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rimouskis · 7 months

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could you explain more about what you view as the before era and what you view as the after? i need to learn my herstory

I think this requires a more detailed and educated/researched answer than I can give after an exhausting workday and an after-hours work event, but I'm going to do my best and also open up the floor in reblogs for people to chip in their thoughts

foremost: a DISCLAIMER that this post does not aim to shit on writers from the "before" era. there are many classic fics that I love and enjoy, even if I consider their characterizations to be "less accurate"* than the ones we have in the after era.

*aside to say: accuracy is based only off of literal media accounts we have of these men; we do not know them, we should not claim to know them, and they have had different comfort levels with the media knowing selective truths about their lives [sid out of choice, geno out of media xenophobia] than they did when these early fics were being written.

"before" fics (which I tend to refer to as "classic" fics, and had their heyday in 2012-2013 but continued up until 2016ish) tended to have more regimented roles for sid and geno. sid was usually the protagonist; geno was the love interest.

this came with a cascading set of characteristics assigned to each guy. sid was poor-little-meow-meow'd. geno was the pursuer in the relationship. sid usually bottomed. sid had the whole spacetoaster moment (he was the inspiration for the term, haha). there wasn't much a/b/o fic but sid was, like, the omega-fied one and geno was alpha-ized.

something I've been thinking about more recently is how 2012-2013 era sidgeno displayed signs of Migratory Slash Fandom. I don't think of MSF as an inherently negative/condemning thing, but I think it's a phenomenon that deserves to be mentioned/analyzed, yeah?

MSF thrives on big character differences.... like, grumpy/sunshine, sarcastic/broody, genius/empath. it's all about emphasizing disparate archetypes to create natural tension in a story. this works really well in most romance novels! I love it!

the issues arise when people try to make characters fit into these preset dynamics. and, frankly, when sidgeno first got big, we straight-up didn't know as much about sid and geno. I mean that. despite sid being EXTENSIVELY covered by media from age, like, 14, he was really tight-lipped compared to what we have now.

and geno was.... there. I don't mean that as a diss—he was INCREDIBLE, but the media totally passed him over again and again. or they helped contribute to stereotypes of him being a dumb oaf who didn't know english.

aside: ironically I think that helped in creating sidgeno and not, like.... sidflower or sidtanger. geno was so "DIFFERENT" from sid (aka: russian, characterized by media as not knowing how to speak [in comparison to sid's highly curated media soundbites]) that it meant he was the best candidate for A Ship with sid.

a lot of the really big writers who got into sidgeno were fandom veterans with lots of experience in other big fandoms. to me, that means MSF had a hand in all this. and we should be grateful, because it led to the BOOM of hockey fic, and of sidgeno fic specifically. modern hrpf wouldn't exist without it.

that being said, those template ship dynamics, plus the media's attitude then towards sid and geno in its coverage, led to those characterizations of whiny soft sensitive boy sid who needed to be rescued even though he was the best hockey player EVER, and geno as the lumbering tall strong alpha not-that-bright Love Interest Man.

this isn't to say every fic was this way, or that this is BAD. I, uh, love poor-little-meow-meow-ing sid and omegafying the hell out of him. what I'm saying is that it was a near-ubiquitous characterization across the board.

that all changed in 2016-2018. I personally wholly credit sevenfists, though I imagine it's more nuanced than that, but: my blog, I make the rules here. I don't know if sevenfists was psychic or just highly observant and absolutely excellent at reading people (and that's basically the same thing, right?), but characterization shifts began taking place in fic....

and the coolest thing happened, in that those characterizations were seemingly reinforced by more media coverage. the back to back cups brought with them TONS of interviews with and media about the team, and sid and geno in particular. the coolest part of it was that sid had loosened up a LOT and geno had gotten more comfortable (and had gotten a reporter firmly on his side).

the interviews about sid post 2016 were just SO different. so much information started coming out, and a LOT of it conflicted with Ye Olde Characterizations. as it turned out, sid was deeply one of the boys. he was funny. everyone liked him. he loved hosting. he was insanely comfortable around almost everyone, including strangers, because he's a little freak who's kind to everyone. he can make smalltalk like no one's business. he's kind of gross. he likes to giggle and be in on jokes and get into the thick of it. he isn't some blushing virgin bride sold off of mario's doorstep, yeah?

and geno, too, was finally getting the coverage he deserved. and his personality was both fortified by age and better shown to us through media. as it turns out, he isn't some happy go lucky oaf. he's mercurial and intensely aware of what others think of him (and he CARES). he's sensitive and thoughtful but also can lash out at random times. he has a wicked sense of humor that he uses as a defense mechanism and as a surefire way to get people to like him, which matters to him. and, as everyone says, he is SMART.

if you had to boil it down, I'd say that post-2016, it became clear that SID is the confident one and GENO is the insecure one. and fic caught onto that with a miraculously fast pace. also: they're more alike than they are different, but I still think romance inherently feeds off of difference and tension, so we still exaggerate things to make the stories ✨WORK✨.

I'm not going to give examples of pre- and post- era fics, because I don't want to point any fingers and say someone was doing characterization "wrong." that's not the takeaway I want anyone to have here.

fandom attitudes have changed. it's been 10 years since that first wave of fics, and while I don't think that's very long, it's a hell of a long time on the internet, and in a niche internet community. what was once the standard for fics (and what was well-read, and what people gravitated towards) was different. not worse—different.

I think it's fair to say the "after" era of fics is more "accurate" to what we know of sid and geno. it's also fair to say that this is only the case because we have a WEALTH of information, character-revealing interviews and videos and anecdotes, that Ye Old Authors could only dream of getting.

I really love the story of how everything has changed, and it's a fabulous microcosm of fandom evolution and how approaches to fanworks have changed and grown with fandom, and I think it's all so so cool.

#additions welcome!#I also feel like I've made this post before lol #gather round children it's time for granny rimouskis to spin the tale of the sidgeno evolution once more

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gffa · 14 days

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Do you have any Sith!Obi-Wan fics you can recommend? 🙏

Hi! You can do a search for Sith Obi-Wan in my bookmarks which brings up several or you can start with the novel-length ones that still live rent-free in my head even years after I've read them: Equinox by lilyconrad, obi-wan/anakin, NSFW, 95.9k During the Clone Wars, Obi-Wan and Anakin crash on a remote planet and take shelter in the ruins of a grand estate only to find they are not alone. This fic was written for me, so I'm biased, but it's genuinely my favorite for the trope because Lily put all this thought into the undercurrents going on between the characters, because it gives such care about why any version of Obi-Wan would fall to the dark and what he would be like, because each chapter had moments of foreshadowing and care given to lush, beautiful descriptions and the creeping dread of the place. It's a gorgeous fic and I think even if someone doesn't usually like Sith versions of the characters, the way this one does it (created reflections, not that our characters are falling, so it's scratching the itch of how it's an extension of our characters, but our characters are not on that exact path), I would gently suggest this one.

Lex Talionis by intermundia, obi-wan/anakin & cast, NSFW, 187.1k Or, how Obi-Wan and Anakin fell to the dark side, obtained their revenge, and saved the galaxy in the process. My other favorite Sith Obi-Wan fic, this one is about how these characters fall to the dark, and the author takes his time with how it happens step by step, but also how these massive, galaxy-spanning changes happen, how it's a combination of how sexy the dark side can be but also how awful it can be, how much pain and hurt it can cause. There's so much care and effort put into this story, it spans such a huge story, that it's one of those fics I want to physically print out in special binding because it deserves to be a pretty set on my bookshelf.

wicked thing by imaginarykat, obi-wan/anakin & cast, NSFW, 124.2k the story of how Anakin exists in a perpetual state of intense embarrassment, Kenobi is enjoying it a little too much, and everything is, generally speaking, a gigantic mess. This is an AU where Obi-Wan never trained Anakin and is already a Sith when we meet him, and there's a reason it's one of the most famous fics in the fandom, because it is the most charismatic thing I've just about ever read, the sheer amount of dark side sexy charm coming off Obi-Wan is incredible, the tension between him and Anakin is delicious, and the writing/plotting of the storyline is superb. I could not put this fic down when I read it, there's a reason this fic helped really popularize the trope, because it's just so goddamned addicting and glorious to read.

Soldier, Poet, King by Glare, obi-wan/anakin & cast, NSFW, time travel, 106.4k wip Second chances are very rarely given, but the Force smiles upon two of its favorite children and returns them to a time before their actions have met their consequences. Anakin Skywalker, also known as Darth Vader, seeks redemption while Obi-Wan “Ben” Kenobi, disillusioned with the Jedi Order and its Code, falls to the Darkness. Trapped out of time, Master and Apprentice must once again work together to stop Sideous’ plans from reaching fruition and bring Balance to the Force—all the while dodging the Jedi, the Sith, and their feelings for each other. I think this might even have been the first Sith!Obi-Wan fic that I read and I know it remains dear to me because I reread it a year or two ago and got sucked in just as hard as before. Obi-Wan is dropped back into his younger body, feels like the whole thing is a bunch of bullshit, gets sucked into dark thoughts, and just goes full dark side dom on Anakin and fixing the galaxy through machinations and foreknowledge. It's so fun and it does such great service to Anakin's level of power, that this guy is an absolute dragon in the Force, but that he also very much wants Obi-Wan's hand on the back of his neck to force him to kneel to the one person he loves. Hnngggg, it really cemented me as a fan of this trope because of how well it scratches the sexy dark side dom/sub while they're both badass dynamic, I love it so much.

I'm still making my way through a lot of Star Wars fic, so if anyone has any more recs, feel free to jump in, especially if you have some gen ones, since I mostly read pairing fic for Sith!Obi-Wan (because I'm personally after the sexy dom/sub dynamic with it)!

