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cannedpickledpeaches · 2 months

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Mafia!Jade Leech x Mafia!Reader

Link to part two, three, four, five, six, seven, eight, nine, ten, eleven, twelve!

Notes and TW: I wanted to write something that simultaneously includes some fun Jade moments as well as my own thoughts on some tropes. This series will have mentions of blood, violence, crime (kidnapping, attempted assassination, extortion), and harassment, as one might expect from a mafia AU. Please enjoy!

You’ve known the truth for a while—that this world exists inside a story. This is a world that revolves around a nameless, faceless, flawless main character. This entire world around you exists to serve one purpose: to present trials to the main character until she eventually finds a happy ending with her one and only. This world is created for “(Y/N).”

You are Friend A. Friend A is a foolish girl who puts (Y/N) into a dangerous situation, involving her with the mafia. (Y/N) is saved by a tall, dark, and brooding man who turns out to be a mafia boss. They will face dangers in the underworld until all threats are eliminated, and then they will live out the rest of their lives in blissful peace as though they are good people. Friend A is never mentioned again after page two.

You are Friend A. You are aware of that.

So why don’t you break out of your role in this story? Why should you play your part instead of using this knowledge to change the flow of the plot?

Simply because the plot is beneficial to you.

You are Friend A. You are a core member of the Leech Mafia. When (Y/N) enters the mafia, her actions flick the first domino of a long chain of events, eventually leading to the prosperity of the Leech family and expanding their influence. Because no matter what, this story caters to (Y/N)’s livelihood.

And why should you interfere with something that will eventually pay out big for you?

There she is now, coming down the street with a smile. Her indistinct hair is in a messy bun that she always throws together in seconds. Her pants emphasize her incredibly tiny waist, and her eyes sparkle with the light of constellations when she sees you. A light blush dusts her cheeks even though she doesn’t wear makeup, and she passes all the people captivated by her on the sidewalk, oblivious to their stares, because she doesn’t believe in her innate beauty and charisma—the beauty and charisma that the story says she has.

“Oh, there you are!” Her voice, clear and sweet, rings out to you. You wave back, just as you are supposed to. “You said you wanted to get sweets from the bakery that just opened, right? I’m so excited. I love sweets! I saved up some money just for this.”

A dialogue line full of exposition. You nod and lead the way.

“Have you seen their Magicam posts? The cakes are so pretty.”

Her giggles chime like bells. “I think the strawberry one is the cutest!”

Your small talk has little to no substance. It exists only to pass the time. To be honest, you don’t mind. If this were any normal day, you would have enjoyed this. You would have visited that bakery with (Y/N), gone home with a strawberry tart, checked up on the ledgers for the mafia, and slept while fed and content. But today is the inciting incident of the story, and you have your part to play.

A dark alleyway is where these things always take place in stories. Four men smoking and muttering ominously to themselves lean against a brick wall, hidden in shadow. Their eyes follow your every step. You make sure to walk on the outside of the sidewalk so that (Y/N) passes by the alley. As expected, their hands shoot out and grab her arm.

“Hey, you there.” One of the thugs licks his chops. “Got a minute to spare, pretty thing?”

Generic “bad guy” dialogue. Of course, he’s talking to (Y/N). You don’t need to do anything yet except make sure the pieces are in place. A flutter of black fabric in the corner of your vision assures you that the main lead is ready and waiting.

“Get your hands off me!” (Y/N) struggles against his much stronger grip to no avail. The men pull us into the alleyway and corner us against a dumpster. Tasteful.

“Don’t be so harsh.” Another thug whose voice scrapes like glass shards to the ears grabs your shoulder. You don’t shrug him off. Right now, your role is to lay low and let the main character shine. “We just wanna show you a good time.”

“You can fuck right off! And don’t touch my friend.” (Y/N) shows off her generically headstrong personality now. She probably thinks that she should protect you. You are Friend A, without any special characteristics, a piece of cannon fodder that cannot do anything on your own. Even though (Y/N) doesn’t consciously think that way, this is how she perceives the world. She is not wrong for doing so—she’s being sweet, in the way that she is designed to be.

You don’t have anything to do while she shoots off her scathing remarks, so you take your time to observe the thugs. Just as the story you read describes, these men come from an easily identifiable rival mafia. All four have a tattoo of a handsaw on their bodies—the symbol of the Carpenter Mafia, the current major group in the Queendom of Roses. Common soldiers, no doubt. Not anyone of importance . . . yet.

Thug Number One brings your attention back to the conversation by yanking on your hair. It hurts a little. Irritating, but you can bear with it. (Y/N) looks outraged.

“How about this? Since you’re so determined to save your friend, I’ll let her go if you give yourself to us.” He continues with his harassment by grabbing your cheeks with his grimy fingers. You inhale deeply and immediately regret it due to the smell of his breath. Your mind urges you to refrain from giving him a nice fist to the face. Not just from his treatment of you, but also from his gross proposition to (Y/N). Despite your respective roles in this story, she is still your friend. Hearing him throw those slimy words at her leaves a bitter taste in your mouth.

(Y/N) puts up a struggle. “I won’t give you anything!”

“Do you think you’re in a position to make demands?”

She hesitates, looking at you with conflicting emotions warring on her features. Takes a deep breath, just as the story says she would. Then, with a wavering voice and a tough façade, she agrees.

You take your cue to run from the alleyway, abandoning her the way Friend A is meant to do. You don’t have to worry. After all, the thugs won’t be able to do anything before the male lead steps in and saves her.

There isn’t much time to waste until you get an update on the story. You hail a taxi to a neighbourhood by the sea. You tip the driver handsomely, bid him a good day, then walk another block before arriving at a mansion. There’s nobody here to greet you except the security guards at the front gates.

You scan the trees. Looks like he’s in a good mood. When he’s upset, he doesn’t usually climb. He hasn’t noticed you yet—his back is turned, his head buried in a particularly thick patch of leaves, and you’re downwind.

“Floyd!”

He turns so suddenly that you’re worried he’ll get whiplash. A grin lights up his face, and without a single reservation, he jumps right off the tree and lands smoothly on your side of the fence surrounding one of the Leeches' many properties. The sun shines across his handsome, sharp features. Of course, the twin brother of the male lead must be gorgeous in accordance with the axioms that govern this world.

“Handfish, how was it? Did Jade meet her?” Even though you are Friend A in this story, to Floyd, you are just his friend. He hasn’t given you a generic nickname like the “minnows” that he calls the family’s soldiers and staff. To him, you are an individual who is interesting enough to grant a personal nickname. Even if that nickname is “Red Handfish.”

“Yeah, he did. I saw his blazer.” You think back to the black fabric you saw before entering the alley. “I bet he’s doing the whole ‘I can’t let you live’ conversation with her.”

In the story, one of the thugs reveals Jade’s identity as a mafia boss in front of (Y/N) before he passes out. How a common foot soldier of the Carpenter mafia can recognize Jade, whose face is kept classified from lower-ranked members of the underworld, is worrying enough to warrant investigation. This could simply be a result of poor writing from the original plot, but you are also an example of the original story’s loose ends. If someone like you, who was meant to disappear after page two, can still have any significance and will instead of vaporizing immediately after you left that alley, then you can’t be too careful.

“Bet he’s being real smooth with it.” Floyd cackles, his raspy laugh reminding you of a chain smoker after five consecutive packs. “She’s gonna fall for it hook, line, and sinker.”

“Of course. We’re talking about Jade.” Even under regular circumstances, he’s charming enough to lure any poor, unsuspecting fool to their demise. “They’re going to come here any minute now. Let’s go inside.”

You pass the security guards and enter the Leech property. A perfectly paved ground with colourful stones and not a weed in sight. A marble fountain surrounded by neat, rectangular hedges. And of course, the enormous white mansion with huge double doors, which in turn have proportionally huge fancy glass windows. For (Y/N) to have a “perfect” ending, the world must allow her to escape her current life of scrimping and saving by marrying her into a wealthy family.

“I wonder what the little minnow looks like.” Floyd hums, sauntering into the living room. “I bet she’d break easily if I squeezed real hard, huh?”

“Don’t do that.” The two of you sit on a velvet couch. Floyd’s long limbs sprawl out and take up the majority of the space. You settle on the far end. “And are you going to keep calling her a minnow?”

“Dunno, haven’t met her yet.”

“She’s very pretty. When you meet her, I’m sure you’ll get the feeling that there’s something special about her.”

