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iambicpentameterhamster · 2 months

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Every umbrella academy character ranked

Prior to Season 4 coming this year, thought I'd share my character rank with you for the first 3 seasons all together. (Spoilers ahead)

#33- Marcus, Jayme, Alphonso and Fei

Painfully insignificant and underdeveloped. Their only character traits being "spoiled and a bit evil" made them EXTREMELY captivating villians...

#32- Christopher

Only higher because I find the idea of someone carrying around a cube on a stick onset really funny.

#31- Sparrow Ben

Hard to watch honestly, especially in comparison to his lovely counterpart Umbrella Ben.

In general, the Sparrows were terrible and pointless characters, and clearly the writers knew this because most were killed off pretty quickly. All except for Sparrow Ben, which just meant we had to suffer watching him for even longer.

#30- Viktor

This is a controversial choice. He is tolerable in season 1, but then just becomes a moochy emo sod who is boring to watch. I don't know if it's the acting, script or both, but he’s just such a meek and flavourless character who is PARTICULARLY bad in season 3 when he jeopardises his whole family and is repeatedly selfish and has a victim complex.

#29- Luther

He caused the apocalypse in season one and you can't convince me otherwise. Got some alamaba shit going on with Allison...

There are so many reasons I hate Luther. He's a self-centred man child who couldn't care less about his siblings and their feelings, showing zero empathy to Klaus or Vanya, for example. He only shows respect and kindness when he is attracted to the person (As shown when seasons 1 and 2 he is only nice to Allison, then completely ignores her when he moves on to Sloane) or when they pose as an authority figure to him. All he does is whine and feel sorry for himself.

What's that? You lived in the apocalypse all alone for 40 years? You are addicted to drugs and lost the love of your life in a war? You have a power you can't control and a lifetime of rejection? WELL LUTHER WENT TO THE MOON

#28- Carl Cooper

Hated him as a character but he was a menacing villian which I can respect

#27- Harlan

Couldn't care less about him, only there for plot convenience and Victor's arc pretty much

#26- Sloane

An improvement from Luther's literal sibling. Further evidence that Luther will simply fall for any woman who gives a flying fuck about the moon.

Personality: attracted to Luther

#25- Pogo

Basil exposition of the first series

#24- Detective Patch

Barely remember her

#23- The Swedes

They were kind of goofy as villians but there was some good acting and they posed a real threat. Cute moments with the cats. In general, alright, but they could have easily been replaced plot wise with something more interesting.

#22- Cha Cha

Lack of character development for me. I think she deserved to be fleshed out more, I don't think it's fair that only her partner got to be a three-dimensional being. What are her motivations? Who is she underneath it all?

But overall i liked the acting and she was a good villian.

#21- That hotel worker from season 3

He's barely a character but I liked his sass so he's on the list.

#20- Reggie (Reginald Hargreeves)

He is supposed to be the main antagonist/villian of the show, yet The Handler stole his spotlight. He's a bit too stereotypically evil and asshole-ish for me, basically twiddling his moustache and stroking a cat in a dark corner the entire show. The delivery is too blunt and that doesn't help to build the tension and mystery surrounding him as much, but if he were more complicated and cryptic in his personality it would be more effective.

This is very nit picky and overall Reggie is fine. He has some hilarious moments with Klaus in season 3 and I am genuinely intrigued about the unanswered questions surrounding him.

#19- Elliott

He wasn't a particularly important or central character but I enjoyed it when he was on screen and he played his role convincingly. He was a good comic relief in some scenes, and when he died (spoiler alert) the reactions from other characters were realistic and quite impactful. I felt for him throughout, which is impressive for less significant characters and he had a lot of depth relative to the size of his role.

#18- Destiny's children

Not a singular character, but I LOVED Destiny's children. It fit Klaus's character perfectly to have a cult and led to some of the funnies moments in the series.

#17- Dave

From the very limited moments we see with this character, a lot of personality and emotion was communicated, and I feel like we got a big sense of the character. That is down to the brilliant acting from both of Dave's actors and from Robert Sheehan that really sold this character with so little screen time.

Anyway please come back to life Dave! Death doesn't look good on you!

#16- Agnes (Donut woman)

Very sweet and I wish her all the best in life.

#15- Sissy

BRILLIANTLY acted and impactful. Stole every scene between her and Vanya.

Also, she looks EXACTLY like Sheldon's mum in young sheldon...

#14- Herb and Dot

I want to put them both in my pocket and protect them from harm.

#13- Kenny's mum

Again, barely present but I love her. She's a queen. I would go to a rave with Kenny's Mum.

#12- Stan

I love Stan, and he's a big part of Diego and Lila's character development and motivations. I hope they adopt Stan and live happily ever after.

But yeah, great one-liners from Stan.

#11- Grace

Very well acted and haunting.

Top 10 *drumroll please*

#10- Harold Jenkins (Lenoard Peabody)

Again, quite a controversial placement, but I stand by my decision. The acting and delivery of Harold Jenkins as a villain is possibly the best in the whole show. I was totally convinced Lenoard was a nice guy and I was rooting for him and Vanya, until he started dropping hints and slowly revealing his true self and losing the facade and its... it's chefs kiss. So realistic. The actor deserves an award and a standing ovation.

The writers also deserve a pat on the back for this one because he has a convincing motivation and backstory, and the dialogue is DELICIOUS when it comes to Lenoard. He is a truly menacing villain without being overtly scary and powerful and dangerous.

#9- Ray

Charismatic, gentlemanly, empathetic, loving, trusting, supportive... Ray is THE IDEAL MAN. I'm a little bit in love with Ray so I don't blame Allison.

HUGE step up from Luther, for sure.

#8- Umbrella Ben

I would have liked to see more of his character, but I liked what I did see. He loves his siblings and shows it. He is selfless and sacrifices his own existence for Vanya, he is blunt with Klaus because he cares and wants him to improve. Of course, he and Klaus are also a hilarious duo.

#7- Hazel

One of the most touching arcs that offers an insightful message about what life is for, and about Love. Beautifully acted, a very real and lovable character who probably resonates with many in some ways. Hazel is adorable and i miss him in later seasons.

#6- The Handler

I LOVE THE HANDLER MORE THAN WORDS CAN EXPLAIN!!! Funny, playful, entertaining, uexpected and whimsical and yet simultaneously dark and menacing, AMAZING villian that stole EVERY SINGLE SCENE she was in. Kate Walsh was the perfect choice for the role and she played it to perfection.

A bit of trivia about the role, The Handler was originally written for a man, and when Kate Walsh got the role she insisted they didn't change the script (which, let's be honest, they would have.) She put a wonderful spin on it and it's just perfect, I wouldn't change a thing. I would 100% watch a spinoff all about the handler. Season 3 was worse than the previous two thanks to them killing her off (amongst other questionable plot choices)

#5- Allison

Allison was the only character who knew what they were doing, and honestly, if everyone just listened to Allison, there would be no apocalypse. Her storyline losing both Claire and Ray and her powers driving her crazy with power breaks my heart but is well portrayed and impactful.

She's charismatic, clever, strong, and kind. I love Allison and I think most of us do.

#4- Diego

He's stupid but in an endearing way, I find him to be so entertaining and funny, and the actor's face is like an open book. He's not show-stopping but his consistent presence just sets the mood and allows others to act off of him, while he really sells it with his expressions. He's like the rock of the show.

#3- Lila

Lila. Mi amor. Mon amour. Amore mio. Meine Leibe.

#2- Five

For several reasons:

A) He is the daddy here, Luther!!

B) That should be the only reason you need

Seriously, though, I was SUPER impressed with Aidan Gallagher and his incredible screen presence, especially at such a young age. He really embodies the character. Five is the face of the Umbrella Acadamy, and is undoubtedly the most iconic character. 10/10, two thumbs up, absolutely BRILLIANT.

#1- Klaus

No justification necessary.

#the umbrella academy #klaus hargreeves #diego hargreeves #five hargreeves #reginald hargreeves #allison hargreeves #lila pitts #ben hargreeves #luther hargreeves #vanya hargreeves #viktor hargreeves #raymond chestnut #the handler #the sparrow academy

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scraftyisthebest · 2 months

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So in the upcoming chapter of Horizons, "Terastal Debut", it seems Liko and co. will be attending Naranja Academy. But it seems Onyx, Agate, and Sango (or as the dub now calls them: Sidian, Chalce, and Coral respectively) will be attending the school as well. Chalce/Agate will be signing up to act as a teacher, while Onyx/Sidian and Sango/Coral are acting as students, since they're wearing student uniforms. Most likely, they want to get Tera Orbs themselves so that Amethio isn't the only one using Terastal. But it's quite interesting how Coral and Sidian are both acting as students while Chalce is acting as a teacher in the academy.

Onyx and Sango (or as I should say, Sidian and Coral) are pretty clearly a duo with each other and they pretty much always stick together. They seem to be the comic relief of the Explorers group and form a comedic duo with the contrast between them amplifying their dynamic for maximum comedic effect. Coral is a petty, short-tempered brat who easily loses her shit at even the pettiest of things, while Sidian is much more level-headed and serious to an almost extreme degree which complements her in a funny way.

These two really feel like the Jessie and James of the Explorers and Liko's story. Two troublemakers who everyone else in the organization sees as a nuisance and pain, play the comedic relief at times, and seem to be frequently in confrontation with the heroes and directly confront them in battle, although they're also a lot more competent than those two ever were. They tend to show up in contexts outside of the Explorers' missions and stir up comedic antics like Coral going after Wiglett sweets and getting mad about not getting any, and in this case there's clearly setup for them to have antics around Liko, Roy, and Dot as fellow classmates and students at Naranja Academy, and likely tension between them on equal levels as students. Maybe during their time here they'll end up battling each other in a formal school setting, like a tournament or something. Liko and Roy vs. Sidian and Coral in a Tag Battle once again. A recurring trend that they may keep up over the course of the show. They definitely feel like a more competent version of Jessie and James who despite being antagonists also have a comedic relief angle and will likely have the most personal relationship with Liko, Roy, and Dot over the course of the show. Well, aside from Amethio. Especially since as students and classmates of our heroes, they're interacting on a formally equal level here in this next chapter. They may start to have a close relationship with them that borders on the two frequently meeting and being weird frenemies who like-hate each other on a personal level.

Chalce (aka Agate) acting as a teacher on the other hand raises some interesting questions about her role in the Explorers group and in the story as a whole. This would imply that she's the most senior admin of the organization and has authority over the other admins. This was kind of hinted at as she was the leader of the operation to capture Rayquaza and in charge, giving Sidian and Coral orders to follow. She doesn't seem to have any particularly standout traits as an antagonist, and is very straightforward and calm, but has natural authority in the group, and acting as a teacher in Naranja Academy likely reinforces that. That said she seems to be little more than someone who is experienced at what she does and takes her job seriously, which is different from Spinel who clearly has his own motives outside of the group and admits to using them as a means to an end for his own self-gain.

Getting to see the rest of the Explorers admins in proper action as of late has shed more light on their characters, and I look forward to seeing how each segment of the Explorers continue to play a role in the story. We have a duo of troublemakers in Sidian and Coral (Onyx and Sango) who are sort of comic relief, a senior admin in Chalce (Agate) who takes her job seriously and has the most authority of the lot, a particularly selfish and evil one in Spinel who is trying to use the group for his own selfish motives, and Amethio is pretty unique in that he seems to have a personal growth arc and is the protagonist of his own story, while he hangs out with his two subordinates who keep him grounded. There's a lot of differences between these three and it will be interesting how their roles in the story and their relationships with each other and the Rising Volt Tacklers continues to change over the course of this show.

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shirolian · 3 months

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Star Crossed Myth - Review of Zyglavis, Hue and Scorpio

My current Star Crossed Myth career is at its peak - I wholly finished three routes (yes, that much, envious?) and now I need to unleash my brainrot. The finished routes: Zyglavis, Hue, Scorpio - in this order. 2:1 for Punishments but I suppose that is not surprise given that this game subverts the expectations of how gods should be and Punishments gods are mostly mewling kittens.

Zyglavis route as whole was, how to put it, felt like I dated a man who is older than me by 20 years. Comforting, reliable but also very lonesome and sometimes distant experience. His later parts of story were frustrating but this time the meme "my life is living hell and I have nobody but myself to blame" applies. The King shockingly is not the antagonist in this route, Zyglavis rigidity is. As much as I love strict meganes who are kind souls inside, I couldn't feel the real love and connection between him and his MC. Favorite scene in his route: The realization in his main story, where he finally acknowledged that he loves MC. The tenderness was palapable as he wiped her tears and whispered "you cry for others?" - it was very defining moment that rekindled his faith in humanity Favorite scene with Zyglavis overall: His infamous arrival in Hue's route where he breaks through window 😂 Route rating: 7,5/10

Hue... I kind of regret that I did his second. I should definitely do him last. So if you plan to play, don't do the same stupid mistake like I did. His route is full of lore and background about MC. The background especially will cause you LOTS of pain if you do his route early and then proceed to other gods. Relationship with Hue felt just right. Like two halves of one soul united and in a sense, it's true. Two halves of stars reunited 😭 I mean how much more of "their love is destiny" vibes can this get? Their banter was entertaining and witty, ocassionaly MC really flipped the tables back on Hue and it was amusing to see his reaction. Hue is definitely the brain in this relationship but his MC is not stupid either - rather, she is jealous and insecure. If you read my previous post where I ranted about this, you will understand what I mean. The ending of whole route was very unsatisfactory and the jelaousy plot of MC's was dominant arc, which annoyed the hell out of me. You know what would be absolutely perfect ending for Hue? If he got Scorpio's ending. Here, I said it. Favorite scene in his route: When MC travels back in time and is Clotho. Then she dies and we can see the aftermath - Hue, standing in the darkness of his room and MC clinging to his lifeless, breathing body. He just pulled out his eye for her, effectively crippling himself in the name of love even if the result was uncertain. The sheer rawness of the moment, the despair and mourning - it all deeply resonated with me. Favorite scene with Hue overall: The sequel (?) ending where Hue and MC talk their feelings and MC admits that she thought the source of Hue's uneasiness was his dissatisfaction with their lovemaking. Hue is literally speechless for a moment because it would never ever occur to him that THIS was one of MC's concerns. The aftermath to this scene is 🌶️🌶️🌶️

Rating: 9,5/10 - I blame overused jelaousy plot. Once, it was nice. Using it all the time was rather tiresome.

Scorpio, the local tsundere god from Wish- ahem, Heavens. He definitely is the most rude LI that I had the honor to date 😂 I don't really like tsundere types and at first, I really couldn't warm up to Scorpio. But his scene with train tickets won me over - man was extremely cute 😂 However, in terms of relationship, his and MC's reminds me of italian couple - they argue, loudly and violently, and then they probably hate-fuck or make up. Not the most healthy dynamic on the market but hey, it's otome, red flags are welcome. Needless to say, that Scorpio became green flag in disguise. His explosive vocabulary and prickliness won't go ever away but he softens significantly and opens up to MC. It was very heartwarming to see the progress fromt he begining, where he couldn't read MC's emotions at all to the end, where one look at her face was enough for him to deduce what she is thinking. The constant source of comedy in this route was Scorpio's mind reading ability and his open defiance to the King. Yes, the King. If I thought that the King was extremely tame in Hue's route, in Scorpio's the King is main antagonist and the biggest dick in universe. "Sparkly bastard. Sorry excuse for a king. That bitch." - Scorpio, circa 2015 This route had absolutely the best ending of all three - literally the ideal outcome that I wished would happen in Hue's. The real promise of Infinity together. I don't know what I expected but it really was not the most romantic rendition of Sleeping Beauty. Favorite scene in this route: Rabbit. Apples. The first time when they come up, the scene is SO darn cute. Then the apples become the staple of the route and source of comfort between MC and Scorpio. CUTE. Favorite scene with Scorpio overall: My knees went weak from that CG and moment where Scorpio and MC couldn't touch each other. They were in MC's apartment and Scorpio was about to leave. The longing, the love, the passion when they touched and kissed as the glass window separated them... *slaps seal of forbbiden longing* This is how it should be done. Rating: 10/10, no regrets. They said fuck the King and really did it.

#scm #star crossed myth #scm huedhaut #huedhaut #scm zyglavis #zyglavis #scm scorpio #scorpio

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shimmerbeasts · 8 months

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okay, so!

I think I've had the benefit of being able to see two different sides of Jinx due to Caitlyn in her main verse but also Caitlyn in her Baroness verse. It's not that Jinx is any different, but I get to see her very vicious hateful side that absolutely resents and hates Caitlyn. But as Baroness, she gets to experience the tender (albeit obsessed/possessive), family-centric form of Jinx as well!

What I love so much about Jinx is that you don't tone her down. You let her be vicious and ruthless, you let her be a loose cannon. She's not just some crazy silly girl who just blows things up and goes 'oopsie', like, she is literally, twisted and dark, and yet she is scarily intelligent and intuitive. She's not a 'dumb blond' (not that she's blond but that saying), she is this extremely brilliant psychopath.

