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frankmillerturnonyourlocation · 3 years

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Spotify Wrapped Prompts #20

The moon hung in the sky like half of a sand dollar and Emerson tried to fold his napkin into what he remembered being a goose.

It wasn’t quite working, half because it had been a while since his high school Mandarin class, half because the napkin was that flimsy brown shit found only in the greasiest of diners and the most public of schools, three quarters because his left pointer finger was in a splint, and about a teaspoon because he was blitzed out of his mind.

The moon was beautiful tonight, he thought as he bent the napkin this way and that and tried to remember the bit of poetry that started something like that. If one of the few souls in Griddy’s Doughnuts had asked this young man what he was doing in this little diner and when was he planning on ordering something, anyway, he would have told them that he was watching the moon. This would have been wrong on two counts: the bright white light that had captured his attention was in fact not the moon but a streetlight, and he was at the diner waiting for a friend.

He wasn’t quite sure which one of his friends had called from an unknown number and asked to meet at a little doughnut shop, at least not at this very moment. He couldn’t remember being too anxious about it, though, so it must have been someone he wanted to see.

And it probably wasn’t anyone from the party, either— they would have said something to him while he was there, and he didn’t really know most of the people in there, anyway. A friend from high school ran into him at the gas station and brought him back to their new apartment in the city for some chips and dip, and also a few swigs of alcohol, and also a handful of Strawberry Bomb or Girl Scout Cookies or Blue Eyes White Dragon or whatever the hell that pretty girl said her weed was called. Remembering the party, Emerson’s chest welled with gratitude for the kindness of strangers who say they knew you when you were both teenagers.

A teenager stepped into Griddy’s, opening the door like he had expected it to dematerialize as he approached and was, frankly, disappointed that he had to bother with touching it at all. The bell jingled in sympathy.

“Emerson,” Five said, sliding into the booth across from him. “Glad you could make it.”

Eyes wide and perhaps a little red-rimmed behind turquoise-rimmed glasses, Emerson blinked, made one last, hasty fold to the goose’s head, and reverently slid it across the table. A precious gift for a dear friend. Five stared at it. Its neck slumped over.

“I’m here,” Emerson said, as if explaining. “Right where you said. This is where you said, right?”

Five’s eyebrows slanted just a half-centimeter lower. “Emerson,” he began, feeling silly even as he asked, even as he knew the answer, “are you high?”

He pressed his hands against his cheeks, the gears in his head whirring. Five, uncharacteristically, allowed them the time they needed to turn— perhaps enjoying the smell of smoke. “Would I know if I was?” he answered, pointing his finger gun at the folded goose as a perceived gotcha.

After a moment, Five laughed into his hands. “Of course you are,” he mumbled. “Unbelievable.”

“Sorry, what?” Emerson asked, now whispering for some reason. “I couldn’t hear what you said.”

“I just asked if you had money,” Five whispered back. “We should buy some doughnuts.”

Emerson’s eyes practically sparkled in the dim light. He nodded once, twice, three times, and then started rummaging in his coat pockets.

Shaking his head, Five leaned back in his booth. “Can you believe they managed to sell this place?” he asked. “And the new owners even kept the name. Other than the, uh—“ He looked around the near-empty diner. “—cosmetic interior design changes, the place hardly looks any different. The more things change, huh?”

He was speaking mostly to himself. Emerson’s attention was focused solely on exploring the contents of his jacket pockets. With the triumph of the sun illuminating clouds from behind, he drew forth a tiny, mint-green wallet with a zipper. He placed it on the table ahead of him, right next to the slowly-unfolding goose.

Five’s eyebrows quirked. “Are you asking me to order?”

“You’re allowed,” Em justified. “You’re old enough. Even if you’re little.” He suddenly grew mournful. “And getting littler by the day.”

His fingerless-gloved hand gesticulated in a way that implied that he thought he was illustrating the concept. Five reached across the table for his wallet without looking away. “Em, do you think I’m aging in reverse?”

“You could be. Like Mork.” He cracked a knuckle with one hand. “Or maybe you’re just weathering? Off the top? From the wind. Or, no, eroding. Maybe time’s eroding you and turning you into sand.” He reached out to fuss with Five’s hair and was promptly swatted away.

“That’ll be my cue,” he said, smiling that one smile he did that felt like a punch. It didn’t quite land, glancing off Emerson’s shoulder and leaving him smiling peacefully back. Before stalking off, Five slid the black pepper shaker in front of Emerson. “Smell it,” he ordered. “Pour it in you hand, not just the shaker. And I swear, don’t eat it straight. If you think it’ll taste good you’re lying to yourself.”

Em looked at the shaker thoughtfully. As Five walked away, he gasped in realization. “Is this something you learned from Klaus? About weed?” he asked, in his normal volume. Seeing that Five was no longer present, he turned around. “Hey, Five!”

Five was leafing through Em’s wallet up at the counter. “Get me a dozen donuts, mix of flavors,” he said, in that brusque sort of way old men talk to young servers, “and a black coffee.”

“Five, did you learn it from Klaus? Is pepper a hangover cure for...” He searched for the words. “For when you’ve had drugs?” he finished, loudly whispering the last word.

“And a hot chocolate.” He spun around, exasperated. “No, Emma!” he hissed. “I didn’t learn shit from Klaus. I thought telling you to play with a pepper shaker might keep you occupied for the minute it takes me to order!” He turned back to the server with a tired, half-sarcastic smile. “Babysitting. Can’t believe I’m giving him sugar this late.”

The employee behind the counter was in their mid-twenties and working a late Friday night shift at a shitty little donut place. But in just two and a half more hours, they would be fresh out of the shower with a bottle of wine and ready to marathon the entirety of Galavant for the first time since college. So for now, they kept their customer service face on and prepared Five’s order.

He leaned against the counter as he waited, watching Emerson watch him from back at the booth. Em waved at him. He waved back.

“Sorry I was so loud,” Emerson whispered.

Five craned his neck towards him. “What was that?”

He cupped a hand— the one that was not cradling a handful of black pepper— over his mouth and leaned out of the booth. “Sorry I was so loud, Five.”

“No worries,” Five responded in full voice with a lopsided smile, projecting just a bit louder than he really needed to. “Not like there’s anyone here to care.” Em smiled softly and went back to playing with the pepper in his hand. Five watched him.

“Would you like your donuts in a box or a bag?” the server asked, dreaming of their doormat.

“Better make it a bag,” Five sighed, fishing a few bills out of Emerson’s wallet and sliding them across the counter.

At the booth, Emerson was staring at the false moon again, humming a tune so earnestly he might have been singing to the night sky.

Five returned with a bag of sticky donuts under his arm and a drink in each hand. “Here,” he said. “Sober up.”

Emerson peered into the bag, eyebrows raised. “Can I have some?” he asked, so childlike that Five just had to stare at him.

“Yeah,” Five said, the venom catching on his tongue and dissipating into the air. “I got them for you. The hot chocolate too.”

The headlights of a passing car illuminated Emerson’s face in a mosaic of triangles of light. Their eyes reflected something that Five had only seen a few times before. Then the light was gone, and Emerson seemed a little less high. “Thanks, Five,” he said, and reached into the bag for a donut wrapped in wax paper.

Five watched him eat about a fourth of the donut in one ambitions bite. He folded his hands in front of his chin. “You never really struck me as a... hobbyist substance user, Em.”

“Oh, it wasn’t mine. A friend let me smoke some. I got invited to a party.” Em finished his donut, and then waved a powdery hand. “Not you, a different friend.”

Five’s mouth quirked into a smile. “Do you consider us friends?”

“Of course,” Emerson replied, so quickly and so easily that Five wondered if he was answering a different question.

The gears of Five’s mind, for a brief moment, faltered. He felt the hours of the night slipping through his fingers. “Did it occur to you, when you were getting stoned in a basement somewhere, that maybe this wasn’t just a courtesy call?

“Can I have another chocolate one, or do you want that one?”

“Dammit, Em!” Five snatched the bag away. “I’d expect this from my degenerate of a sibling, but not from you. I called you here for a reason, and if you’re not lucid enough to hold a conversation with—“

“Don’t call Klaus a degenerate.” Emerson almost spilled his hot chocolate with the force of his words. “And who the fuck are you to talk? Why couldn’t you just tell me on the phone or, or— at least tell me your name when you left a message? Made it less ominous?”

“Are you trying to insinuate that it’s my fault you smoked a stranger’s pot? That you just had to get high because I made you so anxious?”

“No!” Emerson slammed his styrofoam cup down on the table. “I’m just saying that I’m not the only one who’s being a fucking idiot today.”

Five brought his coffee to his lips.

Em pressed the palms of his hands into his eyes. “What are you trying to hide from your siblings, Five? And is there even a good reason for it?”

“Of course there is,” he said before he could remind himself that he didn’t need to justify what he was doing, didn’t he know how much Five had already done for his family? Didn’t he understand that everything he did, every choice he made, was in some way for them?

Em nodded as though his stupid psychic abilities extended to telepathy as well. “Sorry I ruined the night, Five.” He sounded heartbreakingly genuine. “But can we talk about whatever this is in the morning? I want to sleep. The world’s not gonna end before then, is it?”

Five waited until Emerson’s eyes flicked to his face. “No,” he said softly, when they settled somewhere around the flaccid half-goose of a napkin on the table. “Not tonight.” Small miracles. He allowed his jaw to unclench. “Come back to the mansion?”

The thought of Emerson wandering back to his apartment in this state, even as the high was wearing off, made his stomach twist up in a way that usually meant someone would be dead pretty soon. And what would be the point of walking him home and then having to teleport back to the mansion? He would be walking the same distance either way— give or take— so he might as well make it easier for him to make sure Em ate something in the morning.

A small, shy half-smile bloomed on Em’s face, brightening the whole damn town. “Sure,” he said, “Thanks, Five.”

#warning for alcohol and drug use #writing #this one wENT SO OFF THE RAILS AAAAAAHHH #it just like. BARELY connects to the prompt #but ive been tapping along at it for like. maybe a week or so now and its like yeah time to open up my notes app. where was i. hey WHY #WHY DID I MAKE MYSELF HIGH WHY WAS THAT A CHOICE I MADE #I'll tell you why its because i was reading going postal and i was like DAMN sir terry pratchet deserves that knighthood #and i was getting self conscious about my own writing being SUPER boring in comparison #and so at like nine o clock as im in my bed doing a little bit of Stuff I Enjoy before going to sleep i was like you know what?#this is the spice this story needs #instead of like. taking actual knowledge of plot and shit from this really good novel i just finished. its okay im working on that #also can you tell that i 1. have never smoked weed and 2. had no idea why the fuck five would need to talk about #i just needed SOMETHING that would fit in with of a friday night by anais mitchell!!!! and just sitting in a cafe thinking about #an old poet and how this fading town was once something else #doesnt make for an active story i cant COMPARE to reacher gilt showing up at moist's date right before the post office is on FIRE #that was the point in the book btw where i was like oh. oh. this is masterful work what do i need to do to write like this #and part of the problem maybe. is that i can't set that sort of narrative trap for my characters when i get tired out writing 2000 words #reverse urashima taro

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comradekatara · 2 years

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like star trek, or lord of the rings, or shakespeare, or homer, it’s evident that avatar’s success (both in terms of quality and the consequent popularity of it due to its quality) is inspiring a new generation of media inspired and influenced by it.

I watch a lot of contemporary cartoons that clearly have taken cues from atla due to my baby brother’s love for that kind of vibrant fantasy quest narrative. and while shows like the owl house and amphibia are most obviously direct descendants of gravity falls, and she-ra clearly takes a lot of inspiration from sailor-moon-type “magical girl” anime, they also implement a lot of tropes that atla may not have invented, but certainly perfected. it’s clear that atla changed the game.

and since my brother really likes these tropes, i’m glad that there exists a wealth of media dedicated to depicting them targeted towards his generation, especially now that there are more diverse voices behind the scenes dedicated to giving kids better representation than what we had growing up. I like these shows! especially amphibia, which surprised me in its emotional subtlety, depth, and nuanced characterization (seriously, watch the frog show it’s so good).

so I don’t want it to seem like I think that trying to replicate the tropes of a successful staple of the genre is necessarily a bad thing. this kind of derivation is the natural process of all art, playing with what works, expanding on and subverting previously established conventions in the form. but I think that a lot of the time, what happens is that people will see the success of a groundbreaking work, and try to replicate that without understanding what actually made that original work, work so well.

take lord of the rings, for a prime example. tolkien’s approach to middle earth was a project he spent his entire life on, developing conlangs and histories for a fictional world that took great inspiration from his own extremely thorough knowledge of medieval europe. as a medievalist and linguist, he used his academic career to create a work of art in which he explored various themes that concerned him personally, such as the cost of war, which he understood firsthand having fought in WWI, losing many close friends along the way. middle earth was his personal passion project that reflected his own life and interests, and cannot be separated from the man himself, as it is his personal mythology, and a reflection of his very soul.

and yet, since lord of the rings (in particular) all but established the genre of high fantasy as we know it today, pretty much everyone believes that they must take cues from tolkien if they wish to make their own mark in the genre. but people didn’t take the right lessons away from what made tolkien so successful, so instead we get stupid shit like dungeons & dragons and game of thrones that thinks that orcs and battles and half-assed conlangs is how you build a fantasy world.

or that because star trek had scapeships and humanoid aliens, that’s what makes sci fi, sci fi. the hunger games certainly isn’t a perfect novel, but it had thematic depth. every ripoff of the hunger games that came after in the post-apocalyptic teens-in-a-dystopia boom was completely fucking hollow, replicating the aesthetics and surface-level narrative conventions without actually understanding the very blatant critique of US capitalist wealth inequality the book was actually about.

a “trope” can be more than a mere aesthetic implementation or plot point in a story, and yet for some reason, when people attempt to replicate tropes in genre fiction specifically, they get stuck on the most surface-level ones. but good genre fiction goes beyond the surface.

writers do have a lot to learn from atla. it is an extremely well-told story. it’s teleologically succinct without feeling rushed or constricted by its linearity. the characters are all constructed and developed with so much depth, not only as individuals, but in the ways in which they all mirror and inform each other. the themes are complex and well-established. the worldbuilding is thoughtful and immersive. the jokes are funny! the aesthetics are impressive! it flows well, all the narrative beats work well, it’s just an all-around very good show. a masterpiece, even.

there’s no shame in being inspired by atla. I know I am. it was the first piece of high fantasy storytelling I saw that didn’t feel like a direct ripoff of tolkien. I have cared deeply about all of the characters my entire life. it is very important to me. but what makes atla good isn’t its aesthetics (although yes I do enjoy its aesthetics). what makes atla such an unforgettable staple of american cartoon history is its writing.

and that is what we must take cues from. we must ask ourselves—why do these characters work so well? how are they constructed that makes their journeys and relationships so impactful? why does the worldbuilding feel so real and immersive? what aspects of this world and these nations feel so real and familiar and complex to us? why are the themes so effective? what resonates so beautifully in this story? what nuances in this narrative structure allow for it to be such an unforgettable piece of art?

because, when you ignore the deeper themes of a text for its surface-level aesthetics, taking inspiration in name only, skimming of the top and hoping the facade will be enough to get by, that’s how you get, well, the legend of korra. interrogate the true meaning of what it is that inspires you, and why it is so impactful. let the avatar franchise and its legacy be a cautionary tale. and watch amphibia ✌🏼

#analysis #synthesis #im not even like a big tolkienist or anything but I do feel the need to avenge him lmfao #anyway. atla good #frog show good too #very different in many ways much more like gravity falls in terms of structure #but like. very good #of course adventure time is the BEST show but nothing will ever come close to that so you know why even bother #and sorry korra i love u but we had to say it. we had to!

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verytiredblob · 3 years

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My reviews on Manhwas

Alright so, recently I've began to fall into the great Manhwa hell, as if I didn't have enough fandoms.

But I neither have friends to chat about this with, nor a Discord chat where I can fanby about it, so I just decided to throw it in here.

These are both Manhwas I recommend and my opinions on them. If there are any spoilers, They will be striked through and in blue for anyone that wishes to avoid them (if anyone even reads this lol).

1. The Villainess Reverses the Hourglass (악녀는 모래시계를 되돌린다)

Premise: Aria was a terrible person and was sentenced to dead by being beheaded. In her final moments, she discovers her step sister, Mielle, actually manipulated her during her entire life just so she could get Aria killed. She then is beheaded, and wakes up in the past, in her child body. So now, she must work to both survive and get her revenge on her sister.

Lovely story, and my first Manhwa. The art is simply stunning, and all the characters are very flashed out and developed. Aria (MC) is the pettiest person alive and I'm here for that.

Also, I noticed a trend where, even though the manhwa has "Villainess" in the title, the MC is usually a total angel. Well, not here. Aria is egotistical and a total Diva, she has her goals and one of them is her revenge and by all that is sacred she'll get it.

Mielle is a great villain, she has grown a lot in her own pettiness and tactics since she was a child, and I really like that. Also, watching her suffer for being a terrible person is delightful.

The Male Lead (Asher) is also really cool, I like how he's both witty and friendly, and how much he truly admires Aria and her achievements.

The side characters are also pretty good, and they get a lot of focus because of their interactions with the main cast.

Again, The art is S T U N N I N G. Look at this:

Literally all panels are drawn like this or better, I'm in love.

All in all, an awesome read, 10/10, I love this a lot.

2. The Monster Duchess And Contract Princess (괴물 공작가의 계약 공녀)

Premise: Leslie's life was terrible, and always centered on her big sister, Eli. After a failed attempt of her family to grant Eli her sister's skills and knowledge, Leslie searches for the feared "Monster Duchess" in an attempt to survive.

Another one with incredible art AND incredible characters. Leslie is an absolute angel, and seeing her grow as a person is awesome.

The gender envy I feel with the Duchess is unbearable, she's utterly perfect. And the entire family is so dotting and loving and sweet, my little grinch heart can't take it.

She's perfection, really.

The plot keeps getting more and more mysterious, and I'm here for it!

I love each of the main characters a lot, and even the villains are well done and fuel your hatred.

Also, Eli Sperado and her Dad can choke on those black flames for all eternity.

Another 10/10, although I must warn anyone that wishes to read this that the translations sometimes are very spotty and messy, so it can be a bit annoying.

3. I'll be the Matriarch in this Life (이번 생은 가주가 되겠습니)

Premise: Firentia was a girl that died in Korea in her past life, and was reborn into an influential family as the illegitimate daughter of the third son. Her life was pretty terrible, with in the end, her family ending up in poverty and disgrace because of her uncles and cousins, while she was exiled from the family. After another accident, she wakes up in her past, now with a goal: Become the Lombardi matriarch and stop the other family heirs from bringing it to ruin.

Awesome art and Awesome plot number 3! This is so good, genuinely. Firentia is such an awesome plotter, and her goals and actions are very well developed.

The Male Lead is my baby and I shall protect him, and the side characters? Utterly stunning.

The twins are the cutest fucking shit, seriously. Like, look at these two?? I'm dead. Although, all the children are very, veeery cute.

I like how Firentia subtly manipulates things around her to get what she wants. It's similar to Aria, but she's much more mature and knowledgeable, and has a much less petty goal.

Guess what? 10/10. Yeah, I know, I'm terrible at grading, sue me.

4. The Twins Siblings' New Life (쌍둥이 남매의 뉴라이프)

Premise: Arien and Arjen were a pair of twins that died in Korea, and were reborn again as twins and as the Emperor's illegitimate children. Now, with only each other to trust, they must do their best to survive.

My current obsession. I really like this one. The art is not on the same level of pure Awesome like the ones before, but it's pretty good nonetheless.

The plot is pretty nice, but I must warn you: DO NOT expect them to act like adults. Honestly, just forget they're meant to be reborn in this world. They're just normal children and that's it. They act like children, and they think like children. Honestly, I think the author just wanted to make this story about them as children and their producer went and said to make them reincarnates because that Isekai shit is popular nowadays (And to justify they having memories of their newborn days). Seriously, just ignore it, the experience reading will be much better.

Other than that, the story develops nicely. The characters are all very good and the plot is very mysterious. I am holding myself back to not spoil anything, aaaaa.

There is also only one another thing that disappoints me: Arien is very clearly the MC. The story is told by her eyes and we only know what Arjen thinks or feels when he says it 9 or by subtext). I really wish it was more balanced, because they're both different people and have different perspectives, and also I really like Arjen.

I have absolutely no idea where this plot is gonna go, and honestly? I like it. It's very rare when I don't know how things are gonna develop because of other stories, so it feels very fresh.

The brothers are freaking awesome. I was so scared they were going to hate the twins and be petty, because of other manhwas that are like that, but they're so loving and sweet?? All hail these idiots. Also, Daddy is the biggest dumbass of all, this poor clueless man.

An 8/10, because of the complaints above. Still a good read, and I really like it, even with it's defects.

4. I'm A Stepmother, But My Daughter Is Just Too Cute! (계모인데 딸이 너무 귀여워)

Premise: A seamstress dies of overwork in Korea, and wakes up in the body of Abigail, the vain Queen, and the evil stepmother to the princess Blanche. Yes, It's like she stepped into the world of Snow White, and she must now do her best to live and.. Dote on Blanche with toys and dresses as much as possible?

Again with the awesome art and nice plot. Why are there so many manga with awesome art?? I'm so envious.

May all hail this crispy, delicious art.

Abigail is a whole mood, and I enjoy how she is inserted into the life of someone who had already lived and had a reputation. Her actions baffle a lot of the characters, as do her motivations, and I'm here for it.

The King has also an amazing backstory that's very tragic and yikes. I enjoy it, really. Not something you see in men's backstories that much.

Also, I'm kinda saddened by the fact the MC and the king are bound to become an actual couple. They would be such good platonic friends stuck in a political marriage. I was robbed, y'all.

Abigail greatest ambition is to get to design a dress for Blanche and have her wear it, and you know what? Good for her! Sometimes, it's good to have an MC that is not plotting against world at large.

Also, her mirror? Verite is simply perfect, I love this guy. I non-jokingly ship him with Abigail more than her with the King.

Blanche is a sweetheart, she deserves to be in my "adopted children" wall.

For now it's more of a Slice of Life than anything? But I also don't know what happens in the novels, so I'm just going to wait.

For the current lack of a grater plot, this gets a 7/10. Still pretty good and entertaining, especially for when you just don't feel like trying to understand deep plots with lots of elements.

5. Beware of the Brothers! (그 오빠들을 조심해!)

Premise: Another one of those "I lived my life and then wake up in the past." Hari was adopted by this family after the death of their only daughter, and although her parents love her, her 3 older siblings very much don't. She lives a miserable life in their hands, and when it's the night before she is to get married and finally escape her brothers, she wakes up in the past, and has to deal with them all over again.

Another nice art one, and the background characters are very nice, as is the MC.

But for me, it has a big problem. And that problem is the main ship. It's Hari with her eldest brother, Eugene. Even though they are not related and yadda yadda yadda, they were raised as such, and thus it bothers me. Also, Eugene is as plain as white bread and just as generic when seen as the Male Lead.

I ship Hari with Johan, even though I know it's not gonna happen, Ugh, the pain..

For me, the main point in this is Hari's relationship with her other siblings and the other background characters. I'm here for that wholesome sibling interaction. Her relationship with Erich, specially, is awesome. I love these two so much

It also kinda lacks a plot? Other than the relationship development and their story as a family, but again, I have no idea how they will develop this.

Also, pet peeve? Why do they keep using Oppa instead of translating it properly as brother? I get honorifics and stuff, but it's so annoying.

I give it a 6/10. Good characters and good relationships outside of the bloody incest thing, and it's a good enough way to pass the time.

There are two more that I've read, buut it's like 4am and I'm sleepy as all hell, so I'll just add it in a reblog or attached post later, and I plan on doing this for other future manhwas as well.

Do you have any recommendations or comments or just wanna talk about any of these manhwas? Hit me up!

