#also given how EXTREMELY DIFFERENT the two major supporting characters are I find the fact that I AM comparing them hilarious | Explore Tumblr Posts and Blogs

agentc0rn · 6 months

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Another Pretty Long Character Analysis: Kieran and Nemona - Strength

disclaimer: not claiming this to be objective, just another writing piece full of thoughts done for fun because Kieran is such an interesting, in depth character ever

Okay so I mentioned this in my older post about kieran being the foil of nemona and their shared struggles with being at the top, socially excluded, and how strength as social arbiter displaced them in social settings. Like Kieran, Nemona became overly strong that no one wanted to compete and keep up with. Her passion is misread because of that plus the top statuses she holds as a wealthy multi-talented, high-achieving student. She is a good person and true to herself (her naivety to social cues perhaps is because of her lack of social connections with others). She means well and just want someone to battle with their efforts no matter the outcome and enjoy to the fullest. Battling is her expression of self, her way of enjoyment and connecting with others. Kieran is alike to an extent, with his strength already at a high level (stated by Carmen in the beginning), and his joyous expression seen during our first fight. This is supported by the fact as stated by Drayton how Kieran had fun battling pre-Teal Mask. These two rivals' love for battles run parallel with each other!

However, Kieran's transition reflects a common mindset that artists, athletes, musicians, etc. all resonate with: competitiveness + measure of worth in the things you like the most - you have to be good at them. I feel this strongly as well with art being my major source of passion - I pressured myself into thinking I had to be really good at it and not enjoy for the sake of doing it regardless of skills.

Battling was not only something Kieran liked doing, it was his main source of confidence and self-esteem.

We see that clear in Blueberry Academy, in dialogues and student culture, competitiveness is high, demanding, and brutal. Kieran may have internalized the idea, provided with his insecurity of weakness and his goal to become independent and reliant. Seeing that we were able to defeat him and sister with ease, he grew to admire but also envious of our esteemed strength, how our power seems to be favored by luck (having speical mons like Koraidon), inducing him to believe that if he worked hard, he could get to our level too. To add further, his lifelong admiration of Ogerpon supports his motivation and his aforementioned desire to be stronger. He wanted to be strong and cool as the ogre, not caring what others thought.

What I find interesting is how Kieran and Nemona handles their way of battling with us. Nemona guides you through the journey while challenging herself to learn in new ways - she restarts her journey essentially. For Kieran, even though he has experience, he struggles with the losses against us (confidence issues and again, aside our MC Role, there is some skill difference given that we fought the titans, area zero mons, team star, and gym leaders). He does change up his tactics, but ultimately does not see victory. He ends up restarting in a way back at BB academy. As a result, Kieran becomes more isolated throughout his training arc and his domination in the league. Him strictly calling out others for slacking inadvertently turns him into the fearsome "oni" figure that he idolized and thus earns him an unfavorable reputation as the president (similar status with Nemona) of the League, for instance, a dialogue between two students mentions how how ever since he became champ, the League club became less fun....Despite the contrast of tensity in these circumstances, Nemona is misunderstood in similiar manner with Kieran.

If memory serves correct, Nemona really gets into the battling mood and sometimes forgets about hers and others' limits, but does acknowledge them given a few instances when she does not battle you. Whereas for Kieran, once he entered the extreme zone, he fully devotes himself to strength at the cost of his mental, social and physical well-being. He discards his limits, giving everything he has got that ultimately eats him from the inside. The final scene when he reacts to losing may also show not just his struggle to grasp reality but a literal side effect on his health (no sleep = poor mood, poor thinking)

He desperately clings to the idea that endless training would grant him the guaranteed chance to beat you ("I know I am making the right choice") and no longer enjoys battling. Battling became a constant test of worth, the last and only means of proving himself. Even though he did become stronger, it drained his health, energy, sanity and reputation. Again, in an ironic way, he really became the oni (self filling prophecy).

at the end however, when we reach out to him to be confident in himself, that we needed his help, it gave him that confidence boost. We all believed in him - he really needed that support. Maybe seeing terapagos going berserk had him gain self awareness that he was like that too and how that caused harm to not only himself but to others.

One small thing to point out that he is like Terapagos in a way. Both are small, secluded and strong lads who end up going wayhire with their mass power.

Not to sound corny but I really felt Kieran’s frustration about losing. I was competitive too but soon let go of that. It’s fine to improve yourself but doing that to be better than others as your main reason can really cause burnout. Anyways this is a disorganized list of thoughts I wanted to share but if you read it the entire thing I really do got to say thank you for taking the time to do so.

EDIT: fixed some grammar and stuff because this was just a run-on draft lol

#Terapagos + Ogerpon hyperfixation got me connected to more people which is nice cause I’m no talker like Kieran #Looking back on the story I saw bits of myself in Nems and Kieran #ac rambles #pokemon scarlet and violet #indigo disk #the indigo disk #kieran #pokemon kieran #rival kieran #pokemon nemona #Man sv has solid characters

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middlenamesage · 2 months

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I’ll let you in on a little secret: “Pretty privilege” is not nearly as real as Venusian privilege. 🤫 💖

Disclaimer: I’m not speaking on the latter from personal experience, as my natal chart does not grant me the status of “Venusian” in the slightest. But Mars conjunct my Venus has made me very motivated to understand Venus; seemingly especially when I’m going through Mars transits because these two characters can not be separated in my psyche!

Before I even learned astrology in depth, I always noticed it wasn’t necessarily the physically prettiest people/women who get all the offers, praise, and support coming to them. The way I used to term it, “personality privilege” is a lot more substantial than the concept of “pretty privilege” that people like to cite. Because I always noticed the privileges were most coming to those whose vibe felt most warm and open, and/or whose vibe had an aura of knowing and exercising their deservingness when it comes to receiving support or attention.

Now I know that this is Venusian energy in a nutshell. And I’ve confirmed the presence of a strong Venus in the people I had always known that struck me as having a lot of offers and support coming to them and being well-liked and recognized by others, but who weren’t necessarily all that conventionally physically attractive.

What matters more if you wish to manifest people giving more to you is in most cases not a major physical makeover; it’s an energetic makeover. Having “I’m pretty and deserving” consciousness and feeling energetically open to people is where the “privilege” most lies!

I’m not exactly the one to give advice on how to project more Venusian energy, and frankly I’m personally not even really trying to gain more of the stereotypical Venus energy embodied by The Empress. While it would be nice to ultimately have a less conflicted relationship with my own Venus, I’m not conflicted about one thing: She’s in fire🔥♌️, so the interpersonal prowess of Venus truly isn’t my main focus with her; learning to self love and self validate has been. I’m proud🦁 of my emotional independence, even if it can be a little extreme, and the stereotype that Leo Venus needs undue attention from others has never resonated with me! Have we forgotten that fire is individuality and independence? Most of my life experiences have given me no other option than to learn how to self validate if I want more validation. This also is due to having multiple neurodivergencies and having built some walls around me due to trauma, that make me seem less open… but I think that still fits a Venus placement not most focused on social graces, and a wounded Venus from a lifetime of being conjunct a stronger Mars! ❤️‍🩹

Maybe other fire Venuses or Martian Venuses or people that have Venus in any setup where she’s not in an advantageous position to charm people with her social skills will relate. 🤗 Our paths might be different; for us embracing that we’re focusing on self acceptance in our journeys to find peace, and recognizing that we possibly also have very emphasized lessons in our journey on how to keep certain people out of our lives, is likely to be the best way to remain authentic to ourselves while helping our Venuses.

So it appears I do have advice for people who have walked a similar path with Venus as me. 🔥♂ And I have plenty of observations about the energy of Venus that can draw privileges from others to it, even though I think that for a fire Venus, continuing to focus on embracing my authenticity even when it’s in no way popular is how I’ll eventually start feeling more capable with the social sides of Venus, and feeling more others appreciating her too.

⭐️🪐 Basic astronomical fact I only learned recently: Venus has the hottest climate of all the planets! And the reason she’s hotter than the planet closer to the Sun is because Venus’s atmosphere is made up of gases that trap heat. To me this represents the way Venusians have honed the skill of radiating warmth themselves. All that alluring heat she puts off can really draw in others. But it’s also her responsibility to use the warmth to be reciprocally giving in her relations with others… if Venus doesn’t give much and just takes, her atmosphere can start to feel more like Hell than like inviting warmth.

Wishing a successful journey for all in evolving with and embracing your Venus… however that may look! We all deserve to know comfort and peace. 🌷

#venus in astrology #venus #astrology #venus signs #leo venus #venus and mars #planets in astrology #astrology blog #astrology tumblr #astrology community #the empress #libra #taurus #venusian #astrology observations #zodiac

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lake-archive · 6 months

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A Mother Changes

CATZ Discography

Fandom: Hypnosis Mic

Characters: Ann Wolff (OC), Original Female Character, Original Male Character

Synposis: Having a mother who is a loyal follower of the Party Of Words can be a pain… And yet, Ann’s mother had not always been like this. It was a sudden change, to say the least. A little too sudden in fact…

Tags: Family Dram, Dysfunctional Family, Family Issues, Past Relationship(s), Past, Trust Issues, Pre-The Dirty Dawg Era (Hypnosis Mic), Backstory, Original Character(s), Major Original Character(s), Minor Original Character(s), POV Original Character, Original Character-centric, Canon Universe, Pre-Canon, Canon Era POV Third Person, POV Third Person Limited

Words: 1,715

AO3 Link

It had all started that day, a bit before the H Age had taken effect. Ann recalls that day better than any other, sometimes it is haunting them in their dreams. Though at the time they thought nothing of it. Their mother always had different views and was outspoken about the state women find themselves in. It had never been to the extreme it was ever since shortly after the H Age had started. In fact, back then she was more an avid supporter and mesmerized by Tohoten’s appearance on television. That was the day the change would kick in…

The family of three sat at the table, eating dinner as usual. Ann was still in highschool back then and their father was still within the house as well. They had turned on a political debate, given both of the parents were heavily into politics, though their father especially. And yet, it was their mother who spoke up shortly after the debate had been over, with an unusual shine in her eyes.

“Finally! Someone who I can stand behind! It was about time!” She exclaimed happily, somewhat eager in fact. “She is saying the things I have been saying all this time!”

Both Ann and their father had been surprised by this reaction, not having expected anything like this. But they were not complaining, not necessarily. It was great to see her this eager in fact and they both understood fully. “Sure, everyone talks about how ‘women are equal to men’ but seeing society as a whole… In fact, I earn way less than my male co–workers and I do the same thing! Need I say more!?”

“No, not at all…” Ann threw in, though a bit more quiet, mostly because they knew what their mother said next.

“Oh don’t sound like that dear! It affects you too, doesn’t it? You have to give double your effort to one day match this!”

“Yeah yeah, you’ve been saying this all the time. I get it.” They countered with a sigh, then stuffing their mouth with some rice from their own bowl. “I’m fine though, don’t worry about it.”

“Hey, Mom’s just worried about your future.” Their Dad responded, though sounding calm of course. And there was nothing off with this at the time, he had no reason to be on alert. “And so am I. So just keep doing your best.”

And all they could do was nod. After all, this was the truth. Regardless if things would change or not, it was important to get a proper education. Especially if they want to follow through with their own dreams.

“That aside, I am more than eager for the change! This Tohoten seems like a woman who can follow through with her promises!” Their mother continued, clearly mesmerized at this point, sounding like an admirer in fact. “I also think we women need to have as much of a say as men!”

“Hey, am I like this towards the both of you?” Their father asked, though sounding rather light-hearted about it than anything. He knew how his wife meant it and yet it had caught her somewhat off guard, looking at her husband with somewhat of an embarrassment. A near chuckle had escaped Ann’s own lips in fact.

“Ah– No dear. I didn’t mean that every man is like this. You know that I’m more than aware!”

“Hey, I know. Just messing with you dear.”

“Hah… Please don’t… You know what I’m trying to say…”

“Of course I am. And I don’t disagree with you on that.”

Yeah, none of the two would. There was truth to those words, certainly. And it sounded like a noble goal at the time — Make the voices of women heard, make them speak louder. They face difficulties and Tohoten sounded like she wanted to change that at the time. a first step towards equality. And back then Ann believed what this was: A cry for equality, its first step in fact. No one could say anything against that and wouldn’t. Of course not! There was literally no reason to!

“Say, would you two mind if I joined this Party Of Words?” Their mother suddenly brought up, making the other two look yet again. “I’m sick of just talking and preaching myself.”

“Join the party?” Ann repeated after having swallowed the rice in their mouth, looking at the face their mother had at the time. She seemed ecstatic, truly happy and more than eager to make a change. She wanted this more than anything and saw it as a chance to finally stand up to her beliefs. After all, what can a no name do? She had been the regular salary woman at the time, the average office worker. She had no chance even if she tried, outside of the small changes at the workplace she helped to achieve. But not to make a big difference. Now though? This may be her opportunity to get her word out there, with others who share this belief, having people to stand behind…

“Hey, you’re not a kid. I’d say go for it. If it makes you happy.” Their father responded, being encouraging even.

“But it would be an opposing party to the one you are—”

“That’s alright. We both have our beliefs. Really, go for it. We will support you all the way. Right, Ann?”

They nodded. “Yeah.” Despite the softness at the time they meant it. If that was what their mother wanted to do, there were no objections from the entire family.

If they had known what this would result in, they might have never agreed. Both them and their father. Sure, it took a while yet it had taken shape shortly after they had graduated highschool…

One day when Ann returned home from a part time job they took at the time, merely to pass the time before university started, they were greeted with their father right on the streets, two bags in hand and one on his back. Given his age it was far from healthy for him to carry all of this himself so they rushed over, worried… Shortly after hearing the following: “And don’t show your face here ever again you pig!”

It had them in disbelief for a moment, it was their mother’s voice. This was not normal, far from it, and nothing had indicated this. It was a clear 180, so sudden that anyone would be in shock to be honest.

That was even more reason to rush over, then asking nearly panicked: “Dad!? What’s going on!? Did you do something!? What–”

“Ann, calm down and take a deep breath. Everything will be fine.” He interrupted them, grabbing them by their shoulders. “Your… mother will explain. I have to go.”

“Eh? Mom? Why? What’s happening? Can’t you two talk it out or—”

“I’m afraid not. Your Mom is set on this. I… am moving out.”

“Moving out!? Wha—”

“Ann! Get inside here! Stop wasting time talking to him!” They were interrupted by their mother who had opened the door yet again it seemed, her voice awfully loud and strict in fact. It made anyone almost tremble and it was hard to refuse. She had never been like this unless truly upset. Sometimes she was when it came to her kid’s cleaning habits but… With the man of the family?

They did not respond at first, only looking up at their father, the shock in their eyes. “D… Did Mom throw you out?”

A moment of silence, he did not respond, at least not verbally. All they got was a nod in response before he let go of their shoulders, passing by them. “I have to go. Please, don’t worry about me. I’ll be fine.”

“Wha— Wait Dad, you can’t just—”

“Ann! I told you to get here! Now! We need to have a talk!”

Mom… She was ignoring this! At this very moment, she was just ignoring this fact and did not pay attention to her own husband! That alone was infuriating, making them turn for a moment to their mother and starting to yell right back: “We!? I think you need to have a talk with—!”