The story emphasizes how much Floyd adores (Y/N). She is supposed to become a sort of mood stabilizer for him, keeping him consistently happy in her presence. You wonder if that will actually happen. Floyd can and will throw tantrums around people he holds dear. His mood that flips at the drop of the hat seems difficult to stabilize on just affection alone.

He shrugs non-committedly. Just as you’re about to suggest a nickname he could use, your phone buzzes.

Five minutes away. Jade’s text is short and to the point. You stand and stretch, getting ready to play Peeping Tom.

“Remember, don’t say anything about the original plot, okay?” Floyd’s unpredictable nature worries you. You know that your reminder won’t do much if Floyd decides it would be fun to spill the beans anyway, but you can’t help yourself.

“I know, I know.” He frowns and waves you off. Laughing, you move to the room across the hall. He hates being told what to do, but he’s in a good mood right now. It won’t be a problem.

The front door creaks open. Through a crack in the door, you watch Jade carry (Y/N) in his arms like a princess and set her down on the couch. Smooth, easy, efficient, the way he likes to do everything. Even though you know he is acting, his movements, the soft look in his eyes, are almost believable to you. And you’ve known him for fifteen years. There’s an odd stirring in your chest. Guilt? Envy? You tamp it down.

For a fraction of a second, you swear you make eye contact with him. If he notices you, he doesn’t show it. He seems to redouble his efforts on acting sweet to (Y/N). It might just be your imagination.

Floyd pokes around at the two of them the way he always does when he’s curious about something new. His grating laugh fills the air while Jade bandages a scrape on her knee. Good, the scene is going exactly as described in the story. (Y/N)’s first colourful and memorable experience with her future family. Her new family must be fun, rich, kind to her, and love her unconditionally no matter the circumstances. Her new family has to be better in every way compared to her current one—a mother who passed away at childbirth and a scummy father who neglects her. For an author, these are simply lazy ways to give her a tragic backstory and simultaneously pretend her parents don’t exist for the rest of the story because they don’t add to the romance.

How horrible. How could a late mother and neglectful father not affect a person? How could they simply be written off as another thing the male lead “saves” her from? And for that matter, how can the author casually write in a scene where she is cornered by adult men who are physically far stronger than her, who harass her and make disgusting comments, just so she can meet the male lead? How can they just pretend that won’t lead to any trauma?

You know firsthand how (Y/N) lives her life, because despite the story labeling you as the disposable Friend A, you genuinely have been her friend for the past year. You’ve seen her live on plain rice porridge for days to cut grocery costs. You’ve seen her wear clothes until they are threads because she can’t afford to buy new ones. Oh, but isn’t it wonderful that she’s skinny and looks good in everything?

What a load of bullshit.

#disney twst #twisted wonderland #twst x reader #jade leech #jade leech x reader #twst fanfic #floyd leech #twst jade #(y/n)'s the main character but you aren't her #slow burn #you're gonna have to read some plot #before you get to the fluff #this is actually just my excuse to write something sort of meta

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mysterycitrus · 5 months

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You’ve talked about how fandom treats jtodd & dick, so what are your thoughts on how fandom treats dick & tim?

There’s this post that’s asking about people’s batfamily hot takes, and I was scrolling through the reblogs bc I love drama. One of the “hot takes” was calling dick a bad brother bc of the bruce lost in time comic era. Specifically saying that fandom excuses dick’s shitty behavior towards Tim bc his dad (Bruce) died and because of the stress of taking care of the city by himself. While Tim was hurting because of the deaths of Kon, Bart, Jack, Steph, and Donna (idk why they included Donna as Tim’s grief and not Dick’s??) and therefore Tim’s & Dick’s hurt and stress aren’t the same. According to this person, Tim was going through it and Dick was making it worse.

Now, I’m not going to claim I know how everything went down since I haven’t read those comics yet, but this feels like a gross misunderstanding of the arc.

From what I’ve seen, fandom tends to invalidate and villainize Dick during this time in favor of Tim. Dick is not being excused, in fact he’s being blamed for things that are either not his fault or just made up in order to whump Tim. Idk that “hot take” just rubbed me the wrong way because of how one-sided it was, and I guess it made me wonder about your thoughts about Dick & Tim since I tend to agree with your opinions lmao

fundamentally the issue is this — dick grayson existing and being a good person is an obstacle for fanon angst. dick grayson being a good brother means that jtodd can’t just slot into his pre-existing relationships with tim and cass and damian. dick grayson being a good friends means that he’s close with the titans and the league because he’s competent and trusted. dick grayson being kind means that he didn’t abandon tim, he was literally trying to keep everything together after bruce’s death.

not to try and make it a grief olympics but as much as people talk about everyone tim has lost (and i think they must have been talking about dana winters in that post?) people seem to forget that dick’s city just got nuked + the fallout of nightwing 93 + donna dying + jade dying + the titans falling apart + he was just locked in arkham himself. like… his dad has just died, he’s had to fight off his brother who’d just tried to kill both tim and damian and been given custody over a kid who doesn’t trust him

red robin 2009 has done irreversible harm to tim drakes character. people using that as the starting point for reading about him is bad. it’s a comic about a grief spiral, and it isn’t an amazing depiction of him either. but even then, people just seem to love straight up fabricating what’s in it.

dick tells tim that therapy might be a good idea. tim tells dick that he’s leaving because he trusts dick to let him do what he needs to do. even at his lowest point, dick is who he trusts most. those takes that’re like “tim drake was at his lowest point and then jtodd sees him and realises that he’s cool actually and they bond #jasontoddisagoodbrother #dickgraysonisabadbrother etc” because they like to posit that dick threatened to throw tim in arkham are so silly

that’s even ignoring how people just straight up lie about damian’s actions and how weird everyone is about ra’s al ghul. no, tim isn’t the only one he refers to as detective aside from bruce. no, tim isn’t one step away from being a mass murderer. no, damian didn’t try to kill tim— he was reacting to tim being suspicious of him. tim was beefing with a ten year old. why are u being so mean to the ten year old? (We Know Why)

ur right — it is extremely one-sided. im not one to pretend that canon is flawless by any means, but acting as though fanon is better just because someone online came up with it is also stupid. there are many many racist undertones with how jtodd and tim are interpreted, both separately and with each other. a lot of it is yaoi baiting dynamics, that a lot of fans don’t seem to want to admit. i won’t comment on how white people writing jtodd as latino and tim as asian can be Bad but like…. it’s all tied up together. people want these two characters to have suffered the most, because that justifies everything fans want them to do. they want them to be wronged. they want their idea of justice in their name

#does that make sense? Idk #dick grayson #dc comics #anti batfanon #the ask and the answer

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general-cyno · 3 months

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ehh it's just me musing but. I do find it a little curious that (depending on who likes whom I guess) cora is usually either seen as some saintly flawless goofy figure or a brainwashed cop who got killed because he refused to try and save his brother. I do think his character is not exactly easy to pinpoint, considering he appears for a very short time and in a flashback nonetheless, plus the fact that he's dead means no further fleshing out of his character - broadly speaking - outside of the people who knew him and are willing to provide insight on what he was like, though that'd still be kinda biased.

however I believe there's actually a bunch of things that were straight up shown and some that can be pieced together from what little panel/screen time he had: ie how he's seemingly more bad tempered, impulsive and violent than he's portrayed as in fanon at times, albeit motivated by his own priorities at the moment (trying to kick the shit out of law to stop him from exposing cora to doflamingo) + his sense of what's right and wrong and to whom it applies (punching medical staff and setting hospitals on fire for mistreating law, whom he'd been trying to help).

specifically about the navy and doflamingo part... it irks me a little, tbh. partly because it removes what little agency cora had during the flashbacks and sort of waters down his motivation to stop his brother. it's not just whatever crimes doflamingo was committing or planning to back then and the navy wanting to put a stop to that - the thing is that cora was influenced, at least to an extent, to oppose doflamingo based on their childhood experiences with (ofc) the more negative ones, which include doffy murdering their father right in front of him, overshadowing anything else. as he tells law, cora can't fathom how their kind parents could've borne someone as evil as his brother. and yet. that's the other thing. cora was very much a child, and younger than doflamingo at that, when the elder DQs chose to leave marijoa and all that it entailed after. between all the traumatic events he lived through and later being raised by a marine (sengoku of all people), I'll be the first to say his perception of those events, of their parents and doffy himself is not really the most unbiased or reliable. we don't see him questioning the existence of celestial dragons (beyond warning law he's in danger when cora finds out about the D) nor the nature of the WG/the marines and the antagonistic role they play in OP's universe. we didn't have him long enough for those things to be put to question deeply anyway, especially not wrt to doflamingo, so imo it makes sense that his focus wasn't on "saving" but stopping him.

