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popculturebuffet · 3 years

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Uncle Scrooge by Don Rosa: The Isle at the Edge of Time (Thank You Comission For Rosie Isla)

Hello all you happy people! Today’s review is a bit special as it’s the result of another review. See I had trouble finding a translation of the subject of last weeks’ mother’s day special, Family Ties.

No not that one. I have Paramount+. I can watch all the Family Ties I want and that’s a fact that i’m pleased as punch about.

No it was the story 80 is Prachtig, called Family Ties in the copy used, Della’s first major comics appearance and one that explains what happened to her in the classic continuity, one that clearly served as the foundation for her far more fleshed out 2017 versions personality and backstory. It also had Pinocchio in it for some reason, and spent most of it’s large run time on a meta comedy plot that had nothing to do with the reason anyone wanted to read this story in the first place.

But despite being a vitally important story, it never got an english translation, something that baffled me till I read the story and found cameos of the racist indigenous stereotypes from Peter Pan. In 2014. You may commence booing. Even with how weird the story was I simply couldn’t find the story googling it and the Della tag is too vast and deep to go spelunking in.

So what’s all this have to do? Simple I put out a post last month when neither I nor Kev, who wanted to comission it as part of Moons, Millionares and Mothers, my coverage of all three season 2 Ducktales story arcs, could find a copy and offered a review to whoever found it. Weeks passed I got nothing.. then in the 11th hour I got a break as the lovely @rosieisla found a translation that was on this very site, one she seemed to have helped with. As a result I could do the review and as a man of my word, offered it up despite her clearly having not seen that part of the post and simply having done this to be nice. Still she gladly took up the offer and offered me my pick of two stories: The Carl Barks Story Back to Long Ago or this one.

As for WHY I picked this one Back To Long Ago didn’t seem bad, i’m just not a fan of “The Cast is put in the past as their own ancestors” type deals. Or in some cases put the cast as people from that time period. It’s just not for me and is most often done in TV where it can get really goofy, Beverly Hills 90210 being a prime example of this, though Girl Meets World was no slouch in being embarassing... that being said I really need to finish that show and miss it.

So yeah when put up against a story with two intresting hooks and FLINTHEART GLOMGOLD, even if i’ts not the version that’s my boy, it was no contest. So what are these hooks you ask? Well join me under the cut and find out.

We open with a weird stylistic choice: This story has a narrator complete with caption boxes. Now for those of you familiar with comics or pastiches of comics in tv and film, this probably dosen’t seem like a big deal. It was a common thing in comics from their inception to 90′s to have caption boxes, big boxes of text narrating the action to help move things along faster. It did start to fade out by the 80′s and was gone by the end of the 90′s for the most part, replaced instead with first person narration. It’s the kind of thing you’d see most often in the Golden and Silver Ages, with stuff like tihs

It’s not a BAD device, it’s good old cheesy and bombastic fun and some writers did get clever with it.. like that time Chris Claremont used the narration to yell at a greiving cyclops after he lost a teammate early in his long and storied run on the uncanny x-men.

This is a objectively weird scene that’s still somehow effective by the by. On the one hand it does come off as Chris Claremont essentally bullying Cyclops who already feels guilty for a death that was not in fact his fault as Thunderbird was told the plane he was attacking with fleeing villian Count Nefaria was about to explode and refused to listen.. and that they needed to get rid of either him or Wolverine as both served the same purpose and chose the non-white guy.

On the other htough it comes off just as much as Scott beating himself up in his grief and anger over the event and his perceived failings as a leader. It’s good stuff and shows why this run caught on as this was only three issues in. Also the rest of the issue features the X-Men fighting a giant cyclopian demon that Cyclops accidently freed in his rage by destroying the stone thing keeping him imprisoned. No really here’s the cover

Huh so tha’ts what Nifty’s dad looks like. Neat. Also I REALLY hope we get the X-Men fighting aliens or demons in the MCU. Unlike the XCU the MCU isn’t alergic to getting batshit.. and for the record Deadpool and New Mutants are the exception, not the rule.

My point that I swear I do have is that this was common practice for most comics.. but never really for Disney Duck comics. It popped up ocasionally, like with Scrooge’s introduction, but Barks and those after him never really used them that much. Sure they’d have caption boxes for flasbacks and what not but Barks and Co geninely only used this sort of thing to set up a story. The most i’ve seen it in a duck comic is life and times and even then i’ts usually only used for gags or to set up the passage of time, as the story IS covering decades and thus often needed to have montages to show time passing, and in the case of chapter 11, had to cover decades in the span of a single chapter, so it’s not like they had many other options. So even Rosa as a personal quirk didn’t really use these often.

Rosa used this specifically because he felt the plot was complicated by the use of the international date line. As for what it is, it’s essentially a line marking calender dates from one side of the hemisphere to the others. To use the offical defentition from the National Ocean Service I found via a quick google:

“The International Date Line, established in 1884, passes through the mid-Pacific Ocean and roughly follows a 180 degrees longitude north-south line on the Earth. It is located halfway round the world from the prime meridian—the zero degrees longitude established in Greenwich, England, in 1852.

The International Date Line functions as a “line of demarcation” separating two consecutive calendar dates. When you cross the date line, you become a time traveler of sorts! Cross to the west and it’s one day later; cross back and you’ve “gone back in time."

Despite its name, the International Date Line has no legal international status and countries are free to choose the dates that they observe. While the date line generally runs north to south from pole to pole, it zigzags around political borders such as eastern Russia and Alaska’s Aleutian Islands.”

Rosa felt this made the story complicated.... and that... really isn’t remotely true. The narration is mostly used for gagas and really dosen’t clarify anything. it’s mostly used well in the opening.. but the actual explinations for the date line are clear enough in the story that even if I hadn’t looked the thing up, I still would’ve got it and i’m sure a kid would’ve too. It just feels like a weird thing to ruminate on, especially because he’s got actual things to make up for: while to his credit the native american characters he cribbed from carl barks are sympathetic, their culture respected and treated decently and used for a green aseop, their dialouge is stitled and sterotypical something he dosen’t even comment on (And these trades ewren’t THAT long ago)

And of course it dosen’t help that he dosen’t even comment on using a common device in american superhero boooks.. in the same volume where he ONCE again makes an unwanted and outdated diatribe about superhero comics. I’ll probably cover the Super Snooper Strikes again so I can throughly tear this apart but higlights include: Calling superhero comics “Unwanted” just because he dosen’t like them personally, when people like me would disagree and they’ve lasted through a LOT of highs and lows, outdately saying they took over the American market as the only suitable comics which while true for a TIME,but by 2015 when this book was printed is laughably out of date, as non superhero works like The Walking Dead, Saga, and Scott Pilgrim were massively popular, one of my faviorite comics that is entirely slice of life and would go on to bea huge hit, Giant Days, re-debuted that very year. He also has the fucking gal to insult The Uncanny X-Men by name and I swear to god I did not know this when I made those references earlier, but as you probably guessed REALLY god me livid.

And this is just on his COMMENTS on the story I can’t imagine just how bad the content itself is and having read the first few pages which come off as Rosa using Donald to essentially do an “old man yells at cloud rant” about superhero comics, I really don’t want to. Might make htis a patreon exclusive or again would do it on comissoin. You all make the call.... the point is I don’t likes his elitist bullshit about superhero comics, and this is clearly something that gets my hackles up as I just spent a good two paragraphs of an entirely unrealted review yelling at the guy for it. I don’t like when he does this and this authors notes entirley felt like an excuse. I GET the dark age of comics were bad, they REALLY were that bad, but I will NEVER accept painting an enitre genre as bad just because one work in it is bad. And I wont accept it from someone who himself writes about an often throughly unlikeable anti-hero for a living. Scrooge may not have a gun on his gun on his gun or get to stabbing or have pouches, but he DOES finacially abuse his nephew, scoff at people’s personal troubles, and often refuse to use his wealth to help others in general. So yeah in conclusion Rosa really needs to say less about this subject.

Okay so where were we.. right the story hadn’t even started yet. Jesus.

Okay so our story begins with the narrator. Whose going on about time and what not. The main point of this speech about time is that it’s night in Duckburg and Scrooge is going to bed as, even being the workhorse that he is, he can’t keep going 24 hours. While he’s snoozing though something major happens and it’s the hook that made me pick this story along with the international dateline one.. an island rises thanks to volcanic erruption.. and the lava is GOLD. That’s just pure unabashed classic Duck Stuff: a mysterious treasure or phenominon of gold bound to bring scrooge in.

But Scrooge isn’t stupid: the sun comes up and the world still spins while he sleeps, so he set up a satalite to monitor for this sort of thing. The thing naturally goes nuts.. and even more naturally breaks down becasue Scrooge bought cheap parts. A nice gag and a fully in character way to bring our antagonist into the picture, as the Satellite of Loaded falls in the middle of South Africa... right on the property of my boy Flintheart Glomgold.

This is something Rosa brought up in his commentary for the story i’d never thought about. It turns out Glomgold being a citzen of Duckburg WASN’T an invention of the original Ducktales but the comics: some overseas had understandably moved him from his home country of South Africa. Him bieing in the same town as Scrooge instead of half a world away allows for easier setups and more intresting ones.

Rosa however being obdient to Barks Version of things, ketp Glomgold in South Africa like barks did, which was an .. ifffy decision given Apartheid had JUST ended at the time of this story. Not so much in the reboot as not only had apartheid been long gone by the time of the reboot, but that’s more fair. Still we do get some gorgeous vistas as a result as Glomgold’s minon goes to look at it and finds it’s from McDuck Mining company... Glomgold’s reaction is obvious.

So on that note we cut to Scrooge rushing to Donalds house and forcing him awake and not telling him anything at first. Look his Ducktales Counterpart straight up kidnapped his donald in my last review, I’d call this a win. He also tries to dress Donald while explaning both his panic to find the crashed satlitle and what it found: the golden island. The end result of him dressing donald is worth a chuckle

So after Donald puts his shirt and little hat on our heroes get rollin rollin rollin what keep rollin rollin rollin who to Manilla. On the plane we get the scene I mentioned: The boys make a quip about Scrooge having lost a day and the group go over the international date line. It’s a fun little scene especially Donald trying to get paid early at the end. Classic scrooge and donald stuff without the abusive undertones some of their classic stuff has.

Meanwhile Glomgold works out the data and finds out about the gold island, and his excitement accidently wakes a giraffe outside.. welll it was nice knowing him, Giraffes are the deadliest species known to man.. here’s an educational video t back that up....

youtube

So at Manilla Airport, Scrooge finds out abotu the south african crash, figuring he’ll get a laugh out of glomgold being there ... only for Donald to spot the Jet. Scrooge figures this can’t be anything good... now come on man maybe he’s just promoting his energy drink.

As super sayin god super sayian as my witness, I will never get tired of Ultra Instinct Glomgold here.

Scrooge isn’t so nice about that though and figures he better find out if Glomgold knows about the island and bribes one of the fueling crew for his uniform. He sucesssfully eavesdrops on Glomgold talking to his pilot, finding out from him exactly WHERE the island is. He ends up hilariously botching the mission though: when getting ready to leave Glomgold complains abotu the price of gas and that naturally causes Scrooge, just as cheap, to join in... and Glomgold to find out it’s Scrooge. The two wrestle outside the plane but before this can progress to a game of Naked Robber an airport security guy comes up and Scrooge cleverly claims that Glomgold’s plane has an infestiation, requring it to be quanrantined and allowing Scrooge to jet on.. thoguh not with an actual jet. With Glomgold seemingly dispatched, he can afford to save some money and take his time with a seaplane and I know just the man for the job.

Oh nope looks like he’s busy. So one time related rambles later we meet Keoki, their asian pilot from the tiny island of Wookawooka.. and no that’s not a real place i checked... and no Fozzy dosen’t own it his check bounced. That being said it is a very well done represntation of someone from a smaller country: he’s doing this job to try and bring money back home, but being a seaplane captain just isn’t enough and his island is dying. Scrooge naturally is about as sympathetic as you’d expect, having apparently never even heard of the idea of a bonus when Huey, Dewey or Louie suggests it.

Even less suprising is that Glomgold streaks by in his Jet:turns out Manilla was already overun with the bugs Scrooge claimed and Donald rubs it in that had Scrooge got a JET this wouldn’t of been an issue.

So Glomgold easily beats them there, and to add insult and actualy injury to a cash based one, our heroes get blasted by golden lava on the way in and crash. Should’ve gotten launchpad... got the crashing professional. Keoki is dispondent as this means his people are doomed. He also dosen’t know waht staking a claim is when Scrooge mentions it and the boys bring him up to speed with the poor guy saying he wish he could for WookaWooka. Donald also makes a valid point about how greedy and heartlress scrooge can be.. and really billiionares in general.

No no YOUR the Grouch who refuses to have one drop of emapthy. Donald’s just pissed at your general selfish and terrible behavior.

Glomgold glomgloats and has seemingly won... but naturally that rant that seemed extranious at the time about the date line comes into play: turns out the Island is on it, and since glomgold put his marker int he west, Scrooge simply puts his in the east which is a whole day before. Now GRANTED there’s nor eal legal prescendice for the intetaoinal date line itself , as noted above... but there’s enough witnesses in Scrooge’s favor that it simply does not matter anyway. Scrooge SEEMINGLY wins.

But Huey, Dewey Or Louie instead backs another claim: Keoki’s from earlier. While it was made in gest, he and the others along with Donald back it as witnsses instad. WookaWooka is saved and SCrogoe ends the story yelling at the narrator.

Final Thoughts: Don Rosa.. did not like this story, feeling it wasn’t one of his best and apologizing for it. I however.. really loved it. It’s not PERFECT: the narration feels not entirely necessary and the gag isn’t as funny as he thinks, though the payoff of scrooge saying “it’s time for this story to end” is fucking hilarous. I also feel it’s a bit too compressed: the story is only 16 pages and was only THAT long because Rosa added a few for exposition, a worthy addition. This feels like one of his 30 page adventure stories but slightly crammed into half the length. I also feel the golden island bit was BADLY underused as it’s such a cool setting but barely shows up in the story.

But despite that.. it’s still a fun story: as is standard for Rosa the art is gorgeous and the humor is great. And unlike some stories where Rosa casually ignores how terrible scrooge is, here it’s his own greed and hubris that do him in: had he actually agreed to help Keoki, the boys likey would’ve let him keep the island but his own cold refusual to be a human being does him in, just as his cheapness nearly did. Flintheart is also decent here.. not the deepest foe but frankly most classical duck antagonists really aren’t all that fleshed out, and we still get some good bits with him. The dateline bit, while telegraphing that it will be important, as I said REALLY isn’t that hard to understand. All in all while i’ll agree with Rosa this isn’t his BEST, it’s still a really damn good story and one he shoudln’t be ashamed of.

Tommorow: Green Eggs and ham is back for some train shenanigans! Kay.

Saturday: The Tom Retrospective returns for it’s last detour! Eclipsa and Moon team up to stop meteora but grapple with diffrent wants: One to save her daughter.. the other to stop waht she clearly sees as an out of control monster. The result.. will only lead to tragedy and a hell of a two parter.

If you liked this review consider joining my patreon, patroen.com/popculturebuffet. At as low as 2 bucks a month you get accesss to my patreon discord, exclusive reviews, and to pick a short when I do one of my shortstragavanzas, a marthon of theatrical shorts honoring a characters birthday. And given Donald’s is next month, now’s the time to get on board.

But if you go up to 5 you get a guaranteed review of whatever you want every month, and will get me to my next milestone, which will give everyone including yourself a monthly public darkwing duck review, reviews of the two Ducktales minis’ I haven’t covered (Time is Money and SuperDuckTales) and a reivew of the Danny Phantom film the Ultimate Enemy. So please join today and if you cannot, like this review, subscribe and give me your opinions on it bellow. Or even if you can feedback is always appricated and I will see you at the next rainbow.

#donald duck #scrooge mcduck #don rosa #ducktales #huey duck #louie duck #dewey duck #flintheart glomgold #gold #island #volcaones

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not-wholly-unheroic · 4 years

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Viewing Disney’s Peter Pan Through the Eyes of an Adult

Recently, I’ve seen several posts floating around talking about how Disney’s Hook is difficult for people to take seriously and is much too comical for what Barrie had intended. I grew up with Disney’s Hook. He was my first introduction to the character and the reason why I became interested in reading classic literature, writing fanfic, and seriously delving into the analysis of complex villainous/antagonistic characters, so he has a very special place in my heart and I’m prone to be quick to defend him. Rather than writing a long-winded reply to these individual posts, I decided to just make my own explaining why Disney’s Hook can be viewed as just as tragic and sympathetic as any other version. (You can also read some of my earlier posts defending Disney’s Hook here and here.)

*takes a deep breath* *cracks knuckles* Buckle up kiddos! You’re in for a long ride!

My view of Disney’s Hook as a tragic character lies primarily in my sympathy for him when he switches from a proud, elegant, dangerous character to a shivering mess of a man when the crocodile comes around. Let me attempt to elaborate--but first, a bit of a necessary digression.

Every film/book/play, etc. can be viewed from several perspectives. Typically, there is one character that we are meant to like and who becomes the primary focus of the story. Anyone who opposes that character is automatically an antagonist, if not a villain. Usually, even if the point of view is omniscient, we can still tell that it is not, perhaps, entirely objective in its portrayal of certain characters. This sort of situation happens all the time on the evening news--the interviewer is, in theory, supposed to be a neutral reporter on an incident, but it is often obvious that they favor one side of an issue over another, and as a result, the public's view of the situation and those involved is skewed. The lens through which we view a certain character tends to do the same thing. For instance, in Les Miserables (another favorite story of mine), Javert is viewed as an antagonist because the book is primarily concerned with the redemption story of Valjean; however, if the story was flipped and instead focused on the inspector's character and his transition from a strict legalist to a man so broken by the idea of morality that he commits suicide, he would, perhaps, be viewed instead as a tragic HERO instead of a tragic ANTAGONIST. Javert likely does many GOOD things in the name of the law as well during his career, but we don't see most of them because he isn't the main focus of the book. Similarly, I think Disney’s Hook can be more greatly appreciated as TRAGIC instead of COMICAL when we consider the lens through which we are viewing him.

Disney has always been geared toward children, so naturally, when they tell a story, they want the material to be attractive to a younger audience. This means not only that certain more frightening or upsetting elements of a story may be left out, edited, or altogether changed, but also that WE VIEW THE CHARACTERS THROUGH THE EYES OF A CHILD. (For example, in The Little Mermaid, King Triton's opposition to Ariel going to the surface world is presented in such a way that he seems extremely harsh when, in reality, he is father trying to keep his daughter safe. True, he DOES overreact, but remember, Ariel is only sixteen--not even LEGALLY an adult--and wants to run off with some guy she hasn’t even had a conversation with. But kids can relate to overbearing parents who, in a moment of disagreement, seem like they are being "mean," so that is how the audience sees Triton.) Peter Pan, especially, with its protagonist(s) as a child/children, really magnifies this perspective to the point where, unfortunately, some of the characters become almost caricatures of themselves. When children are legitimately afraid of something, they react one of two ways: Either they run from it/avoid it altogether, or they make-believe that whatever is frightening them is actually a lot less terrifying than it is so that they appear brave. I remember when I was younger, I used to be TERRIFIED of Monstro, the whale from Pinocchio. I couldn't watch the film without getting nightmares. But I didn't want to be afraid of watching the movie, so with my overactive imagination, I decided that I could fix that by turning him into a less scary version of himself and making him into an imaginary friend who more closely resembled Willy the anthropomorphic opera-singing whale from Make Mine Music than the terrifying creature we see in Pinocchio. Anyway, getting back to the point--I overcame my fear of the character by choosing to imagine that he was less scary than he was. This is what a lot of children do, and I think it's why Disney's Hook comes off as being comical.

The first time we see Disney Hook on screen, he actually comes across as pretty terrifying. He literally shoots his own crew member just because he didn't like the guy's singing! Rarely do we actually see Disney villains successfully kill another character on screen, but Hook does not even five minutes into his introduction. Immediately, we get the impression (or at least, a child should get the impression), that Hook is a genuinely dangerous guy. He also seems to regard his loss of a hand as "a childish prank," which further gives us the impression that he apparently has a pretty high pain tolerance and isn't afraid to do horrible, gruesome things to his enemies. If chopping someone's hand off is "childish," then what sort of serious damage does he inflict on his victims? However, this is Disney, and rather than having Hook gut someone or do something else which might scar a kid for life, we soon see he has a weakness...the crocodile. At this point, the Darling kids have been watching Hook for several minutes from their perch up on the cloud and are, probably, starting to have some second thoughts about fighting real pirates when they seem so scary...so what do they do? They do the same thing I did and turn him into a less-scary version of himself. They find his weakness and latch onto it. And since we're viewing things primarily from their perspective, that's how WE start to see Hook too. Hook's fear of the crocodile becomes comical for the audience because the Darling kids are trying to focus on that aspect of him so that they are can forget how terrifying he really is. We see this more frightening side of Hook come out a few more times, such as when he plans to blow up Pan's hideout...and at this point, we even catch a brief glimpse of the more sinister part of Smee when he asks Hook if it wouldn't be more humane for them to slit his throat...AND THIS IS SMEE WE'RE TALKING ABOUT HERE!!! The LEAST frightening of the pirates in ANY version. But I think Disney throws this in just to remind us that Smee is still a pirate, and if HE'S willing to do something THAT bad, Hook is a thousand times worse. However, for the most part, Hook still remains a rather softened, comical version of himself because we are viewing him through the child-lens. Remove that lens, though, and things become more complicated.

