven concern for the protagonist. 

My Feels?

This is going to be a wild, crazy, sexy ride. Even if it jumps the shark I’m excited to see where it fails. And I mean that lovingly. 

From a purely academic perspective it’s so cool to watch something totally new, yet based on so much trope-riddled history. 

And on that note... TROPES! 

Mystery & Suspense Tropes  We Got In Episode One 

Opening on a murder

Fridge girl (see women in refrigerators) 

Nosy reporter 

Medical evidence explained 

Female friend in danger

Amateur sleuth 

Small town sins AKA the dark underbelly  

Public argument

Zoom in on clues 

I know the victim 

Murder disguised as suicide 

Love interest is a suspect 

Romance Tropes We Got In Episode One 

Meet Cute 

Sexual tension 

Secretive brooding love interest 

You can’t go home again 

Witty banter & innuendo 

Everyone wants the protagonist 

Get his shirt off ASAP 

First kiss in under 10%

BL Tropes We Got In Episode One 

(what you thought I’d just forget my one true love?) 

Faen fatal 

Baby is a floppy drunk 

Proximity alert 

Post-it love note 

Touch my lip and think of kissing

Head touch (the ”you have something in your hair” variant) 

In conclusion Manner of Death may be the death of me, but what a way to go. 

[kellyvela]

GRRM has said in interviews that he’s purposely played with the romantic tension between the hound and Sansa. What do you think the endgame purpose of the unkiss and that playing is meant to be for?

This is all what he said about the matter in question so far:

The Hound and Sansa, romantic or platonic? It could be very different things to each of those involved, mind you!

JUNE 24, 1999 THE HOUND AND SANSA

Moreta12: I understand, I’ve heard your opinion on that. In ACOK, it seems that the relationship between the Hound and Sansa had romantic undertones. Is that true?

GeoRR: Well, read the book and decide for yourself.

Moreta12: I’ve read the book and I’ve debated those particular scenes with a few others. Half say that it’s romantic and half say it’s platonic. I’ve taken the romantic stance.

GeoRR:  It could be very different things to each of those involved, mind you

Moreta12:Yes, but it seem like evidence points towards romantic undertones. Will the Hound appear later?

GeoRR: Yes, the Hound will be in STORM OF SWORDS. In fact, I just finished writing a big scene with him.

[Source]

When will Sansa be “legal”?  **ºª@”¡¿x<%$!&?

OCTOBER 05, 1999 AGE OF SEXUAL RELATIONS IN WESTEROS

The nature of the relationship between Sandor and Sansa has been a hot topic on Revanshe’s board. Sansa’s youth has been one focus of the discussion. What is the general Westerosi view as to romantic or sexual relationships involving a girl of Sansa’s age and level of physical maturity?

A boy is Westeros is considered to be a “man grown” at sixteen years. The same is true for girls. Sixteen is the age of legal majority, as twenty-one is for us.

However, for girls, the first flowering is also very significant… and in older traditions, a girl who has flowered is a woman, fit for both wedding and bedding.

A girl who has flowered, but not yet attained her sixteenth name day, is in a somewhat ambigious position: part child, part woman. A “maid,” in other words. Fertile but innocent, beloved of the singers.

In the “general Westerosi view,” well, girls may well be wed before their first flowerings, for political reasons, but it would considered perverse to bed them. And such early weddings, even without sex, remain rare. Generally weddings are postponed until the bride has passed from girlhood to maidenhood.

Maidens may be wedded and bedded… however, even there, many husbands will wait until the bride is fifteen or sixteen before sleeping with them. Very young mothers tend to have significantly higher rates of death in childbirth, which the maesters will have noted.

As in the real Middle Ages, highborn girls tend to flower significantly earlier than those of lower birth. Probably a matter of nutrition. As a result, they also tend to marry earlier, and to bear children earlier. There are plenty of exceptions.

[Source]

Unreliable Narrator

JUNE 26, 2001 SF, TARGARYENS, VALYRIA, SANSA, MARTELLS, AND MORE

[GRRM is asked about Sansa misremembering the name of Joffrey’s sword.]

The Lion’s Paw / Lion’s Tooth business (*), on the other hand, is intentional. A small touch of the unreliable narrator. I was trying to establish that the memories of my viewpoint characters are not infallible. Sansa is simply remembering it wrong. A very minor thing (you are the only one to catch it to date), but it was meant to set the stage for a much more important lapse in memory. You will see, in A STORM OF SWORDS and later volumes, that Sansa remembers the Hound kissing her the night he came to her bedroom… but if you look at the scene, he never does. That will eventually mean something, but just now it’s a subtle touch, something most of the readers may not even pick up on.

[Source]

(*) It was Arya who misremembered the name of Joffrey’s sword tho…

Unreliable Narrator 2.0

OCTOBER 05, 2002 SANSA’S MEMORY

[Note: This mail has been edited for brevity.]

… this is an inconsistency with ASoS more than an outright error. In ASoS, Sansa thinks that the Hound kissed her before leaving her room and King’s Landing. In ACoK, no kiss is mentioned in the scene, though Sansa did think that he was about to do so.

Well, not every inconsistency is a mistake, actually. Some are quite intentional. File this one under “unreliable narrator” and feel free to ponder its meaning

[Source]

Unreliable Narrator 3.0

NOVEMBER 27, 2007 GEORGE R.R. MARTIN ANSWERS YOUR QUESTIONS

Here’s a really particular question (which I realize means it probably won’t get asked in a general interview): In A Storm of Swords, there is a chapter early on where Sansa is thinking back to the scene at the end of A Clash of Kings when The Hound came into her room during the battle. She thinks in the chapter about how he kissed her, but in the scene in A Clash of Kings, this actually didn’t happen. Was that a typo or something? —Valdora

GRRM: It’s not a typo. It is something! [Laughs] ”Unreliable narrator” is the key phrase there. The second scene is from Sansa’s thoughts. And what does that reveal about her psychologically? I try to be subtle about these things.

