#I think it's more that he's so fucking old all his morality has complexity and layers that looks evil to children but is really just realis
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Ra's definitely one of those father-in-laws devastated to realize that Bruce's breakup with his daughter also meant no more sports nights or fishing weekends for them.
#Shitposting#I'm taking a break from the Ra's is evil agenda#I think it's more that he's so fucking old all his morality has complexity and layers that looks evil to children but is really just realis#Experience and the ability to forsee human wrongs and the future#Ra's al ghul#talia al ghul#brutalia#batman#dc comics#bruce wayne#batposting
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Seeing people saying that Satoru doesn't actually care about Suguru and that the only reason Kenjaku caught him was bc he was surprised to see a person he killed alive is fucking wild, man
Like. Gojo's entire life revolves around Geto. The entire series happens because he loved Suguru too much to kill him, even though he knew he would have to do it eventually. The world literally went to shit because he wasn't over him
Geto Suguru's life would be completely unimportant to the story without Gojo Satoru, and Gojo Satoru's would be completely unimportant without Geto Suguru. They complement each other. They need each other
Two male betta fishes can't coexist. They will fight and one will die. They can't see each other — even if they're in different tanks, they won't be able to live. They'd eventually tire each other out, resulting in death. The only way for Satoru and Suguru's lives to be able to continue without the other would've been for them to never have met at all. And they can't be together. Not now, not ever again. Not while they're still alive. Not after everything that's happened
The entire story revolves around their relationship. Yuuji is a boy who ate a curse('s finger[s]), and Megumi is the prodigy who befriends him. Satoru is a prodigy, the strongest, and Suguru, the boy whose technique is eating curses, befriends him. The Jujutsu Kaisen story is all about parallels and they all connect to fucking Satosugu. It's all about them
The only reason Kenjaku's plan worked is because the body he used didn't belong to some random person Gojo killed, it worked because the body he used was Geto Suguru's, Gojo's one and only, his best friend. He must be thinking “Thank god they're gay” right now lmao
Gojo fucking hesitated. He hesitated multiple times when it came to Geto. He was supposed to kill him, yet he let him go. He has the Six Eyes, he could've easily tracked him down. He probably could tell if he was nearby (he can recognize Suguru from his scent) and just didn't go looking for him. And he could've so very easily escaped the trap that was set up for him, he was going to run away from it because we see him about to take that step but then Suguru's body shows up and says “Yo, Satoru!” with Suguru's voice and Satoru freezes and hesitates
They weren't able to let go of each other even after years of being separated (like a decade). When they meet, Suguru still greets Satoru warmly
Suguru is pretty much Satoru's moral code. He was the only person Satoru took at least mildly seriously pre-Toji (and we know Satoru just didn't do serious back then). He actually took his words to heart. He was kind, of course (especially from Suguru's PoV, since he's the person that knows him most), and not a bad person, but he wasn't nice. Suguru was always the ‘nice(r) one’, the one who actually had a moral code, while Satoru was more of an asshole to literally everyone and everything (some more, some less), thinking he and Suguru were above everyone else
When Suguru finally snaps (which, honestly. Fair) and goes genocidal (not so fair), Satoru slowly starts to be somewhat nicer and starts applying Suguru's old moral code to his own being — their roles weren't exactly reversed, but now they're not together anymore, so they might as well be. And Suguru was shown for having faith in the school and its system while it was Satoru the one who absolutely abhorred the higher-ups and all kinds of authority, but then it ended up with Suguru being the one to leave and become a cult leader with the blood of hundreds on his hands while Satoru was the one that stayed behind in the same place of the people he despises so much
(Imagine someone saying something like “Sometimes I doubt you even have a moral code” and Gojo answers with “Oh, my best friend my one and only is pretty much my moral code. He went homicidal a while back but it's okay haha” “...Actually, that explains a few things”)
Gojo doesn't have a god complex, but I wouldn't blame him if he did. I mean, he might as well be the closest thing to god human beings have ever seen. He used to put himself above everyone else, when he was a teenager. He thought that, the higher he was, the more he could do. And no one was better than him. But not Suguru. Back then, it wasn't “I'm the strongest” it was “We're the strongest and “We're the best” and “We're the ones that will beat you” and “We're the duo” and it was all about “us, us, us, us, us” instead of “me, me, me, me” like people thought it was — they were a pair. They still are
We know people thought and still think of Gojo as a weapon. As something that must be controlled, because on the moment he decides he doesn't want to be around them anymore, he could just straight up kill then without any effort (but getting rid of people in positions of power only gets other people in positions of power and it'll be a neverending story, and Gojo knows this so he's trying to do his best to fix it all through the younger generation, by letting them live). And we also know that Suguru is one of the very few people who did not believe that at all
Like their personalities and characters and stories and literally everything, their names complement each other. Gojo Satoru and Geto Suguru are such similar names, I get them mixed up all the time (the amount of times I've called them “Gojo Suguru” and “Geto Satoru” is embarassing. Also, “Saturu”. “Goto”. “Gejo”. Ugh). Both of their last names start with a G, end with an O and have 4 letters. Both of their given names start with an S, end with an U and have 6 letters. They complement each other. They need each other
The only times we've seen Gojo with an expression of actual pure, raw emotion is when it's about Geto. When he finds out about what Geto did, when he realizes how thin and wrong Geto looks, when he sees him again for what we assume to be the first time in years, when he dies, when a thing wearing his corpse and using his voice greets him (“Yo, Satoru!” oh my god)
Suguru was able to fight back when in Kenjaku's control after Satoru said his name. Kenjaku himself says that had never happened before
And you don't even have to see them as romantic. You don't have to ship them if you don't want to. But you can't deny that they care about each other more than they will ever care about anyone else
#hey is it whose or who's#how do those words work???? english is so confusing sometimes smh#jujutsu kaisen#satosugu#they love each other your honor#jjk#jjk manga spoilers#kenjaku#satoru gojo#gojo satoru#geto suguru#suguru geto#gay#this is kinda long haha#but they deserve the longest of paragraphs#edit: i changed this a little bc my dumbass self said gojo had a god complex#i didn't actually know what a god complex is. mb#edit: i'm proud to say this is pretty much my best post
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Some thoughts on Itachi
So, I've seen a lot of comments circulating about my tags on this post, and I'm intrigued at the interest. I didn't expect it, as I see much more pigeonholing of Itachi's character than honest to god analysis. No hate- I'm no stranger to Kishimoto's writing. Some of his characters were unfortunately butchered or never given the chance to be developed properly, and Itachi is most certainly no exception. That said, I like to grant him a bit more nuance than I see on most blogs. I think people get a little wrapped up in the supposed "moral implications" of exploring how Itachi was also a victim of the system, as well as someone who victimized many people. But it's silly to equate character analysis and context consideration with condoning genocide.
I have a good laugh every once and a while at the metaphorical gymnastics people do in order to stay in the good graces of a bunch of internet trolls who are just Waiting for any opportunity to tell you you love murder and think it's delicious just because you made a post exploring a character's background. Media is grey; it's layered and wonderfully complex. There are many wrongs and rights in every story, and many wrongs and rights within those wrongs and rights. That's what I love about Naruto. Often times it's really too much like real life. Instead of people being black and white, right or wrong, bad or good- they're usually in a tough situation, trying their best and falling short, don't have all of the information, acting with good intentions or acting on what they believe will bring about a lesser evil, and then end up hurting others.
But it is much easier to assign blame and move on. A so-called bad person will always be the perfect scapegoat for issues bigger than them. In Itachi's case, the fascist government in the Leaf. It's easier to say Itachi could have just refused and decided not to be involved, than to recognize that like almost every other character in the narrative, he was under extreme duress, living in a military state. He was a child whose existence, along with all the other children and adults in the Leaf, was only valuable as long as he could serve as a tool for the war machine in the shinobi world's fucked up political system. And saying this is not the same as saying he was not capable of better decisions or that everything that he did thereafter or in general should not be read critically or subject to hypothetical consequences. It is the same as a saying his actions cannot be fully understood without complete context, and the themes of Naruto will never come through if every villain is just "evil" with no further nuance. And it would be boring too LOL
That said, I love to think about Itachi's situation back then. The ages in Naruto are a bit muddled, a little inconsistent, subject to change and interpretation, but Itachi was a child when he murdered everyone in the Uchiha compound. Most sources say he was 13. It should go without saying that someone so young isn't capable of the same decision-making or critical thinking as say, a 30-year-old, someone whose brain is finished developing and has much more experience on Earth.
Itachi's experience at this point in his life is informed by his age, and it's obviously informed by his childhood, as he has no other place from which to draw conclusions. Itachi grew up in a warring state. He saw people die and was subject to extreme violence in his formative years. To make matters worse, he was taught that war was inevitable and the only thing he could do to guard against it was kill others before they got the chance to kill him (threaten the village). Thusly, Itachi internalized at a very young age that what was in his power was to minimize damage (to himself, to his village, and to the world). What was not in his power was to stop this violence entirely (by adopting a critical mindset and going against fascist powers).
A part of this I think people often forget is that Itachi has absolutely nowhere to adopt this mindset FROM, as even though his father and the other members of the Uchiha clan seek equity in the Leaf, if they were to overthrow the Hokage and create a new system, it would still presumably center around the same ideals (minus, of course, the oppression of the Uchiha as a group). Fugaku is the head of the Uchiha clan at this time. As someone who imposed near impossible performance-related expectations on both of his sons, and withheld love and affection whenever they came up short (so often that it was at the cost of having any considerable emotional bond with either of them), there is absolutely no good reason to believe that Fugaku would reform the Leaf using a non-fascist ideology. And if he did, there is no good reason to believe that he would be some kind of visionary LMAO
This is important to remember because when it comes down to Itachi's decision to either kill everyone in the Uchiha compound and his family, or be part of the coup that would overthrow the Leaf, some people treat it as though it's a choice between fascism and non-fascism, which it most certainly is not. And if it was, Itachi, as a child who had grown up immersed in this ideology, would not be able to appreciate the difference. This context allows us to understand further what Itachi was really weighing in that moment. Accounting for his young age and limited worldview, the only valuable difference in this moment to Itachi was the amount of bloodshed that he would "allow" to happen. Essentially, he sees the options as follows:
Either give in to Danzo and kill everyone in the Uchiha compound, or facilitate a coup where the current government is (hopefully) overthrown and risk starting another war.
Here, Itachi pauses. He has known war. He knows how it affects children, adults, families, and whole nations. The peace he's living in currently is bought with blood, but it's the only peace he's ever known. The alternative is horrifying. And a war in this context, Itachi likely thinks, would be his fault, as he has now been put in the position to "prevent" it. Danzo and the whole shinobi system have groomed him into thinking so. Itachi, at age 13, cannot understand that there would be no war; it exists only as leverage for Danzo's argument at this point. His sensitivities are being played on.
