#also it’s like.. how does ANYONE live without the autonomy and shit you inevitably get as an adult. or the way people take you seriously | Explore Tumblr Posts and Blogs

iamanartichoke · 3 years

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I started typing this in the tags of this post, and it got too long, and then I was going to just reblog the post with this as an addition but that got too long too, and I've been meaning to make a post addressing free will vs. predestination since the premiere anyway, so - here we go. Spoilers, obviously.

Cut for length and spoilers. Please blacklist #loki tv series spoilers, #loki series spoilers, and #loki spoilers.

This is kinda rough and I'm not sure it actually makes any sense but I'm posting it anyway.

I realize that the post is a joke, obviously (and it is hilarious) but I started thinking about the implications and couldn't stop because it's honestly a goldmine of existential reflection and an inevitable crisis or three.

Let's look at a scenario.

Say you're late to work for reasons totally beyond your control: your neighbor stopped you to ask a question on your way out the door; you swung through the drive-thru for a quick coffee but the person in front of you is ordering a full continental breakfast ffs (this happened to me this morning); there was an explosion and then the Winter Soldier randomly dropped from the sky and landed on the hood of your car. Whatever. Shit happens.

So you're late, but on this particular day, your lateness somehow has consequences that lead to and create a nexus event and the next thing you know, you're being arrested, tried, convicted of time crimes and ultimately (a version of you is) erased from existence.

And this is if it's not even your fault you're late.

Now say that you're late and it is your fault. You took a new route on a whim and drove a little more slowly because you passed a particularly pretty meadow; you hit the brakes at a yellow light instead of speeding through bc you wanted the quick chance to check your email; you sat in your car for a few extra minutes in the parking lot, because maybe your job sucks and you really needed those extra minutes today to psyche yourself up into getting out of the car and going inside and clocking in.

These little choices are you exercising your free will. Because to me, free will is all or nothing - it doesn't just apply to the big decisions.

On the other hand, predestination means that regardless of the choices you make or if it's a big decision or not, everything you do is ultimately going to lead you to a set point or position or place (your destiny).

And I can kind of look at it like a GPS - that is, there are a number of "insignificant" choices you could make and they will still lead you to where you're predestined to go. Like how a GPS will reconfigure your route if you miss your exit on the highway. It doesn't matter if you took Route A or Route B, you're still going to end up at your destination.

But say sometimes the route does matter. Say that there are certain scenarios in which there's only one road (for example, 14 million losses vs 1 win) and you can only get on it by following a specific series of events and what determines the ultimate outcome is whether or not you're late to work that day.

If you decide to wait those extra five minutes in the parking lot, that means that you weren't in your cubicle at 9:03 when Stanley from Accounting wandered by with his giant stack of papers, and when Mary Sue said hello to him, he got distracted and tried to wave and ended up dropping those papers. Had you been at your cubicle, you'd have swooped down to help him but since you weren't there, Stanley is crouched on the floor alone and doesn't notice Joe coming at him with a paper trolley so when he stands up, he and Joe collide and Stanley loses his balance and goes face-first toward the trolley and breaks his nose when he hits the metal handle on his way down.

Now Stanley has to go to the hospital to get his nose set because you wanted to sit in your car and spend five extra minutes hating your life that morning.

If the sacred timeline says that Stanley is supposed to be in that ER at that specific time on that specific day, and no other set of circumstances would get him there, because this will ultimately take Stanley down the road to whatever greater journey he's supposed to go on, then it has to happen. But say you exercise your free will and decide not to wait those five minutes, because the free will applies to every choice you make, even the tiny, insignificant ones. You chose to put on your big person pants and took a deep breath and just head inside - and because you chose to do that and because you were at your cubicle to help Stanley with his papers, Stanley never ends up in the ER and the timeline that's supposed to happen is suddenly at risk and the TVA has to get involved (I assume).

So having free will introduces way, way too many variables into a fixed timeline to ever keep track, because you're taking these tiny, seemingly insignificant choices that people are making every minute of every day, and you're multiplying them by trillions of sentient beings in the universe, and you're saying the fate of the timeline and reality itself depends on all of these beings either always making the choice they're supposed to make or constantly sending the TVA out whenever they don't.

It's fair to conclude, then, that both free will and a fixed, single timeline can't exist at the same time. Either you adhere to the fixed timeline and everyone does exactly what they're supposed to do every second of every minute of existence, or you have free will and autonomy over all of your decisions, no matter how big or small, and those decisions can result in a number of outcomes, ultimately leading you to one of several possible destinations.

Case in point: Tony didn't have to snap his fingers in Endgame. He chose to. Had he not, Thanos would have won. It doesn't matter if there was one way to victory or 14 million ways to failure; the timeline could ultimately only go one of two ways and the choice Tony willingly made determined that Thanos lost. It wasn't predetermined because if Tony had not chosen to snap his fingers, the timeline would have gone the other way.

My personal belief - and this isn't necessarily for the MCU, but in general - is that we do possess free will and the future is ever shifting and changing because nothing is written in stone. It holds up against most, if not all, of the world's belief systems. For example, if you believe that people have guardian angels, the rule is generally that your guardian angels can help you but you have to ask them; they can't decide to intervene without your permission because to do so would infringe upon your free will.

Similarly, you can go on etsy and pay $5 for a funsies psychic reading or pay a lot more money for an in-depth, specific tarot reading and both will tell you that the outcomes may change depending on the paths you take, and that their ultimate advice is for you to keep your focus on your goals and your own self so that you can be subconsciously manifesting the best possible future for yourself. (Not that I know this from experience. It was one time. It was a few times. My point stands, and also stop judging me.)

To get back to the MCU, though - if you determine that both a single, fixed timeline and free will can't simultaneously exist, and your ultimate purpose is upholding said timeline and not letting anyone fuck it up, lest it break off into lots of different branches, then it poses a pretty serious moral and/or ethical question of - who decides what choices we make and what paths we're destined for? The time lizards? Who gave them that authority? Did anyone, or did they just manifest themselves into existence one day, create the universe, and then decide all of the rules (and, if so, where does that leave the norns and the gods and other super powerful beings who are generally thought to be in charge of things)?

If free will doesn't exist and everyone is acting based on what has been predetermined for them by some higher being (or, in this case, time lizards), it takes away our autonomy, and if everything we do and every single tiny step we take is decided for us, what makes us any different than cogs in a machine just following orders? What separates us from robots?

Speaking of robots, it's interesting to me that the TVA's screening process (if you can call it that) has a failsafe against robots specifically. Any robot that might come through is destroyed immediately and in this case, “not a robot” is defined, more or less, as a sentient being that possesses a soul. What does the TVA have against robots if their ultimate goal is ensuring that the robotic machinations of the time lizards are consistently carried out to protect the sacred timeline?

A soul makes you human; the energy of the soul is what you, at the core, are. It can be assumed that having a soul also means that you have some sort of moral and ethical code by which you live your life but, if you don't also have free will, then what is the point of possessing a soul and a moral and ethical code?

Loki is a villain and he's told by Mobius, the TVA, Odin, and pretty much everyone who ever meets him that the only thing he's good for - the only reason he exists - is to cause pain and suffering and death. This has been predetermined for him; this is not his fault and he did not choose it. And every single choice he makes has either already been destined as the choice he was supposed to make, or will be pruned so it won't grow into the wrong timeline. Ultimately Loki can change neither his final destination, nor the purpose and meaning of his existence.

Which leads me to the theory that the several Loki variants that the TVA keeps coming across are the result of Loki consistently resisting against his predetermined path; he's trying to find the timeline where he is able to latch onto and keep his own free will in defiance of the timekeepers but, so far, he hasn't been successful. This could segue into why the current Variant is now going scorched earth and just obliterating the main timeline completely - because if there is no sacred timeline, there's nothing dictating who or what Loki can be, and free will is regained. If there's a multiverse that branches and branches beyond anyone's control, then there must be a branch in there, somewhere, where Loki can exist on his own terms and decide how his own story goes.

This also might be a theory for why Loki is already setting his sights on taking over the TVA (assuming that's not just something he told the variant for reasons). But my original point in delving into all this is to ask: if Loki is predestined to always be a villain whose story plays out exactly the same way because that's what's supposed to happen, then how can anyone ever hold his misdeeds against him? He's literally just existing as the timekeepers decided he would exist and everyone is blaming him for it.

And this leads me to ask, as well, if one's soul is generally good, and one possesses more good traits than bad, what is the logic in making them exist only for pain and destruction? If it's for a greater good, then it stands to reason Loki is not the only one predestined for misery, and what greater good could come from all that suffering?

Conclusion: the existence of the TVA as an organization means that there is one fixed, sacred timeline but the existence of said timeline is immoral and unethical because it means no one actually has any free will at all in the MCU. The very notion of heroes and villains is pointless because it has nothing to do with your own qualities or morality, it's literally the luck of the draw. In order to have free will, the sacred timeline has to be destroyed, and so my prediction is that the Big Bad of the Loki series is not the TVA and not the time keepers but the actual timeline itself, and the entire fate of the MCU rests on whether or not Loki can ultimately succeed.

Also, don't be late for work.

#well this was a journey #smfh #i hope it at least makes *some* sense #loki series meta #loki tv series spoilers #loki series spoilers #loki spoilers #long post #i should have revised this before posting lmao #i went back and edited some of it but meh #it's pretty nonsensical i think but also i confuse myself really easily so

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yes-these-obsessions-are-healthy · 4 years

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Late-to-the-party disorganized reflection of Jessica Jones Season 1, sue me

One of the biggest things that bugs me about Jessica Jones Season 1 is... and this isn’t me attacking the writers.. but it’s the fact that Jessica is so dismissive of other peoples’ trauma at the hands of Kilgrave when she’s asked to include herself in the group therapy sessions. It’s a deep character flaw that I dislike but I’m still somewhat glad exists. It makes her more believable, but in exchange it makes me dislike her more than if she were to say nothing. She refers to them as “whiney”, which..no offense Jessica, but if what they’re doing is whining, then what are you doing when you bring up your trauma to Kilgrave?

To him, she’s whining just the same as them, only being far more unreasonable, and she uses that sentiment as an excuse to not go to the talks. She says to Malcolm at one point the equivalent of “Someone will always have it worse, so why should I air my dirty laundry out when I probably had it better than someone else”, as if it’s a suffering contest. The nature of victimization, the quality of it, the quantity of it, is what Kilgrave, and ultimately Jessica, are overly-fixated on.

For Kilgrave, the suffering of another person is fine by him because he doesn’t give a shit, but at the same time he thought he was being a great lover to Jessica by taking her all over the world and letting her wear fancy clothes and eating in the finest restaurants. What girl wouldn’t be happy about that? She’s just being ungrateful, she’s just being hysterical, he could have been so much worse to her. It’s a chilling thought process. “I COULD, but I won’t, and you should be thankful.” It’s the threat of a bad time that gives him power, and it is his frequent demonstration of how much of a bad time he could give someone that keeps him powerful.

The very character of Kilgrave is someone who is preoccupied with his wants and needs, like any psychopathic man-child who is desperate for a hit of serotonin that comes from having his whims met or doing what he feels like doing in the moment. His perception of things is the truth, his opinion of someone is how it actually is, and anything to the contrary is just a way for people to try to cage him in and control him. Everything is semantics, negligible, unimportant. The man can feel bad, but it’s self-pity or shallow concern. I think he does tiptoe close to feeling remorse for what he’s done to Jessica, but he stopped just at the ledge, looked down, saw the words “Accountability” and “Responsibility” emblazoned on the trampoline, and went “lol nope”. Because that would mean feeling bad, that would mean changing his self-serving behavior, and that shit is lame. Why would he make himself feel bad? He felt bad in the past, he felt tortured and traumatized by his parents (whether a psychopath or not, the experiments forced upon him would have made any child his age feel like a lab rat, I think, especially since they were so painful-looking..).