Forget, for a moment, that we are supposed to be rooting for the Darling children and Pan, and look again--not as a frightened child who is trying to laugh in the face of danger but as an adult who can feel Hook's pain. I remember one time when I was driving back from the airport in a busy city in the dark and the road was icy...I'm not used to driving in ice, and I'm a naturally nervous driver...At one point, I skidded into the next lane... I literally spent about the next hour hyperventilating, practically rocking myself back and forth, praying, and trying not to cry because I knew if I did I wouldn't be able to see the road. It was horrible... Take that sort of feeling, and I believe it's what Disney Hook is experiencing when the crocodile shows up. Through the "child-lens" it may be funny to see a frightening character in a vulnerable situation, but viewing it as an adult who understands just HOW helpless and terrified one feels in such a situation, you can't help but empathize with Hook. Every move he makes, every tremble in his voice, every look of absolute horror in his eyes tells you that he is not mentally or physically really functioning at the moment. He's on autopilot--he's in survival mode like a wild animal that freezes in hopes that it won't be seen by the approaching predator. Take away the crocodile's obviously silly "theme-music" and Hook's slightly overdone expressions, and you're left with something similar to what we see Hook experience in the novel near the end of the chapter, "The Pirate Ship." ("Very frightful was it to see the change that came over him. It was as if he had been clipped at every joint. He fell in a little heap...he crawled on his knees along the deck as far from the sound that he could go...'Hide me,' he cried hoarsely.") Now we can start appreciating him for the tragic villain that he is supposed to be.

Viewed through the eyes of the Darling children, Hook represents all that is frightening and bad about the grown-up world. If Peter is ice cream parties and summer vacations and catching fireflies in the dark, then Hook is cancer and broken dreams and being worried about being able to make enough money to put food on the table. Barrie, however, tells us that there is much more to both characters than that. Peter has a dark side--a selfish streak that forgets all pain at the cost of never learning from the past, never growing from his experiences and becoming a better person. He is stagnant not only in physically growing up but also in mentally facing reality, which is just as damaging as Hook's attitude of regretting a childhood apparently gone too soon. Hook, too, has a lighter side that loves soft music and flowers and other such things (representative of the good things about being an adult--falling in love, pursuing one's passions in a professional sense, having children of one's own). Disney, of course, doesn't quite do this to the same extent as Barrie since we're given a skewed view of the characters, but it DOES still make a few points which, when stripped of the "child-lens" effect, gives off a similar impression. Peter, for instance, brags to the mermaids at one point about cutting off Hook's hand and feeding it to the crocodile. Though we never get to hear him finish the tale, it is rather unsettling to think that Disney's Pan is capable of such horror. (Personally, no matter WHAT the circumstances of the situation were, I think any real-life child who took such great pleasure in slicing off a body part of another person and then having the presence of mind to feed said body part to a dangerous wild animal would probably be considered a psychopath in need of some SERIOUS counseling.) Disney, of course, glosses over this little inconvenience by having Hook show up before he can really get any further into the story. Again, the child-lens is going up; Wendy doesn't want to see this side of Peter, and neither does the child-based audience, so they choose to look away. However, we see a brief glimpse of this side of Pan again at Skull Rock. First, we see it resurface when he hands Smee a gun and then flies up directly in front of Hook--knowing that he can move out of the way in time. Again, through the child-lens of the audience, it seems funny to watch Smee doing his best (and failing terribly) to aim at Pan...but when you think about it from an adult's perspective, it's actually pretty disturbing. Peter legitimately wants Hook dead and doesn't care if it happens to be at the hand of one of his own crewmen (and arguably, in the Disney universe, Hook's only real friend). When Hook "dies," Peter simply takes the hat and says nonchalantly, "What a pity, Mr. Smee. I'm afraid we've lost the dear captain." It doesn't even phase him that a man might have just died and poor Smee is probably feeling absolutely HORRIBLE because it was (sort of) his fault. Even Wendy's child-lens falters a little here... While Peter is celebrating Hook's death, she at least, has enough of an adult's heart to have compassion on their fallen enemy and turn her face away with an, "Oh, how dreadful!" It happens again a few moments later when Peter is getting ready to kick Hook's hook off the ledge so that he falls into the waiting jaws of the crocodile. (The captain, at this point, is of course, squirming like--to use Peter's phrasing--"a codfish on a hook.") Again, Pan has no sympathy, but Wendy, who is starting to gradually open up her eyes to the truth that maybe staying a child forever isn't all it's cracked up to be and maybe adulthood isn't entirely bad, is losing her "child-lens." Not entirely. Not to the point where she doesn't continue to view Hook as comical to keep from being afraid. But enough to know that what Peter is about to do is wrong. She expresses this verbally when she shouts, "Oh, Peter, NO!"

It is at this point, shortly after the crocodile chase, that we start to see Hook become more of a legitimate threat (and a legitimately sympathetic character) again. Why? Because Wendy, as the protagonist and the one whose eyes we are looking through even more so than Pan, is starting to grow up and face reality for what it is--scary or not. As she sings "Your Mother and Mine" and tells her brothers that they NEED a mother--that Neverland has been fun but they NEED to go home--Hook is throwing Tinkerbelle in a lantern and planning to kidnap the kids and blow Pan to smithereens. And then we get the "slit his throat" reminder (mentioned above)... Also, as a side note, when Hook is ill after the crocodile chase, we hear him lamenting how Pan has made him look like a fool yet again. This is also something that I think we can appreciate more as adults. All Hook's crew wants is to go back to haunting the Spanish Main, but Hook refuses to leave Neverland because he feels that he has to remain there until he can regain his pride...which in and of itself is admirable, since many people who have been played the fool simply hang their head and walk away in shame. Here's this guy who has been bested by a child no more than twelve or thirteen--and possibly much younger... How must that feel? I have been in an emotionally abusive relationship where I was constantly reminded how I couldn’t do anything right, and it felt SO degrading. I literally just wanted to go hide away in my room and cry because I felt so incompetent and useless and just plain stupid. So how does Hook feel? Probably the same way. But he doesn't give up. If there's one thing we can say for sure about Disney Hook, he's a fighter. So, I guess you could say that, in part, one reason I find Disney Hook so sympathetic and tragic is because I can identify with him in his crippling reaction to fear and admire him for his bold attempts to reclaim his pride.

Anyway, getting back on track with the storyline... As we near the end of the film, Hook once again appears to lose face at the final showdown. At first, this doesn't seem to make sense if Wendy is, in fact, beginning to lose the child-lens. However, although Hook is defeated, we are never actually shown that he dies (and obviously, from the second film, in the Disney universe, he doesn't). I remember reading somewhere that when they were originally working on Peter Pan, Walt Disney chose to keep Hook alive and just have him "going like hell" rather than actually dying because, "the audience will get to liking Hook." And by this point, we have...those of us still looking through the child-lens love to hate him as a character we can laugh at, and those of us who are more grown-up love him for being just like us--an adult who is STILL growing up, in some ways, who is STILL afraid of certain things and hasn't always learned his lessons and isn't perfect but also isn't willing to give up even when everything is against him and everyone is laughing at him and nothing seems to go right.

Now, I said that at first, it doesn't seem to make sense for us to view Hook in a comical light in this scene if we are viewing the movie primarily through the eyes of the Darling children--particularly Wendy, who is starting to grow up and realize that adults are supposed to feel things like compassion for one's enemies. However, Wendy is still a child. She IS still afraid of growing up. In fact, she's terrified. And that comes out when the kids are all mocking Hook. He's still frightening to them. They still need the security blanket of pretend sometimes, of focusing on his more comical, vulnerable side...but they don't defeat Hook by killing him in this version, and I think that's significant. As representative primarily of the "scary" parts of growing up, Hook is temporarily cast aside and shoved to the back of their minds, but he IS NOT DEAD. The kids (and even Pan) know he may come back. They know he isn't gone for good. One day, they will have to face adulthood. One day, Hook--in the guise of mortgages and taxes and wars and sickly older parents--will return. But for now, they have defeated him...not just by pretending but by choosing to accept the responsibility of growing up eventually, in their own good time. Even Peter starts to reflect this theme by beating Hook, "man to man" without the use of flight. Wendy, who wants to be the good grown-up but who isn't quite ready to let go of childhood, warns Peter against it, thinking that it may be a trap. She even goes so far as to shout at him to fly when he has the chance even though he has promised not to. But Disney Pan is a bit more mature than some (maybe Wendy's better judgment is wearing off on him), and he keeps his word. He beats Hook "like a man" NOT like a boy. Pan's victory here symbolically reflects the Darling children's decision to face adulthood by going back to London. Thus, Hook is defeated because adulthood is no longer an obstacle which causes a fear is so crippling that the kids can't face it. When Wendy returns home, we get one last glimpse of this truth in Mr. Darling--the real-world representative of all things frightening and frustrating about growing up and, as I'm sure you know, also (significantly) voiced by Conried--who has done some "growing up" himself. Mr. Darling, it seems, is willing to allow Wendy a bit more time to enjoy life as a child, remembering his own childhood fondly, even as Wendy has chosen to accept the responsibility of growing up. Mr. Darling, who much like Hook, was viewed previously by the kids (and by extension, the audience) as a bit of a bully and an object of ridicule, is now the object of Wendy's affection as a mutual understanding is reached. Adulthood is frightening in many ways, but Wendy has also come to realize that it is necessary to take responsibility for one's actions and feel compassion for others just as Mr. Darling has realized that sometimes, it's okay for kids to be kids and enjoy the moment. Essentially, what I'm saying is--borrowing the idea that Hook and Mr. Darling are two sides of the same coin--Hook in Neverland, chased away by the crocodile, appears as comical in the last scene only because he effectively gets one last serious scene through his London counterpart, staring wistfully out the window with a loving wife and child by his side. Wendy isn't quite yet grown up, so she still sees through the child-lens on occasion, but she is learning, gradually, to embrace that which she once feared. She no longer needs Hook, an imaginary figure, to personify that fear. She now has her father back, and though she now RESPECTS what he stands for, she is no longer so terrified of growing up that she can't appreciate the GOOD side of the future (such as having a husband and a family of her own someday) and look forward to it.

#peter pan disney #disney peter pan #captain hook disney #disney captain hook #disney #disney villains #captain hook #james hook #captain james hook

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gammacousin · 3 years

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Okay. I’m ready to real talk Black Widow. I don’t want to but as an activist there’s an obligation I have to share and educate. I nerd to forget but I suppose it shows the power of this movie if it brings something real into the light.

*Spoiler Warning. Trigger warning for everything.*

There are some things I want to say that could potentially spoil aspect of the Black Widow film. I also would advise you to skip this post if you have a darker past, if you aren’t interested in getting serious, or wish to skim by, I’m sincerely not judging! I come on here to avoid the universe as well. You do you, I totally still love you if you don’t read this and want to move onto something nerdy or more fun. This isn’t the post for you.

It’s taken me a while to process and organize my thoughts. Skip if you don’t want to hear deep, raw stories.

Okay. Nerd review first.

The level of girl power and any and all glass ceilings… There is SO much left to do. So much that needs to still be addressed. But seeing 3 women run this show: Yelena, Natasha, and Melina was an absolute joy to observe. This isn’t the end of some hard waged war, it’s the beginning and I beg you; Disney/Marvel. Please give us more of this? It’s so important for young girls to see other girls kicking butt and winning. Quick summary of nerd feelings; Losing Nat still burns. Yelena is a boss.

Okay…Real talk.

I have to get a little deeper here now. My personal story absolutely played into how I felt about this film and I wish I saw some trigger warnings about the material covered. Do I know Black Window’s story? Yes. In and out. I can read it, I can write my FF on it. However. Little to no one knows my story and so absolutely no one is to blame for not warning me. I was not expecting to come out this shook.

I’m sharing this because it’s happening now, today. In the real world. I doubt the film makers had this mind over other social issues, but after feeling like it’s irrelevant, that my pain is somehow less than, I’m realizing through my activism it’s not.

I grew up in a cult where women are not relevant. You matter up to a point. You are useful, to a point. If you’re giving 24/7, you’re not giving enough. If you’re not smiling as you’re doing cult stuff, you’re complacent. In addition to why I’m about to share, my house growing up was not a safe space which is a story for another time. So it’s a stack…this janga-ish game that eventually just comes crashing down.

My trigger started moments after the film started the handing over of the kids. When Alexei chooses the job over the welfare of the girls. Alexei put his two “daughters” in danger to save ‘face’. To put the job ahead of two children…it hit home. In the group I’m from, fathers, mothers, grandparents, siblings will absolutely choose the group over blood. You are nothing and you mean nothing if you ‘defect’. If you break a rule. If you complain. If you say ‘no’. If you put in a bad review for a leader, if you have anything bad at all to say about the organization as a whole. You can confide something deep in someone you trust and it absolutely will come back to hurt you.

The title song shook me completely. This collage of video and images of brainwashing, treating these girls like absolute objects is disgusting in itself. But when you’re raised in this other world, there’s a level of brainwashing that is absolutely unmatched. Videos, books, quizzes, 12 hour lectures, weekly meetings.

People are unified to the point where you lose your own identity. There’s a language- a literally language- words you start to misuse. Verbiage only people in the cult use. Kids of any age will watch any rated film. Frequently the themes are about obedience and or cooperation and the consequences if you do not cooperate/obey. Death is a such a common theme that either you become petrified of your own shadow, petrified of breathing wrong, or turn completely numb. In sharing these videos, the goal is to instill this fear that you will never be enough. That you will die- turn into a charred hot dog of a figure if you do not obey 8 white men - the leaders, in New York. That your friends, classmates, neighbors, family will die if they don’t believe what you do. That you’re held accountable if you can’t bring them to your side.

The song for the credits hit me. I cannot listen to it. I have no idea what it was about.

When I watched the film, I couldn’t focus at this point at gosh barely 15 minutes in. I had already checked out. I heard keywords. “Entertainers,” “I feel stupid and contagious…”

In my world, I did not matter. What mattered was, what was presented to the public. To your group. Meeting some checklist of this perfect family at any cost. You’re not an individual, you’re a number. Literally. Your records are documented by men in the back room- your actions, your track record. But ultimately? You’re part of a numeral equation reported to headquarters. And if you’re a woman, you do not have a say in how you look, dress, act or in what you say. You are as the title song says, …“Entertainers”. You smile. You do your job, and you are ‘happy’ about it. Your job is to dedicate x amount of hours cleaning the room you gather in, and in recruitment of other members…

There’s a ‘job’ in the cult called a “pioneer”. Okay. No, we might not have been trained assassins. But you are trained to manipulate emotionally. To prey on the weak. You get books, magazines, movies, speeches, lectures- you rarely get a free Saturday. Oh and the job isn’t paid. So make sure you’re working (part time because full time secular work isn’t acceptable) at a desk job (because college and getting an education is not allowed). Don’t make friends with the people who work with you, they’re out to get you. Back at the club; You answer questions like it’s some schoolastic quiz every week and quote what your reading. It’s a brainwashing tactic. If you say something enough times, you remember it. You start to believe it. You spend hours reading these things, training… Your job is to target people who have lost- and have lost a lot because they’re vulnerable. You learn to go to cemeteries, and literally stalk people who are grieving. Like Val. If you can catch someone when they’re weak, senses are dulled. They’re desperate. And you bait them with this false promise. This idea that all THEY have to do is change all that they are, join you, and they’ll see their dead loved ones again. That they are doomed if they don’t change. Most pioneers draft 2-4 people per lifetime. If you’re a great saleswoman, you can draft more into this horrific world. And I regret the hours I spent lying, torturing people. For some cult that doesn’t give two cents about me.

I 100% believed of I didn’t convince my classmates, neighbors, to join my side they would either turn me in or they would be killed by a divine being. From 2 years old I was supposedly handing out pamphlets. The doom is not a quick painless death, no. You have visuals. You have men getting up to talk in detail about what your ‘friends’ will look like as corpses. Visually descriptive to the point where I still feel a bit numb to it all. That you will have to bury their bodies after the whole divine destruction. That you will have to “clean up” the earth. You are numb- convinced- bullied to the point where you believe this is true.

If you’re hurt as MANY WOMEN AND CHILDREN ARE, and you don’t have two people to testify and say they saw it- it never happened. Abuse is the norm. And if you speak up about it? You’re called a liar. Your friends cut you off. They think you’ll die along with everyone else if you put in a ‘bad review’ or leave. You’re bullied into submission and taught from a young age that you are not in control of your own decisions. You relinquish yourself under the pretense that the men you have such reverence toward are under some divine being’s control.

Your parents hurting you is acceptable. And don’t you dare speak against your father if he’s deeply involved. Don’t even think about approaching if he’s on a phone call. If you’re hit you take it- because you “deserved” it. And you smile. You shove that pain deep down. You hide the bruise, the cut lip, the depression, the bottles of pills you’re swallowing the whatever….You’re screwed if you faint, throw up, pass out, because you’ve missed a meeting. You better be dying for that to happen…

The idea that is portrayed in the movie (IMO) is that you can forgive family who hurts you. I see people forgiving Alexei and what’s her name. Look- that’s great. It’s a fun film. Alexei is funny. Here’s what I saw; it’s a toxic man- nay- father who can’t accept responsibility. He takes pride in what the girls have become- monsters. Not in who they are at their core. He has no idea who they are. And the mom has this photo album…I’m tearing up. She remembers this a certain way, a wishful thought. I’ve confronted my own mother about our past and had an album thrown at me, “We were happy. You were happy.” The fact is I was told the smile. You’re forcing this perception that everything was normal. That it’s okay to go back. (I’m not taking away Yelena’s view that everything was real to her, that’s fine for the sake of the story, and sweet. The moment between her and Alexei..fine. Milena turns and takes their side at the end, great.) The problem with how I saw this, is that’s not how the real world works. I don’t owe my parents forgiveness when I didn’t mean shit to them. When people leave the cult they’re cut off. Treated like they’re dead. I didn’t find these moments cute, I found them horrific. Hugging me, saying he’s proud of me is the toxic sh** my father would pull. Ignoring the holes in the wall, in my skull, the phony impression he gives to the rest of the group. Hugging me…after sweeping everything he did not only to me, but countless others under the rug because the cult…because 8 men in NY will protect him. Legally. Or otherwise.

I don’t need to forgive my parents. If you’ve been mistreated, you don’t owe anyone anything. They can “try” to do the right thing, that doesn’t somehow block out years of mistreatment. Years of trauma. Sheetrock only patches the surface of the broken walls. Wounds heal but some scars stay with you forever. Metaphorically or otherwise.

‘Entertainers’ was a trigger word because if you’re high enough in the ranking system you’re asked to “testify” or share a story. It’s in front of a couple thousand. It’s an “honor”. What it really is, is a three ring circus. You will only see women on the sidelines reading from the cards while only men stand at the main podium. They’re reading what they have told them to say. Stories are manipulated, cut, changed to fit a narrative that better suits the group of a couple thousand members.

Dreykov. I hate this. But I have to go there. I’m neck deep already, might as well. I think the worst part of all of it is that you can’t touch the person who made you this way. Those 6-7-8 leaders are untouchable. It doesn’t matter what you try. What legal entities, ex groups have tried. There’s a term for us and we are considered ‘mentally diseased.’ Members are told to avoid us. And in case you were curious, no, they can’t just break their nose on a table to be free- if only it were that simple. Gosh that got me. I would cut a limb, split my skull open, if it meant I could just cut a chord. It takes years of therapy and I still have nightmares. Urges to just, go. I’m OKAY. But most escapees are not. If you manage to escape with your life and don’t end it because the pressure, guilt, abuse that comes with leaving is too much. (This is sadly the fate of MANY LBGTQ+ members.)

The only hope is either the group eventually runs out of money or they’re taken down legally. Both of which are impossible since many older members will leave all they have to the group rather than to their family. It’s a complex billion dollar publishing company that plays monopoly with people’s investments, homes, and lives.

If you speak up, you’re the liar. So you cannot free your friends, who have turned on you, already cut you off, and discarded you the day you walked out and didn’t come back.

Watching Natasha, and Yelena free their sisters made me think of every woman who is stuck in this cult. For every woman, child, currently being sexually/physically abused and can’t say sh** because they literally believe god will kill them. If I say anything to them, they block me. If I expose what’s happening they will lie in court. That’s what is happening. And it’s not in the news, it’s not talked about. Because you can’t. You’re forced into silence. There’s a block. A literal legal force field that you cannot penetrate. They have their own lawyers. You can’t break into it. You’ll lose every, single, legal battle you try to fight.

Was this a decent movie? Yes. Was I expecting to share this days after release, no. I’ve been forced into silence for so long, told that people have it far worse and that I shouldn’t talk about it. But just today I saw a grown ass couple in an escapee group, talking about how one trigger word sent them into a depressive spiral. Wondering if some god damn lightening will come out of the sky and knock them dead. And we frickin struggle in silence. People will just shrug and go “oh it can’t be that bad,” while my gay best friend can’t catch an effing break. While someone else suffers at home because god wants it that way. Someone else will bury their kid today, maybe not even hold a funeral for them if they were ‘mentally diseased.’

For people like that couple I met today, like me, if you don’t just see a fun film but a darker past or maybe it’s brought up some memories for you, I’d honestly love to chat!!! Message me! I feel like for as painful as this is to hash out not too many people know about what goes on behind a group of smiling, well dressed woman who come knocking on your door. “It’s just a religion.”

I guess I didn’t realize…the criminal aspect of what happened to me. You’re so ingrained to keep quiet. To smile. To ignore, to suppress. I can smile, joke laugh, but visualizing…inadvertently seeing this mirror was so unbelievably uncomfortable. I would always rather help someone else because it takes me out of my head. Live in a bubble where I can call my trauma a ‘fantasy’. What’s real is when someone like me has a bad day? Lol! Look, my husband literally checks his phone to make sure a conversation never touches a couple hundred trigger words that will absolutely send me into the closet with a gallon of ice cream or a bottle of whiskey. I can’t imagine what someone else, what some other traumatized individual goes through. (Maybe that’s why the Bucky stuff makes me all angry She-Hulk too..)