that said... he does witness the worst of it, kind of. through law. law is the very reason why I don't agree with the idea of cora being simply a brainwashed cop. this guy watched how people (those who should care) mistreated, dehumanized and demonized a sick child over prejudices caused by the lies the nobles and WG itself relied on to sweep their own corruption under the rug. he saw first hand how all those doctors ran to call the WG to kill the child and how they answered to do that. and what did he do? he lied and betrayed the organization he'd been part of (presumably for more than the years he spent undercover) and the man who'd raised him like a son just to save the kid that everyone, even the so called justice, had turned his back on and would've gotten rid of if given the chance. heck, when he first brought up the topic of law with sengoku, the man basically told him not to favor him too much for it could jeopardize his mission.

but perhaps the biggest proof is that he lied to law about being a marine when the latter directly asked if cora was one. as he later admits, cora lied to him about this because he didn't want law to hate him - and knowing all law lived through (flevance), seeing some of it himself (their hospital shenanigans) and what law told him as well, cora knew he had plenty of understandable and justified reasons to hate anyone ever slightly associated with the marines or the WG, including cora. to me, someone who's completely blinded by the navy/WG propaganda and follows their every order to the letter without thought wouldn't have denied his own affiliation nor been so determined to ditch being a marine and make an enemy out of those institutions (even if that also meant betraying his father figure) just to save, protect and do right by a child who'd been clearly failed by them. at no point did cora ever try to argue that Not All Marines, much less express any other sentiments of that sort to law.

on a similar vein, despite insisting doflamingo was evil and an agent of destruction - law is also the proof cora was somewhat aware that his brother (and people like doflamingo) normally don't pop out of nowhere and do Terrible Things just because. that maybe in other (better) circumstances, doffy might've become someone different and/or made different choices. after all, cora is the one who points out the similarities between doflamingo and law, and eventually does his best to turn law's life around so that he won't follow the same path. should he have tried to save doflamingo as well? when? how? would it have worked? who knows. and if you ask me, regardless of their similarities at that moment in time, doffy was already a grown ass man compared to law and cora himself was just an even younger kid when shit hit the fan in their childhood. I'm not sure doflamingo (as an adult) would've been particularly receptive of "help" either, considering his disdain for the kindness in cora and their father that he saw as a weakness. not to mention waaay too many other factors that come into play also (trebol and co's grooming and influence for example). still, one of them did pull the literal trigger in the end and it wasn't cora, so there's that.

all in all, for a character with such a short lived amount of time in the story - cora is quite the complex one and so very compelling. characterizing him as just strictly one thing or the other can be a little reductive but the fact that his character can be explored beyond that in the first place (once more, despite his lil bit of alive and onscreen moments) is what's fun and says a lot about the writing itself.

#tp #one piece #donquixote rosinante #donquixote corazon #I need to chew on him like he's a dog toy #mentally ill abt a dead guy who was in like 5 out of 1000+ chapters. life is good #also before someone misunderstands fics and such are free real state these characters are dolls to play with #I'm talking abt canon specific scenarios

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mae-i-scribble · 1 year

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tonight i was thinking about orv’s theme about how yjh as a character, and to a larger extent people, will in some ways always be unknowable. (orv spoilers following, read at your own risk)

i feel like i’ve seen a few posts on here that somewhat take this theme to an extreme, leaning *hard* into that “kdj doesn’t actually know yjh like at all” which while on the right track, i feel completely misses the point. Orv goes out of its way to showcase that kdj actually understands yjh to a scary degree, even once they’re out of the early scenarios and the gap between kdj’s knowledge and yjh’s personhood grows larger, there are still things about yjh that *only* kdj can fundamentally understand. And I don’t think that the novel does anything to discredit that understanding, only says that there is much more to yjh. In the same manner, even if you’ve known someone for years, spent all your time with them, there can and will always be new things for you to learn about them. The danger that orv speaks of is trusting in that assumption, that your understanding will be enough and you don’t have to keep an eye out for more developments. That the person you know will forever stay the same. And this isn’t a kdj problem either, fundamentally a lot of the big disagreements that happen between kdj and yjh in the latter half of the novel are born from both of them misconstruing what the other is thinking, trusting that their understanding of the other is deep enough to base their judgements off of. (Post first murim destruction, divorce arc, yjh thinking kdj scattered his soul on purpose, etc.)

As always with orv’s themes, we can view it in a meta sense as well. Kdj’s understanding of yjh as a character is so complete that it’s nearly flawless- until the story begins to deviate and a yjh grows outside the parameters that kdj’s judgements are based on. Even before then, there was always more to yjh- but as readers, we can only understand a character as much as we see them. What you come away with from a story is your complete understanding, there is no growth outside of those boundaries because then it wouldn’t be an understanding of *that* character, you would be putting your own ideas and such into it. But talk to another person, and suddenly the same character you understand so clearly becomes someone else. Talk to the author, and they say something completely different. And can one truly claim to understand a character when the story will never talk about them in every conceivable way? What does it take to truly understand such a thing? Learning that 1863rd round hsy wrote ways of survival with such limited resources and knowledge on who yjh even is, and yet despite it all, still manages to write a story that captures so much of his essence. As orv readers, we know it isn’t everything- it could never encapsulate all of yjh, but the idea that even when one knows nearly nothing, you can still put on a facade of understanding.

We can get into a chicken or the egg argument with this, as 1863!hsy dictates how yjh acts with her writing, and that yjh in the 1863rd round is the one she comes to know before ever starting this story, but when it comes to this theme of the unknowable in the people around us, I don’t think this sort of debate is worth much. We know that yjh exists outside the story written, and how much of him is determined by hsy’s writing is negligible because no matter what, he always grows beyond it. Whether as 1864 or secretive plotter, it all comes back to that same point of there is always more to see within a person.

I don’t know quite where I want to go with this, only that I wanted an outlet for some of these thoughts inside my head, but one of the best things about this theme for me is how it answers itself. When the people around you become unrecognizable, what should you do? And orv says to reach out. To try. To understand. Kdj loses access to omniscient reader several times but always, always gains it back in orv (as far as i remember), because at the end of the day, he is not someone who stays trapped in his idea of who he knows yjh to be. Yjh too, even at the end of orv, is trying to learn more and more about kdj. Only when you are willing to hear out the other person, to learn about them every day, does this unknowable aspect become something less daunting.

#orv #omniscient reader #omniscient readers viewpoint #kim dokja #yoo joonghyuk #joongdok #meta #analysis #it just kinda ended up kdj and yjh focused because this is what the theme is most applicable too #i wish i had more thoughts on how 1863 wrote WoS bc that definitely fits in here more than what i said about it #i think too it can be applied to ysa and kdj #while not as relevant as it is with yjh since their relationship doesnt stretch back as far #they still spend so much of this novel learning more and more about each other #compared to back at minosoft where at least to me it looked like they already had an idea of who the other was as a person #so sorry if this is disjointed i need to stop writing meta as 3 am #in my defense its the only time my thoughts come out like this #on the verge of sleep #orv spoilers #omniscient reader spoilers #i forgot them early on my bad

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utilitycaster · 1 month

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@notstinglesstoo replied to your post “The thing is, and I haven't gotten a chance to...”:

I saw someone not long ago say cr has always felt like a product to them vs D20 feeling organic and I protected my peace but I did want to ask them if they were brain dead

Oh man I wanted to address this at length because I feel this. My posts have been centered, again, specifically on published journalists picking Daggerheart aprt critically and applauding themselves for doing so despite it being within a couple of hours of its release and therefore any analysis is necessarily going to be based on at best, a skim, when they just as frequently will claim D20 seasons/Kollok are flawless works of genius based on only a partial read, but man D20's got a fandom problem too. (and all of the following comes with the caveat of "I really enjoy D20, and Dropout, and while we're at it WBN and NADDPod which both are half D20 Intrepid Heroes cast, and think Brennan is a particularly brilliant GM, and also it's obvious that the D20 and CR casts are on great terms, and wish the fandom for D20 were more welcoming and enjoyable because I feel it wasn't like this when I first started watching, as a CR fan, in late 2019 and has since curdled into something really weird and bad.")