[Source]

Sansa may be dead but Alayne is alive

APRIL 15, 2008 FUTURE MEETINGS, POVS, ARYA’S ROLE, EASTERN LANDS, AND ASSASSINS

[Will Sandor and Sansa meet?]

Why, the Hound is dead, and Sansa may be dead as well. There’s only Alayne Stone.

[Source]

A lot more dangerous than romantic

AUGUST 2, 2009 AS SER JORAH MORMONT…

weltraummuell: The Hound Oh please don’t cast an old guy for the Hound, his scenes with Sansa are so romantic and erotic, I couldn’t bear if it’d feel creepy all of a sudden. Well, that’s me making demands. LOL

GRRM: Re: The Hound Old guy? No, but… the Hound is still a whole lot older than Sansa, and was never written as attractive… you know, those hideous burns and all that… he’s a lot more dangerous than he is romantic.

kestrana: The Hound Yeah its a “girl always wants the bad boy” kind of thing although Sansa seems to pull something else out of him. It feels so wrong sometimes but I want to see them together again tee hee.

weltraummuell: The Hound Hehe, George, maybe you didn’t intend it, but he turned out to be a very erotic character to female readers. Especially since he’s mutilated and dangerous. Makes him unpredictable and vulnerable which is the most explosive aphrodisiac for a girl’s fantasy. ;)

weltraummuell: The Hound And I know from discussions on other board other women feel just the same about Sandor. He’s an absolute favourite with the ladies!

halfbloodmalfoy: The Hound LOL, you’re such a man. To many of us women, dangerous *is* attractive.

GRRM: The Hound But no one has any love for poor old Sam Tarly, kind and smart and decent and devoted…

[Source]

I played with it but I didn’t get the answer I was waiting for

JUNE 22, 2012 SWORD & LASER VIDEO PODCAST

GRRM: I am sometimes surprised by the reactions, of women in particular, to some of the villains. The number of women over the years who have written to me that their favorite characters are Jaime Lannister or Sandor Clegane [the Hound] or Theon Greyjoy… All of these are deeply troubled individuals with some very dark sides, who have done some very dark things. Nonetheless, they do draw this response, and quite heavily, I think, in the case of some of them, from my female readers in particular.

Veronica Belmont: I’m a big fan of the Hound, myself, actually.

Tom Merritt: Of Sandor? Really?

Veronica Belmont: Yeah, the Hound… Maybe it’s not because I feel any compassion towards them, I’m not really sure what the attraction is. Ah, I’m not going to call it attraction, actually. Let’s just say it’s a fascination, perhaps.

GRRM: [Chuckles] Well, I mean, fascination is one thing, but some of these letters indicate that there really is like a romantic attraction going on there. And I do know there’s all these people out there who are, as they call themselves, the “San/San” fans, who want to see Sandor and Sansa get together at the end. So that’s interesting, too.

Tom Merritt: The TV show has sort of played with that a little, and probably stoked those fires.

GRRM: Oh, sure. And I’ve played with it in the books. There’s something there, but it’s still interesting to see how many people have responded to it.

[Source]

I played with it but I didn’t get the answer I was waiting for 2.0

JUNE 23, 2015 GRRM Q&A AT THE SCIENCE FICTION BOOKSTORE IN STOCKHOLM

Question: “Is there any fan reactions that you have been surprised by, like is there a character that’s more popular than you thought or have people been shocked by something you didn’t think we would be shocked at?”

GRRM: “I’m reasonably certain what people will be shocked by. I knew that the Red Wedding would provoke a big reaction and it did. I was pretty confident that, you know, throwing Bran out the window and then killing Ned in the first book would get reactions, and indeed they did. All of those worked exactly the way it did to the extent that things that have surprised me, they tend to be smaller things. I guess I… Maybe I should not have, I don’t know. How do I phrase this without getting myself in terrible trouble… I guess I don’t understand women, but I was definitely, you know, way back when, surprised by the number of women who reacted positively to characters like Theon and the Hound as dashing, romantic figures. The san/san kind of thing took me by surprise, I must admit, and even more so the women who, and there are some, who really like Theon. So that surprised me.”

[Source]

Unreliable Narrator 4.0

DECEMBER 2016 ASKING GEORGE R.R. MARTIN ABOUT S@N/S@N

My question is regarding Sansa Stark. Her sexuality has evolved through every book and yet the memory that seems to stick the more with her in this regard is the night of the Blackwater. So I was wondering if you can expand on your view on what this is, since as before that night her interactions with Sandor Clegane weren’t really physical.

The night of the Blackwater, yes. Ahhh… Well, I’m not going to give you a straight answer on that hahaha… Uhmmm, but I would say that ahhh… you know a television show and a book each has its own strengths and weaknesses; there a re tools that are available to me as a novelist, that are not available to people doing a television show. And of course there are tools available to them, that are not available to a novelist, I mean they can lay in a soundtrack, they can do special effects, they can do amazing things that I can’t do, I just have words on paper. What can I do, well I can use things like the internal narrative, I can take you inside of territories… thoughts, which you can’t do in a TV show… Ahhh… You just have the words they speak, you see them from outside because the camera is external, while prose is internal, and I have the device known as “unreliable narrator”… Ahhh… Which again, they don’t have. So, think about those two aspects when you consider that night of the Blackwater.

[Source]

Do with it what you will.

[alethiometry]

Edward Kenway for character asks!

ooooooo okay i should open this with a disclaimer: i have not finished black flag yet (about 2/3 of the way through i think? i need to level up my ship so i can beat the next story mission lol) so everything i'm saying here is based on the game up to thatch's death, and everything we know about edward in ac 3: forsaken and the comics that came out a couple years ago.

First impression

oh boy... to be honest, one of the reasons it took me such a long time to get around to playing black flag (it was one of the first ps4 games i bought when i got my console in 2016, and i didn't start until about a month ago) was because i didn't really feel particularly strongly about edward's character design. i was vaguely interested in That One Pirate Assassin Game after having watched (and loved) black sails, but was afraid i would be let down; to me edward just looked like Some Dude, and i was still hung up on the black sails gang. to me, black sails and its characters were so genre/time period-defining that any other piece of pirate media just seemed lackluster in comparison.

i'd also heard a lot of praise for edward and for ac4 in general so i was aware that it was a very popular and well-received game. but since i mostly heard that from reddit (didn't join tumblr ac fandom until odyssey in 2018) i kind of discounted it, bc gamer reddit tastes are... questionable at best.

