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darkcircles4lyfe · 3 years

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Death to All Might, Rebirth to Yagi Toshinori

So about All Might. I’ve been extremely wary of talking about what could happen to him because straight up saying “I don’t think he’s gonna die” is asking the universe to spite me. Plus it also feels like a room full of people turning to stare at me as if I said the Sun isn’t a star. Man has death flags everywhere, I know.

But, okay, *Bill Nye voice* consider the following:

Mr. Yagi here, if he overheard everything, just received the final nail in the coffin on his career. His time as the symbol of peace is not only over, it was in fact partially responsible for the current state of things, since he once did so much on his own that his absence now makes heroes and civilians alike ill-prepared to cope. I think it was very apt for that one guy to be wearing an All Might shirt--he was acting as a mouthpiece for the latent societal problems embedded in All Might’s legacy.

We know already that he’s been feeling useless. I love this scene and although I’m not gonna talk about it right this second, remember what Aizawa says about just “being here” being enough:

And we know from conversations with Inko that Toshinori is also reframed his purpose around looking after Izuku. But in the end, Izuku rejected his help, and it was his classmates instead who were able to save him. Now the very progress of humanity is rejecting him too. You may me wondering how on Earth I don’t see the logical conclusion of all this being his death. Hold on. It actually has a lot to do with the fact that we’re all expecting it. Nighteye himself saw it, and despite any contrary convictions anyone might have, the plot doesn’t seem to be veering away from that end. All Might Is Gonna Die, says absolutely everything.

It’s occurring to me that I have previous experience with this kind of plotline that probably little to no one else in this fandom shares, being that I’ve read a certain book series in which the main character is told in no uncertain terms that he will die (no, I’m not talking about hp). The series in question is T*e Und*rland Chronicl*s (censoring so it doesn’t get put in their side of tumblr) and I’m sorry but I’m about to go on a shameless tangent about it and spoil the ending for you.

So in this series there is a prophecy in every book, each one having something to do with war and conflict, and so far all of them have been right. In the last book [mc] finds out that it’s prophesied that he will be killed. Lots of the things in the prophecies are convoluted and metaphorical, but no, this one literally says “when the [mc’s title] has been killed.” He spends the whole book coming to terms with this, and he gives into it, only to find himself waking up in the hospital instead. “Wow, plot twist. /s” you may be thinking, and yeah sure, the mc in a kids book survived, big shocker. But it doesn't end there. After the war, there are peace talks, but they escalate until the two sides are on the verge of declaring war again. And [mc], bless him, has just been caught in the middle of all of this the entire time. He’s sick as shit of fighting, of watching the suffering and death of people he cares about. He draws his sword against both of them angrily, gives a speech saying he won’t take a side, and then promptly breaks his sword across his knee: “There. [mc’s title in the prophecies] is dead. I killed him.” He’s giving a huge middle finger to everyone there, to the man who wrote the prophecies, to the entire fucked up culture of it all. And so something that was taken literally turns out to be metaphorical. That is, if you still believe in the prophecies at all.

Hopefully you’re catching my drift here. What I’m saying is, even though this other series has nothing to do with bnha, it goes to show sometimes it’s the most absolute certainties that are red herrings, and a “death” can consequently be a symbolic one. In All Might’s case, it could be the death of hero society and a rejection of his own past. In other words, character development for Toshinori himself that reflects on the way the world is changing, too. Also there’s the fact that the mc from that other series I’m trying not to name has an honorary title, and I’m imagining that role he occupied “dying” could correspond to something that amounts to, “All Might is dead. I (Yagi Toshinori) killed him.”

And here’s another thing: we also have to ask ourselves what good a dead Toshinori is to Izuku, narratively speaking. Yes, Izuku has spent his whole life idolizing even the more toxic parts of All Might, and his idealized vision of his hero does need to “die.” But how about Toshinori as a father figure? Izuku regretting that his last interaction with Toshinori was to reject his help may drive home the fact that he shouldn’t go off on his own, but at this point it’s kinda redundant. If anything it would negate some of the progress that was just made because it’d make him extra paranoid about losing other people too. To be honest, the whole “Uncle Ben” trope, the mentor/father figure who dies and gives the mc a reason to do better, is so tired. Experiencing the death of a loved one really doesn’t deserve to be romanticized like that. I might as well admit that I’m speaking from experience, and let me tell you, losing someone you love suddenly, when you weren’t around, and with unfinished business--it makes you paranoid as hell that it will happen again. It literally gives me nightmares. Y’all, I cannot stress enough that trauma does not equal character development. Granted, just because I know this doesn’t mean Horikoshi does, but in general he does seem to lead his characters toward healing.

Okay, back to the present. Toshinori is turning away from UA. He likely feels useless and rejected. We can infer that what happens next will involve Stain, and we have a couple of extra clues to go with it: Stain considers All Might a true hero, and has stated that he would let All Might kill him. And since Horikoshi loves his parallels, we also have this fight between Endeavor and this random villain who admires him so much that he wants to die by Endeavor’s hand:

This suggests a confrontation in which Stain challenges All Might to live up to himself as he once was, so that as a hero he can vanquish Stain and symbolically overcome society's perversion of that role. But based on what All Might has learned about the system he upheld, Stain is wrong. All Might is not a “true hero” in the sense that the societal issues Stain witnessed exist not in spite of All Might, but (in part) because of him, because he took too much of the responsibility for himself.

Stain probably had no idea about the personal cost of All Might’s lonely burden until after the fact. Maybe he’s seeing it now. So then perhaps the confrontation would be more about Stain claiming he’s just as fake as the rest. Either way, Toshinori has the opportunity to denounce himself and be rid of “All Might,” to stop living in his own shadow. Nighteye’s vision has been defied before, and I honestly wouldn’t be surprised if the combination of society shifting + Toshinori’s own conviction is enough to do it again and work fate in his favor.

He is not All Might. He is Yagi Toshinori: quirkless, worn down, and directionless except for his dedication to Izuku. If he survives his interaction with Stain, he can resolve his imperfect mentorship by confessing about his shortcomings and simply supporting Izuku as a part of his family, not as his teacher (as Aizawa said, just “being there”). And that’s how you really get character development, for both of them. I mean, shit, imagine Toshinori straight up telling Izuku to stop calling him All Might.

#disclaimer: I have a lot of emotional investment in dadmight #so I am hella biased #but hopefully I also have some unique insight to share #all might #yagi toshinori #bnha #mha #bnha meta #bnha 325 #bnha 326 #lin speaks

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recurring-polynya · 3 years

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Do I mind if I ask how you approach writing longer fic? I've always struggled to write anything more than maybe two chapters long and I'm curious if you have a particular method to how you approach such stories.

Thank you so much for this ask! I absolutely love it when people ask me for writing advice because it makes me feel like a Smart Person Who Knows Things.

Before we start, here is one grain of salt to take all of this with: I have a naturally long-form brain. It is very hard for me to write something less than 1k. Short fiction is great, and there is nothing wrong with sticking to short things if that's what your brain likes to do.

So. You have decided to write a story. This is going to focus on "stories". Some people write fic that's more freeform or whatever, I am not going to cover that. What I mean by a story is this:

It starts

Some stuff happens

It ends

It is highly probable that your story contains a change of state, which could be that a villain is defeated, or a goal is reached, but it could also be that character falls in love with another, or someone learns to like broccoli.

I like to start out by completing the sentence, "This is a story where _______". This is basically like coming up with a summary for an ao3 post, except that it doesn't need to be catchy. Lots of different kinds of things could go in that blank! It could literally be what happens: This is a story where Ichigo goes back in time and punches young Aizen in the nose. It could be about what you want to explore: This is a story where Hitsugaya gets a better understanding of his zanpakutou. It could be about the vibe you want to achieve: This is an AU where everyone is in a punk rock band and has cool hair and outfits. The idea of this is to clearly define what you, the author, is interested in writing. Make sure it feels right! Maybe you pick the first one, but when you say it out loud, you say, "You know, I really just want Ichigo to go back in time so he can horse around with young Renji and Rukia and punching Aizen in the nose is just an excuse for that." That may sound dumb, but it's fine, actually! Most people don't read stories strictly for the plot, they read stories for the implications of those plots! Will my favorite two characters kiss? Will there be funny interactions between these two groups of characters? Will there be sick fights? Stories are excuses to have scenes. Sometimes, you will have a story where the interesting sequence of events is the draw, but the point is to know what you're about.

Once you feel happy with your "mission statement", you need to decide the bounds of your story: where it starts and where it ends. It may be easier to start with the end. In some cases, it may be obvious from your mission statement: everyone gets home, a villain is defeated, Kenpachi realizes the meaning of friendship. On the other hand, let's look at that punk rock AU. You've picked a vibe, but you don't really have a natural story arc. It has to have a destination, though, otherwise, it's not really a story, it's a recipe for 3 chapters of an abandoned fanfic. So brainstorm a little: Maybe they get a record deal? Maybe they win a Battle of the Bands? Maybe Byakuya accepts that the band is actually good and tells Rukia he is proud of her. Do not settle for a plot just because it works. Pick something that makes you excited! You're the one who is gonna have to write it!

I said that we needed to pick a beginning point, too, but I'm actually going to skip that for now. The next thing I do is think of all the Big Scenes I want to write, the ones you are hype to write, the ones that pop in your head as you think about the premise. Make a bullet list. They don't need to be in order. The descriptions don't need to be super detailed, but write down anything about it that is important to you. If there's a mood or a snippet of dialogue or a joke you want to make, go ahead and jot that down so you don't forget it later. What you're doing now is putting broad blotches of color on a canvas, filling in space and leaving the detail for later.

Once you are pretty happy with what you have down, try to arrange it in chronological order. Put your end at the end (if it wasn't one of your big scenes, add it now). The next task is figuring out how to traverse your scenes. You've already picked out where you want to spend the majority of your energy. The rest, I regret to tell you, is your slog writing. Now, it often happens that you will find joy in some of these scenes and your best writing may occur there, but that's serendipity. These are the scenes that you are gonna have to make yourself sit down and write, so you honestly want to limit them to just the ones you need.

So how do we do this? Look at the first thing on the list. Can you start there? If so, congrats, that's your beginning. If you can't, what needs to happen to get to there? Where can you start so that you can get to your first fun scene as soon as possible? There. That’s it. You’ve picked your beginning, good job! Now, go through the rest of your list, and add in things that must happen, even if you don’t particularly look forward to writing them. The characters need to travel from geographic point A to point B. Shuuhei needs to say something that Izuru hears and misinterprets. The Central 46 makes a new law. If you have a good idea of how these things happen, go ahead and write them down, but it’s okay if you don’t know yet. Fill in all the blanks so that if you think of each bullet list as a scene, you could read it as a story, start to end. Once you get writing, you might add more scenes, or move things around or whatever, but you should have a thing that functions as a story.

If you struggle with this, an alternative is a story with a very strong structure that is going to guide you though what you have to write.Here are two examples from my own stories Hold On, Hold On (which is only one chapter, but the principle is the same) is structured around the 5 stages of grief. Not Broken, Just Bent takes place over roughly a week, and I just decided what happened every day of the week. See You on the Other Side takes place in the middle of a bunch of canon events, which worked at mile markers.

Congratulations. You’ve just made a rough outline!

Special note for avoiding burnout!: I am a slogger. I will drag myself through the broken glass of an interminable plot to get to a single thirsty scene. That's why, at this stage, I try to look at the ratio of what I want to write to what I must write. It's gonna vary for everyone, but this is a hobby, and if looking at this proto-outline makes you feel deeply tired, maybe this isn't a good story to be devoting your time to! Can you carve it down? Can you chuck two scenes you really want to write and get rid of 80% of the slog? Or maybe you can't! In that case, just write that thirsty scene as a standalone drabble! Or just go work on something else! Maybe in the future, this one will come back to you and you’ll have a fresh idea or a renewed enthusiasm for it.

Another thing I sometimes like to do at this point is to write out some notes about my characters and their motivations and moods. Character A is homesick. Character B is so determined to defeat the enemy that they are having a hard time being sympathetic to Character A. Character C cares for both A and B and is trying to support them both. This is sort of background info that you want to keep in your head as you are writing. Depending on the type of story you are writing, this might actually be the main plot, or it might be happening subtly, but adding to the emotional impact of the story. It’s very easy for me to write these sorts of emotional arcs, but if you struggle with that, you may wish to go ahead and made a more detailed outline for that, too.

Now, it’s time to start writing! I am great at beginnings-- it is very often the case for me that the opening scene was one of my Big Tentpole Scenes. (Before you hate me too much, I make up for this by being double horrible at endings; just let me have this) Usually, I will start at the beginning and write linearly for as long as I can until I get stuck. Then, I will look forward on my outline and do the next chronological scene that I feel like writing. In general, if I sit down to write and there is something I have an urge to write, that trumps everything else. Inspiration is a precious commodity, and you should embrace it when it hits! You can slog any day. I will occasionally hold off writing a scene that I really want to, because I am saving it, like a prize for myself for getting that far. This is a very personal process of figuring out what motivates your brain and then giving your brain what it needs to be its most productive.

Eventually, you will run out of things you are excited to write, but the good news is, you’ve got a bunch of story now! Odds are that what’s left is going to be a lot of those connective tissue scenes, and you’re just going to have to do them, except that now, because you’re connecting two concrete points instead of two abstract points, it will be a lot easier. You can continue running jokes you’ve started. Maybe you invented a cafe in an earlier scene where your characters hang out and you can have them return there. Try to think of ways to make these scenes more fun, both for yourself to write and for your reader to read.

Around this time, I like to start refining that rough strokes outline into what I will call an “as-built” outline. (This is an engineering term where you update your plans or models for something to reflect any changes that had to be made along the way). This is a great activity to do at times when you feel like you have writers block. I write down every scene I have written as a 2-3 word blurb, in order. I break the scenes into what I think makes logical chapters, and I will do a word count on those prospective chapters and write it down. As you do this, you will realize that maybe you can move a scene from here to there, which will make it 1000% easier to write. Things may be happening too much, or you’ve got the characters eating three times in the same chapter. If you have subplots and dangling threads, this is where you make sure they get closure. I know this sounds very headache-y, but you are so far along in the story at this point that it’s really not-- it’s a way to look at the problems you have left. Use some sort of formatting (I like to bold things I haven’t done and sometimes I put them in red) and it gives you a very visual to-do list.

You specifically mentioned multi-chapter fanfics and I admit that I don’t tend to think in chapters, I tend to think of the story as a whole and just break it up where it feels natural. The as-built outlining I described is very helpful in making sure that my chapters feel balanced. They don’t necessarily need to be the same length, but I like them to have the same amount of stuff in them. One chapter may basically contain one long scene, and other may contain many short ones. I don’t tend to, but you can certainly have a fanfic that varies between short and long chapters, that can actually be an interesting effect. But like I said, I always like to know what I am doing, and so having it mapped out, you can say “welp, this is what I’ve done, how do I feel about that?”

Polynya, you may be saying at this point, do you write the whole fanfic before you post any of it? and I regret to inform you, the answer is yes. A lot of people write as they go, and I have made one attempt at this and I didn’t like it. I don’t like locking myself in, I just need to be able write out of order and go back and change things. Here is the story of a little in love: someone gave me an AU prompt and I got mildly obsessed with it, and wrote 5 snapshots drabbles in that universe, ending with a slight cliffhanger ending. I probably should have stopped there, but I decided to keep going. I wrote out an outline of 5 acts where the first act was detailed to the degree of each chapter being specified. The chapters here were much smaller than I usually make chapters: 1-2k. I wrote act i and ii and it was actually great, and then I hit act iii which required a lot of set up for misunderstandings and a mini romance arc. I couldn’t wing it, but nor could I figure it all out with outlining. I write dialogue in almost sort of an improv “Yes, and...?” style, so until I do it, I don’t know what’s going to happen. So, what I did was treat the second half of act iii as a complete story in the process I describe above, wrote the entire rest of it, and then posted it. One might notice that the chapter lengths grew to 3-5k each. I have two more acts to go, and I haven’t decided how I am going to do them yet, but I suspect I will treat each of them as their own mini-stories.

(I will admit that in Heart is a Muscle, I tend toward chapters that are about 10k long, and this is honestly too long, someone should smack me. If you like punchy chapters, 1-2k is good. I think 3-6k is probably an ideal chapter length. Is this how long the chapters are in my latest fanfic? Absolutely not.)

Okay, so there’s one more step, which is quality control. I am habitual re-reader-- I read my fanfics-in-progress over and over and over while I am working on them. I understand that not everyone does this, but I am usually the primary audience for my own writing, and this is the actual fun part for me. Nevertheless, you should re-read your work at least once, to make sure it hangs together.

This is purely optional, but I recommend it: get a writing friend (if you don’t like re-reading your work, I recommend this even more strongly). If you can get a full-service beta reader, that’s great, but if you can’t find someone, or if receiving that level of critique stresses you out, it’s perfectly valid to just find a friend who will read your stuff and a) shower you with compliments, b) reassure you about parts you aren’t sure about (or suggest ways to help) and c) point out any huge problems you missed. When I am writing a long fanfic, it is a huge motivational factor for me to be able to send my beta chapters as I finish them. If you are already an established writer, and you have people who consistently comment on your fic, they might be overjoyed to get a sneak peak at your work.

And that’s it! That’s the way I do it, anyway! Some people are able to sit down and write a very detailed outline and the write it start-to-finish. Good for them, I say! I have tried this and it doesn’t work great for me. I will admit that some of my fics (especially my early ones) I just sat down and banged out whole-cloth like an insane person and they are generally better than the ones I actually plan out, but that’s not a reproducible process.

