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reflections-in-a-critical-eye · 3 years

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Hi! So, why BTS? And why now? I want to follow your blog, but may I speak openly?

Writing about BTS through the lens of various critical theory is amazing. You are so smart. I am going to be honest about my own biases here, so feel free to trash me for it. I am anonymous after all so trash away as is your right. I understand.

There is often a supposition from critics, both professional and amateur, that the fandom- frequently presented as an immature, undifferentiated mob of cultists- is unable to think critically and must have basic things explained to us so that we don't throw stones at the free speech warriors of truth and standards (not saying that this is your attitude). I find that a little alienating. This fandom has existed for eight years. We have seen blogs and empires rise and fall.

I also don't think that it is an accident that the desire to project these more critical ideas into the public sphere usually comes after a year of being a full on ARMY (judging from my friends experiences). I have read peices about BTS's work referencing Lacan, neo-marxism, post-structuralism and other such stuffs. (My friend used to have an analytic blog that she chose to shut down a few years ago). I am going to be a bit blunt again, so trash if you must, but I think what was being exposed in those pieces was not only "critical thinking" but an excess of emotional investment in BTS, and the desire to intellectualize or justify it.

BTS got a lot of people through 2020. Those long content dives kept people sane. But now, based on a lot of the dissapointed PTD criticism, it feels like some people are waking up hung over and kind of bitter. Emphasizing the three English singles and ignoring BE, an album they worked on for months, seems like a symptom of this. Removing BE from the narrative seems to advance theories of BTS's 'Americanization', lack of creative agency and homogenization into some inferior or less Korean form of pop. BE should not be dismissed as irrelevant to this discourse. Many western artists take an average of 2 years between albums. BTS put out a lot of work. Maybe some of the distrust of criticism that we plebes have comes from the suspicion that critics may use art and events to construct a story. As a person of Asian heritage, LGO going #1 on Billboard meant a lot, emotionally.

I hope none of this caused offense. If it did please just ignore. Thanks for your great thoughts. Wishing you success in your goals.

Hi! Your ask did not cause offense, I'm more than fine to talk about this.

There's a lot to unpack here, so I'm taking it one by one.

Why BTS and why now? I chose to write about BTS because it's been an interest of mine for quite long. I mean, I didn't expect more than a year later to be here. My past obsessions usually lasted between 2 to 3 months, max, and everything felt so intense, but then it faded for a few years. (The last band I really focused on was Pearl Jam back in my first year of college while I was going through a bit of a difficult period in my life).

Yes, I have become a fan during the pandemic. It was sort of inevitable for it to become such a huge focus (escapism from the world outside and from writing a thesis). If I had started this blog a year ago, then you're right in one way: it would have been emotional investment and my desire to intellectualize and justify it. Basically that's what I did in the first few months (when I was on my own, in no community whatsoever). In order to explain myself and others why I'm spending time on this, I used to read research articles. But that's not the full truth and that's because to me such practice comes naturally, just as when I was 16 I couldn't just watch and enjoy movies, I had to read about them every day, or how I'm surrounded by pop culture just as everyone else, but I want to read books about it so I'm willing to do that for months. It's how I'm wired, so in a way, of course it had to happen with BTS as well.

The reason why I decided to make a blog now it's not necessarily because I ''woke up'' or that suddenly I see ''the truth''. Perhaps you may have had that impression because of my first post where I talked about PTD and the recent talks about ''Americanization''. I touched on that subject because I was closely following it, but that is not to say it was my only purpose on making a blog. I feel that, a year later, I'm more secure with my general knowledge and that of BTS. I couldn't have done it before that. I also plan to talk about other topics as well, not just what's ''hot'' at the moment. If I didn't have any other ideas, I wouldn't have made a blog.

And I'm certainly not here to teach anyone or ''plebes'' as you said, anything. And I also know that I'm not going to be the last to have a blog, write a think piece or publish something about BTS. People are allowed to engage in all types of discourse, depending on what they like and what they feel comfortable with. There are countless blogs with countless topics and perspectives. Some last, some don't, that's just how it is. I don't have huge important plans to teach the fandom, my ego is not that big and this is just a hobby for me. It's also not the first time I'm publishing something, but it is the first time on my own blog, despite being on tumblr for 10 years now.

But you are right when you talk about people forgetting about BE and I may add, Film Out which is more recent. I too thought that LGO going #1 on Billboard was incredible. It was a song in Korean that really reflected how people felt during the pandemic. Not just LGO, but the entire album is a true reflection of current times on top of being just simply good music. The album was promoted as well, different versions of the MV, the logs that preceded it focusing on production, it really made me look forward to it and it did not disappoint. The last few months of 2020 have been really good for what BTS has delivered. To go back to your argument, I don't think it's about constructing a story. Yes, in a way people could be accused of ignoring BE, but what's the problem with focusing on what's been going on at present? We shouldn't be surprised about that, PTD was released not too long after Butter. It was full of promotional material ever since May.

I stated in my blog introduction that I'm in film studies, so I will end up making a lot of references because I can naturally make my point across. Let's say I'm a fan of Xavier Dolan. I've watched his first films, fell in love with his aesthetics and his stories. Then he releases something that I don't really like, doesn't work for me. Then another. And then another. I'm thinking, ok, this is the direction he's going with, it's not as daring as what he used to do before, but so what? He gets the awards at Cannes, but I'm still writing a negative review of his film Mommy. Doesn't mean I'm wrong, doesn't mean the Jury at Cannes is wrong, it certainly doesn't mean that I don't like Xavier Dolan anymore. We're just looking for different things.

We write about things that are happening at the moment and how see them now. We make judgments of value based on our current knowledge. Who's to say that in 10 years people won't look back and think: those critics had no idea what they were saying about BTS (Antonioni's L'Avventura was booed at Cannes when it was released in 1960 and now it's considered a masterpiece and even taught in schools). But that's just a possibility right now and if in 10 years I'll remember that I used to write about this, perhaps my opinions could/would change. Maybe less than10 years :)

#asks

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hankwritten · 4 years

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TFComics Rewrite

I am currently plotting an outline for a TFComics, and I want to get my thoughts about fixes to canon and possibly get feedback. Since this is a rewrite there’s really no *spoilers* or anything, so I’m willing to answer all questions about what I plan to do. Also some characters I’m not so sure about how I want to retool them, so if your have ideas for your fav let me know!

Disclaimer:

This rewrite is intended to critique the content/choices made in the construction and telling of the Team Fortress 2 comic series. It is not a personal attack on the artists/writers/directors or any of the creatives that made contributions to this series, nor is it meant to substitute or replace the official release. This work is transformative in nature, and relies on an understanding of the source material to be understood. TF2 and its characters belong to Valve.

TFCR is working on the assumption that the audience has read the original comic, and as such will skip over scenes and plot points that are unchanged from the original. I don’t think it needs to be said, but this fanfiction will not make sense if you are not familiar with the source.

I also recognize that there are strengths within the comic’s writing and weaknesses within my own. Namely, that Valve writers are gods in the realm of comedy, and I’d rather not try to match them in the regard. As such, I will state up front that these will not be as funny as the TFComics. That is not to say there won’t be jokes (either ones transplanted from the source or some of my own) or that the tone of this will be terribly grimdark, only that my focus will be on improving story structure and character development as those are what appeal to me.

The Broad Strokes

The goal of TFCR is to give a more engaging story for all the mercenaries we know and love, as--let’s face it--the TF2 mercs are side characters in their own damn story. These are some of the planned improvements.

There will be reason for each of the mercs to actually be there. As it stands, the motivations for almost every character besides Pauling and Saxton Hale are vague and unsatisfying. We’d usually say something along the lines of “money” for hired killers, but clearly Scout doesn’t even know if they’re getting paid, and some of the other characters are even worse. The hunt for the Australium is, therefore, boring. MacGuffins usually are, but at the very least the characters should care about the item even if the audience doesn’t. This work aims to give each of the nine mercs a motive and a reason to be in the story instead of just replaceable joke dispensers.

Explain what “Team Fortress” means, and how it relates to RED and BLU. Long and short: the nine mercenaries we see on the team are not from either RED or BLU but rotate between the two, and were the individuals selected to fight the robots. That means all things do happen to all characters. As Valve pretty much goes with “whatever is funniest at the time”, it’s very hard to make a cohesive theory about “where the hell is BLU team?”, but I’ll do my damndest. We’ll also examine Team Fortress’s relationship with the other capital T Teams, and why they’re considered the “rejects” of the bunch.

Comics 1 & 2 will be removed from the timeline as they serve no purpose, only taking what needs to be known about the plot’s setup and jumping straight to A Cold Day in Hell.

We will introduce the Classic Mercs right away so they can generate threat and play against the TF mercs when they do actually meet head to head.

We will not be killing off Gray Mann. (Not preemptively anyway.) In fact, there will be more focus on him and Olivia as villains facing off against the Admin, providing her foil as the TF2 and TFC mercs provide foils for each other.

I considered waiting until the final comic was out to begin working on this, but that may never happen. Jay Pinkerton said he may reveal what plot they had in store eventually, but considering it took Half Life over a decade to get the “I was once a Valve writer but my NDA has expired and now I can go buck wild” treatment, I’m not holding my breath. The main reason I wanted to do this is that the Administrator’s motivations are not interestingly foreshadowed, to the point where there aren’t even any good fan theories out there. That said, WritingDispenser and Riddle of the Sphinx helped come up with a pretty fun one, which was actually the inspiration for me to get off my butt and start plotting this.

There will be no queerbaiting. This refers both to HeavyMedic (which has been simultaneously used as wink wink nudge nudge joke many times and as encouragement for fans to play their stupid hat game) as well as lesbian Pauling (since femme lesbians are the preferred method for front facing LGBT representation across almost all media, but video games especially). If you need to understand why lesbian Pauling is an issue, Sarah Z coined the term “queercatching” in order to describe word of god confirmations on characters sexualities that are not followed up on in the text. I recommend the full video on it.

Due to the importance of immortality in the theming of the comics, respawn will not be a thing. Deaths we think should have happened previously will be explained as close calls, or that Medic can heal a short time after death. Medic and Scout’s deaths will be cut in the story itself, as after Sniper died and came back, them doing the same thing kinda lost their punch.

Scout

There will be no ScoutPauling hints. It doesn’t make sense to give screentime to this relationship because Valve obviously doesn’t think it’s going to go anywhere so why make Scout turn down advances from other hot women? I mean I get Expiration Date was a Thing but it feels like Scout’s whole motivation shouldn’t be reduced down to chasing a girl who doesn’t like him back.

He’s here because he lost his life’s savings in bad investments and needs the money. That’s it. Which is still somehow more than his canon motive which is question mark question mark question mark

He, Soldier, Spy, Demo, and Pyro all start the adventure with Miss Pauling.

Engages with Heavy on a genuine level when they go to collect him, Heavy doesn’t blow him off when he tries to level about dead dads.

There will be no DadSpy reveal. The way Spy treats Scout has never been “deadbeat dad feels bad about abandoning his kid” but more “this is someone I would kill without a second thought if I felt like it” which makes his reveal in comic 5 feel very disingenuous. I don’t think Valve even had this plotline in mind until comic 3, as #2 still has Spy seeming only to care about Scout’s Ma and not Scout himself. It also makes “seduce me!” retroactively weird.

Uhhh hooks up with Zhanna. This one isn’t critical I just think it’s funny.

Soldier

Soldier is going to be the Ur example of the Admin not treating her people well, as we’re going to lean into the whole “Soldier was only mildly messed up until the whole lead poisoning” thing.

He’s here because he’s blindingly loyal to the cause. He’s actually going to very little from canon because of this actually.

Might be the reason Team Fortress has a reputation of being the lower tiers of the Teams, but that doesn’t mean he’s damn good at his job. Fatal flaw is that he’s unstable, and even though the courthouse plotline won’t be in this fic, it should be noted that he actually does cause problems for the other protagonists due to his short temper. He’s a risky asset, but still essential.

There will be a minor explanation for the WAR! Comic, but I think that’s better saved for Demo’s analysis.

Pyro

Pyro is the character you could cut entirely from the comics and have the least change. Now, they’re going to be Pauling’s right hand. Let me explain.

Engineer and Pyro are implied to live together, and Pyro doesn’t have anything better to do than go with Engie after Team Fortress is disbanded. Rather than having a reveal, we will see some of what is going on with the Admin and friends early on, and see what leads up to her sending Miss P the note that kicks off the whole plot. However, while Engie needs to stay and look after her, Pyro’s skills aren’t useful here, and they are sent as a direct messenger to help Pauling.

They’re loyal, and unlike Soldier rarely mess up orders. They’re also partially mute, making them ideal for handling sensitive info. Pauling trusts them to handle the burning of “Elizabeth’s” paper trail.

Will be using they/them in the narrative voice, but other characters will refer to them as he/him. I considered going with it/its because that’s bubbled up in popularity again, but ultimately I decided against it.

We’ll get glimpses to their train of thought, but like the comics they will remain virtually silent.

Demo

Demo’s role in the cast is going to be very similar to Spy’s. The events of WAR! involved him nearly dying and Soldier taking the win, and he’s very bitter that after all those events *apparently* mercs can just be switched around teams willy nilly and don’t have to kill each other anymore. (As the audience, we know this is because the Admin found out the “make them so angry they won’t ask questions” wasn’t a long-term viable solution, and instead brought TFI forward as a neutral third party that was pretending to mediate the gravel wars.) But Demo’s suspicious, and is only along because he really has been miserable since he lost his job.

This conflict will eventually come to a head, more on that in the Sniper section.