Impression now

I LOVE HIM!!! i always think i want stories about virtuous characters who believe in goodness and kindness and aren't motivated by gold or glory but aren't afraid to do what needs to be done to help others who can't help themselves. and sometimes that's true (coughratonhnhake:toncough). other times i end up clowning on myself because i realize that it's so much fun when said good/kind character has a rough and rugged exterior, and is motivated by personal gain (i think edward and kassandra are kinda kindred spirits across time and space in that regard, but maybe that's another rant for another time). sometimes you just want someone to be a little bit of an opportunistic bastard, and boy does edward fit that to a T. he's an incredibly complex man, and i think what really got me was that even as he was impersonating assassins and then templars and then assassins again, all for personal gain (pickpocketing the templars in havana while he gains their trust and agrees to do their dirty work lmfao my beloved <3), his primary motivation for doing so was to prove to caroline and her family that he is someone worth a damn, that he is capable of great things and that he is worthy of their love and acceptance. and i know from ac forsaken that the marriage with caroline doesn't last (though i haven't played ac4 far enough to see if that happens on screen, or if it occurs between the game and the novel) which makes his backstory in the game all the more heartbreaking. but his optimism and perseverance and determination to prove himself are all what make me love him.

so that's edward the romantic. now let's talk about the way edward is with adewale, his crew, and his friends. and let's also put the rest of this behind a readmore bc girl i am RANTINGGGGGG

he has several lines that he says to adewale that make me physically cringe (namely: "many of [these men] wouldn't accept you as captain" or "what was it like being enslaved?" like i get that someone like edward would be asking that question in good faith and genuine curiosity but also JESUS CHRIST UBISOFT). but on the flip side - cringey as those questions are, he also takes the time to actually listen and learn, and i think he genuinely values the perspective that he gets from adewale allowing him to open these lines of trust and communication. there's a patience and mutual respect there that i adore.

i also love how much edward loves his crew and his other pirate friends. those scenes of him + kidd + thatch + adewale + hornigold (lol) drinking on the beach and having a grand old time and talking about establishing - to borrow one of my favorite chills-down-my-spine phrases from black sails - a nation of thieves, for people like them to live and prosper, free from the chokehold of civilization. and i know he's not as outwardly invested in counterculture/independence/anticolonialism as thatch and vane and kidd are, but the fact that he so wholeheartedly supports his friends' goals, lofty and impossible as they are, speaks volumes about his love for his friends.

Favorite moment

every scene he has with kidd when kidd casually and softly reminds him that they see that he is a good person beneath his opportunistic and rambunctious exterior. i especially love when they discover julien du casse's mansion containing orders for templars to go out and hunt down assassins: the way kidd immediately knows that edward wants to help the assassins as a way to make up for the damage he did while masquerading as a templar, even if he hasn't voiced it aloud himself. the way that they don't force edward to admit anything about himself before he is ready, but still constantly remind him that he has a good heart. they give him space to come to terms with his compassionate side in a world/environment that more often than sees compassion as something to be stamped out or cast aside. i don’t love when characters are forced to be the Moral Compass for a main dude character, but i think it works for edward and kidd.

Idea for a story

not an edward story per se, but there are 2 povs into edward's life that i would cut off (someone else's) limbs for:

jenny's pov growing up in the kenway household. from haytham's pov it seems that she knows way more about his past than haytham ever did (it was hinted at that there are rumors about edward’s past as haytham was growing up that he wasn’t privy to, but i don’t think at any point in the novel does haytham ever find out definitively that his father was a pirate) and i want to know how she knew so much, and more into what her life was like - through her eyes rather than haytham, who is like 10 years younger and by his own admission barely understands her and barely has a functional relationship with her. i'll expand further on edward and jenny in the next question/prompt/bullet point, actually, bc i have a LOT more to say.

connor's pov learning about his grandfather from... idk? who's around to tell him? what's so goddamn sad is that by the time connor rebuilds the colonial brotherhood he's kinda the only one left. sure there's aveline down in louisiana, but as far as we know everyone who was around in edward's generation is dead now, and i'm not sure how much of the kenway saga is preserved for connor to discover, or if all this information about their family line was discovered in the modern-day, by your abstergo employee character, and later by osto berg in the comics. which is why i so badly want a revelations-style game where connor traces his assassin heritage back to the caribbean, relives some of edward's memories, and then makes the trip to london to see his aunt jenny. it would have been such a cool way to round out the kenway saga.

Unpopular opinion

idk how popular or unpopular this is bc i rarely see other in-depth posts about it on my dash, but edward was a terrible father to jenny. he was every bit the wonderful and loving father to haytham for the 10 years that haytham had a father, but i wish we'd seen more of jenny's perspective than just a few lines of dialogue in haytham's diary: i hate the way edward sidelined her and raised her in the same manner that any other wealthy person of the time would have raised their daughter - that is, for the sole purpose of sitting pretty and marrying her off in an arrangement that would benefit the family. it's especially hard to reconcile because in ac4 there are female assassins in the americas, and there are female pirates in the caribbean, so it's not like edward isn't aware that women have as much right as any man to live life on their own terms. it just seems like by the time he returns to england and settles down with his family, he's reverted back to the societal norms and gender roles that the pirates fought (and lost) against, and it's hard not to be deeply disappointed by that.

to be clear, i don't begrudge edward settling down and becoming a Rich Society Man. dude deserves to live comfortably with his loving family. he has every right to dote on his wife and children, and leave behind the hardships of being a pirate. but i think "fightning against deeply-ingrained cultural norms/expectations is a long and bloody struggle, and after losing so many people he cared so deeply about, i think it's understandable that edward wouldn't want to continue that fight alone (and also adewale is still fighting the good fight) (do NOT @ me about ac rogue I Pretend I Do Not See It)" and "i don't love the way edward sidelined his daughter into societally-expected gender roles she did not want; it makes me think that he did not continue drinking his Respect Women Juice as much as i thought he did/wanted him to" are two opinions that can coexist.

