#like from a narrative perspective of what i know this man is fucked

[dynamightmite]

What are your thoughts on Izuku lately. Is he alright? I have read other people being unsatisfied with how he has been in this last arc about his relationship with All Might and Katsuki.

I got this ask a few days ago and I wanted to spend a little time thinking about it, because, well, there's a lot of moving parts to my opinions regarding Izuku/Katsuki/All Might and I needed to try an sort them out. This will still probably be kinda long and rambly, though, sorry lol.

To start with, I understand why a lot of people were frustrated by the jump from chapter 423 to 424, and a lot of it has to do with this chapter confirming that Shigaraki's dead, which, understandably, pissed off a lotta readers. It's also pretty jarring to go from THE CLIMAX to... a week later in a hospital. And for people who are not super attached to the Katuski-Izuku dynamic, the emotional, wholesome childhood friend scene is just not what they wanted to see anyway.

On the other hand, from a purely utilitarian perspective as a writer, I totally get why Horikoshi felt he needed to show the audience, that, hey guys! The main character is still alive, here's the state of his quirk! Because based on the reactions of some people, if we don't immediately see a character after they get wounded, they are super dead. No other option, time to riot! Like no offense to the everyone who's been panicking about the League, but Dabi is not dead. That man is a fucking COCKROACH, he's literally fine. And Toga just got, like, a little exsanguinated. That's nothin' in shounen terms.

HOWEVER, I do agree with some of the complaints about the overall timing. I think there maybe needed to be more of a buffer between this chapter and the last, to help pad out Izuku's reactions to just, y'know, kinda killing a guy. Possibly also showing other parts of the cast/story, although I don't necessarily know that jumping to, for example, focus on the League immediately after would have been the right move either. And, like I said, it's not especially weird for a narrative to jump from the end fight to pay attention to the main character. That is... such an inoffensive choice to make with the plot to the point that it's almost expected. But yeah, with a little more time to emotionally process before showing it, I think people would not be upset about the contents of this chapter nearly as much.

Because the scene with Katsuki and Izuku was like... super predictable. None of the things they said to each other were surprising or out of character, and this moment has been built up to for-fucking-ever. Katsuki, needy bastard that he is, running to yell and cry at Izuku about being rivals forever? Izuku wailing KACCHAN while also crying and insisting that he's fine etc, etc? I have no complaints about any of that in terms of content.

I have seen a few complaints about the Izuku-Katsuki dynamic stifling Katsuki's personal arc, which. I mean, I can't tell anybody how to feel, but I don't really feel like the criticisms I've personally seen were something to take seriously. Because Katsuki, singularly, was an inspiration. To his class (who lead the search for Izuku and brought the class together?), to the previous generation of heroes (All Might, Best Jeanist, FUCKING EDGESHOT???? WHO GAVE YEARS OFF HIS LIFE BECAUSE HE BELIEVED IN KATSUKI'S HEROISM AND SACRIFICE AND WAS INSPIRED BY HIM????), and to the general public (Horikoshi did put in those shots of all the random bg characters and characters we met from other arcs for a reason). He protected Izuku, he fought with him side-by-side, he acknowledged the help other characters gave him (Shoto and his ice ramp sob). His arc has followed the path that Horikoshi has been laying out for years and years. And it's fine if you don't like the arc that Horikoshi chose for him! But it is internally consistent. Even I have some superficial complaints about some of the specifics, but broad strokes? I'm quite happy.

In regards to Izuku and his personal arc... some of it's hard to comment on because the story's still not over. Like. IF my assumptions about the overall intentions behind Shigaraki's death are correct, the narrative will clarify as such through Izuku's actions and emotional state.

And, based on chapter 424, there's already some seeds of Shigaraki's death really affecting Izuku long-term.

Idk man, does this really look like Izuku isn't struggling with what's happened? That he is totally cool with Shigaraki dying? Do you really think he isn't conflicted at all?

Frankly, Izuku being conflicted is quite possibly the most normal, reasonable response for him to have. I've always loved the idea of future Izuku and Shigaraki reaching out and bonding after the war, so some of this is directed at myself, but... there's no real basis for the idea that Izuku has any extremely personal, loving connection to Shigaraki. It isn't like with Touya and Shoto, who have a wildly personal, intimate connection. The only times Izuku and Shigaraki interacted, Shigaraki was either actively attacking Izuku or threatening to kill him T_T it isn't weird that Izuku isn't especially fond of Shigaraki as a person. He kidnapped Kacchan! He tried to kill Izuku! He tried to kill basically everyone Izuku knows and loves! HE BLEW UP HALF OF JAPAN?! It is absolutely normal for Izuku to not, y'know, be especially fond of the guy as an individual.

But also... he did kill Shigaraki. The person he was so dedicated to saving, he was willing to give up his hands, his life. And yet, those were his hands that ultimately (with Shigaraki's spirit help) killed Shigaraki's body, even if it was being possessed by AFO at the time. And I don't think he wanted to kill Shigaraki. I don't think he wanted to kill anybody! And if I'm right, the epilogue arc is going to uphold that pain, and use it to fuel Izuku and his desire to change the future of society.

IF Horikoshi is going for Shigaraki as a martyr who died and it was a tragedy that we, the audience, are supposed to be heartbroken about, then I expect him to continue the story with the idea that, just like it's a tragedy that Shigaraki died, it is a goddamn tragedy that Izuku was put in a position where he had to choose between saving the life of someone he wanted to save and stopping AFO from killing everyone. He is sixteen years old! He shouldn't be making a choice like that, and it is a travesty that he was forced to! That he was the only person capable of making that choice. He is a kind, caring, scared kid who just killed somebody. I want him to feel betrayed, even if he doesn't quite know how to express it. I want him to grieve. I want him to actively work towards a tomorrow where nobody gets put in Shigaraki's position OR HIS ever again. Because it isn't fair! It isn't fair to him, to Shigaraki, or the readers that love them both! And I want Izuku to be hurt about it and I want the other characters to care.

Which leads me to All Might.

I have a lot of complicated feelings about All Might. Because I simultaneously DO think that the narrative has actually spent a lot of time seriously criticizing him directly, and also feel like it's hard to balance the fact that he is a good person/hero who tried his best but ultimately failed (and was deeply, personally influential for basically all of the major characters) with the fact that he is super wrong about a lot of things and probably didn't need the amount/type of screen time he got. Like, I got the vision behind the Iron Might suit thing and Izuku inspiring him to be a quirkless hero, but also I think it took away from other characters who needed acknowledgement more. The torch should have been passed, and All Might could have been brought in a different way.

If you're asking about just this chapter? Honestly, I find it hard to criticize All Might for being proud of and kind to his proteges for doing the thing he couldn't: defeating AFO and stopping the destruction of Japan. They're wounded to the point of potentially life-long disability and emotionally wrecked. There was exactly zero chance that Izuku was going to wake up in his hospital bed to All Might saying "wow, it took you that long to stop AFO and both him and Shigaraki are dead now? You really do suck, kid. I never should have given you my quirk".

In terms of framing, I do see some people's concern over the fact that All Might's words (and the surrounding imagery) seem to be positive and hopeful and could be read as him (and therefore the narrative) brushing off the horror of Shigaraki having to die for the rest of the world to know peace. All Might has always symbolized the Old Guard, and the outdated heroic ideals that caused the current tumult and state of society. So to have him say "good job, you did it!" does sound worryingly like the story saying that everything is good and right with the world now. Which... if we want to be thematically consistent, it isn't "all good".

But ultimately, a lot of this is in wait-and-see territory. Until the manga is over, I'm not ready to be married to any particular opinion about the end, because we just don't know for sure where Hori's gonna take this. And while I do genuinely think that we have enough to be excited/optimistic over, I'm also not blind to the potential disaster that the ending could make the story. So. We'll find out in the next few weeks/months!

Sorry for talking so much, lmao. Thanks for asking!

