some lightly critical twc thoughts/musing under the cut

had a conversation with a friend trying to figure out why I was feeling disappointed and frustrated with book 3, and I think I've figured it out. it reminds me of the dialogue choices in dai, like so many of the choices don't really feel like choices and don't really seem to change anything or go anywhere, and there are so many started conversations/incidents that we don't get any real follow through on, they happen in the scene and then we just move on and it isn't always reflected in the next scene or conversation, and just yeah it remind me of dai

through the familiar's eyes

Imogen before ep 65

Reminded again, as I periodically am, that there's a fair number of people in the fandom that think of Nott the Brave and Veth Brenatto as two different characters, and not fundamentally the same woman. In the absolute literal sense, this is false: Nott the Brave, returned to the body of her choice and using her real name once again, is absolutely precisely the same person she was before Caleb cast Transmogrification on her. This is, incidentally, one of her main sources of angst towards the end of the campaign! A part of Nott must have both feared (and, in some ways, hoped) that when she was changed back into a halfling, she would also be a different person. That the person she became traveling with the Nein would be an easy identity to shed, which she may have hoped for because it would be easier to fit herself back into her home life with Yeza and Luc--and because it would be easier to say goodbye to the Nein if that were the case. And she feared it because she liked this person she became, no matter how transgressive society would label her for it. And she loved the Nein and didn't want those feelings to be altered.

But she didn't change. Veth Brenatto is Nott the Brave and Nott the Brave is Veth Brenatto. This was always the point. That's why it's an anagram. It's just that when she's Veth Brenatto again, she is much more focused on the why of what she's doing. Why am I still with the Nein? Why am I still adventuring? Why do I have this reticence to return home to my family? Why don't I long for that quiet, domestic life the way I once did? Her emotional journey becomes intensely personal, sometimes subtly/quietly told, and wholly about what kind of future she wants for herself and how her choice could affect those around her. Her two families become anchor points pulling her in different directions and she has to deal with that. Which is a different story than what she was telling when she was still Nott the Brave. Nott's story was much simpler--I am a goblin and I hate it and I would like to be a halfling again. I would like to be able to be with my family again. It's straightforward and it's achieved! But that's not where it ends, because she still needs to figure out a real, functional future for herself once her goal has been achieved.

All this to say, I think when people say they prefer Nott over Veth, it's important to remember that you are reacting to a certain story arc for the character, not an entirely different character. It may also pay to ask yourselves why you think they're so different. Was "Nott" funnier than "Veth" to you? Does her ability to serve as comic relief fundamentally change whether you like her or not? Did you appreciate "Nott's" themes more than "Veth's"? Or did you even notice the themes being explored in Veth's later game at all?

“Your delinquent child is outside, and I have assured him that he is very, very grounded.”

Between Yeza and the campers still waiting for their parents to arrive from around the coast to collect them, Veth wasn’t sure any of them saw her move between the dining room and the foyer before she’d thrown the front door open.

Outside, Caleb held Luc by the back of the vest, neither of them looking any worse for wear. Behind them, Jester and Fjord looked a bit sheepish, though not nearly as sheepish as her son, who had almost curled into himself beneath the venomous look she’d given him.

“I thought you were dead! You're never leaving this house again! I couldn't get in contact with anyone and I thought you were fucking dead!” she screeched, before any of them could move, but Luc almost kept pace with her, slipping from his godfather’s grasp and, to her surprise, likely to the others’ surprise as well, threw his arms around her.

“I’m sorry, Mom, I should’ve listened to you, I’ll stay grounded for as long as you want—“

Veth spluttered for a moment, though her arms wrapped around him in return. This had not been how he’d returned under Kingsley’s grasp, caught by the ear and cursing up a storm.

It took a long moment to realize that Luc was trembling beneath her grasp. Very faintly, but definitely trembling.

She looked over his shoulder at Caleb, then Fjord and Jester. “There have been… several lessons learned in the past thirty-six hours,” Caleb said, his tone even stonier than his expression.