And another thing (okay, I'm going to do more than one thing) your Jinx and Caitlyn are so interconnected. Literally, she is Caitlyn's Moriarty. Without Jinx, so much of things would have not had a snowball effect, they have been influencing each other since the beginning, and I LOVE that we have this antagonistic relationship between the two with no need to make them become friends or 'forgive' or anything. So much of what has happened to Caitlyn is highly influenced by your Jinx's action; not just Jinx in general but your portrayal. Whenever I do replies, your Jinx is the one I often refer to. I love that we can have them have this feud with each other and not worry about having to tone it down. Jinx is vicious, dangerous, and so very zaunite in every way.

I don't think there is a thing I would change about Jinx, because she's absolutely perfect they way you write her. From the drabble I wrote pre-tea party, the discussions of scars and markings, to Caitlyn's hypervigilance and so much more; it's all due to Jinx and your inspiration behind her.

She is perfect, and you write her brilliantly. Even Baroness I don't think would have lasted long if not for Jinx's influence and their connection and how that has developed. Your Jinx and your portrayal are so interconnected to Caitlyn and I absolutely love how much it's been an inspiration to develop our muses with each other; even if they see red when they look at each other.

Positivity for Jinx||Accepting.

Oh, no, I think you are right 100%. Your Caitlyn has the unique advantage of knowing Jinx in one verse as probably the worst enemy, she can possibly have, this vicious, sadistic, predatory psychopath, and on the other side, in the Baroness verse, she meets that same monster, if it is on your side. And you are correct: Jinx may be family-orientated like Vi and can even be tender, but she always is possessive and obsessive too.

I am so happy you enjoy how dark and twisted Jinx is. And yeah, I worked very hard to make her be this loose canon as she is in Arcane and League, while also keeping her as this dangerous, vicious thing, which is far smarter than she often lets on. I may not work as much with her explosives as others, but I still think I keep her essence alive. Even if she mostly tries to shoot you to pieces. It means a lot to me that you enjoy that I never tune Jinx down.

I too absolutely adore this feud they have with one another. Your Caitlyn too is the one, Jinx thinks of when she regards which Caitlyn she hates. I said it before and I will say it again: I rarely get the chance to really write two opposing characters, so I am really happy that I get the chance to do that with you here. I love that we are both on the same page that neither forgives the other one and I love how we discussed what Jinx did. I love how it is horrific without feeling like overkill. It feels balanced and appropriate while being nuanced, dangerous and wild. It is a joy to write out and get in the headspace for.

I am so, so happy that my Jinx helped Baroness' development. I adore her. And you are right: So much of how I restructured Jinx came about from what we discussed. From how her hallucinations work, to the fucked up reasons she is fully behind Silco's Cause even after his death to more mundane and sweet shit. I am so, so flattered that you feel Jinx's portrayal is as perfect as it is and needs no improvement.

#arcanescion #letter: ask #cat wrangler: out of character #nothing ever stays dead: jinx||in character #positivity tea

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wondereads · 2 years

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Personal Review (10/31/22)

Shades of Rust and Ruin by A. G. Howard

Summary

After her twin sister, Lark, died on Halloween night, Nix has been terrified of the holiday. She finds solace in her drawings of the Mystiquiel, a magical place where faerie lore and steampunk come to life. Years later, her fears manifest as her uncle is stolen away to the land of her drawings, leaving her and her best friend to save him and escape Mystiquiel, all before the clock strikes midnight.

Plot 1 2 3 4 5 6 7 8 9 10

I enjoyed this plot, but I have one major gripe with it. As someone who is a huge A. G. Howard fan, this book is shockingly similar to one of my favorites, Splintered. They're both about a teenage girl with a morbidly artistic touch who ends up in another world (alongside a childhood friend she has feelings for) because of a curse stemming from a classic piece of literature passed down through the family. Now, does that mean this story was unenjoyable? Absolutely not, I eat this up every time. Does it mean it's unoriginal? Unfortunately, yes. I can appreciate this story for the entertainment it brought me, but the similarities are a little too obvious to ignore.

On the bright side, I did love the worldbuilding. This book takes traditional faerie folklore and mashes it together with machinery and an industrial style, and it's really interesting to think about. I loved that it played off things the reader will be familiar with without rehashing the same characters again and again that would have made it a bit more dull. Also, Nix's powers of creation as an artist were very cool, and I hope to see more of how they work in the next book. This book is inspired by The Goblin Market by Christina Rosetti; the influences are clear beyond just Nix's obsession with the piece. As a side effect, other works inspired by it echo in this book, particularly the cult classic movie Labyrinth—there's even a ballroom scene. I love the callbacks to both the poem and the movie. Finally, as a forewarning, this book does end on a cliffhanger!

Characters 1 2 3 4 5 6 7 8 9 10

Nix was a very interesting character. She is very apparently flawed, and the narrative preys off of that. I do wish she weren't so aware of those flaws, but seeing things like jealousy, a thirst for control, and extreme guilt in a character makes them a lot more compelling. It also opens her up to manipulation, so it's easier for the different forces in Mystiquiel to get their claws into her. However, I wish she'd been a bit more aware; she wrote some of these characters and yet she doesn't seem to notice the inconsistencies in their motivations.

Clarey is Nix's best friend, and he's also the love interest. In terms of how love interests are represented in YA, Clarey is pretty unique. He's a bit more delicate and feminine than male love interests tend to be, which is a breath of fresh air. His relationship to Nix is quite interesting considering he's also Lark's ex-boyfriend (the dead twin). It's been a while since Lark's death, but it's hard for either of them to move past it. It adds a layer of tension; neither of them want to endanger their friendship, and they also don't want to disrespect Lark's memory.

The Goblin King, who is sort of the antagonist but also kind of not, doesn't really get much attention this time around. I am hoping to see more of him in the second book, especially to see how Nix and him will interact. Finally, even though she's dead, Lark is a pretty major character through flashbacks and such. And I hate her guts. It's a good kind of hate, the kind that will make me care and root for Nix, but I just cannot find any sort of sympathy within me for her.

Writing Style 1 2 3 4 5 6 7 8 9 10

This is the third book by Howard I've reviewed, and the writing is as good as ever! As always, it isn't for everyone. It's quite flowery and detailed, which some people don't enjoy, but I do! The descriptions are absolutely gorgeous, which plays into the atmosphere of the book. It's so easy to get an amazing picture of what the creatures and the world look like, and it truly feels like the story is being told through the eyes of an artist.

However, I have to bring up the pacing. It takes over 100 pages before Nix is even in the Mystiquiel, so the ending feels rushed while the beginning drags. Establishing Nix's normal life and her state of mind is important, but it just took way too long.

Overall 1 2 3 4 5 6 7 8 9 10

I am so excited to get more A. G. Howard retellings! Although this book has its flaws, the writing is amazing, as usual, and I love the characters. It's a great Halloween read, and I'll most definitely be reading the second book when it comes out. This book has quite a few similarities to Howard's previous books; I found it pretty noticeable, but it doesn't directly detract from the reader's enjoyment, especially if you've never read the others. While I don't think it tops anything else by this author, it was still a fun, holiday-appropriate read!

The Author

A. G. Howard: American, 51, also wrote Stain, Splintered, and Roseblood

Check out my review of Stain here

Check out my review of Splintered here

The Reviewer

My name is Wonderose; I try to post a review every week, and I do themed recommendations every once in a while. I take suggestions! Check out my about me post for more!

#books #reviews #shades of rust and ruin #a g howard #fantasy #ya #faeries #folklore #steampunk

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lovebecomeshim · 3 years

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hello! your zutara posting today has finally motivated me to ask this question because I came to atla very late(last year, to be specific) and I Love It Very Much but am 1000% out of the loop as far as why what remains of fandom (at least that I've seen among my friends) is so very strongly zutara. I'm not opposed to it per se I just don't really know what has driven it to apparently be such a popular ship? can you help me understand and maybe convert me a little bit?

Hey!! Your ICON! :D I can try but I’m not sure how coherent I’ll be; however I AM sure someone a lot more competent will be willing to add to this. Either way, I’m glad you asked because my plan was to drag down as many people as possible with me.

*smacks the hood of zutara* this baby can fit so much mutual love and support!

This got so long, I’m so sorry. I don’t know how to put it under a cut on mobile and it already got deleted once so I’m scared to mess with it lol. Moving on.

I’m gonna start this with a disclaimer that im on mobile so formatting is tricky and I’m also really new to atla in that I only completed my first watch through in like 2019??? So some of my info is all just based on what I’ve picked up from Discourse 👀 so anyway the sparknotes version: zutara was wildly popular from the beginning. To the point where the atla crew internally disagreed on which ship should be endgame. (Ex. Bryke [showrunners] asked the writers to rewrite The Southern Raiders to make Zuko seem less ideal for Katara than Aang [which failed, depending on who you ask]; the animation team purposefully created a visual parrallel between Oma and Shu in the Cave of Two Lovers and Zuko and Katara in the catacombs under Ba Sing Se in the Crossroads of Destiny; etc.)

The ship was popular enough that Bryke actually chose to display zk fanart at a con for the sole purpose of mocking the fans, but that’s neither here nor there. The entire episode Ember Island Players, while a love letter to/parody of the whole show, was an opportunity to address zutara’s viability as a canon pairing (while, again, mocking zutaras for romanticizing that catacombs scene). Point is! It’s always been popular but with it not being endgame, there’s got to be something that’s given it staying power.

And that’s honestly got to do with three things: their dynamic, thematic cohesion, and potential.

(You know what... you know what, it’s four things. The fourth is they’re so aesthetically pleasing together and individually. Like, they’re just good looking people [specifically when they’re grown but they’re also cute kids] and that absolutely doesn’t hurt) (but it’s not the Point, it’s just nice to point out sometimes)

The dynamic is hard to get into without also looking at the canon pairings, but I think I can do that without unnecessary bashing. It’s just that part of the magic of zutara is really highlighted by what they give to each other that their other relationships don’t.

First off, it’s classic enemies to (would be) lovers. The absolute truest form of it. It’s not too different from how CS started out: a rogue antagonist with a job to do—but no personal vendetta against the future love interest—who is deeply and emotionally invested in his personal storyline (revenge/redemption) with little regard for how it effects other people after his entire life and genuine good nature are marred by suffering, and a fierce warrior girl with a strong moral compass and her own personal investment in stopping him (protect her family and save the world doing it). Obviously frustration and animosity grew between them by the nature of them being on opposing sides, but that just lends itself to the sweetness of their later reconciliation.

The thing is that while they’re wildly different on the surface (he’s a hot-headed prince of a fascist regime who is trying to capture the Avatar to please his father; she’s a nurturing daughter of the chief who is trying to protect and train the Avatar in order to topple his father’s throne) they find out that they have so much more in common both in their experiences and their personalities.

(What follows is an excessive use of the word “both” and I’m sorry about that)(I can edit it. I can do that. That IS an option............)

They both have an innate sense of justice that they are determined to see done (zuko, at the war meeting, sticking up for the Earth Kingdom kid when the guards torment his family, choosing not to steal from the pregnant couple despite his circumstances, abiding by his word to leave the SWT should Aang come willingly, etc.; katara, literally.... at any point). They both have pretty one-track minds at accomplishing certain goals once they’ve put their mind to it, regardless of a lack of support in that endeavor (it goes without saying I guess, but zuko’s entire hunt; katara’s determination to get the earth benders to fight back, her determination to absolutely destroy Pakku until he agrees to teach her, etc.). They both lost their mothers at young ages. Their worlds are war-torn and traumatizing to them both, if in different ways, but that ultimately forces them to grow up too quickly to be wholly independent individuals. They both have issues with their fathers (for WILDLY different reasons, but). They both hold extreme prejudices that they need to learn to overcome (which ties into thematic cohesion)(bit like Lizzie and Darcy in that way but magnified by a million). They’re both extremely emotional and empathetic—which can and often does result in loud outbursts. Katara’s a bit better adjusted and can temper her anger for longer than S1 Zuko can, but they both feel that anger deeply and have no compunctions expressing it (Katara is, usually, more justified, particularly in S1. Again, S1 Zuko is severely maladjusted but at the point when they could’ve feasibly become a couple, he’s so much better off with the way he carries himself). They both struggle with feelings of inferiority in their bending abilities when confronted with prodigal benders like Aang and Azula, but have the work ethic required to double down and become two of the most powerful benders in the three remaining nations. This is a little more minor but it is a parrallel that appeals to some shippers that they both have these alter egos in the Painted Lady (notably fire nation coded) and the Blue Spirit (water tribe coded) that are pretty different from who they are day-to-day and are useful in accomplishing a purpose that they as themselves cannot.

(I’m.... I just realized that this could potentially get very long. Should I have made a slide show with bullet points??????)

Anyway, similar. I know there’s more but there’s literally so much to love about zutara that I’ll drive myself a little crazy trying to compile all the ways they’re similar. (Just gonna say that at this exact moment I went back to add more similarities.... so okay then)

Once they’ve reconciled, we see how all of these things only lend themselves to a deeper intimacy together than they share with literally anyone else. There’s a steady partnership that positions them as the mom/dad of the gaang, while also providing the support necessary to allow the other to not have to carry so much responsibility. A lot of zutaras will point out how zuko is actually depicted doing the more domestic chores that are normally relegated to Katara once he joins the gaang, since the others in the group are two 12-year-olds and sokka. The one that sticks out the most is how he makes tea for the group and then serves them, while Katara is able to just relax with her friends around the fire. Fanon expands upon this a lot to Zuko helping with the laundry or the cooking or whatever else needs doing since he, as a once-refugee, is used to doing his own domestic tasks. Before Zuko joined, Katara was the one mothering everyone, sewing for them, cooking for them, etc. She’s always tending to the needs of the group, and that includes emotionally. She does the emotional labor for the gaang 99% of the time, but when she’s the one falling apart, she’s usually doing it alone and without the comfort that she normally provides for others. Until Zuko. And that’s before they’re even friends.

Which is WHY people romanticize the catacombs of Ba Sing Se so much. Katara is verbally attacking Zuko out of her own righteous anger but also her own prejudice when Zuko, surprisingly, chooses to be vulnerable with her. He’s been on a journey that’s opened his eyes a bit, but he’s never actively chosen to expose the rawest parts of his past to anyone. But for some reason he chooses to do that with Katara of all people. While she’s yelling at him. He sees her humanity, and for once can look past his prejudice and empathize with her. And this time, when she breaks down, she gets to be comforted. Katara normally talks about her mother when she’s trying to explain to someone else that she sees and understands they’re pain, as a form of comfort to them. Here, Zuko uses the exact same tactic. He sees her and he understands. And for zuko? He’s not being shut down. He’s allowed to articulate his pain regarding his mother without being ignored and made to internalize it, and he’s allowed to process how he feels about his scar out loud without being told that he deserved it. And then he lets her touch his scar, something we’ve seen him actively avoid before. He’s completely open to her and she’s completely open to him and all it took was one five minute conversation. She was about to use the little bit of Spirit water that she had, that she was saving for something Important, to heal the scar that still daily causes him pain just because they had, somehow, connected.

Plus there’s the whole parallel to the star-crossed lovers forbidden from one another, a war divides their people—

And then zuko messes up, he regresses, he gets what he wants and he HATES it. And the sense of justice he had as a child has been restored to him against his will and he can’t think of anything he wants to do more than the Right Thing, so he joins team avatar. Before he does that though, we get to see his relationship with Mai, which is where comparison really comes in. And what we see is Zuko, fresh off of his encounter with Katara in the catacombs, trying to be emotionally honest with Mai... and getting shut down and dismissed. Which is just how Mai is and it’s fine, but not for Zuko. Still, he keeps trying, and he keeps getting ignored or scoffed at or yelled at. Which is really a larger symbol for how he doesn’t fit in his old life anymore, but again that’s about thematic cohesion. He tries to articulate his anxieties about returning home, he tries to make romantic gestures, he tries to explain how morally conflicted he’s feeling—and Mai diverts to some kind of physical affection to shut him up and a parting comment that is pretty much always, in essence, “I don’t wanna talk about this.” So they don’t. On the other hand, once zuko and Katara are friends, we see him again emotionally distraught and caught up in his anxieties about facing Iroh, and it’s Katara who comes to him and listens to him and comforts and encourages him.

Similarly, we have Aang clamming up and getting uncomfortable whenever Katara shows any negative emotion, usually resulting in him making excuses or running away. Or, in the case of the Southern Raiders, lecturing her on how she needs to just let go of her anger about her mother’s murder. People have talked this episode to death and usually better than I ever could, so imma... keep it brief. There’s a serious disconnect between Aang and Katara in his ability to empathize with Katara and her needs that has her tamping down her vulnerability and amping up her anger. He tells her that he was able to forgive his people’s genocide and appa’s kidnapping (petnapping? Theft??), which is blatantly not true but also not an entirely equal parrallel to Katara’s situation, and continues making these little remarks throughout the episode. But it’s Zuko that Katara opens up to. It’s with him that she’s able to talk about the most traumatic day of her life, and it’s with him that she’s able to get the closure she needs, cementing their bond as friends and partners. This disagreement between Aang and Katara is then... never resolved. They just never bring it up and hear what the other is saying.

