#as a note: I have NO IDEA of the context of the original post | Explore Tumblr Posts and Blogs

mask131 · 4 months

Text

The truth about Medusa and her rape... Mythology breakdown time!

With the recent release of the Percy Jackson television series, Tumblr is bursting with mythological posts, and the apparition of Medusa the Gorgon has been the object of numerous talks throughout this website… Including more and more spreading of misinformation, and more debates about what is the “true” version of Medusa’s backstory.

Already let us make that clear: the idea that Medusa was actually “blessed” or “gifted” by Athena her petrifying gaze/snake-hair curse is to my knowledge not at all part of the Antique world. I still do not know exactly where this comes from, but I am aware of no Greek or Roman texts that talked about this – so it seems definitively a modern invention. After all, the figure of Medusa and her entire myth has been taken part, reinterpreted and modified by numerous modern women, feminist activist, feminist movements or artists engaged in the topic of women’s life and social conditions – most notably Medusa becoming the “symbol of raped women’ wrath and fury”. It is an interesting reading and a fascinating update of the ancient texts, and it is a worthy take on its own time and context – but today we are not talking about the posterity, reinvention and continuity of Medusa as a myth and a symbol. I want to clarify some points about the ACTUAL myth or legend of Medusa – the original tale, as told by the Greeks and then by the Romans.

Most specifically the question: Was Medusa raped?

Step 1: Yes, but no.

The backstory of Medusa you will find very often today, ranging from mythology manuals (vulgarization manuals of course) to Youtube videos, goes as such: Medusa was a priestess of Athena who got raped by Poseidon while in Athena’s temple, and as a result of this, Athena punished Medusa by turning her into the monstrous Gorgon.

Some will go even further claiming Athena’s “curse” wasn’t a punishment but a “gift” or blessing – and again, I don’t know where this comes from and nobody seems to be able to give me any reliable source for that, so… Let’s put this out of there.

Now this backstory – famous and popular enough to get into Riodan’s book series for example – is partially true. There are some elements here very wrong – and by wrong I do mean wrong.

The story of Medusa being raped and turned into a monster due to being raped does indeed exist, and it is the most famous and widespread of all the Medusa stories, the one people remembered for the longest time and wrote and illustrated the most about. Hence why Medusa became in the 20th century this very important cultural symbol tied to rape and the abuse of women and victim-blaming. HOWEVER – the origin of this story is Ovid’s Metamorphoses, from the first century CE or so. Ovid? A Roman poet writing for Roman people. “Metamorphoses”? One of the two fundamental works of Roman literature and one of the two main texts of Roman mythology, alongside Virgil’s Aeneid. This is a purely Roman story belonging to the Roman culture – and not the Greek one. The story of Medusa’s rape does not have Greek precedents to my knowledge, Ovid introduced the element of rape – which is no surprise given Ovid turned half of the romances of Greek mythology into rapes. Note that, on top of all this, Ovid wasn’t even writing for religious purposes, nor was his text an actual mythological effort – he wrote it with pure literary intentions at heart. It is just a piece of poetry and literature taking inspiration from the legends of the Greek world, not some sort of sacred text.

Second big point: The legend I summarized above? It isn’t even the story Ovid wrote, since there are a lot of elements that do not come from Ovid’s retelling of the story (book fourth of the Metamorphoses). For example Ovid never said Medusa was a priestess of Athena – all he said was that she was raped in the temple of Athena. I shouldn’t even be writing Athena since again, this is a Roman text: we are speaking of Minerva here, and of Neptune, not of Athena or Poseidon. Similarly, Minerva’s curse did not involve the petrifying gaze – rather all Ovid wrote about was that Minerva turned Medusa’s hair into snakes, to “punish” her because her hair were very beautiful, and it was what made her have many suitors (none of which she wanted to marry apparently), and it is also implied it is what made Neptune fall in love (or rather fall in lust) with her. I guess it is from this detail that the reading of “Athena’s curse was a gift” comes from – even though this story also clearly does victim-blaming of rape here.

But what is very fascinating is that… we are not definitively sure Neptune raped Medusa in Ovid’s retelling. For sure, the terms used by Ovid in his fourth book of Metamorphoses are clear: this was an action of violating, sexually assaulting, of soiling and corrupting, we are talking about rape. But Ovid refers several other times to Medusa in his other books, sometimes adding details the fourth-book stories does not have (the sixth book for examples evokes how Neptune turned into a bird to seduce Medusa, which is completely absent from the fourth book’s retelling of Medusa’ curse). And in all those other mentions, the terms to designate the relationship between Medusa and Neptune are more ambiguous, evoking seduction and romance rather than physical or sexual assault. (It does not help that Ovid has an habit of constantly confusing consensual and non-consensual sex in his poems, meaning that a rape in one book can turn into a romance in another, or reversal)

But the latter fact makes more sense when you recall that the rape element was invented and added by Ovid. Before, yes Poseidon and Medusa loved each other, but it was a pure romance, or at least a consensual one-night. Heck, if we go back to the oldest records of the love between Poseidon and Medusa, back in Hesiod’s Theogony, we have descriptions of the two of them laying together in a beautiful, flowery meadow – a stereotypical scene of pastoral romances – with no mention of any brutality or violence of any sort. As a result, it makes sense the original “romantic” story would still “leak” or cast a shadow over Ovid’s reinvented and slightly-confused tale.

Step 2: So… no rape?

Well, if we go by Greek texts, no, apparently Medusa was not raped in Greek mythology, and only became a rape victim through Ovid.

The Ancient Greek texts all record Poseidon and Medusa sleeping with each other and having children, but no mention of rape. And the whole “curse of Athena” thing is not present in the oldest records – no temple of Athena soiling, no angry Athena cursing a poor girl… “No curse?” you say “But then how did Medusa got turned into a Gorgon”? Answer: she did not. She was born like that.

As I said before, the oldest record of Medusa’s romance but also of her family comes from Hesiod’s Theogony (Hesiod being one of the two “founding authors” of Greek mythology, alongside Homer – Homer did wrote several times about Medusa, but only as a disembodied head and as a monster already dead, so we don’t have any information about her life). And what do we learn? That Medusa is part of a set of three sisters known as the Gorgons – because oh yes, Ovid did not mention Medusa’s sister now did he? How did Medusa’s sisters ALSO got snake-hair or petrifying-gaze if only Medusa was cursed for sleeping with Neptune? Ovid does not give us any answer because again, it is an “adaptational plot hole”, and the people that try to adapt Ovid’s story have to deal with the slight problem of Stheno and Euryale needing to share their sister’s curse despite seemingly not being involved in the whole Neptune business. Anyway, back to the Greek text.

So, you have those three Gorgon sisters, and Medusa is said to be mortal while her sisters are not. Why is it such a big deal? Because Medusa wasn’t originally some random human or priestess. Oh no! Who were the Gorgons’ parents? Phorcys and Keto/Ceto, aka two sea-gods. Not just two sea-gods – two sea-gods of the ancient, primordial generation of sea-gods, the one that predated Poseidon, and that were cousins to the Titans, the sea-gods born of Gaia mating with Pontos.

So the Gorgons were “divine” of nature – and this is why Medusa being a mortal was considered to be a MASSIVE problem and handicap for her, an abnormal thing for the daughter of two deities. But let’s dig a bit further… Who were Phorcys and Ceto? Long story short: in Greek mythology, they were considered to be sea-equivalents of Typhon and Gaia. They were the parents of many monsters and many sea-horrors: Keto/Ceto herself had her name attributed and equated with any very large creature (like whales) or any terrifying monster (like dragons) from the sea. The Gorgons themselves was a trio of monsters, but their sisters, that directly act as their double in the myth of Perseus? The Graiai – the monstrous trio of old women sharing one eye and one tooth. Hesiod also drops the fact that Ladon (the dragon that guarded the golden apples of the Hesperids), and Echidna (the snake-woman that mated with Typhon and became known as the “mother of monsters”) were also children of Phorcys and Ceto, while other authors will add other monster-related characters such as Scylla (of Charybdis and Scylla fame), the sirens, or Thoosa (the mother of Polyphemus the cyclop). Medusa herself is technically a “mother of monsters” since she birthed both Pegasus the flying horse and Chrysaor, a giant. So here is something very important to get: Medusa, and the Gorgons, were part of a family of monsters. Couple that with the absence of any mention of curses in these ancient texts, and everything is clear.

Originally Medusa was not a woman cursed to become a monster: she was born a monster, part of a group of monster siblings, birthed by monster-creating deities, and she belonged to the world of the “primordial abominations from the sea”, and the pre-Olympian threats, the remnants of the primordial chaos. It is no surprise that the Gorgons were said to live at the edge of the very known world, in the last patch of land before the end of the universe – in the most inhuman, primitive and liminal area possible. They were full-on monsters!

Now you might ask why Poseidon would sleep with a horrible monster, especially when you recall that the Greeks loved to depict the Gorgons as truly bizarre and grotesque. It wasn’t just snake-hair and petrifying gaze: they had boar tusks, and metallic claws, and bloated eyes, and a long tongue that constantly hanged down their bearded chin, and very large heads – some very old depictions even show her with a female centaur body! In fact, the ancient texts imply that it wasn’t so much the Gorgon’s gaze or eyes that had the power to turn people into stone – but that rather the Gorgon was just so hideous and so terrifying to look at people froze in terror – and then literally turned into stone out of fear and disgust. We are talking Lovecraftian level of eldritch horror here. So why would Poseidon, an Olympian god, sleep with one of these horrors? Well… If you know your Poseidon it wouldn’t surprise you too much because Poseidon had a thing for monsters. As a sort of “dark double” of Zeus, whereas Zeus fell in love with beautiful princesses and noble queens and birthed great gods and brave heroes, Poseidon was more about getting freaky with all sorts of unusual and bizarre goddesses, and giving birth to bandits and monsters. A good chunk of the villains of Greek mythology were born out of Poseidon’s loins: Polyphemus, Antaios, Orion, Charybdis, the Aloads… And even his most benevolent offspring has freaky stuff about it – Proteus the shapeshifter or Triton half-man half-fish… So yes, Poseidon sleeping with an abominable Gorgon is not so much out of character.

Step 3: The missing link

Now that we established what Medusa started out as, and what she ended up as… We need to evoke the evolution from point Hesiod to point Ovid, because while people summarized the Medusa debate as “Sea-born monster VS raped and punished woman”, there is a third element needed to understand this whole situation…

Yes Ovid did invent the rape. But he did not invent the idea that Medusa had been cursed by Athena.

The “gorgoneion” – the visual and artistic motif of the Gorgon’s head – was, as I said, a grotesque and monstrous face used to invoke fright into the enemies or to repel any vile influence or wicked spirit by the principle of “What’s the best way to repel bad stuff? Badder stuff”. Your Gorgon was your gargoyle, with all the hideous traits I described before – represented in front (unlike all the other side-portraits of gods and heroes), with the face being very large and flat, a big tongue out of a tusked-mouth, snake-hair, bulging crazy eyes, sometimes a beard or scales… Pure monster. But then… from the fifth century BCE to the second century BCE we see a slow evolution of the “gorgoneion” in art. Slowly the grotesque elements disappear, and the Gorgon’s face becomes… a regular, human face. Even more: it even becomes a pretty woman’s face! But with snakes instead of hair. As such, the idea that Medusa was a gorgeous woman who just had snakes and cursed-eyes DOES come from Ancient Greece – and existed well before Ovid wrote his rape story.

But what was the reason behind this change?

Well, we have to look at the Roman era again. Ovid’s tale of Medusa being cursed for her rape at the hands of Neptune had to rival with another record collected by a Greek author Apollodorus, or Pseudo-Apollodorus, in his Bibliotheca. In this collection of Greek myths, Apollodorus writes that indeed, Medusa was cursed by Athena to have her beautiful hair that seduced everybody be turned into snakes… But it wasn’t because of any rape or forbidden romance, no. It was just because Medusa was a very vain woman who liked to brag about her beauty and hair – and had the foolish idea of saying her hair looked better than Athena’s. (If you recall tales such as Arachne’s or the Judgement of Paris, you will know that despite Athena being wise and clever, one of her main flaws is her vanity).