Where am I going with this...Kilgrave hits that sweet spot of 1% tragic villain and 99% horrible. He’s a nutter, he may have always been a nutter, or the experiments messed up his head. Whatever the case, his obsession with Jessica is the first time he’s ever felt infatuation for another person. He could list off all the things that fascinate him about her, and in the police station he tries to explain why he can’t stop thinking about her. She represents a challenge that half of him hopes to conquer, and the other half doesn’t. An eternal struggle between them to keep him entertained as he floats through life getting everything he wants. She can be his fiery woman, but she is his woman. She is a weapon he uses as he likes. And somewhere down the road he decided he was genuinely fond of her, but fondness does not translate to kindness and compassion when it comes to guys like Kilgrave, it just means you are too valuable to murder. Most of the time.

What strikes me the most though, is that I don’t know where the manipulation ends and where the self-delusion starts.

The manipulative explanation: Kilgrave is genre-savvy and knows what to say to make him out to be a psycho with a crush--i.e., oh he can’t comprehend what he’s doing is wrong! he didn’t choose to be crazy! He's only just now realized that this thing he feels is love and it may be the thing that he needs to help him become a better person! He wants to love someone and this is how he thinks he should go about it! Jessica, why would you give up on a chance on rehabilitating someone by teaching him the error of his ways? uwu. And he’ll pounce on those doubts and reel her in the first chance he gets. If he has to, he’ll use any innocent bystander as a way of getting her to go along with his bullshit. Maybe he’ll ease up on the criminal bullshit just to get her off his back, but...

The self-delusion explanation: He didn’t mean to hurt Jessica. Well, he did mean to hurt her on numerous occasions, but he didn’t want her to get mad or upset over it. He just wanted her to obey him and do what he said. Everything would be better if she just did what he wanted. Granted, he might have been a bit too harsh on her, but he never did it out of hatred! He has no concept of the depths of pain someone might feel; he’s quite skeptical of the idea that someone could be suffering so much under the surface while displaying the opposite sentiment on the outside. His psychopathy fuels, informs, and reinforces his powers, and vice versa. He doesn’t care about empathizing with others, so he will freely use his powers in a way that disregards them. He will go so far as to use his powers to make someone do something because he knows they don’t want to do it. With Jessica, I think he used his powers to force her to be someone he wanted her to be, but because the very nature of his powers are so pervasive, it truly is difficult for him to determine if someone is doing something against their will because he ordered them to, or if they are doing something because they were willing to do so anyway/agreed with him.

At some point Kilgrave, for whatever reason, came to believe Jessica was following his orders but had also internalized them. He probably thought Stockholm Syndrome had set in and she was happy. He saw what he wanted to see, because the alternative was ugly--someone he was really keen on didn’t truly like him back, and that revelation would’ve broken his underdeveloped heart. Yes, she was being controlled but she wanted to be controlled, she was fine with being compelled to do things because it was him giving the order. In his sad little head, he thought he had a chance to “Win” her back, and his efforts to not be a horrible human being in her presence for a day-and-a-half should have been enough for Jessica to realize he was serious. If anything else, he would try to ape the behavior of a “normal” human being for as long as he thought he would get rewarded for it in the end. He genuinely thought he was doing what she wanted while they were living in her house. He thought that he was truly on the path to redemption in her eyes, that his crimes could be forgiven or overwritten if he did enough good things (regardless if he did them for altruistic reasons). That was why he was so distraught and felt so betrayed. He didn’t understand that that is not how it works. Even if Jessica did forgive him, that still doesn’t change the fact that he hurt scores and scores of people throughout his life. The fact that he most certainly wouldn’t care says enough about how screwed up he is.

On a single, tissue-paper thin level I can empathize with Kilgrave when it comes to not understanding why people are making such a big deal about things like “peoples’ feelings”. When you are not in touch with your sense of compassion, or you do not know how to empathize with people, people berating you about your insensitivity and callous nature is like being berated in a foreign language. You hear the upset tone in their voice, but the points being made don’t make sense. While anyone who disregards someone’s bodily autonomy and displays a lack of remorse for their crimes (or fails to see why something is a crime) is repugnant, it’s a testament to the writers and David Tennant’s portrayal of Kilgrave that actually made me feel bad for the bastard for a few minutes. He’s so twisted, he’s done so much wrong, but he wouldn’t have done any of these things if he hadn’t been granted powers. He terrorized his parents until they abandoned him. If he had been a normal boy there might have been hope for putting him in an institution or something, but no, not with his powers of compulsion/persuasion. If you took either one of those features away--Psychopathy or Persuasion Virus--he would have not gone down the path he had. It was a perfect storm, it was inevitable he would have become a fully-fledged criminal after being abandoned by his parents before he even hit puberty. I truly believe that. You can pull up the “well not every psychopath is a criminal” but how many psychopaths have this sort of superpower IRL? I’m not talking the glib charm and persuasion, I mean forcing people to do things they don’t want to do as if they’re robots and he has a remote control.

His self-entitlement is off the charts, but it’s someone who didn’t choose to be crazy or choose his power but has come to be this way for whatever reason and I really, REALLY don’t want to use the word “gaslighting” because that word is overused to shit on the Internet to just mean “trying to lie your way out of a situation”, but I think that Kilgrave was trying to delude himself. He’s good at doing that, since it is impossible to talk to him without him being able to shut you up and make you cut your tongue out with scissors for angering him. Jessica was potentially the only person in the world who could maybe possibly get through to him, or at least deflate his bubble a bit. I know that Kilgrave would only allow it if he thought it would lead to Jessica giving him “another chance”, and when it didn’t happen he would accuse her of lying and trying to lead him on, as if she owed him forgiveness. That’s the kind of man he is. Quid pro quo and all that.

Going back to the very first paragraph, though...I don’t cite this writing as a mistake, but rather a deliberate effort to write her as someone whose response to trauma is not nearly as often seen in media. The pervasive image of a victim that has suffered what Jessica has suffered is someone blubbering in a corner and essentially wrecked, afraid of men, afraid of people, afraid of life in its entirety. ‘Someone who cries is exposing weakness.’ is the underlying message. Jessica nearly cries on many occasions after suffering a flashback or a nightmare, but she centers herself and shakes herself out of it because doing so comes more naturally to her than it may for others. I don’t really know how to explain it, but it’s not that people who “allow” their trauma to affect them are weak, but rather some people are able to mentally shake themselves out of its hold if given the proper tools to do so at a steadier clip than others. Predisposed skill level at processing trauma, and it’s a skill you learn and develop as time goes on, hopefully. Not all minds react to trauma the same way. Jessica fears Kilgrave, but she also hates him, she hates him in a way that translates to “I would lay my hands on you to remove you from my presence”, i.e. physical, verbal confrontation and rebuffs, whereas other forms of hatred that stem from trauma seem to be “I would do everything in my power to remove myself from your presence”, i.e. avoidance, hiding. Season 1 to me felt like a war between both instincts, and ultimately Jessica chose the former.

This isn’t to say that one must always choose to directly confront the source of their trauma and terminate it, since I think people can recover Jessica has shades of that, and it is a battle throughout the season of “Do I avoid him or do I confront him?”

She is a very shut-off person, really compartmentalizes everything while trying to make it seem like what happened to her doesn’t affect her, but only in front of strangers. When she is with Kilgrave she goes out of her way to remind him “Hey, you fucked me up, did you know that? YOUR CRIMES AGAINST MY PERSON FUCKED ME UP.” And he doesn’t know how to comprehend that. He expresses his disgust for the word “rape” because he believes the myth that rapists are the kind of people that hide in dark alleyways or skulk around skeevy dive bars. They’re cowardly, pathetic little men that resort to force because they can’t seduce a woman properly. But he! He is a suave well-dressed man with refined tastes! Women fall head over heels for him (until they realize he’s a horrible person, then they try to leave only to find they can’t). How many rapists attract the number of women he does? How many rapists are able to get a woman to say ‘yes’ without laying a hand on her? How many rapists shower their victims with expensive gifts and attention? How many rapists love their victims?

Zero! So that means he’s not a rapist, obviously! To be accused of rape is a big existential threat to him. It would mean challenging the nature of the relationship that he has created in his mind between him and Jessica. He came to think there was genuine love between them and he somehow lost her, or he failed to pick up on something and she ran away. He blames her for breaking his heart, but at the same time he comes close to admitting that maybe he did something wrong and it made her angry, so he should at least try to fix it to make her happy, as if she got fed up with him coming home late from the office one too many times. You know, something objectively minor but still considered important in her overdramatic female mind. I should note that Kilgrave does not come off as a man who thinks less of women for being women, but believes they are a bit different from men ala “Women are from Venus, Men are from Mars”. Women require different handling; they don’t always say what they want because they don’t want to admit that they want things. That ties into Jessica’s statement that she doesn’t flirt, she states what she wants. But Kilgrave demonstrates that even when a woman states in plain terms what she wants, men assume the woman is lying, in denial, means the opposite, or she can be persuaded...

It’s the discounting and downplaying of Jessica’s claims that really sell how far up his own ass Kilgrave really is.

So in short:

Psychopathy + male chauvinism + Unfettered infatuation + Persuasion virus = The Biggest Recipe for Disaster in the History of Gender Relations Ever

#this is basically just a bunch of thoughts written down with some coherency #these points have likely been touched on before but if I want to get this bastard out of my system I need to write them down #kilgrave #jessica jones #character analysis

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faunusrights · 4 years

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Before The Dawn -- Preview Thoughts (ahoy rwde)

So if you didn’t know (or didn’t see [or didn’t hear {or are living the life of blissful ignorance that I, for one, wish I had}]), a preview for the next CFVY-centric novel, Before The Dawn, came out! It’s the sequel to After The Fall, which I liveblogged a while back and generally like… was ambivalent about. Some of it was okay. Other parts were weird. Some bits just plain bonkers. But whatever!

Well, a part of this preview also happened to contain a flashback of Velvet and her father, and I really wanna extrapolate on some reasons this has me bewildered and frightened for my wellbeing! Because what the fuck! Anyway, goes without saying this post contains spoilers for six pages or so of Before The Dawn, but I can’t imagine anyone really cares about spoilers? Probably? Anyway.

(A small aside: I’m not crazy interested in engaging in, like, any debate over anything I’ve put here. This is just a write-up of conversations I’ve already covered with other people for the sake of quick linkage, and not a bright flare arc of ‘somebody come debate this’. If you like what the book says: fine! I don’t. Let’s leave it there, kiddos.)

So, I’m opening this with a disclaimer: many people know I have some hefty headcanons for Velvet’s parents, and I wanna just make it, like, excruciatingly clear: never, at any one point, did I think my headcanons or my AUs or what-have-you would ever become anything even vaguely close to canon. I knew a day would come in which what I’d filled in would come to have canonical content (or, rather, I’d hoped they’d not touch Velvet with a ten-foot pole and I’d never get disproven), and that this was inevitable. Canon and I aren’t on speaking terms, and that’s okay! I didn’t want, nor expect, nor imagined, my stuff becoming canon. So everything I’m about to say isn’t a case of my headcanons were superior or I wish they’d done what I did. What I wanna talk about is how… bad the canon we got, is. Got it? Good.

The preview doesn’t grant me page numbers so I’m unsure exactly where we are in the book, but that prooooobably doesn’t matter so much as the content of the section I’m talking about, but anyway; somewhere in this book is a 6-page section of a flashback Velvet has of talking to her father, as well as some Velvet and Scarlatina family lore. Can I even call it lore? Probably not. But it’s there and it’s real, and I wanna just dissect it for a moment by covering the main points from this excerpt, in no real order, with no input on my half, just facts:

Velvet’s father is an Atlesian engineer.

He works for/under/with Ironwood.