#lumi.txt #star wars #obi wan kenobi #anakin skywalker #obikin #fic recs #star wars fic recs #sith obi wan

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fuckyeahgoodomens · 10 months

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A great interview with Michael with Collider :), mostly no spoilers (or what already been said elsewhere :)❤)

COLLIDER: Obviously, when you were making the first season of this show, you had the book to work off of, you had a characterization to work off of, but because this season is an all-new thing that Neil Gaiman has written, did you get to work with him at all to develop what Aziraphale was doing this season, or was it all dependent on what he wrote?

MICHAEL SHEEN: Yes, I think when we were doing the first season, Neil always talked about the idea that he and Terry [Pratchett] had talked quite a bit about future storylines and that they had worked out quite a lot of it, actually. They just never got around to writing it down in a book. So there was quite a lot of material already in his head. One of the wonderful things about this, as well, working on this project, has been how much myself and David have been able to collaborate with Neil on the characters and inhabit them and bring them to life, and developing the relationship between them and the storylines. So it’s felt very collaborative, but then, of course, Neil is very good at making it feel collaborative even when he knows exactly what he wants.

QUESTION: Speaking of that relationship between Crowley and Aziraphale, you are obviously quite close with David Tennant. You work with him not only on this but also on Staged. What's it like getting to put that friendship dynamic to use on those shows, especially since Staged is something that's so completely different from Good Omens?

SHEEN: It's just wonderful, really. You know, often you work with actors that perhaps you have very good chemistry with on-screen or on stage, but maybe off-stage, off-screen there's not a particular spark. It's fine, but there's nothing particularly special about your relationship on stage or on-screen. Then other times, there are people you get along with really, really well, but maybe there isn't necessarily that amazing chemistry on-screen or on stage. So it's very rare that you have both. I think with us, we've just sort of discovered that that is the case, or it seems to be that people feel like we have good chemistry together when we're working. And we just have a lovely time together in between working as well, so it's such a pleasure to be able to do that, and to be able to work on projects like Good Omens and Staged with the characters that we play in those. It's just a real joy, so, you know, long may it continue.

QUESTION: Personally, I love the relationship between Aziraphale and Crowley, and the show has had such a massive fan response. How much are you aware of that, and what do you hope fans take away from this season as opposed to the first one?

SHEEN: Oh, I'm very much aware of it. Yeah, it's one of the most enjoyable aspects of working on this, to see how much the audience and in particular Good Omen fans just give to the project. It does feel like a fulfilled kind of creative collaboration with the fans as well. There's so much talent when people come to writing fanfiction or artwork, or just discussing ideas or things that have sort of been born out of it. I mean, there are all kinds of amazing groups who fundraise now for charities and do all kinds of incredible things. There are conventions and all sorts. I love that, and I love seeing how people have made friends, really close friends, through their connection to this and these characters in this story, and how communities have been created, and how much people are helping each other. I see all that online and I hear about it. It feels very in the spirit of the story, you know, it feels very in keeping with what it's all about. I think that's a big part of why Neil and I and the rest of us have all really opened ourselves to that fan community, because I think it feels like a very living part of the story.

QUESTION: How do you think Aziraphale has changed between where we leave him at the end of Season 1 and the beginning of Season 2? Is there anything unusual that we can expect from him this season?

SHEEN: Well, I think he's in a quite odd position for him because, on the one hand, he's got a lot of the things that he's always wanted. He's always wanted to just be left alone and live in his bookshop, and drink tea and listen to music, and read books and go to the theater, and eat nice meals and drink nice wine, and be with the being that he loves being with the most. But on the other hand, he's also someone who feels very anxious about not being part of the company, you know, being out on his own and sort of independent. It’s quite a challenge for him. It’s that thing about “be careful what you wish for.” He got what he wished for, but he still feels a bit off-kilter, I think, and then this unexpected guest arrives and turns the world upside down for him again.

But one of the things that we wanted to explore with Aziraphale in this series is perhaps finding something a little steelier underneath the apparent soft surface, that maybe there's something else going on under there. So we see that kind of come out as the story goes on, as well.

QUESTION: In addition to playing Aziraphale, you also did the voice for Lucifer in The Sandman audio series, which is obviously also a Neil Gaiman joint. So what's the difference between playing an angel and playing a demon?

SHEEN: Well, of course, Lucifer is an angel, was once a fallen angel. My first experience of Neil’s work was The Sandman. That was what I first read when I was still a teenager in the late ‘80s, and it just absolutely blew my mind and opened me up to all kinds of things and started a journey [with] Neil’s work, but also all the people that Neil kind of points you towards through his work as well. It opened so many doors for me. So to be able to then be a part of The Sandman world, as well, to play such an iconic character, it was and is, because we're still doing it, just a bit of a dream come true.

QUESTION: I have one last question for you, and it's a little bit of a silly one. One of the most iconic parts of Good Omens is Crowley's Bentley, which is cursed to play nothing but Queen songs forever and ever. I would love to know what you think Aziraphale’s favorite Queen song is.

SHEEN: Well, I think he likes the more operatic ones. So he probably…I think he likes “Bohemian Rhapsody.” All those nifty chorus bits. He’d love that. So yes, probably “Bohemian Rhapsody.”

#good omens #gos2 #season 2 #michael sheen #interview #michael interview #fun fact #aziraphale's favourite queen song #queen #bohemian rhapsody #collider #collider 2024 #s2 interview

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howtofightwrite · 10 months

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Speaking of martial competence, do you have any examples of characters that are actually written with this in mind?

Loads. Some actually even make good on that.

So, there's different kinds of martial competence. There are characters who are proficient in combat directly, there are well written strategists, there are characters who excel at military leadership, and when they're written well, you can actuallylearn some things from them.

I'm going to give some examples, and at least one cautionary example.

For, just, raw combat prowess, I still go back to Robert E. Howard's Conan short stories. It's easy to meme on the character, especially 90 years after the fact, with the cultural persona that's grown around him, but Howard's original writing is excellent. The character would not have survived Howard's early (and, frankly, tragic) death if it was just the one note gag you might expect, if your only exposure to the character was through cultural osmosis and the films.

Howard's fight scenes were shockingly well written. To the point that it is still absolutely worth reading if you want to write a fantasy fighter.

For strategists, three characters come to mind, but only two are literary, and all are Science Fiction.

Grand Admiral Thrawn is probably one of the best villains Star Wars has ever produced, it's part of why he's one of the few characters that's migrated from the original EU to the Disney era. My personal take is, as a character, he's lost a lot over the years, but the original incarnation from the early 90s novels is a very solid model for a strategist. Particularly in how he takes time to understand his opponents while looking for potential weak points to exploit.

His practice of studying a culture's art to understand their psychology might sound a bit goofy, but the concept does have a real basis. (At least, until it metastasized into a superpower, in later adaptations of the character.) Being able to psychologically assess your foe is an incredibly valuable element of strategy, and one that you probably want to consider when you're writing a character who is supposed to be a “strategic genius.”

When writing fiction, you want to consider all of your characters as if they were people, rather than as hollow, plastic toys. And, yes, the obnoxious villain who knows exactly what your heroes will do because of authorial fiat is going to be a more compelling character than the ambulatory goldfish villain who exists as a prelude for your heroes showing off how badass you think they are.

Granted, even in Heir to the EmpireThrawn was already drawing strategic insights that strained credibility, but understanding your foe is an element of strategic thinking that is often forgotten in literature. So, even as a villain in a tie-in novel (we're not done with tie-in fiction yet), he is worth looking at. At least when written by Timothy Zhan, Thrawn was a well written character, and even if he bordered on a Mary Sue at times, he escaped a lot of that stigma by justifying his competence.

It's also probably worth mentioning in passing that he's one of the few Imperial leaders in Star Wars who isn't also criminally incompetent.

The non-literary example of a strategist would be John Sheridan from Babylon 5. Unlike Thrawn, Sheridan's main strategic focus is on situational exploitation. A little of that comes from his knowledge of enemy procedures and psychology, but at lot of it comes from a rather ruthless approach to technical limitations. An alien race is using technology that blocks human targeting systems? Set up a nuclear mine and then send out a fake distress single to lure them in. Need to deal with a significantly larger, more dangerous ship? Lure them into a gas giant and and let the planet's gravity well drag them past crush depth. Bruce Boxleitner's performance helped sell the character, but Sheridan is a really solid science fiction strategist, who really exemplifies how technical limitations can have enormous strategic considerations.

I'm not citing Sheridan as an excellent example of a leader per se,it's certainly there, but it is harder to unpack from Boxleitner's performance. It does have some good payoffs much later in the series when he starts making some orders that cause his subordinates to sit up and stop what they're doing. And that is a consistent theme even back to his introduction, but, it's a tangible consequence to an intangible cause.

The last example is a negative example, both for strategy and leadership. And, as much as it pains me to say this, at least Orson Scott Card understood that Ender was a bad leader. At least in the original novel. To be blunt, Ender is a mediocre strategist at best. His highlights in the book involve, “inventing armor,” and creative movement in micrograv. That's setting the bar exceptionally low, and while it is reasonably within the range of what you could expect from a pre-teen, that's not much of a justification.

Again, I'm not a fan of Card, and I'm reallynot recommending Ender's Gameto anyone. However, if I didn't mention it, you know there'd be a reblog going for twelve hundred words about how Andrew Wiggin is the best strategist in literature, which, yeah, no.