Is fairly forgiving with his teammates. Doesn’t like Sniper but I’m willing to drop a little angst during that submarine scene. Is glad to see Medic actually. Here to be some glue to hold this merry band together.

The Eyelander will not be forgotten after 2 comics because I love this character concept and I think it was underutilized.

Drunk jokes will be kept to a minimum. What I liked about WAR! and Bombinomicon was that it took Demo and showed that they knew how to make him funny without making him one note, which they sort of did in the early TFComics but stopped in the later ones in favor of him….being asleep for the whole plot. I promise 100% awake Demo in my rewrite.

Demo likes Pauling on a personal level, but has trouble reconciling her with his feelings on TFI.

Doesn’t get knocked out by moonshine because. Seriously? Poisoning the Demoman with alcohol? In what world does that work.

Heavy

Not too much to change. Scout doesn’t accompany him when he goes to look for the secret Australium cache, and he engages with Mags and Saxton (which will be when the audience finds out what they’ve been up to) and actually cares about what’s going on with them. He thinks Darling is up to something. Which he is, he’s attempting to unseat both Gray and Helen due to long family history.

Will at least mention Medic. Their reunion falls a little flat since it mostly relies on Meet the Medic for context, as they don’t really interact in the comic. There can be a bit of a flashback to what it was like as all these mercs broke up.

I know uhhh Valve seems to think found family is really dumb, and that these murderers could ever like each other is silly or something, but the mercs do? Like each other? For the most part anyways.

Bronislava and Yana come alone for adventures, not just Zhanna. Again, no real reason, but sometimes I get to have tacky fanfic stuff in my own fanfic because I Wanna.

Engineer

Engie ruminates on his family history of allowing all this bullshit to happen and just kind of shrugging. Basically Moss’s analysis of the Conagher themes.

Has put a lot of time, sweat, and tears into BLU and now TFI, isn’t willing to let it fall now, even if Admin is basically living on borrowed time. He’s doing this because of the ‘ole sunk cost fallacy.

Also we get to see more of Pauling and Admin’s relationship through his eyes.

Medic

Congrats on being the one merc with an actual arc, Medic! As a reward, you will not be changed much.

I’m actually going to use Medic’s section to say that the Classic mercs will be referred to by their first names in order to differentiate them, and we’ll get little previews of what they’re like from Medic’s perspective before we actually see them fight Team fortress. The battle at the submarine will be more of a fight in this sense, working it out so it seems like surrender is the only option after Sniper is killed.

Final fight with Cheavy will be...not blocked so awkwardly. I mean this is now a textual medium so my work is already halfway done, but still the pacing is so weird. Shudder.

Sniper

These are the big guns. Most changes, even more than Demo. He’s been actually hunting for New Zealand/the Australium cache on his own, and doesn’t want Pauling interfering, saying for a he knows she could have been the ones to kill his adoptive parents.

(She hasn’t, but the Admin did actually order them killed in an attempt to stop Sniper because she thought she could prevent the exact thing that is going on right now which is that Sniper is considering trying to get at it.)

Sniper doesn’t know this, but Pauling, Demo, and Spy eventually convince him to share his findings and help them get to New Zealand.

Spy

Similar to Demo but is less conflicted about it. He knows just because he likes someone doesn’t mean he won’t have to kill them later.

Spy knows about who killed Sniper’s parents, and tells Demo, sort of as a test to see where his loyalties lie. He also knows that Pyro is Pauling’s confidant for certain things.

Demo questions him about what he’s doing here, whose side he’s really on. But you know. Spy is Spy and he was never really on anyone’s side but his own. When it comes down to it, it might be exactly as Scout thinks: that he’s ditched them all and run off when he had the opportunity. But, big damn hero, comes back in the end.

He’s here mainly to “keep an eye on things.” Also maybe because his gf asked him to keep an eye on her son :)

#tf comics rewrite #tf2 meta

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britishassistant · 4 years

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But I Like One Piece (20)

They all turn to stare at him.

“Dear? How do you know that?” Okaa-san says.

Otou-san shakes his head and sits down heavily on the stairs. “The manufacturer for those weapons is in Yukigakure. Just like the incriminating ryo left at the scene of that theft.”

Oh.

Oh sweet Merry.

She mutters, “Shika said—when we were talking about the theft, he said it had to be an inside job, because an outsider couldn’t know anything. But if they were like me—if they’d read the comic based on Konoha in their past life, they would know. They’d know almost everything even if they never set foot here.”

She swallows, throat suddenly dry. “If it was plot-relevant, then they’d know more about what was valuable and how it was defended than people who’d lived here their whole lives. They’d even know the weaknesses of the ninja sent after them, if those ninja were major characters.”

Otou-san nods. “And if he or she needed to finance the manufacture of those weapons, what could be easier than to steal something from here and sell it to another hidden village?”

She sits down heavily on the stairs.

Her heart’s pounding too fast. The side of her head is throbbing in time with the beat.

“Well.” Okaa-san coughs. “That’s mildly terrifying.”

She lets out a humorless chuckle at the understatement.

Horror wars with elation in her brain. Elation at the knowledge that she isn’t alone here.

Horror at the idea of someone knowing everything about this place and deciding to use that knowledge for their own gain. If robbing Konoha wasn’t low for them, would they stoop to manipulating Naruto, Sakura, Uchiha? To hurting them to get their way, change a narrative they don’t like?

“But Iruka-sensei said Yukigakure gave us those guns for less money than they gave them to other villages.” Naruto says suddenly. “Maybe that’s the not-Mayu’s way of making it up to us?”

“You think villains who would commit such an unyouthful action would be capable of feeling guilt?” Lee says doubtfully. “Shouldn’t we tell Gai-sensei about this?”

“We can.” Otou-san sighs. “But I’m not sure how helpful it would be. Nara-san said Yamanaka-san knew about the Yuki connection between both the theft and these “guns”. For all we know, the price reduction could be a concession negotiated between the Hokage and the thief, and we just have a morsel of knowledge about that deal which would endanger Mayu more than it would help the village.”

She fidgets, tracing the scar on her lower lip.

Lee’s brows are furrowed, his mouth pulled down in a frown.

Okaa-san reaches out and smooths a hand over his hair. “Why don’t we get Ichiraku’s and sleep on it? I think Sanji would agree we’ll all make better decisions with some ramen in our bellies.”

Naruto springs to his feet. “Yeah! Ramen’ll fix everything, believe it! C’mon, I’m hungry, let’s go, let’s go!”

It doesn’t quite fix everything, she reflects later as she descales and fillets the pike for the offerings tomorrow. There’s still another reincarnated person who robbed the village, had her father take the fall for their crime, and is now mass-producing the very weapon that killed her past self, which they can do next to nothing about.

But ramen smoothed out the crease in Lee’s brow when they all agreed it was better to tell Gai-sensei than not. It lightened the mood and made everything this day had thrown at them seem a little less important in light of the celebrations planned for tomorrow.

Their small garden is now even smaller thanks to the a large wooden structure that sits next to the back fence.

It’s a bit like a cross between a shed and a greenhouse, if it only had three walls and no doors or windows. The roof is curved and the walls are sturdy, to protect the shrines inside from the elements.

There’s a length of thick white rope fastened with red twine inside the front gable, which is meant to ensure that the shrines are protected from malicious spirits.

Each one of the shrines has a small building that is sealed automatically once the shrine has been assembled, keeping a small object for the deity to inhabit safely locked away from prying eyes. There’s a small recess before this structure, for offerings to be placed, and a little column that puts them above the eye level of a kneeling person.

They’d debated setting aside a space for the shrines in the living room inside the house, to ensure they could be protected and cared for. But she kept getting impulses of outside, of wind and rain, freedom, that eventually they decided it was better than keeping them cooped up inside.

Plus this way, Luffy can’t raid the fridge as easily.

She’s already found certain small cuts of cooked meat have gone missing. If he’s anything like the manga, then she’s not giving him the chance to clean out the entire fridge.

They’ve been working on constructing it and the shrines on weekends and in the mornings during training. According to Gai-sensei, it’s excellent practice for C-rank missions.

Now all that’s left is to paint the structure and the ten shrines housed within.

Working out what to set out as offerings for tomorrow had been a challenge and a half.

For the most part, the Strawhats can be grouped into small sections of what they will and won’t eat.

Nami and Chopper are fruit lovers. Sanji, Zoro, Brook and Usopp are partial to seafood. Luffy, Franky, and Robin are happy with beef and other land-based meats.

However, Zoro, Sanji and Brook like varieties of seafood that are difficult to get in Konoha— octopus, lobster and prawns are expensive and hard to find, while sea king meat just doesn’t exist here. At least Zoro is happy enough with a traditional plate-2-bowls meal with rice.

Robin prefers sandwiches, and she’s not quite sure if the burgers Franky loves fit into that criteria. Chopper can’t stand spicy or bitter foods, but Zoro and Robin dislike sweets.

She’s just thankful that Luffy, Nami Usopp, and Merry are so easy to feed. Pike’s one of the few fish that Konoha doesn’t need to import, so it and tangerines relatively inexpensive.

There’s no chance of combining all their preferences into one dish. Her head hurts just imagining the clash of flavors.

So she had to somehow come up with a way of creating a meal that would (hopefully) make each of the pirates she idolizes happy.

No pressure.

Chouji ended up being her savior in this respect.

And maybe Uchiha did as well, but only a teeny tiny bit.

She’d been brainstorming different versions of meals she could try making that would satisfy everyone, but kept coming up short.

The added tension from Sakura’s friendly-again-but-still-not-quite-sitting-back-at-their-table thing at this time wasn’t exactly helping her think either.

“I’ve got cola, coffee, tea, heck even sake, but still no idea on what to pair any of them with.” She complained, tapping her pencil against the list in front of her.

Chouji had leaned over, a thoughtful look on his face. “Why not make them lunchboxes? That way you can make lots of things in smaller amounts and personalize each lunchbox for each of them.”

“Hm. That is a good idea.” She gnawed on her lower lip. “Only downside is working out when I can cook what and how much time the preparation of each portion is going so everything in the bentos is relatively fresh for when it’s offered... how much d’you think eleven more lunchboxes would cost?”

She’d just begun sketching out lines for a tentative timetable when Uchiha complained, “Why do you think you’ve gotta do everything on your own?”

She looked up, a little offended. “I’m not praying for help with this, are you mad? That’d be like asking someone to bake their own birthday cake.”

“What Sasuke means,” Chouji intervened. “Is that we could always split the work three-ways between us, and bring it to your house on the day?”

She blinked. “You...you guys would help me like that?”

Chouji smiled, then made a squeak of surprise when she lunged over the table to hug him tightly. “Thank you.”

“I have lunchboxes to spare.” Uchiha drawled. “Plus someone’s got to make sure you don’t mess up.”

She had then let Chouji go so she could boot Uchiha in the shin.

As a result of this arrangement, when she wakes up on The Day, all she has to worry about is preparing the pasta for Sanji, Nami and Usopp’s lunchboxes after training with Gai-sensei.

She’s almost worried that her timining be a little delayed because Gai-sensei grabs her in a bone-creaking hug when she arrives at training and spends about three minutes weeping over how youthful she is.

He then makes them run fifty times around the village balancing the paint pots they’ll be using later to ensure that the paint is agitated enough “so its most YOUTHFUL colors will shine through!!”

They nearly lose the purple when Naruto fumbles slightly over a root.

She bolts down her food at breakfast.

She puts on more rice again in preparation for the sesame onigiri, and pulls out a pot to fill with water that’s set to boil and a pan to gently heat some oil on the stove.

She smashes a clove of garlic and drops it in when the oil has begun to smoke gently, deseeding and dicing up some chilis and tossing them in as well for flavor.

She can’t help her grin when the heady spicy-savory scent fills the air, finely chopping capers and anchovies to toss in once she’s fished out the smashed garlic.

The scent mellows somewhat when the diced pike hits the pan as well, and she pushes it around until the fish is almost-but-not-quite cooked through.

Then in with a generous glug of wine and the heat is turned down to a gentle simmer to let the alcohol cook off.

Just in time for the rice to have cooked and cooled enough to begin mixing with yellow and black sesame seeds and begin forming into ten onigiri.

They don’t have any fillings other than the sesame, because they’re designed to take the edge off the stronger flavors of the pasta (her) and the takoyaki (Chouji), as well as serve as a substitute for a sesame topped bun accompanying the hamburger steaks (Uchiha).

The others begin to arrive at around ten.

Sakura and the Harunos arrive first alongside Ino and her dad.

She shouts a hello as Naruto and Lee lead Ino and Sakura through the kitchen to the back garden, nails orange with peeled tangerine.

Ino darts forward and steals two slices, chortling in response to her indignant “Oi!” and passing one to Sakura, who grins as she nibbles on their way out.

Yamanaka-san is totally at home chatting with Gai-sensei and Otou-san, but he snickers when Nara-san immediately gravitates towards him when he arrives. Shikamaru gives her a nod as he follows the adults outside and she puts the pasta on to boil.

She’s set aside two extra tangerines for when Shino and his father arrive. After all, she, Chouji and Uchiha are making enough to feed eleven deities and many many people, so shouldn’t their insects also be able to eat as well?

Shino’s dad stares at her inscrutably when she explains her reasoning, before accepting the fruit with a nod and a “thank you” barely audible over a loud buzzing.

Shino shifts from one foot to the other during this exchange before gently tugging his father’s sleeve. It occurs to her as she drains the pot-full pasta and adds the sauce alongside a cup of boiling water to emulsify everything that this might be the closest she’s ever seen him to being embarrassed.