Velvet’s own skills as an inventor and engineer stem directly from him.

His work in Atlas has divided the family, because Velvet’s mum hates that he prizes his work over his family.

Velvet has always wanted to go to Atlas as it’s the tech capital of Remnant.

Velvet’s father doesn’t see her often and that causes some strife.

Her father’s name is Will Scarlatina.

Her mother’s name is Meg Scarlatina.

These are probably our main points to cover, and I’m gonna go over ‘em probably in this order since this is more or less how the excerpt presents them. So let’s take it from the top.

1. Velvet’s father is an Atlesian engineer.

WOW what a start. What a START!!! So, someone pointed out to me that this definitely implies he’s a human, which has some in-text proof that I’ll show a little later in point three, but my god what a. bold beginning. Yes. That said, this point only gets egregious a little later down the line, so let’s hop to point two.

2. He works for/under/with Ironwood.

Okay, so, again. I don’t plan nor intend for my headcanons to become canon in any capacity… but GOD do I hate how we have someone else tied up to Ironwood in some way. This man pulls all the strings, and it seems like nobody can do anything science-y or invent-y without it getting all wrapped up with Ironwood, what gives? Also, probably further proof that Will here is a human, though I’m ready to be wrong. I SURE HOPE I AM. Either way, with Velvet being a Faunus and Will potentially being/having married a Faunus, this slaps in all the bad ways. Can we stop that? Right now? Thanks.

3. Velvet’s own skills as an inventor and engineer stem directly from him.

SO THIS WAS MY FIRST STICKING POINT. The way I explained this was that, in some ways, some people are just like their parents (I sure am in a lot of ways!) and others are totally UNLIKE their parents (such as a lot of my friends!), but it really bothers me that RT looked at Velvet, who they decided was a very competent inventor and creator, and said well, she must’ve gotten it from somewhere! No way she did that all by herself! Let’s have this masculine figure in her life be the reason she’s Like That!

You can say I’m maybe over-exaggerating and, hey, maybe I am. But I really hate stories when a person’s skill is attributed directly towards someone else as if they have no autonomy to learn things on their own. Wouldn’t it have been cooler to have had Velvet strike out and make use of a skill that she developed with the help of friends and family? Who weren’t responsible for this skill, but aided her improvement? It’s real annoying that they decided she’s basically a clone of her father, which is supported by that in-text quotation I mentioned:

“She might have her mother’s ears, but she was her father’s daughter.”

So, first off: what the fuck. Secondly: ?????? Thirdly: so I think this is proof towards Will not being a Faunus, since the reference to ears is so pointed, but GOD I HATE THAT WHOLE IMPLICATION? People aren’t always little mini-clones of their parents, and something really bothers me about a daughter being Just Like Her Dad. It smacks all wrong, and maybe it’s ‘cause I have my vision of the Scarlatinas being so matriarchal and all but it bothers me one hell of a lot. Jesus.

4. His work in Atlas has divided the family, because Velvet’s mum hates that he prizes his work over his family.

/deep breath

Okay. Again, not tryna inflict my own headcanons on this. But are we really gonna play ball with yet another heterosexual marriage on the rocks because the man of the house prizes his job over his family? Really? Really? That’s what we’re being given, hot and fresh, off the printer? Really?

I’m just. Deeply disappointed that this is the angle we’re getting here. Like… right now, the ONE family we’ve got with their braincells in a row is, like, the Belladonnas, and yet we can’t get ONE other out here??? Not one??? The hets, they’re at it again! And I just. It would be SO easy to toss in some good queer content with these flashbacks and we’re just Not getting it. I don’t know why, I shouldn’t have to wonder why, but this is that, I guess.

5. Velvet has always wanted to go to Atlas as it’s the tech capital of Remnant.

HAS SHE THOUGH… REALLY? We’re really gonna say the Faunus who canonically got bullied in Vale and like, is visibly concerned about asshole humans being assholes, wanted to go to Atlas? Asshole human capital city? Are we positive? ‘Cause I, for one, ain’t. Tech is everywhere! You can study and deconstruct and pick apart and invent shit anywhere on the planet! Why would Velvet put herself at such risk just to see the equivalent of Silicon Valley dipshits engage in a circlejerk?

6. Velvet’s father doesn’t see her often and that causes some strife.

Here’s a slice of in-text dialogue to chew on:

“Just another way I’ve disappointed you, huh?” he said.

“Dad. No!” Velvet paused. She didn’t want to hurt his feelings, but she didn’t have much to follow that up with, nothing that would convince him, anyway. It was hard to argue with the truth.

Now, small tangent: if you’ve read, or seen, any of my writing on Arslan-as-Sienna’s-offspring AU (which is [are] good AU[s] and general idea[s] you should read my content on the matter), then you’ll know I hate the trope in which a parent who does wrong by a kid, then expects that kid to apologise in order to make themself behave better. For instance: kid has an absent parent. Kid apologises profusely to the parent in hopes they’ll come home and be more present in their life. Parent feels bad, and does that, validating the kid’s belief that they needed to apologise to get their parent to come home. It’s a garbage trope and a dangerous one, because you don’t have to apologise for someone else hurting you. Full stop.

So imagine my surprise to see the same thing happen here! What’s this guilt-tripping? What’s this weird focus on Velvet when he’s the one not coming home? As soon as I read this line, it felt skeevy, it is skeevy. I hate it. I am brimming with hatred. Why do this? Why bother? Why does she need this drama? Jesus christ.

Next two points are a two-in-one:

7. Her father’s name is Will Scarlatina. 8. Her mother’s name is Meg Scarlatina.

WHAT? WHAT??????????? HUH????????????????????????

Okay, I know this seems like a bizarre thing to latch onto when there’s already so much fucked up here, but huh?????? These are the names? You chose? Will and Meg??????????????????? Never mind that they do NOT flow into their surnames at all (Meg Scarlatina????????????????????), but also the fact that Meg makes me think of Family Guy (which is something I NEVER want to think about, thanks,) just makes this a fuckin’ TRIAL of pain for me. Will and Meg???????

Did they pick up a phonebook — or, like, an online one — and grab the first two names they saw? Did they get a dartboard and put on a blindfold and launch darts across the room? Was this a socially-distanced[1] conference call gone wrong? I’m BEWILDERED. I learnt these names from someone posting about it in my discord chat, and I thought it was them telling a shit joke to try and piss me off. Are we really serious?

And to me, the name thing really epitomises this whole section. These names — that don’t fit well, that don’t really make sense with the whole colour-name lore, that don’t sound like they should be within a 20-mile radius of RWBY canon — are like the excerpt itself: bonkers. Bonkers bananas. Where every page brings in a new and unprecedented level of huh???????? that I JUST can’t get over.

Now, again. I don’t want my take on Velvet’s parents to be canon. No, really, I’m gonna use them for an original fic, RT don’t touch them they’re mine and they’re going to be in a novel. A series, even. It may even be erotica! But that’s neither here nor there; when I made Ash and Taffeta, I spent a lot of time reverse-engineering (my brand of) Velvet to put the pieces together. How did she grow up to be who she is now? What influences did she have? What examples did her parents set? What were her family like, and how did she take that upbringing forwards? And I spent a lot of time thinking about who they were, the environment they fostered, and I spent so many hours googling names it doesn’t even bear thinking about. Point being: I put a lot of time and energy and love into the Scarlatina family because I wanted, so badly, to have a family people could be, well, jealous of! A family so big-hearted and kind and full of love and furious compassion that you couldn’t help but wanna be there.

To me, this… take. This version of Velvet’s parents being peddled as canon is just so… unreal. Never mind that it’s been so many years since Velvet was unveiled, so many years people have developed headcanons of their own that, honestly, at this point, why bother? But it’s so frustrating to have taken time to make a queer family built on the solarpunk and socialist and eco-friendly and green-thinking and sustainable ways of being to then have canon turn around and say, okay, what if her dad’s a bootlicker, Velvet’s a mini clone of him, and the marriage Velvet’s parents have is on the rocks due to a trope older than time itself! Why? Why bother? What can this possibly add?

I’m not mad that what I wanted isn’t canon. I’m mad that what canon has given is so… lackluster. So boring. So unoriginal. I feel like I’ve read this story a thousand times, but it would have been so easy to make something so much richer with just a smidgen of effort on everyone’s parts. I expect so little from canon and I’m still let down. This is somehow worse than anything I expected canon to pull. It’s wild. What a bonkers series of choices to make.

[1] I know that most of this book would’ve been planned/written before lockdown, but please bear with the joke.

#rwde #before the dawn spoilers #preview discussion #dont @ me fuckers im too busy being disappointed BUT NOT SURPRISED

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yangingaround · 5 years

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one thing that annoys me is people going but team rwby are traumatizied when the same thing could be said about ozpin ozpin was a like an old war vet who had ptsd and trauma . ozpin had every right to keep secrets I am sick of people trying to paint ozpin as a bad person or manipulative because he kept some secrets which needed to be kept secret due to many betrayals and if they go out it will only help salem like the relic if info is leaked to salem it will help her. ( lionheart 1/2

“Anonymous said to yangingaround:

was his friend and he just betrayed him to salem a short time ago and he has been betrayed many times in the past so why should he immediately trust team rwby who he doesnt know as well ( and given how they reacted to salem being immortal saying it was pointless it shows ozpin was right in keeping salems immortality a secret the entire reason they kept salem a secret was to prevent the loss of morale ,feeling it was pointless etc )(not to mention yangs hypocrisy 2/2

Anonymous said to yangingaround:

I am sick of the whole oz kept secrets so we cant trust anything he says ignoring that team rwby have kept secrets and told lies many times and they like to pretend its different when its not . ozpin isnt at fault for summers death her dying on a mission is not oz’s fault . ( oz protected humanity this attempt to paint oz as a manipulator or like dumbledore or taking away peoples choices ( check itsclydebitches tumblr she made a post on that ) is bs ( and salem always blames other people ½

Anonymous said to yangingaround:

for her actions like going the deaths of the people who fought against her are somehow oz’s fault or claiming ozpin is a coward for going away after just seeing the worst moments of his life and his friends turning on him and what qrow did to him he was stressed out and needed to go back inside giving qrow what he wanted he was crying and the claim that this was cowardice is utter nonsense he needed to escape from the abuse so he left the only way he could 2/2

Anonymous said to yangingaround:

also the claim that ozpin never tried to unite humanity is complete and utter bullshit his entire plan was to unite humanity and by rwby v1 he was close to achieving that goal the closest he had ever been ( ozpin was the king of vale)

—

okay, briefly coming out of semi-retirement on here because this just dropped in

this was kinda the wrong blog to send this to, because none of the mods are on Oz’s side

but let’s start from the top:

Oz had no right to keep secrets when those secrets were endangering lives (keeping the fact that the relics attract Grimm put hundreds of innocent civilians in danger for no reason because the heroes weren’t prepared), and he was purposely leading the heroes to on a pointless suicide mission rather than be straight with them that he had no plan

on top of that, he’s millennia old, so the fact that he can’t get over his thousand year old hurt feelings is literally not anyone else’s fault but his own, and he’s endangering lives over it - he’s had multiple lifetimes to get over it, and it’s made clear from Jinn’s description of things that for the most part he just moped and did nothing

second, Ozpin is manipulative, we see that in how he interacts with Pyrrha, coercing her into becoming the Fall Maiden by taking advantage of her nature and ensuring it by presenting it as an ultimatum - “become the Fall Maiden or the bad guys win” isn’t a choice, no matter how many times Qrow and Ozpin insist otherwise

it’s not just the keeping secrets thing, though that is part of it (oh, and FYI, his claim that he only keeps secrets and lies because he’s been betrayed in the past? was a lie, the first thing he did when meeting Salem again after reincarnating was lie to her, and he had far less sympathetic reasons to lie to her than she did to him - she was afraid of being judged by the one good thing her life ever had, he was lying to her because the God of Light told him she couldn’t be trusted. and we have confirmation from the writers that the gods are heavily based on Greek mythology, and those gods were assholes), he’s manipulative for far more than that