Do you want a goofy, tie-in fiction, literary suggestion for the best leader in sci-fi? Too bad, because I'm pretty sure Ciaphas Cain is not that person. The Ciaphas Cain novels by Sandy Mitchell are unusual as leadership recommendations, because of how much Cain internally processes the social manipulation involved in military leadership. He's not a great leader, but he is exceptionallygood at explaining to the reader how he's creating that illusion to motivate the soldiers around him. In fairness, some of that is an intrinsic character flaw, he is incredibly insecure, and desperately trying to hide that fact. And the difference between being a great leader, and effectively creating a comprehensive illusion of a great leader is: There is no difference. As a serious complement, it is one of the few times I've seen an author treat leadership as an actual skill, and not simply an extension of a character's charisma. Which is why I'm singling this one out. It might sound like a joke inclusion initially, and the books are quite funny in a Warhammer 40k kind of way, but there is quite a bit of value to be had.

-Starke

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#writing advice #writing reference #writing tips #how to fight write #starke answers #Babylon 5 #Grand Admiral Thrawn #Ciaphas Cain

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thefloatingstone · 2 months

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Do you think Mass Effect's character writers deserves more recognition for how they managed to turn an entire generation of people sexually and/or romantically and/or aesthetically attracted to someone who is essentially a featherless spacebird?

No because they did it entirely by accident, tried to placate the confusing requests by female fans to make him romanceable but because that was not something they planned for they were still writing him primarily removed from being a romance partner and were more focused on writing him as the "best friend" character to MShep (not realising this is EXACTLY why the female players (as well as gay players) liked him) and by Mass Effect 3 they just threw up their hands and went "WELL HELL! YOU GUYS LIKE HIM SO MUCH YOU GET ALL THE ROMANCE THEN!!!"

Garrus' writing as a romance was a perfect storm of factors, many completely out of the writers' control that even they themselves completely missed until their players POINTED IT OUT TO THEM. Garrus is lightning in a bottle of unplanned factors, incredible voice performance, the writers willing to comply to player feedback, and the symbiotic relationship Bioware had with their fans and players.

Garrus is an incredibly well written character in his own right, that's WHY he's such a good romance option and the best one Bioware has ever had. But a part of this was luck, chance, and willingness to adapt his character to what a subsection of fans wanted.

Proof further by every single romance Bioware has since written with the INTENT of making them exactly what their female players want, never hit the same way Garrus did. And speaking personally, none of their other romance characters in any of their games scratches the same itch.

Also "Featherless Spacebird" means nothing to me because my "sexual attraction" level is lower than 0. It's not DESPITE him looking like that. It's BECAUSE he looks like that. Not because I find him physically attractive, but because he does not resemble something I am supposed to be physically attracted to in any way shape or form.

I like the way Garrus looks because he's Garrus. And because I like Garrus it means I like the way the turians look.

The caveat of "essentially being a featherless space bird" implies that "haha isn't it CRAZY gamers would be attracted to THAT???"

no.

His personality, voice, performance, and writing is wonderful. Why WOULDN'T players be attracted to that?

#C-Puff answers #I'm sorry anon this ask just kind of annoys me on multiple levels #Both as an aroace person as well as someone who really likes Garrus

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theygotbitchesinmedia · 1 month

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okay so here is her review: https://arkadymartine.wordpress.com/2015/09/27/the-traitor-baru-cormorant-a-reviewresponse/

admittedly its from 2015- i haven't poked around to see how she may have changed how she feels about it, and i know she did blurb seth's recent scifi novel (Exordia), so there's no bad blood there or anything. it's also a positive review, in general- she ends with this sentence: "I highly, highly recommend this book; I have not thought so much about something I read in a long time."

i am also coming into this as someone who has read all of seth dickinson's work for the game destiny, where he was near-singlehandedly responsible for a good oh… 80% of the interesting women (& overall interesting concepts lol!) in the game, and his writing of one of those characters in particular as a complex and flawed character got him bullied viciously off of all social media. if you've tried to find his social media presence and havent found anything, that's why. so i mayhaps have a little more emotion in the game.

THAT SAID. here are some specific parts from her review i find really fucking annoying! and color the way i feel about Memory & Desolation, despite them being so incredibly targeted at me as a classics person AND someone who fucking loves the specific sub-genre of scifi her novels are.

"[Traitor] asks a question which I find compelling as a student of an empire and as a queer woman. That question is: what do we gain by complicity? What do we – we barbaroi, we women, we queer people, we imperialized – what do we get when we say yes? When we say yes I will hide my true nature? When we say yes I will subsume myself into the beautiful machine? When we say can we speak English? Or the literature I love just happens to be written by straight white men – and mean it, too, mean it with the kind of depthless love that a person can have for a text that speaks to them, which holds up a mirror to them?"

i dont think the use of the greek word for barbarian does anything here (she also keeps coming back to the greek term orthos in her review, which also pisses me off lol), i dont think empire is a "beautiful machine," and i don't think the invocation of identity politics is useful. like. i know she's a byzantine scholar but if your first association with empire is purely a finite Historical Empire instead of, like, modern US imperialism, or British colonialism, you are going into this discussion with a certain set of values and opinions! a set of values and opinions that let you call an empire a "beautiful machine" in all earnestness. this claim probably seems unsubstantiated and nitpicky now just from this excerpt but ill come back to it with more i promise. on the idpol front, she also says immediately after this that she does believe that straight people can and should write queer people, but that they should listen to queer people when they point out those errors. she then continues:

"But then, critique: there are two points on which I think Dickinson’s portrayal of a queer protagonist has faltered, and I think both of these errors arise from the fact that he isn’t part of – as far as I know at the time of writing this review – a queer community. Firstly, I disbelieve Baru’s awareness of her own desires… …For the first portion of the book, her queerness felt more like a character trait assigned to her for reason of plot than a naturally built part of her as a person… Secondly, I wonder where queer people in Falcrest are…"

theres more to these excerpts, but. i personally didnt find the depiction of baru's desire to be unrealistic, and also this was a review of Traitor, specifically, so where on earth would baru have heard about queer people in falcrest? and more importantly, why should we care so much about queer people in the imperial core? moreover i think the way seth does it with svir is very very well done, and illustrates the hypocrisy of empire in a way that does NOT seem like what martine is asking for here!!!

"Why am I invested? I myself am a student of empire. I’m a Byzantinist. My academic work is about empire and its seductions; it is the animating principle of my professional life. And: I am myself someone who loves order over disorder. Who looks for systems in all things. Who is comforted by structures; who is concerned deeply with propriety. But here’s my real criticism of this book: I don’t buy the seduction of the Masquerade. And I think if this book fails, it’s there: in that its empire is too easily read as undesirable. As profane, unethical, fundamentally wrong. It is really overtly evil." … "The Masquerade isn’t civilized. It’s civilization, but I don’t recognize it as civilized, and this is a problem with a constructed empire. An empire relies on itself as the definition of civilization – I would footnote here Ann Leckie’s Imperial Radch as a SFnal example of an empire which is built on this principle, and which, for this reader at least, achieves the facsimile. (But then my ancestors were not enslaved, we were exterminated; not annexed, but exiled. Perhaps I like the Radch better than the Masquerade because I can find a place for myself in it, and cannot imagine a place within the Masquerade someone like me would ever be safe –)"

and THIS. THIS RIGHT HERE IS MY BIGGEST PROBLEM. critiquing the masquerade as not "seductive" enough, calling it too evil to have people join it- how does someone miss the point THIS badly??? like. are you FUCKING serious??? how do you read a book about the immense violence of colonialism and your problem is that it is boohoo too violent for people to join willingly. google literally fucking anything the US has done ever!!! and the invocation of the concept of "civilized" as an objective quality, despite the recognition that the empire constructs what counts as "civilization" is so fucking unserious/simplistic/juvenile! why do you need to imagine yourself a place in the empire? in the imperial core specifically!

and i think this particular approach bleeds into her books. i read them at Least 2 years ago, so this is mostly vibes-based, and i will avoid spoilers.

there is such a focus on the allure of the imperial core, on the "beautiful machine" of the empire as she calls it. there is violence done, but it is abstracted away from the wealth of the imperial core. there are no economics there. the empire sees her independent station as a backwater, and there is some cultural tensions there, but there is no realistic violence and exploitation! it is not clear at all what maintains the empire, besides some abstract idea of trade. i also don't know what her Point is with the naming & language conventions, which are very clearly inspired in part by ancient Mayan- e.g. the empire and core planet are called Teixcalaan. and idk this may be reductive of me but i think if you are going to pull features from civilizations that have been colonized and use them to inspire fictional colonizing forces, you ARE saying something there! idk! and like, the ancient Mayan

and on the ~representation~ front, i also don't think she does a better job than seth tbqh!!! i felt like the characters getting together came out of nowhere and felt anticlimactic- there is also not the tension i think there should be with the main character being an ambassador-ish and the love interest being… idr. junior intelligence officer iirc? idk! and for all her critique of baru's desire for women not feeling "real" or present enough, i do not remember the main character in Memory having any real focus on it!

i enjoyed Memory just fine, but i don't think it says anything interesting or novel or even critical about empire, and i found her review of Traitor extremely shallow and useless, if very revealing about her own outlook on empire lol!!!

this has been at best Minorly proofread and edited but im not like, writing an academic essay on the matter and so i apologize for any inconsistencies.

oh man thanks for this this is really interesting. i went and read the whole thing and i agree a ton with your critique. i'm going to stick my thoughts below the cut because i went on for a bit here, in typical fashion.

i personally didnt find the depiction of baru's desire to be unrealistic, and also this was a review of Traitor, specifically, so where on earth would baru have heard about queer people in falcrest? and more importantly, why should we care so much about queer people in the imperial core?