Fjord nodded slightly in agreement, carrying the weight of agreement. Her grasp on her son tightened, and she kissed his hair. Her sharp tone felt empty and hollow even to her own ears.

“Don’t you ever run away again— Don’t you know what I’d do if you were killed—“

“I know, Mom,” Luc interrupted, and for the first time in weeks— months— a long fucking time— he didn’t sound petulant.

He sounded like her boy.

“I kept him safe,” Caleb said flatly, also without any defensiveness. There was, even for Caleb, a dark flame behind his eyes. It felt like a spark she hadn’t seen in quite a few years.

“He was very particular about it,” Jester agreed, and then, in a poorly-disguised whisper, “Trent.”

Veth’s grip tightened, and she pulled Luc aside, away from the doorway. “Come in, tell me all about it—“ she pulled back and checked him over as Caleb nodded and passed inside. “You’re all in one piece, you’re alright—?”

“Yeah, Mom,” he agreed, with exhaustion. “Uncle Deuce made sure we were all in one piece.”

Jester pouted as she passed. “I also made sure you were okay, alright, but Caduceus is so helpful, you know, and honestly, in the end, it wasn’t even that bad— we saved most of the town, and we had a great party, and—“

She stopped her rambling in the middle of the doorway and clapped both hands to her mouth as Luc ducked under both of them into the house.

“Oh. My. Gods, Veth, you will not believe— Fjord proposed to me—“

With the number of things Jester had just imparted to her, it was honestly a testament to her own intelligence that Veth managed to process them in time to turn to Fjord just as he started up the steps, stopping him in his tracks.

“You what? And I missed it—?!”

"You know, Jester, I think we can let Caleb debrief the Brenatto family alone—"

She had him by the ear before he could move, which was an impressive feat considering he was over half her height, but he was almost as slippery of a bastard as she was.

Within an instant, he'd turned to mist in her grasp and vanished to the other side of the street, Jester complaining behind her all the while. Veth shrieked after him. "You piece of shit!"

In response, he yelled, "That's soon-to-be Admiral Tusktooth-Lavorre to you!"

Ramblings on Fandom: Peggy Carter, Steve Rogers, Delusional Shippers, and Alleged Misogyny

So with the release of Season 2 of What If…? emotions are once again running high, the outrage is outraging, and people are up in arms about the whole Captain Carter situation. While I do think that some reactions are a little overblown, even needlessly aggressive in tone to the unfortunate detriment of their otherwise convincing arguments, I share the confusion and frustration about the sudden centering of a long-dead & never excessively popular character, the sidelining of the Steve-Bucky friendship, and the as-inexplicable-as-it-is-total exclusion of Sam Wilson as Captain America. However, I’m not here to talk about the show because (1) I haven’t watched this season and have no plans to (why waste time torturing myself with something I know I’ll hate?) and (2) other people have already written dozens of metas about it, so what could I possibly add at this point.

What I do want need to talk about (lest I explode) is something that has irritated me for a long time and that is now happening again: Every time someone even mildly criticizes Peggy Carter, expresses doubts about her suitability as a heroine, or even just questions her disproportionate importance to the franchise post-EG, inevitably a certain section of fans will come out of the woodwork to immediately throw around accusations of misogyny and yell about how we’re all just a bunch of delusional Stuckies who are mad that she got "in the way" of our ship. Sigh.

This is gonna be a long one, so I’ll put it under a cut. Rant incoming. You've been warned. If you don't want to read, simply scroll on by.

First of all, let me state very clearly that I’m not debating the existence of misogyny and sexism in fandom spaces—or in the media from which these fandoms originate. At all. It exists, it’s a thing, I’m not denying that. Which is exactly why it frustrates me endlessly to see these accusations thrown around as a gotcha! argument to shut down any and all critical debate around a female character. All it does in the end is escalate rhetoric and radicalize attitudes.  