“Wait a minute,” you are going to tell me, “The Bibliotheca was created in the second century CE! Well after Greece became part of the Roman Empire, and after Ovid’s Metamorphoses became a huge success! It isn’t a true Greek myth, it is just Ovid’s tale being projected here…” And people did agree for a time… Until it was discovered, in the scholias placed around the texts of Apollonios of Rhodes, that an author of the fifth century BCE named Pherecyde HAD recorded in his time a version of Medusa’s legend where she had been cursed into becoming an ugly monster as punishment for her vanity. We apparently do not have the original text of Pherecyde, but the many scholias referring to this lost piece are very clear about this. This means that the story that Apollodorus recorded isn’t a “novelty”, but rather the latest record of an older tradition going back to the fifth century BCE… THE SAME CENTURY THAT THE GORGONEION STARTED LOSING THEIR GROTESQUE, and that the face of Medusa started becoming more human in art.

[EDIT: I also forgot to add that this evolution of Medusa is also proved by strange literary elements, such as Pindar's mention in a poem of his (around 490 BCE) of "fair-cheeked Medusa". A description which seems strange given how Medusa used to be depicted as the epitome of ugliness... But that makes sense if the "cursed beauty" version of the myth had been going around at the time!]

And thus it is all connected and explained. Ovid did invent the rape yes – but he did not invent the idea of Athena cursing Medusa. It pre-existed as the most “recent” and dominating legend in Ancient Greece, having overshadowed by Ovid’s time the oldest Hesiodic records of Medusa being born a monster. So what Ovid did wasn’t completely create a new story out of nowhere, but twist the Greek traditions of Athena cursing Medusa and Medusa having a relationship with Poseidon, so that the two legends would form one and same story. And this explains in retrospect why Ovid focuses so much on describing Medusa’s beautiful hair, and why Ovid’s Minerva would think turning her hair into snake would be a “punishment fit for the crime”: these are leftovers of the Greek tale where Medusa was punished for her boasting and her vanity.

CONCLUSION

Here is the simplified chronology of how Medusa’s evolution went.

A) Primitive Greek myths, Hesiodic tradition: Born a monster out of a family of sea-monsters and monstrous immortals. Is a grotesque, gargoylesque, eldritch abomination. Athena has only an indirect conflict with her, due to being Perseus’ “fairy godmother”. Has a lovely romance with Poseidon.

B) Slow evolution throughout Classical Greece and further: Medusa becomes a beautiful, human-looking girl that was cursed to have snake for hair and petrifying eyes, instead of being a Lovecraftian horror people could not gaze upon. Her conflict with Athena becomes direct, as it is Athena that cursed her due to being offended by her vain boasting. Her punishment is for her vanity and arrogant comparison to the goddess.

C) Ovid comes in: Medusa’s romance with Poseidon becomes a rape, and she is now punished for having been raped inside Athena’s temple.

[As a final note, I want to insist upon the fact that the story of Medusa being raped is not less "worthy" than any other version of the myth. Due to its enormous popularity, how it shaped the figure of Medusa throughout the centuries, and how it still survives today and echoes current-day problems, to try to deny the valid place of this story in the world of myths and legends would be foolish. HOWEVER it is important to place back things in their context, to recognize that it is not the ONLY tale of Medusa, that it was NOT part of Greek mythology, but rather of Roman legends - and let us all always remember this time Poseidon slept with a Lovecraftian horror because my guy is kinky.]

EDIT:

For illustration, I will place here visuals showing how the Ancient art evolved alongside Medusa's story.

Before the 5th century BCE: Medusa is a full-on monster

From the 5th century to the 2nd century BCE: A slow evolution as Medusa goes from a full-on monster to a human turned into a monster. As a result the two depictions of the grotesque and beautiful gorgoneion coexist.

Post 2nd century BCE: Medusa is now a human with snake hair, and just that

#greek mythology #medusa #gorgon #athena #gorgons #poseidon #neptune #minerva #ovid #rape in mythology #greek monsters #roman mythology

4K notes · View notes

cinnamonest · 26 days

Text

I'm not looking to start shit so I'm not linking it or anything, but you may have seen a recent anti-dark-content post circulating with a lot of notes making rounds in the x reader sphere and while I have nothing against people posting their feelings in their own private spaces, every time I see these kinds of posts there's a lot of misinformation that gets regurgitated in the reblogs/replies and I saw what looked like a battlezone in the replies, so.

I know posts like that can be very jarring and affects people like my readers, so to combat misinformation/shaming for anyone who saw it, I'm going to share some of my information on combatting fandom puritanism/misogyny/kinkshaming in its most common forms.

The most important fact, if you read nothing else, is this:

Most women have rape fantasies.

62% to be exact. I think the most pervasive myth on this content is that consumers are "weird" for it, when the numbers don't indicate that. You're in the majority!

The vast majority of people who have rape fantasies do not put them into practice in real life. A variety of factors can determine whether or not they do, particularly specific psychiatric disorders. (X)

To specifically address common harmful and pervasive myths:

the "go to therapy!" line

Generally any academic or professional resource will immediately tell you that consuming and engaging in "dark" fantasies is accepted and encouraged by mainstream psychiatry and part of the professional education for psychiatrists. (This also used to be pretty well-known until like the last 5 years or so, not sure why that changed.)

Here are some particularly insightful resources:

1) This article by Dr. David Wahl, in my opinion, hands-down does the best job of simply and thoroughly explaining why these fantasies occur and why couples practice CNC, as well as the fact that they are both harmless, psychologically beneficial to those with them, and not at all correlated to real-life rape.

2) Dr. Claudia Six has some of the best and most thorough material out there on the subject, specifically explaining why this is taught in mainstream academia psychology and how it is incredibly helpful to rape victims (X).

3) Lisa Diamond is a professional who focuses on this subject a lot, and was featured in the documentary "The Dilemma of Desire," in which she specifically focuses on how these fantasies are not correlated to real-life desires. (X)

4) Dr. Casey Lyle has specifically talked a lot on his socials about how fantasies, even in men/the perspective of the offender, do not correlate to actual risk of offending.

5) This article is not by a professional, but from the perspective of a survivor discussing how it is beneficial to survivors.

the "why would you want that?" line

The idea that fictional tastes = what you want to happen to you in real life is actually of misogynistic origin. I don't want to seek out or add links on this one, but if you're really curious, you can research about how the idea that "women read rape fiction, that means they secretly want rape!" was originally a classic "red pill"/MGTOW/4chan talking point that made its way into mainstream dialogue and thus the public mind in the last 15 years or so due to the incel epidemic popularizing those communities.

the "it's only valid for survivors then!" line

On one hand, yes it's very important to acknowledge that trauma victims use it to cope, however I feel that over-emphasizing that gives the impression that non-victims should be excluded from consumption of dark content, so to clarify, it's a very valid means for all women. Many women who have not personally experienced rape still fantasize about it, and that's fine.

The full explanation as to why this is true for many of them would be lengthy (and addressed in the aforementioned Dilemma of Desire documentary), but in the simplest terms, nonconsensual sex is the only context in which patriarchal society permits women to have sex at all without feeling guilt. For many women, particularly those in more heavily misogynistic or religious cultures, these fantasies are appealing because the idea of consensual sex may give them feelings of shame, guilt, "sin," etc. These fantasies allow them to experience the feeling of being desired without guilt of participation.

No society on earth is free of the psychological grip that cultural misogyny has on women, and shaming women for adapting to the conditions they are forced to exist under is as harmful as the misogyny that causes it itself.

ALL women experience a form of psychological trauma inherent to female childhood and female adolescence in a patriarchal world, and that is just as valid as coping with individual traumatic events.

Good resources on the subject of why women have these fantasies and how they are helpful in general:

(X) (X)

The "what you consume will make you do it in real life!" myth

Although the resources above already address this, it's important to establish why this myth is so prevalent and what its origins are.

The idea that consuming media with dark themes leads to or indicates desires to replicate those acts is a residual element of two major events:

1) Puritan revival culture, popularized in the US and UK in the 90s and 2000s (also known as "Satanic Panic"). A major facet of this movement was TV megachurch preachers making money off of exploiting well-meaning but paranoid parents into believing that your child playing Dungeons and Dragons or Pokemon would make them future serial killers and lure them into satanic cults. (X)

2) at the tail end of this, it was cemented in the public mind as a cultural ripple aftershock of the Columbine shooting, where this sentiment became popularized as the general public blamed violent video games like Doom and "dark" music like Marilyn Manson (whose life was temporarily completely upended by the events and took him years to recover/be safe from) for the 1999 shooting. This event had MASSIVE permanent and global effects in all sorts of ways that the public often underestimates the sheer scope of, notably that it solidified, prolonged, and, in the minds of many, "proved" the paranoias of the preexisting Satanic Panic. (X) This established a precedent, leading to virtually any major horrible event being blamed on the perpetrator's media consumption, including murder and sex crimes.

What this myth ignores in the cases it references (the slenderman stabbings, columbine, sasebo slashing, batman shooting, etc) is two crucial facts: that hundreds of millions of people consume the same media with no negative effects (helpful effects even), and that in every single case cited as "evidence" to the claim, the perpetrator had a preexisting psychiatric condition correlated to acts of violence (which usually went ignored, downplayed and even accelerated/worsened by those around them rather than the help they needed).

Sorry for the wall of text, but I feel an ethical obligation to combat this kind of misinformation, and I hope these resources are helpful for those who may be negatively affected by common misunderstandings.

You are not abnormal or wrong for the fictional content you consume or the fantasies you have!

#im very passionate about this because this sort of thing severely affected younger me #and i dont want that for anyone else!#love yall

1K notes · View notes

where-does-the-heart-lie · 8 months

Text

For @orange-artist ‘s ASL god AU DTIYS! (congrats on the milestone!)

This was really fun, I absolutely love drawing ethereal designs

Additional notes 👇

So i adjusted the original designs ... a bit... To draw in my style means that i have to make everything extra, sorry.

Ace:

I like the base design for Ace a lot! i looked at other posts to get more context to these outfits and i say this draping billowy pants design that i liked a lot more, so I used that instead of the ones he has in the picture.

I love his cute little star crown, i think it looks dope as hell. I wanted to bring it to other parts of him too, so I gave him an arm cuff with it, too! If i had drawn the front of him, you would also see that crown design around his waist as a belt, too.

i originally had him in a pose similar to the one he has in the original, but after i sketched out the other two poses i found he looked a little two flat, so i brought his hand out to the foreground.

I like the choice for his hair to gradient out to look like a comet! I had a lot of trouble trying to make it look Just Right, but i think I nailed it

Luffy:

I didn't change much about his design, I really just made him a little more yellow than he was before. Its hard to improve an already banger design. He's my ethereal silly guy...

I really love the idea of Luffy's scars looking like gold, that's really cool.

I wish I could've added that cold crown he has around his head, but i didn't know how to without it looking sloppy so i had to leave it out.

Sabo:

I changed so much about Sabo's design, i would like to send out a formal apology for it, I admit I went a little too ham. I had already completed the picture before i went back to look at the original post and saw the comments about how Sabo was supposed to look... discreet...... I... Did Not Make Him Discreet. In The Slightest. :DDD ehe

I needed help for Sabo's pose because i was having so much trouble with the hand, i called upon my good website friend JustSketchMe to get it right. I had this idea for the pose because i wanted the claw to look like a crescent moon, I think it looks pretty good.

I would've given him normal snakebite piercings too but i felt that the ring piercings looked more Crescent-like, so i went with that.

Moon belt. i want that moon belt. I have no outfits it would go with. but i still want it.

I love Sabo's whispies that he has in the original design, but when I put them in the art i had, it cluttered up the piece too much and I had to get rid of them. A moment of silence for the fallen whispies...

Noticing now I forgot Sabo's Cane..... oops.

