Renée Minkowski is extremely into the abstract concept of Crew Bonding in such a way that it impairs her ability to actually bond with the particular crew that she has.
She wants them to have Christmas dinner together and give each other Christmas gifts, but she's not made an effort to learn Eiffel's feelings about December 25th and to think about what he might like to do that day.
She wants them to each say what they are thankful for at Thanksgiving, but when she says she's "thankful to have such a great crew on this mission", it sounds extremely unconvincing, as if she's just saying what she thinks a Commander ought to say at a Thanksgiving dinner on a space station, rather than expressing any genuine sentiments or revealing anything personal about herself.
She wants them all to participate in the talent show "to boost morale... bond as a crew, and... have a great time doing it", but Hilbert and Eiffel's reactions make it clear that talent shows do the opposite of improving crew morale for them.
Christmas celebrations and thanksgiving dinners and talent shows are all things that could potentially have a positive impact on morale and bonding for some hypothetical space crews, but in the way Minkowski approaches them, none of these things are particularly helpful for the morale and bonding of the people who are actually in her crew. Minkowski puts real effort into group bonding activities for her crew, but they are always based on general ideas about crew bonding, rather than on thinking about the individuals around her and what she can do to connect with those people in particular.
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You cannot tell me that Simon 'twisted samurai' Blackquill, LA's resident vaguely british man and total weeb with a special interest in swords, would not recognize Karuma on sight. I just imagine that Phoenix has it displayed in his office because of its historical and specifically lawyer-related significance and Blackquill comes in because he lost the rock-paper-scissors match against the other prosecutors to run their errands for the day and he sees that katana and has an autism moment.
There's also the lore behind the von Karma name that makes the idea that Phoenix ends up with the Asogi clan's heirloom very funny to me.
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An aspect of Hilda the series that I feel isn’t talked about enough is the colonizer’s guilt and how it affects the main character.
What made me write this was watching the third episode of the new season, but honestly, it’s something we see throughout the whole series. Starting out with the elves in the northern counties, and moving on to trolls and now giants. Every season that came out gave us a chance to see Hilda deal with the feelings that arise from living in a society she knows is built on the occupation of another people’s native land and the oppression of those inhabitants.
She knows it’s not her fault, she knows she’s not the colonizer, but she’s well aware that she’s in the privileged side of her society. Seeing her grapple with the fact that her very existence in these spaces is only possible because someone else is getting the short end of the stick, to me at least, makes her that much more interesting of a character.
Because it’s not a matter of fixing what she’s done, but the privilege is still there and not even well hidden when she sees the day to day life of the people whose land has been occupied by humans/trolbergians. So whenever we see her rush to aid them, her borderline desperation to fix what’s been broken, it’s even more captivating because it’s not just the usual “I love helping people and having adventures” gist, there’s always this undertone of guilt for something she hasn’t personally done but still knows has to be held accountable for.
Hilda knows the type of oppression that people like her get away with. And she wants no part in it.
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"I will keep going forward, no matter how hopeless it might seem."
(please do not repost my art and just leave a link to it if you'd like to share instead, thank you!)
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i feel like. theres designing a character with certain themes and motifs in mind, and then theres making a gijinka for the water bottle on my nightstand
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really fucking sick and tired of people who really fucking love the eddie book jumping on people who don't like or are even remotely critical of it's posts and like crusading their opinions around from the top of their high horses and shoving it down our throats.
if you like the book, great! that's awesome! love that for you! i am genuinely glad that you were able to find good in it and enjoy it!!
but not everyone did, and not everyone is going to agree with you. so, instead of going on some grand crusade where you find every single post that includes anything even remotely negative or negative adjacent or even neutrally critical and spending ALL this time and effort trying to provide unwanted rebuttals to every single thing, maybe you should just stay in your lane and find people who DO like the book and chat about it with them.
because i can PROMISE YOU, none of us appreciate it when you come onto our posts and start accusing us of "hating on" the author or "being rude" about her and her work and RIDICULOUS shit like that.
being critical of something and pointing out it's flaws is NOT inherently hating on it. i, frankly, do not know where people got that notion, but it's not fucking true so can we fucking quit assuming it is? and, critiquing something is also NOT the same as saying this is shit and it sucks and the author is a piece of garbage. again, where the fuck that came from is beyond me. you can be critical of something and still enjoy it. as soooo many of you love to point out, it's not perfect, why should it be perfect? so D U H. of course that means criticism can and should arise???
also. hot take (by which i mean ice fucking cold because it's NOT a fucking hot take), but going around toting FALSE facts as part of your "defense" does not make you or your argument look good. you, like the author, should maybe do a basic fact check first. 🙃
tldr, if you like the book, that's genuinely great, but stay in your fucking lane and stop seeking out posts from people who didn't like it to start shit in the notes.