Fugaku, though he is not the same as Danzo, offers about as much help as he does (that being none). Fugaku has no interest in avoiding war; if a war breaks out, it's justified because it will still mean his clan will no longer be living in oppression. This idea is valid, as fascist systems and discrimination can only cease to exist when we rise up against them; unfortunately, this most often calls for righteous violence, as the oppressive powers will not be moved with peaceful shows (not to mention they are willing to go to extreme lengths to avoid losing their hold on the people they have crushing power over, i.e. the Uchiha massacre). But Fugaku has no words to explain this to Itachi, who fears the worst and further fears being responsible for the worst. All he does is act as if it's a moral failing that his 13-year-old son is unwilling to stage a coup, which he believes could mark the abrupt end of a peace that's only just begun.
That said, let it be known that Itachi does appreciate this situation with SOME nuance, though it isn't of the kind that might have enabled him to see he was being manipulated. He at the very least understands that Danzo is a warmonger and oppresses those he fears (the Uchiha). He understands that the rights of his clan have been sorely disrespected, and that the issue needs correction. He understands the anger of his friends and family. This is why it takes him much deliberation before he can even come close to making a decision. He plays both sides right up until the end, listening to Danzo, as well as Fugaku and Shisui, paying attention to the current atmosphere in the Leaf as he tries to decide.
It is something he doesn't want to do. Here's where I get to the part I put in the tags of my drawing.
In this situation, it's almost worthless to write an analysis about Itachi's feelings at this time, his understanding of what was actually going on, his loyalty to his clan or his loyalty to the Leaf, because really, he could not grasp it. He was never prepared for this. He never knew he would be asked to make a decision he could only understand as "your family or the world?"
Itachi was put in a position that had no happy ending. There was no decision he could make that would not hurt. That could not result in a cataclysm that split him right down the middle. There was no version of this story that a 13-year-old could carry out thinking "I have done the right thing."
And that's the important part. Both sides asked him to make this decision, and so both sides are guilty of placing an immeasurable pressure on a child who should never have been put in such a position. Regardless of ideology, regardless of price, regardless of oppression or loyalty or devotion or any other thing- someone else should have made this decision for Itachi. Someone else should have been responsible. An adult, at the very least. Someone who COULD understand the implications of both options. Someone who COULD go forward and appreciate the evil of fascism and know that a coup was necessary. Itachi was never capable of such a thing. If he made the "wrong" decision, than every child who can't explain to you what a fascist government in a military state looks like and explain what the difference is between a hate crime and resisting a hateful power, is also wrong. Here is the nuance. These are things a 13-year-old in this universe cannot be expected to understand unless they are taught. And Itachi had no teacher. Quite the opposite. There were only forces pressing him from both sides, saying "choose."
Had his father done this for him, had Shisui been in this position, had any other adult Uchiha acting as a spy been put to this task, it would be a much different narrative. But of course, it had to be Itachi, who Danzo knew he could manipulate. It had to be a child, someone skilled enough to do the job, but inexperienced enough, afraid enough, to be willing to sacrifice everything they had to see the mission through. Someone you could whisper "greater good" to and have them hand over their well being on a plate. Someone who didn't understand they had the power and strength to destroy the system threatening them.
On a narrative level, Itachi exists to illustrate this point. How young people are systematically indoctrinated to serve a greater purpose, be it under a specific government, religion, or otherwise. We see it in real life fascism, in real life cults. There's no mistake. It isn't an accident that Itachi's story begins like this.
Which brings me to the rest of his life. The reason I drew the picture in the post referenced at the top. Itachi's character is a bit of a mystery the rest of the anime. Be that because of bad writing or an intentional omission, his motives, thoughts, and opinions are largely left ambiguous. However, there are still a few moments that interest me as far as the implications of his development.
When Itachi first comes back to the Leaf village, he faces Kakashi. On the one hand, this could simply be a narrative tool- the big bad meets the big good. He takes Kakashi out of commission! The first rogue shinobi we see who is able to defeat the pillar of the Leaf, the Copy Ninja, and without even breaking a sweat!
On the other hand, I find the brutality of Itachi's attack very intriguing. Again, it could be the tough guy act, but he's able to keep three jonin busy easily using standard genjutsu (with the help of Kisame). It wouldn't be a stretch to say that using the tsukuyomi is overkill, and at a considerable price, we learn later.
Why then would Itachi, who has been shown to have excellent battle intelligence, who is strategic to a fault, be willing to jeopardize his health among other things just to... scare the Leaf? Make sure Kakashi wouldn't be a nuisance in the future? Sure, the last one would make collecting Naruto less complicated, but they dispatched Kakashi easily enough, and surely Jiraiya, who Naruto was with at the time, would pose a bigger problem than Kakashi.
It doesn't make strategic sense, which makes me wonder if Itachi has a special animosity toward Kakashi. Being his superior in the ANBU before the Uchiha massacre, someone who was willing to conduct surveillance of the Uchiha compound without question, Kakashi could have become a symbol of the indifference of the Leaf for Itachi. He could very well have been a reminder of the inoperable position Itachi was put in when he was still a child, and Kakashi, of course, was an adult. Another adult who did nothing. Noticed nothing. Did not help Itachi.
And while I'm certain that Kakashi would have taken severe issue with the goings on in the Leaf at that time, judging by his reaction when he finds out the truth in Shippuden, Itachi knows him only by what he did then. Facilitated surveillance of the Uchiha compound, was a supportive superior, but nothing greater. A bystander whose compassion, while well meaning, was entirely unhelpful.
I don't think it's far fetched that Itachi fucking crucified Kakashi because he was so angry at what being in the Leaf did to him. At some point, as he got older, he realized how terrible it was. He realized there were people like him. Children who were "born killers". Pawns in the game of the shinobi powers.
After leaving the village, Itachi joins the Akatsuki, who are also seeking peace through war (another story). He is supposed to spy for them, but doesn't follow through in any enthusiastic way (that we're shown). He works alone for quite some time, or else with a group (briefly he was shown with Conan and Kakuzu). He is partners with Orochimaru before he's expelled from the Akatsuki. He is partners with one of the Seven Swordsmen of the Mist. He grows up and meets many people, sees lots of stories unfold. He learns that he isn't in a minority. Many shinobi are just like him.
And then, as an adult, he is partnered with Kisame, who he finds excellent camaraderie with because of their similar backgrounds. We see in this relationship that he understands what happened to him and what he did enough to acknowledge that, while neither of them are monsters, as many people say, they are human. And humans make mistakes. Humans are complicated. Wrong and right and wrong and right. They understand each other, and Itachi understands more clearly what the world puts these children up to. What it forces shinobi to become. That it isn't all his fault, but he still did it. And so he is responsible. He appears to be able to live with that.
But when he returns to the Leaf, those feelings bubble up. He hates the Leaf. He hates that system. He hates what he did. Maybe he even hates being a shinobi, how his excellence was weaponized, how being an Uchiha doomed him and his clan. And for what?
Itachi is played as a character who is only sensible, only logical, only interested in practical things, has nothing to express. But the way he behaves toward Kakashi in that moment bares all his grief and anger. I just like to think about it. We have so few moments where we get to see Itachi genuinely. The fight with Kakashi, the Sasuke/Deidara fight, his thoughtful moments with Kisame. Just makes me wonder what could've been if Itachi's story had gone a little differently.
Anyway, if anyone would like me to expand on any points or has additional thoughts, feel free to hop in my ask box or leave a comment. Thanks for the interest, I love to talk.
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Miraculous and Redemption
You know, I think I understand what my issue is with this show’s stance on redemption. It’s not specifically who gets the redemption, even the hypocrisy of who does or doesn’t get redemption/forgiven is only one part of the issue.
It’s specifically how they treat the characters who don’t get redemption.
I have seen, in media, where terrible characters who’ve done terrible things get a redemption, and the mean characters, who are just mean, don’t change at all. That’s fine! People are complex, some change and some don’t, some have done horrible things and some are just school yard bullies. It’s fine to showcase this, I mean hell, in the Owl House, Boscha was still an asshole in season 2, and this was past the point that characters like Lilith were forgiven (Lilith isn’t really terrible in Season 1, she just has done a lot worse than Boscha)
Miraculous’s massive issue with this, however, is that the narrative/the authors treats those mean characters as worse than those characters who’ve done horrible things.
I mean, what other media has one of the creators say that some high school bully is comparable to Trump when her literal rich, corrupt, politician father is right fucking there?
Usually the media where a terrible person is redeemed and the mean character isn’t doesn’t treat it as a moral issue. It’s not “oh well this person can’t change” or “oh this person is even worse!” It’s usually “they’re mean, and that’s annoying, but oh well”. That media never treats the character like Satan incarnate, or treats their meanness compared to actual villainy as a moral issue. When characters are around them, they aren’t treating that mean character as literal scum compared to the former villain, the narrative doesn’t treat them as more than an annoyance or, for lack of better words, “small fry”. I mean, while Owl House acknowledged that Boscha was still a prick in season 2, they didn’t act like she was worse than Belos.
Miraculous treats Chloe and Lila, some petty, mean teenagers, as the literal devil compared to other characters. Lila is a master manipulator who somehow convinced 3 people she’s their daughter and has a trillion disguises! It doesn’t matter that that twist came out of nowhere, and it makes it a little weird that this teenager has multiple disguises that she uses around the city apparently, one where she looks like a 20 year old, making people theorize she’s an adult because how on earth is she smart enough or resourceful enough to do this. Chloe is a villain comparable to Gabe, even when she was a hero! Her backstory doesn’t justify any of her actions, but for literally everyone else, we are going to justify their actions! If they don’t do that, they’ll just sweep their actions under the rug completely! It doesn’t matter that she’s consistently being manipulated by the fully grown adults around her, she’s terrible don’t think about it! She neglected her father somehow (???????????????????) so it’s fully justified to send her off with her abusive mother! We aren’t even going to acknowledge that Andre literally had a part in raising her and her turning out this way, because somehow he did no wrong!
