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tomorrow-and-tomorrows · 3 years

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JJK 149. Mai Zen'in

It’s fascinating for a battle shounen manga to have a character like Mai who is diametrically opposed to the ideals of strength and self-improvement that are usually valourized in this genre. Mai doesn't die because she can’t get stronger, but because she doesn’t want to. And although that attitude is evidently incompatible with an existence within the world and situation she found herself in, there is no negative value judgment imposed by the narrative itself condemning her unwillingness to unlock her "full potential".

JJK has always foregrounded competing worldviews and how individuals’ different perspectives and values can either coexist or conflict with others. Maki's ambition to transform the Zen'in clan vs. the Zen'ins' regressive conservatism; Gojou's vision for the jujutsu world vs. the higher ups' ; Yuji's "I want to save everyone" vs. Megumi's "I choose who I save" ; Mei Mei's "I'm on the side of money" vs. Nanami leaving a lucrative job to save people out of compassion, and so on.

So it's particularly impressive that, while operating within the shounen genre, the story continues to maintain its respect for this ideological diversity by preserving Mai’s belief in her own worldview to the very end. Simply put, not everyone wants to become powerful even if they may have the potential to. Not everyone wants to live a life of violence, and not everyone wants to be a saviour for others at the direct expense of their own sanity.

It would be perhaps the more optimistic yet potentially oppressive narrative move to demand for Mai's character to undergo a transformation from a character who resists the shounen ideals to one who accepts them. This type of transformation would by no means be inherently negative; I'm definitely not saying that going down this path would have been bad for Mai's character or for the story. But it would succumb to a temptation to move towards a kind of 'sameness' rather than difference in its depiction of ways of acting in the world. I think Mai's ending is all the more striking because it resists this temptation.

Because I think that the more typical - and optimistic - development arc for Mai would have been for her to learn how to be willing to become stronger as a sorcerer and eventually fight alongside Maki.

But instead, Mai never ends up conforming to those dominant values of strength and ambition. Neither is she subjected to the kind of development traditionally favoured by the genre that are along the lines of, 'you just need to believe in yourself and work hard' -- because if we really think about it, often times a lot of feats in shounen are accomplished by sheer willpower and self-conviction. (JJK is not always an exception to that trope, nor is it necessarily a bad thing!). Mai had previously firmly stated her opposing point of view, and this essential attitude never changes even when we perhaps most expect it to.

In this situation, rather than working to improve her technique to create stronger objects without it costing her life, Mai passively accepts that her weakness will require self-sacrifice.

It’s a fatalistic attitude resulting from having never wanted to partake in a life of violence and hardship.

On the one hand, inflexibility and the inability to adapt are not exactly commendable traits; Mai is certainly fixed in her resignation and refusal to work towards her full potential as a sorcerer. On the other hand, to use Nanami's words, being a sorcerer is shit. All the suffering and regret in the story so far has only continued to reaffirm that sentiment. So we also can't fully condemn Mai for rejecting that way of life to the extent that she would rather sacrifice herself than to push forward to have her own "shounen power-up" moment. Because the aftermath of that would be a path likely filled with death, brutality, and suffering.

The wish to live a normal life is a legitimate and valid one. In an ideal world, her clan would not punish her for it. In an ideal world, opposing perspectives, especially ordinarily pacifist ones like Mai's, would be allowed to exist. Mai having to die because she was unable to escape or adapt to the ruthlessness of the jujutsu world exemplifies how cruel that world is. Mai's persistence in her wish for a normal life, and her "failure" as a sorcerer is not her failure at all; her death reflects a failure of the violently rigid jujutsu clan culture.

In this light, it is all the more tragic that Mai's death was entirely preventable, and fated not by the inevitability of actual "fate", but rather entirely by a radically traditionalist clan system.

At the same time, as I mentioned earlier, I find it impressive for Gege to have allowed Mai to hold onto her values. Just as Maki has always stayed true to her dreams of overturning the Zen'in clan by becoming a powerful sorcerer, Mai has always stayed true to her resistance to that dark and difficult path. From a writing perspective, I think it's interestingly respectful to Mai's character in that way. It's also for this reason that I consider this chapter to be a worthy good-bye to Mai, as she is faithful to her own way of being in the world until the end. It may not conform to the demands of the optimistic self-improvement narrative generally preferred by shounen, but it is a valid perspective, and it is never depicted to be 'lesser than' or 'inferior to' the shounen narrative.

I'm always interested in stories in which there is a genuine dialogue of a diversity of voices, each with their own perspectives and viewpoints even as they conflict with each other - or in other words stories that prioritize 'difference' over 'sameness' in ways of being, thinking, and acting. It's not necessarily uncommon - most if not all stories will feature different character motivations within a given cast. But I think JJK does this particularly well in a particularly convincing way, and 149 is further confirmation of this for me.

Finally, it is notable that Mai herself seems to acknowledge this sentiment. She may have been unwilling to imagine a stronger future version of herself, which is opposite to the advice Gojou had given Megumi if he wanted to reach his full potential. But she died for the sake of believing in the stronger future version of Maki, and this is how she is victorious even in death. All the way to the end, Mai had her way of viewing and acting in the world in her individual way, and Maki had hers; importantly, Mai ends up encourages this difference. Right after she states that "You are me, and I am you", that sameness is undercut when Mai immediately after points to their contrasting motivations:

Mai ultimately encourages Maki to live in the way that Maki wants to live - to the fullest potential of her power and the fullest potential for her capacity to force change upon a corrupt system. Before, Mai had resented Maki for moving on without her ("why didn't you fall down the hole with me?") - she resented how Maki couldn't be the same as her in how she viewed the world. In her final chapter, Mai conversely acknowledged that she herself could never see the world exactly the same as Maki.

Therein lies the cornerstone of her character development; before, she resented that difference between them for those twofold reasons. In the last moments of her life, she no longer resents Maki for moving on without her; she encourages her to move forward into the future. It is of course undeniably tragic, as it must be a future without Mai. And no amount of power gained from such a loss could ever be consolation for that tragedy.

It is fitting, then, that Mai's final message to Maki is full of despair -- yet it is also not without hope. In the interplay between 'construction' and 'destruction', it is ironic yet poetic that Mai wished for her object-construction technique's final and greatest creation to be used to destroy - indeed, to "destroy everything". There is undoubtedly despair both in that command, and in Maki's drive to destruction when she emerges from that room. But somewhere, somehow, there must also be the hope that that destruction will be in the service of "construction", of creating a better future for others, even if it is too late for it to be a future in which they can live in together.

#jjk meta #jjk 149 #mai zenin #maki zenin #jjk #jujutsu kaisen #jjk manga #jjk theory #zenin maki #zenin mai #jjk manga spoilers #jjk spoilers

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wicked-berry · 2 years

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You know what...back in 2018, a year after orphan black had ended we were introduced to a new series called ‘killing eve’ by the same network. I was one of the few people who had watched the series from the very 1st ep without spoilers and without a single clue of how exactly they would move the plot forward. Because of that i was genuinely caught off guard with every twist and turn of a masterfully crafted script, an abundant production and of course those stellar performances of sandra and jodie we got to witness the past 4 years. By the end of 1x05 i was hooked and then came 1x08, which really proved KE to be a ‘never been done before’,one kind of a show to me. Really it was nothing like what i had watched before. It subverted all expectations and set the standard very high right from the beginning. All the while a 2nd season was already approved by then, which means they knew they had successful material on their hands (S1 was impeccable, really faultless for me, praise PWB). As of the 2nd season, and after PWB had left, production changed the lead writer every season and as it was expected that has impacted the series a lot. PWB or not they shouldn't had changed the lead writer EVERY season, given that everyone has a different picture in their head of how this could go. The fast pace has always been an absolute advantage of KE that didn't allow you to take your eyes off the screen because you could lose important scenes and clues. Then they added all those dull characters and subplots that took almost half of the screen time and most importantly kept the main characters apart for most of the time and that took half the edge from the show. Season 3 had some good moments but they definitely wasted much time.

FINALE and s4

I felt from the start they wouldn’t go with more than 5 seasons and that was ok with me, cause i knew they would have wanted to end the show on a high and not stretch it. After the pandemic and the news of a last s4 i was so sure that the time wouldn’t be enough to take care of all the loose ends and my expectations dropped but i was hopeful that after how s3 ended, with villaneve together, they were all set to wrap everything up. S4 started to unfold and i was taken aback by the inexplicable separation of eve and v, the non existant reunion after THE WHOLE SEASON, the infinite amount of lost time combined with the forced plot of the 12. Following all that, came the worst ending i could have hoped for. When it came to the finale of KE i was always prepared for death and destruction and i would definitely take 2 deaths as a dramatic and well thought “bad” ending. If anyone, 4 years ago, would tell me how badly written, executed and butchered the epilogue would be, i would have laughed just as i laughed when the title ‘THE END’ dropped.I am sorry but that was so insulting to all the viewers who actually cared about the series and paid attention to the details. They kind of turned it into a parody. Aside from

the dramatic and depressing scenes, from a narrative standpoint, the writing choices were insane. Not connected, not a single question answered, full of plot holes and rushed. I am still not able to comprehend the thought process they followed that led to this. Its not even the sad part and the last minutes but the complete abandonment of all reason. At last, nothing made sense, i’m in denial and i don't want to believe they chose deliberately this awful ending (at least without the pressure of the production) that literally noone could justify, let alone acknowledge it as “skillful writing”. A degrading end for an exceptional series truly.

#killing eve #sandra oh #jodie comer #ke finale #killing eve finale #eve #villanelle #villaneve #phoebe waller bridge #ke 4x08

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themoonwheniamlost · 3 years

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Last post I ever want to make about this @/lgbtmazight situation

Please do not harass anyone, no matter what their stance on this is. Please be kind to each other and to yourselves.

Here is a link to the original Post, Here is a link to a great focus/framing statement.

In this post, I’m gonna talk about a few things that I think need context, and then I never want to talk about this again. Okay? Ok.

1. Anyone who is using this situation to try and gain clout/respectability points needs to sit down and shut up. No one should be aiming for recognition. Saying “This needs to go viral/I was right all along,” is very unhelpful. If you were hurt by Len you definitely deserve an apology. But please stop trying to accrue brownie points over this discourse.

2. To the people defending Len. Please stop framing that post as a doxxing attempt. The content from that post is all things that Len made publicly available on the internet. Instead of saying “They pulled up tweets from ten years ago.” What should concern us is that for over ten years, Len has shown a documented history of holding dangerous and hateful political views and has constantly lied about different aspects of their identity.

What we should be focused on is the people that Len has hurt and the ways Len has misled our community. The only person who should be defending Len is Len. Speaking of,

3. Re- the subject of the silence of big blogs/ A new Discord server.

A few days ago, I was invited to be a part of a small discord group that was dedicated to “nuanced discussions and recreating the inviting spirit of the TOG fandom” from last summer. I accepted and was surprised to see some of the biggest names in fandom.