As one final mechanical note, I usually write in Google Docs, which I can access on multiple devices (I used to write a lot on my phone), has convenient sharing functionality, and I use the ao3 html formatting script add-in. I generally have two documents for a single story-- one is the outline, and any other notes I want to have handy. I’ll usually put a trashcan space at the bottom for scenes that got cut but I don’t want to lose. The other is the fanfic itself.

I hope this is helpful! Please feel free to follow up with other questions and good luck with your writing!

#writing advice #longform writing

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intheticklecloset · 3 years

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Control (My Hero Academia)

Primary Universe

I really love writing about these two, whether platonic like it is here or romantically like in one of my previous fics. Their dynamic is so great, and I really love what little I’ve seen of their friendship so far. Thank you for the fun prompt! I had a blast exploring Shinsou’s quirk a bit with this one. ^^

7. “Don’t look at me like that!” “Like what?” “Like you’re going to…do something!”

Shinsou was starting to hang out around the 1-A dorms more and more these days, and Deku couldn’t be happier about it. Despite his standoffish nature and I-don’t-want-friends attitude, the boy from 1-C didn’t seem to mind that Kaminari and Ojiro had become attached to him. Deku would often see the three of them together in the living room chatting, or outside sparring, or walking to and from the school building together. It made him happy to know Shinsou was starting to feel more comfortable around their neck of the woods. And, if he was honest, he was hoping to start forming a friendship with the purple-haired boy as well.

“Hi, Shinsou,” he greeted one evening after school as Shinsou stepped into their residence, his blonde companions by his side.

Shinsou nodded at him. “Midoriya.”

This would often be how their interactions went. An enthusiastic greeting, followed by a polite return of some kind. As time went on said returns became slightly warmer, but only marginally. Deku didn’t mind. It was a start.

“Hey, Midoriya,” Ojiro said, waving at him. “We’re going to introduce Shinsou to Mario Kart. Somehow he’s never played it before.”

“What?” Deku exclaimed, staring. “You’re kidding!”

Shinsou shrugged.

Kaminari beamed. “I know, right? You want to join? It’d be cool to have four players.”

Yes! Deku leapt out of his seat. “Of course! I’d love to.”

That game – while not one-on-one – was a good ice breaker for Deku and Shinsou, as the former naturally bantered and exclaimed and laughed along with Kami and Ojiro while the latter occasionally spoke up and held conversations but mostly muttered about how his character always seemed to be going the wrong way.

After that, their greetings became much friendlier.

Deku stepped into the backyard of their dorm one Saturday afternoon with the intention of getting some fresh air. He’d been sleeping much better lately, and now that it was getting warmer outside he enjoyed spending time in nature when he could. When he opened the sliding door, he was surprised to see Shinsou sitting on the patio, staring intently into the near distance where his blonde friends were currently duking it out.

“Hi, Shinsou,” Deku greeted, taking a seat beside him.

“Midoriya,” Shinsou replied, offering a small smile.

“Are they sparring or actually fighting about something?”

“I honestly can’t figure it out myself.”

“Oh, boy.” Deku laughed, stretching and then leaning back to look up at the sky. “Nice weather.”

“Yeah.”

There was a slight pause. “Hey, do you want to spar?”

Shinsou turned to look at him, deadpan. “Midoriya.”

Deku realized how silly that sounded, now that he was getting that look. He chuckled sheepishly. “I mean, we could go quirkless. Just physical combat.”

“What purpose would that serve?”

“You know, keeping in shape. Staying on top of our reflexes.”

“In what situation would a villain ever fight without their quirk?”

Deku thought back to the quirk-ereasing serum, but then shook it off. “That’s a fair point. It was just a suggestion; we don’t have to.” Silence settled again, but a few moments later he took his notepad out of his shorts pocket and scribbled something down.

Shinsou glanced at the pad in his hand. Does he always keep writing material on him? he wondered, then froze when his eyes caught what was written on the page. It was a list, with his own name at the top. Deku was currently writing “doesn’t prefer quirkless combat” directly underneath a bullet with an entirely different theme.

According to Ojiro – really ticklish?

Shinsou felt his cheeks heat up in a blush and he snapped his eyes back up to Deku just as the boy finished writing, closing the notepad and storing it away once more. When he turned to look at him, Shinsou quickly averted his eyes, staring not at his friends in the field, but at the ground.

“Shinsou?”

Crap. What do I do? There’s no way he doesn’t notice I’m blushing.

“Are you okay?” Deku asked, sounding worried. “You look really flushed all of a sudden.”

“I-I…um…” Pull it together! “Yes, I’m fine. It’s just getting a little warm out here.”

There was a pause. “I mean, I guess it is kind of fluctuating between warm and cold.”

He knows I’m lying.

“Midoriya,” Shinsou started, then stopped. Great. What do I say now? He’s looking at me. Say something! “I…I’ve changed my mind. I wouldn’t mind sparring.”

Deku blinked. “Really?”

“Yeah. I mean, uh…kind of.” What am I doing? “I want to…try something. But…it would require me using my quirk on you. Only if it’s okay. I’ll never use it on you outside of combat.”

“Isn’t sparring combat?”

I am digging my own grave here. Shinsou was growing more flustered by the moment, but he plowed onward, uncertain why he was suddenly following this strange train of thought. “What I want to try isn’t exactly sparring. It’s, um. Endurance training.” Oh, brilliant. Truly genius, Shinsou.

But Deku looked intrigued, which encouraged him a little. “Endurance training? Enduring what?” When even more color flooded Shinsou’s cheeks, Deku hesitated. “What…what exactly are you going to make me do?”

“I won’t make you do anything,” Shinsou replied quickly. “Not if you don’t want to. But it’s not…nothing untoward. I just…” He let out a groan and ran a hand through his hair. “Forget it. It’s stupid, it doesn’t make any sense. It probably won’t work anyw—”

“I didn’t say I didn’t want to,” Deku protested, sounding earnest. “I just don’t want to hurt you.”

That’s what he’s worried about? Shinsou gave him another tiny smile. “You won’t.”

After another moment, Deku nodded. “Okay. Sure. As long as you don’t make me hurt you, you can use me to test whatever it is you want to test.”

Shinsou couldn’t believe his ears. “Really?”

“Yeah.”

“Midoriya, are you sure? Do I have your permission?”

“You can brainwash me, Shinsou.”

And with that, his face went slack, his eyes lost their shine, and he was under Shinsou��s control.

What am I doing? Shinsou thought frantically as he watched Deku’s unmoving features and body. What am I doing, what am I doing, what am I doing?!

Still, he’d passed the point of no return. He’d followed his gut reaction to seeing that note about himself this far down the rabbit hole; he might as well go all the way now. He cleared his throat, shifted a little. Heart racing, he mustered up the courage to speak exactly two words.

“Tickle me.”

Deku moved to obey, making Shinsou flinch slightly, but he forced himself to stay put as the green-haired boy found his sides and started digging. Shinsou sputtered, giggles spilling out of his mouth uncontrollably, his cheeks heating up with flustered embarrassment as he watched Deku’s expressionless face. He knows what’s happening. Somewhere in there, he realizes what I’ve asked him to do. He knows. He knows. He knows…

And yet, Shinsou still had control. He whined, then forced himself to speak again. “Hahaharder.”

Deku increased the pressure of his tickling, moving up to Shinsou’s ribs, steadily pushing him down so he was lying on his back on the patio. Absentmindedly, Deku knelt beside him and continued tickling even harder, drawing louder giggles out of Shinsou.

I’ve still got him. “Hahahahaharder,” he said again, and again, Deku complied. Shinsou could feel his control wavering, but he still had it. “Hahahahahaharder!”

Soon Shinsou realized it wasn’t the amount of pressure Deku was applying that would make him lose control, as he was tickling about as hard as he could in this spot and the boy from 1-C still had him under his command. The only way to really test this would be to switch spots. “Stohohohohohop!” he commanded, and Deku obeyed.

Shinsou was blushing furiously, but he was also genuinely curious now, so he continued in his mission. “Straddle my thighs,” he said, “and tickle my hips as hard as you can.”

Deku swung a leg over so he was sitting on Shinsou’s legs, pinned them to the patio, grabbed his hips, and tickled with everything he had.

Shinsou tossed his head back and screamed with laughter. He lost control instantly, feeling the thread connecting his mind to Deku’s snapping in half like a twig, and after a few more moments, the tickling stopped as well.

Deku stared down at the usually quiet boy in awe. “You…you wanted me to tickle you?”

Shinsou covered his face, too embarrassed to look at him. “I wanted to know if I could maintain control while being tickled. It’s a pretty distracting thing. Clearly, when tickled in the right spot, I can’t stay in control. You can put that in your notes, too.”

“What?” Deku sounded surprised. “Wait…did you see…?”

“Yes.”

“Oh, man.” Now Deku sounded embarrassed. Shinsou dared a peek at him. Sure enough, he was blushing now, too. “I’m sorry. That was probably weird to read.”

“It turned out to be a win-win for us both, though. I got my answer, and you got to see for yourself how ticklish I am.”

Deku frowned. He still hadn’t moved from his straddling position. “I mean…technically. But I wasn’t myself. I’d hoped to catch Ojiro tickling you sometime, or maybe Kaminari.”

Shinsou looked up at him. “Is it true? Do we share a death spot?”

Deku glanced down at his hips, and something seemed to change in his expression. He went from looking slightly bothered to looking incredibly inspired and mischievous. He grabbed onto Shinsou’s hips and kneaded. “Well, let’s see.”

“GAH!!” Shinsou yelled, unable to help the flood of laughter that bubbled up and spilled out of him in response. “MIDORIYA!!”

“It certainly seems to be a good spot, but there are plenty of other places I didn’t try just now,” Deku mused aloud as though he were mentally taking note. He probably was. His fingers moved up Shinsou’s sides, skittered across his belly, tweaked his ribs, scribbled in his underarms. Shinsou was kept in constant giggles, squirming as much as possible and hiding his face a lot, but never protesting.

Finally, Deku moved back down to his hips and dug in again, beaming at the laughter he produced. “Yeah, I think we do share a death spot, Shinsou.”

“AHAHAHAHAHAHAHAHA!! STAHAHAHAHAHAHAP!!” The purple-haired boy pleaded, squealing and shrieking. “PLEHEHEHEASE, NOT THEHEHEHEHEHERE!!”

Deku couldn’t help but laugh. “You even sound like me!”

That’s exactly what Kaminari said!

“I have to admit, it’s kind of fun tickling someone else who has the same worst spot as me.” Deku chuckled. “Now I can see what I look like to the others. No wonder everyone goes for that spot so fast. It’s fun to tickle you here!”

“PLEHEHEHEHEHEHEHEASE!!” Shinsou cried, trying to grab at Deku’s wrists and failing. “MIDOHOHOHORIYAHAHAHAHAHA!! STAHAHAHAHAHAHAP!! I’M SOHOHOHOHORRY!!”

Deku did stop, frowning down at him. “Huh? Sorry for what?”

Shinsou gasped for breath, trying to circulate enough oxygen to his brain to formulate a response. “For…um…I-I don’t know…brainwashing you?”

“I gave you permission.”

“F-For…ah…for looking in your notes? Ruining your chance to see how ticklish I am while still in control of yourself?”

Deku smirked.

Shinsou’s heartrate sped up. “Midoriya…d-don’t look at me like that…”

“Like what?”

“Like you’re going to…do something…”

“Oh, well, sorry about that, Shinsou. But I am going to do something.” Deku grabbed the taller boy’s wrists and pulled them down to his sides, pinning them there with his knees. “Because you haven’t ruined my chances to see how ticklish you are.” He grabbed his hips but didn’t tickle yet, enjoying how Shinsou gasped and flinched with a look of clear excitement on his face. “There is one thing I have to ask you, though, that I won’t be able to figure out on my own.”

“W-What?”

“Ojiro told me you ‘don’t mind’ being tickled. Since we’re already so similar when it comes to tickling, does your saying you ‘don’t mind’ actually mean you like it? Because that’s what I mean when I say I don’t mind.”

And that’s exactly what Ojiro said, too!

Shinsou couldn’t help but whine, flustered and embarrassed and blushing so hard he felt the heat of it on his cheeks. But having Class 1-A’s most fascinating student on top of him like this, so close to making him laugh again, made him give in.

“Y-Yeah,” he admitted quietly. “I like it.”

Deku smirked, and he pressed his thumbs into his hipbones, and Shinsou was lost to his laughter.

#fanfiction #tickle fic #boku no hero #my hero academia #bnha #mha #izuku #midoriya #deku #hitoshi #shinsou #shindeku #fluff #friends #control #tickling #ticklish #tickle

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redphlox · 3 years

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Um.. so I don't if I clicked anonymous on toga and twice post or not so if I didn't pls ignore it and pls don't post it publicly. I kind of get anxious. To be clear, the relationship bothers me a bit because Toga is a teenager. Although I interpret the relationship to be entirely platonic. But some of these moments are just the author not being able to write women and their relationship (just misogyny which is very visible several times) but a lot of people use it to justify twice's murder.

How do you feel about Twice being flirtous and inappropriate with Toga multiple times?

Hey there! So, I've sat on this ask and let it simmer because I want to answer thoroughly. First off, your feelings are valid! It's often suspicious and unsettling to see any relationship between an adult and a teenager because we're all cautious of predatory behavior. Society has almost told us that it's always wrong for teens and adults to interact, that there is never a right way to have a relationship with teens because the adult MUST be wanting something.

As for Twice and Toga's relationship, I think they're meant to come off as two peas in a pod. The thing about Twice is that he's meant to come off as childlike not only because of compounded trauma but also because he's a good person at his core, and childlike = innocent. He's that kid in high school who got into selling drugs out of financial necessity, who got into trouble with the law while hanging out with the wrong crowd because that crowd was the only one to accept him. He's that kid who wants to have friends and be a genuine friend. He's that person who seeks to know someone and love them despite their flaws, maybe especially because of their flaws.

Yeah he's 31, but emotionally he was still a teenager and was emotionally stunted because of the hardships he's endured. This comes across when he and Toga, an actual teenager, interact. They're silly, joke around, and play off each other. Twice is someone who was beaten down, kicked while he was down, and then stepped on, and that's what makes his death tragic - he was a childlike aka innocent person who was marginalized by society, just as many people IRL are. That's why Hori chose him to die out of all the league and also why he framed his death as wrong, too.

Twice's childlike mindset is what makes this scene sad:

Toga is like a mother comforting her kid in this scene, being gentle with him when all he's ever known is brutality. It's a gesture he returns in his last remaining moments.

Twice and Toga are supposed to read like dumb (affectionate) neighborhood kids who get into trouble but care about their friends and want to lead haply lives and live in a happy world. But it was more than that for Twice - Toga was his hero in the sense that she restored his faith in humanity, which had been nothing but cruel to him. To Toga, Twice was a hero who looked out for her and her happiness, saving her twice now. They're just another example of Hori humanizing the League members versus, say, empty bloodthirsty villains like Muscular or AFO.

Anyway, I think the relationship may come off as weird sometimes with what Twice says and how he acts not because it's TWICE who believes that, but because it's the author's hand showing. Let me try to explain. For example, Midnight is inappropriate (flirtatious) with her male students too. Is she supposed to be read as a predator? No, it's just Hori's views coming through in the writing. I think Hori usually goes out of his way to highlight when a character is supposed to be viewed negatively (Chiaski and Eri, E over training Shouto, E terrorizing his family in 302, AFO grooming Tenko) and if he meant to draw Twice as inappropriate with Toga it would have been more evident in the material that TWICE is wrong specifically for this. But, taking into account how Hori tends to sexualize women, I think the weirdness can be explained by looking at the author and how his views come through in his writing.

#Bnha #My meta #Bnha asks #Twice #jin bubaigawara #toga himiko #Twice and Toga'a relationship #Tw abuse #Abuse

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jitterbugjive · 3 years

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Something I wish more people would understand is how unhealthy and misguided I was in my early 20s. I came out of a life of mental and sexual abuse, for a bit I had a much older boyfriend than me that I didn’t realize until fairly recently was grooming me since I was 14. I was a hyper sexual teenager due to the exposure I had in childhood and I sought people out constantly to ERP with, even adults, without really thinking anything was wrong with that. I had an old friend who started running away from home to look for random adult men to sleep with so my understanding and feelings towards that kind of situation got all twisted and confused and I didn’t know how to help my friend. I had another friend who was pulled in to a 3 way by another minor and an adult, and the other minor was also the sort who actively looked for adult men who would be sick enough to sleep with her. And my best friend had a sister who was also exhibiting this behavior despite my friends’ many protests, because their mom didn’t give a single fuck about anything. I had an older babysitter, by older I mean in his 60s, who would bring up conversations about sex with me and show me porn on TV from when I was 10-13. I was dealing with unchecked PTSD which made me overly reactive, prone to fits of anger and anxiety.

My point is, back then I didn’t have any kind of professional help or anywhere I could go for answers on things I didn’t understand or had a limited understanding of. When I ask the question ‘what do you do if a kid is seeking out adult sexual attention’ it’s not because I’m trying to blame kids for this, it’s because it scares me when kids are unknowingly, maybe even knowingly, exposing themselves to danger for whatever screwed up reason they may have. And no one wants to talk about that kind of situation, so I couldn’t find any answers. I couldn’t find an appropriate way to process my feelings on the matter, my understanding of it, the way I viewed it, I couldn’t find what the correct way to feel or deal with it was. Again, because no one wants to talk about it. With my naivety and personal experience, I at first held resentment towards kids like that, because I remember being put in danger because of them or they put my friends in danger, and those kids seemed very sure of their choices even when they were perfectly aware it was wrong. One of them I knew, even as an adult, didn’t ever think anything was wrong with what they did, they didn’t come with that regret you hear most people talking about. I regret the way I’ve reacted to these situations and I regret the way I phrased things when I was trying to come to terms with this issue that I’d been honestly traumatized by.