“Please, just go talk to your mother. Worry about your future, not mine. I will find a way.” These had been the last words they would hear of their father for some time, silencing Ann on the spot and making them stand there in disbelief. In their head they were screaming, this wasn’t happening. This shit… How? What was going on!? It was confusing and… Infuriating. Ever since back then, the party— No, they couldn’t shove the blame onto the party just yet. Even if it had been suspicious, it was not enough to blame them at that moment…

Things had moved fast and the rest was history by then. Their mother forced Ann to quit their job and join the Party Of Words, essentially the Chuohku. Why?

‘Your future is not at some market and putting things onto a shelf! Your future is with the party! If you want to make something out of yourself you will join, climb the ranks and become a full fledged member of the Party Of Words! Do you understand!?’

It was a lot to take in and yet at the time Ann was afraid to say no. Their mother had changed ever since, now insisting on them joining. It would only benefit them in their dreams, talent would only get them so far, and they could pay off their tuition on their own. Or it would get sponsored in some way, two birds with one stone! And at the time the offer sounded appealing, very in fact. But it would not last for long, obviously not. Because once getting an idea of the corrupt ways the Chuohku had, performing the same acts they had criticized if not worse, it was not an environment Ann felt comfortable in. It felt weird… Something they just couldn’t support. And yet their mother had ordered for them to stay with the party, whether they liked it or not… They felt stuck, at least for some time.

If it had not been for the Party Of Words, perhaps their family would still be the same…

#Nimue's Lake #fanfiction #fanfic #fic #oneshot #hypnosis mic #hypmi #hypnosis mic oc #hypmic oc #backstory

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first-impressions-gaming · 6 months

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Evil West

Developed by Flying Wild Hog

Published by Focus Entertainment

Release Date 2022

Tested on Xbox Series X

MSRP 49,99 USD

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We find ourselves in post-Civil War United States era in an alternate history in which American Frontier is infected and riddled with vampires, human allies of them and their monstrous creatures, ranging from weak skeleton-like ones to mutated gigantic more robust ones. We’re Jesse Rentier, one of the last remaining vampire hunters, and we are given a series of missions with one objective in sight: to kill and exterminate every and each vampire and their human supporters and erase them from the face of earth. Welcome to Evil West.

First things first, when I saw Flying Wild Hog studio’s logo in the intro, I was surprised a bit, this is the same developer of Shadow Warrior 3, a game I reviewed recently. Apart from indie 2D game Trek to Yomi, Evil West is the following major game upon Shadow Warrior 3 from the studio, even though I will restrain myself from comparing two games in every way I feel the need to point out some specific aspects.

As a third-person shooter, how does it function? Well, Evil West is a strictly linear game in terms of environments and missions, each mission lasting from 20-25 minutes. Mission locations don’t feel unique, they are stereotypical in a sense that the theme is post-civil war era United States in wild west, what you do, how you interact or the combat in these locations don’t add anything extraordinary to your overall experience, locations are mostly…brown or similar dark colours. There is always a path to follow and you arrive the designated location for boss or mini-boss fights after spending around 5 minutes ‘exploring’ (and I am using this word extremely loosely) the place the mission is set in (let it be dungeons, small caves, devastated small towns, or narrow canyons). I get that the time of the day should be after sunset to fight the vampires since they cannot endure sunlight, this forces the missions to take place when it’s dark or almost dark, indirectly rendering player experience feel exactly same in throughout the game. This is a stark contrast to Shadow Warrior 3, a game that is colourful in every way, including enemy designs, environmentals, weapons, lighting. Evil West falls into repetitive gameplay after couple of early missions, and as much as I wish to keep up with the story and what’s going on and with whom we are fighting, the game gets…stale unfortunately. Player interest in game or story can be increased with plot twists or distinct characters. Evil West does not offer either of them, it keeps going on how it starts, yes, you do meet new characters along the way, but they are always accessory to cutscenes, not actual gameplay. I wish to draw upon an example from Red Dead Redemption 2, a game which is set in also wild west. In RDR2, you never say to yourself “okay, this town looks like the one before, doesn’t it?”, I can confidently say this as a player who spent 95 hours in that world, and you always approach to a new location with intrigue and wonder. In Evil West, the linear gameplay forces and pushes a closed-world, you cannot just walk to a different direction than the one game allows. Despite the fact that Shadow Warrior 3 is another linear game, it has vibrant and eye-catching environment and enemy designs, you are always stepping into a fresh location and it doesn’t get monotonous. Often the missions take place in towns and you see these houses in ruins, you get to visit and enter only one house, and you will, not surprisingly, find in-game currency, and you leave the house, and you will continue your given route. I wish I could visit at least another house, just to visit, just to see if there is anything else to discover, maybe a collectible, something personal from the people who used to dwell here. Sadly, if you have these sorts of expectations, Evil West will let you down to the core.

The combat is satisfying and responsive, and this is where the game shines and it leaves me pretty satisfied, I cannot remember the last one where I can guarantee you that you will have a fun time killing vampires in this game. The game introduces you to new gadgets, skills and guns at a great speed. You will start off with a revolver, then a rifle, shotgun and more. I kept the best of them to the last: a gauntlet. The massive gauntlet on your wrist is your primary melee combat weapon, and you learn to love it as you progress and upgrade it. You can do combos, heavy attack, sprinting attack, throw your enemy and shoot them midair and electrocute them.

The main menu:

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In the menu, you have Character: this is where you find visual outfits that is earned during the game, these skins don’t have any impact on your stats or power. In Upgrades: you spend in-game currency to upgrade your gauntlet, guns, and various tools, you earn and find enough currency to upgrade yourself once or twice during a mission. Currency can be found in glowing crates in all locations. In Perks: this is where you see two skill trees for your Gauntlet and Zapper. Except for the starter perks, the rest of them all have level requirements to unlock, meaning that you cannot upgrade a certain skill over and over again, and more or less you will unlock each perk one by one in each category as you level up.

The glitch I touch on:

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I’d like to talk about issues or glitches I found as well. When the character’s back is right up against a wall or a structure, the camera gets obstructed by it, or the said structure disrupts the visual partially, this isn’t a game-breaking bug, and something to be addressed. Oh boy, there is even a grammatical error in codex entry for Vergil Olney, “they’re” is written where “their” is the intended word.

When I try to shoot at Nagal with my rifle or revolver, the enemy dodges my bullets in a weird way with perfect accuracy no matter how hard I try, I am not sure if this enemy type is meant to act this way, or this is some unexpected glitch. I checked the codex entry for Nagal, the description doesn’t mention anything like this, it is okay for different enemy types having strengths and weaknesses, but Nagal is so…frustrating, even in point-blank range you cannot shoot it, your only option is melee and when you try to attack them your attack attempt is blocked almost every time and you get overwhelmed because there is often three or four Nagals in a fight.

The discussed enemy in action:

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It would be much better if the environment and NPCs were a bit alive, for example when you shoot at horses or people, there is zero reaction as if nothing happens. Perhaps the developer team didn’t mind this and didn’t create any animation for this situation, at least it would feel more grounded if the game said something like “You Killed Citizens, Try Again” upon shooting at NPCs.

You can find two instances of this:

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And in a pub:

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The boss fight in the fifth mission is a bit unbalanced, that was the only boss fight I failed three times and decided to decrease the difficulty from Normal to Story (the easiest difficulty). The thing is that, during fight you can deal critical damage to enemies when a yellow mark on the enemy shows up, and you need to make use of this short period but as soon as yellow mark appears the wasps, Screeching Devils, spawn and attack you all at the same time and you have to shoot them down not to get killed. In other boss fights I knew that I could defeat them by changing my strategy next time once I died, yet this specific boss fight is so one-sided due to timing of the wasps spawning and critical damage period overlapping. It is understandable the boss fight or certain level is challenging, however it stops being fun when the game works against you, not “for” you. The rationality behind a game being “challenging” is that the game provides you all the material and means to overcome your enemies, if these are not met, then the game is unbalanced and unjust. This is where the fifth mission stands, the player isn’t allowed to defeat the enemies due to irrational and misguided timing.

My final verdict is slightly muddled, Evil West will satisfy you and keep you enjoyed as long as your expectations are surface-level and combat-focused, don’t expect to come across anything deeper than that.

#games #gaming #game review #xbox #playstation #evil west #Youtube

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j4gm · 3 years

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TOGETHER AGAIN SPOILERS

A thread of lore, Easter eggs, episode connections, and background details from Adventure Time: Distant Lands: Together Again! Let me know if I missed anything! This is adapted from my original Twitter thread.

Keep reading ⬇️⬇️⬇️

1. I was expecting them to perhaps do a classic style title sequence for this episode, but I wasn't expecting them to straight up use the original title sequence. The only difference is this final screen saying "Distant Lands".

2. The background of the title cards is also the hill from the title sequence.

3. The ice cream having "50 flavours" and having an image of an enlightened soul is an obvious reference to the 50th Dead World as we see it later in the episode.

4. Continuing with the metaphor, the dirt in the ice cream could be a parallel to the fact that Jake's Nirvana actually wasn't perfect, because his inaction was allowing for injustice to perpetuate.

5. This whole scene feels immediately slightly off. Finn has his Scarlet sword and is out on a classic Ice King adventure, but he speaks in his grown voice and all the slang feels much more forced than it did in the real season one. Turns out this was deliberate.

6. The snow golem speaks with a baby voice like it did in the pilot episode, even though in canon it has a deeper voice. This further hints that something is not quite right.

7. The first major break in continuity is these snow golems resembling Uncle Gumbald and Peace Master, who Finn didn't meet until later in his life.

8. LSP sitting on Finn's head like this is reminiscent of Pen Ward's piece for the 2018 Ble crew zine.

9. Finn being given the choice of helping somebody but ending up helping everybody reminds me of "Memories of Boom Boom Mountain". It's the kind of resolution that wouldn't happen so much in the late seasons of the show, which helps make this scene feel even further out of place.

10. Jake is half frozen by Ice King in pretty much the exact same way as he was in "Prisoners of Love", and even has a very similar line.

11. The Snail is seen here. The crew have said that the Snail has been deliberately left out of previous Distant Lands specials, so its placement here is another very deliberate hint that this whole sequence is "trying too hard" to be like the early seasons.

12. The book "Mind Games" appears a couple of times, as seen in several previous episodes of Adventure Time. The first is as Finn is approaching the library in his dream. It also appears as one of the items in Finn's backpack later.

13. Jake is hurt when Finn fist bumps him with his metal arm, revealing that this scene is not real. This is also a callback to the title sequences of "Islands" and "Elements".

14. A whole bunch of familiar skeletons are seen in the bird's nest: Dirt Beer Guy, Abracadaniel, Me-Mow, Lemongrab, Mr. Pig, and the Snail again. This doesn't necessarily mean that all these characters are dead, since this scene is just a hallucination.

15. Old Man Finn! He's still got the chest tattoo of Jake, and this time we know that Jake is dead, so the theory that Jake died before "Obsidian" seems pretty likely. He looks similar to his old man design from "Puhoy", with the same facial hair.

16. There are several cameos of familiar characters who apparently died at the same time as Finn. The first is this duck, who previously appeared in "Ocarina".

17. The second is Donny, from the episode... uh, "Donny".

18. This goblin guy is an unnamed background character from “The Silent King”.

19. This old lady first appeared in "The Enchiridion", way back in season one. Old ladies are a species in the Land of Ooo, so I guess she wasn't actually very old back then, given she just about outlived Finn.

20. This is the cobbler who first appears in "His Hero". Amazing that he lived so long given all the trouble he got into in that episode.

21. Land of the Dead! This place was first seen in season two's "Death in Bloom", and now we are finally learning its actual purpose. It's a sort of gateway and hub to all of the other dead worlds.

22. There are some more minor cameos at the gates: a house person from "Donny", a soft person from "Gut Grinder", and a wood person from "When Wedding Bells Thaw". And, of course, the gate guardian himself from “Death in Bloom”.

23. Finn completely ignores the gate guardian in the same way he did in Death in Bloom. This also has the convenient effect of not having to reveal how Finn died, leaving it up to the audience's imagination.

24. Mr. Fox! We already knew he would die at some point because BMO had his skull in the finale.

25. Finn has his design from the first Distant Lands poster in this scene. Turns out it's young Finn in old Finn's clothes. But they gave him a shirt in the poster so you wouldn't be able to see the tattoo.

26. The clapping that Finn does while he's looking for Jake is a callback to "James Baxter the Horse", when Jake tells Finn to listen for that same rhythm if they are killed and need to find each other in the afterlife.

27. Mr. Fox talks about a "past life quotient", suggesting that there might be some kind of limit to how many times somebody can reincarnate. Finn's reincarnations are also seen in this scene; a callback to "The Vault", and confirmation that reincarnations share the same soul.

28. Boobafina, the goose who Mr. Fox was in love with in his debut episode “Storytelling”, apparently reincarnated into a tugboat. We've already seen that objects can have souls in the episode "Ghost Fly".

29. Finn is initially assigned to the 37th Dead World, which is the same one that Jake went to when he died in "Sons of Mars". We can only guess at what the other numbers on the ticket mean ;)

30. Tiffany! Despite several lucky escapes throughout his life, Tiffany has finally died. I like the use of this imagery to express Finn's conflicted feelings about him.

31. The 50th Dead World has long been established as the "highest" dead world, and the one synonymous with Heaven within Adventure Time's universe. It was first mentioned in "Ghost Princess" back in season three.

32. It's unclear what happens to souls which are destroyed within the dead worlds. It is a similar question to asking what happened to the ghosts that were killed in "Ghost Fly".

33. Death doesn't speak at all in Together Again because his voice actor, Miguel Ferrer, passed away in 2017 long before production began.

34. Finn phases through New Death when he tries to attack him, just like what happened way back in "Death in Bloom".

35. The 30th Dead World contains Tree Trunks as well as many of her love interests; Mr. Pig, her alien husband from "High Strangeness", Danny and Randy who first appeared in "Apple Wedding", and several more who we don't recognise, including at least one who presents as a woman.

36. Literally yelled when these two showed up. Joshua calls Finn a crybaby, which is a callback to "Dad's Dungeon".

37. The wall of weapons in Joshua and Margaret's house includes the iconic Demon Blood Sword, which was broken in "Play Date", as well as Margaret's auto-loading crossbow from "Joshua & Margaret Investigations".

38. Jermaine is sidelined a few times through the episode, in reference to his attitude in "Jermaine" where he feels that Finn and Jake were always their parents' favourites. I would have hoped things would be a bit better by now.

39. Fern gets name dropped while Finn and Jake are reuniting. A shame he doesn't actually show up in the episode.

40. In this scene, Finn says "What time is it?" This is a very subtle reference to the 2010 cartoon "Adventure Time".

41. In a couple of shots during this fight scene it looks like Jake might have a tattoo. It seems like it only becomes visible when he stretches out his arm.

42. New Death's amulet in this scene resembles parts of the Lich's cape, foreshadowing his influence on New Death.

43. There are several more cameos in the 50th Dead World: Booshy from "High Strangeness", one of the Marshmallow Kids from "Scamps", and Ghost Princess and Clarence, who were seen ascending to the 50th Dead World in "Ghost Princess".

44. Finn didn't interact with Booshy in "High Strangeness", but it seems they must have met at some point before they both died because Finn knows his name.

45. It seems like people in the 1st Dead World are slowly melted away until they become part of the landscape. Nasty.

46. Lots more cameos in this scene: a gnome from "Power Animal", a gnome from "The Enchiridion", a Bath Boy from "The Vault", Blagertha from "Love Games", Maja the Sky Witch, a troll from "Dungeon", Chocoberry, Choose Goose, Wyatt, a spiky person from "Gut Grinder", and possibly more.