Chouji and his dad arrive as she’s sprinkling in some parsley as a finishing touch.

They’re both carrying huge containers full of takoyaki and cooked spring greens, and she spares a small moment to be envious of all the amazing things Chouji’s family can afford to do.

Then she launches Chouji another hug to thank him for all his help once he’s set his cargo down.

He squeaks like he did last time and Akimichi-san laughs loudly, for some reason.

Iruka-sensei and Uchiha arrive with eleven lunchboxes, two dogs, Kiba and his mum, and Hinata in tow.

Uchiha keeps sneaking what appear to be morsels of meat to Akamaru and Kuromaru.

There’s also a pale-eyed frowning boy who Iruka-sensei introduces as Hyuuga Neji, Hinata’s cousin who’d been sent along to act as her chaperone.

The boy sniffs disdainfully when they greet him and goes to stand in a corner of the garden near Mebuki, completely ignoring Lee when he waves to him.

She doesn’t think she likes Hinata’s cousin very much.

The lunchboxes Uchiha brought are black lacquer decorated with gold and red tomoe, much fancier than anything she’d been expecting.

When questioned, he just shrugs and says, “It’s just old stuff from New Year’s. It’s just taking up space at home, so it’s better off here.”

She knows better than to say anything like “sorry”, so she just pats his shoulder and says “No, that compartment’s too small for the onigiri, put it in this one.”

“That’s way too big, it looks tiny in that one.” Uchiha snaps, but with a bit less bite than usual.

Iruka-sensei looks mildly overwhelmed by all the people in the back garden. Okaa-san comes along, hands him a drink, pats his shoulder and says “They’re in my house,” in a sympathetic tone.

Iruka-sensei gives her a pitying look and knocks the sake back in one go.

Adults here can be weird.

Finally they’ve finished serving and she calls out “Food’s up!”

The adults come in to help take the larger platters of food outside, a huge plate of pasta, several smaller hamburger steaks in the style of what they’d call “sliders” in her world, and mound upon mound of takoyaki and spring greens and tangerines.

There’s a clamor outside as people begin getting their portions.

She, Chouji and Uchiha are each balancing either three or four lunchboxes per person as they take them outside.

Sakura is helping Kiba paint a pattern of cherry blossoms across Chopper’s already vibrantly pink shrine. Evidence of her handiwork on Robin’s shrine is clear is the decoration of swirling petals and the streaks of matching purple paint all over her forehead.

Ino and Naruto obviously have had a battle over the orange judging by the splashes on their hands and clothing. On the plus side Nami and Luffy’s shrines are looking particularly colorful.

Shikamaru and Hinata are splotched with green, light blue and black-and-white. Lee is smudged with brown, cyan and white paint and beaming proudly.

Shino has yellow paint on the end of his nose and is looking at the detailed illustrations of insects on the sides with pride.

The only shrines that aren’t quite done are Sanji’s, which has a blue overcoat but no decoration, and Zoro’s which doesn’t have half its roof painted yet.

“We were waiting,” Naruto says, holding out two buckets of green paint and blue respectively, “For you guys to add your bits.”

She beams at him.

Of course, Uchiha has to ruin it by immediately grabbing the green.

“What?” He says, offloading his three lunchboxes onto Kiba. “I’ll give it back once I’m finished with it.”

Ino rolls her eyes and shoulders her paintbrush, adding another orange splotch to her outfit. “Ugh. I’ll help Mayu-chan, it’s better to get it done quickly. Let’s go before the food gets cold.”

Orange, red, and yellow fish on the blue background are much more vibrant and eye-catching than green, though Uchiha does “help” by flicking the paintbrush at her while she’s distracted.

In thanks, she smears yellow on the back of his neck.

After the extra decorations are finished, Lee, Sakura and Kiba redistribute the lunchboxes to make their offerings.

The only problem is there’s eleven of them and ten lunchboxes.

“You all go ahead.” She steps back. “I’ll do the next bit.”

Each one of them place the pirate lunchboxes down in front of the shrines and step back.

For some reason, she feels like traditional prayers and chants appropriated from the sage guy won’t really be all that welcoming to them.

But then, what? What could help them feel at home at these shrines, so far from the sea?

Her gaze falls on Brook’s shrine.

Oh.

Oh, well it’s obvious when it’s put like that, isn’t it?

She just hopes she remembers the words correctly. She doesn’t want to butcher them on accident.

“Yohohoho, yohohoho~ Yohohoho, yohohoho~”

Her voice sounds frail and quiet, and she can feel everyone’s eyes on her. Still, she stumbles through the last two refrains of yohohoho’s to the first verse.

“Binksu no sake wo, todokei ni yuku yo, umikaze, kimakase, namimakase~ Shio no mukou de, yuhi wo sawagu, sora nya, wao kaku tori no uta~”

Naruto joins in on the next verse, singing along slightly out of tune and mixing up some of the words.

His cheeks look as flushed as hers feel, and it’s hard not to giggle when they catch each other’s eyes. Somehow they both manage to keep singing.

Gai-sensei and Lee boisterously shout DON alongside them as they join as well, Gai-sensei’s voice strong and sure, while Lee’s volume makes up for any deficiencies in wording. She almost can’t hear Okaa-san’s melodious voice and Otou-san’s decidedly tone-deaf one join in on the second set of Yohohoho’s over their noise.

Sakura and Ino’s voices are both high-pitched, but they carry the tune well enough. So does Kiba, though he’s pitching up to a falsetto for some reason. Hinata’s voice is soft, but she’s genuinely singing, unlike Shikamaru and Sasuke who’re mumbling through all the bits apart from the yohohoho’s. Shino is monotone if precise and enthusiastic, while Chouji has a surprising set of pipes on him.

Akamaru is just howling to the beat. And with that accompaniment, how could anyone stop themselves from singing along?

It feels like more people than could possibly fit into their house and garden are bellowing Bink’s Sake together by the time they’ve reached the third set of Yohohoho’s.

It can’t exactly be called “harmonious”. Everyone’s a little out of tune, a little off beat.

But the mixing of all the voices of her family and friends feels so right, it makes her voice stronger, lets her sing louder.

She opens her eyes and nearly chokes on the next note.

Hovering in front of the brightly painted shrines, slightly faded but gaining color and substance with every passing moment, They stand.

Merry appears in all her glory, as if in mid- sail. Brook is playing his violin, a foot tapping to the beat. Franky is winding up for his SUPA pose, grinning broadly. Robin is resting a hand on Chopper’s hat. Chopper himself is peeking at them the wrong way round from Robin’s leg.

Sanji’s tapping out his cigarette with a grin and giving a small salute. Usopp is waving to them, like a captain would to his 8,000 followers. Nami’s blowing a kiss as if to adoring fans.

Zoro...is climbing over the garden fence and jogging to take his place in front his shrine next to the others. Nami shoots him a Look while Luffy laughs at him, sitting in mid air and clapping his feet together.

The Captain of the Straw Hat Pirates then turns to her and gives her a wide grin.

She blinks away tears as he and his crew fade away with the last notes of the song.

The food in the lunchboxes is gone.

The food on Naruto’s plate is also gone.

In fact, all the food in the immediate vicinity appears to be gone.

It’s just that Naruto looks down at his plate and yells in indignation first.

She lets out a wet laugh. “Darn it Luffy.”

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scripttorture · 4 years

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My question is basically: in the scenario I describe, do you think I should go with or without torture as a referenced thing that happened? The situation is this- my character’s father has been dead for seven years, but I thought that what if, instead of being killed by the monster he was faced with at the time, he was injured by it and then captured by a group of bad guys. This is set in the Legend of Zelda: Breath of the Wild universe and the bad guys in question are the Yiga Clan, (1/9)

who alternate between a comical and threatening presence in the game. They are presented as a tribe of assassins, but the reason why they decide to take my character’s father alive is that they saw him using a rare kind of magic and either want him to teach it to them or want to get him to use it for them. (It’s hereditary so he can’t teach it to anyone but his daughter, but they don’t know that and he will neglect to inform them that anyone else has the same abilities.) (2/9) Most likely they want him to do something with his magic when their idol (Ganon, The Big Bad) returns or possibly something that they think would help him return. Where the question of torture comes in is, I need him to still be alive and capable of going with an escape attempt after seven years. So, whether or not they get the notion to try torturing at any point, it obviously can’t be super regular or prolonged over this period. I thought maybe one or two incidents toward the beginning (3/9) of his captivity, which were ordered to stop when they realized they would have to keep him alive for an undetermined amount of time and that’s easier when you aren’t treating extra injuries, but I’m not sure that would really add anything other than acknowledging the fact that someone in there probably got the notion to go “hey if he won’t teach us that magic what if we punch him and ask again” and may not have been turned down. Or they may have, (4/9) or they may not have brought it up at all because the Leader didn’t ask them to. Alternately, I could lean into their comical side and say that, while they got the idea to try “torturing” they don’t actually know how to do that. They’re assassins, they usually just kill, they don’t really know what to do with prisoners, it’s been a long time since they split off from another group that may have known torture techniques in the service of the now-destroyed kingdom. In which case it would be (5/9) things like “ohoho what if we give him his food... WITHOUT ANY bananas? he’ll be MISERABLE” (they are obsessed with bananas) played for a weird kind of humor. On the other hand I don’t want to imply that if they’d tried “REAL” torture it might have worked. Possibly the punching and asking again was tried once toward the beginning, then the comical “no bananas” one was tried later and neither one accomplished anything? I don’t want to say he spent seven years underground (6/9) surrounded by a comical murderous weirdo cult and “nothing really happened” in that time until his rescue but I don’t want to shoe in something like Actual Torture Attempts when it isn’t necessary. I could fill his time with escape attempts and/or trying to get information. Final thing: his daughter is going to break him out with the help of the Hero and a friend who defected from the Yiga Clan. This friend’s mother is going to take leadership of the clan but is meant to reform somewhat. (7/9) My character (the one whose father is imprisoned) could funnel her anger at his imprisonment towards the previous leader but if she finds out he was tortured (or weird attempts were made at it) she could have more trouble coming to a grudging, still pretty angry acceptance that her friend’s mother exists and is the way she is and probably shouldn’t be magically lit on fire. Or she could compartmentalize and say the friend’s mother never ordered anything like that, or may have even (8/9) turned a blind eye to her father’s final escape. This was a lot of detail but again the main questions are: does that seem like torture attempts would add or detract, and would it be in poor taste to include something like the “no bananas” scene? (9/9)

While I’d never played a Zelda game when I got this ask I am now one of Those People who got a switch in response to not being able to go outside. (They had pokemon, I was weak). And I’ve put a lot of hours into Breath of the Wild since. It’s a beautifully realised setting and I can see the appeal of writing something set in that world.

Humour is a very subjective thing. Whatever we do there are always going to be people that the jokes don’t land for. I’ve (mostly) got positive responses to my humour but I have had incidents both here and on my AO3 page where people took exception to it. And that’s a lot more likely to happen when we’re dealing with serious topics.

That said, I do think that we need humour about the things that scare us. There’s nothing quite as potent and satisfying as making our fears ridiculous.

If you’re considering using humour in a torture/kidnap/POW situation (whatever you decide re torture the story definitely contains some of these elements) then the main thing to consider is this: what are we actually laughing at?

This kind of humour is mostly likely to backfire or be outright hurtful when it can be interpreted as laughing at the victims. Or at the existence of traumatic events. And it’s most likely to work consistently when it’s aimed at the abusers.

From the way you’ve described this it sounds like the joke is on the Yiga clan. As it is in the game itself. (I have enjoyed the assassination attempts by enraged ‘banana salesmen’.) If you wanted to continue the pattern the game set I think a lot of fellow fans would enjoy this humour.

But the main question here is about when we should use torture in a story. And how we judge whether it’s adding anything.

Personally I start by thinking about the tone and themes of the story. The kind of atmosphere I want to capture and kinds of character interactions I want to write.

Then I try to think through the impact torture would have on the narrative in terms of knock on effects. So, symptoms in victims/survivors, witnesses and torturers but also effects on culture, community and organisations.

It would probably be easiest for me to break this down with an example or two.

I’ve talked briefly about both of these stories before. One of them takes place about two decades after a military coup ousted an absolute monarchy. Ilāra, one of the major characters, was embedded in the old regime and tortured people. They were also tortured by the regime and helped make the coup successful.

And part of the impact torture has on the story is in Ilāra's symptoms. But it’s also in the way other characters relate to them. Normal people are afraid of them or disgusted/enraged at the sight of them. They’re ostracised by their own community and treated with contempt by their military superiors.

One of the major themes running through the story is the question of how we deal with people we love when they’ve done horrific things. And how countries, cultures, move on from atrocities.

Most of the major characters aren’t Ilāra's generation, they’re the kids who came afterwards. The people who just about remember the Revolt but grew up in a world without the monarchy. They’re navigating a legacy of blood and bitterness, things that aren’t their fault but nevertheless have shaped the world they live in.

Part of it is about how the children Ilāra helped raise respond to this personal (and national) history. How they try to square the fact that this person was good (and in some ways defining) for them, while being monstrous to others.

I felt that torture would add to this story because the point of it is those fault lines. In society at large and in personal relationships. It’s about exploring how we try to bridge or heal those fault lines and how, sometimes, we make them deeper.

Torture (and indeed the other atrocities that are part of the country’s legacy) serve to raise the stakes. They deepen that initial emotional trench between the characters. And they also… Pull the camera back I suppose? The story may be about a single family but it isn’t an individual story. It’s about how larger patterns of abuse effect everyone in a society. Torture serves to make it about the culture, the country, instead of just the individuals within it.