Four days ago the mods put out an announcement that a post had been made about one of their mods and that ALL of the accusations were false. And they then asked everyone in the server not to engage with the post at all. I didn’t even see the post until someone sent it to me directly.

The mods framed this call for silence as a way to keep Len and her family safe. As if anyone engaging with the post was directly putting Len in danger, rather than to face the fact Len was the person who put that much personal information online.

The mods in this discord did not allow for any discussion about this situation in the general server. So anyone who was concerned or had questions had to go directly and separately to the mods. How then do we know who has the same concerns as us? You don’t. In this server, a culture of silence has allowed Lens Closest Mutuals (a group of mostly white women) to act as a PR team that fields any and all concerns from people in the server.

The mods assured me that Len had done video calls with them and showed proper “documentation of their family,” to prove that Len is who she says she is. Which version of Len, is who she says she is? No one answered this question.

When I expressed my concerns to the mods, I got a stock response filled with defections, straw man arguments, red herrings as well as various statements that appealed to moral superiority and conflated separate identity terms all at once. I argued against all of their points and the response that I got was that if I was going to continue “not seeing eye to eye about the need for Len’s safety,” then I would be removed from the group.

I removed myself. I won’t ever stay in a group where one person's mental health is put on a pedestal above all the ways they have hurt and wronged others.

3.A - Please be wary of these White and White-passing women talking about what is and isn't racist. The people who claim that these accusations against Len will drive PoC out of fandom. As a whole ass Black and Indigenous woman, NO. What pushes PoC out of fandom is allowing people w/o racialized lived experiences to be the arbitrators of whether or not something is racist.

4. If an argument is made in bad faith but turns out to be true, it doesn’t mean that the accused should get away with everything just because someone accused them with ill intent. In this case, intent means nothing. Len has lied and holds terrible views. The end.

5. Race, Ethnicity, nationality, familial origin, religious background, class, and cultural upbringing are all different aspects of identity. Over the last ten years, Len has a documented history of lying about ALL OF THESE ASPECTS.

6. No one hates Len for being White-passing. However, you cannot be White-passing and “constantly racialized” at the same time. That's not possible because Race is what is read onto your body. If you are Read as White, and if you are allowed to exist in White spaces, you are not racialized. So which narrative is true?

7. I think that the aspect of race is one of the least important things in this to focus on. Len is a genocide denier, steals aspects of different religions, cultures, and lived experiences as their own. On top of this Len has made themselves a pillar/authority in TOG fandom while constantly lying to all of us, causing harm and posing as the authority on all things Maghrebi.

8. This news has already upset the fandom's past and present in ways we can't go back from. I know I personally feel really guilty for having ever followed this person. But again, the only person responsible for Len’s actions is Len. I'm simply dedicated to being more discerning in the future.

I know that a lot of us are angry. But I think there are ways for us to be angry and still kind. We have learned that someone close to us holds hateful views, but we don't have to act in hatred.

It goes back to the source material that brought us together right? In a terrible situation, we can still do some good. Still build bonds in honesty and nuance. Maybe I’m being naive, but I want to believe that our fandom can grow from this.

We're about to get a sequel! Let's get rid of the bad and move forward as a community. "Shit, Let's start a band."

#lgbtmazight #em look away #fandom discourse #racefaker #tw antisemitism #I hate that I'm still thinking about this #But I needed to get these words out of my head.#if anyone wants a safe place to talk my inbox is open.#please be kind to yourselves #the old guard

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gffa · 3 years

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Hi! I’ve found that a lot of this depends on how you want to handle things/how your group of people is putting these things out there. Like, I’m not going to reblog the posts I see in the tag that have like six notes saying “the Jedi told Anakin to repress his feelings and so it’s their fault he fell” (which is exhaustingly common in the tag but I know where my scroll button is), but if someone comes onto my posts, then I’m free to point out, no, here’s what canon actually says/does. So, a lot depends on the people you’re surrounded with--is bringing this up going to get you somewhere that you’re happy with? Then, by all means, I have some receipts for you! But if it’s just going to make you mad to argue with people who aren’t going to change their mind (or vice versa!), then it’s better to just let go usually. It depends on you and what you want! There are two ways to handle this (if you’re going to get into it--and, remember, you’re not obligated to spend your time on this!): 1. Ask them what scene from the movies or show specifically makes them believe the Jedi were shown to kidnap kids. Or ask them, why do Jedi like Yoda and Mace and Obi-Wan, classic “true faith” Jedi, show emotion all over the place if they’re supposed to repress them? How does that square with Obi-Wan telling Anakin that, say, romantic feelings are normal and of course they’re allowed in TCW?

2. Or point out that there’s no evidence that the Jedi kidnapped kids in the movies or TCW, but there is evidence that they don’t: - In The Phantom Menace, Qui-Gon can’t just take Anakin from Watto, he has to go through a whole huge entire scheme to get Watto to agree to give up Anakin, which shows the Jedi can’t/don’t just take kids. - In “Children of the Force”, Cad Bane poses as a Jedi to try to kidnap Wee Dunn and can’t just take the child, he has to come up with a whole plot to hypnotize her into agreeing to give the child over, which says that the Jedi get permission. - In “The Disappeared”, the Bardottens labeled the Jedi as kidnappers and the Jedi’s response? They stopped going there. The scene is deliberately framed as the Bardottens misunderstood them, but the Jedi respected their refusal and so they didn’t adopt Bardotten kids anymore. - They have a list of known Force-sensitives in the galaxy, why would they even need a list if they just took the kids? I have often found that reframing the Jedi Order adopting children makes a big difference for me in terms of arguments against them. Jedi don’t get a choice about being raised in this culture? Neither did Leia when she was adopted into Alderaanian culture, is that bad now, too? Children are raised in their culture, that’s just how raising children works. With the Jedi and the emotions thing, they have never said to repress your emotions, they instead say to control your emotions, because they are psychic space wizards with powers directly tied to their emotions. A Force-users’s interaction with the Force is based entirely on their own mindset and what they bring into it--if they use the Force in anger, they get blasted in the face with their own dark side feelings. We further see this in the way influential Jedi (like Council members or Jedi we know are generally good representations of what the Jedi are like) express emotion all over the place:

These are all Jedi who are on the Council, the Jedi who would most embody what they’re trying to achieve and yet, look? Emotion all over the place! A lot of the “the Jedi suppress emotion” is because Anakin goes overboard, coming from understandable places, but that he takes it too far. He murders children (the Tuskens and the Jedi) because he’s angry. Whatever happened to cause those feelings, however understandable or not they are, when they are tied directly to the murder of children, no, Anakin was not right, he took things too far. He lost control of himself. Further, Depa Billaba (Council member and Mace Windu’s former Padawan) directly says it in the Kanan comics:

”Those emotions are valuable and should not be suppressed, but you must learn to rule them, Padawan, lest they rule you.” Often, also, is the argument of “attachment”, like it’s treated as the same thing as “love”, when Star Wars as a narrative isn’t using it in that way, it’s directly tied to “possessive” and “selfish” forms of love, and George Lucas has said so directly and explicitly. “The Jedi are trained to let go. They’re trained from birth,” he continues, “They’re not supposed to form attachments. They can love people- in fact, they should love everybody. They should love their enemies; they should love the Sith. But they can’t form attachments. So what all these movies are about is: greed. Greed is a source of pain and suffering for everybody. And the ultimate state of greed is the desire to cheat death.” --George Lucas, The Making of Revenge of the Sith Love and attachment cannot be the same thing because “they should love everyone, but they can’t form attachements” would then be “they should love everyone, but they can’t love” and that doesn’t work. Some more posts to read, if you want: - Jedi and emotions - Attachment, greed, and the dark side - The Jedi co-exist with many other Force-users, they do not try to monopolize the Force - What the Jedi actually say/do about adoption in canon - Attachment is not the same thing as love - Big giant meta of what is canon/word of god for the Jedi People are, of course, allowed to hold whatever opinions they want, but I have found that canon paints a pretty positive portrayal of the Jedi Order and how a lot of accusations just don’t wash for me and are instead pretty directly contradicted by what’s actually in the movies and the TV shows and what George Lucas has said about his intentions for them. People aren’t obligated to take word of god commentary into account if they don’t want to, hell, they’re not even obligated to take canon into account if they don’t want to! But if we’re arguing about the actual narrative intentions, then this is what they actually say and do! AND I LOVE THEM SO MUCH, THEY ARE TRYING THEIR BEST IN A REALLY SHITTY GALAXY AND THEY LOVED SO DEEPLY AND THEIR MESSAGE IS ACTUALLY A PRETTY GOOD ONE--DON’T LET YOUR FEELINGS RULE YOU, BECAUSE THAT DOESN’T ACTUALLY LEAD TO GOOD PLACES. ACKNOWLEDGE YOUR FEELINGS (like the Jedi design their tests around, the children going to Ilum have to face their inner fears, acknowledge them and let them go, before they can move forward, the Jedi are actively seeking that out in the canon!) AND THEN WORK PAST THEM, THAT’S SO MUCH HEALTHIER FOR YOU. I mean, look at the characters who most embody the ways of the Jedi and were elected to their High Council and we spend time with them--Yoda, Obi-Wan Kenobi, Mace Windu, Plo Koon, Kit Fisto, Depa Billaba, Even Piell. These are all deeply caring, deeply good people who went through so much shit, shit that would have knocked many people out for the count, but still rose above it and kept their balance. That says a lot about who the Jedi are right there and what their most faithful people are like. AND I LOVE THEM SO MUCH I COULD BARF RAINBOWS ABOUT IT.

#jedi order #obi wan kenobi #mace windu #yoda #depa billaba #meta #long post

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bestworstcase · 3 years

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i’ve been thinking about this post from a couple days ago and how i shared my four questions of character development but didn’t actually give an example of what my answers look like and it’s bugging me a bit because it occurs to me that it’s kinda just. lobbing a tool out there without documentation on how to use it properly rip

so uh. further details with examples ft. the bitter snow cast.

#1: what are they looking for?

all characters have an UNFULFILLED DESIRE that motivates them to action. the more central to the story the character is, the harder this must be to attain, as a general rule. this is, ideally, NOT an exterior goal. instead, it is the intrinsic wellspring from which the character’s goals and aspirations emerge.