47. Tiffany's insults are consistently nonsensical and amazing, as they were in the original series.

48. The Candy Kingdom looks extremely different. Peppermint Butler is wearing the crown so he might be in charge now, which is supported by the kingdom's very magical-looking augmentations. It’s not clear whether Finn and Jake were expecting to find Princess Bubblegum or Peppermint Butler, since both have the initials “PB” and both could be going by the title of “Princess”. Perhaps Peps and Bubblegum share the princess duties now that PB is living with Marceline more of the time.

49. Peppermint Butler has a "Boss" mug, although it's not the same colour as the one from "Obsidian".

50. Jake's ghost has the same design as he did when BMO killed him in "Ghost Fly". I also absolutely love Finn's ghost. This scene establishes that ghosts are just visitors to the mortal plane from the dead worlds.

51. Life has only appeared in animated shorts before now. Namely, "The Gift That Reaps Giving" which establishes her relationship with Death, and "Frog Seasons: Winter". This episode gives her a concrete place within Adventure Time's pantheon: she is in charge of reincarnation.

52. A translation of Life’s angry French dialogue by Shado: “After all I did for that boy. After all I did for him. No, it's not possible. It's not possible no, that... that makes me so mad but it's not possible.”

53. We finally have in-universe confirmation that Shoko's tiger is a previous life of Jake. This was previously confirmed by one of the writers, but wasn't canon until now.

54. I feel like Finn pulled off Shoko's look even better than Shoko did. I wonder whether Finn has gained the memories of his past lives now that he’s dead.

55. No Easter egg here, just want to appreciate this image.

56. There is an elemental symbol on the wall here, as seen in "Jelly Beans Have Power".

57. Tiffany's dramatic internal monologue is a recurring gag, as is his habit of nearly dying from falling into holes.

58. The Jake suit makes a cameo in the fight against New Death. It was last seen in the episode "Reboot”.

59. Finn's backpack contains a few familiar items: the t-shirt with the pocket from "It Came from the Nightosphere", Finn's underwear from "Little Dude" and other episodes, and a copy of Mind Games as I've already mentioned.

60. The Lich's Hand is present in the background of Death's... death scene. This is probably the unseen "friend" who New Death keeps talking about.

61. The Lich's menacing monologues often begin with a single command. Previously they have included "Fall" and "Stop". This time, the command is "Burn".

62. Jake uses the word "boingloings", which is a callback all the way to "Hitman" in the third season.

63. Jake's blue shape-shifter form from "Abstract" appears very briefly during his fight with Finn.

64. Finn's lumpy space person form also makes an appearance. This design was last seen all the way back in the second episode of the entire show, "Trouble in Lumpy Space".

65. Jake steps on the Lich's hand in a very similar way to how he stepped on Ash in "Memory of a Memory", which is itself a Monty Python reference.

66. The credits include a dedication to a few AT cast and crew who have passed away. Polly Lou Livingston was the voice of Tree Trunks. Miguel Ferrer was the voice of Death. Michel Lyman and Maureen Mlynarczyk were both sheet timers on the original series. Rest in peace.

67. The message that Finn and Jake write out on the ouija board is "BUTT", which Peppermint Butler takes as a distress signal. This message is also used as a distress signal by the Hot Dog Knights in "The Limit".

68. Peppermint Butler's reversed dialogue from the scene where he makes contact with Finn and Jake is "Kee-Oth Rama Pancake", the spell from “Dad's Dungeon” for banishing demons.

69. That appears to be President Porpoise with all of Tree Trunks’ other lovers.

70. In this scene, Life is humming part of "Lonely Bones", the song which Death tried to record for her in her debut short "The Gift That Reaps Giving". It's hard to notice because it's so brief.

71. Finn and Jake's cover is blown while in the Land of the Dead because Jake loudly farts, which also happened in "Death in Bloom".

72. The place where Mr. Fox explains the perception mechanics of the afterlife is the exact same location as the River of Forgetfulness from "Death in Bloom", which, as it turns out, was imaginary.

These are sort of out of order at the end because I was adding stuff to the Twitter thread as it got discovered. That’s all for now!

#adventure time #together again #finn the human #jake the dog #lorepost

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imagine-being-straight · 4 years

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A Message to the TOH Fandom

I’m tired.

I feel like everyone in the fandom can agree that the TOH fandom overall has white favoritism. If you actively deny that we have a problem with white favoritism or are offended that I said this, look at yourself and other people who have been talking about this issue. Really look at yourself and ask why you are offended by what I said. Now back to the TOH fandom’s problem with white favoritism. It’s a huge problem and I don’t think people have realized how bad it’s gotten.

Luz and Amity

Do both of them have amazing content created about them? Yes, but if you look a bit closer to the contents of their contents you’ll see a clear disparity between the two. Luz is more likely to be in Lumity art (which itself isn't a problem), but the problem lies in that she is only there for Amity. Is there still content with her alone and highlighting her character? Of course there is, but for every content that exists for Luz solely, there are at least two others for Amity. Don’t get me wrong I love Amity as much as the next person, but she still is a side character. The Owl House focuses on Eda, King, and Luz mainly. They are the main characters.

When I first joined the TOH fandom, I noticed a lot of Amity focused content. A lot more so than I expected since she is a side character. I understand that a factor in her popularity is her crush on Luz and we’re all really excited for confirmed gay characters, but it doesn’t explain how popular she is. She appears in roughly half of season one’s episodes (I know she technically appears in 11 episodes, but some of her appearances are so minor you can easily forget they happened) compared to Luz being in all 18 episodes. Yes Luz isn’t always the focus of these episodes, but she still changes and develops as a character through most of them.

The reason I’m bringing all of this up is that Amity is white and Luz is a POC. Characters of color in the past have been overlooked and underappreciated in the past, not just in this fandom, but it still happens a lot here. Whether it’s conscious or not, we all have been affected by white favoritism and it is our responsibility to recognize it and change. The Owl House brings more than just gay representation: it brings an Afro-Latina Bisexual protaganist with two major side characters, Willow and Gus, being a mixed Asian-Black character and a Black character. You still think I’m full of shit saying there’s white favoritism in the TOH fandom? Well I’m just getting started here.

Willow, Gus, and Boscha

Boscha herself is an interesting character and I think people see a lot of potential for her character, but the problem is that she overshadows a lot of other characters who are much more important and relevant. Willow is a good example of someone who has been constantly overshadowed by Boscha. Most content I see of Willow is usually Boschlow content (I’m not approving or condemning Boschlow here, this is me just stating some facts) and it’s so unfair to Willow as a character. Willow is more than just Luz’s friend or a quiet girl and more people need to realize that. If you can analyze Boscha’s character in the three episodes she is in, you can do the same thing to Willow, who has been in 14 episodes (three more than Amity). There is no excuse for the lack of Willow content and the abundance of Boscha content.

The same thing can be applied to Gus. Sure he doesn’t get very much screen time, but it is still loads more than Boscha. I have seen barely any content about Gus and the few times I do, he is usually with a group and not alone. No one talks about him and I cannot express how underrated he truly is. If you want some funny content with him, play around with his interest in humans and how he has totally misinterpreted things we know as facts. If you want Gus angst, then write about how young he is and how he could be feeling inadequate despite being smart enough to skip two grades. Amity is seen by the fandom as a whole as being extremely smart, but the fact that Gus skipped two grades, a feat Amity has not done herself, truly showcases how smart Gus really is. It’s not that hard to make Gus content and everyone is just sleeping on him.

The fandom loves to attach itself to Boscha, who may I remind you is white. Willow and Gus, who have way more plot relevance and screen time, are constantly pushed aside for more and more Boscha content. Willow and Gus are beautifully written in the show, but most people overlook it for Boscha, who in the show has been fairly one note so far. If your only argument is that you want to show the background characters some love, then where is the Skara content? Skara has just as much screen time as Boscha, but I’ve seen very little content about her. I guarantee if Boscha was a POC she would have the same level of content as Skara, but since she is white she overshadows literally every other POC supporting character, including those who have had more screen time than her. Don’t even get me started on the Detention Track kids and Emira/Viney. This post is already long enough and I don’t need to make it any longer.

Camilia and Alador/Odelia Blight

Right here is the clearest example of the white favoritism of the TOH fandom. Alador and Odalia Blight have gotten so much content about them and we still haven’t seen their faces. You can easily find so much analysis on them and how their parenting must affect the Blight siblings. You can find so much content about them and we know literally nothing about them other than the fact that they’re abusive. I know Alador is set up to be less abusive than Odalia, but it doesn’t change the fact that he is still abusive to his kids. Whether he approved what was going on or not doesn’t matter because he was still complacent with what was happening.

Now let’s look at Camilia and all her content- oh wait there is basically none for her. All the Camilia content is basically nothing other than CamilEda content (again I’m not trying to bash or approve CamilEda, I’m just trying to state some facts). Camilia did make a mistake in setting Luz to the camp, but that does not make her a bad mother. People need to remember one bad action does not make a bad person. I think Dana herself said that Luz and Camilia do love each other, but they do have their differences, which makes things hard sometimes. Camilia truly does care about Luz and tries her best to do what‘s best for Luz and more people need to recognize it. There is so much untapped potential with Camilia’s character, like how she will react to Luz not coming home or what she will do to try to get Luz back. What if she sees all of the recordings Luz has made for her? How will she react? These are all things we can make content on, yet I see so many people sleeping on it.

Now when you compare how the fandom treats both Camilia and the Blight parents, there’s a clear bias in favor for the Blight parents. The Blight parents are given more attention and content despite having less actual screen time and being actual pieces of garbage. Camilia is shoved to the side despite there being plenty to analyze about her and her relationship with Luz. Camilia is also a good person, which is clearly different to the Blight parents. It’s never been a matter of which parent/child relationship is better because they’re both written very well, but rather the fact that Camilia gets shoved aside every time we talk about parent/child relationships. I mean when you look at it, Camilia and Luz’s relationship with each other is literally the Blight family’s dynamic, except the opposite. The only difference between the two families is that one has POCs and the other is white. And to no one’s surprise, the white family gets more attention and analysis than the POC’s family.

Statistics

If you’re still not convinced here's some cold hard evidence that white characters are more favored than POC characters. I’m going to be using AO3’s (archiveofourown) data on how many works a character is tagged in.

On AO3 at around 6:35 PM EST Oct 3, 2020, The Owl House had 1921 works. As we can see Luz is number one (as she should), Willow is number three, and Gus is number four. They’re ranked fairly high (which was a surprise to me), but when you look at how many works they’re actually in, the white favoritism becomes clear. Amity is tagged in around 1480 works and Willow and Gus each are in 730 and 610 respectively. Willow and Gus are in half the works Amity is. Somehow Willow appears in half the works Amity does even though Willow appears more than Amity in the show. Boscha also has 360 works with her in it, half of what Gus and Willow’s works despite being a very minor character who has appeared only a few times. What's worse is that Edric and Emira are literally 200 to 60 works away from Willow and Gus respectively. Edric and Emira, two white characters who have appeared in literally three episodes, but are tagged in nearly the same number of works as two main POC-supporting characters. Now maybe you’re like “Oh the Blight siblings are only so popular because of Lumity, this data is skewed” so the next picture is of all the characters with all of the romantic relationship tags excluded.

The data shows that the fandom favors the white characters so drastically that there is no excuse or other explanation for it. Lumity being popular doesn’t explain why Amity is still the third most written-about character, even with the Lumity tag being blocked. Quantity of episode appearances doesn't explain why Willow has less content about her because Willow appears in three more episodes than Amity does. The only explanation is white favoritism because the most popular characters are all white (with the exception of Luz, but that’s because she is the main character). Before you tell me “Oh it's because they’re more interesting or they have more potential” actually look and analyze the POC characters because they’re amazingly well written if you actually sit down and analyze them.

Why Calling Out White Favoritism Matters

Now you may be asking: why should I care? Well you should care because the fandom as a whole is literally favoring white characters over POC characters, which is low key racist. It makes people care less about POC characters and actual people which can lead to some internalized racism if not caught early enough. The Owl House tries very hard to highlight their POC characters and actively ignoring or dismissing them is disrespecting the show itself.

I feel like I should make it clear that I’m not shaming anyone who’s favorite character just happens to be white. What I’m doing here is being critical of whether or not a person likes a character because they are white (whether that decision is conscious or not). There is a clear difference between “Oh X is my favorite character, but I recognize the other characters are good in their own ways.” and “Oh I love X and only X. I will only use the other characters to further X’s character and completely ignore everyone else’s complexity”. Please take some time and think about why you like a character and see if you unconsciously love them because they are white. No one is immune to it and even I had to realize I was unconsciously favoring white characters while writing something The Owl House related.

The sad part about all of this is that it needs to be said that racism is bad. It needs to be said that white favoritism is extremely toxic and we should make sure we don’t actively take part or be complacent in it. I know for a fact that other POC have seen this white favoritism, but are too numb to say anything about this because they feel like their voices won’t change anything. The few people who have spoken out haven't been listened too. The fact that I had to step up and make this just to try to get people to listen and I might not even make a difference is so sad to me. The fact that I’m young makes me not numb to the white favoritism. The fact that I dealt with, for the first time, racism at the age of 14, which is extremely late for a POC. The fact that the only reason I can be mad about this is because I dealt with racism so late that I have energy to speak out against this and not be numb to this all. I hate that all of this exists and we all let this happen. We all let this problem fester and now it is now our responsibility to get our priorities straight and change. If we let this problem grow and grow, then in a few years this fandom will be a shell of what it once was.

“We can do this together.” -Luz Noceda

#the owl house #toh #lumity #luz noceda #gus porter #willow park #camilia noceda #amity blight #boscha #edric blight #emira blight #alador blight #odalia blight

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aro-and-tired · 3 years

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Aromantic Experiences in Fandom: Survey Results

PART 1 - PART 2 - ANALYSIS: TIME IN FANDOM - ANALYSIS: AROALLOS VS AROACES

This survey was aimed at aromantic people, to share their experiences with fandom spaces, creating fancontent, and shipping. The survey got a total of 916 responses. The questions were split into various sections.

As the survey itself was quite long, the results will be discussed into two posts. This post will outline what the demographics of the respondents were and what their general experiences with fandom aree. The remaining sections, concerning content creators, shipping and additional comments, will be discussed in a separate post. Each post will have a summary at the end.

In addition, I plan on adding a couple posts discussing results split by certain variables, as I’m curious to see if different groups express different feelings regarding a few matters.

Demographic questions

Question 1: How old are you?

15 or younger - 14.7%

16-20 - 47.1% (largest group by age)

21-25 - 25.9%

26-30 - 8.3%

31-35 - 2.7%

36-40 - 1.1%

41-45 - 0.1 % (one person)

51-55 - 0.1% (one person)

Question 2: Which arospec identities to you identify with?

Considering the identities I had given as options, from most to least used:

Aromantic - 80.5%

Arospec - 28.7%

Questioning - 11.7%

Demiromantic - 11.1%

Greyromantic - 10.9%

Quoiromantic or WTFromantic - 7.2%

Aroflux - 4.3%

Cupioromantic - 4%

Aegoromantic - 3.9%

Aroqueer - 3.3%

Lithromantic or Akoiromantic - 2.8%

Nebularomantic - 1.9%

Apothiromantic - 1.2%

Arospike - 0.7% (6 people)

In addition, to these, most commonly added identities were Freyromantic, Belluromantic and Reciproromantic. Various over identities were added by various participants.