#The villainess reverses the hourglass #the monster duchess and contract princess #i'll be the matriarch in this life #I'm a stepmother but my daughter is just too cute!#Beware of the brothers!#manhwa #webtoon #manhwa recommendation #isekai

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franniebanana · 3 years

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CQL Rewatch - Ep 22

It feels so good to see these two together, talking about old times, and most importantly, not arguing. It's as if this was the conversation that was meant to happen back in Yiling, but it didn't because emotions were too high. I guess it's true that absence makes the heart grow fonder. Wei Wuxian has time to think about and come to the understanding that Lan Wangji isn't fighting him, but instead showing concern. And Lan Wangji gets to hear Wei Wuxian's side of the story, about what he did those three months in the Burial Grounds. It's so refreshing to have this release after so much tension had built up, where the two of them are just open and honest with each other. And you can see how Wei Wuxian's relationship with Lan Wangji is different from his relationship to everyone else. While we get to see him being vulnerable with Jiang Yanli, he won't tell her everything; we see him connecting with Jiang Cheng again, but as is his temperament, Jiang Cheng is often flippant and dismissive, and only really cares that Wei Wuxian is back within the Jiang Clan fold. Lan Wangji really cannot be satisfied until he knows what's been going on; he wants to be reassured that Wei Wuxian is okay in both mind and body, he wants to know that he's not gone to the dark side per se.

And this moment is so pivotal here. Now that they've finally talked and gotten everything out that they've both been ruminating on over the past however long (idk timelines lol), Wei Wuxian is in a place where he can say he'll accept Lan Wangji's help. Wei Wuxian doesn't agree to it begrudgingly, but I think it's a hopeless agreement. Unless you know about his lack of a Golden Core, his response seems odd--maybe you think he's tired, maybe you think he's just doing it to appease Lan Wangji, but is being dishonest. With the knowledge of the transfer, you can see that he is agreeing to appease Lan Wangji, but not in a lazy or dishonest way: he knows that he can never learn the sword again, but he allows Lan Wangji to at least help him with his temperament. I don't think it's him agreeing to get Lan Wangji off his back, I think instead he's letting Lan Wangji know how important he is to Wei Wuxian--he's special.

After Wei Wuxian agrees to letting Lan Wangji help, he walks away smiling. He doesn't let Lan Wangji see it either. I feel that he's indescribably happy that with so many changes in his life, he has his relationship with Lan Wangji back--he has his best friend, he has someone who he can trust. And remember, he's not concerned about his temperament being overwhelmed--Wei Wuxian has always considered himself a prodigy, so while this is challenging, he believes that what he learned from the Gusu Lan Clan is enough. Lan Wangji, on the other hand, is still very concerned, and he devotes all of his free time to figuring out ways to help Wei Wuxian, to steady his mind and temperament.

So, while I'm watching this filler, I'm imagining a terrible scenario they could have done. When you're adapting a book or a play or really anything, it's not uncommon to add scenes, right? CQL has plenty of added scenes for context and padding, plus shit they just made up. Okay, so this would fall into the latter category. Imagine if they had had Lan Wangji get turned into a puppet/Urukai, and then there's some big, dramatic way that Wei Wuxian has to save him and turn him back, and it only brings them closer together as brothers in arms/whatever bs they were trying to sell us without making it romantic. Sounds like a terrible idea, right? Aren't you glad the writers had enough integrity and respect for the novel that they didn't do that? I complain about things that were added or changed as well, but if they had given me an actual explicit acknowledgment of wangxian love, I would have been happy. Of course, censorship is a bitch, so that's a no go. The point of this is that it could have been a lot worse.

Oh, god. Soup drama. Thank you to that person who posted the soup drama in Lan Wangji's POV. You are amazing, and that post always makes me cackle.

Ah, but this is canon to the novel if I remember correctly. It's totally valid and is actually kind of sad for Yanli, but I still think it's hilarious the way Wei Wuxian just takes off like a shot without knowing what's going on. The thing is, Jiang Yanli is just embarrassed about the whole thing and wants to leave, but of course Wei Wuxian wants revenge. He still harbors no love for Jin Zixuan, and any chance he gets to put the peacock in his place, he'll take.

Yanli is tugging on him with both hands, and Wei Wuxian doesn't move. He is just standing there, glaring at Jin Zixuan. There are two people in the world who Wei Wuxian will defend forever: Jiang Yanli and Lan Wangji--and Jin Zixuan has just offended one of them. Wei Wuxian is beyond pissed. And now couple that with how he was trapped in a sunless graveyard for three months, has been doing nothing but fighting since he's been out, and is using his spiritual power in a dangerous and unstable method. His mood, my friends, is not great right now.

I love how Lan Wangji looks inside the tent, and then proceeds to immediately nope out of there. I blame that soup drama post for everything that I see now, because it really does look like he's just thinking, "Ugh, soup drama again." But in all seriousness, I think this is just Lan Wangji feeling awkward again. I think he came out of genuine concern for Jiang Yanli, because remember Wei Wuxian took off without even hearing what was going on, but when he sees that it's clearly a matter between her and Jin Zixuan, he leaves. This isn't his business, and it also involves romance, because of course he remembers how they were betrothed until the fight broke out in Cloud Recesses. Regardless of how Lan Wangji carries himself and how he's so respected as a cultivator, he's still a young man, who still feels awkward about the idea of love and doesn't really want to be around any of it--lovers' quarrels and whatnot.

The other thing is, they don't pan over to Lan Wangji for no reason. Perhaps he's still remembering the conversation he had with Wei Wuxian and Jiang Cheng back in Yiling: this is a Jiang Clan affair. And this time, he's choosing to bow out when he realizes it isn't his business. However, he doesn't want to go far, because he knows how dangerous Wei Wuxian really is, especially if he loses his cool.

Honestly, Jin Zixuan is such a dick here. Every time I think he's made progress, he takes a step backward. Jiang Yanli is the sweetest person, and is just giving him soup every day to provide him with some comfort. We're to understand that she is a good cook and her soup is The Best, so she wants to do something nice for him, perhaps bring him the comfort of home in the place that is farthest from home, and he practically throws it back in her face. It's a total misunderstanding, but my heart breaks for her. And after this moment, Jin Zixuan starts to try harder. I think he finally sees who she is, what kind of person she is, and understands how genuine and loving she has always been. He finally opens his eyes and gets to know her as a person, not as the girl he's engaged to, not as the girl he was engaged to, not as the girl his parents want him to marry--but as the girl who he's interested in.

Not a lot to talk about this episode. I swear, half of it is just fighting. But let's take a moment to appreciate Wei Wuxian and Lan Wangji fighting together. I am a sucker for this sort of thing, so I love seeing Lan Wangji swoop in and knock a baddie's sword out of the way to protect Wei Wuxian. It feels good seeing that and seeing them on the same side, fighting together.

Wei Wuxian tried it their way. He tried to fight without using Chenqing, but the fight was impossible. As stated before, the puppets are unkillable, so there was no way to win just by fighting them, and obviously what Nie Mingjue was doing wasn't helping. The only way to survive at this point was to try and control the puppets into working against Wen Ruohan. There's a shot of Lan Wangji before this, where he looks concerned, but I think he even knows that they had no other choice.

This was a short one, sorry! But really, I'm not going to babble about nothing. So much fighting and not a lot of dialogue or other things really happened. We're just getting through major plot points right now to be honest.

Other episodes: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | Or just check out the #CQL Rewatch hashtag

#wangxian #lan wangji #wei wuxian #cql #the untamed #jiang cheng #jiang yanli #mdzs #mo dao zu shi #ep 22 #cql rewatch

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moontheoretist · 3 years

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I am watching What IF...?

Episode 1: What if... Captain Carter were the First Avenger?

You know... when I saw that it started from the breach in Captain America timeline and saw Peggy become a super soldier, I was pretty sure that Steve will resent her for what she did, because his portrayal in the First Avenger movie even before the serum indicated that he would be, just like he was of Bucky for being drafted while he was left behind. It’s canon behavior for him as far as I noticed.

What If..?’s Steve however is a better man. I dunno when exactly he changed, but he did. He doesn’t act as if he resented Peggy, and he seems quite ok with how everything turned out. Which is like, wow, I didn’t expect that. Also, Peggy has a far better story as Captain.

Like, she isn’t put into USO, she is denied being a soldier even, because she is a woman, the only thing she seems to share with Captain America is murdering punching bags and throwing stuff when angry, which is kinda a bad sign, but ok, everybody needs coping mechanisms. ANYWAY, when she learns where Hydra went, she quickly figured out what they were after, but the guy in charge (John Flynn), the same one who told her that she is a woman not a soldier, doesn’t want to send her there even though they still have a chance to get it back in time. So Howard steps in and her whole rebellion against the military is about not endangering everybody with a stupid ass decision made by a general who doesn’t get how important the cube is, instead of about saving just one man and accidentally saving 400 others by extension by literally going AWOL and endangering his friends like MCU Steve did. Everything about the mission which makes her recognized is about retrieving the Tesseract. And Howard gives her a uniform and a shield to do just that. All in British colors, because American military sucks.

(I love their “she just reaped the bars out, holy shit” faces xD)

AND THEN they go SAVE BUCKY. That makes much more sense story wise. And also Howard is showing Steve that technology can aid him when the serum now can’t, because Peggy is the super soldier instead, literally building better foundations for Steve’s attitude towards technology and the future. He will not be stuck in ice and come back for the Avengers, but at least he is getting better development not only in relation to this topic, but also to his hatred towards his body and his masculinity. Peggy still wanting him despite him being small and frail and now also disabled even more after he was shot and has to walk with a cane, literally builds in Steve the idea that his masculinity is not weak or bad, because he is not a macho muscly type and that his body isn’t something which he should hate or which makes him less than others. AND he is literally Tony now! I did suspect that the technology he got was a suit, but damn, is Steve in this universe fated to be the first Iron Man and then Tony second?

Lol, they named him “Hydra Stomper”.

And now Peggy teaches Steve the most important lesson “the Suit is nothing without the man inside”, which he as much as Tony needed to learn to finally feel free and not less than the others, because they rely on something. The only difference between Steve and Tony here is that Iron Man without Tony is truly nothing, because he made it, while Steve's suit was given to him, so anybody can technically pilot it. Anyway, I like this Steve so much more than MCU one.

(Which when I think about it now creates a pothole in the later part of the episode. Like why Hydra and Red Scull let the suit hanging instead of use it against Peggy? Why put Steve in chains next to it? It kinda looks like damseling him for literally no reason. I wonder why they didn’t kill him right away? Because what? Because he had blonde hair and blue eyes? Or what? Scull liked him? And we cannot even say it was done for the sake of Peggy saving him, because Peggy never sees Steve in chains. She went the other way, so why is he there? To save for whom? Bucky? It would be more logical if Red Scull just killed Steve and put the suit himself and fought Peggy in it to hurt her. Then at least space squid wouldn’t kill him, lol... ah wait. OH, yeah, Tesseract was inside the suit, so he just took it out. Still, he could power up the suit with something else and put one of his people inside to fight Peggy anyway, just in case she came for him).

AND OF COURSE HE HAD TO TRAGICALLY DIE WHEN I FINALLY STARTED LIKING THE WEASEL! LOL, we know what will happen next. He will become the new Winter Soldier, I suppose? If he survived the explosion.

Oh, they brought the original castle storyline back! It never appeared in the Captain America: The First Avenger, even though I personally remember a castle being a main stage for the whole “Steve sacrificed himself prelude” thing, so it’s nice to have a castle and an interdimensional portal back, instead of a plane battle.

“I am up for anything, but this is crazy”.

“And so is Steve Rogers”

Me: *wheezing*

Anyway, he survived. There is no Winter Soldier in this universe and Peggy gets lost in the portal, and she is brought back to 2012 by I suspect Project Pegasus as it is the “Loki’s arrival” scene.

I think that now, if we assume that everybody else is still present in this universe, meaning that Tony became Iron Man and all, Steve becoming a Hydra Stomper and working with Peggy gave Captain Carter an experience in fighting alongside someone in a metal suit. Plus her friendship with Howard means that she won’t have any bad disposition towards Tony and hence Avengers team will actually work better, and if there is Civil War it would be different and about something else, because Captain Carter knows her way around learning political related stuff, so she wouldn’t really kick Accords in the ass unless it was a Hydra plot. I also suppose that without her making Project Paperclip, Hydra would not infiltrate SHIELD, or someone else does that, and Captain Carter would notice something is not right with SHIELD, and she would root the Hydra out herself.

Also, I wanna point out that the scene in which Peggy is shown to be “smarter than Howard” is there only to establish the difference between her and MCU Steve Rogers, who doesn’t know shit about technology. It’s not that Howard isn’t smart anymore. He is a civilian, who is not a brawling type, in a room with a huge octopus which crushed Red Scull like a wooden stick. It stands to reason that he would be panicked enough to not be able to articulate properly. It also establishes that no “it runs on some kind of electricity” will happen in this universe during the Avengers storyline, where she ends by the end of the episode. It comes out a little out of the blue, that’s true, but this is not a line which only “genius” or “science type” can say. It’s just a typical sci-fi approach to the problem with anything, which also sounds smart at the same time. She could even take it out from a sci-fi novel. But I agree that they didn’t establish where that knowledge comes from in any of the previous scenes.

Episode 2: What if... T’Challa became a Star-Lord?

Lol, a vastly different reaction xD

And this was the moment when young T’Challa thought, “who needs to tell their baba that they’re going into space, anyway?” and just went and disappeared. I don’t even wanna know what Wakanda did after the prince vanished. Though it means that Shuri can become a queen and the Black Panther now, HELL YEAH!

And this is the proof that anybody who says that we have to murder someone else to “save the planet” from overpopulation is wrong. (Because they are wrong, just go and check studies about that). T’Challa just showed Thanos the benefits of equal share of the resources and saved the universe with logic and diplomacy.

And my hopes for Queen Shuri just went out the window. BTW, why Nebula turned into a living example of “blue space babe” (from feminist studies which pointed out that alien women are just human women painted colors and shown in sexy clothes or portrayed as dancers and prostitutes for the benefit of the male gaze). She got sexy hair, sexy dress, and she is later shown to be some kind of spy by the clothes she wears and her general attitude. She reminds me so much of Natasha that I am tempted to say she is a sexy spy cliché.

It’s kind of degrading after the whole episode which centered around a woman being denied being a soldier, which in the whole militaristic and male dominated setting was pretty much conveying feminist messages, while here in another male dominated setting we have only two women shown with any lines and one of them is Nebula sexy spy. It just comes across weird after the previous episode, tbh.

She even speaks like Natasha from the MCU... and she betrays just like our dear russian friend, Natasha. Anyway, it looks like Queen Shuri is still on the table! Wakanda prevails! It was not destroyed!

Ok, nevermind. She is a space Black Widow, but in this way that she plays every side just like Natasha does. Apparently... betrayal was part of the plan, lol. What is with this idea that women named with a name starting with N are good spies in this universe?

Carina the badass! GO CARINA! SHOW THEM!

At least in this universe, she doesn’t foolishly die for “drama”. Or, in MCU’s case, for exposition to show “what happens to those who touch the infinity stone”. I gotta say, her revenge was sweet.

#what if...?#what if...? spoilers #peggy carter #bucky barnes #nebula #t'challa #thanos #mcu steve rogers critical #what if...? steve rogers rulez #mcu critical #feminism #why did you have to sexualize Nebula to make her second Natasha?

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holyhellpod · 3 years

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Holy Hell: 3. Metanarrativity: Who’s the Deleuze and who’s the Guattari in your relationship? aka the analysis no one asked for.

In this ep, we delve into authorship, narrative, fandom and narrative meaning. And somehow, as always, bring it back to Cas and Misha Collins.

(Note: the reason I didn’t talk about Billie’s authorship and library is because I completely forgot it existed until I watched season 13 “Advanced Thanatology” again, while waiting for this episode to upload. I’ll find a way to work her into later episodes tho!)

I had to upload it as a new podcast to Spotify so if you could just re-subscribe that would be great! Or listen to it at these other links.

Please listen to the bit at the beginning about monetisation and if you have any questions don’t hesitate to message me here.

Apple | Spotify | Google

Transcript under the cut!

Warnings: discussions of incest, date rape, rpf, war, 9/11, the bush administration, abuse, mental health, addiction, homelessness. Most of these are just one off comments, they’re not full discussions.

Meta-Textuality: Who’s the Deleuze and who’s the Guattari in your relationship?

In the third episode of Season 6, “The Third Man,” Balthazar says to Cas, “you tore up the whole script and burned the pages.” That is the fundamental idea the writers of the first five seasons were trying to sell us: whatever grand plan the biblical God had cooking up is worth nothing in face of the love these men have—for each other and the world. Sam, Bobby, Cas and Dean will go to any lengths to protect one another and keep people safe. What’s real? What’s worth saving? People are real. Families are worth saving.

This show plugs free will as the most important thing a person, angel, demon or otherwise can have. The fact of the matter is that Dean was always going to fight against the status quo, Sam was always going to go his own way, and Bobby was always going to do his best for his boys. The only uncertainty in the entire narrative is Cas. He was never meant to rebel. He was never meant to fall from Heaven. He was supposed to fall in line, be a good soldier, and help bring on the apocalypse, but Cas was the first agent of free will in the show’s timeline. Sam followed Lucifer, Dean followed Michael, and John gave himself up for the sins of his children, at once both a God and Jesus figure. But Cas wasn’t modelled off anyone else. He is original. There are definitely some parallels to Ruby, but I would argue those are largely unintentional. Cas broke the mold.

That’s to say nothing of the impact he’s had on the fanbase, and the show itself, which would not have reached 15 seasons and be able to end the way they wanted it to without Cas and Misha Collins. His back must be breaking from carrying the entire show.

But what the holy hell are we doing here today? Not just talking about Cas. We’re talking about metanarrativity: as I define it, and for purposes of this episode, the story within a story, and the act of storytelling. We’re going to go through a select few episodes which I think exemplify the best of what this show has to offer in terms of framing the narrative. We’ll talk about characters like Chuck and Becky and the baby dykes in season 10. And most importantly we’ll talk about the audience’s role, our role, in the reciprocal relationship of storytelling. After all, a tv show is nothing without the viewer.

I was in fact introduced to the concept of metanarrativity by Supernatural, so the fact that I’m revisiting it six years after I finished my degree to talk about the show is one of life’s little jokes.

I’m brushing off my degree and bringing out the big guns (aka literary theorists) to examine this concept. This will be yet another piece of analysis that would’ve gone well in my English Lit degree, but I’ll try not to make it dry as dog shit.

First off, I’m going to argue that the relationship between the creators of Supernatural and the fans has always been a dialogue, albeit with a power imbalance. Throughout the series, even before explicitly metanarrative episodes like season 10 “Fan Fiction” and season 4 “the monster at the end of this book,” the creators have always engaged in conversations with the fans through the show. This includes but is not limited to fan conventions, where the creators have actual, live conversations with the fans. Misha Collins admitted at a con that he’d read fanfiction of Cas while he was filming season 4, but it’s pretty clear even from the first season that the creators, at the very least Eric Kripke, were engaging with fans. The show aired around the same time as Twitter and Tumblr were created, both of which opened up new passageways for fans to interact with each other, and for Twitter and Facebook especially, new passageways for fans to interact with creators and celebrities.

But being the creators, they have ultimate control over what is written, filmed and aired, while we can only speculate and make our own transformative interpretations. But at least since s4, they have engaged in meta narrative construction that at once speaks to fans as well as expands the universe in fun and creative ways. My favourite episodes are the ones where we see the Winchesters through the lens of other characters, such as the season 3 episode “Jus In Bello,” in which Sam and Dean are arrested by Victor Henriksen, and the season 7 episode “Slash Fiction” in which Dean and Sam’s dopplegangers rob banks and kill a bunch of people, loathe as I am to admit that season 7 had an effect on any part of me except my upchuck reflex. My second favourite episodes are the meta episodes, and for this episode of Holy Hell, we’ll be discussing a few: The French Mistake, he Monster at the end of this book, the real ghostbusters, Fan Fiction, Metafiction, and Don’t Call Me Shurley. I’ll also discuss Becky more broadly, because, like, of course I’ll be discussing Becky, she died for our sins.

Let’s take it back. The Monster At The End Of This Book — written by Julie Siege and Nancy Weiner and directed by Mike Rohl. Inarguably one of the better episodes in the first five seasons. Not only is Cas in it, looking so beautiful, but Sam gets something to do, thank god, and it introduces the character of Chuck, who becomes a source of comic relief over the next two seasons. The episode starts with Chuck Shurley, pen named Carver Edlund after my besties, having a vision while passed out drunk. He dreams of Sam and Dean larping as Feds and finding a series of books based on their lives that Chuck has written. They eventually track Chuck down, interrogate him, and realise that he’s a prophet of the lord, tasked with writing the Winchester Gospels. The B plot is Sam plotting to kill Lilith while Dean fails to get them out of the town to escape her. The C plot is Dean and Cas having a moment that strengthens their friendship and leads further into Cas’s eventual disobedience for Dean. Like the movie Disobedience. Exactly like the movie Disobedience. Cas definitely spits in Dean’s mouth, it’s kinda gross to be honest. Maybe I’m just not allo enough to appreciate art.

When Eric Kripke was showrunner of the first five seasons of Supernatural, he conceptualised the character of Chuck. Kripke as the author-god introduced the character of the author-prophet who would later become in Jeremy Carver’s showrun seasons the biblical God. Judith May Fathallah writes in “I’m A God: The Author and the Writing Fan in Supernatural” that Kripke writes himself both into and out of the text, ending his era with Chuck winking at the camera, saying, “nothing really ends,” and disappearing. Kripke stayed on as producer, continuing to write episodes through Sera Gamble’s era, and was even inserted in text in the season 6 episode “The French Mistake”. So nothing really does end, not Kripke’s grip on the show he created, not even the show itself, which fans have jokingly referred to as continuing into its 16th season. Except we’re not joking. It will die when all of us are dead, when there is no one left to remember it. According to W R Fisher, humans are homo narrans, natural storytellers. The Supernatural fandom is telling a fidelitous narrative, one which matches our own beliefs, values and experiences instead of that of canon. Instead of, at Fathallah says, “the Greek tradition, that we should struggle to do the right thing simply because it is right, though we will suffer and be punished anyway,” the fans have created an ending for the characters that satisfies each and every one of our desires, because we each create our own endings. It’s better because we get to share them with each other, in the tradition of campfire stories, each telling our own version and building upon the others. If that’s not the epitome of mythmaking then I don’t know. It’s just great. Dean and Cas are married, Eileen and Sam are married, Jack is sometimes a baby who Claire and Kaia are forced to babysit, Jody and Donna are gonna get hitched soon. It’s season 17, time for many weddings, and Kevin Tran is alive. Kripke, you have no control over this anymore, you crusty hag.

Chuck is introduced as someone with power, but not influence over the story, only how the story is told through the medium of the novels. It’s basically a very badly written, non authorised biography, and Charlie reading literally every book and referencing things she should have no knowledge of is so damn creepy and funny. At first Chuck is surprised by his characters coming to life, despite having written it already, and when shown the intimidating array of weapons in Baby’s trunk he gets real scared. Which is the appropriate response for a skinny 5-foot-8 white guy in a bathrobe who writes terrible fantasy novels for a living.

As far as I can remember, this is the first explicitly metanarrative episode in the series, or at least the first one with in world consequences. It builds upon the lore of Christianity, angels, and God, while teasing what’s to come. Chuck and Sam have a conversation about how the rest of the season is going to play out, and Sam comes away with the impression that he’ll go down with the ship. They touch on Sam’s addiction to demon blood, which Chuck admits he didn’t write into the books, because in the world of supernatural, addiction should be demonised ha ha at every opportunity, except for Dean’s alcoholism which is cool and manly and should never be analysed as an unhealthy trauma coping mechanism.

Chuck is mostly impotent in the story of Sam and Dean, but his very presence presents an element of good luck that turns quickly into a force of antagonism in the series four finale, “Lucifer Rising”, when the archangel Raphael who defeats Lilith in this episode also kills Cas in the finale. It’s Cas’s quick thinking and Dean’s quick doing that resolve the episode and save them from Lilith, once again proving that free will is the greatest force in the universe. Cas is already tearing up pages and burning scripts. The fandom does the same, acting as gods of their own making in taking canon and transforming it into fan art. The fans aren’t impotent like Chuck, but neither do we have sway over the story in the way that Cas and Dean do. Sam isn’t interested in changing the story in the same way—he wants to kill Lilith and save the world, but in doing so continues the story in the way it was always supposed to go, the way the angels and the demons and even God wanted him to.