EXAMPLES:

cassandra: it’s complicated. she is a character defined more by what she lacks than what she wants, per se; she does not feel secure of her place in the world, she craves trust because she feels she is distrusted, she craves respect because she feels she is overlooked, she craves love because she feels unloved. she doesn’t want to be a servant. she is terrified of insignificance, of being forgotten. she does not fit, and this hurts her. she is riddled with self-loathing and self-doubt because of the discrimination she has endured due to her saporian heritage. but if pressed to explain what she wants… she can’t summon a true answer. she doesn’t know what she wants, so what she is looking for fundamentally is to figure that out.

rapunzel: complicated again. she is a character defined in large part by what other people want from her. a people-pleaser who becomes anxious, persistent—even forceful—in her efforts to make everyone happy. she isn’t accustomed to paying attention to her own desires, and tends to neglect them unless she is acutely unhappy. i think she is looking for herself, more than anything.

varian: he is searching for answers. he wants to understand how the world works, to discover what it has to teach him. simple.

caine: she is looking for freedom. her life has been a long succession of horrific losses: her father was brutally taken from her, her mother became horribly ill, poverty and familial obligation robbed her of what remained of her childhood, she became disillusioned with the faith her aunt tried to share with her, her best friend died in her arms. she wants vengeance, and she also wants to stop carrying these ghosts with her, and she also wants to stop looking over her shoulder all the time and waiting for the next loss to catch up with her.

zhan tiri: she is looking for peace. she is the oldest living being in existence, and she came from nothing, and every single significant moment in her unfathomably long life has been soaked in blood and pain and death. her intrinsic nature is to hunger—always needing, always restless, always empty—and more than anything, she longs to break this endless circle of want.

#2: what’s stopping them?

every character must have an OBSTACLE which DISRUPTS their pursuit of what they’re looking for. it is the thing standing in their way. this is NOT the antagonist—it is the reason the character cannot easily overcome the antagonist. ideally it is something intrinsic.

EXAMPLES:

cassandra: she has, again, a complicated answer—because the very thing she is looking for is the same thing that stands in her way. how can she discover her basic, most primal want if she can’t even articulate her goals? she wants, at the beginning of the story, to join the watch—but not because she wants to join the watch, so much as joining the watch is a proxy for cassandra assimilating fully, for being coronan through and through, for scrubbing herself clean of the stain of her parents’ legacy—and that proxy is itself merely a proxy for her desire to belong—and her desire to belong is, in turn, a proxy for the agony of not knowing herself. she is piling bandaids on top of bandaids on top of bandaids on top of hemorrhages.

rapunzel: she is trapped in her own story. an evil witch kidnapped the magical lost princess, who escaped and came home; a miracle. the sundrop gifted its power to the lost princess; destiny. she a peacemaker and a mediator; it is her job to fix problems. narratives piled on narratives and she’s lost—or rather, never had—the insight to recognize that there is more to her than the stories people tell about her.

varian: his crushing need for approval is the key thing standing in his way. it isn’t just that his father’s disappointment or his village’s distrust make him warier of free experimentation; it is also, and perhaps even more so, that he is afraid of finding the wrong answers. answers that won’t help people. answers that his friends and allies won’t like. answers that change his basic view of the world in ways that feel antithetical to who he is. this fear holds him back from pursuing the truth.

caine: she is looking in the wrong direction; she is trying to not care, as if by not caring she can trick the universe into not taking anything else away. she is someone who cares so deeply trying to sever herself from everything she cares about without actually letting it go, which is of course an exercise in futility.

zhan tiri: what she wants is, quite simply, impossible. this is not a human answer because she is not human. contentment is and will always be something she is not capable of feeling, and chasing it is nothing but another exercise in insatiable hunger.

#3: what are they going to do about it?

this is about ACTION. it is not an option for a character to do nothing; the nature of the unfulfilled desire is that they are COMPELLED to seek it, somehow, by some means. if the answer to this question does not involve the character DOING SOMETHING, you need to return to question number one and fix the answer there.

EXAMPLES:

cassandra: she is going to fling herself headlong and without hesitation after whatever concrete goals feel like they might “fix” the lack she feels. even if a short term goal (like helping rapunzel sneak out) clashes or is contradictory with a longer term goal (like joining the watch). even if it is an obviously stupid idea (like her secret correspondence with rosalia morcant). even if it is an impulse with little if any rational basis (like fixating on finding varian, or joining the fight in socona). she is, essentially, throwing stuff at the wall to see what sticks, because without knowing what she wants, she can’t form a coherent “quest” for herself.

rapunzel: she is going to follow the path of least resistance with whatever narrative feels the least restrictive to her at any given time. when she is fresh out of the tower, reconnecting with her real family and throwing herself into becoming a princess is that narrative. later, taking adira’s and xavier’s advice to pursue her destiny by questing for the moonstone replaces that narrative. since none of these narratives fully suit her—they are all boxes she tries to fit into—she will eventually grow discontent and cast them aside to try something new, until she finally breaks this cycle.

varian: he is going to fall into a cycle of hesitant side-stepping leading to crisis leading to frantic charge forward until he identifies this pattern and chooses to step calmly but courageously into unknown territory. his instinct is to try to go around, to find an oblique solution, but to get what he wants he will ultimately need to just face his fear head on—and deep down he is willing to do that.

caine: she is going to run, and fight, and keep running and fighting until her legs give out beneath her. vengeance appeals to her, and she’s going to chase it with everything she’s got while trying to protect what she has; her intense drive is tempered by caution, which manifests in a pragmatic approach to pursuit of her exterior goals.

zhan tiri: she is going to continuously and experimentally refine and broaden her definition of “hunger” with the aim of hitting on something that allows her to feel satiated. she is going to line up goals and systematically chew threw them until there’s nothing left. she is, eventually, going to devour the whole cosmos and then probably die.

#4: who do they think they are?

this is a question about the character’s SELF-IDENTIFICATION. how do they PERCEIVE themselves? how do they choose to DEFINE themselves? what do they see when they look in the mirror?

EXAMPLES:

cassandra: she is untrustworthy. she is ignored. she is likable but not lovable. she doesn’t fit anywhere. she’s empty. she’s unsure. she’s drowning in doubt. she is insignificant, unimportant. she has been wronged, somehow. she wants to be a hero. she is someone who wants to do the right thing. she never stops trying. she’s stupid and reckless and incapable and doesn’t deserve any of the things she wants. she probably cares too much.

rapunzel: she is good. she is kind. (she is better than other people, in some small way. she sees the potential for goodness that other people can’t, or won’t.) she is worthless. she exists to make the world a better place. she is a princess, so she has to lead. she is the sundrop, so she has to heal. she is strong. (she is weak.) her determination to be kind and willingness to trust are her best qualities.

varian: he’s probably a lot smarter than most people he knows. he doesn’t know anything, but he wants to. he’s reckless. he’s not good enough. he can’t replace his mom. he’s accident prone. he’s a disappointment. he moves too fast. he thinks too fast. he doesn’t really need to sleep. he’s better with chemicals and formulas and machines than people. he’s not someone people want to be friends with. he could do great things if people—especially his dad—would just believe in him for once.

caine: she is an asshole and there is nothing wrong with her. she’s callous. she’s selfish. she’s out for her own interest first. she’s fine. (it was her fault cornaīn died. it’ll be her fault if her mom dies, or if neasa dies, or if any more of her crew dies, or if cassandra dies.) she isn’t afraid, she isn’t hurt, she’s angry. the only person she can rely on is herself, and the only person she wants to rely on is herself. she’s not anxious, she’s being smart.

zhan tiri: she loves, and it hurts, and she loves anyway. there is a way to break the circle and she is going to find it; it isn’t over until the end; but nothing lasts but hunger. she has done nothing wrong, ever, in her life. she has so many regrets she could drown in them if she weren’t immortal. she is beautiful, stop screaming.

…and that’s the bedrock of a character.

every individual action, every specific goal, every thought and feeling, is ultimately guided by the clash between this internal core with the realities of the setting, plot, and choices of other characters. cognitive dissonance between answers #1-3 and answer #4 is a breeding ground for inner conflict, and answers #1-3 are the raw material from which the spine of the character’s arc is sculpted.

[bonus round: this method comes from a scene in the pre-broadway houston run of the musical wonderland, wherein a character poses these questions to alice; her answers are:

#1: “i’m looking for my lost child.*”

*this being both literally her child who is lost but also metaphorically her own sense of wonder and discovery, which she has lost touch with.

#2: “i do! i keep getting in my own way, it’s all i do!”

#3: “i’m trying to figure that out!”

#4: “i’m chloe’s mother. i’m married to jack. these people are my friends. i’m a writer. i’m a teacher. i’m the dreamer of this dream. i’m lots of things; i’m my own invention!”

and when i first listened to this audio i was blown away by just how perfectly this distilled the character of alice down to her purest essentials so i immediately adopted it for character building purposes and i have never looked back because it is simple and it works.

in this scene there is also a fifth question, “what are you afraid of?” (paraphrasing: “losing the people i love”) which i have over time sort of just lumped in with how i answer the other four, because i find it to be less evocative on its own. however, it is useful information to know about a character and i recommend keeping it in mind when answering the other four.]

#[flings writing advice into the void at 5:30 am] hello

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rachelbethhines · 3 years

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Tangled Salt Marathon - Rapunzel’s Return Part 1

We’ve finally made to season three and the entire reason why I made this review series. This season features some of the worst writing I have ever witnessed in a television program. And this season kicks off with the third worst episode of the whole series. Rapunzel’s Return is the iceberg that sinks this show and manages to assassinate everyone’s character.

Everyone’s.

Summary: Inside the House of Yesterday's Tomorrow (as seen off screen in "Rapunzeltopia"), Cassandra is greeted by the Enchanted Girl, a spirit who reveals that Cassandra is the biological daughter of the late Mother Gothel, who abandoned her on the night she kidnapped infant Rapunzel. Enraged that Rapunzel has been (unknowingly) overshadowing her for the entirety of her life, and that she will always be unfairly overlooked, Cassandra snatches the Moonstone Opal, absorbs it, and declared Rapunzel's destiny as her own. She manages to escape from the group and cuts all ties with them, with Rapunzel unable to wrap her head around the entire situation. The group returns to Corona and find that it has been taken over by Varian, who has aligned himself with Andrew and the Separatists of Saporia to erase the King and Queen's memories and enslave Corona's citizens.

Plot Hole Number One: Why Would Cassandra Just Blindly Follow A Ghost While Trapped Inside a Haunted House?

Outside of that one snarky remark, Cassandra never stops to question the literal ghost who is bossing her around. The ghost she met in a creepy haunted house. A haunted house that she was already suspicious of before ever going in and that has tried to kill her and her friends many times now.

Cassandra, the most distrusting and cautious of of individuals in the show thus far, just suddenly decides to leave her brain behind from this point forward for no given reason whatsoever.

If you have to dumb down your main character and have them behave OOC in order to get your plot rolling along, then you haven’t a good plot.

Plot Hole Number Two: Cassandra Sees for Herself How Awful Gothel Was to Her Here, So Why Would She Obsess Over the Woman?

Forgetting for a moment that Cass very well knows that Gothel treated her best friend like shit and tried to murder her other friend, Eugene, as evidenced by Quest for Varian; Cassandra can see for herself right here that Gothel is a crap person who never treated her right.