Question 3: Which of the following do you identify with?

Aroace - 51%

Aromantic Allosexual - 16.8%

Angled or Oriented Aroace - 12.9%

Questioning - 8.2%

Non-SAM Aro or Just Aro - 6.3%

I don’t identify any of these - 4.8%

General Fandom Questions

The first question in the fandom section was a check to see whether or not the participants were currently involved in fandom spaces. 96.6% (885) respondents said they are involved with fandom. 3.4% (31) respondents said they are not involved with fandom.

Involved in fandom: yes

Question 1: For how many years have you been involved in fandom?

1 or less - 4.1%

2-3 - 20.1%

4-5 - 26.8% (largest group by time spent in fandom)

6-7 - 19.7%

8-10 - 16.3%

11-15 - 8.5%

16 or more - 4.5%

Question 2: In general, would you say fandom spaces are aro-friendly?

Unsure - 45.9%

No - 43.6%

Yes - 10.5%

Question 3: If you answered no on the previous question, can you elaborate on why?

419 people offered a comment to this question. For starters, different people meant different things when they stated that fandom spaces aren’t aro-friendly. Some said that they feel fandom is not actively aro-unfriendly, but not friendly either - aro-tolerant, is how someone put it. Others instead found fandom spaces to be actively arophobic. Some people also specified that it depends on which fandoms one considers, with some fandoms being more friendly than others.

Almost everyone mentioned shipping as the first reason why fandom spaces are not aro-friendly. This ranged from people who enjoy shipping, but still feel that there is too much emphasis on it, from romance repulsed people who feel extremely alienated due to how common shipping is. The prevalence of shipping means that gen fics are rarer and receive less attentions. In general, it feels as if platonic relationships are seen as inferior to romantic ones and not worth of being explored.

It was also commented upon that some popular tropes can have arophobic connotations. Various participants mentioned soulmate AUs and Hanahaki disease as common tropes that some aros are very uncomfortable with, or that often have arophobic themes in the way they are used.

Many people also stated that they feel as if aromantic headcanons are less respected than other kinds of headcanons. They may receive less attention, especially from alloromantic fans, and at times even get rejected from fandom. Some aro people have reported having been accused of homophobia for headcanoning members of popular M/M or F/F ships are aromantic (or even just not shipping said ships), and accused of erasing gay people’s sexuality even when their aro headcanons concern characters with no canon sexuality.

On the flip side, the rare aromantic representation that exists is often not well respected by alloromantic fans. Many aros have said that it makes them uncomfortable to see allo fans ship aro characters, but their concerns are also often dismissed by allo fans as simple drama. Some people have even reported being themselves called arophobic by those same alloromantic shippers for being uncomfortable with shipping aro characters - the logic used being, that since some aromantic people enjoy dating, it is arophobic to be uncomfortable with aro characters being shipped. It is particularly hurtful that the same fans who get up in arms about respecting the sexualities of canon gay or lesbian characters and become very angry if someone ships them with a character of the other binary gender are often the same people who happily ship aro characters and ignore any argument made by aromantic fans.

Overall, many aromantic people feel that fandoms can be fairly amatonormative, if not straight up arophobic, and that their identities are often not respected and seeing as more trivial than shipping characters together.

Question 4: Do you think it's easy to find aromantic specific content in fandom?

No - 86.9%

Unsure - 7.2%

Yes - 5.9%

Question 5: Do you think alloromantic (non-aromantic) fans are in general respectful of aromantic interpretations of characters/media?

No - 56.7%

Unsure - 34.5%

Yes - 8.8%

Question 6: Have you ever received arophobic hate or harassment over something relating to fandom (aromantic headcanons, aromantic fancontent, etc.)?

No - 82.1%

Yes - 17.9%

Involved in fandom: no

Only 31 people stated that they are not currently involved in fandom spaces and answered the following questions. This is a fairly small sample. The answers here are reported, but it’s possible that they may not reflect actual trends.

Question 1: Have you ever been involved with fandom before?

Yes - 83.9%

No - 16.1%

Question 2: Is the fact that you are aromantic part of the reason you don't frequent fandom spaces?

No - 58.1%

Yes - 41.9%

Question 3: From what you have seen, do you think fandom spaces in general are welcoming to aro people?

No - 48.4%

Unsure - 48.4%

Yes - 3.2% (one person)

Question 4: If you answered no to the previous question, can you elaborate on why?

17 people answered this question. As a general rule, people here had stronger opinions regarding the prevalence of arophobia in fandom compared to those who are currently involved in fandom. Many of them said that they were either personally harassed for being aro when they were in fandom, or that they have witnessed this harassment from the outside. They also mentioned the prevalence of discourse in fandom spaces, with many exclusionists running fandom blogs.

One again, shipping was the most common reason given for fandom spaces being potentially alienating for aro fans, both its prevalence and the existence of things such as ship wars. A few people also mentioned having seen aro headcanons being called homophobic. Soulmate AU and Hanahaki disease were also mentioned as aro unfriendly tropes, and one person also brought up the matchmaker trope.

Someone also mentioned that in addition to aro unfriendly, fandom can also be ace unfriendly, and that asexual headcanons can receive the same backlash as aromantic headcanons. Another person said that while sexual content is common in fandom spaces, most of it is fundamentally alienating to romance repulsed aros, as sexual content almost always involves a romantic component.

Part 1 Summary

Overall, nearly half of aromantic respondents, both those involved and not involved in fandom, state that they feel fandom spaces are not aro-friendly. There’s also a fair number of people who are unsure, and only a minority feels that fandom spaces are friendly to aromantic fans. The amount of shipping that occurs in fandom spaces is mentioned as primary reason why aro fans feel alienated in fandom, especially romance repulsed aros. Many people also mentioned an attitude towards dismissing aro fans, if not straight up harassing them. Fandom arophobia has been remarked upon by various people, and in some occasions led to aro fans leaving fandom entirely.

The majority of fans agree that it’s hard to find aromantic specific content in fandom. A little more than half also states that alloromantic fans are not respectful of aromantic interpretations, with less than 10% of aro fans definitely stating that they believe alloromantic fans support their interpretations.

Lastly, a little less than one fifth of respondents stated that they received harassment due to aromantic headcanons, fancontent, or the likes.

Find Part 2 here

#aromantic #arospec #fandom #survey results

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true-blue-megamind · 3 years

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FAN THEORY SUPPOSITION SUNDAY: The Warden

SPOILER WARNING! It’s still a thing, and, if you haven’t yet, you still need to watch Megamind. (If you have seen it already, however, you need to see it again. Because it’s awesome.)

Yes, yes, the post is three days late this time. Real life has to take priority and such. So sue me. (Don’t really do that. LOL!)

For that same reason—or more accurately because this week has exhausted me—I will attempt to make this post shorter than usual. We’ll see how that goes. My money is on “not well.” LOL.

Anyway, today we’re going to look at a subject that often divides the Megamind fandom: the Warden and his relationship with Megamind. There are several fan theories—I mean, suppositions—surrounding this, but I’m going to be focusing on a few of the main ones.

The first of these is that the Warden was actually a father figure to Megamind when he was young, allowing him to be raised in jail not out of cruelty or disinterest, but because it was the only way to keep him safe from shadowy government agencies that otherwise would have performed all sorts of experiments on the blue alien. This both accounts for why a child would be allowed to grow up in what is clearly a high-security prison for dangerous adult criminals—something that, admittedly, needs some sort of explanation—and fits with widely accepted sci-fi and comic book tropes. (From Area 51 to mysterious “Men in Black” type organizations, fiction is full of government agencies created to study extraterrestrial life and technology.) Some even go so far as to suggest that the Warden may have tried to adopt Megamind officially, but was blocked from doing so by these same entities. On top of this, such an idea also offers room to re-imagine the Warden as a much more interesting, complex, and sympathetic character. Indeed, there has been some excellent fan fiction written about this pseudo-parental relationship.

Art: Fathers And Sons Day by tabbydragon

There is some evidence to support this. The first is that, although the Warden behaves harshly toward Megamind in the “jail-break” scene near the beginning of the film, Megamind himself seems to be trying to engage in a playful exchange: pranking the older man, wishing him a good morning, and even teasing him. While some say that this is simply Megamind’s personality as well as his determination to always appear indominable, others suggest that, perhaps, the blue man is trying to recapture a lost amiability between himself and the prison Warden. It is possible that, when he was younger and less villainous, Megamind might have exchanged friendly jokes and greetings with the man in charge of the jail he called home. It has even been suggested that the Warden is so hard on the blue man at the beginning of the film not because he hates Megamind, but because Megamind’s life choices have hurt and alienated his father figure. This idea finds some support in the facts that, when Megamind leaves jail to confront Titan, the Warden wished him good luck, and at the end of the movie, that same man seems genuinely happy as he watches the television broadcast of his one-time prisoner being named Defender of Metro City. Finally, there is some evidence from the comics which, although not truly considered canon, as I’ve mentioned before, do offer some material for fan theories. In the “episode” entitled Bad Minion! Bad! Megamind runs into the Warden in a bar, and the latter offers the former advice. There is certainly a somewhat fatherly feel to the scene.

The second theory is exactly the opposite: that the Warden either did not care for or outright disliked the former supervillain. Unfortunately, as fun as the Warden/Father Figure concept is, this second, darker idea has far stronger evidence to support it in the film itself. (Try not to hate me, everyone.) These clues range from the obvious to the subtle, but there are quite a few of them to be found.

During the first scene in which we see Warden interact with Megamind, he doesn’t behave like an angry, disappointed father—at least not a good one. He isn’t merely surly toward Megamind; he is absolutely nasty. The Warden verbally condemns the alien, telling him that he’ll “always be a villain,” and essentially steals what he believes is a gift for the blue man, even taunting him by saying: “I think I’ll keep it!” This hardly seems like the actions of someone who once felt any sort of affection for the extraterrestrial. That same portion of the movie holds another clue as well: the screens monitoring Megamind’s brain activity. Indeed, in original concept art for the film, the system appears both more invasive and more nightmarish. It seems that, far from protecting Megamind, the Warden may have actually allowed him to be experimented upon.

Next, there is the newspaper article at the beginning of the title sequence, which bears the headline “Hometown Boy Makes Bad.” It’s hard to see what the paper says, of course, even if you bother to really notice it, but luckily for us Liz (Demishock) wrote a wonderfully thorough blog post which, among other things, provides a transcript of the “news story.” In it, the Warden is quoted as referring to young Megamind as a born villain as well as abnormal.

You don't know this kid. I've watched the little criminal since he was in diapers. This kid is just a bad seed. I've got experienced, hardened criminals in here who are afraid of him - I mean, have you seen the size of his head?… It's not like he's a normal kid… I mean, have you gotten a good look at his gigantic blue head? I don't know where you come from, but where I come it's just not right.

Granted, there seems to be some truth to what the Warden is saying, as the article also mentions that Megamind, who can hardly have been more than seven years old at the time, has basically been put into solitary confinement for the safety of other prisoners following an unnamed incident, adding that the other inmates “refused to point fingers for fear of retaliation.” (This fits with the fan theory that young Megamind would have had to both fight and develop a fearsome reputation in order to protect himself. You can read more about that in the post How Strong is Megamind?) However, the Warden seems to dwell a lot on the fact that Megamind looks alien, and he displays an obvious dislike for the young boy.

Finally, there is evidence hidden in the school scene, although it’s easy to miss. In an amazing two-part video series, Megamind: A City of Deception. YouTuber The Theorizer illustrates several hidden clues about Megamind’s early life and how it it led him to embrace villainy. (I will very likely write another post going into more detail about that at a later date.) One thing that The Theorizer discovered is a seemingly innocuous detail in the background during the popcorn scene. Take a moment to examine the images below. Look closely at the blackboard and you’ll see a paper cut out of a school bus. Look even more closely at that and you’ll find something odd: the bus is full of crayon-drawn children except for one figure: an adult male, riding in the back of the bus, who looks suspiciously like the Warden as he appears at the beginning of the film.

In a movie where so much attention is given to small things—I mean, seriously, the animation team actually went through the trouble to write a news story for a paper that was on the screen less than ten seconds—this cannot possibly be a coincidence. (You can learn more about the artists’ amazing dedication to detail in my post What’s Hidden in the Animation?) Although it is vaguely possible that Megamind, painfully aware of how much his appearance was despised, chose to draw the Warden’s face instead of his own, most fans believe there is a darker reason for this oddity.

Think about it: the Li’l Gifted School for Li’l Gifted Kids is built close by a jail with a strangely similar name: Metro City Prison for the Criminally Gifted. It’s clearly a small academy, yet the only two known aliens in the city—who, by the way, have extremely different social backgrounds—both just happen to attend there. And now the prison warden appears to be somehow involved with the elementary school? It’s bizarre. Add to this the fact that the young alien adopted by a privileged family—a boy who possessed super-strength and laser vision—seemed inclined to be a bully, (as is made obvious by the kickball scene,) and a disturbing fan theory emerges. Adults realized that Wayne Smith, the child who would eventually become Metro Man, might prove dangerous if left unchecked, and came up with a plan to turn him into a hero instead. Wayne was showered with praise, conditioning him to seek public approval, but a superhero needs a nemesis. The strange-looking, unwanted blue boy who’d already been labeled a criminal would have seemed like the obvious choice. If this is true, then Megamind was purposefully, albeit covertly, groomed to become a supervillain from a young age, and the Warden played a major role in doing that.

So there you have it. Two competing fan theories concerning the Warden’s connection with Megamind. Both have some evidence supporting them, and there are fans who are firmly dedicated to one or the other. Which is true? Did the Warden care for Megamind like a son but distance himself when the boy turned to villainy? Or did he judge and despise Megamind but come around to liking him when he finally realized what sort of person the blue man was deep down? The fact is that those questions can be argued for hours on end. No matter which of these suppositions you prefer, however, the mere fact that even a minor supporting character is complex enough to offer room for this debate speaks to the impressive amount of work and devotion that went into creating this amazing animated film.

#Megamind #Megamind movie #Megamind fan theory #fan theory #fan theories #fanon #Warden #the Warden #connection #relationship #relationships

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just-like-playing-tag · 3 years

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How did sexism play a role in affecting tpn?

※ I'm not tagging this as spoiler since I think it might be of interest for anime onlys as well, however some manga events and characters are mentioned here. It's not any major plot point, but pay special attention or avoid reading this if you don't want to stumble across any spoiler at all.

I don't think Anon follows my blog (otherwise the question would have most likely come a long time ago, since sexism in the second season of the anime is an issue I have mentioned several times already), so I think it's fine to link back to all the posts I could find that addressed the matter. Here's some posts that underline in what ways the anime has been sexist:

First of all you'll want to read this post: as I hope to have made clear, it is not only about what she's wearing, it's never about what a girl is wearing.

Secondly here is an early reaction to episode 5 that hopefully clears up what's wrong with Emma's character in the second season

Further readings that address to the matter, approximately in chronological order from when I first read them:

(ﾉ◕ヮ◕)ﾉ*.✧

(ﾉ◕ヮ◕)ﾉ*.✧ (in my tags to the post)

(ﾉ◕ヮ◕)ﾉ*.✧

(ﾉ◕ヮ◕)ﾉ*.✧ (I think this post summarizes pretty well what makes Emma so amazing and revolutionary both as a female protagonist and as a shonen jump protagonist and cutting all of this from her character is, in my opinion, automatically sexist)

(ﾉ◕ヮ◕)ﾉ*.✧

(ﾉ◕ヮ◕)ﾉ*.✧ (in my tags to the post)

(ﾉ◕ヮ◕)ﾉ*.✧

(ﾉ◕ヮ◕)ﾉ*.✧ (this one is in Turkish but can be easily understood with the support of an online translator)

(ﾉ◕ヮ◕)ﾉ*.✧

Probably more were made when episosode 6 came out, but I haven't been following the anime as much since episosode 5 so I can't know. Maybe if I'll find any new post on the matter I'll update this ask.