General:

I shaded Luffy to be lighted by the sun, Sabo the moon, but i made Ace be the light for himself. There's some deep meaning to that, but I cant think of one right now.

I had a lot of fun drawing this, i hope i was failthful enough to the original designs even though i changed everything a lot :)

Drinking game: take a shot everytime I used the word "I", take a double shot each time i forgot to capitalize it, too. You will be Dead by the end of the post, though.

#my art #monkey d. luffy #sabo #asl brothers #one piece fan art #portgas d. ace #sabo the revolutionary #OP god au #asl au #@orange-artist #DTIYS

2K notes · View notes

hyprfxtdbstrd · 3 months

Text

I'm seeing everyone pointing out the possible issues with Epic the Musical's deviation from the original story of Circe and Odysseus, and as someone who's studied Ancient Greece/ancient Greek myths a bit, I wanted to say some stuff about it. This will be a bit of a long one, so apologies for my rambling!

Note that I'm not trying to shit on SA survivor's perspectives and (completely valid) arguments. I'm just trying to offer some context surrounding the original myth and how it fits (or rather, doesn't fit) with a modern audience. If I'm wrong with any of this, feel free to call me out! Criticize the shit out of me! I like learning about Greek culture and myths and would 100% love to hear other perspectives on this.

So, a few points about Ancient Greek myths to kind of explain the context around Circe and Odysseus:

Greek myths generally did not have good views/depictions of women. Women were almost always depicted as conniving, selfish, sexually insatiable creatures. To largely summarize the process within actual Greek society, women had three/four stages in their life: child, dangerous/wild virgin (after first menstruation), married woman (whose wildness was tamed by her husband), and then a "real" woman (a mother). There are a few deviations from the "evil" trope, the most prominent of which being Penelope herself—she's basically the ideal Greek wife, staying loyal to her husband for 20 years and all that.

Adultery only applied to women. Husbands cheating on their wives wasn't merely tolerated, but expected. Marital sex wasn't seen as enjoyable, rather something that had to be done for the sake of reproduction and continuing the bloodline/securing inheritance. Men cheated on their wives with various kinds of prostitutes, concubines, mistresses, etc, but sleeping with unmarried women (that weren't specifically prostitutes) or married women was looked down upon. Women didn't have this same standard. They could only sleep with their husbands, hell, their husbands were pretty much the only men they could even interact with (excluding family, obviously).

The original myth has Hermes very plainly lay out how Odysseus' confrontation with Circe will go: Odysseus will eat the moly, draw his sword at her, she'll proposition him, and Hermes directly tells Odysseus to accept. Basically a "sleep with her if you want your men to live" situation. (See this post for more specifics on this).

So, let's apply this to Epic: The Musical. Here's some reasons I think may explain the Circe myth being changed:

The Greek "women being evil" stereotype is... problematic. While I 100% understand that it's important to acknowledge male victims of SA, I don't think the original myth was focusing on Odysseus being a victim—I saw it more of an emphasis on Circe being a sexually selfish woman, as all Greek women were believed to be. Changing Circe to be less conniving and evil deviates from the concerning Greek stereotype.

The SA in the myth is not actually very clearly SA. Yes, with a modern perspective, it absolutely is sexual coercion, but for Greeks, not so much. It made sense to them that sex could be transactional. It's already been established that Epic, while still generally accurate to the original myth, does change things relating to morality/themes in order to better align with modern Western ideas (i.e. OG Odysseus not being as remorseful and merciful, as that was expected of a Greek hero, but Epic Odysseus having more empathy because that's more modernly heroic). If something from the original myth doesn't translate well into modern culture, then it's understandable to want to change or omit it.

In the case that the original Circe myth wasn't SA (I'm not saying one is more right than the other, I'm just covering all the bases), then it wouldn't even constitute as cheating. Like I described earlier, it was perfectly acceptable and expected for men to sleep with women that weren't their wives. Plus, being a goddess, she's already kinda exempt from being blamed if Odysseus slept with her—only women are ever really blamed for sleeping with (or being SAed by) gods, and even then, their husbands sometimes don't even give a shit. But modernly, we would not see it that way. To us, it's not societally acceptable for a married man to sleep with another woman (without his wife's consent, at least). While Ancient Greeks viewed Odysseus as a good (or at least okay) husband, a modern audience wouldn't. Making Odysseus loyal to Penelope and not sleeping with other women (assuming this wasn't SA, but again that's one interpretation) makes him the good, loyal, empathic, modernly heroic man that Epic is clearly aiming for. Repeating my last point: If something from the original myth doesn't translate well into modern culture, then it's understandable to want to change or omit it.

Applying modern perspectives on Ancient Greek society and mythology isn't worth it. Like, we all joke about Ancient Greece being super gay, but they didn't actually like gay men. Homosexuality was literally only acceptable when it was between a young man and a prepubescent boy (it was called pederasty if you want to know more) or between women (they only considered penetrative sex to be 'real' sex so they didn't really care what women did with other women). Y'know the Hades and Persephone story? Like, the original one with the kidnapping? Yeah, that was normal. The myth of Demeter and Persephone is tragic, yes, but it was so normal that wedding ceremonies often included references/recreations of it! Girls got married off ASAP after their first menstruation to men of at least 30 years old. We don't tolerate that shit today (for the most part, at least)! But it was normal in Ancient Greece. Applying modern rules and standards to ancient culture just does not work.

Anyways, I'll shut up now! I'm gonna go keep listening to The Circe Saga lmao

EDIT: there is good criticism in the reblogs of this post that adds more perspective and corrects some of my generalizations/insights!!

#can you tell im a history major #seriously tho im not trying to shit on the opinions of SA survivors talking about this #the greeks were just kinda fucked up #greek mythology #epic the musical #odysseus #the odyssey #circe #circe saga #the circe saga #hermes #epic the circe saga #ancient greece #history

446 notes · View notes

tuktukpodfics · 1 year

Text

The Problem With "Dao Swords": My love-hate relationship with pleonastic translations

An essay that no one asked for.

A lot of fanfics call Zuko’s broadswords “dao swords.” As a Chinese to English translator, this phrase makes me pause every time. Here is my humble opinion on “dao swords” and other pleonastic translations:

What the heck is a pleonastic translation?

I’m so glad you asked! “Pleonasm” is a fancy term for a redundant phrase, like “black darkness” or “burning fire.”

A pleonastic translation is a phrase that puts the source language and the translation back-to-back. A common example is “chai tea” which literally means “tea tea.”

“Dao swords” is a pleonastic translation. “Dao” 刀 is the Chinese blanket term for blade. The phrase basically means “sword swords.” Sounds pretty silly, right?

Pleonastic translations are bad?

I think it depends on your audience, the text purpose, and how special the word is.

In advertising, pleonastic translations can help increase a product’s searchability. Ex: “Longjing Dragonwell tea” would appear in a Google search for either “longjing” or “dragonwell.”

Tourist destinations often use pleonastic translations to help foreigners navigate. Ex: “Nanzhan South Station” on a map helps foreigners know what the place is, but also gives them the Chinese pronunciation so that they can communicate with their taxi driver.

In literature, a pleonastic translation is a succinct way to introduce a culturally significant term without a footnote or distracting tangent. A lot of translators will sneak in a pleonastic translation the first time the word appears in a text, and then use the untranslated term alone every time after. Ex: "He slouched on the kang bed-stove. His grandmother sighed and took a seat on the kang too.”

Is "dao" a culturally significant word?

No.

Dao is a super mundane word used to describe any kind of single-edged blade, from butter knives to ice skates. It feels weird to keep such a normal word untranslated. Using the Chinese word emphasizes its foreignness. They’re not just swords, they’re special, Chinese swords.

Yes, words take on different meanings as they pass from culture to culture. That’s how language works. But English is also a unique case. Because of imperialism. I think English speakers have an obligation to avoid exotifying every-day words.

Also, English is a global language. Chinese speakers are reading your translation, and…I dunno...“sword swords” feels off putting. Disruptive.

But I want to acknowledge the real-life culture behind the swords

Giving credit to the cultures that you're borrowing from is an A+ idea.

...I don't know how to do this in a fantasy setting.

Zuko’s swords and fighting style is based on oxtail sabers (牛尾刀）and Shaolin dual broadswords (少林双刀). @atlaculture has a very cool post on oxtail sabers. But calling his swords "oxtail sabers" doesn't work because cows don't exist in atla. Shaolin is a type of martial arts that originates from Shaolin temple in Henan, China (Shaolin itself literally means “young forest”). But you can’t call them “Shaolin broadswords," since Shaolin does not exist in the Fire Nation.

It’s quite a pickle.

Maybe just use a footnote?

So what should I call Zuko’s swords?

I don’t know.

I think you can just call them broadswords. That’s what the TV show calls them.

Dao by itself could work too if you need to differentiate Zuko's dao from Sokka's jian (double-edged blade). Readers can probably figure out what dao means from context.

If it’s not clear from context what dao means? *sigh* ..."Dao swords" it is, I guess.

To end on a happier note, here is a video of Chang Zhizhao busting some sweet moves.

youtube

#atla #dao swords #shaolin #zuko #transaltion #dual broadswords #thank you for coming to my tedtalk #Youtube

1K notes · View notes

deception-united · 15 days

Text

Here, have some writing tips.

Celebrating 1000 followers! Love you all ❤

Your first version doesn't have to be permanent.

A lot of writers—myself included—may feel a sort of connection or duty to their original story, draft, plot, or characters. But being afraid to change what you already have will only hinder you. My current WIP (which I'm working on with @leisureflame, check out her blog!) has been changed—and I mean completely flipped around—countless times. We started out in a medieval setting with kings and queens and burning witches, and now it's a dystopian novel set in the future in a country they're forbidden to leave. Our main character was originally dark haired, olive skinned, reserved, fierce, independent, and now she's a sunburn-prone ginger with a sanity deficiency. We've scrapped and replaced multiple characters and sacrificed plot elements we loved to attain what is best for this story. It's incredibly sad, but sometimes, it's necessary.

Don't delete your ideas.

Or excerpts. Or character ideas. An idea's occurred to you at three in the morning? In the shower? At work? Write. It. Down. Immediately. The top surface of my bookcase is littered with random notes in smudged pencil that I've jotted down. Referring back to the last point, if you change or scrap a part of your story, keep it somewhere. I like to keep a notes document that I perpetually add the most random things to: out-of-context lines of dialogue, phrases I like, new vocabulary, character descriptions—anything, really. Even if you know you're probably never going to have occasion to use it, take note of it anyway. You never know when a previous idea will be just the element you need in your story. And if not, well, they're fun to read over later.

Free write.

I know I covered this in a recent post, but I'd just like to stress on it again. Open a document or a page in your notebook and just start writing. Whatever comes to mind. Doesn't matter how nonsensical or embarrassing or muddled, as long as you're writing. This exercise can really help regain or maintain your creative flow. You'll end up with some passages that are horrible and that you will never deign to set your eyes upon in the rest of your years, and others you'll cherish. In any case, whether the result is good or atrocious, you'll have written something. It's a good way to combat writer's block, or boredom. I recommend it.

Hope this helps. Thanks for all your support!

#writeblr #writing #writing tips #writing advice #writing help #writing resources #creative writing #writer inspiration #writer stuff #writer things #deception-united

172 notes · View notes

artgletic · 6 months

Text

Dimentio in an ancient-style fit (Mermentio? Mertio?) + 12th pixl

in my lore post, i talk about how i think dimentio was merloo’s mentor. I like to imagine he was very lowkey and his presence was lost to time, deliberately overshadowed by his student. He mentored merloo so as to get him to write the light prognosticus as a means of countering the dark one and creating a vulnerability in the prophecy for him to exploit later in the events of SPM. I additionally talk about dimentio's mask originating with the dead pixl who died during the events of the pixl war. these are just designs going off ideas from that post

Design notes under cut

-ancients have this really obvious gendered way of dressing, and i wanted dimentio to blur those lines, hence giving him the robes and headpiece of a man but the face veil and headpiece adornments of a woman. hes slaying

-speaking of facial decorations, dimentio isnt wearing his mask yet here. I hc he only starts wearing it around when he starts interacting with bleck (along with the jester fit as a whole)

-i decided to turf the stripes on his fit since it made him look too much like the dimentio we know as opposed to an ancient, as well as there was no ancients with similar patterning.