Favorite relationship

i don't know that i ship edward romantically with anyone, actually. i thought he and caroline were cute in the beginning, but it's hard to want to ship them knowing that she leaves him eventually. and ofc there'd edward/tessa in ac forsaken, and we know they were very happy together and that he loved her so so much. but we don't see that relationship except through haytham's eyes.

as for non-romantic relationships, i already talked at length above about his relationships with adewale and the other pirates and kidd, and i'll just leave it at that. i'm also vaguely aware that edward's got some upcoming scenes with anne bonny, but i'm not at that point in the game yet so i don't have much to say about the two of them. so far i've only seen them say a few lines to each other at the nassau tavern.

Favorite headcanon

kassandra absolutely rubbed shoulders with edward at some point during his time in the caribbean; i like to think that she needed to lie low for some reason (maybe she was with the assassins idk) and joined his crew. i just need my best stabby gal and my second-favorite stabby dude to be pals!

finally, this isn't a headcanon per se but it is obligatory that any time i talk about kenways i yell for a bit about the fact that EDWARD WOULD HAVE LOVED CONNOR SO SO SO MUCH AND I'M FOREVER DEVASTATED THAT HE NEVER GOT TO MEET HIM. at the same time, if edward hadn't been murdered and haytham not been indoctrinated into the templars the way he had, i'm not sure connor would even have existed. and in a way i'm glad that edward wasn't around to see how broken and cynical and depressed haytham became, because i think that would have absolutely broken his heart.

send me a character!

[phati-sari]

Hello PS! Hope you are doing well and everything is going okay on your end. First of all, I was to convey my heartfelt thanks to you for this awesome site and your amazing posts that keeps fans like me enthralled and escape from reality. I am interested in knowing your thoughts on why IPKKND became such a smashing hit and why are we so much invested and drawn in to this story? I know you are not too keen on us giving you options so I will just stop with an open ended question ☺️ Thank you somuch

Hi!

Awww, this is so sweet! Thanks :) I’m glad you like the blog!!

IPKKND was made in the era of saas-bahu serials -- serials that were defined by what we now call kitchen politics: issues that women encounter in shared households. They’re relatable and sometimes fun and reassure the audience that their experience is not out of the ordinary. 

Into this landscape came IPKKND -- a youth-based romantic drama that focussed as much on the depiction (and to some extent, validation) of lust between the lead characters as it did on True Love. A drama in which the male lead had more to do than stand in the background and provide reactions, a drama in which the female lead had agency (I’ll come back to this).

It’s difficult to see in retrospect but 4Lions broke and subverted many tellywood tropes with IPKKND. I’m not saying that it was the first Bad Boy meets Good Girl story, or that it was the first time we were shown an Angry Young Man with a Heart of Gold. They’d tried much of it with Geet, and Pratigya was being played at around the same time. But the way it told this story changed the landscape of tellywood.

IPKKND balanced everything it wanted to do quite well. It told a story about two families but balanced it with stories about the Alpha and Beta couples. Compared to serials that came before and after it, IPKKND didn’t get lost in its sub-plots, didn’t introduce characters just to forget about them, and was generally a very focussed, enjoyable story until it reached the end of its original story arc. And then it ended. I believe this is one of the most important aspects of its lingering success: that it ended before amnesia or an evil twin had to be introduced to extend the storyline.

IPKKND is one of the most syndicated shows in tellywood. It’s been successful in most of the markets it’s been introduced to. There’s a kind of universal appeal to this story. I think it, again, comes down to balance. Khushi is presented as the Every Woman -- the female audience is encouraged to see themselves in her. But she has a lot of agency.

There’s a tendency in shows to present the female lead as someone things happen to. By this I mean that the female lead is often a bit like a billiard ball -- she goes through life in a set direction and external forces change her trajectory. People are mean to her, they plot against her and misunderstand her, but she doesn’t cause any of it and is always blameless.

Some folks go through life this way -- framing events as though they have little to no agency and things happen to them and around them rather than seeing themselves as actively involved. This framing works for that audience and I definitely see it in much of the interpretation and analysis of this show. It’s present in 99% of the fanfiction written around it.

But IPKKND puts Khushi and Arnav at the front and centre of their story. They make things happen. Their (often bad) decisions and actions cause much of the conflict in the serial. Shyam is just there as a catalyst and as a vehicle for Devi Maiyya’s will -- Arnav and Khushi destroy themselves and their relationships more thoroughly than Shyam could ever dream of doing. (After all, his plans usually fail!!). 

So I think this is one of the reasons for its popularity. Whether the audience recognises it or not, it’s IPKKND is framed slightly differently from other serials in the same genre.

Another contributing factor is Arnav -- he straddles the line between Angry Young Man and Abusive Jerk admirably for a tellywood character. There’s something about our social conditioning that tells women that slightly aggressive (and a little angry) men are more desirable (I guess the idea is that they’re strong and they can protect us). But with that comes the expectation that, however much of an ass he is to others, he will be caring and loving towards those he loves. The challenge is to convince him that we belong in that inner circle. IPKKND plays into this with gusto.

The alpha-male lead is caring and protective towards his family, particularly his sister. An atheist, but he keeps a permanent temple in his home for his family. A self-made businessman and workaholic, but he always leaves work to come home if someone needs him. A rich and powerful man, but he rehearses apologies in the mirror. Arnav represents an ideal that is rarely found in reality, but it’s an ideal many of us (unconsciously?) strive for. Khushi certainly does.

She’s almost immediately attracted to the Bad Boy aspects of Arnav. He’s so forbidden, so outside the realm of what she’s expected to be attracted to, that she’s drawn to him. And Khushi isn’t some paragon of goodness either -- there’s an answering darkness in her that makes them perfect for one another. She helps him heal from a trauma and he becomes her anchor.