I mean there’s denial, and then there’s flat out stupidity. Cass being hurt by the this reveal is one thing. Cass believing that Gothel really loved her and blaming everyone else for her death is totally another and not based in any kind of sensible logic.

Plot Hole Number Three: Why Would Gothel Even Have a Child to Begin With?

Look, I’ll accept that the flower can deage Gothel enough for her to get laid and bare a kid, but that only brings up the question of why she would keep said kid?

She kept Rapunzel cause she needed her powers in order to stay alive, but Cass? What reason would she want to have Cassandra around? A baby can’t do chores for you and it's a hell of a lot of work to raise one. Plus the show repeatedly tells us over and over again that Gothel doesn’t really love her or even likes having her daugther around so... yeah, what is the point of this? Why didn’t she just drop Cass off at an orphanage to begin with?

You can’t make this type of reveal and have it go against the what we fundamentally know about the characters without explaining why they would partake in such actions.

This is Manipulative Writing

But of course the real reason why this flashback and “twist” exists is just to manipulate the audience into feeling sorry for Cass. It’s not here to actually enhance the story, further the characters, nor answer any mysteries in any real way. That’s why it’s such a poor plot point.

It’s setting up the viewers to have a bias so that they’ll more readily forgive Cassandra for her irreprehensible actions later. In short, it’s the same bullshit that the writers pulled for Frederic back in season one. Only it makes even less narrative sense here because this ‘tragic backstory’ is so divorced from later events in the story.

It’s also flat out lazy because all it’s doing it slapping Rapunzel’s backstory onto Cass instead of letting Cassandra be her own character with her own battles and character development to have.

And before you say, “well that’s the point”, then let me tell you it’s a stupid point. One that makes zero sense for the character and is insulting to the audience’s intelligence.

Plot Hole Number Four: Why Didn’t Gothel Just Stay Hidden Till the Soldiers Left?

Hell, why did Gothel even come back here? We already established that she doesn’t really care about Cass and it’s a plot point that’ll only be further reiterated as the season goes on, so why? Why would Gothel behave like this? How does this help her in her goal? Gothel’s suppose to be smart remember?

Plot Hole Number Five: How Does Any of This Logically Help Zhan Tiri?

So Zhan Tiri is the blue ghost girl and while the series tries to keep it a secret reveal for later, it’s pretty obvious from the get go, so I’ll just be calling the character by her name.

Anyways, Zhan Tiri’s plan is to show Cassandra her past, in order to make Cass angry enough to steal the moonstone and fight Rapunzel, so that the two powers fighting each other will then release her from her interdimensional prison.

Now ignoring how literally none of that was set up nor previously established, and ignoring that Zhan Tiri’s disciples were trying previously to stop the sundrop and her friends from getting to the moonstone, thereby undermining their master’s plan; just how exactly is any of this suppose to work?

Why would showing Cassandra how her mother was a shitty person somehow make Cass angry at Rapunzel, angry enough to try and kill her even, and somehow keep her angry for months on end, in order to fulfill this clearly illogical action that holds no personal benefit to herself?

I don’t mind Cassandra becoming a villain; I just want it to make sense.

This does not make sense.

Not only does it require incredible leaps of logic and Cassandra acting out of character to work, it also depends far to much upon conquincidence and things playing out just in exactly the right way to benefit Zhan Tiri and her poorly laid out plan.

Would it not have made more sense for this “evil master manipulating worlock” to just, you know, lie?

Like shouldn’t she be trying to make Gothel look good? Shouldn’t she be trying to make it all seem like Frederic’s fault (which it mostly is anyways)? If you want Cass to attack Corona and turn against Rapunzel, then why not lie about their involvement or tell some half truth?

Or better yet why not make Gothel and actual complex figure for real?

Ugh... I got to move on from this point, but believe me, we will be back to this dumbfuckery in later episodes.

Plot Hole Number Six: You Can’t Just Ignore that Cap Exists and Is the One Who Raised Cassandra for Most of Her Life

Like I’m sure finding out that you mom was a piece of crap who abandon you hurts, but that doesn’t automatically erase the fact that Cass’s dad was there for her, raised her, and loved her for the majority of her life. I’m not saying that Cap is perfect, but he at least tried to do right by her (and is consequently the best parent in the show) and Cassandra is old enough to recognize that fact. Pretending otherwise is a disservice to everyone. It’s a disservice to the Captain, to Cassandra, to Rapunzel, to Gothel, and to the viewers watching along with this BS.

Trauma Doesn’t Make You Suddenly Stupid

Look, I’m not downplaying Cass’s trauma here. She is allowed to feel upset and yes trauma is painful and effects us all in different ways. Also yes, past trauma can carry on through into adulthood and still harm you.

However that’s not an excuse for hurting others. Cass’s trauma isn’t any less traumatic than any of the other characters’, but neither is it somehow more important than any of theirs. She doesn’t get a free past to step on people just because she was sad once.

Cassandra is, once again, old enough to know this and more importantly smart enough to realize that what happened in the past, if even true, has nothing to do with what she is currently dealing with right now.

Like why is she believing any of this? Why is she still listening to the suspicious ghost that she met in a magical house that’s tricked her and her friends numerous times before? Why would finding out her mom was shit make her turn that anger against her best friend? What does any of this have to do with her current struggles with trying to build up her career or staying friends with Raps?

Remembering past trauma does not make your brain shut off. Even having a mental breakdown or panic attack still does not render you completely senseless and anything done under extreme pressure like that is temporary. You don’t wind up acting bananas constantly for over a year.

As a woman who suffers from complex-PTSD and is an abuse survivor myself, Cassandra’s story is deeply offensive to me. Not the least of which because it actively dumps her down.

This Is the Point Where Cassandra’s Character Gets Assassinated

Like I said in the opening, everyone’s character gets assassinated in this story. Cassandra just happens to be the first to die and it’s right here with this line.

Not only is this line incredibly cringy and poorly worded, and I have to just feel sorry for the VA here cause there’s no way to make this much stupid sound good, but it’s also completely divorced from what’s going on.

Cassandra is suppose to be explaining to her friends why she’s stealing the moonstone and her answer is “I’m this dead bitch’s daughter”? Like oookaaay, and that has what to do with it exactly?

Did Gothel have any connection to the moonstone? Does stealing the moonstone somehow bring her back or fulfil her revenge? What does grabbing the moonstone actually gain Cass and what does that have to do with her dead abusive mom?

The reason why Cass doesn’t work as a villain because she has no goal nor reason for doing what she does. She just lurches from plot point to plot point with no idea of what she is doing nor why she is doing it.

But watch as the show keeps digging in its heels and keeps insisting that Cassandra’s connection to Gothel is totally a sympathetic motive even as it makes less and less sense every damn time it's brought up.

What Does Destiny Even Fucking Mean Any More???

What Destiny?!

There is no damn destiny. There is no prophecy to fulfil, no world to save, no consequence for just having everyone sitting on their asses for two whole seasons. And even if there was a destiny to even steal; why would Cass even want it? What does actually she gain from any of this? And how does any of it connect back to Gothel?

This Should Have Been the Point of Resolution Not the Inciting Incident for Their Break Up

Look no idea is without merit. You can make the stupidest sounding idea engaging if you present it right.

This was not presented right.

If Cassandra being Gothel’s daughter was to hold any meaning to the story, then it needed to be what brought her and Raps back together again, not what broke them apart.

Rapunzel says it right here. Logically this should be common ground for the two of them. There’s no real reason for Cass to direct her anger at Rapunzel over this.

But this show doesn’t care about logic, reason, or treating it’s audience with intelligence. It’s just flashy bullshit “drama” that pretends to be deep but is really a shallow puddle once you stop to think about it for two seconds.

Let’s Talk About “Sisters”

Cass’s face just says it all doesn’t it?

The creator, Chris, wanted to make a story about two “sisters”, because he has two daughters and he thought that would be inspiring and speak to little girls everywhere.

It’s a nice sentiment. Shame he’s so utterly incompetent at it.

There was no build up to them being sisters. Instead all we got was a bunch of meaningless parallels and a very toxic friendship. Even with the Gothel reveal the connection to them being siblings is tenuous at best because there’s no biological relation and more importantly, they weren’t raised together.

Chris is basically trying to rip off the likes of Frozen or Guardians of the Galaxy here with Raps and Cass’s relationship but it doesn’t work when the two siblings in question didn’t actually grow up together. There’s no reason for Cassandra to project her anger at their abusive parent on to Raps because that parent wasn’t the one to actually raise her. And on top of that, said abuser is dead, and both her and Raps have separate guardians in their lives, so the jealousy angle doesn’t work either.

And to make it all the more confusing, Chris failed to inform his crew of this brilliant plot twist, so we now have two seasons of gay baiting put in by the storyboard artists hitting that Cass is in love with her “sister”, And because the hardcore Cazzpunzel stans are the only fanbase that hasn’t given Chris the boot, there’s still even more gay baiting to come.

Why are We Victim Blaming a Baby?

Seriously, Cass? You are twenty four and have a brain. Why are you blaming someone for being kidnapped as a baby? What kind of sense does this make?

Worse, there’s plenty of real shit Cass could get angry at Rapunzel over and this is what you go with show?

If anything Rapunzel should be the one who is pissed here. Cass got to escape and lead a normal life with a loving father all because she got kidnapped as baby. And now said bitch is trying to gaslight her while stealing the very thing she’s been risking her life to grab for a year now.

No You Haven’t Cass

Once again, you got to live a normal life with a loving Dad. You had plenty of chances to build relationships and further your career for 18 years while Rapunzel was trapped in a dang tower, and Rapunzel returning from said tower didn’t cut you off from anything. In fact Rapunzel being rescued from the tower actually presented more opportunities for you and you spent all of season one climbing up the ranks.

There’s Nothing In the Show to Back Up This Statement

Nothing is at stake. There’s no threat here other than Cassandra herself. Cassandra is dranger to the world here not the moonstone. If you wanted it to be the other way around then you should have kept the rocks active during season two.

So Why Didn’t We Go With the Original Set Up From Season Two?

As said before, there are real reasons that were set up during season two that could have motivated Cass.

Rapunzel is irresponsible and can’t be trusted to save the world

Rapunzel is a shit friend and Cass is better off going her own way and leaving everyone high and dry.

Cass’s hand was injured by Raps and the moonstone might be able to heal it

Cass sees the injustice in the class system and wants to fight back against the royals in order to help everyone, not just herself.

Cass might believe she’s stopping Zhan Tiri and not realize she’s being manipulated by her instead

Or is playing along with Zhan Tiri under the idea that she can stall for time figure out how to stop her.

Cass wants to play her and use the power of the rocks to save people only for it to go wrong later.

Possession (which was the original idea in the concept stage)

Like I said, there were plenty of ways to make this work. In fact some are so dang obvious that you’ll hear Cass fans try to claim that a few of those are what her real motivation was despite the the show clearly going against them later. The “fighting against the class system” is a real popular one despite the fact that Cass herself attacks a bunch of poor people repeatedly and doesn’t seem concerned about anyone but herself.