And what sucks is that it’s succeeding at making those characters appear that way, because some fans are completely genuine when they say that Gabriel is more sympathetic than them. I mean, if you frequent the Reddit (which you absolutely shouldn’t, one way or another it will melt your brain), you’ll consistently see character rankings with Gabriel, Lila, Tomoe, and Chloe in the same category. Somehow the show put the bullies in the same categories as the literal abusive terrorist and his helper in these people’s eyes. You will constantly see these literal teenagers be put on the same category as adults who have done infinitely worse. Even Andre, who is a corrupt politician and terrible role model and literally RAISED CHLOE… is “woobified” by some fans, even going as far to say that Chloe abused him! Nevermind how that would even be possible when she was like, 5-7 when her mom left! I can’t point my fingers at the fans for this though, because the show goes out of its way to place all of its sympathy on the adults, even when they don’t deserve it, EVEN WHEN THE PAST WRITING LITERALLY PAINTS THEIR ACTIONS AS BAD
(It also doesn’t help that the fully grown adult’s actions are all forgiven but god forbid you’re terrible as a teenager, then you’ll get sent off to live with your verbally abusive mother while your basically deadbeat father adopts your half sister literally right after wiping his hands of you)
I will talk about the hypocrisy in redemption at some point, and how bias and forgiveness is handled, but godDAMN, this sucks
#ml salt#ml writing salt#ml writing critical#ml chloe#ml lila#andre salt#gabriel salt#this damn show
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Morally, gray characters are those with complex motivations or goals that aren't simply right or wrong. One of my favorite morally gray characters in fiction is Jason Todd from DC. The second Robin that Batman failed to save, who ended up dying at the hands of the Joker and resurrected by Ra's Al Ghul.
Given a second chance at life, he comes to a revelation that villains should NOT be left alive. Villains, especially the Joker, have caused the suffering of thousands of people, as said by Jason Todd in Under The Red Hood.
Leaving villains alive will risk more innocent lives and graveyards to be filled when it easily could have been prevented.
But there is an opposite argument that does have merit to it. In DC, there is a crook turned superhero named Plastic Man who, after multiple chances, turned his life around for the better.
At the end of the day, Jason is ending a human life. A life with the potential to convert and change for the better. They're capable of changing, but it's a risky game to play. This is what makes Jason Todd a morally gray character. You understand his motivations, and depending on who you are, you agree or disagree with his actions. There is no easy answer for a topic like this.
So, what about Alastor? Well, he's just not a good person at all. Does he do some good things? Yeah, but he mostly does them in exchange, which will benefit him. He doesn't do anything out of the kindness of his heart (if he even has one), nor does he do stuff, which he believes is right.
So, as always, this blog will be separated into two sections listing the reasons why I don't believe Alastor is morally gray, starting off with status.
Alastor is an Overlord who makes contracts with other demons to get them to submit their souls. Alastor has many souls in his possession, including Husk, and he holds all of them in for power. Immediately, this is not what a morally gray character is. I have yet to see a morally gray character who enslaves other people just to further their goals because that's just what an evil person would do.
And it's not like Alastor had no choice or did it for the greater good or did it to simply defend himself. He ambushed Overlords, took their souls, and broadcasted their fucking screams across Hell to show the denizens of Hell that he means business. He wants people to be afraid of him or respect him for his power.
youtube
Secondly, there's just him as a person. He genuinely sucks. Everything he does, he usually does it for himself or because he's told to by a higher power. He helps Charlie just so he could watch the Sinners fail for laughs. He helps Vaggie with the commercial so he wouldn't have to make one ever again. He makes a deal with Charlie in exchange for a favor he'll likely use to his advantage in the future. All of these "kind" actions are usually in exchange for something else, he doesn't do anything out of the kindness of his heart just to further his own agenda.
And if you really think about it, Alastor contributed very little to the hotel despite making a deal with Charlie that he would help her. They only got one new patron, which was Sir Pentious, and it stayed that way for 6 months. Apparently, Charlie, Vaggie, and Alastor suck at their job if they can't bring any new members lmao. And no, just because a villain did something nice for once doesn't make them morally gray.
Thanos helped an old lady cross the street just so he could ruin some woman's life, that definitely doesn't make him morally gray.
Morally, gray characters are complicated, and that's what makes them interesting. Alastor isn't complicated. He's just a power-hungry psycho who eats people and wants to have fun. He's the perfect example of simplicity.
Just because Alastor will potentially be a morally gray character or complicated character in the future doesn't mean he is one now. And I say potentially because the writers of Hazbin and Helluva like to set things up with underwhelming payoffs. But that's a future blog for a different day.
In conclusion, Alastor is not a good person. He's a bad guy, and just because he's the protagonist doesn't make him any less evil or any more good. Anyway, thanks for reading, and I hope you all have a good one. ❤️🔥
#vivziepop critical#vivziepop#vivziepop criticism#vivienne medrano#hazbin hotel#hazbin hotel criticism#hazbin hotel critical#hazbin hotel critique#Youtube#alastor#hazbin hotel alastor
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Jonah Rant
Someone on Youtube reminded me that I rage-typed an essay-length tirade about Jonah Magnus and his status as a certified Bastard Man right after the finale. They asked if there was a chance they could see it, which was a good question because did I even still have it? Turns out: Yes! It’s evidently been chilling in Onedrive for ~2 years.
So for those who wish, my thoughts regarding that awful little man are below.
Spoilers for The Magnus Archives.
I went into the finale fully ready to not hear from Jonah again. I thought ‘oh, cosmic horror, as important as he thinks he is, he’s inconsequential and John just zaps him with eye lasers or something’. I didn’t want it per se, but I thought it was plausible.
But no. Oh no. Jonah Magnus speaks again, and he hasn’t been around for all of season 5. We heard him on a recording and we heard him chanting in the background and also all distorted in a job interview flashback, but there has been no actual uncompelled words being spoken by Jonah Magnus in real time since 159.
Yes he wrote the incantation but, rather crucially, he did not read it.
I binged TMA right as it got up to the season 4 finale. I got through season 1 in one day, and season 2 the next, and then got through three and four in the days after that. I caught up just in time for 160 to drop.
So I, foolish, naïve baby that I was, had over a year to forget what this character actually sounded like, and just how much of a slimy, insufferable fucker Jonah Magnus is. Was. Bitch.
I’ve gone into this elsewhere so I won’t belabor it but one of the reasons I’m so viscerally miffed by him is because of every human character in this podcast, he is the only one that is never shown sympathetically. I’m not counting Nikola Orsinov, or NotThems, or other manifestations of the Entities. I mean of the human, or avatar-human characters he is the least grey. Morality in this show is complex and tough to think about in my brain and one of the great ways it does this is through having really layered characters with motivations that are, at least a little, understandable. Jude Perry was a violent, sadistic lady...she was also devoted to Agnes and in some ways I think you could argue they were each other’s only links to humanity until what’s-his-name came along. Coffee shop Himbo guy. Peter Lukas is a misanthrope to the max who will send people into a nether realm if they so much as look at him wrong – which is to say, look at him at all. He was also raised to know nothing but loneliness, and pursuing it was kind of the only way he ever got some sort of approval. Which also manifested as more distance.
We get these little nuggets of what brought a villain where they are now, and we certainly don’t have to excuse them, but we have some context. We have some understanding that there is humanity in there, and that understanding makes them all the more unsettling.
Not fuckin’ Jonah.
What do we know about him? He’s a couple centuries old. Great. He found out about the powers, was drawn to the eye, and decided to start body-hopping to cheat death. He’s been doing this for ages. He tried a ritual and it failed. He took his time then, plotting and planning, and being smug, and finally arriving at a hypothesis that had a lot of credence to it. Everything fell into place, he was right, its all or nothing with the entities but the Eye rules because it opened the door (or WHATEVER).
So his big motivator is he doesn’t want to die.
And you know what, this is super understandable. We don’t know what his childhood was like (Jesus, can you imagine him in a little powder wig, climbing a tree to get a high vantage point to spy on people and get blackmail on them?), but fear of death is almost universal.
And of all the billions of people on this planet, I cannot help but notice that we are not thwarting narcissistic necromancers every fifteen minutes. Because the world would have fucking exploded a long, long time ago if we had more Jonahs in it. i.e. the people who would make aggressive selfishness a full-time occupation.
There’s a sort of cocktail of shit that makes him a memorable baddie not the least of which is that he never even attempts to justify his abhorrent actions. He’s not lying to himself, or anyone else, he’s not serving a cult, or a bunch of worms. He’s in it for himself, and if he has to stack the corpses of every living thing on the planet to reach immortality he’ll fucking do it without hesitation. Couple that with his manipulations, his merciless psychological torture, and a low, smooth voice that is always so infuriatingly composed and you have a Hell of a villain.
(I maintain that one of the reasons he’s so effective is that he enunciates so carefully. He doesn’t run words together, or mumble, he never really raises his voice, he is always in control, and everything is a flex right down to the articulation. I feel like we associate crisp, clear speech with formality, presidential addresses, or theater, things like that. Where you know what you are going to say and so the recitation is more confident. We hear this happen in statements, to a certain extent, but there’s still a lot of emotional range. For 199 episodes we never heard Jonah lose this pointed, smarmy tone. People don’t talk so formally in life, or when they’re talking on the podcast. There is something unsettling and intimidating about hearing such clear and confident speech all the time. It sounds like he knows exactly what to say in any situation. It sounds like he is utterly confident in every word that leaves his mouth. It sounds like he’s in a scene and no one else got the script but him. Because that is kinda what’s going on. At the very least, he thinks that’s what’s going on)
When he drops from wherever he’s suspended in the panopticon, he, you know, sort of makes a noise because that’s gotta be jarring. And we for once, for once, for fucking ONCE hear him even vaguely uncertain. And stupido io, I thought he was finally brought low and we might get a tantrum or something.
But no. Jonah Magnus has a lot of lost time to make up for, it’s been 20 eps since he’s been able to serenade everyone with his unique brand of horny arrogance. This motherfucker has exactly a millisecond of confusion and grogginess before “I was having the most...wonderful dream”. You can hear him edging.
And he’s kiiiiind of surprised to see John by himself with a knife, but still, so blasé, so, ‘oh, is that all?’ He’s a liiiiitle regretful to hear it’s over, but immediately heads into waxing rhapsodic about seeing a thousand lifetimes and the rapture of infinite sight and suffering and other Hellraiser shit when John speaks for all of us and tells him to shut up. Yet another reason to respect him.
And John has a lovely little catharsis where he gets to tell this orchestrator of his despair that Jonah has failed because the Things that Jonah is so devoted to will die a slow death. How long has he been waiting to say that, do you think? I mean at this point there’s nothing that could do what he’s probably feeling justice but he says it himself he gets some satisfaction from “knowing that I’ll be leaving these things that you serve trapped and starving in their own private hell.”
And all Jonah has to say is: “That we serve.” To the bitter, bitter end he is determined to just...okay I was gonna say twist the knife but that seems a bit tasteless now...determined to cause even more hurt. He cannot resist, it’s kind of all he knows. He is at the edge of a cliff and taunting the person that’s about to push him off of it.
And if you ever need a posterchild for ‘hubris’ just pull up a sound clip of Jonah Magnus. He tries to play the old ‘alright, playtime’s over,’ card, brushing the dust and what-the-fuck-ever else off his suit and manipulate John again. He has the...not even audacity, he’s looped back around from being semi-omniscient, to being so confident in that omniscience he thinks he knows everything and therefore acts way more stupidly than someone without that surety. He is enough of a dipshit to try and say to John “we both know you don’t have it in you”.