The first point is the obvious one: technically speaking these are both products. These are performers doing an art form; it is also a portion of how they make their money with which they can buy goods and services. Believing that art is inauthentic when the artist gets paid and acknowledges that is a thing that happens is a fucking libertarian position at best. Like cool, you think only people who are independently wealthy by other means can make art, because it's not real labor, my kid could paint that, etc etc.

The second point is also pretty obvious. I have pushed back pretty hard on the "uwu CR is just watching friends! it's like we're in their living room" mentality among the fandom, which has decreased, thankfully, but like...it did in fact start organically as a private home game, and they decided, when invited, to make it A Show For An Audience. D20 was created on purpose as a show for an audience. This doesn't make it bad or fake - reread the previous paragraph - but in terms of "this is an group of people who really played D&D in this world together even before the cameras were rolling," Critical Role literally is that, and D20 is not.

I think beyond that...my biggest issues with the D20 fandom are first, the level of discourse is abominable. The tag is almost always just shrieking praise and the most surface-level readings possible. I keep bringing up the "Capitalism is the BBEG" mug but it genuinely sums up so much of how I feel; people who want their existing beliefs fed to them as surface-level no-nuance takes. I mean capitalism is fucking terrible but I do not need every work I watch to have a character turn to the camera and say "capitalism is bad" to enjoy myself, and indeed it makes it harder due to the lack of subtlety and grace. For all D20 fans complain about how unhealthily parasocial CR fans can be (and some can be), I find that a lot of the most unhealthily parasocial "how dare they BETRAY my TRUST by having a ship I don't like or not speaking up about every single societal ill" ex-CR fans move over to D20 and then pull the exact same shit; it simply doesn't get called out. Every time D20 fans are like "we don't want to become the CR fandom" it's like "your toxic positivity and unhealthy parasocial behavior exceeds the HEIGHT of what I've seen in CR; the main difference is that CR started in 2015 when D&D was still shaking off the raging bigot dudebros and so in the early days it acquired more of those fans, whereas by the time D20 came around the landscape of who played D&D and watched Actual Play had shifted wildly, and you need to judge September 2018 D20 fans in parallel to September 2018 CR fans, not September 2015 CR fans."

I also feel, and I alluded to this in the post about journalism, and other people have said this better than I have, but the pedestal people have put D20 on does feel like a single...not even misstep, but just, difficult choice that doesn't capitulate to the loudest fans will bring a good chunk of that fandom crashing to the ground. And that includes the journalists. For all the fans of CR can still be obsessed with the cast to an unhealthy degree? The cast and company have put up pretty strong boundaries and have not budged. D20 hasn't, and I think the second they do - and I think it will be for their benefit as a company and a channel - a big chunk of their most vitriolic CR-hating portion of the fandom will viciously turn on them.

#notstinglesstoo #nonrebloggable bc god it's hell week for me i know i've been shooting off opinions bc that is how i blow off steam #but like. i can't have this break containment i got shit to do

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amuseoffyre · 6 months

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Have had a couple of days and a rewatch and some mulling to put together my thoughts:

The good:

the writing - I've talked at length about the use of metaphor, symbolism, allegory and the like to add meat and substance to the narrative

the continuity tied in to S1 and the foreshadowing coming full circle, plus running themes continuing

the music is flawless throughout - both the soundtrack with songs and the original score and the way old motifs are used to add parallels and depth to scenes

the acting across the board has been staggeringly good. Especially for Taika, Rhys and Con. I can see why so many reviews had been raving about it.

the bits of set-up for S3 that have been planted if/when they get it

new characters who are an absolute delight

Family Trauma the TV show - intense to watch but cathartic af

Badass ladies and the soft boys who love them

Auntie.

The bad:

too much story and not enough time to tell it

sacrificing a lot of crew-related stuff - I know this is primarily the Ed and Stede story, but we're told that Olu was always talking about Zheng, but we never even got a single line of it. Buttons' disappearance gets one sus line. We gloss over the probation and why Ed is back in his leathers literally the next day. Again, I know, time constraints, but it does feel weaker for it.

speedrunning so much that it's taken several rewatches to catch everything that's going on - yes, it can work as a narrative device, but not all the time

still not over Zheng falling for Ricky's gift. Do not trust the aristocratic white dude, especially not when you've been blackmailing him. And I know there's some logical sense to her being so used to being able to manipulate desperate people on the fringes with both carrot and stick, but it feels like severe underestimation on her part about how ruthless and cruel and petty Ricky could be. He's not like the pirates - he has the power and privilege and it feels like she ignored that.

whatever that Teal Oranges pivot was so Jim could have a girlfriend, especially since they didn't have time/space to actually develop the Olu/Zheng and Jim/Archie stuff. Archie was barely a scrape of characterisation because of time constraints.

The ... Forbs Boding

Izzy - it falls under the typical archetype of Loss of a Role Model especially given all Ed's dad issues, which I thought we were beyond, but then it also fits with the running motif of the show of change, death and rebirth. We've had confirmation of the existence of a place between life and death plus a character who was beaten to death coming back from it and a seawitch turning up at the grave. I can see why it was done as it has been foreshadowed since "the only retirement we get is death" but after all his growth in S2, having Ricky be the one to get the jump on him is... hm. I feel like they had him and Ricky talking and Ricky causing his death for a reason. Feels like there's set-up for S3 planted and ready. My Forbs, they are A-Boding. ffs, they Obi-Wanned him right after he did a speech about "our spirit will last beyond your whole fucking empire". Strike me down and I will become more powerful than you can possibly imagine vibes.

The way trauma is/isn't being dealt with - I feel like there's stuff there that is set up for S3 as well, because we've seen how Stede is still bottling all his stuff and hasn't dealt with any of it, while Ed has done some processing and started to make peace with himself over it. Stede still has his mental lockbox and while he tries to pretend it isn't there, it still informs so many of his decisions.

All the Star Wars vibes - I've always been convinced this was the Empire Strikes Back season and now, they have all the pieces in play for the Return of the Jedi arc: Stede and Ed are together and recovering but will have a role to play, Izzy is in carbonite with a seawitch control panel, their allies are out there getting pieces in place, and the Imperial figurehead villain who showed up in S2 is still out there and convinced he holds all the power. And I just realised that this means that if they use Hornigold, he's the equivalent of Boba Fett - Bounty Hunter for the Empire XD

On the whole, I am content with it and am already having thoughts about the potential for S3, but I find it incredibly frustrating knowing how much more it could have been with the budget/time they wanted and didn't get.

#ofmd #ofmd s2 #ofmd s2 spoilers

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redbuddi · 4 months

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Do NOT Read "Lady Crystal is a Man"

People who know me know that I'm a little bit of a webtoon addict. I'm basically always reading a million different fantasy romances, even as someone who is not personally interested in romance in real life. Because of this, I am well aware of the more problematic elements of a lot of webtoons, to the point where it's easier to list webtoons that aren't problematic than to name ones that are. It's unfortunate, but it's a common aspect of webtoon consumption that most people get used to. (Note: When I say webtoons, I am talking about the genre of phone-optimized romance webcomics as a whole, not just things from the WEBTOON app. The series in question is on Tapas.)

Because of that, I will admit it is partially on me for assuming this comic was going to be more progressive than it actually was. People new to webtoons may be fooled, but I should have known better. On top of that, I am well aware that female-oriented romance stories can sometimes be a little toxic, and while this is a problem that needs to be worked on, I also know about what can happen when something meant for teenage girls is criticized. Even when the criticism is in good faith, it can start a trend of bashing anything teenage girls like and shaming them for wanting to explore media that is anything but flawless. I don't want to add to that.

But this series isn't just a little problematic. It doesn't just have some questionable elements or common plot failings. This is a series that has the potential to seriously hurt anyone who is trans, gnc, or gender questioning, and could give anyone who isn't any of those things the wrong idea about what is and isn't appropriate when it comes to trans/gnc/gender questioning individuals.

If you would like the td;dr, then in a nutshell this comic portrays material that could make an individual feel shame, discomfort, or even body dysmorphia. And on top of that the protagonist is cruelly gaslit and manipulated in ways that the series presents as if it were just light teasing, and that is all only in the 19 chapters that I was able to stomach before dropping the series entirely.