But I digress.

The real reason why we have this bullshit is cause Chris doesn’t want to hold his favs accountable. Rapunzel’s flaws can’t be called out in any meaningful way and Cass gets a convenient scapegoat in Zhan Tiri.

In short both Cassandra and Rapunzel have their agency stolen away from them by the narrative, while still trying to pretend that they’re “strong independent women”. Even though those two things aren’t compatible at all.

What Exactly Have You Been Denied Cass?

Remember Maslow’s Hierarchy of Needs?

Lance, Eugene, and Lady Caine were all denied physiological and safety needs while growing up in an orphanage and then later on the streets as a thieves.

Rapunzel was denied psychological needs while being raised by her abuser.

Varian was denied everything on that dang list.

Cassandra tho?

Trauma or no trauma, Cass was still raised in a safe and loving environment for the majority of her life. She, at best, has been denied “self-fulfillment” needs and even then that’s a stretch cause throughout season one we see her time and time again gaining what it was she wanted.

Cassandra isn’t anything special. She’s not suffered any more than anybody else in the show and in fact has lived a pretty cushy life when all is said and done, especially when compared to other characters in the show.

The worst that she has to complain about is working a crappy job for a little while and having a shit mom that she can barely remember. Boo Fucking Hoo.

Note How Easy It Is For Cass to Control the Rocks Here

The show can’t even keep Cassandra’s powers consistent. Like everything else about the character, Cass’s powers come and go as is convenient for the narrative with little explanation as to why.

This Song Doesn’t Work Because It was Cut In Half Due to Time

I’ve talked about the problems with this song before in my songs from TTS ranking list. It’s choppy and consistent. Yet it only feels that way because it was cut down. It’s missing a full other verse, second chorus, and a bridge.

Which is inexcusable because there’s so much dang filler in this show!

We could have had time for the full song if they had just cut one of the non-essential episodes and made all of this a full episode on it’s own. Just save the Corona and Varian stuff for later if need be.

The management of this show is just atrocious.

Why Wasn’t This the Cliffhanger for Season Two?

Speaking of making all of the Cassandra stuff it’s own episode... Everything we just seen should have been in season two.

It’s more connected to what happened last season, it flows better, it would have had more time to breathe, and it would have given us more time in the Dark Kingdom. Given as that this is what season two was building up too, it would have been more satisfying there.

And if the writers still wanted a cliffhanger to end the season in order to draw crowds then this right here was it.

So We We Spent A Whole Season Getting Here and We’re Just Going to Leave Now?

The Dark Kingdom is Wasted!!!!

And because the Dark Kingdom is a bust, the entirety of season two now feels even more pointless.

Chris said he cut the Dark Kingdom stuff because it didn’t interest him.

Chris is a fucking fool.

Ignoring that different people will gravitate towards different things and you need to keep that in mind when writing for mass audiences; you don’t spend valuable time setting things up just to drop them later.

If you didn’t like that particular plot thread then you needed to just not bring it up to begin with. Once you’ve put it in there you need to commit to it.

Behold the Only Thing Useful Shorty Does This Whole Season

There is less Shorty overall this season which is ultimately a good thing, but it does highlight what a stupid decision it was to bring him along to begin with.

I mean did we really drag him around for a whole season just for this? Couldn’t some other Pub Thung or townsperson have found them? One that could talk.

Adria Gets Put on a Bus

Adria doesn’t get assassinated like some of the other characters, but she does get unceremoniously shoved off without any real closure. The character will return later in the season, but brainwashed and without any lines. Which is doubly insulting to the VA who voices her.

And Here Is Where Lance Gets Assassinated

Lance is drastically dumbed down in season three. Even more so than in past seasons. You could call it flanderization specifically, more so than assassination, but the effect is the same. Lance’s character is effectively dead from this point onwards.

Also this should have ended the Lance & Adria ship in the show for good. She flat out rejects him here, but nope.

Eugene is the Only Person Acting Like a Real Human Being This Episode Thus Far

Edmund spent his whole life protecting the moonstone. He lost everything to it. He was convinced that letting Rapunzel take it would be best only for her to lose it right afterwards. And what does he do? Immediately become the “comedicly bad dad” in show oversaturated with both comedic foils and poor father figures.

Meanwhile Eugene is the only one properly responding to what is going on. Don't expect that to last.

I Thought You Left Cass?

Remember that foreshadowing with Quirin way back in the pilot?

This is just that, but dumber.

There’s no reason for Cass to hang around out of sight only to stare menacingly at Rapunzel and company as they leave. It’s just a lazy hook to get viewers to believe that there might be more going on with Cass then what we’ve been told. There’s not.

So This Map Proves That the Dark Kingdom Is North East of Corona

Continuity and worldbuilding in this show is utterly garbage, so I’ll latch on to any little scrape of info that we get.

According to the map shown here, the balloon is heading Southwest back to Corona. That means the Dark Kingdom is Northeast.

So if Corona is somewhere in Northern mainland Europe that means the Dark Kingdom is either in a Nordic country (Norway,Sweden,Finland, ect) or Russia.

Meta Jokes About Being a Bad Writer Doesn’t Excuse Bad Writing

Get use to this. Season three is full of meansprited meta jokes that try to defend against the quite frankly valid criticism that the show has received. Or more specifically the criticism Chris had received.

Most of season three was written during the hiatus of season two back when Chris was seeing backlash from the fans due to his PR fiasco and that’s not even taking into account the crew walkout after season one.

Not only is that too late to be writing your final season, but it’s also reflective of how Chris can’t handle critique with grace nor listen to other ideas as jokes like this are in poor taste.

Everyone Acts Shocked Here but Honestly this Fits King Frederic’s MMO

This is the same guy who prosecuted poor people for eighteen years with his crack down on crime, and thrented the life an orphaned teen. Is anybody really surprised by this?

I Thought Your Real Name was Hubert?

I guess he just prefers the name Andrew. I don’t know. But what do know is that “the devil is in the details” is a thing my animation teacher in college use to say repeatedly, and no one working on this show seems capable of remembering or keeping up with details.

Why Are There Only Five Saporains?

Saporia was set up as an entire race of people who’d been displaced from their homeland for generations. They’ve been living as nomads for centuries according to season two. Why are there only five of them in this episode?

How did they overthrow a kingdom with only five people? How do they maintain hold of it with only five? How do they expect to further their bloodline and culture with only only five of them?

Why did we waste money on a bunch of one off villians that we sent packing in season two and not built more Saporian models instead?

Like you could have had the core five here, as like leaders, and then imply that there are more of them with background citizens and guards ect.

NO!!!

WE DO NOT IMPLY THAT A 15 YEAR OLD BOY WAS LOCKED IN A JAIL CELL WITH A GROWN MAN FOR NEARLY A YEAR!!!!!

I.... What?!

Who the fuck thought this was a good idea to put in a children’s show?

Did no one behind the scenes stop to think, “Hun, maybe we shouldn’t suggest that a teenager was trapped inside a small enclosed space with no way out twenty for hours a day with an adult who attempted to murder his girlfriend when lying to her stopped working. Perhaps someone might get the wrong impression.”?

Like I hate censors as much as the next person, but editors work in the business for a reason, and that reason is to pull the artists aside sometimes and go “Hey, that shit don't fly with normal folk.”

What’s worse is I don’t think the writers were even trying to be shocking and edgy here. I just think they were careless. They needed a quick exposition dumb to explain how Varian and Andrew know each other, and didn’t think through the implications of that line nor considered how Varian’s age changes the context of his situation.

Which is beyond inexcusable because it’s so damn lazy!

You wouldn’t need rushed exposition had you actually took the time to set up this plot point back in season two. Heck, you wouldn’t have needed to even set this plot point up had you not cut Varian’s original story out at the last minute. Finally, you should care enough about your characters to at least take their age into consideration when writing their development.

There’s also the fact that it makes most of the ‘heroes’ look like assholes.

We’ve seen these dungeons several times throughout the show. We know of their poor conditions. There’s little light, the food is slop, there’s no way to stay clean or use the restroom, prisons are never let out for exercise, ect. Like these are medieval style dungeons that are considered inhumane my modern audiences.

Just because the show tries to play off the horribleness of it for laughs doesn’t mean the audience is going to find it funny that they traumatized a fifthteen year old with it.... again!

Moreover Frederic had promised last time we saw him that he would give Varian help. He idea of ‘helping” Varian is supposedly to throw him into a nasty jail cell with a violent criminal? WTF? And there’s no indication that he tried anything to save Quirin either.

Not to mention that none of the mains act surprised by this revelation, nor comment about how awful Varian’s treatment is. As usual for them.

It’s just sicking and most of the atempts to explain away this line by the fans have been super pathetic.

“Frederic was giving him therapy while in jail” - there’s nothing to indicate therapy exists in this world and even if this were true it would be undermined by stupidly throwing him in a cell with Andrew.

“It’s not literal, Varian was in a separate cell” - once again there’s nothing to back this up and even if that were the case it’s not that much better because it’s still a dungeon cell with zero privacy and Varian would still be close enough to Andrew to talk to him thus invading his personal space to some degree or other.

“Well he tried to help but Varian wasn’t cooperative” - still not an excuse and there’s nothing on screen to back up this headcanon.

“It’s someone else’s fault.” - Who’s? Frederic is in charge of everything. The buck stops with him. If a guard did this without his knowledge then that means Frederic neglected his duties and his promise anyways.

“Well maybe it’s true, but Varian did a bad thing and teens who do really bad things get sent to prison in the real world too” - Not an argument. Teens aren’t typically jailed with adults and the conditions for modern jails are at least somewhat better than those in Corona. Plus kids being sent to jail in any form is major topic of controversy in today's time. I’ve already covered why trying teens as adults is a vile abuse of power in the real world; I shouldn’t have to mention that the current government throwing children in cages is a bad thing as well!

“Well that’s just part of the time period” - Doesn’t make it right, and sadly it’s not something in the distant past either. It’s currently happening right now in the US. It was happening when this episode and season was being written. The writers unthinkingly threw in a very real thing that affects hundreds of thousands of children and didn’t bother to follow up on it or comment about how wrong it is.

There’s just no excuse for the way Frederic and Rapunzel treat Varian in this show. There’s just not, and some of y’all really need to stop trying to do so cause it means you’re inadvertently condoning real life abuses of power.

You can like a character and except that they’ve done wrong. That’s a thing that you can do, you know.

Let’s Talk about Character Design

For the most part the art direction in the show is top notch. It really is the best looking animated show on tv today, and the character design is usually of this same quality. But they really dropped the ball with Varian’s design here.

The structural bones of it isn’t bad. Taken on it’s own it would be fine, but good character design is supposed to give context and enhance the story and this doesn’t do that.