Neither of them are author-gods in the way that God is. We find out later that Chuck is in fact the real biblical god, and he engineers everything. The one thing he doesn’t engineer, however, is Castiel, and I’ll get to that in a minute.

The Real Ghostbusters

Season 5’s “The real ghostbusters,” written by Nancy Weiner and Erik Kripke, and directed by James L Conway, situates the Winchesters at a fan convention for the Supernatural books. While there, they are confronted by a slew of fans cosplaying as Sam, Dean, Bobby, the scarecrow, Azazel, and more. They happen to stumble upon a case, in the midst of the game where the fans pretend to be on a case, and with the help of two fans cosplaying as Sam and Dean, they put to rest a group of homicidal ghost children and save the day. Chuck as the special guest of the con has a hero moment that spurs Becky on to return his affections. And at the end, we learn that the Colt, which they’ve been hunting down to kill the devil, was given to a demon named Crowley. It’s a fun episode, but ultimately skippable. This episode isn’t so much metanarrative as it is metatextual—metatextual meaning more than one layer of text but not necessarily about the storytelling in those texts—but let’s take a look at it anyway.

The metanarrative element of a show about a series of books about the brothers the show is based on is dope and expands upon what we saw in “the monster at the end of this book”. But the episode tells a tale about about the show itself, and the fandom that surrounds it.

Where “The Monster At The End Of This Book” and the season 5 premiere “Sympathy For The Devil” poked at the coiled snake of fans and the concept of fandom, “the real ghostbusters” drags them into the harsh light of an enclosure and antagonises them in front of an audience. The metanarrative element revolves around not only the books themselves, but the stories concocted within the episode: namely Barnes and Demian the cosplayers and the story of the ghosts. The Winchester brothers’s history that we’ve seen throughout the first five seasons of the show is bared in a tongue in cheek way: while we cried with them when Sam and Dean fought with John, now the story is thrown out in such a way as to mock both the story and the fans’ relationship to it. Let me tell you, there is a lot to be made fun of on this show, but the fans’ relationship to the story of Sam, Dean and everyone they encounter along the way isn’t part of it. I don’t mean to be like, wow you can’t make fun of us ever because we’re special little snowflakes and we take everything so seriously, because you are welcome to make fun of us, but when the creators do it, I can’t help but notice a hint of malice. And I think that’s understandable in a way. Like The relationship between creator and fan is both layered and symbiotic. While Kripke and co no doubt owe the show’s popularity to the fans, especially as the fandom has grown and evolved over time, we’re not exactly free of sin. And don’t get me wrong, no fandom is. But the bad apples always seem to outweigh the good ones, and bad experiences can stick with us long past their due.

However, portraying us as losers with no lives who get too obsessed with this show — well, you know, actually, maybe they’re right. I am a loser with no life and I am too obsessed with this show. So maybe they have a point. But they’re so harsh about it. From wincestie Becky who they paint as a desperate shrew to these cosplayers who threaten Dean’s very perception of himself, we’re not painted in a very good light.

Dean says to Demian and Barnes, “It must be nice to get out of your mom’s basement.” He’s judging them for deriving pleasure from dressing up and pretending to be someone else for a night. He doesn’t seem to get the irony that he does that for a living. As the seasons wore on, the creators made sure to include episodes where Dean’s inner geek could run rampant, often in the form of dressing up like a cowboy, such as season six “Frontierland” and season 13 “Tombstone”. I had to take a break from writing this to laugh for five minutes because Dean is so funny. He’s a car gay but he only likes one car. He doesn’t follow sports. His echolalia causes him to blurt out lines from his favourite movies. He’s a posse magnet. And he loves cosplay. But he will continually degrade and insult anyone who expresses interest in role play, fandom, or interests in general. Maybe that’s why Sam is such a boring person, because Dean as his mother didn’t allow him to have any interests outside of hunting. And when Sam does express interests, Dean insults him too. What a dick. He’s my soulmate, but I am not going to stop listening to hair metal for him. That’s where I draw the line.

Where “the monster at the end of this book” is concerned with narrative and authorship, “the real ghostbusters” is concerned with fandom and fan reactions to the show. It’s not really the best example to talk about in an episode about metanarrativity, but I wanted to include it anyway. It veers from talk of narrative by focusing on the people in the periphery of the narrative—the fans and the author. In season 9 “Metafiction,” Metatron asks the question, who gives the story meaning? The text would have you believe it’s the characters. The angels think it’s God. The fandom think it’s us. The creators think it’s them. Perhaps we will never come to a consensus or even a satisfactory answer to this question. Perhaps that’s the point.

The ultimate takeaway from this episode is that ordinary people, the people Sam and Dean save, the people they save the world for, the people they die for again and again, are what give their story meaning. Chuck defeats a ghost and saves the people in the conference room from being murdered. Demian and Barnes, don’t ask me which is which, burn the bodies of the ghost children and lay their spirits to rest. The text says that ordinary, every day people can rise to the challenge of becoming extraordinary. It’s not a bad note to end on, by any means. And then we find out that Demian and Barnes are a couple, which of course Dean is surprised at, because he lacks object permanence.

This is no doubt influenced by how a good portion of the transformative fandom are queer, and also a nod to the wincesties and RPF writers like Becky who continue to bottom feed off the wrong message of this show. But then, the creators encourage that sort of thing, so who are the real clowns here? Everyone. Everyone involved with this show in any way is a clown, except for the crew, who were able to feed their families for more than a decade.

Okay side note… over the past year or so I’ve been in process of realising that even in fandom queers are in the minority. I know the statistic is that 10% of the world population is queer, but that doesn’t seem right to me? Maybe because 4/5 closest friends are queer and I hang around queers online, but I also think I lack object permanence when it comes to straight people. Like I just do not interact with straight people on a regular basis outside of my best friend and parents and school. So when I hear that someone in fandom is straight I’m like, what the fuck… can you keep that to yourself please? Like if I saw Misha Collins coming out as straight I would be like, I didn’t ask and you didn’t have to tell. Okay I’m mostly joking, but I do forget straight people exist. Mostly I don’t think about whether people are gay or trans or cis or straight unless they’ve explicitly said it and then yes it does colour my perception of them, because of course it would. If they’re part of the queer community, they’re my people. And if they’re straight and cis, then they could very well pose a threat to me and my wellbeing. But I never ask people because it’s not my business to ask. If they feel comfortable enough to tell me, that’s awesome. I think Dean feels the same way. Towards the later seasons at least, he has a good reaction when it’s revealed that someone is queer, even if it is mostly played off as a joke. It’s just that he doesn’t have a frame of reference in his own life to having a gay relationship, either his or someone he’s close to. He says to Cesar and Jesse in season 11 “The Critters” that they fight like brothers, because that’s the only way he knows how to conceptualise it. He doesn’t have a way to categorise his and Cas’s relationship, which is in many ways, long before season 15 “Despair,” harking back even to the parallels between Ruby and Cas in season 3 and 4, a romantic one, aside from that Cas is like a brother to him. Because he’s never had anyone in his life care for him the way Cas does that wasn’t Sam and Bobby, and he doesn’t recognise the romantic element of their relationship until literally Cas says it to him in the third last episode, he just—doesn’t know what his and Cas’s relationship is. He just really doesn’t know. And he grew up with a father who despised him for taking the mom and wife role in their family, the role that John placed him in, for being subservient to John’s wishes where Sam was more rebellious, so of course he wouldn’t understand either his own desires or those of anyone around him who isn’t explicitly shoving their tits in his face. He moulded his entire personality around what he thought John wanted of him, and John says to him explicitly in season 14 “Lebanon”, “I thought you’d have a family,” meaning, like him, wife and two rugrats. And then, dear god, Dean says, thinking of Sam, Cas, Jack, Claire, and Mary, “I have a family.” God that hurts so much. But since for most of his life he hasn’t been himself, he’s been the man he thought his father wanted him to be, he’s never been able to examine his own desires, wants and goals. So even though he’s really good at reading people, he is not good at reading other people’s desires unless they have nefarious intentions. Because he doesn’t recognise what he feels is attraction to men, he doesn’t recognise that in anyone else.

Okay that’s completely off topic, wow. Getting back to metanarrativity in “The Real Ghostbusters,” I’ll just cap it off by saying that the books in this episode are more a frame for the events than the events themselves. However, there are some good outtakes where Chuck answers some questions, and I’m not sure how much of that is scripted and how much is Rob Benedict just going for it, but it lends another element to the idea of Kripke as author-god. The idea of a fan convention is really cool, because at this point Supernatural conventions had been running for about 4 years, since 2006. It’s definitely a tribute to the fans, but also to their own self importance. So it’s a mixed bag, considering there were plenty of elements in there that show the good side of fandom and fans, but ultimately the Winchesters want nothing to do with it, consider it weird, and threaten Chuck when he says he’ll start releasing books again, which as far as they know is his only source of income. But it’s a fun episode and Dean is a grouchy bitch, so who the holy hell cares?

Season 10 episode “fanfiction” written by my close personal friend Robbie Thompson and directed by Phil Sgriccia is one of the funniest episodes this show has ever done. Not only is it full of metatextual and metanarrative jokes, the entire premise revolves around fanservice, but in like a fun and interesting way, not fanservice like killing the band Kansas so that Dean can listen to “Carry On My Wayward Son” in heaven twice. Twice. One version after another. Like I would watch this musical seven times in theatre, I would buy the soundtrack, I would listen to it on repeat and make all my friends listen to it when they attend my online Jitsi birthday party. This musical is my Hamilton. Top ten episodes of this show for sure. The only way it could be better is if Cas was there. And he deserved to be there. He deserved to watch little dyke Castiel make out with her girlfriend with her cute little wings, after which he and Dean share uncomfortable eye contact. Dean himself is forever coming to terms with the fact that gay people exist, but Cas should get every opportunity he can to hear that it’s super cool and great and awesome to be queer. But really he should be in every episode, all of them, all 300 plus episodes including the ones before angels were introduced. I’m going to commission the guy who edits Paddington into every movie to superimpose Cas standing on the highway into every episode at least once.

“Fan Fiction” starts with a tv script and the words “Supernatural pilot created by Eric Kripke”. This Immediately sets up the idea that it’s toying with narrative. Blah blah blah, some people go missing, they stumble into a scene from their worst nightmares: the school is putting on a musical production of a show inspired by the Supernatural books. It’s a comedy of errors. When people continue to go missing, Sam and Dean have to convince the girls that something supernatural is happening, while retaining their dignity and respect. They reveal that they are the real Sam and Dean, and Dean gives the director Marie a summary of their lives over the last five seasons, but they aren’t taken seriously. Because, like, of course they aren’t. Even when the girls realise that something supernatural is happening, they don’t actually believe that the musical they’ve made and the series of books they’re basing it on are real. Despite how Sam and Dean Winchester were literal fugitives for many years at many different times, and this was on the news, and they were wanted by the FBI, despite how they pretend to be FBI, and no one mentions it??? Did any of the staffwriters do the required reading or just do what I used to do for my 40 plus page readings of Baudrillard and just skim the first sentence of every paragraph? Neat hack for you: paragraphs are set up in a logical order of Topic, Example, Elaboration, Linking sentence. Do you have to read 60 pages of some crusty French dude waxing poetic about how his best friend Pierre wants to shag his wife and making that your problem? Read the first and last sentence of every paragraph. Boom, done. Just cut your work in half.

The musical highlights a lot of the important moments of the show so far. The brothers have, as Charlie Bradbury says, their “broment,” and as Marie says, their “boy melodrama scene,” while she insinuates that there is a sexual element to their relationship. This show never passed up an opportunity to mention incest. It’s like: mentioning incest 5000 km, not being disgusting 1 km, what a hard decision. Actually, they do have to walk on their knees for 100 miles through the desert repenting. But there are other moments—such as Mary burning on the ceiling, a classic, Castiel waiting for Dean at the side of the highway, and Azazel poisoning Sam. With the help of the high schoolers, Sam and Dean overcome Calliope, the muse and bad guy of the episode, and save the day. What began as their lives reinterpreted and told back to them turns into a story they have some agency over.

In this episode, as opposed to “The Monster At The End Of This Book,” The storytelling has transferred from an alcoholic in a bathrobe into the hands of an overbearing and overachieving teenage girl, and honestly why not. Transformative fiction is by and large run by women, and queer women, so Marie and her stage manager slash Jody Mills’s understudy Maeve are just following in the footsteps of legends. This kind of really succinctly summarises the difference between curative fandom and transformative fandom, the former of which is populated mostly by men, and the latter mostly by women. As defined by LordByronic in 2015, Curative fandom is more like enjoying the text, collecting the merchandise, organising the knowledge — basically Reddit in terms of fandom curation. Transformative fandom is transforming the source text in some way — making fanart, fanfic, mvs, or a musical — basically Tumblr in general, and Archive of our own specifically. Like what do non fandom people even do on Tumblr? It is a complete mystery to me. Whereas Chuck literally writes himself into the narrative he receives through visions, Marie and co have agency and control over the narrative by writing it themselves.

Chuck does appear in the episode towards the end, his first appearance after five seasons. The theory that he killed those lesbian theatre girls makes me wanna curl up and die, so I don’t subscribe to it. Chuck watched the musical and he liked it and he gave unwarranted notes and then he left, the end.

The Supernatural creative team is explicitly acknowledging the fandom’s efforts by making this episode. They’re writing us in again, with more obsessive fans, but with lethbians this time, which makes it infinitely better. And instead of showing us as potential date rapists, we’re just cool chicks who like to make art. And that’s fucken awesome.

I just have to note that the characters literally say the word Destiel after Dean sees the actors playing Dean and Cas making out. He storms off and tells Sam to shut the fuck up when Sam makes fun of him, because Dean’s sexuality is NOT threatened he just needs to assert his dominance as a straight hetero man who has NEVER looked at another man’s lips and licked his own. He just… forgets that gay people exist until someone reminds him. BUT THEN, after a rousing speech that is stolen from Rent or Wicked or something, he echoes Marie’s words back, saying “put as much sub into that text as you possibly can.” What does Dean know about subbing, I wonder. Okay I’m suddenly reminded that he did literally go to a kink bar and get hit on by a leather daddy. Oh Dean, the experiences you have as a broad-shouldered, pixie-faced man with cowboy legs. You were born for this role.

Metatron is my favourite villain. As one tumblr user pointed out, he is an evil English literature major, which is just a normal English literature major. The season nine episode “Meta Fiction” written by my main man robbie thompson and directed by thomas j wright, happens within a curious season. Castiel, once again, becomes the leader of a portion of the heavenly host to take down Metatron, and Dean is affected by the Mark Of Cain. Sam was recently possessed by Gadreel, who killed Kevin in Sam’s body and then decided to run off with Metatron. Metatron himself is recruiting angels to join him, in the hopes that he can become the new God. It’s the first introduction of Hannah, who encourages Cas to recruit angels himself to take on Metatron. Also, we get to see Gabriel again, who is always a delight.

This episode is a lot of fun. Metatron poses questions like, who tells a story and who is the most important person in the telling? Is it the writer? The audience? He starts off staring over his typewriter to address the camera, like a pompous dickhead. No longer content with consuming stories, he’s started to write his own. And they are hubristic ones about becoming God, a better god than Chuck ever was, but to do it he needs to kill a bunch of people and blame it on Cas. So really, he’s actually exactly like Chuck who blamed everything on Lucifer.

But I think the most apt analogy we can use for this in terms of who is the creator is to think of Metatron as a fanfiction writer. He consumes the media—the Winchester Gospels—and starts to write his own version of events—leading an army to become God and kill Cas. Nevermind that no one has been able to kill Cas in a way that matters or a way that sticks. Which is canon, and what Metatron is trying to do is—well not fanon because it actually does impact the Winchesters’ storyline. It would be like if one of the writers of Supernatural began writing Supernatural fanfiction before they got a job on the show. Which as my generation and the generations coming after me get more comfortable with fanfiction and fandom, is going to be the case for a lot of shows. I think it’s already the case for Riverdale. Correct me if I’m wrong, but didn’t the woman who wrote the bi Dean essay go to work on Riverdale? Or something? I dunno, I have the post saved in my tumblr likes but that is quagmire of epic proportions that I will easily get lost in if I try to find it.

Okay let me flex my literary degree. As Englund and Leach say in “Ethnography and the metanarratives of modernity,” “The influential “literary turn,” in which the problems of ethnography were seen as largely textual and their solutions as lying in experimental writing seems to have lost its impetus.” This can be taken to mean, in the context of Supernatural, that while Metatron’s writings seek to forge a new path in history, forgoing fate for a new kind of divine intervention, the problem with Metatron is that he’s too caught up in the textual, too caught up in the writing, to be effectual. And this as we see throughout seasons 9, 10 and 11, has no lasting effect. Cas gets his grace back, Dean survives, and Metatron becomes a powerless human. In this case, the impetus is his grace, which he loses when Cas cuts it out of him, a mirror to Metatron cutting out Cas’s grace.

However, I realise that the concept of ethnography in Supernatural is a flawed one, ethnography being the observation of another culture: a lot of the angels observe humanity and seem to fit in. However, Cas has to slowly acclimatise to the Winchesters as they tame him, but he never quite fit in—missing cues, not understanding jokes or Dean’s personal space, the scene where he says, “We have a guinea pig? Where?” Show him the guinea pig Sam!!! He wants to see it!!! At most he passes as a human with autism. Cas doesn’t really observe humanity—he observes nature, as seen in season 7 “reading is fundamental” and “survival of the fittest”. Even the human acts he talks about in season 6 “the man who would be king” are from hundreds or thousands of years ago. He certainly doesn’t observe popular culture, which puts him at odds with Dean, who is made up of 90 per cent pop culture references and 10 per cent flannel. Metatron doesn’t seek to blend in with humanity so much as control it, which actually is the most apt example of ethnography for white people in the last—you know, forever. But of course the writers didn’t seek to make this analogy. It is purely by chance, and maybe I’m the only person insane enough to realise it. But probably not. There are a lot of cookies much smarter than me in the Supernatural fandom and they’ve like me have grown up and gone to university and gotten real jobs in the real world and real haircuts. I’m probably the only person to apply Englund and Leach to it though.

And yes, as I read this paper I did need to have one tab open on Google, with the word “define” in the search bar.

Metatron has a few lines in this that I really like. He says:

“The universe is made up of stories, not atoms.”

“You’re going to have to follow my script.”

“I’m an entity of my word.”

It’s really obvious, but they’re pushing the idea that Metatron has become an agent of authorship instead of just a consumer of media. He even throws a Supernatural book into his fire — a symbolic act of burning the script and flipping the writer off, much like Cas did to God and the angels in season 5. He’s not a Kripke figure so much as maybe a Gamble, Carver or Dabb figure, in that he usurps Chuck and becomes the author-god. This would be extremely postmodern of him if he didn’t just do exactly what Chuck was doing, except worse somehow. In fact, it’s postmodern of Cas to reject heaven’s narrative and fall for Dean. As one tumblr user points out, Cas really said “What’s fate compared to Dean Winchester?”

Okay this transcript is almost 8000 words already, and I still have two more episodes to review, and more things to say, so I’ll leave you with this. Metatron says to Cas, “Out of all of God’s wind up toys, you’re the only one with any spunk.” Why Cas has captured his attention comes down more than anything to a process of elimination. Most angels fucking suck. They follow the rules of whoever puts themselves in charge, and they either love Cas or hate him, or just plainly wanna fuck him, and there have been few angels who stood out. Balthazar was awesome, even though I hated him the first time I watched season 6. He UNSUNK the Titanic. Legend status. And Gabriel was of course the OG who loves to fuck shit up. But they’re gone at this stage in the narrative, and Cas survives. Cas always survives. He does have spunk. And everyone wants to fuck him.

Season 11 episode 20 “Don’t Call Me Shurley,” the last episode written by the Christ like figure of Robbie Thompson — are we sensing a theme here? — and directed by my divine enemy Robert Singer, starts with Metatron dumpster diving for food. I’m not even going to bother commenting on this because like… it’s supernatural and it treats complex issues like homelessness and poverty with zero nuance. Like the Winchesters live in poverty but it’s fun and cool because they always scrape by but Metatron lives in poverty and it’s funny. Cas was homeless and it was hard but he needed to do it to atone for his sins, and Metatron is homeless and it’s funny because he brought it on himself by being a murderous dick. Fucking hell. Robbie, come on. The plot focuses on God, also known as Chuck Shurley, making himself known to Metatron and asking for Metatron’s opinion on his memoir. Meanwhile, the Winchesters battle another bout of infectious serial killer fog sent by Amara. At the end of the episode, Chuck heals everyone affected by the fog and reveals himself to Sam and Dean.

Chuck says that he didn’t foresee Metatron trying to become god, but the idea of Season 15 is that Chuck has been writing the Winchesters’ story all their lives. When Metatron tries, he fails miserably, is locked up in prison, tortured by Dean, then rendered useless as a human and thrown into the world without a safety net. His authorship is reduced to nothing, and he is reduced to dumpster diving for food. He does actually attempt to live his life as someone who records tragedies as they happen and sells the footage to news stations, which is honestly hilarious and amazing and completely unsurprising because Metatron is, at the heart of it, an English Literature major. In true bastard style, he insults Chuck’s work and complains about the bar, but slips into his old role of editor when Chuck asks him to.

The theory I’m consulting for this uses the term metanarrative in a different way than I am. They consider it an overarching narrative, a grand narrative like religion. Chuck’s biography is in a sense most loyal to Middleton and Walsh’s view of metanarrative: “the universal story of the world from arche to telos, a grand narrative encompassing world history from beginning to end.” Except instead of world history, it’s God’s history, and since God is construed in Supernatural as just some guy with some powers who is as fallible as the next some guy with some powers, his story has biases and agendas. Okay so in the analysis I’m getting Middleton and Walsh’s quotes from, James K A Smith’s “A little story about metanarratives,” Smith dunks on them pretty bad, but for Supernatural purposes their words ring true. Think of them as the BuckLeming of Lyotard’s postmodern metanarrative analysis: a stopped clock right twice a day. Is anyone except me understanding the sequence of words I’m saying right now. Do I just have the most specific case of brain worms ever found in human history. I’m currently wearing my oversized Keith Haring shirt and dipping pretzels into peanut butter because it’s 3.18 in the morning and the homosexuals got to me. The total claims a comprehensive metanarrative of world history make do indeed, as Middleton and Walsh claim, lead to violence, stay with me here, because Chuck’s legacy is violence, and so is Metatron’s, and in trying to reject the metanarrative, Sam and Dean enact violence. Mostly Dean, because in season 15 he sacrifices his own son twice to defeat Chuck. But that means literally fighting violence with violence. Violence is, after all, all they know. Violence is the lens through which they interact with the world. If the writers wanted to do literally anything else, they could have continued Dean’s natural character progression into someone who eschews the violence that stems from intergeneration trauma — yes I will continue to use the phrase intergenerational trauma whenever I refer to Dean — and becomes a loving father and husband. Sam could eschew violence and start a monster rehabilitation centre with Eileen.

This episode of Holy Hell is me frantically grabbing at straws to make sense of a narrative that actively hates me and wants to kick me to death. But the violence Sam and Dean enact is not at a metanarrative level, because they are not author-gods of their own narrative. In season 15 “Atomic Monsters,” Becky points out that the ending of the Supernatural book series is bad because the brothers die, and then, in a shocking twist of fate, Dean does die, and the narrative is bad. The writers set themselves a goal post to kick through and instead just slammed their heat into the bars. They set up the dartboard and were like, let’s aim the darts at ourselves. Wouldn’t that be fun. Season 15’s writing is so grossly incompetent that I believe every single conspiracy theory that’s come out of the finale since November, because it’s so much more compelling than whatever the fuck happened on the road so far. Carry on? Why yes, I think I will carry on, carry on like a pork chop, screaming at the bars of my enclosure until I crack my voice open like an egg and spill out all my rage and frustration. The world will never know peace again. It’s now 3.29 and I’ve written over 9000 words of this transcript. And I’m not done.