There are similar ideas in the other story I’m working on, societal divides and how we bridge them, but I think there’s a slightly different focus.

Both of these stories are fantasy stories, but while Ilāra's story is in a sort of circa 1900s past Kibwe’s is in the future. It’s extrapolating the political oppression and systems from the places I’m interested in (in this case India, the Philippines, Kenya and Nigeria.)

The story takes place across generations starting when Kibwe was a teenager but continuing to his daughter’s formative years and into his children becoming independent adults.

And there’s torture in this story because the entire family is involved in politics. Because I grew up knowing that the natural consequence of acting for major political reform/justice was arrest and torture.

The story is about trying to change unjust systems and generational violence. It’s also about the unhealthy ways people can engage in activism, putting the theoretical good of the community above their health and their families/friends.

I didn’t really have to think about including torture in any depth, it was a natural fit. In fact I’m not sure I could talk about politics in any meaningful way without talking about torture.

So some more specific questions that might help with your story. Is the structure of the Yiga clan important to the story? Is the effect they have on society at large important to the story? Is this primarily an individual/personal story or one with a wider focus?

There aren’t ‘wrong’ answers to those questions, it’s about what you want to write.

Do you want a more personal focus with the relationships between the major characters being more important then the world at large? I think of this as a character focused (as opposed to a character driven) story.

For instance in the Lord of the Rings trilogy while we care about every member of the fellowship the important thing throughout, the focus, is the destruction of the ring and the systems that are harming all of Middle Earth. By contrast in Howl’s Moving Castle we care about the war and the fate of the missing Prince, but the important thing is what happens to the girls from the hat shop.

Both of these approaches to a story can include torture in a meaningful way. It can add to both kinds of stories. But it’s generally adding different things.

In a character focused story (with the kind of plot you’re writing) torture is mostly adding a sudden change to all of the relationships a character has. There might be focus on symptoms, a recovery arc, character development etc but the first and most obvious thing it’s adding is a major change to how these characters interact.

In a story that’s more focused on the big picture of the world torture can add world building elements and it can be used to map out divisions and allegiances in the societies you write.

Part of the reason I’m making this distinction is that in this scenario you can very easily tell a character focused story with trauma-recovery and not have torture. Kidnap and seven years imprisonment is enough to be traumatising.

That doesn’t mean torture couldn’t/wouldn’t add anything to that story. But it might not be necessary for the story you want to tell and the focus you want it to have.

On the other hand if this is primarily a broader story about communities and cultures growing and changing, the decision of whether or not to include torture has much more potential to direct the plot. It could create opposition to reforming the Yiga clan, both inside the clan (wanting to stick with how things are) and outside it (with people wanting it utterly destroyed).

Different factions and cultures might band together on the basis of shared opposition to the Yiga clan. And the clan’s reformation could effect those allegiances.

There could also be knock on effects based on where the clan operates: cultures that have been targetted by them in the past might not want this new ‘reformed’ (and more obvious) Yiga clan on their lands. And that in turn could stir up trouble within the clan because hey they’ve been here for generations it’s their home too!

There are lots of ways torture could add to this plot and these characters. It could also feed in to broader themes.

For instance the main character and her father haven’t seen each other for seven years. The difference between how we remember or idolise someone and the way they actually are is a theme you could add to here. The Yiga clan is going to end up reformed: what does it take for people to accept that reformation and forgive? The main character is friends with a former Yiga assassin: how do we process the fact people we care about might have hurt others?

That isn’t an exhaustive list, I’m just throwing out ideas to see if anything interests you.

In terms of timing and character being physically able to escape I think you’re already hit on a pretty good idea.

Torturers don’t tend to stop when ordered to. Part of the reason a lot of organisations reject torturers is because they… tend to disobey orders. A lot.

So if you wanted to write a scenario where this character is initially tortured and then held for a much longer time without torture the realistic way to do that is to have the character transferred from the ‘care’ of one group of Yigas to another. Torturers tend to exist in groups as sub-cultures within larger organisations. Which means that their presence in an organisation does not necessarily indicate that everyone in the organisation supports/carries out torture.

You could even have the Yiga’s take a (perhaps half-hearted) anti-torture stance and have them punish the torturers.

Wrapping up, the decision of whether or not to include torture is up to you. I can see ways it could add to your story but the points and themes I’ve spoken about might not be things you’re interested in.

Just because an element could add to a story doesn’t necessarily mean it’s adding something you want. There’s nothing wrong with deciding that an element doesn’t interest you, takes the story in a direction you like less or causes more stress then you want as you write it.

Ultimately the question is whether you want to write torture. And there’s no wrong answer to that question.

I hope that helps. :)

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ladymdc · 5 years

Text

The Seventh Circle

I don’t usually do a lot of fic promoting, however, since this is a joint endeavor with my amazing fren @dismalzelenka, I’m going to do it 🙃

Pairing: Nathaniel Howe x Reyna Cousland AND Anders x Adrestia Tabris Rating: Explicit (will have canon-typical violence & probably smut) Word Count (at the moment): ~2,900 Chapters: 1/? Summary: Run if you can. Madness has filled the silence. Do not return to this place.

[A modern w/magic AU where the Wardens & darkspawn are a myth, a bedtime story parents tell their children. However, an incident in the Western Approach sends Reyna Cousland and Adrestia Tabris on a search to uncover a truth lost to time and secrecy before it's too late to stop events from spiraling further out of control. Reyna belongs to MC & Adrestia belongs to Diz.]

We’ll be tossing updates up on Ao3 (here) whenever the muse strikes us. CH.1 is under the cut for funsies.

Solace 20:19

Reyna Cousland placed her sunglasses in the center console and got out of the vehicle. The estate was lovely in summer, lush and beautiful. She couldn’t deny it, but the beauty felt bitter and false as she took it in.

She opened the back door to let Acheron out then wordlessly led him up the flagstone path to the manor. At the dark walnut doors on the veranda, she paused. She just needed a moment to brace herself. To prepare for what she was about to face.

Inside, the foyer was well lit and immaculate. A circular table sat in the middle of the open area. On it, there was a large bouquet of dark blue flowers interspersed with olive branches—a play on the colors of their house.

Pride.

It was a double-edged weapon, just as able to drive one to succeed as to destroy them.

When she looked up, she found her father standing in the doorway to the breakfast nook. His eyes were a stormy grey. Calm, yet powerful; precisely contained—never show weakness or fear.

Conquered By None.

“Reyna,” he said, absently scratching Acheron’s ear. “Take a walk with me.”

Reyna nodded stiffly and followed after her father. He led her outside then along one of the lanes lined with trees heavy with plums ripe for picking. Her father didn’t make any effort to converse until they were well away from the manor.

“I don’t want you to transfer,” he abruptly declared.

She had already decided to walk pride’s razor edge and told her father as such. “It has already been approved. I leave in two weeks.”

Her father came to a halt as his expression grew bitterly resigned as if preparing himself to be stuck on some quarter.

“I had it on good authority that General Howe—” her lip curled up with disdain of its own volition, “—was going to send me there to add insult to injury. This way, I control the narrative.”

There was a long silence. Her father stared down the lane, his eyes far away.

“What happened should not affect your career,” he said eventually, turning to look down at her. “It had nothing to do with you.”

The betrayal had been so exacting and deeply personal that she could barely bring herself to think about it.

“It has everything to do with me,” Reyna told him. “I am a Cousland.”

“True.” A slow smile curved his lips. Then it vanished, and he glanced away.

But Reyna saw it, the sudden lines of tension around his eyes.

“So, the narrative; what do you need me to do to help offset—” he flicked his hand dismissively at his side, “—everything?”

Reyna blinked. “I don’t need you to do anything,” she said in a tight voice. “Did you really think I was going to distance myself from you? A Cousland always does their duty. You taught me that. You did your duty, and now, it’s my turn.”

Her father nodded thoughtfully. The sunlight catching his hair, silvered with age.

“You know, just when I think I couldn’t be more proud of you, you prove me wrong.”

Her throat tightened so much it was hard to swallow. She managed to tip her chin down in acknowledgment.

When she was a little girl, Reyna had thought he was cold. However, as she matured, she realized he wasn’t unfeeling. Her father felt things; he just did so privately.

In that regard, they were alike; driven by emotions, but never allowed them to dictate. The head always won out over the heart. At least, until General Bryce Cousland was court-martialed for insubordination and suspended without pay for five years.

Then everything changed.

While she composed herself, her father made a convincing job of admiring the blooming hydrangeas. Reyna knew he was proud of her. She never questioned that. But being reminded of it as she tried to be his steady rock in a sea of shifting alliances was overwhelming.

“Come,” he said, briefly placing his hand between her shoulder blades when she stepped up next to him a moment later. “Let’s finish our stroll through the gardens before your mother decides to hunt us down.”

“Did she also assume I was going to cast you aside like some black stain on my career that I couldn’t wait to expunge?” she asked dryly as they began walking down the return lane.

The corner of his mouth twitched faintly. “She didn’t. I believe she just wanted the satisfaction of being present when I was proved wrong. Thank you for allowing myself to be spared further embarrassment.”

Reyna smiled then. Truly smiled for what felt like the first time in months.

Her father chuckled. “In my defense, neither of us have handled this exceptionally well, and I’m unaccustomed to you being—angry.”

Through it all, her father had appeared unaffected. If Reyna had been less angry herself, she might have believed it, but their personalities were basically the same. Which, oddly enough, left her uncertain how to address the strain that had asserted itself between them. But there was an instant comfort she found in learning that it was all misplaced, that he had simply felt as lost as her.

“Likewise,” she said. “I wasn’t sure how this conversation was going to go when you asked me to come home to discuss it.”

He shrugged. “I didn’t mean to alarm you. It’s just easier to discern what is going on in your head when we speak face to face. And we’ve avoided the general topic long enough.”

“I agree. I shouldn’t have tried to talk about it over the phone. I just didn’t want you to hear about my transfer from anyone else and misunderstand. Obviously, that backfired.”

“That is on me, not you,” he said as they began to ascend the large stone steps up to the patio.

Reyna’s mother was setting the small table in the breakfast nook when they stepped inside. Her parents stared at one another for a moment, then her mother arched a single blonde eyebrow.

“It is as you said, Eleanor,” he allowed drolly.

A slow cat-like smile graced her mother’s lips. “Welcome home, Reyna,” she said, stepping forward to give her daughter a quick hug. “Lunch is almost ready, I’m just finishing up the chicken.”

“Do you need any help?”

“Not at all. It’ll take me ten minutes, tops.”

Her father nodded. “Alright, then I’ll be right back,” he said. Then he turned and walked out of the room. Her mother’s blue eyes glittered knowingly before exiting through the adjacent door leading to the kitchen.

Reyna shrugged inwardly before taking a seat. At her elbow, she found today’s newspaper. Something twisted inside her as she read the headline on the front page.

CONTROVERSIAL DRILLING RIG IN ABYSSAL RIFT TO BEGIN OPERATIONS IN EARLY AUGUST

‘Rift Platform 52’, or ‘P-52’, is expected to launch operations on Saturday, August 6th, according to a press release by Antonius Faber, CEO of OFT Enterprises.

This venture is made possible thanks to Orzammar based Paragon Branka Kondrat’s revolutionary structural engineering research. This state of the art drilling facility, the most advanced of its kind to date, is affixed to the cliff-side of the Abyssal Rift using massive caissons and a carefully threaded steel cable suspension system. It is roughly the size of a 15-story building and will deploy three separate drilling units to depths of up to 5,000 meters. P-52 is expected to reach oil reserves that have remained untapped for centuries due to the unstable landscape of the Western Approach and widespread environmental toxicity located within the Rift itself.

While few would question the wealth of resources finally available, Ferelden concerns on the matter initially went largely unheard until King Cailan Theirin and Empress Celene Valmont established the Great Orlais-Ferelden Oil Alliance earlier this year.

In exchange—

Reyna heard footsteps and looked up as her father reentered the room.

His eyes flicked from hers down to the newspaper. He stared at it for several seconds, then sighed.

“For once, I’m not mentioned.”

Reyna nodded, keeping her expression carefully closed as she quietly seethed.

On the surface, increasing oil imports from Orlais at a lesser cost in exchange for military support in the hazardous environment seemed to make good sense. However, production sharing agreements were horrendously advantageous to the host country. The host country did not need to make a significant amount of investment for exploration or production activities because the oil company carried all operational and financial costs and risks. Then, if that weren’t enough, the host country gleaned knowledge, technological advances, and expertise through the agreement.

In summation, the host country— Orlais —would reap endless benefits and profits from this groundbreaking endeavor.

Ferelden would be guaranteed access to cheap oil, and nothing more. This was a fact her father had bluntly relayed to some reporters at the persuasion of his lifelong friend, Rendon Howe, who then used the souring tide of public opinion in the matter to motivate King Cailan to call for his court-martial. It succeeded.

Predictably, Rendon was promoted to take his place.

Reyna rolled her jaw and forced herself to set aside her sudden rage.

“It’s fine, Reyna; I shall live on,” he said, crossing the room.

“We shall live on,” she corrected.

“Precisely.”

There was a pregnant pause.

“I have something for you,” he said, then reached into his pocket and withdrew two metal, half-inch bands inlaid with runes.

She looked up at her father in astonishment.

He smirked, then held out his empty hand to her. “As you said, it’s your turn.”

“I can’t accept that.”

“It was always going to be yours someday,” he said, then beckoned with his fingers to encourage her along.

At that, Reyna swallowed down the rest of her objections and let him help her to stand; Acheron perked up from where he was doing a rather good job at blending in with the wood flooring.