We’ve haven’t seen Varian in a year, but instead of visually showcasing the passage of time by having him physically age we just get season one’s design but in bargain bin hot topic clothes and a drawn on barcode.

Even the color palette is wrong.

Varian’s is suppose to feature blues and earthy browns to go with his eyes and hair but instead we get bright reds, neon chimballs, and sharp contrasts with blacks and whites that just clashes with his base colors.

And what does any of this tell the audience? How does it add to the story? What can we glean from his new design about what transpired in the last year?

Nothing.

At best it just reinforces that villian Varian is a try hard edge lord, but we already knew that. We would have known it even without the villain arc cause he’s a teenager. Not that he looks it. The boy is supposed to be either 16 or soon to be 16 and he still looks fucking 12.

What’s more they spent money on this. They made not one, but two new models with two new outfits, but they couldn’t be arsed just to make him a little taller? And no, he’s not actually any taller in season three. He was always Rapunzel’s height regardless of animation errors and squash and stretch techniques.

It’s a waste. Just like nearly everything in season three.

This Is Such a Cop-out

Speaking of things being a waste. Wiping Frederic’s and Arianna’s memories is taking the cowards way out. It’s them escaping any sort of meaningful consequence for their past actions and robs them of the chance to grow and develop as characters. All cause Chris didn’t want to deal with people pointing out the bullshit his self insert caused.

Well guess what, I’m still pointing out Frederic’s BS, only now I’m extra angry cause I was robbed of a genuine character arc, so fuck you!

Was Varian Actually Needed for This Plot?

No really. What does Varian even do here? The wand of oblivium is Saporian magic and they could and apparently did wipe the king’s and queen’s memories without Varian’s mindwipe concoction. That alone apparently gives them the power to run the kingdom.

All Varian does is give them some alchemy based weapons and a bomb he accidentally invents. Both are things that the Saporians could have made themselves given how they know apothecary according to Rapunzel Day One.

I’m currently in the middle of writing an AU fanfiction where Varian winds up in another world before the events of this episode, and let me tell you it is incredibly easy to write him out of the majority of season three without changing the plot much.

Given how Varian is meant to be a main character this season, that’s not a good thing.

So How Come None Of the “Heroes” Give a Shit?

Like I said above, none of the protagonists show the least bit of concern for what Varian is going through. Even though ignoring his needs is precisely what lead to this mess in the first place. It not only makes them look heartless, but it also makes them look plain stupid as well.

Why is it so hard to just even pretend to care about the fact he’s been orphaned? Half of them are orphans themselves for fucks sake!

Varian’s Not the One in Charge Here Rapunzel

I know Varian is the bigger threat and has more of a personal connection to Raps, but it’s pretty clear that Andrew is the mastermind behind this coup. What good does shouting at Varian do? What makes Rapunzel think that any of the Saporians would listen to him even if he did change his mind? What makes her think ordering Varian around after she helped ruin his life would get him to change his mind. Like, my gosh is Rapunzel dumb!

Why Are We Victim Blaming a Child Soldier?

That’s what he is at this point. He’s a weapons specialist for a rival kingdom fighting for control of the government. A government that has abused its own people leading to such an uprising.

A teenager may not be as blameless as a baby but it's still beyond callous and cruel to blame kids and young teens who join extremist groups in war torn lands out of desperation.

Is This Suppose to Be the Inciting Incident for Varian’s Redemption, Cause If So, That Makes No Sense

This look of regret is the only indication that Varian is questioning where he stands before his redemption in part two. Except there he points out that he’s been thinking about it for while now, even before Raps showed up. Only there’s nothing to suggest why Varian would suddenly change his view point and motives. So the audience is still in the dark about his thought process even with this “hint” and I use that word loosely.

Conclusion

So that’s the end of part one. I hope to have part two up before the week is out.

#tangled #anti-rapunzel #anti-cassandra #anti-tangled #varian #tangled the series #rapunzles tangled adventure

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psyga315 · 3 years

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Raven is the ultimate villain of RWBY

Raven Branwen has one of the shortest screen-time of any character in RWBY and yet is one of the most important characters in the show, if not the most important. People out here are talking about whether Ironwood is the true villain of RWBY, but in reality, the real mastermind behind it all is Raven.

See, we first see Raven at the end of Volume 2 where she saves Yang from Neo. Noble deed, right? Well, it’s revealed in Volume 3 that this is just part of her twisted Darwinist ideals and that she only gets to be saved once before being left to fend for herself. Shortly after Yang finds this out, the Fall of Beacon happens and Yang loses a limb, prompting Blake to run because of her guilt and thus shattering one half of Team RWBY.

The worst part? Raven was there.

Qrow: Did you know Yang lost her arm?

Raven: That's not—

Qrow: Rhetorical question, I know you know. It's just obnoxious that you'd bring up family and then carry on like your own daughter doesn't exist.

“Well, that’s him responding to that scene where she was seeing Yang in her bedroom”. Yeah, but then you remember that Raven has a Semblance that allows her to teleport to her whenever she wants. This was how she saved her from Neo. She also knew Beacon was going to fall and did nothing about it.

So, in other words, Raven knew people would die. She knew Yang would be threatened. She knew she would get injured or worse.

But she chose not to interfere because she already did it once.

Fast forward to Volume 4 and we see that RNJR headed to the destroyed village of Shion and as a result, prolongs their quest to Haven by a lot, prompting a run in with Tyrian, Qrow’s near-death experience, and almost getting killed by the Nuckelavee.

And guess who’s responsible for destroying Shion? That’s right. Raven.

Raven: I lead our people now. And as leader, I will do everything in my power to ensure our survival.

Qrow: I saw. The people of Shion saw, too.

Raven: The weak die, the strong live. Those are the rules.

Qrow: Well, you've certainly got someone strong on your side. I've seen the damage.

Raven: (turning away) We couldn't have known the Grimm would set in as quickly as they did.

Raven is proud about destroying Shion until Qrow brings up that the village is destroyed, then folded and blamed it all on the Grimm when their attack is what led them to Shion in the first place, as pointed out in World of Remnant:

That's not all. These raiders will often wait for a town to be at its weakest—maybe after a Grimm attack or while its fighters are out hunting before finally moving in at night and striking. Bunch of jerks.

Worst part is, if the Grimm haven't attacked before, you'd better be damn sure they will now. And you can't exactly have bandits raid your town without at least a few negative emotions.

What makes this worse is that this slowing down of RNJR allows the villains ample time to set up their plans, such as talking with Lionheart or hunting down the Huntsmen in Mistral. Had the group been at Haven sooner, then they perhaps would have gotten an edge in Haven instead of being at the mercy of the villains.

But by far, her worst crime comes in Volume 5, where because of the fact that she’s harbouring Maiden powers, she’s targeted by everyone, including the villains. So, she cuts a deal with them and sets up a battle that nearly kills Weiss (!) and ultimately ends with the death of Lionheart and the technical fall of Mistral (since the Headmaster is dead and we see that the Haven-based teams had to go to Vacuo because of it), with the Relic of Knowledge being out in the open.

Playing devil’s advocate for a second, since Raven gave the heroes their best shot this entire Volume, as rather than letting the White Fang blow up the CCT under their noses, they got involved in the battle and had the plans fall out in the open. Granted, had Cinder, Raven, and Vernal stayed up for a bit longer, they would have been proper fucked, but hey, it’s still their best shot.

However, Raven then opens the vault and brings the Relic of Knowledge out, never bothering to place it back or even leaving it be. This means that the group have to bring the Relic to Atlas and inadvertently making it priority #1 for Salem.

Why does this matter? Because Salem moved her forces to Atlas (either by her command or because of their own personal vendetta against Ruby) in the midst of a critical event: the election. Had the villains not been there, not only would Robyn have clearly won the election (and thus would work closely with Ironwood the legal way like she says in A Night Off: “If I get elected tonight, we'll all have to learn how to get along.”), but Ironwood’s name wouldn’t have been dragged through as badly (from Sparks: “Not really worried about my public image, but it is causing unrest. I think someone's trying to frame me and, by extension, Atlas. And it's working.”).

As such, Jacques wouldn’t have won (and the Heating Grid wouldn’t be shut off), no one in Mantle or who’d be a Winter Maiden would have to die, and Atlas wouldn’t have had to fall next. Jury’s out on whether Ironwood’s or Robyn’s plans would go off without a hitch, but that’s another story for another day.

And this is all because Raven thought it’d be the most brilliant, tactical idea of taking the Grimm-attracting Relic with her.

It’s amazing how, even though we haven’t seen her since Volume 5, her actions still drive RWBY’s narrative. Literally, every bad thing that’s happened in RWBY since Volume 4 (and some bad things in Volume 3) happened because of her.

#RWBY #Raven Branwen

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strangertheory · 4 years

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"anti-Mileven"

I know you submitted this as a message and not an Ask, but I hope you don't mind if I answer your question with a longer post because this is a topic that is important to me but is complicated. I've meant to do a post about this, but kept putting it off because it is a very layered topic for me and my thoughts about Mileven are probably not what a lot of fans want to hear.

I respect that everyone develops an attachment to their preferred couples in stories for personal reasons, and as such any criticism of the dynamic between two characters that are dating can feel like a very personal criticism. I respect everyone's head-canons and favorite ships as sacred ground: I don't want to tell anyone how they should or should not relate to a story. That's unique to each of us as fans, and we will all enjoy Stranger Things for different reasons.

However: I do have some thoughts regarding the way that the narrative has established the dynamic between Mike and El. And I personally do not find their dynamic *as it currently is* to be one that is ideal for either of them yet.

I really care about Eleven and I really care about Mike. They are two of my favorite characters in the story.

To say that I'm "anti-Mileven" is a huge oversimplification of how I feel about Mike and El's dynamic.

I am very much anti:

overlooking the fact El has been treated as a lab rat and abused and isolated from society for the majority of her existence and her ignorance of her own identity and her own desires is repeatedly reinforced canonically. ("How do I know what I like?") El has spent only a few months out in the world beyond her cell at the lab and beyond Hopper's cabin, she knows very little about the world yet, and she is being taught much of what she now knows by her boyfriend who also happens to be one of the few people she interacts with in her daily life. The power difference and social difference between them is huge currently regardless of whether Mike is a nice kid with good intentions or not, and they are both fourteen years olds.

overlooking that it is superficial and not representative of a "deep" relationship to only kiss and make out with a significant other and not do other meaningful activities that establish a real day-to-day relationship (like hanging out with friends and other loved ones as a couple.) There's a popular misconception that the act of two people kissing is inherently romantic and a sign of emotional closeness. But kissing becomes romantic psychologically when two people share a deep affection for one another that is based on shared experiences and emotional and psychological connectedness. If two characters can be shown to care about one another without ever physically touching, they have the potential for a deep connection that is based on more than the thrill of physical affection. Give me a well-developed relationship first, and then kissing will seem romantic to me. Without an established psychological and emotional connection between characters, kissing is merely a superficial representation of the idea of intimacy between characters without any actual substance underneath. Sure that's what kids do when they're figuring out how dating and feelings and physical intimacy work and it's not harmful in itself provided that they are both comfortable with it, but keep this in mind within the context of the other concerns I list here.

trivializing Mike's dishonesty and blaming Hopper for Mike's lying when the truth is Mike could have easily explained to El that Hopper didn't want them spending as much time together and having some space would be better. El is well aware of Hopper's dislike for their time spent together. This should have been a very easy conversation. As Lucas rightfully asks as Mike is ranting about the situation he got himself into: "Why lie?" Good question, Lucas. Good question. El asks Mike this again later at the mall. "Why do you lie?" Mike stares back at her with an awkward expression, and does NOT answer her. Why is this answer not an easy one? Why has Mike still not addressed things with El? I think there is more going on here than just Hopper's threats.