-to be real dimentio’s canon design is already very reminiscent of an ancient, particularly in the context of the rest of SPM’s designs and how crazy they can get. The basic shape of his hat already looks like a plausible ancient headpiece (like a combination of merlimbis and merlight), and merlumina has similar decal placements on her headpiece. theres also centre brooch that male ancients wear; dimentio’s diamond is similar. They both even have yellow eyes.

-the only real differences are dimentio’s leg and hands, both of which are monochrome and lined with white instead of black, almost emphasizing that they do not ‘fit’ the rest of the look or were added on unnaturally.

-his mask is also monochrome but not lined with white. My reason for this is since I think his mask is what remains of his old pixl, it’s not alien with respect to the ancients (hence not being lined with white), but not an authentic part of him (hence being monochrome)

#dimentio #merloo #super paper mario #spm

291 notes · View notes

buckets-of-dirt · 1 year

Text

(ID: A screenshot of tags that read "#Prev what are some alternatives to the word primitive that are less derogatory" /end ID.)

@panicdeleter I'm responding to your question on a new post so that the op of the original doesn't get this in their notes because answering in good faith is going to take a lot of explanation.

Short answer: there isn't one.

Long answer: as you say in your tags, "primitive" is a derogatory term with a very loaded meaning. Removing it from your vocabulary is less a matter of finding a more PC alternative, and more a matter of understanding why it's derogatory and changing your perception of what's being discussed. To do that, we're going to have to look at archaeological theory for a minute. Stick with me, I do have suggestions at the end.

Archaeological theory is a complicated subject and there's no way I'm going to try to summarize all of it in a Tumblr post since it's a topic arch programs devote at least a semester (if not longer) to. So we'll focus on the relevant bits.

Essentially, in the bad old days when archaeology was starting to become a discipline instead of a thing rich dudes did on the weekends, there was this idea that certain European societies were the peak of civilization and everywhere else was less evolved and therefore primitive. It was based on the misunderstanding of the theory of evolution that was common at the time. Like so:

(ID: a diagram drawn in pen. It's titled "Ye Olde Arch/Anth Theory TM". The next line says "Primitive = simple, less evolved, bad". Below it there is a vertical arrow pointing down, with the words "one way line" next to it. Under the arrow there is a line of text reading "Advanced = complex, most evolved, good". /end ID.)

These early archaeologists believed that all of humanity lived on a hierarchy with the "advanced" societies they lived in (and their ancestors like Ancient Greece) at the top and all the "primitive" past and current societies (destined to either become like them or die out eventually) at the bottom.

It's been a long road for archaeological theory. The 20th century was fraught with theoretical movements and debates that sometimes literally devolved into fistfights. But eventually we all ended up more or less here:

(ID: A hand drawn diagram in a similar format to the one above. It's titled "Arch Theory Today (Short Version). Below the title there is a single line of text centred around a horizontal line with arrows at both ends. The left side of the arrow reads "simple" while the right side reads "complex". The line itself is labeled "continuum or spectrum". /end ID.)

While you'll still find some archaeologists who disagree, the main consensus appears to at least be on the same page that instead of the old primitive vs advanced hierarchy, societies exist on a spectrum that ranges in complexity. In the most basic terms, because I'm glossing over A LOT of nuance here, hunter gatherer societies tend towards the simple end of the spectrum while big state societies are on the more complex end. This is not meant as a value judgement of these societies, but merely an attempt to classify them so other people have a frame of reference for what you're talking about. Even so, there's considerable debate about the language used for certain terms and societies, and I am not necessarily qualified to go into that in this post.

I say all that to help you understand why I can't give you a catch-all term to replace "primitive", because if one did exist it would be just as derogatory. In certain contexts there may be more appropriate words that you can use, such as simple (as in the case of the meme that inspired this post) or old. But a lot of the time an alternative just doesn't exist because we are not better or 'more evolved' than our ancestors any more than people living in big state societies are any better than people still living as hunter gatherers.

I know this has been a very long post, but I really am just scratching the surface here. For more information I suggest looking at podcasts like The Dirt or A Life In Ruins, youtube channels like The Welsh Viking or Archaeology Tube, or the blogs of any of my fellow dirt lovers here on Tumblr like @chaotic-archaeologist, @micewithknives, @art-thropologist, @archaeologistproblems, and @rhysintherain to name just a few. Archaeologists are generally a bunch of nerds who will take any opportunity they can to talk about the human past, and we rarely bite.

#thanks for the question!#I hope this long rambly response was a decent answer

846 notes · View notes

nattikay · 7 months

Text

this was originally a response to another post but it seems OP blocked me for it so idk if people can still see/interact with said response but heck it i spent a fair while collecting the panels/typing it up so i'm just transferring it over to a new post for anyone else who might be interested in readin'

"Neteyam has to act like a full grown adult [and we should feel bad for him because of this]"

No. Neteyam acts mature because that's his personality, not because it's been forced on him. He chooses to. The idea that he is forced against his will to "act grown-up" and is miserable about it is fanon, not canon.

James Cameron on Neteyam (from the WoW bonus features): "Jamie Flatters plays Neteyam, he's the older brother. He's kind of the guy who most wants to be Jake. He wants to be that warrior."

Jamie Flatters in that same clip:"He just pretty much wants to walk in the footsteps of his father. He's constantly seeking approval [from Jake]"

Note that neither of these, nor anything from the movie or comics, mention anything about external "expectations" or "pressure". Any "pressure" Neteyam experiences to live up to Jake's legacy comes from himself, not from external expectations that have been forced on him. Neteyam WANTS to be a warrior. He WANTS to be like his father and do brave mature grown-up things.

And for the most part, he's pretty good at it too. He's the "golden child" who "excels in all things", the youngest Omatikaya warrior to ever make a clean kill on a sturmbeest. He's strong, smart, brave, noble, and highly skilled for his age.

He knows this, and he wants to do more. Neteyam seeks out more responsibility, especially where fighting is concerned, and it's actually Jake who is hesitant to give it to him, because naturally he fears for his son's life (a very fair and well-founded fear, all things considered :P).

In fact, on the rare occasion that Neteyam does disobey orders, it's in this context of wanting to be part of these adult matters.

"he's too busy training and patrolling instead of acting his age" He is acting his age. His age is "cusp of adulthood". He's not quite there just yet, no, but he's getting close and is eager to get there. He trains and patrols with his parents because HE WANTS TO. He begs to participate in warrior's work.

And if by "act his age" you meant "do teenager things like tease his brother, snicker about immature things, hang out and goof off," etc., guess what he does that too

[originally had a list of relevant GIFs here but tumblr decided it was allergic to them apparently; anyways you can find them all here]

As for looking after his siblings, as a certified Oldest Sibling™ myself, I can assure you that parents expecting you to help look out for and set a good example for your younger siblings is very normal and nowhere near the mountain the fandom seems to make of this molehill.

There are valid reasons to feel sorry for Neteyam—he, like the rest of his family, had to leave his home and start over in a new unfamiliar place among a new clan of strangers with unfamiliar customs. He—not unlike Lo'ak!—desperately wants a chance to prove himself to Jake, and is frustrated when his dad doesn't want to let him participate in battle. And, of course, the big one—his life was tragically taken far too soon.

But "overworked little sadboi who just wants to Be A Kid™ but can't because his meanie parents force him to act like a Grownup™ because he's under Pressure™ to be the perfect future olo'eyktan" is not one of those reasons. That's pure fanfiction and a fundamental misunderstanding of his character. Neteyam is not "wannabe-carefree kid trapped under the crushing weight of expectations forced upon him against his will"—rather, he is "talented noble young warrior who wants to live up to his legendary father of his own volition and strives to do so".

#very sorry that movie neteyam and fanfic neteyam are different idk what else to tell ya ¯\_(ツ)_/¯#avatar #avatar 2 #neteyam #sully family #[edit] ok good removing the gifs worked it's properly showing up on my dash now #why are u like this tumblr -_-

260 notes · View notes

shiny-jr · 1 year

Text

damnation (peek IV?)

Warning: Yes, this is a yandere thing. Gender-neutral reader.

Characters: Jamil Viper, Kalim Al-Asim.

Summary: When you commit a crime, you receive a punishment. This is especially true in your society. No matter the crime, your punishment is the same: banishment. But to where you will be sent in exile and how miserable will it be? No one knows, because no one has ever returned.

Note: Got busy, planned to post this a while ago but what can I say? Plans change. Definitely will not have nearly as much time to write as I did a few weeks ago, but I’ll still try whenever I have a bit of time and some energy to do so. Anyways, like I mentioned in a few posts, I was not happy with how I originally wrote Scarabia, so I rewrote almost all of what I had, which was thankfully only like about ten pages. I’m a little more happier with how this is now. But again, things can always change, so the final result may look the same, a little different, or even completely different. Oh, and like mentioned in the previous notes for sneak-peeks, check the points in first post (heartslabyul, labeled “I”) for a bit of context to the situation and story if this is the first sneak-peek you’re seeing.

I . . . II . . . III . . . IV . . . V . . . VI . . . VII

THE VIZIER

Feathers. Colorful feathers tickled your nose. A woven shawl sat on your shoulders with vibrant colors and macaw feathers along the clip that held it in place above your collarbone. As your vision readjusted to the scenery, you could make out an old desert city stretching out as far as the eye could see, until it met over the horizon with the starry night sky. It was nothing like the court you were in moments ago. Instantly everything came flashing back to you, the trial, the judges, your punishment. This was your punishment. “Holy shit.”

“Is something wrong?”

You looked to the side, surprised to see a servant placing a tray of food beside you. You were on a balcony, a beautiful grand spacious terrace where the arches were decorated with ivy and walls of flowers while pillars of flames provided light and there was a large water fountain in the center. You were laying on the edge of that fountain, when you pushed yourself up and looked around. That’s when you noticed your clothes had changed too. Somehow your simple change of clothes from before had become easy-to-move-in loose trousers and a simple tunic, but with the colorful shawl over your shoulders that resembled wings. “What? What the hell?”

“Is there something wrong with the food?”

Food? You looked down at the tray the servant had brought, surprised to see plates of kofta and falafels with a chalice of water. The delicious smell wafted in the air, making your mouth water and stomach grumble. How long has it been since you ate? Probably well before you were arrested. If you got food, you were expecting cold slop, not this scrumptious meal that was cooked to perfection. Instantly you snatched it up, assuring the servant, “No, no, forget it! This is fine, uh, thanks…!”

“Very well.” They bowed their head to you, “Please, enjoy the meal, vassal.”

Vassal? You stopped mid-bite, about to ask them about it and where you were, but they had already taken off. Well, you weren’t complaining. You had thought you were going to die, or end up in some horrible hell. This place was actually quite nice. You could feel the breeze of the cool desert air and smell the flora growing on this terrace, you heard the city below with the crackling of fire from the pillars and the running water beside you, not to mention you were eating the best food you ever tasted! If this was hell, then being banished might be the best thing that’s ever happened to you!

“You! Jamil’s vassal!”

There it was again. What the hell did they mean by vassal? Falafels stuffed in your mouth, you slowly and awkwardly turned around to face whoever called you. Who was Jamil? You had no idea. A little annoyed that your dinner was interrupted, you eyed the approaching stranger up and down before swallowing your food and muttering, “What do you want?”

Appearing offended at your response, the young man stomped up to you, closer so you could see him better in the dim lighting. He looks a little young, if you had to guess, you’d say the guy was no younger than eighteen. Sharp blue eyes and long thick black hair styled into a single braid, not to mention he wasn’t smiling. This was no servant judging by the expensive looking blue garbs he wore and the gold on his bronze ears that complimented his handsome face. It had to be someone of high standing. When he was right in front of you, he frowned down at you and placed his hands on his hips, “Where is Jamil? And where is my cousin?”