Motherfucker, what have you been doing for this entire season? What have you been doing this entire show? You have purposefully created someone who has withstood the brunt of every entity and come out more or less intact. You purposefully guided him into honing his powers, and put him in a position where he has nothing to lose. Well, Martin, but Jonah can’t do anything about that. Not anymore. Because the one person who can protect Martin is coincidentally the same person who can, will, and reeeeeally wants to Kill Jonah.
“King of a ruined world and I shall never die” my ass. King? Really? You were a placeholder, my dude. The Eye didn’t give a fuck that you were at the top of the panopticon and it didn’t give a fuck when John pulled you out of it. You said it yourself, dipshit. You might have started the archives, but John IS the archives. He is the only person more powerful than Jonah and Jonah, of all people, should know this. Especially considering you could presumably see John cutting through the domains, dishing out biblical vengeance, on a warpath for your tower.
So of course, he decides to antagonize John even more if that is even possible by telling him they both know he can’t do it.
And John fucking punches him and it’s great. Extended sounds of brutal ass whooping, please and thank you.
And then we get one of two lines that sums up Jonah Magnus for me.
“P-please John, I don’t want to die”.
This guy. Who dedicated his several lives to ruling the world and feeding on everyone else’s pain. Who has committed atrocities that numerous to count and too horrible to name. Who is being confronted by the direct target of his machinations and who, I think it’s safe to say, hates him more than anyone or anything else in existence. Has the absolute fucking nerve to go “but I’m scared :(”
When he went ‘I don’t want to die’ I actually said to literally no one because I was alone in my room “HA, Fuck you.”
John puts it a bit more eloquently. “Neither did they”. Beautiful. And then he’s gutted like the repulsive little fish he is.
The second line that sums up this insufferable megalomaniac is a little earlier. It’s casual, neither of them makes a point of it. Maybe because it’s a little redundant. “Empathy only holds you back in the end”.
I don’t want to die, and Empathy only holds you back in the end.
I mean, that’s the thesis statement of the shit-eating essay that is Jonah Magnus.
He’s so far beyond regret, or anything that isn’t 100% self-motivated he cannot perceive that perhaps John will have maybe, I don’t know, changed a bit. Gotten used to horror. Killed. He cannot fathom anything outside the tower as more than a food source. He is so used to seeing people as pawns he dies not actually understanding why John killed him. “Good luck” are his last lines.
First of all, the direction is ‘wetly’ and on the one hand I know what that means, but on the other, I cannot think of a more fitting adjective to end on with this guy.
Second of all, the ambiguity of how sincere he is or isn’t being is enraging, and so classic and I hate him, which is to say fucking excellent job of writing and acting both.
He goes to his grave thinking John’s making a power grab. He cannot conceive of any other reason for John doing what he’s doing. They’re opposite ends of the spectrum. One who can think of no one but himself, and one who will sacrifice himself because he’s thinking of everyone else. You know how matter can’t be created or destroyed? I think guilt might be the same way. And Jonah found a handy receptacle for all the guilt he doesn’t have time for and that receptacle is named Jonathan Sims head Archivist of The Magnus Institute.
What a good villain. What an infuriatingly mellifluous bitch. The thinks he’s King of the World, he thinks he’s going to get such special treatment, he thinks consequences apply to everyone but him, he thinks this is a game he can win when he doesn’t even know what the fuck he’s playing.
As much as he looked at John and went “perfect, an insecure idiot”, the Web looked at him and went “perfect, a pompous ass”. He wanted to live forever, but now he’s dead. And he doesn’t even get to live on in memory. No one knew he was up there. No one remembered Elias, let alone Jonah. You think Georgie, Melanie, Rosie, and Basira are going to tell the world about him? What would be the point?
Congratulations, Jonah. You tried to ensure your immortality and ended up ensuring that you died both literally and figuratively. Before it got yeeted into another dimension The End must have had a fucking Field Day the second his heart stopped beating.
What a bastard. What an unfathomable bastard. Like he really thought this would all work out for him, that he was the most Important Thing in the world when, at best, at best he was a glorified fucking contact lens.
Ass.
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Stop Defending Ableists Challenge (Level: Impossible)
So the other day I made a post listing all the ableist things Jacob Richmond has included in Legoland and Ride the Cyclone.
And the response was abysmal - the amount of "well actually..." kind of responses I got was disgusting and I took down the post because I find it counterproductive to argue with teenagers on the internet. However, I stand by the belief that if you think you are old enough to post publicly on the internet, you are old enough to be held accountable for what you post.
But I think what I had to say was quite important, so I am going to reword it here.
TW here for the discussion of ableism and ableist slurs (they are all censored)
There is ZERO (0) justification for the use of THREE (3) ableist slurs across both works. I don't fucking care if it was the 2000's. The ADA predates both shows and disability activism had existed for decades before that (as yannick very kindly reminded me). So no, it was not ok for Richmond to use those slurs in his works, regardless of the time period. Because there is nothing "correct" (politically, or otherwise) about ableism.
And before you say "Oh, but it was the character who said it, not the writer..."
CHARACTERS ARE NOT SENTIENT BEINGS! They are not created in a vacuum. Their thoughts and actions are often a reflection of the author's own beliefs and morals.
It was not Ocean who decided to use the word cr*pple. It was Jacob Richmond who decided to use it. Same with the r word and sp*z in Legoland. It wasn't Penny and Ezra who decided to use those words, it was Jacob Richmond. Because each character's actions are dictated by the decisions that the author makes for that character. And in this case, the author decided to be an ableist asshole.
Yes, characters can be assholes. They can be complex and nuanced beings. But there are better ways to portray such experiences than being violently ableist (i.e.: without using slurs). And why does the ableist character get complexity and nuance, but the disabled character is simply the sad, disabled kid, with not much else in his personality until he magically becomes abled bodied. Like we deserve nuance and complexity as well, people!
In a 2022 interview with Curtain Call Bway (here), when asked who his favourite character to write was, Richmond responds with the following:
Ocean is definitely my favorite character to write because it’s based on certain people I’ve met and certain aspects of myself too.
Like he literally admits it himself, that his decisions when writing an ableist character were based off aspects of his own personality.
The reality is, disability has never been more than a comedic plot point to Richmond. He has never cared about portraying a realistic disabled experience. He has never cared about disabled people.
And the cherry on top is that his response to yannick-robin being hate-crimed was to rewrite Ricky so that he could be played by an abled and therefore production teams wouldn't have to give a shit about ensuring their spaces are safe and accessible for disabled performers. If he actually cared about disabled people and properly representing our experiences, he would have worked with a disability consultant and fixed the issues within the show. Instead, he doubles down and causes even more harm.
To add insult to injury, he then licensed that script to Sarah Rasmussen and her team of ableist cronies for the DC production. Because him choosing to continue working with Rasmussen and her team just shows that he shares the same ableist values as the McCarter/Arena team.
So by saying that "its the character, not the author", you are defending Richmond and his violent ableism. You are attempting to justify the harm he has done and CONTINUES TO DO to disabled people. YOU. ARE. A. PART. OF. THE. PROBLEM.
Ride the Cyclone and Legoland (in ALL its forms and versions) contains so much ableist violence. This violence has traumatised REAL PEOPLE, but yannick, myself, and other people speaking out are the ones ruining the vibe by calling it out? Be fucking for real people.
Now if only my university papers were this thorough...
#ride the cyclone is ableist idk why y'all still worship it lol#stop defending ableism#if this shitshow goes to bway that will be my 13th reason lmao#ride the cyclone#constance rtc#jane rtc#mischa rtc#noel rtc#ocean rtc#penny lamb#rtc musical#disability#fuck ableism#ricky potts#jane doe rtc#noel gruber#rtc fanart#rtc#mischa bachinski#ride the cyclone edit#ride the cyclone fanfiction#ride the cyclone fanart#jane doe ride the cyclone#jane doe#monique gibeau#station theater#trinity theatre rtc#trinity theatre ride the cyclone#constance blackwood
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I've seen a few people talking about how Barry and Wally's parent/child relationship now that they're both adults is unhealthily codependent and that Barry's the cause of Wally's daddy issues and need for therapy, and Wally being better than him now gave Barry an inferiority complex and suicidal tendencies. Can we get some panels showing this side of their relationship?
No? Because the panels don't exist.
There isn't anything 'unhealthily codependent' about their relationship? Codependency is when people in a relationship are so dependent that they struggle to make decisions without input, don't consider their own wants or needs, and try to control the other person's life. Codependency usually involves living together/near constant contact and communication.
And none of that is even remotely applicable to Barry and Wally. At any point in their lives.
Let's be real here, Barry gave Wally more freedom as a child than literally any other mentor. Barry's whole mentor philosophy was letting Wally forge his own path and giving advice when Wally asked for it. Wally did his own nightly patrol. Wally did his own missions. Wally fought his own battles.
And when he asked for help? Barry was there in a heartbeat.
What that does is foster independent thinking and self-sufficiency. Wally was allowed to become his own hero in a controlled environment. If things ever got really bad then Barry would be there, but for the most part Barry was just moral support.
And Barry died when Wally was 19. Wally did the majority of his Flash career without Barry. Honestly, if Barry hadn't given Wally the tools and opportunities to build such a strong foundation as a kid, then I don't think Wally would have survived long as the Flash. It's a testament to Barry's mentorship that a 19 year old kid could step into the shoes of an experienced hero and uphold that legacy without stumbling.
And even in current comics, with Barry and Wally both back and interacting, there isn't any codependency. Like. At all. They both have their own separate lives. Being family and doing family bonding activities and meeting up on the job isn't codependency, that's kinda just how healthy relationships work? You spend time together.
Also not really sure why it'd be fine when Wally was a kid but weird now that he's an adult? People don't just cut contact with their parents and older relatives when they hit 18. That's... not a thing. "Sorry, mom and dad. I love you but I'm an adult now so I can never see you again or it'd be weird. Goodbye forever."
As for Wally's daddy issues, why the fuck would anyone but Rudy be to blame for that? The man abused his son, tried to murder his mother, tried to sell him to a cult, hired assassins to beat and kidnap him, started a child labor camp with landmines, ect, ect. Barry actually being a father figure in his life helped fix the issues that Rudy created.
Also also. Barry is nothing but thrilled about what Wally has accomplished in life. Because he's a proud father.
There was a brief period of time where Eobard Thawne brainwashed Barry and Wally to make them fight all the time. People sometimes point to that and say that their relationship has issues. But they were actively brainwashed?? And not in their right state of mind because Thawne wanted them at each other's throats. And they immediately apologized to each other when they broke free. So. Not really a great argument tbh.
But yeah, TLDR: Wally does need therapy but not because of Barry and Barry does have suicidal tendencies but not because of Wally. Their relationship is only 'unhealthily codependent' if you don't know what those two words mean and made up new definitions for them. They are probably the most normal, healthy and successful mentor/mentee relationship in all of comics.