I am very in favor of:

El learning more about who she is and what she wants to do with her life outside of the desires and expectations of other people.

Mike figuring out how to effectively express his thoughts and feelings honestly. He is clearly struggling to do this throughout season 3, and it is uncharacteristic of the kid who defiantly said and did what he wanted frequently in seasons 1 and 2. Clearly Mike is not comfortable and is nervous, which is understandable for someone exploring new emotionally vulnerable territory like dating for the first time, but he needs to learn to be honest and tell people how he is thinking and feeling or else he is also putting himself and his feelings and needs at risk and potentially establishing an unhealthy relationship that will hurt him and hurt others even if he doesn't mean to. Mike's nervousness is STILL present in the final goodbye scene in which Mike and El talk, and El tells him she loves him and kisses him. He is still stumbling over his words and anxious, and he seems notably confused after El kisses him. These small details are not trivial, they are clearly intentional.

Recognizing that Mike is the first person her age that was kind to El when she escaped the lab, and given that she has only known pain and abuse her entire life and has never known friendship let alone romance that her psychological readiness for understanding a romantic relationship is NOT the same as an ordinary 14 year old's and this cannot be stated enough.

Recognizing that societal pressures and personal insecurities might be a huge factor in how Mike clings to El's attention and affection for him, and that there is evidence in the story that supports this interpretation. We know that Mike is bullied frequently, and that there is a layer of homophobia often involved. (Even if James and Troy were speaking rudely about Will, they were still directly confronting Mike. The implication is there.) We know that Lucas yelled at Mike "No Mike. You're blind. Blind because you like that a girl's not grossed out by you!" This reveals that Lucas knows that Mike is insecure and wants validation. Just because Mike has a desperate desire to be loved and liked by a girl does not mean that his appreciation of El's attention is based on his genuine romantic affection for her. Mike might be dating El because he enjoys the attention, he likes being liked, and he likes how having a girlfriend makes him feel more accepted and normal.

Recognizing that every moment that Mike has tried to share something that he is passionate about with El (the Yoda figurine, the dinosaurs) she has been completely disinterested. Since El has no cultural connection to the pop culture stories Mike loves and she lived in the Lab her entire life, it makes perfect sense that she will have no interest in these toys. Her lack of interest in what Mike is passionate about, however, is worth noting: not because it's a bad thing, but because it's just one of many reasons they are "not even from the same planet" and cannot bond and connect easily. El has lived an incredibly different life from Mike, has suffered through so much, and is still learning about the outside world and about herself. She is severely behind in social and personal development. She needs time to learn and to grow and to heal so she can live her best life and recover from what she has been through. (She doesn't really care about your Star Wars toys, Michael, because she just learned what a phone is and is processing a lot of other things right now.)

*I want to credit @kaypeace21 for pointing out many of these particular observations listed above: you can read her very detailed and extensive analysis in her post here: El is Not in Love with Mike.

These are just a few of many thoughts I have regarding Mike and El's dynamic together, and why I find the romanticization and idealization of their dating relationship to be more suited to fan-canon and fanfiction. For El to have a relationship with Mike that I would personally enjoy and appreciate, the story would need to convincingly allow her to establish a notably better understanding of who she is and what she wants, and have time to heal from her trauma and learn a lot more about the outside world. While I suspect that the Byers moving away will be very difficult for Will, in many ways I think it will benefit El tremendously and I hope that she is given more opportunities to learn and to grow.

I also agree with @hawkinsschoolcounselor 's hypothesis that Mike is projecting his feelings for Will onto El. It's impossible for me to see Mike's dynamic with El as entirely separate from Mike's relationship with Will because El was found in the woods when they were looking for Will in season 1, El helped everyone find Will in the Upside Down and saved his life, and El reappears at the end if season 2 and saves Will from the Mindflayer. Until season 3, El's appearance in Mike's life has been directly tied to Will's survival and safety. I do not think this is a trivial aspect of El's narrative. El's importance within the larger story being told is repeatedly tied back to what Will is dealing with. The reason that El and Will's narratives are so deeply intertwined has not been revealed in the story yet, but I suspect that there are some important aspects of El and Will's stories that haven't been fully revealed yet that will bring all of these seemingly isolated plot threads together. The creators of Stranger Things repeatedly tie El and Will together visually and narratively (re: @kaypeace21), and I believe there is a very specific reason for this.

I look forward to seeing what happens in season 4. Whether my interpretation of El and Mike's dynamic is fair or not, I trust the writers have a compelling next chapter in their story for us all to enjoy.

#anti mileven #antimileven #anti-mileven #stranger things #stranger things theory #but not actually anti mileven I am tagging it that way because I am critical #so fans can choose to not read my thoughts

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roguephoenix85 · 3 years

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Excuse me but fuck Zeke

So Zeke wanting to euthanize his own people - a okay! But he’s so sympathetic and his backstory so sad! He outright murdered a bunch of people of Paradis and the entire Survey Corps including Erwin and that’s fine? A people that HE IS A PART OF AND SELF LOATHES THAT HE’S ESSENTIALLY COMMITTING GENOCIDE TOO!

But EREN. Oh noooooo Eren bad. For eliminating 80% of the world to even the odds against his people when THE WHOLE WORLD NEEDS THEM TO BE THE BIG BAD FOR WORLD UNITY. “We must let the world punish us for our ancestors’ crimes.” I would LOVE to hear you say that to people who have been marginalized in US society and tell me that you’d tell them that to their faces. You’d tell black people terrorized by the police and the justice system that. You’d tell migrants seeking asylum that. You’d tell the AAPI community who are getting brutalized IN THE STREETS FOR EXISTING THAT.

Some of you have never been openly discriminated against or targeted for who you are and it shows. You don’t get to extoll Zeke and in the same breath say Eren is the worst one just because the amount of people Zeke seeks to eliminate is smaller than Eren’s. He’s a fucking school shooter. He hates his own people because his dad was a dick so instead of just being mad at his dad, you guys think it’s fine that he takes it out ON HIS OWN PEOPLE. That’s EXACTLY what school/mass/white supremacist shooters do. Do you celebrate the Sandy Hook shooter because awwww his life must have been really hard so it’s fine that he murdered children and then took himself out? Of COURSE you don’t! He’s a fuckin asshole who took his bullshit out on innocent people. He was protecting NO ONE. ZEKE IS PURSUING A PERSONAL GOAL BASED ON A PERSONAL WRONG AND IT’S IN NO ONE’S INTEREST BUT HIMSELF AND THE FASCIST COUNTRY HE CHOSE.

So tell me - how is it that EREN is the worse one when what he did was to ultimately protect his people and ensure their right to live by scapegoating himself? The king was a fuckface for being a self-loathing asshole and messing with his people’s memories and bodies to alleviate his own sense of guilt. Eren fucked with his friends’ memories so that he could create the narrative they saved humanity and ultimately protected everyone left on the island. Why is what he did WORSE than Zeke? Just because it involved more people?

Zeke sought to kill his own people out of a sense of revenge against his father and to “eliminate suffering” when guess what? Being alive IS suffering. It’s living with the knowledge that you will die someday. That fucked up things will happen seemingly without reason. And instead of making it better for more people, he fully participated in the torment and execution of his own people. Cuz “my daddy was mad and disappointed in me”. Cuz someone else TOLD HIM his Dad was bad. Was Grisha a dick? YES. But that doesn’t mean that Zeke gets to take it out on everyone else.

Just like Hange had no right to make the decisions she did “for the Eldian people”. She was not the head of the military and she herself admitted multiple times that ultimately she’s not the one to make the decision, it’s the people. It’s the ultimate hypocrisy that she can sit and try to take a moral high ground just because she didn’t like the choice she made. She CHOSE. And she made a choice she regretted. Or, more to the point, she wanted to make BOTH decisions at first but, once again, one choice was eliminating her own people and operating out of fear that “oh the world will fear us” LIKE THEY ALREADY FUCKIN DO and the other was taking out the other side with force. There ARE NO TWO SIDES in this. One side wants your people dead and scapegoated and they don’t CARE OR WANT to listen to you despite what you believe are your best efforts. The other side wants to live after realizing and understanding the truth and, understandably, being BIG FUCKING PISSED about it.

You can’t sit there and say Zeke’s bad is less bad than Eren’s just because of scale. They’re both bad for different reasons, but the ultimate reasoning for their bads are different. Zeke was acting for purely selfish, self-loathing, and vengeful reasons because of a personal wrong he took out on HIS OWN PEOPLE, and made the choice FOR THEM to try and euthanize them. Eren was acting out of a sense of protecting his people, eliminating the titans, and freedom. Yes, it was personal freedom for himself as well as his people, but the ultimate goal wasn’t out of “my daddy was an ideological fool and I’m mad at him so all of our people should suffer” - it’s “yeah, fine, I’ll be the bad guy if it ultimately means getting rid of the titans, giving my friends a better shot at a long life, and evening the playing field.” Yeah, he wanted this, but he also knew somewhat, after getting those memories from Historia, that these actions would ultimately lead to the end of the Titans and give the best shot for his friends and people to live. He didn’t know Sasha would die and it’s not like that outcome he wanted. He just moved forward knowing from the founder that these were the actions that were needed to make it end.

If you haven’t personally suffered deep systemic injustices for a long period of time, I can understand why Eren’s actions and this ending would have been disappointing and why Zeke’s actions make more sense and why you’d empathize with him, I really do. But I urge you to listen to marginalized communities and tell them that the best solution would be to allow others to off them for unity. My AAPI friends certainly don’t agree with that. My BIPOC friends don’t agree with that. My friends with disabilities don’t agree with that. They don’t want revenge against the world, but the sure do want it to fuckin stop and as long as the US is a militarized white supremacists police state that allows them to murder with impunity for existing while not white and abeled, and there is no justice for these crimes against them, holding hands and asking for world peace isn’t going to do it anymore when governments are being run by narcissistic scapegoating sociopaths who want them dead for being different.