Look, talking people ex members of this group, out of suicide is a daily endeavor to the point where it’s borderline on autopilot. But having this, I suppose, brilliant, piece of cinema turn the camera around left me raw and writhing and angry. Not for me, but for everyone else still stuck. With every year you spend in that cult, add ten more to therapy.

If you feel like me at all, you’re not alone. Not anymore. We were raised to feel alone in the world. That the universe is somehow out to get us and that’s simply not true. You don’t need the people who raised you if they were absolute shit bags. And you DO NOT have to forgive them for keeping you in that environment. Family isn’t family if they’ve hurt you. You owe them nothing. It is healthy to feel your feelings (and you and your feelings are valid. )

Anyways! I hope to be able to talk about more fun Marvel topics soon. But this felt important so thanks for listening. I’m really not hating guys, this is just…it’s heavy. And I beg you to do your research into cults and to help out where you can.

Love and light,

-M

#black widow film #black widow #cult #cult life #cult escapee #ex jw #apostate #mcu #jw #jwfamily #jwfacts #marvel

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synnefo-nefeli · 3 years

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Working on a WIP scene for Heard Your Heart Beating, my Klapollo friends to lovers post AA5, slow-burn fic

___

//Come fix your prosecutor// read Athena’s text. Apollo groaned wondering what Klavier could have done in the hour Klavier had spent at the WAA.

He adjusted his tie in the mirror of his locker, checked to make sure that he no longer looked sweaty from his ride over from court, and shoved his cycling outfit into his locker along with his helmet.

He could hear laughing on the other side of the office’s front door so that was a good sign, he hoped, as he swiped his keycard through the lock.

“Herr Forehead has finally arrived from his battle with the courts!” Klavier beamed at him with the smile that Apollo was now coming to call “on-stage-mode”. Klavier was sitting on the sofa next to Athena, coffee cups and tea biscuits between them on the table.

He could hear Mr. Wright bustling in the office kitchenette.

“I am back,” Apollo announced, “...and I survived Blackquill-“

“Oh, is that the reason you biked back? Simon didn’t offer to give you a lift?” Athena laughed, “how mean. He needs to learn to leave it in the courtroom.”

Apollo rolled his eyes, “Probably, but I am sure it has more to do with him needing to go down to the precinct and yell at the poor detective who sent him into court with an outdated autopsy report...also, what would I have done with my bike? I don’t want to ruin the guy’s new car by stashing it in the back seat.”

Mr. Wright arrived from the kitchen, fresh pot of coffee in hand, “Wow. A defense attorney having an updated report instead of the prosecution? Never thought I’d see the day...”

Apollo flopped on the couch opposite Athena and Klavier, “Hey. Miracles do happen...and considering all of our court win-streak, we shouldn’t be too surprised that they exist.”

“Here. Here.” Klavier said amiably into his coffee looking as if he was about to attempt to change the subject. Oh, Klavier wasn’t getting away from whatever occurred before Apollo arrived so easily,

“So... what’s this about me needing to fix ‘my prosecutor’?”

Klavier made an amused expression, “Ah, is that what I am called? Well I am honored to be Herr Justice’s”

Athena rolled her eyes, “Oh stop with the charm-“ she looked at Apollo, “he doesn’t want you to know that he’s never been to the Tragic Kingdom”

Apollo stared at Klavier, “Seriously?” which earned Klavier a playful elbow to the ribs from Athena, “Told you he would react like that”

Klavier sighed, “Is it really that big of a deal? Not going to a children’s amuse-“

“HOLD IT!” Apollo didn’t care that everyone about him flinched (“Indoor voice, Polly, jeeze”, Mr. Wright muttered”), “Disneyland is for everyone,” Apollo breathed, “you seriously haven’t gone? Ever? I mean...it’s only in Anaheim. That’s less than an hour without traffic from here-“

Mr. Wright handed Apollo a cup of coffee, “It’s been a while since ‘Mr. Disney Adult’’s shown his face at the office.”

“You say that as if you don’t have an annual pass too, Mr. Wright.”

Klavier appeared lost in the conversation; it was refreshing to see Mr. Tall, Blonde and Unflappable looking out of his depth, “Is it really a big deal that I haven’t?”

“Mm...not so much,” Mr. Wright said before Apollo could object, “well it wouldn’t be a big deal if you were hanging out with someone else, but I mean considering that you two have been spending a lot of time outside of court together, I think it’s more shocking that Apollo *hasn’t* dragged you down there already.

“You act like I go there all the time-“

“Says the person who has scheduled himself to come in late on days where there are morning annual passholder events,” Athena mused, “or how about the time you, Clay and Trucy, just decided to go to Disneyland after work because you wanted corndogs for dinner”

Across from him Klavier made a face, as if silently saying “Corndogs for dinner? Really? What are you, five?”.

Apollo met ‘his prosecutor’s’ eyes, “Those corndogs are legendary, and the only ones I’ll eat,” he rebutted, not caring that Klavier hadn’t actually said anything.

“He has a point there,” agreed Mr. Wright, “so I guess the big question is- how long before Klavier gets pulled into driving Apollo down to Anaheim?”

Klavier looked around the room at all of the other attorneys as if expecting for someone to tell him suddenly that this was all an act. Apollo meanwhile was mentally running through his calendar to figure out when he would have time to properly take Klavier to the park. There was so much to do at work-not to mention, he would have to prep Klavier for his first park visit.

“Do you like amusement parks?” Apollo asked Klavier.

The blonde man simply shrugged, “I’ve only been to a few in my life. Mein family wasn’t really into things like theme parks; didn’t see the value in them as entertainment. And when I moved here, I just didn’t go-“

“Not even grad-night?” Athena asked, “Junie told me that’s what the student council is setting up for the seniors. It’s tradition. Heck, every high school in Southern California does a school trip there at least once.”

Klavier shrugged, “I graduated early, remember? I guess I could have gone to the ceremony with the class that was graduating that year, but I wanted to get mein badge so I went home as soon as I could to pass the bar in Germany.”

“There’s one in France!”

Klavier sighed, “If I asked to do anything outside of museums and cultural experiences while we were in France, I would have been left in Germany.”

“Anyway,” Athena said, “If you’re going to hang with Polly, you’re going to have to go to the parks eventually-“

Apollo felt his cheeks heat, “I mean if that’s not what you like to do for fun, you don’t have to-“

“Oh please,” Mr. Wright interrupted, “I can confidently bet that you’ve been sitting here this entire time planning a trip for him.”

Apollo crossed his arms and sat back in defeat as Athena continued to regale Klavier with anecdotes of the WAA’s trips to the parks as well as Apollo’s impromptu visits,

“Has he shown you his pin collection yet?” Athena said in a tone that was too close to the tone she liked to use whenever she teased Apollo about his and Klavier relationship not being as platonic as Apollo made them seem.

//As if she doesn’t know the actual truth// Apollo grumbled, “Okay enough. Klavier already knows I am a nerd- he doesn’t need any more evidence about it”

“Ach you’re always cool, Herr Forehead,” Klavier smiled again in “on-stage mode”, which made Apollo decide that he needed to show Klavier what he was missing.

“When’s your birthday?” Apollo blurted.

Athena groaned, “Oh my god, Apollo, haven’t you heard of Wikipedia?”

“I like that Herr Forehead doesn’t feel the need to research me, it makes a rock god like me feel practically human,” Klavier teased and then with an amiable grin, “May 23rd.

However-I told you that on Valentine’s Day, don’t you remember?” He said a little too suggestively for Apollo’s comfort,

“I’m hurt that you don’t remember… and here I thought things that were shared during sleepovers were sacred,” he added a pout for good measure.

Out of the corner of his eye, Apollo saw Athena not-so-subtly pull out of her phone to text something, most certainly to Trucy.

Great, he was not going to know peace from either of them for the foreseeable future.

Although, Apollo appreciated that Athena had the grace to attempt to hide her grin.

Whether or not Klavier was aware of what was happening next to him, Klavier only sipped at his coffee.

“So in three weeks. Great, guess what we’re doing to celebrate your 26th birthday,” Apollo announced.

“It’s on a workday.”

“Take off.”

“Don’t you have to work?” Klavier asked

Apollo turned to Mr. Wright, “Mr. Wright, may I have the 23rd off?”

“Of course. Just put it on the calendar.”

Apollo, having won the debate, smiled smugly at Klavier, “Get ready, we have a lot to do before then.”

Klavier looked genuinely confused, “Like what?!”

He was about to ask what Klavier’s favorite Disney movie was, but then Athena’s phone buzzed, “Simon’s here- he needs help bringing up the food...and Trucy says she wants to also go to Disneyland for Klavier’s birthday, I think that’s a good idea; what do you think, boss?,”

Before Apollo could say anything about Athena or Trucy inviting themselves, Mr. Wright smiled and said,

“You know what- unless something pressing comes up and Trucy doesn’t have any projects or tests at school, I think the agency needs a mental health day. Maybe Miles and Prosecutor Blackquill need one too,” he remarked walking towards his office in order to most likely call his fiancé.

Finally alone- sort of. At least until Athena and Prosecutor Blackquill came upstairs with the food. But still, alone enough to enjoy Klavier silently trying to figure out what the hell just happened...or Apollo would have enjoyed Klavier’s genuinely flummoxed expression, except that he remembered how Klavier, despite his celebrity status, didn’t like to draw attention too himself unless it was in court or on stage- and especially not in public.

It was the reason Klavier hadn’t shown up to Clay’s funeral after all. He looked at Klavier feeling guilty for putting his friend on the spot,

“Sorry, if you don’t want to- we don’t have to-“

“Nein, nein,” Klavier said with his genuine smile, “you all are so passionate about it, now I have to experience it”

“Are you sure? I didn’t even ask if that’s how you wanted to spend your birthday-I just kinda got caught up in it.”

Klavier shrugged, “Honestly, considering that I usually spent the last few dragged to stuffy VIP lounges of clubs I wasn’t interested in, with people who, as it turned out, cared less about me- I think this may be a gut change of pace.”

Well that made him feel better...and a bit sad for Klavier, “I’ll make sure you have a good time and we won’t be overwhelmed. A lot of celebrities go to Disneyland, and they don’t get mobbed- people are pretty respectful of celebrities having their time in the parks.”

“You sound as if you are familiar.”

“Clay...worked there for a summer, celebrities would come all the time as park guests. And aside from maybe helping a celebrity escape a crowd, they don’t give anyone special treatment unless they’ve paid for a guided tour-“

“Oh- are we not doing that, Herr Forehead?”

Apollo snorted,“Hell no, you’re going to stand in line for Space Mountain like the rest of us plebes.” Also I’m not about to suggest we spend $800 an hour for a theme park tour...

Klavier’s laugh was enough to make Apollo feel better and better about commandeering Klavier’s birthday. He was going to look forward to these next few weeks in getting Klavier ready for his first time at the park. The thought of movie nights made Apollo feel a bit warm inside. Warm in a way that he hadn’t felt since Klavier had comforted him during his own birthday.

The office door opened, Athena holding it open so that Simon could come through with the large box that contained their takeout dinners. Apollo braced himself for any barbed words from Athena’s prosecutor; considering how the day’s court proceedings had gone, Apollo expected some amount of sour grapes. Instead Simon ignore Apollo and incredulously regarded his co-worker with,

“You’ve seriously never been to Disneyland, Gavin-dono?”

***

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fleomae · 3 years

Text

MMS 194: JOURNAL

Beginning this journal with the ultimate art question of "What does art mean to you?"

I liked what Thomas McEvilley, professor of art history in Rice University said, "The last time I was in Houston, I went to a place called Media Center, where someone had set up posts as in a back yard with laundry hung all over. I immediately knew it was an artwork because of where it was. If I had seen it hanging in someone's yard, I would not have known whether it was art, though it might have been. It is art if it is called art, written about in an art magazine, exhibited in a museum or bought by a private collector.".

To continue with his point, "What's hard for people to accept is that issues of art are just as difficult as issues of molecular biology; you cannot expect to open up a page on molecular biology and understand it. This is the hard news about art that irritates the public. if people are going to be irritated by that, they just have to be irritated by that.".

Something I also find meaningful to this most asked question is perfectly worded by Arthur Danto from Art critic of The Nation, he says, "You can't say something's art or not art anymore. That's all finished. There used to be a time when you could pick out something perceptually the way you can recognize, say, tulips or giraffes. But the way things have evolved, art can look like anything, so you can't tell by looking. Criteria like the critic's good eye no longer apply. Art these days has very little to do with esthetic responses; it has more to do with intellectual responses. You have to project a hypothesis: Suppose it is a work of art? Then certain questions come into play -- what's it about, what does it mean, why was it made, when was it made and with respect to what social and artistic conversations does it make a contribution? If you get good answers to those questions, it's art. Otherwise it turned out just to be a hole in the ground."

And as a religious type of person I find this short saying from Robert Hughes striking. He says, "The Puritans thought of religious art as a form of idolatry, a luxury a distraction, morally questionable in its essence, compared to the written and spoken word.”.

From here you can see the art differences from Catholics, Orthodox, and the many many denominations of Protestantism. I guess growing up in the Philippines most art I experience is about the religious if not historical. It's always been my dream to visit France and Rome to come and see all the "art" people are identifying as but as society moves forward with nano technology, we can see many forms of Computational Art.

For example are the three below...

Digital illustrations, sounds cool right? Well, I was thinking of Digital Kinetic Art at first but I couldn't find an artist that purely does a digital version, so I had to look for other options until I finally found this amazing artist named Sean Charmatz. He was born on August 28, 1980, in San Diego, California. He is an animator of Spongebob Squarepants, LEGO Movie 2, and Trolls. He spent several years as a writer, artist, and storyboard director for the television show Nickelodeon. He also shared his digital art talents with the companies like Dreamworks and Disney.

He is making the mundane normal ordinary things as something worth looking at, with a story to portray from scratch!!! Looking into his art, I don't know if I have a bias reason because I grew up watching Spongebob and I really like the show and other types of cartoons too like "The Adventure Time", "Princess Sophia", "Barbie Movies", "Dora the Explorer", "The Amazing World of Gumball", and the like. It's something I find pleasurable as a younger child (actually until now, but I don't have the leisure time I used to have), and as I see his newest digital illustrations, I can't help but be in awe and smile with a childlike smirk. I might do something like this as he inspired me to make the mundane objects into something fun with a cool story to tell.

Especially now during pandemic, and everyone is asked to stay indoors and minimize social interactions at most. We should be creative to learn in entertaining ourselves and making the most of our everyday situations. He is truly inspiring, and maybe with the practice I'll do, I might be able to make cute short children's comics for the next generation.

Here are some of his recent digital illustrations,

Moving from visuals let's talk about our hearing, let's talk about Generative Music. Majority of my life I've been listening to Pop songs and classical ones, usually made the traditional way 100% human, learning about this algorithm or computer composed type of music is a bit odd for me because it feels technical and numbers complicated, in a way distant and out of touch. Computers are a recent invention by the human race, so we can understand why more and more innovations related to it are still growing everyday, a lot of people who doesn't see it's importance will be left behind and soon enough more and more generative music art will enter the music scene, digital divide will be inevitable.

This type of music scene is "experimental" as it's unknown to a lot of possibilities and very different from the traditional music producers and artists, we still don't know how will it click, is it a fad or here to stay? I'm not sure, but I think more types of sounds will be incorporated in music, specially in movies and other types of effects if it doesn't get popularity in the music industry.

Hatsune Miku, the first ever open-source singer is having popularity around people specially those who like anime and the things of its kind. Only this year I was able to discover this type of music scene and I never expected that Hatsune Miku Youtube music has millions and millions of viewers and subscribers. Music analysis software exists that can predict hits with increasing accuracy, and Google Labs have an ersatz neural network up and running that can make convincing music. Along with all the other jobs currently being destroyed by automation, it looks like the most human of all – music – is under threat.

To move forward let’s go back in 2017, I liked this guy from the College of Business Administration and he is one of those cool distant type of guy who gives this big mystery vibe, and what do you do when someone is mysterious? You stalk them online, so I did and that's how I found out about "hello poetry". I didn't know digital poetry actually has a term, a name but I knew it has a community online, which is cool because you can make an online library and records of all your poems easily accessible online if you're into this thing. I actually joined the platform "hello poetry" after reading a ton about my crush's online poems, in a way I was inspired. Once you join it's nice to see other poets about their works, what others are raving about, and sometimes judge inevitably although some are very beautiful others are also unconventionally short and seems like a tweet. This category of art can fall on art & literature which is something purely human, well as of now. Soon enough computers will be able to make their own poems, maybe there already is.

Here's a link to my first and only poem I published in the community, https://hellopoetry.com/fleomae/

#MMS194 artjournal computationalart #essay

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hereisisa · 4 years

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What do you really think of Anna as Queen? I've seen it's been a topic of discussion lately, just wanted to know your thoughts on it.

Hey, anon!

I’ll try to answer in an objective way, thinking of what I’ve learn from the movies and the books about Elsa and the job.

The first thing that comes to my mind is that Anna has the right heart to do it, she cares so much, and she would like to please everyone, always.

But maybe that’s why she’s gonna be disappointed when she’ll realize that the job will probably put her in front of difficult decisions, when she’s bound to disappoint one of the parts.

I’m not saying she’s naive, but that she never did it before, and (if I’m supposed to look at it objectively, and not just assume “everything will be perfect cause it’s Disney”) it’s something she will have to face, digest, accept, and that will make her grow.

I think that learning she can’t please everyone, and facing the consequences will not be easy for someone who cares so much. (Yes, she decided to destroy the dam and this would have caused her troubles among the arendellians, but thanks to Elsa she never faced the consequences). Dealing with the aftermath of decisions where she’ll disappoint one of the parts, could be more difficult for her.

She is more outgoing than Elsa and this will certanly be helpful in social engagements. At the same time she doesn’t have the patience Elsa has (she even says it in Frozen 2), and while Elsa was “put in her place” once in “forest of shadows”, (which makes me say she should have been more “aggressive” in that particular situation), Anna was definitely extremely aggressive, verbally assaulting a man because she lost her temper.

Together they would be the perfect Queen. lol

Then....The books and the previous movies tell us Anna likes to sleep late, and (when she can) she prefers to spend time outside.Again....if we have to look at this realistically....this is gonna be a problem.

Let’s talk about the working hours now.

In “Forest of Shadows” we see Elsa working from 6am to 10pm, with a pause for dinner. Anna makes her promise to not work on Friday night, so they can have their faimily game night.

In another book we learn Elsa works from 7am to dinner time. Which is a lot already.

So whatever book you pick as canon....that’s a lot. Especially for someone who is not used to it. Let’s add to this the fact that Elsa is alone, she doesn’t have a boyfriend, she’s not engaged, she doesn’t have kids....

What is gonna happen when Anna will be married and with kids? She can’t already work NOW as much as Elsa, and it’s only gonna get worse in the future.

I don’t want to turn this into an anti-kristanna post so I’m not gonna explain again why the dude can’t help her. (Should be obvious tho).

What else?

Oh, Elsa studied for the job, she didn’t. In the Frozen books there are a few references to the fact that when they were kids Elsa spent the time inside studying while Anna was outside playing. I remember one where they were vacationing at a lake with their parents, and Elsa spent her time in the cabin to study while Anna played outside.

So to make it short....she has the heart and the enthusiasm, but I don’t think that’s enough. She has to be ready to sacrifice a LOT for the job, free time, boyfriend, family....and right now what works in her favor (read it as “what makes her better than Elsa) is “only” that she is more socially “exuberant”.

As I said before I think Elsa and Anna together would rule perfectly cause they compensate each other’s flaws.

We have been told together they are the bridge, then Jenn told us they are both the 5th spirits, they would work better as 2Queens.

This is what I think.

Then, if I have to pretend Anna will be the best queen evaaaaa just because she wants it...I can do it, lol but it’s not what the story tells me.

Not that the past movies/books ever stopped them from doing what the damn they wanted, so...........lol *shrugs*

#Frozen 2 #Anna #Elsa #2Queens

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red-will · 3 years

Link

I don't know what to do with good white people.

I've been surrounded by good white people my whole life. Good white people living in my neighborhood, who returned our dog when he got loose; good white teachers in elementary school who pushed books into my hands; good white professors at Stanford, a Bay Area bastion of goodwhiteness, who recommended me M.F.A. programs where I met good white writers, liberal enough for a Portlandia sketch.

I should be grateful for this. Who, in generations of my family, has ever been surrounded by so many good white people? My mother was born to sharecroppers in Louisiana; she used to measure her feet with a piece of string because they could not try on shoes in the store. She tells me of a white policeman who humiliated her mother by forcing her to empty her purse on the store counter just so he could watch her few coins spiral out.

Two summers ago, my mother showed me the welfare reports written about her family. The welfare officer, a white woman, observed my family with a careful, anthropological eye. She described the children, including my mother, as "nice and clean." She asked personal questions (did my grandmother have a boyfriend?) and wrote her findings in a detached tone. She wondered why my grandmother, an illiterate Black mother of nine living in the Jim Crow South, struggled to find a steady job. Maybe, she wrote in her loopy scrawl, my grandmother wasn't searching hard enough.

This faded report is the type of official document a historian might consult if he were re-constructing the story of my family. The author, this white welfare officer, writes as if she is an objective observer, but she tells a well-worn story of Black women who refuse to work and instead depend on welfare. Occasionally, her clinical tone breaks down. Once, she notes that my mother is pretty. She probably considered herself a good white person.