Another thing I didn’t understand in my early 20s was appropriate boundaries, because I wasn’t given appropriate boundaries as a kid I only knew one big basic thing: Don’t do anything sexually explicit with minors.

And when it came to RP, I thought that meant PG13 content was okay. I thought if there was a fade to black, or a time skip, or an implication, it wouldn’t be a bad thing. Now, there are literally only 2 instances I can think of where there was any sort of implication of sexual acts between characters with a minor, I still made sure nothing explicit was shown or explored and I was of the impression that I was just letting the other person have fun because that’s what they were in to. And that was a mistake. Not as big of a mistake as it could have been, mind you, but I’d never cross that line. I thought I had a good line drawn in the sand but I didn’t really understand where it was supposed to be. Because if we’re gonna be honest here, looking back I know now even romantic fluff RP between an adult and a minor isn’t okay, even if it’s through characters and not as ourselves.

I know now how much of an emotional impact RP can have on a person, considering most of my romantic relationships started with RP. When you have a character you deeply connect to interacting with someone else’s character, it’s really easy to start mistaking your character’s feelings for your own. You could believe because your characters get along so well that maybe the two of you can get along romantically too. I’m not saying that RP shouldn’t lead to romance, but that it can easily blind a person from how their RP partner really is. So it’s dangerous to RP with kids like this. I should know, my abusive ex that groomed me until I turned 18 in order to date me certainly had me convinced we were meant for each other just because our characters clicked and my character happened to be a representation of myself.

Something I’m really ashamed to admit as well is a serious misjudgement on my part, where for some reason I assumed bodily fluids weren’t NSFW. Probably because I’ve seen people get away with censoring out naughty bits but leaving the spunk in an image, or just drawing the character with spunk on them or something. Point is, people were getting away with it not being flagged as porn, and my dumb brain was like ‘okay so it’s not that bad’. I need to make something clear here, I don’t entirely remember what happened or why it happened, but it’s true that Bedeviled Derpy had a post that showed spunk in 2 of the images and it was drawn from some sketches of mine by a teenager. I don’t believe I would have requested such a thing, I certainly didn’t script it to say ‘draw spunk here’, in fact the sketches don’t show any indication of a mess anywhere. I just remember being given the finished images with the spunk being added, and I was dumb enough to think “oh yeah this is totally okay for a SFW blog” and my brain didn’t even register like ‘hello yes a child drew this maybe ask them to remove the spunk also spunk isn’t sfw or child friendly in any way shape or form’

Some people, maybe only a handful, or more, I don’t know, but some people have this assumption that my mindset in all of this was like “Hahaha I’m taking advantage of a minor” and that’s just... not it?

I’m a colossal dumbass, I admit that, and I was really irresponsible, but it was NOT because I had any intentions on preying on a child. I just don’t do that.

The things I said and did, I did out of ignorance, and most of the bad stuff people talk about me saying was from 5+ years ago, before I got any help, before I had anyone to walk me through these incredibly complex emotions and opinions that were ingrained in my head since childhood.

I just wish that people could see I had no malice or ill intent, I wish people could realize they’re way overthinking my actions and taking things a lot more personally than they were ever meant to be. Maybe if they could see this for what it is rather than assuming I’m a villain who purposefully did everything wrong, they could learn to move on in a healthy way.

I understand I did a lot of harm and there’s no undoing that.

But I do NOT deserve to be accused of pedophilia. Pedophilia has literally ruined my life and my perception of the world. I’m a victim too, and just because I became an adult doesn’t mean I suddenly know right from wrong. That’s not how becoming an adult works. You’re allowed to make mistakes as an adult, being an adult doesn’t mean you won’t make mistakes any more. Yes it’s easier to say to someone ‘you were just a kid, it was a mistake, you didn’t know any better’, but adults have a hard time knowing ‘any better’ too. We’re always growing and learning and I’d like to think people are smart enough to see that I have grown in to a better person.

I hope people can find it in their hearts to forgive me, but I fear some people are too far gone down the rabbit hole of being convinced that everything was on purpose and from malice, that I’m some evil mastermind who thrives on manipulation and taking advantage of kids. I’ve only ever associated with 2 minors since becoming an adult and I have no intention of associating with any more that aren’t directly connected to my family or my friends.

Anyone who actually knows me would know I have a 0 tolerance for IRL pedophilia, when I found out a member of one of my groups was showing nudes to minors he was immediately kicked out and I kept tabs on the situation to make sure he’d be caught by police. When a member in my server was exposed for ERP and orbiting with a minor, I kicked him out too.

I worry about kids to a point that it’s part of my PTSD, I have anxiety attacks just worrying about how a kid might be getting harmed, the last thing I want to do is bring harm to them.

And I did cause harm, I didn’t know that was what I was doing, but I did, because I wasn’t mature enough to understand how to interact with kids as an adult. And again, I’m just incredibly sorry things had to even come to this. I’m not lying when I say I think about this every single day, and sometimes spiral in to really bad anxiety because of it. It affects me heavily.

I want to move on.

And I want the people affected to move on too.

Because dwelling on this isn’t going to do anyone any good.

#apology #important

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dornish-queen · 3 years

Text

Pedro Pascal - La Vanguardia

With Javier Peña's mustache as his hallmark, the 'Narcos' and 'Game of Thrones' actor is filming in Budapest with Nicolas Cage and Paco León

Pascal, cultured, seductive and reflective, repeats as Loewe's ambassador for its Solo Mercurio perfume and is a model for 'Magazine Lifestyle'

SYLVIA MARTI 12/13/2020 06:00

Casual striped jacket, tousled hair, exquisite punctuality, and a room in Budapest. There is something about this man, generous in smiles and answers, great talkative, attractive without clichés. Pedro Pascal, 45 years old and face success. He shot The Unbearable Weight of Massive Talent in the Hungarian capital with Nicolas Cage and Paco León, who apparently encouraged the show a lot; We see him without seeing him in the Star Wars universe as a galactic bounty hunter in The Mandalorian and he is Maxwell Lord, the eighties villain of Wonder Woman 1984 , perhaps the only blockbuster that, if nothing goes wrong, will make us happy Christmas.

Session in Budapest The Chilean actor shoots 'The Unbearable Weight of Massive Talent' in the Hungarian capital with Nicolas Cage and Paco León

(full article and photos under the cut)

Chilean by birth, his family left the country fleeing the Pinochet dictatorship when he was a baby. Brief passage through Denmark and new life in San Antonio (Texas). Normal when speaking in your mother tongue some words in English slip through. Think before answering a question without losing spontaneity or being afraid of silence. An art.

There is still Javier Peña's mustache, which catapulted him to fame from Narcos , and you can recognize that little point of joyous irony of Prince Oberyn Martell, who almost ended the Mountain in Game of Thrones . Two roles that have opened doors that he has managed to keep safe from slamming doors and have allowed him to skip the toll of stereotyped roles. Today Pascal, well trained in theater and loved by the cameras, can do whatever he wants. Even dedicating a Saturday to star in a fashion shoot and speak exclusively for Lifetsyle Magazine .

"Nobody knows me but everyone thinks they know me," he said when he debuted as the face of Solo Loewe perfume. Introduce yourself with four words.”

I do not define myself only by them, but I am contradictory, faithful, loyal, sensitive and, at times, a bit geek.

What would surprise me about you if you knew him better?

That although I live life and enjoy family, friends and social connections a lot, I have a lonely point. I like having my space and the option of staying a day at home in a relaxed and cocoon plan .

“Even though I live life and really enjoy family, friends and social connections, I have a lonely point.”

With Covid-19, many of us are already a little tired of staying at home ...

Yes, now that I don't have much choice to go out, I'm afraid of not being able to go back to the theater, to a party, to a dinner with many people ... I really regret those times that, instead of going out, I stayed at home.

Which character has left the most impression on you?

I miss Peña, from Narcos . It was my first leading role, the first time I had time to develop the character, create his energy, his style ... They gave me a lot of freedom to shape it, even if it was based on a real person. I was able to work on it, make it my own, create the tone, invent and deepen.

Do you easily get rid of them when filming is over?

When I was younger I was very clear that they had to be left at work, that the character had to be separated from the person. I thought that with age it would get easier and easier but, surprisingly, the opposite happens to me: it gets harder and harder. Energy cannot always be organized the way we would like and I have to admit that I take some of my characters home with me.

Have you incorporated any of their phrases into your life?

Maxwell Lord has a very attractive in Wonder Woman 1984 : "Everything is fine, but it could be better."

Very eighties. Like the one Gordon Gekko said on Wall Street (1987): "If you want a friend, buy yourself a dog." Have we advanced or are we already for the fourth pet?

We have come a long way. I am very inspired by young people, their strength to face in an original way that win, win and win system that reached a monstrous level in the eighties. Today's young people go deeper into the need to respect a planet in which we all live together and the obligation to take care of it.

“Young people inspire me, they deepen the need to respect a planet and the obligation to care for it.”

I see you optimistic ...

I am a realistic and hard-working optimist. My first impression is that the glass is half empty, I have to find arguments to see it half full.

Is it true that you drew the comic strips to interact with them as a method to immerse yourself in your character in 'Wonder Woman 1984'?

I made a book with images from the eighties and sixties, comic book drawings, papers, erasers, colored pencils, markers and vignettes to better understand what it was to be a man of that decade, how his attitude was forged ... It was a way to focus to live up to what Patty (Jenkins, the director) asked for, which was a lot, and not lose sight of it. I'm a horrible cartoonist, but I had to do something practical to study, understand, and develop the character.

What does a script or a role have to have to get their attention?

Sense of humor. Even if it is a drama, a hero, a villain ... Humor immediately hooks me.

A good shield to go through life ...

The best. It is the most important thing to survive.

Do you remember the last time you laughed out loud?

Paco León immediately came to mind. When he's on set, here in Budapest, we are all happier and we laugh a lot. The entire production loves it. It has made filming more fun.

“When Paco León is on set, here in Budapest, we are all happier and we laugh a lot”

What fascinates you most about the Star Wars universe?

Nostalgia, the huge audience it has, the ability to reach so many people. It reflects our childlike imagination without limits. Create more and more worlds with all kinds of people and species. He is capable of casting the universe

What is your definition of success?

Have a healthy relationship with yourself. Nothing matters if you don't love yourself.

What would you have done if you had not succeeded as an actor? Did you have a plan B?

No. Perhaps the only thing that could have been useful to others is acting as a literature teacher, as a counselor or advisor for people who need help ... I am a bit of a therapist with my friends. And it must work, because they come back. I have a lot of common sense.

What is elegance to you? Has your relationship with Loewe influenced the way you dress?

In that of elegance I am a student, I am learning. I wear what is comfortable but I also have very finite taste and, when motivated, I really like to express myself with style. And when it comes to style, Loewe is on top of everything.

Something material that would save from a fire.

A book. I always have one on hand. Now I am rereading The Magic Mountain , by Thomas Mann. Literature is one of my passions. It is an extension of life. The problem would be to choose only one, there are so many! My identity is made by inspirations from authors, actors, dancers, the art world, the sea ... There is no self without the influence of all the things that inspire me.

“The sea is what I like the most in life. I have respect, curiosity and love for him on a religious level.”

The sea…

It's what I like the most in life. I have respect, curiosity and love for him on a religious level.

If he gets lost, I know where to look for him.

On a boat in the middle of the sea, on an island, on the beach in Chile ... Everything related to water. One of the first smells I remember, although I don't know if it's too attractive, is the chlorine in the pool.

What is your fastest way to disconnect?

Losing your mobile phone. I fell down the stairs in Dubrovnik and at first it was like, "Oh noooo." But then I thought, "Well, a week without him." I had a certain feeling of liberation. Not having to be aware of e-mails, messages ... I find it very strong that people communicate even through a direct message from Instagram. I refuse.

Now that you quote them, how are you getting along with the networks? (He has 1.5 million followers on Intagram)

I am quite active, I use it when I have a good time, but also to express myself and to give my opinion.

“I will say goodbye to the year with a kiss and raising the middle finger. He has treated me well but the collective suffering and fear this year….”

What is your favorite word?

Oxymoron. I like its meaning and its sound

Who would you like to shut up, as you did in the first Loewe Solo ad?

Personally, I would love to shut up that heavy, bad voice, the imp that we all have in our heads. That it's nice to have him and that, and I know he will never go away, but it would be nice if he shut up sometimes. Collectively I think we would all like to shut up one person.

Trump?

I suppose.

What have you learned from this rare year?

That you cannot live without human contact. For me the deep and simple connections with my friends and family is the only thing that matters.

How will you fire him?

With a kiss and raising the middle finger. He has treated me very well but the collective suffering and fear this year….

*article translated with google chrome. Source of article*

#Pedro Pascal #jose pedro balmaceda pascal #la vanguardia #magazine article #article #magazine lifestyle #maxwell lord #ww84 #the mandalorian #din djarin #lavanguardia.com

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shieldofrohan · 3 years

Note

I agree with your opinions on pov struggles. Bran and Sansa had least chapters considering the starks are heart to asioaf. Heck Jaime had more chapters than bran. I think Sansa really had to have much more to do in last two books if we think about last 3 seasons so maybe she will got more povs. I don't know how she will deal with her trauma but one thing is certain that she will not end up with her abusers. I'm more curious about how will grrm handle bran arc.

[for previous ask about this: PoV struggle ]

Hello Anon,

Sometimes Martin's "claims" and his writing don't match.

For example; he insists that he tried to create a historically accurate world but fans who know what they are talking about can easily find the historical errors in his world. Sometimes a simple Google search can prove him wrong. His world is ironically filled with historical cliche myths. Or him saying that Arya was the odd bird in the family but the writing tells that Sansa is the different one with no family support. His whole Jaehaerys the Ideal King with Tax Policy failure and etc.

Long story short: He might say that Starks are the heart and centre of the story, and don't get me wrong he totally loves them and sees them as his centre characters, but without his "Starks are the heart" statement or "Bran is the protagonist" explanation these two aspects of the series could have been easily missed.

Some "simple" (!!!) reader would see Tyrion (he is everywhere), Arya (because of her high number of chapters), Dany (has her own arc and story) and Jon (for his parentage secret and Others drama) as THE protagonists. And Arya and Jon alone are not enough to support his "Starks are the heart" claim. Yes we had Ned and Cat too but they died and they were never the protagonist characters in the first place. Starks are definitely in the middle of major plots but tbh Tyrion IS THE ASOIAF. Not Bran. Not the Starks.

Btw when he says Starks are the heroes/centre he only means the "current" Starks. Not House Stark. I would say House Targaryen is his main (?) house. He builds his entire world around them and their history. At this point we should stop kidding ourselves. Martin adores his problematic weirdos. All of his side books are still about Targaryens (TWOAIF -the lack of House Stark content in this book was really insulting... they were kings for 8000 years ffs-, DUNK & EGG, FIRE AND BLOOD).

Well it's his choice ofc, if he wants to build everything around the villain house then he should do it. But a bad choice... Imagine Tolkien focusing on Melkor and his minions instead of the Children of Iluvatar. He could at least give us their Valyrian era but nah... we had to learn about Westeros through them.

You might say: "But he ended that house and look at House Stark ruling the whole Westeros in the end". And I would say: "So what?". We will never learn more about House Stark's history or FUTURE. We don't even know why "exactly" they became legendary kings in the first place. We don't know how their history shaped the current Starks... Cat and Ned (and other influencer characters they meet during their journeys) shaped our current Starklings... NOT House Stark Legacy.

Ned was raised by Jon Arryn and you see Lord Arryn in his honor and everything (Martin literally refused to give info about Ned's mother because she was irrelevant) and Cat is a Tully lady. We see "so little" House Stark influence in our Starklings. Like "our way is the old way" kind of stuff.

And please compare this how Targaryen ideals had a part in Dany's characterization/story and how we can draw parallels between her and her ancestors (thanks to side books). When I say current Starks are the centre characters but House Targaryen is the centre House, I mean this exactly.

I said that we'll probably never know about House Stark's future and I want to explain in further and it will also give my answer about how lack of Bran and Sansa chapters are going to be a problem in the end.

OK. So we don't know much about House Stark but they (some Stark characters) will end up victorious. "END UP" is the key phrase. There is no way that we'll see a lot about Bran and Sansa's reigns. After 300 years Starks are monarchs again but we still won't know more about their ruling. WHY? Because the lack of Bran and Sansa chapters in the books. With Sansa we can at least imagine her queenship thanks to her KL and Vale education. But Bran was a boy lord of WF for like... "one book" (??) and his story became very mystical and paranormal later thanks to Bloodraven (HEY! Another Targaryen... can you believe?)

And we have (?) to assume that they will become King/Queen in the "end" (I have my own theories about this but right now show is my only canon material). I doubt that Martin will give us an "after 50-100 years epilogue" for us to see Bran/Sansa's influence in the Westeros/North.

If Sansa and Bran are his final monarchs they should have been at their last corner of their journeys by now (again compare it with Dany's bad but still narrated queenship). Sansa should have been in the North long ago and Bran's mystical arc should have ended in the beginning of ADWD. Because Martin can't suddenly start focusing on them in the last TWO books without cutting his other 50+ POVs entirely.

People were SHOCKED when Bran became king because right now his story has nothing to do with being a Westeros King. Will only two books be enough to redirect his story? Sounds unlikely. Martin needs at least 3 books to put everything in order to create a well developed story but we'll only have two.

OR he should have focused on them LONG AGO to remedy this. More Sansa and Bran chapters in the previous books would had been helpful but a little too late.