#i seriously don't even know what to do with this ask#bro they are the only goddamn characters in comics that actually talk about their feelings in a healthy and communicative way#and they just kinda do their own thing 90% of the time?? completely unrelated from each other??#and they have scheduled bonding time because they love each other and you make time for the people you love????#i don't understand this ask at all#is this satire? it has to be satire right? is this a late April fools joke???#dc#dc comics#the flash#kid flash#wally west#barry allen
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Bigots and Failed Promises of Mass Effect games
(I had this thing in my drafts for almost a month, and it would have stayed there if not for the wonderful post by @androidtrashfire, because I saw it, and I was like: "Fuck it, I have to rant about these games."
I love Mass Effect, and I really think we should critique it. We should criticize things we love because silence = compliance.)
So I was talking to @liss-art recently about the bigoted fans in the Mass Effect fandom, and I think I need to make a post about it because it's something that really, truly bothers me, and it needs to be addressed.
Canon
Mass Effect is a story about deeply flawed people with a lot of problems, and through them it touches on issues like xenophobia, sexism, corruption, elitism, morality, identity. That's why we like it, right? But why are there so many bigots in the fandom? My theory is that it happens because Mass Effect, for all its supposed complexity, only touches on these issues without giving any meaningful commentary on them.
Here are a few obvious examples:
The Quarians are a distasteful allegory of the Roma people (right down to their accents). They are persecuted and ostracized for creating Geth, but the game never gives us any socio-political reasons why the Quarians did that. They just developed real AI because they were naive and stupid? Or because they were the only ones smart enough to do it? Did they do it in secret? Why did other races not make the same mistake?
Same with the Batarians. Yes, the game mentions tensions between humans and Batarians because humans try to claim territories that Batarians think are theirs, but that's about it. Batarians are all racist slave traders and they're bad, don't think about it, here's some memes about 300,000 of them dying, good job. And yes, I know you can read more about their history in the Codex (why is it an Asari who writes about Batarian history,btw?), but it's basically the same thing as saying D*mbledore is gay (I really am sorry for this reference). If no one ever mentions this rich Batarian history, then it doesn't exist.
And please don't get me started on Hanar. They "mercifully" saved the Drell by inviting them to their planet, immediately assimilated them into their own faith and also put them in conditions where they have to train as assassins from the ripe old age of 6 and eventually die of sci-fi lung cancer. But don't worry about it, Drell actually love to serve the Hanar, they do it willingly and consider their servitude an honor. Do you really want to criticize some stupid jellyfish who talk funny? Do you really want to talk about why the so-called Council races do nothing about it? LOL
Another thing the trilogy does is present entire races, including humans, as amorphous blobs. Do all Asari believe in the same "goddess"? Do all Turians obey the same Primarch? Well, what's important is that all humans in this bright future speak English.
But what about the genophage? That's a profound story, right? Well, not really, and it raises more questions than it answers. We hear a lot about how brutal, aggressive, and short-tempered Krogans are, but every single Krogan we meet is extremely well-mannered, and they only resort to violence against other races in dire circumstances. So why not save them? Does the game really present you with this moral dilemma or not?
And can anyone tell me why Salarians are allowed to abduct and experiment on sentient beings, and why Turians are allowed to wage wars? Why does no one talk about Asari in this context?
I really want to say that at least the characters are well written, but I can't because they're not.
Kaidan is a good example of this. We are told about his implant, we are told that he has chronic pain, but do we see him suffer from it? Do we see him in those moments of weakness and vulnerability?
The scene where he gets annoyed with Jenkins acting like he's a circus monkey who has to do a trick and biotically throws a cup at him was cut from the game. We occasionally hear him mention some of the side effects of his migraines ("Too many lights, too much noise"), but that's about it. What has happened to "show, don't tell"? And no, I'm not saying that the writers should feed me the story or walk me through it. What I am saying is that if you gloss over your characters' mistakes, flaws, and circumstances, you're getting people to ignore them. Do people who call Kaidan "boring" and insult him think about how his chronic pain, his trauma from Brain Camp, and the loss of Jenkins and Ashley affect who he is? Hell no.
Thane is another great example. What Mass Effect is telling us as a story is that you can completely abandon your family and your child and be forgiven if your reason for doing it is good and heroic enough. Like avenging your dead wife, because of course there has to be a dead woman thrown somewhere.
Everyone's favorite Garrus (mine too) is a cop whose character arc basically consists of deciding that he is above the law (since the law forbids him from killing people he thinks should die) and then involving his squadmate/friend/partner (depending on your playthrough) in the public assassination of his former squadmate, whom he never even bothered to confront first. Are there any consequences for Garrus for his actions? No. Again, it's all glossed over, and that's unfortunate because it removes the conflict and therefore the character development and depth.
And if you're going to tell me that ME is just a space opera, and that I should just enjoy the spectacle and the romance, then I'm going to tell you that I know that, and that I think it's a wonderful spectacle, and that some of the romance subplots are absolutely amazing story-wise, but the superficial commentary (or lack thereof) on the most important issues that ME covers actually harms the audience.
Fandom
On the one hand, we have people making mods that remove all the clothes from all the female characters (or remove all of femShep's organs and replace them with giant tits). We have people reposting that horrible, horrible art of Miranda and Jack fighting, tearing each other's hair and clothes, and maleShep smirking and saying "I should stay". We have people who say ME2 is the best game in the series because "there are no f*gs".
On the other hand, we have people saying things like "there are two Commander Shepards - female and the wrong one". We have people who say "only weird people play as dudebro in 2024". We have people who think that simply playing as a female character is some kind of feminist statement, and that it makes them better and smarter than everyone else (the same people who use the term "dude gamer" as an insult).
And all of those things are kind of the trilogy's fault.
Both maleShep and femShep have the same story. The only differences are the romance options, sexist remarks directed only at femShep, and flirtations from various NPCs directed only at femShep. What this tells you is that sexism exists in the Mass Effect universe, and only women suffer from it. It also tells you that only women are worth flirting with.
Another thing this game does (and modern games like Cyberpunk do the same thing) is equate the female experience to the male experience by giving both femShep and maleShep the same lines.
So there are some mixed signals here. Sexism exists and doesn't exist in this universe, Shepard is both genderless and very gendered, romances with underdeveloped characters are all over the place, and bigots thrive in this kind of environment.
The lack of commentary, the lack of perspective, the disastrous worldbuilding allows you to freely choose your sexist, racist adventure and not be punished by the story in any way.
Mirrors
There's a passage from Solaris that I absolutely adore and think about often.
"We don't want to conquer the cosmos, we simply want to extend the boundaries of Earth to the frontiers of the cosmos. […] We have no need of other worlds. We need mirrors. We don't know what to do with other worlds. A single world, our own, suffices us; but we can't accept it for what it is."
I think that perfectly describes what Mass Effect is as a universe. And in a way, it's a reason why it's so compelling. It's just empty enough for us to invest in it, to fill in the blanks of that narrative with the stories of our own. And it's also a reason why this fandom is a fucking hellscape.
#mass effect#my thoughts#kaidan alenko#thane krios#garrus vakarian#commander shepard#sorry not sorry for the wall of text because this is important#my stuff
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Do you think it's a bit odd how muddy the premise of TOH is?
I can sum up the premise of other similar shows I've watched in one sentence to any hypothetical viewer going in blind. SU: A chubby boy struggles to master his own power, identity, and goodness while navigating complex family dynamics, old wounds, and sick sci-fi technomagic. Amphibia: Three girls search for each other, stretch their friendship to its limits, and find a way back home in a wacky land populated by amphibians. She-Ra: An imperialist soldier turned rebel fights to free her homeland from occupation whilst struggling with the unique bond she shares with her frenemy.... etc!
I'm just not sure what I could say for TOH. A girl runs away from home to be mentored by a wild witch? But she doesn't really get mentored, and she didn't exactly run away either (she just... didn't go home until it was too late.) A girl leaves her home dimension to enroll in a magic school - hm, but that wasn't really something she super duper cared about, it was just part of the witch gimmick for her.
What else?? A human enters a land of witches, only to discover sinister scheming from the only other human to genocide - which - he's 400-ish too, so, uh, that proves that... colonialism... um.. religion... Let's restart. A human enters witchland and discovers things are not as they seem - no, things are pretty much as they seem-
A closeted girl is thrust into a new world in which she can be herself, and catches the eye of a popular rich girl? Hey, that's not too bad, except it ignores a whole lot of other shit that went down.
How about: A girl enters a wacky land that fulfills her dream of living a fantasy to a T, including the unpleasant parts of the genre.
...Yeah, I guess that's the closest I'm getting. Anyway, what d'you think about TOH's premise? Is it clear to you?
So when I bring up that TOH has a split personality problem, this is what I'm talking about. It effectively is trying to tell three different stories, with three different tones. Any one would be good on its own. Any two would need some finesse but they had plenty of time. All three? Well, even disregarding time constraints, you would have had to be really smart in mixing all three elements in order to make something cohesive as keeping them all separate for longer would simply create the same problem as keeping them apart for a short time does.
And TOH doesn't even fucking try. The literal only element that consistently ties all three story ideas together is Luz. I'll get into it more in a second but this is part of why when you pitch the show to someone, you kind of just have to focus the entire description on Luz in one way or another. To mention any of the other elements causes you to inherently imply one is more important than the others and TOH never chose anything to prioritize.
But of course, what were the three stories trying to be told and with what tones? And I'll talk about how it handles each of them weaving into one another once I've just established a baseline for each.
Well, first we have the slice of life, comedy, coming of age story that is Luz, Eda, King and Lilith. Especially in S1, most hijinks with them are focused around blunt morality, hijinks and just dealing with a problem of the day. It is the most bluntly kid's show of any of them, adopting a lot of the tone of Amphibia. This is why we get so many B plots with King that are the same thing over and over again. It's why Lilith and Eda are on opposite sides of the law but they don't fight until the end but instead are just nice, silly sisters here for hijinks. It's also part of why Lilith is made into a joke in S2 because that is more keeping in line with the tone of this storyline than if she were to actually what happened to her seriously and mixed in with:
The second is a fantasy epic about the corruption of a world by hate and prejudice. Of one man's corrupted beliefs of religion and want for control ruining a land. It is a much darker toned story, meant to reflect the horrors of the real world and its prejudices. This is the plot of Belos and Hunter. It is also the plot that is the smallest part of TOH but should have been the most omnipresent due to how so much of it is tied strictly into the worldbuilding. A lack of world building easily makes this sort of story, like most dystopians, fall completely apart. It also is the one that requires the most adherence to it as conflicting elements makes this story feel all the weaker each time someone treats this existential threat as nothing to be worried about.