NO BUT EXACTLY... for starters this is explicitly a novel about colonized people taking place in a colony where none of the major characters are from the empire. where, when, and how would we take the time to explore what queerness looks like for them and more importantly, like you've asked, why the hell should that be a priority for the narrative in this case.

in terms of 'i found this to be an unrealistic depiction of queer desire' 9/10 times i feel like what that means is 'i found this to be an unrelatable depiction' which is an entirely different critique. i know i'm working with two additional books worth of context that martine isn't working with here. but even taking into account just the characterization we have for baru in traitor i think this is suuuuch an unfair complaint. i'm gonna pull the entire quote she says about baru's sexuality here because i have additional specific gripes with it.

Firstly, I disbelieve Baru’s awareness of her own desires. In the first portion of the book, I do not ever feel the weight of Baru’s own awareness of her sexuality; there is an absence of carnality, a kind of intellectual version of lesbian desire which is, to me, inconsistent with the sort of desire I expect. Not until the introduction of Baru’s eventual lover Tain Hu do I get a sense of Baru as a woman who loves women. Further, considering how very much the Empire of Masks and Increastic philosophy criminalizes the sin of queer desire, I wish Baru had struggled more with the nature of her desire. For the first portion of the book, her queerness felt more like a character trait assigned to her for reason of plot than a naturally built part of her as a person. This markedly improved in the second half, where Baru notices women in a way she does not notice men.

For starters, it is insanely hypocritical to me to complain that her desire both isn't carnal enough and she processes it too intellectually, but that she isn't struggling enough with it. Baru intellectually processes things! That's her entire character from the getgo! She also has a difficult time conceptualizing other people as fully realized beings with their own agency. These character traits paired together don't make for a particularly passionate and carnal relationship to her sexuality. She is also, at her absolute oldest in this book, 21! (Or 22? I can't remember. I know she spends 3 years in aurdwynn) and has spent her entire youth being groomed to be a scholar. Of course detached intellectualism is her primary way of navigating all things. Why wouldn't it be?

Baru primary motivation is to save taranoke, she wants to save the taranoki way of life, and part of that way of life includes an acceptance of nonhetero nonmonogamous relationships. Sure, a different character arc may have involved baru actually internalizing and then having to break free of the trappings of race, gender, and sexuality that the empire tries to impose upon its citizens. but that's not baru and acting like this is a writing flaw rather than a character choice is insane to me.

There's absolutely no reason for Baru to lie awake at night pontificating about how wrong and dirty of her it is to want to have sex with women because we are never lead to believe even for a minute that Baru puts any emotional weight in incrasticism. She doesn't conceptualize it as sinful she conceptualizes it as illegal!

And "Not until the introduction of Baru’s eventual lover Tain Hu do I get a sense of Baru as a woman who loves women. " is killing me in particular because like. Yeah. Tain Hu is baru's first love. thats the point. But beyond that this is just not being able to see anything other than what she's looking for because i think the chapters covering baru's childhood make it pretty clear that her feelings for aminata and cousin lao (im not double checking the name but im pretty sure it was this) are deep and strong. the fact that they're not as explicitly and straightforwardly romantic and sexual as her relationship with tain hu doesn't change that, and in fact, points to baru's struggle with/development of her sexuality that she claims was somehow missing in this book.

like i just simply can't see anything here but someone who is seeing an emotional landscape they can't relate to and assuming that means it's flawed writing. skill issue frankly.

She's also fucking insane for acting like the masquerade is too cartoonishly evil to be appealing. once again im going to post her full quote here because i think its important to see

its empire is too easily read as undesirable. As profane, unethical, fundamentally wrong. It is really overtly evil. It punishes sexual “deviants” with mutilation and death. It murders children callously. It inflicts plague and withholds vaccines. It lobotomizes its own emperors for the sake of convincing its populace that the emperor is just. Most of all, the Masquerade is a eugenicist empire: it is explicitly founded on not purity of bloodline but on purification of bloodline, on making people useful to it. It makes people: it breeds them carefully, it indoctrinates them through schools, it uses drugs and operant conditioning to transform their minds and make them into automata tools. It commits every atrocity that a modern Western reader recognizes as abhorrent. This is a problem. It is a problem because we are asked, as readers, to believe that there are reasons besides blackmail that a person would willingly become an agent of the Masquerade. We are asked to imagine that the Masquerade is a beautiful machine.

for starters. "It commits every atrocity that a modern Western reader recognizes as abhorrent." MODERN WESTERN EMPIRES DID, AND OCCASIONALLY STILL DO, MOST OF THESE THINGS!!! THIS IS US! WHAT ARE YOU TALKING ABOUT!!! I FEEL INSANE!!!!

I think the book makes it more than explicitly clear why the empire is appealing??? it has all of the capital???? its building schools and sewage systems and importing food and goods and teaching reading and writing??? baru's own internal narrative often shows her own strife at the fact that the empire has made genuinely incredible scientific advancements that offer significant improvements in quality of life to many, many people. martine actually acknowledges this in the next paragraph of her review, and then brushes it away as not being good enough. why? what about that doesn't convince you?

she is seeming to hugely ignore the fact that in the case of aurdwynn specifically, the bureaucracy of the empire is coming in to unseat feudal aristocracy! what the masquerade offers may not be particularly tempting to most of that ruling class, but its economic opportunities are more then believably appealing to the common people. i think this is made pretty clear when baru's ploy to use the fiat bank to make loans to the aurdwynni people and basically lessen the massive tax burdens from the duchies wins her huge favor with the public.

and frankly even for the ruling class the potential economic benefits are massive too if you're willing to participate in the empire properly. yes the empire doesn't have Moral appeal. it doesn't fucking have to. it owns pretty much every economy outside of the oriati mbo. the fact that that's not enough for her is as you've pointed out really really showing her biases and blind spots. 'no reason besides blackmail' MONEY!!!! MONEY! IT'S MONEY! THIS IS A BOOK ABOUT ACCOUNTING! HOW DID YOU MISS THAT!!!

and the invocation of the concept of "civilized" as an objective quality, despite the recognition that the empire constructs what counts as "civilization" is so fucking unserious/simplistic/juvenile! why do you need to imagine yourself a place in the empire? in the imperial core specifically!

And this is really it for me too, yeah. It's gross. It's absolutely gross. "An empire isn't believably appealing unless I, personally, find it appealing" there are people alive who are eugenicists, who love community policing, who believe in race science. the masquerade is an empire for them. the thing about empires is that they are only actually empowering for an incredibly small subset of people, and the fact that You, Specifically, Arkady Martine can't imagine being one of those people in this instance doesn't make it not believable. This is a shatteringly individualist way of engaging with a work.

As for your points about the way she handles empire in her own book obviously i can't have anything to say there because i haven't read it yet, but i do absolutely agree with you on this bit:

and idk this may be reductive of me but i think if you are going to pull features from civilizations that have been colonized and use them to inspire fictional colonizing forces, you ARE saying something there! idk! and like, the ancient Mayan

1000% i don't think this is reductive of you. whether or not you're consciously saying anything is one question but it's a choice that absolutely doesn't exist in a vacuum. out of curiosity i googled her to see if she was of mayan descent or anything and maybe she chose that due to some personal ties to the subject matter but she doesn't seem to be. which of course i don't think means she can't or shouldn't draw any inspiration from there but i do think all of these sorts of choices are meaningful

i don't really have much to say here to round off a conclusion but. wow. deeply deeply telling review that does not particularly make me want to read anything she has written beyond this.

#long post #lb baru cormorant #ask

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thunderstruckcincerary · 9 months

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STOP INFANTILIZING JAKE ENGLISH. STOP TREATING HIM LIKE HE IS FREE OF CONSEQUENCES.

Jake English is such an interesting character because the way he is written infuriates me (in a good way). I saw a particular text post saying basically that Jake English did nothing wrong and that Jane is an asshole for being upset at him. This is just… Wrong. I think a lot of people in general like to try and make Jake seem like he cannot do any wrong because he has neurodivergent traits and is heavily implied to be neurodivergent. This is not to say Jake was entirely in the wrong in some situations, but neither were his friends when they became upset at him. Because, guess what Tumblr, they are teenagers and teenagers are flawed as fuck.

The main thing I would like to talk about is the pages where Jane yells at Jake (starts at page 5521).

While obviously Jane’s passive aggressiveness did not help the situation whatsoever, she was very clearly upset at the fact that one of her only friends forgot about her birthday. After he realizes he forgot, he starts making up excuses. Obviously his forgetfulness is not his fault but I feel like Jane’s slight is definitely not unjustified.

Not to mention he doesn’t even say “happy birthday” to her once during the conversation and instead makes stupid quips and proceeds to dump his relationship problems onto her. Before then though, he goes on a huge ramble to try and avoid his problems (aka what he was initially going to talk about with Jane).

During his conversation with Jane where he should be moving on as he’s decided to, it’s obviously complete filler of a conversation where he repeated over and over how Jane is 16. He’s only talked to her about his issues for so long it’s obvious that he doesn’t know how to initiate in a normal conversation with her anymore. When she finally gives him the go ahead to say it (likely because she was tired of a nonsense filler conversation) he all too eagerly tells it as if he was just biding his time for when she’d let him speak. It’s an asshole move really.

Obviously communicating with your friends and being there for them when they are struggling is good, but whenever Jake seems to talk to Jane, it is only really about his problems. Not to mention, he never talks to the person he’s having issues with (majority of the time Dirk) and instead ghosts them for weeks on end.

Not to mention he’s the one to push her into the conversation.

If you actually read the conversation you will also notice that her messages become more sparse and short while Jake’s get longer while he rambles.

When Jake says “laying low” he means ignoring and avoiding Dirk’s attempts to actually try and talk. Not to mention he also insults Dirk by saying he is “needy” and that essentially saying he is tired of Dirk’s company.

And here we fucking are folks, the bread and fucking butter of this whole convo, the shit and jam. Saying that Dirk is annoying and that his “paranoid prophecy” (you know, the one about all of his friends hating him?) is going to come true, aka saying that he does hate Dirk and no longer even wants to interact with him. And guess what? Jake is not even trying to communicate with Dirk on the matter and is instead dumping all this shit ON THEIR FRIEND.