If you would like a more detailed description of this series' flaws, then I will continue below the cut.

cw: transphobia, body dysmorphia, gaslighting

Lady Crystal is a Man follows the story of a man raised as a woman attempting to escape a forced marriage by going to the mysterious and dangerous duke Illian, unaware that Illian is secretly a woman. The story is essentially a combination of two tropes, the Crossdressing Romance trope, where the main character and/or their love interest is secretly not the gender they present themselves as, a trope which has been around for as long as female-oriented comics has existed, and something a little more specific to webtoons (to my knowlege,) the Contract Marriage trope, wherin the protagonist escapes a bad situation by entering a temporary marriage with someone else, only for true romance to bloom between them. I have read many webtoons about Contractual Marriages, but not very many about crossdressing. As a nonbinary person, I tend to be uncomfortable with the highly traditional way many webtoons portray gender roles, and so I try to steer clear of series that tackle gender directly, but that is not to say no webtoon as ever handled it well. In particular one of my favorite webtoons, Alien Idol, tackles gender in an extremely understanding and informative fashion, even taking the time to acknowledge places where it's knowledge is lacking, which I've never seen a comic do so honestly before. Most webtoons are not like this, unfortunately, but that is only to my knowledge, and recently I've been wanting to expand my horizons a little bit. How can I be sure so many comics handle it poorly if I don't even read them for myself, after all? That is what convinced me to check out Lady Crystal is a Man.

In the first few chapters I was hooked. The series has extremely good artwork, and it first appeared to me that they might be trying to do a metaphor for t4t couples. Crystal is constantly coached on how to act and behave as a woman, because if he lives as a man he will be killed by his cruel and uncaring family. He takes a drug to halt his growth, and this drug is actively harming him, he is literally being torn up from the inside having to live as something he is not. He envies masculine traits he observes in others, and dreams of running away to live with the people who truly love him, cutting his hair short, and living as himself. It's because of this that I made the mistake of buying multiple chapters in advance instead of just waiting for them to unlock, and that's why I read so far into this series when normally I would have dropped it the moment it started to go downhill. Anyway, Crystal meets duke Illian, and already a connection is established by the narrative in how the two have had to live in fear of being who they really are. And at this point I was ready for them to start relating to each other and forming a bond.

This does not happen. Not really, anyway.

Illian tricks Crystal into thinking that the marriage paperwork went through extremely fast, and that they are now husband and wife. This is a red flag, but in the same chapter Illian reveals that she's just teasing Crystal as payback for trying to trick her, and that she will fully support Crystal's escape to be with her family as soon as the snow clears up. But then she doesn't. Even when Crystal admits the truth to her, and the snow clears up, Illian maintains the facade that they are married and that Crystal will have to keep staying with them until the annulment paperwork can go through. This happens because Crystal, under the impression that they are really married and that he has tricked Illian into falling in love with him only to have her heart broken, decides to take responsibility for his actions instead of running away like he originally planned. And Illian, hearing this, continues to lie to Crystal about their being married. This establishes a pattern that will continue from here: Crystal will show genuine care and consideration for others, and will be rewarded for it by being continuously manipulated by the people around him.

It's at this point that Illian finds out that Crystal is not a cis male. Not because Crystal told her, mind you, but because Crystal faints due to side effects from the drug he is taking, and Illian, who has taken the same drug, recognizes them. At first this is fine to me. I like that Illian does not get angry or upset, or even wants to confront Crystal on this, and at first I thought it was because Illian respected Crystal's boundaries and would only acknowledge it if Crystal decided to tell her. She even continues to refer to Crystal with female pronouns, even when she deduces that Crystal might be living as a woman just to not be killed in the battle for succession. But then, Illian decides to "make sure" that Crystal isn't cis. And while we aren't directly shown, it is heavily implied that Illian looked under Crystal's nightgown to see his genitals.

There had been one or two red flags up to this point. In particular, focus on the size of Crystal's hands. This was off putting to me, as this is something that could hurt people. Even people who aren't transfeminine could be hurt by this, the fact that having bigger hands than what is considered "normal" for a woman and how this is treated like a clue to Crystal's gender identity is something that would hurt anyone who identifies as a woman but doesn't fit what is considered a normal body standard. Focus on hands is even something that can be a big dogwhistle for TERFs, although I don't suspect the author is a TERF since I'm fairly certain this is a Korean comic, and I don't know what the discourse on gender in Korea is like.

Regardless, even with my growing suspicions, this was a massive shock. Crystal was unconscious at the time, unable to consent. This is unambiguously a massive violation, but the comic portrayed it as just a silly, over-the-top bit of shenanigans by our female lead. I know for a fact that this wouldn't have happened if the genders were swapped, in every webtoon I've read people who try to look under women's skirts are treated as disgusting perverts. But because Crystal is a man, suddenly it's cute and funny when his privacy is undermined. And this is the turning point where the series goes from a seemingly flawed but earnest attempt at a trans metaphor to a showcase of the most disgusting abuse I have ever seen in a story, all written as though it were just silly antics by people who are ultimately in the right.

Soon Illian and the doctor she had look at Crystal begin internally referring to him with masculine pronouns, all without asking if it's what Crystal wants to be seen as. As the doctor mulls over Crystal's potential circumstances, she thinks "Few people pretend to be the other gender, even fewer do so against their will," the series acknowledging the existence of trans people, but only as "petenders." And again, this is before they even know for sure if Crystal is doing this against his will. All the while, Crystal is portrayed in more and more infantalizing ways. He plays with snow like a child. He doesn't understand basic social cues, or even that people might be lying when they speak to him. He accepts everything Illian tells him without checking, even when he knew going into this that he would need to be careful. Illian secretly alters Crystal's communication devices so that she can see everything that Crystal says when he sends out messages to his friends in the east, who are waiting to take him in, unaware that he has been manipulated into staying against his wishes. Illian is drawn in by the way Crystal wears his heart on his sleeve, and doesn't want to let him go, even though she knows that Crystal has a home somewhere else. Crystal is prevented from escaping, and isn't even giving the courtesy of knowing that he is a prisoner.

There is another character in the comic, a cook who is portrayed as being large and strong, completely unfeminine despite being female. For one thing she's a show of hypocrisy, a cis female is a female, without question even if they don't fit eurocentric standards of femininity, but a trans female has to pass these standards with flying colors, and even then they don't really count. But there is another thing about this character. She is regularly referred to as a "monster" for her immense strength, size, and endurance. She owns it, seeming to be perfectly content with it, but not all real people who look like this would enjoy being called that. I feel that this is another acknowledgement of the other, that yes there are cis people who also don't perfectly fit their expected appearances, but they're not normal. They are exceptions. Monsters.

And then came the chapter that made me drop this series for good, completely overwriting my buyers remorse with disgust. Illian has to leave for a mission, and had instructed the Doctor to take away the drug that Crystal is using to maintain a feminine body. The doctor confronts Crystal, telling him that she "knows" he's a man, and blackmails him, threatening to tell Illian if Crystal doesn't hand over the drug. In exchange, the doctor gives Crystal a magic ring that she says will make other people perceive him as female. This is already bad for a few reasons, namely that even during this confrontation, the doctor never asks Crystal if he truly identifies as a woman or not. If Crystal did identify as a woman, then the ring would be a terrible trade. A person who wants to look at themselves as feminine does not do so in the hopes that other people will see them the same way. While the perception of others is certainly a concern, the main consideration is if the person sees themselves as feminine. A ring that only allows other people to see them as feminine would certainly be useful for people who don't want to be misgendered or seen in a way they don't want to be seen, but it wouldn't be an adequate replacement if it wouldn't help the wearer get a body that makes them comfortable. At best it would just be a supplement to something else.

But worst of all, it's all a lie. The ring doesn't actually work. It's all a trick to get Crystal to give up the drug. Yes the drug is harmful to Crystal, and Crystal himself doesn't want to take it, but as far as the Doctor knows Crystal could be trying to appear feminine for his own reasons. But without even consulting him, Illian and the doctor assume they know what's best for Crystal and trick him into giving up what could very well be the thing making him happy and comfortable in his own skin. Imagine how horrific things would be for Crystal if that was the case. Seeing his body change in ways he does not want, entirely against his will, and since the ring doesn't actually work his transformation would be fully visible to everyone around him. But instead of asking what if he wants this, Illian and the doctors decide to play the odds, and this is written as though they're being helpful by doing this. To add insult to injury, the doctor internally criticizes Crystal for accepting the trade without questioning it, seemingly forgetting that Crystal was essentially forced into it.