(oh and maybe Lionheart betrayed Ozpin…. because Ozpin lied about the mission… and Lionheart got scared because he couldn’t trust Ozpin… wild concept but maybe Ozpin is the mastermind behind his own destruction)

and no, Ozpin wasn’t right to keep it secret, because they still found morale after that initial despair, but here’s the thing, if they’d known from the start, shit wouldn’t have hit the fan that hard - knowing how bad things are from the start is a lot better than thinking you’re in a better position than you really are; because when that truth comes out it’s a lot further to fall

Ozpin demands trust but never reciprocates and then acts hurt when he’s inevitably betrayed over it, that’s his fault, no one elses

and funny you should mention Yang’s ‘hypocrisy’ because that’s a brilliant sticking point that would have entirely made your argument if it wasn’t top of the line, absolute Grade A horseshit

Yang keeping a single secret about Raven over a very personal issue when that secret no longer has any value to the rest of the group (they already have the Relic and the Vault is already dead, the Spring Maiden no longer holds any value to Ozpin as Relic’s already out and Salem doesn’t have much reason to pursue Spring knowing that the Relic is out of the box) is not the same thing as Ozpin lying to the group by keeping information from them that could get them killed. so show me where the hypocrisy lies here because i’m not seeing it. acting like one small, harmless act is comparable to thousands of constant lies

when RWBY keep secrets, it’s because they have to, they never do it simply because and have never done anything to intentionally endanger lives while Ozpin does it without a thought

oh and here’s a shocker, by being the person sending Summer on mission, Ozpin was knowingly endangering her, so yes, he actually does hold some responsibility for her death - that’s how the chain of command works

and ‘Oz protected humanity’, interesting. did he? let’s see what Jinn has to say:

“Thus began a long and painful cycle of death and rebirth for Ozma.Some lives were spent in mourning, many were spent attempting to forget it all.”

yeah, sounds like to me, he spent most of his time running away from the problem, so his current behaviour is on brand, at least (also this scene reveals that he lied about the whole “i merge with the next guy i reincarnate into” thing because it’s made clear that until very recently he just suppressed them; and drank at least a couple to death, so add everyone he’s ever possessed to his body count - and the people he jumps into don’t have a choice but to get involved because he can take over whenever he likes)

and i’ve already addressed that he did take away people’s choices, because he doesn’t give them choices, don’t tell me to read someone else’s post and not argue the point yourself, i pay attention to the show, okay? i can understand what’s happening in it - Pyrrha, ultimatum. the rest of the gang after Yang and Weiss arrive, ultimatum (by not so subtly hinting at Raven’s cowardice as a negative quality they should shy away from). all the people he’s ever possessed, only recently did they even get autonomy and that’s only because he lets them have that. every student who has ever attended the four main combat academies - the entire premise of the schools is a false pretense. it’s not to train warriors to protect the world (hell, the very concept of Huntsmen and Huntresses being the sole defenders of the world is almost propaganda in quality because they’ve only been around for less than a century - humanity got on just fine without them before that), it’s so there’s an ever-rotating array of meatshields to protect his god-summoning paperweights. which puts the deaths of the likes of Gretchen Rainart on him too (as well as the fact that as Headmaster he has a duty of care and he tries brushing those deaths off like “they made their choice” which is a disturbing detachment from responsibility)

and yes, Ozpin is a coward for running away, because this is his fault, and he decides to hide himself away than deal with the consequences of his actions - he’s not a child, he’s not some scared little boy who needs his mommy to hold his hand - he is a millennia old asshole who is very much responsible for the mess everyone is in right now, or did you miss the part where Salem was peacefully holing herself away where no one could bother her? or that he was the only good thing in her life and by stabbing her in the back first by running away with the kids instead of talking to his wife when she got a liittle too edgy (which, by the way, wasn’t even her fault because the only reason she was like that by that point was because she’d tried to kill herself and didn’t know this result was a possibility, and that’s one slip after a near decade of happy marriage) and taking the first hope she’d had in so long away; of course she’d snap

that’s what Ozpin does, he builds people up on lies so they don’t know how far the drop really is - just because his goal is ostensibly noble doesn’t mean he is, especially when his actions are anything but

“needed to escape the abuse” holy shit. okay, this is a joke right? it’s a joke?

being called out on your bullshit is not abuse. people getting angry at you because you lied to them, manipulated them and were planning on letting them die for a cause that you know to be pointless is. not. abuse.

i don’t care if he was crying, that doesn’t mean anything - “oh look at the poor sad millennia old wizard, he’s upset that people are angry at him for the blood on his hands which he has no problem sticking his hands back into”

and i wouldn’t call what Oz did in the Great War ‘uniting’ humanity. considering what that amounted to was forcing the other reining monarchs to kneel to him after he beat them up (as well as the Queen of Vacuo, who was his ally), dismantled their power structures to replace it with the council system (and destroying any remaining semblance of real governance that Vacuo had, leaving it a chaotic hell-pit wasteland) and built the schools (which were meant to not answer to any of the Kingdoms) as a front so he could stay in power and control across reincarnations

yeah, some unity - all that demonstrates was that he never really had a problem with the “beat people up to make them do what you want” plan he and Salem had the first time

Ozpin is a very old, very pathetic coward - he doesn’t learn from his mistakes, he repeats them over and over again then acts like it’s someone else’s fault. he refuses to trust people yet gets angry when they refuse to trust him, he lies to people constantly but tries to dodge out of it than take responsibility, when his secrets endanger the lives of others, instead of acting like a fucking adult and facing the consequences for his actions, for the god knows how many lives he has damaged, ruined, destroyed, how he willingly endangers lives rather than tell the truth for no good reason, he runs away and leaves everyone else to pick up his mess

he’s a coward and RWBY and the others have every right to call him on his bullshit. they’re a lot younger than him, they have more room for mistakes and growth

he’s had literally all the time in the world to be a better person, and all he’s become is a lying, weaselly coward

-Mod S

also, read the rules:

#rwb/y #yangalysis #long post #not a comeback #someone decided to rant in this askbox #i decided to rant back #Anonymous

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swampgallows · 6 years

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I’m too fucking young to feel like this. I’m too young to hate my life and hate where I live and hate my circumstances and feel powerless to change them. I have extremely talented and amazing friends and I’m part of a very vibrant network of people, even if they aren’t the most typical. And that’s what I like about them. That’s how it’s always been. That’s what I’ve always wanted. And instead I’ve endured my twenties facing suicidal depression for years and years and years, wanting to die, figuring out how I can die, and being too much of a coward—or too hopeful, however you want to look at it—to take the plunge.

My family has zero fucking empathy. I was talking to my brother yesterday about how my friends, from two groups of internet friends, are meeting up at a Canadian anime/fan convention in a few months, and how much I’d love to go, and there’s no reason that I shouldn’t go, but that I can’t fucking find my passport STILL and I’m 90% sure it’s because my mother misplaced it (ALONG WITH MY BIRTH CERTIFICATE!!!!!!!!!) and how it feels like every time I crawl toward a sense of autonomy it’s ripped from me, and how I feel like I personally am being erased from my own existence because I’m just left to rot in my room with little contact with the outside world and how my family says a lot of nice things but when it comes to boots-on-the-ground assistance—helping me learn to drive, explaining how they’ve set up my assets (my MOM is still the primary account holder for uhh LITERALLY ALL MY MONEY), just generally doing natural shit one might do if they want to see their children become independent and foster their development—they figure I’m “smart enough” to figure it out on my own, or they can’t be fucked to help me, or they say backwards shit like my sister did, telling me that I should get my license first and THEN she’ll help me learn to drive because she’s not confident with my driving ability “and you need to respect that”. I KNOW I’M A SHITTY DRIVER!! I DONT HAVE ANY PRACTICE!! So I had to pay a thousand bucks out the fucking nose for fucking driving lessons because nobody over the course of ten fucking years felt like sitting in a car with me to help me learn.

So my brother yesterday says “Well you should help mom with her ‘box-a-day’ thing”, helping her clear out her fucking hoarder trash heap so I can get MY OWN information back. And I just exclaimed WHY THE FUCK DOES IT HAVE TO BE ME?????? WHY DOES IT ALWAYS HAVE TO BE ME??? “Well I can’t do it because I would just yell at her.” WHAT THE FUCK MAKES YOU THINK I DONT WANT TO TEAR HER APART? WHY AM I SUDDENLY MY MOTHER’S KEEPER? DOESN’T ANYONE GIVE A SHIT ABOUT MY FUCKING MENTAL HEALTH??? DOESN’T ANYBODY FUCKING CARE THAT IVE WANTED TO KILL MYSELF FOR TEN FUCKING YEARS BECAUSE I AM INTERMINABLY INDEBTED TO MY FUCKING MOM??? that I am SHACKLED to her and TRAPPED with her and can’t live my own fucking life because I’ve been manipulated and yoked by guilt, an entire lifetime of my mother screaming “Do you want me to blow my brains out and have them splatter all over the walls?” right in my little face, too young to picture what that looks like, too young to understand the circumstances, watching invisible tiny pink brains bounce like rubber up and down the hallway.

Why is it MY RESPONSIBILITY to constantly save my mom’s life, to constantly provide care that I AM ALSO not equipped to give? I’m not a fucking therapist. I’m her daughter. I didn’t fucking ask to be born, and given the overall state of my life, it might have been better if I never had been. Don’t fucking guilt me and talk about empathy and “well if you really love her” well I don’t know if I do! I don’t know if I’m equipped to love my mom when I have such an unhealthy and codependent relationship with her! I don’t know if I am free to love her; I think anything I feel is Stockholm Syndrome! I want to love my mother, sure! But I also don’t want to give up my life for her! And I don’t know why it has to be me, alone, constantly! My brother and sister sure have their own fucking reasons of why it has to be me, and I’m fucking sick of it. I’m scared that I will become too selfish, that once I can leave and get all of my assets in order that I will never come back, that I will never return to my family. They can say all of their stammering backpedals about “—o-or a woman! Or— or anyone at all if you choose to marry, I-I mean— I don’t care if you’re gay—if you’re gay—or asexual, o-or—”, shaming me about my interests, about the music I like, about how my friends aren’t successful just because they’re unconventional, about how they “support” my interests but do not care about them at all, how they think they’re good parents for letting me wear kandi sleeves in high school but then completely ignoring that I was raped on a daily basis by an adult student and only inquiring about my mental health because my grades had fallen, and I’ll finally have had enough and never come back and never let them back into my life again until I can be who I really am, confident and happy and proud and vibrant and uninhibited by guilt or shame from people who say they love me.

I am TOO OLD to be having a stage of teenage rebellion right now and to feel like “parents just don’t understand”. Because it’s not just that, it’s my whole family. I’m tired of having to hold back my tongue about which people deserve personhood just because they’re all conservative head-in-the-sand lawyers with their very specific and manmade rule set about How Things Are and think having a black friend is their free N-word card, how they collectively refer to people who are my friends as The Gays, how I had to hole up for hours just listening to rampant transphobia and ignorance and wishing death among children to preserve Muh Guns, how I have always hidden until I am forced to come to dinner at every single family gathering and then my mom has the gall to say “I love our family. No black sheep. Well, maybe Donnie,” because he is a delinquent but moreso because he was adopted, I think.

I want to be independent. I do. I do. And I am sick of feeling like I can’t do it. I’m sick of feeling like I can’t find my own way to navigate through this life without encountering this shit day in and day out in my own living space. But I have to remember that this world is harsh and cruel to people who are different, even though I can imagine a world in my head that isn’t.