And while I say all this, we have to recognise that IPKKND is far from perfect. It can be problematic in its normalisation of abusive behaviour and its refusal to examine exactly how and when Khushi went wrong. It places too much emphasis on some things and not enough on others. It does not, in my opinion, depict a relationship we should aspire to -- men like Arnav are more likely to genuinely be abusive than have a heart of gold hidden deep inside and shows like this teach us to keep digging rather than cut loose and find someone else.

But in the end, IPKKND transcends its tropes to become something more. It’s the combination of the story, the clever use of tropes and motifs, the brilliant cinematography, the high production values, the balance of comedy and romance, the balance of family and individual subplots, the amazing casting, and the fantastic acting :)

[marai-posts]

Speaking of bad LGBTQ+ writing:

I WANNA TALK ABOUT NAOTO

Also Spoiler Warning

Now let me make myself clear,

If you enjoy thinking of Naoto in her canon writing in which her desire towards masculinity is fueled by an oppressive work place and extreme prejudice toward females in said workplace then You Are So Valid And Respected, that's not what this is about.

Because prejudice towards females in a work setting is a Real Thing and shouldn't be glossed over EVER. Respect Women Guys.

And if you enjoy seeing Naoto as a trans man who simply didn't have the means to understand himself and work through his issues in a healthy manner because of Inaba's clear prejudice, and a general lack of knowledge of LGBT+ people as a whole, You Are Also Super Valid And Respected.

I actually enjoy the point of their character, which calls out workplace sexism as inherently bad, unfair, and hurtful.

Cause it is, let's be real. All humans are equal in birth no matter their race, gender, or sexual preferences. We Are All Human.

I also understand that this game was made a while ago when LGBT+ representation was super taboo and rare but-

AS A TRANS MAN MYSELF-

God I Wish Naoto Was Written Trans

So before I go on my rant, I want to just say, no matter your opinion of this topic, no matter your preference or if you use them as a coping mechanism either way:

You Are Valid. You are understood.

When I think about people arguing over them I get upset because I'm someone who chooses to think in terms of humanity and respect. If people didn't have different opinions and interests, society would be unable to progress. Fighting over opinions starts wars, it inspires violence and hurt, and is just not worth the pain it causes.

Debates are necessary. Fighting is not.

If two people see the same characters in a completely different light, that shouldn't be a problem. Each person should take from Naoto what they need for emotional comfort. If you've struggled with sexism, I support you. If you're trans too, I support you. If you're in neither category's and simply love them devoid of personal projection, I support you.

Because in the end, it's just a game.

And they are a character.

And Living Breathing Humans should never be at each others throats over a character.

Instead if you love Naoto as a girl, and another person loves Naoto as a guy, you both love Naoto and are in agreement that they are a lovely person. No matter what they would choose as a gender identity.

Hell, they could be gender fluid.

Now that I've expressed how I feel about the debate over trans Naoto, I'll say my own personal opinion devoid of judgement for those who see them differently. All headcanons and real canon can coexist peacefully. That is the beauty of fiction.

Now:

I see Naoto as a trans male, so while I write I'll be using he/him, but whichever pronouns you use is Good. These are just my personal headcanons and opinions and yours are just as important and worthy. I Respect You.

Now then, I see him like this because:

The few times I've personally seen a character outwardly show themselves as a different gender it's usually either crossdressing, or rooted in insecurity. Like Naoto, or even Chihiro from Danganronpa. And that's,, kinda upsetting. It suggests that trans people are just insecure, or that they need a 'reason' to be trans. Which is probably how some working on the game viewed being trans. But this is a product of prejudice and uneducation, and is untrue.

I'd really like more canon trans characters.

Properly written trans characters, of course. With actual information on real trans individuals and their experiences and struggles, that came from trans people.

The trans characters out there now are very important and I hope to see more of them! Represention is important to progress.

Now this is what I would of liked to see:

I think after the 'Naoto is biologically female' reveal, when he starts going by she/her and letting people refer to him as a girl, I think he should of realized it causes him discomfort.

Let him become uncomfortable when people desire femininity from him. Let him realize that it hurts when people call him 'her'. Let him try wearing female clothing again and realizing he feels super gross in them.

Let him talk to Yu about how he doesn't understand why he still feels this way. Let Yu suggest that maybe he doesn't like others perceiving him as female. Let them discuss it properly and let Yu offer him unconditional support because they're close and Yu is a good dude and is the kind of person who values his connections to other people no matter if he can relate and personally understand or not, proven several times not only in-game but in spin off's as well.

Let them talk to the others about it, let them all support his decision because they all love him regardless. Let them all make an Active Effort to call him he/him and refer to him as a guy because they see the way his face lights up when they do and They Care A Lot.

Let him and Kanji have a discussion about their experiences and support each other because Kanji liked him despite his gender and that hasn't changed in the slightest.

Let him find happiness as a male without seeing in a necessity to his job. Let him dress the way he wants because it makes him happy, not because of other people.

Let Him Simply Be Trans.

[recurring-polynya]

I have to say I knew that at one point renji, ikkaku, yumichika and iba were in the same squad with kenpachi but good god you managed to paint a beautiful picture for me. I simply assumed that for them it was simply party time all the time along with a few bald jokes but this is much better. Emotionally healthy squad 11 which still love fighting more than anything. I always cringed when someone would just describe them as hooligans that do nothing but fighting. I mean they do that too but I love the idea that they are all emotionally healthy and mature, a loving and supportive family to their own - in their own wakka doodoo kind of way thats endearing - and of course they are in my opinion they single capable force against sexisim. Because they don't care about anything else - gendere, sexuality, gender performances, race, mentality or anything - other than if you fight good you respectable and if you fight good in squad 11 you family. ( like when kenpachi just became captain he made yachiru his lieutenant and no one was against it no one thought it was beneath them, sure thru nag at her sometimes but that's mostly in a banter like way because she call them stupid nicknames but no one hates her for being unrightfully their superior. One day they got a new captain and a new lieutenant that's a child and they just went with it.) I admit their disdain and disrespect to squad 4 is still frowned upon but I do believe some squad 4s can handle their own, it's just that we saw the really peaceful ones. Anyways sorry for ranting. Just wanted to say that yeah, I really like how the past squad 11 with iba and renji in it was a great place in general. I think if they found out some one was being sexist - for whatever reason - they would be there right next to nanao - or iba's mom protesting. Kenpachi and yachiru as well. And that makes me want to be squad 11 ,despite not being much for fighting, so bad.