Anyway, to sum up the main points:

• Emma wears a skirt for no reason, enforcing female clothing categories

• Emma is the only girl showed hunting; additionally, her hunting skills are significantly decreased compared to her manga abilities

• Emma isn't the one to kill the wild demon, and the moment was given to her male counterpart to shine

• The fact that Emma was shown being interested in the shelter garden, while in the manga it was so beautiful to have gender roles subverted with her going out haunting and her male counterpart cooking

• The fact that as soon as Emma loses the support of her (occasionally implied love interest) other male counterpart she becomes weak and depressed and useless

• The fact that she thinks she was wrong and naïve not believing in her male friends' words and following her ideals instead (which is so dumb like... Yeah Emma it surely would have been better to leave them all to die)

• The fact that in the demon town she's the only one not carrying a bow to defend herself (?????)

• How she was clearly dumbed up (though this happened to pretty much all the GF children)

• How Emma has lost all her leader qualities she showed in the manga

• Look the simple fact that. I can't think of a significative thing she's done since the start of the second season. She didn't provide for everyone's food. She didn't make any plan to go save Phil. She's just been crying over herself as the next shonen female side character (can she even be considered the protagonist at this point??)

• One of the most striking things is how anime Emma compared to manga Emma has lost all of her independence and individuality. She has no plan, no idea on how to go on, and is quite literally waiting for some (guy) to come and save her. The way Norman was introduced in the anime as a savior was so upsetting.

• Honestly I consider having cut out so many arcs that showed how strong, resilient, brave, determined she is to be sexist on its own

• The only thing that's left of her character is being kind which is... Honestly extremely problematic. One thing is to show a complex and multilayered character who, among many other qualities and strong points, is also kind and emphatic; another thing is enduring the stereotype that kindness and empathy are the only characteristics girls can have.

• Emma is kind, but not stupid; she doesn't like to kill demons, but she won't hesitate to do so in case they create an immediate danger for her family. Her helping the demon at the temple doesn't make any sense.

And this is only about Emma. It's clearly sexist:

• Don's line in episode 4 that literally translates to “don't cry Rossi, boys don't cry” that is,,,, not only unspeakably gross, but also unbelievably ooc from Don who always supports his family and has cried like five times in the manga, always without an ounce of shame.

• Cutting the scene of Gilda being badass in chapters 59 and 96, that featured her repeatedly threatening a grown-up man

• Not including an arc with amazing female characters with breathtaking fights. In Goldy Pond all the girls are always displayed as being equal to guys in their fighting skills; the best (or at least very talented) snipers are considered to be girls, while the medics are two guys (I like to stress this point because it would have been very easy to introduce a sweet kind nurse girl in that role).

• Honestly cutting Gillian deserves to be mentioned on its own. Such a great complex female character. Her role in Goldy Pond was outstanding, and her scenes in chapters 110, 130, 145 and 172 give so much deepness to her character. Moreover, showing how she doesn't sympathize with demons makes her a nice counterpart to Emma, building a solid cast of diverse female characters with different inclinations and natures. Not to mention how we won't have Gillian chosing to support Emma no matter her opinions, which was such an heartwarming example of girls supporting each other. Honestly I can't not consider sexist to exclude such a well written female character.

• Cutting Anna being praised without shame or envy by her male friends to have become the best of them all in the medicine field (a field women have a particularly hard time being employed in), and her male friends aknoweledging how hard she worked to get her competence.

This is only on top of my mind but there's definitely more. Additionally, we still have to see whether they're intentioned to include Ayshe (a great woc who is mysterious, reserved and an impressive fighter, typical qualities assigned to males) and Legravalima (a badass villain who is greedy and at the top of the demon society, again a typically male role). The changes of Isabella's storyline most likely mean they're also going to change (or fully skip) chapter 170, which was such an empowering moment for the mamas and made such a nice metaphor of women overthrowing an oppressive system to find freedom.

Honestly, I could have ignored some of these things had they been lone cases, but all of this together? Again, I'm not saying that CloverWorks is entirely bad, but the second season of the tpn anime surely cannot be praised for its female representation.

#Uuh finger crossed that I didn't mess up the links?#My sister kinda made me understand that the kaomoji are cringe but oh well I didn't know what to attach the links to #And pasting the html was kinda sad #tpn #the promised neverland #tpn emma #tpn gillian #tpn anna #tpn analysis #mine #tpn salt #people asks me stuff #Me: Please don't send me anymore negativity if you can #Anon: explain why the anime is sexist #(╥﹏╥)#But hoping this was a legitimately interested question- I hope I was able to help clear up the matter!!!#Anon (or anyone else) can feel free to reply I'm always in for considering things from different points of view!!

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michaels-blackhat · 3 years

Note

thoughts on evil Forrest 😈

We are going to start out by apologizing. This is very very late. I’m sure when you sent this ask, you meant it to be in the same joking tone that I approach all of my other propaganda posts. Sadly, this is actually going to be a deep dive into a few Evil Forrest related things, including the moment I feel they changed directions, the perfect wasted build-up, and the implications of the change/how it then negatively impacted the story. As I’m sure you already know, by being on my blog at all, I don’t think the story was good to begin with, so we are going to focus on the weird hoops they made themselves jump through to make that story still work. Additionally, I am only going to mention once, right now, how much of a waste it was to not have Forrest ‘fall for his mark’ and complete one of my absolute favorite tropes. Honestly, I think “because I want it” is a completely valid reason to like Evil Forrest. But, the question was “Thoughts on Evil Forrest” and these thoughts have been developing for over a year and a half. So, I apologize in advance.

The majority of this is under a cut, with highlights in the abstract. If no one wants to read this, I understand completely. Go ahead, skip it.

Note: it pains me greatly to not actually have full sources for this essay. Just know that in my heart I am using proper APA citations, I just absolutely do not feel like digging through tweets to find sources to properly cite.

Abstract:

Previous research indicates that Roswell New Mexico has a history of repeating excuses to explain mid-season changes to plots. This essay explores how those excuses are not only loads of crap, but how they hinder the show’s ability to tell a coherent story, misuse the multiple-plot structure to enhance the themes being explored, and lead to decisions that mean the show continuously goes over budget. This also means that characters are not used to their full potential and has led to what some fans consider to be “out of character” behaviors. While these behaviors are not universally agreed on, evidence can be shown that these behaviors directly contradict emotionally important character arc/plot points in the show.

The author of this paper acknowledges that the show took some strides to mend this problem. However, once again no consensus could be found on whether Forrest was a low-level member of Deep Sky and thus just allowed to fuck off on a bus, or his job was recruitment because he did a piss poor job of making Alex not join.

The concept of Evil Forrest has been with the fandom as early as New York Comic Con (NYCC) in 2019, when it was revealed that Alex had a new “blue-haired love interest”. Speculation abounded within the fandom, with some people, including the author, going “yeah, he’s evil” while others rejoiced in the concept of Alex having a loving partner. Speculation increased as fans discussed Tyler Blackburn’s seeming disinterest in his new love interest, prompting some once again to scream “EVIL” at the top of their lungs to anyone who would listen. Very little was revealed, beyond the fact that the new character would show up somewhere around episode 3 of the second season.

Episode 2.04 aired with some commenting on how he barely interacted with Alex- prompting more evil speculation- and others excited to see the characters interact more. The character appears again in 2.06, where he invites Alex to dubious spoken word poetry (which Alex attends); 2.08, where they have a paintball date and go to The Wild Pony; 2.10, where the two are seen writing together briefly at the beginning of the episode; and 2.13, where Alex performs his song at open mic night, tells Forrest his relationship with the person in the song was long over, and they kiss. Forrest was not revealed to be evil during season 2.

Amidst the season airing, Word of God via Twitter post announced that yes, Forrest had originally been planned as a villain, though not the main villain, but it was changed as filming progressed.

The Word of God Twitter post revealed that Forrest had originally been planned as a villain, but they decided that they could not make their “blue-haired gay man” a villain. This mirrors a similar situation and excuse used the previous season, where the character of Jenna Cameron was originally planned to work with Jesse Manes against the aliens, before it was changed because they just “loved Riley [the actress] too much”. Both of these examples occurred while already filming and reflect on a larger problem with the show. Though not the topic of this essay, it is important to note that both characters are white, both in the show and by virtue of being played by white actors. The fact that they couldn’t be villains for one reason or another is not a courtesy extended to the male villains who are all the most visibly brown, and thus ‘other’, members of the cast.

This also highlights the fact that, via Twitter, it has been revealed two other times that occurrences that were reported in season 1 also occurred in season 2. During the airing of episode 1.02, it was revealed that the single best build-up of tension in the show- when Alex walks to the Airstream not saying a word to Michael after a dramatic declaration- happened because one actor was sick at the time and they had to go back and film the kisses later. At the point of airing for episode 2.08, it was revealed that one of the actors were sick and unable to film a kissing scene. Allegedly, this caused the writers to retool the entire scene and deviate from the plan to make that subplot about Coming Out. The execution of this subplot will be explored later in this essay.

The last occurrence revealed via Twitter also revealed larger issues within the show: lack of planning and poor budgeting. During the airing of season 1, Tyler Blackburn was needed for an extra episode beyond his contracted 10. A full explanation was never given, but speculation about poor planning and to fill in because Heather Hemmens had to miss one of her 10 episodes due to scheduling conflicts for another project. During the airing of season 2, yet another tweet came out saying they made a mistake and Tyler would once again be in an additional episode. No explanations beyond “a mistake” were given, though once again speculation occurred. It is the opinion of the author that this was due to changing plot points over halfway through writing, while episodes were already in production. It has been speculated by some that these changes occurred during the writing of 2.08, which was being finished/pre-production was occurring roughly around the time of NYCC 2019.

Previous Literature:

A brief look at different theories of plots and subplots

Many people have written on the subject of plotting, for novels and screen alike. The author is more familiar with film writing than tv, but a lot of the concepts carry over. Largely, the B- and C- (and D- and E-… etc) plots should reinforce the theme of the A-plot. This can be through the use of a negative example, where the antithesis of the theme is explored to reinforce the theme presented by the A plot, or through other examples of the theme, generally on a small scale.

A movie example of this would be Hidden Figures (2016), where the A-plot explores how race and gender impact the main character (Katherine Johnson) in her new job. The B-plots explore the other characters navigating the same concepts in different settings and ways- learning a new skill as to not become obsolete and breaking boundaries there (Dorothy Vaugn) and being the first black woman to complete a specific degree program and the fight it took to get there (Mary Jackson). A TV example that utilizes this concept of plot and theme is the 911 shows. Each of the rescues in a given episode will directly relate to the overall theme of the episode and the overall plot for the focus character. This example is extremely blunt. It does not use any tools to hide the connection, to the point you can often guess the outcome for that A-plot fairly quickly.

This is not the only way to explore themes within visual media. Moonlight (2016) looks at three timestamps in the life of Chiron. Each timestamp has a plot even if they feel more like individual scenes or moments rather than plots as some are more used to in films. Each time stamp deals with rejection, isolation, connection, and acceptance in different ways. So while there is no clear A-, B-, or C-Plot, each time stamp works as their own A-Plot to explore the themes in a variety of ways, particularly by starting out in a place of rejection and moving to acceptance or a place of connection to isolation.

Please note that there are many ways to write multiple plots, there are just two examples.

While there are flaws within season 1 of RNM, overall the themes stayed consistent throughout the season, mainly the theme of alienation. The theme threads through the Alien’s isolation/alienation from humanity which is particularly seen through Michael’s unwillingness to participate and Isobel’s over participation. There is Rosa’s isolation from others, how her friendship with “Isobel” ended up compounding her existing alienation from her support system due to her mental illness and coping mechanisms. We see how Max and Liz couldn’t make connections. This theme presented itself over and over in season 1. While this essay is not an exploration of the breakdown of themes in season 2, it should be noted that there were some threads that followed throughout the season. The theme of mothers/motherhood was woven throughout season 2, with some elements more effective than others. Please contact the author for additional thoughts on Helena Ortecho and revenge plots.

One of the largest problems within season 2 was the sheer number of plots jammed into the season. These plot threads often ended up hindering the effectiveness of the themes and made the coherence of the season suffer. Additionally, a lot of them were convoluted and difficult to follow.

Thesis:

Essentially, season 2 was a mess. To look at it holistically is almost an exercise in futility. Either you grow angry about the dropped plots and premises, you hand wave them off, or you fill them in for yourself. Instead, this essay proposes to look at individual elements to explain why Forrest should have stayed evil.

We first meet Forrest in 2.04 when he is introduced on the Long Family Farm, which we later learn was the location where our past alien protagonists had their final standoff. He’s introduced. He’s largely just there. The audience learns he has more of a history with Michael. In 2.06, we meet him again with his dog Buffy (note: poor Buffy has not been seen again and we miss a chunky queen). There’s mild flirting, Alex is invited to an open mic night, which he attends. For the purpose of this essay, the author’s thoughts on the poetry will not be expressed. Readers can take a guess.

It is after this point that the author speculates the Decision was made. This choice to make Forrest not evil- paired with the aforementioned ‘can’t kiss, someone’s sick’- impacted the plot. We have Alex have a scene with his father- which the author believes could have been pushed to a different episode- and then have Alex go on a date and then not kiss Forrest at the end of the night. Here, the audience sees Forrest hit Alex in the leg, allegedly not knowing he had lost his leg despite ‘looking him up’, which parallels the shot to the leg that happens to Charlie. Besides wasting this ABSOLUTELY TEXTBOOK SET UP WTF, it also takes Alex away from the main plot and then forces a new plot for him. Up to this point, Alex’s plot was discovering more about the crash and his family’s involvement. Turning Alex’s date from a setup for evil Forrest to a Coming Out story adds yet another plot thread to a packed season. It is also the author’s thought that this is where the convoluted kidnapping plot comes in. With Forrest already in 2.10 for a moment, a plot where Alex is evil has Forrest attack him for Deep Sky rather than Jesse abduct him for a piece of alien glass Alex was going to give him anyway and then for Flint to abduct Alex from Jesse. It’s messy. In a bad way. Evil Forrest would have been a cleaner set up: no taking back a piece of alien glass Alex gave to Michael in a touching moment. No double abduction. Instead, there is only Forrest, who Alex trusts, breaking that trust to take him as leverage over Michael.

Implications:

Now, Alex has two plots (Tripp & Coming Out). The Coming Out plot is largely ineffective, as they are only relevant to scenes with Forrest and have the undercurrent of there only being a certain acceptable way to be out. This could have been used for Alex to discover his comfort levels, mirroring Isobel’s self discovery, but there was not enough screen time for that. Additionally, Isobel’s coming out story was about her allowing herself the freedom to explore. Alex’s story was about the freedom to… act like this dude wanted him to. Alex’s internalized homophobia played out often in the series but it was also informed by the violence he experienced at Jesse’s hands and the literal hate crime he and his high school boyfriend experienced. With that in mind, the “kissing to piss off bigots” line comes off poorly. This is a character who experienced what a pissed off bigot could do- reluctance to kiss in public is not the same as not being out. There is more to be said on this topic, but as it is not actually the focus of the essay, it will be put on hold. To surmise: Alex’s coming out is attempted to be framed as being himself, but it is actually the conformity to someone else’s ideals. It does not work as an antithetical to Isobel’s story, as the framing indicates that the conformity/right was to be out contradicts Isobel’s theme.