#bnha 424 #bnha spoilers #deku #bakugo #all might #ask me

[brainrot-radio]

My Cemetary Baby ok

#I'm actually insane over him #like from a narrative perspective of what i know this man is fucked #do you see my vision tumblr #he's just sooooo #kicks my feet n shit #william afton #springtrap #fnaf #five nights at freddy's #tuning in

[inkskinned]

okay if you're really cool about things, i can be honest with you. before you read further, decide if you're a girl's girl. if you're cool and actually cool or like not cool.

men don't talk in my book because i was fuckken tired of the way they're the center of every fucking story. i was tired of how every story takes a moment to let them talk. men can shut up for literally one fucking book.

unfortunately not everyone is cool. professionally what i usually say is i didn't want to add violence to the world. the only men in my book are abusers, so they don't get to talk. they don't get to take up space. they ruined my life, they don't get to have their words echo anymore.

because like, yeah! you find practically any story about a person surviving trauma and... there's a man at the center. men are often rescuing us from these things. a "good man" is always standing around, being a good man, proving to the victim that good men are the real men. that her experience was unique rather than universal.

the redacted text has not been taken well by all of my early readers. there is this weird, crouching growl that keeps occurring with men-of-a-certain-age. why don't we hear his side of the story?

when i sat down to write everything that happened to me, i couldn't look at the frank brutality of my abuser's words on a page and think to myself: i actually let him speak like that. i had to redact his words from the manuscript. i then left it redacted. no victim is going to read this book and hear the person who hurt them. it is a book for the victims to speak. abusers shut up challenge, forever. for eternity.

my father once told me, chuckling, i should just have a page of redaction where i let the man just finally talk. it is funny to joke about how we should make a whole page in my book about a man that hurt me. this was not the only time someone commented - it feels like you're hiding things. how do i know you're actually a victim if he doesn't get to speak?

there are books where women aren't even present. i even genuinely like some of those books. like, who doesn't like the hobbit?

i keep running into people defending this imaginary man. the default narrative is so true to some people that they will defend any man, just by virtue of the assumption - "if he's acting like that, you had to push him." certain people need definitive proof that you didn't accidentally make your partner into an abuser. they need to decide if you deserved it, because they want to be able to judge you.

which makes sense, i guess, from a hind brain perspective. if you can figure out "why" someone was cruel, you can protect yourself against it. if you defend the bully, the bully might side with you. i don't really know their explanation for feeling this about a character in a book. trust me, i wrote the guy. he is not going to protect you.

i guess i just - there was a time in my life where i desperately wanted anyone to defend me. where i could have really used someone saying holy shit are you okay instead of what did you say to make him act like that to you.

instead, over dinner, a friend-of-a-friend i just met is pouring herself wine. i heard you wrote a book, she says. she gives me the kind of chilly smile i associate with knives. i heard it's unfair to men.

#the author is nonbinary. don't get fucking weird. #btw if ur a woman and u do this u go to advanced special hell. like if u defend ab*sers at all #u dont get to pretend ur protected from being misogynistic. ur not. we all have internal work. #writeblr #i can't write lately wtf

[shelfperson]

OKAY OKAYYYYY OKAY like i understand why people are bullying louis right now. it’s not a great look to dick down the guy who just now threatened to murder you and your daughter. but taken from louis’ perspective? without our foreknowledge of the plot? for all he knows he’s just gained an important and powerful ally.

like???? before armand spares louis, he does the whole “why are the powerful so weak” speech with the obvious implication that he doesn’t want to enact the Great Laws on louis specifically. and then he… doesn’t. And then, and this is crucial, opens up to louis about ALSO having his heart broken by lestat. which puts him in a place of automatic solidarity with him. and then he kisses him! as assad said the post-show breakdown, armand had to choose between the coven and louis in that moment and he chose louis.

like as far as louis is concerned, he and claudia are safe. at the very least, sage from armand specifically.

and like. i am absolutely 100% certain armand will have something to do with claudia’s death but i kind of doubt that armand is just like. masterminding from the shadows all day everyday and is retroactively altering the ENTIRE NARRATIVE. that’s just so boring. he becomes a non-character at that point.

what i think is much more likely is what a lot of people have been theorizing about: santiago stages a coup because armand is a fucking hypocrite and makes armand pick between claudia or louis. and armand is going to pick louis. and that’s what armand is hiding from louis. not that he personally killed her in cold blood but that he killed her through inaction/indirect action.

i’m also super exited to see the resentment between claudia and armand ramp up from here. like HELLO CHOKESLAM WHAT THE FUCK???? get AWAY from her.

anyway i bet armand and claudia have some really adversarial interactions after this point and that’s part of what armand doesn’t want louis to see in claudia’s diaries. like the two of them are perfectly positioned to activate the other’s trauma’s/hangups because they’re BOTH afraid of being abandoned they BOTH know what it’s like to always be someone’s second choice and they both really want louis to pick the other.

on top of that, i’m sure armand’s scary ass is having his disney villain “if it weren’t for those meddling middle aged kids” moment about claudia at some point too.

like i doubt he “could not prevent it” but i also think a little more nuance, a little more conflict, is much better than Bad Man does Bad Scary Thing because he’s craaaaaaaazyyyy.

this has become a rambling mess but the POINT IS. there’s a little more going on then louis just letting jeff the killer into his house out of sheer dickmatization. there’s layers.

#i shoukd probably think of a tag for all my iwtv word vomit #iwtv #iwtv spoilers #iwtv speculation #iwtv meta #iwtv s2 #iwtv season 2 #louis de pointe du lac #armand #armand iwtv #loumand #claudia iwtv #claudia de pointe du lac #interview with the vampire

[befuddledcinnamonroll]

So with some of the takes I've been seeing in the Wandee Goodday tag, I wanted to share my perspective.

Just to note - I firmly believe art is subjective and what we see can vary a great deal based on our own perspectives and lived experiences. I'm not calling anyone wrong, I'm just saying this is my personal take on things. (I feel like this should be obvious, but nuance is so often lost online).

And my main goal with watching QL is fun and escapism. I'm here to have a good time. I tend to go with the flow, I like imperfect characters (I even like the fucked-up ones), and I trust the characterization and plot elements to be doing what they need to do until a problem shows within the narrative itself.

Ok, disclaimers done - here's my take on Dee & Yak's interactions around the fake dating idea.

I think all of their interactions are deeply affected by the degree to which they have already developed genuine feelings for each other, but are not yet in a place to admit it, even to themselves.

Do I think Yak has real concerns about being out as a boxer trying to hit a career high? Absolutely. But I think his quick jump to a "let's end this" reaction was mostly a kneejerk attempt to protect himself for what he felt when Dee, the man he is already emotionally connected to, and desperately wants to be able to kiss, dropped a request for fake dating over a real deepening of their relationship.

We don't yet know the level of societal homophobia this show is aiming for, BL land can go many different ways with this, but considering his brother's openness in the gym that he owns, training boxers, there is a tone being set. Yak literally holds hands with Dee in the middle of the street. He doesn't panic when people recognize him at the hospital. This may change, but I'm going to trust the signposts that his career concerns are valid, yes, but are not the dominant issue between them.

Similarly, is Dee competitive and overly focused on winning? Clearly. It's set up in his earlier conversation with Yak for a reason. But at the same time, his insistence that it has to be Yak is not just about his need to win - again, this is about genuine feeling. He wants Yak. This is a way to get Yak, and to frame it to himself in a way that feels less scary and vulnerable, especially after being hurt by Ter.

I know a lot of people saw Dee as being pushy. I do agree with that, and yes it is going to cause more issues for them in the future. But I wish more people also saw Yak holding firm to his boundaries and refusing to give in to the immature behavior from Dee, showing why he's such a good partner for Dee.

And sure, we haven't seen Dee support Yak as much so far, but the scene with the mother and child wasn't there just for kicks. Dee is empathetic and caring, and that will be important in his relationship with Yak as well. He is there for people when things are at their worst.

Some people see Dee on the bridge as being manipulative.

I saw Dee as finally cutting out the toddler shit and being emotionally real about why he's taking the scholarship too seriously, how sensitive he is to what people think of him, why Yak is someone he trusts implicitly, and how he knows it's not Yak's problem and it isn't fair to expect him to fix it.