For obvious reasons, this was the point where I had had enough. This was abuse, plain and simple. Yes characters are not real people, and there is a place for stories that tackle things like abuse and manipulation, but this series never acknowledges the horror of what it's characters are doing, treating these things as though they're just cute and quirky romcom gags, maybe not normal but ultimately harmless. Meanwhile in the real world, these things are deeply harmful and hurtful to the readers of this series, especially those who, like the characters of the story, are forced to live in identities that are not themselves.

It's pretty common for webtoons to tackle things like this without really knowing what they're doing, and usually I'm able to shrug it off and keep reading, even if still criticizing it, as long as it seems the writers have the best of intentions. Making mistakes is how we learn, after all, and a lot of webtoons are written by young adults living in conservative societies who just need the chance to see other people's experiences. But there is a point where I draw the line, and that is when there is no perceivable compassion whatsoever for the types of people they are portraying. As I mentioned, the comic clearly shows an understanding that there are people who do not live as the gender that they are assigned at birth. But it does not see them as people. Even beyond the "pretend" line, gender is portrayed as concrete, inescapable, with terrible consequences for trying to change it. It portrays transfeminine people as clueless, weak, and unable to decide for themselves what's good for them, and illustrates anyone who doesn't fit typical standards of appearance as a strange and terrifying other that shouldn't be considered on the same level as everyone else. In general webtoons already have a massive issue with beauty standards, (don't even get me started on the way fat people are usually written,) but this is a whole other level of cruelty. While this comic was probably not specifically made to harm people, it takes careful steps to put people it doesn't like "in their place." It wants you to feel bad about yourself. This comic and comics like it should never be supported, not just for political reasons, but because, like it's characters, this comic is trying to enforce ideals that it feels for best for you, regardless of if it's what you actually want. And no one deserves to be hurt like that.

So if you see this comic or a comic like it, I encourage you to turn away. If they won't portray us as human, then we don't have any obligation to give them our support.

#webtoon #tapas #lady crystal is a man #long reads

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theerurishipper · 9 months

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Thinking about how Adrien's arc was about finding his self-worth and his independence and learning to let himself be loved unconditionally, and how the narrative undercuts this by proving Gabriel right at every turn.

Thinking about the way Adrien has internalized Gabriel's lessons that love is conditional and dependent on pleasing others, and how Gabriel is proven right, because Adrien's relationship with Ladybug which is meant to be his escape from the expectations others place on him has turned into another part of his life where he has to hide his trauma and his feelings so as to not inconvenience her with them.

Thinking about the way Gabriel's abuse of Adrien hinges on him denying Adrien his freedom and agency to make his own choices under the notion that he is too emotional and incapable of independent thought and controlling him under the guise of "protecting him," and how he is proven to be right, because those who should have been the people he forms relationships with who actually treat him with respect and validate his emotions are also denying him his agency and taking away his ability to choose, thereby making decisions for him, constantly lying to him and hiding things from him, and treating him like he is too emotional to be informed of his own life and should have his emotions be controlled by others, all under the notion that they are "protecting him," but they're doing it out of love so it's okay, thereby validating Gabriel because these were his exact reasonings.

Thinking about how Adrien is dehumanized by Gabriel and treated like a perfect, flawless doll who doesn't get to make choices, who doesn't have needs of his own and only exists to do whatever Gabriel wants of him, and how the narrative goes out to its way to do the same to Adrien as a character, because all he exists for in the show is to be a pretty prize for Marinette, her trophy boyfriend for beating the bad guy, and is not allowed to have any choices or feelings that would get in the way of her own or would inconvenience her in any way.

Thinking about how all Adrien's problems are because of Gabriel, and how the narrative validates Gabriel by making Adrien practically worship him by the end of the season.

Thinking about how the narrative insists that this is all good and fine and wholesome, and how it veers from being just a bad show into straight up abuse apologia, taking large parts of the fandom with it.

Thinking about how Adrien deserved so much better as a character.

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tossawary · 2 months

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As I post about rereading SVSSS for lore and characterization, and about sometimes ignoring canonical details for the sake of whatever story I want to tell / explore in fanfiction for fun, I want to make it clear that I don't make these changes because I think it makes a "better story" or that I can write a "better story". I don't even like using the term "fix-it" for my canon divergence AUs that avert some in-universe tragedy, even if it is the "correct" fandom term in some cases, because I don't think that SVSSS is a story that needs to be "fixed".

(Honestly, a lot of my minor alterations to canon's details are because I can't remember what exactly canon is and can't always be bothered to hunt for one sentence (which I may or may not remember existing at all) across multiple volumes, especially when I don't always think strict faithfulness to canon is that crucial to the main concept of what I'm doing. I wrote PINTWILF and several other fics before the official English translations were fully released, when checking minor details was an even greater pain in the ass. Sometimes, I'm cooking without the recipe in front of me because I just want to eat.)

Like, I have criticisms of SVSSS, definitely. When I first started writing SVSSS fic, I was more frank about this (fond but less fond of the characters and world than I am now), and I've talked about things I wished the story expanded on more. I think it has flaws. I know those flaws are a dealbreaker for many people. But it's not my story. I can't tell MXTX's story better, because I believe that every author's story belongs to them and only they know what they're trying to achieve, even when I may personally think that the story might have been stronger if it had done something differently or I'm ignoring some minor detail specifically because I don't really like it.

It's awkward, sometimes, occasionally being told by someone that they enjoyed my fic more than the original story. It's very flattering (I can't pretend I don't have an ego) and I don't think anyone means any harm by this, people enjoy stories or don't for many different reasons (enjoyment is not necessarily an indication of quality and I think engaging with fandom can often be more fun than just reading a story on its own by yourself), but it is a little awkward, especially when SVSSS is not an English / western story. I have an advantage appealing to western readers. Reading a translation of the original story, I know there are details of SVSSS going over my heard, references I'm missing, nuances I don't recognize, even as I endeavor to keep learning. I personally enjoy some of my fics more than SVSSS itself because I associate them with good experiences and a lot of them appeal to me personally in some way or another (all of my favorite tropes! we all have favorite tropes!), but they are built on the back of someone else's original work on the other side of the world, and I want to be respectful of that.

I don't want to compete or fix. I'm not trying to compete or fix, I think I would fuck it up if anyone seriously set that task on me, and I don't think that's a good way to view anything. I want to explore and appreciate. I'll type up a lengthy post at some point as to why I'm generally not interested in concrit on my fics (honestly, mostly it's because I'm not interested in being told that a reader hates the present tense and wishes I would rewrite the entire story, which has happened to me before), but I hope that doesn't come off as disinterest in the original story or its cultural context, or as me thinking even a little bit that any of my stories are flawless and/or better than the original.

I want to make a "why would you put two bad bitches (compliment) against each other like this?" joke here, but I also want to be clear: I think MXTX is by far the badder bitch (compliment) in this situation.

(Turning off reblogs, btw, because this post skews more on the personal side.)

#tossawary svsss #tossawary fandom #long post

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that-lazy-snail · 1 year

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Being a fan of Avatar (the movie with blue people) is literally the most exhausting fan experience I've ever had, and I'm a female Star Wars fan, who's favorite Star Wars movie is The Last Jedi.

I'm by no means claiming that the movie is flawless or even "great" but it is by scifi blockbuster standards pretty good. It's no more or less racist than the Star Wars prequels and the writing isn't any worse than the scriptwriting in the Star Wars prequels either, yet it's treated with such disdain among people on the internet that I can't even talk about it without receiving random hateful comments.

I cosplay from the movie, more specifically the new movie and an OC that I designed in 2018. I love the movie, especially the visual elements and the design of the Na'vi and their culture, I think it's a fascinating metaphor for our treatment of indigenous peoples and our planet, I love the themes the film presents. But I'm also aware that it's harmful to indigenous people as well because it promotes a white savior narrative, that it's harmful to disabled people by promoting the narrative that they can't live full lives unless they're normative. I don't deny those problems with the movie, and I have plenty of criticisms of the new film as well. Particularly the use of locks on Jake and Spider, and I saw a video on tiktok complaining about that and I left a comment saying that I really wish they hadn't done that and I thought it was a really poor styling choice since up until that point none of the Na'vi we'd seen have locks so it doesn't logically make sense to give them that hair style. I got quite a bit of response to that comment, some people agreeing with me but largely people were saying, "why do you cosplay it then?" "why do you support it then?" like is it not okay to like things and also have criticism for them? I'm allowed to like things about it and also not like things about it.