“Part of why I asked you here today was to tell you that I’m resigning from the service,” he told her, slipping the bands onto her left arm.

“When did you make that decision?”

“When the verdict was handed down. I was just waiting for the news cycle to die down. None of this was supposed to be about me.” He began to precisely situate one on her forearm just a couple inches from her elbow; the other was dangling from her wrist like an oversized bracelet.

“It was about Ferelden, and I did right by her,” he said. “That is all that matters.”

Reyna slowly nodded. She understood the implications behind the decision. Going along with it all would be as good as admitting wrongdoing.

Once in position, the bands resized themselves to her perfectly where they would remain unless she went in to have them reset and removed. Reyna could tell there were enchantments woven into the silverite to prevent her arm from chafing and to keep it the ideal temperature.

“Can you feel it?”

Now that he mentioned it, Reyna could recognize a presence pressing against the outside of her forearm. “I can tell I’m connected to it, but I can’t tell how to make it do anything.”

“It takes some getting used to. You’ll just have to practice.” He took two steps back. “Curl your fingers in one at a time, starting with your pinky, and you’ll be able to separate it out better.”

Reyna took a deep, even breath and did as instructed. As her thumb curled inward, she felt it.

The semi-translucent, iridescent blue field flickered to life for a half-second, then vanished.

Her father smiled proudly, and Reyna could feel the pressure in her cheeks and eyes as she struggled not to cry over it.

She knew what it looked like in its full corporeal form. A modernized replica of the shields their ancestors used to carry back in the Dragon Age. It had been a gift from the late King Maric Theirin when her father was knighted for exceptional services to the Crown. In that alone, it was priceless, and yet astronomical amounts of time and effort and magic went into making the one of a kind device.

She parted her lips to speak—

“Don’t thank me, and I won’t…” he trailed off and waved a hand.

Reyna exhaled; part relief, part amusement. “Deal.”

“Good,” he said, shoulders dropping as if he had also found the entire conversation emotionally draining. But then her father put his arm around her and pulled her in for a quick, slightly awkward half-embrace.

As if awaiting this cue, her mother breezed back into the room to begin serving lunch: garlic bread and caprese chicken avocado salad with a balsamic reduction. Reyna’s mouth quirked at the corner when Acheron dug in. It always did. Without fail, he happily ate anything her mother put in front of him.

Later, Reyna would sit in her West Hill apartment and think back on the meal. In that moment, they had all but forgotten what had happened. The only deviation from the thousands of other meals they’ve shared in that room was the bands were affixed to her arm instead of her father’s. Where they should be.

Reyna idly traced the runes wrapped around her wrist.

All this time, she had been supportive but distant, trying to separate out her own personal turmoil over the matter so her father wouldn’t carry that too. He had done so anyway. Penance perhaps for negatively affecting her career, one he knew she didn’t even want even though Reyna had never admitted it.

At least, they managed to set things right. It was far past time, but neither of them were much good at talking about how they felt.

“I think we should stay at the manor until we leave,” she said suddenly.

Acheron barked, stump waggling, and Reyna reached for her phone.

It was a strange feeling, to move back into her childhood home. A home she loved and would someday inherit to become Lady of the Manor. A fact that made her painfully aware while she was an heir, she was not a true heir. No matter what she did, the Cousland name would die with her.

Reyna tried not to think about it.

Instead, she read, ran with Acheron, and cooked with her mother. She practiced activating the shield, which was like strengthening a part of her she hadn’t known existed and had muscle atrophy as a result. Reyna and her father even discussed potential ways she could excel in her new post, to climb rank despite the looming expectation that she stall out or quit.

When Reyna left, it was as if she’d be back the next day. Goodbyes were another thing they weren’t very good at.

The flight was uneventful, as was settling into her new place in Valemont. A two-bedroom, 1.5 bath duplex with exactly one parking space designated as hers behind the home, which was all she needed.

There were some incredulous looks when 2ndLt. Cousland provided her identification at the gates of Griffon Wing Army Base the following Monday, but Reyna ignored it. Then she parked her new jeep and slung her bag onto her shoulder before dropping Acheron off for training on the local wildlife. And now, she made her way deeper into the facility in search of her office.

As she rounded a corner on the third floor, she allowed herself a quick glance around, taking in the layout. Reyna stiffened when she saw him. Seeing her certainly hadn’t seemed to surprise or upset him.

He’d been waiting for it.

Howe simply leaned back on his heels and studied her, his eyes bright as they swept over her in a rapid catalog, lingering a moment on the band visible around her left wrist. Nothing about him had changed since she’d last seen him, and yet she could feel the weight of everything that had in the air between them.

He hadn’t tried to contact her.

Not once.

Whatever they’d been had never been defined. Not friends, but something that had mattered enough for Reyna to feel a growing well of hurt as she blankly met his stare. Not that it mattered.

None of it had ever mattered.

Eventually, Howe looked down, and his lips thinned. Then his posture shifted slightly. There was something he was trying to communicate to her, and her grey eyes flicked over to the plaque on the door he stood nearest to.

316 2ndLt. Nathaniel Howe

Her mouth twisted derisively. Of course, their offices would be across the hall from one another. She should have expected it.

From the corner of her eye, she saw Howe twitch, and his expression harden.

Reyna turned on her heel and entered her office.

She set her bag down and went to the window. The Western Approach was a sea of unstable, shifting sands, rocky ridges, and strong, howling winds. On the horizon, P-52 sat in the middle of a steel web. Without a doubt, this office was also chosen to remind her how she got here.

She should be enraged, but she couldn’t summon it. She hadn’t realized how powerless she was to fight her circumstances until that moment.

People did not believe in facts. Order and truth could be tarnished.

She didn’t know how to rise above it, but she would still try.

She sank into the chair at her desk and went to work.

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him-e · 5 years

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Hi, I'm the anon who wrote the 5 asks about the Dany plotline and GRRM. I'd like to apologize to u for lashing out, it was uncalled for and u have every right to state those opinions regardless of what I (or anyone else) think. Feeling hurt by the show wrt Dany's story made me react badly to the idea that it was actually acceptable, especially coming from someone whose ideas I appreciate so much and have spent hours invested on. You can answer them, delete them, idk, I just wanted to say sorry.

No need to apologize, anon! I’m currently on semi-to-full hiatus and that’s why I’m being so slow at answering messages—and yeah, I understand the frustration completely, and I don’t blame you for it. ;))

I’m going to answer your ask anyway. Long reply after the cut:

I hope this doesn’t come off as offensive or confrontational bc that’s not the point, I’ve enjoyed reading your ASOIAF/GoT and TB metas for years and would not reply to them if I weren’t invested on them. That said, I’d like to ask why do you insist on 1) arguing that Dany’s dark turn was reasonable if you don’t hate her and 2) defending D&D and blaming GRRM for what happened on the show. When it comes to 1), sure, Dany might *accidentally* burn KL, but to willingly choose to burn thousands of innocents? She may accept that some casualties would have to occur, but not in the way that the show presented (in that she had the choice to not kill anyone but did). You argue that that direction was valid of because of the recurring theme of how power corrupts, but then I’d argue, what if it were Sansa, another character very much involved in the world of politics? Would you be ok if people argued that it’d make sense for her to give up her ideals and become just as power-hungry and cynic and bitter as Littlefinger? Probably not; what’s the point if those characters become their worst possible selves? Dany was made a villain, was implied to be mad and was called “your satanic majesty”. I really can’t see how you could call those writing decisions valid. When it comes to 2), I’m not saying GRRM is perfect, he’s been quite callous in the book series and especially in F&B when it comes to social issues, but D&D are also professional writers with critical thinking skills and moral values of their own who could have tried to alleviate the problems in the books and not made things even worse. That’s why I don’t get why you’re blaming GRRM for what D&D wrote when the former wasn’t even involved in the ending’s writing process aside from possibly giving them an outline of what happens. GRRM should be criticized for what he wrote and will write, and the finale may have feel been a product of his ideas, but he still has no (moral or legal) responsibility in helping to make the TV show better or worse.

The reason why I maintain that the show’s ending is a (badly written) version of GRRM’s ending is that I can 100% see Martin’s blueprint in the climax+anticlimax structure of the season. The way it twists the audience’s expectations and delves into what happens AFTER the final battle is won, the way it subverts the most reliable narrative conventions and, instead of building up in a crescendo towards a final spectacle where the heroes would sacrifice their lives to save the world in a blaze of glory, it shifts gears almost unpleasantly, slows down to show what happens to them once their heroic purpose is fulfilled and zooms in on their identity crisis, their depression and isolation and sudden lack of purpose… it’s all too deliberate, and IN MY PERSONAL OPINION it’s done with a vision in mind—something I don’t believe d&d would spontaneously put any effort in, especially not if GRRM had already served them a perfectly fine, crowd-pleasing endgame involving Dany’s heroic sacrifice against the Others.

I understand my stance might come across as “defending d&d and blaming GRRM”, but I’m really not? I’ve often repeated how I believe d&d messed things up and that GRRM’s version will make infinitely more sense and be infinitely better written, and I’m sure he will avoid the pitfalls of cynical, circular storytelling, because he’s ultimately a better writer and someone who believes in idealism and true heroism even as he deconstructs it. How can the overall narrative remain uplifting & give a message of hope and faith for humanity while still telling a story that ends with Dany’s descent into “true villainy” (but haven’t we repeated ad nauseam that heroes and villains are too reductive categories for asoiaf?), I don’t know, but it’s not my job to figure it out, and I ultimately trust & respect Martin’s vision and ability to tell the story HE wants.

sure, Dany might *accidentally* burn KL, but to willingly choose to burn thousands of innocents? She may accept that some casualties would have to occur, but not in the way that the show presented

1) I’ve always conceded that, while I think the gist of the storyline is Martin’s, there’s absolutely no guarantee that the battle of King’s Landing will go as we’ve seen in the show, or even happen at the same point of the story (for one thing, Young Griff & JonCon will probably be involved, and that seems more likely to happen before, and not after, the war for the dawn);

2) That said, what I’m relatively confident of, at this point, is that Dany will NOT die in the WftD as a self sacrificial hero (this is entirely FANON SPECULATION, and people treating it like a fixed point in the universe, something the narrative is “inevitably” building towards, is one of the reasons the fandom seems unable to critically analyze show!Dany’s evolution without going hysterical about it and resorting to no true scotsman arguments. I’ve often complained about the dangers of elevating fan theories to canon status, and trust me I never wanted to go full cassandra about this, but here we are). The details and plot points leading up to this might be wildly different from the show’s version, but I think Dany will survive the WftD, which will leave her directionless and purposeless and doubting the truth of her heroic destiny for the first time in her life after she hatched the dragons, and that she’ll cross the ultimate moral horizon in a hail mary to restore that sense of self, that sense of purpose, completing her parabola from princess in rags, to breaker of chains, to conqueror, to savior of humanity, to conqueror again, to TRAGIC HERO. How can this be a valid writing decision, you asked—well, why shouldn’t it? Is something only valid as long as it pleases the audience? What screams tragic hero more than the hero turning into the very thing she swore to eradicate, and realizing it only when it’s too late? There’s something genuinely chilly in Dany’s “if I look back, I’m lost” refrain. This is the mantra of someone who thinks the only way to stay alive is to cross one threshold after the other. So far this coping mechanism has brought her higher, and higher, and higher. But what if it will be her downfall? “I tried to grasp a star, overreached, and fell”, indeed;

3) Dany’s burning KL *accidentally* is like Stannis burning Shireen “but only if the circumstances are dire enough / the stakes are high enough”. No offense, but this is typical stan logic: you admit the possibility that your faves might go through a dark phase but you don’t want to have to unstan them, so you want them to do bad things for good reasons, or because there’s no other choice, or because “they didn’t know”. That’s understandable, but I don’t think Martin is the type of writer to give his character free passes or soften the blow of their moral crucibles like that. This is NOT to say that the show did Dany’s dark turn WELL, because it DIDN’T—her motivations were all over the place, the turning point (the bells) wasn’t believable because it lacked connection to her character arc, the narrative backed away from showing the attack from her pov which betrays the writers’ inability to make sense of this psychological downfall from HER perspective, etc. But to say “Dany will NEVER! BURN! INNOCENTS! ON PURPOSE!” sounds very, very premature to me.

(re: Sansa, hasn’t power corrupted her too, to an extent? Hasn’t she lied, schemed, manipulated, spilled secrets, in order to restore & secure the Stark hold on the North? Isn’t she queen, in part, because the rest of her family was scattered at the four corners of the known world? I’m not particularly happy with the way she was written this season, and I think some of her choices were questionable; but at the same time I reject the idea that a character ending up more flawed, or morally ambiguous, or less likeable than they were at the beginning must necessarily be bad storytelling)

I’m not saying GRRM is perfect, he’s been quite callous in the book series and especially in F&B when it comes to social issues, but D&D are also professional writers with critical thinking skills and moral values of their own who could have tried to alleviate the problems in the books and not made things even worse. That’s why I don’t get why you’re blaming GRRM for what D&D wrote when the former wasn’t even involved in the ending’s writing process aside from possibly giving them an outline of what happens. GRRM should be criticized for what he wrote and will write, and the finale may have feel been a product of his ideas, but he still has no (moral or legal) responsibility in helping to make the TV show better or worse.