In the wake of the Darren Wilson non-indictment, I've only deleted one racist Facebook friend. This friend, as barely a friend as a high school classmate can be, re-posted a rant calling rioters niggers. (She was not a good white person.) Most of my white friends have responded to recent events with empathy or outrage. Some have joined protests. Others have posted Criming While White stories, a hashtag that has been criticized for detracting from Black voices. Look at me, the hashtag screams, I know that I am privileged. I am a good white person. Join me and remind others that you are a good white person too.

Over the past two weeks, I've seen good white people congratulate themselves for deleting racist friends or debating family members or performing small acts of kindness to Black people. Sometimes I think I'd prefer racist trolling to this grade of self-aggrandizement. A racist troll is easy to dismiss. He does not think decency is enough. Sometimes I think good white people expect to be rewarded for their decency. We are not like those other white people. See how enlightened and aware we are? See how we are good?

Over the past two weeks, I have fluctuated between anger and grief. I feel surrounded by Black death. What a privilege, to concern yourself with seeming good while the rest of us want to seem worthy of life.

When my father was a young man, he was arrested at gunpoint. He was a Deputy District Attorney at the time, driving home one night from bible study when LAPD pulled him over. A traffic violation, he'd thought, until officers swarmed his car with shotguns aimed at his head. The cops refused to look in his wallet at his badge. They cuffed him and threw him on the curb.

My father is mostly thankful that he'd stayed calm. In his shock, he had done nothing. That's what he believes saved his life.

I think about this while I watch Eric Garner die. For months, I avoided the video, until we arrived at another officer non-indictment. Now I've seen the video of Garner's death, as well as a second video I find even more disturbing. This second video, taken immediately after Garner has been killed by a banned chokehold, shows officers attempting to speak to him, asking him to respond to EMTs. They do not yet know that he is dead, and there's something about this moment, officers shuffling around as an EMT seeks a pulse, that is so bafflingly and frustratingly human, so different from the five officers lunging and wrangling Garner to the ground.

In the wake of this non-indictment, a surprising coalition of detractors has emerged. Not just black and brown students hitting the streets in protest but conservative stalwarts, like Bill O'Reilly or John Boehner, criticizing the lack of justice. Even George W. Bush weighed in, calling the grand jury's decision "sad." But even though many find Garner's death wrong, others refuse to believe that race played a role. His death was the result of overzealous policing, a series of bad individual choices. It would have happened to a white guy. The same way in Cleveland, a 12-year-old Black boy named Tamir Rice was killed by officers for playing with a toy gun. An unfortunate tragedy, but not racial. Any white kid playing with a realistic-looking toy gun would have been killed too.

Darren Wilson has been unrepentant about taking Mike Brown's life. He insists he could not have done anything differently. Daniel Pantaleo has offered condolences to the Garner family, admitting that he "feels very bad" about Garner's death.

"It is never my intention to harm anyone," he said.

I don't know which is worse, the unrepentant killer or the man who insists to the end that he meant well.

A year ago, outside the Orange County airport, a white woman cut in front of me at the luggage check. She had been standing next to me, and soon as the luggage handlers called next, she swooped up her things and went to the counter. She'd cut me because I was black. Or maybe because I was young. Maybe she was running late for her flight or maybe she was just rude. She would've cut me if I had been a white woman like her. She would've cut me if I had been anyone.

Of course, the woman ended up on my flight, and of course, she was seated right next to me. Before the flight took off, she turned to me and said, "I'm sorry if I cut you earlier. I didn't see you standing there."

I often hear good white people ask why people of color must make everything about race, as if we enjoy considering racism as a motivation. I wish I never had to cycle through these small interactions and wonder: Am I overthinking? Am I just being paranoid? It's exhausting.

"It was a lot simpler in the rural South," my mother tells me. "White people let you know right away where you stood."

The problem is that you can never know someone else's intentions. And sometimes I feel like I live in a world where I'm forced to parse through the intentions of people who have no interest in knowing mine. A grand jury believed that Darren Wilson was a good officer doing his job. This same grand jury believed than an eighteen-year-old kid in a monstrous rage charged into a hailstorm of bullets toward a cop's gun.

Wilson described Michael Brown as a black brute, a demon. No one questioned Michael Brown's intentions. A stereotype does not have complex, individual motivations. A stereotype, treated as such, can be forced into whatever action we expect.

I spent a four hour flight trying not to wonder about the white woman's intentions. But why would she think about mine? She didn't even see me.

In elementary school, my older sister came home one day crying. She had learned about the Ku Klux Klan in class that day and she was afraid that men in white hoods would attack us. My father told her there was nothing to worry about.

"If a Klansman sat at this table right now," he said, "I'd laugh right in his face."

My mother tells stories of Klansmen riding at night, of how her grandmother worried when the doctor's son—a white boy—visited her youngest sister because she feared the Klan would burn down their home. When I was a child, I only saw the Klan in made-for-TV civil rights movies or on theatrical episodes of Jerry Springer. My parents knew what we would later learn, that in the nineties, in our California home, surrounded by good white people, we had more to fear than racism that announces itself.

We all want to believe in progress, in history that marches forward in a neat line, in transcended differences and growing acceptance, in how good the good white people have become. So we expect racism to appear, cartoonishly evil like a Disney villain. As if a racist cop is one who wakes in the morning, twirling his mustache and rubbing his hands together as he plots how to destroy black lives.

I don't think Darren Wilson or Daniel Pantaleo set out to kill Black men. I'm sure the cops who arrested my father meant well. But what good are your good intentions if they kill us?

When my friends and I discuss people we dislike, we often end our conversations with, "But he means well."

We always land here, because we want to affirm ourselves as fair, non-judgmental people who examine a person not only by what he does but also by what he intends to. After all, aren't all of us standing in the gap between who we are and who we try to be? Isn't it human to allow those we dislike—even those who harm us—a residence in this space as well?

"You know what? He means well," we say. We lean on this, and the phrase is so condescending, so cloyingly sweet, so hollow, that I'd almost rather anyone say anything else about me than how awful I am despite how good I intend to be.

I think about this during a car ride last weekend with my dad, where he tells me what happened once the cops finally realized they had arrested the wrong man. They picked him up from the curb, brushed him off.

"Sorry, buddy," an officer said, unlocking his handcuffs.

They'd made an honest mistake. He'd fit the description. Well, of course he did. The description is always the same. The police escorted my father onto the road. My father, not yet my father, drove all the way home without remembering to turn his headlights on.

Brit Bennett recently earned her M.F.A. in creative writing at the the Helen Zell Writers' Program at the University of Michigan. She is currently a Zell Postgraduate Fellow, where she is working on her first novel.

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pocketseizure · 4 years

Text

Disneybound

Case #0180602. Statement of Ted Nakamura, regarding a strange experience at the Haunted Mansion attraction in Disneyland, California. Statement recorded directly from subject on June 2, 2018.

Jonathan takes the statement of someone whose memories may not accurately reflect the events of his childhood. He then has a short conversation with Martin and learns something (perhaps not so) surprising about Elias.

The events of this story take place after Episode 103, "Cruelty Free" (the one in which Jon reads the statement of a farmer in New Zealand with a monster pig).

( This story is also on AO3. )

. . . . . . . . . . . . . . .

Jon cast a level gaze at the American sitting on the other side of the table. He was fit and clean-shaven, and he appeared to be in his early thirties. He wore a wide grin and a bright red shirt depicting Minnie Mouse posing in front of the Eiffel Tower.

Jon sighed and pressed the record button of his tape recorder.

“Statement of Theodore Nakamura – ”

“Call me Ted, please. Or Teddy, if you like. All my friends do.”

“Ted Nakamura, regarding a strange phenomenon he experienced at the Haunted Mansion attraction in Disney World – ”

“Sorry, but it’s ‘Disneyland.’ Disney World is the one in Florida.”

“In Disneyland, California. Statement recorded directly from subject on May 25, 2018.”

“This is exciting! I love the detail you’ve devoted to authenticity. The tape recorder is a nice touch.”

Jon grimaced. “Statement begins.”

A hint of uncertainty crept into Ted’s smile. “I’ve never done this before. Is there a protocol? Maybe some sort of standard introduction I should start with?”

“Just tell me about the incident you came to report. You can start whenever you’re ready.”

“All right, I’ll start at the beginning.”

Ted clapped his hands on his knees and took a deep breath. Jon watched as his eyes made a brief circuit around the densely packed shelves arranged in disorderly rows at the rear of the room before finally coming to rest on one of the objects jammed between the accordion folders and cardboard boxes. He’d witnessed this process often enough that he could pinpoint the object of the man’s attention – a cloudy snow globe with a tarnished metal base. It wasn’t connected to any of the cases on file in the archives, merely something Gertrude had brought back from one of her travels on a whim.

“I guess you could say that I’m not the sort of person who would be the star of a Disney movie,” Ted began. “I’m not an orphan, and I had a happy childhood. My mother was an architect who moved from San Francisco to Los Angeles during the construction boom of the 1980s, and my father went to business school at UCLA and never left. His family is from Seattle, and they made some money in real estate in the 1990s. We’re comfortably middle class, but I went to one of the big public schools in Orange County.”

He paused, seeming to expect some sort of reaction. When it became clear that no such reaction was forthcoming, he continued.

“Even in LA, where everyone tries to stand out, high school was all about belonging to a group. I didn’t have any interest in the grandstanding of my school’s Gay-Straight Alliance, and I didn’t have the looks or the talent for the student theater club, which is where a lot of kids like me spent a year or two on their way out of the closet. Mostly I kept my grades up and my head down as my circle of friends from middle school gradually went their separate ways.

“My mom worked from home, and she made sure our house had the first high-speed internet connection in my neighborhood. I don’t mind admitting that I spent a lot of time online. I posted an embarrassing number of bad stories about cartoon characters on LiveJournal, and I eventually ended up being invited to join a popular Disney fan community moderated by a friend of a friend. All the people I spoke with on the comm were strangers, at least at first, but we gradually got to know one another as we responded to each other’s posts and comments.

“Between one thing and another, we somehow managed to figure out that most of us were the same age. Oddly enough, a lot of us lived in SoCal, so we decided to meet up over the summer at Disneyland. Everyone showed up, and we had a great time. We met again the next summer, and then again after my senior year.

“Nothing bad happened, but I stopped updating my LiveJournal after that. I went to college in New York, got a job in the city, and fell out of touch with most of my online friends.

“I moved back to LA four years ago, not that I do anything glamorous. I manage the back end of a tech company’s website and intranet, mostly database stuff, but I still have an IG account. I started it just for fun, but I joined early and picked up more than a thousand followers in less than a year. Someone suggested that it would be cool for me to visit to Disneyland and post photos, so I thought, why not? Like, I love Disneyland!”

Jon cleared his throat. “And what is this ‘strange incident’ you came to report?”

“Hold your horses, I’m getting to it. It’s important that you know my background, right? What I’m trying to say is that I’d only been to Disneyland three times before. It wasn’t a major part of my life. But it was a good part of my life – that’s important.”

Jon nodded in acknowledgment. “Very well, then. Duly noted.”

“Disneyland was considered to be a little seedy when I was in high school, but it’s gotten fancy in the past ten years or so. It used to be that you could just walk in, but these days you practically have to make an itinerary. So I did some research, got a group of people together, and we went and saw the sights. Everyone wore an outfit to match the style of a character, and we took a lot of pictures. The photos were so popular that I hit 5k followers in less than 24 hours, can you believe it? Everyone and their sister is into DisneyBounding these days, but picking up that sort of following from on-location fashion photos was still a thing you could do in 2015.

“Like I said, I had a happy childhood, but no one ever paid me that sort of attention. It was such a dopamine hit, you have no idea. Or maybe you do?”

Jon grit his teeth. “Please continue with the statement.”

Ted laughed. “Pushy, aren’t you? But that’s all right. It’s weird, but I feel like I can tell you anything. Has anyone ever said that to you before?”

“You’re not the first.”

“Maybe it’s the librarian thing you’ve got going on – or archivist thing, sorry. Puts me right at ease. And I appreciate that. If there’s an adult who willingly goes to Disneyland for fun, especially someone like me, people tend to think that’s creepy. The therapist I was seeing at the time called it ‘Peter Pan Syndrome,’ of all things. I never went to another appointment with her again, but that’s beside the point. What I’m trying to say is that I kept going back to Disneyland, usually with friends but sometimes with my boyfriend, who I met on Insta. We bonded while sharing theories about the Haunted Mansion, which is… Well, it used to be my favorite ride in the park. It still is, I guess, but I can’t go on it anymore.

“It took me long enough to get here, but this is the part of my story that should interest you. The reason I like the Haunted Mansion is because it reminds me of my mother, who passed away from a heart attack while I was living in New York. It was very sudden, completely out of the blue, and I never got to say good-bye. I never cared about the Haunted Mansion when I was in high school – we all thought it was cringe for some silly teenage reason that probably involved how awkward it would be if we were in the dark with each other. It wasn’t until I visited the park again as an adult that I finally went on the ride. When I did, I had this sudden flashback to a childhood memory.

“I must have gone to Disneyland with my parents when I was young, because standing in the dark and listening to the music made me recall being on the ride with my mother. This was during the lead-up, before you get in the Doom Buggies and begin the ride proper. I remember being absolutely terrified by what I thought was an endless maze. I felt like that line, after it entered the building, lasted forever. Kids can be like that sometimes, but my memory of this is crystal clear – the corridor genuinely didn’t end. I felt like there were people all around us, there had to be, but somehow it was just me and my mother, alone in the darkness.

“And then I remember that this terrible thing appeared out of nowhere. I’m not sure how to describe it. It definitely wasn’t a person in a costume, but it was too realistic to be the projection of a cartoon, and it was talking to us in voice that sounded like laughter and crying at the same time. Like it was hurt, but it found its pain amusing. Meanwhile, the walls kept stretching, and as they got taller I started to see awful things in the gaps between the ceiling and the floor.

“My mother held my hand the whole time. She kept whispering to me: ‘It’s going to be okay. You are brave, and you are strong. Nothing in here can hurt you.’ Just that, over and over, until the ride was over.

“When we finally got out, I ran straight to my dad, who knelt down on the pavement on the other side of the gate and hugged me. He and my mother both patted my back as I cried. I was so relieved to be outside again that my tears wouldn’t stop.

“My dad seemed confused by how afraid I was. This didn’t occur to me until I started thinking about it much later, but isn’t it strange that he didn’t understand why a young child would be frightened by a scary ride?

“I moved back to LA almost immediately after my mom’s funeral, but Dad became a little distant with me. We were both grieving, and it must have seemed callous to him that I was posting shots of myself at Disneyland on social media right after Mom died. Really I just needed a break from the move, from my job, from mourning, from everything – and I guess a part of me felt like my mother would never die as long as I kept returning to that memory of her holding my hand in the Haunted Mansion.

“My dad eventually moved on and married a younger woman. She would probably be my evil stepmother if my life were a Disney movie, but she’s actually a princess, and I adore her. I spend more time with her than I do with my dad these days, but I’m trying to do better. I thought I could reconnect with him if I took him along with me on a visit to the park, but he turned down my invitation. He told me he enjoyed my photos, but that he had never been to Disneyland and had no interest in going. Too many screaming children, he said.

“That was a surprise to me, so I told him about my memory of the Haunted Mansion. While I was talking, his face went completely pale. I don’t mean that as a figure of speech – it was like all the blood had been drained from his skin.

“He insisted that he had never been to Disneyland with me and my mother, but then he told me something strange. When I was about five years old, we went to visit his family in Seattle. My grandfather had just taken on management of a property in Capitol Hill, one of the old Gothic Revival mansions that used to be common there before the neighborhood gentrified. It was an old house, almost as old as the city itself, but my grandfather was having trouble finding potential buyers. The property had been designed by the student of a famous British architect by the name of Robert Smirke, and he wanted my mother to come take a look. Do a walkthrough, point out any potential areas of interest and value, that sort of thing.

“According to my father, my mother had a bad experience in that house. She refused to talk about it with him or anyone else, and she never went back to Seattle. She took me along with her on her tour of the property, and I was apparently just as upset as she was when we came out, even though my dad says we spent less than ten minutes inside. If I thought this place was the Haunted Mansion, and if the ride at Disneyland evoked such a strong memory, it makes me wonder – what did we see in that house?

“I checked with my grandfather, and he said the property never did find a buyer. The only person who seemed seriously interested was a British woman by the name of Gertrude Robinson. Shortly after she made inquiries, the place burned down. Imagine my surprise when I ran a search and learned that this Gertrude Robinson was employed by an institute dedicated to paranormal research.

“So,” Ted concluded, meeting Jon’s eyes, “I gave you my statement. I hope it will be useful to you. I was wondering what you could tell me in return.”

“Not much, I’m afraid. As you can see, we’re still in the process of organizing our records. We’ll investigate to the best of our abilities and contact you if we learn anything.”

“I would love that, thank you. Well, you have my information so…”

“We’ll be in touch. I believe I see my assistant Melanie hovering around. She used to have a large following on social media herself. I’m sure she’d be happy to show you outside.”

“So you’re from LA,” Jon heard Melanie say as she held the door open. Ted directed his dazzling smile at her, which she returned before allowing the door to slam shut behind them.

“Statement ends,” Jon muttered as listened to their conversation growing fainter. He ended the recording and leaned back in his chair.

“Any thoughts you’d like to share, Martin?”

“Oh, I, um,” Martin stammered. “I didn’t want to interrupt the, you know. The statement.” He rubbed the back of his neck as he emerged from between the shelves.

“It’s fine, Martin. It was a relief. To know that you were listening.”

“I’m sorry, I… What? It was?”

“I’ve never been good with people like that.”

“People like… Wait, excuse me?”

“People who are so…” Jon made a vague gesture to illustrate his point. “Sunny. Bright. Content. When someone comes here to make a statement, they’re usually upset.”

“Ah, right. I can see what you mean. But he looks like he just got back from a trip to the happiest place on earth.”

“The happiest place on earth?”

“You know, Disneyland Paris.”

“Disneyland Paris? They finished construction?”

“A few decades ago, actually.”

Jon sympathized with Ted Nakamura’s father. Between the crowds and the relentless sunshine, he couldn’t imagine a more ghastly location, and by this point he considered himself something of an expert on cursed geography.

“I don’t suppose we’ll have to go there ourselves to investigate,” he said, making an attempt to smile. He failed. His muscles were still tense from the process of taking a statement, and his face felt frozen.

“Really? You… want to go to Disneyland Paris? I suppose I could come too, I mean, if it’s not…”

Jon was alarmed by how red Martin’s face was becoming. Did Martin want to go to a theme park? Jon didn’t know much about Disneyland – or Paris, for that matter – but his childhood had been unusual, to say the least. He’d never asked, but Martin’s family couldn’t have been much if he had nowhere to sleep but down here in the archives. Perhaps he could use a vacation. Perhaps they both could.

Jon turned to face his assistant. “Martin, I…”

“Did someone say Disneyland Paris?”

Jon frowned. “Does this conversation interest you, Elias?”

“I heard you were planning a trip. You really must go sometime. It’s fantastic, quite the experience. I went myself, back in 1996.”

Elias made a quick series of taps on the screen of his phone before holding it out in front of him. Jon and Martin leaned forward to get a better look.

In the photo, Elias was posing next to someone wearing a Mickey Mouse costume. He wore an aloha shirt over denim shorts, and he was grinning from ear to ear. The camera had caught him in the act of pulling a tall man with a square jaw and a severe expression into the frame. The image quality was poor, but the man seemed far too pale for the summer sunshine.

Jon’s frown deepened. “And that is…?”

“Oh, this is Peter. You’ll meet him soon enough, I’m sure.”

“Do you, um. Do you go to Disneyland often, then?” Martin asked.

“Just the once. Peter lost a bet, you see.”

“Right.” Jon couldn’t put his finger on it, but he had a bad feeling about this.

“I wouldn’t mind going back. We could all go together, make an office party of it. It would be fun. You do know what fun is, don’t you, Archivist?”

Martin’s eyes darted between Elias and Jon. “I don’t think it’s safe to…”

“Come now,” Elias interrupted. “Would you have any reason not to?”

“China.”

“Excuse me?”

“China. I need to follow up on a statement, something Gertrude was looking into before she traveled to New Zealand.”

“Excellent. I’m glad that’s settled. I’ll leave you to your preparations, then.”

“Damn it.” Jon clenched his fists on the table as Elias left. A trap had been set, and he’d walked right into it.

“Don’t feel bad,” Martin said, oddly perceptive. After everything they’d been through, Jon was coming to appreciate that about him. “At least we know that Elias is still human. He likes Disneyland, after all.”

Jon wasn’t convinced that a fondness for theme parks qualified someone as being ‘human,’ but what would he know? He had to admit that Elias was right about one thing – it would do him good to get out of the archives.

“Are you really going to China, then?”

“I suppose I am.” Jon removed his glasses and rubbed his forehead.

“I’ve always wanted to go someplace like that, somewhere far away,” Martin said, his eyes darting to the tape recorder on the table. “I’d like to hear about it. If you don’t… If you don’t mind, of course. Maybe I could, I mean, we could go out for a coffee together. After you get back.”

“All right,” Jon replied, replacing his glasses. That would be rather nice, actually. “After I get back.”

#The Magnus Archives #Jonathan Sims #Martin Blackwood #Elias Bouchard #Haunted Mansion #full episode format #canon compliant #ghost stories #my fic

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darkwingsnark · 4 years

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FIC WRITER MEME

Tagged by @prince-luffy

AO3 name: DarkwingSnark

Fandoms: ...SEE, I’m in lots of fandoms. Or at least, I’ve written for them during hyper-fixation periods. Let’s see what AO3 says...