And especially when I look back at Sansa's chapters I see so many unnecessary drama. Like all of her interactions with Sandor. What did they add to Sansa's story? Sandor couldn't break Sansa's spirit but in the end Sansa shamed him so all of their interactions were about Sandor... not Sansa. They shaped Sandor.. not Sansa.

Martin giving too much attention to Sandor in Arya and Sansa chapters is so annoying. I would rather read Sansa being sad and bitter about her father and Robb abandoning her tbh. It would be a better subject for a young lonely little girl instead of her being molested by some old pervert(s). Like I said... even in her limited number chapters she was misused by the author.

And Bran simply doesn't exist when you compare it with other characters. Everything starts with him but Twincest drama handled without him. He has no part in that or anything that is happening in Westeros right now. And this is our future King of Westeros.

Back to your ask... Sansa will deal with her trauma in subtext like she did(n't) with whole Unkiss thing. And hooooop she will go back to North, deal with LF, rebuild WF and her legacy---- BOOOM!!! War and Others etc. Homegirl has a lot to do. And her healing will have a very little part in her future chapters because author didn't deal with them when he should have in previous books. Instead he threw one trauma after another to crash her more. I guess she'll magically be OK and ready to become a Queen. And yes... she won't end up with any of her abusers. Does anyone still believe that sh*t?!!??!

Like I said, lack of Bran and Sansa chapters will be another part of missing House Stark history. If Starks were truly the heart then Bran STARK and Sansa STARK would had more chapters (between 30-50: Dany has 31 and Tyrion has 49).

Just saying they are the heart/centre doesn't do the job alone. If characters who are not the heart have more chapters than them, this will tell me that focus of story is on them and not on so called heart characters. And this brings me back to my first sentence: Sometimes Martin's "claims" and his writing don't match.

I repeat: Starks might be the heart and in the centre BUT the amount of focus that Martin shows for some Stark characters (Bran and Sansa) is not enough to make them surpass the characters who are not the heart.

So we are talking about an imbalance here. And this is creating a problem. Two main characters aren't getting the attention they need and therefore fandom ignores them... and these two are THE characters that will shape future of the Westeros. They are actually the most important characters but author treats them like they don't matter as much as other main characters (And I know that this was not his intention.. just a mistake in his writing plan). Sad.

Anyway, we'll see how he will deal with Sansa and Bran problem in next books. I hope he'll manage it well.

Thanks for the ask.

#mine #ask #asoiaf #grrm critical #anti house targaryen #just to be safe #reply #answered

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ordinaryschmuck · 3 years

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Why I (Want to) Love Tangled: The Series/Rapunzel's Tangled Adventure

Salutations random people on the internet who most likely won’t read this. I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

When I heard Disney was making an animated series based on Tangled, acting as a continuation from the original movie, my initial thought was, "Why?"

Sure, Disney is infamous for its unnecessary sequels of the story after happily ever after, with the many, many, many failures that follow suit. Even then, though, most of these continuations were movies that kind of have the potential to tell more of a story. But what more could be said about Tangled? Sorry to spoil a movie that's over ten years old at this point, but by the end of it: Rapunzel lost her golden hair, was reunited with her parents, fell in love, and lived happily ever after. Her losing the golden hair is the most essential part of that list because how can you do a series based on a Disney princess when her most iconic feature is gone? Then I found out that the series forced a way for her hair to come back, and my new initial thought became, "Oh man. This is gonna suck, isn't it?"

Despite the hesitation, I decided to give it a chance anyway. After all, I've been pleasantly surprised before. Things like My Little Pony: Friendship is Magic, The Mitchells vs. the Machines, and even The Owl House (yes, really), were shows (and a movie) that I didn't think would be that special. Only to find myself enjoying nearly every minute. So after watching Tangled: The Series/Rapunzel's Tangled Adventure, I can certainly say I was surprised...but it was entirely for the wrong reasons.

And to explain how requires spoilers. So if you haven't checked the series out yet, I highly suggest you do it to form your own opinion. Just keep in mind that it's a bit of a mess, but it can be an enjoyable mess...sometimes...let me explain.

WHAT I LIKED

The Animation/Art Style: The series swapping from 3D to 2D might have been the most brilliant decision anyone could have ever made with this series. Usually, when an animated movie gets turned into a show, the most noticeable downgrade is always the animation. Whether it’s not as detailed or not as fluid, it's always subjective that the movie is better animated than the series. But by switching up the styles, the contrast becomes objective instead. 2D and 3D animation each have their pros and cons, so deciding which one is better is nothing more than a matter of opinion. So by changing the style, Tangled: The Series/Rapunzel's Tangled Adventure avoids getting complaints of being a downgrade from the original movie. It also helps that the art style of the series is really unique.

The best way to describe how the show looks is that it's like a coloring book brought to life. At times, everything looks like it was drawn and colored in with crayons, which sounds like an insult, but in actuality, it's one of the best features of the series. As much as I love most animated shows nowadays, I will admit, they all look a little too similar at times. Then here comes Tangled: The Series/Rapunzel's Tangled Adventure, which tries to incorporate a whole new style that successfully sets it apart from most shows.

As for the animation itself, it's really well-made! It's remarkably expressive when required, while the movements are really fluid during the correct scenes. Sure the fighting can be a little floaty during some action set pieces (yes, those exist here), but the dialogue and comedic moments are really where the series shines with its animation. I may have problems with the series as a whole, but I give credit where credit is due for the perfectly executed effort that I see in every episode in terms of animation.

Rapunzel and Eugene’s relationship: This was not something I was expecting to enjoy from the series. In the movie, Rapunzel and Eugene were fine. They were the typical Disney couple that worked off of each other enough that it was always entertaining, even if it was unbelievable that they fell deeply in love with each other after, like, two days. They weren't bad, but they weren't anything to go crazy over.

But the writers for the series said, "You know what, let's make these two adorable in nearly every scene they're in." And they are!

Even though I don't believe in their relationship in the movie, I fully believe it here. Both characters have a large amount of faith in one another on top of having endless love for their partner. Like how Eugene knew Rapunzel would be fine when taking out an airship or how Rapunzel couldn't bring herself to say a bad thing about Eugene when making Cassandra a sparring dummy of him. It's legitimately pleasant to watch, to the point where I put Rapunzel and Eugene in my top ten list of favorite fictional couples. They're that good to me, and it's one of the reasons why I don't jump on the bandwagon of shipping the two main female characters together. I'm all for LGBTQA+ representation, but give Cassandra her own girlfriend. Rapunzel's taken, and most of my enjoyment of this show comes from her and her man. So, you know, keep things as they are.

Cassandra (Seasons One and Two): Seeing how I've already mentioned her, let's talk about Cassandra, shall we? Because when making a series based on a movie that had only four prominent characters, with two of them being comedic animal sidekicks, you're going to need to introduce more members to the main cast to write more potential stories. And Cassandra, in Seasons One and Two (I'll get to Season Three), is a worthy addition. She acts as a strict straight man (I know the irony) who interacts well with Rapunzel and clashes perfectly with Eugene on occasion. She was passably entertaining in Season One and developed amazingly in Season Two. Her growing frustrations with Rapunzel's actions lead to a slow build-up that made her betrayal heartbreaking but somewhat understandable. And as for the results in that betrayal...yeah, I'll get into that later. For now, I'll just say that Cassandra was a pleasant addition to the main cast, especially when she was a part of the main trio, and she's yet another good surprise that the writers supplied for the series.

The Songs: The songs are...not going to be for everyone. Most of them are passable yet kind of generic, while others sound like they belong on Disney Junior (Looking at you, "Bigger Than That"). But when Tangled: The Series/Rapunzel's Tangled Adventure makes a hit, MAN, it is a home run. Numbers like "Ready As I'll Ever Be" and "Nothing Left to Lose" are sung phenomenally, orchestrated well, and are songs I can listen to on repeat multiple times. And "Waiting in the Wings" is not only something I consider to be the best song in the series, but it's also something I'd place as high up on Disney's best due to how f**king incredible it is. "Waiting in the Wings" is a powerful ballad that manages to be both tragic yet inspiring on top of how well it sums up Cassandra as a character. The writers may not always be on top of their game when it comes to music, but songs like these prove that they know how to earn that Disney name.

And that’s all I have for the likes...Oh boy. That’s not a good thing is it?

WHAT I DISLIKED

It Peaked at Season One: It did. It really did.

Season One felt like the writers had a grip on what type of show they wanted: A slice-of-life series with Rapunzel dealing with the issues of her kingdom with a meager threat of these black rocks growing in the background. It was all cute and well-balanced for the most part, but that all disappears in Season Two. Because now it's sort of about this adventure, but because Tangled: The Series/Rapunzel's Tangled Adventure set itself as a slice-of-life series, there need to be these small-scale stories that intertwine the grand narrative being told. The issue is that the story comes to a grinding halt one too many times as fans are forced to sit through these filler episodes that, while not all of them are bad, still feel like a distraction. And by Season Three, the series does feel more focused while having some slice-of-life episodes added to the ongoing story instead of distracting us from it. But the writing isn't as strong, there are several plot holes in the narrative (how did Rapunzel's sunstone get into her dress?), and there is way too much time going back and forth on Cassandra's morality. They claim that she's a villain while arguing that there might still be some good in her, and they continue this train of thought for nine episodes when it really could have been settled in two. For me, it's a bad sign for a series when the first season is the best one. Because if it's all downhill from there, what's the point of even watching?

It Tries to be Epic: This might have been the worst decision the writers could have made.

Now, here's the thing: I don't mind grand epic tales of adventure and battles against demons. If anything, I'm all for them...when it's appropriate and fits with the tone of the series.

Tangled: The Series/Rapunzel's Tangled Adventure suffers a similar problem Frozen II has, in which the writers felt like a big, life-threatening adventure was the perfect continuation of a meager, personal story about the relationships of characters. It isn't. If anything, it's completely missing the mark about what the original story was about. And sure, sometimes writers can succeed in telling personal stories through grand adventures. Just look at The Owl House and parts of Amphibia. But with those shows, it's established within the first few episodes that action and peril will be a series staple. With Tangled, while there was some action and peril, it's all very subdued compared to how high the stakes got raised in later episodes in the show. Especially in the series finale.

And, I mean, c'mon. You're making Rapunzel an action hero?

Judy Hopps? Yes.

Moana? Maybe.

Raya? Most definitely.

But Rapunzel? The character who’s all about optimism and seeing the best of others. That's the character you're going to morph into a hero that fights against an evil demon laid dormant for years? Did you even watch the original movie? Yeah, sorry, but I just don't buy it.

If you want to tell an epic story that gets the blood pumping for fans addicted to adventure, go for it! See where the wind takes you. But make sure to set that tone as early as possible while also making sure that it fits with the characters. If not, the end result is a series that feels like it's trying to be something it’s not.

Eugene is Kind of an Idiot at Times: It should be noted that Movie-Eugene and Series-Eugene are practically two different characters. In the film, Eugene was more or less the straight man, as he often questions the wackiness in the world around him and keeping Rapunzel grounded in reality. For the series, most of that personality got transferred to Cassandra. Thus making Eugene's new role in the series act as the egotistical imbecile. Sure, he had those moments in the film, but not as frequently, and it really pains me when the writers really lean hard into a minor aspect of his personality. Sometimes there are moments when Eugene acts like his original self. But it's all small scenes that are spread apart with entire episodes where he has half a brain cell. I'm sure some people didn't mind this change to the character, but as someone who adores the movie version of Eugene, I can't help but feel disappointed.

The Villains are the Worst: Now, I don't mean the one-off villains that show up, cause some chaos for a bit, and disappear at the end of the episode. Those are characters with fun personalities, occasionally cool designs, and do their job as villains of the week. It doesn't matter if their motivations are laughably simple, as their purpose is to be enjoyable characters above anything else. So I actually enjoy those villains...it's the ones that act as season-long antagonists that really grind my gears.

The purpose behind these types of foes is to build up how evil they are throughout the season. The issue is that the writers try to give these characters, or at least two of them, a point. To be fair, this can work. Just look at Killmonger from Black Panther and sometimes Karli Morgenthau from The Falcon and the Winter Soldier. You understand and probably even sympathize with the logic and reasoning these characters have. It's just that their actions couldn't be farther from what you would do. The problem with Varian and Cassandra is that they have the motivation, but it's not written suitably for the story.

Cassandra is a whole can of worms I'll get to in a minute, but Varian is someone I can easily discuss for a brief time. Because while I can comprehend his pain for having his father frozen in yellow rock, I don't think turning evil is the best decision to go with that character. Because A. Everything is his fault. He blames Rapunzel for not helping him, but even if she didn't have a crisis to deal with, there was nothing she could have done to stop it. His frustrations are not only unjustified, but given the fact that this wouldn't have happened if he listened to his father in the first place, it feels like him becoming evil is too drastic of a turn. And B. Varian worked much better as a supporting character rather than a primary antagonist. He was just this hopeful, if not a clumsy scientist who wanted to prove himself, who causes minor catastrophes due to not thinking ahead. Turning a character like Varian into a villain is a bit of a misstep because if the guy acts hilariously incompetent as a good guy, it makes little sense to have him be intelligent and ten steps ahead of Rapunzel when being evil. If he were to become more serious and careful when helping the rest of the main cast, I'd consider that character progression done properly. But becoming a villain is just an overreaction.

However, none of that compares with my issues with the main antagonist of the series: Zhan Tiri. This goes back to my problems with the series making itself too epic. Because if Zhan Tiri existed in any other show, I probably wouldn't have any problem with her. She's built up well throughout all three seasons and is kind of threatening at times. But she doesn't belong in a series based on a movie that dealt with a small, personal issue where it wasn't even the character who killed the villain in the end. It was her love interest and animal sidekick. Even if Zhan Tiri works well as a character, the fact that it doesn't feel like she belongs in the show makes her too distracting to enjoy. And that's why these villains suck. If not poorly written, they don't belong in a series that should focus on small-scale issues. And if you can functionally write an antagonist that appears for only one episode but flounder with ones that show up in several, well, that's just embarrassing.

Cassandra (Season 3): OOOOOOOOOOOOOOOOOH BOY, do I have some words to express with this character. Like with Movie-Eugene and Series-Eugene, Cassandra from Seasons One and Two is frustratingly different from the psychotic IDIOT from Season Three. Basically, just take the issues I have with Varian, multiply them by ten, add them with some bafflingly stupid decisions, and you still wouldn't get how much Season Three-Cassandra frustrates me!

First off, her motivation...what the f**k were the writers thinking? The big reason why Cassandra betrays Rapunzel and motivates all of her misdeeds was that Cassandra's mother was Mother Gothal...EXPLAIN THAT LOGIC TO ME?! Because Cassandra should know what type of woman Mother Gothal was. She should know what Mother Gothal did to Rapunzel in the first eighteen years of her life. So how is Cassandra being abandoned by Gothal the central motivator to cut ties with Rapunzel, who is probably an even bigger victim in this scenario!? Seriously, Rapunzel was cut off from the rest of the world and treated as an unknowing prisoner because she was beneficial to Gothal. Cassandra was adopted into a household with mutual love and got to actually live her life. In no way does it make sense for her to be angry at Rapunzel.

Nor does it make sense that the writers try to play it off as a good thing in the song "Crossing the Line!" Sure, it sounds nice, but thematically, it gives across the opposite feelings that the audience should have. Because if Cassandra cutting ties with Rapunzel is meant to be tragic and awful, why is the music suggesting it's the best possible thing that's ever happened for the character? If you like the song, fine, but even you have to admit that it's thematic nonsense.

But, sure. Cassandra's evil now, and she considers it a good thing. Whatever. I'll take it as long as it leads to good stories...but here's the thing: In the penultimate episode before the three-part series finale, Cassandra asks a question. A question I would have never expected her to ask, despite everything that has happened in the last season. A question that was so baffling, I had to legitimately pause the episode to process the fact that she asked something so stupid. Because Cassandra, the character who is intelligent and grounded in reality, asked, "Am I the bad guy?"

I was honestly shocked to find out she was shocked! How, in the flying, everlasting, cock-a-doodle-doodling F**K does a person like her not pick up that maybe, just maybe, she isn't the hero in this story!? Call me crazy, but endangering the lives of people you once called friends and family, dressing in black, AND HAVING A GIANT EVIL-LOOKING TOWER MADE OUT OF F**KING SPIKES aren't qualities I would give to a hero!

If Cassandra was like Thanos, a character so wrapped up in his ego that he can't even notice how evil he is, I would understand. But she doesn't have an ego. Anger, yes. But for the most part, her personality is based on having logic and reasoning. So turning her into a villain and having her unaware that she's a villain is an act of lunacy that I am incapable of understanding. I don't know who's idea this was, but whoever is to blame...you've got issues.

>Sighs<...This series isn't good, is it?

IN CONCLUSION

I like the animation and some of the characters...but that's not enough. Tangled: The Series/Rapunzel's Tangled Adventure is a mess of a show that tries to do too much for a story that should have so little. Meaning that it's a D+ for me. I want to enjoy it and give it a higher grade, especially with how much I hear people praise this series. And if you do enjoy it, all the power to you. Your opinions are valid, even if I highly disagree with them. Because for me, this is a show that I won't get myself tangled up in again in the future.

#tangled: the series #rapunzel's tangled adventure #rapunzel x eugene #tangled cassandra #tangled varian #zhan tiri #what i thought about

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abruisedmuse · 3 years

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Why are people so obsessed with Gwynriel/ Elriel and always argue over it?? I mean I guess I would prefer Az with Gwyn but I also think that SJM would write a great plot for Elriel? Everyone has a preference but some fans are heavily exaggerating and I just don't get why.