There’s a fic called The Portraits of Ember Island that has a line that so completely sums up the heart of the matter for why people love their dynamic. For context, zuko has woken up early to help Katara with the cooking and they spend the whole time just letting one another talk, and zuko stops to ask why she always just lets him talk. And so she stops to ask why he’s always helping, and it goes as follows:

There’s just... so much mutual support! Trust! Intimacy!! And it just continues like that from the Southern Raiders on, listening to each other, advising each other, watching each other’s backs! And then! Literally saving each other’s lives!! I will never be over the last Agni kai. Not ever. Zuko may have been willing to jump in front of lightning for anyone, but he actually did it for Katara. And in a show, that’s the thing that really matters. It’s a fulfilled trope usually exclusively applied to romantic pairings, and it ended up applying to Zuko and Katara. And then she ran out into the middle of a fight with tunnel vision just to get to him.

Also!! Also Zuko pushing Katara out of the way of the falling rocks at the Western Air Temple!! And Katara catching him as he fell from the war balloon that he fought Azula on!! Before they’re even getting along, they’re the ones reaching for each other. They come to this place of equal ground, as partners, who watch each other’s backs, call each other out but still listen attentively and understand, and provide the support that the other has been sorely lacking up until they knew each other (whether that be from lack of effort or lack of understanding from others, or an unwillingness to accept it for themselves).

Then, trailing along under the surface of this, we see the themes of the show totally embodied by Zuko and Katara as individuals and in their relationship to one another. There’s a YouTuber, sneezyreviews, who has a, like, 2-hour explanation on why she not only loves zutara but also believes that their endgame would’ve actually elevated the writing of atla to new levels particularly because of thematic cohesion and resolved character arcs. It’s the zutara dissertation I never knew I needed, and it’s funny and eloquent and effective, so I’m just going to sum up her section on thematic cohesion to the best of my abilities and then link it for whenever you have the time. And I HIGHLY recommend it, especially if you want a full understanding of what makes zutara so great and gives it such longevity.

Guru pathik has a line that goes something like this: separation is an illusion; things that seem different are just two parts of the same whole. Iroh also tells Zuko something similar: balance and strength are achieved when the different nations come together and influence one another and celebrate what makes them each unique. And this lesson is a massive central arc that both Zuko and Katara go through, moving past a black-and-white, good guys-vs-bad guys, us-vs-them mentality and into a greyer, more nuanced view of the world. Zuko sees the fire nation from an entirely new perspective and while he still loves and hopes for his nations future, he surrenders his blind loyalty to them in exchange for an unflinching loyalty to peace and love. Katara too had to come to terms with the fact that cruel people exist in the earth kingdom and water tribes, while some fire nation citizens are just regular, kind people who also need and deserve to have someone speak on their behalf. And this is honed in directly on how they view each other. They grow in their individual journeys to be open to the humanity in the other and then, once they’ve found that, they’re able to grow more in compassion for others in a beautiful feedback loop. And this is all matched in the symbolism repeatedly and intentionally associated with them in canon: sun and moon, fire and water, yin and yang, Oma and Shu who found love despite their warring nations. Their individual arcs are completed in each other and complement the themes of atla beautifully.

The canon pairs... just don’t. Which, again, is fine. But the very things that give atla longevity and popularity are anchored in zutara. Kat@ang doesn’t accomplish this. They’re... nice. Sweet. Especially when you erase a good portion of their interactions in S3. It could’ve been just a sweet love story. (Personally, the dynamic between toph and aang accomplish the same thing that zutara does, with complementary personalities that fulfill the theme of opposites blending in harmony) M@iko, on the other hand, is less sweet but I think wasn’t even supposed to last. Zuko’s relationship with Mai seems to represent his relationship with his old life as a whole. He can’t be emotionally vulnerable, he’s goaded into abusing his privileges, his agency and opinions aren’t respected. They just don’t have common ground with which to discuss anything that matters, so they don’t. As far as themes, the relationship doesn’t fit with atla. It’s zuko returning to and sticking with what is (on the surface) like him, what’s expected. Fire nation with fire nation. Fluid water bender with the flexible air bender. Like with like, separated from what is different and challenging and complementary.

And all of these things combined of course lead to the potential for the ship. I don’t know how familiar you are with the post-atla canon but... well, miss “I will never turn my back on people who need me”, miss “I don’t want to heal! I want to fight!” ends up living quietly in the SWT as a designated healer who turns a blind eye to the water tribe civil war happening right outside her front door. Which can be fine! People change! Some people just wanna stay inside. I just wanna stay inside! But the potential future for zutara is so much more satisfying, with Katara becoming the most unconventional Fire Lady the uppity old cads who are stuck on the old ways have ever seen. Fanon has her serving as a voice for the other nations within a kingdom at the point of its biggest political upheaval, as a confidante to Zuko who can actually help him while he’s trying to figure out how to move forward and make reparations. They have the opportunity, together, to accomplish what they both have set on their hearts to fight for: positive change that lends itself to harmony and balance. And the steambabies! A popular headcanon is that their firstborn daughter, the crown princess, is actually a waterbender, which causes such an uproar among the people who are adamantly clinging to the old ways. It’s just a future full of potential to be forces for good together, full of trust, intimacy, joy. The exact era of peace and love and balance that zuko announces that he intends to ring in with the start of his reign as Fire Lord is, again, magnified by the very personal zutara relationship. And we love to see it.

tl;dr zutara isn’t for everyone. Some people just don’t vibe with it. Some are nostalgic. Some love the canon they grew up with. Some have been disappointed for years. Some just see themselves in other characters and want their happiness instead. Whatever the reason, that’s fine. But for me, I love the way these two, from the moment they give each other a fair chance, are able to lower their walls and prejudices to see the other for the kindred spirits they are. They see each other’s humanity, and their response is to pour out love and support and compassion. I love that they’re a power couple in battle. I love the symbolism and, honestly, soulmatism that colors their every interaction. I love that they embody the whole storyline of atla in their relationship and how it develops, which is notably why their seasonal arcs always culminate in each finale with how they relate to one another. I love that zuko adopting a waterbending move is what actually saves his life and then katara’s. I love the chemistry! And I love the future they could’ve had, instead of the ones they were given.

So, in conclusion: I just think they’re neat and I hope you do too, at least a little bit. Even if it’s just respectfully from a disinterested distance cause you do you. And now here is the video I mentioned. I’m sorry this post got so long and then I gave you an even longer homework assignment, but I can’t recommend it enough. She says it all better than I can.

youtube

#zutara #atla #zutara rant #like really the way the canon relationships were written throughout s3 #it would’ve been more believable for zutara to happen #or at least be hinted at #all of the major issues presented in those relationship were dug up extensively and then... never resolved #and then they just slapped some kisses on a screen and said ‘there all better’#and we just kinda had to say ‘oh ok guess it’s all better then’#this got long I’m sorry #I wrote it all out and then tumblr ate 2/3 of it #which is why it took so long #and what I’ve written now doesn’t even match what I had before #because there’s too much to say about why I love zutara #and the stuff I left out the first time is what came out this time #rip to my original thoughts but this post is different #anyway that’s why this took so long #and I should’ve just made a PowerPoint...#I can do that too if you’d rather not read all of this lol #I won’t be offended #this is incoherent #Alia rambles uselessly #also hoping this doesn’t end up in any wrong tags because I don’t wanna step on toes lol #it’s not anti!! it’s just critical #in a compare/contrast way #I can pinpoint the moment when I started trying to rewrite my points from memory #because everything gets shorter and more succinct #like... I really said all that??? sounds fake and I don’t remember it anyway so here’s the condensed version #with no!! smooth!!! transitions!!!!#also why am I so lazy with proper grammar over text

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ashesandhackles · 3 years

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The extremely dsyfunctional friendship of Snape and Lily

I wanted to read some of the later scenes of teenage Snape and Lily, using this quote to color my observations:

Melissa Anelli: How did they get together? She hated James, from what we have seen.

Rowling: Did she really? You are a woman, you know what I am talking about.

And in using this quote to color my reading, I found more dsyfunction in this friendship than I already did. By the time we reach teenage Snape and Lily before SWM, their friendship is pretty much already fraying. Neither of them are really listening to each other.

The scene begins with Lily talking about the company Snape is keeping - the ones Lily will later refer to scathingly as "you and your precious Death Eater friends". Snape dismisses her concerns about his friends as "it was just laugh" and when she begins to talk about if he finds Dark Magic funny, effectively turning up the heat on her criticism, Snape deflects the conversation to the Marauders. Specifically, James Potter.

With JKR's quote in mind, this deflection is interesting. Why does Snape need to have an assurance of her opinion of his primary antagonists? Lily apparently has the same idea: "What has Potter got to do with anything?"

Snape goes on his Lupin theory, which she has apparently heard many times before. She shuts it down and sounds "cold". And she says: "Why are you so obssessed*l with them anyway? Why do you care what they are doing at night?"

And his reasoning is: "I am trying to show you they're not as wonderful as everyone seems to think they are". Again, why would he feel the need to demonstrate this? Unless he suspects that she is attracted to James?

And a very interesting and ambiguous moment happens - the narrative says "the intensity of his gaze made her blush". Now, this can be read in multiple ways - one, she feels caught by Snape about her attraction to James. Or two, she has her own burgeoning feelings of attraction towards him (which is again, confirmed by JKR: "She might have grown to love him romantically if he wasn't so interested in Dark Arts"). Or three, it is her intuitive awareness of his feelings for her.

The first reading of that moment is further emphasized by when Lily brings up James saving him, Snape's tail end sentence that nearly renders him incoherent is this: "You are not going to - I won't let you" and when Lily fires: "Let me? Let me?" and Snape brings up James' feelings for her and how he is not as a great as everyone thinks he is. In this specific context, he sees James as a threat. Lily cuts across, insults James and Snape is momentarily elated. And she begins, once again, about her concerns about his friends. He isn't listening.

Both of them in this scene aren't really listening to each other - he doesn't register what her objections to the crowd he is hanging around with, and she doesn't really ask him about his version of events in the Werewolf Prank, a very traumatic event for him, instead going with the story that she heard. It shows that there is no trust between them already. I imagine seeing him getting involved with people whose politics and ambition threaten her existence, as a marginalised person, makes her wary and distrustful of him, but a childhood connection with him makes her want to believe that their friendship can be salvaged. But it's really tragic how bad their communication is at this point.

And then there is the SWM. Both Sirius and James are bullying Snape, but Lily's entire attention is on James. ("What's he done to you?" ). In fact, the only time Sirius factors in this conversation is when he is drawing James' attention back to Snape. Even the stuff she says to him when she leaves: "Messing up your hair because you think it looks cool to look like you've just gotten off your broomstick, showing off with that stupid Snitch, walking down corridors and hexing anyone who annoys you just because you can - ". Out of this, only the third sentence is a common knowledge observation. The first two observations are of someone who has watched him closely. It's safe to say that at this point, Lily was both attracted to and repulsed by James.

However, this is an entirely humiliating experience for Snape and in his eyes, his best friend, who may be attracted to his bully, who he is in love with saw him as vulnerable, weak. Snape is a child from a violent home background where he already feels powerless - I imagine he detests feeling weak. The entire SWM experience is emasculating for him. Considering the dialogue of adult Snape, it's a fair assumption. ( "Fools who wear their heart proudly on their sleeves, who cannot control their emotions, who wallow in sad memories and allow themselves to be provoked so easily - weak people, in other words - they stand no chance against his powers!"). This piece of dialogue tells you how much disassociation is Snape's crutch to deal with his stuff and why he is so good at Occlumency, but it also demonstrates Snape's abusive home life. Showing your emotions is weak. Showing you are vulnerable, to him, is a thing weak people do.

As we know from Rowling, Snape wanted to be a "powerful", impressive figure for Lily (and also in general, in response to his home life). It was one of his motivations to join a facisist cult group. And this scene in SWM strips away any of that. And in that rage and humiliation, in a way to regain any sort of power he lost in the situation, he lashes out and hurts her in a way that reminds her of her place in the wizarding society: "I don't need help from filthy little Mudbloods like her!".

This is a huge betrayal for Lily, who has been "making excuses for him for years". Especially since he is the one who told her that it didn't matter that she was a Muggleborn. He was apparently calling other Muggleborns "Mudbloods" before her and she let it go then. And now it's her turn to be called that and the last of the thread of their already fraying friendship was hanging on breaks.

She removes herself from the situation, but not without lashing out herself. "I'd wash my pants if I were you, Snivellus" - not only reminding him of his humiliation of being strung upside down and having his greying underpants - an indication of his poverty - on display, but also calling him the name Marauders call him. Snape and Lily threw their inferiority in society in each other's faces.

The Marauders generation of characters are super messy, flawed and complicated and they are all the more interesting to me for it. Also, since I have scars from the time that any discussion humanising Lily becomes a misogynistic mudslinging match, I am going to be clear: any suggestion that it was Lily's duty to play therapist to a troubled kid her own age is wrong one. I will greatly appreciate it if any discussion of my post doesn't go there.

#harry potter #the prince's tale #snape's worst memory #severus snape #lily evans #lily potter #snape analysis #snapedom #snape and lily #harry potter and deathly hallows #pro snape #meta #harry potter analysis #severus and lily #hp fandom #hp characters #hp meta

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himboarcher · 3 years

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reasons i've seen folks say that grad critics hate grad:

they hate travis (in fairness, i’ve def seen some comments of people shitting on trav for the sake of shitting on trav, but it’s not super common and typically gets downvoted into oblivion on reddit.)

it's not balance / travis isn't griffin (???????)

they hate neurodivergent people (again, in fairness, i have seen a handful of comments that could come across this way! but most of the time when travis being ADHD or his NPD is brought up, it's by defenders saying that criticizing travis is ableist because he's neurodivergent or, in one particular comment, infantilizing him bc of it and literally comparing grad to putting a kid's artwork on the fridge. there were some comments early on that pointed to him being a narcissist as the reason for things people disliked about grad, but everyone seems to have realized that that's a shitty train of thought and left it behind.)

they're just toxic haters (again, there are a small handful of people like this because this is the internet, but the genuine criticism greatly outweighs their bullshit. i 100% think that the people, which is mostly just one dude who is also insufferable on reddit, who have been responding rudely to positive tweets under the episode announcements lately are out of line and need to stop. there's been an influx of that lately, presumably because people are frustrated that after over a year of grad going on, there's been no improvement to most of the major issues. that's still no excuse to be a dick to folks, though.)

vs some of the actual reasons i don't like grad:

the racism / racist tropes, and the way that they’ve straight up ignored this criticism and will likely never acknowledge it. pretty wild considering a core tenet of their brand is their willingness to acknowledge when they’ve messed up and do their best to course correct.

clumsy attempts at inclusion that are shallow and often end up being fairly offensive ("...ask me about my wheelchair," anyone?)

on a related note: i don't think that travis had bad intentions, but as an nonbinary person, it feels othering to me that travis only has enby characters give others their pronouns unprompted. i'm thinking specifically of kai here. having listened to their introduction, i don't think it's as bad or awkward as some people have said, but i can't remember travis ever having another NPC tell the PCs their pronouns, especially not a cis character. it's not a huge deal, but it's something that rubbed me the wrong way. admittedly, i don't think it would bother me so much if travis hadn't dropped the ball so much with performative inclusion in the past.

okay i'm putting the rest under a read more because even without getting into all of the problems i have with it, this got Long.

little to no player agency. player choices are ultimately meaningless and have little to no effect on the world. even when he seems to go along with a plan they come up with, it always ends with them having to go back to travis' pre-written script (see: subpoenaing the xorn, but not really because they had to go with travis' original plan of "send the xorn home through the rift".) the players repeatedly get told things about what they think or feel or what they've been doing to an unnecessary degree. fitzroy is the only one who really gets space to play and decide things for himself, and that's only because travis has decided he's the main character.

the NPCs are all too nice and willing to give the PCs anything they ask for and more, unless the PCs are trying to follow their own plan and then the NPCs are completely useless. but honestly, aside from gray, all of the NPCs are just.... nice. travis refuses to even let his antagonists be mean or cruel or even more than just slightly rude, because that'd be a bummer and we don't want that! the "twist" of gordy the lich king actually being polite and chill is not a twist at all because everyone is like that in this world. the NPCs are also wildly overpowered, but then suddenly absolutely useless when the PCs actually want their help.

too many cliffhangers that are dropped immediately at the beginning of the next episode. i feel bad for travis because so many of these cliffhangers actually set up good momentum and seemed like things were gonna get interesting, but almost every single time he just dropped them at the beginning of the next episode. like when althea showed up to interview the boys and the next episode started with travis being like "actually you went to sleep, she said she'll be back tomorrow!"