You lowered your plate of food, squinting at this stranger. Who did he think he was? Jamil? Cousin? “Your cousin…? Jamil…? How should I know?”

“You should know. As the vizier’s only vassal, you should know where Jamil is. That is your job, to serve him. Or is he slithering about in places he shouldn’t be?” As his blue eyes bore down at you, he continued his tirade, “You haven’t bowed your head or greeted me as everyone does, by saying, good day, Prince Jaseer. And you’re here slacking off while everyone else in the palace is working.”

“I’m on a lunch break.” You mumbled in reply, tempted to snap. Wait… had he said prince…? A beautiful royal in blue wearing gold, with long black hair, who is spirited and no-nonsense, like a princess in a fantasy tale. A princess that lived in a palace just like this one, where there was a vizier and sultan–– oh fuck. How was that possible? This was like a stupid kid’s story you heard all the time! Before you could ponder on the topic, you were reminded of who was in front of you by him cleaning his throat. You immediately bowed your head sloppily, begrudgingly, as you recited the words he wanted to hear. “Good day, Prince Jaseer…”

At your less-than-satisfactory response, he crossed his arms over his chest and replied still with that frown, “If you can’t answer my question, then there’s no use talking to you. I’ll find someone that can tell me where my cousin and Jamil are. Let it be known, I have my eye on you and your master. My cousin may be fond of you both, but I am not.”

When you slowly lifted your head, you watched the prince storm away, likely to go find his cousin, whoever that was, and the vizier, this Jamil guy. As soon as he turned a corner, you scrunched your nose and scoffed, “Brat.”

Wait… that meant this was a story. It was all too similar to a story that began much like: it begins on a dark night, where a dark man waits with a dark purpose. If this was that story then what were you…? Apparently working for the vizier, wearing a shawl of rainbows, and feathers… oh my god, you were the fucking parrot. As you resumed your eating you busied your mind with processing these thoughts. “At least the tax collector can’t find me here.”

All you knew was that you were in the role of his parrot, his pet. What a stupid role to end up in! In this version you hoped you were at least some sort of glorified servant! At least you weren’t dead, this was much better than that. You knew the tale of Aladdin by heart, it was a very popular story growing up. You had even envied the protagonist, a thief, for ending up with a genie and winning the love of the princess. Turns out that princess, or prince in this case, was not all that. Well, they always say to never meet your heroes. But, there was one thing that was bound to be great, no matter how much this story would change. The magic lamp that held the genie. You wanted it. Maybe if you stuck around this vizier long enough, you could take it for yourself whenever the opportunity presented itself. You had the advantage, you knew exactly what was going to happen. That genie could grant any of your wishes! It could take you home if you wanted. You could make all those judges rue the day they banished you! You could rule this world and yours! You could bathe in an endless amount of gold and cash! The possibilities were endless!

As you finished your meal, another figure came into view. The figure of a guard, like the ones you’ve been watching patrol and march around, approached you nervously. Only when he noticed you glance at him and nod your head, did he begin speaking, “G-Good evening, vassal. The candidates, they’re ready for the vizier, he’ll be here any moment. You are the only one he trusts, everyone knows this, won’t you put in a kind word for me? I fear he’s in a foul mood, his venture to the cave in the desert didn’t end well again.”

Candidates? Vizier? Cave in the desert? After a few seconds of the guard waiting in anticipation, you were able to connect the dots. This must’ve been a specific rendition of the story where the vizier found the Cave of Wonders in the desert but instead of using a magic machine he created to find the diamond in the rough that could enter the cave, he used his power behind the scenes and in the dark to search through prisoners and criminals and send those he thought might be worthy to die trying to enter the mystic cave. This vizier, Jamil, would no doubt be growing frustrated since he’s likely been keeping at this for so long without finding a single person that can successfully enter the cave. Jumping off your seat on the fountain after finishing your last bite of food, you looked over to the guard and smiled, “Alright, let’s go. We can’t leave the master waiting, can we?”

“Of course! Allow me to lead the way.” So you followed the meek little guard, and as you trailed after him you thought about what would happen and what would you do. The guard had said that it was a fact that the vizier trusted only you, or rather, the person who you’ve replaced. The prince didn’t notice you were not the vassal, and neither did this guard or any of the other servants, so it was likely that no one would notice unless you slipped up, not even the Vizier Jamil. Hopefully.

You watched as the pristine halls of the palace became dark and dim the deeper you went. As the smooth walls became rugged stone lit only by lamps of fire, and the lush green plants and overpriced furniture and decorations became absent. There were also, noticeably, less people. It felt like you and guard were the only ones as you followed them deeper into what you guessed was a dungeon where you heard chains rattling and the echoing screams of those held captive. Before you could enter the room, the guard turned to you and pleaded,

“Please, stay here. I’m sure seeing you will give the vizier a bit of peace. He should be here any moment now. I will go ahead and be sure everything is in order.”

Before you could even protest, the guard scurried ahead to the end of the hall and not too long after, you detected footfall behind you. When you turned around, you saw what you presumed had to be the Vizier Jamil. The vizier looked sort of imposing as he appeared from the dimly lit halls, and with the flames on the wall you could just make out his appearance. A thin figure clothed in red and black robes decorated with gold, holding a golden staff that ended in the shape of a cobra’s head. Long thin hair as black as night coiled down his brown shoulders like snakes in multiple small braids and loose strands decorated with gold, and instantly his sharp gray eyes painted with eyeshadow darted over to you upon noticing your staring. He looked irked, but since you supposedly had a good relationship with him, maybe you could poke and prod without worrying about suffering any consequences. From what you recalled, the vizier’s parrot in the tales was a loud-mouthed creature with a bad temper.

“Welcome back, oh great vizier. So, how did it go?”

“Not a word.” The vizier hissed, sending you a glare. Yet it wasn’t threatening, it felt more… annoyed. Like when your friend was pestering you, except without the light-heartedness. At the least he didn’t snap, he did have the power to command you to be put to death. Yet all he did was give you a look before his frown instantly morphed into a stoic expression in the blink of an eye, so fast that it sent you reeling.

Jamil wasted no time in walking forward, not bothering with greetings as he entered the first room of the dungeon that was dingy and dirty. Inside was the guard from before, nervously standing off to the side just across from a line of prisoners in shackles with their heads hanging low, and more guards behind them. These prisoners reminded you of yourself, but less. Now you’re free of any shackles, you’re wearing fine clothes and eating food made by the best chefs while living in the luxurious palace. To avoid being at the center of attention, you stood off the side, leaning against a corner.

You watched intently, curiously, as Jamil approached the line of prisoners, scanning them all with those sharp eyes as he walked by them slowly. The men and women in rags and chains tensed when he stepped near, but kept their eyes glued to the ground. Whether it was out of respect or fear, you weren’t sure, but you watched as some of them squirmed in place or nervously glanced at him. After a minute of going down the line of a dozen or so prisoners, he stopped in his tracks and turned to face the guard who guided you. On his face was obvious disappointment.

“You bring me the rough, but never a diamond.” That cold stare of his remained on the anxious guard, never looking away even as he commanded the others, “Take them away.”

You pursed your lips and shook your head, watching as the other guards forcefully dragged the prisoners down another hall, to a fate unknown. Poor suckers. You could hear them pleading, begging the vizier for mercy from whatever end they knew awaited them. In one rendition of the story, when the princess snuck out of the palace and gave apples to poor children, apples she had no money on her to pay for, she nearly lost her hand as punishment. It was likely that these prisoners were about to lose much more than a single hand.

The meek guard sent you a pleading look as they whispered frantically, “You said you would put in a kind word for me…!”

Turning your attention to them, you scoffed, “I never said that. I said I would follow you.”

“You…!” At your shrug, he directed his sights towards the vizier who was walking away, his back toward him as he seemed to be prepared to follow the guards and prisoners going elsewhere within the dungeon. “Please, my vizier.” The vizier stopped, and the words were caught in the guard’s throat until he finally forced them out with wavering uncertainty, making it sound more like a question than a statement. “... Perhaps this diamond in the rough does not exist…?”

For a moment he paused but didn’t turn around, and quietly replied, “They’re out there.” A response with unwavering certainty.

“But we’ve searched for months!” It appears that the guard was showing signs of frustration as well. Who knows how many prisoners they’ve interrogated and how many criminals they’ve captured in these months, all in an attempt to satisfy the vizier’s wish of finding a diamond in the rough. “I do not understand what could possibly be in that cave that could help a… a man as great as you. You are already second only to the sultan!”

“Second? Uh-oh.” You exclaimed, bracing yourself for what was to come and ignoring the guard’s growing irritation towards you. In the tale, yes the vizier worked for the sultan, he was the sultan’s most trusted advisor. But, behind the vizier’s facade of charm and loyalty, there was only a burning hate for the sultan who believed in him. The vizier wished to be the most powerful man in the kingdom, second to no one. So to be told he was second, straight to his face, would be like a slap. You watched as Jamil turned to the guard with a deep frown, and you could only whistle, “Who’s in trouble now~?”

Jamil turned to face him fully, staring at the guard beneath him with such a piercing gaze before questioning firmly, “Do you believe second is enough?”

Without hesitation, they nodded, the answer to them was obvious. “Yes. You were not born to be sultan, you are not of royal lineage. His Majesty, Kalim Al-Asim, was born to be sultan.”

Kalim Al-Asim. So that was the sultan’s name. The mere sound of it was enough to tick off the vizier, he narrowed his eyes and began to speak in a quiet murmur, “Do you know that I’ve served him my entire life? From the day I was born, they dictated that I was a servant to him and they chained my entire existence so it depended on him.” Slowly he stepped forward, inching closer with every word he spat like venom. “You have no idea of the things I’ve been forced to do for him. The sacrifices I’ve made and blood that’s stained my hands, the bodies I’ve buried and times I’ve watched him be praised for his minimal efforts I can easily best.” The closer he got, the more frightened the guard appeared until he was right in front of them. “Everyone will one day learn that I am not worthy of a mere second place, I am supposed to be first. That’s why I need the lamp, and I no longer need you––!”

Right before your eyes, you watched as Jamil swiftly struck him with the bottom of his staff and he fell backwards into a well. A seemingly bottomless well, because you heard his scream growing distant until an unsettling silence lingered. You covered your mouth in shock, but Jamil paid you no mind. It’s as if he’s done a dozen times before, as if you had witnessed all of them before.

After a moment, he sighed and lowered his staff, regaining his composure to cover up for the anger that slipped through in that moment. Again, in a flash, he had a stoic expression as he turned to gaze at you in the corner, when he beckoned you closer with a motion of his finger. “Come here, my vassal. It’s time for a meeting with that irritating sultan.”

Now you were on your way to meet the sultan. Kalim. You hoped he wasn’t anything like Jamil. This vizier was to be feared, but at least he didn’t seem to mind you. So you probably won’t be pushed down a well anytime soon. As you followed him when he began walking, he questioned abruptly,

“What did you do while I was gone?”

This wasn’t good. You weren’t here for that long before he returned, and you got the feeling that Jamil was a particularly observant fellow judging by how he glanced at you from the corner of his eyes. “That royal brat confronted me while I was eating. They’re so annoying.”

“Ah, Prince Jaseer?” Slowly he nodded, as if agreeing with your words. Phew. You were doing alright, fitting the role just fine it seemed. “Annoying would be putting it lightly. He’s just another entitled royal born with a golden spoon in his mouth, an ignorant person who knows nothing of how the real world works.”

“You’re telling me. The guy made me bow and recite a greeting like I was nothing but a pleb beneath him! Then he had the gall to say I was lazy! I was eating! Can’t a person like me eat in peace once in a while? I was starving!”

By now you were in a better part of the palace, where you were once again surrounded by riches. Upon hearing your response, Jamil replied without hesitation, “You are lazy when I’m not around.” At his remark, you stared at him incredulously as he continued with zero reservations, “You are uncaring, murderous, deceitful, aggressive, cunning, and annoying.”