Middleton and Walsh claim that metanarratives are merely social constructions masquerading as universal truths. Which is, exactly, Supernatural. The creators have constructed this elaborate web of narrative that they want to sell us as the be all and end all. They won’t let the actors discuss how they really feel about the finale. They won’t let Misha Collins talk about Destiel. They want us to believe it was good, actually, that Dean, a recovering alcoholic with a 30 year old infant son and a husband who loves him, deserved to die by getting NAILED, while Sam, who spent the last four seasons, the entirety of Andrew Dabb’s run as showrunner, excelling at creating a hunter network and romancing both the queen of hell and his deaf hunter girlfriend, should have lived a normie life with a normie faceless wife. Am I done? Not even close. I started this episode and I’m going to finish it.

When we find out that Chuck is God in the episode of season 11, it turns everything we knew about Chuck on its head. We find out in Season 15 that Chuck has been writing the Winchesters’ story all along, that everything that happened to them is his doing. The one thing he couldn’t control was Cas’s choice to rebel. If we take him at his word, Cas is the only true force of free will in the entire universe, and more specifically, the love that Cas had for Dean which caused him to rebel and fall from heaven. — This theory has holes of course. Why would Lucifer torture Lilith into becoming the first demon if he didn’t have free will? Did Chuck make him do that? And why? So that Chuck could be the hero and Lucifer the bad guy, like Lucifer claimed all along? That’s to say nothing of Adam and Eve, both characters the show introduced in different ways, one as an antagonist and the other as the narrative foil to Dean and Cas’s romance. Thinking about it makes my head hurt, so I’m just not gunna.

So Chuck was doing the writing all along. And as Becky claims in “Atomic Monsters,” it’s bad writing. The writers explicitly said, the ending Chuck wrote is bad because there’s no Cas and everyone dies, and then they wrote an ending where there is no Cas and everyone dies. So talk about self-fulfilling prophecies. Talk about giant craters in the earth you could see from 800 kilometres away but you still fell into. Meanwhile fan writers have the opportunity to write a million different endings, all of which satisfy at least one person. The fandom is a hydra, prolific and unstoppable, and we’ll keep rewriting the ending a million more times.

And all this is not even talking about the fact that Chuck is a man, Metatron is a man, Sam and Dean and Cas are men, and the writers and directors of the show are, by an overwhelming majority, men. Most of them are white, straight, cis men. Feminist scholarship has done a lot to unpack the damage done by paternalistic approaches to theory, sociology, ethnography, all the -ys, but I propose we go a step further with these men. Kill them. Metanarratively, of course. Amara, the Darkness, God’s sister, had a chance to write her own story without Chuck, after killing everything in the universe, and I think she had the right idea. Knock it all down to build it from the ground up. Billie also had the opportunity to write a narrative, but her folly was, of course, putting any kind of faith in the Winchesters who are also grossly incompetent and often fail up. She is, as all author-gods on this show are, undone by Castiel. The only one with any spunk, the only one who exists outside of his own narrative confines, the only one the author-gods don’t have any control over. The one who died for love, and in dying, gave life.

The French Mistake

Let’s change the channel. Let’s calm ourselves and cleanse our libras. Let’s commune with nature and chug some sage bongs.

“The French Mistake” is a song from the Mel Brooks film Blazing Saddles. In the iconic second last scene of the film, as the cowboys fight amongst themselves, the camera pans back to reveal a studio lot and a door through which a chorus of gay dancersingers perform “the French Mistake”. The lyrics go, “Throw out your hands, stick out your tush, hands on your hips, give ‘em a push. You’ll be surprised you’re doing the French Mistake.”

I’m not sure what went through the heads of the Supernatural creators when they came up with the season 6 episode, “The French Mistake,” written by the love of my life Ben Edlund and directed by some guy Charles Beeson. Just reading the Wikipedia summary is so batshit incomprehensible. In short: Balthazar sends Sam and Dean to an alternate universe where they are the actors Jared Padalecki and Jensen Ackles, who play Sam and Dean on the tv show Supernatural. I don’t think this had ever been done in television history before. The first seven seasons of this show are certifiable. Like this was ten years ago. Think about the things that have happened in the last 10 slutty, slutty years. We have lived through atrocities and upheaval and the entire world stopping to mourn, but also we had twitter throughout that entire time, which makes it infinitely worse.

In this universe, Sam and Dean wear makeup, Cas is played by attractive crying man Misha Collins, and Genevieve Padalecki nee Cortese makes an appearance. Magic doesn’t exist, Serge has good ideas, and the two leads have to act in order to get through the day. Sorry man I do not know how to pronounce your name.

Sidenote: I don’t know if me being attracted aesthetically to Misha Collins is because he’s attractive, because this show has gaslighted me into thinking he’s attractive, or because Castiel’s iconic entrance in 2008 hit my developing mind like a torpedo full of spaghetti and blew my fucking brains all over the place. It’s one of life’s little mysteries and God’s little gifts.

Let’s talk about therapy. More specifically, “Agency and purpose in narrative therapy: questioning the postmodern rejection of metanarrative” by Cameron Lee. In this paper, Lee outlines four key ideas as proposed by Freedman and Combs:

Realities are socially constructed

Realities are constituted through language

Realities are organised and maintained through narrative

And there are no essential truths.

Let’s break this down in the case of this episode. Realities are socially constructed: the reality of Sam and Dean arose from the Bush era. Do I even need to elaborate? From what I understand with my limited Australian perception, and being a child at the time, 9/11 really was a prominent shifting point in the last twenty years. As Americans describe it, sometimes jokingly, it was the last time they were really truly innocent. That means to me that until they saw the repercussions of their government’s actions in funding turf wars throughout the middle east for a good chunk of the 20th Century, they allowed themselves to be hindered by their own ignorance. The threat of terrorism ran rampant throughout the States, spurred on by right wing nationalists and gun-toting NRA supporters, so it’s really no surprise that the show Supernatural started with the premise of killing everything in sight and driving around with only your closest kin and a trunk full of guns. Kripke constructed that reality from the social-political climate of the time, and it has wrought untold horrors on the minds of lesbians who lived through the noughties, in that we are now attracted to Misha Collins.

Number two: Realities are constituted through language. Before a show can become a show, it needs to be a script. It’s written down, typed up, and given to actors who say the lines out loud. In this respect, they are using the language of speech and words to convey meaning. But tv shows are not all about words, and they’re barely about scripts. From what I understand of being raised by television, they are about action, visuals, imagery, and behaviours. All of the work that goes into them—the scripts, the lighting, the audio, the sound mixing, the cameras, the extras, the ADs, the gaffing, the props, the stunts, everything—is about conveying a story through the medium of images. In that way, images are the language. The reality of the show Supernatural, inside the show Supernatural, is constituted through words: the script, the journalists talking to Sam, the makeup artist taking off Dean’s makeup, the conversations between the creators, the tweets Misha sends. But also through imagery: the fish tank in Jensen’s trailer, the model poses on the front cover of the magazine, the opulence of Jared’s house, Misha’s iconic sweater. Words and images are the language that constitutes both of these realities. Okay for real, I feel like I’ve only seen this episode max three times, including when I watched it for research for this episode, but I remember so much about it.

Number three: realities are organised and maintained through narrative. In this universe of the French Mistake, their lives are structured around two narratives: the internal narrative of the show within the show, in which they are two actors on a tv set; and the episode narrative in which they need to keep the key safe and return to their own universe. This is made difficult by the revelation that magic doesn’t work in this universe, however, they find a way. Before they can get back, though, an avenging angel by the name of Virgil guns down author-god Eric Kripke and tries to kill the Winchesters. However, they are saved by Balthazar and the freeze frame and brought back into their own world, the world of Supernatural the show, not Supernatural the show within the show within the nesting doll. And then that reality is done with, never to be revisited or even mentioned, but with an impact that has lasted longer than the second Bush administration.

And number four: there are no essential truths. This one is a bit tricky because I can’t find what Lee means by essential truths, so I’m just going to interpret that. To me, essential truths means what lies beneath the narratives we tell ourselves. Supernatural was a show that ran for 15 years. Supernatural had actors. Supernatural was showrun by four different writers. In the show within a show, there is nothing, because that ceases to exist for longer than the forty two minute episode “The French Mistake”. And since Supernatural no longer exists except in our computers, it is nothing too. It is only the narratives we tell ourselves to sleep better at night, to wake up in the morning with a smile, to get through the day, to connect with other people, to understand ourselves better. It’s not even the narrative that the showrunners told, because they have no agency over it as soon as it shows up on our screens. The essential truth of the show is lost in the translation from creating to consuming. Who gives the story meaning? The people watching it and the people creating it. We all do.

Lee says that humans are predisposed to construct narratives in order to make sense of the world. We see this in cultures from all over the world: from cave paintings to vases, from The Dreaming to Beowulf, humans have always constructed stories. The way you think about yourself is a story that you’ve constructed. The way you interact with your loved ones and the furries you rightfully cyberbully on Twitter is influenced by the narratives you tell yourself about them. And these narratives are intricate, expansive, personalised, and can colour our perceptions completely, so that we turn into a different person when we interact with one person as opposed to another.

Whatever happened in season 6, most of which I want to forget, doesn’t interest me in the way I’m telling myself the writers intended. For me, the entirety of season 6 was based around the premise of Cas being in love with Dean, and the complete impotence of this love. He turns up when Dean calls, he agonises as he watches Dean rake leaves and live his apple pie life with Lisa, and Dean is the person he feels most horribly about betraying. He says, verbatim, to Sam, “Dean and I do share a more profound bond.” And Balthazar says, “You’re confusing me with the other angel, the one in the dirty trenchcoat who’s in love with you.” He says this in season 6, and we couldn’t do a fucken thing about it.

The song “The French Mistake” shines a light on the hidden scene of gay men performing a gay narrative, in the midst of a scene about the manliest profession you can have: professional horse wrangler, poncho wearer, and rodeo meister, the cowboy. If this isn’t a perfect encapsulation of the lovestory between Dean and Cas, which Ben Edlund has been championing from day fucking one of Misha Collins walking onto that set with his sex hair and chapped lips, then I don’t know what the fuck we’re even doing here. What in the hell else could it possibly mean. The layers to this. The intricacy. The agendas. The subtextual AND blatant queerness. The micro aggressions Crowley aimed at Car in “The Man Who Would Be King,” another Bedlund special. Bed Edlund is a fucking genius. Bed Edlund is cool girl. Ben Edlund is the missing link. Bed Edlund IS wikileaks. Ben Edlund is a cool breeze on a humid summer day. Ben Edlund is the stop loading button on a browser tab. Ben Edlund is the perfect cross between Spotify and Apple Music, in which you can search for good playlists, but without having to be on Spotify. He can take my keys and fuck my wife. You best believe I’m doing an entire episode of Holy Hell on Bedlund’s top five. He is the reason I want to get into staffwriting on a tv show. I saw season 4 episode “On the head of a pin” when my brain was still torpedoed spaghetti mush from the premiere, and it nestled its way deep into my exposed bones, so that when I finally recovered from that, I was a changed person. My god, this transcript is 11,000 words, and I haven’t even finished the Becky section. Which is a good transition.

Oh, Becky. She is an incarnation of how the writers, or at least Kripke, view the fans. Watching season 5 “Sympathy for the Devil” live in 2009 was a whole fucking trip that I as a baby gay was not prepared for. Figuring out my sexuality was a journey that started with the Supernatural fandom and is in some aspects still raging against the dying of the light today. Add to that, this conception of the audience was this, like, personification of the librarian cellist from Juno, but also completely without boundaries, common sense, or shame. It made me wonder about my position in the narrative as a consumer consuming. Is that how Kripke saw me, specifically? Was I like Becky? Did my forays into DeanCasNatural on El Jay dot com make me a fucking loser whose only claim to fame is writing some nasty fanfiction that I’ve since deleted all traces of? Don’t get me wrong, me and my unhinged Casgirl friends loved Becky. I can’t remember if I ever wrote any fanfiction with her in it because I was mostly writing smut, which is extremely Becky coded of me, but I read some and my friends and I would always chat about her when she came up. She was great entertainment value before season 7. But in the eyes of the powers that be, Becky, like the fans themselves, are expendable. First they turned her into a desperate bride wannabe who drugs Sam so that he’ll be with her, then Chuck waves his hand and she disappears. We’re seeing now with regards to Destiel, Cas, and Misha Collins this erasure of them from the narrative. Becky says in season 15 “Atomic Monsters” that the ending Chuck writes is bad because, for one, there’s no Cas, and that’s exactly what’s happening to the text post-finale. It literally makes me insane akin to the throes of mania to think about the layers of this. They literally said, “No Cas = bad” and now Misha isn’t even allowed to talk in his Cassona voice—at least at the time I wrote that—to the detriment of the fans who care about him. It’s the same shit over and over. They introduce something we like, they realise they have no control over how much we like it, and then they pretend they never introduced it in the first place. Season 7, my god. The only reason Gamble brought back Cas was because the ratings were tanking the show. I didn’t even bother watching most of it live, and would just hear from my friends whether Cas was in the episodes or not. And then Sera, dear Sera, had the gall to say it was a Homer’s Odyssey narrative. I’m rusty on Homer aka I’ve never read it but apparently Odysseus goes away, ends up with a wife on an island somewhere, and then comes back to Terabithia like it never happened. How convenient. But since Sera Gamble loves to bury her gays, we can all guess why Cas was written out of the show: Cas being gay is a threat to the toxic heteronormativity spouted by both the show and the characters themselves. In season 15, after Becky gets her life together, has kids, gets married, and starts a business, she is outgrowing the narrative and Chuck kills her. The fans got Destiel Wedding trending on Twitter, and now the creators are acting like he doesn’t exist. New liver, same eagles.

I have to add an adendum: as of this morning, Sunday 11th, don’t ask me what time that is in Americaland, Misha Collins did an online con/Q&A thing and answered a bunch of questions about Cas and Dean, which goes to show that he cannot be silenced. So the narrative wants to be told. It’s continuing well into it’s 16th or 17th season. It’s going to keep happening and they have no recourse to stop it. So fuck you, Supernatural.

I did write the start of a speech about representation but, who the holy hell cares. I also read some disappointing Masters theses that I hope didn’t take them longer to research and write than this episode of a podcast I’m making for funsies took me, considering it’s the same number of pages. Then again I have the last four months and another 8 years of fandom fuelling my obsession, and when I don’t sleep I write, hence the 4,000 words I knocked out in the last 12 hours.

Some final words. Lyotard defines postmodernism, the age we live in, as an incredulity towards metanarratives. Modernism was obsessed with order and meaning, but postmodernism seeks to disrupt that. Modernists lived within the frame of the narrative of their society, but postmodernists seek to destroy the frame and live within our own self-written contexts. Okay I love postmodernist theory so this has been a real treat for me. Yoghurt, Sam? Postmodernist theory? Could I BE more gay?

Middleton and Walsh in their analysis of postmodernism claim that biblical faith is grounded in metanarrative, and explore how this intersects with an era that rejects metanarrative. This is one of the fundamental ideas Supernatural is getting at throughout definitely the last season, but other seasons as well. The narratives of Good vs Evil, Michael vs Lucifer, Dean vs Sam, were encoded into the overarching story of the show from season 1, and since then Sam and Dean have sought to break free of them. Sam broke free of John’s narrative, which was the hunting life, and revenge, and this moralistic machismo that they wrapped themselves up in. If they’re killing the evil, then they’re not the evil. That’s the story they told, and the impetus of the show that Sam was sucked back into. But this thread unravelled in later seasons when Dean became friends with Benny and the idea that all supernatural creatures are inherently evil unravelled as well. While they never completely broke free of John’s hold over them, welcoming Jack into their lives meant confronting a bias that had been ingrained in them since Dean was 4 years old and Sam 6 months. In the face of the question, “are all monsters monstrous?” the narrative loosens its control. Even by questioning it, it throws into doubt the overarching narrative of John’s plan, which is usurped at the end of season 2 when they kill Azazel by Dean’s demon deal and a new narrative unfolds. John as author-god is usurped by the actual God in season 4, who has his own narrative that controls the lives of Sam, Dean and Cas.

Okay like for real, I do actually think the metanarrativity in Supernatural is something that should be studied by someone other than me, unless you wanna pay me for it and then shit yeah. It is extremely cool to introduce a biographical narrative about the fictional narrative it’s in. It’s cool that the characters are constantly calling this narrative into focus by fighting against it, struggling to break free from their textual confines to live a life outside of the external forces that control them. And the thing is? The really real, honest thing? They have. Sam, Dean and Cas have broken free of the narrative that Kripke, Carver, Gamble and Dabb wrote for them. The very fact that the textual confession of love that Cas has for Dean ushered in a resurgence of fans, fandom and activity that has kept the show trending for five months after it ended, is just phenomenal. People have pointed out that fans stopped caring about Game of Thrones as soon as it ended. Despite the hold they had over tv watchers everywhere, their cultural currency has been spent. The opposite is true for Supernatural. Despite how the finale of the show angered and confused people, it gains more momentum every day. More fanworks, more videos, more fics, more art, more ire, more merch is being generated by the fans still. The Supernatural subreddit, which was averaging a few posts a week by season 15, has been incensed by the finale. And yours truly happily traipsed back into the fandom snake pit after 8 years with a smile on my face and a skip in my step ready to pump that dopamine straight into my veins babeeeeeeyyyyy. It’s been WILD. I recently reconnected with one of my mutuals from 2010 and it’s like nothing’s changed. We’re both still unhinged and we both still simp for Supernatural. Even before season 15, I was obsessed with the podcast Ride Or Die, which I started listening to in late 2019, and Supernatural was always in the back of my mind. You just don’t get over your first fandom. Actually, Danny Phantom was my first fandom, and I remember being 12 talking on Danny Phantom forums to people much too old to be the target audience of the show. So I guess that hasn’t left me either. And the fondest memories I have of Supernatural is how the characters have usurped their creators to become mythic, long past the point they were supposed to die a quiet death. The myth weaving that the Supernatural fandom is doing right now is the legacy that will endure.

References

I got all of these for free from Google Scholar!

Judith May Fathallah, “I’m A God: The Author and the Writing Fan in Supernatural.”

James K A Smith, “A Little Story About Metanarratives: Lyotard, Religion and Postmodernism Revisited.” 2001.

Cameron Lee, “Agency and Purpose in Narrative Therapy: Questioning the Postmodern Rejection of Metanarrative.” 2004.

Harri Englund and James Leach, “Ethnography and the Meta Narratives of Modernity.” 2000.

https://uproxx.com/filmdrunk/mel-brooks-explains-french-mistake-blazing-saddles-blu-ray/

#transcripts #supernatural #supernatural podcast #<60mins #this is first and foremost a podcast about cas and misha collins

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discotreque · 4 years

Text

LwD 1.10, “No Small Parts”

Well, that was the most fun I've had watching Star Trek in literally a quarter of a century.

I had high hopes for this series. I love TAS, largely because of its wacky outsized concepts that could only have worked in animation—not that they all did work, but the potential was so apparent to me, even as a kid reading the Alan Dean Foster novelizations—and as an adult, there's something about the imagination of Lower Decks's FX setpieces that transcends even the glorious CGI bonanzas of Discovery.

Pause for a confession. I've long pushed back against criticism of serialization in new Trek. That's just how TV is now, okay? Might as well complain about it being in widescreen. But I'm backing down a little, because I've realized there is something about Star Trek that's inextricable from at least a partially-episodic format. And while Picard was telling a different kind of story, I can't deny that my favourite episodes of Disco have been the ones with a mostly self-contained A-plot. After 10 delightfully episodic instalments of LwD, its focus on long-term development of characters instead of a season-spanning puzzle-plot (okay, mostly just Mariner, but we only have 10 × 22 minutes and she is the star) has been downright refreshing.

So here we are, at the end of the most consistent and well-executed Season 1 of a Star Trek series since, arguably, Those Old Scientists. And sure, if they'd had to produce another... yikes, 42 episodes? Then sure, they probably would have dropped a clunker or two—but they didn't, and winning on a technicality is still winning. I'm practically vibrating with excitement for Disco to come back next week, but damn, I'm going to miss this little show while it's on hiatus.

Spoilers below:

Something I've been keeping track of finally paid off this week! (Which never happens to me, lol.) The destruction of the USS Solvang marked the first present-day death(s) of any Starfleet officer on Lower Decks, the only other on-screen killing at all being a flashback in "Cupid's Errant Arrow". Which makes sense, being (a) a comedy, and (b) about typically "expendable" characters: it hasn't been afraid to flirt with a little darkness here and there, but killing people off at Star Trek's usual pace wouldn't just be wrong for the tone, it would be downright bizarre.

But... people die on Star Trek. That's one of the core themes of the show, really: space is full of knowledge and beauty, but also danger and terror, and believing that the former is worth the risk of the latter is (according to Trek) one of humanity's most noble traits. I'm the least bloodthirsty TV watcher I know, but the longer we went with a body count of nil—ships completely evacuated before they were destroyed, main characters hilariously maimed without permanent consequences, etc.—well, I didn't mind per se, but the absence of truly deadly stakes was definitely getting conspicuous.

Turns out they were saving it up for maximum impact. And holy fuck, I've never felt such a pit in my stomach watching a ship get destroyed that wasn't named Enterprise. It felt grim and brutal and somehow both much too quick and dreadfully inevitable—and yeah, it looked extremely fucking cool—and I'd like every other Star Trek property for the rest of time to take notes under a large bold heading labeled RESTRAINT.

Comedy doesn't need to do this, but my favourite comedy does, and in a way that few other art forms can even approach: lower my emotional defences by making me laugh, endear character(s) to me with goofy-but-relatable antics—then BAM, sucker-punch me in the motherfucking feels. M*A*S*H is probably the classic example on TV, Futurama was notorious for it, and even Archer has pulled it off a few times; it's also a staple of some of my favourite standup. I wasn't sure if Lower Decks was going to go there in Season 1—and wasn't sure if they'd earn it—but I knew if they did, that they'd nail it, and damn. Feels good to be right.

Last batch of notes for the season!!! I rambled enough already, so let's do it liveblog-style:

I fucking KNEW they were going to use "archive" visuals from TAS at some point, I KNEW IT :D

"THOSE OLD SCIENTISTS" ahahahahahahahahahahahaha

I like chill and confident Boimler a lot? You can really see—

oh bRADWARD NOOOOO

That opening shot of the Solvang tracking down to the red giant was extremely Discovery-esque... minus the motion sickness, that is

A lady captain AND a lady first officer? That's—oh hey, it's Captain Dayton's brand-new ship. Hahaha, that means they're totally fucked, right?.

Yep! They sure a—umm, wh—shit, okay, but—oh no—no, you can't—wait DON'T

...fuck

FUCK.

Narrator: "And then Amy needed a five-hour break."

[live-action Star Trek showrunner voice] "Gee, Mike! Why does CBS let you have two cold opens?"

Okay, yes, the bit with Rutherford cycling through all the different attitudes in his implant was transparently an excuse for Eugene Cardero to vamp while waiting for something to do in the story, but as far as I'm concerned they can contrive a reason for him to do a bunch of different silly Rutherfords in a row any time they damn well want, because that was classic!!!

EXOCOMP EXOCOMP EXOCOMP EXOCOMP

AND THE EXOCOMP IS PAINTED LIKE THE EXOCOMP IS WEARING A LITTLE EXOCOMP-SIZED STARFLEET UNIFORM

EXOCOMP!!!!!

The slow burn and now the payoff of the Mariner-is-Freeman's-secret-daughter plot has been executed so well. I'm beyond impressed with this writer's room, y'all—they are threading a hell of a needle here

"Wolf 359 was an inside job" would have been a spit-take if I'd had anything in my mouth

...how many memos do you think Starfleet Command has had to issue asking people to stop calling the USS Sacramento "the Sac"?