The third is the most obvious: The school drama/romance story. This one is probably the one actually trying to be the most concise due to how almost every element for a season and a half of this plot is dedicated just to the weird girl/serious girl romance. It's a classic and one I've iterated on multiple times myself as it's just a fun concept to handle.
So there you go. Three ideas that are each on their own a good story but have their own complications. Each one of these could have easily taken two seasons to properly explore and tell. With more efficient storytelling, any of them could have taken a single season or less.
But then you get the exponential problem of mixing them together. Because mind you, tonally you have a comedy slice of live, a romantic drama, and a dark epic. Those are VASTLY different genres for each tonally and in narrative intent.
The easiest combo is actually the first and second. This is actually what Amphibia is effectively. The show starts in a somewhat isolated part of the world so its lighter tone can not contrast with the darker epic that is to come, giving it a safe space for character development, relationships, etc. Then with each threat, it gets a little more serious with its tone. There's a reason Hop Pop buries the box in S1 but the confrontation about what that means isn't until S2. There's a reason why S3B of Amphibia is MARKEDLY more serious than anything that came before it. The strength of this combo is that when the darker elements show up, the contrast of what came before makes them hit all the harder and makes you care about the stakes.
So what about how TOH handles it? Well, Lilith and Eda are theoretically a blend of the two but Lilith is never treated quite seriously enough. Also, rather than it being ideological, it comes across more personal with those two and it kind of leaves Belos out of it for the entirety of the first season, especially due to how wishy washy the show is about the covens being a big deal. Then in S2, Lilith absolutely SHOULD be the connective tissue. Her and Luz share a similar anger towards Belos and the two acting on that anger is a way to show that hate in any form is destructive, playing on the grander themes of the epic side of it while bringing in The Owl Family.
Instead, Lilith is just kind of flicked away, rendering any connective tissue from S1 to just evaporate, especially as no one actually seems to have cared about Belos almost murdering Eda. Rather, Raine is the connective tissue for the two plotlines. You know, the character who never gets to meaningfully interact with Luz or King, nor actually has a role in potentially pulling Luz to different ways of learning like Lilith might have, meaning they don't interact with the mentor side either. Even in their first episode, Raine is entirely self contained away from the other two. Eda and King's closest contribution to the plot before S3 is honestly in trying to get info out of Warden Wrath and that's really it. Otherwise, they're entirely divorced from Belos, his philosophy and his machinations.
So next easiest combo: The grand epic mixed with the school setting. This is how you get things like S3 of RWBY, My Hero Academia or Harry Potter (Though HP sucks dick at it too because good old Joanne sucks both at being a good person and actually writing anything serious.) The school setting is used as a kind of safe space for drama, romance and teenage shenanigans while the dark elements allow those things to come to a fever pitch as well as a way to test the bonds made at school versus the grand threat's hate and evil. It's hard to make smooth though, if the fact that I listed two things with... questionable plot writing to put it mildly isn't indicative. It at least has been done before. Oh, Naruto pre-Shippuden could possibly also be counted as this.
And TOH mixes these two by... Hunter? That really is the closest it ever comes to mixing them. The school is easily the part that obliterates taking Belos' regime or themes seriously as it constantly, CONSTANTLY undermines the worldbuilding of the show and struggles to actually feel like a part of the grander society. None of the Hexside Squad members ever properly face what being a wild witch or ditching the coven system actually means after all. Amity literally treats it as something that will mildly disappoint her parents but isn't a big deal.
So all you really have is Sport in a Storm and Labyrinth Runners as at least those episodes are using the school setting to give Hunter a chance to make friends and become a better person, theoretically, and he's important to the epic storyline so that kind of counts. If you REALLY want to stretch it, Eclipse Lake is another point of crossover before all three plotlines are mashed together starting at Clouds on the Horizon but the only justification there is that Amity is from the school stuff, though it's closer to fitting the tone and tropes of the mentor's storytelling than that of the school's.
But that is still three... In almost 38 episodes.
The last one is easily the most awkward and the one I don't have examples for: Mixing the Mentor and School plotlines. It's actually pretty easy to see why this would be hard. Both are about teaching the main character but in different ways. I think you could claim some works have done this by having a specific teacher be the primary teacher/mentor for the main character while the school is just where that mentor is accessed.
So how does TOH mix the-
Error 404.
Huh...
I'm not over exaggerating that much. Besides Teenage Abomination, VERY WEAKLY, the two never actually mix. Eda comes to Hexside once. King interacts with the Hexside kids a couple times but always in episodes or B plots that are much closer to the silly slice of life stuff than anything trying to mix the two tones. Even when it does, you get Really Small Problems where neither story is progressed and it all feels bad. Remember the closest that Eda comes to ever being a part of fixing a school problem is in Understanding Willow where she's just a spell dispenser before then being an idiot for Gus. It doesn't make her look better or play with any of the themes. The next closest is during The First Day where she is isolated entirely in her own plot so it's not actually mixing it besides the fact that Eda is at the school.
And for all three?
Well... I think the best way to point this out is that the best example of all three plots coming together is Edric deciding to expand his knowledge of magic. He actively chooses to reject what society has told him, tries a new method endorsed by the mentor figure but does at least acknowledge that his old schooling didn't prepare him for it. It's not strong and it's still hamstringing the epic storyline because he's already practicing two types of magics and so is mostly just nervous about being any good at this but it's SOMETHING.
But otherwise? The three shall never meet. Even once Clouds on the Horizon happens, they never meet. Eda literally never spends time with the Hexside Squad, especially as a whole. King is barely a part of the mentor stuff by then and is purely in the Epic territory and he's still not interacting much with them. Even in the final episode, the Hexside members are entirely on their own while Luz, Eda and King properly take out Belos, rather than everyone trying to protect Luz or having to fight by her side.
This sequestering of characters, themes, plotlines, etc. causes the show to waste a LOT of time and never have a proper focus. You never know what the point to a scene is because what it's serving is unclear, if it's serving anything at all. The show, by the end, can still have cut Amity and Hexside out entirely and lost literally nothing except much of what made the fandom engage with the show. And a reminder: Disney SUGGESTED Hexside. Dana said yes. It wasn't forced on her.
And that fits the show's entire storytelling ethos. It never feels like it is actually focusing on a single point. Instead, individual episodes will present interesting ideas or statements that immediately conflict or need to be retconned by other episodes because nothing is properly congruent. It is all conflicting against each other because each part is acting entirely independent of the rest.
It is an ever growing leviathan but rather than bringing in more of what is around it to make it stronger, it only ever hurts itself more and more as the details that once shone on its surface are made murky and unclear by all it has piled upon it until there is nothing but a rancid sludge. Unclear, unfocused and hard to describe except in the most blunt way possible. So what is the most blunt way to describe TOH?
The only factor that gets to cross all three storylines: Luz. So the only way to describe the show is "A story of a teenage girl going into a fantasy story." What type of fantasy story? Who knows. The writers didn't seem to after all so why should we?
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I have a public Discord for any and all who want to join!
I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past.
I have an Ao3 for my fanfiction projects as well if that catches your fancy instead.
If you want to hang out with me, I stream from time to time and love to chat with chat.
A Twitter you can follow too
And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.
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Hi there! I've just returned from a two-week holiday (as I'm writing this I'm actually still driving back home, but I want to get on top of it lmao), so I would like to defer to your knowledge:
could you pretty please provide me with an update on what series ended/started while I was away? I have a vague idea, but I don't want to miss out on the things that didn't get as much promo and are therefore not on my mdl.
if you can, my watchlist will be forever thankful!!
July Report: BL that Stopped & Started & Is worth Your time
Ended July 2023
Step By Step
This was Thailand’s answer to The New Employee, and everything I loved about that show I loved about this one.
This was an office romance between stern boss and sweet subordinate that felt more authentic to an office environment than previous Thai BLs of this ilk. And that authenticity added tension to the narrative and character development (how novel). Now that might be because it has western source material, or it might be because it is actually kind of old-fashioned (it’s been years since I worked as an office grunt). I also really enjoyed the brothers’ relationship, and kinda wished they hadn’t attempted (and failed) to give said brother his own side BL. That one flaw made it a 9/10 for me.
HIGHLY RECOMMENDED.
La Pluie
This BL takes to task the fated mates trope and what it means to have love chained intimately to predestination. It’s about how faith in destiny before choice diminishes the authenticity of emotion, relationships, and connection. This is a high concept to examine through the lens of a BL.
By activating + examining the soulmates trope this show is challenging a foundation of romance: the idea that there is one person meant to be your one romantic partner all your life. This means that we, as viewers, spend much of the show worried about it having a happy ending, and that’s the source of both its brilliance and tension: would the narrative have the strength to truly challenge its own romantic core? But, ultimately, all this elevated complexity was executed in a somewhat shaky manner with the narrative derailing into some serious pacing issues and characters manipulated by miscommunication.
However, with good chemistry and decent acting all around, plus some excellent high heat and representation of consent and a few other rare tropes, this one has to (like it’s sibling show My Ride) earn a 9/10. I enjoyed it even as it made me think, so despite its flaws:
HIGHLY RECOMMENDED.
Started July 2023 & Looking GOOD
Jun & Jun
Korea Thurs Viki 8 eps
THANK YOU BL GODS. It is so good. Like everything I want in the world. I’m incandescently happy with this show.
It’s office set,
it’s an ex idol,
everyone is pretty as peaches,
and it’s all about remembering somebody’s smell!
I could not be more delighted.
Laws of Attraction
Thai Sat iQIYI 8 eps
(Icky picked it up but they are serving it in a complicated way that may require a VPN.)
Stars the pair from To Sir With Love with the same production team. IT’S SO GOOD. A morally corrupted trickster lawyer with a tragic past, sad eyes, and a beautiful smile that he uses like a weapon. Meets paladin martial arts instructor from other side of the tracks (who is out, at least to his baby sister).
Corrupt police.
Spoiled rich kid evil.
Ambitious politician.
Tragic death.
Terrible subs.*
This show is very like Manner of Death but so far it is a much better/tighter story (there's a Devil Judge aura happening). It’s NOT BL but it is fucking phenomenal. And you should watch it. Not wait to binge it. WATCH IT.
On a global scale this might be the best thing currently airing featuring gay romantic leads. Its really fucking good. It’s Lawless Lawyer but more complex character motivation and gay af. Fuck yes please and thank you. FINALLY.
Triggers for violence, beatings, death & torture depicted on screen. Like MoD they are not holding back.
(* A lot of the familial names they are using are not gendered in Thai but translated as such, like “nephew”. This one is gonna go down a lot easier if you know some Thai.)
ALSO:
Stay By My Side - Taiwan Fri Gaga 10 eps
Hidden Agenda that isn’t hidden - Thailand Sun GMMTV YouTube 12 eps
Low Frequency - Thailand Sat iQIYI 8 eps
Started But You Can Probably Wait IMHO
Dinosaur Love (Sun iQIYI)
Be Mine Super Star (Mon Viki)
Wedding Plan (Weds YT & iQIYI) it's mame so A trash watch is happening!