FUCK Zeke. He’s a well written villain but to say Eren is worse than him or that Eren’s actions are unjustified but Zeke’s are comes from place of privilege and “not rocking the boat”. Zeke is literally working for the fascists knowing full well what they are. The people of Paradis before the basement reveal didn’t. The people in charge, some of them consisting of people who AREN’T EVEN ELDIAN, chose that. “Your blood is the blood of slaves” and all.

“Freedom” usually costs something to someone. Whether compromise or lives lost or societal structures crumbling. It all depends on how you want to acquire it. And if the other side doesn’t want to compromise, do you go “okay, I guess I’ll die to make you happy?” That was the choice Historia was presented with - and she chose NO. It’s what the people of Paradis are forced to come to terms with - and they ALSO chose no. They’re not going to die to make you happy. They’re not going to suffer anymore for your benefit. And since you gave them no other choice and won’t work with them, what else is there but to fight?

Zeke sucks ass and is indefensible. I get why he did what he did, but he’s a fuckin school shooting coward and no. No no no. He’s a selfish piece of shit for continuing his plan. He only stopped because he finally got a moment with Daddy and by then it was FAR too late. He’s a grown ass man taking his anger out on the world because of his dad. Nah, fam.

#snk meta #attack on titan #shingeki no kyojin #fuck zeke #snk chapter 139 spoilers #snk ch 139 #like i can't #all of the options sucked #but contributing to the genocide of your own people and saying it's for their own good and to end suffering is where i draw the line #you don't get to decide that for everyone #fuck you monke boy

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bigskydreaming · 3 years

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Hey, any comic recs to ensure that I get Dick Grayson character right? Other batfam included, if you're willing. I'm trying to make sure I don't write a character completely ooc, because that drives me up the WALL when I read that. However, since I dubbed you the #1 Dick Grayson person, I thought I'd ask you to make sure I do him justice rather than a smear campaign or something lol! Thanks! ALSO TELL ME YOUR THOUGHTS ABOUT THE TITANS SHOW! That's all xD

LOL thanks I appreciate it, but while I’m good for the rants, for actual comics recs I would go to the likes of @northoftheroad, @hood-ex, and @nightwingmyboi because they’re a lot better than I am at knowing where to find specific stuff and comprehensive reading lists! I tend to jump all over the place in terms of my go-to comics for Dick.....I’m always on about Robin: Year One but I’m like eh Nightwing: Year One is pretty trash tbh. I prefer pre-Flashpoint continuity overall but I did enjoy some of the early Nightwing Rebirth stuff and before that the pre-Forever Evil New 52 stuff had some good beats. But for the most part, my favorite Dick Grayson tends to be him as a member of teams like the Titans....he shines most in ensembles, I think, because his strengths ultimately are that like...he gets people, he knows how people work, and he knows how to get the most out of the people he’s with, how to make people gel and get in sync and become more than just the sum of their parts.

(Speaking of nightwingmyboi, haven’t seen them posting in awhile, anyone know what they’re up to? Hope everything’s okay!)

Which brings me to the problems with the Titans show. There’s a lot I like about it - Anna Diop and Ryan Potter in particular - and a lot I was never gonna like about it - I’m heavy on the Ugh why must Dick Grayson be a cop ever why is that a thing make it stop. And so while I don’t think Brenton Thwaites does like, a bad job with the role or anything, there was always kinda a ceiling on how attached to or invested in his take on the character I was ever gonna reach.

But Season 2. Oof. Let’s talk about Season 2, and how so many of the problems with it are identical to the problems that surround Dick in the comics, but also aren’t limited to just his character or DC and just as equally show up in all kinds of media. Like, I could have (and probably did) offer an identical rant about the role of Scott McCall in TW’s S5.

The problem is one I’ve kinda taken to calling in my head “The Ensemble Lone Wolf Effect.”

This is when writers have a character they nominally want to be part of an ensemble....but that they repeatedly go back to the well of “this character should however spend most of their time on their own, or are more natural on their own, or just wants to be on their own, or also sometimes they just deserve to be on their own cuz they suck for Reasons we decline to specify.”

But its that thing of wanting it both ways....believing a character honestly NEEDS to be a loner or off on their own for the sake of their story, but also still wanting to utilize them as part of an ensemble, not willing to actually MAKE them a solo character, and so it kinda creates this never-ending feedback loop wherein they pay lip service to the character being part of an ensemble, but that’s never really on display, which creates a lot of unnecessary conflict among characters that’s to NONE of their benefits.

(And honestly in the comics, you could apply this to pretty much all the Batfam at times...not just Dick. They do it with Bruce ALL the time, they’re doing it with Damian right now, did it with Tim with Red Robin, Jason most of the time he’s not with the Outlaws and Cass most of the time she’s not with Babs or Steph or the Outsiders. As well as Babs herself at times).

Basically what I’m talking about here is like....so much of the drama in S2....and specifically the parts that most every fan I saw had issues with....came about not organically, because it made sense for the characters to behave that way, but solely in order to launch a specific plot, that the writers clearly wanted for S2:

And that was Dick Grayson off on his own, at his lowest, facing his demons on a solo journey of self-discovery the writers clearly deemed necessary before he could find himself as Nightwing and rise to his most heroic self.

Now the thing is....this isn’t inherently a bad plot or a problem. The problem lies in how they went about it.

Because rather than looking at the overall story and saying okay, that’s what we want to do with Dick Grayson, that’s what we want for HIS story, now how do we get that and where do we take it from there, rather than looking at that as just a STARTING point, and engineering a plot that grows OUT of that.....

The writers just started out by viewing that as an ENDPOINT, and reverse engineered a way to get Dick TO that point first and foremost....at the expense of so many characters who then basically turned on him and held him solely responsible for the things many of them also had a hand in....purely to get him off on his own and isolated.

But that was never necessary!

Because Dick’s character contains multitudes when it comes to guilt and self-blame, everyone knows that. He never needed anyone else to blame him for what happened to Joey because he blamed himself. So the second they conceived of the plot “Slade wants revenge for something Dick at least blames himself for”.....they had all the ingredients needed for Dick to decide proactively that the best way to protect everyone was to put distance between him and them, that he should try and hunt down Slade on his own, solve this between just the two of them.

And that should have been the STARTING point, for that narrative journey of self-exploration, not that journey resulting as an ENDPOINT in and of itself from Dick being FORCED into a kind of isolation by the others all blaming him.

Because now see what ripple effects result:

Now, the other characters are just as able to focus on their own individual storylines as they were in the show, with the additional concern of wanting to ACTUALLY find Dick and figure out what’s going on with him or tell him they still want to help....without this in any way needing to distract them from their own storylines, practically speaking, or cut into Dick’s narrative alone-time, because as part of the equation you ALSO have Slade, who has his own wants and agendas, not to mention tactics. And Slade’s perfectly capable of and willing to work with others, or utilize the long game, or engage in a game of cat and mouse as a distraction...there are numerous ways that you could engineer a plot FROM these motivations that allows him to keep the rest of the Titans distracted and even targeted individually, without allowing them to group back up with Dick or Dick to even know that they’re in danger and that his attempts to avoid that backfired.

You want the characters isolated and divided? The PLOT can do that for you. You don’t need the characters to do that to themselves.

IMO, most if not all stories are meant to advance characters, first and foremost. Take Characters A-Z and leave them different from how you found them. Move them to a different position in their lives as much as anything else, from where they began. The goal is character DEVELOPMENT.

What this means, in my book, is that the plot should serve the characters, NOT the other way around. The plot should grow FROM the characters and what they would or would not do....the characters should never have to be forced to FIT INTO a plot.

That’s backwards.

There shouldn’t be any need to reverse engineer a certain starting point, characterwise.

Just like....start the plot, plotwise....and from the moment you first introduce a single plot element, prioritize how would the characters react and BUILD from there.

The only engineering you should need to do is how to get to an eventual END point....which is still all about the forward momentum, not backing your way into anything.

Its one thing to have an endgoal for your plot, a point in character or narrative development that you want characters to reach. But its all about perspective. About keeping that what you’re working towards rather than something that you like, have to reach before you can even really BEGIN.

Which is what Titans S2 did. The real GOAL of the season in terms of Dick’s storyline, was his solo journey of self-discovery. But there’s a million different ways they could have LAUNCHED that journey, without it having to be the forced and contrived outcome of events and character decisions that literally only existed to initiate a journey that never required a forced initiation.

And so all this narrative energy gets utterly wasted and expended on stuff that it just flat out doesn’t need to be spent on in the first place....instead of just putting that same energy to use building forward-facing storylines for ALL the characters, that don’t require contrived spats of disharmony when the goal of such moments isn’t even the disharmony but rather just that they’re kept apart, the end RESULT of the disharmony.

Imagine what S2 could have built if instead of wasting time, characterization and energy on getting to a point they could have simply started from if they’d simply looked at it that way and chosen to just....start. If they’d applied all that to building across the board, everyone’s story in service to their own character first and foremost, no tangled feedback loops making characters regress or cycle through the same behavior or narrative positionings over and over again in order to not get in each other’s way or cross paths at a time when the show didn’t want them to cross paths....because rather than make all these characters work at cross purposes, they’re all on the same page, they still want the same things....you’re simply engineering from their own natural characterizations and organic decisions and reactions, ways the PLOT can be utilized as a TOOL, to keep them moving forward in their own respective chapters, WITHOUT their characters having to be bent out of their natural shapes or forced into niches that don’t really suit them, just to keep them, PREVENT them, from more naturally or organically making a choice or action that would ‘get in the way’ of the plot.

Bottom line......the plot is supposed to be there to advance the characters, because the characters are what we come to stories for. The characters are who we invest in, relate to, ROOT for.

The characters aren’t there to advance the plot. We’re not here to yell yeah, I really hope the writers do whatever it takes with characters, no matter how backwards or unnatural it seems, just to get that sweet sweet and oh so specific ending we want that is in no way dependent on how invested or not we ACTUALLY are in the characters by the time it arrives, in order for it to actually be effective or not!

Lol. Y’know?

So yeah, that’s my biggest gripe with Titans so far. I’m still eager to see what happens between Kory and her sister, and although I’m not thrilled it seems to be becoming Batfam Straight Outta Gotham rather than like, Titans: The Show, I admit I am curious about what take they’ll go with for Babs. As I still pretty vividly recall that weird as hell Birds of Prey show the CW or UPN or WB or whatever it was at the time did for one season, where Babs was honestly not terribly adapted despite the show otherwise bearing like, zero in common with any existing DC property or character (do not even get me STARTED on their takes on Dinah and Helena, no, blehrrible, those were bad, those were like super bad)....anyway, I’m kinda curious even if it wouldn’t have been my choice for what direction the show should take. Not that I have a specific one in mind, just, yeah. And I also kinda would not hate if we got a new Roy Harper now, to replace the not!Roy of Arrow, because I don’t know him, no seriously, who is that, its not Roy Harper.

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