Martin is not responsible of the show’s writing, but he is responsible of the outline he gave to the showrunners, and right now I have no reason to believe they didn’t follow it, at least for the most part. For years I’ve been told that “the show is not the books”, and while that’s certainly true, I can’t, and won’t, separate the show from the books when it comes to book speculation, because the show is still for all intents and purposes an ADAPTATION of the book series, and while it’s irresponsible to expect it to be a 1:1 transcription of what will happen in TWOW and ADOS, it’s also equally (imo) irresponsible to act like the two canons have nothing to do with each other and that it’s stupid to use the show as a resource for book speculation. If people want to pretend the show never happened, good for them, but that’s not the way I think, personally. I don’t blame GRRM for the show’s faults, and my reservations are actually 90% about the EXECUTION of the plot which is ENTIRELY on d&d, but there’s a 10% of my concerns that is about the IDEA in itself, regardless of context and execution—the idea of the story ending with a bittersweet anticlimax involving the death/downfall of the MOST PROMINENT FEMALE HERO OF THE SERIES, who is also the carrier of the most subversive anti-establishment political message in the story.

tldr: I’m not criticizing GRRM for what he hasn’t written yet, but I can certainly criticize him for what I think is a (however botched) adaptation of his outline, if the main selling points of said outline are questionable in themselves. No one can convince me that GRRM told d&d that Jon and Dany would die heroically to save the world and they ARBITRARILY decided to fuck it up for shock value or whatever, and just accidentally stumbled onto a more subversive and provocative ending than what Martin HIMSELF was planning. (that would make them two geniuses, even if the execution sucked, lol)

and if i’m wrong about it, well:

but until then…

#anon #asks #got wank #got asks for ts #got discourse #got finale #got negativity #show vs books #dany discourse #dany**#grrm #asoiaf spec #asoiaf endgame

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stowawayproductions-blog · 6 years

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Can You Ever Forgive Me? — A Woman’s Touch Wins Out

Sometimes a basic biopic can be an okay thing. I’m usually the person railing against monotony when it comes to film structure, but every once in a while I watch a film that is formulaic in every way, and yet I can’t help enjoying myself.

Can You Ever Forgive Me? achieved this rare feat. With a beautiful Melissa McCarthy performance as its guide, this film meanders through a classic beginning-middle-end structure with empathy, humor, and taste. While I found Richard E. Grant’s slutty gay sidekick a bit grating, and the conclusion disappointingly sappy, the women win out in this feminist narrative that doesn’t feel the need to tell you how feminist it is.

The styling is perfect. If subtlety ever won awards I would hope for a best costuming nod for Arjun Bhasin, who manages to bring a reality and truth so rarely seen in film, especially in films centering on women. Lee (McCarthy) is so refreshingly normal. She’s not ugly, not the butt of a joke, she’s just average. She does wear make up, but only a bit and only when she has a real reason to; her clothes are comfortable and homely, but fit correctly and work well with her shape; her hair is greying and plain, but straight, clean and well maintained. I wouldn’t blink if I saw that person walking down my street, and it’s bizarre how rare that is for a leading character of any gender, but it is especially rare for leading ladies.

This is also possibly one of the most feminist movies of the year because it’s not “feminist” at all. There’s no undertone of misogyny or oppression in regards to gender, and yet the story is chalk full of women. It would have been so easy for them to go the route of The Wife, using “women can’t get published” as a catalyst. Instead they go for “assholes can’t get published”. In a conversation between Lee and her publisher Marjorie (Jane Curtin) — in which they hilariously trash Tom Clancy — Lee throws out the line “is it because he’s a man?”, to which Marjorie promptly responds with something like “no, it’s because he’s not a bitch to everyone around him”. We are finally starting to see true female stories, with flawed, complex characters who have other issues besides not being a man, and even more than that, we are seeing true female side characters with their own motivations and their own unique problems that aren’t just not being a man.

Lesbianism is brought up early in the film in a similarly classy fashion. Jack (Grant) asks if Lee is seeing anyone to which she responds in the ilk of “no, she’s gone”, and that’s that. With one simple pronoun we’ve learned her preference without a bunch of unnecessary pomp and circumstance, and because we are living in this world at this time, we can infer all the problems she’s probably faced without needing a big speech. McCarthy’s performance is also stellar in this regard. As she interacts with two different women in whom she is interested, McCarthy sits us right in the middle of romantic and platonic, we aren’t sure whether she wants a girlfriend or just a friend, which beautifully illustrates the level of loneliness with which Lee is struggling, and the type of person she is in regards to relating to other people.

The writers didn’t need to include a big thing on feminism and lesbian rights because they had quite enough to work with by simply exploring isolation to the core. In yet another incredibly tactful move, Heller focuses all of the films energy on a few key antagonists: loneliness, bitterness, hopelessness, and insignificance. By choosing to take a detailed look at a couple issues rather than tackling everything that Israel ever struggled with, we’re given a powerful, streamlined, and focused look at the human condition through a beautiful lens of fear and pain.

It shouldn’t be this hard to tell a story with this level of care, but since they are so rare, I applaud Marielle Heller and I hope she gets a best director nomination for her clean and refreshing approach. It’s amazing what can happen when we let women make art about women.

Rating: Good. In my top 30 of 2018.

Good 20) BlackkKlansman 21) First Reformed 22) A Quiet Place 23) Annihilation 24) Tag 25) Overlord 26) Can You Ever Forgive Me? 27) First Man 28) Blaze 29) The Miseducation of Cameron Post 30) The Hate U Give 31) Hereditary 32) Avengers: Infinity War 33) Black Panther 34) Tully 35) Searching 36) Mandy

#film #movies #film review #review #feminism #melissa mccarthy #richard e. grant #jane curtin #dolly wells #marielle heller #arjun bhasin

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saferincages · 7 years

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(you might say we are encouraged to love)

I received an ask requesting I make this response its own post in full (which of course I don’t mind doing!) so here it is:

An anon in the original post asked why, “Anakin/Vader is seen as interesting for women,” and that could be a bit of a loaded question, but I think there’s a definite rationale behind it. The way it was phrased made me think of a post I saw which addressed the fundamental split between Anakin and Vader as seen by certain audiences, why Anakin is treated by many derisively because there’s an element of the “heroine’s journey” that happens in relation to his arc and the struggles he goes through. It’s here and it’s really interesting in its entirety. “The constant barrage of degradation and trauma and unfairness of a system that benefits at your expense and refuses to validate you for it. And some of that he might have been able to reconcile by “growing up,” the same way a lot of us learn to come to terms with social fuckery, but Anakin doesn’t get the space to do that. He gets a giant bundle of unaddressed trauma and psychological issues and handed a kind of ambiguous destiny about needing to save the entire universe.” <- Imagine the burden of that, and they put it on a child and then give him zero structure to cope with it.

I’m also going to add this comment from that post because I think it’s worthwhile to note: if someone makes you angry and you show anger with your very own face you are weak, you have lost face, you have shown yourself vain and driven by a selfish, animal, irrational, feminine urge to defend yourself; but if you show anger without a face, if you show it unpersonally (the less it’s connected to direct accusation or a specific ill), especially in order to execute a role, then you suddenly appear to be the one in the position of strength, because you can no longer be directly accused of selfishness. The more you can cloak anger in the guise of necessity, the more you meet the societal expectation to be dispassionate, rational, always controlled - the more justification and legitimacy and power to you, even though this mode of anger is often more destructive than the first. This dynamic, assuming it exists as I’ve hypothesized it, is why I think Anakin codes as feminine to many, while Vader appeals to a certain masculine ideal.

Basically, the gist of it is that the emotional turmoil, the trauma, the way he’s exploited for his talents or what he can provide others, the way his agency is stripped repeatedly from him again and again tends to not be the way “male” hero journeys are told. It’s feminine coding (unfortunately) for those themes to be explored. For those emotions to be plumbed and portrayed with a substantive sense of sorrow and helplessness in the central male hero - it is not the “macho” standard. Why they thought they’d get a macho, unyielding masculine power trip from Anakin Skywalker remains a mystery to me, this is the same series where its original hero, Luke (who is his son! of course there were going to be essential parallels and contrasts between them), purposefully throws his weapon away and refuses to fight, and is characterized by his capacity for intrinsic compassion rather than any outer physical strength (even Han is much less of a “macho” guy than dudebros tend to make him out to be - not only because he’s unmistakably the person in distress who has to be rescued from capture in ROTJ, he has a lot of interesting facets that break down that ‘scoundrel’ stereotype, but I digress other than to say I love the OT, and the subtle distinctions in Luke, Leia, and Han that make them break the molds of expectation). SW fundamentally rejected toxic masculinity and the suppression of emotions from its inception, Luke’s loving triumph and role as redeemer only happens because he refuses to listen when he’s told to give up on his friends or on his belief that there’s good in his father, his softness is his ultimate strength. Anakin was never going to be some epitome of tough masculinity, and George Lucas knew exactly what he was doing crafting him in that way. The audiences who wanted Bad Seed Anakin from the beginning didn’t know how to reconcile this sensitive, kind-hearted, exceedingly bright kid, with their spawn of the Dark Side notions, and I think, unfortunately, far too many then either rejected him completely or refused to understand what the central points in his characterization are about.

The fact that this narratively would have made no sense (if Anakin had been “born bad,” then there would have been no miraculously surviving glimpse of light for Luke to save - I’ve said this before, but imagine how profoundly essential to his true self that goodness had to be for it to even exist any more at that point, after all he’d suffered, after all he’d done. the OT tells us more than once what a good man Anakin Skywalker was, it’s part of what makes the father reveal as powerful as it is - if we hadn’t heard the fragments of stories about Luke’s father, it wouldn’t be nearly as shocking, but we KNOW he was a hero, an admirable man, a good friend). I can’t fathom how tricky telling the prequels had to have been to that extent - the audience knows what will happen in the end, it’s a foregone conclusion, we know he will fall, we know Vader will be created, we know the Empire will rise (though that would have happened even if Anakin had remained in the light, which is a whole other discussion). So the question became, who is this person? What influenced him? What shaped his destiny? And that ended up being a far more complex and morally fraught and stirringly emotional story than just “badass Jedi becomes badass Sith lord.”

That talented, highly intelligent boy is taken in by the Jedi after he has already developed independent thought and very intricate emotional dimension - the argument that he’s “too old” to be trained is because he’s not malleable enough to be indoctrinated the way Jedi usually treat the children they take. They may blame this on his attachment to Shmi, but she’s not the problem (if anything, had they not been so unfeeling and rigid, and had they freed her and allowed her to at least stay in contact with her son while he was training because it was a special case - they’re the ones who stick that “Chosen One” mantle on him, you’re telling me they couldn’t make an exception? but no, because they put that weight on him and then never help him carry it and constantly undermine it and question and mistrust him - Anakin would have been stronger in his training, and he would never have fallen to the Dark Side at all. There are so many moments, over and over, where his fall could have been averted, and everyone fails him to the bitter end, when he fails himself).

And so he is traumatized, due to years of abuse and difficulties as a slave, due to having to leave his mother behind because the Jedi would not free her, due to being told to repress his emotions over and over again when he is, at his core, an intuitive and perceptively empathetic person (he wants to uphold that central tenet of his training - “compassion, which I would define as unconditional love, is central to a Jedi’s life”), yet he’s made to feel he is broken/wrong/constantly insufficient. He’s wounded by abandonment issues and lack of validation and the human connection/affection he craved, and he develops an (understandable) angry streak, he’s socially awkward due to the specific constraints/isolation of a Jedi’s life and due to the fact that they tried to stamp out what made him uniquely himself, which makes him continually conflicted with a never-ending pulse of anxiety (see absolutely ANY moment where he breaks down emotionally, and you’ll see him say something to the effect of “I’m a Jedi, I know I’m better than than this,” “I’m a Jedi, I’m not supposed to want [whatever very basic human thing he wants, because they make him feel like he can’t even ask for or accept scraps of decency]” - they fracture his sense of his own humanity, Padme tries to validate those feelings but that Code is a constant stumbling block in his mind). He is troubled by fear and the constant press of grief (I would argue he has PTSD at the very least), and all around he’s met by mistrust and sabotage.

Male heroes shouldn’t be treated as infallible in their own narratives (none of them are that, as no character of whatever gender/origin is, as none of us are), but at the very least we usually see them treated with respect by others. Anakin often gets no such luxury. He’s treated the way we frequently see women treated, and that treatment comes from the same rotten core - the idea that emotions are weak, that expressing them makes you lesser, that crying is a sign of deficiency, that fragility of any kind cannot be tolerated. Anakin is even the hopeless romantic in this situation - Padme, while gracious and warmhearted, is much more pragmatic and tries to reason her way out of her blossoming love for him until she’s of the belief that it doesn’t matter anyway because they’re about to die, and she wants him to know the truth before they do. (I’d also like to note that the closest people to him all speak their love aloud when they’re at the point of death - Shmi when he finds her bound and tortured with the Tuskens, Padme in the Arena, Obi-Wan watching him burn on Mustafar, and how unbearably sad is that? even though his mother had said it before, even though he got to hear it many times again from Padme - and it’s her last entreaty to him - we shouldn’t be pushed to the brink of death to express it). Anakin is the one gazing at her dreamily and tearing up about it and professing earnest, dramatic love in front of the fireplace (idc what anyone says about the dialogue, the way he expresses himself is entirely sincere, it’s the rawness of that sincerity that I think makes people uncomfortable bc it’s unexpected), she’s the one who talks about living in reality. She, too, has been taught to guard and temper her emotions from her time as a child queen and the years she’s spent navigating the murky political waters of the Senate, but she’s become adept at it, unlike Anakin. If anything, they’re the only person the other has with whom they can be truly genuine and unafraid of exposing the recesses of their hearts, they’re the only safe place the other has, it’s no wonder they give themselves over to that, and the fact that they do is beautiful, it’s not wrong (which I have more cohesive thoughts on here and it was the underlying thesis of my heart poured into the super long playlist for them too /linking all the things). They see the joy and spirit in the other that no one else ever sees, and they make a home there.