Anyways, let’s skip to when Jane starts getting upset.

In this scene, Jake is practically ignoring her until she basically begins screaming at him. Not to mention the two last messages from Jake are extremely dismissive and so incredibly un-self aware.

Again with his strange quips and being weirdly self deprecating and pity-ing towards himself.

You can very clearly tell she’s upset, reclaiming something she let be their thing but changing it to just hers. Instead of doing the rational thing which would be to apologize, continue this at a later date or ask what you can do to make it up, he focuses on the semantics of the phrase, trying to come up with a new one. This is very obvious that he’s avoiding the topic because he’s uncomfortable with the thought of facing these issues.

After that, on page 5528, she TELLS him the issue and proceeds to keep doing the thing that’s making her UPSET.

She then freaks out again and then Jake finally tries to do something smart by insisting that they talk about it tomorrow (something JANE insisted on EARLIER) and then when she gets more upset and Jake proceeds to basically Jane not to be upset (“Aw come on jane. be a sport.”)

TLDR; stop woobifying Jake English and acknowledge the fact that he also fucks up, just like his friends.

#homestuck #jake english #jane crocker #if you don’t like jane crocker i do not like you #but seriously stop treating him like he is free of consequences because he is neurodivergent #dirk strider #homestuck meta

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hamsterclaw · 8 months

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Fic Library: Namjoon

A list of incredible fics I've read and re-blogged on my (almost) 2 years on here. These stories all celebrate our fave big, brainy, clumsy, sometimes annoying, always sexy Joon, check them out and give these authors some love!

The Body Through Time by @yeoldontknow. KNJ x f! reader, sexy academia AU. Angsty fic with Namjoon as a smouldering brainiac.

Goodnight Nabi by @sahmfanficbts. Get used to seeing Sam's handle in my lists because she's one of my fave writers and a lovely person to boot. KNJ x f! reader, sexy DILF mechanic Namjoon. A sexy, beautiful fic with Sam's signature hope and heart.

Pronoia by @junghelioseok. KNJ x reader, college + zombie apocalypse AU. A cracky, funny, zingy story with guest appearances from other members - including JK and Yoongi.

Booty Jorts by @miscelunaaa, who also has a good showing in my fic recs for her top notch writing and just being a great human. KNJ x f! reader - this is a smuttily delicious gem.

Shell-ter by @miscelunaaa. Hermit crab! Namjoon x marine biologist reader. I genuinely think about this grumpy (crabby?!) Namjoon all the time.

Scent of a woman by @sahmfanficbts. Leopard hybrid parfumerie boss! Namjoon x employee f! reader. There's always so much humanity in Sam's stories, and this does not disappoint.

How I love you by @ahundredtimesover. KNJ x f! reader. A 28k beautiful musing on love and marriage that's thought-provoking and sensitively written.

Seoul Redemption by @sahmfanficbts. Forger! KNJ x single mom! reader. A gorgeously realised imagining with a noir vibe and very human characters.

Park and Ride (Explicit) by @here2bbtstrash. KNJ x reader, idolverse. The first story I read by M, and it made me want to read so much more of her work. Sexy, fast-paced, and this Namjoon is swoonworthy.

Holding on letting go by @augustbutwinter. KNJ x gn! reader. August is queen of the short impactful drabble but her longer pieces are just as incredible. A sad, angsty, truthful, beautifully realised gem.

Cuffing Szn by @miscelunaaa. FBI agent KNJ x soft-bodied/plus-sized reader. Joon's an FBI agent, he's big and sexy, do you really need to know any more?

Reckless by @vyduan. Part of the Her multiverse. KNJ x reader, also featuring JJK x reader, idolverse. I started reading vyduan's writing when I first got into BTS fanfic, and apart from being a fucking fantastic writer, she's also an all-round good egg with a razor sharp wit. Reckless is hot and sexy and reader is gritty, strong and kickass. Namjoon is the arrogant pompous asshole of my dreams in this.

Fall apart & redefine by @ugh-yoongi. Idol KNJ x f! reader. Namjoon's music and musings give off sadboi vibes to me, and this gorgeous, angsty story captures all of that. Stunning.

On the line 1 by @augustbutwinter. KNJ x reader. I was only speaking the truth when I said August writes drabbles like no other. Short, cute and impactful.

Hey, it's me by @yoongiphoria. Exes Namjoon x reader. I remember reading this for the first time around the time Indigo came out and thinking how perfectly it captured the vibe of the album. I still love it now.

Untitled by @ahundredtimesover. An idolverse AU ft KNJ and f! reader. Musings on loss and impermanence and legacies also inspired by Indigo.

If this is all we can do by @yoongiphoria. A follow up to Hey, it's me, linked above, that made me stop skim reading and pay attention. Angsty, full of longing and just a great read.

The package thief by @blog-name-idk. KNJ x f! reader, enemies to lovers. I'm a fan of Mango's cracky humour, and it comes through in this judgy, petty and somehow also endearing Namjoon.

Shut up! by @daechwitatamic. KNJ x gn reader. I love it when a story alludes to Namjoon being annoying and I especially like how reader shuts him up. Smutty, sexy and so so good.

Envy by @whatifyoulivelikethat. KNJ x f! reader. Love this author's general DGAF vibes, and they've also written some of my favourite stories. Namjoon's gorgeously written and darkly sexy in this. So so hot.

The one with Namjoon and the u-haul by @eoieopda. KNJ x Jeon! reader. Jade's writing is sharply hilarious and this is a perfect example. A dreamy, sexy Namjoon and a lil shit JK.

Pheromones by @rmnamjoons. Spaceship captain Joon x spaceship botanist reader, sci-fi AU. The fic that introduced me to the concept of sex pollen and a sexy, sex-crazed yet somehow still chivalrous Namjoon.

Promise Me KNJ x f! reader, JJK x f! reader, military AU, by @sahmfanficbts. A beautifully written, tender love story that made me cry and reflect on my life. Sam writes emotions like no one else.

Additional notes: A few of my favourite Namjoon stories, are only on AO3, for which I've created a separate post.

#fic rec: namjoon #these authors are amazing

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arthurtaylorlester · 3 months

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malevolent season 4 was... something, that's for sure

i want to preface this by saying i LOVE malevolent as a show and this is no means an attack on the creator or anything like that, i don't think i'll ever stop listening halfway, no matter how i feel about it. i'm not saying season 4 is all bad either.

it is a deviation for malevolent, though i found it VERY well written up until part 31 (and part 31 is my favourite malevolent episode ever)

s4 started off really strong for me, part 29 set the tone really well, much lighter after s3's emotional lows. the butcher was an interesting enough new villain to put yarson aside for now. part 30 had some charming moments, but the real star of the early season was part 31, a truly incredibly written and directed look into arthur's psychology. it truly gave us everything, from lore to highly comedic moments (to me)(no because why was arthur dreaming of waking up next to a shirtless man who tried to kill him)

parts 32 through 34 i'm not sure about, but i can write them off as awkward mid season points. part 34 was an interesting shift in perspective, but here is where my doubt's about the season's villains started rising

but the oscar & scratch arcs.... guys i'm gonna be honest, i might be oscar's #1 hater

scratch and oscar in this season were functionally useless filler. it's not unusual for arthur and john get sidetracked during their missions, but it usually ends up leading them right where they need to be by the season finale. this felt like a parenthesis that killed any tension created by the butcher.

this season had, quite unnecessarily, 3 antagonists. now this wouldn't be a terrible idea, had they been established before. but no. for some reason it was chosen to leave the only villain we could genuinely be afraid of alone, in favour of introducing not one but two antagonists yet to be established. neither because of this have the adequate fear factor (the butcher is better about this) and both get the most abysmal ends i could've imagines. what do you mean scratch is just gone like that after causing some emotional conflict with his deal. what do you mean the butcher was KOed by the fucking priest with a bedpan? what? that's it? you expect me to be scared or even care about the butcher now?

speaking of the priest. i want to like oscar i really do but. he's a terribly written character. we get to know him while arthur is teaching john intimidation tactics so out of gate our initial impression of him is as someone meek. and then in part 36 after "sorting out" the butcher, oscar just dumps out his trauma point blank to someone he's spoken to a handful of times in the past 3? 4? days.

malevolent in general has a bit of an exposition problem, but it usually works out if it's john expositing because. that's literally all he can do. but when a character with more agency do it, it makes them flat. oscar didn't have to tell us all that, he didn't have a reason. arthur confessing to 7 murders isn't a prompt to make himself vulnerable like that. i did not start caring for him, just because he had a tragic backstory. that's... not how you get someone to care about a character. oscar could be defined as a static character, and while it's not too unusual for a static character to be the focal point of an arc, i don't think it works the way most authors think it does.

also the worms in the farm only happened because of him messing with the stove so like. that's not helping his case.

the completely unnecessary farm arc concluded, we return oscar to the hospital, with arthur caving very quickly to john's demands if he truly cared about oscar so much. and so, a single episode before the finale, we get properly acquainted our main ally for the showdown. a choice definitely, but i feel like this one worked out pretty well considering noel had time to simmer before we got know of his past + he had interesting conflict with john and arthur.

and then there's the big one, the thing that appalls me entirely. leaving larson and yellow, the main villains of the finale COMPLETELY alone until the very end. why? why would you choose to not use them earlier? we spent so much time away from larson, so we weren't really as scared of him as we were at the end of part 28 (i literally was listening to the last 15 minutes of this ep on my toes because i thought he might do something) and we had had no CHANCE to even fear yellow, since we knew nothing of his power?