that time travis specifically said in his exposition dump that the thundermen left their horses behind because they thought the centaurs might be offended by them riding horses, only to later on rag on them for being surprised that the centaurs had horses they could ride.....

also the centaur arc in general, but i already listed racism above, so.

the way that the toxic positivity and parasocial tendencies in the mcelroy fandoms have made a large portion of the fandom take ANY criticism as a personal attack on travis and/or on themselves for enjoying something others consider bad, either morally or just quality-wise. it’s okay to admit that something you like has problematic elements or just isn’t as good as it once was. you can and should engage critically with the media you consume.

related to above: the way travis has handled genuine criticism, which is to throw public tantrums on his twitter or make weird passive aggressive tweets & ultimately ignore all the genuine criticism and advice he's been offered by claiming it's all subjective, even after he specifically asked for it and set up an email for folks to send in genuine, objective advice for him (after he threw a tantrum on twitter and replied to someone's criticism publicly, which resulted in his followers dogpiling on that person bc how dare they insult their internet best friend). while i was writing this last night, he actually announced that he’s taking a break from Twitter and acknowledged that he’s been using it as an echo chamber where he can easily get validation from folks, and honestly i’m happy for him that he’s recognized this problem and is stepping away for a while! i hope he’ll genuinely use this time to reflect on how he’s been behaving and find a more healthy way to use social media. i’m leaving this point in because i think his Twitter being such a positive echo chamber was encouraging him to do stuff like this, and him somewhat acknowledging his behavior doesn’t mean it can no longer be discussed.

rainer. extremely cool concept in theory and i was very into it until that awkward "does anyone want to ask about my wheelchair?" moment. also when travis had her use her mobility aid to RAM INTO A DOOR instead of just fucking knocking???? also all the times travis has tried to force a romantic relationship between her and fitzroy, despite fitzroy displaying no interest in her in that way. also, just to clarify: as an ace person, i don’t think this is aphobic! (and it’s kind of a stretch to call it that imo, especially since griffin never explicitly said that fitzroy's aromantic!) i just think it’s weird and awkward and a little uncomfortable for me personally, mostly because it reminds me of the times i’ve been in similar situations.

less of a problem than a lot of the other stuff and more just bad writing, but the forced emotional moments. in general, nothing in grad feels earned (why are the boys heading a war? when they have multiple actual heroes with combat experience on their side and a supposedly powerful secret organization? and the thundermen are like 21 years old max and have only had like ~10 fights in the entire campaign?) but there've been a couple times where travis has tried to force unearned emotional moments, presumably because he knows people enjoyed those with the last campaigns. but the difference is that in balance, the big emotional moments happened because they were earned. in grad, it's just travis throwing a baby pegasus at us for a few minutes and then the next time she shows up, it's supposed to be a tearful goodbye.

there are absolutely no stakes. remember when the thundermen got told that if they left, gray would kill 10 students? and then they left and came back and it turns out that what gray actually meant was, "i'll tie ten students who are mostly nameless NPCs to a tree and throw some dogs at them that you can easily stop in time, then throw a tantrum because how dare you but i'll leave before you can really do anything to hurt me lol" travis did have fitzroy's magic get taken away, but like. it didn't really do anything? also all he had to get it back was be coerced into using drugs by an authority figure and trip in the woods?

we're told that the school is weird and the hero system is corrupt, but the world of nua is still presented as more of a liberal utopia than anything? althea getting fired because of a corrupt villain is the only time we've somewhat seen corruption, but even then, she was still allowed to get (what seems to me, anyway, but admittedly i don't know for sure bc nothing about the HOG makes much sense) a fairly important job from the very people who stripped her of her hero license or whatever the fuck heroes need?

travis doesn't actually seem to understand how capitalism or bureaucracy works and just chalks up everything to "red tape." also more on the rest of the boys than him specifically, but the "let's destroy capitalism!" thing turning into just pushing some filing cabinets over................... okay.

and one last piece of extremely subjective criticism: it's just kind of.... boring. i think a lot of people, myself included, would be willing to overlook 90% of the problems with graduation if it didn't feel like such a slog to get through.

also people saying that we can't or shouldn't criticize graduation because it's "free" is absolutely absurd for several reasons. first, something being free does not make it above criticism. second, there ARE people who directly financially support the show with monthly donations. three, there's a difference between something being free and something being not for profit. podcasting is their full time job. they make their living off of money made from TAZ and MBMBAM (and probably their other shows to a lesser extent). this not a fun home game that they are graciously recording and sharing with us. it is a product they are producing that they make money off of, both from ads in the episodes and merch & books based off of these podcasts. they have marketed themselves as professionals, and both griffin and travis have been on panels where they are marketed as professional DMs and appear alongside other professional DMs (which makes it incredibly frustrating when people say that travis is just a newbie DM and we can't criticize him because of that. if he's a newbie, then he should not be taking part of panels as a professional DM where he speaks as an expert). TAZ is free in the same way that an episode of NCIS is free. i may not pay for it directly, but the creators are paid to create it and profit off of me consuming this product. so saying we should be grateful for any mcelnoise that the benevolent good boys share with us and that we're not allowed to criticize it "because it's free" is absolutely wild.

#negativity cw #i guess #anyway this is not meant to say that you cannot enjoy grad.#but i'm tired of folks on this website acting like there aren't genuine problems with it #and saying that people just dislike it bc they hate travis etc etc #taz graduation #i genuinely don't expect anyone to read this bc it's so long #but here ya go.#long post

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elriell · 3 years

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what are ur thoughts on eris, there seems to be a lot of chaos and seperation in the fandom atm... how'd you feel about his showing up in acosf?

This feels like a tricky question to answer, because opinions about this really do verge on the extreme of both sides. From what I have seen at least, and I definitely feel this has caused a great deal of division amongst fans of the series.

While I certainly didn’t expect an appearance of his character in ACOSF, I am not surprised in the slightest at a potential redemption. As soon as he made the comment about “not knowing what it cost him” in ACOWAR, I got major Rhysand flashbacks... And from the moment I read that chapter I felt SJM was going to go down the redemption arc path as she did with Rhys. (Assuming of course that is her plan.)

Because it is definitely her type of character and one she enjoys writing, example; Rhysand & Rowan.

So! We have a month before it releases so let’s talk about it all, good, bad and ugly, as always everyone is free to share their own opinions but can we keep it civil it is just a book after all and not reason to attack anyone, one view or another.

A big reason a find it so incredibly hard to answer this question is because I do dislike Eris for his actions, from what we have been told about him from day dot he is not written to be a likeable character. But here is where the big issue lies I feel like SJM is going to try and flip the table on us, as she has so many times before.

And at the end of the day we can either go with it, like for example people had to accept Rhys for his appalling behaviours in ACOTAR or ignore her attempt at a redemption ARC. [Up to you.]

And here is how I think it is going to go, I think she is going down the path of unreliable narration, I.E Lucien’s clouded view, and the IC views from Mor.

It would not be a shock to me at all, and we have seen very prominent example of this very thing between Feyre’s skewed POV to Nesta’s reality.

“It wasn’t entirely my fault that I was scarcely able to read. Before our downfall, my mother had sorely neglected our education, not bothering to hire a governess. And after poverty struck and my elder sisters, who could read and write, deemed the village school beneath us, they didn’t bother to teach me.”

VS.

“I didn’t know you couldn’t really read,” Nesta said as she paused before a nondescript section, noticing the way I silently sounded out the words of a title. “I didn’t know where you were in your lessons—when it all happened. I assumed you could read as easily as us.”

“Well, I couldn’t.”

“Why didn’t you ask us to teach you?”

“I trailed a finger over the neat row of spines. “Because I doubted you would agree to help.”

This is a classic example of how unreliable narration can cause a massive perspective hinderance. Feyre made the audience believe her sisters did not care/want to teach her, yet they had no idea she was illiterate. And even further still she never even asked for help, she assumed what the answer would be, but the ripple effect of this is that we as readers will now go three books thinking this is a fact rather than her personal assumption.

“A shadow crossed Eris’s face. “There are few things I regret. That is one of them. But … perhaps one day, now that we are allies, I shall tell you why. What it cost me.”

The fact is we know very little about Eris, we are told what a rough childhood Lucien suffered at the hands of his family [Eris included] but then by that token the same should apply to Eris. We have so little information about his childhood, and about his character save for the opinions of Lucien and Mor (and company).

We have as a fandom touched on this time and time again, whether certain characters and actions are redeemable. Some people will stand by Rhysand’s actions in ACOTAR and others will find it unforgivable, the same applies for Nesta most commonly. But really it can apply to almost any of the characters in the series, Azriel tortures people, Cassian wiped out a whole village, and so on, I do not think that it is fair to criminally punish some characters above others IMO.

Now if you want to hate them all and stand by your feelings, go for it, To each their own, but everyone (or next too all) have done something highly questionable over the course of the series.

The people Rhys has killed, minds he has invaded. Azriel/Cassian’s victims, they were all someone too. They all had a potential partner, family, life, dreams & goals. But because we do not see or hear about them we are desensitised of it. We overlook it.

With Eris, we have two of his victims for lack of a better word, in front of us. Some readers love them, feel protective of them and therefore prioritise their POV over every other. Does that make sense? And that is fine.

Completely, everyone is entitled to enjoy or express their view however they see fit, but I personally do not want to demonise people for wanting to make a more informed opinion on a character and not shutting out the possibility of there being more to his story, for better or worse.

I do believe whole heartedly that nothing Eris has done is any worse than Rhysand and/or the IC, the only difference is he was raised in a crueler environment, amongst cruel people. As readers we sympathise with Az and Mor for their upbringing with good reason, because we know of it, yet condemn Eris when we scarcely know his.

A much larger can of worms is the question of culpability, and I have seen so many incredible meta’s about childhood trauma and it not being used as a excuse for toxic behaviours (mainly in respect to Nesta in this fandom) but I do think it is a important key to understanding the overall character... And note, I do not say like but rather understand/empathise with him more clearly, because right now I do not have any real compassion for him.

And as I said above all of them have done some fucked up shit, it is up to you as reader to decide for yourself whether you consider the particulars forgivable.

I could go on and on about the details and nuances of all his individual relationships but no one wants to read that, and me ramble on and on and on...

In summary, love him or hate him, he is in the next book. We just have to wait and see what SJM’s plan for him truly lies. Fo all we know he could still be an antagonist, but I highly doubt it.

¯\_(ツ)_/¯

#i could go onnnnnn and on #but i shant #eris vanserra #acosf #a court of silver flames #acotar #not really anti anyone tbf

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firelxdykatara · 3 years

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I have never played a Mass Effect game in my life, but I’m pretty sure Liara is that blue girl with the weird tentacles on her head, right? Why do you dislike her (if you want to share that is, I don’t want to cause any unnecessary discourse)?

Yeah! Liara is the asari teammate from the original trilogy and one of the three original romance options, and the only one who has a mandatory presence in all three games--and she’s also the only character who is a mandatory crewmate in both the first and third game.

And it really, really shows.

I’ll be honest--the most of my resentment for Liara has nothing to do with the character herself. (Although I do have issues with her--most notably in ME3, where Priority: Thessia, the main plot mission set on her home planet, pisses me off every single time I play. To the point where, apparently, whenever I replay ME3 it pisses me off enough to pause the game and write a post about it lmfao. But I also hate things like Shepard [the player character] not being allowed to stay pissed off about the fact that Liara gave her dead body to fucking Cerberus [it’s a long story; you can get angry in the moment but it doesn’t affect their relationship and that has always bothered me], and how much Lair of the Shadowbroker [the massive DLC dedicated to Liara, which no other romance gets anything like] feels like it was written entirely with a Liara/Shepard romance in mind, and non-romantic lines were added as an afterthought..) My primary ire, though, stems from the fact that the trilogy is heavily, heavily Liara-focused, and the way she is pushed so fucking hard (and I’m not even talking about the fandom, which is bad enough, but the fact that it’s actively difficult not to romance her in ME1 chaps my ass to this day) by the games themselves, as if she is considered the ‘right’ love interest, really bothers me.

No other character in the series gets that kind of attention. No other romance interest has romantic scenes in all three games. No other romance interest has a mandatory presence in all three games, in fact. Liara is the only crewmate, and the only romantic interest, who is in all three games--and who can be romanced in all three games--with absolutely no option at any point to get rid of her.

The other two romance options in ME1, Kaidan Alenko and Ashley Williams, are colloquially termed ‘The Virmire Survivor’ if they survive the first game, because one of them dies on Virmire no matter what you do. Garrus and Tali, who are romance options in ME2 for female Shepard and male Shepard respectively, are not romanceable in the first game, and like every other crewmate in 2, they can be killed during the final mission. (Also, you don’t even have to recruit Tali if you don’t want to, since her recruitment mission is in the second batch and therefore optional since you only need eight total crewmates to advance the plot.)

The only mandatory crewmates in 3 are Liara, EDI, and James. Of those, only Liara is a romance option. (You can technically flirt with James, but it doesn’t really go anywhere.) The Virmire Survivor is only mandatory at the beginning of the game, and can be killed during one of the main plot missions halfway through--even if they survive, though, they can be sent to serve the council rather than returning to the Normandy, which cuts off their romance path. And while the Virmire Survivor does show up in ME2, they are angry and antagonistic (for good reasons, in fairness), and even on a romance path the most you get is a hug and their picture on Shepard’s desk, along with vague promises of ‘maybe when you’re not working with Cerberus anymore....’ in an apology e-mail.

Liara, as mentioned, gets an entire like... five mission long DLC, which feels like it was created with her romance path in mind, and even without the DLC, if you romanced Liara in ME1 she’ll kiss Shepard and she is a fixture on a planet who can be returned to and talked with at any point in the game. Non-romanced, her reasons for being unable to give up Shepard, to the point of giving them to Cerberus to be resurrected, come off as extremely creepy, and like....no one else in the game is allowed to even react about it. Like, jfc, if I were a romanced Kaidan/Ashley and found out what Liara did, I’d never trust her again. But no, it’s treated like a minor blip no matter what conversational options you choose, no one else gets to react, and Liara’s insane sense of entitlement to Shepard (especially if there was no romance) is never really addressed.

Then of course there’s the way the fandom fawns over her, as if she’s the Unquestioned Best Romance (she really isn’t), and it combines with the way the game pushes her so hard (like I said, it’s difficult to avoid romancing her in ME1, because if you keep talking to her there will come a point where what seems to be a normal investigative conversation option leads to Shepard saying they’re attracted to her no matter which option you choose; also, in the Genesis DLC, which plays at the beginning of 2 if you want to use it to make the decisions from 1 without importing a save, Shepard will talk about Liara as if they were romantically interested in her before you even get to the point of choosing who they romanced) to have just made increasingly me sick of Liara fucking T’Soni over the last several years.

So, yeah. When I saw her at the end of the trailer, my first reaction was a very loud ‘are you FUCKING kidding me???’ Don’t get me wrong, I’m incredibly excited, no matter what happens, but if Liara is a mandatory squadmate again--especially if it’s some centuries after the OG trilogy so every other character is dead and gone, which is the only reason I can somewhat justify her appearance since asari have such long lives--I am probably going to break something.

#mass effect #anti liara #liara salt #asked #long post #Anonymous

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goneseriesanalysis · 3 years

Text

Drake Merwin

I am soo sorry, this is super late but I got incredibly distracted with reading and forgot that literally anything else existed. Drake was a really hard character for me to analyse because his characterisation was just so disappointing to me - but luckily my intrinsic desire to have everyone hear my opinions prevailed, and so here it is. I hope you enjoy!!

Spoiler Warning: Major spoilers for Gone, Minor spoilers for the rest of the series and the monster trilogy

Old Opinion: I had a sort of morbid obsession with Drake and thought he was a top-tier villain

New Opinion: So far Drake is tied with Astrid for most-changed opinion. His character has almost no-depth and could be placed in almost any story without changing a single thing about him - and it would make sense. I found myself desperately trying to make him more interesting than he is in an attempt to justify younger me’s obsession - but alas I was unsuccessful. He had a lot of potential, but instead he ended up as a copy-paste villain with no realistic motivations and no real intrigue.

1.) DRAKE’S APPEARANCE:

Drake is, I think, the character who is best (as in most thoroughly) described in the first book. Not only do we get an idea of his actual appearance beyond the vaguest possible descriptions (sorry to Sam, Caine, Diana and every minor character) but we also get some idea as to the effect his appearance has on other people.