Some people see Yak as finally agreeing to fake date as showing he is weak to emotional manipulation.

I see a man who has more agency than that. I see a man who is affected by seeing genuine vulnerability both because of how caring he is as an individual, and because of how much he wants a real emotional connection to Dee. And eyes-open, he makes a choice.

These are two characters who have never just been friends with benefits from the beginning. And the narrative has never been about what they are saying. It's about what they are feeling.

#wandee goodday #wandee gooday the series

[tevanbuckley]

Honestly genuinely a little mad about the ofmd finale. MAJOR SPOILERS ahead!

Because as it stands Izzy is bury your gays, it's basically the trope to a t, and the fact that izzy is surrounded by other queer characters doesn't really change that.

Very clearly repressed queer man -> does fucked up shit to cope -> learns about/semi accepts his queerness -> still needs to be punished for his crimes -> has to die. Like that's literally the formula for how queer characters had to be written in the past.

And look i've defended other controversial character deaths before (i did my time in the mcu folks!) as being satisfying/necessary from a narrative perspective, but this isn't. Because we've all seen that cycle above a thousand times before, and I'm just so frustrated because I thought we were finally safe! I thought oh I'm actually going to get to watch this fucked up little queer man be happy at the end, but no he's just dead, again.

Who knows, maybe buttons is gonna sea-witch him back to life in s3. Maybe izzy really is indestructible. I don't even think it's an unlikely scenario, the same way I don't think it was ever really in doubt that lucius survived s1. But if he's going to survive then I don't really know what the point of him dying in the first place was? Apart from a cheap gotcha moment a year on at the expense of the audience.

#ofmd spoilers #djenkins i'm in your walls (derogatory) #never trusting a straight man again #i could and probably will talk about this more #ofmd #ofmd s2 spoilers #izzy hands #our flag means death

[boneywones]

talking about the excuse of “fiction doesn’t affect reality” in proshipping and how the excuse itself doesnt hold up. + some other tiny points about my opinion on some proshipping things.

firstly i want to say that the excuse of “fiction doesnt affect reality” does not hold up. it is also in fact, incorrect. 

fiction does affect reality, you can see it happening through propaganda or any types of fiction at all. like for example, the jaws movie (a work of fiction) had greatly influenced peoples opinions on sharks and how people interpret them. the jaws movie in itself had shown sharks to be heartless creatures that eat humans, which is most definitely false. (How Jaws Influenced Shark Perception – Shark Stewards, Shark fear: Just when you thought it was safe to get back in the water... | ScienceDaily for reference.)

propagandas term is quite simple to explain. spreading misinformation to change a persons opinion, or moreso political views in some cases. misinformation is indeed fictional, as it is not real. a lot of cases of propaganda has been shown through the years, and it has obviously shown that it has had an impact on reality and real peoples perspective on things.

another way that fiction can affect reality is if people give out enough false information that it can highly change the minds of people online or in real life. if people give false ideologies of certain types of people, then people will follow that false narrative and build up an opinion based on false facts. for example, a man online gives out a lot of false information about women. an impressionable minor or teenager will come across it, then learn from that person. this has been shown through podcasts that you see online, or people that give out false dating advice and what women want. 

though sometimes fiction can affect reality in a positive way, like when fictional pieces give out positive messages and can positively influence people. messages or the “moral of the story” can let children learn what is right and wrong. this can affect how children think, and how they act when they grow up later in life. 

now onto proshipping, or proshipping media specifically. first, lets talk about how the ship frans (frisk x sans) had deeply and negatively affected the utmv/undertale fandom.

back when the undertale fandom was starting to gain popularity, the ship frans had as well. a lot of people found out about this ship from comic dubs, which further pushed more popularity to it. since this media was circulating and was nearly everywhere, children or people in general had started to think that the ship was normal since they had consumed so much media of it and saw people liking it. if you do not know, frisk is a child and sans is an adult. this is a pedophilic ship. (its also not excusable to “age up” the minor/child, as the ship itself is pedophilic. if you need an excuse to ship something that romanticises real life problems, then why ship it at all?)

this is the same with fontcest, as i have seen a fair few people state that they used to ship one or the other (even both in some cases) because they were influenced by the behaviour of others around them. you get what im saying, now?

// anyway super unrelated but not rly but i think proshippers should openly state that they are in fact proshippers on their mains instead of making people look for shit so they can get full confirmation,, (the fact that i see so much people not know that some people they follow are proshippers is so fucking alarming??) also i think adult proshippers should push minors out of their little “community” instead of letting people like themselves groom minors into thinking the same things as them,,,, think thats just me tho!!!!!!! (/sarc) and to all the minor proshippers, please stay safe and get the help you need /srs /nm /gen 🫶

+ to the adult proshippers that actively make media that are about incestuous ships, i need you 2 know that doing something like that is normalising and romanticising incest ☺️ i dont care if its fiction, its still incest. there is no excuse to make normalised and sexualised media of incest.

#proshippers dni #proship dni #pros dni #proshipper dni #proshipping dni #tw pedophila mention #tw incest mention #yeah i yapped!!!!! #the yapperrrrrrr #/ref #yeah proshippers fucking dni or something!!!!!!!! #just block me i dont wanna hear you crying and pissing your pants

[viathecloset]

Taehyung and jungkook's relationship is overlooked by 90% of the fandom solely because they are so controlled by the narrative of the fandom/company that they cannot quite accept that anything outside is even a remote possibility. Ive been more of a quiet observer for years now [my sister's an army since 2015] and I've seen the boys, moreover I know how marketing and kpop works. It's quite evident if u observe close enough of the pattern on how this group of seven guys who genuinely love music is marketed you would understand to what extent you're being brainwashed. Im not talking about this like a conspiracy theorist. It's quite simple and right infront of you. Yall refuse to accept it that's all.

1. There are a certain set of stories that are made to be told by them, over and over again. Even if it disturbs them or they are bored. E.g: 2018 disbandment story, vmin dumpling incident, jikook rain fight/tokyo trip, mind you there are many things that happend between people who lived together for 10+ yrs but if it cuts the flow of events you are made to believe happened you aren't gonna hear from it, ever.

2. Like stories there are dynamics that each pair is supposed to portray Taegi as annoying/annoyed duo, taejin/jikook as flirty HS boyfriends, namseok/taekook the awkward old friends and no matter how much the relationships change or evolve you won't see it cuz again, it won't FIT the narrative that has already been shown.

3. Like relationships there are characteristics that thankfully some members chose to break out of during their solo era: hoseok always being sunshine and loud ( he's quite serious and very dedicated infact ), jungkook being that muscle dude who only knows how to follow his Hyungs ( he's very independent and has a lot of targets he wants to achieve individually, he's very thoughtful and organized) and Taehyung being WEIRD and weak ( he's extremely intelligent and super strong he's strategic and disciplined)

4. This brings us to the whole Taekook narrative, the fact that they've been seen so much during solo era yet people had the audacity to still call them distant and awkward solely cuz it wasn't via company but through Taehyung's ig or jungkook mentioning him in interviews etc. I think it's needless to say they aren't comfortable being touchy and showy on camera for content, hell if they were to shoot everytime Taehyung and jungkook hangout there would he enough CONTENT till 2067. They're supportive of eo and have a very big shared friend circle, when jungkook went missing for almost 2 months we got to know Taehyung was the one he was with.

5. The thing is everyone [ including my own sister ] thinks that Taehyung is being desperate or such whenever he mentions Taehyung cuz a. Yall have actually led jokers run so fucking rampant that everytime the man mentions him actually doing something you're ready to throw him under the bus and call him a liar or such. b. Im not saying jungkook isn't close to anyone else but when he isn't working or shooting content and just wants to be himself the one you saw him most was around Taehyung and yes it matters. In the name of hating shippers yall have not only dissed the quite frankly PRIVATE bond they seem to share but went as far as dissing Taehyung himself cuz of the extreme level of manipulation yall are under.