Batman: The Animated Series (20)

Batman - All Media Types (7)

Wander Over Yonder (Cartoon) (6)

DuckTales (Cartoon 1987) (5)

Penn Zero: Part-Time Hero (5)

Penguins of Madagascar (3)

James and the Giant Peach - Roald Dahl (3)

Darkwing Duck (Cartoon 1991) (3)

Disney - All Media Types (3)

Dan Vs. (2)

Milo Murphy's Law (2)

Randy Cunningham: 9th Grade Ninja (1)

The Batman (Cartoon) (1)

Lady and the Tramp (1955) (1)

Looney Tunes | Merrie Melodies (1)

Winnie-the-Pooh - All Media Types (1)

Alice in Wonderland (1951) (1)

Gummi Bears (TV) (1)

Winnie-the-Pooh (Disney) (1)

.... Honestly, I feel like there’s more that this list isn’t covering. Like Phineas and Ferb isn’t here and I wrote for that show too. And many of these can be simplified and condensed because they belong to similar fics.

Tropes: Depends on the fic. But as a whole, tend to write Romantic Comedies with a lot of slow burn. Mostly because... struggle is funny. People being dumdums and oblivious to the obvious is funny. Aaaaand also because it allows the episodic quality of shenanigans to occur.

Number of fics: Up and posted on AO3? 53. Does not include stuff on FF.net or that’s sitting in google docs begging to be finished.

Fic I spent the most time on: Not sure how to read this. Does it mean active man hours? Or does stuff like having a hiatus in-between count? Because TECHNICALLY ‘Real Value’ was started in high school, and I didn’t rewrite it and carry on the series (with Moonie) until many years later. There are also fics like ‘Growing Love’ or ‘Priorities’ that took a lot of time to do research. Like learning how to build a lawn mower so I could have a character believably break it apart for repairs.

....God I do a lot of research that doesn’t go into the actual fics. Because all I need, really, in the confidence of what I’m doing to be the character and describe an action here or there.

Fic I spent the least time on: Probably something drabble related? Or maybe the fic I did that was just me venting out emotions because I was feeling guilty? ‘A Mother’s Intuition’ was written and posted within a couple of hours.

Longest fic: Complicated. The longest thing written is technically an RP, NOT a story. (Different, trust me.) ‘What Happens in Gotham’ has a word count of 207,413. But fic wise at 89,022 word would be ‘The Constant Gardener’ .

Runner up being ‘Priorities’ at little over 87k.

Shortest fic: Drabbles? Uh, let’s see.. Probably from ‘Beauty and Your Worth’, as i think one was literally a paragraph long. ... Speaking of Gummi Bears, I wonder if I still have my notes on the GruffiGusto fic I wanted to write. Something to look into.

Most hits: Apparently ‘Fallen Hard’ at 5354

Most kudos: Also ‘Fallen Hard’ at 518. There... were more fans of Milo Murphy’s Law than I realised.

Most comment threads: ‘Fallen Hard’, 193 comments. ‘What Happens in Gotham’ following at 185.

Most bookmarks: .... that’s something people care about? I hardly ever bookmark things, since I read it in one go. But... I can look?

Ah.... ‘Fallen Hard’. 63

Total word count: 971,833 Oh hey! Almost a million. That’s something to celebrate.

Favorite fic I wrote: 'Knights of Dobenshire’. Hands down. (With ‘Heart of the Cards’ being very close.) I like writing road trip styled stories. It allows many things to happen within the narrative. BUT, ‘Knights of Dobenshire’ wins because it was such a satisfying conclusion of this build up, you know? Scrooge is finally no longer just putting up with the relationship with Fenton, but fully embracing it. That surprise feeling that hits him when he realizes, dear lord, he IS attracted to Fenton beyond affection.

It hits me more than a mutual pining because there I KNOW they will get together. But here? While writing with Moonie? I DIDN’T KNOW! I was worried in the end we’d have to write another fic to finally reach that step. Scrooge is stubborn and does what he wants, let me tell ya.

Fic you want to rewrite/expand on: 'Fallen Hard’, ‘Season of Miracles’, ‘Going with the Flow’, pretty much anything that isn’t complete. BUT, not posted, I really want to get back to more of the stories planned in the McCrack series. It was a ship I kinda made from the ground up, with nobody caring about it in the beginning. So it feels very important to see that series through.

Share a bit of a WIP or a story idea you’re planning on:

... Actually, I can share something from 'Donald’s Party (Working Title)’. @swampy-tiefling and I started. Just the first scene to get you guys hooked.

Donald took a deep breath of air from the doorway of the house and sighed, once again pleased to find himself at his home away from home. Traveling the seas and exploring the world with the navy were its own rewards, he supposed, but there would never be anything quite like the countryside-- the middle aged mallard having practically been raised on Grandma Duck’s farm. Donald Duck was happy to be on shore-- his naval carrier being docked for the week in Duckburg as they replenished supplies and took care of whatever repairs that were needed. Whatever excuse his bosses wanted to use were fine by him, he was just happy to not be scrubbing decks for a change!

That didn’t, however, mean he was able to rest and relax-- as the duck was startled out of his thoughts as somebody bumped into him. That somebody was his grandmother as she came to, just having caught her plate of cookies before they fell.

“My land, Donald! What in the world are you doing hiding here when you should be meetin’ and greetin’ the guests?”

Donald ignored the woman’s soft glare as he waved her off, using his other hand to steal a cookie in the process. Stuffing it in his mouth, he murmured out a response.

“Phooey, they’re just relatives.”

“Even more of a reason to go out and talk to them.” Before the sailor could argue, Grandma Duck placed the plate of treats into his hands. “And put these out on the snack table while you’re at it. Poor Fethry is looking peckish.”

Donald rolled his eyes, but otherwise did as he was told. Wasn’t it just like life to make him work at his own welcome home party? Walking towards the open yard where the party was taking place, it didn’t take long to reach the table, where his cousins were already gathered around as they chat.

This instantly caught the attention of the lankier duck, his gaze zoning in as he smiled widely towards Donald in greeting.

“Well if it ain’t the guest of honor, with snacks to boot!” Fethry leaned closer, his red hat wobbling with him as he continued to inquire. “Say, cuz, ya wouldn’t happen to know if these are gluten free, would ya?”

Donald gave him an unimpressed look.

“You’re not going on another crazy diet, are ya?” Though, in all honesty, he was more worried his looney cousin might try to drag him along-- and after months of eating nothing but mush, he would NOT miss out on his first chance to pig out on actual home cooked meals.

"Not crazy at all, actually!" Fethry grinned that goofy grin. "See, it's all right here; Gluten Free; It's the Way to Be' !" he shoved a rather lengthy-looking hard cover book in Donald's face. Donald had no choice but to stare at it, the words all blurring together from its close proximity to his eyes. The offending object remained there for only a second, however, before it was yanked back, the nutty mallard already busy flipping through it.

"Let's see, here, there's a fascinating chapter I think you should-- Don?"

Phew, that had been close. Donald was still in sneaking away mode, and jumped and yelped when he was tapped on the shoulder. Oh no. He'd been caught, after all. He slowly turned, with a forced, toothy grin, to face his fate.

A wave of relief washed over him when he saw his girlfriend, Daisy, smiling sweetly at him, instead.

“And where do you think you’re sneaking off to, Mister? You’ve been gone for so long, and here we are, with you haven’t even given me a kiss ‘hello’ yet.”

Now there was something Donald didn’t mind doing, as his girlfriend leaned in her face for her reward. Wrapping his arms around her, he planted the biggest of smooches to her temple.

“Gaww, I’m sorry Daisy. I really did miss you.”

This earned him a soft smile, as it was Daisy’s turn to kiss him on the forehead.

“And I missed you, hun. Now, tell me… why WERE you sneaking around?”

“Grandma put me on entertainment duty.”

“Well, “ his girlfriend began, “it IS your party, after all. They came to see you, seems fair to me.” This made the sailor groan as she looked at him unsympathetically. Rolling her eyes, the reporter sarcastically patted her boyfriend in comfort. “There there. Now don’t go sneaking off for real, the boys will be arriving soon. And Grandma tells me Uncle Scrooge will be bringing along a special guest.”

“Special guest?” Donald asked incredulously. “Like who?” This caused Daisy’s eyes to glimmer all the more in mischief, a look that told him that she knew something he didn’t know. And that something was big news, if he was reading her right.

“Oh, nobody TOO special, I suppose,” Daisy was stalling, and it was driving Donald up the wall. The duck woman continued her teasing. “Nobody except your uncle’s new date friend.”

"Date friend?" Donald practically exclaimed, prompting Daisy's grin to grow all the more smug.

"Yep! You've missed quite a bit since you've been away, you know."

"No kidding...well I'll be..." Donald was shaking his head, but he was smiling. Uncle Scrooge, dating, at his age... it was nothing short of a miracle. It was about time, too!

"Meanwhile, why don't you go say hi to the rest of the guests? I know it's hard..." she rolled her eyes. "but at least make an effort, okay? Thanks, hun!"

Donald's heart fluttered as she smooched his cheek, and left. He glanced out over the yard, and saw quite a few familiar faces; Gus, Ludwig, Gladstone... heck, even Gyro Gearloose had shown up!

He sighed, but this one wasn't a sigh of pure despair. It did feel nice to be home, surrounded by people who most likely cared, and his nephews were even going to show up soon. Not to mention, he'd get to tease his uncle for finally taking his advice on the whole dating thing.

That alone gave Donald the pep in his step he needed as he threw himself back into the party-- where he knew his crazed family would be waiting for him.

#long post #fanfiction #snark life #disney ducks #mccrack #meme

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itszephoria · 4 years

Text

Saw this pop up and your followers ask you which ones they’re interested in. But people don’t really ask much when I post or they don’t ask the ones that might make you feel uncomfortable. And well, honestly I’m so bored that I’ve decided to break all the damn rules and just answer all the questions because I can. *shock horror*

So information dump on the ‘Be nosy’ that popped up in my feed today. If you’re interested.

Be nosy

1. What’s your sexual orientation?

Straight. But maybe for the right woman I could sway but wouldn’t go so far as to call myself bi or bi-curious though.

2. What are you obsessed with right now?

Obsessively obsessing about my health and how to get well and failing it all. Oh and anime movies on Netflix.

3. Ever done any drugs?

I do drugs everyday. But I assume this is referring to illegal. No and was strictly no up until recently. I now take marijuana oil on a regular basis for pain management. Also being stoned/high is not pleasant and I don’t understand why people would enjoy that as a leisurely pastime.

4. What piercings do you want?

I want to get my ears pierced again. Holes have closed up, but currently due to my health that’s not possible. I can’t even enjoy clipons :(

5. How many people have you kissed?

The massive number of 5.

6. Describe your dream home.

It’s tiny in the sense it has all the space I need. A cosy tiny-like home. But not one on wheels, fixed to the ground. And it would be made of all natural materials, stone and wood. It would be unique and resemble something out of a fairy tale. It would sit a beautiful clearing with only nature to view in the distance and all the animals and wildlife would stay well away because I’m pretty much terrified of all it,

7. Who are you jealous of?

Healthy, painfree people. I am jealous of past me who didn’t realise how lucky she was and miss her.

8. What’s your favorite show to binge?

I don’t binge any show on repeat. I’d rather look for a new show to watch or enjoy, there are so many. The last shows I binged in two days was Queen’s Gambit and Emily in Paris.

9. Do you watch porn?

Yep. But struggle with it because it’s overdramatic, unrealistic and would kill or someone to make porn with a decent storyline with people that can act.

I prefer to read it if I’m honest or maybe just write it for myself.

10. Do you have a secret sideblog?

Sort of? More like my other one I used I was known for all my slash writings in F1. But now I just hang out here.

11. If you could teleport anywhere in the world right now, where would you go?

No where. The world is riddled with co-vid and well, I’m probably in one of the safest countries and I’m at risk of death should I catch it. So I’ll stay here in my safe bubble.

12. What’s one of your fantasies?

I wake up tomorrow and I’m not me. I wake up and I can take a deep breath without gasping for air, I wake up in no pain, I wake up and my body isn’t terribly scared, I wake up and can have a ‘normal’ life.

13. Do you have/would you get your nipples pierced?

Nope and no desire too. Won’t that just hurt?

14. How would you spend a million dollars?

I’d by that dream house I described, set everything up to be self sufficient. Pay and travel to try every cure available for my diseases. And then bank the rest and live off interest. Or maybe donate it. I don’t want money and I don’t really want a lot of things.

15. Are you in a relationship?

Yep and it’s a struggle and am constantly fighting to prove it’s worth continuing. Oh and that’s a relationship with myself.

16. Do you follow porn blogs?

No.

17. Are you angry with anyone right now?

No, I suppose it’s more disappointed and let down by people more than angry. I’m working everyday on letting it go but it’s not easy.

18. What tattoos do you want?

I have always wanted one, but have never found something that I really loved and haven’t been imaginative enough to create something unique. The older I get though, I’m not sure I want one. I did for the longest time though think about getting a Ferrari tattooed on my inner wrist, but pleased I never did that. I don’t love the sport or Ferrari enough anymore to want a permanent reminder of that.

19. If you could change your name, would you? What would you change it to?

I am changing name actually. Hoping to action that in the next two weeks. I would have done it earlier but they closed the borders. I have a dutch sir name that has two words. It confuses every one, systems don’t get it, it has caused issues with plane tickets. And well I’ve decided no more and am dumping a portion of it.

20. What is something you’re obsessed with?

This is a duplicate. Skipping.

21. Describe your best friend.

When you meet her for the first time she can be a little crazy and wild, and she kind of scared at me first because she’s so unlike me. But as you got to know her, the *real* her she doesn’t let people see, you realise how kind and soft she is, and she’s the most empathic person I have known. She gives so much of herself to everyone, thinks so little of herself and her needs because she’s one of the most selfless people I know. I love her more than most of my family and would do anything for her.

22. Tag someone you think is hot.

Is this followers? Uh most I don’t know what they look like? I assume they’re all hot!

23. Who are five of your favorite bands/musical artists?

Don’t have any really. My music is varied and is based on my mood and really changes around. And with most bands, I generally lean towards one or two songs. This is one of those questions I really struggle with whenever I see it. Will say however, have been enjoying The Beatles recently and a bit of old school stuff.

24. What are three places you want to travel?

Japan. Norway. Canada.

25. Describe your perfect Friday night.

Generally hanging out with people I like. Enjoying a good wine, some cheese, either playing some board game or dungeons and dragons, or watching a really good movie. Good company makes any night a good night.

26. What’s your favorite season?

Autumn. One because I think it’s neglected as a choice and every season should be loved, and two because I love the colours of autumn and the colours associated with autumn.

27. What’s your pet peeve?

I’m sure I have a heap of them, but currently it’s people that have an issue with you and instead of being an adult and talking to you about them choose to silence and blank you. I’m so tired of it, I’ve quit being peacemaker in those situations, those people are no longer worthy in my book.

28. Who is the funniest person you know?

Uh... I don’t think anyone I know is super funny. Friends and family all have a good sense of humor. But out of my circle of life people I’m always told I’m the funny one, which I find the biggest joke ever.

29. What’s the most overrated movie?

Can not think of anything off the top of my head. I will say if I think a movie is getting too much hype I refuse to watch it, whether all the reviews are raving or not. It’s why I didn’t watch Harry Potter for like ten years or any of the new Star Wars movies. I just refuse to be apart of all the hype and jump on bandwagons.

30. Tag someone you want to talk to but have been too shy to message.

I’d love to talk to everyone. I’m shy to start any conversations to be honest and I think all the people I talk to regularly were the first to message me, and I love them for it.

31. Do you like paper books or ebooks better?

100% love an old fashioned paper book. The texture of the paper. The smell of a book. That being said, I don’t think I’ve picked up a proper book to read in years. I live in fan fiction more than anything or am busy writing myself.

32. If you could live in a fictional world, what world would you pick?

Any of the disney worlds, anything from the past, or verging on fantasy like. I want a simpler time not full of technology which I grow to hate more each day. The older I get the more I’m pretty sure I’ve been born in the wrong decade.

33. If money was no object, what would your wardrobe be like?

I’d build the perfect wardrobe capsule. Everything would be of high quality, not necessarily brand name and all the clothes would be sourced from ethical businesses or be handmade.

I like classic pieces, love the fashion of the 50′s and 60s and while stylish it would be comfortable to wear and everything could be worn in public (sorry comfy tracky pants).

34. What’s your coffee order?

There ain’t no coffee order. I don’t drink it. Sorry @leoni-speedyf1 I know how addicted you are to it, happy to buy you anything you like though :P

35. Do you have a crush on anyone?

In real life? No one.

36. Do you still have feelings for any of your exes?

Not romantic. I have feelings in that I hope they’re doing well, achieving what they want and they’re all happy. I didn’t have any ‘bad’ breakups and all my relationships ended very amicably.

37. Have any tattoos?

No. See above for more on this.

38. Do you drink?

Rarely. Can’t with medication and condition. But on occasion I do enjoy a good glass of red. Pinot Noir is my preference.

39. Are you a virgin?

Nope.

40. Do you have a crush on any of your mutuals?

Not in a romantic way? The ones I talk to regularly I love immensely though.

41. How many followers do you have?

42. Describe the hottest person you know.

Uh all the men I know I am not attracted to. Probably a good thing as they’re either family or partnered with a friend or family member.

43. What’s your guilty pleasure?

Can’t think of anything. I try not to feel guilt for anything I enjoy to be honest, whether it’s food or an activity. Life is too short for that.

44. Do you read erotica?

Yep. Even write it.

45. What’s the worst date you’ve ever been on?

It was a few years back. I met this guy online and we went to the city and spent most of that time just strolling next to the river for our first meet up. Why was it the worst date ever? Well it wasn’t the location that’s for sure.

The guy had two kids, and I’m a firm believer all parents have favourites, though I have yet to meet a parent that will voice that aloud. This guy, had no qualms with telling me about this favourite kid, and that wouldn’t be a problem if didn’t spend just as much putting down his younger son. It kind of left me reeling and wondering how his son felt if his dad didn’t hide just how much he didn’t like him as a person. The kid was four and the reason his dad didn’t like him was because he didn’t like bikes.

And so the guy was a bmx rider so he spent the rest of the time on our walk just pointing out all the tricks he could do. He didn’t ask about me, only talked about himself. It was also lunch time and assumed we would get something to eat together, but nope, no food was offered. And when I suggested to get something to drink because it was so hot and we’d been out in the sun for like an hour, he just took me to a subway and told me to get a drink and waved me to the line. No offer to join me, no offer to pay (which doesn’t bother me btw, but this was capping off a terrible day), no offer to get food.

I was so happy to get out of there. Didn’t speak to him again once I had left.

46. How many people do you follow?

I currently follow 59 people. I don’t follow anyone that creates drama, and try and follow only people that post about F1 as that’s all I use tumblr for now.

47. If you could marry any celebrity, who would you pick?

Either Sebastian Vettel or Ryan Reynolds. Both are married though, so I don’t think that’s going to turn into a reality anytime soon.

48. Describe your ideal partner.

I want someone that shares the same core values as me. Doesn’t want kids, isn’t super religious (grew up in a cult like religion so I avoid it now), is on the minimalist side and isn’t someone that needs new things things all the time or is desperate to replace something the moment they deem it out of date. Someone that doesn’t live their life on social media. Someone that prefers simple things, someone who is kind and giving, and someone that truly loves me - and it’s the last part that I struggle with finding more than anything with all the guys I have dated.

I am currently not looking for a partner, I am not in a place for a relationship and am fully focused on myself. And I am very content with that decision.

49. Who do you text the most?

Currently my bestie.

50. What’s your favorite kind of weather?

Clear blue skies and a warm day to enjoy the sun. But there are times when I simply love the rain, hearing it on the room, watching it fall endlessly and knowing that everything will be green from it.

#all about me #long read #tried to be open and honest

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samwise-though · 5 years

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Sabrina’s Top Ten

This is a little bit (a lot bit) out of my blog’s wheelhouse, but I ask you guys to bear with me! For one of my seminars, I have to do a Top Ten project, in which I talk about ten different things relating to Pop culture, music and/or theory. So, if you don’t want to read this, that’s fine! I’m putting the bulk of the post under the cut!! This is basically just me commenting on how weird pop culture is, and fangirling about Taylor Swift.

(Sorry Dr. Burke, you’re absolutely going to have to read about Taylor Swift, and I am realizing that after Adorno I’m incredibly cynical about popular culture now)

#1: Taylor Swift: Archive, Collecting and Identity

I think as I began this year, there was this feeling of necessity to blast off with the song “22” from @taylorswift’s album Red. All the way back in 2012 little fifteen-year-old Sabrina knew that when she turned 22, she would be playing that song All. Day. Long.

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Here’s the thing though: while yes, I did listen to “22” more than any of the other songs on Red that day, I also spent a lot of time listening to the rest of the album as well. I came to the realization that I could identify with the album better than ever. There was something so profound about the way @taylorswift captured that moment in time, in her life, and have it still remain so relatable. I spent a long time considering this, but it wasn’t until I encountered Jean Baudrillard’s The System of Objects that I really began to find a way in which to understand what was happening for me (and undoubtedly many others, considering Swift’s success). In chapter two: “A Marginal System: Collecting” Baudrillard references Maurice Rheims’ ideas of collecting for children, “For children, collecting is a rudimentary way of mastering the outside world, of arranging, classifying and manipulating”. Ultimately, collecting is a way in which we learn to form identity - and what is an album, if not literally a collection of music that in and of itself acts as an ultimate tool of identity construction? I’ve been listening to @taylorswift’s music since her official 2006 debut. That is a lot of time spent self-identifying with a musician and her music. Constructing even part of your identity from something that is a collection that is very much a large part of someone else’s identity is such a weird concept. Why do we do that?