Further Research:

MAKE FORREST EVIL YOU COWARDS

Author Acknowledgements:

The author of this paper acknowledges that the show took some strides to mend this problem. However, once again no consensus could be found on whether Forrest was a low-level member of Deep Sky and thus just allowed to fuck off on a bus, or his job was recruitement because he did a piss poor job of making Alex not join.

#anti forrest long #i guess #evil forrest propaganda #I asked and no one said don't post it so...#here it is #I started writing this roughly 7 months ago

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ljones41 · 3 years

Text

"The Deconstruction of Dr. Jack Shephard"

"THE DECONSTRUCTION OF DR. JACK SHEPHARD" I have a confession to make. I must be one of the few fans of the ABC series "LOST" (2004-2010) who did not dislike the series' lead character, Dr. Jack Shephard. Before anyone makes the assumption that he is a favorite character of mine, let me make one thing clear. He is not. But for some strange reason, I never disliked Jack. I still do not.

Throughout most of the series’ run, many "LOST" fans had consistently ranted against Jack’s faults. Mind you, he was not the only flawed character in the series. In fact, most of the major characters seemed to possess some very serious flaws. Jack Shephard seemed to be one of very few characters that had drawn a considerable amount of ire from the fans. I do not know why he was been specifically targeted by these fans. But I cannot help but wonder if the combination of Jack’s role as the series' lead character and his flawed personality had set fans against him. Now, someone might claim that my last remark sounds ridiculous. As I had earlier pointed out, most of the major characters are also seriously flawed or have committed some serious crimes. Extremely flawed characters like John Locke, Jin Kwon, Michael Dawson, Kate Austen, Miles Strume, Ana-Lucia Cortez, Charlie Pace, Sayid Jarrah, James "Sawyer" Ford, Sun Kwon, Boone Carlyle, Mr. Eko, Juliet Burke and Shannon Rutherford. Hell, the list was practically endless. And yet, the only other character who had received as much criticism or hate as Jack was Ana-Lucia Cortez. Why? Well, I have my theories. Both Jack and Ana-Lucia had assumed leadership among the castaways at one time or the other, due to their personalities, circumstances and professions. Ana-Lucia assumed leadership of the Tail Section passengers that crashed on one side of the island and remained stuck there for forty-eight (48) days. Since Day One of the Oceanic 815 crash, Ana-Lucia had stepped up and utilized her skills as a police officer to save lives and make decisions when no one else would. Jack, a spinal surgeon, did the same with the surviving passengers from the Fuselage Section on the other side of the island. In one early Season One episode, (1.05) "White Rabbit", he seemed willing to back away from the role of leader, until John Locke convinced him to resume it. Jack remained the leader even after Ana-Lucia and the remaining Tail Section passengers joined the Fuselage camp by the end of Season Two’s (2.08) "Collision". And it was not until after his departure from the island in the Season Four finale, (4.13/4.14) "There's No Place Like Home, Part II" with Hugo "Hurley" Reyes, Sun Kwon, Sayid Jurrah, Kate Austen and Aaron Littleton (the Oceanic Six) that he finally relinquished the position. Recalling the above made me realize something. Human beings – for some reason or other – expect leaders to know everything and always do the right thing. Always. And without fail. Humans seemed to have little tolerance toward the imperfections of our leaders. This certainly seemed to be the case for fictional characters who are leaders. And many fans of "LOST" had harbored a deep lack of tolerance toward Jack and Ana-Lucia’s personal failings. In the case of the former L.A.P.D. police officer, many fans had complained of Ana-Lucia's aggressive personality. They also accused her of being a bitch. In other words, being aggressive and hard – traits many have claimed are more suited for a man - is a sure sign that a woman is a bitch. And unlike other female characters on the series, Ana-Lucia lacked the svelte, feminine looks prevalent in productions such as the 2001-2003 "LORD OF THE RINGS" saga. Actually, gender (and racial) politics may have played a role in the fans' opinion of Jack. His main crime seemed to be that he did not fit the image of a heroic leading white male character. Physically, he looked the part. Unfortunately for Jack, he had failed to live up to those looks. He made the wrong choices on several occasions – choices that included his decision to continue Daniel Farraday's plan to set off the nuclear bomb Jughead in the Season Five finale, (5.16/5.17) "The Incident". It is interesting that many fans had dumped most the blame upon Jack’s shoulders regarding that bomb. And he was partially to blame. But those same fans had failed to remember it was Daniel Faraday who had first insisted upon setting off the bomb to reset time back to the day of Flight 815’s crash – September 22, 2004. And they also failed to recall that Dr. Juliet Burke's decision to set off the bomb for her own reasons was the final action that led to her death. Many had accused Jack of failing to be a proper parent figure to his nephew, Aaron Littleton, during his three years off the island. And at the same time, many had praised Kate Austen for pretending to be the boy’s mother. I found this rather perverse and a little disgusting, considering that Kate had set in motion the lie about her being Aaron’s mother. Jack (along with the remaining members of the Oceanic Six) was guilty of supporting Kate’s lie. But instead of criticizing both for lying about Aaron and keeping him from his Australian grandmother Carole Littleton for nearly three years, many fans had criticized Jack for not being an effective father figure to Aaron and praised a kidnapper like Kate for being a good mother. Ah, the ironies of life. Many fans had accused Jack of being emotionally abusive toward Kate. And yes, they would have every reason to criticize his behavior in episodes like (1.11) “All the Best Cowboys Have Daddy Issues”. But Kate’s own behavior in episodes like (1.12) “Whatever the Case May Be”, which featured her constant lies and attempts to manipulate him and others, occasionally triggered his temper. If one character is going to be criticized for the situations I have previously described, the other character involved should be criticized for his or her own questionable behavior. Some of Jack's other mistakes included sanctioning Sayid’s torture of Sawyer, failure to organize a genuine search for the only child passenger from Oceanic 815′s Fuselage Section, the kidnapped Walt Lloyd, instigating that ludicrous search for Walt’s dad Michael Dawson and communicating with Martin Keamy and the other hired mercenaries aboard the S.S. Kahana. Yet, he had received more complaints about his relationship with Kate, along with his tendencies to get emotional and shed tears than for anything else. Once again, many “LOST” fans managed to prove that we still live in a patriarchal society. It was okay for female characters to shed tears in very emotional moments, but not male characters. Especially if that one male character happened to be the series’ leading character. Jack's penchant for tears was not the only sign of how some fans can be hypocritical. I have written articles criticizing some of the series' other characters. Most of my articles have criticized Kate Austen. I will be honest. I used to dislike Kate very much. However, my dislike of her has finally abated - somewhat. Most of my dislike had stemmed from her past flaky behavior and especially from the fans’ tendency to excuse her mistakes and crimes . . . or pretend that she had never done anything wrong. However, Kate was not the only character given this leeway. James “Sawyer” Ford had murdered three people – one in Australia and two on the island - within a space of two to three months. Yet, many fans had made constant excuses for his actions. I never disliked Sawyer. But I have complained about his flaws, mistakes and crimes on numerous occasions. When I did, many fans had pretended that he had done anything wrong. And to this day, I still find this frustrating. Sometime back in Season Two or Season Three, actor Matthew Fox and the show’s producers, Carlton Cuse and Damon Lindelof, made it known to the media and viewers that they were doing something different with the Jack Shephard character. They took a superficially heroic type – a brilliant surgeon that assumed leadership of a group of stranded castaways – and deconstructed him. In other words, they slowly but surely exposed his flaws and took the character to what could be viewed as the nadir of his existence. Jack eventually climbed out of that existence by the series’ last season. But certain fans on many "LOST" message boards and forums made it clear this was not a path they had wanted Jack to take. Instead, these fans had wanted – or demanded that Jack behave like a conventional hero. During most of Season Six, Jack had managed to avoid indulging in self-destructive behavior. He also refrained from displaying any inclination to pursue a romance with Kate. The worst he had done was engage in a temper tantrum over his discovery that the island’s spiritual "man" Jacob had been observing and possibly interfering in the lives of several castaways. Another personality change I noticed was that he had passively allowed others to take the lead without questioning their decisions. I must be honest. I never liked that particular period in Jack's emotional makeup. It made him seem like a mindless moron. Did Jack finally become the hero that so many had demanded, when he saved the island in the series finale? Apparently, those responsible for the Emmy nominations believed he had. Why else did they finally nominate Matthew Fox for a Best Actor in a Drama award, after the series' final season. Mind you, Fox had been giving outstanding performances since the first season. But when Jack finally became a likable and somewhat conventional hero, they deemed Fox worthy of an Emmy nomination. Dear God. Personally, I never did care about Jack Shephard's status as a hero. Nor did I really care for his passive behavior in Season Six. But I did hope that he had finally discovered some inner peace for himself. And I believe that he did during the series’ final moments.

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a-secret-bolton-vampire · 3 years

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Been wanting to do this one for a long while. Thinking a lot about Fire and Blood because House of the Dragon is coming up, and there are quite a lot of parallels between the Dance of the Dragons and the main ASOIAF series. More below...

The Dance of the Dragons happened, in part, because the legitimacy of Rhaenyra's children was in question. Jacaerys, Lucerys, and Joffrey (how fitting, two bastard children named Joffrey) had brown hair instead of the typical silver-blonde hair of Targaryen and Velaryon children, and their father was not Laenor Velaryon, but rather Harwin Strong. Because of this, Rhaenyra's claim to the Iron Throne was contested, since her heirs would be bastards.

Not too dissimilar to the beginning of the War of the Five Kings, where Cersei, the beautiful queen of King Robert, fathered three bastard children in secret with her brother Jaime, all of them with the golden blond hair of the Lannisters. Then when Robert died, Joffrey ascended the throne, and Ned backed Stannis, who was in truth the rightful heir to the throne... we all know how that went of course. Also, while Rhaenyra's Joffrey was the youngest of the three, Cersei's Joffrey was the oldest of the three.

Rhaenyra and Cersei are very strong parallels. Rhaenyra was secretly involved in an affair with a family member (her uncle Daemon) whilst Cersei was involved in a secret affair with her own family member (brother Jaime). The difference, of course, being that Rhaenyra ended up marrying Daemon because Targs do Targ things, and Cersei just kept her affair with Jaime secret because they weren't Targs. In addition, Rhaenyra ended up losing all three of her children, becoming more and more bitter and distraught, becoming prone to paranoia.

Meanwhile, Cersei has thus far only lost Joffrey, but the valonqar prophecy states she will lose all three of her children. Like Rhaenyra, though, after the death of Joffrey, she does become more prone to paranoia and is increasingly bitter. Rhaenyra was eventually fed to Sunfyre by her half-brother Aegon. If Jaime is truly the valonqar, then Cersei might end up being killed by her brother as well. Eventually, Rhaenyra did end up becoming estranged from Daemon, and currently Cersei is estranged from Jaime.

However, a better Dance parallel with Cersei and Jaime is Rhaenyra and Criston Cole. They were lovers, a future queen with a member of the Kingsguard. They later suffered some sort of estrangement (the nature of which is a source of conflict in terms of what is real) that led to Criston eventually siding with the greens over the blacks during the Dance. Criston also was made Hand of the King, while Cersei presses for Jaime to be made Hand, but he refuses the position.

However, Rhaenyra isn't the only Cersei parallel. Alicent Hightower is another. Like Cersei, she supports her eldest son in claiming the throne against its lawful heir, and is the dowager queen of the former king... And she is the daughter of the Hand of the King, who is a member of one of the richest, most powerful families in the kingdoms. However, Rh

But the parallels run even deeper than that. It shocked me to see how far these go. The story of Aegon III and Viserys II as children is not too dissimilar to both the story of Daenerys and Viserys after Robert's Rebellion and some of the Stark children. Like Dany and Viserys, Viserys II ended up spending a lot of time in the Free Cities, specifically Lys, although he was captured in battle and returned as a hostage, whereas Dany and Viserys spent time in Illyrio's mansion as guests. Arya also went to Braavos, a Free City, but that's about where the similarities end so that isn't very intentional, I think.

Nonetheless, both Aegon and Viserys spent the majority of the war separated from each other and only reunited after it ended. Likewise, the Stark children were separated from each other for the majority of the war as well, and seem poised to reunite after the initial War of the Five Kings is over. And speaking of Starks, Aegon III does have a slight parallel with Bran.

As confirmed by George, Bran will be the King of Westeros by the end of the books, and there is a moniker given to him in the show that actually does appear in the books, of Bran the Broken. Meanwhile, at the end of the Dance, Aegon is now the King, and he is known as the Broken King, because of his extreme PTSD and depression from his traumatic experiences during the war.

Doesn't even end there. Now we get into some of, in my opinion, the biggest parallels with the Dance and ASOIAF proper. We all know about R+L=J, and the Dance has not one, but two big nods to this. First is the story told by Mushroom of when Jacaerys visited Winterfell. Supposedly, he fell in love with Cregan's bastard half-sister Sara Snow, and the two secretly wed before the Winterfell heart tree. Regardless of the validity of the story, Cregan and Jace did end up agreeing to what was called the Pact of Ice and Fire, wherein Jace's firstborn daughter would marry Cregan's son Rickon... son of a Targaryen king marrying the daughter of Lord Stark? Hmmm....

However, the other one is a lot more significant, to me anyways, and that would be the relationship between Crown Prince Aemond One-Eye and Alys Rivers. During the Dance, when Aemond took over Harrenhal, he took Alys Rivers as his paramour. The mysterious Alys was said to be a witch who was a bastard of House Strong, a House that has strong ties to the First Men. So, Valyrian crown prince and a First Man woman in love... but don't worry, it gets extremely apparent afterwards.

Aemond impregnates Alys and leaves her in a tower to go fight Daemon, during which Aemond is killed, leaving Alys all alone. Rhaegar impregnates Lyanna and leaves her in a tower to go fight Robert, during which Rhaegar is killed and leaves Alys all alone... then, years later, during winter, the Hand of the King Tyland Lannister tries to get together a force to retake Harrenhal, as it is held by brigands and thieves and broken men, only to find Alys there... with a young child she calls her and Aemond's trueborn son, and the rightful King of Westeros.

If that isn't enough for you, there is a very distinct similarity in the armour of Rhaegar and Aemond. Rhaegar's armour is mentioned to have been;

Seventeen and new to knighthood, Rhaegar Targaryen had worn black plate over golden ringmail when he cantered onto the lists.

And:

The day had been windy when he said farewell to Rhaegar, in the yard of the Red Keep. The prince had donned his night-black armor, with the three-headed dragon picked out in rubies on his breastplate.

Compare this to Aemond's own armour.

Vhagar had come at last, and on her back rode the one-eyed Prince Aemond Targaryen, clad in nightblack armor chased with gold.

It seems clear to me that George is trying to tell us something. I think Aemond and Alys are a sort of dark mirror to Rhaegar and Lyanna. Rhaegar was considered a very noble, chivalrous prince who was well loved by the smallfolk, and Lyanna had a strong sense of Stark justice (as seen in the Knight of the Laughing Tree story). Meanwhile, Aemond was a narcissistic, psychopathic mass murderer who seems almost Ramsay-esque in his demeanour. And Alys seems more power hungry and eventually took over Harrenhal as its witch queen. But the fact they have what Alys claims to be their trueborn child and true king of Westeros does strongly suggest Rhaegar and Lyanna did eventually marry and Jon is their trueborn son, not a bastard.