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inspired by a post from @thatwavephenomenon that has Not left my brain about link not getting saved by Rauru and instead falling to the depths. Comentary version under the cut
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thinking again about how underexplored hera & minkowski are as a dynamic, considering how close their relationship is, and i think there is some synergy between minkowski's "i can't think of a decision in my life that wasn't already determined by someone else. but, even then, there was always a choice, and i always made it." and similar sentiments expressed by hera. and this exchange with eiffel in ep 48: "no. this isn't even a choice for me." / "yes, it is. it's a sucky ass choice, but it is a choice." while hera & minkowski were the two people who initially argued to stay...
it's true that all of the main wolf 359 characters have an element of regaining control / autonomy present in their arcs (lovelace's conflict with the dear listeners + choosing to be isabel lovelace, and eiffel's need to take responsibility for himself as a full person and an autonomous actor in order to move forwards), but i think there's something about how hera & minkowski share this fear of losing control. that they must perform perfectly, be better and do more than everyone around them in order to earn the same amount of respect as anyone else, without knowing why they feel so... deficient.
i think a lot of their early conflict stems from this shared insecurity clashing against opposite priorities and relationships to authority - minkowski believes that the way to prove herself as a person is to attach her worth to her job and excel at it, while hera's worth as a person has been tied to her job by external forces and she struggles to be seen as more than that. it's an important job to minkowski, and an important role, but she doesn't initially realize that she's not just arguing with hera as an unruly subordinate, but as a person for whom that is the unwilling totality of her existence. like in let's kill hilbert, where hera says "try to sound a little less patronizing" and she replies "i'm not being patronizing, i'm being critical" - i think that's the primary disconnect in their perspectives.
over time, as minkowski learns to separate herself (and her self worth) more and more from that idealized role of commander, i think those shared insecurities become a point of connection more than discordance. minkowski is sort of a defender by nature, and devoted to the people she cares about, but i think there is still a personal element in some of the ways she most ardently advocates for hera - in the way she demands hera be respected for her efforts, and, notably... minkowski has a lot of personal baggage around being made fun of for how she speaks. i think it's worth considering that in the context of lovelace mocking hera's stutter, and minkowski later turning "count to ten" back on her.
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When I find it hard to do certain things, I like to pretend I am a neanderthal living in a cave with my clan, and I must do The Thing in order to survive.
So, when I'm doing cardio at the gym, I'm actually chasing and tracking a mammoth, and when I need to cook, well, I'm not cooking on a stove top, I am hurdled over the first fire and watching the fat of our kill drip down onto the burning wood. And when I find it hard to crochet, I pretend that the first winter storm is coming and our clan needs me to make blankets to hurdle under and that I must contribute.
I hope whatever you do to do The Things will help. It is a uniquely personable trait to motivate yourself through pretend and stories. That's what makes this life interesting - that's what makes you feel larger than yourself 💛
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what if purple never calls him dad
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worth adding that bechdel is like a transmisogyny centrist at best (defending/praising michfest's "anti male socialization" policy of attendance) tho just saying
I'm gonna disagree. Bechdel has also stopped attending certain lesbian marches within the past decade or so because shit was getting too TERF-y and has gone out of her way to talk about how trans women belong in the lesbian community overall.
There is, imo, a bit of a fixation on holding Bechdel to some of the psychological ideas she's thrown out in the past—for example, I still see her get critiqued for bringing up penis envy and Freudian thought in Fun Home even though that book is old as shit—considering that she has always been very open about the fact that her relationship with lgbt philosophy and the community is, as it should be, an ever-changing and evolving thing.
She is very vocal that trans women belong in the lesbian community, belong in women's bathrooms, and that she will not accept TERF behavior at supposedly lesbian events. I know that seems like it should be a baseline expectation, but let's be real, in our current day that is not a "transmisogyny centrist."