Even more interesting though, is the fact that Taylor has said on multiple occasions, that her albums are like diary entries (not to mention the great number of other people drawing that particular comparison). Thus making each album that she has released up until this point a small archive, collecting and ordering that point in time. Either way, @taylorswift continues to find success in creating archival collections that are reflective or refractive of her own identity.

With the release of Lover and the inclusion of her diary entries as an addition to the deluxe versions of the record, it follows in the history of including controlled snippets of her life in the physical copies of her albums. From the first five albums, she included secret coded messages within the lyrics of each of the songs. In 1989, Taylor included copies of polaroids with lyrics written across the bottom of them, each numbered - so you knew you got certain ones, and not others. As well, starting from 1989 @taylorswift has also included voice memo recordings from her writing and recording sessions, so that fans can have a better understanding of her creative process.

All of these details add to the personal feeling that @taylorswift‘s albums seem to emanate. This feeling is only magnified through the additions of the diary entries in Lover (deluxe). Each album is a carefully constructed archive of @taylorswift‘s life, that her fans then go on to add to their own ‘Taylor Swift collections’ and continue to alter their identities through the new piece of the collection that she has created.

#2: The Reproducibility of Childhood

If there is anything in recent memory that should be considered with Benjamin and mass-reproducibility in mind, Disney and the company’s capitalizing on re-making all of their old animated films should be discussed.

They did this really clever marketing tactic in which they pretty much re-do the original trailer they released for the original movie, shot-for-shot with the new film footage:

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I will admit it didn’t work quite as well with the 2015 version of Cinderella, in which they altered a greater amount of the story, as compared to The Beauty and the Beast. Obviously, the trailer that has found the most success thus far with this tactic, was the most recent release of The Lion King.

What is the most intriguing thing is that Disney is embracing the past iterations of the movie, basically just repackaging the old story in (for most of the movies) live-action acting rather than animation and selling the audience very nearly the same exact thing. And not only are they very blatantly reselling the masses the same thing, but they are also saying, with these side-by-side trailer comparisons that “hey, look, we're doing this thing exactly the same way” and without question, we buy into it because it is familiar and feels of childhood. Having read Adorno’s Culture Industry Reconsidered, I feel as though we should really be taking a moment to question why we are allowing Disney to amass so much capital from movies that we have already seen. By drawing on our cultural memory of these movies that were so fundamental to many children in Western society growing up, Disney is literally monetizing our childhood memories. It is just as Adorno says, “The culture industry fuses the old and familiar into a new quality.”

While these movies get a shiny new paint job, it is still blatantly the old and familiar.

But I guess Disney has always been about capitalizing on memory.

#3: The ‘Classics’ and Aura

I have spent a lot of time over the past year, shaping my identity. I made a lot of life-changing decisions, one of which was to go to grad school. It was not a quick decision, and it more or less happened over the span of a year, during an English course I took. The class was a lecture on Victorian and Edwardian literature. I found myself really fascinated by the Victorian novels that we started the class with. When we got to Thomas Hardy’s Tess of the d’Urbervilles I was a goner.

I fell in love with Hardy’s story and my love for the Victorian and 19th-century studies only solidified further throughout the semester. However, my entire experience at the university has been plagued with serious imposter syndrome. Thoughts of how “I don’t belong here,” and that “I don’t really know what I am talking about” were the soundtrack playing in my head every single day. I was always worrying that I had grossly misunderstood the texts we were studying, my interpretations were wrong, and that I would make myself look like a fool. All of these feelings, when analyzed at a later time, were all rooted in the idea that we were studying ”The Classics,” narratives that were part of the Western Literature Canon. How could I possibly understand literature that was considered “Great”?

There is a constructed aura around the literary canon that is also extended to the place in which that canon is taught. A very elitist feeling that has been cultivated since the beginning of higher education. For me, when making the decision to continue my university education by taking the leap to apply for Grad schools, this aura only grew - to the point in which it almost feels that it will be impossible for me to get into a graduate program. It feels as though Graduate programs are meant for a specific group of people - and somehow I am evaluating myself to not fit into that group.

But what exactly is it that still continues to be such a fundamental influence over the population that University is considered elite, and those narratives should be the ones to makeup Western Literary Canon? Is the legacy of Colonialism still so etched into our ideas that we literally still believe that the novels that a bunch of white dudes agreed were good are the be-all-and-end-all of good literature?

What’s bothersome about this is, I didn’t get to start asking those sorts of questions, and experiencing a wider array of literature until I reached my upper-level seminar courses, for my honours degree.

Courses that you cannot take unless you are a part of the honours program.

Ironic isn’t it? The elitist aura can only be questioned from well within the elitist institution.

#4: The Avengers: [Streaming]Game

Marvel’s first cycle has now come to an end with Avengers: Endgame. It’s odd to think just how emotionally attached the fans (myself included) have become to the superheroes that, many of which will not be returning after this installment in the Avengers franchise.

(Loki Gif included because bae deserved better - and a TV show that I have to pay for absolutely does not make up for it)

Marvel is now going to capitalize on certain character deaths (see above), by giving them TV series and prequel movies to help entice the masses that have been so invested in their stories up to this point in the cinematic universe. The problem is, though, any character receiving a show, it will only be aired on the Disney + streaming service.

The Disney + streaming service comes long after Netflix, Hulu, Amazon Prime and other streaming services have already established themselves. The issue that arises out of this system of individual streaming platforms, is that subscribers have to either subscribe to every new platform that arises or else to pick an choose which content they are willing to not have access to. It's a ridiculous system, and it will make it nearly impossible to have conversations with those around you because it should be a safe assumption at this point - ad if not now, certainly in the near future, that no, they probably haven’t watched it, because they don’t have access to it.

This is obviously just a new way to control the products that companies produce. But it also brings to mind Benjamin and his ideas regarding mass production (”Work of Art”). Has the aura of the film been diminished because of the sort of re-producibility that come out of easy access (watching it any time you want), or, has there been a new mutated aura created for these films and tv shows because of the lack of access people may have to multiple platforms?

I guess we got what we wanted, easier way to access the tv shows and the movies we love, but at the cost of having to choose where we are willing to spend our money. It's a very Adornian thought, in that we wanted something, it was produced to the best possible economic value for the companies creating them, and then we continue to buy into the product.

#5: Sparknotes and Memes

If you have a twitter account, and like literature, you should really check out SparkNotes’ twitter account.

They have become more and more popular over the last few years due to their use of the relatable internet language we know as memes. They, of course, are not the first company to engage with their users in such a way, many companies have been using social media to brand themselves in a very personable (and personified) way.

By doing this, they are making themselves appear more accessible to today’s youth, who are primarily influenced by what they see and interact with on the internet.

There is something less sinister about SparkNotes utilizing the internet and memes to direct themselves to the younger audience - they are after all an educational aid group in which they are providing texts in more manageable and understandable terms.

Other companies, however, like fast-food restaurants who utilize social media as though they are an individual rather than a company... That is quite a bit more insidious.

#6: Concert Movies

I want to return to music once again. But not in the traditional sense. I want to discuss concert movies.

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There is something so weird about concert movies! They seem to exist in a separate space from actually attending a concert with live music and listening to the album. There is something very artificial in the sense that most of the time it feels very engineered, because of camera cuts and camera changes, and the difference in going from a front-row perspective to the camera shot cutting away to a wide shot so that the stadium is in full view. But then it also fulfils its purpose as “live music”. There is this sense in which it feels like you can’t look away, in case you miss something, even though you can pause it!

It is a heavily controlled, or perhaps, curated experience. Realistically, there are so many different cameras that are recording the same moments, that in post-production they are able to choose the best possible moments to cut together to provide to the viewers (I avoid the word audience here, because there is, in fact, a physical audience that we as viewers of the movie, are separated from).

I looked into the history of concert movies, and a quick google search led me to Pink Floyd: Live at Pompeii a concert movie in which Pink Floyd played a short set of songs to no audience and recorded it.

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Which is an odd concept, especially when you think about how it inspired other artists to film concerts.

That they played.

To no one.

I could see with Pink Floyd it being more of an artistic venture, but more recent concert movies like: Jonas Brothers: The 3D Concert Experience, Reputation Stadium Tour and Justin Timberlake + the Tennessee Kids all are more framed as giving the viewers the opportunity to experience the show, but still having them remain apart from it. Some of these concert movies feel as though they were produced to allow those who did not have the opportunity to attend the show in person the chance to experience what that might have been like, others are made with the intent to give the viewer a little bit more of the backstage/behind the scenes experience. What all of them have in common, however, is the opportunity for the artists to profit once again off of the shows that they have already played.

Whatever the purpose is behind the movies being produced, they all are this weird experience of not-actually-being-there and knowing exactly what it would have been like to have attended.

#7: Instagram: Curating the Self (Definitely inspired by Sophia’s Presentation)

The Instagrams of popular artists are heavily curated to really emphasize their brands (”that’s very on-brand for you”), and who they are trying to portray themselves as. I feel as though no one really does this better than @taylorswift.

Shortly before she released reputation she wiped her Insta clean and started sharing gifs of different parts of a snake - a motif that she fully embraced for that particular era in her career. It was a practice she embraced again, leading up to the release of the first single of Lover. While she didn’t wipe her Instagram clean again, she did lead up to the release with little hints and teaser images that were all very inspired by the colour scheme and feel of the new album:

If you look at any artist’s Insta account you will find at least some of this curatorial work.

This brings us once again, back to the class on collecting, archiving and how collecting plays into identity construction. Each artist is curating their identity that they want to show the world (not unlike the discussion that we had involving Lana Del Rey and the front that she presents to the world, instead of her true self).

The work that goes into the Instagram account is mirrored in every public appearance, every show they play, and every interview they give. It is an odd concept when considering it in regards to the artist, but it becomes even weirder when we consider it in terms of just everyday people. We curate our lives on social media platforms to present ourselves in the best way possible. And we don’t have millions of people watching us while we do. Perhaps the hope is that the ideal that we portray could someday be reached, and that's why we continue to collect the images and videos to construct the ideal identity for ourselves.

While my life certainly isn’t very glamorous, I definitely do at least some curatorial work on my own Insta.

#8: Nostalgic Television

There has been a resurgence in the love of some older series like Friends and Gilmore Girls through the access to the full series on streaming platforms. Some of these shows have not aged very well (see: a good deal of Friends’ jokes), but the love for them continues anyway.

Recently, tv shows such as those named above, have been branded as “nostalgic television” and has been slated to be psychologically beneficial to help with anxiety.

But why do we remain so attached to TV shows such as these? Well, supposedly, just like the way we are drawn to watching the remakes of Disney’s movies as I mentioned earlier, it reminds us of our childhoods:

Will Meyerhofer, a New York-based psychotherapist and author, says watching our favourite old shows can be a useful tool for dealing with anxiety and mild depression.

"For my clients, these old shows are like the food they grew up with. 'The Brady Bunch' or 'The Facts of Life' or 'The Jeffersons' is like that beloved baloney sandwich on Wonder Bread with just enough mayo the way mom used to make,” he told TODAY.

A recent Facebook post on The Mighty health community got hundreds of responses to the question: "What TV show from your childhood would you want to marathon-watch on a bad flare day?" The answers ranged from "The Waltons" to "Barney Miller."

That's because television from yesteryear can make us feel safe and secure in a world that feels increasingly chaotic.

“In therapy terms, it's an instant — and for the most part healthy — regression in the service of the ego,” Meyerhofer said, adding that he unwinds with old episodes of "Star Trek: The Next Generation.”

We long for a time when we felt safer, less stressed and when we were able to really enjoy the things we liked. TV shows that we watched as we were growing up provide us with the nostalgic fulfillment that we need to feel happy - even if it is just for the length of a thirty-minute Friends episode.

#9: Screen TIme

Something I noticed when I was watching Reputation Stadium Tour... for research... there was very few people who were actually just watching the show. There were many screens visible in the crowd at all times.

Something that has become very prevalent in concert culture, is that you don’t actually experience the concert first hand, you view it through your phone screen, as you record.

It is something that I have noticed myself doing, and have set the limitation of only allowing myself to record two songs out of the entire concert.

By viewing the concert through the recording, the actual experience of the concert is altered, and even though you are standing there in the room, you are participating at a distance, rather than being involved in the moment.

The need to record and to photograph, I would argue, comes out of the feeling of necessity to archive and sort every memory that we have. Concerts are special occasions and we don’t want to forget them - and if we don’t have a video or photo, did it really happen? We need to archive every moment so that we can go back to it later and remember how great it was.

But how great was it really if you were staring at your phone screen the entire time?

#10: The Rise of KPop in Canada and the US

There seems to have been a shift lately in Western popular culture in which Kpop (Korean Popular Music) is now being considered more mainstream.

Groups like BTS have found success on Western pop charts, their collaboration with Halsey, Boy with Luv, peaked at #10 on Billboard’s hot 100. Other Korean groups like Blackpink and Twice are also making a name for themselves on Western pop music charts.

What is interesting is that Kpop doesn’t really follow the same frame that most of the Western pop does. A lot of Kpop seems to be more dance-influenced, thus influencing the music stylistically and opening a lot more interesting opportunities for music videos.

Kpop is something different and separate from what Western Pop is comfortable with, and what influence it will have on the framework of the norm will be very interesting to see. I do wonder what Joshua Clover would have to say about Kpop groups and their involvement in popular music, and whether or not he would classify them in with the “Abject, feminized, and inauthentic: *NSYNC, Backstreet Boys, and Britney Spears...[who] dominate the list of best first-week sales”(103). There is, after all, something about the rhythm-based and often synthesized melodies that are prominent in Kpop that feels like a call-back to boy bands and pop stars of the late 90′s and early 00′s

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Well, that is it for my top ten! If you made it to the end, and are not my Prof [who does have to read it all the way to the end - Hi Dr. Burke! You made it! ] Thanks for reading!!

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hirazuki · 5 years

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I’m going to try and summarize what bothers me about VLD from as objective a standpoint as possible. A lot of people, including myself, have already made posts pointing out specific issues, especially with regards to the messages it sends to abuse victims, so I’m not going to touch on that or any type of emotional issues here at all. I’m going to skip specifics except where needed as examples, and just talk about the nature of story telling itself. As someone who not only has used fiction for escapism, but who has studied story telling both in terms of literary analysis of novels and of religious texts, it’s a subject that I feel very strongly about.

Warning: long ass post.

Okay, a couple of disclaimers first.

One, I am a firm believer in the “don’t like, don’t read” mentality. If I don’t like something, I don’t talk about it, I just move on. Y’all have never seen a single discourse post about The Dragon Prince, right? Yup, that’s ‘cause I really didn’t like it. It goes for countless other things too. I don’t expend time and effort and energy on things I don’t like, that’s just wasteful. So, why am I harping on VLD? Because I really enjoyed it, despite a couple of what I felt were minor issues at the time, for most of its run. That’s why I -- and I imagine the same goes for many other fans -- am so bitter.

Two, I came late into the Voltron universe. I joined in a couple of days before s6 dropped, and only watched DotU as well as the other Western versions in the past couple of months. Haven’t had a chance to see the original Japanese anime yet.

Three, I’m not a shipper, in general. I don’t ship anything in VLD except Zarkon/Honerva. Romance/sexual stuff is just not my thing, I’ll take swords and explosions any day over that. So my saltiness regarding the series has nothing to do with ships.

Alright, so I think my major gripes with the series can be sorted into three categories:

1. Inconsistency of Story Type:

This is, of course, my own opinion, but through my time of consuming fiction, I think there are three types of stories:

Good vs. Evil: the most basic type of story. The good guys are good, the bad guys are bad, and everyone stays well in their lanes. Think Disney movies, typical Saturday morning cartoons -- the heroes are exemplary of good traits, the villains are one-dimensional and unrepentant, evil for the sake of being evil. There is absolutely nothing wrong with this story type imo, and there are several stories of this nature that I really do enjoy.

Grey Morality: a much more nuanced take on the concepts of good and evil, right and wrong. Due to the very nature of grey morality, there are varying degrees to which this can be implemented. Probably the most common one I’ve seen is where the heroes do some bad/questionable things, the villains/antagonists do some good things or have the right motives or are “noble” in some way; but overall, there is a sense that there are certain lines that shouldn’t be crossed, certainly by the heroes but also sometimes by the villains/antagonists too. An excellent example of this is Firefly. Another example, that puts a total twist on it by having the protagonist also be the “villain,” is Death Note -- even though the story resolves in a way that to the audience is, really, the only sustainable way possible, it still leaves neither the characters in-show nor the audience with any sense of victory. This concept is taken to the extreme by a series like Tenpou Ibun: Ayakashi Ayashi, where no one is right and no one is wrong, but at the same time everyone is right and wrong, and simply just human. There is no good and no evil, just context, circumstances, and choices.

Combination: this type of story starts with the Good vs. Evil dichotomy but, as the story progresses and the protagonist becomes more acquainted and involved with their environment, both the protagonist and the audience come to understand that the picture is actually much more complicated than that, and it evolves into Grey Morality. Bleach is a great example. We start with seeing the Hollow as evil, mindless monsters that need to be killed; we learn that they are actually human spirits that have transformed into “monsters” through pain and grief and, therefore, we pity them but also understand that it’s a mercy to put them down; we then find out that, actually, not all are mindless and they have a complicated society and culture of their own; and, eventually, come to accept them as (reluctant) allies against a bigger threat, understanding that they are creatures in their own right.

From the moment that Keith -- arguably the character within the main cast that had the most time/character development spent on him -- was revealed as being half-Galra (that is, half the “evil” race of the show), VLD promised to be that third type of story. Because there is no way that the writers would make one of their protagonists evil by default because of his blood in a kids’ show, duh, so by logical conclusion this means that that race is not all evil, after all. This was further emphasized by Lotor’s introduction to the plot -- a severe departure from his character in any previous incarnation -- and cemented by the episode, “The Legend Begins,” where we finally get to see the other side of things and the fact that not even Zarkon and Haggar were “born evil,” as well.

After the Keith reveal, we got shocked reactions from his teammates, notably and understandably Allura; got only an apology from her and not the rest for their treatment of him (which could have been better but, whatever, it was a step in the right direction, great!); and then... back to a weird strained relationship in working alongside Galra without another word on the subject.

Okay. Fine.

Then we get Lotor -- again, some of that initial resentment/treatment could be understandable to some extent, and eventually on the road towards, seemingly, genuine acceptance. Cool.

I won’t go into details about the colony episode, because that’s been done to death already, but, woah, major setback there. Back to the knee-jerk reaction of treating individuals of a race as complicit and responsible for the actions and perception of that race as perpetuated by a handful of individuals. And then -- flash forward to s8 -- we are welcoming Galra allies in our cause! Please join our Coalition! We want to help you!

Look. I’m not saying that you can’t retcon stuff; that you can’t go Good vs. Evil, develop into Grey Morality, and then reveal something and BOOM, jk, it was Good vs. Evil all along, gotcha! I’m sure that there is an author somewhere out there that has pulled that off effectively (I can’t think of any examples myself right now, but I’m sure it must exist somewhere).

I am saying that if you’re going to do that -- if you are going to pull the rug out from under everyone’s feet and sacrifice some crucial character development (and crucial characters themselves, let’s be honest) -- you better have a DAMN GOOD IN-UNIVERSE reason for doing so. And no, shock value or getting rid of a character because they were overshadowing the protags doesn’t count. Otherwise, your protagonists will look like giant jerks. Unless, of course, that’s what you’re going for, but I highly doubt that was the thinking here.

And then, we proceed to flip flop between “I knew it, the Galra are irredeemably evil, what’s wrong with these people?!” (I think Hunk -- HUNK, by far the most empathetic character -- said this at some point in s7?) and “Here, we can work together towards a brighter future” or some shit. You can’t do that. I mean you can, but you’re gonna get major backlash from your audience. Pick a fucking direction and stick with it.

For the past three seasons, it has really felt like the story line is being pulled into two different directions: 1) staying true to the original source material of Paladins = good, Galra/Drule = bad, and 2) providing the viewers with a groundbreaking, nuanced interpretation.

My dudes. You can’t have both. Trying to implement both of these approaches means having morally grey, nuanced characters operating within a narrative framework that is subject to an overarching principle of a strict Good/Evil dichotomy. Do you know how fucking hard that is to pull off effectively without diving headfirst into the pitfall of punishing your morally grey characters by default, simply because they happen to exist in a universe that cannot, by nature, support them???? I can think of only a handful of authors that have managed that and, I would argue, that the man at the top of the list only managed to be so effective and influential because what he wrote was, in essence, a mythology. Mythologies have a totally different set of concerns surrounding them. And even then, he went to great lengths, both in his works and outside of them in discussions/interviews, to note that the “evil” in his world could never have happened without it intentionally being part of the larger cosmological design, i.e. balance. I’m talking, of course, about Tolkien.

Why the fuck would you attempt to pull something like this off in a kids’ cartoon?! Avatar: The Last Airbender, since everyone loves that comparison, was defined by a black/white view that developed into a very simple grey morality, and it was this limited scope that allowed it to be presented so effectively. None of this sashaying back and forth.

Especially when this flip flopping is done for le dramatic effect/shock value, with seemingly no good in-story reason?? Of course it’s gonna fall flat.

2. Concept vs. Execution:

This is probably what drives me crazy the most about VLD.