Ik imma find armys [jikookers ]under this sooner or later calling me names but to be honest I'm sick and tired of yall dissing very real people and their very real human relationships solely based off the content yall are made to believe is 100% candid. Go touch grass, get friends, go date, don't obsess over them for a while then come back and try seeing it from a neutral perspective.

#taekook #taehyung #jungkook #bts #tumbler #opinion #fandom ships

[greenerteacups]

my heart aches for one Theodore Nott after reading the latest update 😭 GTC, could you tell us more about your thoughts on him, his characterizations, how you manage to write him so poetically and beautifully, and (a shot in the dark, but i'll bite) the role he'll play in books 5, 6 and 7? congrats on another chapter GTC, i love you tons 🩷

Thank you so much, friend. I love talking about Theodore Nott. I'll gladly bite on that question.

To start off, Theodore's middle name might as well be "THE FOIL," because everything about him is tailor-made specifically to Say Things About Draco Malfoy. He practically hands Draco a card saying "I AM YOUR JUNGIAN SHADOW SELF, PLEASE HANDLE WITH CARE" upon introduction. They meet when they're both fresh off the train. (Hermione beats Theo to Draco by a matter of hours; there's a ton of ways this story spins differently if minor details about the first chapters were changed, and that's definitely one of them.) Then Theo and Draco ride in on the boats together. (Admittedly, I was not aiming for subtlety points with this intro. They are literally "in the same boat.") Immediately, Theo is throwing out narrative parallels like he's getting paid for it: they both have a dead parent. Both parents died under weird circumstances. Their fathers were both Death Eaters. Both of them are the sole heirs and only sons of great wizarding houses. Then they go into the Great Hall together, standing in line, but — and @piedrafundamental left a really banger analysis of the Sorting Hat scene in the comments on that chapter, but I'm going to crib just one line — crucially, "M comes before N." Draco's sorted before Theodore is, and he goes into Gryffindor. Immediately after that, Theodore's shunted into Slytherin, and their paths diverge. Call this the prologue of their relationship. They're not actually gonna get to know each other until Book 2 and Book 3, but this is the part where the narrative is basically jumping up and down and waving its arms at you, going "HEY! THIS GUY! IMPORTANT TO THE STORY! GET WORRIED ABOUT WHAT HE'S DOING, OKAY?"

Then we meet him again in Book 2, and just like Draco, a year at Hogwarts has changed him. He's a little more confident, a little more cocky, a little more comfortable, and — hey, look! He's got a weirdly intense friendship with a girl around his age, too! (Surprise, surprise, Draco is with Hermione when he meets Theo again, and who makes her debut in that moment but Pansy Parkinson?) And there's Daphne, the third leg of the Slytherin Trio, the kind of girl Draco probably would end up with in Slytherin — pretty, sociable, cunning, knows his family history (literally cites it to him in their first introduction, like c'mon), is the sister of his canonical wife, etc. etc., we got layers to this shit like lasagna but this post ain't about Daphne so we gotta move on — point being, either way he flips, Draco's going to be the fourth of a quartet. Which is the entree into the Slytherin politics storyline of Book 2, a.k.a. "the temptation of Draco Malfoy," where Theo is — I mean, to be honest, for once he's really not doing anything that sinister; from his perspective, he's kind of just putting his fucking back out trying to make a friend? He's drawing Draco in a regression towards prejudice and comfort, naturally, but that's not how he sees it. But there's a counterpoint between what Theo's offering and what waits for him in Gryffindor.

So that's the starting block of his character. The rest of the work is building a real person out of that; obviously, you can't just go "this is Foil Man, does whatever a Foil Can" and expect people to be interested. Part of what makes Theo interesting, to me, is that the traits he shares with Draco include a lot of what we tend to like about him — he's driven, intelligent, cunning, and brutal in the defense of those he loves — it's just that the people he loves, the people he surrounds himself with, are deeply prejudiced people committed to doing profoundly bad things. He's been trained from birth in the art of making bad people happy, and he's gotten good at it. And he's just enough of a coward (again, pot and kettle) that he can't imagine a world where that's not the case.

And it drives him fucking crazy that Draco won't admit that. Because I think Theo thinks if he can get Draco to admit they're similar people, it'll validate the choices he's made — like, yeah, he's fucked up horribly, but anyone would do the same, if they had to face what he has. Even Saint Draco. And of course, Draco is absolutely unwilling to go there with him, because:

(a) he very much does not want to believe that his years of grueling internal growth and struggle for betterment are just the product of some good luck with a hat; i.e., a suggestion that is not just insulting but terrifying because it suggests how very close he could be to regression at any time; but also:

(b) it is a fundamental tenet of Theo and Draco's dynamic that Draco does not like Theo as much as Theo likes him. Because where Theo sees his mirror in the light, Draco sees his mirror in the dark. And it's an increasingly ugly picture.

#greenteacup asks #lionheart spoilers #lionheart

[comradekatara]

IDK if you're still giving your thoughts on AtLA ships but I would feel remiss if I didn't shoot my shot and pitch yuetara. I know on the surface this is going to immediate read like “yuekka but gay” except I FIRMLY reject the idea that the siblings are interchangable. They bring different dynamics to the relationship! and I love yuekka, don't get me wrong here, but for no fault of its own it suffers from only having a couple episodes to develop and a mostly cishet writing team doing a lot of “he's a guy and she a girl, could I make it anymore obvious?” doing a lot of the heavy lifting. WE know Sokka has a lot to offer as a partner, but from Yue's perspective Sokka is yet another man that vaults into her life and immediately wants [something from] her. 

But Katara. Here she comes, granddaughter of the woman who rejected their status quo that is supposed to be there to keep them safe? And she Got Away with it, went on to lead a happy fulfilled life, and years later that granddaughter rolls right up to their master bender, an elder, A Man, one of the pillars holding up the system, and forming the bars of Yue’s cage as a physical representation that he was Wrong. And this girl spits his authority back in his face, tells him where to shove it, and somehow against every odd, she bends him to listen?? Can you imagine living your whole life being told that every part of you belongs to someone else, that you will never be a person before you're a daughter, wife, mother, princess, and then out of a clear blue sky on the day of your birth, where it's been announced you're about to change hands from one man to another, a girl just like you blows in like a typhoon, and says there's another way. Wouldn't you fall just a little bit madly in love with her?

Yue is shown that she CAN choose freedom for herself... and it makes her choosing duty in the end so much more meaningful? She could walk away. She was not born to be a prop and a sacrifice, no matter what even THE FUCKING MOON intended, she can be a whole person on her own. And ugh, the symbolism of taking up the mantle of the moonspirit so that KATARA can have her bending still!! The heartache of knowing now that everytime she bends, yue is RIGHT THERE. Literally to Moon and the OCEAN paralells FUCK.

Putting aside that korrasami crawled so that a lot of today's queer flavored kids media can even think about walking, I truly believe that if AtLA had been a product of the late 20teens or 2020’s that yuetara would have been THE ship. Anyway, sorry for the inbox blast, you're just the Katara conisuer and if you have thoughts I wanna hear em.

okay, to be clear, all of this is obvious to me. you make a compelling argument, but it’s hardly something I haven’t already considered when thinking about this ship.

however, there’s something very beautiful to me about yue’s story being a tragedy, and I think that while warping that narrative to be about feminist liberation through the power of lesbian love is obviously a noble goal, yue and sokka being two people who are confined and stifled by their respective obligations to patriarchal duty whose happiness is fundamentally impossible because neither of them can imagine a world beyond the bars of their cages is nonetheless far more interesting than a narrative wherein someone “rescues” yue from adhering to patriarchal standards and shows her a brand new world.

it’s actually very fascinating to me that sokka refuses to talk about himself, and whenever yue asks him questions about himself and his home, he is self-deprecating. besides his first attempt to claim that [by virtue of being the son of the chief] he is sort of like a prince himself, it’s clear that spending time in the nwt, who look down on their southern counterparts, wears on his self-esteem because he is predisposed to insecurity. you’re right in that katara is nothing like sokka. she wouldn’t be insecure, dismissive, cagey about her past, tacitly accepting of yue’s resigned obligation to her arranged marriage, or attempting to repress her feelings around yue. she would be bold, loud, confident, agentic, and willingly vulnerable, as she is with every potential love interest. perhaps their relationship would still end in tragedy, but it would be anything but quiet.