Jesus, people, I just don’t think I have the strength. I feel so fucking alone. I am tired of having to pull this weight by myself. I am tired, and if I sit down, I will die.

My situation feels like I’m sitting in a cyclone. The center is stagnant and secluded and I am bored to tears in my isolation, but if I try to step out I will be ripped to shreds. It’s moving too fast to move with the current, and I don’t know where to jump in. I feel like I’m trapped and the only way out is when it crashes into something and dissipates.

I’m 8 days short from being unemployed for a full year. Still no therapy. Still haven’t made a mix. Still haven’t completed a single real piece of artwork. Still suicidal. Still can’t drive. Still living every day like it’s my last: waiting patiently, exhausted, in anticipation of inevitable death.

#blathering

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plunder-heaven-and-devour-god · 6 years

Text

Tropes!

My brother and I are discussing how to put out tropey indulgent media out there while still making original content that is aware of its environment.

We were looking at tropes and stupidities that we never get tired of in movies/books/games and why we still kind of want them in our content. For example, I can’t get enough of Enemies to Lovers and the bro loves the Jerk with a Heart of Gold Trope. How do you incorporate that into new original ways to stories that still feature a socially conscious voice?

You cannot slap on traits of that trope and expect it to work. You cannot frame the shortcomings of the trope as ideal and you cannot gloss over the ramifications of the trope. Discard what is harmful, take what you love, and run with it.

EDUCATE YOURSELF, really though, figure out the shortcomings of this trope. Where does it fail? Where does it succeed? I know that my Enemies to Lovers falls through A LOT! How many times do you find they’re battling each other and clearly the writers weren’t aware of the rules of said trope and they end up being ultimately flat and abusive? The Byronic Hero being the other one people get wrong A LOT. How do you tread that line with elements that can easily run into abusive and violent (or fucking stupid for that matter)? Same for the Jerk with a Heart of Gold trope, which done properly is great. How many of us have fallen prey to any character who cracks wise and makes bad decisions but ultimately loves and cares? If done badly it treads into dismissive/belittling/abusive

To give examples of two shortcomings and two successes with these tropes I’ll offer up:

Byronic Hero:

Good: Mr Rochester

Bad: Literally any bad YA love interest

“Byronic heroes are charismatic characters with strong passions and ideals, but who are nonetheless deeply flawed individuals who may act in ways which are socially reprehensible because he's definitely contrary to his mainstream society. A Byronic hero is on his own side and has his own set of beliefs which he will not bow nor change for anyone. A Byronic hero is a character whose internal conflicts are heavily romanticized and who himself ponders and wrestles with his struggles and beliefs. Some are portrayed with a suggestion of dark crimes or tragedies in their past.” THE LITERAL BYRONIC HERO TROPE PAGE

I feel like that biblical paragraph sums up the Byronic Hero. Where lets say Rochester and Frankenstein or their modern equivalents never have their behaviour or actions framed as good, we still find ourselves engaging with them. It’s indulgent in its admission. It has to be your bag, and it’s that you have to be here for. You have to like engaging with a character that has done bad things but still has enough emotional relatability that instills fascination.

What is not fascinating/enjoying/attractive is watching bad YA that frames these bad qualities as ideal or go as far as to fetishize them. For instance, the possessive boyfriend angle ‘cause it’s hot is one of my PET PEEVES. YOU WILL ALWAYS GET MORE TRACTION WITH FRAMING THEM AS BAD THAN HAVING THEM DO CREEPY SHIT AND BANKING ON US EMOTIONALLY ENGAGING WITH THEM POSITIVELY. (Looking at you Tiger’s Curse)

You have to be aware where the trope works and where it doesn’t. The authors of bad YA have the intent to make them conflicted/tragic/flawed but don’t really want to examine what made those byronic heroes enjoyable. Instead they take surface attributes and slap them on. Byronic Hero is hiding a wife in the attic (BAD and framed as such)! Bad YA Love Interest is demeaning and patronizing to flirt (BAD and framed as good!) Challenges God and Nature and is NOW A FATHER (Not So Great Frankenstein and not framed as such) . Bad YA Love Interest is physically possessive because that is what this demographic finds sexy (BAd and framed as Good)

Here is an alternative! YA Love interest does bad shit and its not framed as anything good! The protag can react with more autonomy than :Oh that’s hot and my reader’s will think so too! The protag can be dismissive, angry, or shitty right back! No one is absolved! But you can still engage with them on a more nuanced level. You can suddenly make connections with the Byronic Hero because you understand their fear or their conflict, rather have it be a lazy flashback to explain why your bad YA Love Interest is being shitty.

How to be indulgent: Make your awful characters awful and frame them as such! IF you’re able to create a subtle character that warrants the trope then clearly they have what it takes to be engaging!

The Jerk with a Heart of Gold trope:

Good: Iron Man (I know people with debate this but we like him in this house so go with it)

Bad: Any sitcom husband ever

“A person you would expect to be a big Jerkass has some redeeming qualities behind their tough demeanor. Occasionally, they'll try to make it a Hidden Heart of Gold.” - The Jerk with a Heart of Gold TV Tropes Page.

Awareness is a big factor in incorporating this trope into new ideas and new content because I don’t think this one is ever going away. It obviously manifests in different capacities and genres. But I chose the above examples because they’re familiar, and can be played for drama and laughs.

Tony Stark is a good iteration Jerk with a Heart of Gold because his actions aren’t framed as harmless or irrelevant. He is a hot mess, he says it himself. He makes bad decision after bad decision and endangers himself and others in the process. Why does he still have a heart of gold? He still gets the “save the cat moment” and he is given time to show his conflict and reasoning as relatable. He creates Ultron, sides with the UN in Civil War (I still see a lot of his motivation as valid which to each their own when it comes to that movie). He does so out of guilt and the desperate need to hold himself accountable. Being the only person on the avengers who fights by ways of inventions he has understood the consequences of bringing this technology in the world and stepping up an arms race. And yet he continues to fight. To an audience we see his shortcomings as an individual. And yet we feel for him. He is framed with a more subtle dialogue, he is flawed, he tries to be heroic, but he has no clue what he’s doing, and continues anyways.

I bring Sitcom Husband up because so often show writers will create Sitcom Husband with harmful and toxic male coded traits in mind. They are:

Callous, lazy, clueless, domineering, stupid, always wrong, uglier than their partner, enforce toxic gendered norms, homophobic, transphobic, and/or racist?

You are not framing your Sitcom Husband’s actions as shitty and bad and worthy of changing. They are being framed as commonplace, expected, and normal. These are not just “jerk” things to do, they are emblematic of larger social issues that many sitcom writers shouldn’t be allowed to tackle. There is the opportunity to have characters that evolve and change but they aren’t allowed because they represent you, the male viewer, and you are shitty and unable of changing. And to all the other genders out there: this is your lot and life, this is how people will treat you.

Flawed Superhero sides with the UN (Not Ideal but Framed with Good intentions). Sitcom Husband cant remember anything relevant about children’s lives (NOT GREAT but framed as commonplace instead emblematic of a larger issue).

To give an example of Sitcom dads who don’t hit this bad note: Bob from Bob’s Burgers is great, he’s tired of his family’s Shenanigans, but loves them and would do anything for them. An example of Jerk with a Heart of Gold that doesn’t have his shitty actions framed as okay but is still likeable (sounds a bit Byronic Heroish but he’s not trust me).

The Lens:

Gender

The Byronic Hero and the Jerkass with a Heart of Gold are very gender laden tropes as well. The moment you apply these tropes to people who are not cis men, they transform in meaning, and not to mention, there are BARELY ANY OF THEM. Just trying to find villains who are just cis women with proper writing is a task in 2018. These terms get applied to men and their definitions are validated by their interaction with heroines or other men.

The failed Byronic Hero is aimed at “female audiences”. It’s a tangled snare of a male content creators guessing at what “women” want and women who have fetishized and internalized the failures of this trope. All come to the conclusion that “chicks dig bad boys”. Not to be that person, but it also vastly misunderstands the appeal that Byronic Heroes have for all genders. It is extremely difficult to create new content that pays homage to this trope without hitting the pitfalls of most media.

The failed Jerk with a Heart of Goal is aimed at a gender dichotomous audience. It’s a snub of content creators of what they think, you, man or woman, are. The faults are framed as inevitable manifestations of gender and yet still excusable because these jerk related tendencies are just part of being man or a woman, and not a vast social system that favours few and marginalizes many. This extends to race and sexuality as well. Your jerkishness is thanks to your identity, and therefore, unchangeable.

Race

From a race perspective? They’re all white. We are at a point in Western Media, at the very least, where diversity is becoming an increasing demand. But with media content creators still being part of an out of touch racial group, it’s difficult to see any character, let alone anyone with the discussed tropes represented. We are at the point where your diversity, if a larger role, is going to be portrayed as perfect. This is a major issue I take with creating poc, and woc characters, not to mention characters of different gender and sexual identities. There aren’t enough diverse content creators to get us past this block of creators making them perfect because they don’t know how to make a human character who is also of color.

This makes the Jerkass with a Heart of Gold impossible to tackle. We are starting to see more fleshed out characters nowadays. It is still a fairly recent sensation to HAVE A SELECTION to chose from.

I would love it if Byronic Heroes and Jerks With A Heart of Gold came in color. We are meant to watch white guys do bad shit and engage with the conflict of their character. And as a mixed race women it is definitely a weird place to sit when one does enjoy tropes like that. IT’s even more unsettling when we can’t extend that empathetic engagement to men of color, or woc, or god forbid, trans people. (let everyone have a byronic hero honestly)

And in a world of hate crimes and deplorable race relations, what is the relevancy of this trope? What is the relevancy of this trope in a visual mass media already saturated with badly written YA Love Interest or Not So Deep Byronic Heroes?

I’m not an expert, but as a consumer of books/tv/movies/etc I don’t think fiction is the root of all mankind’s evil and I don’t think fading this trope out of visual mass media is going to get rid of it. I, personally, think we need more content creators of color, of different gender identities, and different sexualities reinterpreting Jerk Ass with a Heart of Gold and the Byronic Hero.

Gender Binary and Sexuality

I chose these two tropes because they’re traditionally VERY gender related. And I mention this to clarify that the market is aimed at a gender binary: straight girl or straight boy. Gays, Bis, Non Binary, Gender fluid, or trans folk, for example, are left out of the equation of: what do they want to see in media?

I do know that for as long as evil has existed there has always been a very clear coding as to what the villain’s sexuality might be. It’s clearly deplorable how literally the only representation a huge marginalized community get will be in the form of a morally or sexually debauched villain. Which is why I will never forgive LeFou being made gay (you couldn’t have picked any other character from your 600000 other features Disney?).

Also as a Cis woman, I don’t feel like I can do an accurate run down of how indulgent tropes fail or succeed with a LGBT lens. I have a base idea of WHAT NOT TO DO but I would rather see other people talk about it!

So PLEASE! Add to this discussion! I would love to hear about which tropes you love but where media fails you and in what capacity! Or where they’ve gone right!

But as someone who loves their tropey enemies-to-lovers and villains I will keep returning to them in my media consumption and I be subject to paying them homage when the time is appropriate!

That being said! I had no clue this would get so long.

#whoops #this #really #wasnt supposed to take so long this evening #its been something I've been thinking about for a long time #what makes an orginal project and what makes one pastiche #or even worse derivative and completely missing the point #where do we fall into those pitfalls and how #tropes #media critique?#freestyle media critique?#MY EYES #ARE BURRRRNING #why did i do this #do i miss writing essays?#apprently so?#i woke up in a cold sweat #thinking oh god i forgot the read more

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adrianfridge · 7 years

Text

Notable Apologies by Scott McCall

I recently read a post in which someone acknowledged that Scott tries to learn from his mistakes but because he never apologizes for them he’s not actually a hero... So I delved into transcripts of Teen Wolf to figure out if that’s actually the case.