In Chapter 14, when we are first introduced to the Coates kids, Drake is described as, “a smiling, playful, mean-eyed kid with shaggy, sandy-coloured hair.” I actually really like this description. Contrasting “smiling” and “playful” with “mean” really brilliantly sets Drake up to be a complex villain – the kind of villain we all love to hate, who cracks a joke while slitting your throat. It has the implication of a layered personality but sadly, this is not the villain we get. In fact his character in the first chapter compared to the character we get as the book continues is so drastically different that it almost seems like mg did a complete 180 on his character. An original description is supposed to give us some indication as to what a character is like – their personality and role in the story, and we know that mg can do this really well. (Sam’s non-descript description setting him up to be the underdog, Quinn’s mismatched attire hinting at his inability to fit in, Astrid’s colour scheme reflecting her innocence and religiosity), and so it seems particularly odd, not to mention disappointing, that Drake’s description gives us…nothing. No real indication as to who he is or his purpose other than to hint to him being an antagonist (which we already guessed from his affiliation with Caine.) I could go on and on about what a waste Drake’s character was, but I’ll save it for a later paragraph.

We will then skip ahead to Chapter 37 where both Howard and Lana describe a similarity between Drake and Pack Leader:

“The one time she had seen Drake Merwin. He had made her think of Pack Leader: strong, hyper alert, dangerous. Now, the lean physique looked gaunt, the shark’s grin was a tight grimace, his eyes were red-rimmed. His stare, once languidly menacing, was now intense, burning hot. He looked like someone who had been tortured beyond endurance.”

“The two of them, two of a kind, it seemed to Howard, stared holes into each other.”

This is a much better example of mg using descriptions to establish the purpose of a character. By drawing a comparison between these two, mg sets up Drake’s later role in the books, where he replaces Pack Leader as the gaiphage’s right-hand man. This almost leads me to believe that mg had decided very early on that Drake was going to desert Caine and this is possibly why he seems so out of place and underdeveloped as Caine’s underling in the first two books. Mg had already moved on from this side of his character…and it shows. Lana’s description of Drake also works as a basis for showing the reader how he has changed since losing his arm (before gaining his whip) and acts as an insight into his current mental state – which is important as we don’t get much introspection during Drake’s POV’s. But, I still have a few issues with this. First of all, his “lean physique”. Now this isn’t really a problem all by itself, but unless I have forgotten what 14 year olds looks like (which is a possibility though I doubt it) I don’t think that they should be muscly with minimal body fat. And Drake is not the only character he does this with. Quinn gets extremely muscly later on in the books (I’ll admit that there is a plausible reason behind this so this example isn’t terrible but it’s mentioned like every 5 sentences) and in Fear Caine is described as having wash-board abs. Why are we sexualising children?? Children should be pudgy and awkward and still growing into their bodies, not lean and muscly!! The attractive, damaged man who hates women for no reason at all is also a really really really common trope and tbh I’m just so bored of it. It’s not relatable (at least it shouldn’t be) and it’s just really unimaginative – although it does help us to understand Drake’s character as we’ve seen him before so many times in all types of media. My second issue with this description is the way it really really highlights how much of a waste of character Drake was. The potential of a high-school bully with a skewed world-view due to the death of his father and the later abuse of his mother at the hands of his replacement father figure trying hard to impress the charming “leader” with unimaginable power (that he so desperately wants) only to be undermined at every turn by a girl who teases him by pointing out his flaws and insecurities taking his anger out on everyone around him (especially women) as a way to cope with his childhood traumas then turning into a heartless monster who not only enjoys others pain but lives for it after being “tortured beyond endurance”, was astronomical. But we don’t get that. Instead we get a cheesy, one-dimensional cartoon villain. The change that his body and mind go through after his maiming should have been pivotal to his character, but that just doesn’t come across in the writing. :/ But more on this later.

And last but not least, the whip-hand, which is very important to Drake’s character. It turns his actual body into a weapon and his excitement over this is indicative of his sadistic nature. Again, I think this is an example of a wasted opportunity. I would have liked mg to have gone in to depth about how Drake’s body undergoing this change affected his psyche (and I’m not counting his one-off line in the monster trilogy). I think it could be argued that Drake’s “change” is a metaphor for him going through puberty. Him gaining the whip that ultimately turned him into his very own weapon shows his transition from a child [a little messed up but still just a kid] into a monster, someone who is capable of committing atrocities without a second thought. It would have been particularly interesting for Drake and Orc’s final battle to put some focus on the fact that they both suffer through monstrous physical changes that can be used to represent their shift from children to young adults but whereas one relishes in this, one is completely disgusted. The whip-hand is described as being an “impossible blood-red snake” and then that “It was stretched. Like it had been turned into dark, blood-red taffy. It wrapped twice around his body.” – Both of these occurring in Chapter 39. I don’t have much to comment about this – other than that I think red is great colour choice for Drake, thematically at least.

I know this point was mostly about what Drake could have been as opposed to an actual analysis of his appearance, but I’m just so tired of the attractive misogynistic villain that seems to appear in every single piece of media. His characterisation really bummed me out and put me into a slump so instead of analysing his appearance I decided to roast him instead. But, onto actual analysis now (I am going to further expand on some of the points I made here I promise).

2.) DRAKE’S PERSONALITY AND CHARACTER

I mentioned in the previous point that a lot of Drake’s characterisation seems like an afterthought at best and one of the things that made me think this, is the inconsistencies with his character and the most obvious example of this is the discrepancies with his birthday. In chapter 20, Diana says that his birthday is “April twelfth, just one minute after midnight.” But, in Chapter 33 we get the line “Sooner would be better,’ Drake drawled, ‘what with me having a month.” This is a really small nit-pick, I know, but it just really bugs me that mg overlooked something as simple as a birthday – especially when birthdays are such an important plot point in this book. But anyway, moving on. I promise this whole review isn’t going to be negative.

Backtracking now to Chapter 14. Drake’s character here seems to differ quite drastically from his later characterisation. He seems here to be an example of the laughably evil trope, he has a kind of dry sarcastic humour that is quite fun and seems to lighten the tone of the story a little bit. Rather than showing us the boringly disgusting misogynistic villain that Drake turns out to be, we instead see a funny, charismatic character who seems to prefer picking on those who already have power – as is seen here:

“Drake paused halfway, turned back, and spoke for the first time. In an amused voice he said, ‘Oh, um, Captain Orc? Have your people – the ones who aren’t injured- line up outside. We’ll work out your… um, duties.’ With a grin that was almost a snarl, Drake added a cheerful, ‘Later’.” – Chapter 33

Now I understand that the reason we don’t see the real Drake here is because Sam is obviously not yet aware of his true personality – my issue lies in the fact that based on just this small excerpt here, I expected so much more from his character. We get hints of his sadistic nature here, with him joking about Cookie’s horrific injury and clearly taking joy in exerting power over Orc, but it is evenly balanced by the fact that he’s kind of amusing and we don’t really like Orc at this point anyway. Can we see that something isn’t quite right with him?? Yes. But do we kind of like him anyway?? Well I did. At this point. I would have really loved it if mg had carried on this idea of Drake abusing those who already have power – him enjoying to take down bully after bully so he can be King bully, instead of him picking on people who he perceives as weak and vulnerable. Mg relying on misogyny as a motivator is just really disappointing to me because there is no depth to it, and it’s pretty lazy. He hates Diana because she is a woman and he sees women as beneath him?? Weak. Over-used. Dull. He hates Diana because she has power over Caine in a way that he never can, which makes him feel insecure in himself and the fragile sense of stability and power that he has struggled to cultivate within his damaged psyche?? Yes pls. Not only would this have made Drake a much more engaging character, but it would also have made his desertion of Caine in hunger much more impactful. And while I think there are aspects of this within his character, which I will go into later, I wish there had been more of it. Again, I’m sorry that this has become more of a “what could have been” rather than an analysis but there really is just so little to analyse without just pointing out obvious facts and statements. There’s no spice here :/

Moving on now to Chapter 16, where we as an audience, as well as the characters within the book, begin to realise what Drake truly is – an unhinged madman. We are told by Sam that Drake has been abusing his power as Sheriff – which particularly stands out as, so far at least, Drake is the only member of Coates who has shown this kind of behaviour (Caine is actually a pretty sound leader until he loses his shit and attacks Sam). And this is the first major distinction that we get between Caine and Drake and their capacity as villains in the story. Caine is a bad person who will do bad things to achieve his goals, he is power-hungry and ambitious but he is not needlessly violent. Everything he does he (in his own mind) is able to justify as it helps him to achieve his vision. Drake, on the other hand, doesn’t really seem to have an end goal. He is violent for the sake of being violent – he is a sadist who enjoys the suffering of other people as we see here, “Drake was more than a little scary. Kids who defied Drake or any of his so-called sheriff’s had been slapped, punched, pushed, knocked down or, in one case, dragged into a bathroom and given a swirlie. Fear of Drake was replacing fear of the unknown.” Now, we still don’t get to see the full extent of Drake’s madness here. Most of the crimes listed are pretty mundane bully things – they’re still wrong, but they aren’t life-threatening. He hasn’t bashed anyone’s head in with a baseball bat. While Caine is playing with politics, Drake seems unable to move past his role of high school bully. If he had played it right, the role of Sheriff would have been perfect for him. I mean, how many actual police officers get away with literal murder in the name of “upholding the law”?? But he is unable of seeing the bigger picture, unable to grow and fit the new world order as Caine does so naturally, and so, instead of properly taking on the role of Sheriff and building up his own authority in this way, he turns back to his tried and tested method – hurt them and they’ll fall in line.

I particularly enjoy this as I think it explains, a little bit more, why he hates Diana and Astrid so much. Now I know the bottom line is simply that he is a violent misogynist – but that doesn’t explain why he hates Diana and Astrid specifically. Is it because they’re both attractive women and he is unable to distinguish sex and violence in his head?? Partly yes, but then Taylor is also described as attractive (and most people find her annoying) and yet he doesn’t seem to hate her to this extent. I think the real reason he hates these two specifically, more than anyone else, is because he simply cannot understand them – and that scares him (although he is unwilling to admit it). Drake only knows how to gain power through violence – he sees this work at home, he used it on Holden, he used it to gain his reputation at Coates and, although he has the ability to gain authority in other ways, he continues to use this method even now in the FAYZ. Diana and Astrid cannot do this, they are not fit to fight, they are not able to use violence to assert their status – and yet they both have more power in the FAYZ than he does. They make him question his whole world view and, as he cannot or will not adapt to the new hierarchy of the FAYZ, he resorts to trying to destroy them, in order to return the world to what it was before. His hatred of others gaining power through (what he sees as) unconventional means is then further established with his dislike of actual powers and the people who have them:

“I’m sick of all this powers crap. You saw what we did to freaks at Coates?? Who do you think it was that took care of that?? All these kids with their stupid so-called powers. Starting fires and moving stuff around and reading your mind and all?? Who do you think it was grabbed them one by one in their sleep and beat them down and when they woke up their hands were setting in a block of cement??

[…]

That’s right. And I didn’t even have a gun then. It’s not about who’s got powers, morons. It’s about who’s not afraid. And who’s going to do what has to be done.”

We get told by Diana that it was Drake’s idea to cement the kids in the first place (and a bad one at that) and I really think that is all the evidence you need to see that Drake’s hatred and fear all stem from his complete inability to adapt. He is trapped in a cycle of abuse that started with his father, a police officer who teaches him how to shoot people (however unwillingly) and is then continued by his step-father (an actual abuser) rendering him incapable of recognising any kind of authority if it is not gained from violent means. And so of course he hates the powers – none of the kids gained their powers through suffering or through causing suffering. They didn’t earn their authority in any valid way, according to him. (This is also another reason why I think Drake was so ecstatic at gaining his whip-hand. He suffered for it and therefore, in his twisted mind, he earned it. It is physical proof of his supposed power over these kids.) It’s tragic really – but mg then goes on to make him so disgustingly unsympathetic that his story loses its meaning. I love mg’s writing but Drake’s character truly was butchered for shock value and plot convenience and it makes me so sad.

Ok back to Chapter 16. Here, not only do we hear about some of the things that Drake is capable of, but we see them as well. His beat-down of Orc is the first indicator we get that Drake is someone we should really be afraid of. Heads up, this is a long quote:

“Nobody move,’ Drake said. Orc pushed Edilio off and jumped to his feet. He started kicking Edilio, landing size-eleven Nike blows into Edilio’s defensive arms. Sam jumped in to help his friend, but Drake was quicker. He stepped behind Orc, grabbed him by the hair, yanked his head back, and smashed his elbow into Orc’s face. Blood poured from Orc’s nose, and he howled in rage. Drake hit him again and released Orc to fall to the concrete. ‘Which part of “nobody move” did you not understand, Orc?’ Drake demanded. Orc rose to his knees and went for Drake like a linebacker, Drake stepped aside, nimble as a matador. He stuck his hand out and said to Chaz, ‘Give me that.’ Chaz handed him the bat. Drake hit Orc in the ribs with a short, sharp forwards thrust of the bat. Then again in the kidneys and again in the side of the head. Each blow was measured, accurate, effective. Orc rolled over on to his back, helpless, exposed. Drake pushed the thick end of the bat against Orc’s throat. ‘Dude. You really need to learn to listen when I talk.’ Then Drake laughed, stepped back, twirled the bat in the air, caught it and rested it on his shoulder. He grinned at Sam.”

“Sam had gone up against bullies before. But he’d never seen anything like Drake Merwin. Orc outweighed Drake by at least fifty pounds, but Drake had handled him like a little toy action figure.”

Orc has already been established as the top bully in Perdido beach – we’ve already seen that our main character is afraid of him – and for good reason. And so for Orc to be defeated so casually and so easily is shocking. It lets us know that the old world order has collapsed and old fears are fading away with it, with new, much more threatening adversaries taking their place. I actually think that this scene was exceptionally clever of mg. Drake is attacking someone who has already been set up as an antagonist, at the same time rescuing Edilio, who the reader has been conditioned to like. But, through context clues, we know that this is not a good thing. It sets up the villainous nature of the Coates kids, Orc’s redemption, Drake and Orc’s rivalry and Sam’s fear of Drake. And it feels natural, even after re-reading the book multiple times. It’s scenes like these that really remind me how great of a writer mg is.

Another thing I really wanted to talk about here IS Drake and Orc’s rivalry because, yet again, I think mg missed a huge opportunity with this. Drake and Orc are very similar before, and in the early days of the FAYZ. Both have abusive fathers (a step-father in Drake’s case but still), both enjoy asserting their power over people through violent means and both are put in positions of power that they are unable to fully take advantage of – Sheriff and Sheriff Deputy. And even as the books continue, similarities can still be found. They both suffer mutations that turn their bodies into grotesque weapons, dehumanising them and alienating them from their peers and That Scene in Plague tells us that Orc and Drake sometimes have similar “desires”. Their stories are constantly intertwined, with them being played off of each other from the start and Orc becoming Drake’s jailor later on (and in turn Drake sort of becoming his). Their differences come from their reactions to the horrific acts of violence they have committed – and of course why they do them. I’m going to make a whole separate post on this because it’s long enough to be a standalone, but my I just wish mg had played up both their similarities and differences more. It would have made Drake so much more interesting.

We also get more hints at his sadism in this scene. He is later unbothered that Betty has been hurt and it seems that the only reason he attacked Orc was because it gave him an opportunity to assert his dominance over him. All in all, this is one of my personal favourite scenes in the book as it establishes characters, themes and relationships very well. I just wish some of these had been developed further – but mg dropping certain aspects of the story does seem to be a common problem.

The final thing I wanted to talk about in regards to Drake’s personality and character is this line we get in Chapter 23, “It was small, just two bedrooms, very neat, very organised, the way Drake liked things.” This was another thing that irked me slightly. It’s such a small aspect of his characterisation but it reinforced the idea that drake is just another cookie-cutter villain with no real personality, nothing that makes him stand out in the sea of white male psychopaths with a hatred for women. His whole character could be replaced with any other misogynistic psychopath at no detriment to the story. My immediate though when reading this was that even the smallest aspects of his character can be seen in other, more developed villains – this line in particular is hugely reminiscent of Patrick Bateman. Nothing seems to be his own. No aspect of his character is even remotely unique. (I think this may also be why some young fans develop an obsession with him. His character is comfortable because we’ve seen it so many times before.) He is so entirely replaceable and replicable - only reason he isn’t completely forgettable is because you are constantly plagued by the horrific things he has done. Mg sacrificed depth and development for shock value and it’s so disappointing

3.) DRAKE’S PAST

Onto Drake’s life before the FAYZ. Not only does Drake receive some of the longest and most POV time in this book, he is also the character whose life before the FAYZ we learn the most about (with the possible exception of Sam). This is especially shocking to think about seen as Drake is arguably one of the most underdeveloped characters in the whole book, but anyway. There are two scenes I’m going to talk about here, both occurring in Chapter 23, with the first being his dad teaching him how to shoot. I apologise in advance for the long quote:

“His father had taught him how to shoot, using his service pistol. Drake still remembered the first time.