and what, the butcher is on our side now because noel granted his release? just like that? i know he's a contract killer but arthur insulted him to his face, he can believe they understand each other but did he feel no anger?

the finale did well, considering the context it was given to work with, though i did not understand the point of the memory thing... that didn't go anywhere? because not arthur nor noel actually lost anything. we don't know what the box was for, we only know some guy wrote "the birth of my son" on slip of paper and put it in. arthur assumed it was a memory, when it just as well could've been a literal offering, arthur assumed it would involve losing said memory, and they assumed it was related. initially i thought it would only go through if the ritual took place, which, it didn't. but reading back here is no further clarification on it. hold your angst horses, blindfaith enjoyers

i feel like john physically manifesting, if now an established power of his, was very cheap. unless it was a one-off, or some sort of power up, it just literally took away the main premise of the show. an all-powerful god rendered powerless by being stuck in some guy's mind and being forced to confront the troubles of someone infinitesimal to him. if you let him astral project and save people, then what's the point?

but i do actually think it was a one-off, so we'll see how it goes

simply put, john saving arthur when he jumped in s3 had more impact than this because he did it with a single, human, hand. no magic.

it was pleasant to have kayne and his expected chaos back, jarring as always. john's deal was exactly what we all thought it was going to be, maybe more about himself than arthur, but i don't think anyone can fault him for that.

one things though, and this questions may just be me not remembering, is arthur supposed to know that yellow is a separate entity from john when they realise larson has him in his head? because i remember arthur just assuming that 'yellow' just had all of his memories returned in part 23, and therefore not knowing that he's a separate guy from john.

just in general, i feel like s4 had a LOT of good ideas that weren't given enough room to breathe and therefore weren't written very well that really weighed down my enjoyment of the season. that's not to say there weren't things i liked. the emotional moments hit just as hard, like reconciling with daniel, the comedy was on point (genuinely this season was so funny) and even the most out of pocket thing arthur has ever said, calling john a child, no matter how much discourse it caused, was actually sort of in character for him? i mean arthur is an asshole so like i get why his immediate reaction to his severely emotionally unintelligent friend being possessive is babying him. they're awful people. they deserve each other. it made somewhat sense in retrospect.

all this to say, while i didn't hate s4, i think it had a lot of writing issues, especially when comparing it to the other 3, and it could've been done WAYY better but hey we all have our moments.

i await anxiously intermezzo's public release and the rest of season 5 👀

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thecarnivorousmuffinmeta · 2 months

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I’m not sure if you’ve ever said anything about this, but the first time I read new moon, the vote chapter, there was one bit that really stuck out:

(from Bella’s point of view) Edward grabbed my face in his hand, forcing me to look at him. His other hand was out, palm toward Carlisle. Carlisle ignored that.

Bella later went on to say it was hard to talk clearly with how Edward was holding her jaw. I don’t know if I’ve misunderstood what exactly was happening, but why did the entire family watch that and do nothing? I’ve read the metas where you’ve said it’d take a lot for Carlisle to realise what Edward really is, but surely that’s a pretty massive indicator and Carlisle actively ignored it?

Anon, you're hilarious.

An Aside in Which I Say "Look in the Mirror"

I've been running this blog for a few years now (a terrifying thought) and I'm both a) one of the most critical of Edward in this space (which is not a bad thing, mind, people are free to do what they like) b) often get asks in which I am asked by anons to justify why I think poorly of Edward.

This is on top of the thousands of metas I've written pointing out various things from canon, where I've presented many arguments, and anons still will ask me to make more arguments.

This is fandom, anon, relatively objective observers who are privy to information the characters in the story don't have. We know Bella's exact thoughts, we know how Edward has interacted with her in private, and we even know Edward's private thoughts for at least the duration of Twilight because of Midnight Sun.

AND YET, I AM HERE.

And you ask this as if it should be obvious to the most casual observer.

Back to Your Ask

I've discussed this at length in posts I'm too lazy to look up at the moment but the crux of it is that

a) Edward's a beloved family member and it's deeply hard to think ill of those we love and we want to justify their actions

b) the family doesn't see most of what goes on with Bella and are only told things by Alice and Edward with Alice being firmly on Edward's side

c) Due to his having previously had a redemption arc in which Edward came back unprompted to the diet even though it must have been not only humiliating but terrifying, Edward comes across as one of the Cullens who best understands that human life is worth protecting and just why they're all doing the diet.

This particular moment though, I'd also give Edward a pass if I was present. To touch Bella at all, to move her like this, Edward has to be extraordinarily gentle and careful. If he was at all rough with her, at all, Bella would be dead or seriously injured (with her jaw crushed between Edward's fingers, her neck snapped, etc.) Basically, for Edward to do this at all, he's being incredibly mindful and the Cullens as vampires are very aware of that.

Add onto that that Bella can speak, when this is a guy who's hand is made of stone, he has to be holding her incredibly gently from his perspective for her to be able to speak at all (and not have a broken jaw).

Also from the outside perspective, where Bella and Edward are in this romantic relationship (even though they just got out of being broken up) and they all know Edward's deeply in love with Bella, this looks like an intimate gesture than it does a "LOOK AT ME" gesture. It's not something any of them would do, or a normal person would, but they're also not dating Bella/convinced they're soulmates with her.

Add into that that they're in the middle of a very intense day, in which Edward had just tried to kill himself and is very emotionally fragile, Bella's now asking to be turned directly, the Volturi barely pardoned them, and Edward is coming unglued with the idea that Bella's going to be turned and the Cullens aren't at the top of their game.

They're just trying to get through the conversation where they tell Edward (and Rosalie) that, yes, they actually do have to turn Bella.

This doesn't register as physical violence to them, and I don't blame them for this one.

#twilight #twilight meta #twilight headcanon #twilight renaissance #edward cullen #anti edward cullen #bella swan #the cullens #carlisle cullen #meta #headcanon #opinion

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icarusallusion · 2 months

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Gray Fox's last words in both games will always be so important to me in understanding him as a character in whole. Especially his relationships with war and people and how he views them

Starting with this dialogue about Big Boss.

These are Frank's dying words and he uses them to praise Big Boss. These lines and their relationship shows Frank's devotion and loyalty on it's own. Countless times he has left friends, family, and lover behind to pursue Big Boss and his goals. This, while not a very healthy attachment, does speak greatly about what kind of a man Frank is and how devoted he can be.

Because he is not just devoted to Big Boss, he is also devoted to Solid Snake, he doesn't want Snake to die, he feels bad about betraying FOXHOUND, and he feels bad about lying to him in general. He pretended to be "#1 Fan" just so he didn't have to fully betray Snake. Not to mention Metal Gear Solid, but he's practically overjoyed at the chance to die in front of Snake and for him to be his means of death, while sickening in context with the experimentations it's incredibly showing how much they mean to each other. Also his clear devotion to Gustava, He risks getting arrested or killed just to be with the woman he loved. Frank is a character that is immensely devoted to people, but it does tend to rule out to Big Boss being the most important it still says a lot. It is also something that ruins him in the process, he dies for Big Boss and he destroys the relationships he has outside of Big Boss, which is also why I think he's so attached to David as well but I'll save that for some other post.

These lines also show Frank's values towards morality and loyalty, before this he says along the line of "I am in an awkward position [unlike snake]" he is pretty much saying that he's in-between peace and Big Boss. These, combined with the dialouge after it, imply that Frank fully understands Snake's amnesty towards Big Boss. He does see that Big Boss is bad, and why people do not like him. This shows off his devotion can cloud his morality, he still fully believes in a what's right and what's wrong but that dependency on Big Boss stumps it.

Scooting away from his last words to talk about his second last moments in Metal Gear Solid.

Fox : Snake, we're not tools of the government or anyone else! Fighting was the only thing... the only thing I was good at, but... At least I always fought for what I believed in.

This is almost a clearcut show of his morale, he fought because he was desperate to cling to war but he never lost sight of his values. While his values aren't very expanded on in themselves, the fact he clings to them as much as he does, does stand out to me. A clear show of determination that's been muddied by violence. He sides with both FOXHOUND and Zanzibar in his own way, as he understands the good purpose of FOXHOUND but sees Big Boss in Zanzibar and ultimately that loyalty makes his morality hazy and destroys the relationship he had with FOXHOUND.

Frank shows a very heartbreaking attitude towards war and also furthers the last point.

that he fully knows war is bad, Big Boss is not good, etc. I am always so glad when bad guys aren't written blind to the good in the world 🙌

Frank outright says he despises war, he shows this attitude a lot throughout his life. Even as a teen, he expressed his disgust at the death caused by war. He takes in a young Naomi to prevent the war from making an influx on her. He is incredibly caring to those suffering from battle filled places, yet due to the constant conditioning he has faced he's forced to constantly bring himself back into battlefield.

To Frank, war is an addiction. As a baby, he's in wartorn Vietnam kept in a camp, as a child he's in wartorn Africa trafficked as a soldier, and as a teenager he's in wartorn San Hieronymo memory wiped. When he is saved by Big Boss all these times, he ends up scooped back up into war anyway. When he's an adult and with Big Boss, he still chooses war. It's an incredibly saddening cycle that his character goes through.

However, to Frank, conflict and battle acts as a comfort to him. It's all that he knows and all he's grown up with that he cannot bring himself to separate from it.

When he's happy with Gustava, he still finds a way to break the law and accidentally ruin Gustava, still thinking like a soldier. I think this behavior also stems to Big Boss as well, Frank is happy with Big Boss, views him as his hero, but when describing him, he's just his CO that saved him a few times when there's so much more to their relationship. It makes me think Frank, as a soldier, already regards CO as an important role because he's stuck with thinking like a soldier that he can't see Big Boss past military ranking. Same with Solid Snake, Snake regards Frank as his best friend, while Frank always sticks to calling him Snake or rookie. It's always codenames or ranks for Frank.