As an idea, it was fucking brilliant -- anyone who has watched DotU, even with all the nostalgia, I imagine, can admit that it was very much a cut and dry 80s cartoon, with simple concerns; Vehicle Voltron attempted some nuances, but the Lion Voltron part of the show, which was by far the more popular part, was pretty stiff in that regard. VLD took that and introduced themes like: being biracial (Keith, Lotor, etc.), having to choose between duty and family (Krolia), having to choose between personal dreams and important relationships (Shiro), having to overcome deep-seated understandable prejudice and work with people you never thought you could come to stand for a greater cause and through that see that not everything is black and white and attain a greater understanding of the world (Allura), leaving home and learning to survive in a totally foreign environment in the worst circumstances possible (the paladins), dealing with disability, mental illness/ptsd while also dealing with issues of being in a position of leadership/power (Shiro), parental abuse (Lotor), substance abuse (Honerva and Zarkon), being a clone and coming to terms with that (Shiro/Kuron), learning to compromise and sacrifice personal integrity/morals for the betterment/survival of those you have made yourself responsible for (the paladins), and so much more than that. Lotor’s relationship with Honerva/Haggar had serious undertones of both Mother and Child symbolism, as well as Arthurian legend. The whole quintessence thing drew pointers from ancient and medieval concepts of alchemy.

The inclusion of any of these things, injected into a pretty straightforward and tame original source material like DotU, was inspired. What an absolutely fantastic take, with incredible potential.

... and it was the shoddiest, shittiest implementation and execution of any concepts that I have ever seen. Like... how? How did they manage to not be able to successfully see any of these themes to a close, and to actually offend the vast majority of their fanbase (regardless of background, age, race, sexuality, literally from all walks of life) by the way these themes were handled????

I’m sure time restraints, direction from above, etc., played a big part in it, but still. If you don’t have time to properly develop the interpersonal relationships between the core members of your main group of characters -- to the point that, say, Keith and Pidge? Hunk and Shiro? Did they ever properly, truly have any meaningful interactions? -- there’s no way you could properly handle all of this.

Don’t bite off more than you can chew.

Also? As stories are being fleshed out, they and their characters tend to take on a life of their own. The Lotor/Keith parallels? I totally believe and understand how it’s possible that it was unintentional. But when that happens, you go back and rework the rest of your plot to make sense with what you now have before you. You adjust and adapt. You don’t barrel on ahead headless and not acknowledging it, and you don’t force your characters into straitjackets just because you want to doggedly follow this one idea.

3. The Female Lead:

Let me begin by saying that I really, really wanted to like Allura, and the way she was written was one of the biggest turn offs and disappointments for me. I won’t go into specifics regarding her, as there many posts that already address the problematic nature of how she treats people of her race vs. anyone Galra, but I will just look at her character development as a whole.

Perhaps the easiest way for me to voice my frustrations here would be with a comparison. Let’s look at my favorite female protagonist of all time, Nakajima Youko, from Juuni Kokuki (aka. The Twelve Kindgoms).

Youko starts off as a very meek high school girl, from a typical modern Japanese family. Class representative, top grades, is scared of conflict and wants to live up to everyone’s expectations of her, which makes her very submissive, a total coward emotionally, mentally, and physically. She seeks to please everyone and, as a result, harms her own development by never giving any thought to her own desires and ends up bullied by everyone around her. Magic happens, shit goes down, and she is whisked away to a different world that is parallel to our own, along with two friends from school; ripped from her home, her family, with absolutely no way back. This other world has a different language, people who end up in there from our world are treated like garbage and are slaves, has a medieval level of tech/advancement, and Youko with her friends has to figure out how to survive. She finds out she is actually queen of one of the realms in this world, which makes her a target of various groups. She is betrayed by literally everyone around her, everyone she places her trust in, including the two friends that got transported to this world with her.

She goes from meek and mild to bloodthirsty and brash; lashing out at everyone around her, plotting to kill those that offer her a helping hand, becoming unreasonably suspicious and racist and way out of line. Understandably so, but the narrative doesn’t, for one moment, present this as okay. Some more stuff happens and she finally snaps out of it, comes to a couple of realizations, and has major character development. She develops the attitude that, yes, people have betrayed and hurt her, but their actions towards her and their opinion of her is none of her business. It will not stop her from acting in ways that are in line with her own morals; if people choose to betray and use her, that’s on them. She will simply do what she must, and treat everyone as an individual according to their actions. This doesn’t mean that she adopts a pushover mentality -- it just means that she loses her knee-jerk reaction, and doesn’t rush to conclusions. She becomes a badass warrior and queen, strong and just, and, frankly, one of the most well-developed female characters I have ever seen.

Do I think this is the only way to write a strong female character? Of course not. But I’m convinced this is what the writers wanted to do with Allura, this kind of progression and path, from being angry, lost, and alone to being a confident, capable, magnificent ruler. And, imo, they totally missed the mark.

I think that the writers were so focused on giving us a “strong” modern female character, and getting as far away from her DotU damsel in distress depiction as possible, that they ended up writing her as, basically, a bully. Sure, they tell us -- both through other characters’ words in the show and through interviews -- about her diplomacy, peaceful nature, leadership quality, open-mindedness, etc., but they never show it to us. In almost every key moment in the series, she has been written to be combative and suffering from tunnel-vision.

And a huge part of this is that they simply didn’t give her any room to grow. Youko’s character started off at maybe... 5% of her potential? She was honestly so “weak,” I thought about dropping the series. But by the point the anime ended (because the story itself is unfinished and unlikely to continue, unfortunately), I’d say she’s at around 70%. That makes for an extremely dramatic, fulfilling, and believable character development. The VLD writers started Allura off much higher than that. Too high. From the get-go she’s a highly accomplished martial artist, has incredible physical strength due to her Altean heritage, a seemingly natural affinity for leadership and for appealing to people, she’s very attractive, well spoken, had a loving and supportive family, is a princess, had a brilliant alchemist for a father, has access to the universe’s greatest super weapon -- I mean, yes, she’s had to deal with immense loss and grief and come to terms with it in a very short period of time, and lost her father a second time so to speak with Alfor’s AI -- but overall, everything has been set up and handed to her in a nice package. Other than overcoming her hatred towards the Galra and idealization of Altea/Alteans, really, there’s nothing left for her to do that would be defining for her character.

That’s not to say that characters that are extremely accomplished from the start are a bad thing. But in their case, their emotional and mental development and maturity is that much more important, because that’s all that’s left to work with. The writers didn’t really give Allura any significant room to grow in terms of any of that. (And no, I don’t consider her new alchemical powers from Oriande as her growing; she expended no effort for that, it wasn’t really a trial at all for her; it was like me playing a video game on casual mode with the “killallenemies” console command enabled). Her overcoming her racism towards the Galra, beginning with Keith and BoM and continuing to do so with subsequent Galra allies, had a TON of potential and I had been so excited to see where it would go; but that fell flat, totally forgotten by the story.

In contrast, you have Lotor -- we see him struggling to claw his way out of the hand that fate has dealt him, to grow beyond his family’s influence and abuse. Both on and off screen, even described by his own enemies in great detail, we see just how much he has had to fight and to earn everything he has and he is, even things that shouldn’t have to be “earned” in the first place. He’s lost Daibazaal and Altea, both his father and his mother, he’s too Galra for anyone who’s not and not nearly enough Galra for anyone who is. Literally nothing has been handed to him. The juxtaposition between him and Allura, had Allura been given more breathing room by the writers, could have been fantastic and I would have shipped the hell out of it, like I do in DotU. She’s had everything he’s ever wanted (loving family, supportive father, Alfor himself, exploration, alchemy), etc.; envy would have been extremely appropriate on his part, and very interesting to work through, but that was never explored either.

So, I feel like what ended up happening was that a huge imbalance in how these two characters came across was created, made only more evident when their relationship with each other was what was front and center. And, at least for me, this is what makes me completely unable to see Allura’s side of things, and I freely admit it -- I simply don’t understand her or her actions, because I don’t feel like I’ve been shown enough of her inner workings as a character to be able to care about her in the slightest. I can definitely see where the writers were going with her, or where they thought they were going. But unless they actually meant for the character that is, for all intents and purposes, their female lead to be a racist, abusive, immature person playing at being an adult and at being the leader of a coalition spanning galaxies, who has no problem condemning millions of lives to death and devastation at a whim of her emotions because they are Valid™, and who wades dangerously close to “Mary Sue” territory many times due the way the narrative frames her... then all I see on screen is an unfinished character. Unfinished, because the writers didn’t take any opportunities in the narrative for the flaws and issues she does have to be addressed and overcome, opportunities of which there were plenty! I absolutely don’t mind that she has flaws -- flawed heroes are amazing. But, you gotta do something about them, i.e. address them and work through them. Otherwise your heroes remain static in a plot that is evolving and that’s not a good look.

And, you know, I honestly think DotU Allura is a much stronger female character. She works for everything she gets. She works her ass off. She has to fight to not only be allowed to be part of the team and fly a lion, but even just to do everyday common things like be out in the fields or swim or whatever; forget practicing martial arts. Coran literally ties her up at one point to prevent her from participating. Nanny is a constant battle for her. Over everything, from her clothes to her manner of speaking to where she’s going. But she doesn’t stop, she doesn’t give up. And she fucks up, BIG TIME, several times, she does TONS of stupid shit. But she learns, acknowledges it, gets called out on it, tries again, and keeps on trying. DotU Allura’s biggest battles, in my mind, aren’t with Lotor or the Drule forces or Zarkon, but with her own team and those she considers family, and her struggle for the others’ acceptance of herself and her skills within the group. And for that, she is a much stronger, more solid female character than VLD Allura, despite all superficial appearances and frilly pink dresses and 80s voice acting.

Again, like I said in a previous post, I don’t conform to the view that creators owe their fans anything. Write things however the fuck you want. You want to kill Allura off, fine. Do away with Lotor too? Cool. I completely understand people who want happy endings in fiction because, it’s true, reality fucking sucks; there are several fictional works I turn to whenever real life is too much. And I would be lying if I said that I don’t crave stories where characters like Lotor are given happy endings; of course I want my favorite characters to be okay. But overall, I’m the type of person who, as long as things make for an effective, compelling narrative, I’ll be content with it, regardless of whether the ending is tragic or happy or anything in between.

So you want to kill off your morally grey character and your female lead, who is also one of the only women on the team, who is also a princess figure, who has also been completely visually redesigned in such a way that you know women of color will relate to her? That’s fine by me, go right ahead. But do so in a way that is meaningful and makes sense within the larger narrative you created, and isn’t some empty, sensationalist gesture.

And also be aware of your fanbase. This is a reboot -- that comes with certain expectations attached, as a number of the viewers will very likely be fans of the old series, watching out of curiosity, nostalgia, etc. Expectations like, the princess lives, the heroes aren’t assholes, etc. (and I’m referring to expectations from DotU and other Western iterations, rather than the original Japanese series). You don’t have to conform to these expectations -- personally, I’m a big fan of tropes being subverted -- but you need to be aware of them. You need to know the rules before you break them, and if you break them, you better break them damn well.

Imo, VLD ultimately failed to deliver on these fronts, and pretty much fell prey to what a lot of series do -- it couldn’t handle the shift from being primarily episodic in nature (i.e., each episode is self-contained, with a clear beginning, middle, and end, while operating under a distant general goal, like defeating Zarkon; so, s1 and s2) to becoming a more complex narrative unraveling a hidden agenda (s3 onwards). Kind of like how the paladins made no provisions for how they would handle things after Zarkon’s defeat, it feels like the writers didn’t really have one solid plan for how to develop past that point as well.

tl;dr: Whoever is responsible for the way VLD turned out should write a book: how to offend your entire audience in eight seasons or less.

#okay i think this is my last personal post on the matter #i think i've vented about everything that's been bugging me for the past couple of seasons #i'll still reblog and comment on things i find interesting #but i'm gonna focus my energy on constructive stuff #like plucking the hairline of lotor's wig and writing fanfic :)#talk: v

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kurainohikaru · 6 years

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Ozma/pin and Salem. The Duality of Choice: Confrontation, Complacency and the Missing Compromise Between Them.

So I felt this topic deserved it’s own separate conversation in regards to episode 3 of Volume 6. Specifically I want to talk about Salem and Ozpin, and what they and their struggle represent, at least in my opinion. If you want to hear some more of my general thoughts on the episode check out my previous post here.

SPOILERS BELOW Also TW for Slight mentioning of Suicide attempts

So let’s start with the elephant of the room and what has probably the most discourse of this episode. Who’s truly at fault? Most would probably lay that with Salem, others with Ozma, or the gods for their outward cruelty in how they handled the whims of humanity? Well I’m here to say the entire point of this episode was to show the exact opposite of this mindset. Prior to this episode many a spectator, myself included were theorizing as to whether or not ShadyOz(TM) was a morally grey good guy or had ulterior motives and was the true evil. This episode has simultaneously made the viewer feel sympathies for his plight while also expositing Salem, who prior to this point has been not much more than the evil puppet-master. She has, from the beginning, touted her respect for humankind, in their unity and resilience, and now we have a much greater understanding for the framework behind the respect of that which she is seemingly out to destroy. The Lost Fable redeems not only Ozpin but Salem as well, for they are two sides of the same coin. They are the duality of choice, Salem of confrontation and Ozpin of complacence. Let’s explore this throughout the episode, screenshots will be posted and I’d like to pay careful attention to expressions here.

This moment was the beginning of everything. Salem lost the only person she had ever known and loved and it sent her into a deep despair. Desperate to have Ozma returned to her, she ventured off to the god of light, her very first confrontation of many. Only to be told that though he could easily return him to the world, he would not, in doing so he would overwrite the delicate balance that he and his younger brother, the God of Darkness had striven to create. Now I’m sure some people already found themselves frowning at how Disney Princess-like this may feel but rationally let’s think for a moment about what this would mean for Salem.

That deep frown and tower was her life. All she ever knew was to be locked and confined within this tower, and unlike her Rapunzel counterpart, there was no happily ever after foretold in the cards that she was to expect. Yes many a warrior came to try and conquer the tower for her hand and beauty, but what does that mean to her? She knows nothing and no one outside these walls, save for the failed attempts of heroes who saw her nothing more as prize to be won and conquered. And then that all changed when a knight who came to save her because it was the right thing to do, and not because of her purported beauty.

You’d be hard pressed to tell me these two didn’t fall in love in this moment, these looks on their faces. I’d wager a guess this is the first time Salem has ever been free from the constrictive rule set by her cruel father. Salem finally had the world to explore, but the definition of her world changed, now her world was Ozma.

We all as humans have undergone the deep pit of despair that is loss. Loss of a friend, a pet, a family member, a partner. None of these losses can be compared to one another but they all lead to the pit of utter despair. And now I posit a question for you, did you ever wish you could change it? Think, “What if things had been different, if they were still here now?” I certainly have. It is a dangerous cycle and one difficult to break and Salem lives in a world where the possibility of resurrection has tangible weight of possibility behind it making that cycle even more difficult to come out of. So how does one break themselves from the self-destructive what ifs and grieving? Most would say time. Time and support. Support from the interpersonal relationships you’ve built over the course of your life and fostered into lasting friendships that will carry you through arduous times. Surely Salem could have moved on as the God of Light told her eventually? Except Salem has NO ONE.

As far as we are made aware, her family is her father who locked her up in the first place. Ozma was the ONLY person in the world she had to support her. He was ripped from her when she finally could see a road that was paving the rest of her life and it crumbled right before her eyes.

That’s not fair. That’s not fair!

And to her it really wasn’t. And I know some people will say “Life’s not fair,” and that is correct. Objectively speaking, Salem was selfish in choosing to confront him and plead for the creators of her world to take pity and bring him back.

That’s the point. After all, can you say as a human you are 100% objective and selfless, especially in a time of great trauma and desperation?

“You monsters! Give him back to me! Give him back!”

And so Salem ventured to the Realm of Darkness to plead with the younger brother of darkness, her second confrontation. She gets her wish, if only for a moment. I won’t comment much on the actions of the God’s here, saving that for a separate post, but I will say that their inexperience and inability to understand the emotional complexities behind this situation laid the foundation for the chessboard game we know today.

I can’t possibly imagine what the hell this would do to Salem’s mental state. To literally see her love brought back and ripped away from her twice in quick succession would have been anyone’s snapping point. To have something you wanted so desperately you were willing to prostrate yourself before, and even manipulate gods to achieve, only for it to be taken from you just as quickly would be maddening.

Yes I did say manipulate. I know this post has been very Pro-Salem up until this point but that’s because personally, I don’t think she has done anything outlandish enough to be branded as pure evil as some people have been. Is she selfish and arrogant as the God of Light later says? Oh absolutely. Is that out of the ordinary for a human? Not in the slightest. Not to mention Salem has literally been locked in a tower for what we can assume is the majority of her life. Now that is not to say she is unintelligent or naive, but I imagine her social graces are lacking to the point she comes off as childish. Children are arrogant and petulant and selfish, hell most humans adults are, I don’t see Salem acting this way as bizarre at all.

The god’s respond to her manipulation by cursing her to never be able to leave the mortal realm, namely granting her immortality so that shew may never rest with her beloved Ozma. Again I won’t comment on the gods too much in this post, but that punishment seemed rather infinitely torturous. They basically made her immortal with a vague purpose of her needing to understand the delicate balance of life and death. That being said that way does not imply that she would be set free once she did. I would say current time Salem understands that balance very well, even if she uses it for her own gains and manipulative strategies, and she’s still very much immortal as we know it now.

They... were fallible.

Even if Jinn claims this was out of spite towards the gods, don’t you think it’s rather tragic that the girl in the tower, who spent her whole life wanting to see the outside world finally got it and now it’s all worthless without Ozma? That great beautiful world and she’d rather die. Maybe I’m reading too much into this scene but it really made me feel for Salem, and it’s clever given how things develop later.

The gods had hoped Salem would learn from her eternal curse. And she did. She had learned that the hearts of men are easily swayed.

Salem has resolved herself to fight the gods and rid herself from their curse, using her immortality to manipulate humankind into following her with the promise of said curse, not knowing her true goal was to rid herself of it. And so she amassed her army and made her choice to fight, her third confrontation.

And just like all the others, it didn’t end in her favor.

And once again, Salem was alone.

The gods’ retaliation was ruthless, Salem the last remnant of humanity as they shattered the moon and left the planet, their “beautiful experiment” no longer worth staying on the planet and becoming pseudo-deistic as they watch from afar awaiting judgement day, more on that later.

Salem was despondent at this point, nothing to live for but unable to die. She stumbles back into the realm of darkness and lets herself fall into the pits of Grimm, her last hope for the death she craved. The result?

She was wrong.

Now I’ve seen a lot of people write her off as irredeemable by this point once she has been transformed like above. However, I would argue everyone in this story is as redeemable as they are irredeemable. A Choice made is not something that is constant. It can always change because that’s inherently what choice is, the act or decision to decide from a number of possibilities. You are choosing the way you act and you can change your choice just as easily as you cannot. Salem chooses confrontation and it has always been her strategy, the reverse of this is complacency, the inaction based in comfort of the Status Quo, or Ozpin’s side. Let’s move to him for a moment as the episode does.

Where you seek comfort. You will only find pain.

So in an ironic twist the God of Light takes a card out of Salem’s book and manipulates Ozma into accepting the role of reincarnation and humanity’s jury, with the god brothers’ as Judge and executioner through the relics. Ozma also begins to make his first choices of complacency here.

“I’m sorry but that world just isn’t as dear to me without her. If I may, I’d rather return to the afterlife to be with Salem”

Ozma decides that the life of savior is not for him thinking he should return and be with Salem, now that humanity is extinct he can be with her as they both have so long wished for. Nobody could fault him for that. In fact he’s preserving the very “balance” the God of light was up in arms about in the first place. He causally forgot to mention the reason that Salem is still alive is thanks to their curse, instead cryptically stating she was corrupted and no longer the woman he once knew (woo for petty manipulative gods, just like the good ol Greeks).

Ozma either sees through this or wishes to see Salem enough he will ignore the warning and accepts the role almost immediately and then finds himself in the body of this young man, the world reborn from dust like in the WOR episode mentioning it (which I totally forgot about in my last post). Ozma finds himself confused by the presence of Faunus and the absence of Magic, dust replacing it in a shoddy attempt at the gifts of magic he possessed. He hears rumors of someone else possessing his gifts a witch of sorts. He seeks her out and...

“ What do we do now?” “Whatever we want.”

the two reunite again as lovers and we see each of them lie to one another almost immediately. Salem out of fear of rejection and Ozma out of not knowing what the truth was. You could argue this was complacency on both of their parts and I wouldn’t disagree, but the motivations don’t quite work out that ways considering the status quo was nonexistent since they had spent literal lifetimes apart since then.

“These humans have no one to guide them. Perhaps that’s all they need.”

Salem believes that they could be the new, more benevolent gods that the previous god brother’s could not be for them. Ozma clearly was not a fan of the idea but with Salem’s arm on his shoulder he agrees, complacent in her more aggressive methodologies out of his love for her as Salem confronts him with emotional manipulation. The two fall more and more into their choices that have defined them as their tale continues.

“The hearts of men are easily swayed*

“And at the head of that kingdom blossomed, a family.”

The two carry out Salem’s idea and procure a rich following that leads to a kingdom and the happy picturesque couple above. Now I specifically want to point out how happy Salem looks here. Not to say that Ozma isn’t also extremely happy and proud of his girls, but I highlight Salem here for the particular reason that some were claiming that she was pure destruction ever since diving into the pools of Grimm.