and if that kind of obvious bombast is what you want out of a romance, then fine, you do you. but personally, the beauty of yue’s role in the narrative to me is specifically how she foils sokka as someone who sacrifices, diminishes, and martyrs herself for the sake of her people. she literally has obligations to her tribe and to her father!!!!! she and sokka inform each other so beautifully because they are so similar and equally constrained by their perceived obligations and lack of agency.

the fact that sokka is who she gets close to whereas katara merely represents a sort of unattainable ideal to her is intentional, it’s part of the point. if yue is sokka’s moon, shining brightly above him but always out of reach, then katara is yue’s moon, kanna is yue’s moon, every woman who had the agency to liberate themselves from this system in which yue has no choice but to participate is her moon. and by becoming the moon, yue sacrifices herself, her humanity, her body, but she also liberates herself, frees herself from the contraints of being a woman in society. she kisses sokka to reclaim her agency, because kissing him as she had wanted to had been denied to her, and now that she is no longer bound to these earthly standards, she finally can.

yes, we are introduced to yue through sokka and not the other way around (i shouldn’t have to explain that that is how basic storytelling sequencing works), but yue is immediately interested in him, sees a kindred spirit in him, longs for him. maybe he is initially struck by her beauty, but he treats her with kindness and humanity, and he never asks for anything from her besides what she is willing to give him (which is the point. they’re at an impasse, and so their tragedy is inevitable. unlike suki, who is willing to take the lead and basically forces sokka into experiencing happiness lmfao). also, for the record, they already are a beautiful butch/femme couple. to me.

but yeah, if you really want to see a bold, courageous girl fight to liberate a repressed, abused girl from the clutches of patriarchal violence, you can just watch revolutionary girl utena free on youtube. in fact, you all should. it’s much better than atla.

#lizardlicks #asks #katara #yue #sokkaxyue #analysis #katara IS deeply important to yue #but it’s also very important to yue that her primary arc is with sokka #katara and aang both INSPIRE yue #but sokka ANGUISHES her #and personally. I love anguish :) #especially when it involves sokka :)

[lucky-clover-gazette]

okay captive prince re-read is kind of funny knowing what i know now from the rest of the series. i remember being not completely sold on it and pretty horrified for the majority of book 1, so i did speed through some parts. but now i am closely reading and there is SO MUCH here!! both in the “i know more than damen” sense and in the “i genuinely trust the author’s intentions and the story’s themes” sense

so far i’m specifically loving the running bit of damen noticing 1) laurent’s blonde hair and 2) other people who are not laurent’s blonde hair, which he has literally no reason to specify. like i’m only on chapter 2 right now, not far at all, but there have already been at least 3 Damien Likes Blondes and Specifically Laurent Who Is Blonde Moments. despite the horrors, damen will take that totally necessary moment to appreciate the beautiful hair of the dude who is intentionally making his life a living hell

speaking of which - obviously, on re-read, everything laurent says and does makes a whole different kind of sense. there’s the genuinely sad and disturbing stuff ofc, but so much of it is just like. this man is the sitcom character who hates everyone and everything that’s happening around him. he’s looking into the camera like he’s on the office. he’s communicating in 95% backhanded insults to everyone but damen, who he just insults. he is livetweeting his own misery in a genre-appropriate non-anachronistic manner, which is to say he’s just being a dramatic bitch for an audience of himself (and me, on re-read). like on the first read i assumed that this is just how laurent truly acts, but now that i know who he is when he’s not in this fucked up situation, it is so clear that he’s just committing to a bit. i know that this freak uses improv and pretending as a strategic ploy and defense mechanism. he’s not fooling me this time around, so i get to enjoy it for what it really is, knowing that this isn’t how it’s supposed to be, or how he even wants it to be. laurent is making his own fun, which is not fun for damen or a first-time reader, but i know those idiots are going to be fine so it’s surprisingly enjoyable to indulge in the sadistic comedy of it.

(that said, some of it is still pretty stomach-turning, and absolutely not fun to read. laurent’s backstory isn’t an excuse for what he subjects damen to, or the customs of the court. but that is the point.)

so much credit to cs pacat for constructing a narrative that allows for this kind of perspective shift on re-read. she clearly knows and loves these characters deeply, and thought so hard about the implications of every little moment. it really is an intoxicating sort of creative energy, and i’m enjoying it from a reader and a writer’s perspective.

really glad that i’ve found this series to dig into. i’d love to keep posting my thoughts if people are interested!

#capri #captive prince #damen of akielos #laurent of vere

[antianakin]

I don’t know if you’re actually watching the Ahsoka series or not, but I was very curious on your thoughts on the newest episode, and the confrontation between Anakin and Ahsoka.

Bro traumatized her again. Lol. 😒🙃

I’m actually kind of satisfied that she showed a little resentment, but I still don’t like that she didn’t cuss him out or something.

Anakin not apologizing is infuriating at first glance, but I also think it fits his character.

It’s funny, if I think about it in a certain way: I wonder if Anakin himself views his “redemption” kind of the same way his fans do. He’s just like, “Why are you still pissed at me? I died stopping the Emperor, didn’t I?” 🙄

The only one I think he’d actually feel sad about is Leia, because of course he’d want his daughter to like him, but she never will now, because he fucking tortured her and blew up her planet.

You know… I don’t really view Anakin’s final moments as a true “redemption” in the eyes of the galaxy. George Lucas has a quote where he says parents are redeemed in the eyes of their children. I guess you could argue that Anakin redeemed himself in Luke’s eyes, but not the galaxy’s own.

And then there’s Leia, who will never forgive him or think of him as her father.

In a way, it’s almost fitting for Anakin, that each of his children represent something for him.

Luke represents forgiveness, and how it’s never too late to do the right thing.

Leia represents his mistakes and sins. As long as she lives, he’ll always look at her and remember the damage he’s done. She’d never let him forget it.

Which is funny, when going back to the recent Ahsoka episode, and how he was acting like a dick to Ahsoka.

Personally, I think he was purposely trying to piss her off to make her fight to not die.

Still though: he’s such a jackass. 😒

Anyways, I guess my main point is that I don’t view Anakin being a Force Ghost shows that he was “redeemed.” I view it more as a type of salvation. Like the Bible story where Jesus is on the cross with two other men next to him. And then one man decides to “believe in him” or whatever, and his soul is saved by the skin of his teeth.

This is kind of how I view Anakin’s act of saving Luke. His soul was saved, because he did a heel face turn at the last second. So The Force was like, “Good enough, I guess.” *Throws up hands*

Anyways, sorry for the long rambling. I hope you don’t mind the message. Haha. 😅 I just have found your blog really therapeutic, because while I like Anakin as the fascinating character that he is, it still just kills me how fandom woobifies him and blames the Jedi for their own genocide.

I don't mind this message at all, thanks so much for sending so many of your thoughts, this was great! It's going to be a long reply back, though, since there's so much to respond to and if you've been going through my blog, this probably won't surprise you.

I AM watching the Ahsoka show, I'm just putting my thoughts about it on a different blog to this one (this blog was created for me to be negative so I usually only review things on here if I KNOW I'm going to be negative about it, but I was hopeful I'd have positive things to say about the Ahsoka show lol).

I think I'm feeling RELATIVELY mediocre about the show. Like I don't hate the whole thing, I can see why it appeals to people, but it's not really hitting at what I would've wanted from a narrative perspective. It seems to be relying on fan service and pretty visuals rather than genuinely good writing to get them through. If you happen to be the fan being serviced, you probably like it fine. But if you are someone more like me, then you might be noticing that there aren't a lot of stakes, the character motivations are weak or missing, the two storylines aren't being spliced together very well, and the dialogue's just not that great. There's also several more nitpicky things that are really pissing me off about the show (the way they're treating Force sensitivity, Sabine being a Jedi at all for no good reason and how her character is being butchered, the very distant and aloof acting I feel like we're getting from everybody, and of course the requisite anti-Jedi bullshit that we can all expect from Filoni at this point).