Ohhh nonnie. This whole thing is yes blown out of proportion 100%

Let me start off with this, at the very basis of it, each side defends their preferred ship. And there is nothing wrong that. We all have different ideals of romance. Different tropes that we favor. Again there's nothing wrong that. You ship what appeals to you. Shipping is something that should be done for fun. It's one of the things we love about being in fandoms. However, just like your favorite characters, shows, hobbies, etc. You defend your ship. Sometimes it can get ugly, especially when the creator sinks it. As in the case of Gwynriel vs Elriel.

Why is this ship war in particular so out of hand?

Simply put the Elriels because their ship is sinking so they turned to lashing out.

Elriels, like many shippers are defensive of their ship. And rightfully so. The problem is many of them are just...how do I put this... rudely defensive. The problem isn't protecting your ship. It's how you do it. There's a right way and wrong way. Right way is stating why you love the ship, headcanons, fics, art, edits, suppprting your ship in healthy debates and being respectful of other ships that include part of your own. Meaning to be decent towards Eluciens and Gwynriels.

Many have not. I have seen quite a few mutuals being ridiculed via anon due to who they ship. Not only that, they have gone to extremes that rival anti Reylos. That's insane. They have bullied fan artists who do not draw Elriel or have decided to not draw them anymore. They have attacked people on social media across the board. Have said something about SJM's son (i don't remember what it was. This was on Twitter which I'm not on.) Speaking of Twitter many have SS Gwynriel and Elucien posts from tumblr and made fun of us. They went on Wikipedia and literally changed it to suit Elriel, altering Gwyn's story. They cant even make theories with out unnecessarily dragging characters or villainizing them. They look like clowns atm.

Now the Gwynriels have been shipping the right way. At least for the most part. I said for the most part because to my knowledge, there has been one nasty Gwynriel shipper on tiktok and this side of the fandom collectively started standing up and saying they do not condone that. I'm sure there's other nasty gwynriels out there but I don't associate with them. Unlike Elriels. I have yet to see other Elriels stand up and say yeah I ship it but I don't agree with this. (If some of you are, then I'm happy you're out there.)

What happens when your ship is being attacked again and again? What happens when Gwyn is being dragged down and you have anons telling you, you deserve death or belittle you all because a fictional ship? You fight back. The good Gwynriels are frankly tired of it and fought back. They pushed, the elriels pushed back harder and on and on. This is why it's exaggerated.

Yes of course if SJM wanted Elriel she could write it. But she draws a very deep contrast between the two where it would be quite a challenge to win fans over. Especially after his POV where she as the writer put in blatant sexual thoughts of Elain and nothing else. There were no romantic inclinations in Az's view of Elain. That scene is also meant to be in the middle of acosf. From that point on there are no interactions between the two. Hardly any mention of Elain. It's all Gwyn. So I highly doubt she will write Elriel, when Nesta pointed out that Az is Gwyn's next challenge.

I understand the anger and frustration of a ship you truly thought would be canon and its not. But take it in stride. So what if its not canon. You can still draw it, make edits, write fics, etc. No one is stopping you. They're being aggressive and problematic making this ship war ugly for no reason. Honestly if they chilled tf out this wouldn't be as crazy as it is.

I'm hoping once she announces the next book and officially declares the next ship people will chill.

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feysandfeels · 3 years

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Sometimes I think of the trigger Lucien must have gotten when he saw Feyre die and Tamlin holding her crying. He probably made a parallel about what happened to him and Jesminda. I believe that's why he didn't help Feyre so hard in relation to Tamlin in the second book, because Tamlin got the opportunity he didn't get.

Of course there's every part of Tamlin being his High Lord and he owes him allegiance, but I believe his trauma has been addressed.

Of course, that's not an excuse, but I can't stop thinking about it.

Hiya Sugar, I know you asked me this like three weeks ago, sorry I'm just getting around to it.

So this mainly has two sides to understand first is what was happening to Lucien. Here we need to take into account his history of abuse at the hands of his family and Tamlin. The second is clearly how Feyre understood the situation from her own place of enunciation. Still I think this is one of those discussions in the fandom where you should tread lightly because I don't think either side is entirely wrong to feel what they felt and every argument has a well crafted response that is enlightening.

Lucien.

I think by this point denying that Lucien is a victim of abusive relationships that showcased their abuse not only physically but mentally and emotionally is just irresponsable and willful blindness. Lucien's family dynamic speaks of a toxic environment if I ever saw one. The Jesminda's death at the hands of his brothers and father is something that has left a scar as visible as the one across his eye. This is an experience that molds how he interacts with other people as friends, as romantic partners, and also how he understands romantic relationships that he is not involved in (Feyre and T*mlin).

From this angle, yes, UtM was extremely triggering for him because yet again he was placed in a situation where the loved one is killed and the other person "can't do much" about it (the quotation thingies are because T*mlin was being useless af here and he should have done more than just beg, Lucien's situation he was magically and physically restrained). He understands T*mlin's nightmares better than almost anyone, and as he told Feyre, T*mlin will never not hear the sound of her neck breaking. I do believe that if T*mlin had talked about this with Lucien, he might have dealt with the whole thing better.

We can't also ignore that Lucien carries a lot of guilt regarding Jesminda. He couldn't save her and seeing his friend die in a similar manner must have brought up his own traumas so its understandable that his full on attention might not have been spent towards understanding what Feyre was going through. We all are dealing with things and it's fair when you don't have the mental space to see what is happening to those around you, even when you are as observant as Lucien is. If your mind is not seeing, it doesn't matter if your golden eye sees it all. This guilt of not being there for the ones he loves (in any capacity) is also shown in WAR when he realizes better what happened to Feyre and he says something about being the villain in her story. As much of an Elucien fan that I am I do think that part of his reasoning for going to fetch the army was to make amends with Feyre. He felt guilty for not being there for her friend. (Yes he had a lot more to address on his plate, there's no doubt of that). In a way I do think he recognized that he could have done more.

On top of this we add that Lucien's relationship with T*mlin is based on a partly on the loyalty earned from saving him from his brothers. I think that it is not for nothing that in ACOSF Eris says that he's the one that sent word to T*mlin about what was happening to Lucien, which implies the existence of a friendship that predates the murder of Jesminda. This means that along with that loyalty there must be some old fashion good hearted feelings that nourish what we see as the friendship these two have. What I mean is that probably Lucien's vision of T*mlin is the friend he used to be way back when and the loyalty for offering a "home".

We don't know when exactly T*mlin started being abusive towards Lucien, but at least we can all agree that during ACOMAF he was. It wouldn't also be a stretch to think that in the pre-acotar days there might have been incidents of physical abuse, but so far we don't know for sure. There is a missing piece of information that we don't have yet because Lucien was more feisty during UtM when his life was at risk, than he was during MAF... this tells us a lot of how T*mlin was handling things with him.

There's also something to be said with how Lucien understood abuse. It's a heavy possibility that he perceived abuse like he saw it in the AC. He had a naturalized version of what abuse is, that for him w abuse looked like and felt like what he lived in the AC, so what he experienced with T*mlin pre-acotar did not seem to him as abuse (even when it was). And after Amarantha he began to understand the multiple faces of abuse and thus started to being afraid of T*mlin. Lucien could have also been dealing with the realization that a centuries old relationship had be tainted with abusive behaviors.

I do think that Lucien thought that he tried as hard as he could with the tools he had. But that does not mean that he shouldn't have done more. The problem is that Lucien didn't know he could. Like if he had fought with Tamlin for Feyre's sake where would he go then? Feyre had the option to go to the Night Court, Lucien did not. I like to believe that if he had known the truth about the NC before and had him and Feyre talked about it they would have said fuck you Tamlin, bye, black is the new spring. But he did not know. So he stayed on the comfortable zone of pushing but not jeopardizing his "home". You can hardly blame him for how he played the game when he did not know he was playing with one hand tied to his back.

I will not excuse though when he tried to grab her against her will during the woods. I understand that he was scared and desperate, but I still think that it was not right.

Feyre.

When I stand from a Feyre point of view there are two things that speak to me above all others. First she died for Tamlin and she bargained her life for his court -Lucien included- so I understand the she expected him to push and fight hard for her too. I know there's a quote about her recognizing that T*mlin had fought for her but that she had fought harder for him, and I think that can also suit her relationship with Lucien to an extend. I'm not saying that Lucien is like T*mlin, because no, not at all, not even in the least; but I do think she would have liked for her friend to fight for her well being like she fought for his during UtM.

Second it is hard to be see your friends still be friends with your abuser. Yes Feyre doesn't know all the variables that affect their relationship, the toxic loyalty that T*mlin saving Lucien created, the genuine friendship that was there before her and before Jesminda... but I understand the pain to see your friend not draw the lines for your sake.

This offers a beautiful arc for Lucien in the sense that only recently there has been a movement of "tell me if I'm friends with your abuser", and this awakening is a reality that a lot of people are facing. Is hard to untangle yourself from a person you have known for x amount of time, because you are trying to see the abusive person in the face you related to kindness or something not abusive. Again, we don't know how their relationship was pre-Feyre, perhaps Tamlin had been nothing but a sugary cupcake with Lucien and it's hard to associate that version of his friend to the version he is post Amarantha, the version that will physically abuse them; perhaps T*mlin had always been an ass but "the good outweighed those few instances of abusive behavior". What I'm trying to say is that sometimes it is hard to make a clean cut when the abuser turns out to be the person who saved you (from an even worse abuser but like you get what I mean).

I will not do him the disservice to say that he might not have connected the dots and thought that T*mlin's behavior was abusive towards Feyre. Even if he was just understanding how abuse can look like and even if he was reliving Jesminda's death I do think he could see that T*mlin's behavior was abusive towards Feyre (here I am making the distinction between reliving the trauma of having his love murdered and him recognizing abuse). Lucien is clever and intelligent. I think he did see what was happening, but that implied also a massive shift of reality for him that he was not prepared to see and did not have the tools to deal with, he was also struggling there.

Final thoughts.

I think Feyre is not wrong to feel a tad of distaste against Lucien through ACOMAF. Speaking from a personal experience it is quite sad and tough to see people who you conceived as friends not stand up to you when you are suffering at the hand of your S.O who happens to be their friend. It sucks a lot because you truly feel alone and you feel that at the end of the day they did not take care of you at the expense of taking care or helping or remaining on the good graces of your abuser.

But I think that simply condemning Lucien's actions during MAF without understanding the complicated history of abuse he has, is irresponsable. You are of course allowed to say that he is not fave and that it left a bad taste in your mouth, that's fair, but to condemn him the way I've seen this fandom do without an ounce of empathy or critical reading is just baffling (which to be quite frankly is also something I saw everybody after ACOSF with Rhysand, they condemned his actions without truly taking five second to understand the historical context of them).

Characters are allowed to make mistakes and are allowed to fall short in any given situation, because we as living creatures sometimes fall short in life. What's important to me is that Lucien is learning and when Feyre returned to the SC in WAR we could all see that he changed his approached towards the situation and was there for her. And also you will pry this off my hands but the fact that he is invited to their Solstice celebrations speaks of the state of their relationship right now, they are understanding of what the other is going through and I do think they are making amends and creating a friendship that acknowledges the mistakes they have both made towards the other one.

Yeah this was a long ramble.

Again, apologies it took me so long to answer

Long live Lucien and Feyre. I can't wait for them to grow closer.

#Lucien Vanserra #Feyre Archeron #ACOMAF #ACOWAR #ACOSF #FeysandfeelsAsk #mistakes will be corrected when I inevitably publish this and see them

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hotforhandman · 4 years

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Are the Villains “right”?

Okay, so I was scrolling through the bnha spoilers tag whilst procrastinating work and I’m really not living for the vibes there. My biggest issues fall into two main camps: “this arc is going to be the end of the League”, and “Villain stans are hypocrites with no reading comprehension for condemning the Heroes’ behaviour”, and I believe both of these statements can be addressed simultaneously, whilst also giving me a convenient excuse to not write. So without further ado,

Part 1: Themes

Right from the very beginning of the series, literally the first line, one thing is made blatantly clear: This series is not going to be about good guys and bad guys. “All men are not created equal” is not a line that implicates an inherent divide between good and evil, unless you’re an actual eugenicist. And pretty much every important character is designed to criticise a different aspect of the established system.

Izuku: The Quirkless are worthless. Not explicitly, but... everyone knows it.

Bakugou: If you have a good Quirk, you are praised and treated as special, and as a consequence you’re never expected to learn and grow as a person.

Shoto: Dedicating your entire life to becoming strong to the detriment of your own health is the best way to climb to the top.

All Might: You don’t have to worry about anything. A Hero will save you.

Shinsou: If you have a Villain’s Quirk, you’re going to be a Villain, no matter the quality of your personality.

Kirishima: If you’re not flashy, there’s no point even trying.

Hawks: Similar to Shoto, if you show natural promise then it’s acceptable to groom you as a weapon.

I’m sure there are others that I’ve missed. Each of these characters’ individual developments have been focused around them overcoming these ingrained ideas and growing and succeeding despite them - with the exception, perhaps, of Hawks. So if several of the major Hero characters are designed to illustrate and criticise the established system, what about the villains? I guess if the Heroes are stories about people succeeding despite what the world tells them, then the Villains are stories about what happens when they don’t.

Spinner: Mutants are second-class citizens and should be treated as such.

Toga: If your Quirk is considered to be bad or gross, then you should be punished for wanting to use it.

Twice: The world won’t make space for your special needs.

Magne: If you don’t fit the mould of what people want you to be, you won’t be respected.

And Shigaraki: It’s not our responsibility to help you. If you weren’t saved, that must mean you’re not worth saving.

The one thing that both the Heroes and the Villains have in common is that they are tools to show the audience the flaws in BNHA’s society. It’s canon that Quirks appeared suddenly, and though by the time BNHA is set in, society has tried to adapt to fit it and is making some progress towards being functional, it’s clear that it has a long, long way to go, because it’s failing so many people. (Draw some parallels to real life, hm?). BNHA’s overarching themes of individual worth not being more important than collective good and how rules and structure created in good will can result in a lot of pain and abuse are, first and foremost, exemplified in the characters themselves. I like to tell people who find Shigaraki’s motivations vague and uncompelling that Shigaraki doesn’t need to have a point, he is the point, and this is exactly the reason why.

I also believe that this is primarily why for Horikoshi to end the League here would be, frankly, terrible writing. We have engaged with the LOV more than pretty much any other Shonen villain group I can think of, almost any villain group at all. We’ve seen them develop as much as we’ve seen the heroes develop, especially in Shigaraki’s case, and to have Shigaraki only be their ‘first-year villain’ or whatever would be disrespectful, wasteful, and thematically inappropriate. To have a more classic, pre-developed villain whose villainy seems to stem from some inherent evil characteristic like AfO or Overhaul would ultimately defeat the story of how the worst villains are created by flaws in the system, not born.

Part 2: Fan Response

Sometimes I can’t believe I still have to reiterate this to people, but it is possible to stan a character whilst simultaneously recognising that they are flawed, often critically so. When did we move from adoring villains to saying if you like this character you must be an inherently bad person because of this list of bad things they did?

The thing is that the vast majority of ‘opinions’ on fan blogs are... poorly thought out and shallow, to put it lightly. When it’s 2am and I’m answering an ask about my opinions on x plot point, it’s not gonna be well thought out and thoroughly researched. I’m probably a bit tipsy, kind of tired, and just typing out whatever my initial response is. And really, if I reblog a bit of art with the caption ‘Shigaraki did nothing wrong’, do you really think I’m being serious? A lot of what we say is hyperbolic and meant to either be funny or to evoke an emotion, not because we actually believe it.

That being said, the League in particular, I believe, resonates with a lot of people in the current political climate. A group of outcasts with characteristics considered undesirable by the wider population coming together and genuinely caring about one another whilst they aim to completely eradicate the system that hurt them? As an angry, marginalised leftist in a society that seems increasingly determined to wipe my chances at a good life out without blinking an eye, hell yeah that resonates with me. Being able to crumble the cripplingly complex and morally vile system I live in to dust and starting over is one hell of an appealing power fantasy. Does that mean I think murder is okay? Obviously not. It’s a fantasy. If there’s one place where I can live out those fantasies without consequences, it’s here. In fiction. And so it seems really stupid to me to be confronted with the idea that if I like a fictional violent radical I’m accused of condoning murder and kidnapping.

Part 3: Are the Heroes right?

So a lot of the posts I saw that aggravated me were framed like 'how can the villain stans think Miruko and Gran Torino's behaviour is worse than Shigaraki's?', but like... who was saying that?

I feel like certain people's views of the heroes versus villains debate falls under the same fallacies as a lot of political arguments- that is to say, if I'm criticising one side, I must be defending the other. Which is... just blatantly untrue. When we say that the heroes' consistent dehumanisation of a man who is, first and foremost, a victim of significant grooming and abuse throughout his life, is gross and cruel, and that this attitude is mirrored in an awful lot of the hero-villain interactions implying a certain level of empathetic alienation and lack of accountability, we're not saying they shouldn't be trying to take Shigaraki down. Of course they should, he's going to decimate hundreds of thousands of innocent lives. But, like, does that mean they're exempt from all criticism? Should we be excusing the cruel and dismissive attitudes of the heroes and ignoring the behaviours of their side that lead to further 'villainisation' of marginalised people just because they're responsible for saving lives? No. Because once again, one of the key themes of BNHA is that neither side is perfect, and neither side is right.

Mass murder is wrong. So is systemic cruelty towards the oppressed. You don't have to approve of one to criticise the other. So next time you see one of those posts and jump to the conclusion that villain stans have no reading comprehension, pls remember these points.

Anyway, that's my little rant. Sorry.