I hoped I would be done by now, but there is still even more parallels. Cregan Stark and Eddard Stark are parallels and foils. Ned becomes Hand of the King and travels south to uncover who poisoned the previous Hand of the King, before the War of the Five Kings starts. Meanwhile, Cregan travels south and arrives at King's Landing after the Dance was over, then becomes Hand of the King to uncover who poisoned the previous king (Aegon II). However, while Ned was cautious and not really a big player of the game of thrones, Cregan was ambitious and knew what he was doing, even if his actions weren't always the best (attacking Storm's End, Oldtown, and Casterly Rock after the war was essentially over? Not a good idea, Stark).

The Regency of Aegon III in and of itself is a metacommentary to the writing process of ASOIAF. Originally, after GRRM finished ASOS, he decided to do a 5-year gap between that and what was to be ADWD. However, that ended up not working out, so he scrapped it all together. During that time, Tommen would've remained king, and his reign would be under a regency. So thus, Aegon III having a 5-year regency (from 131 to 136 AC) during that time alludes to that.

And then you get to Unwin Peake, my least favourite character in Fire and Blood. He appears to be a combination of Mace Tyrell and Randyll Tarly. Personality wise, he is very much like Randyll. He is a very outspoken misogynist, a very proud man, and a noted warrior wielding a Valyrian steel blade (that he likely stole from Tumbleton since Orphan-Maker was from House Roxton originally). He also changed out Aegon III's master-at-arms to be Gareth Long, who was a very harsh taskmaster, who routinely engaged in abusive tactics with the boys he trained when they didn't meet his expectations, including days without sleep, doused in tubs of ice water, being beat, and having their heads shaved, which is very reminiscent of Randyll's abuse of Sam as a child.

Unwin and Randyll also dealt with lawful punishment in very harsh ways, as seen by Randyll's treatment of those who break the law at Maidenpool, and Unwin's clearing the Red Keep cells during the Feast of Our Father Above. However, Unwin has a lot of similarities with Mace Tyrell as well. Mace is on the small council, and has routinely tried to engage in nepotism by implanting allies and family members of his into positions at the council and at King's Landing, including marrying Margaery to the king, becoming Hand of the King, having Paxter Redwyne be the lord admiral and Randyll Tarly the lord justiciar, try to bring his uncle Garth to become the new master of coin, and Garth's bastard sons to join the gold cloaks, not to mention the Conclave nearly sending his uncle Gormon to become the new Grand Maester (something Mace will surely approve of), Mace having his son Loras join the Kingsguard, and even try to betroth his heir Willas to Myrcella.

Meanwhile, Unwin engaged in much more rampant and unchecked nepotism. He was Hand of the King and Lord Regent, had Ser Gareth as master-at-arms at the Red Keep, since he was master-at-arms at Starpike, while his widowed aunt Clarice Osgrey was put in charge of Queen Jaehaera's household, Lord George Graceford (a member of the Caltrops that Peake himself was involved in) was appointed as the Lord Confessor, and Ser Victor Risley, the other surviving member of the Caltrops, was appointed to the position of the King's Justice.

He even dismissed Septon Eustace and replaced him with Septon Bernard, another relative of his. He also had his nephew Amaury and his bastard half-brother Ser Mervyn Flowers put onto the Kingsguard, while his uncle Gedmund was made the master of ships. Not to mention his attempted marriage between his daughter Myrielle and Aegon III. So basically the Peakes are the Tyrells of their day, trying to take control of the Seven Kingdoms and the Iron Throne.

And that is all that I can remember! I'm sure there is a lot more, but it's striking to see just how many parallels there are between the Dance and ASOIAF itself.

#asoiaf #asoiaf meta #dance of the dragons #fire and blood #war of the five kings #asoiaf parallels

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glass-rose-paperweight · 4 years

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The Mysterious Case of Queerbaiting

BBC Sherlock

There’s one thing about BBC Sherlock that has never made sense to me. As I’m sure many of you are aware (and something I’ve talked about before), BBC Sherlock has been accused of Queerbaiting, of intentionally setting up John and Sherlock as being attracted to each other but never following through with that or even intending to do it. And it’s one of those things that has just always baffled me; I can’t make it make sense. A lot has already been said about the way things are portrayed in the show and what the subtext behind a million different things could mean (seriously, I love that I am part of a fandom with so many perceptive and intelligent people; watching the show is only half the fun) and how none of it makes sense. Today, I would like to use my powers of deduction get to the bottom of this mystery.

The way I see it, there are 3 possible explanations.

1. The Producers of the Show Queerbaited

I have to admit, this seems unlikely given that one of them is literally a gay man. Why would a gay man knowingly and intentionally engage in something like this? Why would a gay man write a script that constantly pokes at Watson’s sexuality if the only point was to make it into a joke? To say ‘oh, no, the poor straight guy is constantly mistaken as gay. Look at how defensive he is getting, hahaha, what a funny joke’. That just makes no sense. It makes no sense for Mark Gatiss to have gone to the lengths he has gone to within the show, from whatever direction he gave the actors so that they portray an obvious chemistry between Sherlock and John to having a jealousy trope at John and Mary’s wedding except it’s Sherlock getting Jealous over John’s ex commander to this interesting thing about the best man speech to Mary saying ‘neither one of us were his first’ or ‘the man we both love’ or ‘I know what the two of you could become’ to Sherlock putting John Watson face on The Ideal Man to all the gay artwork in TBB (I could not for the life of me find this meta even though I know I saved it, and I am so distressed) to a thousand other things that the fandom has discussed over and over and over again. Who puts that much effort into queerbaiting? Especially when you would have a vested interest representation? So, it just doesn’t make sense for those directly involved with the show the be the reason.

2. Higher Ups at BBC Told Them No

This seems much more plausible to me, however I still doubt it. I can’t say I know just a whole lot about BBC, but I do know they have tended to be on the more progressive side of things, and I just really can’t see any of the higher ups just flat out refusing to allow the writers to make Johnlock canon. The first season gets a pass because I’m pretty sure that openly same sex couples weren’t allowed in media at the time (I think it was allowed in 2011, but I’m honestly not sure. I’m in the US, not the UK, so if I’ve gotten this detail wrong, please correct me). But they had 3 other seasons and another 7 years to make it happen, and I just don’t think that the higher ups at BBC would have just flatly said ‘no’. So, that leaves the last explanation.

3. Someone Other Than Those Involved With The Show Stopped Them

The majority of the Sherlock Holmes stories are in public domain. Copyright expired in 1980 in Canada and in 2000 for the UK (X). This would seem to make it a pretty cut and dry case: in the UK, you can do pretty much whatever you want with the Sherlock Holmes stories. But it’s no quite so simple. The US works a little different because copywrite law isn’t the same (isn’t he US just great?). As it stands, there are still 6 stories today that the Conan Doyle Estate still has the exclusive rights to in the US. If I understand how the copywrite law works correctly, that would have been 14 stories back in 2010. But, that shouldn’t have affected anything going on in the UK, right? Theoretically, no. The Conan Doyle Estate wouldn’t have had any legal rights to coveting the characters and the stories in the UK. However, that doesn’t mean that those involved with the show wouldn’t have been extremely apprehensive of the power that the Estate wielded, especially considering the previous decade of legal battles. Only 3 cases are listed here, but the Conan Doyle Estate is very protective of its copyright of the work (as evident by the fact that they are literally trying to sue Netflix, among others, for portraying characters in a way they supposedly weren’t portrayed until later books). There were other court cases after 2010, however. A decisive court case in 2013 declared once and for all that the stories written prior to 1923 were completely in public domain and that a license wasn’t needed to create things based on any of the stories prior to those dates (something the Estate had convinced BBC of when they first created BBC Sherlock). However, an appeal by the Estate was later made, stating “Sherlock Holmes is a ‘complex’ character, that his background and attributes had been created over time, and that to deny copyright on the whole Sherlock Holmes character would be tantamount to giving the famous detective ‘multiple personalities.’” The appeal was, thankfully, thrown out. But it’s the attempt that matters.

Oh, and here’s a fun little tidbit, the 2 stories that have, perhaps, the strongest evidence of there being more than just friendship (this quote, this quote, and this quote (which was said after Holmes stated that, if he had hypothetically loved someone, he would kill the person that killed the person he loved)) come from the stories The Problem of Thor Bridge (the first quote) and The Adventure of the Three Garridebs (the last 2), which both belonged to the Estate in the US until after the final season of the show.

So, let’s get into the minds of BBC, for a moment. Someone has decided they want to reimage Sherlock in a new and unique way: modern day. The Holmes Estate has been fighting legal battles in America for the past decade and has won all of them, and has also issued the verdict that to make stories, you need a license. You say ‘okay’ and go along with it because you’re a big corporation that can afford to do such a thing. When the first season of the show airs, it isn’t legal to have openly gay characters, so everything has to be regulated to subtext. You outright state that being gay is okay because you want to let people know you are in full support of homosexuality, even if it isn’t legal yet. The writers and producers of the show are huge ACD fanboys and BIG fans of The Private Life of Sherlock Holmes, so, yeah, there’s some gay subtext. By the second season, hey! Homosexuality is legal! Except the 2 stories with the biggest indication of Sherlock and John’s attraction towards each other are still very much in the hands of the Estate, who has spent the past decade fighting legal battles. You may be able to pay for a license, but a lawsuit really isn’t something you’d like to go through. Whether the Estate has any legal standing to do such a thing or not, a lawsuit would be a long, messy battle. By the third season, a court case in America has decided that anything written prior to 1923 doesn’t need a license (damn, that’s 2 seasons of being successfully intimidated into a license). However, the two stories with greatest evidence still belong to the Estate, and the Estate tried to weasel their way into owning more of Sherlock than they should by arguing about his character. They probably wouldn’t take well to an openly gay Sherlock, would they? By season 4, the same problem still exists. Cut to 2020. Both of the stories with those quotes have entered public domain. But, uh oh, a month, a month before the 10th anniversary of your show, the news breaks that the Estate is filing yet another lawsuit, this time against multiple different parties, one of them being the mega corporation of Netflix (god, that’s some balls right there) that what they did broke copyright law because it portrayed characters in a way they supposedly weren’t portrayed until later stories, stories the Estate still owns (that is some balls right there). So you might feel the need to cover your ass a bit. Despite the past decade of saying that they characters you have portrayed are nothing but platonic, the fans don’t seem to buy it, and, in hindsight, there’s a lot of reasons not to. Maybe something needs to be created that subtly tells fans that they really are just looking too far into it. And, what great luck, a YouTube channel is asking you to make something for the 10th anniversary.

Is this what happened? I don’t really know. I have nothing more than circumstantial evidence and guesswork here to go off of. I’m not privy to the private thoughts of Mark Gatiss or Steven Moffat or any of the head honchos at BBC. I don’t know what kind of executive decisions are made in the best interest of the company. All I know is that the Conan Doyle Estate is hanging on to whatever copyrights they can possibly manage, that they are willing to level lawsuits on, quite frankly, ridiculous terms, and that having a lawsuit put against you is no laughing matter and that those whose work revolves around Sherlock Holmes and creating stories about him would want to tread carefully. This explanation is, admittedly, far fetched. But it’s the only one that really makes sense. It’s the only one that would explain why a gay man and a generally progressive company would have a show that has layer upon layer upon layer saying that there is more between John and Sherlock than just friendship, as well as a rabid fanbase that they know ship it, and still not deliver, even attempt to squash such mindsets.

There is, however, one final note I would like to end this on. I have talked before about how I think there will be another season, if the stars align and schedules allow such a thing. The best estimates of when another season might come out is 2022 or 2023, and I’m inclined to think the later year (god, that seems so far away). The year that the last story will become completely open to the public and the entirety of Sherlock Holmes will be public domain is 2023. So, maybe there is hope.

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aster-ion · 3 years

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Sylvie x Loki Might Not Happen and Here’s Why

***SPOILERS FOR LOKI TV SHOW***

1. They are basically siblings

Even though they have different personalities, backstories, and physical appearances, that doesn't change the fact that they are the genetic equivalent of siblings. No matter what Timeline you're looking at, both Sylvie and Loki are the offspring of Laufey and whoever he had children with. We know this because they are Variants of the exact same person, meaning that if either of them were born to someone other than Laufey, they would have been pruned as a baby. And since they weren't, that means they must be just as genetically similar as siblings are.

Because of this, the idea of Sylvie and Loki engaging in any kind of romantic or sexual relationship is extremely disturbing to a lot of fans. It's too big an oversight to brush past, especially when the show has continued to remind us over and over that they are, in fact, both Lokis. Maybe if them being the same person wasn't such a major plot point, it would be easier to ignore the facts, but it is, and that means that Marvel is basically pushing either an incest or selfcest (depending on how you look at it) type relationship. And that’s extremely risque for a corporation as large as Marvel, especially with a character as beloved by fans as Loki.

2. It is terrible LGBTQ+ representation

And before anyone says anything, no, it is not because Sylvie is portrayed as female and Loki as male. I've seen a lot of Sylvie x Loki shippers say that the reason people don't like the couple is due to it being one between a male and female, but that's not true. Loki and Sylvie were both confirmed to be bisexual, meaning that they can engage in a relationship with anyone of any gender. It would be completely valid for either of them to pursue romance with someone of a different sex and still be bisexual. No one is arguing against that, and if they are, I definitely do not agree with them.

However, the problem comes in when you take into account Marvel and Disney's (who owns Marvel) long history of queerbaiting. There have been countless times that Disney advertises their "first gay character!" only for it to be a single line of dialogue or a brief shot. Marvel in particular has used the popularity of certain LGBTQ+ ships and headcanons in their fanbase to generate media popularity that they don't actually follow through with in their movies/shows. So when Loki was confirmed to be both genderfluid and bisexual in Episode Three, lots of people felt like they were finally getting a win for representation.

But those people, myself included, appear to have been let down again. The first two official queer characters had so much potential to go off and be with anyone they wanted, but instead, the show has set them up to be in a romance with each other. Now, this wouldn't be problematic on it's own, but when you take into consideration the questionable nature of their romance from Point One as well as the fact that the show has explicitly referred to it as "twisted," it raises the question of whether or not this is actually good representation. Because the fact is, in one episode the writers went “look, it’s two queer people!” and in the next, they said “their relationship is disgusting and demented.” Marvel’s first bisexual characters being borderline incestuous/selfcestuous does not sit well with me at all.

All of this is made even more confusing when you take into account the background of the Loki crew, most notably, the director Kate Herron. She also directed the Netflix series Sex Education, which has quite a bit of very well done representation of all kinds. So how is she managing to fail so badly on this project? It makes me wonder whether she truly is just losing her touch or if this is all a misdirection. Personally, I'm hoping for the latter.

3. It does not send the "self love" message people seem to think it does

The writers, director, and cast of Loki have said multiple times that the relationship between Sylvie and Loki is meant to act as a metaphor for self love. And in a way, that makes a lot of sense. Despite creating different identities for themselves over time, they are still ultimately the same person and therefore share a special bond because of it. And there's a lot of potential that can be done with that concept.