Comparing himself to the children of Zanzibar also stuck out to me. While, Gray Fox is certainly not childish, he does have some child wonder and impulsivity that undoubtedly stem from the fact he'd never had a chance to grow up properly. He makes several impulsive decisions where he doesn't think about the consequences of what he does, this could also come from that same exact soldier mentality.

Also on the topic of the kids in Zanzibarland, the small dialogues they have about Big Boss is something that reminds me of how Gray Fox himself speaks about Big Boss, albeit he says it in a more jaded way but I feel that's really only because we see him as a teen and the Zanzibarland kids are like five.

Into the suicidal behaviors of Frank. In his life, he's on autopilot for most of it and when he's not, he's hurting others or he's hurting himself. He shows a deeply depressive attitude in life.

Within Portable Ops, he says: "You help me fill the void inside" towards Big Boss, describing his own self as a void showed how he felt his life had no meaning, including the whole null motifs, literally calling himself nothing always stuck with me. His impulsive behavior also stands out. While his impulsivity probably comes from the instinct of a soldier, sometimes it comes across as just suicidal. Piloting and fighting with a metal gear when he's never done so in his life, trying to elope with a woman in an authoritarian Czechoslovakia, killing Gene's staff, etc etc. Some actions he takes could end up killing him, having him tortured and he doesn't care about consequences.

Scooting away again to mgs1..

Liquid says this: "Foolish man! He prayed for death and it found him." While Liquids words can't express Frank's feelings it is a generally accurate statement, throughout his life Frank finds death and destruction and it follows him everywhere. This leads him down his own path of wanting to die, not actively but a passive auto pilot thought of knowing one day he will die and hoping it's in battle. While not a typical suicidal thought, hoping for death in whatever way definitely counts.

Onto more with his relationship with David, because it's always the moments when Frank is the realist. David is highly impressionable when he first meets Frank, probably one of his first few real friends after foster care and green berets. Frank himself regards their friendship highly. The last few words exchanged between them before they talk about Gustava: "I will never be like you" it always struck me and the way Frank just accepts that, he knows he's not a good role model anymore, not to anyone by how he talks about Naomi in MGS1.

David looked up to Frank, that much is evidenced by Kasler saying how everyone loved and looked up to Frank in FOXHOUND and how every opportunity he can Snake brings up Frank's advice. Metal Gear 2 shows the final crumbling of Frank, he's tries his hardest to have that moral compass, to be a sense of good to the war orphans he comes across, to his peers, and to his subordinates in FOXHOUND, but then in 1999 it fizzles away and he's fully accepted the fate laid out for him.

It's incredibly depressing but accurate. Frank is a veteran, he's fought enough wars and solemnly accepts his death. I think killing Gustava, and fighting Snake were turning points for him. Especially realizing Big Boss was most likely going to die in Zanzibar. He forces himself away from all parts of his life that made him whole so that he can accept death.

All in and all, Frank's last words in both Metal Gear 2 and Metal Gear Solid crack open a lot of depth into his character that so many people I've found ignore. The original Metal Gears tend to get overlooked but dive so deep into the characters that it's so shocking when so many fans haven't played or watched it. MG is the baseline for understanding Gray Fox and I find so many people boiling him down to himself in Metal Gear Solid when he's so impactful in Portable Ops, in Metal Gear 2, like please show Frank love because he will always be one of the most impactful characters to me

#mgs #metal gear solid #gray fox #frank jaeger #solid snake #gustava heffner

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fushiglow · 5 months

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Gojō Satoru and Ryōmen Sukuna: symbols of celebrity?

What does it say about Jujutsu Kaisen's influence and popularity that it could convince the two leading national newspapers in Japan — rivals and competitors — to run a joint marketing campaign where readers must buy both papers to complete the set?

The attention to detail is incredible, too! Asahi — Sukuna's paper — is one of the oldest in Japan. Meanwhile Yomiuri — Gojō's paper — has the largest newspaper circulation in the world. Such a brilliant way to illustrate "the strongest sorcerer in history vs the strongest sorcerer of today" in promotion of the new volume. Extra points for the fact that the two newspapers have opposing political leanings, too.

I'm really fascinated by this — so, some thoughts on celebrity and the fourth wall in Jujutsu Kaisen below the cut!

One of the things I love most about this series is how self-aware it is at times. I feel like Gege Akutami is quite purposeful is how he uses his characters to speak directly to the audience, especially in recent chapters. Along with the 'tickets' for Mei Mei's livestream and the promotional video that's reminiscent of a wrestling announcer bigging up the event, the entire campaign for the release of volume 25 feels like it's breaking the fourth wall in a way that's perfect for Jujutsu Kaisen.

youtube

It also makes me even more hopeful that 'The Battle of the Strongest' is going to be a film, if only for the meta effect of the audience 'purchasing tickets for the livestream'. Imagine if they market it so you feel like you're actually paying to watch this fight between two gods unfolding in real-time on the other side of the world? Considering how successful the first one was, I have no doubt the film would perform incredibly in the box office too, further adding to the meta effect.

The potential for hype is enormous and I actually feel like they won't disappoint, simply because Gojō is too much of a money-maker — look at the DVD sales drop off from the Hidden Inventory arc. I know I bang on about the chapter all the time, but this is spawning all kinds of additional thoughts to my analysis of Gojō in 236, especially regarding how he's written as this almost unknowable character.

I feel like Akutami's interest in the dark side of the entertainment industry actually shines through in Gojō the most out of all his characters, because he's practically a celebrity both in-universe and out — people made an actual shrine for this character when he died, as though he's the People's Princess or something!

Everyone knows who he is, but no one knows who he *really* is. He's beautiful and isolated and powerful and lonely, and it makes absolute sense that he sought understanding from Sukuna, because he's kind of like the blueprint for Gojō — a legend about whom everyone has a story, but no one really knows anything at all.

I promise I didn't make this post just to plug my fic, but it's a neat little coincidence that the precarious power dynamic between celebrities and the general public is a big theme in the most recent chapter of my idol fic, Over the Threshold. The reason I started writing a music AU in the first place is because this topic is something I have a personal and academic interest in, and the parallels between the 'strongest' and a music industry legend are simply too good to ignore.

Perhaps it's because it's on my mind as I'm writing the fic, but the marketing for the new volume got me thinking about the symbiotic relationship between artists and their fans, and I'm wondering if Gege is going to bring this into play somehow. Could it have something to do with the source of Sukuna's strength and therefore the key to beating him? Conversely, could it have something to do with the loss of Gojō's strength if he returns without it, making his death a symbolic death of celebrity instead?

I love the idea of the death of the 'strongest sorcerer' (the celebrity) bringing down the veil that separates him from the people around him (the public), allowing them to see Gojō Satoru for the very first time. No longer 'the strongest' or the Six Eyes or the one-man Gojō clan — not a symbol or a power ceiling or a weapon or anything like that — but simply a person, which is all he really is at the end of the day.

Am I coping by twisting myself into knots hoping that Jujutsu Kaisen is about the deconstruction of celebrity? Maybe, but at least I'm coping in a very smart and sexy way!

Just kidding, I'm still undecided about whether I think a Gojō comeback is likely. However, I completely disagree with people who say his character arc is finished or there's no space in the narrative for his return. I also disagree with those who say there's no evidence for it, because I think if it happened it would seem incredibly obvious in hindsight. It's a bit like Sukuna taking over Megumi — very few people saw it coming at the time, but when you look back, the clues were sprinkled all over the place.

Time will tell, but this story is really special to me whatever happens in the end. We all love to shit on Gege Akutami — and sure, he's not a perfect writer and I don't like a lot of his decisions — but when he gets it right, it's genius level stuff. Considering how overworked and commodified and exploited mangakas are, I think he deserves a lot more credit for the stories and characters he's weaving, and his art has never looked better if you ask me.

Anyway, I rambled a bit at the end, but here's my idol fic if you want to deconstruct Gojō as a celebrity some more. It's *so much* fun, I promise!! Did I make this post just to plug my fic after all? You can decide.

#jujutsu kaisen #jjk #呪術廻戦 #gojo satoru #sukuna #ryomen sukuna #jjk meta #jujutsu kaisen meta #jjk analysis #jujutsu kaisen analysis #jjk spoilers #jjk manga spoilers #jujutsu kaisen spoilers #jujutsu kaisen manga spoilers #my writing #fushiglow #Youtube

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wc-confessions · 4 months

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re: WC misogyny

This is solely to get my thoughts out abt this bc I’m probably not gonna be able to articulate this to the best of my ability but I feel like it’s incredibly important to say that these books are pretty damn misogynistic and so was the fanbase for the longest time.

Not saying that to be "throwing the word around without knowing what the word means", because misogyny is defined as a dislike/contempt against women. This can also absolutely be an unconscious bias (which is primarily what I see anyway!) I've seen far more people dismiss these characters while holding up male ones that do similar/worse things (i.e. Thistleclaw primarily but a lot of the MV characters to an extent)

The reason why discussion about sexism usually ends up against cats like Mapleshade, Squirrelflight, Frecklewish, and Nightcloud is primarily due to how the universe of the books is written to chastise these characters while their male counterparts go thru barely half of the shit thrown onto the girls.

Mapleshade gets her kids and herself exiled for breaking the code while Appledusk literally gets a slap on the wrist for breaking the same code she did? The Riverclan leader just tells him "well, you'll not do it again so you don't need to be punished" while Mapleshade doesn't even get to bury her kits. Even if she's the Warrior Cats evil woman that's still really fucked up!? And this goes to Frecklewish as well, who does not watch them drown oh my god. The flood that kills Maple's kits is incredibly loud--saying Freckle would have been able to do anything else OTHER than watch dismisses the fact going to the flooded stones was an idea doomed to fail (of which Mapleshade has a lot of in MV specifically.)