Minato Shouji Coin Laundry Season 2 (Japan Thu Gaga)
Hope this is what you wanted.
#asked and answered#ABL is your recommendation algorithm#thai bl#taiwanese bl#recommended bl#bl currently airing#step by step series#bl review#recently finished bl#La Pluie#Jun & Jun#Jun and Jun#korean bl#Laws of Attraction#Laws of Attraction series#To Sir With Love#Manner of Death#devil judge#lawless lawyer
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i saw you say that you’re take on spamano diverts from canon and honestly i’d love to know more about it, i feel like most spamano shippers do this and i love hearing all takes because i feel like they’re all interesting! and i love them so so much!! do you have any hc’s that you think are unpopular with the fandom?? or do you like they way spamano is represented for the most part??
Hi! Thanks so much for the ask 💕 If you're the same anon who sent the last one I'm working on it. To answer honestly, I don't interact with Spamano fanwork enough to know what is and isn't popular or accepted as fanon these days.
But I'll hesitantly say that no, I think my views on this ship differ from that of the fandom status quo, as they usually do. I don't say this for the sake of being edgy or a need to always play contrarian, but bc I have a unique perspective.
Disclaimer; long post ahead. my opinion was asked for and you're about to receive it. Everything stated is opinion and I'm not discrediting alternate headcanons.
So I'll start by saying I'm not an expert on Spain's history or characterization. I have mentioned this before but the way Himaruya chose to portray him is a bit odd to me. Then again, Hetalia nations aren't really direct representations of their government, but instead stereotypes of their people. If everyone was accurate they'd all be unsympathetic assholes.
Spain as an empire was once a ruthless colonial force, and as a nation in more recent centuries they have a history of fascist rule, violent uprising and general civil discord.
Spain as a character is a sunny, bubbly himbo after he lost his reputation as a global power. I think he has a tendency to downplay the harm he's caused in the past and manipulate others into viewing him as a shiny happy goofy airhead.
Don't get me wrong, I think Antonio is adorable. He's cute, right? Dude's main personality trait is having a GREAT ASS 🍑 and liking tomates 🍅 He loves to cook and dance and do fuck all. The Hetalia wiki describes him as a, quote, 'cheerful country bumpkin' and honestly, let's go with that for the sake of his personhood?
This is why I like human AU. I enjoy reading historical Hetalia, but writing it isn't for me. As a creative, I don't want to operate within the limits of real world events and not gonna lie I prefer writing them as people!! And that's where I exercise some divergence from canon.
So obviously there's the dynamic of boss and his underling that existed when Romano was young. We can't entirely ignore that that arc exists and is part of his character development, but when Romano grows up I don't see them that way, and there's no denying their romantic potential.
I hear, and understand the common criticisms of Spamano. I don't view them as related, and Romano is not Spain's territory anymore. To me it's fair game. Hetalia is complicated bc well... these nation-beings are hundreds of years old, therefore the case for morality in shipping isn't black and white.
Personally I don't believe any ship is 'too problematic' to exist. I'm of the opinion that we can explore just about any dynamic in fiction as long as we do it mindfully. I'm a multishipper, these characters are all so versatile.
This might sound silly to say about an anime character but my analysis of Romano's personality is more in depth. As someone of Italian descent I recognize his stereotypical traits; and feel pretty strongly about his mischaracterization.
For one, he has a small dog Napoleon complex and that's a big thing for Italian guys (more on that later)
In canon (i.e. world history and Hetalia itself) when Romano was young, Spain did spend a lot of money protecting and defending him. Now as an adult he feels guilty, like he has an obligation to him, and he doesn't want to be seen as weak, reliant or incapable ever again. I don't think he'd allow himself to be dominated, in any way, or even want to be.
Here's an unpopular opinion; he is very masculine, but I think people have a hard time comprehending what constitutes masculinity.
And I'm not saying Antonio is therefore feminine. They're both cis men to me, and switch in the bedroom, but I will admit I prefer Lovino as the generally more dominant partner - in a physical and hierarchical sense.
Ultimately I don't think they box themselves into heteronormative roles all too much. Maybe for funsies, because Lovino likes feeling needed and Antonio to me doesn't have the discipline it takes to wear the proverbial pants in the relationship.
In a comic strip, Spain proposed to Romano when same-sex marriage became legal, and he basically said yes as long as you cook for me?? They're husbands!! It's canon 😎
It's a bit hard to explain, but in my perspective, Lovino would protect and cherish Antonio like a man would his 'wife'. He's his Carino. His Tesoro. His Amorino. Toni might be taller than him, but he's always talking to him like a child - mostly affectionately, but we've seen otherwise.
One of my favourite Romano lines is from the April Fools episode, "No talking to me when you look stupid", that to me is a defining moment of their relationship 💖💖💖
So anyway, this attitude of his brings me to the topic of Maschismo. If you're not familiar with that term, it's a performative, arrogant, and fragile brand of toxic masculinity that's prevalent in men of Mediterranean and Latin American descent. Any man can be machismo but the term is associated with these cultures.
(Again I'm of Mediterranean descent, I have lived experience with this, please don't think I'm racist and if that's legitimately your takeaway you have the reading comprehension of a sea cucumber)
In machismo society, men are discouraged from showing any emotion except anger. They're expected to be strong, and are extremely affected by any implication of personal failure, or threat to their (imagined) role as top dog. When something upsets them, aggression is the default response.
Men affected by machismo are often possessive, competitive, and motivated by material success; because there's an expectation to provide for - and honor - your family. They will often talk over women, objectify or ignore them completely, like second class citizens.
Whether this was a conscious intention or not, Hima actually does a great job at displaying Romano as a machismo poster boy. He's simultaneously expressive and repressed. He's stubborn, defensive and argumentative, and if that doesn't say Italian dad to you then you're probably a WASP /hj
What the fandom might see as a little tsundere uke, I see as machismo tough guy. He's not soft, that's the thing, but he deserves space to be soft because so does everyone. Maybe Antonio does bring that out in him. But it's not easy and it's not for anyone else to see. He pretends to hate when Toni calls him cute because he doesn't allow himself to feel appreciated on that level. He actually has a deep, unspoken respect for Antonio. It's just easier to tease him.
And he actually does care. He just does it in a way that isn't instantly recognisable as caring because it's not 'gentle'. He's jealous of Feliciano because he's the 'nice' brother. He's concerned for Feli when others mistreat him. That concern and protectiveness translates into condescension and ironically, distancing.
Sorry for going so in depth on what is essentially old man land mass yaoi, if you've read this far thank you and congratulations I guess.
#ask and ye shall receive#hetalia headcanons#character analysis#aph romano#hws romano#aph south italy#hws south italy#aph spain#hws spain#spamano#romaspa
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He is a villain who thinks he is a hero in a believable way which i think a lot of authors can't do properly. I can see his thought process AND I can see that it is fucked.
Also he does do a lot of work in ruling the country? Like before Alina came along he was almost always working, at least that is what is implied idk.
Also this probably you might not agree with but I think he was loyal to his goal till the end i.e. he genuinely did want to make the world safer for grisha till the end. He sucked at it and his methods would have failed and everything but i think that's what he WANTED most of all.
Your "kicking puppy" line made me remember the statement Leigh gave when she said that if she wanted everyone to just purely hate the Darkling, she would have made him kick puppies and kill children. So she changed her mind later i suppose lmao. Because he most certainly was killing children.
I think he’s pretty consistent through the story tbqh! I feel like people say he’s OOC evil by the end, but he’s about as cruel, and if anything, more humanized by the third book. That’s when we get the name reveal, when we get the few scenes of genuine vulnerability he has with Alina. Whereas any positive scene they had in S&B was based in manipulation, like they are actually connecting by that last book. I just really don’t think there was any sudden shift.
But yeah, I have to say I partially agree? Partially disagree? Like I do think it’s integral to the plot, the series’ themes, and Alina’s own arc, that he did genuinely start out with values close to her own. That he meant well, but just took means to an end morality so far, and became so corrupt in his old age and isolation, that his views became warped over time. That that is something Alina might herself fear turning into.
The series’ main point is the corruption inherent to power. I wish it did more with it! It’s clumsily handled lol. But I think that is like the very heart of the story. And so the Darkling, as a foil to Alina, must start out as someone genuinely attempting to act towards the greater good. But then, similarly, I think he must completely lose sight of his morals by the end, and be only concerned with self interest and simply accumulating more power.
I see the argument a lot that, by canon, he’s still primarily concerned with protecting Grisha, but we don’t really see him work towards that beyond claiming he’s going to? Like sure, the Little Palace exists, and he’s made Ravka into a relative safe haven. But those are past choices. In the present, what does he actually do?
If his main motivation was from a genuine desire to protect, then I just think he’d be less focused on killing anyone who does not immediately side with him lol. Like I think he was probably still telling himself that he must have more power *for the greater good* just because that’s what he’s thought for so long. The real desire is just for power.
Anyway yeah, he’s complex! I don’t think either side of the fandom really acknowledge that depth because they have particular biases and preferences for what the story should have been about.
#that being said I don’t think him running the country behind the scenes is actually a point in his favor sjdhddd#grishaverse#shadow and bone#the darkling#aleksander morozova#i ramble sometimes#all the bendy punctuations#a mysterious stranger has appeared
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I just discovered your blog and let me tell you : You're a breath of fresh air. I needed a break from the madness of the marauders stans. I hate how they stripped Snape of all his layers, all his complexity, and either gave it to Regulus or erase it. They reduced him to a one-dimensional bully. But the worst, is when they say that James and co. did nothing wrong, that they were just funny pranksters, that it was a RiValRY ( because 4 or 2 against 1 is clearly fair ). As someone who has been bullied as a child, that chapter made me want to vomit. How can anyone excuse that bs ?
Just to be clear, I will not excuse Snape's mistakes. He did fuck up many times, no excuses. But I truly believe that if he had a HEALTHY support system, and if there was therapy in the wizarding world, he would've never become a death eater. That guy joined Voldemort because he thought he had no choice, he pretended to be racist because he wanted to fit in. How can anyone be blind to that? And that's coming from someone who's had a crush on Sirius Black ( the adult one, the younger one can die ) before they turned him into a woke sissy.
That’s one of the biggest compliments I could ever receive, thank you so much 🥰
I completely agree, I don’t really have much of a problem if they think Severus is a bad person (he certainly was morally grey, so it isn’t that big of a reach), but there’s a difference between thinking a character is a bad person and stripping them of all their complexity and painting them to be a villain with zero redeeming qualities. Over the years, Severus has become a symbol of grey characters, and he is genuinely one of the most brilliantly-written characters I’ve ever seen or read. It’s so unfair of them to strip all that away and disregard his whole arc.