Tl;dr, villain stans aren't stupid or glorifying murder, we're just capable of criticising more than one type of bad behaviour.

#league of villains #bnha

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darkcircles4lyfe · 3 years

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retrospective & predictions

Since we're on a hiatus week (between 320 and 321) I feel like waxing poetic about the depth and growth of bkdk for a bit. Especially because it seems like we’re right on the edge of their biggest development yet, I’m getting the urge to lay all my perspectives and insights I’ve picked up from others out on the table. This is ultimately only my subjective interpretation of subtextual material in canon, though. If you’ve never quite understood what people see in their dynamic and you’re actually open to hearing me out, maybe from this you can at least see where we’re coming from. And if you don’t like my takes after all, well, we’ll see who’s right in the coming chapters, won’t we? What I have to say can be taken platonically or romantically; I appreciate both.

putting it under the cut, since it’ll be long:

At the risk of projecting, I want to start by examining a couple things based partly on personal experience.

From many different directions, I often hear people expressing that Deku’s persistent attachment and admiration for Bakugou is baffling at best. Despite the bullying, despite Bakugou’s loud, rude, and uncompromising personality, he still puts effort into their relationship and frequently describes him as amazing. It seems like Deku himself is aware of this as he’s said things along the lines of how he’s difficult, BUT... etc. Although I don’t think it’s exactly that Deku finds Bakugou’s personality hard to be around, but that he’s deliberately expressing patience for Bakugou’s emotional turmoil.

I have to say I know what this sort of patience is like, as I went through it with someone I love. I only chose to put up with their behavior because I decided the possibility of what our relationship could be was worth it. I wasn’t blind or submissive to how they treated me, and I wasn’t coerced. I simply expressed myself and established my boundaries while still allowing them the opportunity to join me in my world once they got over their own hangups. And guess what? It worked out in the end. That doesn’t mean there aren’t circumstances where it’s better to cut ties, but I want to stress that true reconciliation is possible sometimes. I used to worry that other people around me thought I was delusional for seeking it, but what really helped was my therapist reminding me that I’m smart and strong. So I think Deku deserves to feel the same. In a way this is his whole mission in life, his approach to being a hero as well as his personal relationships.

Let me also be clear though that I don’t mean Deku is only tolerating Bakugou’s personality, his mannerisms, the parts of him that will likely never change. I’m drawing a line between those things and his emotional state (they so rarely align anyway, but I’ll get to that later). In fact, I think Bakugou’s general attitude is part of what Deku admires. This is gonna be hard to explain without inserting personal experience too, sorry. As a writer myself I’ve noticed I’m drawn to writing characters that are brazen and bold and don't mind telling people off. Really it’s because I operate in the world in the polar opposite way. I try not to draw attention to myself, I’m quiet, and I’m a people-pleaser. People who project confidence, especially in an impolite sort of way, fascinate me. It’s good to take cultural context into account, too: I've heard people who’d know better than me that part of the reason Bakugou is the most popular character in the Japanese fandom is likely because he contradicts a lot of their social norms. His disregard is refreshing and cathartic. I can speculate that Deku has a similar point of view based on what he thinks but does not admit about Bakugou being his image of victory and how this sometimes makes him mimic Bakugou’s speech and mannerisms:

There’s also the bit in this fight where Deku realizes he's the only one able to receive Bakugou’s emotions. This is because he’s the most intimately familiar with him and his situation, but I think there’s another layer. Deku, as we know, has a self-sacrificing tendency, and in the current chapters we’re seeing the worst side of that. But let’s also not forget that to an extent, it can be a positive trait: resilience. When it comes to Bakugou, he has an almost comical ability to dodge the potential fallout of his outbursts. The example we all jump to (and fight about..) is how in ch1, apart from the initial shock of Bakugou suggesting he jump off the roof, the most he reacts is to criticize him for saying such a ridiculous thing. However, I think their interaction post- sludge villain is a lot more interesting:

Note two things: 1, in his head, Deku is practically making fun of how Bakugou’s acting as he stomps away without waiting for a reply. It doesn’t faze him. 2, Deku thinks, optimistically, that he can now focus on a different career choice. This is astonishing really. Up to this point, none of Bakugou’s attempts to put him down have worked; he just kept pursuing his dream. The only reason Deku concedes in this moment it because for the first time, he has been shown that he really couldn't do anything in a fight against a villain. All Might told him he couldn't be a hero (although he’s literally about to take that back in the next few pages lol) and the other heroes at the scene gave him a lecture about it too. It was those experiences, and not Bakugou’s words, that truly affected him. And when All Might tells Deku he can be a hero after all, it’s not thinking of Bakugou’s bullying that makes him sob and fall to his knees, it’s the memory of his own mom never telling him those words he so desperately needed to hear. Having spent most of their lives together, Deku must have been aware all this time that Baukgou was influenced by larger societal forces rather than a core judgement, so he didn’t take it personally. He separated the person from the action, and because he’s resilient and patient, he is thus equipped to handle Bakugou’s emotions. It’s a testament to his maturity and emotional intelligence, really.

But I can almost hear some of you saying, “that doesn’t mean Deku should have to be the bigger person here!” Correct! Just because Deku is perfectly alright bearing all of that, doesn’t mean atonement-era Bakugou sees it this way. We can track his awareness of Deku’s care and selflessness as follows-

The bridge scene, when they’re little kids: Bakugou conflates Deku’s heroism with pity, and subsequently thinks Deku is looking down on him because Bakugou’s own insecurity makes him defensive.

The Sludge Villain, and also Deku vs. Kacchan Part 1: Bakugou witnesses first-hand how easily Deku jumps to risk his own life, but still thinks he’s being looked down on.

The Sports Festival: Bakugou fights Uraraka and recognizes her endurance strategy and refusal to give up as very Deku-like. He’s half right. He thinks Deku advised her in the fight, when in reality she just mimicked Deku because she admired him. I want to draw attention to his very sober comment about her not being frail. It’s a great endearment of Uraraka’s character and Bakugou’s respect for her when others didn’t take “fighting a girl” seriously, but it also reflects on his opinion of Deku. Deku isn’t weak either. He never was.

Deku vs. Kacchan Part 2: Deku finally corrects him about the whole looking-down-on-him thing, and Bakugou is informed that Deku’s selflessness is in fact the reason All Might chose him. Since Bakugou had been in search of what he himself was “doing wrong” for All Might to favor Deku over him, he now has to reconcile the fact that selflessness is a heroic trait, and moreover something he lacks. This is also possibly the first time Bakugou is able to see his past actions toward Deku as bullying since he previously thought it was more mutual. Additionally, Bakugou can now link Deku’s selfless behavior to what he perceived as pity/contempt, and realize that Deku has been giving him A LOT of grace. Maybe too much. Maybe more than Bakugou deserves, and definitely more than Deku should have to. Holy heck- now Bakugou has to figure out how to live up to all the faith that’s been placed in him.

Subtextually, we can see Bakugou’s feelings about atonement reflected in the Todoroki family:

1, Shouto is another example of Deku growing a friendship using his selflessness (since their fight in the sports festival) and their relationship is being acknowledged here where it hasn’t been in Bakugou’s situation. Perhaps Bakugou is wishing it could be so simple for him, to be able to thank him for being his friend like that. Deku saying the pleasure is all his also probably calls to mind how a mere apology from Bakugou would probably be dismissed because that’s just the kind of accommodating person Deku is. Bakugou has to operate more quietly in order to actually make up for their past. I personally don’t interpret this scene as Bakugou being jealous of Deku and Shouto’s friendship, exactly, just the lack of emotional baggage. Side note, Deku and Fuyumi are kinda similar in their desire to repair relationships. I like that she’s the one to give him some credit.

2, With the common terminology, this can be interpreted as Bakugou receiving a model for atonement, one that is about action, and nothing to do with receiving favor or forgiveness. It’s a sense of duty.

Many of the above sentiments are repeated in the flashback conversation between All Might and Bakugou right before Bakugou’s sacrifice.

Bakugou acknowledges his bullying and that it happened because of his own insecurities, but aside from that, it’s interesting he neither confirms nor denies All Might’s suggestion that he’s trying to atone, or that Deku doesn’t see it that way. All Might is a bit of an unreliable mentor sometimes, but I don’t think he’s misreading here. Rather, Bakugou is displaying his tendency to hold back when talking about things that would make him really emotional. Besides, admitting to what he’s doing kind of defeats the purpose. He isn’t seeking acknowledgement. All Might has gotten to the crux of the issue here when pointing out that Deku doesn’t recognize the atonement, likely because Deku doesn't think Bakugou even needs to atone. Am I reading into it too much to say Bakugou looks wistful at this? It’s kinda frustrating sometimes trying to interpret Bakugou’s actions because he’s so paradoxical. Loud and in your face, but also extremely reserved. Sometimes I feel like I’m grasping at thin air, but hey, being hard to figure out is part of his intrigue as a character. The simplest way to look at him is to assume that unless he’s really showing vulnerability, he’s probably deflecting and hiding something.

Speaking of Bakugou’s tendency to to hold back emotional stuff, there’s his apparent lack of issue with Deku calling him Kacchan. Maybe to begin with, in his warped perception of things where he thought they hated each other, Bakugou saw it as Deku’s way of getting back at him for calling him “useless,” and didn't dare give any indication that it actually bothered him. However... consider how betrayed Bakugou has appeared when he was noticeably thinking Deku was looking down on him- the bridge scene, and the beginning of their first year at UA when he thought Deku was hiding a quirk all along. He looks shocked and hurt. That kind of emotion couldn’t be invoked by someone Bakugou didn’t actually care about his relationship with. “Kacchan” comes from a long time ago, before their relationship was strained, so it’s connotations are pure. Maybe somewhere deep down, Bakugou has always been hoping that Deku’s continued use of the nickname was not simply a matter of habit or teasing, but a vestige of friendship they’re both clinging to, and Bakugou himself was too afraid to admit to himself that he felt this way about it, so he mostly ignored it. (These are not original thoughts I am having here lol, this is a common interpretation. I’m just laying everything out like I said.)

And now we turn to the current situation. Personally, I’ve been looking frantically back and forth between them wondering who’s going to break down first (Deku vs. Kacchan Part 3, this time it’s just a fight to get the other person to cry? ha.) Both have looked like they’re approaching a breaking point for some time. Also, I’ve addressed this before, but I think it’s significant that Bakugou is no longer wearing his mask with his hero costume, in contrast to Deku recently donning his own. It feels symbolic of Bakugou about to be upfront about how he feels.

The question is, what is it going to take to get Deku to accept help? If you ask me, Deku has dug himself so deeply into the I’m-doing-this-for-everyone-else’s-safety-and-smiles hole, no common sense argument can possibly reach him. By the end of 320, Deku’s mask is off, and we can see how desperate he truly is. But he has not cried, yet. I predict we’re going to see a bit more of his defiance, this time on full display on his face as the remaining class members and his other friends take their turns. But then I think Bakugou has to be the one to break down so Deku can witness his actions having the opposite effect he intended. People have been pointing out that Deku is currently ignoring Bakugou, and oof, that’s gotta be intentional. Regardless of what Bakugou says, it’s going to be wrapped up not only in his understanding of Deku’s self-sacrifice, but also the betrayal Bakugou feels at being ignored/left behind that ironically echoes his previous perception of being looked down on, as well as a need to express how much he cares about Deku before it’s too late. He must show that the two of them are inseparable because they both act to save each other without thinking, and both feel like losing the other would be like dying themselves. All Might may have been right when he told them they could learn from each other after Deku vs. Kacchan Part 2, but he didn’t fully realize that idea by making sure they stuck by each other for support and balance.

I can’t wait to see what it’ll be like when they do finally get to that point, totally in synch and in tune with each other. They’ll be a powerful force no one is quite prepared for. Who knows when that will be, or even which chapter will be their big showdown, but I know the day is coming.

To speculate even further, I think the 2nd user is going to be really important really soon. And no I don’t mean to suggest that the 2nd user is Bakugou. But I do think their resemblance is key. Okay this is gonna be convoluted...

See how 2nd is the only one still standing? I think that’s symbolic of him withholding his quirk. Deku may not even know what it is at this point, let alone have unlocked it. Given that 2nd approves of Deku’s strategy at this point, it seems odd for him to withhold his quirk based on lack of faith. I think if his quirk was something that would help Deku in combat, he would have shown it to him already like the others did. So what if those gauntlets of his are support items that are meant to make up for his lack of a combat-oriented quirk, rather than to augment it? Mind you, I still have no idea what his mysterious power might be, but I’m dead set on it not being explosion-y. Regardless, I think 2nd looking like Bakugou is more about aiding some grand visual parallel, so! You know how 2nd and 3rd were probably intending to do away with Yoichi but 2nd changed his mind as soon as they made eye contact? This is really a long shot, but I wonder if 2nd’s quirk has something to do with that exchange. Maybe it’s something psychological, or some 6th sense about people he meets. So... in that way 2nd’s quirk could play a role in bkdk reaching a deeper understanding? Idk! But it could be significant at least that 2nd left Yoichi’s question about why he reached out to him unanswered.

One more thing- while I was gathering screenshots I found this. I think “you’re the last one I’m telling” might be foreshadowing for Bakugou revealing his hero name to Deku and it being a Big Deal:

As for other lingering threads in the overall plot right now, such as the UA traitor, Stain, whatever Tsuyu is apparently about to do, All Might’s car maybe in the background of the last page of 320... man I have no idea. All I know is there’s literally 320 chapters’ worth of build-up to this confrontation that can’t be interrupted.

See you next week <3

#phew that was a lot #I just wanted to show how things are aligning #I know a lot of this has been said #bnha manga spoilers #bnha 320 #bnha 321 #mha #bakudeku #bkdk #bakugou katsuki #midoriya izuku #bnha meta #lin speaks

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abigailnussbaum · 4 years

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Infinity Train, S1-3

Infinity Train is a Cartoon Network animated series (now transferred to HBO Max) that premiered last year. Three seasons, each made up of ten 10-minute episodes, have aired, so you can watch the whole thing in an afternoon. The premise is quite familiar - the titular train picks up passengers (mostly, though not always, children) who are at some kind of crossroads in their lives. As they traverse cars filled with challenges, puzzles, dangers, and sometimes just nifty environments to explore, the passengers work through whatever issue brought them on to the train. Their progress towards wellness is reflected in a number that appears on their hand, and when the number drops to zero a vortex appears and returns them to their home. The train also contains native inhabitants, usually referred to as “denizens”, who sometimes help the passengers, sometimes hinder them, and are often just going about their own lives.

Like I said, the sort of premise familiar from many children’s stories, in which a character who is struggling with some important challenge or milestone is whisked off to a fantasy setting that just happens to have been tailored to help them work through their problems. The execution is pretty fantastic, with both the writing and animation striking a compelling mixture of humor and emotional depth. The train itself is a wonderful creation, vast and often surreal or even phantasmagorical, and the denizens are quirky and winning in their own right, not just as reflections of the passengers’ needs. The show also features an absolutely stacked voice cast, with guest appearances from Kate Mulgrew, Bradley Whitford, Ernie Hudson, Lena Headey, and many others.

But what I find fascinating about Infinity Train is how, almost from the first episode, it sets to work examining the core assumptions of its story template, chiefly the idea that the train is helping people, and that its kind of help is effective and positive. As someone who grew up on stories like Infinity Train and didn’t question their premise until I got older, it’s fun to watch a show that leans right into those inherent problems.

The first season of Infinity Train tells its story pretty straight. Our protagonist is Tulip, a tween who is struggling with her parents’ recent divorce. When a scheduling snafu between them leaves Tulip unable to get to a youth coding camp she’d been dreaming of, she impulsively runs away from home, and ends up being picked up by the train. There, she’s quickly joined by a royal corgi called Atticus, and a scatterbrained robot called One-One, who try to help her in her journey towards the train’s engine. Along the way, the trio are menaced by a sinister, semi-robotic figure who is destroying the environments in the train’s cars, and who seems to be fixated on One-One.

Even in this fairly basic spin on the story, a few reservations crop up: first, Tulip doesn’t actually have a real problem. Yes, her parents’ divorce has put a strain on her, but she still seems fairly well-adjusted - she has friends and interests and, apart from the ill-advised decision to run away, doesn’t seem to be acting out in dangerous ways. The things she learns over the course of her journey through the train - to face up to the hurt that her family’s breakdown has caused her, to admit that her parents’ marriage wasn’t perfect, to realize that their divorce wasn’t her fault, to ask for help when she needs it - are probably things she would have figured out as she gained some distance from the trauma of the divorce (or, for that matter, that any halfway-decent child psychologist would have helped her realize). It’s hard to justify a cosmic interference in her life, much less one that puts her in mortal danger, as the journey up the Infinity Train often does

And sure, this is a children’s adventure story, so it’s far more compelling to watch the child protagonist struggle with real danger (that is always avoided at the last possible minute) than attend a therapy session. Even if, as adult viewers, we might see the whole thing as unjustifiably risky. But the thing is, Tulip herself very quickly expresses resentment towards the train. When she realizes that the number on her hand drops when she does something healthy and good, Tulip’s reaction is anger, and for a while she refuses to cooperate with the system, covering her hand and refusing to consider how her actions are affecting her number. Even within the children’s adventure template, the child protagonist says what most of us would feel in her situation - that being kidnapped and made to jump through hoops for the sake of some seemingly arbitrary, numerical value of “wellness” is high-handed and manipulative, and encourages hostility and suspicion, rather than participation in the train’s system.