In the case of Peggy Carter, specifically her treatment by Stucky shippers, I’ve always found 'misogyny as a motive' to be a largely unsubstantiated accusation.¹ Now, I neither presume nor do I want to speak for the entirety of Stuckynation, so I will not claim that there aren't corners of the fandom where people discuss her in ways that I find off-putting and deeply unserious, but I will say this: If you genuinely believe that disliking one (1) fictional female character equals “hating all women” and wanting to suppress and marginalize their presence in fiction and real life alike—then I think we need to take that word away from you until you’ve learned its true meaning.

You might also want to ask yourself how exactly reducing a female character to a mute trophy wife or a heroine who has to act out her love interest’s recycled storylines helps your feminist fight.

As to the “standing in the way of your ship” part of the argument. Very simply put: No character can stand in the way of something if there never ever was “a way” to that something to begin with. “Being mad” implies that there was a reasonable expectation that wasn’t met, a substantive hope that was crushed. Now, I’ve said this before and I’ll gladly say it again a million more times: No Stucky shipper in their right mind ever truly thought that there was even the slightest chance that Marvel Studios owned by the Walt Disney Company would allow Steve “Captain America” Rogers and Bucky “Winter Soldier” Barnes to be canonized as an explicitly romantic pairing in their billion dollar franchise. Be serious. That was never in the cards. I wish we all lived in a world where it was, but we don’t, and it wasn’t. The best we could ever hope for was for Steve and Bucky to get a good, satisfying, in-character ending. And if, in Steve’s case, that would’ve included hints (or more) about a possible rekindling of his, uh, aborted romance with Sharon—then so be it. But we never got any of that. The characters never got any of that. Instead they sent Steve into 1950s suburban hell, literally trapped him behind a white picket fence, and condemned him to a life of passivity and lies, all so he could be married to a woman he barely knew a long time ago in a completely different world; who built and ran a top-to-bottom Hydra-infested organization, but apparently never noticed that there was anything wrong with her life's work. For decades. Great. As for Bucky—well, we’ve all seen the devastatingly grim-faced, utterly lonely, and deeply sad version of him that was presented to us in TFATWS. Happy endings all around, I guess.

So. Am I mad that Steve didn’t get to ride into the rainbow-colored sunset with Bucky at the end of EG? No. Because that was never going to happen anyway. Would I have been mad had he ended up with Sharon or another female character in the 21st century? Also no. Granted, I wouldn’t have been ecstatic about it, but mad? No. But am I mad that Steve ended up with this specific female character under these specific circumstances as presented in canon? Fuck yeah, I am.

The thing is: I personally believe Steve and Peggy to be fundamentally incompatible when it comes to the way they view the world and their respective places in it; their morals and values; their capacity for compassion and empathy; their ability and willingness to compartmentalize, compromise, and collaborate with people and institutions whose ethics and/or politics do not align with their own. I have a real hard time believing that a relationship between these two (or worse, a hasty marriage) could be either happy or long-lasting.

I don’t believe Peggy to be inherently evil, I don’t hate her, I simply think she operates within a different moral framework than Steve (and even genuinely believes it to be a righteous one).² Your mileage may vary, but I personally happen to find that framework reprehensible, even indecent, and ultimately dangerous. After all, over the course of the 20th century, we have seen exactly where that kind of “the ends justify the means” brand of pragmatism leads—over and over again. Not to mention that the people who use this line of argument to defend characters like Peggy (or real-life politicians for that matter) never seem to want to look too closely at who gets to define what "the ends" are in the first place and who decides when they've finally been met.

(Never. The answer is never.)

And to be clear, there is absolutely nothing wrong with depicting, and even centering a narrative around a morally (dark)gray character—oftentimes it’s actually the more interesting option—but you cannot at the same time claim that they are purely good and should be only admired as such when their actions literally tell an entirely different story.