I also keep seeing videos saying that Avatar has no cultural impact, that it doesn't have a long lasting fan base despite having lore comparable to Lord of the Rings. Here's the thing with that, it totally does have lore comparable to Lord of the Rings but the fan base can't thrive like LOTR fans or even Star Trek could partially because the internet wasn't a space in the same way then as it was when Avatar came out and the other fact is the sheer amount of shaming and harassment that Avatar fans get. I've seen people leave the fandom because of the hate they received on the internet. They quite literally get bullied out of their enjoyment of the movie. People say that Avatar has no fans, but it's fans are chronically silent and reclusive in our liking of the film for fear of getting harassed. I am part of Facebook groups of that have thousands of members and a very active discord. Avatar fans exist, they just keep low and quiet so as to protect themselves. I know people who speak Na'vi in the same way people speak elvish or klingon, it's just not something we advertise because every time we try to share our enjoyment of the movie we get mean comments or mocking stitches/remixes of our videos, pictures, etc. It's not fun to be a public Avatar fan, it's scary and exhausting.

I love Avatar, Neytiri was one of the first truly strong and inspirational female characters I connected with as a child (I was 9 when the movie came out) and I was fascinated and enthralled with the world of Pandora, as were so many movie goers. I'm so tired of getting railed on for enjoying this movie, or even just the constant ridicule that comes through my feed about it. What happened to the golden rule of if you don't have anything nice to say (or on this case even anything that provides new/valuable commentary/criticism) don't say anything at all?

I'm so sick of hearing the same arguments I've heard a million times about why it's a retread plot of Pocahontas/Dances With Wolves/Ferngully, I've heard it all before, I've seen those movies before and their plots are in myths and any number of other stories, that's not why I love the movie. No amount of people saying that to me will change what I do like about the Avatar. I don't watch Avatar for the plot, I watch it for Pandora, and for the visual spectacle and the world building.

I'm sick of the argument that Avatar's treatment of indigenous voices is somehow worse than any other piece of media written by and for white communities, it's not. Even Avatar the Last Airbender (which is my favorite TV show of all time and is often acclaimed as a great example of native representation) also falls failure to the same mistake of casting white actors in POC roles and changing the narratives of natives to be more easily accepted and understood by white audiences. This is not to say that ATLA doesn't handle its message better than Avatar, but it's important to be aware of the ways in which all media has flaws, even the things we think are less problematic and it's important to acknowledge them and not tear the media down for it, but use it as means to make new media better. Cameron did improve with the Way of Water, he frequently consulted with the Maori tribes he was pulling inspiration from, there's literally articles written by Maori tribe members on it but it is still a white people movie, written by white people for white people so do with that what you will. But don't claim star wars is any better, the prequels were outrageously racist, and they still maintain majority white casts.

The new Avatar movie (the way of water) is not perfect, there are quite a few things I found to be poor choices in regards to cultural sensitivity (aka locks, and casting Kate Winslet as Ronal instead of a Polynesian actress) but it's still better than it's predecessor, and unlike so many people on the internet say, it is not "a bunch of white people playing poc" since neither Zoe Saldana, nor Trinity Jo-Li Bliss, or any of the Metkayina children or Cliff Curtis are white. In fact, Cliff Curtis is Maori, the culture that inspired the Metkayina and many of the extras who play background Na'vi in the films are POC, because in spite of James Cameron's failings, he did want the Na'vi to be played by people of color. Very very few of the Na'vi in the original movie are played by white people, only a few extras with less than 1 minute of screen time and no lines. All the major Na'vi roles were played by people of black and indigenous color. Eytukan was played by a Cherokee native, Mo'at (these people are the two clan leaders) is played by a indigenous woman from Africa and is very black. Zoe Saldana's parents are Dominican and Puerto Rican for god's sake! She is not white. This argument that he casts white people in POC roles is untrue. The Avatars are white cause they're meant to represent the invadors, wolf in sheep's clothing if you will. The Na'vi are bipoc, and they're played by bipoc.

After Avatar, James went to Brazil and became and activist for native communities. He went worked with Brazilian natives fighting the building of a dam over their local river, a dam with would power a major city in Brazil, but destroy the indigenous peoples access to water. He went to their community, and asked them what he could do to help. He donated money, protested, ran conferences and tried to disrupt the building of the dam using his influence, but it failed, and he had to watch the suffering of this indigenous tribe that he'd grown very close to in their time working together to prevent the dam. He's not Anti-indigenous as people love to claim, he's clumsy and arrogant (like all cis white men) but what he does is an attempt to elevate native voices not smother them even if he doesn't necessarily succeed.

The movie isn't the menace to society people portray it as, nor is it as boring or uncompelling as people claim. But I still can't go online to enjoy it because no matter what I say, I like it too much for "a bad movie" or I'm "too supportive of something harmful" although I still see people buying Harry Potter merchandise in the Barnes and Noble and I'd argue JK Rowling is an actively bigoted individual who's words and paychecks actively harm marginalized communities, unlike Cameron who despite his bumbling is trying his best and actually learning and doing better with the new content he puts out.

People also say things like, "You only like it cause you're white, no POC people like Avatar." which is blatantly untrue, I've seen native people who like it, black people who like it, I have black friends who like it, I know a black cosplayer who cosplays from it. In fact, I know more poc who cosplay from it than white people. Everyone is entitled to their opinion of the film, and should be allowed to interact with it without getting harassed. It's just exhausting to like it, so people don't say they do.

I'm tired of even the things that should be praised about the new film being used as a way to tear it down. Cameron said in an interview that he "likes Captain Marvel and Wonder Woman as characters but they're not mom's" when asked why he chose to make Neytiri a mother. Neytiri's motherhood doesn't detract from her warrior-ness, she's still a badass bitch and I think that's the point that this person on tiktok clearly missed. He wasn't saying you need women to be moms to be heros, but how many warrior women who are also mothers can you think of off the top of your head? I can't think of any. The choice to make Neytiri a badass mom wasn't to detract from single or childless female characters but to provide even more diversity in the kinds of strong female characters out there. I loved that 1/2 the cast of that movie was women, just as I loved Neytiri in the first film.

In conclusion, can we please stop making Avatar fans lives hell on the internet. I do my own research about how it is and isn't problematic and make my own decisions, I don't need strangers to yell at me. I just want to enjoy my silly ecoscifi movie about blue aliens. I'm aware of its issues and I do my best to raise awareness of the issues facing real natives, to engage with real native stories and voices and support their protests, legal persuits, tribal sovereignty, land back etc, and be the best ally I can be, but I'm not going to boycot this movie because it does some problematic stuff, or because it has an unoriginal plot, if I did that I could never watch another marvel movie again (and yes they're just as bad if you dig, look at the early ones especially) I'm so sick of the insane amount of factually unsupported hate this movie gets and of having to deal with it. I'm tired, I just want to enjoy my movie which is no worse than any other white backed and driven Hollywood blockbuster.

#avatar #avatar 2 #avatar the way of water #avatar 2009 #james cameron #avatar james cameron

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sophitia-of-hyrule · 6 months

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I said before that TotK "nerfed Zelda's personality" but now I think it might be even worse than that.

Outside of the intro cutscene and a bit of the ending, she has no personality. She's a blank slate (which she is NOT supposed to be, that's Link's job). Now I'm not going to lie to you, her dragon transformation made me cry A LOT. But it's only because:

1. Even if she was written in the most boring way possible, she's still the same incarnation of Zelda that BotW had. So from the get-go I care about her, so matter how bland TotK made her.

2. that cutscene was just so beautifully executed with the cinematography and the animation and the music, everything. Plus afterwards where we see Link surronded by silent princess flowers. That whole sequence is amazing, but that doesn't take away from the fact that she had no personality in the prior memories.

The only thing that shows us that Zelda has "grown" since BotW is that she's been scrubbed clean of all her flaws. She is a perfect benevolent ruler who is smarter than everyone else (she gave training advice to THE GERUDO of all people). Everyone who complained about her being "whiny" and "mean" back when BotW came out fail to understand that a flawless character is pretty boring. I don't care much for a perfect waifu. I want a character who has interests outside of what she can do for others. Because that's what TotK Zelda is ultimately: she exists to please others. What SHE wants doesn't matter. It's all about helping Rauru, it's all about repairing Link's sword. She has no desires of her own. All the personality she had was taken away as soon as she fell into the abyss.