Unable to help it, you snapped back in reply, beginning to rant and list off your fingers. “ME? Look in the mirror bud, you just basically described yourself! You’re cruel, immoral, narcissistic, power-hungry, sadistic, and secretly deranged! You’re two-faced, snake!” When you looked over to him, he still had that stoic expression but he rolled his eyes. Your jaw dropped. There was no way he just fucking––

“You used that insult, two-faced snake, two weeks ago.” Before you could add anything more to the growing pile of insults, he lightly tapped your forehead with the cobra head of his golden staff, appearing unbothered. “Come up with something else or get on my level, then you can talk back. For now, be quiet. We’re nearing where Kalim wanted to meet us. I don’t need to remind you to be on your best behavior around the sultan.”

Rubbing your forehead, you glared at him and mumbled, “Oh, I’ll come up with something shocking, you sorry sack of––ACK!” You coughed, bending over in pain as he quickly jabbed the end of his staff against your stomach to shut you up just before a silk curtain separating the halls from a room opened up.

“Jamil! Oh, and your vassal too! I’m so happy to see you guys! You’re just the ones I wanted to see!”

#yandere #kalim al asim #jamil viper #twisted wonderland #twst #yandere twst #yandere twisted wonderland #yandere twisted wonderland x reader #twst writing #work in progress #damnation twst au

853 notes · View notes

shigayokagayama · 1 month

Text

The Beach Omake And Authorial Intent

initially i was going to save this for a big teru analysis i had cooking however i eventually ended up deciding that it would feel like a really long tangent in its original context and probably deserves a separate post.

when it comes to the whole "teru's parents" thing i generally see two competing ideas on it

a. terus absent parents are the real villains of mob psycho and are the direct cause of everything wrong with his life and any and all teru analysis must center around this fact

b. terus parents being absent in the first place is only revealed in an omake and only exists for plot convenience and is not something that should be focused on at all when writing him

and whenever i see either of these my mind always drifts to the question of authorial intent. i know how people are reading this information, but how are we supposed to? i know death of the author is becoming more of a common thing in fandom spaces (albeit usually misused) but i feel like a better understanding of why this omake exists and how we're supposed to read it might help to better synthesize two takes that seems to be completely at odds with each other.

okay first i want to go over the actual placement of the beach omake in the update schedule of the manga because, unlike most other omakes, i feel like this ones placement in the schedule of page releases is actually super relevant

the vast majority of omakes come at the end of weekly updates. you finish reading the usually 15-20 pages ONE put out and then you get a little bonus comic at the end, usually something funny or a slice of life but but occasionally more serious. multi part omakes are usually spread out over multiple updates, making you wait a couple weeks for a punchline.

beach omake is not that. between chapters 99 (mob gets hit by a car) and 100 (the whole rest of the omake) there was a 6 week hiatus from normal pages and in this hiatus is where we get beach omake. reading it all together immediately cuts away the sort of "slice of life sunday paper comic" tone other multi part omakes have and make you read it as a part of the actual main story, since that's how you're used to reading these weekly updates.

now the actual tone. generally the multi part omakes exist to be long punchlines and the rare emotional ones are a single page for maximum impact. beach omake has a very different structure compared to, say, the haunted doll omake or the pot of happiness.

off the bat from the first two pages there's not really a joke. the tone mostly seems kind of melancholic. mobs expression for the middle section of the second page (maybe purposely) is obscured by the panel breaking off, it's hard to tell his reaction, all our attention is directed at teru. with all of the panels taken up by dialogue (primarily his own), we're being asked to focus on what he's saying:

-teru lives alone

-he lives alone because his parents live overseas

-he hasnt seen them in a while

-he doesnt like having nothing to do

-he doesnt like being alone

all of this information is delivered with an extremely casual expression from him, implying that it's not something that seems ll the out of the ordinary for him. mob, on the other hand...

the hesitation before he says anything and the way his expression is obscured seems to imply something is... off... about this information to him. this isn't a handwaved "oh mob is walking home from school after passing out because he needs to for plot reasons", we're reacting to this information like it's weird.

the next two pages are, mostly, a lot more of what we expect out of a mob psycho omake. the first one works as a standalone joke page, teru is bad at identifying animals which leads to him showing reigen a roach, something reigen is terrified of, instead of a beetle.

the second page starts similarly, we get a dumbass joke about reigen trying to pick up women at the beach (note: i think this is the singular time we get an indication reigen is even into women) but then the next two panels take on a more melancholic tone again. we get a small panel of mob and ritsu playing on the beach and a much, much larger panel of teru sitting on the beach, watching them. the dialogue bubble forces us to pay attention to the fact that he is silent.

the ending of this omake is where we bring it home. generally the last panel centers the punchline of the page, or of the whole omake, but the final panel of this isn't really what was being built to in this case.

we start our second page on teru. his expression is obscured, reigens speech bubble is shoved to the side so we can see that teru's hat is being held in his hands.

when we see his face in full view he looks... confused. he looks like he doesn't know how to react to someone going through all this trouble for him. teru is a character who, up to this moment, we have seen as extremely independent. he always rushes into things alone, he always has to be the hero, he always has to be the one to save the day. hell, this omake is immediately followed by the confession arc. where... you know.

so what are we supposed to get out of this omake?

teru's been doing everything on his own up to this point

but he doesn't have to anymore

#mp100 #mob psycho 100 #teruki hanazawa #pic #edit: even though the hair makes this difficult to date timeline wise #i like to picture this as post confession arc #i feel like it makes the most sense

121 notes · View notes

ck2k18 · 9 months

Text

Whitewashing in the ml fandom and why you shouldnt do (or support) it

Disclaimer: Because I am a Black person and the characters I am talking about are Black, this post will specifically address the white washing of Black people and characters.

What is white washing? White washing in the context of fanart is when you take a character of color, usually one with brown/black skin, and either make their skin lighter, give them more Eurocentric features, or both.

Why is it harmful? To explain why this is harmful, I will use one of the first examples of fanart; renaissance paintings of ancient Greek myths. Specifically, artwork featuring Princess Andromeda. Go to your search engine and type in "princess Andromeda". Based on those images, you would never have known that in the original Greek legends, Andromeda was black. So why is she most often depicted as a white woman?

McGrath’s article was definitive in addressing three things: that all the Greek mythographers placed Andromeda as a princess of Ethiopia, that Ovid specifically refers to her dark skin and that artists throughout Western art history frequently omitted to depict her blackness because Andromeda was supposed to be beautiful, and blackness and beauty – for many of them – was dichotomous.

That quote is from this article, and I highly recommend you give it a read. When you whitewash a character, you are perpetuating the idea in the quote above. That this character you like, whether you like them because they're funny or smart or beautiful, cannot be those things and also have black features.

White washing in miraculous ladybug

The show itself is guilty of whitewashing it's own characters. For example, look at these side by sides of Alya and Max alongside their hero alter egos.

Was this done with malicious intent? Hopefully not. But intentional or not, what it says to the people watching is, "These characters cannot have darker skin and also be heroes." And if you think it's not that deep, it is. The show's inconsistencies can't be used as an excuse for whitewashed fanart, because this shit isn't okay either.

Colorism and whitewashing

I'm going to bring up colorism, because even though Max's skin is lighter in that image, he still looks black. However, that doesn't make it okay.

colorism: prejudice or discrimination against individuals with a dark skin tone, typically among people of the same ethnic or racial group:

Lighter skinned Black people, while still targets of racism, are closer to whiteness than darker skinned Black people, and in some cases face less discrimination. When Black people first started to appear on TV, it was generally lighter skinned ones because that was more acceptable. This article goes more in depth about colorism.

Misogynoir and whitewashing.

Misogynoir is a word coined to describe the unique hatred that black women face. It is the intersection of racism and misogyny.

People may whitewash a female presenting character but not a male presenting character. In this fandom, you see it with DJWIFI fanart. People will make alyas skin color significantly lighter than Ninos. One trait of misogyny is tying a womans worth to their beauty. When you realize that beauty and blackness were (and still are) seen as antonyms, the issue with this type of whitewashing is made clear.

Texturism and whitewashing

texturism: a form of social injustice, where afro-textured hair or coarse hair types are viewed negatively, often perceived as "unprofessional", "unattractive", or "unclean".

When Black characters were first introduced to media, aspects of them would be changed to heighten their proximity to whiteness and make them more palatable to white audiences. Black women would get perms or silk presses, and Black men would keep their hair cut short and "tidy."

Note: This does not mean that all Black women with silk presses or perms or all Black men with short hair are trying to heighten their proximity to whiteness, or do not love themselves and their hair.

Animation has a history of not representing Black hair. Nowadays, Black hair is more represented, and beautifully so. Just look at movies like Encanto and Spiderman: Across the Spiderverse or TV shows like Moon girl and Devil Dinosaur.

In Miraculous Ladybug, Max is the only character with blatantly afro hair. Nino's hair is always covered and is cut short, and Alya's hair has a looser texture. Therefore, I give fanartists a pass on that one. However, this is a good thing to be aware of anyway.

How can you help?

Don't create, support, or reblog whitewashed art.

(P.S. if anyone wants to come on this post bripnging up blackwashing, read this post of mine)

#I am going to make a more general post on my sideblog #but i wanna address this fandom first #ml #miraculous ladyblog #nino lahiffe #djwifi #alya cesaire #ml fanart #max kante #miraculous ladybug #miraculous fanart

378 notes · View notes

zenosanalytic · 2 months

Text

I've been thinking about how to articulate a thought I had about a possible Doylist/non-diegetic reading(EDIT: I originally wrote "Watsonian" here, which is the opposite of what I meant X| X| Brain, you Tricksome Jester *shakes entirely metaphorical fist*) of Eridan's Trollian handle, caligulasAquarium, in response to a post of @mmmmalo's, and I think I've got it.

Ok So: the popular perception of Caligula is as a "Mad Emperor". One of the points used in this depiction is his "War on the Sea", which is taken as obvsl absurd and empty and irrational(and possibly hubristic). Eridan chooses to call himself "caligulasAquarium" and he lives in a wrecked ship(a feature commonly put in aquariums)... on the surface.

So like: maybe the title is meant to be taken by the audience as ironic. Eridan's claim to an "Aquarium" is as absurd and empty and irrational as Caligula's claim to have warred upon the sea(in the common understanding of those events; as a matter of history this seems to be a Telephone distortion, from the sources I can find).

A few more points that have occurred to me since I started writing this:

Caligula "Made War on the Sea"; Eridan wants to "Make War on the Surface" by Killing All Landwellers, carrying forward the themes of inversion btwn Alternia and Earth.

Also: "Kill All Landwellers", "Kill All Humans": he's lampshading common evil-alien-overlord tropes

...Which in itself is sort of dunking on HIM, since Eridan is nobody's overlord he's just some GUY. Like: Yes, he's "Nobility" due to blood-caste, but he has no influence, no power, no RESPECT from anyone we meet, no friendships let alone alliances with other socially powerful individuals(other than Feferi, who seems to have foresworn all that to monastically care for G'lybgolyb) that he could USE to have influence; he's just a loner with his grand-dad's gun and allot of pretension.

...which you could argue furthers his parody of USian internet white-supremacists? Like: He is THEM: a gun-humping loner who only feels comfortable talking to the people he claims to hate, with no idea how unpleasant he makes himself to interact with, and even less interest in introspection or self-awareness, fetishizing past genocides as a way to claim for himself a "Glorious Past" he had nothing to do with.

As Feferi(and possibly other characters I'm forgetting) point out, Eridan's ambition to Kill All Landwellers is more than a little absurd. He's never really DONE anything to plan or prepare for it, and aside from Fef he exclusively hangs out with and befriends Landwellers, as well as LIVING ON LAND(well: a sandbar or reef). This could be taken as furthering the Caligula "War on the Sea" parallel.

Expanding on the last: Caligula, THE EMPEROR OF ROME and Grandest of Nepo-babies, was rather notably disdainful of and hostile towards the Roman nobility and inherited wealth/rank. This connects to Eridan in two ways I can think of: 1) his avoidance of other seadwellers, and 2) his philosophical hostility to landdwellers while Being, in practice, A Landweller. Basically: both Hate things about themselves shared by others.