(Disclaimer: I am a Stiles fan. Any negative commentary in his direction is made with love. Both Stiles and Scott are flawed, which makes them interesting, complex characters.)

~SPOILERS AHEAD~

01x01 - The Pilot

In this episode, Scott gets bitten and is kind of dumb about how much of a threat he is to other people...

Stiles: You gotta hear this. "The change can be caused by anger or anything that raises your pulse." All right? I haven't seen anyone raise your pulse like Allison does. You gotta cancel this date. I'm gonna call her right now.

Scott: What are you doing?

Stiles: I'm canceling the date.

Scott: No, give it to me!

Scott: I'm sorry. I - I gotta go get ready for that party. I'm sorry.

At first glance, Scott is blatantly ignoring Stiles’s warning. But we need to understand that Scott is a 16-year-old who's grown up as an outcast, and this is his chance to finally have a life. It’s entirely reasonable that he’d be willing to take a dumb risk for the sake having fun he’s never had before.

But as Stiles predicted, everything goes to shit...

Allison: So what happened? You left me stranded at the party.

Scott: Yeah, I - I know, I know. I'm really sorry, I am. But - You're gonna have to trust that I had a really good reason.

Scott is only beginning to learn to take responsibility for his actions, and here we see the start of a person who needs a good reason to do something rash.

01x06 - Heart Monitor

The fact that Stiles gets fed up with Scott and Allison’s romance is inevitable, and Scott’s really sorry about it...

Scott: No, no, no, but it's not always true, because literally every time I'm kissing her or - or touching her -

Stiles: No, that's not the same. When you're doing that, you're just another hormonal teenager thinking about sex, you know? You're thinking about sex right now, aren't you?

Scott: Yeah. Sorry.

And it’s not like Stiles isn’t a little shit about it...

Scott: No, no, no, really. I think I'm totally in love with her.

Stiles: And that's beautiful. Now, before you go off and write a sonnet, can we figure this out, please? Because you obviously can't be around her all the time.

Scott: Yeah, yeah, yeah. Sorry. So what do I do?

Stiles: I don't know. Yet.

Scott: Oh, no. You're getting an idea, aren't you?

Stiles: Yeah.

Scott: Is this idea gonna get me in trouble?

Stiles: Maybe.

Scott: Is this idea gonna cause me physical pain?

Stiles: Yeah, definitely. Come on.

So let’s agree that Stiles is not entirely suffering from Scott’s romantic distractions, okay?

In general, Stiles is a troll who’s very good at getting Scott into trouble for the lols...

Stiles: Hey, hey. Listen to me. You're calling the Alpha. All right? Be a man. Be a werewolf, not a teen wolf. Be a werewolf. Do it.

Derek: I'm gonna kill both of you. What the hell was that? What are you trying to do, attract the entire state to the school?

Scott: Sorry. I didn't know it would be that loud.

Stiles: Yeah, it was loud. And it was AWESOME.

Scott and Stiles are both 16-year-olds who’ve never had to deal with the supernatural or with a lot of life-and-death situations. They're basically reacting to how actual teenagers would when abruptly thrust into a whole new reality, a mix of horny and stupid.

As a side note, I’d like to bring up the “Kuleshov Effect.” It’s a technique in cinematography in which the juxtaposition of shots creates meaning to the viewer. “In his experiment, Kuleshov cut an actor with shots of three different subjects: a hot plate of soup, a girl in a coffin, and a pretty woman lying in a couch. The footage of the actor was the same expressionless gaze. Yet the audience raved his performance, saying first he looked hungry, then sad, then lustful.”

I say this because Scott is not obsessed with Allison. His infatuation is real, but his motivations are not driven by her. If we think in terms of the Kuleshov Effect, there are plenty of instances when we cut from Scott being dopey about Allison to him needing to do werewolf business.

In fact, after Allison breaks up with Scott, her necklace becomes a plot point in 01x09 - Wolf's Bane...

Stiles: Why don't you just ask her if you can borrow it?

Scott: How?

Stiles: It's easy. You just say, "Hey, Allison, can I borrow your necklace to see if there's anything on it or in it that can lead me to an Alpha werewolf that I need to kill in order to get back together with you?"

Scott: You're not helping.

Stiles: Why don't you just talk to her.

Scott: She won't talk to me... What if she, like, only takes it off in the shower or something?

Stiles: That's why you ease - that's why you ease back into it, okay? Get back on the good side, remind her of the good times. And then you ask for the necklace... You're thinking about her in the shower, aren't you?

Scott: Yeah.

Stiles: All right, stay focused, okay? Get the necklace, get the Alpha, get cured, get Allison. In that order. Got it?

Scott: Get the necklace.

Notice how Scott is being a horny teen but he’s focusing on the importance of necklace and not that it’ll get him back with Allison.

Scott, not knowing what else to do, uses Stiles’s suggestion (“remind her of the good times”) when trying to get Allison’s attention...

Scott: I know. I'll shut up. I just, um - I have some stuff on my phone that I wanted to send you. I thought you might like it.

Allison: Okay.

[...]

Allison: Why did you send me those? Are you trying to make me feel even worse for breaking up with you?

Scott: No. I thought you would like them. I - I thought they would remind you of us.

Allison: Are you trying to hurt me - Get back at me?

Scott: No.

Allison: Please don't talk to me. Okay? I need more time to get to just friends. Okay? Please.

Scott has the excuse of wanting Allison, but Allison is not the center of his world, it just feels that way. Scott would much rather respect her need for space, and he has no plans or intentions to pursue her until Derek’s need for the necklace and Stiles’s pushing him to try and get “back” with her. (FYI: Stiles’s plan “B” is to just steal the necklace, which just makes things more awkward between Scott and Allison.)

02x12 – Masterplan

Here’s a BIG controversial moment for Scott. In the final battle with Gerard, Scott forces Derek to bite Gerard in order to put his secret plan into motion. Many people see this moment as Scott violating Derek’s bodily autonomy, and I admit there is a rapey vibe to it...

Derek: Scott, don't. You know that he's gonna kill me right after. He'll be an Alpha.

Gerard: That's true. But I think he already knows that, don't you, Scott? He knows that the ultimate prize is Allison. Do this small task for me, and they can be together. You are the only piece that doesn't fit, Derek. And in case you haven't learned yet, there is just no competing with young love.

Derek: Scott, don't! Don't!

Scott: I'm sorry. But I have to.

Gerard very poignantly makes Scott appear selfish in his motivations while calling Derek just a pawn. And the Kuleshov Effect is in full force here. Due to Gerard’s words and the cut from Scott’s face to Allison, we, as the audience, start to believe Scott is doing this for her.

It’s only after the bite that we find out Scott’s not doing this out of misplaced love, and while it’s true that Scott never formally apologizes to Derek after the incident, he’s apologetic as it happens. He’s desperate with so many lives on the line, and he knows that if he doesn’t do it, Gerard would just use the kanima to force the bite anyway. Derek probably understands Scott’s difficult decision in hindsight, which is why there’s no grudge. Both he and Scott were put into a compromising position by Gerard. And, really, there’s no easy way to bring up such a painful moment in the future without reopening old wounds.

05x09 - Lies of Omission

Fast forward to the next BIG controversial moment for Scott, in which he fights with Stiles over the death of Donovan...

Stiles: You think I had a choice?

Scott: There's always a choice.

Stiles: Yeah, well, I can't do what you can, Scott. I know you wouldn't have done it. You probably would've just figured something out, right?

Scott: I'd try.

Stiles: Yeah, because you're Scott McCall! You're the true Alpha! Guess what? All of us can't be true Alphas. Some of us have to make mistakes. Some of us have to get our hands a little bloody sometimes. Some of us are human!

Here’s the thing, though, earlier in the same episode there’s an important line where Scott says: “You came back looking for an Alpha. I guess I'm sorry that you found me.”

Scott understands that he’s fallible. He also understands that Stiles can do better...

Scott: So, you had to kill him?

Stiles: Scott, he was going to kill my dad.

Scott: But the way that it happened... There's a point when it's... It's not self-defense anymore!

Stiles: What are you even talking about? I didn't have a choice, Scott! You don't even believe me, do you?

Scott: I want to.

Let’s look at this from Scott’s perspective. Scott asks why Stiles killed Donovan, and Stiles’s response is “he was going to kill my dad.” That isn’t a self-defense response, which is why Scott is wary. In Scott’s mind, self-defense would be if Donovan was in the process of trying to kill Stiles’s dad. The way Stiles frames it, he killed Donovan as a precaution, and that’s an active choice to kill. We, as the audience, know how the death actually occurs, but Stiles is making it really difficult for Scott to understand his motivations.

Scott is trying to understand, and Stiles is making it difficult by holding back information. They’re both very fallible.

In 05x11 - The Last Chimera, Stiles’s upset about his father being injured, and when Scott comes around -- also injured -- Stiles throws punches to let out his rage at Scott trusting Theo.

Stiles: Where the hell were you!?

[fight sequence]

Scott: Your dad's not the only one who got hurt.

Stiles: Oh, you'll heal.

Scott: I'm not talking about me.

Scott knows he hurt Stiles, and it’s the first instance since their falling out that Stiles realizes his best friend is on his side again.

So, overall, while Scott’s apologies aren’t ideal, he does make an effort to acknowledge he’s in the wrong. And, I mean, Scott is supposed to be seventeen. I don’t get why he’s being put through the grinder for being imperfect. He’s already exceptionally mature for even trying to take responsibility for his actions. So, in my opinion, Scott is a hero-in-progress.

#teen wolf #Scott McCall #Stiles Stilinski #Sciles #teen wolf meta

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invinciblerodent · 7 years

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HELLZ YEAH! Fuck that douchecanoe of a faildad! Man it is so good to see someone who doesn't think Alec Ryder "did the best he could" and was just "Tragically complex." Naw man, naw. He was a selfish asshole and that crap he pulled with Ellen was inexcusable.

Exactly, and bothers me SO MUCH when people try to defend him, because not only was he emotionally neglectful (which, hello, I can relate), his behavior is just full of red fucking flags.

Normally I love a good redemption story, and I would be all for a story in which an emotionally constipated dad and his child slowly learn to trust each other again, but FUCK Alec Ryder. And I don’t only mean him keeping his wife alive against her specific wishes. I don’t only mean the years, if not decades of neglect and emotional abuse that are implied by the game, even though those alone would be enough to qualify as inexcusable actions. Sure, he’s complex alright, but “complex” doesn’t equal “sympathetic” or “misunderstood”.

First of all, I’m just going to say it, isolation is one of the most common forms of domestic abuse. Alec didn’t just strip Ellen of her autonomy, rob her of the dignity of a quiet death (with which she was at peace), and take her to a new galaxy without consent (which I would count as a hardcore violation of trust, are you kidding me, he made an irreversible decision in the place of a living person, and made sure that the place in which she wakes up will be one that is completely HIS design and under HIS control). He also separated her from the rest of her family and kept her locked in cryostasis without anyone knowing. Don’t give a shit about the intent, don’t give a shit about how “but Squirrel, he LOOOOOVED her!!! he couldn’t stand to let her go!!!!!! he only wanted to make sure they find a cure!!!!!!”, if he thought of her as a living person that’s abusive as FUCK, and if he thought of her as a corpse or an object that’s stripping her of her humanity, as well as fucking creepy and reminds me of this one documentary I saw once about those uncanny valley life-sized dolls. Doing that to a living person is creepy, and a violation of their basic human rights.

And to top it all off, what the final straw was for me was the unnecessary and selfish, thoughtless suffering he put his children through. Because you cannot tell me that freezing and hiding his wife was impulsive, this was fucking premeditated (had to smuggle her out of the hospital, had to have a cryopod at hand, had to KEEP that cryopod hidden away and powered up constantly), and it was deception that spanned multiple years. Can you IMAGINE what that shit must have been like to his kids? Can any of us even IMAGINE what it must have been like?