Anakin becomes an esteemed general not only because he’s awesome in battle and strong in the Force and a gifted pilot and a skilled leader (all of which are true), but because he shows those around him respect, and great care. So, yet again, there’s a subversion of what might have been expected. No one is expendable to him. He views the Clone troops as individual human beings. He mourns their losses (many of the Jedi, with their no attachments rhetoric, allow the Clones to be used without much hesitation or thought for their status as sentient beings born and bred and programmed to die in war, but Anakin was a slave. He comprehends their status more than anyone else could). Anakin is a celebrated hero to the public, and in private is being chewed up by fear and uncertainty. Anakin is devoted to and completely in love with his wife, but has to keep it a secret. Anakin still craves freedom that even being a Jedi has not afforded him, because of their rigor. Anakin still desperately has to scrape for even the bare minimum of approval from the authority figures around him - even his closest mentor and friend, Obi-Wan, while they are irrevocably bonded and care for each other in a myriad of important ways, often doesn’t understand him and dismisses his feelings, refuses to advocate for/stand up for him when he needs it, or tells him to calm down. I’m surprised they never tell him he’s being hysterical when he gets upset, but the connotation of being told to “calm down” when angry or sorrowful or frustrated is something most women can identify with all too well. His desperate desire to protect Padme as everything begins to curl and smoke and turn to ash around him has a very clear nurturing aspect to it underneath the layers of terror and frustration and building paranoia - all he really wants is to be able to protect and care for his family, all he hopes is to save them and have a life with them away from all the war and the political in-fighting and the stifling Order. He’d quit right that second but he needs help due to his nightmares, and no one is willing to give it to him. (Except, ostensibly, Palpatine, who has been grooming him and deftly manipulating him and warping his perceptions since he was a child, all under the guise of magnanimous, almost paternal, care. Palpatine is brilliant in his machinations, perfectly cunning in his evil. He knows exactly how to slip in and break people, and he plays Anakin to the furthest extreme. I’m not saying Anakin doesn’t have choices, he does, and he makes the worst possible ones, but Palpatine pulls the strings in a way that makes him feel that he has no agency - and in truth, he does have very little agency throughout every step of his arc, marrying Padme and loving her in spite of the rules is one of the only independent choices he ever makes that isn’t an order, a demand, a fulfilling of duty - and Palpatine poises himself as the answer to all the problems, if Anakin does as he’s told. He’s been hard-wired to take orders for too long. He is so damaged by this point, and so distrusting - Hayden said something once about how Anakin is still very naive in ROTS, even after what he’s been through in the war, he’s still so young and unknowing about many things, and then his naivete is shattered by complete and utter disillusionment, and that shock is terrible and incomprehensible for him, so he clings to the one source of power he’s given, and it’s catastrophic). He is haunted by grief and impeded by fear of loss, and it drags him into an abyss. We watch all of this happen with bated breath, we see everyone fail him, we see every moment where he could have been helped, we see every path he could take if only he had the ability to stand up for himself and had been given the tools to cope with his psychological and emotional baggage, we see that he very nearly turns back, up until the death knell at the end. We know it’s coming from the moment they land on Tatooine and meet him and decide to make him a Jedi. We know, and we still hope for it to turn out differently. We know, and it still breaks our hearts.

I don’t want to make blanket statements about typical male viewers vs. typical female viewers, that’s too dismissive of a stance to take, but on a seemingly wider scale, I don’t think many of the former (especially the ones who were either older fans or who were teenagers themselves at the time) were as interested in political nuance and a tale of abiding love and a young man burdened with more than should ever have been put on his shoulders. Since the question was basically “why does he appeal to women,” (and not just cishet women) I imagine that the answer to that varies greatly depending on any one perceptive outlook, but has a similar core in each case of us wishing we could help change the outcome, even though we know we can’t, and of wanting to understand his actions and his pain, wanting to see his positive choices and his goodness validated, wanting to see him learn healthy strategies, wanting to see his love flourish, wanting to see him freed from the shackles he drags with him, from childhood to Jedi to Vader. The crush of the standards of society and expectation on him may speak to many. He is never liberated (until his final moments of free breath). His choices are either taken or horrifically tainted. His voice is drowned out by those more powerful around him. His talents and intelligence go largely unrecognized. His good, expansive heart is treated like a hindrance. The depth of his empathy and love is underestimated - and that, in the end, is important, because that underestimation, ending with Palpatine, becomes the Dark Side’s ultimate downfall and undoing. Vader may literally pick up an electric Palpatine and throw him down a reactor shaft, but that physical action is the final answer to a much more complete emotional and spiritual journey. He throws him down and the chains go with the slave master, and for the first time, certainly since before he lost Padme, his heart is unfettered, his love is reciprocated, and he is offered a true voice, a moment of his true self, a sliver of forgiveness, before being embraced again by the transcendence of the light. It is his act of rebellion, it is his own personal revolution, his final blow in the war. The entirety of the arc hinges upon him in that moment, Luke has been valorous and immeasurably valuable, but he’s done all he can do - the final choice is Anakin’s (and it’s such an interesting case because where else have we ever been able to fear and appreciate a villain, and then totally transform and re-contextualize him?). He is in that moment, indeed, the Chosen One.

All these facets are fascinating to watch unfold if you’re willing to be open-minded and heartfelt and sympathetic to the journey, if you’re willing to dig into the complex depth of his pathos.

I remember seeing AOTC as a teenager, and my love was Padme, she was where I was invested, I identified with her, I loved her kindness and her bravery and her sense of honor and justice, I loved that her femininity did not in any way diminish her and was an asset, I loved that, while she takes charge and has the fortitude to rush headlong to the rescue, while she can fight and tote a gun and blast a droid army as well as anyone, her superpowers are her intellect and her giving heart and gentle spirit. I totally get why Anakin holds onto the thread of hope she gives to him for all of those years, and why he falls in love with her as he does, but since I felt a lot of the story through her eyes, I understood why she was drawn to and fell in love with him, too. He’s dynamic and a bit reckless, he’s courageous, but he’s vulnerable and needs support, he’s deeply troubled but also radiantly ebullient at times (the scene in the meadow where she’s so touched by the carefree joy he exhibits, how it delights her and takes her aback, because she’s almost forgotten what it is to feel that, she’s almost forgotten other people could, and here he is, warm and teasing and spirited), he is often guileless, especially with her, he’s fervent and loving in a way she’s never seen or experienced, and that love is given with abandon to her. Who…wouldn’t fall in love with that? It’s a gravitational pull. AOTC impacted me in certain other personal ways as well, I was trying to understand some nascent hollows of grief (Anakin losing his mother as he does was very affecting and heartwrenching for me, at the time I’d lost my grandfather to whom I was quite close, and I’m also really close to my own mom, so his woe had an echo to me), but that vision that I specifically had of their love, the way I interpreted it (which I may not have had words for at the time, but I certainly had the emotional response) was a dear and formative thing.

I talked about this here, but to rephrase/reiterate, by the time ROTS came out, my life had shifted completely on its axis. I was still young, but my much dreamier teenage self was being beaten down and consumed by illness, and I was angry. Anger is not a natural emotion for me (guilt and self-blame tend to be where I bury anger), and I really didn’t know what to do with it. Everything felt unfair and uncertain, like there was no ground at all to stand on. I hurt all the time, literally and figuratively, I was in constant pain. I was lonely and frightened and sleep deprived and often had nightmares (this is still kind of true lol, as is the physical pain part). Padme was still my heart and touchstone - as she remains so to this day in this story - but suddenly I understood Anakin in a much more profound way, one I’ve held onto because he’s important to me and I love him. I felt his rage, his anguish, his desire to do something, anything, to somehow change or influence the situation, to rectify his nightmares, to cling to whatever might make a difference, might save him from being drowned in the dark and from losing everything that made him who he was as a person. Seeing him try and knowing he would fail was devastating, but also…relatable, in an abstract way (obviously not the violent parts, but thematically, I felt some measure of what it was to scramble up a foundation that is disappearing beneath you, that your expectations and dreams of what your life would be can vanish in disintegrating increments). All I wanted was for someone to help rescue him, because all I wanted was for someone to help rescue me. All I wanted was the hope that things could turn around - and there is hope in ROTS, despite the unending terror and tragedy, it’s never entirely gone, because Star Wars exists as a universe with the blazing stars of hope and love ever ignited at its center - but still, it was a very personally rooted emotional exploration for me, and I only started to deal with my own floundering anger when I saw how it might consume the true and loving and softer parts of me if I didn’t hold it back. (A few years later, I went through this again in an even worse way, and the source of that rage and despair was someone I cared for, and once I got through the worst bleak ugliness of it, there were a couple of stories I returned to in an attempt to gain newfound solace and comprehension, and Anakin and Padme were in there. My compassionate, hopeful heart was being torn by that fury, and I clawed my way back up from the brink of it because I knew I could die, not even necessarily figuratively, it was…a bad time, if I didn’t find my way out. Anakin’s story is a tragedy and a fable and a kind of warning - we should not deny or suppress our emotions or our authenticity, but we also cannot let it destroy us - and then ultimately his lesson is restorative, too, that we never lose the essential part of our souls, that we must allow ourselves to feel. Balance indeed).

As consistent and transparent as my love for Padme has always been, my Anakin emotions are actually so close and personal that I intentionally avoided ever exposing them for actual years, it’s like…basically in the past month that I’ve ever been truly honest about it on Tumblr, because exposing that felt like too much, but I don’t really care about keeping it quiet any more, and that’s very cathartic.

I myself am an incredibly emotional person, and I don’t believe that Anakin’s emotions are negative qualities, which I meant to underscore. In fact, his open emotions are an exquisite part of him, and it’s the Jedi who are wrong for trying to stamp that out, when his emotional abilities are part of what define him in his inherent goodness and his intellect and strength. He has an undying heart. For he and Luke both to stand as male heroes who represent such depth of feeling is really special, and vital to the story. Anakin is the most acutely human character in many respects, in his foibles and his inner strengths, in his losses and his longings and his ultimate return to his true self - that’s why we feel for him, that’s why we ache and fear for him, that’s why we rejoice for him in the end.

Other people could speak to the Vader part of it much better than I can, Vader’s an amazing and very interesting villain (the fact that, as Vader, Anakin is much more adhered to the Jedi code and way of thinking than he ever was as an actual Jedi, for example - he has an order to him, he is much more dispassionate, he is very adamant about the power of the Force - is endlessly intriguing, because he’s such a contradiction). I use this term for a different character, but I’m going to apply it here - Anakin is a poem of opposites. He is a center that can serve as either sun or black hole. He is a manifestation of love and light and heroism, he is a figure of imposing power and cold rage. He’s the meadow and the volcano. The question then becomes, how expansive are we? When we’re filled with the contradicting aspects of ourselves, how do we make them whole without falling apart? When we do fail, can we ever do anything to fix it? And the answers again will vary by individual, but to my mind - we’re infinite, and thus infinitely capable of, at any point, embracing our light, even if we’ve forgotten to have faith in it, and while we may not be able to fix every mistake or right every wrong, we can make a better choice and alter the path. The smallest of our actions can ripple and extend and are more incandescent than we know. That’s what he does, against all expectation. In the end, he is an archetype not only of a hero (be that fallen or chosen or divine), but of a wayward traveler come home, a heart rekindled, a soul set free to emerge victorious in the transcendent light.

In the final resonance of that story for me personally, I love him for being a representation of that journey, that no matter how long it takes to get there, how arduous it is - that things we lose can be found again, that with the decided act of compassion, pure, redemptive love can be held onto, that the light persists and that, even when it flickers most dimly, refuses to be extinguished, and can at any point illuminate not only ourselves, but can shine brightly enough to match the stars in the universe.

I hope this is at all cogent, here’s a gif for your patience ♥

#anakin skywalker #darth vader #sw meta #star wars #okay to reblog #(of course! <3)#this is so long i'm so sorry for anyone who's now seen it twice but i didn't want to ignore the very sweet message i got #(which i am honored by thank you for even asking and caring and being patient enough to read this spiel omg)#i tweaked some of the wording for clarity (i changed it in the original too) but otherwise it's basically the same #bubble wrap around my heart #*#encouraged to love #anyway i love him #and i love luke so much and that's a vital component here #luke's faith and kindness and important heroism exists for a reason #luke sees the truth and the good and he doesn't let it go and his spirit does not waver and is brightly right in the end #don't you dare try to tell me anakin wasn't always fundamentally good in the truest and most luminous parts of his heart #to do so is to not only undermine anakin but to invalidate luke and padme and i won't stand for that #i could write one of these for luke but i think he's getting really good defense from sharper minds than mine in many cases #i could write one of these for padme but she's also been getting quality recognition lately #so as far as any defense goes this is the best my exhausted little brain can do and i hope it does justice to the story in some small way #i'm so ill and out of it that i have no idea if this makes sense even after copy/pasting it and fixing it up but itried.jpg #long post for ts

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notconsolation · 7 years

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hola hello ciao hallo! anathema, march to the sea, guns for hands aaaaand tear in my heart

HEY THERE

scusa - è abbastanza lungo, ma ho tanti emozioni e i miei amici non piace top soooo I need to vent. Also you picked some damn tough ones

Anathema

Prepare for Feelings (many). I really like the fact that the lyrics for most of the songs are variations on a repeated theme because I feel like Tyler is really good at repeating without overdoing things. the words are changed enough each time so that instead of starting to pass you by or go over your head, the lyrics just deepen their meanign and get more entrenched in the song and in your head with each repetition. and the endlessly repeated “you will never know” especially the way he sings it as if he’s sort of crying but also just sort of bitter - it all alienates you while at the same time being intensely relatable and empathetic in how simple it is. Also the images of thing on going on beneath skin and hair and bones are so pregnant to me because I love using body parts to evoke a visceral feeling and response in writing. there’s something very primal about it. BUT having said all that, I think my favourite part is: “Am I screaming to an empty sky? Empty sky, no way, that’s me cause one half of my heart is free, Empty sky, no way, that’s me, cause the other half of my heart’s asleep” because damn son that sentence has a very pleasing sound in its internal repetition and near rhymes. And the idea of an empty sky (or of there being something in the sky that keeps it from being empty) is very thought provoking and I prefer having thoughts to having answers.