So, for starters, thanks! I try to have fun whenever I write Squad 11, and I’m glad you enjoy my take on them.

My Squad 11 is just... really not very canon, though. Canon Squad 11 is actually pretty gross and sexist. Yumichika is transphobic, Kenpachi makes homophobic remarks about Yumichika, they bully Squad 4, there’s a filler episode devoted to a guy that Ikkaku bullied for, like 100 years because the guy lost his reiatsu saving Ikkaku’s dumb ass.

When you write fanfic, you occasionally run into these more problematic aspects of the source media, and you can choose to dig in and analyze them, or just... remake them in your own way. Take for example, Gin. If you read fanfic about Gin, there are some people who will peel away the layers of him and his fears and insecurities and still make him be a horrible gremlin, and it’s really stellar writing. Other people prefer to write him in an AU where maybe less bad stuff happened to him, and he’s more mischievous than sociopathic, and this is a less meaty interpretation, but it’s also more fun. Sometimes fanfic is a meal and sometimes it’s candy. It fulfills different needs and different fantasies and all of it is welcome.

Yumichika, who for me is the fulcrum of Squad 11, presents this problem. I really don’t like the way his “appreciation for beauty” plays out in canon. He doesn’t actually appreciate beauty, he just likes telling other people they’re ugly. I don’t think he’s ever pointed out beauty in anyone else aside from himself or his zanpakutou. I remember the first time I watched his fight with Charlotte and it struck me as so off -- why wouldn’t he find her beautiful? I mean, I know it’s a transmysogynistic joke, that’s why, men dressed as women is funny, hurr hurr, but Yumichika is gender nonconforming himself. This was an opportunity to make a cool character point, and Kubo took the cheap laughs road instead. Going back to what I said last paragraph, a skilled writer could, in theory, write about his insecurities and his brittleness and meanness and write a pretty compelling story, but a) Kubo certainly doesn’t, and I have never actually found a Yumichika-centric fanfic of this nature, and b) this doesn’t fit the role I need him to play in my stories. I am rarely really interested in writing about Squad 11 for its own sake. I like to write them as a backdrop for the period of Renji’s afterlife where he hit absolute rock bottom and bounced back up again. We already know the role Ikkaku played in this, except that Ikkaku is a complete moron in terms of mental health, and I really, really felt like this is where Yumichika needed to come in.

I like to massage Yumichika’s character a bit, but I do want to keep the flavor of some of his character flaws-- he’s still shallow and mean and judgy, and I love that for him, but I like to add in a positive side to his appreciation for beauty. Having Yumichika make fun of Izuru’s pores is funny but it’s even funnier if he’s just given Renji a compliment on his hair first. The idea that a Yumichika compliment is attainable makes all his drags the more vicious. Yumichika also judged people by their beauty instead of their moral character, which is humorous to me. He dislikes Byakuya as a person, but is obsessed with his haircare regime. I like to have him treat Rangiku as an equal, beauty-wise, and a person whose opinion he respects based on her aesthetic. Rangiku is actually a pretty savvy and very emotionally intelligent person whom many people write off because she likes to present herself as a lazy airhead, so in an extremely convoluted way, this all works out. I like to think that Yumichika’s ideas of beauty are also caught up in boldness and risk-taking and having one’s outward presentation ring true to their inner self. To me, this is the core of why he loves Ikkaku. To him, Ikkaku’s devotion to doing the most Ikkaku thing at all times, no matter how stupid, is irresistibly sexy. 

Aside: At some point, I decided that the fact that a lot of people in Bleach have colorful marks on their faces and elaborate hairstyle and accessory games implied that make-up in Soul Society is gender neutral. I like to think there is actually more of a divide between the nobility, who like their make-up to follow rules and be classy, and, well, Squad 11, who like to get make-up ideas from Jem and the Holograms. I don’t even wear makeup (I don’t know how and it’s expensive and I am ashamed of myself, we can talk about my own gender presentation later) but I like to write about both my male and female characters wearing make-up. I don’t actually know how my readers feel about it, but it just falls under the “Is that what people want?”/“It’s what we do” philosophy of all my writing.

I think one of the theses of my writing is that middle management is more important to the character of a squad than the person at the top. Captains sort of act as ideals to strive for, but they are generally unapproachable for one reason or another. Yachiru is more like her captain in this respect (which makes sense, since she is, in fact part of her captain). Ikkaku and Yumichika present this dual idea that 1) strength is awesome, fighting and being the best is awesome, and 2) part of strength is presenting yourself to the world in a bold and confrontational way. (The fact that both of them are hiding huge parts of themselves is laughably ironic). Kenpachi and Yachiru are shining examples of Do Whatever You Want and Be So Strong That No One Can Stop You. 

What really makes this work is that you need someone one layer down-- does anyone actually subscribe to this nonsense, and that’s why Iba - Abarai Squad 11 is Best Squad 11. I really, really enjoy the genre of Reddit posts where a total bro will find out that his girlfriend is trans and react by becoming a vehement advocate for trans rights. I love the bodybuilders typing encouragement to each other meme. Our world is flooded with disingenuous messages from concern trolls trying to tell us why being kind and inclusive to one another is bad or that you should reject help because struggle makes you stronger and the idea of a Himbo looking at something like that and saying “that seems dumb" is delightful to me.