CAN WE TALK ABOUT HOW THEY'VE DECORATED THE SHUTTLECRAFT SEQUOIA THOUGH

Is, uh, is it weird if I'm starting to ship Tendi and Peanut Hamper a little? It is weird, isn't it. I knew it was weird...

Coital barbs??? I take back everything I said about wanting to know more about Shaxs/T'Ana.

The "good officer" version of Mariner is... kind of hot, tbh! But Tawny Newsome has done such a great job of building this character all season that her voice getting uncharacteristically clipped and martial and "sir! yes, sir!" is also deeply, deeply weird

Ah, so this is literally exactly like when TNG (and DS9) would bring in, and then blow up, a never-before-seen Galaxy-class ship, just to underscore that we're facing a real threat this week, baby. And hey, it fucking worked—my heart was in my throat, omg, for the reveal of the—

PAKLEDS?????????

The fucking PAKLEDS have been gluing weapons to their ships for the last 15 years. GREAT.

(We interrupt the SHIP BEING SLICED INTO SCRAP for an interesting bit of world-building: on Earth, the traditional First Contact Day meal is salmon!)

"I need a dangerous, half-baked solution that breaks Starfleet codes and totally pisses me off! That's an order." I'm starting to think Captain Freeman might actually be overqualified for the Cerritos, y'all—she's REALLY awesome

OH SHIT IT'S BADGEY, this is a TERRIBLE IDEA

"How much contraband have you hidden on my ship?" "I don't know! A lot!"

Awwww, Boims!!!

AHAHAHAHAHAHA, FUCK THIS, PEANUT HAMPER OUT

BADGEY NOOOOO

AUGHHHHH WHAT THE CHRIST DID HE JUST—BUT—RUTHERFORD'S IMPLANT????

RUTHERFORD!!!!!!!!!!

SHAXS!!!!!!

F U C K ! ! ! ! !

ahaIOPugdfhagntpgjrq90e5mgu90qe5;oigoqgw4ouegrw5SP;IAEHURVa IT’S THE TITAN???????????

IT'S CAPTAIN WILLIAM T. RIKER ON THE MOTHERFUCKING TITAN??????????

i'm screaming I'M SCREAMINGGGGGGTGGGTGQER;LBHAOIBVNV;OAPBIJNVagr;h;oagruipuwtnaetbaetgq35ghqet

I'M SO GLAD THIS WASN'T SPOILED FOR ME WTF

I AM WEEPING LIKE A CHILD

...

(Just a brief 20-minute pause this time)

And oh wow, seeing Will and Deanna hits different after Picard too, in a few different ways, which I may even get into later now that my heartrate is back to normal, lmao

Oh, I am always here for some jokes at the expense of the Sovereign class. The Enterprise-E sucked. They should have built a new bigger model of the D and new Galaxy-class interiors for the TNG movies, and I will die on that hill

OKAY, FINE, YOU GOT ME, RUTHERFORD × TENDI WOULD BE ADORABLE AND THIS IS ACTUALLY A PRETTY GOOD SETUP FOR IT

Awwww, Shaxs though :( Congrats on the single most badass death in Star Trek history, dude. The Prophets would—well, the actual Prophets would probably be slightly confused about most of it, but Kira Nerys would be proud of you and I feel like that probably counts for more. RIP, Papa Bear

I am here all damn DAY for the Mariner–Riker parallels, ahahahahaha

Pausing it to record my prediction that Boimler's commitment to not caring about rank anymore is going to last 3... 2...

Yep.

Bradward, how DARE YOU.

"Those guys had a long road, getting from there to here." OH FOR THE LOVE OF—

What a brilliant way to resolve and renew the various character arcs and relationships moving into Season 2! The writers could easily have brought everything back to status quo—chaotic Mariner fighting with her mom and being a bad influence on Boimler, etc.—and done another 10 just like these, but I suspect that wouldn't have been ambitious enough for these writers. What a blast. I cannot wait for more.

Thanks for following along, friends! Stay tuned for my (similarly patchy and amateur) coverage of Discovery, starting next week!

#star trek #star trek lower decks #lwd spoilers #lower decks spoilers #lower decks #amy's episode notes

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thewhitefluffyhat · 3 years

Note

K1 POV anon, honestly valid, I just preferred his POV cause he’s a much more active character than Rika. Shit just kinda happens to Rika, while Keiichi (and Shion and Rena as POV characters) really drives the plot. But yeah, if they wanted to set up all this SatoRika stuff, they should’ve just done Rika POV from the start instead of trying to do what OG Higurashi did in using unreliable K1 for its narrator. (As for butchered characterizations, I just.... why Satoshi not relevant to Satoko)

(Another follow up to this reply!)

I’m with you there on Rika being passive! As much as I like her as a character, I find that trait super frustrating in her.

And come to think of it, Keiichi is kind of the direct inverse to Rika, isn’t he? Rika has all the knowledge, but doesn’t act on it. Meanwhile Keiichi is much more likely to act, but his lack of knowledge in the first few arcs makes the actions he does take unfortunately futile.

Anyway, I’m actually really glad you brought up the POV question! All of this debating is super interesting to me, because I’ve been slowly working on a longer “how would I fix Gou?” post. And one of the first and largest changes I’ve been considering is to swap the POV characters for the first cour’s arcs. Not just to Rika, though - I think Rena and Shion are also valuable narrators for how their everyday lives can demonstrate different aspects of Hinamizawa to new viewers.

I think an anime - particularly an anime like Gou that needs to quickly catch newcomers up to speed - just doesn’t have time for the kind of gradual discovery that Keiichi POV is good for (as I just discussed in the previous reply haha). It’s also an even more visual medium than the novels, where scenes like Ooishi explaining the history of the curse will struggle, but scenes like Shion pulling a daring escape from St Lucia can shine.

(Also yeah, I do agree with you that Satoshi’s bizarre irrelevance was a mistake. :( )

#my ramblings #replies #Anonymous #when they cry #higurashi #higurashi gou #higurashi gou analysis #maebara keiichi #furude rika #ryuuguu rena #sonozaki shion

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norcumii · 4 years

Text

The Rex/Obi theory

Since apparently we can pin a post, bringing this back from the old blog even though I really ought to do a better write up and just post it as meta on AO3. As always, ship and let ship, we’re all here to have fun, etc.

First off: background sources. Post Blue Shadow Virus, the Naboo gave Rex a set of guns. They are very shiny, very nice, and named Negotiator and Vigilance. Now, given that Obi-Wan has “The Negotiator” as a title, one has to wonder about “Vigilance.” Since Anakin is known as “The Hero With No Fear,” it’s probably not him.

It has also been pointed out to me (thank you, @morecivilizedage) that Obi-Wan’s flagships were the Vigilance and Negotiator. Which…yeah.

Later on, it seems the shuttle that Cody and Rex take in Rookies is named The Obex.

…I am not a fan of the name smushing habit people have for ships, but that’s…kind of blatant.

Also, I recently found out that Sideshow put out an Obi-Wan figure, based on the 2003 Clone Wars design (the modern Clone Wars, and what’s declared current canon, was the 2008 version). To my admittedly limited knowledge, Rex does not exist in the ‘03 show. If nothing else, he’s not listed as a character on the IMDB page. HOWEVER, part of this figure’s design is a wrist com hologram – of Rex. Not Cody. Not another Jedi. REX. WHO DOESN’T EVEN EXIST IN THAT SHOW, WHICH HAS SCREENSHOTS SHOWN ON THE BOX. They didn’t have to call the hologram Rex, and it’s out of continuity to the presented Obi-Wan, and would calling this hologram “Rex” instead of any other clone really sell more figures?

Gotta admit that’s Interesting.

Now, given I totally pick and choose data from non-show sources (…see the horrific novelizations of The Clone Wars – or better yet, please don’t. Character assassination abounds), we need to look at the actual show.

It starts with the movie. Cody has a minimalist presence in there, whereas Rex interacts with Obi-Wan a lot. There’s several scenes where there’s some lovely close interplay, including a bit where Obi-Wan is ordering Rex to pull back – while gripping Rex on the shoulder.

Take a moment. Consider how often you see on the show Obi-Wan touching anyone. He doesn’t tend to initiate that, and it’s rarely outside of a combat situation. But that man can’t seem to keep his hands off Rex. Watch with that in mind, and please, feel free to tell me I’m missing things.

So back to the Blue Shadow Virus. When Anakin is freaking out to Obi-Wan because his wife and student are liable to be the first to die, he wants to know how Obi-Wan can not be on edge. “I’m just better at hiding it.” Take the parallels – Padme and Ahsoka are Anakin’s family. Now, Obi-Wan is prolly also having a HUGE internal freakout because they are in THE hanger that started Duel of the Fates in Episode I, but if he’s hiding the same sort of emotional breakdown, who is that about?

Parallels are important. Take The Deserter. That is THE shipping episode. Watch how Obi-Wan reacts throughout: he’s grumpy at first, because Grievous is up to the usual shit. Then he coms in to find out what Rex’s status is – and upon hearing Rex has been shot, his immediate reaction is worry, concern – I’d almost say he’s distraught. His orders to Jesse to hustle up and help them take down Grievous is more snarled, harsher, and from that point on Obi-Wan has an edge to him that wasn’t there before. This particular battle has become personal to him, and when Grievous gets away, there is genuine ANGER that a Jedi should not be expressing. What the hells else has Grievous done this episode or the last to merit that sudden change?

As for the literal parallels, Cut is Rex’s counterpart. They are contrasted again and again throughout the episode, and that culminates with Rex bidding Cut and his family farewell – so that Rex can go back to HIS family. So. If Rex is Cut, then the kids are obviously the other troopers under Rex’s command, and who does that leave as Suu’s counterpart?

Who is it that Rex talks to immediately? G’on, guess.

Also, Obi-Wan cannot stop gushing to Cody about Rex. I imagine poor Cody has to put up with this a LOT.

In fact, we can show that he does! The episodes with the Zygerrian slavers – Kidnapped, Slaves of the Republic, and Escape from Kadavo – are just chock full of this. The main crew takes out two BARC speeders. Anakin has Ahsoka riding shotgun in the sidecar, while Obi-Wan has Rex. The intriguing bit is that Cody is left for cleanup and directing the rest of the clones, even though technically Rex is ordinarily in charge of a larger battle group (depending on what bit of canon you’re looking at). There’s that exchange in the slave mines OP mentioned (2 slightly different versions and commentary are linked). There’s also the sequence where Rex gets permission from Obi-Wan to take the shot and be a bad ass on the villain (“I’m no Jedi” indeed). That interplay is subtle, and implies the two work together and closely enough that a glance and a nod are enough to convey what’s going on. Sure, the 501 and 212 work together often, but Obi-Wan has his own second-in-command.

Interestingly, Cody does not show up after the first episode in this arc. Given that they have the voice actor on hand, and the Wolf Pack is called in at the end for the rescue, tossing Cody and some 212 into the mix would have been easy. So that dynamic has implications.

Not factual enough yet? Screenshots of character positioning being more like a romance moment than in a war flick not good enough?

Let’s go to the Citadel arc. There’s more of the circumstantial evidence, where Rex can be interpreted as having Obi-Wan’s back more than one might think is usual.

But then there’s this gifset. As the mixed 212 and 501 soldiers are thawing from carbonite, watch Obi-Wan in the background. He nopes out of Anakin and Ahsoka’s tiff, and goes over to chat with Rex and Cody. When Obi-Wan gets over there, he raises his arm to do the shoulder grip thing (like I mentioned above, in the movie!). It might not be clear from the gifs, but there is not enough time for Obi-Wan to do that twice before he goes to the one arm behind the back kind of “at ease” posture. When he steps away from the troopers to be the Actual Adult in the room to Anakin and Ahsoka, Rex stands a bit straighter, in proper military posture, and dusts off his armor. It might not be a universal gesture of “aw yeah, I’m awesome,” but it sure seems pretty satisfied. Poor Cody meanwhile is watching the move, which helps capture the viewer’s eye (and leaves me wondering if he’s going “what the hell is up with you?” or “do not make me hose you down”).

I would honestly love to know someone else’s interpretation of that with un-shipping goggles on. ‘Cause I admit, I don’t see it.

That, folks, is why I ship it like mad. There’s more circumstantial evidence throughout the show, like how Obi-Wan and Rex interact (like a married couple, or in fact often like Anakin and Padme are presented at their best). There’s Rex being extra fancy and staring at Obi-Wan WAY more than Anakin in The Voyage of Temptation, otherwise known as “Satine and Obi-Wan in a Shuttle and Anakin Being Oblivious.” There’s the simple implication of the chemistry between the characters, though that is obviously open to interpretation.

This is animation. It takes time and effort and money to animate a simple shoulder grip, or a specialized gesture such as buffing one’s nails. Voice acting is an art where you have to convey so much emotion with what can be small adjustments to words. Scripts have to go through so much oversight and tweaking to convey a particular story, within the wide scope, and themes and plot threads have to be carefully considered. This isn’t chance, this isn’t one writer/animator/storyboarder going off into the weeds because they had a Neat Idea.

I really do think it’s canon.

-----------

Random other bits I’ve gathered while re-watching the show:

During the movie, when Rex is told that General Kenobi’s been captured, he just freezes. He goes from digging around off screen for what I suspect is a new ammo cartridge, stills, then yells at the soldier that they have to hold out, now keep. fighting. It’s less rallying the troops as a bit of emotional pushback.

During Voyage of Temptation, when Anakin is sassing Obi-Wan in the elevator about Satine the possible old flame, Rex is right there in the elevator with both of them (along with poor Cody). Rex isn’t on Anakin’s flank, but Obi-Wan’s (little odd, but I don’t recall offhand how they filed in). And Anakin is “sensing some anxiety” from Obi-Wan about Satine. I love how there’s now another reason for that.

In an…‘interesting’ coincidence, it seems that when Rex got shot in The Deserter, that’s the exact same place Obi-Wan gets shot in Deception. Nothing conclusive there, but it’s intriguing.

from The Zillo Beast Strikes Back – The first time we see Rex, Anakin is giving him orders to “Stay with General Kenobi” – there’s the implication that he’s already with the General.

They’re continuing to leave breadcrumbs in Rebels.

#star wars #the clone wars #sass and murder show #meta #Rex/Obi

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bandomslayed · 3 years

Note

I’m not saying you should focus more on racism, I’m just saying that that’s something that the community as a whole needs to focus on and try to repair, I’m sure they all already know that people don’t like their ships. If that’s an issue, then groups can have a strict age limit. Easy solve. The other things are things that can be taught and learned but with hostility all that’s going to happen is a deeper divide. You said you wanted to argue with people about the things you don’t like that they do in this community. I’m paraphrasing, but why not instead want to educate them. No one will ever react well to feeling like they’re being ridiculed or patronized. People worth spending your time on are the ones you can talk to without it being a shitshow. We’re having a dialogue. I’ve felt this entire time like everything I say, someone is going to search for one thing to deliberately misinterpret or magnify unnecessarily when, if there’s something that they have an issue with, it could be a perfect opportunity to educate me instead of people being hostile. I’m college educated and can think critically, I’m moderately well spoken, I’m open to instructive criticisms and discussing things that aren’t agreed upon so I’m just sort of confused by the fact that what I’m saying is being picked apart by other anons and to a degree, you. You all want to change my mind about age gaps, despite me being with someone older irl and feeling safe and genuinely valued for the first time in a relationship in my life so why do you think that calling my dead grandpa names, redirecting the conversation and then kinda mocking me when I attempt to understand wholly and agree with some of the things you’re saying? That’s not going to convince me or anyone else. It just makes people feel defensive. Reiterating here that I’m not saying YOU specifically need to talk about racism more, and I’m not trying to diminish your experience or anything like that In just saying that those topics (discrimination of any kind, abuse of any kind) in the community are things we should be discussing instead of ships we think aren’t comfortable. I feel uncomfortable with relationships in real life and in rp all the time but that isn’t up to me to say it’s wrong or bad. It’s no ones right to tell any two consenting adults that what they’re doing is wrong. But it is a human right to tell someone when they’re being insensitive, and that’s a flaw in the community that people can be educated on and learn to handle with more sensitivity and knowledge but we’re never going to reach that point if we’re all just hostile and cruel to one another. Also reiterating that I’m not using personal examples to get cred, I just like examples because I think using them shows where I’m coming from so that any person who wants to have a dialogue can have a frame of reference for why my opinions are what they are on any topic. If I’m wrong, or insensitive, or just kinda dumb I want to know that but simply telling me I’m wrong or insensitive or dumb doesn’t teach me how not to me. And this doesn’t just mean me, I mean the whole community. It will never improve if we all just talk about the things we don’t like and give no feasible solutions.

alright i see what you want so let me switch to my white pleaser voice and deliver since you're so keen on being patronizing and in the same breath, acting like me taking what you say "the wrong way" is the problem. in bullet points so next time u come back to keep going at it u can pinpoint exactly what it is i misconstrued because u will do it anyway.

you're asking the community as a whole to care more about racism but you're talking to me who's leading the conversation in the first place. i understand you didn't imply i specifically should care more about it, but you're still using racism to discredit my point of view on age gap relationships being an important topic to discuss as well, and watering it down to just me not liking people's plots when that is not the message.

nobody is telling anyone how to live their lives. im bringing awareness to the fact that this culture is not okay. it's dangerous to our young. it NEEDS to be uncomfortable to you (you, plural) to invite to this so called critical thinking.

im not saying your partner doesn't have a right to be loving or grandpa and grandma had abuse masked as a good relationship. im saying, since it needs to be spelled out with no room for misinterpretation; the culture behind someone 10+ years older finding it completely okay to pursue someone that much younger — especially when we're talking 18 - 30 age range — needs to be looked at more closely. it's not safe in general. do exceptions exist? absolutely, but the whole two consenting adults point is a terrible one to make when at 18, you're considered that when you're still essentially just a child.

a strict age limit, which most groups adopt now, does little to actually prevent age gap relationships within roleplays. moreso, uneven power dynamics within plots being glamorized. my boss is not over 5 years older than me, but he is my boss. kpop boybands don't have age gaps of 10+ years in groups, usually, but there is a leader most times acting like a father figure, not to mention korean culture is heavy on emphasizing age-related hierarchical order, so a literal still wet behind the ears child establishing a romantic connection with someone who is not their equal? dangerous.

now let's halt. i already told you, i don't give a shit about respectability politics. it is not my job to be nice and educate anyone. and i don't mean just on this blog... most of you whites have come to assume and expect, even, that poc will be subservient, docile, and always willing to switch and nicely explain to you why the very core of the way you think about the world because you grew up sheltered w/e is not the whole picture for everyone. the worst part? most of them do. most of them do put their thinking caps on and write these novel worthy, intelligent, respectful, calculated think pieces only for the white in question to turn around and still deem it aggressive, etc. i don't do that. that is labor that most of you do not deserve.

the implication that there are feasible solutions for these problems that don't require for people to literally rework their entire mindset is naive at best. what am i supposed to do? be like nooo don't be racist, racism is bad BECAUSE it hurts people. i think all of you are old enough to know that by now. you definitely have enough internet exposure to know that, even if you grew up in all white sundown town america.

i explain my points. i actually explain my points more than the average person, yet here we are still saying im not doing enough to educate those around me as if it was my responsibility to change the way people think with sugar spice and everything nice so they feel their hand is held and it's safe to make a mistake that will consequently hurt other people as many times as they need to make it to finally grasp the reality of it and be able to just... not do that in the future. when no. no. when you hurt me, im allowed to react emotionally, not intellectually. when im angry and upset and still explaining why, its YOUR job to swallow it down and listen to what im saying, because YOU hurt me. i don't owe you civility (again; you, plural). i especially don't owe you civility when ive given you nothing but in the past and the end result is still me being an aggro freak who doesn't care for your precious feelings.

you're also assuming things. for example, assuming that im mocking you specifically when i really have not done that. if im going to mock you, im going to reply to your anon and say "okay stupid", then yeah, im mocking you. otherwise? don't assume im directing anything at you.

we're having a dialogue and this whole time all you've done is tell me to stop talking. your messages have all, in essence, said, if people want to date other people who have a shitton of years on them, that is not a problem and you look prettier talking about something else. yes, that's also paraphrased. you didn't say that, of course, but why are we still here if not because you feel personally scrutinized over the reaction to the life examples that you willingly provided?

nobody is trying to change YOUR mind, you're just not willing to consider that your age gap relationships that have been beautiful and loving and safe coexist within a culture that is wicked. a person who's 10+ older than me, 24, has no business seeing me as a potential partner. it's not appropriate. yet if they do, and i also see them as a potential partner, there's nothing inherently evil about that specific instance. it is the circumstances (past), that lead to this kind of thinking in the first place what im asking everyone to analize and understand. and it does matter. it matters as much as racism, abuse, ooc mistreatment of rp partners. again, issues do not queue and wait for something to end so they can begin anew. every conversation i choose to have i consider worth having. you're free to stay out if you don't deem it important.

you're exhausting me thinking by turning my inbox into ap debate we're achieving grand things sooo hope this helps 🖤

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selenuntius · 3 years

Text

Zhang Longevity - Southern Archives

Hello I know I just wrote about this at length but like I acknowledged in that post, I hadn’t read Southern Archives. Well now I have, and I’ll make a couple of additions/speculations based on the information in that. Don’t read if you haven’t read Southern Archives. Some of this information is related to plot points.

The main takeaway from Southern Archives that’s truly unambiguous is that there is a way to destroy the Zhang longevity (quite violently it appears).

Two other ones that have ambiguity to them are related to qilin blood. It’s a bit hard to just give a conclusion so I won’t be giving one here. My take beneath the break, or just read the novel.

Again, I’m trying to make clear what’s speculation and what’s actually in there, but I think even just by pointing out ambiguity, I’m making an argument. Just read the goddamn novel, really, especially to draw your own conclusions about the qilin blood things.

There are some other takeaways from Southern Archives about Zhang clan lore but I thought I should make a followup of sorts to my previous post with new info. Also Southern Archives was a pretty good read. I enjoyed the third-person POV and the period atmosphere. Zhang Haiyan, Haixia and others are some very engaging characters. I feel I may be a little attracted to Zhang Haiqi but I also want to call her mommy, so you can say I’m in a bit of a Haiyan predicament.

Zhang longevity can be destroyed

Probably one of our biggest takeaways from Southern Archives. This was achieved here via some kind of gas. The people who became aware of this in Southern Archives are Zhang Qishan (and some of his clan?), Zhang Haiqi, Zhang Hailou, Mo Yungao.

This may give support for the Zhang Qishan died because he found a way to age normally theory.

Zhang longevity is in their “blood” (not said to be the same blood as qilin blood; might just be blood as in they’re born with it)

This one is more ambiguous. The quote I’m drawing this from is in c.55:

“That German nerve gas was not produced in Germany, and its origins are unclear. It seemed to be able to destroy the mechanisms within Zhang people’s blood. Mo Yungao mentioned in his records that he found this by chance, and only possessed a single cylinder of it.”

If you’re checking your sources and see that this translation and merebear’s edited MTL is different and want to know why, I will leave a note at the end about this.

Anyways, like I said, I feel like immediately saying that this blood refers to qilin blood is a bit of a leap. I, for one, mostly read it as like a Zhang inherited trait rather than qilin blood. I went into a bit of why I felt the qilin blood is directly linked to their longevity theory wasn’t the best in my previous post, and I did see a reblog also theorising about that but I was too tired to finish writing my response (and I didn’t want to seem like I’m trying to start shit; I really just have too much time on my hands).

If qilin blood is directly linked to longevity, then everyone who has lived for longer than usual has to have a bit of qilin blood. That would mean there’s some kind of threshold for recognising qilin blood, and below that threshold it counts for longevity, but isn’t strong enough to detect.

To confirm the theory, we need some kind of confirmation that an in-between state between full-on qilin blood and non-qilin blood exists. The blood has different degrees of strength - this is true. Wu Xie speculates that the Qiling is chosen by who has the strongest qilin blood (book 8 c.81; N.B. that in Shahai 3 a different reason for selecting our Qiling was hypothesised), and Zhang Haike talks about hearing rumours as a child that our Zhang Qiling had the strongest form of their kekkei genkai blood (ZHH 2 c.7).