So, no. I will not accept Peggy Carter as the shining aspirational heroine that the MCU so badly wants to sell her to me as—while simultaneously continuing to reveal things that paint an increasingly darker picture of her character. And I will certainly not celebrate seeing one of my favorite characters of all time��whose defining trait was that he couldn't ignore "a situation pointed south"; who used to fight for the little guy and against the establishment; who once said about the very organization that Peggy Carter helped build that it was so corrupt, it all needed to go—rendered morally inert for some hollow happy ending that may as well be a conservative’s wet dream full of false nostalgia for an America that never really existed. I cannot find it in me to be anything less but mad about that.

But that does not make me a misogynist. It does not make me a delusional shipper. It makes me someone who looks at what the MCU has been telling me about Peggy Carter for years now—over and over again—and takes it at its own word.

--------

¹ If you’ve actually read a a fair number of Stucky(!) fanfics you will have noticed that the reverence afforded to and "page time" devoted to her character and her relationship with Steve is somewhat disproportionate to anything that's backed up by canon—well, up until EG, where she was suddenly reanimated as The Great Love of Steve’s Life—and in my experience, it's highly unusual for any fandom to put so much (mostly) positive attention on another character, let alone a potential love interest that is not part of the endgame ship.

² I also want to emphasize that if you love Peggy and she's your fave: good for you! I genuinely have no beef with you. People can agree to disagree. All I ask for is that we maybe stop willfully ignoring the less savory aspects of her character. You don't need to pretend she's perfect to justify your affection for her. I LOVE Steve, and yet I have no problem conceding that he is FAR from perfect.

Just thinking about the Aeorians who fought to stop the Factorum Malleus from being activated in an attempt to kill the approaching gods, surely knowing that they were fighting against the only thing that could save them from an impending death.

In a way, knowing that you are already dead and fighting to prevent this thing from being turned on, to prevent it from saving you at a cost you cannot abide, is a reverse of the final moments of Avalir.

You don't read your damn spells?

Absence makes the heart grow colder

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comin' out of my cage and I've been doing just-

sketched out the size difference between ashton and orym when ash is in demititan form bc i was curious. and also am always thinking abt how the fuck a halfling would actually be proportioned

What's this? My skin, cleared? My crops, watered!? My heart, soaring!!??

Callowmoore softness, comfort and sleeping beside each other my FUCKING BELOVED!

slowly making my way thru the second campaign

I've been able to put a finger on what's really been annoying me about the current discourse surrounding Izzy's death, and it's the claims that the show "suddenly" isn't happy anymore or about queer joy and how that's a betrayal.

And my thing there is...OFMD has alway been the queer joy show, yes, but it has also never shied away from dark topics, and depicts topics such as the domestic abuse Ed suffered as a child and Stede's childhood trauma and the resulting PTSD from those events very realistically. OFMD is a kind show, at its core, and it never makes jokes that punch down. At the same time, though, this season began with Ed in a self-destructive mindset and actively planning his suicide, culminating in an attempt that was very nearly successful. This is heartbreaking. We've seen Ed sobbing - both at the end of last season and the start of this one - and last season we saw Stede absolutely shaken and traumatized by watching Chauncey shoot himself, right after Stede agreed that it was best he just die. It's heavy stuff, and I'll be the first to admit that it's honestly a bit hard for me to rewatch the first three eps of s2 just because of how hard Ed's suicidal arc hits, but I don't think it detracts at all from OFMD as the queer joy show - it adds to it, because the story is about coming out of these dark places through the power of queer love and community!

In contrast, Izzy started this season in a very rough place, and grew through the power of accepting queer community. His death was narratively important to Ed's arc, and he said himself he was satisfied and wanted to go. Why is this where you draw the line?

It's okay to be sad if a character you like died. That's the point, deaths in fiction are rarely supposed to make us feel happy. But it really just sounds like a lot of people are upset the narrative isn't centering around their favorite yt side character.

the sooner everyone realizes this the sooner we can just finally move past all the discourse to just focus on the story and why the characters are doing the things they are doing (very specifically ruby)

one of these days i'll learn how to draw well enough to redraw this as ashton and orym