I think people are very uncharitable to the fact that Bechdel is very much willing to be a messy, complicated person so publicly. She actively talks about how in the current day she may have become a trans man rather than identifying as a butch lesbian, and she's unwilling to really say whether she believes that's good or bad, just that it's the case, and people will go off on large tangents about whether it's saying that trans acceptance is bad or putting butch lesbians at risk. Like I said, she tends to really ride along with pop psychology when it first drops, only to later think it through and usually come out the other side with a more nuanced view. It's not that she's a centrist imo, but rather that she chooses to be very open and frank about her ongoing and changing opinions, and sometimes the things she initially goes along with are bad. I think that's actually very important, because we are basically seeing a real person who is prominent in our community navigate the community in real-time, and she doesn't spruce herself up or omit things in order to seem more progressive. She's wrong a lot, but she also tends to come around. I think to be able to see that is to be able to make space for growth in people who may be misguided, which is what we actually need in a community that is expected to stay together in solidarity and grow.
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Its so funny that Makoto gets such an awful rep (usually bc of her treatment of Futaba), but going through the game again, Makoto is the one who leads the conversation into getting her to open up for the palace door. She immediately offers up the idea of just being honest with Futaba; no lies or soft words, just straight facts in a calm voice. She knew Futaba wanted the change of heart, badly enough that shed listen without having to be convinced by force. And when Futaba panics about having to open up, Makoto makes sure she has no chance of backing out (‘give me time to open the door’ ‘ten seconds’ ‘WHAT???!’). Its for her own good!!
I think it can come across as mean and overbearing and even insensitive, especially if you are someone who is sees themself IN Futaba, but Makoto is both incredibly caring, sisterly, and understanding during the entirety of her arc. Like most characters, fandom seems to completely warp and exaggerate very specific moments and traits and sum up entire personalities bc of it. Ryuji and him being stupid; Ann and her being loud and mean; Yusuke being dumb as shit and singleminded for NO discernible reason, etc etc. People took the snooping and her one vaguely insensitive comment (about futaba and her whole Thing) and decided that she was a cunt and a bitch that couldnt be reasoned with.
Its so bizarre. Im aware that every piece of media w vaguely assertive girls has this issue (Sakura, Katara, Aqua, etc etc) but its still crazy that this is prevalent. Shes like the direct mirror of Goro and he does not get this specific kind of hate (usually its ‘he backstabbed and blackmailed us so i hate him’). Sorry. I need to be a Makoto Apologist to protect her from the rest of the world. My girl did nothing wrong shes just weird. She thought she could fight a mafia boss and she was RIGHT! She WON!!!!
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also slowly turning around in my brain how rose said she was going to stay with the doctor forever, and then later donna says the same thing (to martha!! the doctor doesnt even hear or know!!! it would make him so happy but hurt him so much if he did!!!!!!), and then when she tells the doctor shes going home in sontaran stratagem he immediately assumes it means shes leaving him for good and accepts it but also launches into all the things he still wanted to show her.
and i know its played for a joke like haha silly martian thats not what i meant! but this is the same man who, when he needed to turn human, loved someone SO DEEP AND HARD that he didnt think he'd ever fall in love again. ever. even with his memory erased. so when you take that moment of "oh you're just popping home for a visit" and like ACTUALLY look at it you're like. this man gets so so so attached to people, and is so incredibly scarred by losing these people he loves that he has no choice but to let them go when they want to leave on good terms, because he knows how bad it could get for them if they stay, no matter how much he wants them to stay.
anyway donna's forever and rose's forever are just different flavors of the same "i need you as much as you need me, so im in it for the long haul, bad stuff included" and its chefs kiss
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which ocs in the fandom do you find the most interesting? also, which ocs do you think have the most aesthetically pleasing designs? finally, which ocs have you only heard of but would like to know more about?
ohhhhhhhhhhhhhhhhhhhhhh nooooooo ha haaa noooo i can't possibly answer this because it would be soooo unfair to have favourites wouldn't it's comet knight by @kittenvirus
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the problem with dixon tim-steph is that it's written by dixon but it's also really the only time that tim-steph is actually kind of interesting (to me)
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*hands sparrows the super shotgun from doom 2*
Enjoy
mmmmmm practical pesticide.... the farmer brain activated
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