I actually feel like there are a lot of awful people with bad ideas in Squad 11, it’s just that Renji and Iba don’t put up with their shit, and over time, that becomes the culture of Squad 11. I think that Squad 11 has incredibly turnover, but the ones who stay are the ones who subscribe to the ideas you mentioned-- fighting is what matters, if you wanna go argue about shit, go join Squad 5. In the IkkaYumi story I wrote, which happens shortly after Zaraki takes over, a ton of people leave. The Bount Arc (which I know a lot of people skipped) features a dude who was extremely pissed off because he had liked the old Kenpachi and thought Zaraki sucked and was so mad about it that he betrayed Soul Society. You might think that this arc would feature Zaraki caring about this in some way shape or form, but he really didn’t. So, I think there are a lot of Soul Reapers that took issue with serving under a little girl as a vice captain, they just aren’t in Squad 11 anymore.

Oh, one last note on Iba’s mom. I am of an age where a number of my friends have mothers who were Second Wave Feminists. The moms in question are a real mixed bag, because they Came From a Different Time, and on one hand, you have to respect what they went through, and on the other hand, they are very difficult to get along with. I liked the idea that Iba has always chafed against his mom and her big personality, and then Renji comes in, and is like, “hey, your mom is strong as hell and she has a lot of ideas that I never thought of but they make sense” and Iba realizes that, even though she’s still a huge pain in his ass, his mom is the person who made him who he is. Moms are complex.

Uhhhh, I have definitely lost the thread of wherever I was going with this post. Thank you for enjoying my Squad 11, which is nothing like canon Squad 11. Hopefully maybe this year, I will actually finish my Squad 11 Self Care story, where Renji stops being a drunk disaster person after Yumichika teaches him how to fill his brows; I got stuck on a part where Rangiku gives Renji a talk on ethical sluttery.

[hopeymchope]

hopeymchope, when you criticized Tenko's misandry and said it's just as bad as misogyny, you demonstrated an admirable quality called "integrity", which is essentially the belief in holding ourselves and the people we admire to the same standard that we hold our enemies. Integrity means we criticize Our Team just as strongly as we do Their Team even if that means "we lose a conflict or don't get our way". Integrity means equal rewards for doing right, but also equal consequences for doing wrong.

(Note: This ask is in response to this post and subsequent thread.)

Firstly, thanks for the kind words of support. Although I don’t believe that's a definition for integrity found in any of the major dictionaries, it still sounds pretty positive to me.

Secondly, I definitely want to be clear that Tenko's misandry is not something I think is any kind of realistic threat nor something anyone is likely to encounter in the real world. For multiple reasons. I guess that's true of a lot of Danganronpa characters' outlandish personalities, but even so, I want to make sure we're on the same page on a couple of points.

A) This should be fairly obvious, but... I really believe misogynistic behavior and general sexism towards women remains a pervasive problem today, whereas man-hating is rarely of any concern. I mean, just look at all the things Activision Blizzard staff have been accused of doing to female employees. Look at how misogynistic words and behavior from our leading politicians are so easily blown off/ignored by wider society. By comparison, misandry is a drop-in-the-bucket kind of problem. It's not non-existent, but there's no major societal impact from the small minority who are expressing it. In a world where men dominate government, corporate, and monetary control on a global scale, I think this is probably pretty clear.

So even though I think it's always awful to judge a person's value based on whatever circumstances they are born into, and I'm always inherently against hatred towards people on the basis of things such as gender identity/race or color/sexuality/etc., I'm definitely not trying to sound like some Mens' Rights Activist. Men already have all the control and all the fucking rights; they don't need any activism.

B) Even among misogynistic and/or misandristic persons, I believe it’s safe to say that "this entire gender shouldn't exist and maybe we should pre-emptively snap their spines so they never get the chance to do their inevitable evils" is an extreme stance. Tenko is like three steps away from (...comedically?) suggesting genocide. If you dropped Tenko Chabashira into a group of real-world people who hate men, I think most of them would be like "Holy shit girl, you need to chill out."

[platonic-prompts]

Creatures from Folklore: Slavic Region A-D

You ever need different creatures to base things off of, or just want some legends for a setting? Or heck, you ever just want to chuck a creature at someone and say you’ll figure it out? Well, do I have the posts for you. This one will focus on the Slavic Region but I’ll make more at a later date

Ala are considered to be demons of bad weather in several folklore, including that of Bulgarians, Macedonians, and Serbs. Their main purpose is to lead thunderclouds that produce hail towards fields, vineyards, or orchards to either destroy the crops or to loot and take them. They are very voracious and really like to eat children. Though one shouldn’t assume they limit their tastes to Earth, no. They sometimes try to devour the sun and moon which lead to eclipses and if they succeed it means the end of the world. People who encounter one may find their mental and physical health as well as their lives at risk. It is, however, possibly to gain her favor by approaching with trust and respect. These good relationships can be very beneficial since she (the ala) can make those with her favor wealthy and save their lives if they are in danger. Ala can take on many different forms: black wind, giant creatures with no distinct form, a monster either humanlike or snake like witha  huge mouth, a female dragon, a raven, various human and animal shapes. Ala can also possess people’s bodies. They live in the clouds or in lakes, springs, hidden remote places as well as caves, inhospitable mountains, forests, or even a huge tree. Usually hostile towards humans, they have powerful enemies capable of defeating them like the dragons.

Alkanost have an incredible voice, capable of making anyone who hears her song might forget everything in their search for paradise. A creature of good who resides in the garden of the gods or whatever version of heaven required, the alkanost has the head and bust of a woman and the rest of the body is that of a bird. Sometimes this creature lays eggs which assist in the changing of winter to spring. Basically she wouldn’t sit on her eggs just dump them into the Ocean-Sea and when they reached the bottom the weather would turn fair. Though i think that takes her out of the running for parenting awards.

Anchutka is a small malevolent spirit, residing most often in water or a swamp. Even without wings, it is capable of flight. One of its nicknames is the one without heels. This is a common theme to look for, as oftentimes evil forces have a limp. Though in some storied this spirit has lost their heels because they got bitten off by a wolf. This spirit is often a sidekick to a water spirit called Vodyanoy, and as such you should never say its name aloud since it will always show up.