Ultimately, Tulip goes back to playing along with the train’s scheme and benefits from it. She gets her number down to zero fairly quickly, and gets to go back home. But along the way she also solves the mystery of the train’s mysterious villain, who turns out to be another passenger, Amelia, who was picked up by the train after the death of her husband. Instead of letting the train walk her through her grief and learn to accept it, Amelia tried to take over the train and use its reality-bending capabilities to recreate her lost husband. Along the way she’s committed so many acts of abuse and mayhem that her number has extended all the way to her neck. So even once Tulip talks her down and convinces her to stop hurting people, they both acknowledge that she’s never going to get off the train (oh, and by the way, the journey on the train happens in real time, so Amelia is now an old woman).

Now, it should be obvious that Amelia’s problem was significantly more complex and fraught than Tulip’s, and rather than helping her, the train gave her a venue to indulge her grief to anti-social, even psychotic extremes. So at the end of the first season, we’ve encountered two passengers. One who benefitted from the train’s system (after some initial hostility) but who also probably didn’t need its help that badly. And one who did need serious help, but instead got an opportuntity to screw her life up even more than it already was, and probably irrevocably. Not a great track record, in other words.

The second season mixes things up a bit by making its protagonist a train denizen, and giving us a behind the scenes look at the train’s community when the passengers aren’t there. MT (or: Mirror Tulip) is a character first encountered in the first season, whom Tulip helped to escape from the mirror world. She’s being pursued by mirror cops who want to destroy her, and in the process of evading them, she comes across a passenger, Jesse, and decides to help him get his number down so that she can piggyback on his exit and evade her pursuers. Jesse initially seems like he doesn’t belong on the train - he’s almost preternaturally friendly and happy-go-lucky. But it’s eventually revealed that his willingness to go along and get along is fairly indiscriminate, and leaves him prey to stronger personalities, as when he tolerates and even enables the violent bullying of his younger brother.

It’s a thornier problem than Tulip’s, not least for making it harder to sympathize with Jesse. But it’s also one that exposes the train system’s flaws, as Jesse is so passive that he doesn’t even try to move through cars and get his number down until MT lights a fire under him. And that, in turn, triggers MT’s own identity crisis, as she begins to wonder whether she has a right to exist as her own person, or whether her entire purpose is to reflect Tulip or help passengers.

That tension comes to a head when Jesse and MT encounter the Apex, a group of child passengers, led by teenagers Grace and Simon. The Apex have come up with a theory of the train’s nature that runs completely counter to its actual purpose - they believe the train is their reward, and that the system trying to bring their number down and send them back is cheating them. They strive to get their number as high as possible by committing acts of violence against the train’s denizens, whom they dub “nulls” - not real people, incapable of feeling pain.

Because S2 has been told from MT’s perspective, we know that the Apex are wrong about her and the other denizens (and in general, it’s not a good sign when someone says “this being, which exhibits all the signs of personhood and feeling, is actually not real, and is only shamming a form of suffering while feeling nothing”). But at the same time, it has to be acknowledged that this is an entirely plausible conclusion to draw from the evidence at hand. The train exists for the passeners. It has created environments and beings whose sole purpose is to interact with and affect the passengers. Why should those beings be real? Which is yet another failure point of the train’s system, because as both Tulip and Jesse’s stories show, developing connections with denizens is what spurs passengers to travel up the train and get better. The Apex have therefore interpreted the train’s system in a way that can only accomplish the exact opposite of what it was designed to do.

The show returns to Grace and Simon in its third season, in which we learn more about their history and their understanding of the train. We learn, for example, that Simon’s hostility towards denizens was sparked when the one who befriended him (The Cat, a character who appears in each of the show’s seasons) left him when they found themselves in a dangerous situation. And we learn that the Apex worship Amelia (whom they view as the train’s true conductor) and believe that the current system is a corruption of the one she intended, in which the passengers get to enjoy the train for as long as they like. In yet another demonstration of how open the train’s system is to misinterpretation, the Apex warn their new members that if they let their number get down to zero, they will “disappear”. Which is the same reaction Tulip had when she first witnessed another passenger departing, and, again, a thoroughly logical conclusion to reach given the evidence.

The season’s story involves Grace and Simon being separated from the rest of the Apex, and, in their attempts to get back to them, picking up a young passenger, Hazel, whom they try to initiate into their understanding of the train. The two teens’ interactions with Hazel shed light on the crucial difference between them. While Grace genuinely cares about the kids she’s gathered and sees herself as their protector, Simon only teaches Hazel about the train because he wants converts to his worldview, and validation for his anger at the Cat and other denizens. Once separated from the Apex and their regular schedule of destruction, Grace’s care for Hazel causes her number to go down, all the more so when she discovers that Hazel is really a denizen, and lies to Simon about it to protect her. Simon, meanwhile, only sinks further into his anger and resentment, and when he discovers Grace’s lie he sees it as a betrayal of everything they stand for. The conflict between them ultimately leads to a confrontation in which Simon is killed, while Grace reveals to the Apex that their conclusions about the train and its denizens were wrong, and that they need to come up with a new system.

So, to sum up, the Infinity Train:

Kidnaps people whom it perceives as being in need of help and holds them, sometimes for years or decades, until they achieve a predetermined threshold of wellness.

Advances this goal through a system of rewards and punishments that is so transparently manipulative, it alienates basically everyone who engages with it except the guy whose problem was being pathologically passive.

Relies for the success of this system on a community of denizens who haven’t signed on to it and who are often unsuited to the task of shepherding others towards growth.

Is so open to misinterpretation that a large chunk of the train’s passengers take the exact opposite message from it that they were meant to, which leads them to behavior that could put them permanently beyond being able to leave the train.

Sometimes kills people.

I’m pretty sure most of this is stuff I’m meant to be taking away from the show, but I also wonder how far Infinity Train is willing, or able, to take this idea. The open ending of S3, in which Grace, though headed in the right direction number-wise, is still nowhere near being able to leave the train, and also more focused on remaking the Apex into something more constructive, suggests that future seasons will get further into the question of whether the train can be reformed or made more productive. Or, conversely, the show could abandon its original premise and just become a story about the train, and the community of passengers and denizens that develops on it. I wonder, though, how much you can push against the inherent limitations of this premise - when you’ve got a story where getting better and more well-adjusted causes you to be forcibly ejected from the story, where does that leave you as far as plot progression and character development are concerned? There’s an inherent conflict to a world that is designed for a specific character (or group of characters). Infinity Train is fascinating for how it leans into that conflict, and I’m very curious to see how it handles its core contradiction going forward.

#infinity train

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kadomoni · 4 years

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I always thought I might be bad, now I’m sure that it’s true…

I really can’t tell you what to think of Pink Diamond/Rose Quartz. I can’t. It’s something you have to decide for yourself, but I’m going to explain why she’s one of my favorite characters of the show, but I also think she is the villain.

Now, I know what Pink Stans are saying, “She’s not the villain! She’s morally grey and trying to change!” And, to that I say, yes clearly. She’s an incredibly well-written, nuanced, and complex character. But, as much as she has done good, she has also done very, very bad. And, I’m here to explain why I think Pink is not evil—she’s just bad (and she knows it).

There is no doubt about it that Pink was raised in an abusive family. White is a pretty typical narcissistic parent (over-reliance on perfectionism, wanting people to please her and be like her but no one ever living up to her expectations, trouble with empathy, ect.). Yellow and Blue love Pink but have no idea how to raise her. That’s pretty typical of dysfunctional family dynamics. None of them had a good role model, so they can only replicate a bad role model.

I understand this dynamic. I had a “mother figure” who was very emotionally (and sometimes physically) abusive. My parents were nice and good parents but they had anger issues. I went from being petulant to shutting down, but I think I fit more into a Pearl archetype because instead of acting out my pain, I kept it inside and felt like it was me that was wrong. Pink does this, but not before causing a lot of issues, and often exploding outwards.

((Major Steven Universe/Future Spoilers under the cut))

We’ll start with what we know about Pink, which is very limited.

The first “memory” we have from her is the astral projection dream Stevonnie had where she threw a tantrum about wanting a colony. It was childish, yes, but Yellow response was no better considering she just yelled at her. They both threw tantrums, and no doubt, she was going to get locked up in her tower after. Pink got angry, she punched a mirror (hopefully, she’d only punched mirrors, please, Rebecca, don’t hurt me like this).

Secondly, we have the dream Steven had about Blue, who begged Pink to stop being combative and letting her “organics” loose, but ultimately just ended up admonishing her further. It’s also implied that she had her stay in the tower room.

Also, that tower is even more fucked up than just isolation. @singlepalerose explains this in her meta that Gems need light to live, not food. Rebecca says in an interview when asked that she “can’t say” what would happen if put in a place with no light. But, @singlepalerose comes to the conclusion that this might be literally akin to starvation, which is torture. There’s a good chance that Pink was literally tortured by her care-givers.

And, poor Pink Pearl. I don’t know what happened, but whether it was a scream or some physical altercation, it was frightening enough that she broke her pearl so badly, it couldn’t be repaired, which as seen in RS’s concept drawings, Pink is really fucked up by this. She becomes more introverted with her feelings because of this.

Don’t Break This One.

I’m not going to comment on whether these actions make her “bad” or “abusive.” She was clearly a child in an emotionally maladaptive environment, and she did decide to change and to keep her anger and frustration internalized at the risk of harming the people around her.

But, unfortunately, the information after this is where I begin to feel disturbed by Pink’s actions.

She got a colony. At first, she liked it, but clearly, she either grew bored or disenchanted with managing it. I feel as though she was expecting some sort of freedom, when really, the extra responsibilities probably just weighed her down even more.

The events of ‘A Single Pale Rose’ come into play now. Pearl suggested they go down to Earth, and Pink felt her first taste of unrestrained freedom. She liked interacting with other gems, liked interacting with humans, and finally decided that she didn’t want to destroy the Earth. And, she did beg all the Diamonds to let her give up the colony, but not only had Pink kinda shot herself in the foot with this one because she begged so hard for a colony and made so many big scenes about it, White and Yellow are incredibly steadfast in tradition and rules, and this wasn’t going to fly.

So, she decided to take drastic action.

I personally think that the idea to fake her own death was…weird. And, pretty extreme. I understand her reasoning, but this was the first time where she made a decision that benefited her far more than it did others (and I’m not talking about the planet right now because that’s a whole separate thing). This action traumatized Pearl to the point where she doesn’t eat, won’t shapeshift, and can’t talk about it. Yes, I know she commanded Pearl not to talk about it, but this caused significant emotional distress for her later on in the series.

This also traumatized the whole gem race, specifically the Diamonds, because she’d framed it as a terror attack. It would be way different if she stood up to White herself publicly, but there was so much deception going on that it fundamentally changed the course of Gem Culture and the fate of the Earth. Mostly what bothers me here is how manipulative this action was and how unnecessarily complex it was. Pink did everything she could to wipe her slate clean, be seen as a martyr of Gemkind, and also live freely on Earth.

It was a very good way to get her freedom, but it was also extremely harmful to all parties involved.

The War only escalated at this point. They had to fight Homeworld as a full-on army, and countless of gems were shattered.

Now, yes, of course, these actions saved the Earth, which is good in our perspective because we live on Earth. Earth is essential to us because it is our only frame of reference. But, something that continually complexed the Homeworld gems was why someone would fight for one measly planet at the cost of so much. It makes sense to us because we would sacrifice a whole heck of a lot to keep our planet from being invaded by space aliens, but the gems were colonizing tons of planets and destroying them for energy. It was obviously horrible as colonizers are horrible, but it’s sort of like how different armies will invade other countries, but because we’re being told that it’s for good, most people don’t really care.

From the gem’s perspective, this was all a horrible disaster—a loss of countless life, resources, and pride.

And, for The Crystal Gems, the “loss” of the war meant that all of their friends were corrupted, except Rose’s closest friends (which I’m personally unsure if this is completely truthful. I would hope it would be, but it’s also very suspicious because letting only the people that trust her the most survive would make it easier to control her own story).

Speaking of which, wtf is up with her bubbling Bismuth? It just feels like it would be easier to hide her away instead of trying to explain why she doesn’t want to shatter the Diamonds. But, Rose shattered Pink, anyway? I personally believe Bismuth was too close to figuring out her story, and she didn’t know what to do. I can’t think of any other explanation that would explain her actions and make sense with telling the Crystal Gems she’d been shattered. It feels very manipulative and selfish.

All of this obviously traumatized Pearl (we see it in her Pearl within a Pearl within a Pearl), and it had to have traumatized Garnet considering her reactions to mentions of the war and the “fusion” experiments. It was especially bad on Garnet’s end because she thought the war was actually what Rose said it was, which is why she freaked out when it wasn’t.

She kept secrets from everyone, even Her Pearl. But, Pearl didn’t know that she didn’t know everything. You could call Pearl delusional, but I think this is more proof that Rose never did something in front of her that made her feel like she was being untruthful.

And, I said y’all don’t want to get me started on Rose’s treatment of Pearl because I go feral when I get worked up about it. I would like to personally thank @theroguefeminist for their meta on Rose/Pearl and Fandom Ableism. It’s super good, and it was the meta that made me finally sit down and watch all of SU way back in the day. But, it illustrates the point that fandoms tend to look down on characters that act “bitter,” “weak,” “jealous,” “depressed,” or “neurotic.” It’s even more sinister because the reason why Pearl acts the way she does in the first two seasons is because she’d been manipulated by Rose.

She was Pink’s Pearl, her partner in crime, her renegade. They were the Heroes of The Rebellion. Pearl admitted she had feelings for her, and Rose’s response was enthusiastic (“Don’t ever stop!”). From what we’ve seen, the disregard of her feelings only began when she started dating Greg, considering Pearl didn’t see “the men who came into her life now and again” as threats because they “didn’t really matter until [him].” But, the treatment that we see of Pearl in “Story for Steven” and “We Need to Talk” is dismissive at best and cruel and uncaring at the worst.

After Greg was trying to flirt with Rose, Pearl said defensively, “I can sing!” and they laughed at her. Even Rose beamed. They were basically making fun of her when Pearl was only reacting that way because she loved Rose and felt threatened by Greg, even at this point.

I do want to add that I think Rose was trying to be a good person by telling Greg to go away. She made a good point that he shouldn’t give up on his dreams to be with her (especially considering that she knew that nothing would become of him in a place like Beach City). But, she was wooed by him. She laughed and gave into her instincts to surround herself with people who look up to her (even Vidalia said something about how Greg worships her).

But, I find Rose’s treatment of her in “We Need to Talk” to be unnecessarily flippant. Obviously, Pearl was very upset during the whole “What Can I Do For You?” song, and her last ditch effort was to show off Rainbow Quartz and try to belittle his efforts, but Greg was rightly defensive. This doesn’t mean Pearl was being “salty” or “abusive” or “bitchy.” She was reacting negatively towards the emotional neglect that Rose was showing her. Of course, we don’t know every interaction that Pearl and Rose had, but it’s very heavily implied that Rose never communicated with Pearl how their relationship was developing.

I do not, I repeat—I DO NOT—think that Pearl was owed Rose’s love. What I think is neglectful about this situation is that Rose didn’t either apologize or properly explain the nature of their relationship. It’s implied that Rose made her believe they were an item and then proceeded to sleep around and eventually find an alternative partner. No one is owed affection with someone who doesn’t want to be romantically involved, but to lead someone on for thousands of years is horrible, and the idea makes me nauseous, especially since the fandom is more likely to blame Pearl even though Pearl was literally her glorified slave and only able to break out of that thought process years after Steven was born.

Pearl was so emotionally fucked up by Rose’s possible emotional neglect that she had several traumatic episodes starting from “Indirect Kiss” and culminating in her “Cry for Help.” She literally believed she was powerless and felt so weak that she thought the only way to feel agency was to manipulate and extort affection from Garnet. I’m also not defending Pearl for doing this, but it’s clear that she did this because she was mentally ill and not because she was knowingly or maliciously disregarding Garnet’s feelings to fulfill her own needs. Trauma episodes often cause you to act in destructive ways towards yourself and others, but it’s also very different from how Rose did disregard the feelings of others to get her way, or have fun, or “play” with people.

It also reminds me of her treatment of Spinel. Pink was having fun with Spinel until they decided to give her a colony, and then, instead of bringing Spinel with her or sending her back to the Diamonds, she told her to stay there, and she abandoned her for 6,000 years with no plans of returning for her. To be fair, it would really mess up the Crystal Gem dynamic if she suddenly returned with a Spinel who was gifted to Pink Diamond. So, in Rose’s perspective, I get it, but as myself, I don’t think it’s right.

Greg, even, I think was taken advantage of. He’s so sweet and trusting and good that she would easily have been able to get him to do anything. I’m not going to go too much into this because there’s not too much evidence besides her behavior towards him in “Greg the Babysitter” and how she laughed at him in “We Need to Talk.” I just have the feeling that Greg knows something that no one else does and that his perma-sunburn might have something to do with Rose and/or Steven’s conception. Don’t take my word for it since this is just a theory, but I do think there’s something we don’t know yet.

Alright, now that most of the character stuff is out of the way, let’s talk Rose symbolism. In almost every episode, there’s a shot of Rose’s portrait with her eyes covered or something obscuring them. This is classic anime imagery of a suspect character, and it’s foreshadowing of her suspect actions. All of her organic experiments eventually go rouge without constant maintenance from Rose (see: the moss in “Lars and the Cool Kids,” the thorns in “Indirect Kiss”). We don’t know why this happens, but it points to the idea that there’s something malignant lurking underneath Rose’s creations.