#my post #rant #princess zelda #light dragon #legend of zelda #tears of the kingdom #tears of the kingdom spoilers #totk spoilers #zelda critical #totk critical #totk criticism

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rambleonwithrosie · 1 month

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Inspirational female representation is not flawless girl-bosses. It never has been. That's another one-dimensional unattainable version of perfection same as the 50s Housewife was. We can't all be Aunt Bea or Black Widow those are caricatures of what it means to be a woman and only highlight limited aspects of femininity without character growth or nuance. Assassin is no more of a personality than cook is.

Inspirational female representation in media is women who make mistakes and are still given value even after blundering. It's Anne falling off a roof. It's Evie wrecking a whole library and nearly ending the world. It's Eowyn in a suicidal depression riding into battle with the goal of dying. It's Lizzie believing everything Wickham says about Darcy.

It's Anne learning that you shouldn't fall for a bully's bait and pride has its place and it should be kept there. It's Evie learning that maybe don't assume something is safe because sometimes it definitely isn't, whether that's ladders or big black books. It's Eowyn learning to love herself and that she doesn't have to prove anything to anyone. It's Lizzie learning not to jump to conclusions about people's character.

It's the space for mistakes and growth. These characters are loved and lovable before, during, and after their mistakes. While they learn from the mistakes they make there is no pressure that from that moment on they are perfect and do nothing else less than perfectly (the mummy sequel doesn't exist here because they made Evie into a cardboard cutout of who she had been in the first film and stripped her depth and warmth). These women are allowed to fail, learn, and grow. They are also some of the most resonant characters in the history of women in literature and film. Who here consumed the media where they are represented and didn't feel akin to at least one of them in some way?

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cerastes · 1 year

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I think my least favorite take, opinion, whatever you want to call it, is “why did Arknights not say the Inquisition was bad?”. It applies to any event, really, replace Inquisition with whatever the Authority Figure Organization is involved, and hell, I even agree with the sentiment sometimes, Arknights’ not flawless, but for the most part: You need to read better. You are playing the Game That Doesn’t Say Things Explicitly. It tends not to say things explicitly, turns out.

It kind of bugs me opening my inbox and seeing something to the effect of “I’m uncomfortable about Irene because she’s technically a cop, why is she not Condemned for it?” First of all, shame on your for wanting all of the art you peruse instantly moralized, to the point it needs to somehow involved a shovelful of The Opinion, served explicitly, at the drop of a hat. That aside, the Inquisition is not put on a good light to say the least, so even then the point is moot. Irene’s journey is very much seeing with her own eyes that “the Inquisition raised me, I respect and love the people I’ve met in it, as they do me, and the dogma surrounding the Inquisition is an important brick in the temple that is my life” necessarily is something that exists alongside “the Inquisition does in fact leave the imperiled to be doomed, and sees human life more as numbers and resources than human lives, the dogma is built, necessarily, on oppression of others as a means of fostering order and morale, and I’ve benefited directly from this privilege”, and that she has to make a decision. High Inquisitor Dario, her mentor and foster father, tells her as much: “Once you see things with your eyes, you have to make a decision”. Irene does in fact make her decision, leaving the Inquisition and the mentorship of The Highest Of Inquisitors, Saint Carmen himself, who was going to take her in and basically assure her a seat as a High Inquisitor in the future, because she found the latter realization to weight more than the former. In her own words, Irene decided to step away from this, because if she remained in the Inquisition, she’d only forever perpetuate the oppression on the Aegir, among other things.

Now, there’s definitely more to say about the Inquisition of Iberia, but I’m focusing on Irene here: Do you think it’d make sense for her to just suddenly have a moment of clarity, in the middle of all that fighting and struggling to stay alive, say “I’m antifa now, actually” and discard everything that has been her life until that moment just like that? If you do think so, I hope you don’t write anything soon. Your desire for catharsis is not unimportant, but the narrative shouldn’t have to accommodate for it in the most neckbreak way possible, and if you do need it to do that, then read something else, there are reads and games like that elsewhere (for example, Tales of the Abyss has the main character do an absolute 180 from one moment to another after a specific event in its story), but also do show some respect for the fact that Irene, in a way that resembles what anyone who just had her entire world view challenged not once, but twice (Under Tides and Stultifera Navis) would act, allows herself some time apart from the tension of the Big Happenings of the event, actually digest the paradigm shift, the loss of someone important to her, what to do with all the new information she has and what the experiences have taught her, and grow out from there organically.

What I’m trying to say is that I’d rather have less “conclusive” overdone neckbreak moments of “you know what? Fuck this! Fuck you!” and maybe let the characters in any given narrative seep and stew into what happened and what happens from there on. Take, for example, Full Metal Alchemist, in which certain important characters have a real moment of “Hey... Are we... The bad guys?” that shapes the events of an entire, important part of the story long term, slowly, with the gravitas it deserves.

#just really irks me whenever an event comes out and I get or see asks like ''I don't like that the narrative didn't explicitly throw a #molotov cocktail at the Authority Figure Organization in the story'' like MAN there's definitely the place for those complaints #arknights definitely has things you can criticize to that level but for the most part #most every big organization is not portrayed in a good light it's just not a character waving a sign with big red neon letters that spell it #out #arknights #Irene

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callistosposts · 2 months

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Slowly crawls into ur inbox to talk abt mars, hello.

A handful of people say that he's bland/ hid only personality trait is being Earth's best friend. BUT, I think Mars is an interesting character! (In his own way). While yes it does seem he only exists to be Earth's best friend, he does have a personality of his own. Mars is kinda like the straightman of the terrestrial planets (maybe even of the solar system), he's also one of the smartest planets (besides Jupiter and Mercury) and his friendly demeanor can be a refresher compared to Earth's (previous) and Venus' behavior

But that doesn't mean that he's flawless, a good example is the whole earth-titan debacle, fellow SB tumblr user chainera brings up a good point abt Mars.

https://www.tumblr.com/chainera/738145938471845888/heya-sorry-if-im-being-a-bother-but-what-are?source=share

Here's a link to the post, but she does bring up a good point abt the red planet, he could've (and probably should've) helped Earth with his problems and try to give him a chance to change for the better, but that didn't happen since Mars ditched him.

And like she said in the post if you ditch ur friend for something they didn’t know they were doing wrong, allow them to figure out that by themselves, and realize that they hurt you, they won’t apologize to you. Because they think that you hate them since you left.

And That’s the what happenend in the show. Mars ditched Earth and Earth proceeded to become more toxic until Mars calls him out in "Venus vs Mars". (Even the wiki calls him out, to quote "Despite his friendly demeanor, he can be quite ignorant and jumps to conclusions at times, not realizing why Earth could be acting the way he is even though they were best friends for some time.")

And another thing abt Mars' character is seen in "battle of the plants" was that even though he and Earth weren't best friends anymore, he (and Venus) still risked their lives for him cause destroying his life wouldn't solve anything, this speaks level on Mars' loyality and how far he's willing to protect someone.

Sorry for blabbering I just think Mars is interesting 😭.

I love Mars to !!! i think this is a pretty good analysation on him although i do have to slightly disagree on the "Mars should not have left Earth" thing

I think the common point people who make this point are missing is that Mars DID try to help Earth before leaving him - right in the beginning he called out Earths weird behaviour towards Titan and the result of that was Earth ignoring it and deciding to be friends with Venus instead ← someone who would let his bad actions slide more easily

as a friend, there is only so much help you can give someone before its clear they are deliberatly ignoring you, Mars tried, Earth ignored

that is an extremly tiring thing to deal with, people forget that Mars is a victim of Earth to in the way that he was used as tool against Venus and consistently ignored. I find it completely reasonable that Mars left Earth at that moment, honestly THAT callout in itself was Mars trying to help Earth open his eyes, you even see later on that Mars gets worried about him

Mars jumped to a conclusion in the fact he thought Earth was acting like that for no reason, not in the fact that he called out Earth - because whatever Earths reason was to Mars, Earth WAS being toxic

- other the all that though, YES YES mars is a lot more then just Earths best friend, Mars is consistently one of the most mentally sane characters , hes a middle ground to Earth and Venus and a calmer paralell to Mercury , basically hes the one youd want to call if you were in danger

#solarballs #solarballs asks

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