But as for how I felt about Anakin and Ahsoka's scenes in the latest episode this week, I am personally of the opinion that it WASN'T Anakin at all. I know it's left ambiguous, so if people feel like it was truly Anakin in some way shape or form, that's fine, but I think it makes more sense to me personally that it wasn't. This is Ahsoka's manifestation of Anakin in a moment where she's literally drowning and emotionally at something of a low point and has to decide if she's going to live or not and that conflict plays out in her head the way we see it. I'm also open to the idea that this is one of those things where the Force "tests" the Jedi not unlike what we see happen on Ilum and Mortis and the Force is just utilizing Anakin's visage to bring Ahsoka's deepest fears out into the open.

What makes it interesting to me is that then we can look at the interactions as THIS IS HOW AHSOKA SEES HIM. Whether she thinks about it that deeply or not, THIS personality is how she remembers him. The immediate choice to be violent with her and test her fighting skills rather than talk to her more gently, the dismissive attitude he has towards her, the flickering back and forth between Anakin and Vader because she doesn't truly know which one he was most. He wasn't necessarily a great teacher and his way of teaching wasn't very Jedi-like, it's ruthless and merciless and unkind, and we see that reflected in their interactions in this episode, which could be a really interesting look at how Ahsoka still remembers him even if she didn't see it negatively at the time.

So him not apologizing isn't like... an indication of how Anakin might actually handle this interaction if it were truly him so much as just... Ahsoka being unsure sure if he WOULD apologize because she has no idea how much of him was Vader the entire time and Vader would clearly never apologize. I think the Anakin we see by the end of ROTJ probably would apologize at SOME point, especially if we're supposed to see him as redeemed and acknowledging/accepting of his sins, etc. But Ahsoka doesn't know that. Ahsoka probably kind-of knows through Luke that he turned back in his last moments, but she wasn't there for that, she didn't get to see it, and she obviously still has no idea what caused him to turn on the Jedi and become a Sith to begin with. Why did he come back for Luke and not her? Was it because she abandoned him? Did he just not care about her the way she thought? Was there something intrinsically wrong with her that he recognized from the beginning?

There's just too much uncertainty perhaps for Ahsoka to know if he'd actually apologize and she doesn't even necessarily need or want an apology so much as she just wants to UNDERSTAND. Because of course it leads into her doubts about HERSELF and whether being his apprentice (even for as short of a time as it was) has somehow influenced her to be more like him and if she should be worried that she'll go dark or cause a student of hers to go dark. If she doesn't know why HE made that choice, how can she trust herself? It's not entirely dissimilar to the statement she made at the end of the Wrong Jedi arc where she claims she's leaving the Jedi because if the Council couldn't trust her then she isn't sure she can trust herself, either. And now with Anakin going dark, she has to wonder if the Council saw something of that in her when no one else did, saw a future for her that she hadn't been able to see for herself yet.

I think personally I'd just rather look at this episode as the closest we're going to get to a "deep dive" into Ahsoka's psyche and character rather than try to analyze it as like "what does this say about Anakin." It's not Anakin's story anymore, it's Ahsoka's. Or it's supposed to be, anyway.

That all being said, I don't think it went far enough and I do dislike that we didn't get to dive into OTHER aspects of Ahsoka via other relationships in order to round out who she actually is. I don't think we know any more about her at the end of the episode than we did at the beginning. I don't think she really grows or changes through the episode at all. I don't know what the whole "choose to live" thing was about or how it connects to her overall arc because while, yes, she's obviously literally drowning in the moment, "choosing to live" is not something they've been exploring as an issue for Ahsoka throughout this season so far, so it didn't feel like this cool end to her character journey so much as just a really shallow one-liner made to sound badass without anything particularly profound behind it.

I think gffa said that one of the things you can tell about this show is that it's been percolating in Filoni's mind for so long that there's things he's leaving out because they're just totally obvious to him now and he's forgotten that the audience won't know some of it without being told or shown. If Ahsoka was depressed or suicidal or something like that, it never came across in the first four episodes. She barely seems to be struggling at all to me, personally. So maybe that's what Filoni wanted us to understand about her, maybe that was the intention, but it just didn't quite make it from his head into the writing or onto the screen.

And I keep going back to the Obi-Wan Kenobi show and the way they handled his character arc. They started him at a really low point where he's so CLEARLY depressed and just moving through life without actually living or finding any way to be happy. They spend so much time showing us how OUT of character Obi-Wan is in order for the pay off by the end and the slow growth of his character throughout the six episode story to feel satisfying. And while he's out of character in his depression, it's done in such a way that that's the POINT. We all know WHY he's out of character, we know what's causing him to be that way, it doesn't need to be explained because it didn't happen off-screen, it's literally the plot of an entire trilogy of films. It felt like a pretty natural extension of the state we last saw him in and it allows him the ability to actually have a journey that makes sense.

We've gotten NONE OF THAT for Ahsoka. Her relationship with Sabine is nonsensical and comes out of nowhere with zero explanation. Her weird thing about Padawans comes out of nowhere with zero explanation. Her aloof attitude is coming out of nowhere and does nothing to help us understand the state of mind she's in. She never seems to be acting SO out of character that it tells the audience how much she's struggling, but she's also SO flat that she no longer feels much like the Ahsoka everyone knew and loved from The Clone Wars. They're inventing new problems for her to have that make no sense instead of giving her a journey to actually deal with the problems she already had and hadn't gotten any resolution for. And they're unable to actually connect her problems from before into the Rebels storyline in a way that makes any real sense or feels genuine and meaningful for either Ahsoka or Sabine, so both storylines are getting half-assed and butchered in the attempt.

Personally, I think Ahsoka should've had a season set closer to ROTJ or even before it, just after she gets off of Malachor and 2-3 years prior to ANH, to explore her immediate reaction to Anakin's betrayal and have her overcome that on her own. Use original characters primarily, throw in Bail Organa or something if needed just to give her a quick plot, but let it be about AHSOKA. And only once her journey to finding herself is complete do we then move on to the Search for Ezra, which should be focusing WAY more on the Rebels characters than we're actually getting and should not involve any of the Rebels characters (except maybe Jacen) learning to be Jedi. Ahsoka would be a side character in this story because she has now had her story told and we can let Sabine and Ezra and Jacen and Hera be at the forefront of the story. (I also think we could've done something with Sabine that wasn't being a Jedi or her entire family being murdered off screen so she has an excuse to do a characterization 180 and act like a bratty teenager all over again.)

If I had to just change THIS episode a little, I have a few alternatives I've been thinking about. For one, I do just think we should've gotten to explore OTHER relationships beyond Anakin to emphasize the other things that Ahsoka is that aren't just "Anakin's Padawan." Rex, Barriss, Plo Koon, even Kanan or Ezra to try to make that connection to Rebels. She's been a friend, a commander, a rebel, a student, a mentor, an ally, a Jedi. She's been so many things that have nothing at all to do with Anakin and I think that might've been nice to explore as well. Yes, Anakin was important. Yes, she's fucked up about it. But that's not ALL THAT SHE IS. So I think starting off with her fears about Anakin is great, but then have her move on and sort-of go through it a little like Charles Dickens' A Christmas Story to show that she's more than this, too. This probably would've worked better if it had been a two parter thing rather than one 30-40 minute episode, depending on how many characters you wanted to throw in.

I also would've appreciated seeing her break and shatter at seeing Anakin. I wanted her to be ANGRY, to refuse to forgive him, to throw his betrayal in face. And then by the end of the episode, she lets it go. She's seen that she doesn't need to hold onto that anymore and it doesn't matter what choices Anakin did or didn't make, she's her own person and can make HER own choices. And so Anakin comes back at the end, and she's no longer angry. She can forgive him. I also would've wanted her to have been more snappy and frustrated and angry earlier in the season, as well, so we can TELL there's something simmering underneath that she's trying to keep repressed until it finally boils over in this episode.