And the fact that they do all that while pretending like the most irrelevant characters ever (James and Reginald Regulus) had his best traits and were more canonically interesting than he is and then acting superior to Snape fans is insanely ridiculous. They do it with so much confidence too 💀 as if we were the ones who had to give the Character We Hate Whose Character We’ve Purposefully Simplified’s best traits to our non-existent faves.
As someone who has been bullied as a child, that chapter made me want to vomit. How can anyone excuse that bs ?
Ikr?? I read OoTP a few years before the same thing happened to me. And honestly, when I was a kid, every time I reread SWM after it happened I would get panic attacks. (It usually doesn’t happen now, but I still get filled with hatred whenever I read James physically immobilising and stripping Severus.)
I will not excuse Snape's mistakes. He did fuck up many times, no excuses. But I truly believe that if he had a HEALTHY support system, and if there was therapy in the wizarding world, he would've never become a death eater.
Absolutely. His trauma was left unattended and he was a 18/19 year old who was recruited by a charismatic man who promised his young followers power and respect. So many of the DEs we see in Harry’s time were recruited in their late teens/early twenties, and I think it really says a lot. Those are actual methods used in real life cults in order to groom, manipulate, and sometimes even emotionally blackmail people into joining. Severus was clearly a victim, and even if he had the worst intentions when joining, he eventually defected (and by eventually I mean literally less than two years) and fought for the light side 10 times longer than the amount he followed Voldy for, and he was vital to his demise. That more than makes up for it, and seeing people saying shit like “you’re not a hero for cleaning up milk you spilt” makes it clear that his haters have zero reading comprehension or critical thinking skills.
And that's coming from someone who's had a crush on Sirius Black ( the adult one, the younger one can die ) before they turned him into a woke sissy.
lol I’m still obsessed with both the adult and younger one
#you can still dislike him and acknowledge that he’s complex 💀 it ain’t hard to admit that not ALL the characters you hate are irredeemable#anti snaters#anti james potter#pro severus snape#pro snape#severus snape#anti marauderfen#anti marauders stans#anti marauder stans#anti marauders stan#harry potter#snape#hp#ask#asks
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Hey CJ, you mentioned that you disagree with a lot of your old TWDG opinions, any that stand out you wanna share? Also i agree with what you said about wanting to play the series for the first time again with no prior knowledge - i would love to meet louis character for the first time again.
Yeah, some opinions have changed with time and moving on from being a hardcore, active fan in the fandom. I'm pretty sure I've talked about some of them more recently, like how I used to not like Jane but now I've become something of a "Jane apologist," if you will.
I was also super vocal about hating the Clementine comics when the 12-page comic dropped, and I'm pretty sure I was shitty about Tillie Walden... which I look back on now and feel embarrassed. In fact, I specifically remember calling attention to the fact that Skybound turned off comments on the first book trailer and on their instagram, twitter, etc. and being like, "look at these COWARDS! they know we hate the comic and that Tillie's a bad artist, they're trying to shut us up!" ........but then I heard they turned them off because Tillie was getting threats, and it caused me to dig around and see the vile shit fans were saying.... It gave me pause to think things through and I feel very differently about it all now.
I've also changed my mind on Minerva. Like Jane, there was a loooong period of time where I didn't like her, but now? I think she's great. A real tragedy.
In fact, real talk, I think my perspective on most of the female characters in TWDG has shifted dramatically. I've done a lot of thinking on this just in general; I'm much harder on female characters than male characters. I can pretend like noooooo I was always soooo fair... but no, not always. I'm sure it's from some deep-rooted, internalized misogyny I have that I'm working on, but I also think the games sometimes neglect those characters, too. Which makes it easier to brush them off as just "poorly-written" and "bad characters" if I don't like them when that's not always the case.
Or let's be real, we all know how this goes; the games give us a flawed male character and fans are like "he's my blorbo, here's a 50k essay about why he deserved better and a list of my headcanons and the twenty AUs I've written for them-" but then a female character's just as flawed and fans are like "lol she's poorly written, here's an essay on why-"
Don't look at me like that. I know I'm guilty of this. I know y'all remember Mitch. Back in the day, Mitch was my boy and I used to write about him all the time but like... god forbid I put that much effort into writing about Violet or Minerva, right?
Or even look at Kate, for example. Past CJ would've talked about how much she doesn't like Kate and she hates the forced romance with Javi, she's just there as a way to make David and Javi fight, etc. But you ask me about Kate now and I'm like, "Girl, ANF did you so dirty, you didn't deserve this."
Or how about Bonnie in S2? We all love to hate on Bonnie, but like... she's such an interesting character?? She's a recovering drug addict so desperate for a place, and you can see Carver's manipulation at play in the way she talks about him to Clementine. It takes seeing him physically beat Kenny within an inch of his life before she's like "Yeah no, fuck this, we're leaving tonight." And we give her shit about Luke's death and being mean to Clementine but frankly? Yeah, she's mean to Clementine and that's fine.
What, it's okay for Kenny to lash out and call her a stupid kid when Sarita dies because he's your poor meow meow and it makes his character soooo morally gray and complex? But Bonnie lashes out about Luke's death and suddenly she's just a massive piece of shit? No complexities or anything? There's no grey morality? No underlying motive or emotions behind the choice to abandon the group with Mike and Arvo?? She's just a bitch??
And do I even need to talk about Sarah? Hmm? We all know how Sarah was received and how fans still talk about her. Again, Sarah has a complete meltdown over losing her father and people get hurt, and fans wish death upon her... but Kenny has a meltdown and brutally beats up Arvo or threatens to smack Clementine or a number of things.... "that's fine, he's just really upset, he lost his family, y'know? everyone keeps trying to GASLIGHT me that he's bad but if you really think about it, Arvo totally deserved to be abused and it's actually Clementine's fault Kenny hit her because she tried to stop him-"
I just... the lengths we go to justify and defend this violent, toxic character but then act like Jane is the worst, I can't-
It's so funny to me whenever I see someone in the fandom complain about wanting more morally grey, flawed female characters because like... y'all couldn't even handle Jane. Or Lilly. Or Sarah. Or Bonnie. Rebecca. Eleanor. Christa. Minerva and Violet, in a lot of cases. So like... what do you actually want?
Note that I'm guilty of this, too, and I've asked myself that question... haven't fully worked out the answer yet.
That's the major thing that comes to mind about opinions I had that I've changed my mind about. I think a big factor in that is letting twdg go and getting invested in other fandoms, doing a lot more reading, getting back into writing, etc. Obviously I've really gotten into the Dragon Age fandom and that's what triggered this "journey of self-reflection~" when it comes to how I perceive female characters. Like, you want flawed, morally-grey ladies? That's your series... assuming you can actually handle it.
But I also recently finished a playthrough of Fallout New Vegas and remembered my love for Veronica Santangelo, like... I don't care that the game doesn't technically have romance, that's my girlfriend, I love her. Then the other night I finished my first playthrough of Life is Strange True Colors [I know, where the fuck have I been, right?] and I spent 40% of the time looking at flowers, 10% being sad about Gabe, and the other 50% trying to figure out who I liked more, Steph or Ryan.
I've also been reading a lot of wlw novels which is just..... THAT'S a whole mess I won't get into because this is already long enough and you didn't ask. Just know that's also another factor in this reflection.
And to answer the other part of your ask: I miss Louis. I would love to play TFS again for the first time again, that was a fun time.
#asks#twdg clementine#twdg jane#twdg bonnie#twdg kenny#twdg violet#twdg minerva#twdg louis#twdg kate#long answer#haven't posted in a while but i was browsing my inbox and this one caught my attention#this has been on my mind for a while and it's something i'm looking at differently y'know?#and i'm sure there are other things i'm just not thinking of that i've changed my mind about#lemme see..... oh i made that whole post about 400 days! i look at that way more positively than i used to#there ya go that's another one
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been thinking about your black/white "stereotyping tropes" post...
the spies are meant to be comedic foils with no clear personalities- their only moral is "get that fucking guy" ,but from watching the old animations,you can deduce some characteristics from both spies- which are NOTHING ALIKE the stereotypes! White is classier and suave- he is the one the audience usually roots for, he is intelligent and sneaky,but his caution sometimes isnt enough,and leads to him fumbling the job. Black is a underdog who is a little less slick, his embassy is clearly treating him poorly-as they've fired him for some arbitrary reason, and he (in the comics) is very food driven,implying he isnt paid well, and i think we once see him living in an apartment complex,implying he has to share a building with others due to his worse income.
these are just observations-not based on the colour of their attire at all
the fandom just sucks at being nerds and looking into any sliver of subtext.... sad!
I definitely agree that fandoms tend to ignore subtext and opt for tropes in their interpretations of characters (either that, or they'll take one detail from canon and make it into a major aspect of the character's personality). I can, at times, even be guilty of doing so.
Thanks for sharing your observations! I love to hear what people find in terms of Spy vs Spy lore.
I have a lot of thoughts on this, which I'll put under a readmore...
I actually don't quite remember seeing anything in which Black is fired? The closest I can think of is the Defection comic, but he makes the decision to leave his job in that one.
Black has actually lived in houses, and White has also lived in apartments. They have actually been neighbors in a few of these cases! This isn't to say that Black is treated well, as there are multiple instances in which he is blatantly abused by his boss. The fact that he can be food-driven plays into the notion that he may not be paid well (or, possibly, his faction does not have the same resources... or he just really likes food)
As for White Spy being the character people tend to root for, I haven't personally seen this, but I may have just been overlooking it. However, there is/was a bias towards him winning more often due to him being easier to draw.
Something I've noticed is that despite the two oftentimes playing similar tricks on each other, Black is more likely to make more intricate, sometimes overly-complex plans, and White is more straightforward and practical with his. (This isn't to say White hasn't made strange or complicated plans because he definitely has. I just haven't seen it as often from him.) Black Spy's thought processes and behaviors might be more scattered, and White Spy's is more put-together. White Spy also leans more into physical altercation, which can be interpreted as him being physically stronger. He tries to show off and views himself as strong, so that may hold water. Forgive me for not remembering who pointed it out, but someone else in the fandom shared official artwork of the spies in which Black Spy appears to have more skill in range combat than White Spy.
There's actually some contradictions in certain aspects of lore, varying from comic to comic and usually between different artists, as well. There is also plenty of official artwork showing something drastically different from what we're used to seeing in the comics, and probably doesn't have any implications for the canon. Perhaps a multitude of interpretations are equally valid, as long as it's still Spy vs Spy and not... something else. There might as well be several different official loose "storylines" that just share the same message and main points to follow.
#spy vs spy#ace's answers#ace's ramblings#thanks for sending this in!#perhaps in the future i will make another post delving more into the last subject.. when i actually have the time to#i've got a migraine and stressed... i apologize if anything in my rambling is confusing or disorganized
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