There are two possibilities, either Alec organized and staged a fake funeral for his wife (who was an accomplished scientist so, chances are, he not only lied to his kids but also posted an obituary and lied to the whole goddamn public, every friend, family member, and any sort of acquaintance they had), and needlessly made the twins attend a funeral for their living mother and watch an empty urn get jettisoned into space (honestly not sure how they honor their dead on the Citadel but I doubt they waste space and fertile ground on cemeteries), thinking that they were saying goodbye to the woman who birthed them…

OR, the other possibility is that the kids were denied even that little bit of comfort, that tiny speck of closure that properly honoring their beloved caregiver could have given them.

Alec Ryder made his kids BURY THEIR MOTHER, and the fact that they thought it was time to do so does not change that this lie is nothing short of evil. It really fucking shows that he DID NOT CARE about the trauma losing their mother inflicted on the twins, he DID NOT CARE about what his wife wanted, and he DID NOT CARE about the consequences of it all. Not the place he was taking up on the ark, not the possible consequences of taking an unspecified illness out of the galaxy, not about the lasting psychological effects of when his lie is inevitably discovered by his kids when Ellen is awakened. He only cared about the fact that he was not yet ready to let her go.

He does not deserve my, your, his kids’, or anyone’s sympathy.

#personal #me:a #and what scares me the most?#is that he reminds me of my grandfather #an emotionally and physically abusive #selfish #aggressive piece of shit #who's been dead three years and the world is a better place for it #that's all she had to say about that #Anonymous #abuse mention

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sage-nebula · 7 years

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(if you don't mind me sending a second one) top ten fma characters?

Of course I don’t! This one is going to be hard, though, because there are so many fantastic characters that I feel it’s inevitable I’m going to end up forgetting someone.

Roy Mustang --- Roy didn’t used to be my favorite character way back in middle / high school when I was first introduced to FMA (through the 2003 series), and even then, he wasn’t my favorite character when Brotherhood first aired in 2009, or even on multiple re-watches. Instead, he is a character who has steadily grown to be my fave with each new re-watch. I swear to god, every time I revisit this series I love him more, and more, and more, and now he’s undoubtedly my favorite. I love Colonel Badass. More than that, I love how he’s Colonel Dad even as he tries to argue it and claim, without anyone suggesting otherwise, that he’s not Fullmetal’s father, ffs. (Yes you are, Roy. You’re one of his dads. Just accept it.) I love . . . so much about Roy. I love how clever and intelligent he is, that he recognizes the machinations of the government and how he plays his pieces correctly in order to advance up the ladder, but how he does that specifically so that he can a.) protect the people most important to him (and did you notice? In the Japanese version, he uses the exact same language Alan does when saying he wants to protect his most important people! Taisetsu mono!), and b.) protect everyone in Amestris by sitting at the very top as Fuhrer President (which is exactly why I think Alan would make an excellent Champion---he can protect everyone in Kalos that way, that’s literally the Champion’s job, but that’s a meta for another time). Roy also wants to atone for everything he did during the Ishbal extermination---he wants himself and all other state alchemists held accountable for their war crimes, but only after they help with Ishbal’s restoration, which I think is just incredibly admirable. Like, it’s not just that Roy feels guilty and feels he’s deserving of punishment. He knows that the lives lost can never be restored, knows that the destruction can never be undone, but he still wants to help restore Ishbal to a land of prosperity first, so it’s not just that he’s punishing himself (and others), but that he’s actively giving back to Ishbal instead of just leaving them destitute. Like, goddamn. That is the right fucking reaction to what happened.Additionally, Roy is so good about keeping his cards close to his chest, about not showing how he feels most of the time, but the truth is that he cares so fucking much. He’s obviously in love with Riza. His team means everything to him (he’s fucking crushed when Havoc is paralyzed, crushed), he cares about the Elric boys, he cares about---just about everyone. Roy keeps up an unaffected exterior most of the time because he has to, but the truth is that these things cut him pretty deeply and they do keep him up at night. There’s so much to him and so much within him and goddamn I love the fucking Flame Alchemist. He’s definitely my fave. I adore him.(Also, not for nothing, but PokéAni actually paid him a homage, using Alan, no less. Feast your eyes. There’s no way using that very specific number wasn’t intentional. None.)

Edward Elric --- Ed was always my favorite in the past, and to be honest I still relate to him a lot and still love him dearly, so he’s just #2 now. (Sorry, Ed . . . but in the Flame vs. Fullmetal battle of my heart, you lose.) Aside from also being quite short (though he inevitably surpassed me in height, damn him), I used to be sensitive about it in childhood. Whereas I’m comfortable with the fact that I’m tiny now, I used to have quite a temper about it as a kid . . . so in that sense, honestly, I found him to be quite relatable!Aside from that, though, he’s yet another Determinator. He’s a hothead sometimes, but he has a heart of gold, and he’s a very protective big brother. These are all traits I find very attractive in characters. On top of which, although I feel like in many ways Ed would nearly be a Hat Stall between Gryffindor and Ravenclaw, in the end I feel like the Hat would either put him in Gryffindor, or he’d choose to be there, but Ravenclaw would be a very close secondary---and that’s something I relate to, because I am a Gryffindor, but Ravenclaw is my secondary. (Or to use the Ilvermony Houses, I’m a Gryffindor at Hogwarts and Horned Serpent at Ilvermorny---a Serpendor, if you will. I feel that Ed is very much the same way.) We have similar ways of looking at and doing things, to the point where Ed is certainly one of those characters that I point to when people want to get to know me through fictional characters. I’ll always love the Fullmetal Alchemist. Even if he’s not technically an alchemist anymore, he’ll always be the alchemist in my soul. Even if he’s #2 now, I’ll always cherish him. ♥

Izumi Curtis --- MAMA IZUMI GETS SHIT DONE. I loooove Izumi, so very much. I love her not only because she’s a badass housewife / alchemist who strikes fear into the hearts of all who meet her---who easily tosses Sloth across the room even though Sloth was giving both Olivier and Alex trouble---but also because she has a heart of gold and is allowed to have her moments of vulnerability without that diminishing how badass she is. Izumi is allowed to be a grieving mother who lost her only biological child, she’s allowed to be there for her surrogate sons Ed and Al, she’s allowed to show moments of grief and pain without at all losing how incredible she is. Every moment that she goes Mama Boy over the boys is pure gold and just---every moment she has is pure gold, including when she sends Bradley packing. Izumi is amazing. I love her.

Riza Hawkeye --- I also really, really cherish Riza! What I love most about Riza is that I feel like, in a lesser shounen manga, her love for Roy would have been her motivation for enlisting in the military and swearing to follow him “into Hell, if necessary.” But that’s not the case here. Riza is in love with Roy, but her motivation for doing what she does is because she believes in his vision for their country, not because she loves him. This is why she is capable of shooting him (killing him) if necessary, if it seems as if he’s no longer going to be able to fulfill his promise and will instead actively work against it. Yes, it would break her heart to do so. It’s very obvious how much pulling the trigger would break her, but she can and will do it because what she swore to was his vision for Amestris. She won’t let anything, even her feelings for him, blind her to that. Riza lived through having an abusive father, survived the Ishbal Extermination, and has gone through so much more. She’s so strong, not only because she stays stoic in the face of most things, but because she continues to fight even though we see on numerous instances how much all of this has gotten to her. Her relationship with Roy is by far my favorite ship in the series (for so many reasons), but overall the reason why I love Riza so much is because of who she is shown to be outside of him. She’s compassionate, brave, wonderful with children, a very good dog mom, and overall just a believable and wonderful character. I love Riza. Riza is so good.

Ling Yao --- THE PRINCE OF MY HEART!! What I love most about Ling is how easily he flips between comedic relief and an actually serious character that shouldn’t be brushed aside. So many of his early scenes are full of shenanigans, but even those that are rife with shenanigans are peppered with moments of seriousness because of how serious Ling is about his duty to Xing. He wants immortality---and he doesn’t want it for himself, but for his people, and that’s not just limited to the Yao clan. Ling is willing to do anything for his people, because he believes that’s what a king should do, even if it means sacrificing his own autonomy to do it. I do think that was a reckless, irresponsible choice, but it is one that paid off in his favor, big time, so hey. Ling is great, though, and his relationship with Ed is amazing, a+++. I definitely love him.

Maes Hughes --- MAAAAES, RIP. I’m pretty sure Maes Hughes is one death that anime fans as a collective will never be over (however much we may make jokes about it sometimes). Particularly since Brotherhood made the mistake of rushing through to the point of divergence in the beginning, it always feels like Hughes died too soon. But the truth is that, no matter what, he did. He was an excellent husband and father, and he was a father not only to Gracia, but also to Winry and the Elrics. He was always, always there to support Roy, and however much Roy might have felt annoyed by the constant long phone calls at times, the fact that Roy is so severely affected by Hughes’ loss so late into the series . . . I mean, he doesn’t get his revenge on Envy until the very end, and when he does? Holy hot fucking damn, he’s downright terrifying. (I mean, I love it, but jesus fucking christ.) But anyway, back to Hughes himself, he was just such a sweet person and his life had such an impact and he just knew too much too soon. He was too smart, he had to be killed off so that the plot wouldn’t be solved too early. I know that, but it still hurts, and Elysia crying at his funeral will still slaughter me every single time, fuck.

Alphonse Elric --- I feel kind of bad for having Al so low on this list, but make no mistake---I do love him! It’s just that I find his scenes / subplots a little less compelling than the characters listed above him. I do think he’s wonderful, though; he’s a complete sweetheart, and though it happens less often than it does with Ed, there are times when Al has a snarky little sassmouth on him as well, and those moments are always delightful. Also, he, too, had to deal with a lot of bullshit over the course of the series. He damn well does deserve his happy ending.

Maria Ross --- Maria is so underappreciated in the fandom, and like---I get that she spends the majority of the series off-screen because she had to go into exile in Xing (since she was framed for Hughes’ murder), but at the same time, she’s so good! She acts like a stern big sis for the Elrics (which they need at times, tbh), and she’s loyal and dedicated and hardworking and smart. I love her relationship with Denny, and I also love how she came back for the final fight, and this was a surprise to Mustang, he didn’t actually make this choice, she just did it and ajsldgjdsagda. Maria is great, I love her.

May Chang --- Honestly, this post (written by someone else) says everything about May that I could ever say and more. I love how well-developed she is, how she’s allowed to be feminine but is still focused on her goals, and how much depth there is to her character. May is absolutely fantastic. Princess of my heart, tbh.

Olivier Mira Armstrong --- And finally, the QUEEN OF THE NORTH HERSELF. While Olivier is obviously a badass who takes shit from absolutely no one, I love that she’s still allowed to be a person outside of that. She’s not vulnerable in the ways that’s expected of her, but at the same time she doesn’t abhor femininity either (and in fact, the expectation that she would is what she and Roy take advantage of in order to communicate without arousing suspicion). She cares deeply for her team at Briggs, you can tell she’s deeply affected by Buccaneer’s death, and while she’s frustrated by her brother and doesn’t really respect him, it’s clear that she also cares about him in her own way as well. Yeah, she takes command of the Armstrong family manor, but that’s because she had to in order to sneak the Briggs soldiers in, and she didn’t want to put responsibility on Alex’s shoulders that he wouldn’t be able to handle. (I mean, like, no offense to him---he obviously came through in a big way and she sees that later---but from her perspective, he left the battlefield during Ishbal, so therefore combat and combat pragmatism are not his strong suits, not in a wartime situation. She didn’t want to put him in that position, so she didn’t. She handled it herself. She did so in an abrasive way, yes, but I still think she had compassion for him at heart.) Olivier defies expectations and shatters them into pieces. It’s why the soldiers at Briggs follow her without question. I love her, she’s great.