[…]

He remembered the way his father had taught him to grip the butt firmly but not too tight. To rest his right hand in the palm of his left and sight carefully, to turn his body sideways to present a smaller target if someone was shooting back. His father had had to yell because they were both wearing ear protection. ‘If you’re target shooting, you centre the front sight in the notch of the rear sights. Raise it till your sights are sitting right under your target. Let your breath out slowly and squeeze.’ That first bang, the recoil, the way the gun jumped six inches, the smell of the powder – it was all as clear in Drake’s mind as any memory he had. […]

‘What if I’m not shooting if I’m not shooting at a target?’ He’d asked his father. ‘What if I’m shooting at a person?’ ‘Don’t shoot a person,’ his father had said. But then he relented, relieved no doubt to find something he could share with his disturbing son. ‘Different people will tell you different techniques. But if it’s me, say I’m doing a traffic stop and I think I see he citizen reaching for a weapon, and I’m thinking I may have to take a quick shot? I just point. Point like the barrel is a sixth finger. You point and if you have to fire, you shoot half the clip, bang, bang, bang, bang.’ ‘Why do you shoot so many times?’ ‘Because if you have to shoot, you shoot to kill. Situation like that, you’re not aiming carefully for his head or his heart, you’re pointing at the centre of mass and you’re hoping you get a lucky shot., but if you don’t, if all you’re hitting is shoulder or belly, the sheer velocity of the rounds will knock him down.”

Ok so the first thing I want to analyse here, is how important this memory clearly is to Drake. He remembers it fondly, in immense detail and seems to call back on it when he needs to clear his head (notice how this memory is placed while Drake is trying to figure out what to do, not while he is doing it.) It seems that rather than just using this memory as a source of useful information, it is also a source of comfort to him. Now there are some things that I really wish mg had told us that would help to analyse this scene better, like: How old was Drake when this memory took place?? How old was Drake when his father died?? How did his father die?? But alas, we don’t know these things (at least not that I’m aware of, and not within this book) so I’m going to try and do the best I can with the information that we have. Now, in Light, Drake makes it seem like his step-fathers behaviour has been significant in forming his worldview – which makes sense, trauma does that. But he spends half of his time away at Coates, which says to me that for this behaviour to have had such a profound effect on him, his step-father must have been around for a while. Right?? I’m gonna take a guess at 3-4 years at the least. Give Drake’s mother about a year to meet and start dating this man after the passing of her husband – this means that Drake would have been around 9/10 at the latest when this scene took place. That’s pretty young. Like, this is a formative memory and from the way it’s written, it seems like this may be some of the only bonding that Drake and his father ever did together. No wonder Drake has such an unhealthy obsession with guns as is seen with these quotes:

“He started from Astrid’s house, which was already beginning to smoke. He worked his way methodically, a hunter, looking for any movement. Each time he spotted someone walking or running or biking, he would take a look at them through the rifle scope, line them up in the crosshairs. He felt like God. All he had to do was squeeze the trigger.” – Chapter 23

“Drake kept all three guns loaded all the time. They were set out on the dining room table, a display, something to be gazed at lovingly.” – Chapter 23

“Drake could not leave the gun alone. He kept thumbing the safety on and off. He rolled down the window and aimed it at stop signs as they passed, but did not fire.” – Chapter 31

Drake shooting Sam and his gleeful reaction – Chapter 34

For him, guns are the ultimate symbol of power and authority. He was introduced to these weapons of incredible power at such a young age – of course he loves them. That being said, it seems that Drake has always been “disturbed” so I suppose we can’t fully blame his father and step-father for his mind-set – and I have to say I don’t really like this. Drake’s issue as a character is that he is completely de-humanised by all the horrific things he does. By having it seem like Drake was irredeemable from the off-set, it just adds to this idea and again removes any possible depth or character development. Imo it would have been much better to present Drake as becoming the way he is AFTER his father’s death. It would bring a sense of tragedy to his character – the way he uses his father’s advice to hunt down Astrid would seem less like a by-product of his sadism and more like a misguided attempt to feel connected to his deceased father.

However, flawed though it is, this scene does give us some insight as to why Drake is the way he is – through the characterisation of his father. Admittedly we don’t get much, but one line really stood out to me, “Because if you have to shoot, you shoot to kill.” Ummm..sir?? I don’t think that’s how police officers work. Isn’t your goal to incapacitate – not to just kill on sight?? The fact that he not only stands by this rule himself, but also gives this advice to his CHILD is disconcerting. Drake is not only receiving this harmful rhetoric from his father figure but also a police officer. Someone who is meant to uphold the law. I think this links back to my earlier point on how Drake only recognises authority if it is gained by violent means. While we get no indication that his real father was ever violent to Drake or his mother, he openly tells Drake that when he is upholding the law (in this hypothetical situation) he does it by using force. That is a dangerous thing to tell a child, especially a child who you already think is disturbed. This twisted-take on a father-son relationship nicely sets the precedent for Drake’s warped perceptions, I just wish it had been developed further. And this leads us nicely into the next scene – the shooting of Holden:

“He remembered with vivid, slow-motion detail the time he had shot Holden, the neighbour’s kid who liked to come over and annoy him. That had been a bullet to the thigh, with a low-level calibre gun, and still the kid had nearly died. That ‘accident’ had landed Drake at Coates.”

Again, first and foremost I just wish we had a little bit more information. It is not clear whether this situation occurred before or after his father’s death – which seems like a pretty important detail to me. Although, we don’t actually find out that Drake’s father is dead within this book, and this omission again makes me feel like mg adding that detail was little more than an after-thought. It feels like in Light he wanted to quickly try and make Drake more of a sympathetic character and so he added in an abusive step-dad to try and tone down or at least explain Drake’s violence and misogyny. It seems like Drake is a plot-point first and a character second and the lack of detail here really highlights that for me. What purpose did these scenes really have in the story?? They did very little to flesh out his character, they introduced no new themes or relationships. It seems like mg just wanted to let us know – “Hey! Drake knows how to use a gun. That’s gonna be important later.” That being said, there are a couple of other things I would like to quickly mention. Firstly, I think the fact that Drake did not aim to kill Holden, even though he could have, is meant to be indicative of his change between then and now. It’s done to tell us that Drake wasn’t always this bad – there was at one point some hope. For this to have the desired effect though, I really think mg should have waited until after Drake lost his arm to straight up try and murder Astrid and Little Pete. Like, you can’t tell us that Drake was a little messed up but still redeemable before his maiming and then go and have him try to kill a random girl and her five year old brother. Because that’s more than a little messed up (and that’s not even mentioning the cementing). And it also contrasts the idea that Drake has always been disturbed. An idea that was introduced to us not even a page ago!! The other thing I wanted to pick up on, which I actually quite liked, is the ambiguous “who liked to come over and annoy him.” Because this is Drake’s point of view – so “annoy” could mean anything. Was Holden actually just an annoying kid?? Was he just trying to be Drake’s friend?? Or was he actually a bully and Drake doesn’t want to admit it?? I guess we’ll never know.

4.) DRAK’ES MOTIVATIONS

For this point, I wanted to focus on three particular motivators: Caine, Diana and Astrid. These are the three people, I believe, who provide, either consciously or unconsciously, the motivation for his actions within the FAYZ. I’ll start first with Astrid and Diana, the two people who Drake hates the most. Throughout this book it is clear that Drake has no real goals – he has no desire to be in control like Caine, no desire to re-invent the world like Albert. All he wants is to cause pain, with his preferred targets being these two. And, as I’ve said before, I think this is partly because he hates the authority that they have within the FAYZ – which stems from manipulation and intelligence rather than violence.

In Chapter 20, Drake explains his hatred for Diana, “Drake had made the time to check out Diana’s psych file the day after the FAYZ came. But her file had been missing by then. In its place she had left Drake’s file lying open on the doc’s desk and drawn a little smiley face beside the word ‘sadist’. Drake had already hated her. But after that, hating Diana had become a full-time occupation.” What I take from this scene, is that Drake’s loathing stems from Diana’s ability to get under his skin, to make him feel inferior – to annoy him. (Perhaps Holden had a similar talent). I’m going to assume that his prior hatred of her can be boiled down to his misogyny and his disgust at Caine’s weakness for her, both of which have been explicitly stated in the text. His hatred after this though, comes from a pretty mundane incident. I mean all she did was get there quicker, and do exactly what he was going to do to her. And so I think this loathing is less about what she did and more about his own personal reaction to it. Diana was able to weaponise Drake’s own anger against him – to make him feel inferior and powerless. She challenges Drake’s fragile perception of authority and takes a diagnosis that he seems to not only be ok with, but is actually proud of, and makes him feel embarrassed. His whole perception of power is rooted in the idea that his ability to inflict pain on others with no guilt or remorse is what makes him better, it is what gives him his power. But she takes this idea and belittles him for it and so his initial reaction is to attack. This is an idea that is again seen with Astrid. Astrid intentionally tries to make Drake feel inferior by bringing up his biggest insecurity, Diana’s treatment of him “Doesn’t it bother you that Diana treats you like some wild animal she keeps on a leash?” And she does escape him – twice. Her and her autistic brother (and we already know how Drake feels about autistic people). She also proves herself to be more intelligent than him, in their little argument over the r-slur. Drake only gets violent after he realises that, in an intellectual sense, she has more power than him. It seems to be his defence mechanism just as much as his pleasure – and therefore Astrid and Diana’s power over him motivates him to use it.

Now onto Caine. Caine and Drake’s relationship is, for me, one of the most interesting aspects of Drake’s character and while I’ll only be mentioning it in its capacity as a motivator here, I have a whole post planed out for it. Drake seems to simultaneously hate Caine and admire him. He is constantly looking to impress him and the only time we ever see Drake think about betraying him in this book is when Caine gives his attention to Diana rather than Drake. And, because of this, I can kind of understand why people ship them (although I personally dislike the idea of Drake being gay). A lot of the time this motivation is completely unprompted by Caine himself, like in these quotes:

“Drake cursed and, again, for just a moment, felt the almost desperate fear of failing Caine. He wasn’t worried about what Caine would do to him – after all, Caine needed him – but he knew if he failed to carry out Caine’s orders, Diana would laugh.” – Chapter 23

“I got him’ Drake announced. ‘I got them all.’ ‘Yes, you did,’ Caine said. ‘Good work, Drake.” – Chapter 34

In Chapter 23, it seems that both Drake’s need to impress Caine and his need to prove to himself that he is better than Diana are his main motivators for his extreme attack on Astrid. I think it’s important to note that he only planned on trying to catch her, until Caine told him to kill her. His sadistic nature is brought out in full because he needs to prove himself to Caine. But why does he?? If he is planning on taking over from Caine in the end, why does he have a “desperate fear of failing Caine”?? Sure, part of it is his desire to prove himself to be better than Diana. But even this has roots in his absolute need for Caine to take notice of him. Drake is drawn to Caine because of his power and authority over people. Caine seems to be the closest thing that Drake can get to an equal, someone who shares the same motivations, ambitions and worldview (of course Caine and Drake do not share these things, but Drake doesn’t realise this…yet.) He seeks validation from Caine because he wants to have these things in common with someone – yet another motivation for his hatred of Diana as she constantly gets in the way of this.

We also know that Caine is, at least, partly aware of his effect on Drake. He is paranoid that Drake will turn on him (because Caine sees being equal to someone as relinquishing power) and he is able to manipulate Drake’s misguided feelings when he wants to – most notably in Chapter 36:

“It’s not Diana or Chunk or even me,’ Caine said. ‘It’s none of us, Drake. It’s Sam. It’s Sam who did this to you, Drake. You want him to get away with it? Or do you want to live long enough to make him suffer?”

This is such a clever moments as it sets up Drake’s whole character in Hunger, and it’s false. Because yes, Sam is the one who burned Drake’s arm and Drake has every right and reason to hate him. But it was Caine who abandoned him to save himself. And it was Caine who refused to let Drake die, even though he was begging for it (and let’s face it, he didn’t refuse to kill him out of any affection – it was a selfish decision.) But Drake is so desperate for that equal, for that validation that his worldview is correct and is shared by another person, that he just idk forgets?? He never brings up this conversation again and just accepts Caine’s word as gospel. I have so much more to say about their relationship but, as I said, I’ll save it for a later post.

5.) DRAKE’S MENTAL STATE

And finally, we have Drake’s mental state. Now I’m not going to try and give him an official diagnosis or anything, but I wanted to make a small point specifically about his mental state after his maiming. I think we can all agree that what Drake went through was pretty horrific, and while I personally struggle to feel any amount of sympathy for him due his own list of horrific crimes, the change he goes through after this is extremely significant, or at least it’s supposed to be. I think mg wants us to believe that Drake’s descent into madness was directly cause by the loss of his arm, and that before that he did have the chance to be redeemed. I think whether you buy into this depends on how forgiving you are, but I want to focus more on the actual proof of change that we see.

I’ve already talked about the physical changes he goes through, and the implications of this so I’m going to focus solely on his mental state during and partly after the whole ordeal. I think the first and most important thing to talk about is the fact that Drake didn’t actually want to survive:

“Don’t cut off my arm,’ Drake cried. ‘Let me die. Just let me die. Shoot me.” – Chapter 36

He would rather die than lose his arm (his gun arm to be specific). Now, while I don’t doubt that the burning was indescribably painful, I’m still not sure that the majority of people would beg for death. Especially when an alternative (in this case losing his arm) is presented. Not to mention, he doesn’t actually talk about the pain when begging for his death – what he talks about is the loss of his arm. Of course it could be argued that the reason he didn’t want his arm to be cut off is because he knew it would mean more pain, but I don’t think that this is the case. Rather, I think that Drake is so scared of losing the power that he has, that he would genuinely rather die. This 14 year old boy is so messed up that his own death is preferable to the idea of no longer being able to hurt people. And so when he gets his power back, he doubles down. He has realised by this point what he truly wants, that he would rather die than be rendered powerless, so he begins committing more heinous acts (like attacking the prees). Pair this with the amount of pain that he went through, which most definitely will have had an effect on his already damaged brain, and you can see how a high-school bully became what he did. The groundwork for an interesting and though-provoking character was right here. I think yet again the problem with his character is the execution. Interesting aspects of his personality are dropped in favour of plot convenience and shock value and it cheapens his character as a whole until all the intended nuances are lost and over-shadowed.

I’m really sorry if this is a bit all over the place and not quite as polished as my other posts. I found Drake so difficult to write about and so my thoughts kept going haywire. Thank you so much for reading (and being patient with my brain). I hope you enjoy!!

#the gone series #Drake Merwin #character analysis #gone

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brave-clarice · 3 years

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“Clarice” Liveblog: Episode 2

Again, some extremely unfashionably late hot takes.

(Special thanks to @kathrynethegreat and @special-agent-pendragon for encouraging another liveblog!)

Clarice is working out! And eating junk food! I love it.

and cleaning her gun!

hey, Ardelia is drinking what I’m going to assume is her grandmother’s “smart people tea”.

Krendler disciplining Clarice already is infuriating but appropriate.

“I lost control.” Oh no, I don’t like that. Don’t make Clarice unstable. Her mental and emotional state never had anything to do with her failing career.

getting weird mixed signals from Ardelia. Last week, she obviously didn’t want Clarice to lie/stick to the script Krendler gave her, but now she’s telling Clarice she messed up by not doing so...?

“I better know you if you’re calling this early.” Amen, Ardelia.

I’m in love: this cinematography is straight out of the film (when she’s flying to WV with Crawford)!

“When’s the last time you went back to Appalachia?” “It’s been years.” What??? It has NOT been years--Clarice was JUST in West Virginia last week as well as in Silence, and she arguably attended college there as well. (UVA is at least nestled in the mountains, and you don’t have to drive far outside the Albemarle Valley to hit Appalachia proper.) After all the details about her character they’ve been nailing, they miss this glaring error?

I like the tiny details she’s noticing (like the guy biting his nails). Not only because she’s an investigator, but because it’s reminiscent of Hannibal’s influence (imo).

Clarice Is Short: The Saga continues

still not getting any creepy vibes off Krendler. He’s going to be much less effective as an antagonist if he isn’t lewd as well as a dick.

I really don’t care for the way the opening “credits” fade out from the death’s-head moth to Clarice’s face. There are MANY animals that represent her, or parts of her, in the books--lions, lambs, horses, and of course birds--so this choice feels empty and lazy to me.

also lazy: having a fellow agent straight-up tell her in episode 2 “you shouldn’t be in the Bureau.” Maybe in two or three years, after some further “Death Angel”-type incidents, I could see this blatant rudeness, but not yet.