However, I still think there’s a distinction between the ones who do and the ones who just don’t, and it’s not all about how strong the blood is. Going back to the Qipan Zhang sect, they wielded quite a lot of power within the clan because they “held the qilin”, which Wu Xie guesses to mean the qilin blood (book 8 c.50 p1). Don’t know if that meant only Qipan Zhang had qilin blood, or if there was just a higher occurrence and a greater strength (I’ve read a headcanon that it’s because the Qipan Zhang absorb anyone who has the blood). Also, Wu Xie says in the 2017 short of Zhang Hailou, “You’re from the branch family… like me, you have to worry about mosquitoes.” Wu Xie, by this point, is quite knowledgable about the Zhang clan so what he says is kinda? reliable. In fact, all three of the Zhang that have qilin blood are from the main family or descended from a sect of the main family (Haiqi is one of the few Hai-generation main family members, southern archives c.47; Qiling was part of the main family according to Haike; Foye is a descendant of Ruitong of Qipan Zhang and Wu Xie speculates at the end of book 8 that Foye’s father brought their entire sect out of the Northeast Zhang’s control, which makes Rishan a descendant of Qipan Zhang too). So is it only the main family that ever has proper qilin blood? If it’s a thing all Zhang have to a degree, surely sometimes it pops up in the branches too.

This is pretty much a joke but I was going to say that maybe bare min qilin blood only protects you from mosquitoes and nothing else but still counts for longevity, and I can’t even make that joke anymore…

The problem here is at what point do we stop saying the longevity has to do with qilin blood and just say the longevity runs in the family, and for some reason, Foye didn’t get it (or died for other reasons). And even if we take a step back and say, yes, longevity does come with the Zhang blood but qilin blood makes you live even longer, not enough time has passed for us to say that.

An addendum about qilin blood, not directly related to longevity: Can qilin blood be an acquired trait?

Mo Yungao believes qilin blood to be an acquired trait, because he asked Zhang Qiling about it and he said it was acquired (Archives c.55).

This is contradicted in other places, for example, by Zhang Haike in ZHH 2 c.7, where he specifically talks about qilin blood as an inherited trait. The two previously mentioned passages about Qipan Zhang and from Wu Xie duking it out with Xiao Zhang Ge also support this, though less directly.

So, why did Zhang Qiling tell Mo Yungao it’s acquired?

There are a couple of possibilities, including Zhang Qiling lying and this actually being true and everyone else being wrong, but I think this was a misunderstanding.

Mainly because I don’t think the line is entirely without ambiguity.

He had asked this strange person if he had been born with his extraordinary abilities or if they were acquired, and the person had replied that they were acquired.

(I have another note about this line but it doesn’t matter for the ambiguity bit, so I’ll leave it at the bottom too.)

The key here is that Mo Yungao, in this omniscient narrator recollection, did not specifically ask about his blood. Mo Yungao clearly meant his blood, because a couple of lines above, Mo Yungao is saved by this person and his blood, and his later obsession is with this blood. But what he actually asked was his extraordinary abilities (plural) so maybe Zhang Qiling took it to mean combat ability rather than specifically his blood?

Again, there are other possibilities, but I prefer a simpler answer rather than a complicated one that takes more speculation to support.

Nerve gas line note:

The original contained the phrase 张家人血液中的肌理, literally “the skin texture of Zhang people’s blood”. This is because 肌理 (skin texture) was likely a typo of 机理 (which I translate as mechanisms here; not necessarily the best one. Could also use principles but I felt that sounded less physiological and more philosophical). These two words have the exact same pronunciation. XL makes these mistakes quite a lot, and because most of our stuff is sourced from his serialisation and web versions, these mistakes don’t get corrected. I suspect this is why merebear uses the vague sentence “but it seemed to specifically target the Zhang’s family blood” instead. It’s not a huge difference, but I thought I should explain my addition of mechanisms and using destroy instead of target (this I don’t quite understand, the original says destroy and I don’t see an issue with simply using destroy) so it doesn’t seem like I’m making stuff up.

Acquired abilities line note:

“Extraordinary abilities” is actually my guess of what XL means when he wrote 无常的能力, because I feel the adjective used is a misuse of the word. 无常 can mean changeable, can be a reference to a Buddhist concept of the cycle of life and death (don’t have the best grasp on this, but bear with me), can be a euphemism for death, or can be a kind of ghost? spirit? that collects people’s souls, kind of like the Grim Reaper I guess but they work for the king of hell. None of these quite fit here. The two characters, taken on their own can maybe mean something like extraordinary, so I’m thinking maybe that’s what XL’s trying to get at but used a slightly different word to replace what you might usually use for extraordinary (不凡 or smth idk), but not to great effect.

#southern archives #南部档案 #dmbj lore

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midnight-aether · 3 years

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Why Vox by Christina Dalcher is not a good novel: Review & Analysis

The premise of this novel is incredibly interesting, don’t get me wrong: Vox (2018) is about a dystopian future, in which US American women are only allowed to speak 100 words per day and must wear a bracelet that shocks them if they go over that limit. Women also aren’t allowed to write, read or use sign language. The main character is a genius linguist called Jean who hates every man in her life, including her husband Patrick and her own sons.

The first sentence already tells us three things about this novel: (1) it’s told from a first-person perspective, which means the reader will be aware of the protagonist’s every thought, (2) the oppressive regime in the novel goes by the name of Pure Movement, so it’s probably going to have something to do with religion, and (3) the action takes place in the span of a week, which I feel like it’s a huge spoiler for the fact that I won’t care for any of the characters at the end of the book, since there’s only so much character development that can happen in that time.

If anyone told me I could bring down the President, and the Pure Movement, and that incompetent little shit Morgan LeBron in a week’s time, I wouldn’t believe them.

There will be spoilers from this point on.

The Setting and the Protagonist

The main character in Vox, Dr. Jean McClellan, is a specialist researcher in the field of aphasia, that is, according to Wikipedia, “an inability to comprehend or formulate language because of damage to specific brain regions”. At some point in the novel we are made aware that a colleague of Jean’s, with her help, has discovered a cure for aphasia, even though they are both linguists and neither a chemist nor a medical researcher. However, she was unable to publish this discovery, due to the conveniently timed sexist apocalypse that stripped her of all her academic titles, as the reader is often reminded.

Jean is married to her husband Patrick and has four children with him: three boys and a girl. Jean evidently resents every man in her family, especially Patrick and their 17-year-old son, Steven. Apparently they’ve all been very quickly indoctrinated to believe women shouldn’t be allowed to speak, so they treat Jean and Sonia, the daughter, accordingly.

There is a whole subplot about Steven, but it’s so plain and uninteresting that there isn’t much to say about it. Basically, he is all for the Pure Movement and their ideals of purity for women, but then still sleeps with his high school girlfriend and proceeds to tattle on her. When she is taken away to a camp, he realizes his mistake a leaves to save her. At some point he is captured by the Movement and ridiculed on TV. Jean doesn’t really care that he’s gone, but is pleasantly surprised when he reappears at the end safe and sound.

At this point, the Pure Movement has only been in power for less than a year and a half. This movement is very overtly described as a Christian uprising that originated within the bible belt and had spread to the entirety of the USA. The followers of the Movement also adopt overly conservative views on gender roles, marriage and sex, leaving very little doubt about the roots of the oppressive regime in Vox.

The Plot

The main intrigue in Vox begins when the brother of the US president starts suffering from aphasia after a “skiing accident” and the government comes to Jean for help, despite her being a woman in a society that literally won’t let women speak. Why do they come to her instead of going to any other male scientist? Because apparently Jean is the best linguist in the whole country... even though, as far as the government (and the reader) knows, she’s only been researching aphasia for a couple of years and hasn’t found a cure yet. Well, the author herself has a doctorate in linguistics (not in the field of aphasia), which brings me to my first problem with this novel: the blatant and, quite frankly conceited, self-insert.

You may have noticed that I wrote “skiing accident” in quotation marks on the last paragraph. That’s because it’s hinted a couple of times throughout the novel that the president’s brother was actually injured on purpose by the government, but this turns out to be false. Later it seems like he was never even injured in the first place, but this is never clearly resolved, as the character himself never appears “onscreen”; however, it’s not a cliffhanger that perpetually haunts the reader.

Back to the story: Jean agrees to help because, by taking the job, she and her daughter get to remove the shock bracelets for the duration of the research. The government then proceeds to give Jean one week (remember the novel’s first sentence) to produce a cure that, to the best of their knowledge, hasn’t even been found yet. If that sounds like a stretch, they even let her work with her old research team of three people, which is supposed to fully convince the reader that a week is a completely plausible time frame to discover, produce, test and approve a cure for an illness.

The Side Characters

This team is composed of Jean, her former colleagues Lin and Lorenzo, and their supervisor Morgan, who you might remember from the novel’s opening sentence. Morgan is apparently an idiot linguist who is very unfit for his position, which is supposed to show how twisted the society in Vox is, as they put the dumb people in charge just because they’re men, and silence the smart women. What it actually does is show that this version of the USA apparently only has a handful of linguists and no other skilled scientists.

This is the novel’s description of Lin:

Lin Kwan is a small woman. I often told Patrick she could fit in one of my pant legs – and I’m only five and a half feet and 120 soaking wet, thanks to the stress diet I’ve been on for the past several months. Everything about her is small: her voice, her almond eyes, the sleek bob that barely reaches below her ears. Lin’s breasts and ass make me look like a Peter Paul Rubens model. But her brain – her brain is a leviathan of gray matter. It would have to be; MIT doesn’t hand out dual PhDs for nothing.

Here we learn that Lin is small, not conventionally attractive (read: small boobs and ass), and finally that she is incredibly intelligent. For some reason, Jean finds it important to describe Lin’s curves, as well as her own, before mentioning Lin’s intelligence. No, this novel was not written by Michael Bay. Also, for representation’s sake, Lin is Asian and a lesbian, yet every other major character in this novel is a white straight person.

Well, there is another lesbian in this story, actually. Jean’s old college roommate, Jackie Juarez, who Jean hasn’t seen since before the machocalypse. We get to know Jackie through flashbacks: the novel tries to portray her as this loud, over-the-top feminist who often tries to make Jean join the rallies and protests against the growing Pure Movement. Alas, Jean chooses to focus on school instead of going to protests and forever regrets this, thinking that if only she had fought, she might have changed history.

I don’t know how to feel about this novel’s depiction of Jackie. She is made out to be a stereotypical feminist lesbian, who actively protests against the uprising of the Pure Movement, and yet whose efforts are in vain. Here is an excerpt that characterizes how Jean sees Jackie, and therefore how the reader is supposed to see her:

“You have to vote, Jean,” [Jackie] said, throwing down the stack of campaign leaflets she’d been running around campus with while I was prepping for what I knew would be a monster of an oral exam. “You have to.”

“The only things I have to do are pay taxes and die,” I said, not holding back the sneer in my voice. That semester was the beginning of the end for Jackie an me. I’d started dating Patrick and preferred our nightly discussions about cognitive processes to Jackie’s rants about whatever new thing she had found to protest.

Here you can see that Jean clearly dismisses Jackie and “whatever new thing she had found to protest”, and instead muses about what an intellectual she is. I understand that this is a flashback, and it’s supposed to show that Jean was wrong not to care about protesting the Pure Movement, but this is told from present Jean’s perspective, so it’s clear she still rolls her eyes at Jackie’s activism in general. It feels like Vox is trying to say that actively expressing your ideas and concerns is useless, since Jean eventually overthrows the government with science and not through activism – and it even takes her no longer than a week to do it, as we learn at the beginning of this novel. There is a lot to unpack here, but I still wouldn’t recommend thinking too hard about the ideas in this book.

Jackie only becomes relevant to the plot towards the end. At some point she is held hostage by the government, so that Jean is forced to finish her work. Why the government chose to kidnap Jean’s old college roommate who she hasn’t seen or spoken about in years instead of, say, her daughter, we will never know. In the end, Jackie is only there so that Jean can save her and “redeem” herself for not having been there for Jackie in the past.

Lorenzo, the last member of the team, is Jean’s love affair since way before the Pure Movement effectively took over. The novel likes to remind the reader that Jean is with the Italian hunk Lorenzo because she despises her husband Patrick, so that makes cheating okay. Eventually we learn that Jean is pregnant with Lorenzo’s child, so he offers to let her escape with him to Italy as his wife. Yet Jean can’t allow herself to leave without her daughter Sonia – she’s fine with never seeing any of her sons again, though. She considers this for a while as she works on the cure for aphasia.

The Ending

At some point during the week, Lin disappears (we later learn she was imprisoned due to big gay activity). Jean and Lorenzo announce that they’ve discovered the cure and even test the serum on a random neighbour of Jean’s who happens to have aphasia as well. Also, Jean’s mother had an aneurysm earlier that week and also started suffering from aphasia. The government is pleased with the results and take the serum away.

Later, Morgan, the supervisor, takes Jean and Lorenzo to a strange lab underground to have them further develop the cure. There they walk through a hallway full of chimpanzees in cages, and there is a bizarre scene in which Jean gets too close to a cage and is attacked by a chimpanzee. There is no purpose to this scene other than to shock the reader, honestly. Here, the novel briefly, yet disrespectfully brings up a very real woman who was mauled by a chimpanzee in 2009 and managed to survive (Wikipedia link, no pictures), by having Jean think something along the lines of “oh no, I don’t want to end up like her!” during the attack.

Jean is fine, obviously. We’re over 200 pages in and nearing the end of the novel when the first interesting development happens in the form of a plot twist: the government has been using their cure in order to create an anti-serum that gives people aphasia. Their plan is to create a more effective means to silence women, of course, since they wouldn’t be able to comprehend or formulate language any more. When Jean discovers this, she wants to quit, but is forced to stay when they reveal they’ve been keeping Jackie, Lin and Lin’s girlfriend hostage in the same building for this very occasion. And maybe also Steven back at that camp, but we don’t even care about him at this point.

The climax of the story arrives, and everything happens so quickly the reader doesn’t have time to digest it. I had to reread what actually happened at the end, because I couldn’t remeber it anymore. I’ll try to recreate the pacing of the ending in the following paragraph, so you can understand what I mean:

Jean and Lorenzo save the lesbians (who are the only likeable characters, so that made me happy), Morgan dies, I think, and they escape with the anti-serum. Patrick appears and decides to help, so they send him to the White House with an anti-serum bomb that suceeds, giving the president and all evil politicians aphasia. Patrick is killed during this, freeing Jean from their marriage and allowing her to escape with Lorenzo and all of her children, whom she suddenly stopped resenting. The Pure Movement collapses and all is well, thanks to... well, thanks to Patrick and Lorenzo.

Conclusion

Vox is a mess of a novel. The characters are unlikeable, the plot is badly paced and the ending is too sudden. I really didn’t care about what happened to any character at any point, which is incredibly disappointing. Additionally, there are many things wrong with the political message in Vox, namely the idea that all religious people are inherently evil and that men generally wish to control and silence women. The premise was good, the writing was fine, but the performance was terrible, unfortunately. Vox feels like it was rushed to come out in time for the dystopian fiction craze of 2017-18 caused by the release of The Handmaid’s Tale TV series. Hopefully we’ll see better work from the author in the future.

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komatsunana · 4 years

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My Reincarnation Isekai Villainess Rec List

So. I’ve gone and found myself in Isekai/Reincarnation/Villainess hell. For those who don’t know Isekai is a genre in which character(s) are transported to a different world. Initially you might be thinking “oh, she’s gonna share a both a series like Sword Art Online.” Oh no. You have underestimated the amount of taste I have. By which I mean I have none but that SOA is a taste I’m not here for.

Now a very specific sub-genre of that is the reincarnation one, particularly in which a character is reborn as a character from one of their favorite books or games from their previous, modern life. An even more specific sub-genre of that one is in which the MC is reborn as a villainess from that book or game, thus creating a bit of a challenge as villainesses usually are destined to die in the source material.

So! Here are my favorites, many of which are all 3 but some combine one or two of the above tropes. It’s my list so I do what I want. And most of my faves have a shojo genre tag, or at least a romance tag, because that’s where all the good stuff is:

Survive as the Hero’s Wife by Nokki

Canaria is reincarnated as the villainess of a popular cliche novel. Based on the novel, she is destined to be executed but can she prevent this from happening before it’s too late?

Why *I* like it: So this one was the one that really got me into the villainess reincarnation isekai genre! And it remains the top of my list. The huge draw for me in this one is that I actually really like the main couple! Like not even just lukewarm, I really like it! I’d read fic for it, if that existed. A lot of the villainess genre tend to portray the original heroine as vapid, unworthy of their status of heroine, or the actual villainess but in this case Gracie just turns out to be just an amazing strong woman who doesn’t actually need a man. (In fact I ship the three together full stop tbh lol). In fact, it’s a subplot that Gracie realizes (because of MC’s words) that if she wants to inherit her father’s title even though the law says a woman cannot... That she just should strive to change the law rather than be a tool with no use outside of marriage. And not to spoil anything, but she will definitely do just that.

And since I’m mainly finishing the rough draft of this list out of absolute RAGE at being made fun of for being into this genre.... A compilation of the main love interest, Cesar, because he’s absolutely beautiful. Look at those eyes! He’s such a great example of the sullen, dark love interest because he’s not those things when he’s with his wife, the MC!!! He’s so soft for her. And the whole point is that the love interest shows a different side to their lover right??

And like the great thing is Canaria, the MC, totally doesn’t notice for the longest time. She read the novel in her previous life so she’s *convinced* that one day Cesar will fall for the novel’s original leading woman, and she makes plans accordingly throughout their early days of their marriage. She completely hadn’t thought about the fact that since she’s not being a villainess this time around and not abusing him and everyone around her, and makes friends with Cesar... Like of course the course of events change. It utterly baffles Cesar when his wife keeps bringing up divorce because he’s so completely in love with her and you just gotta eat that shit up with a spoon because it’s so good and perfect drama but also funny.

There’s even a Halloween chapter where everyone wears costumes and basically I believe I was pandered to specifically.

Tbh, the arc going atm is sorta losing my interest but that’s because there’s political intrigue and I’m like just here for the romance lmao. So someone looking for substance and not just fluff might be more pleased than I. But it’s still on-going so. It’s just all in all a fun and great introduction to the genre imo.

I Reincarnated into an Otome Game as a Villainess With Only Destruction Flags by Hidaka Nami (Art) and Yamaguchi Satoru (Story)

Eight-year-old Katarina Claes is the only daughter of a duke, living her life peacefully and without incident until she hits her head on a rock... and then remembers that she is not actually the duke's daughter. She used to be an otaku who died on her way to school after spending the entire previous night playing Fortune Lover, her favorite otome game. After noticing that her current surroundings seem oddly familiar, she is shocked to discover that she has been reincarnated into the world of Fortune Lover as the villainess.

The villainess in the game usually winds up dead or exiled, so Katarina decides to use her knowledge of the game and its routes to avoid any bad situations. But is it even possible for the villainess to reach a good ending?

Why *I* like it: Ok ok ok, lol. So this one is probably one of the most well-known of the villainess reincarnation isekai genre atm! Particularly because of the anime currently running. And for good reason... the MC is so brilliantly stupid in the best of ways. While she plots on how to escape her fate of being killed or exiled by learning to sword fight and how to garden, she’s more or less seduced every capture target in this dating game... AND all the female rivals to boot AND heroine. The thing is that she is completely unaware and continues training for the day she is inevitably killed or exiled, as per the game’s original ending.

It’s just a silly, fun series and all the women’s feelings for her are taken about as seriously as all the guys’... Which isn’t much because absolutely no one really has a chance of getting this woman to understand they are all madly in love with her. Not a series to take seriously which is part of it’s charm, but it retains a lot of heart especially when it comes to the MC Katarina (affectionally called Bakarina by fandom) remembering her friend and family from her past life.

This series also has a manga spin-off about what if she’d been reincarnated while already in high school and bullying the heroine instead of a child... So basically she’s in hard mode, and yet she still succeeds in getting even more people into her little harem she has for herself.

Whether you chose to watch the anime or the manga (or the LN, which I haven’t got to) you can’t go wrong.

It Seems Like I Got Reincarnated Into The World of a Yandere Otome Game by Hanaki, Momiji (Story) and Setsuri (Art)

As a precocious child, Lycoris suffers from a strange sense of deja vu. On the day her father told her about her fiancé, she realizes that her fiancé was a character from an otome game she once played in a previous life.

“I am the heroine’s rival from the game?

And in the bad ending, I get stabbed to death?

What a joke.”

A story in which the protagonist is determined to avoid a yandere situation.

Why *I* like it: Hear me out! I know what you’re thinking... Yanderes??? But here’s the thing... Just by the MC being kind and getting 2 of the “yandere” characters out of abusive environments, they no longer end up as yanderes as they grow up. They aren’t those tropes any more! While the characters remain protective, they aren’t possessive and are happy to see MC branch out, if a little lonely. And the yandere that remain aren’t treated as hot, but annoying. So like sorry to disappoint if you think yanderes are hot but this isn’t the series for you.

Additionally, unlike other series of this trope, the MC is pretty quick to realize she just needs to trust her lover, that he will not turn on her and kill her as he did in the game nor will he fall for the heroine instead of her. It’s somewhat refreshing, as a huge part of the trope is the MC typically doesn’t realize until it’s spelled out that by not acting as a villain.... the rest of the characters don’t want to harm them... And might even have fallen in love with them.

Another fun aspect is how MC doesn’t remember things immediately, but only remembers things from her past life (and of how the game went) until it comes up. Additionally, she wonders some interesting things that aren’t even mentioned in other series like... What if she’s destined to be exactly like the game character? Will she be forced to be exactly like her? It’s a fun exploration of some common reincarnation isekai villainess tropes if you have experience with the genre!

Ascendance of a Bookworm by Shiina You (Art) and Kazuki Miya (Story)

A book-loving student and soon to be librarian ends up crushed to death by the pile of books during an earthquakes and wakes up as a five year old girl named Main in another world where books are scarce only available to the elite. Main, retaining her memories of her past life, decides to create and print her own books so she can read again.

Why *I* like it: So here is we depart from solely the villainess sub-genre (but only briefly!) Because there is another sub-genre of reincarnation isekai and that’s in which the MC uses the things they learned on our planet earth to re-invent things like shampoo and the printing press. And no other isekai does it better than Ascendance of a Bookworm imo. Main’s love for books leads her to recreating things she took for granted on Earth and starts selling them from a young age... Which might just end up saving her life as she ends up having a terminal disease that ordinarily she’d only be able to survive by being a slave to a noble... But by selling her products she has a chance to save herself!!! And the products she creates are available to commoners, not just the nobles who of course make it impossible for the poor to have nice things.

Additionally, a majority of this trope centers around nobles and royalty (and all the best ones are historical settings)... The fun thing about this one is that it actually centers around a povert stricken family. It’s a good break from the noble hierarchy within most isekai.

Finally, this series is the one that hits most closely to my feelings if I were to be reincarnated in another world... Which is to cry at the realization that I will never finish any of the on-going books and manga I had going on. That’s absolute hell, I don’t know how any of these MCs deal!! ;_;

btw there is an anime and manga both. Also LN but tbh almost all of these have LN.

Isekai Omotenashi Gohan by Shinobumaru (Story) and Medamayaki (Art)

Akane, an ordinary office lady, gets summoned to a different world along with her younger sister and pet dog. There, she ends up treating rare guests one after another with hospitality through meals!! Can she satisfy the citizens of a different world with home cooking...?!

Why *I* like it: Continuing our brief deviation from the villainess trope, Isekai Omotenashi Gohan is my favorite example of another subgenre of isekai - one without reincarnation - but one in which a “hero” is transmigrated to another world to save it... The problem? Oppsie, 2 people were taken. Sometimes in this sub-genre there is a question who the true savior is but in Isekai Omotenashi Gohan’s case they figure that out pretty quickly. They quickly figure out the MC’s younger sister is the savior. At first the older sister (Akane) is set aside as unimportant... But her sister only wants to eat the food her sister makes and it quickly becomes obvious that Akane’s role is important.