Reinforcing #3: the choice of Caligula, a Troll-Emperor. Again: Eridan is Just Some Guy; he does not command armies, he does not command society, he can't even command Equius, who GETS OFF ON being ordered around. This is Pretension.

...which, I guess, you could connect AGAIN back to Caligula via the popular memory of him wanting to be treated "As A God", but it should be noted that 1)everyone who wrote anything about him hated the guy and was explicitly dunking on him, so we don't know how accurate these charges are, and 2)in the Roman context, while legal apotheosis was reserved for after death, imperial Divinity was already de facto given that sacrifices and prayers to the Emperor's health and success were legally mandated civic religious duties, AND 3)that classical Greeks and Romans, contra the Abrahimic societies which would later create this popular memory, considered apotheosis a real possibility for notable individuals.

#Homestuck #Eridan Ampora #caligulasAquarium #Irony #zA Analysis #Homestuck Analysis #History #Gaius Caesar Augustus Germanicus #Caligula #Historiography #zA Writes #Our Staff #zA's Endemic Historicality #Watsonian vs Doylist #My Traitorous Brain #zA Corrections

117 notes · View notes

neomel · 2 months

Text

Alrighty fellow insane sonic fans i have something very cool for you today: a WORLDBUILDING theory!! this is something that's been kicking around in my head for so long that i forget it isn't something I've shared with many others yet lol

[ This post primarily covers stuff from Sonic Adventure, Sonic Adventure 2 and Sonic Advance, and ignores Sonic Chronicles and Sonic Pocket Adventure as they have been struck from canon (see: Encyclo-speed-ia) ]

[ It should also be noted that this theory is built on the idea that "the world" as depicted in Sonic Forces is not accurately depicting the entire globe, but rather depicting Eggman's takeover of just the island archipelago where the animal cast lives (South Island, West Side Island, Mirage Island, Northstar Islands, Angel Island) as to explain its geography and lack of human characters ]

Right! So, a big theme in the environmental design of the original Sonic Adventure was having the Sonic cast sort of "cross over" into the human world more - the wording on this was initially nebulous, but with updated translations and clearer official word recently, we now know that it means that the "human world" is moreso like a mainland populated by humans that exists separately from the animal-inhabited island archipelago of Sonic 1, 2, CD, 3&K and Superstars (see: Sonic Origins). My immediate first point of comparison - of all things - is something like the first Madagascar movie, where the lemurs are able to be a fully functioning society in a region completely isolated from humans.

Except it's not quite like that movie, is it? We see in Sonic Adventure (and further in Unleashed, 06) that animal characters like Sonic and c.o are able to exist just fine within the human world, to where Amy has flat-out moved into Station Square. Big and Tails, too, have settled down by the Mystic Ruins close to where Angel Island (sometimes) crashes down by, Rouge owns a club in Sonic Battle - you get the gist. Animal characters, the majority population of the islands as we see in Forces and the IDW series, are able to migrate into the "mainland" human societies, but it appears to still be a rarity, likely not even something everyone has the opportunity to do (Big might've been born on Angel Island, Tails and/or Sonic can fly any of Sonic's friends to wherever they want to go, etc.). The most contact humans have with the animal world is through the Mystic Ruins site, or Eggman using his excessive wealth to fly in and try and effectively colonize the islands as we see in Sonic 1, 2, Superstars, CD, 4.1 and 4.2 (for note: CD, 4.1 and 4.2 take place on the same island of Mirage Island)

Sonic Adventure 2's level select is obviously to be taken with a grain of salt as a stylized take on a world map, but it seems to infer the same thing that Origins' main menu and Angel Island's close proximity to the Mystic Ruins both corroborate - the island archipelago inhabited by the animal characters seems to be quite close to the mainland "United Nations" landmass, most evidently close to Rouge's Route 280 level. And given how often Eggman lays his sights on the islands as a primary target for his schemes (Heroes may well also be taking place on the islands, as Seaside Hill is confirmed to be near/on South Island), it would make sense from the United Nations' POV to try and make access to the islands more accessible. For example, to enable easier import and export of goods, help citizens evacuate from possible disaster (eg. how the Metal Virus in IDW described how it was impossible to evacuate to anywhere else but Angel Island), and so on - a way to connect the two societies more smoothly only makes sense.

With ALL that context and preamble out of the way, this is my theory, and where Sonic Advance finally comes into the picture:

Radical Highway in Sonic Adventure 2, and later Neo Green Hill Zone from Sonic Advance, were together depicting a brief attempt to connect South Island to the United Nations mainland.

You may think this is a bit of a nutty conclusion to draw given how little of a story Sonic Advance actually has, but I think there's a lot we can glean from just the environmental design of Neo Green Hill Zone alone. Compared to the original Green Hill Zone, and most of the levels in the Classic Sonic games that aren't just flat-out urban cities/facilities seemingly built under Eggman's control (Star Light, Spring Yard, Chemical Plant), Neo Green Hill Zone's touches of human infrastructure are far more...friendly, for a lack of a better word. There's parasols and wooden scaffolding, a grind rail or two along paved sidewalks, yet the natural beauty of the area is left entirely in tact. Nothing about it appears like Eggman's work, yet it is quite evidently structured for human interests, for tourism and walking/biking rather than all the funky ways in which Sonic's animal cast are comfortable moving around. Then there's of course the name: NEO Green Hill Zone, as if it's reinvigorating the idea for a fresh new facelift, re-marketing it!

But how does all that connect to Radical Highway?

Radical Highway (and Mission Street by extension) have a quirk unique to them when compared to almost all other urban city levels in the series - as you can see in the image above, they're themed around still being under construction. Compared to a level like Lethal Highway from Shadow the Hedgehog (or the aforementioned Route 280 from SA2) the holes and gaps in Radical Highway are presented as being specifically because the winding roads are still under construction. You can see this on the level map above too - Route 280 and Route 101 appear to be part of a long, linear, already-finished stretch of road, wheras the area of Radical Highway and Mission Street is filled with gaps, inlets and breaks in the road. Route 101/Route 280 already appear to fill the function of letting people cross between the two city areas depicted on Adventure 2's world map...so then, what exactly is the construction and general wobblyness of Radical Highway for?

Well, let's look at Sonic Advance again: Specifically, the end of the Neo Green Hill Zone stage, and the way the game progresses immediately thereafter:

The natural beach environment of Neo Green Hill Zone Act 2 suddenly bows out before the Eggman boss fight to give way to something quite interesting: A red bridge extending out from the island's coast. The bridge's architecture doesn't quite match that of Radical Highway, most notably using tall suspension wires hooked up to some off-screen upper portion of the construction, but I think the idea alone is fascinating enough: This is drastically more modern architecture compared to the rickety wooden bridges otherwise seen in Green Hill Zone. We're still a bit unsure of if Advance 1 takes place before or after Sonic Adventure 2, but if it's before - it may also be possible that the work on this bridge began on the South Island end of things *before* the mainland Radical Highway-end were finished with their work, with the idea of joining the two bridges somewhere in the middle.

Let's again also consider where this bridge takes our characters in Advance - to Secret Base Zone, a shockingly urban facility which we still don't really know the location of. Sonic and c.o need to zip-line into its entrance, with a background that only features light and buildings far off into the distance - is it possible that the Secret Base exists sort of like an oil rig in the middle of the ocean, inbetween South Island and the mainland, as some sort of production facility for the UN? Regardless, it serves as a pit-stop in the Advance campaign - after it, we can pretty cleanly chart a roadmap for where the cast travels. Casino Paradise's ocean background seemingly depicts it as being part of the coastline (bottom left of the SA2 map), Ice Mountain is pretty clearly meant to be another area of Ice Cap Zone given how it leads to the Angel Island Zone - which is, in reality, a dilapidated Sky Sanctuary. Effectively, the campaign seems to go from South Island, to the bridge connecting South Island to the mainland, to a coastside Vegas-like casino wonderland built by Eggman, which is near the Mystic Ruins and thus near Angel Island by extension (it may be connected to Night Carnival from Sonic Rush?). And all of it connected thanks to the works of a bridge, seemingly set up in Adventure 2 with Radical Highway being under construction, possibly with the goals to connect the two core parts of Sonic's world.

Whew! That's pretty much all the words I have, and I've now reached the max cap of images per posts. I truly don't know how many Sonic fans care about these granular details and concepts about the environment of Sonics world in games from 20+ years ago, but I hope it got some gears turning - and if there is some merit to this, it may further get you wondering as to why the path connecting the two was seemingly cut off in the end? Given the cityscapes we see in Forces and IDW, it's possible that this mutual relation between the two worlds lasted for a fair while - what could've possibly led to that bond being broken? Maybe Unleashed breaking the world apart had something to do with it...

Thanks for reading this far if you did - and feel free to add your own ideas or things I might've missed in all of this!

#mel alphabet soup #ill make you eat those words!#sonic #sonic games #sonic the hedgehog #sonic lore #sonic adventure #sonic adventure 2 #sonic advance #sa1 #sa2 #sa2b #sonic writing #sonic theory #sonic series #sonic franchise #sonic x shadow generations #sonic heroes

144 notes · View notes

vasito-de-leche · 4 months

Text

;R1999 TENNANT - General Headcanons

Compilation of headcanons and analysis on Tennant as a character and other related things.

I missed doing analysis like this and I got burnt out from writing oneshots, so since someone asked for a Tennant post last month or so, here we are <3

she's literally the only 5* I don't have, the woman avoids me like the plague LMFAO. because of this, the screenshots and examples will be taken directly from the fandom wikia!

On the subject of diamonds, Laurence Tennant and the House of Tennant.

I feel like we should talk first about her father, as it will give more context as to her current personality and themes. For the sake of making things less confusing, I'll be addressing Tennant by her real name (Ada) throughout this specific bullet point!

Going by Ada's Cover profile, we can confirm that she was born in Birmingham and at the age of 15, moved with her father to New Delhi.

Thanks to the 01 Story, we understand that the Tennants moved from their homeland because of Laurence's job (mining, identifying and transporting diamonds from British India to the UK). It's also worth noting that the House of Tennant seems to be extremely valuable to the UK because of their mineral/diamond related skills and arcanum - note how Ada's father is titled Sir Laurence Tennant in the first part, and how they strip him of his title.

But what the 01 Story fails to explain is the reason Laurence was persecuted. He's suspected of "an arcanum-related crime, thef, fraud" and other six unknown charges, that's all we know. The 02 Story gives a little more information on the crime he might've committed to have such a large bounty on his head.

"…Laurence Tennant stands accused of an arcanum-related crime, in which he may have turned a batch of diamonds into charcoal on their way to Britain through his arcane skill. The colonial government is still in search of Laurence Tennant and trying to locate the whereabouts of the diamonds and therefore cannot take legal action against the suspect at the moment."

Basically, he does the exact same thing Ada is currently known for. The year this event takes place in is also important - Bluepoch puts a lot of references to real people and events, and given how the House of Tennant lived through the british occupation of India and how they're related to the diamond mining industry, I'd like to talk about a very specific diamond: Koh-i-Noor, one of the largest diamonds in the world.

Now, as usual, I'm only getting this information from skimming wikipedia articles and anyone with more knowledge on this subject is free to correct me or add to the post!

The Koh-i-Noor is notorious for its conflicting and confusing origins, with the earliest mention of its existence being around the 1740s and that it was directly looted from Delhi. This diamond was passed around various royal figures, but we'll focus on what happened to it on the year Laurence Tennant went missing. In 1937, the Koh-i-Noor was put on the crown of Queen Elizabeth for her coronation.

For full transparency, the diamond had been in possession of the Royal British Family since 1851, so the idea that Laurence Tennant might've somehow acquired it while he was aaaaall the way in New Delhi doesn't exactly make much sense. Still, I feel like the year chosen for this event, the themes and the theft of diamonds, plus the subtle emphasis on british colonialism that Tennant's character has, are still worth discussing, to draw more parallels between the real events and the details chosen by Bluepoch.