“Reesey”? Thanks, I hate it.

this flashback must be of Clarice’s little brother. That answers one question I had last week. That said...Clarice’s brother doesn’t play the same role in her story that Mischa does in Hannibal’s--but this sure feels like a Mischa-esque flashback.

good: they’re finally getting to the source of Clarice’s actual trauma!

bad: this is NOT how Clarice found out about her father. In fact, that whole incident is laid out in detail in the novels, and there’s nothing overly literary/un-cinematic about it, so this feels unnecessary. “The police are here! Something happened to Daddy!” No, bad! Show, don’t tell!

she would’ve known better than to introduce herself to that kid as “Clarice Starling, FBI,” come on now.

were they regularly able to wire tap hair clips in 1993?

actually, nothing in this show looks very 90s to me so far. I’m sad about it.

so in eighteen months, Ruth Martin has gone from a junior Senator to the Attorney freakin’ General, and now she might run for governor?? At least let her get settled in one position of power first, why don’t you!

yet more Buffalo Bill flashbacks...alas.

are they trying to make this guy another surrogate Hannibal character? He’s commenting on Clarice’s accent and the dryness of her skin, asking about who she “left behind”...it all feels very Hannibal. (I know he’s a Charismatic Cult Leader trope, too--but when played off of Clarice...)

“Ew.” “I hate this guy.” I laughed.

I understand that Clarice probably feels conflicted re: her siblings in the book, but I’m really not digging the flashbacks of this Tim Burton character her brother.

@ the writers: Clarice already has the lamb backstory/symbolism, too. We don’t need this Little Brother stuff.

*shrieking* Mrs. Starling! At the sink washing the blood out of his hat!!!

...aaand they had to ruin it with the brother’s painfully bad dialogue. Will still be good for gif-making, though.

are we supposed to interpret all these flashbacks as Clarice being incapable of controlling her emotions/state of mind? She keeps losing herself in memories and emerging all doe-eyed and panicky. I don’t like it.

not to be a broken record but...Clarice should be TOUGH. Again, Ardelia only saw her cry once in seven years. But she’s more worked up in this scene than Jodie was in Memphis!

when Mr. Cult Leader shouts “Agent Starling! Agent Starling!” he sounds exactly like Hannibal calling her back to his cell in the asylum. That has to be intentional.

damn, wish that I could look as good five minutes after I’ve been crying as Clarice does.

I LOVE that Ardelia gets to be the crucial behind-the-scenes book-smart partner to Clarice’s action heroine.

AG Martin’s just playing politics by turning a blind eye to the crooked sheriff. But when her own daughter was just kidnapped and almost killed, she looks like a real hypocrite.

gosh, Rebecca Breeds is great. I already hope she gets nominated for an Emmy.

so Krendler is...doing the right thing???

Clarice’s father was definitely not a sheriff. I hope she’s just exaggerating for dramatic effect. (Maybe this will be clarified later.)

she couldn’t just sit with a manipulative guy without getting emotional, but she’s cool as a cucumber while telling an extended story about her father? HmmMM.

sometimes her mannerisms and facial expressions are so much like Jodie’s that it’s uncanny, like here when she leans forward to confront the Cult Leader.

“She did it.” Damn straight!

another great callback to Silence. this show’s camera crew knows its stuff!

“He’s concerned I have some residual trauma from Bill.” I. Hate. This. Subplot--and all its OOC implications.

“Catherine was close to her father, too.” Ooh, a nice allusion to the novel! Clarice makes note of their “common wound,” the loss of a father, when she’s in Catherine’s apartment in Silence.

she is just SO pretty.

little Clarice looks a LOT like Rebecca Breeds. I hope we see some more of her.

The Good:

the continuing visual nods to the Silence film via cinematography

Mama Starling!!!

Clarice’s “The World Will Not Be This Way Within the Reach of my Arm” attitude, refusing to leave without helping the victims.

Ardelia Mapp coming in clutch!

Clarice being, generally, a badass

and using psychological tricks/mind games to pin the antagonist...that’s the woman who disarmed a monster with just a few words.

Rebecca Breed’s acting has been phenomenal so far.

I like Clarice’s haircut a lot better when worn down (though it’s not very practical for fieldwork, so we probably won’t see it much).

The Bad:

the continuing Buffalo Bill-related Trauma Subplot. Ugh.

all the flashbacks to Clarice’s brother (and the not-so-subtle suggestion that her brother is, symbolically, another lamb).

will the real Paul Krendler please come forward? this guy is so TAME.

the other agents’ hostility towards Clarice needs to be toned down slightly so that it can escalate. Otherwise, where’s the tension?

is this actually 1993? I’m not feeling it. Shouldn’t it have a little of that Season 1/2 X-Files aesthetic? Please give me more than once-an-episode references to pagers and fax machines!

that glaring Appalachia continuity error...it’s still bugging me.

I missed the overt Hannibal references, even though they’re not necessary to any part of this episode. A lady can dream!

Overall, I really liked this one despite my various issues with it. It started shakily but built to a great finish. The emphasis across both episodes on Clarice being in the FBI not just to “get out, get anywhere,” but out of a genuine desire to help victims has been wonderful. I just hope they don’t swerve too far into the “too traumatized and emotionally compromised to function” lane. It would be a disservice to Clarice’s character and to her journey (and would smack too much of “Hannibal really did prey on her weak mind/brainwash her”.

Things I’d still like to see: More of her personality. Her hobbies and interests. That she’s cleaning her gun is great! Now let’s see “Poison Oakley” practicing her sharpshooting skills. Or car shopping. Or clothes shopping to show off her “developing taste.” (Ardelia can come!) I’ll take literally anything. Give us more of Clarice’s sense of humor as well. She had some subtle funny moments in the pilot, and it’s nice to see Rebecca smile for a change.

And Krendler? Smear that man in grease! I appreciated a happy ending even though Clarice’s career is, as we know, already in a downward spiral--the last thing we want is for every episode to be a slog, especially when a good chunk of the audience hasn’t read the book and doesn’t know Clarice is doomed to fail in the Bureau.

However... Krendler’s not a “redemption arc” kind of character. Or even a “run-of-the-mill sexist asshole” character. This is a man who spent seven years systematically sabotaging a young woman’s career because a) he was jealous that she solved the Gumb case before him, and b) she wouldn’t fuck him. He was a Justice Department official working fist-in-glove with a serial child molester who was planning some of the heinous vigilante justice imaginable. THAT’S why his very gruesome end at Hannibal’s hands felt deserved--even Clarice thought so! In short, he needs to get nasty.

Anyway, thanks for coming to another long-overdue TedTalk. Fingers crossed that the next one will be more timely (aiming for Sunday night)!

#Clarice Starling #clarice #cbs clarice #rebecca breeds #once again I apologize for how late this is #and how long and somewhat ranty lol #please let me know if you want more ♥♥♥#media [cbs show]#char [clarice starling]

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bestworstcase · 3 years

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Considering how much you love the saporian au, I have a I guess alternative pitch to ask about. In Rapunzel's Return, if it was revealed that Cass was Saporian instead and still goes through with crossing the line in canon. So when Rapunzel and the gang gets home, do you think the Saporian invasion fight would've gone differently with this new information brought to light for her, especially since Varian is working with them now? Do you have any input on this?

why yes i do

so to start. let’s skip back to like august/september of 2019, which is when the tts hyperfixation kicked in but before s3 started to air. at this point in time my thinking was:

the separatists are definitely coming back in some capacity because the series made a point of putting their symbol on the book in RDO, signaling that andrew was not a one time deal.

there’s a press release that says raps will encounter an old enemy when she returns to corona and while it might be varian, my money is on the separatists.

cassandra encountered zhan tiri behind the door in the shell house and learned or saw something that soured her pretty hard on corona

i have been theorizing that cass is saporian since the first time i watched under raps, like, a year ago

i have also been theorizing that zhan tiri is saporian since she was introduced, mainly because it’s fun and it ties two great antagonists together

if cass IS saporian, and the separatists ARE the threat awaiting rapunzel in corona, these two things are probably going to end up intertwining down the line in s3.

sigh. [puts on my clown shoes]

a big part of the appeal of saporian!cass to my mind is that it gives cassandra an excellent reason, completely unrelated to rapunzel, to return to corona after she takes the moonstone. right? in my head, before s3 aired, my theory was kinda: zhan tiri got into her head and drew a connection between cassandra’s individual feelings of being neglected/overlooked/treated unfairly, and the systemic problem of saporians being oppressed/cast aside/treated unfairly.

and cass wants so badly to be a hero. she wants to be admired. she wants to be a protagonist, basically, and if cass is saporian that positions her perfectly to become the hero of the saporian separatist movement after she takes the moonstone. it fits so well!

so if, beyond just cass being saporian, this were the direction the series had gone with cass being saporian—and taking into account that this is a disney princess show and it is going to be pro-monarchy at the end of the day, and trying to stay within those bounds—i kind of imagine it playing out like this:

1) cass takes the moonstone and angrily lashes out at rapunzel, telling her about what zhan tiri told her in the HOYT (which boils down to ranting about how saporians in general and cass in particular are treated badly and she’s not going to take it anymore and this is my destiny, rapunzel). then she leaves, with CtL going exactly as it does in canon.

2) reeling, rapunzel returns home—only to find that it has been taken over by saporian separatists. talk about a punch in the gut! and then to make matters worse, varian is working with them. i think “rapunzel’s return” can still end with victory over the separatists in this version, but the separatists aren’t imprisoned at the end—they escape, swearing that it isn’t over. [the conflict itself plays out similarly, except for preference the separatists aren’t trying to glass corona, they’re just trying to stay in charge / drive team corona out. this allows for escalation later with zhan tiri and also doesn’t paint. people fighting back against their oppressors as pure evil,]

2a) varian and rapunzel still have their emotional conversation and sort-of apologies, but! varian doesn’t turn against the separatists yet, and when they escape, he goes with them. however, fundamentally their cause isn’t personal to him, and he’s now all conflicted because rapunzel doesn’t hate his guts like he’s been telling himself she must.

3) rapunzel frees quirin from the amber despite varian’s continuing betrayal, because it’s the right thing to do and also because she’s desperate for SOME sort of victory after all this. varian doesn’t find out about this until after his redemption.

4) the separatists continue to cause problems in B-plots throughout the first half of the season. someone (probably eugene?) tries to broach the subject of cass with rapunzel in the context of cass potentially joining the separatists and throwing the power of the moonstone behind their cause. rapunzel brushes this off on the grounds that no matter what cass is still her best friend. meanwhile we keep getting cass stingers, with cass struggling to control the rocks and zhan tiri helping her, except instead of driving her into rages at rapunzel, she’s focused on radicalizing cass to the separatist cause (although she does not spell this out at first).

5) BVA kicks off with zhan tiri dropping the bomb that she wants cass to join the separatists. cass is shocked (she knows how extreme and violent they are—and she’s not like that, is she? she hasn’t hurt anyone!), which triggers the burst of red rocks.

5a) in corona, the red rocks cause varian to have horrific visions of his father/all of corona trapped in amber, confronting him with his own guilt. he’s been sticking with the separatists mostly out of fear of being rejected if he tries to return to corona now—after all, rapunzel gave him another chance, and he threw it back in her face. but the visions are too much for him, and after he sees that they’re capable of petrifying people, he rushes straight to corona, sneaking in through the tunnels to warn rapunzel. she decides to trust him again, and they set off to the demanitus chamber to stop the red rocks a la canon.

5b) as varian and rapunzel emerge and see that their efforts paid off, rapunzel assures him that she’ll make sure everyone hears how he put himself in danger to warn them, and how he saved the day... and as varian is thanking her, he hears a very quiet “...son?” from behind them. he turns around, unable to believe his ears. it’s his dad. his dad is free. for a second he’s terrified this is some sort of lingering effect of the rocks but rapunzel explains that she found an incantation that she used to free quirin, and there is a BIG EMOTIONAL MOMENT as he reunites with his dad. because varian realizes quirin must know everything he did after his dad was trapped in the amber, and he’s so afraid his dad will be ashamed of him, but quirin is just like. no, son, you may have gone to a very dark place but you found your way back all by yourself, and you did the right thing, and i’m so proud of you. tears, and so on.

5c) BVA ends with cassandra and zhan tiri, rather than eugene and rapunzel, debriefing. cass reveals that she felt rapunzel’s fear of her during their moment of connection, and she is upset because even though cass hasn’t done anything, rapunzel seems to see cass as just as violent and dangerous as the separatists are, perhaps even moreso. and zhan tiri comes in with “they’ve already written you off as a monster” and “what do you think forced the separatists to such extremes? they tried to be reasonable, and they were persecuted just as you have been” and “really, what do you have to lose?”

6) and that is how cass gets on board with zhan tiri’s joining the separatists plan. [if cass doesn’t already know at this point, i think this would be the part where zhan tiri mentions that she’s saporian, too]

7) then we hit pascal’s dragon, and this is the episode where rapunzel starts really considering what cass being saporian means, basically using LBB as a proxy for working out her feelings about cass and ultimately coming to a sort of hopeful conclusion that maybe... cass being saporian is important to her and maybe—just like the enraged dragons that destroyed nigel’s village—the separatists have valid reasons for their anger... but also that a peaceful resolution can be reached if rapunzel doesn’t let fear consume her.

8) islands apart, then, becomes a little more focused on rapunzel trying to get the whole story out of the captain; how did he end up with a saporian kid, what do the separatists want beyond blowing corona up [he’s the captain of the guard, he must have dossiers on these people], and most importantly, what options are there for compromise? fresh off her own commitment to meet cass halfway, the conflict between rapunzel and the captain vis a vis fountain cass can also be nice and sharp.

9) in cassandra’s revenge!!! we just scrap the entire eugene surprise birthday proposal subplot. the first half of the episode is cass cruising into the separatist camp in the woods with the moonstone and ghost!ziti. she and andrew are immediately at each others throats because both of them want to be in charge but cass ends up winning by dint of a) having a magical rock with enormous destructive power at her disposal, and b) having a clear plan. she steals the scroll to distract everyone while the separatists in to steal [insert magical saporian artifact macguffin here] from the palace vaults, with the intention of using it to free zhan tiri.

10) cass’s part of CR goes very similarly to how it does in canon: team corona turns up to rescue varian, rapunzel tries to talk to cass about finding a viable compromise on the saporian issue, and cass, not wanting to hear it, goes berserk and attacks her. partly this is venting her very real personal anger at rapunzel (i like the idea of rapunzel reaching for her burnt hand being the thing that sets her off) and partly she’s just furious because rapunzel still doesn’t really get it. “nobody has to get hurt? saporians have already gotten hurt! i have already gotten hurt!” <- that kind of thing

10a) also!!! a “nothing left to lose” where varian is saying “i worked with the separatists and it wasn’t worth it!” and cass is saying “don’t you get it? i’m not like you, i don’t have other options, i’m saporian” would be sooooo goooood

11) in any case cass gets yeeted off the tower and injured, as in canon. team corona leaves. the separatists come back, find the tower in ruins and cassandra crawling back up from her ledge. they help her up, treat her injuries, and then reveal the bad news: the macguffin they were after, the one they need to free zhan tiri? it’s gone. corona sent it to the keeper of the spire for safe keeping.

12) race to the spire! is about cass and the separatists trying to retrieve the macguffin from the spire. and it is also about an extremely shaken rapunzel talking to xavier about all of this, realizing what the separatists were probably after when they broke in, freaking out (cass joining the separatists is one thing, but bringing zhan tiri back?!) and reluctantly turning to edmund and adira for help... because she thinks she knows where cass is going to go next.

12a) cue crazy cass + separatists + ghost ziti vs team corona + brotherhood battle at the spire. with all the canon insanity of the weird ass artifacts getting thrown into the mix. cass and the separatists win, possibly because ghost ziti advices cass to grab and threaten calliope to force rapunzel to cooperate and cass does it.

13) TOTS is now the freeing zhan tiri episode. and the gothel disciple backstory episode. because turns out! none of them really know how to do the actual jailbreak with the macguffin, so... they need gothel’s old research, from when she and the other disciples used the same artifact to free zhan tiri last time. rapunzel is in the cottage with a similar idea: she’s trying to learn more about the sundrop and its connection to the moonstone. loredumps, idk. maybe all this takes place in the ruins of the tower instead; i like the idea of gothel having a creepy little laboratory in the cellar or something.

14) rapunzel pleads with cass to think about what she’s doing. the separatists have a point—does zhan tiri? what is zhan tiri after, what’s her agenda, what is she, even? and it nearly works, she nearly gets through to cassandra, but then... cap shows up, and cass does not react well. cap is there to try to apologize for their last altercation, but she does NOT want to hear it and the whole situation escalates. team corona gets driven out of the valley, cass and the separatists do the ritual to release zhan tiri and wow things are really bad now aren’t they!!!

15) flynnposter... idk. cap recuses himself from the whole fighting cassandra thing because he cannot handle it and because everyone agrees he’ll be more effective at getting through to cass if he’s not showing up in the captain’s uniform, eugene gets put in charge... and zhan tiri is out to cause problems. i just think she should get an episode of zany hijinks all to herself. she deserves it. to keep the plot relevancy going let’s say she’s impersonating eugene-as-flynn because a) it’s funny and b) it masks her real agenda, which is, let’s say, wiping corona off the map, stealing the sundrop, and using it to plant/grow a new great tree on the ruins of the city. seems like a fitting vengeance against both demanitus (for banishing her) and rapunzel (for destroying the great tree), yes?