The other alternative I came up with was the OPPOSITE idea where Ahsoka is basically just kind-of... in denial about it. She isn't acknowledging her own anger and pain and betrayal at all and she just wants to spend this time with Anakin the way they used to and Anakin is sitting there provoking her and trying to get her to break so she can let it all out. Eventually he gets her to admit it and get angry and yell at him and acknowledge her own pain finally so she can see how it's impacting her relationships in the present day. She's been trying up until now, but as Yoda's always said, sometimes trying isn't enough, and you just have to do or do not. She doesn't reject him at the end of this, but she can at least acknowledge what he did to her and how it's made her feel. You could even include some of her anti-Jedi bullshit in this and have her justifying Anakin's betrayal by saying the Jedi failed him the way they failed her and Anakin pushing back on that idea so that by the end of the episode, she can recognize that she's been blaming the Jedi because she's been uncomfortable with her inability to understand Anakin's choices and it was easier to blame the Jedi than live with that uncertainty.

I've discussed my feelings on Anakin's redemption a lot and they're definitely not in the majority. Personally, I just don't think he's redeemed at all. My definition of redemption is along the lines of "you can fix/undo the thing you broke/damaged" rather than just... "you decided to stop breaking things even if there's no way to fix it." It doesn't mean Anakin can't keep being a better person if he'd lived, or that he can't find redemption in more specific places (like Luke forgiving him for chopping off his hand), but that there is no redemption for what he did to the Jedi, to the clones, and to the galaxy at large. None. It doesn't matter what he does, it doesn't matter that he stopped himself and Palpatine, it doesn't MATTER. The Jedi and the Republic are still gone, the clones were still enslaved, the galaxy is still in shambles and traumatized from 25 years under the Empire.

You aren't the only one who's chosen to separate your definition of "redemption" from something else to make it make more sense. Someone else went for redemption being different from an absolution wherein you are just immediately forgiven of all of your sins because of one act or whatever, while redemption is the process of doing better. If that works for you, go for it. Personally, I just think Anakin isn't redeemed. He cheat coded his way into being a Ghost and the Ghosts don't make any sense anyway. I think it's definitely intended to represent his redemption IN THE NARRATIVE, like that's the point of the visual, but it just doesn't work for me, so I choose not to see it that way. It's ambiguous enough and the Force Ghost lore confusing enough that it's not that hard.

Your interpretation of Luke and Leia as the two sides of forgiveness is intriguing. I do think Leia could get to the point of forgiveness that basically looks like letting go of her anger because the man's dead anyway so there's no real point staying angry and understanding the history that may have led him to become the monster she knew, but that doesn't mean she has to LIKE him or ever consider him a father.

I think you could kind-of throw Ahsoka and Obi-Wan in there as different reactions to Anakin, too. With Ahsoka as someone who sort-of clings to who Anakin used to be and can't truly reconcile the two versions of him that she knew, and Obi-Wan as someone who rises above. Unlike Leia, he did know and love Anakin, but he is also able to let go of his anger and betrayal and accept Anakin for what he is now rather than pining for someone who no longer exists. And Ahsoka is the opposite of Luke as someone who also knew Anakin and loved him, but struggles a lot MORE with the revelation of who he was and his impact on her life. Everyone approaches Anakin and his relationship to them and his choices in a different way.

I wish the Ahsoka show wanted to explore any of that at all lol.

#star wars #ahsoka tano #ahsoka show #ahsoka series #sw ahsoka #star wars ahsoka #ahsoka 2023 #ahsoka spoilers #anti anakin #anti anakin skywalker #anakin critical #anakin skywalker critical

[butchniqabi]

What are your favourite aspects of sci fi? Themes, tropes, specific stories, anything that comes to mind

i love so much about scifi,,,the unique and creative ways people talk about present day problems and institutions, the way people envision futures. i love dystopias i love utopias i love it saur much! as for specific stories, i (unfortunately) really like harlan ellison and ray bradbury (fun fact, my grandma's friend used to drive him around because he hated it himself) also octavia butler despite our adversarial relationship and ursula k le guin, i hate hg wells, philip k dick (previously mentioned friend was his girlfriend for a time), and adolus huxley. i think i spelled his name wrong but i dont care to check the proper spelling. i love holistic critiques, i love when critiques take into account intersectionality and how things like race, gender, ability, and class all interact with one another. less "this white man experiences subjugation despite all odds, isnt that crazy?" those narratives are usually written by white men and i really do not give a fuck anymore. i think a lot of Iconic Sci Fi is just...uninspired and/or ruined by its own limited perspective. sci fi i love involves involved world building that doesnt feel the need to overexplain and kind of throws you into the experience.

some random sci fi media i enjoy: altered carbon, another life, the southern reach trilogy (stan annihilation!), event horizon, the left hand of darkness, vaster than empires and more slow, the ones who walk away from omelas (basically a lot of ursula k le guin...), the veldt, the episode "far beyond the stars" from deep space nine, the hitchhiker's guide to the galaxy, the spacesuit, moon, -all you zombies-, no one will save you, the girl with all the gifts, special dreams in which you exist, the thing, kindred, and how long til black future month

did you know while i was refreshing my memory and looking up sci fi books, google labeled th white's the once and future king as sci fi? thats so real.

#asks #snuck special dreams in there bc im my favorite author *flips hijab* #lol asdfghjk

[konboyblues]

my favorite thing about about the 90's young justice solos is that they catered towards three distinct audiences, and yet after all these years, the one that would have been LEAST likely to be projected into nowadays is now the MOST woobified out of the three.

tim: a story for white kids, by a white guy who hates poor people, and didn't really take itself OUT of that white-male-projective-state even after all these years. bonus note, now the gays can project into tim cuz timbo's finally out the closet, and chuck dixon wants to kill himself over it, but it's ok bc we like tim even tho we don't like chuck.

bart: a story initially about a time-displaced refugee whose narrative heavily mirrored a refugee's forced assimilation into a new culture WHILE also appealing to the adhd/autism crowd, which the writer was absolutely OK with because bart's story can be accepted by BOTH the refugee narrative enjoyers and the adhd/autism crowds without impinging on his narrative poignancy, plus mark waid actually loved bart and he loves that WE love bart. inshallah he will write his boy again.

kon: a story about teenagers who are being neglected, and so he's acting out every which way and partying it up because he was meant to appeal to the 90's teenage rage and show how easy it is for kids to get caught up with predators like knockout and tana because of the lack of structure and discipline in their lives, but when geoff decided to ignore nearly ten years of creator-run canon, we had to deal with his timkonnie dreams, and now geoff's leaving, so now we gotta deal with the yja nonsense and some lady's self-insert dreams going into a character whose writer is not only still alive, but actively on the bi!kon train but from the 90's crackhead era perspective. and HE'S the one most woobified.

it's absolutely facinating cuz you'd think kon would be the most hated out of the three bc of his issues with consent and the unhealthy ways he frames relationships, but instead it's BART who people hate the most! bart's being infantalized and discounted and used at a third-man-ship-prop, while tim's being rewarded for being an emotionally strugglesome white man who just came out of the closet, and it's not nearly as bad as how bart's getting his ass beat in the fandumb, but poor tim can't even date his high school homie in peace without someone crying about how he 'deserved' kon instead.

to think that the character with that many issues would be the MOST woobified character in the yj cast is insane, bc what are you even woobifying? his depersonalization? his lack of boundaries with women? his inability to read a room? the fact that nobody loves nor cares about him enough to protect him from the horrors of the world? the fact that he was a stellar example of a CSA survivor who didn't even KNOW he was a victim of CSA, and thus wasn't really able to understand the ramifications of his inappropriate behavior until years later when he forced himself into a masculine fold so he didn't fall into the trap of being like 'the old him' again?

kon's story was a story of self-hatred come to life in the most fantastical ways. he thinks it's ok to publicly date a grown woman other people are judging for dating a dumbass minor. he didn't know what a mother's love was, and had to witness it first hand with nanaue's mother. he thinks an emotionally unavailable and distant clone handler is his dad bc he doesn't KNOW anyone else who can fit into that mold. he thinks roxy's his sister but still has no problem sexualizing her in his head bc he thinks it's ok to find your older sister hot.

kon was the DEFINITION of the kids are not alright, nope, not at all, hell to the fuck no. geoff was the single biggest driver in stripping all the nuance from his character post-graduation day, but he not even here no more... what's the excuse in continuing to strip away at what makes kon, kon? i know dc's afraid to admit lois and clark looked the other way when a teenaged clone was dating an adult woman, but you woulda thought he woulda been a turnoff to the fandumb as well. he aint tho, so he suffers for it accordingly.

i can only hope karl kesel lands another contract after these new movies flop, so we can finally get a REAL follow-up to the 1994 solo. you could never make me hate that man's insane writing. justice for 1994 kon. if dc still had good writers, we coulda had a multi-year healing arc exposing how horrifying superheroing really is for people, and why clones deserve something to the equivalent of human rights. instead, he's doin fuckall and kissin m'gann. no shade to m'gann, she absolutely deserves more than the current caricature.