Frecklewish absolutely ended up in the Dark Forest over Oakstar or Ravenwing (who both condemned the kittens to their fate instead of?? idk punishing Maple and not the kits who didn't even know they were half clan?) because of the way the fandom perceived her at the time. Freckle's a lot like Squirrelflight where fandom opinion only recently shifted to people defending those characters--she's pretty awful for calling the same kits she doted on half-clan creatures! But I don't think she deserved to go to cat hell forever when the cat who actually caused those kittens to end up dead (and every other cat in MV!) ends up in Starclan without even so much of a trial.

Speaking of trials--Squirrelflight and Leafpool literally end up almost being sent to CAT HELL for following Starclan's orders. Leafpool ends up having forbidden kits but Starclan goes "it's okay!" until it isn't. Brambleclaw almost being involved in Firestar's fox trap murder never gets mentioned or brought up while both of the girls are questioned about if they even belong in Starclan because they "broke the code and lied"?? There's a pretty damn big bias towards the toms for doing bad/worse actions but Bramble never went to Starclan and had his ticket for heaven almost revoked. Oakstar didn't get put in the Dark Forest because he exiled 3 innocent kits.

I think it's important to note the fandom has a lot of say over how characters like these get interpreted (which is why Nightcloud ended up being hated a lot despite the fact Crowfeather is just. actually abusive to Breezepelt.) That's why I brought up unconscious biases, because I think generally a lot of WC content creators tend to stick to presenting the stories in a more radical/black and white way.

I think the discussion really should be that the books and the stories ARE pretty misogynistic but unconsciously so? A lot of the story beats I mentioned weren't written by just one person, and the Erins have different opinions on these cats than the fans do. That's not me stating an opinion, that's just me saying recognizing that it's very male-oriented IS an issue these books have.

Anyways this got way too wordy, Ashfur is one of my favorite villains so I don't even know why I typed all of this up /j.

#confession #long post #mapleshade #frecklewish #squirrelflight #leafpool

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ripaxed · 6 months

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I wanna know more about the transmasc heather hc,,, like where did it come from or how would he realise it maybe?

Oh boy!

A have of whole. timeline in my head for this.

So. so the youngest reference we have of Heather is TDDDDI

“I’m guessing either your parents are divorced or you were really fat and pimply once.”

With the video messages from home Island’s final five received showing us Heather’s parents together, it’s the latter that is strongly implied to be true.

Of course, Heather very much does not look like this anymore. While a lot of people do thin up around puberty-

“Of course, only the toothpicky of us is going to fit through that vent. I’m talking model thin. So surely the most athletic of us would want to show off her natural sleekness!”

“For once, I agree with you.”

-I do not consider this to be the case with Heather.

I think of this as a young Heather feeling body dysmorphia and coming to her parents (mainly her mother in my head, as she speaks of her mother far more than her father) for support. However, her mother tells her she feels this because she isn’t thin.

Heather feels miserable, so she listens. She does whatever it takes to look like what others want her to. And eventually, she does.

She still feels miserable. Because it was never about that

The general concept of Heather performing mainline attractiveness for the approval of others extends to World Tour. In Can’t Help Falling in Louvre, Heather is in the line up of girls who wish to be DJ’s model in the tiebreaker. She certainly doesn’t seem to be enjoying herself there, rather seeming very desperate for some form of validation (possibly heightened by the recent loss of her tooth).

Furthermore, we have the idea of femininity being forced on Heather in Brunch of Disgustingness.

“Thanks Heather, but I prefer to keep it natural.”

“Like my mom always says, a lady can always use a little boost in the looks department.”

To me, this scene calls to mind the idea of a younger Heather in Bridgette’s position, not wanting to wear makeup (so to say, not wanting to appear feminine) but having her mother enforce in onto her.

I believe most of Heather’s dynamics with female characters as being drawn from this experience. Lindsay is very outwardly feminine and finds nothing but joy in it, which Heather never did, Gwen rejects a lot of traditional expectations people have of her because they see her as a girl, which Heather was never able to escape. Thus her relationships with them and others are incredibly hostile.

Now, going into World Tour, we have Heather’s antihero arc and her relationship with Alejandro. With both of these things, we see Heather at her happiest.

Now, Heather’s villainy in Island is strongly gendered. Her dynamics with Gwen, Leshawna, Beth and Lindsay, even Trent, are fundamentally written with the idea Heather Is A Girl to the extent you can’t conceptually genderswap Heather and write her dynamics in anyway similar as they are in canon.

In contrast, in my own opinion, WT Heather is not even half as gendered as she was before. You could genderswap Heather and her relationships with Alejandro, Gwen, Courtney, Cody, Sierra, DJ, etc would not change in any particularly notable way. In that sense, Heather as an antihero is strongly opposed to her as a villain.

Regarding her relationship with Alejandro, as it nears its climax we have this moment

Which is an interesting bit of gender non conformity, putting Heather in the traditionally male role while putting Alejandro in the traditionally female role.

Then we have the iconic moment of:

“You mean… I’m the good guy?”

Not only do we a bit more nonconformity with “good guy”, but we also see that Heather’s dynamic with Alejandro puts her as the hero and that she finds joy in that position,

Taking this in addition to how Heather’s villainy is so strongly tied to her status as a women, we can equate the concept of hero vs villain to the concept of male vs female.

As I already said, Heather’s relationship with Alejandro and her antihero arc are where we see Heather at her happiest, which is why I began viewing them, especially the good guy line, as equating to Heather experiencing gender euphoria.

As for when the Gender Thoughts finally hit Heather, I think it would be post TDA but pre-Celebrity Manhunt, when Heather’s hair was growing back.

We never see Heather with short hair, and to me, never had Heather until then. For the first time, Heather saw himself looking “boy-ish” and started to feel some amount of gender euphoria. Though, I don’t think he really understood what he was feeling at the time, and immediately started wearing hair extensions to bury that feeling out of panic.

I think Heather wouldn’t start transitioning until he was into his romantic relationship with Alejandro. Now, I personally hc Alejandro as genderfluid, so being in a relationship with him is what made Heather realize he didn’t have to be a girl if he didn’t want to. I have a similar train of thought regarding his friendship with Harold, who I headcanon as transfem.

So yeah! I think that’s everything. Sorry if you weren’t expecting a answer that long anon fhhsrhvfhjb

#ask #heather td #anyway. genuinely sorry if I worded any of this poorly

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pomodoko · 20 days

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I don’t think his crush on Falin makes him creepy. Obviously Laios shouldn’t be giving microaggressions and should learn from his ignorance! I don’t think Toshiro is shallow and wholly hates Laios, yet I despise him as a person… He’s known Laios long enough to know that “dropping hints” is not a mature or effective response even though it makes sense why he didn’t have the courage to speak directly. Shuro being a fake friend was an issue long before his breaking point. Yes, he was repressed, envious and there were communication issues, but Shuro was also very genuinely ableist. Even if Shuro ‘is’ neurodivergent, people can be cruel to other neurodivergent people who are seen as less socially acceptable. Vitriol towards someone “not reading the room” is repulsively ableist. Of course he isn’t the only one who’s ableist in the story, but the shattering of Laios’s trust is gross. Laios tries to mask but is unable to. Shuro is also a rich noble whose family literally OWNS Izutsumi (& possibly Tade). Yet he does not care about the ethics behind that. Not that he hates her necessarily, but the cold way he treats her reveals that he does not care enough to adapt to the struggles of those who are different / difficult. I feel like his spineless inaction is both a means to avoid conflict, but also a barrier that prevents him from treating others with respect. I think it’s logical for someone to dislike this dude.

I feel like there's a lot of feelings in this writing that you gotta dial back. I totally understand where you're coming from, though. Being told to "read the room" was something I've experienced. I've been betrayed by people I thought were friends because I didn't know what I was doing was annoying them. It really hurt!

I also need to admit I've been on the other side, too! I don't like confrontations at all, but I've let things boil over because I was so afraid of confrontations that I'd snapped at my friends. Especially in Toshiro's state in which he was starving and lacking sleep and just saw his own love interest kill all of his retainers. If I was in his shoes, I'd snap, too! 😭

I wouldn't use the phrase "dropping hints" though. At least from my POV as an Asian from a high-context culture, where there's like, social hierarchy and such, and a lot of politeness abound. When it's something that you've been raised with for years and years, it's really hard to drop. Of course it's gonna be an issue! I think Ryoko Kui writing their argument and fight is a criticism on Japan's "high-context to the point of self-sabotage" culture. But it's important to note that it ended with both of them talking things out and Toshiro straight up saying "hey if you need to run I promise to smuggle you all out of the country". Here are some posts that I recommend reading that expand on it really well: here, here, here, here, and here.

In terms of Toshiro's family owning people, it's expanded more in the manga how these things came to be, but I'd suggest putting it in context of the manga rather than IRL. Toshiro came from the equivalent of Feudal Japan, after all. Here are some more posts talking about that (highly recommend the first one! it's a great read!): here, here (contains spoilers for the ending), and here. Do note that he treats all of his subordinates with respect, and he literally begged for their aid on his hands and knees to save Falin.

Anyway, at the end of the day, you're still going to dislike Toshiro and that's fine. My goal isn't to push my interest and opinions onto other people. I just didn't want him to be disliked shallowly, by reasons that are false or blown out of proportion. The characters of Dungeon Meshi are extremely flawed and incredibly well written, and it's really hard to see characters of color be judged more harshly. It feels the fandom's treatment of these characters will reflect on myself, and that's scary.

#my ask #Anonymous #long post #dungeon meshi #shuro dungeon meshi #toshiro dungeon meshi

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