Rose’s Room also has disturbing implications. The fact that it gives Steven whatever he wants, but more often than not, it turns into psychological horror is telling. It may be that Steven just doesn’t know how to use the room, but also, the Gems didn’t want him to go in there. (“It doesn’t know how to handle a task like that!” What do you know, Pearl????) The creepiest one, in my opinion, was how the Fake Connie he made in “Open Book” eventually turned on him, attacked him, and basically physically forced him to admit feelings he wanted to keep hidden. I’m not saying this is the intended purpose of the room, but I find it troubling that it can be used in this way and defaults to it when there isn’t anything stopping it. It could also be that when the illusion the room makes is broken that it reverts to an angry (and dare I say Pink Diamond-esque) temperament.

My final point is how her decision to have Steven, even though eventually for good, hurt many people, Steven included. To make the decision to die and have a kid was confusing to everyone, but more so, the gems. They don’t understand human reproduction outside of a biological level, and the fact that gems normally can’t sexually reproduce makes the concept even more foreign. It seems like she explained that she was doing it and would die but didn’t fully prepare the gems about what that would entail. I think this is most clearly seen in “Three Gems and a Baby” because the Crystal Gem’s behavior towards baby Steven reflected Pearl’s response to emotional neglect, such as acting impulsively and dangerously just for not understanding the complexities of the situation.

Their whole dynamic was screwed up, and they all felt deeply hurt by Rose’s death. If you compare how they act at the beginning of the series to the end, they were basically all at each other’s throats because they couldn’t communicate properly due to all the undealt with baggage that had been left behind. It ended up becoming Steven’s job to emotionally support the gems when he should have been the one being emotionally supported. This imbalance of “the parents being the child” and “the child being the parents” is a huge reason why we see Steven in such emotional distress during Future. He’s internalized the idea that he should be the leader, the supporter, the helper, and he hasn’t properly been able to find his own identity because Rose looms over all of them (see: “Rose Buds”).

It’s hard to say whether Rose intentionally left Steven to clean up her mistakes or if she just felt like he could fix it all when she couldn’t, but there is no denying that Rose’s actions have seriously messed up our boy. This is the clearest theme presented in the show, so I’m not going to go super hard on this topic because basically the whole show is Steven angsting over his mom.

So, the point of all of this is that, yes, Pink was abused. There is no doubting that she was very badly abused and developed her personality and coping mechanisms due to this trauma. However, Rose has hurt her friends, family, and gemkind due to her actions. A lot of abusers have been abused. I know my abuser was abused in the same way I was, but that doesn’t give her an excuse to enact that abuse on me. It’s the same as Rose. Her bad upbringing gives context about why she turned out the way she did, but it’s incredibly short-sighted to say that Rose acted in mostly good ways towards others.

And, she knows she’s bad. Whether or not Rebecca will outright admit what the song is about, we have enough context to know that “Love Like You” is Rose talking to Greg (if not the other gems as well).

“I always thought I might be bad Now I’m sure that it’s true ‘cause I think you’re so good And, I’m nothing like you

Look at you go I just adore you I wish that I knew What makes you think I’m so special”

Rose is admitting that she thinks she’s bad and isn’t special and doesn’t understand what Greg sees in her. She knows she’s done bad things, but in my opinion, she didn’t do enough to fix her problems. She made Steven instead. It was her final act of avoidance. Maybe she gave up on herself. Maybe she knew she couldn’t “Love Like You.” I don’t know the answer to that. I just know that Rose’s actions were abusive. She’s not good. She’s morally gray. She did good things, but she did many bad things as well. She’s not evil, but she is the series’ antagonist. She has good things about her, but she has many bad things as well. People can be two things. But, saying she’s not an abuser is making excuses for her behavior.

Here are my answers to a few common complaints on my shitpost meme.

Q: Rose didn’t want to cause war! She just wanted to free the planet/have freedom/save the gems, ect. A: If she didn’t want to cause war, she very well could have…not started the war? There are much less destructive options than pretending to be a rebel when she really was a Diamond. The double life thing is so ridiculous, no one in the show could even guess it. Q: Don’t discredit her Rebellion! A: I just think she cared more about herself than she actually did the Earth. The Rebellion did save the Earth, but not without crazy death and destruction. Q: Pink was good compared to Japser, the Diamonds, Lapis, ect. A: All of you saying that those other characters are bad while Rose is good totally misses the point. All those characters did abusive things. So did Rose/Pink. Pink is good and bad. It’s really showing your ass that you hate x, y, z but will cape for Pink even though she’s probably caused the most harm of the entire series. Whatever happened to all those morally grey arguments?

Q: This take is bad! A: soz bruh cry harder Q: This is black and white thinking. A: I shouldn’t have to explain every aspect of a character in a shitpost. This meta is my full explanation, so here’s my morally grey meme uwu

Q: Blue, Yellow, and White are colonizers and also really abusive. A: Yes. It doesn’t negate Pink’s actions, though.

Q: Pink Pearl was an accident! She changed after!!! That’s not abuse!!!!!!! A: Abuse isn’t always intentional, and we don’t canonically know it was an accident. Pink Pearl said that it was, but she admitted she was making excuses for her. But, accident or not, hurting someone deeply can be abuse if it’s not dealt with. Pink Pearl was not dealt with. She was brainwashed for 8,000 years, instead. Pearl-Pearl helped her deal with it. The continual explosive anger from Pink was abusive, hands down.

Q: She’s not a villain! A: She certainly is framed as Steven’s villain. Regardless of what you personally think of Pink, Steven is deeply disturbed and harmed by Rose’s actions. It’s literally the whole plot of the show! If Pink is eventually redeemed, I won’t mind, but she’s irredeemable in my eyes.

#steven universe #steven universe future #pink diamond #rose quartz #su #suf #steven universe future spoilers #steven universe spoilers #su spoilers #suf spoilers #mine #meta #abuse

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nettlestonenell · 4 years

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Armie Hammer wants a sequel to The Man From U.N.C.L.E.—shouldn’t you?

This post is a long time in coming, Gentle Readers and @jammeke, but now, though it might be here, before your very eyes, to think it will be well-laid out would be a mistake. It’s set to be just about as messy as Ilya’s misplaced loyalties and murky motivations.

How dare!

I probably first watched this film well over a year ago (courtesy @jammeke posting things about it). I used Sling OnDemand (I think on TNT). In the ensuing viewings I also watched it in that way, but as I was sitting down for a fourth(?) viewing, it kept coming to me that I was tired of watching it with commercials I couldn’t skip, and I had a sneaking suspicion that it had been edited for time and I was missing out on scenes. [pointless aside: I was also watching the film in chunks, and never as a whole]

Where is she now? What’s the time stamp? How far along did she get? Are you shagging the hotel hostess yet?

So, I, uh, set out to buy it on DVD—without any luck! In the sense that copies I could find cost more (w/ shipping) than buying it to stream. So, I bought it to stream on Amazon. Do I regret my choice, Gentle Readers? No, no I don’t. I do regret burden of knowledge in learning that TNT was already playing the entirety of the film. That was a hard pill to swallow.

Nope, I’ve looked. That’s absolutely everything. Nothing additional lurking around here...

So here it is, as it is, @jammeke, “My Notes on The Man from U.N.C.L.E.”

Look, I don’t know what this film is. I probably can’t fully articulate its appeal. Or maybe I can--certainly after transcribing four page I’ve tried. Number One thing to know about me and fiction/films is that a top draw for me is seeing something out of the ordinary, such as beautiful locations, a historical era, delicious costumes. There are times, frankly, this can trump weak story and undefined character for me. (The best films, of course, combine all three) Certainly, The Man... delivers in the delight of the eyes. Additionally, I must confess that growing up as a person older than @reblogginhood but younger than Miss Fisher, so much of what was on TV was essentially reruns of this film’s iconic Look(tm). So, when I see women dressed like Gaby I am just another three-to-seven-year-old overcome with the drop dead glamour of it all.

Darling, tell me how you really feel...

Some questions I have:

· IS Armie Hammer a hulk of a man? Everyone in this film seems to think so, yet he always tracks to me as trim (rather than hulking)

· Why translate via captions some Russian speaking, but not all?

· IS Napoleon’s backstory directly cribbed from USA’s White Collar?

· DOES Gaby have a German accent?

· Does Ilya get preternaturally attached to all the people he’s ordered to look after? Also, what is his bonding rate with kittens?

Sorry, wrong iteration.

· If Lady Villain knows the lens is wrong—if her technical understanding is that in-depth--does she really need Gaby’s dad to make the bomb?

· How old was Gaby during the war?

· What happens when Ilya gets a NEW puppy assigned to him? (please let this be addressed in film #2)

Hooray for:

· That bathroom fight! *all the Burn Notice feels!

· Gaby is her own lady, and chooses sides as necessary—not always unilateral in her support for either male character. Case in point: she sides with Ilya over the clothes, and Napoleon over the incident of the wallet.

· That delicious (speaking as Rusty, here) Ocean’s 11-stylized action. It’s pretty, so I’m not bored with it. Sometimes a sandwiched montage gets shown, so I’m REALLY not bored. I’ve got 18 tiny moving boxes of things to look at!

· Pinkie rings. There, you’ve told me everything I need to know about that character.

· Solo in a beret. English has not yet found a word for the feeling it evoked in this viewer. Somewhere between ‘precious’ and ‘oh, no’.

See, there? Now you’ve felt it too.

· Goggles! All the accessories! Dune Buggies! (I mean, that’s what I’m calling Napoleon’s chase-scene ride)

Things I adore:

· It seems (after some research) that more than a few folks view Gaby as a third wheel, and though she’s not exactly a Princess Leia commandeering her own rescue and exuding competence and a deserved take-charge-attitude at every corner, she IS a foci for both male characters (though romantically it would seem only for one), just as Ilya is a foci for both her and Napoleon [no one seems to worry about Napoleon, though they should--film #2, anyone?]

· Mechanic Gaby not needing a beauty makeover, or being dragged into one. She gets some nice clothes, but it’s never suggested that she’s not attractive or acceptable before putting them on, and I respect, nay, embrace it.

Oh, my heart. She’s still not as tall as them!

· Ilya, drab pigeon Ilya, knowing fashion

· Oh man, don’t even get me started on the power of the statement, “it doesn’t have to match”

· You knew it was coming on this sublist: the wrestle-fight. I mean, c’mon. Poor little Gaby, locked behind the Iron Curtain, living a life of always being watched. She’s in the swankest hotel (I mean, Napoleon chose it, so we can be sure it’s swank with an E). She’s trying to celebrate her freedom, her liberation. She’s playing verboten music, she’s drinking to excess. Girl wants—and deserves—a party. And Ilya is…not built for that (that he knows of). For some fun, just imagine if she had been given Napoleon to room with instead.

o I will say that this scene, and some of their other interactions have what I would call early (non-sibling) Luke and Leia energy. Ilya seems to have moments of being struck by Gaby in a way Luke is struck by Leia in the early part of the trilogy. When Leia takes charge, and Luke accepts it. When Leia does something incredible, and Luke is left open-mouthed. *no, I don’t see OT Star Wars in everything. Shut up.

· “He fixed the glitch.”

· Again, shout-out to the non-action action.

· “I left my jacket in there.”

· The whole race to rescue Gaby I am in love with beyond words. [I have noted it as “Crazy Jeep Drive with Warhead!”] Probably b/c it comes across as totally egalitarian. Both men want her rescued. They’re no longer in competition. It’s just as important to Napoleon as it is to Ilya to catch up to her. Also, it is bonkers, like some sort of X-games version of a commercial for the vehicles they’re driving. And screaming Willie Scott does not make an appearance.

Someone says “winkle” out.

· Look! Another note about the screen divisions and how I love it, shout-outs to the original Steve McQueen The Thomas Crown Affair (a contemporary of when this movie is meant to be set), and TV’s 24.

Things that get a great, big NOPE:

· Jerrod Harris: you’ve been in so much streamable content in the last decade I can’t hate you, but frankly, you’re terrible here—unless you’re supposed to be giving a mannered, not-campy-enough-to-be-enjoyable performance here. Your American English puts me in the mind of Alex Hawaii 5-0′Loughlin where it feels you’re concentrating so hard on your accent that you fail to convince anyone that you’re a harried, over-worked and exasperated spy handler. Your performance is at odds with every bit of dialogue you’re given to say.

· That awful, mishandled title that doesn’t even connect to the film until the final moments (a sequel set-up, for sure)

· Look, you don’t introduce Hugh Grant casually mid-way through your film in a throwaway appearance. I mean, he’s HUGH GRANT we all know something’s up now.

· This is not exactly a great big NOPE, b/c I love a flat cap, Tommy Shelby—but I feel like a less tall man with a far rounder face in a flat cap would track more as Russian to me that AH does. To me, he just looks like he’s about to go golfing.

Over par? Unacceptable!

· Is Victoria a British-accented Italian? A British woman who married—what? Gaby’s uncle isn’t Italian!? An Italian who went to school in Britain? My head hurts. Also, is her hair meant to be unconvincingly bleached?

Other commentary:

· Napoleon’s adult ne’er-do-well backstory is so far from being emotionally equivalent to Ilya’s childhood trauma [and his enslavement to the USSR] it seems bestial when he calls it out on multiple occasions. Badly done, Solo.

· Gaby is the film’s key (sorry, Buffy fans). Everyone is connected to her. Yes, she could have been given a bit more on the character front, but I don’t see her as as much of a flaw in the film as some others/reviewers seem to.

· Look, essentially (and not very nuanced-ly), Ilya is a stalker. I think the film goes a certain distance in establishing that his early behavior toward Gaby is not normal, but concurrently it does not truly call him out on it. He’s essentially viewed as an odd-duck, sure, but not a true threat to her (should she not reciprocate or tolerate his intensity toward her). I think I might be able to cite his behavior when Gaby comes on to him (that he doesn’t jump at a chance with her) that maybe he’s given a little more nuance than a straight-on stalker, and it helps that he and Napoleon never get into a pissing match over Gaby’s person, only over her new clothes. But overall the film has to walk a fine line (and the jury is still out on how successful it is, I’d say) between playing Ilya’s laser-like attention to Gaby for its humor, and calling it out for the unsettling, threatening behavior it is.

· Honestly, it wasn’t until I engaged the Closed Captioning that I understood Napoleon was calling Ilya the ‘Red Peril’. So, that was nearly three viewings in.

· I give the screen credits A+, on both ends. Not to mention the end credits are actually INTERESTING with lots to see and learn! (Certainly we learn more about HG in them than we do at any time during the film)

Things I would have liked:

· More of fish-out-of-the-Iron-Curtain Gaby moments

· A better dichotomy shown of East vs. West Berlin/Germany. There’s nothing easy either visually or otherwise to distinguish the two.

· HC being given a more specific American accent (from an actual locality). This, for an American viewer, works better than the flat, unlocated American accent many a British actor will bust out. *Mind you, HC does a generally good job, but he fails utterly on both “Immediate” which he pronounces at least twice as “immeedeejt” [rather than imm-E-deeot] and “Nazi” as “NAHT-zee” [rather than “NOT-zee”]. And let’s not get started on that late in the film use of ‘earnt’, a word that—well, it’s just not in the American English twentieth century lexicon.

· C’mon. You gotta tease the Hugh Grant more.

· Solo is a blank before the war. I’ve read thoughts on the film calling out Gaby as the blank character, but they’re wrong. Solo is the blank. He’s the ‘made’ man, his identity seemingly assembled during the war and after. For example, he doesn’t go into the war a thief, nor (it would seem) a particularly educated or urbane individual. Now THAT’s a juicy backstory I’d love to learn about, perhaps in film #2--or #3? What creates a Napoleon Solo? What would he be doing if he weren’t on the government’s leash/incarcerated? Is anyone left caring about him back wherever he calls home? I mean, who doesn’t love a gender-flipped 60s-era Holly Golightly backstory? [And yes, I would love there to be an ex-wife or even a current wife mixed up in his origins as well—Guy Ritchie, call me!]

Notes I have that I’m not sure if they still make sense to me:

· Only mom calls me Napoleon (do he say it ‘mum’?) Is he a secret Canadian?

· Solo’s torture, 1st view recall Napoleon’s childhood? *I think this means that after watching the first time I somehow erroneously believed that during the torture Napoleon’s childhood was a topic gone over. This was wrong. HOWEVER, this would have made far more story-sense than the backstory we’re given on an easily disposeable villain.

· “Even the average Russian agent. You’re special.” ?

· Uncle is Baddie (*so glad I made this note to myself)

· Ilya’s dad IS an embarrassment. I’m not sure what genius commentary I had in my mind, here. Perhaps that Ilya himself is embarrassed of him? Not just Ilya’s handler’s? [Also, aside: Napoleon totally slut-shames Ilya’s mom, which is the doublest of double standards from ‘I got myself the biggest and most ornate suite b/c I-wanted-plenty-of-space-for-my-random-seductions’ and I really wish Ilya had thrown that back in his face] *yes, of course I know that Ilya and Napoleon would not likely equate a wife/mother’s sexual exploits with that of Solo’s, but let’s be honest, this film tweaks the nose of (I won’t say reverses, it doesn’t go that far) plenty of tropes and gender expectations, and this certainly seems like a missed opportunity to call Solo on the carpet (which I hope film #2 does far more)

Things I wrote down so long ago I don’t recall what they mean:

· CC-save

In conclusion:

What does film #2 look like? What title does it get? Will the Peter/Neil White Collar dynamic continue to grow? *note that I have no confidence a second film will ever come to pass...

In the end, all I know is, “It didn't help when American Tom Cruise, who was slated to play U.S. spy Napoleon Solo, dropped out, prompting the casting of Cavill (who had previously read for the Russian role).“ I would not have watched that film.

#tmfu #tmfu 2015 #ilya kuryakin #napoleon solo #gaby teller #henry cavill #armie hammer #alicia vikander #the man from uncle 2015 #the man from u.n.c.l.e.#the man from uncle #i don't know what this film's tags are meant to be to keep it from popping up in the TV series searches Sorry

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