#top 10 characters meme #long post for ts #tangelomadness

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viralhottopics · 7 years

Text

7 Famous White Feminists Im So Over

The Urban Dictionary

White Feminism is nowa popular term owing to the abundance of white celebs taking advantage of the movement to further their own interestand career, usually without extending female solidarity or tackling relevant social issues such as trans-womens rights, Hollywoods whitewashing, invisibility of the disabled, police brutality, cultural appropriation, or institutional racism.

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While this type of feminism raises a certain level of awareness to SOME feminist issues, it is harmful in that it paints a negative picture of the overall movement and thusgives dumb, ignorant boys an excuse to create sexist memes so they can call anyone who gets offended as Do not misunderstand me, I do not blame White Feminism as the sole reason why people, especially on the internet, immediately reject the importance and essence of feminism (sad online gnomes who are super bored with their lives and are desperate to be edgy should be held accountable for their own short-sightedness). My point is I would be very unglad if young women were led to believe by their idols that womens rights, solidarity, and empowerment are purely about #squadgoals, #actlikeaman, and #fuckdiets.

Rebecca Vorick, Feminism 101: What Is White Feminism?

Whether as individuals or celebrities, I dont hate the women that I will listbelow, but I do loathe their rejection of intersectional feminism, their habit of whining towards critics, and their collective willfulinabilityto acknowledge andlearn from their white privileged ways.

So here I present to you the role models for White Feminism and why they hella suck:

The Holy Trinity

1. Amy Schumer

Meghan Demaria

The first time I discovered Amy was from her movie after it got rave reviews from critics despite her character being obnoxiousas hell. Hollywood was abuzz with this funny, feminist, body-positive woman. Then I came across this article on her racist antics specifically about her controversial video parody of Beyoncs pro-black . I googled more and found out shes said a ton of racially insensitive things such as that time she joked Mexican men are rapists;or when she was bummed because no lesbians hit on her at a lesbian bar (was she thinking or what?); or when she implied men of color cat-call women more than white men do.

– If your career is built at the expense of minorities whom you mock and dehumanize, then your comedy is probably lazy, gross, and stale tbh. To quote Nathan Robinson but Amys jokes, as the Guardian explains,

If people pointout repeatedly you are racist and you can only respond along the lines of MAYBE you should self-reflectand make an effort to see WHY youre constantly criticized for your tasteless words instead of issuing another hollow Amys PR apologies, like many forced White Feminist apologies, count for nothing until she stops making feebleminded jokes that cater exclusively to a white American audience. Contrary to what Amy has claimed, she doesnt take responsibility for her words and doesnt use criticism against her in order to evolve as an artist and person. Instead she firmly stands her ground, proceeds to produce the same tired material, and shouts

TLDR, Amy, making and being slightly chubby does not a feminist make. No volume of laughter can drown out the fact youre a racist.

2. Lena Dunham

Lena, Lena, Lena. Oh, god, where do I begin?

Rebecca Carroll

If White Feminism were a video game, Lena Dunham would be that aggravating, seemingly unbeatable self-entitled boss villain at the end of the game that suddenly comes alive after you defeat it, cackling at you as it escapes into Video Game Part 2. Without her, the other mini-bosses might not have been enabled. She is the head of the White Feminist hydra whose foot-in-the-mouth diseasereaches far and wide.

"White Feminism" BINGO card. I have experienced ALL of these. Ugh. (From feministbingocards on Tumblr) http://pic.twitter.com/rUo4JubVeO

— Trudy (@thetrudz) February 6, 2015

Which brings me to why shes tied with Amy and why she is THE poster child for White Feminism (I only placed Amy first because I personally find her more unbearable). Because Lena, Amy, and friends are praised as feminist heroines, they and their careers get away virtually unscathed ifthey carelessly make racist, homophobic, or transphobic remarks. While Amy is guilty of proudly creating insipid humor, Lenas affronts are more unsettling.

Shes incredibly narcissistic as shown when she ranted (as in seriously, as in not a joke) about being offended by a black man not flirting with her and when she confessed shed never had an abortion but wished she had one (gurl, there are other ways to drawawareness on an issue without making it about yourself); her tv show supposedly represents feminism but only casts white girls and downplays sexual assault;she repeatedly objectifies black male bodies;she stated unbelievably ignorant gibberish about India and penned a sexist essay on Japan;she tweeted a racist joke about Asians; her view towards Rihannas abusive relationshipis perplexing; she doesnt acknowledge her success was heavily influenced by her wealthy familys connections; and she may have outed her sister to their parents without consent.

Theres also the questionable incident with said sister that Lena wrote of in her book I mean kids do weird crap and girls should be allowed to discover and explore their bodies and do naive stuff, but IDK what to sayabout this one so Ill just quote this anonymous comment on Jezebels article:

And this one by redditor scdi:

Plus this one by Victoria Brownworth:

While Im all for women being shameless in their self-love, theres nothing really new or groundbreaking with Lenas capitalist-centric feminism. Her work has indisputably raisedthe spotlight on important womens issues such as abortion and sexual autonomy, but is that enough given the harm shes done to feminism, to people of color, to LGBTQ+? She invites women to support her and her show because girl power, but hasnt bothered to address intersectionality and diversity, much less internalize any negative comments towards her regarding the above-mentioned stunts.

Lena Dunhams feminism is tone deaf. Theres nothing empowering about a classist, rich, privileged white girl who, like her counterpart Amy, contributes nothing profound or of actual substance for womens issues and is averse to improving her advocacy. I just I cant anymore. Lena, please ssssh.

If youre like me and youre done with Lena DONEham, check out some of the silly things shes saidhere.

3. Taylor Swift

My problematic fave! Who knew she was trouble when she walked in? T-Swizzles damsel-in-distress feminism may not be as toxic as Lena Dunhams, but its still clear as dishwater.

Taylor primarily rose as a status symbol for geeky shy girls, but even then people were already dissing Americas sweetheart. Somewhere along the way it became uncool to hate on Tay-Tay (whether legitimately or not), especially after Kanye stole her moment during the 2009 VMA.

Alas, regardless how polished and sweet your public persona is, if theres dirtunder all that sugar itll inevitably seep through bit by bit.Besides,any person who learns his/her feminism from Lena Dunham should not be trusted.

Ill sayTaylor is a hypocrite. Once upon a time she asserted she was not a feminist until one day she realized feminism is prettyradand helps her brandas an artist(plus it can be handy to dismiss your critics as). Of course its perfectly fine to change your opinion as you mature and learn from your initially confused view of feminism, but weve yet to see Taylor own up her missteps and strive for change.

She built an empire by portraying an angelic female whose biggest enemy is the sexualother female who steals her mans attention, and she exemplified this when she shit on Camille Belles career because Camille dated Taylors ex. She called her clique of BFFs to film a music video to drag Katy Perry after a feud. She accused Nicki Minaj of thereby overshadowingNickis discussion on her legitimate struggles as a black female artist and yet its Taylors character thats being assassinated? K.

Additionally, Taylor seems to be unaware of her privilege as a white woman; she culturally appropriates POC and uses them as props in her videos; her #squad is not inclusive; and her latest drama with Kanye contributes to the stereotypeof the angry black man vsthe innocent, faultless white woman. She also contendsthat if you are female and you do not support her, then there is aspecial place in hellfor you. Her self-serving feminism needs work because her white privilege is showing (and probably stressing out her PR team) and her constantly being marketed as a modern feminist despite her problematic-ness may detrimentally impact her young, impressionable fans.

For more examples of Taylor Swifts misguided feminism, I compiled a page of quotes on Quote Catalog which you can view by clicking here.

Honorable Mentions

4. Tina Fey

Jamie Peck

Tina, while undoubtedly very talented and funny, has stated in a 2009 Vanity Fair interview that (after her husband visited a strip club) she disapproves of strippers because “we need to be better than that”.Meanwhile she has no qualms about slamming sex workers as the punch line to her jokes. Self-worth does not equate to modesty, Tina!

Besides these, shewas complicit in a cast members terminationfrombecausethe actresswas not conventionally attractive. Then there was that episode from her other show that bordered on racist and the other one that parodied a famous doctors appearance which may or may not haveaddedto the doctors depression.

Ill sum this up with a post from blacklamb:

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5. Jennifer Lawrence

Ugh.

I wouldnt have included J. Law here but thenshe wrote that patronizing open letter about the US Presidential elections expressing that loving your neighbors was the answer to ending racial violence.

While were here, Ill point out she says a lot of dumb shitbelievingshes being quirky (like that time she roasted a foreign reporter for using his phones translator) when shes actually being an asshole. Recently she alsodesecrated and destroyed a sacred Hawaiian relic by scratching her butt on it because, again, she thought it was funny even after guides specifically asked herNOT to touch said relics. Ha. Ha. Ha. I guess?

Hopefully Hollywood realizes feminism isnt mainly about women eating pizzaandnot being a size zero.

6. Miley Cyrus

White Feminism, whats good?

Like every other proper White Feminist, Miley Cyrus uses the movement for her own agenda, exploits people of color, and remains mum on important topics such as Black Lives Matter. She is kind of an expert in perpetuating misogynoir and appropriating black culture. Like shes so good at profiting from black people and reformulating black culture into her own style (then whitesplaining about it) that Nicki Minaj called her out on the 2015 VMA stage.

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Thankfully, Mileys antics seems to have simmered down recently. Lets hope other White Feministstake heed.

7. Meryl Streep / Caitlyn Jenner / Tilda Swinton

This last one was confusing. Thereare just too many White Feminists to choose from! So I mergedthree instead.

Remember that time Meryl Streep erased black peoples struggles by saying or when Caitlyn Jenner (as important as her visibility is) transitioned butdenied that same right forother trans-people?; or when Tilda Swinton broke my GOT-fan-girl heart by playing the asian-friend card with Margaret Choto make herself feel better about accepting a role as a whitewashed character?

Hollywood is flocking with White Feminists who range from annoying to problematic to downright toxic. As much as Western Media tries to shove them down my throat as exceptional feminist figures, they do not successfully represent my generation, my gender or genders issues, or my feminism.

Alternatives?

If you want some examples of non-White Feminists, see: Zendaya, Angela Davis, Ariana Grande, Laverne Cox, Mia Mingus, bell hooks, Malala Yousafzai, Matt McGorry (yes, males can be good feminists, too),Amandla Stenberg, Carrie Fisher, etc.

Some of you may complain but pleaseread the sources. I encourage everyone, especially dissenters, to first click the links above if you have questions regarding the incidents, people, or statements written. The thought pieces/web pages the links lead to will likely be able to address your queries and offer more context and in-depth analysis regarding specific issues.

We need to become responsible for actively educating ourselves rather thanjeering should a feminist raise a concern. On the other hand, although its easy to call out White Feminists and leave it at that, this by itself will not help advance the feminist movement or strengthen solidarity. So if you spot a White Feminist, do not just call them out – call them in, too. Encourageothers to practiceintersectionalityand inclusiveness just in case they have not been schooled on the broader philosophies of feminism.

Last notes: critiquing White Feminist celebs does not diminish whatever kindnessthese ladies have done for othersor commendable work theyve accomplished in their fields or in charities (such as Meryls inspirational Golden Globes speech or Taylors altruism for her fans). You can simultaneously be a good celebrity and generous person, and still be a White Feminist.

Iacknowledge the celebrities mentioned may have already offered apologies or addressed certain matters.Thats fine– everybodys activism is messy or imperfect, and it is understandable that a public figures learning process can be more challenging. As long as one isvisibly trying to make an effort to do better it should be okay. Unfortunately most of the people I mentioned dont seem to care much.

Having well-meaning intentions that falter in execution is simply not good enough anymore.

http://ift.tt/2jHFUJP