Akane makes lots of allies and friends by sharing the food from Japan and of course has a very subtle romance going on with her guard. But honestly I just enjoy this series as a person that likes food manga, like that’s it lmao, so much so that don’t be surprised when I make a best food manga list and yeah sorry Food Wars won’t be on it.

But fr, even if you don’t love the food manga genre try it!! It’s a sweet series and mixes domestic with fantasy in a great way. Plus only a few series are complete, with the rest being on-going, so if you want a complete and finished series try this one!

The Duke's Fiancee, Why She Had to Go to the Duke by Milcha (Story) and Golae (Art)

When Park Eunha dies in modern-day Korea, she awakens in the body of Raeliana McMillan, the eldest daughter of a nouveaux riche baron. However, this is no ordinary world; it's the exact same one as a novel she once read. Beloved by her family, it would seem as though she is in a fairy tale. But Raeliana is far from the main character—she is a mere plot device, whose murder at the hands of her fiancé instigates the entire story.

Raeliana has no intention to accept her fate quietly. She sets her eyes on someone in a position of great power—the vieux riche male protagonist Duke Noah Volstaire Wynknight—aiming to completely change the original story. Using her knowledge of future events, Raeliana offers information to Noah on the condition that he acts as her fake fiancé, but the Duke's two-faced nature throws a wrench in her plans!

Why *I* like it: This one is a fun one!! It really plays with different concepts that don’t often get explored in reincarnation isekai like where did the original consciousness of the character the MC became go??? Because MC only remembers her life on earth and is otherwise treated as though she has amnesia.... But is it amnesia? Is she another person entirely?

Also the humor is... great. Listen I refuse to give the best joke in the series just to make you read it but... the series is worth it just for this running joke.

Of course the romance is good too. The dude is kinda an asshole but she gives as good as he dishes out and it quickly becomes flirting anyway. I don’t want to say too much and give any thing away... but s’good!

Who Made Me a Princess? by Plutus (Story) and Spoon (Art)

The beautiful Athanasia was killed at the hands of her own biological father, Claude de Alger Obelia, the cold-blooded emperor! It’s just a silly bedtime story… until one woman wakes up to suddenly find she’s become that unfortunate princess! She needs a plan to survive her doomed fate, and time is running out. Will she go with Plan A, live as quietly as possible without being noticed by the infamous emperor? Plan B, collect enough money to escape the palace? Or will she be stuck with Plan C, sweet-talking her way into her father’s good graces?!

Why *I* like it: Ok, big sigh. How do I explain the pull ‘Who Made Me A Princess?’ has on me? Now a lot of the pull for many people is how cute the budding father daughter relationship the MC (Athy) has with her dad. But like, her dad is the worst and I want to fight him. On the other hand, most of the fandom hates Jeanette, the MC’s sister who has done literally nothing wrong except make everyone around her miserable but it’s not her fault ok, and I’ll fight the entire fandom in her honor. So it pains me to rec this series knowing that more than likely anyone who picks up this series because of me might have Wrong Opinions and I invite you to tell me just so I can shake my head about another wrong person existing in this world.

Never the less, this series is very cute! All the other series I have recced had the MC remember their past life at early childhood at the earliest, if not as a teenager. Athy? She has the misfortune to remember as a *baby* and it’s exactly as hellish as it sounds for an adult to be stuck growing up as a baby and suffer through the absolute embarrassment of having people feed and wipe her ass.

The MC was an orphan in her previous life and the book that she wakes up in is a shitty book even by her standards but then she really only skimmed it it sounds like that’s what interests me. As Athy makes changes to the original events of the novel and depth is added to the world, I start to wonder if the added depth was in the original novel or if the world had to add its own depth to stand as an actual lived in world?

Additionally, since I made the cover image Athy and her dad you might as well see her with her 2 love interests (and Jeanette!). People need to know who to ship, I get it.

Also I need a moment to appreciate, up close, the beauty of Athy’s eyes. So gorgeous.

Living as the Tyrant’s Older Sister by Aperta (Story) and Chyobab (Art)

When I opened my eyes, I was inside a fantasy novel world! The beauty I see in front of the mirror is the future tyrant’s older sister, Alicia! She’s not even a protagonist or an antagonist, but a character that doesn’t appear much and gets beheaded by the (upcoming) tyrant little brother. My life is all about escaping that fate from the novel. In the end, I seduced the male lead’s merchant friend who also doesn’t appear much and was about to leave the country with him. How-e-ver. The face of the man who spent the night with me was extraordinary, and was the male lead himself!

Why *I* like it: ……………...keke. Ok so this one is one I like just for the laughs. The love interest is an arrogant asshole, but see… The important detail the summary leaves out is that the MC’s… cousin (?) wrote the book that she woke up in! Moreover she’s the one that told her cousin to change the MC of her novel and make him good at everything and also make him a freak in the sack. Like who is really at fault here??? Lmao. Especially when she goes out intending to seduce a character she remembers being rich from the novel and accidentally bags the MC from the novel, aka the dude who kills her and her brother in the original novel.

In seriousness though, it really is funny. The facial expressions of the MC is just… chefs kiss. She’s got a pretty face but then she makes all these goof ass faces and I love it. If you need any more reason to at least give it a go, just know that at one point the male lead comes to check on her, expecting to find her crying and instead…. Walks in just as she screams FUCK at the top of her lungs and then begins a tirade of very creative curses including "Bitch oompa loompa ass bitch" which how can you not love her? Anyway the face the male lead makes after that has me maintaining that’s the moment he fell in love with her lmao.. but this is not Confirmed so it’s not a spoiler!!

EDIT: as of August 2020, I’ve since dropped this series. It remains on the list since I’d still rec it to people looking for a laugh.

Seduce the Villain’s Father by bia and dalseul

Upon opening my eyes after a bus accident, I found myself in the fantasy world of a webnovel I enjoyed reading... the only catch is, I reincarnated 20 years before the novel begins! Reborn as Princess Yerenica of the small Lebovny kingdom, I'm determined to change the future in order to prevent the series of unfortunate events that will soon occur!

Why *I* like it: How many times have you yourself had a suuuuuper side character be your favorite in a series and be depressed to see them done dirty? Well MC has a chance to fix that, to save a character that basically one appeared in prologue and basically prevent the birth of the villain character that later kills his own father… by seducing his dad, before he can marry the villainess!!

Yerenica is just adorable in her attempts to thwart the original novel. And like, I have to give her lots of respect for seeing the villainess character and having herself a good moment where she had to consider seducing her instead lmao. She knows when to let well enough alone though so she immediately boards back on the dad train, much to his chagrin because she keeps calling him father……………….. Even though he’s like…. Not a dad yet.

The characters are still relatively early on in their romance, but I have high hopes for it yet!

Edit: As of August 2020, I’ve dropped this series. It remains on this list because I think it’s a cute series and I think anyone who feels really strongly about the main couple will enjoy it.

Death Is the Only Ending For The Villainess by Gwon Gyeoeul and SUOL

Penelope Eckart reincarnated as the adopted daughter of Duke Eckart and the villainess of a reverse harem dating sim. The problem is, she entered the game at its hardest difficulty, and no matter what she does, death awaits her at every ending! Before the "real daughter" of Duke Eckart appears, she must choose one of the male leads and reach a happy ending in order to survive. But the two brothers always pick a fight with her over every little thing, as well as a crazy crown prince, whose routes all lead to death. There's even a magician who's enamoured with the female lead, and a loyal slave knight! But somehow, the favourability meters of the male leads increase the more she crosses the line with them!

Why *I* like it: So this one is another relatively new one added to my list, but it’s shot high up rather quickly!! The other otome game isekai’s that I have on my list are just like the real world, but the interesting thing about this one, is that it also retains otome game mechanics such as she can see the love interests love meter and also she can chose to use the video game script choices to reply to the characters, in the hopes of raising their love meter. This adds challenge, since she knows that if she gets any of the dudes to -10 she’ll be killed even as she sort of wonders if she truly would die or wake back up in reality.

What’s interesting also is that while she is the villainess character in the game… It ends up that the character was actually abused for years and that her title as a villain is unfair and that the game can be played as the villainess as even a player as a ‘hard’ mode compared to the heroine character. It’s up to her to turn things around and it’s actually a fun take on the villainess genre. I’m really looking forward to how things proceed even as my fears about which dude she’ll end up with continue to increase.

Finally, another layer I enjoy is that the MC lead a similar life in her previous life. She’d only just escape her own abusive family before she’d ended up here and MC just desperately wants to escape once again… using any means necessary.

The Villainess Reverses the Hourglass by SanSobe (story) and Ant Studio (art)

With the marriage of her prostitute mother to the Count, Aria’s status in society skyrocketed immediately. After leading a life of luxury, Aria unfairly meets death because of her sister Mielle’s schemes. And right before she dies, she sees an hourglass fall as if it were a fantasy. And just like that, she was miraculously brought back to the past.

“I want to become a very elegant person, just like my sister, Mielle.”

In order to face the villainess, she must become an even more wicked villainess. This was the new path Aria chose to take revenge on Mielle who murdered both her and her mother.

Why *I* like it: If you thought that this list might be in descending order, guess again! This one is one of my favorites. Now this one lacks isekai, but is a reincarnation of a villainess!! Rather the MC was an absolute horrible person in her past life, but finds out at the last minute that her ~pure~ sister had been leading her by nose into acting like a brat just seconds before she is executed. Now that she has a second chance, she’ll be a proper villainess and turn the tables on her sister.

In her last life, Aria never bothered educating herself so now that she’s a teenager again she actually has to learn things again (it’s not just like she gets to act like she’s a genius and good at everything) but she works hard at maintaining a sweet image and making everyone love her, even as she snickers behind their backs, all the while subtly setting her sister up for failure.

This is a proper revenge story, I’m promised by those who read the LN!! Revenge stories about women are rare to come back, especially one that doesn’t make revenge look like a total evil thing lol. What can I say, I have my interests. Anyway, it’s super cathartic to watch Aria slowly unfold her masterplan to foil her sister’s plans and take everything that her sister had cherished in her previous life. And all that not to mention the certain powers that Aria later discovers she has at her disposal... :3c

Beware of the Villainess by Bbongdda Mask (story) and Pureunkanna (art)

I became the villainess of a novel! Do I hate it? No! I find it rather nice. A duke’s daughter equals a jobless rich person. How can I miss out on a chance like this?! This is the best chance to just enjoy life. I should throw out the main plot and just live life how I want to! Not long after waking up as the villainess, I witnessed my fiancé, the crown prince and the novel’s male lead, cheating. I saw him embrace a lady other than I and he was smiling so bright. I was brought to tears… Just kidding, I didn’t cry! My tears are worth too much to be wasted on that garbage. Instead of tears, I yelled out, “Your highness, are you trash?”

Why *I* like it: Listen there are 2 ways to react to waking up as a villain of a series you once read… Either you turn the tables and become a good guy OR you can embrace it! The world the novel is based on has the basic premise of the pure and good heroine winning the affection of 4 bratty, horrible men. MC is the fiance of one of them and says fuck that. She also has some thoughts that none of these dudes deserve the heroine of the novel but this one is still pretty early on so the jury still out on if she’s going to save this poor girl from her fate of ending up with any of these absolute assholes.

This one is along the veins of the previously mentioned Living As the Tyrant’s Older Sister, in that the pull for this series is even less of the romance and more about the comedy aspect… Also MC’s facial expressions are…. Choice. Just so good. Enough with pretty girls making pretty faces!! We need more girls being ugly. It’s what we deserve. Yell at cheaters!!!!!! Tell them to fuck off!! Yes please.

Accomplishments of the Duke’s Daughter by Reia (Story), Umemiya Suki (Art)

Although she had reincarnated as the daughter of a Duke's house, by the time she regained her memories, the Ending was already here.

"After he cancels my engagement, the story would have me confined to a church. Where can I find my happy ending?"

Why *I* like it: I never read or watched Wolf and Spice but I imagine this is isekai Wolf and Spice… Well it’s got a lot about the economy at least lmao. That’s literally the only thing I know about Wolf and Spice. Anyway!! The twist in this one is that the MC remembers her past life just as she’s about to be exiled, the end of the original game. What the series focuses on is her life afterwards, as she scrambles to grab at any semblance of a good life… And she does so pretty quickly!

Her past life comes in handy as she sets to work managing a dukedom and fixes the economy!! Moreover, even though it pains my heart whenever two women are pitted against each other… It does a great job of putting into question the original heroine’s pure shtick as she spends extravagantly on dresses and would rather just donate to the poor one day, instead of Iris the MC who sets to work on fixing the economy and creating jobs for the poor and putting money into bettering their lives in the long run, rather than throwing money at them and running. Also, she’s grabbed the attraction of a mysterious man who takes a job helping her even though he is a prince aka the brother of her ex-fiance who he is fighting for the crown for.

And that’s it!! My list for now!! Tbh by next month there’ll likely be even more faves as I continue to add more and more series to my read list lol. Because this isn’t even a fraction of all the reincarnation isekai series I’m into, just the best for certain reasons.

BTW, if you’re like... wow this list sure is straight then true unfortunately. I’m waiting for the day “I Favor The Villainess” gets adapted somehow. Also there are several isekai in which a straight girl reincarnates into a yaoi novel but I haven’t found a true gem among them yet.

#isekai #i scream #long post #recs #this post was sponsored by pure spite #but frankly yes i know i didn't have to go this far #but this is just who i am... which is too much

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yue-muffin · 4 years

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Time Raiders (2016)

Part 1 || Part 2 || Part 3

In my quest to consume the entirety of the DMBJ franchise available in English, I have decided to start with the non-canon movie because at least this one has an ending, unlike the train wreck that is Reboot/Chongqi’s pacing. I will probably be bitter about that for all eternity, but I digress. I heard good things about the movie from the bird app, and as I am a Pingxie shipper at heart, I decided to finally watch this one.

P A R T O N E

The cut-in animation to the title was gorgeous, I do so love the qilin in every adaptation. It’s particularly striking here with the gold outline and geometric, maze-like lines. It looks like the cards at the very beginning were being arranged in the image of this qilin.

My first reaction upon seeing white people in a dmbj adaptation is: oh no, the English, but I was pleasantly surprised to hear perfect English that matches the actor’s lips! What a miracle, haha. I remember The Lost Tomb 2 being the worst for how many lines had to be in English, sob.

These look so cool. I see we start off with a good old “seeking immortality” antagonist, and an obsessed collector who has dedicated his whole life to this apparently. As usual, he is a scumbag threatening the locals.

The old guy’s accented English is also better than TLT2, ha. The breathy/nasal quality is not at all uncommon. I don’t know what language the locals speak though.

Me, immediately: Zhang Qiling already??

I know he appears in rather early in TLT1, TLT2, and Reboot/Chongqi, but he’s so often mysteriously absent or stuck behind a gate (or in Reboot’s case, put on a bus) that I got excited, ok.

My favorite Zhang Qilings are the cold-looking pretty boy types in terms of my mental image of the character, but this one is also very easy on the eyes and as usual, unfazed in the face of danger coming at him with a knife. This is the only series in which I’m not bothered by the constant cast change between adaptations (unlike Ever Night), I suppose since it’s been this way from the start.

I’m interested in seeing how the backstories differ from canon. It’s actually rather interesting that this is pretty much an official AU, like that’s kind of wild as a concept. I’m used to the late 1990s/early 2000s anime adding new characters and changing plot points and endings everywhere, but Time Raiders takes it a step further.

Zhang Qiling being an ultra-competent badass who doesn’t even need a weapon to take the bad guys down never changes, no matter the universe. He steamrolls everyone, no questions asked.

Did he- he break the blade with his bare hands hahaha. Oh, yup, and a Zhang Qiling with a weapon is even more dangerous. I see those severed fingers. Such a good fight scene and we’re not even 5 minutes into the movie.

I love how he could have simply fired the arrow while he was still on the statue, then jumped down, but he had to be Extra and fire while he was jumping off haha.

It- the divine piece was right there?? By “beneath the statue” I would have thought it would at least be under it, not in a convenient little slot on the side of the altar area haha. So Zhang Qiling’s mission is to destroy the divine piece(s)? To, um, save the world apparently.

WHO ARE YOU? What an excellent question to ask a Zhang Qiling (and that staring into the mirror shot, too.)… I wonder if this one even knows - it’s possible he doesn’t have his signature amnesia here.

Wait- a gate? I think it’s in a cave or something in the novels, but gates have significance in DMBJ. The cinematography is really nice in these mountain shots. I know nothing about film, but I like the shots in the snowy mountains.

This Zhang Qiling knows and practices martial arts on screen! You would think he’d pull some moves normally, but in the drama-adaptations he tends to just beat people up as efficiently as possible. Sometimes with his sword. Other times he just fights ‘em. I have to admit Jing Boran looks excellent going through some forms. He nailed the force and power underlying every movement, then exploding outward with a strike. I do like the impression it leaves.

I, on the other hand, am an absolute noodle and look ridiculous when I do martial arts.

What in the world is happening in this flashback scene with the weird CGI qilin. Ah, it’s when he received his tattoo. That was super dramatic.

Wushanju is looking real edgy with the heavy iron gate on the interior, haha.

He is puzzling (ha!) over those cards so intensely you’d think it was a thousand piece puzzle instead haha. You’re almost there! Just a few more to finish the qilin!

Aw, is this our Wu Xie? Haha his facial hair is- hm. But I love his voice it’s so soft. Really fits that “Mr. Naive” vibe.

Is that. Is that the author of the series. I found out that he makes cameos in almost all (if not all of) the adaptations!

NO. ONLY I CAN FINISH THE PUZZLE. HANDS OFF BUDDY.

Why are there so many pigeons in here. Who let them inside.

A writer, who came to hear his story and turn it into a novel- HA yup it’s the author.

“This should be a story about me and him.”

Ahh I’m loving it already. DMBJ is the ultimate bromance story. Fair warning, I do ship Pingxie so my shipper goggles will be on throughout the movie. But even without shipping, you do have to admit the series is a bromance underneath all the mystery – between the Iron Triangle, between Wu Xie and Xiaoge.

This Wu Xie is a photographer and that is sort of adorable. Already there’s a theme emerging of needing to record events and telling stories. Interesting that he wants to turn his memories into a novel to record his experiences, because otherwise he’s afraid those memories might turn into a mere story in his own head. Wu Xie, that’s a worrying mindset.

Those ancient mask things always make me crack up, I don’t know why.

Ooh, background about Wu Xie’s birth into the Wu family. I’ve never read up to the part in the books where they go into his place in the family in detail. To be fair, his grandfather had three sons and only one of them had any kids – and Wu Xie is his parents’ only child. So, he becomes the only one who can really carry on the family legacy. Aw, I really like seeing his extended family present though! In the dramas we only ever get either his Second or Third Uncle, and he rarely ever mentions his parents even though they’re alive.

And there’s his namesake! The origin of his nickname, and the irony once the story gets into the Sha Hai timeline.

Wu Xie was a bit of a rascal as a kid, haha. To be fair he has a pretty sharp tongue in the novels and is mostly a pure cinnamon roll in the early dramas.

Little Wu Xie in a suit is so adorable. Nooo kid don’t go into locked up abandoned places. He’s already so adventurous haha. Seems that it’s not actually abandoned judging by all the lights on, but.

UH. MASKED MAN BEHIND YOU. I think he wants that item back. This is why you don’t go into abandoned places, kid. He definitely does not learn his lesson though. Also why are you still holding onto that thing, just drop it, I think he wants it back.

Haha he kept one of the coins.

WOAH. Every month someone in your family dies?? That’s uh- sort of traumatic. Also that would be a really good first line for a novel…Just saying. I do love the singing though.

Oh, the Nine Families exist in this universe too! They even give a quick explanation about the ranking system.

Oh yeah, I love how Wu Xie is such a nerd for all this knowledge of ancient texts and tombs. And YES HE FINALLY DOCUMENTS STUFF FOR ONCE.

Uncle Three looked dead for a moment there, scared the shit out of me too.

VAMPIRE MOTHS? Oh I hate bugs I would not be okay lol. WHOOPS. You guys are really good at reading ancient texts on the fly lol.

That’s the mask he has in the beginning of the film, isn’t it. NO DON’T TOUCH THINGS IN TOMBS. AHHH. So you just put it on your face?? Well that was a stupidly simple way to open the door. I’m guessing the creator didn’t care if anyone opened it.

This guy just severed his own arm, ok…and how many years later is his hand still clinging to it? UH. THIS IS WHY YOU DON’T TOUCH THINGS IN TOMBS. Then he proceeds to steal the box thing.

Ah the white dude again. I am so happy there is GOOD ENGLISH though haha.

Oh, hi Zhang Qiling. Just hanging out on a rooftop I see.

He looks so melancholy. Someone give him a hug! This adaptation makes him more human, less stoic robotic superhuman, I noticed. You rarely see him eat or drink anything in the other adaptations, but here he’s just chilling on a rooftop having some drinks haha. It’s ok. I love all the Zhang Qilings.

WHAT THE HELL, LIGHTNING? What the hell is this high tech machinery haha. Eight days? Coincidentally eight days after sitting in a tomb for how many years.

That is a very Extra bookcase to hold a book that apparently has ALL the secrets.

WOW that is a fancy notebook. It looks so beat up in the other versions haha. In this one, it even gets its own hidden shelf in a giant portable bookshelf!

The props for this franchise are so cool and detailed. I always wish they would show more of the creative process in the BTS, I’m such a nerd for that stuff. The Longest Day in Chang’an was pretty good at that, which is half of my enjoyment of that show haha!

I’m also still pleasantly surprised they bothered to incorporate other languages. I’m not sure what the Snake Lady and the old man in the beginning were speaking, but at least the English is good.

I can’t believe they worked in a steampunk chastity belt this movie went all out, huh. Also with these weirdly high tech structures and lightning and moving tomb structures.

And all the pieces start coming together! So that’s why it’s believed they hold the secret to immortality. What a steampunk-looking key.

Is that a writing desk??

Oh, they’re getting a team together to go tomb raiding! Ha, forget money! You may or may not end up dying on this adventure, so who cares about money, right.

He’s so cute standing there with his camera. Look at the little smile as he watches everything going on!

It’s a desk and a storage container?? Oh, there are ~qualifications~ to going on tomb raiding. Makes sense. That is the oddest looking sword.

Must appreciate Zhang Qiling’s fingers in every adaptation. They look very strong and steady here. Let’s not talk about the slooow trailing across the handle.

Wow did you really just throw sand in his face. Have we not learned not to mess with Zhang Qiling after he trounced that first guy who attacked him. I love the fight scenes so much after the bore-fest that was Reboot/Chongqi’s second half of Season 1.

Super pretty, but why did it cause him to stop and stare in the middle of the fight?

This is like a Final Fantasy sword haha. Also I think you should stop while you’re ahead, why did you think a table would stop this dude. (Hey, it’s Da Kui! He was in the novel but not TLT1.).

It’s HERE. Their first meeting. How did he know the coin was on that cord? It wasn’t visible, I don’t think. But uh. That was a hilarious move on his part, he is so Extra?? He just casually flicks the necklace off with his big-ass sword and it drops into his hand. Then casually goes “oh, here, you dropped this” as if he wasn’t the one responsible for it coming off in the first place!!

HERE IT COMES. The unnecessarily long eye contact. Pingxie in every adaptation needs a Staring Into Your Eyes scene.

Real smooth.

Ahh this Wu Xie is such a cutie. He’s like a puppy.

WHAT. Third Uncle, I can’t believe you let him tag along so easily haha. In the beginning he was scolding Wu Xie to never get involved in tomb business, then what happens? They’re going tomb raiding!!

Next Up: to the tomb we go! This can’t end badly or anything what are you talking about.

#daomubiji #time raiders #dmbj #盗墓笔记 #image heavy post #perhaps don't view on mobile #in which i lose my mind for 2 hours #the muffin's liveblogging adventures

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reluctantly-plus-ultra · 4 years

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Rei (PART TWO)

I literally finished my university paper a day early so I would have time to write this up and keep giving you guys the Good Content™. Thanks for the overwhelming amount of support on part one, everybody!

-When Rei first tells them her plan for taking down Endeavor, they don’t think there’s any way it’ll actually work.