Aspid, a type of dragon with a beak and other birdlike elements, resides primarily in the mountains, preferring solitude. When it invades a region, nearly always it caused universal devastation.

Baba Yaga: I’m pretty sure a lot of people know about Baba Yaga, the witch who lives in a hut with chicken legs and goes around in a mortar and pestle. She does carry a broom though, but she only uses it to sweep away her tracks.

Bannik is a spirit who rarely does any good for anyone. A mischievous spirit that has the appearance of an old man with long claws, he’s a spirit that inhabits the banya (steamhouse). Whenever people bathed in the banya, they would always leave on the third or fourth session to let Bannik have his privacy. They would leave him offerings of soup and regularly thank him. Bannik had the power to tell the future and if asked a question he would softly touch the askers back if it was a good future or flay it if it was a not so good future. Oh and Bannik, when angry, would claw off the skin of those who annoyed him. The banya was also the place of Russian childbirth, so there were measures taken to keep him from interfering. Part of the midwife’s job was to keep him away. And with good reason. Legends say that he ate or flayed children. So therefore the midwife would dip stones in the water and throw them in the corner to distract the steamhouse spirit.

Bauk hide in dark places and holes and abandoned houses. There they wait to grab, take away, and devour their victims. They have a clumsy gait and can be scared away by light and noise.

Babay, possibly the same thing as the bubak, isn’t often described so children will come up with what is most terrible for them. But despite this, Baby has been described as a black and crooked old man. When he is descibed he tends to have some traits such as muteness, lacking arms, or walking with a limp. He carries with him a bag and a cane. Baby lives in a forest or a swamp or a garden only to come out at night to walk the streets and scoop up the children he meets. He will walk close to windows and watched the children sleep. If they aren’t he’ll scare them with noises. Or sometimes he even hides under kids beds to take them away if they get up.

Błędnica is a forest demoness, who leads people astray before leaving her victims alone in the midst of the forest to die of starvation or be eaten by animals. She is usually described as a young and pretty girl. The only way to chase her away is to use strong spells or to sacrifice something at home or during your hunt.

Blud is a fairy in Slavic mythology. An evil deity who causes disorientation and leads a person around and around aimlessly.

Bukavac lives in lakes and pools, coming out at night to make a loud noise. A six-legged monster with gnarled horns, it would jump people and animals and strangle them.

Bubak is often represented as a scarecrow with a skeleton as frame, which is connected with darkness, it is a type of boogeymen used to scare children. The skeleton often is describes as wearing a heavy black coat where it hides the children it steals.

Cikavac, a mythical creature from Serbian mythology and it kinda feels like a basilisk but way weirder. This thing is a bird that has a long beak and a pelican-like sack. You can acquire one at the low low price of your sanity and clear face. For you see, in order to get one, you need to take an egg from a black hen which a woman now needs to carry under her armpit for 40 days ( is now a good time to note that chicken eggs hatch after 21 days or so) and one cannot confess, cut nails, wash their face, or pray. After that the cikavac would suck the honey from other people’s beehives and suck milk from other peoples cows and then bring it back to their owner. It would fulfill its owner’s wishes and it would allow its owner to understand the animal language.

Chort, a demon or a humanlike spirit in Slavic folk tradition.  They are not exactly evil characters. Yes they try to trick people into selling them their souls in exchange for useless gifts. Yes those people are carried off into hell. But they are sometimes tricked into doing such things as building castle walls in a day. Sometimes is depicted as trying to bring evil characters to hell. A small, hairy man with a tail, horns, and one or two hooves. But due to shapeshifting abilities, the chort is able to appear in nicer forms and tries to trick people while in them. Though these transformations aren’t and can’t be complete, so there’s a way to know if one is dealing with a chort whether it be by small horns in curly black hair or a hoofed leg hidden within high boots. Though they share similarities, a chort is not the devil.

Čuma, aka kuga, is a personification of the plague in Serbo-Croation myths. Typically appears as an old woman wearing white, though in some cases has been depicted as a young woman. Direct mention of them were avoided and were usually referred to by godmother or aunty. According to belief, they lived in a far away land where they came from to infect people. Due to their hatred of dirtiness, if they found a dirty household they would be eager to infect it. Due to this, if a plague appeared,every house and its occupants must be thoroughly cleansed. In addition one could make offerings to of food, clean water, basil, and a comb.

Domovoi are household protectors, generally seen as kind spirits though they would harass the family they protect if said family was rude or unclean. This usually took the form of pulling small pranks until the family corrected their behavior. While domovoi are shape shifters, most depictions show them as small, bearded masculine creatures which are reminiscent of hobgoblins. In order to complete his chores and to fulfill his duty of protecting the house, the domovoi would assume the shape of the head of the household, sometimes working in the yard while the real head of household was asleep. (Guess spirits don’t have to worry about identity theft charges). They were also capable of turning into animals, rarely taking the form of a dog or a cat. Another facet of the domovoi was their ability to act as an oracle. Predictions are as follows

Dancing and laughing= Good fortune would come

Rubbed the bristles of a comb= a wedding would happen soon

Extinguished candles= Misfortune would fall upon the household.

Dziwożona, a type of female swamp demon from Slavic mythology, sometimes called Mamuna or Bognika, who lived in the thickets near rivers and streams and lakes. Thought to appear with foul weather around trees and swamps, they are known for being malicious and dangerous, and usually were previously living humans. Several types of people would be at risk of turning into one after death, such as: midwives, old maids, unmarried mothers, pregnant women who die before giving birth, and abandoned children who were born out of wedlock. Some depictions include an ugly, old woman who had a hairy body, long straight hair, and I quote “breasts so huge she uses them to wash her clothes”. I don’t know what that actually means and I don’t want to find out. She also wore a red hat with a fern twig attached. In case she wasn’t weird enough, she’d watch women with their little children.  Just chilling around making the kid sick and making schemes to get the mother away from the kid when she’d replace the kid with one of her own, a foundling/changeling.