#kon el #young justice #bart allen #tim drake #dc critical #real talk #dc comics

[utilitycaster]

Sort of related to the post about people coming in for shipping but something that’s struck me, as actual play fandom has spread, is that there is a certain lack of genre awareness currently - not just surrounding Critical Role, to be honest; it’s a frustration for me for the conversation surrounding Dimension 20 and Worlds Beyond Number for a while as well.

Take fate, for example. The idea of fate, whether it’s as specific as an ancient prophecy, or as broad as the general concept of destiny, is absolutely at the core of so many classic fantasy series that to be vehemently opposed to it within Critical Role is to display profound ignorance of the genre of fantasy. It’s akin to showing up to a sporting event and getting mad that people are running around in athletic gear; it’s like going to an Italian restaurant in the US and screaming in the face of the waiter when they give you bread and olive oil. There is not, per se, a required reading list. You do not need to read nor watch all of Lord of the Rings let alone consider it a formative work; Sam Riegel and Aabria Iyengar sure haven’t. But if you are not familiar with the genre at all, at the very least you do need to come with a certain awareness that you are not familiar with the genre and be open to its conventions. And to be clear: it’s valid to hate the theme of things being fated. But again, that’s like hating they serve bread and olive oil at the Italian restaurant; you should probably simply not go to Italian restaurants.

Another example that is my personal source of irritation is the obsession with radiation as a factor in Burrow’s End. Setting aside my original irritation at just good old-fashioned lack of reading comprehension with the conflation of the poison and the Blue/the Light, the idea that the intelligence was induced by radiation is really…not genre aware. Like, I recognize I’m coming at this with rather more knowledge than average (from a scientific rather than genre-aware perspective no less) but to get back to genre, I take no issue with, say, radiation in comic books. I know the premise of Spider-Man or of Doctor Manhattan’s origins is absolutely ridiculous; but that’s the genre. Radiation in comic books exists to be an easy origin story so we can get to the point of “here’s a guy with powers”. However, in a show that derives its narrative language from Watership Down and Mrs. Frisby and the Rats of Nimh, the idea that the magic and the lightning and the source of intelligence are radiation makes little sense. Another example is the weird response to Skip in Starstruck; the idea of an alien brain parasite like that is so genre-typical to space opera it feels like, again, someone going to an Italian restaurant, pointing at the bread, and saying “WHAT THE FUCK IS THAT? HOW DARE YOU!”

I think my particular frustration with both of the above (and when I talk about Worlds Beyond Number) is that those people ignorant of genre and not letting it wash over them a la Sam will often fall back to the real world (although, unfortunately, not when it comes to radiation) when trying to make sense of the narrative without the signposts, language, and tropes of the genres to which they belong. To understand the subversions or deconstructions that are likely to occur in, for example, the upcoming exploration of the Citadel in Worlds Beyond Number, you need to be open to the idea that it is a complicated place and not simply The Evil Empire That Suvi Will Definitely Leave; if you’re utterly suspicious of everyone and refuse to try to understand why this is a place people enjoy let alone will die for, you can’t actually experience the story. We are going into the Citadel arc; these wizards will be humanized, and if you have closed off your mind to them already you have set yourself up to be miserable. I do think it’s great that actual play has found an increasingly large audience, but the medium of actual play also carries a certain lexicon and ignorance of it will skew one’s interpretations. My personal bugbear here is of course interpreting bog-standard tanking strategies as either romantic or self-sacrificial in intent, but in general, any resistance to the mere concept of gaining power, the existence of concrete deities, combat, and the placement of plot above romance in D&D are all signs of this ignorance. And again: ignorance is fine! But with all of the above there also often comes this entitlement to a story that is familiar, in blatant disregard for those parameters of genre and medium, and I have to wonder, again, why people mad that a fantasy story is leaning heavily on fantasy story norms, or why D&D has combat, are still showing up to the fantasy D&D story. To return to the Italian restaurant, which is getting a lot of terrible patrons in this metaphor, it feels like a lot of people are showing up to this restaurant because they heard it was good, but then becoming furious it won’t serve them peanut butter and jelly. People who are not familiar should still be welcome, but that lack of familiarity needs to be accompanied by an openness and desire to learn, rather than the entitlement that is so often present.

#cr tag #wbn tag #d20 tag #on fandom

[immediatebreakfast]

If there is one thing that I absolutely love about the suitors (for now Arthur and Jack) is how their love for Lucy always comes first before any of their feelings. There is no established rivalry where they engage in all of these weird macho-like conversations of "you'll never be a good MAN for her >:)" or ill intentions behind their beloved words for eachother.

Never forget that Arthur, Quincey, and Jack are friends that fell in love with the same young woman. Their friendship (and love) for eachother might have been in danger of breaking because of feelings of envy, but it never happened.

Now, I'm not saying that an interpretation of the text that says how all of the suitors are engaged in this "sexual rivalry" for Lucy can't be possible. It's that I think it's not properly developed to explain the actual relationship between Arthur, Quincey, and Jack, and what does it mean when Lucy is in the picture as a single young woman, then as Arthur's fiance.

It's a non required "rivalry" that is mostly based on the feelings of the characters, and not their actions. Moreover, said feelings are never weaponized to create any drama between the suitors. Because this novel has more defined priorities in their narrative like Lucy's mysterious illness or Mina's travel to find Jonathan than take time off these events to give time to a stereotypical macho gentleman fight between the suitors.

Why would I, the reader, care about a supposed masculine powered Arthur + Jack + Quincey rivalry when Lucy is in danger of dying before my very eyes?

Of course Jack feels sad after such rejection when he was in a depressive spiral, of course Quincey could sound a little bitter because Arthur got chosen but not him, and of course Arthur could show a semblance of jelaousy over asking for help from an established romantic rival. However, the Main question would be:

How any of this could ever help Lucy? You know the young lady blessed with their affections who is slowly withering away without any explanation (that they don't know) what so ever? Hell I could go a little bit further and ask, if this supposed rivalry was actually textually real what is the point of it?

Like really, in this gothic horror novel one of our main female characters is suffering so greatly from (in hers, and others' perspective) a slowly choking, and weakening disease that has taken over her without explanation (chronic illness reading right here). Do we actually need to add to Lucy's plate a possible situation where she has to balance a fucking suitors rivalry?

"It will be a painful task for you, I know, old friend, but it is for her sake, and I must not hesitate to ask, or you to act."

Arthur even says that whatever complicated feelings that Jack has over the situation must be put aside to help Lucy. Arthur acknowledges how his help is not enough at this point, and that both him and Jack should focus on what is happening to Lucy the person, and not Lucy the mask of the perfect possible bride.

#Lucy is the priority here #That means coming together to protect HER because of their love #There is no need to dance around the issue because all of the suitors love her #This read is a little iffy in the sense that it could go somewhere but it doesn't #dracula daily #dracula #arthur holmwood #jack seward #lucy westenra