-The LOV has always operated as a physical unit, out to kick ass and take names. They didn’t band together for subtle espionage and demolishing reputations through intellect.

-But Rei’s adamant that going into a brawl won’t accomplish anything. After all, even if they did manage to beat him in a fight, Endeavor be seen as a martyr to the public, still a symbol of hope, the number one hero that defended them to the end. That’s not what they’re going for. Beyond that, the only way to keep him from rising again, in that sense, is to kill him, and while Rei Todoroki wants some well-deserved justice, she doesn’t want his life on her hands.

-So, instead, she suggests ruining his image. They’ll air out all the sheets of the Todoroki household, let the world know once and for all the truth behind the man they’ve placed their faith in. Force him to step down, allow him to finally reach that number one spot that he’s ruined the lives of her family to achieve, and then strip it from him with the evidence of the horrendous acts he committed to get there.

-”He lit this fire,” Rei says coldly, and the chill in the room doesn’t come from her quirk, “Now he can burn in it.”

-Personally, Dabi still wants to torch Endeavor’s ass straight to hell, but even he has to acknowledge that Rei has a point. Their odds of success are a lot higher going into this from a tactical perspective. The rest of the league can at least somewhat come to that conclusion as well, but there’s one main problem barring the way.

-Kurogiri is the one to point it out, asking how they’re going to get evidence of events that happened so many years ago. At the best, they have two witness testimonies, and there’s not a single court around that would take the word of a hospitalized woman and a well-known villain over that of their number one hero.

-And it’s then that Rei’s face hardens into an expression that none of them have seen before, delicate hands balling into tight fists, jaw clenched.

- “I can get you that evidence,” She claims easily enough, as if it’s something that can be pulled from thin air, “But I’m going to need a laptop, or a computer-”

-The very nice thing about co-inhabiting with criminals that have loose morals is that they can get you things very quickly, and typically for free. Rei has a laptop sitting in front of her before the night is up, and is furiously typing as soon as they get her logged in.

-It’s common knowledge in the league that Rei has a habit of mumbling to herself when deep in thought; this has been particularly prominent while working on the Endeavor plan

-And this has actually been pretty unsettling for a lot of the members, because for someone so sweet, Rei has a novel of shit that Endeavor needs to atone for, and she hasn’t forgotten a single insulting incident in twenty-four years.

-What this means is that sometimes, when she’s working deep on the planning, divulging information about the number one hero, she’ll give them a list of his weaknesses, things that will set him off, ways that they can target him that nobody else is aware of (potentially even Endeavor himself)

-But then after that, she’ll start listing incidents. Her eyes will gloss over, and the words will just start tumbling out of her mouth as she crosses situations out of that novel, offenses that are being reciprocated through her sabotaging the man

-Her last round of info had made up for six incidents, and while the league had gradually been getting used to these episodes, the last one had packed a punch.

- “The time you forced Touya to train so hard, he broke three fingers and you still made him keep going for an hour after.”

- Any time she mentions incidents with Touya, the tension in the room goes up four notches. Dabi can’t believe some of the details she remembers, can barely remember them himself sometimes, but his ring finger on his right hand has been crooked ever since that day, and it serves as a stark reminder of the past they’ve endured.

-While she works at the laptop, though, the things she mutters are not incidents, but random sequences of letters and numbers, her hands moving in sync with the mumbled symbols.

-And it takes them a while to pick up on it, but these memorized segments are the extremely distorted weblinks to clearly self-made web pages, at least six or seven in total.

- She doesn’t stumble once. Not on a single number, not in any of it, and every single one of those links are complete gibberish, entirely disconnected from one another.

-The web pages are filled with images, all of them old, all of them pre-dating Rei’s hospital admittance

-And it’s with this that Dabi has to leave, storming out of the warehouse, and Rei gets this carefully blank look on her face, because they’re both reliving nightmares, and they’ve barely started scrolling the pages.

-There are scanned copies of journal entries written in different coloured crayons and a wobbly hand, more entries on some of the other web pages done much steadier and in pencil, but with the same printing. There are photos of bruises, scars, burns, four different children, one woman’s gaunt face. Personal accounts, typed and handwritten, short and blurry-quality video clips of Endeavor’s “training”. It’s a montage of horror, carefully collected and dispersed across the web through links that meant nothing, that would never come up as a result from a search engine, spread across multiple pages so that even if one page were found and deleted, there were many more to replace it.

-But none of them have been found, none of them have been taken down because Endeavor, man that he was, had assumed that because his wife never raised her fists, she wasn’t fighting back.

-It’s in that moment that it clicks with everyone else, too: Rei Todoroki didn’t come up with this plan to take down Endeavor in the few months they’ve known her- she’s been planning this for years.

-The way that Rei takes all of this in, and then almost too-calmly asks Kurogiri if he can please make her a cup of tea is terrifying, even to a room full of criminals.

-They all fall asleep restlessly that night, reminded of their own pasts and the demons that have led them to where they are- and as for Rei? Well, she gets to cross another twenty-seven incidents off her list, and when she falls asleep as well, the weight on her chest feels much lighter.

-When Hawks shows up the next day, it’s still early in the morning- early enough for most of the league to still be in bed, and a few hours before his time to patrol. He comes bearing a tin of sweets for Rei, her bitter, dark-haired son (she’s so happy he’s found a friend), and a USB stick.

- “I hear we’re raising hell,” He says cheerily by way of greeting.

-They go through the evidence quietly the hero scrolling through the pages with an increasingly scary look on his face.

-He doesn’t tell Rei what he and Dabi have already hashed out between the night before and six o’clock in the morning- that A) Hawks is definitely a spy, and damn did it ever piss him off to have Dabi out him so easily, because he was sure he had him fooled, B) Dabi won’t out him to the rest of the league so long as Hawks agrees to help Rei, and C) None of this can go through the Commission. Absolutely none of it.

-They’re both very aware that if the Commission gets their hands on this kind of info, it will be swept under the rug faster than either man can blink, and the people instigating the problem will probably disappear. Hawks has heard them use the sentence “It’s for the greater good” far too many times to cover up too many things, and a sickened part of him doesn’t want to consider if maybe they’ve used those exact same words to cover up situations like this before.

-And damn it all, he agrees even though he knows it’ll probably come around and bite him in the ass- because at this rate, if the Commission catches wind of him being affiliated with this plot in any way after it all breaks loose, he’ll be on the rack. But he tries not to consider what he has to lose, and instead focuses on the fact that he can help these people, and maybe others as well. Who knows how many “heroes” have ruined lives just like Endeavor and walked free.

-And really, in the heart of it all, he wants to help the Todoroki family. Sure, he doesn’t know Natsuo and Fuyumi and Shouto very well, but Rei has slowly warmed over a portion of his heart that he didn’t realize was lacking a mother figure, and Dabi means more to him than he’d like to admit. Growing up, he was never given the liberty of being attached to people, tangible people who were his equals and not his icons. Now, having grown so fond of these two in particular, he’s beginning to understand why some people are willing to lay everything on the line for family.

-So he goes through the evidence and does his best to ignore how Rei strokes her hands through Dabi’s hair as the two of them watch as well, not entirely sure who the action is meant to comfort more. All the while, he’s trying to match up the man in these entries, the man in these clips and photos, to the man he’s risked his life for, fought beside, trusted wholeheartedly.

-Betrayal has a bitter taste, and it lingers in his mouth.

- He’s just finishing up downloading all the files onto the USB drive, when Rei finally speaks.

- “If this works, you’ll be the new Number One.”

-His hands stumble on the keys, and a sinking sense of melancholy sets in. Quite honestly, Hawks has never aimed for the Number One position in the way that others do. He’s never gone after it like he needed to have the top position or nothing- in fact, he would be happy to settle lower in the top ten then where he is now.

-But there’s really no avoiding it, and while he’s not sure what kind of complications it will have in his career, in his mission, in his growing relationships with both Rei and Dabi, he determines that’s a problem for another day.

-“I’ll be better than him.” Hawks says, the words coming out as more of a promise than the assurance he intended. Rei’s answering smile is caught somewhere between satisfied, bittersweet, and proud.

- “Good.”

-He takes the USB stick, gives Rei a quick hug and demands that she eat at least three of the chocolates herself before passing them around to everyone else (because he absolutely knows that she will) and leaves a shared parting look with Dabi that means everything and nothing all at once.

-Rei notices of course, but it’s really not her place to pry and she’s honestly not even sure that Touya himself has any idea what his current situation is with the winged hero, so she chooses to let the matter drop. The fact that the chocolates Hawks brought her happen to be her son’s favourite doesn’t entirely go over her head either, but she chooses to let that slide as well

- In the end, true to their collective nature, the LOV still agrees to also attempt a physical attack on the Number One hero, if only to bolster their media image. After all, they’ve been lying low long enough that the hero world needs a reminder that they’re still alive and kicking.

-And honestly, maybe just a little, they also want to give the world an image of Endeavor being taken down in more ways than one.

-Dabi volunteers immediately, that much kind of being a given, but everyone’s surprised when Rei offers to go as well. So far, everyone aside from the league and Hawks is still under the impression that Rei’s hospitalized- her image still isn’t tarnished, and if she wanted to, she could walk away from the league that minute and never suffer consequences for it. The instant her face is shown in correlation with them? There’s no going back from that.

-But she’s adamant, and it’s with some reluctance that they give in. In some ways, it’s only fair- this is personal for her after all, so it makes sense that she’d want to be involved. They settle on letting the mother and son handle the fire hero, and make plans to have everyone else ready to back them up if needs be.

-Besides, they’re out to absolutely destroy his image, and what better way to do that than have Endeavor’s own family do so? Bonus points for dramatic flair, nobody will be forgetting this for a while.

-Before long, it’s the night before the whole operation, and everyone’s restless as hell. Twice and Toga watch five consecutive episodes of some awful cake-decorating show that neither of them can stand before calling it a night, Spinner’s gone for most of the evening, and in a rare show of caring, Shigaraki puts down a steaming cup of soothing tea in front of Rei, the kind that she always steeps for him when he starts getting antsy and in his head. It’s a kind gesture from the young man, and she makes sure to smile warmly when she thanks him for it, pleased when he chooses to stay and sit at the table with her. They don’t make conversation, but just knowing that the other is around is comforting in itself.

-Rei ends up staying up later than he does, and it’s with a somewhat awkward and unpracticed motion that the man reaches out to pat her hand before heading to his own room, the action jerky like a rusty machine, but still appreciated. Rei smiles into her cup when she notices that the leader of their rag-tag little group has been gradually getting more tactile with those around him, wearing those gloves she made for him at almost all times. He still has a long way to go before he’ll be able to handle true contact, but she can see the effort he’s making, and every little bit of progress marks a new milestone.

-Dabi also spends the night away from the league, but Rei isn’t too worried about her eldest child. She knows exactly where he’ll end up, knows that he’s in good hands. After all, there’s probably nowhere safer for him to be than with the one other person in this world who cares for him just as much as she does.

-And on that note, Hawks spends most of the night discreetly flying all across Japan, dropping off printed files of incriminating evidence under an anonymous cover and using several fake emails to reach out to news agencies, freelance journalists, newspapers, magazine editors- anybody he can think of who would take this on as a scoop and spread the proof like wildfire. By the next morning, he knows that he’ll be seeing this stuff all over the media- he just hopes it’s been enough.

-When he returns home to find the door already unlocked, he doesn’t even bother turning on the lights. Instead, he locks the door behind him and makes his way over to the couch, not surprised at all to discover a familiar lanky figure passed out unawares.

-Normally he’d just leave him, maybe toss a blanket over the other man in passing, and continue on his way. But… After tonight, everything was going to change, and who knew what was going to happen to all of them, yes, but especially him and Dabi and this… Well, whatever it was that they were building.

-So he wakes the other man up instead, smiling as blue eyes catch on his own, and they talk. They talk about everything Hawks can think of to talk about, every little question he’s ever wanted to know about this mysterious person who’s taken up such a huge portion of his life recently. And for once, Dabi doesn’t meet him with resistance for his curiosity, seeming to have come to the same conclusion.

-Eventually they end up in Hawks’ bed, still just talking, laying side by side. There’s a strange sense of rebellion in the intimacy of it all, and the part of Hawks that has always loved pushing boundaries, fighting his leash, is basking in this. The Commission had wanted him to get close to Dabi, but he doubts they’d intended for him to get close enough to press a brave kiss to the other man’s forehead as they both start drifting off, to be close enough to hear his breath stutter before he hesitantly drapes an arm over the hero’s waist. If they could see him now, they’d expect him to be luring Dabi into some kind of trap, stabbing him in the back after earning his trust.

-But for now, the greatest “fuck you” he can send their way is by choosing to be gentle over violent, by choosing this person over his mission, by going after what he wants for once, damn it-

- “You won’t be there tomorrow, will you?”

-No, no he won’t be. As a hero, if he were present, he’d be expected to step in, and that’s the last thing he wants to do here, especially if it means facing off against not only Dabi, but Rei as well. The thought of even acting threatening to the woman is enough to turn his stomach.

-And honestly, if anyone had ever told Hawks that at twenty three and well into his professional career, he would find himself cradling a villain in his bed and whispering promising words of encouragement about the upcoming takedown of his childhood idol, he would never have believed them.

-Eventually they fall asleep this way, and Dabi has never really known, in all his life, what safety feels like but he’s pretty sure this is it.

-Skipping ahead to the next morning, Endeavor is already out on patrol when the news bombs start dropping. And of course, the reaction from the public is… Explosive, to say the least.

-There’s a lot of shock and a lot of horror, and absolute outrage. The only thing to really do in a situation like this, as far as news is concerned, is to go for a follow-up, so there are people all over the city trying to track down their Number One to get some answers.

-Meanwhile, Endeavor has no clue this is happening. At this point, the worst part of his day is not yet the fact that his hero career will be over in the span of a week, but that he ran into a familiar crispy edgelord and just… Doesn’t have time for this shit again.

-He expects Dabi to start monologuing to some degree, so when the villain starts off with, “Do you remember me?” it’s not really any kind of surprise.

-But it’s when Dabi responds to his irritated retort with a more firm, “No- do you remember me?” that Endeavor halts in his tracks a little bit. He’s not entirely sure what this creepy asshole is going for, but it’s setting him on edge, like there’s something in this situation that he has missed observing.

-And, for starters, he’s missed seeing the film crew behind him, although he will notice them eventually.

-But then this criminal starts talking about his children. Shouto, Natsuo, Fuyumi. He talks about how Shouto was kept separate from them, how he isolated the other two like they were never good enough, how he pushed his youngest so hard, the boy cried himself to sleep every night. Dabi starts listing events, scenarios, as if he gave a shit about them, as if he was there-

-And that’s when it clicks.

-When it does, he just outright cuts the other man off, a scowl working its way onto his face, disgust curdling in his gut. Part of him can’t believe it, that his long lost son has returned to him in the form of a ghoul, and the other part doesn’t accept it at all.

- “You’re not Touya.”

-At first, Dabi stares at him incredulously and starts to laugh, because how the hell could he not be, given the list of offences he just spouted off, but Endeavor corrects him, voice chillingly cold. “You might’ve been, but you’re not anymore. I gave you that name, and I can just as easily take it away. I set you up for greatness, and you chose this?!”

-The rage is bubbling over now, and the look on Dabi’s face has gone from one of irritated humour to a sheer blank slate. “You’re not my son. No family of mine would be so weak as to fall into villainy.”

-And, well, that line basically digs his grave for him, because from out of the shadows steps Rei Todoroki, and in the ways her eyes are blazing, one could’ve sworn she’d stolen Endeavour’s Hellfire right out of his hands.

-Instantaneously, half of Japan is losing their collective shit. In the span of six whole hours, Endeavor’s been exposed, Touya Todoroki is back from the dead (and is, as it turns out, one of the most prominent LOV members), and Endeavor’s wife has not only escaped the hospital she was admitted in, but has apparently sided with the villains as well? And this is all being filmed on live television?

-Every building with a functional TV is tuned in. Hawks is in line for coffee when he catches sight of the news channel and decides he’s going to slow down for once in his life, and not take it to go. Natsuo is watching the whole thing go down while munching on a bowl of cereal in his apartment, and as shocking as the whole situation is, it’s immensely satisfying as well.

-Shouto Todoroki watches from the dorm common room, and nobody knows what to say.

-And let’s just talk about Aizawa for a moment, shall we?

-Aizawa is a stoic man of few words, and even fewer needs in life. He’s simple, pragmatic, a slightly pessimistic rationalist through experience, and pretty laid back as far as most things go.

-But you don’t ever fuck around with his students.

-If anyone is going to react poorly about this, it is Shouta Aizawa, hands down. Unlike Hawks, Aizawa has never looked up to Endeavor as a hero. He’s never even liked the guy. And therefore, he has nothing to lose when his manageable contempt for the hero escalates to seering, undiluted hatred. Aizawa does not have a fuck to give; Endeavor just made it onto his shit-list.

-And the worst part of it is that he didn’t really suspect anything. He probably would’ve assumed that Endeavor was hard on his son, but he would never have guessed even remotely close to everything that’s been uncovered. And this is Shouto, Shouto who is always so polite and aloof, and so eerily unshakable for a boy his age.

-Hell, his classmates just got him to partake in his first Disney marathon four days ago, and he couldn’t stop grinning all the way through Frozen. The boy’s made so much progress in being here, has been finally opening up and making friends- but now he’s staring blankly at the TV screen while the news feeds roll, and Aizawa is literally quaking he is so pissed off.

-So while the rest of his students gather somewhat uncomfortably in the common room, watching the television with wide eyes, all of them clearly trying to decide between going to comfort the youngest Todoroki and leaving him be, Aizawa walks in with an extra blanket and two mugs of tea and just… Chills with him? The rest of the class is shook.

-And Aizawa doesn’t say anything either. He just gestures towards the TV and asks if Todoroki would like it left on, and when the boy gives him a silent nod back, he’s content to leave it at that.

-Gradually, the rest of class 1-A begins to gather as well, quietly collecting around their shaken classmate. The couch is not near big enough for all of them, but they make it work.

-Midoriya’s curled into Todoroki’s other side, Iida and Uraraka sitting by his feet on the floor. Surprisingly enough, Bakugou chooses to stand, but directly behind where Todoroki’s seated on the sofa, hovering at his back and looking silently livid, which is even worse than when he’s loud. There’s students gathered around on the floor, standing like the blond, sitting on the arm of the couch like Kaminari is perched.

-And it’s bad enough going through the Endeavor twist, but when Dabi reveals himself as Touya, Todoroki just blanches. There’s a million things running across his face all at once, and half of them are crushed.

-Even Aizawa doesn’t really know how to react to that, and the room falls into a hushed silence until Bakugou finally speaks up.

- “I can’t believe your fucking brother kidnapped me, Icy Hot.”

-And then suddenly, noise. Kirishima is squawking and smacking Bakugou’ arm and telling him not to be insensitive, and Midoriya is overanalyzing, and Aoyama’s saying something about the woods and the Summer Camp attack, but nobody can really hear him-

-And over it all, Todoroki is laughing. It’s not an entirely wholehearted laugh, but it’s a laugh nonetheless.

-When Rei steps up, though, that laughter fades quickly. Suddenly, Shouto Todoroki is four years old again, watching his mother face his raging inferno of a father, and all the previous boisterous life in the room gets sucked out at the sight.

-Throughout all of this, Aizawa’s been trying to keep his distance somewhat. Shouto’s never been a very affectionate student or individual in general, and neither is the erasing-quirk hero. But seeing how tiny and frail his student appears, shrinking in on himself as the drama keeps unfolding- well, Shouta doesn’t hesitate to put a comforting arm over the boy’s shoulders, noting with approval that Midoriya has snagged one of Todoroki’s hands as well, and is trying to keep him grounded.

-He gets a few notifications that he’s being paged to head out onto the scene, but he ignores them. Aizawa’s priorities are and always have been his students. If some other hero cares enough about hauling Endeavor’s ass out of trouble, they can rush in and help him, but Aizawa’s never been shy about making his opinions clear. He’s right where he needs to be, and he’s not moving.

-Rei is not afraid.

-That’s the first thing she realizes when she makes a move to stand by Touya, and sees Enji’s eyes widen in disbelief. She has stood in this exact position so many times, has stood before this man on too many occasions to be afraid of the wrath in his eyes. She is not afraid, she has evened the playing field, and she will not let him break her again.

-The worst part of the whole thing isn’t even seeing him again, meeting like this with the remains of a shattered family falling down around them. The worst part is that he sees her, narrows his eyes, and tells her to get out of the way. The first words out of his mouth are an order, same as they’ve always been. And right now? She has no intention of complying. Never again.

-When she doesn’t move, he repeats himself, angrier this time. He’s pouring flames, a spectacle that would have instilled her with enough terror ten years ago to do whatever he said, and not speak a word. But as she sees Endeavor winding up to attack, eyes fixed on Touya, the young man, her boy, reaching out to pull her behind him-

-Endeavor lunges. Rei shoves. Dabi ends up on the ground well out of harm’s way, and for a moment, the world stops on its axis.

-Enji Todoroki did not bribe over an entire family to win a woman with a run-of-the-mill ice quirk. Were that the case, he never would have wasted his time. Rei was a meek woman with a powerful ability that she barely used, and never in extremes; a little bit of frost to cool a juicebox, a cool hand to soothe a scrape.

-So when an absolutely terrifying, guttural roar of a sentence reaches him, seconds before thousands of pounds worth of ice go shooting up in a very obviously threatening display of power, he’s inclined to stop dead.

- “Don’t you dare touch my son.”

- Rei’s teeth are clenched, eyes hard, hands still braced to fight. The exertion of putting up so much ice hasn’t even seemed to affect her, a simple flick of the finger compared to the full-handed slap she could deliver.

-For once, Endeavor hesitates.

- “You won’t lay a damned hand on him,” She hisses, and a collection of icicles shoot forward at her words, though they stop a good four meters away from where he stands, “I’ll never let you do that again. Because you were right about one thing, Enji- he’s not your son. He’s mine. Natsuo, Shouto, Fuyumi, Touya; they are all my children. You haven’t done a single thing in this life to deserve them.”

-Endeavor sputters at this, but only for a second before Rei’s ice is growing again, eyes cold and dangerous.

-He manages some kind of threat about having her rehospitalized, still unsure how it happened that she was out in the first place. Rei’s smile is not a pleasant one.

- “I don’t recommend you try that.” She says quietly, and in seconds, there’s ice everywhere, Rei unleashing her powers for the first time in well over twenty-five years. It shoots up in an enormous plume, cutting itself short before reaching the reporting camera crew, but forcing Endeavor to leap out of the way and scramble to safety.

-Rei and Dabi slip away in the confusion, regrouping with the league who were hoping to see some more general ass-kicking, but greatly appreciated the display nonetheless.

-And across the rest of Japan, people notice. Hawks chokes on his coffee when the ice flares up, stunned to disbelief that sweet little Rei, who had been so careful preening out his bad feathers that time he got stuck in a storm, was effortlessly capable of this. Natsuo drops his bowl, Shouto sits agape. None of them have ever seen Rei use her powers to her full capability, and the effect is stunning.

- “That explains… A great deal.” Aizawa mumbles eventually, voice barely audible over one Katsuki Bakugou shouting “Fuck yeah!” at the top of his lungs from behind the sofa, very nearly scaring Midoriya off the couch. The news roll continues, but there’s nothing more to see aside from Endeavor shouting at a group of heroes that have arrived suspiciously late.

- “I… Yeah, I guess so.” Todoroki manages. It’s overwhelming, all of it, and while he has a billion questions in his mind, there’s one that sticks out more than the others: what on earth does all of this mean for them now?

What this means is that I guess we’re doing a part three now too, because I don’t know how to cut things short. Sorry guys. Thanks for the support, if you’ve read this far, and hopefully I’ll have some new content up for you all soon!

#bnha #boku no hero academia #mha #my hero academia #bnha dabi #bnha hawks #bnha rei #rei todoroki #dabi is a todoroki #dabi is touya #league of villains #bnha headcanons #bnha prompts #dabihawks

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