Also. So the fast opening soft clicking beat that sounds like a bass tuned so low there’s no sound, only a clicking overlayed with the really round sounding synths before the heavier irregular snare beats etc come in is so freaking genius? The first time I heard it I was like ??? how have i never heard anything like this before? it’s? incredible?! and so simple. and the escalation of this song. hooo boy the escalation. it’s so fundamentally repetitive, but it just builds and builds until it comes to the break where you get properly into the more typical fast RAB synth sound. even Tyler’s voice builds, which is not something he does that often. He often sets a tone for a certain passage and if he repeats it he’ll stick with that tone and volume etc, but with anathema he gets gradually more desperate sounding and louder

March to the Sea

Similar to Taxi Cab, I consider this one an unconventional ballad. The story of the march to the sea is also an image that just works so well. There’s this story where that image is pretty important for parts of it, and i think that speaks to how much it lends itself to a narrative telling (the image I mean). Quick note: every time I listen to this I think about how much Tyler’s singing has changed and like I can imagine him looking back and going “eh no what was I doing” but I love it. I love every phase and stage of his voice and development as a singer, from his reliance on desperation and the uniquely interesting quality of his voice in the early days to his actual incredible and (i find) under-appreciated vocal talent that becomes more apparent in the studio-produced albums. I mean while I adore the musical choices he made on march to the sea though, the song is mainly a story for me and oh god I tried to choose favourite lyrics but um it was a super long list so I’m afraid I’m gonna have to cop out and say the whole story? I’m really sorry I just can’t choose But also if I can just say - this song is one of the more linear songs on self-titled - like I feel like it has a clear beginning middle and end and the beat is kept by the instruments other than the drums so it feels quite structured, which I really like because it plays into the idea of falling in line - what I mean is that I feel like certain instruments in this song keep to the line and Tyler lets his voice wander a little outside the lines and the drums feel a little more irregular, but then by the time you get to the end again it’s all back in place, back in line and it’s another one of those damn cyclical things that get me so excited.

Guns for Hands

I think this song was so scary to me at first because it was so blunt about this thing that I had always been told by society was something to be danced around and never addressed directly - and certainly not by belting it out in a chorus. like the line about swearing to your parents but it being a lie? yeah. goddamn. I heard it and was afraid that I was being called out for a second somehow. just the brutal and blunt honesty was foreign. and it’s one of the things I love most about their music. So I think my favourite from this song has to be: “I know what you think in the morning, When the sun shines on the ground, And shows what you have done, It shows where your mind has gone, And you swear to your parents, That it will never happen again, I know, I know what that means, I know”

OKAY BUT CAN we take a second to appreciate how fucking catchy the instrumental melody is for guns for hands???? the one that plays int he chorus and intro? cause damn that’s another one of those (like fake you out especially) on vessel where I’m like goddamn how has nobody thought of that one before it feels so classic. and the sort of music-box/xylophone/bell quality of the synth that plays it? genius. it’s a song about fucking not being able to sleep and it uses a patch that sounds like those music boxes you wind up to put on to get kids to sleep !!! ARE YOU GUYS HEARING THIS?????? and then the fuzzed out ‘woo’ before the rap gets me so hyped and I don’t even know why. and the rap manages to be offbeat somehow? how? TYLER TEACH ME YOUR WAYS

Tear in My Heart

SO i hate to be a normie but “my taste in music is your face” is just pretty genius okay. I mean, if you said that to me I’m pretty sure I would lay down on whatever surface was behind me and say take me now. ahem. anyway. Thing is I feel like because it’s such a great phrase there’s another lyric that goes underappreciated: “My heart is my armor, She’s the tear in my heart, she’s a carver, She’s a butcher with a smile, cut me farther, Than I’ve ever been.” I mean damn he really can’t blame us for coming up with dark art and stories when this is literally how he talks about the love of his life okay. he is Actually Edy junior here. just saying. I would go into an in-depth musical analysis of this one too but tbh it’s late and I really shouldn’t probably but let it be known that the use of an unadulterated classic piano sound in this has me feeling Some Kind Of Way and that I seriously appreciate their use of Silence and Quiet in this one, which I feel are qualities that often go under-appreciated in music

#ask #song analysis

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hellosaltysaladcollectionstuff · 5 years

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This week on Dear Television:

Let Aaron Bady and Sarah Mesle sing you a song of love and war, friendship and betrayal, ICE and FIRE. In association with Home Box Office Productions, we bring you a saga like no other. Travel with us to the mysterious, ancient land of Westeros, where nothing is as it seems. THRILL as beloved characters disappear before your eyes! CHILL as your worst nightmares come true! TWEET whenever you see continuity errors! TEXT YOUR FRIENDS when these dudes yet again blow it with their garbage gender politics! Unsullied beware: many of the deepest secrets of the Seven Kingdoms and the dramatic conclusion of this song of ice and fire will be revealed in these essays. As the world turns, we know the bleakness of winter, the promise of spring, the fullness of summer and the harvest of autumn — the game of thrones is complete.

Previous episode: Season Eight, Episode Five, “The Bells”

But Why, Though?

by Aaron Bady

Dear Television,

This show long ago backed itself into a corner in terms of how it could end, and, last night, smashed its face in the corner, smiling. Someone had selected Jon kills Daenerys, the dragon melts the Iron Throne, and Bran is the new king on their bingo card: congratulations, you won the prize!

If you strain, there’s an underlying logic to it: even enlightened despots are bad, we’ve decided, and democracy is hilarious, obviously, but since all the real power-brokers are dead, the remaining half-assed aristocracy has decided to shift power a rung down the ladder (with a place-holder semi-king), which gets something like the status quo ante back, though it’s unclear why this outcome would be better or worse than a variety of alternatives. It requires a very generous reading even to deduce that that is what’s happening. But it could have gone a half-dozen ways just as easily, and nothing about how it actually went last night felt more surprising, inevitable, or satisfying than the multitude of scenarios that people had dreamed up. Ideally, a good climax would have taken you by surprise in the moment, but as it sank in, you would have realized how it had been earned by what came before; and after the show was over, you’d have been satisfied by what it all added up to and meant.

The show has pulled that off before: Ned Stark’s death and the Red Wedding (and Cersei’s big victory) are obvious examples of successful climactic moments. The show’s ruthlessness was shocking, but made sense as you thought it through. Those surprises reinforced an essentially tragic tone and message: the Game of Thrones had winners and die-ers, and, since valar morghulis (all must die), even winning just buys you time until you die and someone else can win. Power is treachery, and treacherous; the Game of Thrones is The Wheel, endlessly turning (or the astrolabe from the title sequence) with its heartbeat the accompanying theme music, the show’s true MVP, a song that never ends and never changes.

I hoped the show had another shock like that in its back pocket. The more fool I; Jon killing Daenerys was, to put it bluntly, not it. There was no element of surprise since other major characters were begging him to do it, and neither actor did anything interesting in the scene except look as surprised by what was happening as we were supposed to be. It also wasn’t earned, and didn’t feel like it meant anything: if Daenerys’ tragic flaw was the self-justifying cycle of “killing the bad guys,” why was killing her the solution to her turning bad? Why didn’t Jon Snow seize the throne afterwards (wasn’t everyone’s argument that he would be the best King?) How did he get imprisoned? Did he confess? Grey Worm’s actions make no sense; he had literally been executing soldier nobodies who had surrendered, just because, but the guy who killed his queen he just tosses in jail? And then accepts the jurisdiction of A Random Collection of I Guess These Are The High Lords and Ladies of Westeros Now when they free him? Offscreen? Why does Jon Snow go to the Actually There Isn’t A Night’s Watch Anymore So I Guess We’ll Just Roam North Epically? I mean, Tyrion can just walk out of prison and become the Hand of a king who he also just happened to appoint? Why did Grey Worm accept any of it? Why didn’t all the lords and ladies follow Sansa’s example and declare independence? Why is Bronn in charge of four castles or whatever, just because TYRION promised it to him?

WHY DID ANY OF IT, in short. What are the peasants up to? Which gods ordained all of this?

(The outcome was so beyond baffling that I found myself fixating on little things. When the Iron Throne was melted by dragon-fire, it should have been grand and dramatic and terrible, and instead it was just funny; did the dragon burn the chair-made-of-swords because he saw his mother murdered by a sword and blamed the chair? Can we really blame him for jumping to that conclusion, given what nonsense the rest of the plotting was?)

For me, the best example of the sort of thing that I’d foolishly hoped the show might do, last night, was the season six revelation of Hodor’s name. Not only shocking, earned, and tragic, but narratively productive, opening up a new dimension in the show’s temporal fabric. Through the head-fuck of Bran accidentally changing the past (or, rather, what the past had already always been), the show suggested a lot of new narrative possibilities, most interestingly, that Bran was himself both the Night King and “Bran the Builder,” my personal favorite missed opportunity: while mortals fought their petty wars, the cosmic backdrop could have turned out to be one guy’s transhistorical war with himself, building walls to stop himself from killing himself, and ruining so many lives by accident along the way.

Instead, it was all downhill once the show killed off the Night King. Without him, Bran’s plot didn’t make much sense and it seemed clear that the showrunners neither knew what to do with him — since he was functionally omniscient and no one ever asked him any questions — nor would there be much for him to do. So, of course, they made him King, and made his kingship the endpoint of whatever crazy hand has been guiding the plot. Was it the Lord of Light? The old gods? The new? The many-faced God? The show’s entire religious structure seems to have had a hand in saving him to become King, but what Tyrion and the rest of them seem to value about him is that he’s an ego-less cipher. Going a step beyond Douglas Adams, the only person who can be trusted with power is someone who not only doesn’t want it, but who isn’t even a person. And yet, who made Bran king? As ludicrous as Tyrion’s speech is — and as ridiculous as it is that Grey Worm and the lords and ladies accept it — an awful lot of deus ex machina had to happen to make this outcome possible. “Why do you think I came all this way?” is a goddamned good question, Bran, and we’d like some goddamned answers.

We got no answers. If we aren’t satisfied — and I’m not — one reason is that the show wanted to stick the landing and there just wasn’t a landing to stick. It shouldn’t have tried. They wanted to have it both ways, an ending that would be “bittersweet,” the showrunners said, probably imagining something like putting sugar in chocolate or coffee. Instead, it was like pouring lemonade into beer; yes, there was some bitterness, and yes there was some sweet, but there was also just so much that it ultimately tastes horrible.

At its best, this show could have it both ways on a lot of things because there was always more to the story. The weird mix of the Hollywood sensibilities of the showrunners — who loved them some Good Princes and Evil Zombie Hordes — and the (somewhat) more interesting genre-bending agenda of the anti-Tolkienesque author could work because the resolution of that weird emulsion was deferred, still working itself out. There was so much yet to be revealed and explained, and the game kept going on, that the presumed possibility of an ending that would work was in the back of your mind the whole time. And so the show got to live firmly within the genre’s expectations — princes, prophecies, apocalyptic doom, and heroism — while also subverting them with a grounded cynicism about politics. All the contradictions became riddles to be explained, a map filled with empty spaces; red herrings could be not-yet-revealeds and plot holes were wait-and-sees. Any character abuse could seem to be in service of some larger narrative that wasn’t yet completed, and thus, couldn’t yet be judged a failure. As long as the prince that was promised never came, we could keep waiting; the moment he did, and the show reached its conclusion, we could suddenly look at what it had done and judge it, and for the first time, the emptiness of the show was unavoidable. Like a shark, the moment it stopped moving forward, it started to die.

Obviously, the show and the showrunners don’t understand this. They went down a list, giving endings to each story which seemed to them to be plausible and appropriate, which they superficially all are. But the reason they don’t add up to anything larger is that there is nothing larger in the show: democracy is laughable because no one else exists in this show except characters with names. Most of them are now dead, but the few who remain — including long-lost second-stringers like Robin Arryn and Uncle Edmure — showed up at the end to collectively Fortinbras our way back to whatever passes for normalcy in this world. The totalitarian threat is dead — and the democratic one is inconceivable — so we’re back to the same old small council chairs.

And this, in a way, is the real problem: even after the ending, the world has to go on, and when it does, it undoes the finality of everything that happened in the finale. The story continues (even as it ends) because at some point in the future, it won’t anymore: Bran will die without children, and a new political order will be born. But this new way to defer the show’s resolution — picking a non-King for the Iron Throne that doesn’t exist anymore, the solution to hereditary kingship because he’ll be the last of his name — only works to the extent that we’re not going to see it happen. And so we don’t: the show ends, so that it can continue.

Yours, walking somewhere, forever,

Aaron

The post Game of Thrones, “The Iron Throne” appeared first on Los Angeles Review of Books.

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