16) once a handmaiden. with zhan tiri now fully out and about cass has been sort of demoted to second in command and she is struggling with that, because it’s making the inferiority complex bubble up and bringing with it doubts that this is really the right thing to do, or even really what she wants. she slips away to clear her head, perhaps even using the cloak to disguise herself so she can wander around corona... and finds the nasty little magical traps zhan tiri planted earlier. she realizes that whatever zhan tiri has planned for the eclipse, it’s a lot worse than she’s letting on. (maybe some of this is connected to gothel’s research: gothel wanted to retrieve the sundrop from rapunzel, and cass recognizes ritual prep for that from gothel’s notes and is like. oh no.)

17) so... at a loss for what to do, she impulsively goes to rapunzel to try to... warn her? apologize? take her up on that offer to negotiate? cass is really not sure, and seeing herself in wanted posters and of course demonized in feldspar’s play does not. help. this part of the episode can go pretty similarly to canon, except that when cass is confronted by zhan tiri it’s a lot more cutting, with zhan tiri focusing how even now she feels like she needs to serve rapunzel at cost to herself, needling her about her lack of conviction etc etc, in addition to goading her with the news about project obsidian. cass angrily rejects her and goes to talk to rapunzel, publicly reveals herself on purpose because a) sometimes she’s not smart and b) striding onto the stage in the second act of feldspar’s terrible play to tell everyone in the audience that corona is in grave danger really seems like a good idea at the time and ziti is lying about project obsidian so everything will be fine right!!!!

18) everything is not fine

19) cass gets shot in the back with project obsidian courtesy of panicking guards and a teeny tiny bit of help from zhan tiri and, crushed by the realization that rapunzel must have authorized this, cass does the “no you know what? fuck you, i see all that talk about negotiation was just pretty words after all” thing and wrecks the place, while zhan tiri stands by watching like >:)

20) PLUS EST EN VOUS. im sorry anon this has gotten way longer than i thought it would. but i am Passionate About Saporian Cass. the situation is now dire! everyone in corona is hunkered down in old corona, frantically trying to draw up battle plans or like, any plans at all. corona itself is in ruins. it really looks like cass/the separatists have won... but rapunzel keeps thinking about how cass tried to warn them of some greater danger. she can’t give up on cass just yet.

21) so, desperate, rapunzel turns to the separatists. she takes... varian, because he knows them, and lance because he’s good at talking to people, and eugene, because she needs him with her. and she walks into the separatist camp and says look, i know that ultimately what you want is for saporia to be free to be its own country. that you only took over corona and tried to destroy it because you thought you had no other choice. and maybe under my dad’s rule, that was true. but i’m the queen now, and i can accept a declaration of saporian independence if i want to. so i’m going to do that right now, no strings attached. saporia is free.

22) and the saporians are like holy fucking shit

23) what brought this on???

24) rapunzel is like cassandra is my best friend. and i didn’t treat her well, and i made her feel like she couldn’t talk to me about how she was hurting, so she did all this. she’s angry and she’s right to be angry, but more importantly, she’s hurting and scared. and i want to make it right. and also i’m terrified that zhan tiri is going to hurt her, because she said something about zhan tiri going after the drops?

25) and like the best she’s hoping for here is for the separatists to drop out of the conflict and go build their kingdom back up again, but they huddle up and decide that a) cassandra is their friend / one of theirs, and if she’s in danger they’re gonna side with her over zhan tiri, and b) if they team up with rapunzel now and it turns out rapunzel was lying and this was all some elaborate set up to attack cass while she’s without allies, then they will be there to help cass hold the line

26) there are ABSOLUTELY NO MONKEY SHENANIGANS

27) cass sort of miserably is going along with zhan tiri’s plans but she’s also just kinda hoping rapunzel doesn’t show up for the eclipse.

28) rapunzel shows up for the eclipse with a bunch of separatists and cass is like rapunzel what the fuck

29) there is...an attempt by rapunzel/cass/the separatists to get everyone’s story straight which is interrupted by zhan tiri doing the “traitors to saporia pay with their lives” thing and just. going ballistic on the separatists and cass. and also rapunzel, except she needs rapunzel to not be smushed like a bug until after she retrieves the sundrop so she’s a little gentler.

30) cass and rapunzel team up to protect the separatists: with both of them using the full power of the drops, they can hold their own against zhan tiri (she is VERY POWERFUL and she PROVES IT during this fight by going toe to toe with both of them without breaking a sweat)... but things go from bad to worse when the eclipse hits, because the sundrop goes dormant, and zhan tiri pounces. gets the sundrop, and now it’s just cass trying to solo this demonic sorceress lady before the eclipse ends and zhan tiri gains the power of the sundrop. It Is Not Looking Great For Our Heroes.

31) zhan tiri stomps cass into the curb and is about to land the killing blow when the rest of the coronans + the brotherhood charge in (they were waiting on the mainland on rapunzel’s orders, not wanting to escalate the situation if it could be solved via talking, but it is now very obvious that rapunzel needs back up). zhan tiri deals with them pretty handily too, but her distraction is enough for rapunzel to shake off her depowered exhaustion/pain and help cass back to her feet.

32) raps, cass says, i’m so sorry. i never meant for any of this to happen, i just—

33) and rapunzel says, i know, it’s okay. i’m sorry too, for taking you for granted. i love you.

34) cass, tearing up, is like, i love you too. and i’m gonna stop this.

35) rapunzel is like ??? but there’s no more time because zhan tiri has finished smashing/immobilizing everyone else and cass is already charging at her, no longer trying to attack or defend, just get close enough.

36) as the eclipse comes to an end and the sundrop wakes up again, cass latches onto ziti, grabs the sundrop. and slams it against the moonstone still embedded in her chest. there’s a huge explosion, and when the dust clears... cass is in the epicenter, very dead, and there’s really nothing left of zhan tiri but a bunch of spasming vines and shadowy magic, burning slowly away in the brilliant light of the unified power. everyone else is pretty damn battered too.

37) horrified, rapunzel crawls out of the wreckage, grabs the unified drop. revives/heals everybody (except zhan tiri, rip), ending pretty much goes as it does in canon. except i like the idea of the epilogue / ending sequence of life after happily ever after (reprise) also being a montage of both corona and saporia being rebuilt, the countries now equals and allies... and also cass, when she leaves, is explicitly going out in search of saporians whose ancestors were displaced by the conquest, both to invite them to return to their ancestral home if they so choose and also to reconnect with her own heritage.

38) THE END!!!

#rta #W H E W ANON i got. i got carried away lKFLJKSDFJKLSDKJLF #anyway this is basically 'how i'd do s3 but saporian cass while trying to #color in the lines canon gave us and staying within the bounds of what feels plausible for a disney show'#Anonymous

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astralore · 3 years

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Yellow and purple for the writer asks! <3

Yellow: What’s a common writing tip that you mostly ignore? Oooh hmm. I've read a lot of writing tips and I probably ignore mostly all of them even though I obviously shouldn't because I'm not very effective as it is. I'm not a very organized person haha! Pretty much any writing tip designed to make you more productive is one I ignore (unless it's Nanowrimo which, let's be honest, is the only time I get actual substantial amounts of writing done. I can't be trusted unless I have a deadline.) Purple: Which of your characters would become your sworn enemy?

I feel like this question is difficult to answer because a lot of it depends on context. Who am I in relation to these people? What events would transpire between us to shape our opinions of each other? I don't feel like any of them are necessarily people I would hate in any given context, and you'd have to really wrong me for me to consider you a 'sworn enemy'. (And even then, I try to be the kind of person who allows growth and I believe in giving people a path back to redeem themselves. Most people will never ever take that path, but in my heart, it's there for them.) But there are definitely situations that could make it difficult for me to like them. Obviously, Nikolai rubs people the wrong way with reckless abandon and I would probably be no exception. Not really 'sworn enemy' material, though, probably I would just consider him an annoyance. Cailean has the potential to make me feel like he's untrustworthy in some way that's more insidious than Nikolai, so if I somehow got that impression from him, he would make me extremely unsettled. Not enemy material, but unsettling. (Feeling like I am being lied to or misled is probably the biggest dealbreaker for me.) Elsie, of course, is a bit of a gossip and that always has the potential for misunderstandings and hurt feelings, so it would probably depend on context. She's also very "fun" in a way that the others aren't, so that would probably counterbalance her flaws in a lot of contexts. Deka-- I could probably never be enemies with Deka tbh. Vivietta might be the most likely-- her antagonistic and dismissive demeanor would make me feel angry and defensive, and her delightful aesthetic would make me feel jealous and threatened and would fuel my pettiness. So, short answer: Vivietta, and it would be completely unfounded. link to writer ask list

#monstrata fracture #writing #personal #ask response #captainsaku

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gayregis · 4 years

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how do i ignore all the misogyny in the witcher books? they're much better than the netflix show storywise but there is so much gross stuff compared to what i usually read/watch

hi!! thank you for the ask, this is a very important topic to address, though i believe you are asking the wrong question. the matter is not how to ignore the misogyny in the witcher and other pieces of media, but rather how to confront it and face it head-on.

i don’t believe in making excuses for the media i consume when it has “problematic elements” to it. this isn’t meant to be taken as an excuse to “consume anything you like,” because i would not engage with something insidious in its nature (such as media that revolves around and is based upon harmful stereotypes or insensitive jokes and cannot exist without this, some examples of this are infamous things that i’ve seen discussed on this site like captive prince, cmbyn, and hazbin hotel). instead this is about when a piece of media is good overall in nature (the witcher has many anti-war, anti-violence, anti-imperialist themes and messages relating to family, childhood, friendship, and love) but has elements that are the results of the author’s personal biases.

i think before i address how to deal with the misogyny, i’ll actually define what misogyny exists within the witcher books, to be more specific about what we are talking about, and also to do the work of addressing the misogyny in the books:

how the women in the witcher are treated as characters and how they are depicted by the author.

there are a few good points in this subject. characters such as yennefer and ciri are very strong characters who receive a lot of development over the course of the series, and are main characters that are integral to the plot. they demonstrate both strengths and weaknesses, virtues and vices. they have depth and are not one-dimensional characters, especially as they become more and more complex over the course of the series.

blatant sexualization of women when it’s inappropriate or irrelevant, descriptions of female characters’ looks or bodies that male characters would not have received.

bizzare standards for what is beautiful for a woman, including body descriptions (“triss’s waist measured 22”) and extreme focus on youth and the age cusp of around 15 to 18 as being the most attractive for a woman (stated in-universe, even though this could be excused as being what is normal in the 1200s, keep in mind that this is the author’s decision to impliment this standard into their society).

descriptions and scenarios of extreme violence towards woman that are gratuitous in nature and do not add to the story or have any relevance. (geralt being paralyzed with his knee during the stampede at the refugee camp in bof is NOT on the same level as yennefer being extremely tortured at stygga or ciri meeting “forest gramps” in lotl). some of this violence towards women is related to the male antagonists being misogynistic (such as leo bonhart) but a lot of it is just pure filler and is not necessary for the story.

majority of female characters do not get the depth they deserve, and some are pretty one-dimensional. the sorceresses are a good example of this, as the majority of them are shallow and manipulative. female characters are also just generally not given as much “page time” as male characters, for example compare how much depth and backstory regis and cahir receive to how much milva and angouleme receive. regis’ backstory is entirely irrelevant to the main plot but it’s extremely long, and angouleme’s backstory is more relevant to the main plot (she was born of cintrian nobility) yet it is extremely short. (one could make the argument that this is an effect of their characters because regis talks a lot and angouleme is still processing her trauma, but more could have been given to angouleme even if she is not extremely talkative).

the only canon lesbians in the witcher are not good people and are manipulative in nature, and the only canon f/f relationship (ciri/mistle) is representative of a turmultous, vicious time of violence, and is based upon sexual assault.

the gender non-conforming female characters who ARE good people,never have their gnc-ness treated with any depth, and it is insinuated that they are heterosexual.

male protagonists such as geralt and dandelion are both misogynistic at various times in the books, especially in the short stories. this is unlike when male antagonists are misogynistic, because it is represented as something wrong and is intended to characterize them as vile people. instead, geralt and dandelion say or do misogynistic things and it is treated like a joke or something normal, and not a flaw or something repulsive.

how to confront all of this?

the first step is to address it, just as the above list does, and discuss things that stood out to you and are definitively wrong, that the author should not have put in the story because it is useless and only serves to further misogyny in the real world. it would be a grave mistake to think of these things as “fine” and continue to view the witcher books as some kinds of perfect scripture. so many people feel that just because they enjoy something, they are not allowed to critique it and discuss parts of it that are uncomfortable or plain wrong.

to continue with this point, i think it is important to put the witcher into context as a fantasy series written in the 1990s by a white man who did not (to my knowledge) intend this series for such a broad audience and franchise that it has become. this is not an excuse for sapkowski at all, but rather i think it’s important to understand the origins of the witcher and how it came to be in the first place. this wasn’t a series made to be inclusive and diverse, it wasn’t intended to be “for us” in the first place.

i do not believe that there is MEANT to be any “positive representation” in the witcher because i don’t believe it is something that sapkowski was actively considering when he wrote the books. just because there isn’t good representation in the books does not mean they and everything related to them are not worth your time, but if you are someone desperately searching for good positive representation or someone who NEEDS to see representation of someone like them in every piece of media they consume, i don’t think the witcher books are necessarily a good place to start. this isn’t meant to deter you from reading or interacting with the books/book canon, but rather a fair warning about what the intentions of the books are.

i don’t think the books are a groundshaking work of art that are meant to inspire concepts such as diversity, rather it is a very specific work that in its true nature is an argument of a critique of popular fantasy tropes with additional commentary on themes of violence and family. so this is basically meant to say ‘understand what you are getting into.’

how to move on?

the main question which i answer is “is the root of this thing (a piece of media/a character/etc) something that revolves around the bad part, or was the bad part just thrown in there and is incongruent with the rest of the thing?”

the biggest example i think of tackling the misogyny in the witcher and still managing to enjoy it is with dandelion (lol). i think it’s every day that i have to reconcile with the fact that i genuinely enjoy dandelion as a character and hold a conversation with myself about which parts from canon i enjoy and which parts i don’t. his character at its core is not a bad person, he is meant to be an inversion of the trope of the slovenly and lecherous comic relief, and sapkowski succeeds in turning the trope on its head. dandelion is very loyal and committed, he demonstrates his worth in the narrative and doesn’t act with pure selfishness and greed. he is an inversion of all of the negative traits of his trope, but sapkowski also wrote in, like, a literal rape joke for him to say in the bounds of reason. how do you get over that? personally, i just go back to “is this congruent with the rest of the character or not,” and my answer at least for dandelion is no. the rape joke in the bounds of reason seemed entirely out of place to me, it doesn’t fit in with the rest of his character.

similarly, why does geralt sleep with girls who are barely 18 within the events of the witcher? how do you get over that? well, i don’t believe that’s congruent to the rest of his character, the POINT of his character, which is to protect young girls.

so i go back on my word of what i begun this answer with, and i tell you that i indeed DO ignore some parts about the witcher. but it is not a blind ignorance, an ignorance in which i do not consider the effects and i pretend like they do not exist at all. it’s a choice which i make and a process of logical steps that i follow, an understanding and an agreement i come to with myself and the media i interact with. i acknowledge the context surrounding the creation of the media, i acknowledge the effects that these elements had on their readers and how they relate to the real world, and how i know that these things are objectively wrong. i understand why they exist in the canon, and why i feel justified for choosing to take them out of what i regard as part of my experience.

it’s tempting to proclaim “canon is dead and we have killed the author,” but understand how the author’s personal experiences and biases have influenced the media that they created and which you now consume. you can’t take the personal biases completely out of the writing of the witcher and you have to acknowledge that they still exist in the text. even if you make up your own headcanons, it is still imperative to consider the issues that originate in canon.

what does this look like?

complaining to your friends who also like the witcher / on social media that you hate these parts of the books and explain why you hate them and why they are unnecessary

thinking about why these parts were written in and the context surrounding them

making your own rewrites / headcanons around these parts (ex: my idea for the rewrite of a little sacrifice)

making your own headcanons to establish what was not (ex: my headcanons for angouleme’s trauma and how it affects her in the present, headcanons about how the hansa becomes a family)

tldr: acknowledge why these elements exist in canon. choose to follow a process that will allow you to salvage the parts which speak to you while still understanding that these elements exist in canon and will never disappear. continue to like the canon without the parts that you understand are rotten.

edit: also the netflix show has some pretty misogynistic parts to it as well, yennefer and ciri have way less agency as characters than they do in the books. geralt literally coerces yennefer into sex in twn and treats her with absolutely no respect, and ran from fathering ciri solely because he was a dick. obviously this isn’t the point of the ask, but i think it’s important to acknowledge that twn has misogynistic elements as well and not pretend like just because twn was led in 2020 by a wealthy white woman that it’s progressive in any way.

#ask #anon #long post /

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