To that I argue, she settled down. She wanted to preserve humanity and put them on the right track together with Ozma and had a beautiful family and were loved by many people. I think the pool definitely changed her and gave her a larger penchant for destructive tendencies, but that’s just it, they were tendencies. Just like any human has tendencies to kill someone sometimes or wish they were never born or wish cruel and unusual punishment on someone who has wronged them in the heat of the moment. To say she was irredeemable in this scene made little sense to me and this happiness she feels now makes the eventual outcome that much more tragic when it plays out as we know it does.

“Are we sure this is right?” “You said we had to bring humanity together. In order to do that we have to spread our word. And destroys those that will deny it.”

“It was a miracle. Their children could perform magic.”

These two scenes are pivotal in the tonal shift they create, though it may not be abundantly clear at first glance. Here we see Salem grinning downward with a slight smirk more like we’ve seen her in the present as she explains to Ozma that confronting dissenters is the only way that they can spread the word of their rule as the assumed new gods. Ozma looks away and has a moment of introspection where either his first life or the life he inhabits posits, “what are we doing?” Ozma begins to break from his complacency realizing that this isn’t the path he wants to take as one of his daughter bursts in and displays her magic for her parents. This is extremely important to Salem, now instead of guiding the current humanity she will begin to think differently shown in the following scene.

“Don’t you see? None of that matters anymore? Why spend our lives trying to redeem these humans when we can replace them with what they could never be?”

Ozma finally breaks and comes clean to Salem about everything. Her response is that above. She has now shifted to recreating the paradise they once had with the two of them replacing the old gods as the rulers. At first I didn’t see anything wrong with this at all and thought Ozma was odd for not wanting to rekindle humanity with magic. But then I thought more about it and I realized she meant completely wiping out the current humanity and replacing it with their children, since they are both immortal they essentially could repopulate the planet by themselves (though I’m not going to dissect the finer points of that one...)

Now to Salem’s credit this was a perfect solution for the two of them. Both of them, in her eyes at least, had been cursed by the gods to live forever, they were only so lucky enough to find each other again and make that living bearable once more. Why would see want to spare the creations born from those who cursed her so? Why would she ever allow them to return to this world and judge them when she could recreate the utopia they once had, but better because they would be it’s rulers? To her it makes perfect sense for Ozma to forget his task and focus on the new world they would create together, a world full of magic that every human could perform. A world with gods that cared about them and would do better than what they had done to her, to the both of them. Would this have worked? Who can really say for sure but I don’t blame Salem for thinking the way she was, and I don’t quite find her irredeemable here but Ozma plays a critical role here that he fails spectacularly.

See Ozma had a responsibility to his wife and partner to try and reel in some more of her destructive tendencies, speaking with her frankly and honestly and the two of them working to some sort of compromise that didn’t involve senseless death and destruction but still reintroduced magic into the world through them. It wouldn’t have been a difficult solution either, all they would have to do is keep living and having children through the ages and then as those kids grew and had children of their own eventually it would resurface over time. And It’s not like they don’t have infinite time to spare. But no, instead Ozma decided to exchange complacency for idiocy and outright betrayal.

“We were finally free.” “I...”

Ozma decided his best course of action was to try and sneak out of the castle under the cover of night with their 4 children in tow. Obviously Salem catches him and her rage consumes her and she initiates magical combat against him. The following shot is of the fallen toy one of the girls was holding and Ozpin bleeding and crawling away as Salem rejuvenates and stands over him, distraught that he would throw away their freedom before cutting him off with a stream of fire to end his life.

This could not have been any deeper of a betrayal to Salem. She had risked and lost literally EVERYTHING for Ozma. Her life, her kind, her world. She thought she was doomed to obscurity of living forever only to find him once again, for them to rekindle the happiness she thought had been cruelly ripped away from her by the gods of old. Everything couldn’t be better as her children just displayed magic and she could bring about the utopia she craved, Ozma by her side. Only for that same man who she sacrificed again and again for to try and leave with their children and leave her behind? Please try and tell me that wouldn’t bring you into a catastrophic level of rage, I’d love to hear how you could keep calm there.

Not to mention that the shot of the toy implies that their fight ended up killing the lives of their daughters which I’m sure sent both of them spiraling even more.

Ozpin eventually makes his way back to the task, after an unknown number of lives of mourning and drinking,sent by the gods and he realizes that the only way he can keep man unites is to rid the world of Salem.

We don’t know what happens to Salem after this point to get where she is today but the image of the crystal implies she made that with her magic and integrated it with a Grimm and perhaps that is how she controls them.

What we do know is that both of them took this experience of their fallout to shape their strategies in the present day.

Salem realizes that she should have played her cards closer to her chest. Openly confrontational choices proved disastrous. Now she operates from the shadows, causing mass panic and chaos while never leaving any threads that can trace back to her. Outside of Ozpin, the world knows not of her existence and she can disrupt Ozpin’s task indefinitely. Moreover she wants the relics. Perhaps so that she can summon them early and show what humanity has become so Ozpin can suffer the ultimate failure by her hands’ and rob him of what he treasures dearly just as he had before as we saw. She has learned form her mistakes and it has made her all the more calculating, cruel, conniving, and threatening. She failed to learn that compromise before confrontation could have led them to living together harmoniously

Meanwhile Ozpin has had a regression. His one act of confrontation led to disaster and so he he has returned to complacency, He chooses to be extremely selective about who he informs about his plight and leaves the general populace in the dark, thinking this is the best way to preserve unity. He used Jinn to locate all the relics and locked them up in the schools while he played the role of the most influential headmaster as a way to try and unify humanity against the Grimm (and unknowingly Salem). He lies and tells half truths because the more darkness and evil of the world he exposes to people, the further from his task he gets. He has not learn that choosing to openly communicate without facades or masks, yes may induce some panic and anxiety, can also lead to compromises and cooperation that isn’t backed by ultimatums (Pyrrha).

Well here’s my little essay on choice and it’s duality of Ozma/pin and Salem. Let me know what you all thought! Also I don’t know why or how this got so long and why I decided to do it so late. Gonna go pass out now X.X

#rwby thoughts #rwby theory #RWBY volume 6 #rwby volume 6 spoilers #rwby volume 6 theory #character analysis #rwby ozpin #rwby salem #rwby ozma #rwby jinn #rwby rambling #the lost fable rwby #Rwby Volume 6 Episode 3 #rwby choice #Choice #rwby relics

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comingupforblair · 6 years

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The MCU vs DCEU approach to world-building

Of all the complaints leveled against the DCEU, the difference in world building compared to the MCU is arguably the most prominent, to the point where it could even be said to be why other criticisms have been as intense and frequent as they have been to the point where it’s acceptable to accuse Warner Bros of being actively uncaring or disrespectful to their characters I’ve been vocal in my defense of the approach taken, not least because of how exaggerated it has been and how it ignores the numbers, and my feelings that the MCU approach, despite it’s undeniable merits, is not and shouldn’t be the only way to build a franchise nor should alternate ways be dismissed as has been the case with the DCEU.

My intention in this post is not to say advocate for one over the other but to look at both as objectively as I can and analyze the benefits and costs of each. I won’t pretend for a second that I’m nit biased as my feelings on this subject are very well documented and I don’t aim to change anyone’s minds but rather to add a sense of nuance to a discussion which has been frustratingly reduced to a narrative that there is a right way and wrong way to build a universe and Warner Bros have chosen the wrong one.

First, I’ll give a brief definition of each approach as I see it

The MCU approach - This method involves giving characters solo films prior to a team-up in the belief that it will create audience familiarity and emotional attachment so that they will care about them all in a team-up film.

The DCEU approach - This method is far more streamlined and is built around an idea that giving audiences a taste of characters first and then building upon that to build hype for a solo film will bring in audiences as well as not including backstory that is not seen as a high priority (not showing audiences a character backstory that they have already seen multiple times for example). Solo films are, in theory at least, more director driven and stand-alone.

Since the MCU method is the one most often praised as the correct one, I’ll start with that

Benefits

Audience attachment - While I don’t believe that solo films before a team-up are absolutely necessary for creating attachment, there’s no doubt that it is helpful and can make big team-up films easier as audiences will likely have at least one character they want to see in it.

World-building - The MCU approach can allow for audiences to be introduced to new parts of the universe and meet supporting characters more easily as well as add a sense of depth to the universe as a whole, making it feel more whole.

Easier film making - Introducing a lot of characters in one film can be very difficult and this approach means film makers won’t have to spend as much time on introductions and backstory and can cut right to the important stuff

Building on characters arcs - Through this method, film makers can build on what has been established already in solo films and develop the characters more efficiently in a team-up film as audiences will know their previous films

Freedom for solo directors - This approach can allow directors to set the first impression of a character, which can be critical, and put their own stamp on them. I still believe one of the best examples was the first Thor film where Kenneth Branagh was free to cast an actor of his choosing for the role and he picked Chris Hemsworth, who was perfect. Branagh was a lifelong fan of the character and it would have been unfair for him not to get a say in that element.

Downsides

The homework effect - This is starting to rear it’s head as an issue for the MCU as it can be very difficult for audience members to understand a major film if they haven’t followed all of the preceding ones so far and films outside of it can be seen as necessary and not in a good way. This also overlaps with frequent accusations of major studios, not just Disney, making things into trilogies that don’t need to be and dragging out stories for more profit.

Continuity lockout - As with the above, this is also starting to be an issue where it can be legitimately confusing to watch films if you don’t have a good knowledge of all the preceding ones. If your favorite Avenger is Captain America and you only want to see his films and skip others, you might find yourself wondering who Scarlet Witch and Vision are and why Steve and Tony are at each other’s throats. If you have no interest in any of those films but just want to watch Thor: Ragnarok because you’re a fan of Taika Waititi, you still have to at least know the plot of the last Thor film and who Doctor Strange is and other elements such as Thor’s scenes with Loki may lack weight if you haven’t seen The Avengers and first Thor film.

Investment - The aforementioned investment from the benefits is a double-edged sword. If you place your bets on a character people love, it works out brilliantly. But if you invest a lot of time and money in a failure, it can be tough to walk back from such a blunder.

This has happened in the MCU with the Inhumans. Disney spent years pushing for them in the comics and shows to take over for the X-Men. Agents of Shield was written to revolve heavily around them to create hype for a film that ended up becoming a TV series that failed spectacularly. This puts Disney in the awkward position of now trying to downplay the characters they spent years building up and Agents Of Shield is stuck being inextricably linked to a mythology no one cares about anymore.

Emphasis on luck - As noted above, this approach requires every piece to do it’s part and that requires a lot of luck. A single failed film can seriously damage future plans or overshadow them considerably. This occured with Marvel and Iron Fist which was intended to build hype for The Defenders which was seen as a crossover event similar to The Avengers.

Unfortunately, Iron Fist was very poorly received by critics which ended up taking a lot of hype out of The Defenders, a fact not helped by Iron Fist being a fairly crucial building block which overlaps with the first downside. This ended with The Defenders, a show that once seemed like it would be one of Marvel’s defining accomplishments, getting a reception which mostly praised it in comparison to Iron Fist.

Aversion to Controversy- When you’re building such a universe, you want everything to work efficiently and that means not having any wild cards. This recently showed up with James Gunn who was dropped the instant any controversy arose about him because Disney didn’t want the bad press. The response ended up creating an even worse controversy which will have it’s own effects on the films.

Accusations of formula - The level of investment means that producers aren’t as willing to take chances. Directors seem and may feel like they are hired to set up the next big film rather than to make something unique and audiences may struggle to find a reason to see it.

Next up is the DCEU approach

Benefits

Peaking audience interest - The approach taken so far has allowed audiences to get an idea of what characters are like and build hype for a solo film from there. This worked amazingly well with Wonder Woman in BvS and there’s a strong possibility of it happening again with Aquaman and The Flash and Margot Robbie as Harley Quinn. On the Marvel side, it worked with Black Panther and Spider-man in Civil War, especially the latter who had to overcome the ‘’another Spider-man already?” reaction.

Less pressure on creators - Going with the above, actors in solo films don’t have as much pressure on them which is also handy if they’re relatively unknown as is increasingly the case. Creators can build upon what works and discard what doesn’t and they won’t worry as much if they appear first in a solo film. Tom Holland has said that playing Spider-man in Civil War first was extremely helpful for that exact reason. There’s also less pressure on directors to win people over to characters as that’s already happened.

Streamlined stories - I think a fact often missed out in this debate is that audiences don’t need to know or see everything. Things can only be hinted at or referenced in backstories and work just as effectively. This is especially true of characters we’ve seen a lot or whose stories we already know. I can’t give an estimation on how many people wanted another solo Batman film or rehash of his origin so soon but I reckon it was about zero. Further more, the success of the CW show means a lot of people know Flash’s backstory even if it’s another continuity.

Other franchises such as Harry Potter and Lord of The Rings show that backstories don’t need to be seen right away or even at all. Marvel also showed this with Guardians of The Galaxy where their stories are only briefly shown or hinted in non-specific details and Spider-man’s backstory which, in the case of the latter, the average cinema goer already knows and will know exactly what Peter is talking about when he references tragedy in his past.

Creative freedom - Warner Bros has always been a director driven studio and the DCEU has made an effort to live up to that. Whatever your feelings on them, Man Of Steel and Batman v Superman look and feel like Zack Snyder films and Aquaman looks set to follow with James Wan as hopefully will other films. This allows for films that feel unique and has the potential to attract other directors who worry about their vision being compromised for the sake of the franchise. Disney have learned this as well with films like Guardians of The Galaxy, Black Panther and Thor: Ragnarok which weren’t as burdened with world building.

Easier access - Having films that are more stand alone can potentially allow for audiences who are uninterested in superhero films coming on board as they don’t have to worry as much about knowing a lot prior. Warner Bros are taking this a step further with the non-DCEU Joker film which, if it works, has the potential to raise immense possibilities for the genre as a whole which it needs to avoid the stagnation that is always being threatened as upcoming.

Downsides

Less audience investment - I said before that audiences don’t need to see characters on their own before a solo film and I stick by that but it is still a helpful tool in doing so. Not using it can be risky if you don’t know how to pull it off.

Burden of exposition - Having a lot of characters in one film and giving each some kind of backstory can be tough and, if done poorly, can drag the film down. Justice League had mixed success with doing so, not helped by the cut running time.

Less freedom for solo directors - The DCEU approach means that directors in charge of solo films are already losing control of a major element which is casting and initial audience introductions. Sometimes, even most of the time, this can work out for the best as Patty Jenkins admitted she wouldn’t have cast Gal Gadot as Diana but it’s safe to say that the first Thor film might not have worked as well if Kenneth Brannagh hadn’t been the one to choice Chris Hemsworth for the role.

They also don’t set the tone for the audiences’ first impression which can be critical. This can leave follow-up creators having to clean up messes more than make films and shows as was the case with Iron Fist’s appearance on The Defenders.

Less overt leadership - This can be a positive or negative depending on how you see it. On the one hand, not having a leader who sets a strict tone for films and outlines an arc can creates feelings of disjointedness. On the other, it does allow for more independence among directors even if WB have undercut that possibility with BvS and Justice League.

So that’s the benefits and downsides of the two franchises as I can see it. If I’ m missing anything, let me know.

Like I said at the start, I’m not trying to win anyone over. If you still feel like the DCEU would benefit from an approach like the MCU, that’s fine. I just wanted to outline the shades of grey in this discourse that I haven’t seen others mention.

#dceu #mcu #dceu positivity #mcu positivity

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yumeka36 · 7 years

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Frozen and the lost art of critical examination

I don’t like to write posts like this but there are some things better vented than kept inside. Olaf’s Frozen Adventure has been getting a lot of flak for being shown in theaters before Coco, with people claiming that “it’s too long” and “Disney just did that because they didn’t think Coco would make enough money.” Now, I’m totally open to criticism, whether it’s for works I like or works I dislike. But the majority of this flak is NOT criticism – people aren’t talking about the actual merit and content of OFA; they’re judging it for completely superficial reasons, like its running time and the fact that it was shown in theaters with another movie. One gem of a poster even likened OFA preceding Coco as “white supremacy” – it’s absolutely ludicrous to bring up such a legitimately terrible social issue to describe the fact that one animated work advocating love and family bonds is being shown in theaters before another animated work advocating love and family bonds. But I’ve long since stopped being shocked by people’s stupidity…so I digress.

What I’m trying to bring out is that many of these claims have nothing to do with the substance of OFA itself. It’s not critical examination – they’re not examining things like the story elements and writing (like actual critics have to do to be taken seriously) – it’s quick, easy bashing and hating on a work and, whether intended to or not, its fans (because when you put tags for that work in your posts it’s the fans who are going to see them). They don’t have to take the time to actually think about OFA as a work in itself and any semblance of good it has to offer – that would be too much trouble, it’s just easier to spout out quick, spur-of-the-moment quips of hate to like-minded people instead of being open-minded and trying to understand why this work does or doesn’t deserve this treatment, again, within the work itself, not outside sources like whether it was shown in theaters or not.

Again, I’m totally open to criticism of all forms of media. But what I’m not open to is hate and bashing without precedence. And in my 4 years of being a Frozen fan, much of the hate I’ve seen is just that (since many people bashing on OFA likely feel the same way about Frozen in general). Common reasons they give are “I’m sick of my daughter/niece/sister/cousin or whoever singing ‘Let It Go’ all the time” or “I’m sick of seeing it promoted all over Disney Parks” or “That one lady in Japan divorced her husband because he didn’t like it!” – again, superficial reasons that are shutting out legitimate examination of the movie itself. Just because you’re sick of hearing “Let It Go” isn’t any sort of evidence that it’s not a good movie. Just because Disney goes overboard with Frozen at their parks doesn’t equate to it being a bad movie (in fact, from a neutral perspective, both of these things would point to it being a good movie). Petty reasons like this should not be enough for you to deem it as “bad” without actually examining the movie itself. But in a world where so much media is vying for our attention all the time, the value of taking time to critically examine the ones we consume is a dying art. It’s so much easier to just dismiss things that don’t immediately resonate with us as “bad” and continue to prop up that sentiment with whatever easily digestible reason we come across (“it’s too long!” “it’s too heavily marketed!”)

Now I’m not saying you shouldn’t feel this way. Heck, as a Frozen fan even I feel that Disney gives the movie a bit too much attention in some of their outlets. You can have any reason you want for not liking something and the majority of people don’t feel the need to think critically about the shows/movies they watch as it’s just “entertainment” to them, which is totally fine. You definitely don’t have to think critically about everything you consume. BUT! If you’re going to go around hating it and acting like it’s an accepted fact that this work is somehow objectively bad, then you should have concrete reasons for it – why this plot element doesn’t work, why you couldn’t sympathize with this character, etc., with examples from the work in questions to back up your claim.

I think any neutral person who watches OFA would simply see a 20 minutes special with a heartwarming story about family love and holiday traditions, amid animation and music that obviously has effort put into it. Or at the very least it’s a cute, fun special for the kids to enjoy. You shouldn’t expect it to have the same quality as a full length film, and judging it as such isn’t fair. And don’t give me the bullshit reason that OFA only exists to make more money. The goal of ALL Disney works is to make money – how do you think they’re one of the richest corporations in the world? And Frozen is one of their most profitable properties so it makes perfect sense from a business perspective to create more for the franchise. But this does NOT mean what they create can’t be of substance and quality. That’s kind of Disney’s whole shtick – making extremely marketable material that’s still (usually) of utmost quality, which is why people keep coming back to them. My definition of an inherently “bad” work is one that’s advocating something immoral or has absolutely nothing to contribute to the realm of human thought and feelings (I don’t think any of Disney’s animated works fall into that category). I’m not saying OFA is a masterpiece or anything – it’s just a cute, harmless story that had some love and effort put into it in the same vein as Frozen Fever, Tangled Ever After, and other Disney shorts. They’re not meant to be viewed on the same level as full length feature films, just supplements to give fans an extra treat. But again, this is not how the haters think. They have a one track-mind of “Frozen is more popular than [insert name of Disney movie I like], or whatever frivolous reason I mentioned before, therefore Frozen is bad, therefore OFA is bad.” It’s a childish, close-minded resentment I’m sick of.

I wrote critically for years on my anime blog and there were plenty of anime I reviewed that I didn’t like. But I would always think about why I felt this way, give reasons for it, cite examples from the anime itself and my own knowledge/experience. I’d get out my feelings and that would be it. I would never think of making bashing posts on social media advocating this work as bad to its fans without giving legitimate reasons. Animated works are made to give us happiness and evoke creativity, and I would never want to make someone feel bad for liking one that I personally didn’t like.

It’s not uncommon for a backlash to occur against popular franchise like Frozen. I actually wrote a post on my anime blog about that subject already and I still stand by what I said there, something that haters should consider: people will ALWAYS obsess over things, so instead of being hateful that something you don’t like is getting attention, be glad that the thing in question isn’t genuinely bad in the big scheme of things. In Frozen’s case, be glad that what people are obsessing over is a movie that’s advocating good moral messages of familial love and one that awakened a love of music in children (and adults!) all over the world. If something resonates with so many people, there’s usually something good to it even if it’s not your cup of tea, so is it really worthwhile to go around spewing hate for something that’s meant to give pleasure and inspiration to kids and kids at heart?

tl;dr: there’s nothing wrong with having personal reasons for not liking something, but if you’re gonna go around parading it as some kind of objectively bad work deserving of hate, you should back up your claim with actual examples and thought-out criticism from the work itself. But honestly, at the end of the day, is it really a good thing to bash on a work that’s just meant to be a cute little treat for fans of the franchise. There’s so much in this world that robs us of happiness, is it worth the effort to make someone feel bad for liking an animated work? I’d say that passion is better spent on truly bad world issues that affect people’s lives and not because a cartoon others like but you don’t like happens to exist.

*Crossposted from my main blog, Yume Dimension*

#coco #disney #disney animation #disney frozen #frozen #olaf's frozen adventure #pixar coco

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