Loki is an extremely complex and intriguing character. He has experienced a lot of trauma in his past that has shaped him into the person he is today. And that person is clearly very broken. He has never given away or received any kind of love, with the exception of his mother and possibly his brother, Thor. Other than that, he's had no healthy friendships, romances, or perception of himself. It makes sense for him to be confused by this pull he feels towards Sylvie, who is both alarmingly alike and vastly different from himself.

Something this series does exceptionally well is breaking Loki out of his comfort zone. He is finally forced to see himself from other people's perspectives. It started with the file Mobius showed him in the first episode. Loki was able to view his actions apart from himself, and was hit with the realisation that he had been hurting people, and he didn't like that.

Loki is also confronted by the existence of the Time Keepers and the TVA, who describe him as an antagonist and nothing more. To them, his role is to make those around him look better, even if that means he repeatedly gets the short end of the stick. Mobius mentions that he disagrees with this and that Loki "can be whoever and whatever he wants, even someone good," adding another layer of depth as to who Loki could be in the future of the series.

Another huge moment for Loki's character development is while in the Time Loop Prison with Sif. Though he starts out annoyed with the situation and recalls not feeling apologetic when he cut off Sif's hair, the longer he is in the loop, the more he changes. Loki admits things to himself that we have never seen him say aloud, such as the fact that he is a narcissist that craves attention. Sif telling Loki over and over that he deserves to be alone makes Loki question whether or not he believes that to be true, allowing him an introspective moment where he really has to think about who he is.

Now with all of that being said, I'd like to tie in why this is important to the writing of Loki and Sylvie. They act as a mirror to one another, representing both the flaws and strengths of "what makes a Loki a Loki." For once, Loki gets an honest, unbiased look at himself without layers of expectations or self doubt. On Lamentis, he calls Sylvie "amazing" and praises her for all her accomplishments. That's a huge moment for him because it shows that despite also finding her irritating, he can look past those traits and see someone worth being a hero underneath. And through that realisation, he begins to understand that he can also grow to love himself. That kind of character development for Loki is incredible to watch, and it's the kind of character development I want to see from this series. Unfortunately, them possibly engaging in a romantic relationship will ruin it.

Whenever I'm feeling insecure about myself and my abilities, the solution has never been to look at who I am through a romantic lens. Self love is an entirely different type of love from romantic love, so if the series tries to push this relationship as a romance, it will fail to truly represent the arc that they are trying to show.

4. Nobody likes it

This one's a little on the nose, but it's true. Almost no one likes this ship, and more than that, most people actively hate it. Yes, there is a small minority that like Loki and Sylvie together, but there is an overwhelmingly larger group that is disgusted and angry by the fact that the show paired them up.

After Episode 4 aired, I ranted for about an hour and a half with a friend about how much we didn't want them together. My aunt whom I have never texted reached out to me to say that she hated their relationship. My homophobic neighbour came over and told me that she would prefer any other romance to this. Friends that I haven't talked to much since school let out for summer have all agreed that they collectively dislike Loki x Sylvie. This ship has brought people together purely because everyone hates it more than they hate each other.

There is no denying that the general feedback for Loki and Sylvie being a couple has been negative, even if you support them getting together for some reason. So if there are so many people out there who don't like it, I'm confused as to how it would be approved by a team of professionals.

5. The contradicting information we have gotten so far

Before the release of Episode Four, Kate Herron said that the relationship between Loki and Sylvie was “not necessarily romantic.” During the interview, she continued to refer to them as friends and people who found solace and trust in each other.

However, after Episode Four, the head writer, Michael Waldron, and other members of the crew spoke up about Sylvie and Loki. They said things like “it just felt right that that would be Loki’s first real love story” and “these are two beings of pure chaos that are the same person falling in love with one another.” These kinds of comments very heavily imply something romantic, directly contradicting what Kate Herron said. Even Tom Hiddleston, the actor for Loki, has assessed the situation, highlighting the differing viewpoints. He’s also said before that the end of Episode Four ultimately has Loki getting in his own way.

Now, this could all just be a misdirection on either side to build suspense for the show, but as of right now, it is entirely unclear who is telling the truth. Though it is more likely that the statements made by Michael Waldron are more accurate (as he is the writer), there is still a slight possibility that Loki x Sylvie won’t happen. I’ll link the articles I’ve found on this topic below so you can read them and decide for yourself.

Kate Herron Statement - https://www.cbr.com/loki-sylvie-relationship-not-romantic/

Michael Waldron Statement - https://www.marvel.com/articles/tv-shows/loki-sylvie-in-love

Tom Hiddleston Statement - https://thedirect.com/article/loki-tom-hiddleston-sylvie-romance

6. It is still salvageable

The odds are not in our favour, I’m afraid. It is highly probable that the show will put Loki and Sylvie in a romantic relationship with each other. Yet there is still a way to salvage it and turn their bond into something incredibly satisfying. Like I mentioned in Point Three, the relationship between Loki and Sylvie has the potential to be incredibly empowering and provide both characters some much-needed growth. And I believe that while unlikely, it can still do that.

The only mention of them being romantically interested in each other came from Mobius, who at the time was angry, betrayed, and doing anything he could to get Loki to talk. Then, at the end of the episode, right before Loki is about to confess something important to Sylvie, he is pruned. This results in no explicit confirmation from either Loki or Sylvie that they are in love with each other. The audience is left not knowing whether Mobius was correct in his speculations, and honestly, I don’t think Loki knows either.

Loki is no expert on love, as I explained earlier. It is entirely possible that he doesn’t grasp how he feels about Sylvie and defaults to romance because of what Mobius said. There is undoubtedly some sort of deep bond forming between them, and I would love to see that being explored in the next two episodes. I would love to watch Loki’s journey of realising that he doesn’t want anything romantic with Sylvie, and was simply confused by the new things he was feeling towards her. Loki even says “this is new for me” when talking to Sylvie at the end of Episode Four. Him momentarily believing that he wants to be a couple with her then shifting into them becoming friends who help each other grow is still a reality that could happen. And ultimately, I think that would benefit them both as characters as well as strengthen the overall message of the show.

In a show about self love, acceptance of yourself, and figuring out who you want to be, Loki very much needs people who support him. He has that in Mobius already, and now he’s beginning to have it in Sylvie as well. I just hope that it is done in a way that resonates with the audience and subverts expectations, which just cannot be done through some twisted romantic relationship. I’ve spoken to others watching the show and seen people talking online, and everyone seems to agree that Loki and Sylvie work much better as platonic soulmates or found family than a couple.

Of course, my hopes aren’t that high up. While I’d love for this to happen, I’ve been let down by Marvel before and wouldn’t be surprised if they went for the easy route of pairing characters up rather than dealing with the emotions correctly. Still, I have hope for this series. Everything else about it is wonderful and perfect in every way. It has the potential to become a masterpiece and easily the best thing that Marvel has ever done. However, this romance would ruin it for me and so many others. We already feel incredibly disappointed by Loki x Sylvie being suggested, so I can’t even begin to fathom how people will react if the show makes it canon. I’m begging Marvel to please do better than this. They have a wonderful story to tell and a wonderful team to do it, and I hope from the bottom of my heart that they don’t throw that away.

#marvel #loki #sylvie #mobius #loki x sylvie #loki x mobius #kate herron #michael waldron #disney #lgbtq #representation #tva #loki tv

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drivingsideways · 3 years

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Misaeng review

Ok, it's been almost a week, so I feel like I can get my thoughts (somewhat) in order. As usual, I'm late to the party, given that Misaeng aired 6 years ago, and is already considered a kdrama classic. Still: thoughts!

(under the cut)

I came to this drama with quite a lot of expectations, both because I'd seen it on a lot of rec lists, and also because I'd watched director Kim Won-seok's Signal and My Mister, which are justifiably as beloved as Misaeng. I'm happy to report that Misaeng mostly lived up to those expectations!

The writing & direction work together to make Misaeng a very immersive experience, which is good, considering the entire run time is over 20 hrs. The level of seemingly mundane detail of the operational aspects of running a trading firm that they delve into (and other dramas might have avoided for sake of pacing) seemed odd to me at first, but eventually result in a world building that's incredibly well fleshed out. The (formerly unlikely!) high stakes of a misplaced piece of paper or octopuses in a shipment of squid end up being parts of an emotionally wrenching narrative whole fairly seamlessly. Still, at 20+ hours, Misaeng also does get into the kind of pacing issues that most of the slice of life kdramas I've watched so far have. And it didn't need to! I think it had a wonderful ensemble of characters, and if they'd maybe given a little more time and space to characters other than Jang Geu-Rae (Im Si wan) and Oh Sang-sik (Lee Sung-min), the mid portions may not have felt quite so, well, stuck.

But more than the strong writing and direction, it was really the actors who delivered. They made what could have easily been a dull-ish office drama into a heart warming story about human connection and the joys and troubles of leading an "incomplete life". I'd never watched Lee Sung-min in anything before, and about half way through the series I was like, HOW IS HE MAKING A SHORT TEMPERED, ALCHOHOLIC MIDDLE MANAGER SO SEXY? Like, serious props, dude. Lee Sung-min is by turns annoying and brash and too shout-y and stubborn and funny and so incredibly vulnerable as a man trying his best to live by his principles in a world that thinks they are an impediment to "success", that you forget that he's playing a fictional character-- he's someone you know, he's someone you've seen in the mirror.

His performance as Oh Sang-sik is very ably matched by Im Si Wan's Jang Geu-Rae. This series would not have worked if these two actors didn't have the chemistry they do, and play off each other in every scene. I had watched Im Si Wan recently- in JTBC's "Run On", in which I liked his performance quite a lot, but I absolutely loved him as the naive and endearing Jang Geu-rae. Misaeng, is in part, a bildungsroman narrative centered around Jang Geu Rae. Im Si wan brought a kind of vulnerability to the role that might have felt cloying and emotionally manipulative in the hands of other actors, but Im Si-wan manages to do it with a light touch. I feel he's one of those actors that uses his whole body in a scene, not just relying on facial or verbal expression, and it's a joy to watch.

Each of the other actors in the ensemble also bring that dedication and talent to their roles, even if it's in a single scene. There are lots of one-off characters that we meet during the course of the series, and every single one of them leaves an impact.

But! I'm going to pick a fave from the supporting cast and that's Byun Yo-han, whom I'd last watched as the broody, troubled (and very sexy) swordsman Lee Bang-ji in Six Flying Dragons. I can't imagine a character more in opposition to that one than Han Seok-yul in Misaeng, but Byun Yo-han just knocks it out of the park as the scheming, cheerful and mostly inappropriate clown with a heart of gold; Han Seok-yul is the definition of Chaotic Good, and you're equal parts horrified by his antics- which include sexual harassment dont @ me -- and yet charmed by him. I wish they'd given him a few more scenes and a larger plotline to work with, but I also suspect that he might have just walked away with the entire series if they did that. (Am I plotting that series in my head as I write this? MAYBE.)

Alright, this is getting a bit too long, so I'm going to get to the bits that disappointed me. That's really one major thing: the gender politics. I don't know how different the show is from the web toon it's based on, so I can't tell whether they made significant changes to the basic plot and characters. As in- I have no idea if the webtoon was as male dominated in every way as the show is, so I'm not sure how much of the show's treatment of women as a class, and its female characters in particular, I should lay at the door of the original writer vs the screenwriter and director. I'm also lacking the Korean context in which this was written and made and aired, so you may take my criticism with a pinch of salt, if you please!

That the show features mainly male characters is perhaps unsurprising and realistic, since we know that the kind of corporate life it depicts is very male dominated, top to bottom. The show also portrays the very real and horrific overt and subtle misogyny that women face in the workplace and out of it; mainly in the character of Ahn Young-yi, played with steely determination and quiet suffering by the lovely Kang so-ra. There are only 3 other female characters that have any sort of real speaking role- Sun Ji Young (played by Shin Eun jung), a senior manager at the company, Jang Geu-rae's unnamed(!) mother (played by the amazing Sung Byoung-Sook) and Oh Sang-sik's unnamed (!) wife (played by Oh Yoon-Hong, who's a delight in every tiny scene she has). There are other women who appear but in very minor roles, and often in "comedy" moments that often rely on sexist tropes to start with.

Anyway, right there you can see one of the problems- 4 women characters that have any kind of real screen time, and only 2 of them are named. Aigoo! Screenwriter Jung Yoon-jung is a woman, and like, I don't like putting the burden on any one woman to y'know fix structural misogyny, but I can't also help feeling disappointed that she overlooked even this "small" thing among the larger things.

But that apart, the main issue for me was that while the show doesn't shy away from depicting egregious sexism in the form of sexual harrassment, verbal and physical and certainly emotional abuse, in a manner that's clear that we are meant to be horrified by it--it falls short of depicting how women deal and work with it. It just doesn't give enough space to women or their worldview.

It's very comfortable depicting victimhood, but doesn't put work into depicting the ways in which women survive by finding solidarity with other women. We have a scene or two where Ahn Young-yi who is this show's poster child for female victimhood interacts with the older women who offer sympathy and understanding, but no real strategy or support. And yes, we see men also being targeted by their seniors for the grossest verbal and physical abuse; and it's men who help Ahn Young-yi strategise on how to deal with her situation. Real life experience tells me that it's the women who do this work for other women. I have certainly been on both sides of this equation, for one, and so has every woman that I know in corporate life. And yes, one of the show's core philosophies is that those who endure, survive--but it is none the less extremely painful to watch Ahn Young yi "endure" the kind of abuse she does as a coping strategy and a survival strategy.

At the end of it, when she slowly manages to gain the support of her sexist team, it's shown as a victory-- though naturally imperfect, because this show takes its Realism very seriously (right until the end where it makes a tonal shift into quirky that I was a little ?? about)-- and y'know, sure, it is a victory. And I absolutely understand the choices she makes and why she does it-- I guess I just got annoyed by the fact that other antagonistic figures in the narrative get a more straightforward comeuppance for their egregious behavior, but Ahn Young-yi doesn't even get a goddamned apology from her abusers. Instead, we have a half humourous, half serious moment where she comments on how she's working at turning herself into "someone cute"- because she understands now that sometimes the right strategy is to "go with the flow". Be the water that slowly wears away at the rock. It's an interesting moment- the men she tells this to are taken aback by her bluntness, but also a little clueless about what she means. It's the kind of nuance that I would and do enjoy. Unfortunately, it also closely follows one of the show's most annoying scenes at the tail end of the series- where it tries to play off workplace sexism and misogyny as comedy- boys being boys-Reader, when I tell you that I had to WORK to unclench my jaw--!

I'm not saying we should have a single and obvious narrative of female emancipation. I'm not against realism in fiction, but god, sometimes, please do remember that when we look for escapism, we are actually imagining a better world. The first step toward liberation is allowing yourself to imagine it.

And the show does allow other characters its moments of unfettered fantasy- Im Si Wan parkour-ing all over the rooftops of Amman- and having a semi mystical + Indiana Jones moment in the deserts of Jordan--so why, I ask, are the women not given that gift?

*looks into the camera *

Tl;dr: I enjoyed it, it made me cry every episode, and I cared about all the characters, and if you haven't watched it yet, treat yourselves.

PS. Yes, Han Seok-yul is a disaster bi, sorry, I don't make the rules. Yes, hotties Oh Min Seok and Kang Ha-neul are canonically naked in a hot tub six feet apart because they are bros. Yes, I will be writing the fix it in which they fuck like angry bunnies. Yes, I am going to put my shipper cooties all over this gen slice of life show, deal with it.

#misaeng #kdrama #thinky thoughts

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