Laurence Tennant might've or might've not stolen the Koh-i-Noor, for all we know he simply could've switched a handful of regular diamonds for charcoal using his arcane skills. To me this doesn't explain all the chaos that ensued, but it could still be a thing that happened!

My personal headcanon on this matter is that the House of Tennant has been doing this since the very beginning. Father and daughter share the same arcanum, after all. Laurence Tennant was stated to have been working in the diamond industry for many, many years - there's no way he could've missed something as important as the Koh-i-Noor. And in the context of politics, it's way easier to accuse the perpetrator of many different, smaller crimes than the big crime that could ridicule the crown or the authorities in power. I personally like to think this is what happened with the Tennants - that the Koh-i-Noor was found to be fake during Queen Elizabeth's coronation, that they finally realized Laurence Tennant's long scam, and they accused him of minor crimes to save face all while giving him the biggest fucking bounty known to man during those years.

What leads me to believe that the House of Tennant, that both father and daughter were scamming the crown all along, is Ada's 02 Story.

Once her father disappears, he's gone for good. Ada never mentions him again, not in her voicelines, not in her interview with Pandora Wilson. Ada never seems to grieve his disappearance, which seems weird since there's nothing that hints towards them being on bad terms. As far as we know, the Tennant family is only them.

A year after Laurence Tennant disappears from the face of the Earth, his daughter follows. In 1938, Ada also escapes the authorities that were actively supervising her during Laurence's case. We don't know how old she was exactly, other than she must've been older than 15 at minimum. And if she was spotted around the 1940s with her current age being 25, well...

For someone that young to vanish without a trace despite all the constant surveillance, all the attention drawn to her family due to her father's crime - to me it seems like she learned from the best. Especially when she begins her own career of crime in Paris that very same year, using the exact same methods as her father, the legacy of her family.

This would also explain Ada's constant lying and acting. These are all things she learned from her father, someone who was never truly obedient and loyal to the people he worked with.

I would also like to draw parallels between Ada and Druvis III. It's the same argument and parallels I talked about when discussing Forget Me Not. Feel free to skip this, if you already know the deal.

Both characters, Ada and Druvis, were part of important arcanist families, known and respected for their specific arcane skills. Both of them had to leave their homes behind: Druvis, an immigrant forced to abandon her roots and traditions for the sake of assimilating into the "american dream". Ada, who moved into one of the colonies her own country was actively exploiting, an outsider and indirect participant in the mining of diamonds.

Both characters also carry their families and legacies in their names, but whereas Druvis is constantly haunted by her past and the way people continue to talk about her family, the House of Tennant is forgotten. Ada's first birthday quote states:

Many years ago, the Tennants held a birthday banquet for their beloved daughter on this day. But now, almost no one remembers this déclassé family.

The House of Tennant is gone, despite their importance in history and the huge crime commited, no one remembers them. And yet, Ada wears her family name proudly, there's barely anyone left to remember where it comes from and the weight it used to carry.

It's understandable that people recognize Druvis. But why can't people remember the House of Tennant? I don't have an answer for this, I just think it's a very interesting thing, some food for thought!

On the subject of Tennant's ties to New Delhi, colonialism and her stance on racial and arcanist/human issues.

Not to hit everyone with heavy topics, but I feel this is an aspect of Tennant that often goes overlooked in favour of her whole seductive vibes.

Now, Tennant was born in the United Kingdom, but she has a noticeable darker tone to her skin, and while her ethnicity is never stated, it might be implied that she's a woman of color. I've seen people say that she's tan because of the time she spent in New Delhi - she does have a voiceline speaking about the scorching sun - but... She left New Delhi years ago. A tan you get from the sun doesn't ... stick for a decade. That argument doesn't make sense at all to me.

Either way, while I'll be treating her ethnicity as ambiguous, I felt it was important to note out that she might not be white, especially because of the themes I'll be addressing here.

Now, first and foremost I want to talk about the way Tennant talks of New Delhi - this is not the country she was born in, nor the place she was raised, as it's implied that she was also pretty young when she left for Paris. Yet she makes no references to the United Kingdom.

New Delhi? To be honest, I barely remember anything about it. It doesn't make much difference to England, aside from the scorching sun.

This quote? This is a lie. This is Tennant choosing to lie to Vertin for reasons I'll talk about in the next bullet point. How do I know it's a lie? Because the last item you can unlock for Tennant is this.

Cheap accessories she bought in New Delhi. And they must mean a lot to Tennant, because Pandora Wilson notes that it's impressive that she's managed to keep them until now.

The first skin Tennant gets in 1.3 is "Roaming in Delhi".

The text reads:

Back then, whenever there was a day off, I would put on a local outfit and wander around Delhi to visit some historical sites and handicraft shops... Those days were fun. Yours, Tennant.

Clearly, Tennant still thinks about Delhi. The time she spent there must've been important to her because to this day, she still carries part of it with her.

I believe that during her time there, Tennant came to understand the way rich countries exploit others, the lengths they'll go for something as simple as diamonds. And now, knowing that she dressed up as a local and saw their way of life first hand during the british occupation, it gives a lot more depth to her character and why she seems to cherish New Delhi above all the other places she's been in.

I won't pretend I'm a history buff. Again, all this information comes from quick searches and reading wikipedia articles. I'm a person of color myself, but I cannot speak on the struggle India and its people went through.

What I gathered is that Tennant lived through the last stages of the Indian Independence Movement. And given how Tennant was spotted in the 1940's, it's safe to say that she outlived the British Raj, as India gained independence in 1947. The fact that all of these important events were chosen for her backstory doesn't seem like a coincidence to me. It makes sense that Tennant does not abide by laws and is considered a criminal - because the authorities she witnessed were anything but just and fair to the commonfolk. We must also take into account the issues R1999 introduces between arcanists and humans, which overlap with our own racial issues in the real world to a degree.

This might be a reach from my part, but notice how the news from Tennant's 01 Story change when addressing her father. First it's "an official in British India, Sir Laurence Tennant", when they believe him to be missing. Later, after they issue a wanted notice, it's "senior official, mineralogist, arcanist Laurence Tennant". They've already stripped him of his title and now that he's officially a criminal in the eyes of the government, they felt it was necessary to state he was an arcanist. And sure, they also stated his previous role and his job, but as a person of color myself it definitely feels similar to the way POC's ethnicities are highlighted in media whenever they're accused of crimes.

Language and wording matters a lot, and perhaps this is why Tennant knows this, why one of her most effective methods is sweet-talking.

Either way, Tennant does speak of politics and I think her character as a whole was meant to be political given the details we just discussed. There's this exchange at the beginning of her interview with Pandora Wilson:

Pandora Wilson: What's the difference between Britain, India and France to you? Tennant: Nothing different, my beautiful lady. Pandora Wilson: What do you mean? Tennant: For me, humans are all the same, no matter where they are from. Tennant: We share the same virtues and the same weaknesses, and we can't do anything about it. They are part of human nature.

Tennant has experienced all three points of view - that of the oppressor, moving to New Dehli because her family's business is involved in the diamond mining market. That of the oppressed, both as an arcanist and from the times she disguised herself as a local to experience life as just another girl from New Dehli. That of a third party, oblivious to the issues, in a brand new country who does not concern itself with these matters and live a beautiful life in ignorance.

She doesn't see any difference when it comes to all these countries she visited, because she knows of the struggles and how stupid prejudice and bigotry are.

Arcanists, within the universe of R1999, are hinted to be an entirely different race to humans because of the many differences in their biology, with their appearance being one of the things they share. And yet, Tennant doesn't make this distinction - WE share the same virtues. WE can't do anything about it. We are all the same, no matter where we come from.

Tennant, despite the lies she attempts to sell to the world, is an extremely grounded individual, just as multifaceted as the diamonds she recreates!

On the subject of Tennant's lies.

We can't talk about Tennant without addressing her whole lying motif. I've already covered characters who aren't fully transparent with their thoughts, feelings or intentions - not necessarily deceitful on purpose like, let's say, Forget Me Not, but just misleading.

In Tennant's case, this is taken to an extreme.

She's described as a fraudster, a con artist. There's a lot of stress into the fact that one cannot trust her. Deceit runs in her family, her medium is lies, her Inheritance Skill is called "Beautiful Lie". She states that her hobby is "diddling", cheating and scamming others...

And yet, this entire act is a performance.

This might be a controversial take, but Tennant is honest.

She delivers exactly the sort of behaviour and persona that people expect her to, the one she's built throughout the years. She's playing a character and performing for those willing to approach her despite the very red flags - because Tennant makes it extremely obvious that she's not someone to be trusted. You can see it in the way she speaks to Vertin.

Sunlight eases people's mind and endows diamonds with glowing luxury. What a perfect occasion for deceiving.

Good morning, my lady. I've prepared you fresh coffee, sandwiches, and this shiny diamond. Of course, I would never lie to you. This is a piece of cultured work. But look how it sparkles, how elegant, isn't it?

If you want to, you're always welcome at my place. I will be here, with my cleverest scam, waiting for your arrival and, of course, an invitation to yours.

This isn't to say that Tennant doesn't lie - she does that a lot, a good chunk of her voicelines are directly contradicted by her items. The voiceline in the middle is a lie. She's lied to Vertin already, when she said she did not remember New Dehli. She vaguely poses as a man...

If else, lies are to be expected when she's playing her part, when she's painting a picture of her nature as a con artist for you to fall for.

And speaking of falling for Tennant, aside from the whole counterfeit diamond scam, seduction is another aspect to her character. I don't have to go in-depth about this because everyone and their dog has seen her Insight 2 illustration, a good chunk of women who play the game did it because of Tennant's charms. Every day I look through the tag and see people talk about how Tennant was the one character that enticed them to play.

But I will point out a few other details! This is one of her voicelines.

So what's next? The young lady of the rich, resolute and courageous as she is, disregards my humble beginnings and takes her possessions to elope with me. But then, I will leave her and disappear, forever.

And this is the information given for her second birthday login.

On this day, countless maidens in Paris went dizzy with love. They all just happened to encounter an elegant, charming gentleman who gave them a "unique" invitation to a birthday date.

These fleeting relationships, her constant flattery and flirting - they're part of the performance and all the women who fall for it are willing participants. As far as I know, Tennant never steals from them, her targets being merchants and people who can afford to spend money on diamonds so frivolously.

This is why Tennant insists her behaviour is harmless, it's a game. Her conversation in the Wilderness is a perfect example of the way she operates, specifically the way she opens with:

Ironically, diamond itself is a product of lies. I merely add a new layer to it, won't you agree?

The phrase "a product of lies" is very evocative to me. Tennant more than anyone is aware of the truth about diamonds - their value is artificially inflated to support the whole market, but they're not that valuable and they're mostly sold to rich people. So she's right, a diamond is a product of lies! But this phrase could also be read differently, like the way a diamond is born from coal, or the way something so "high class" and brittle could be created through insane amounts of pressure and work. Again,

Bluepoch gives their character many, many layers, the same way Tennant adds yet another layer to the lies of a diamond.

"It's just a lie known to everyone."

So, to summarize: Tennant is honest and upfront about her lies, she's playing a character. Her big scam is to make people fall for something so obvious - she makes maidens fall in love with her despite everything, she makes merchants buy into her fake diamonds. It's both an innocent performance and a risky game she plays. It's like her Ultimate says - she has a sincere heart, just split into many pieces.

What leads me to believe that Tennant is also a very kind-hearted woman is the fact that one of her skills is a shield. This is also something I talked about when analyzing Dikke, since she's also a very violent person whose healing skill give more insight into her character. It's the same for Tennant here!

"People have always dreamed of such thing, no matter it's in the distant universe, or right in front of them."

These little things and the previous point portray a different Tennant altogether - she's offering a harmless, whirlwind romance to many girls out there who are willing to play along, who are enticed by the danger without knowing they're safe and sound by her side, to give them a taste of something beautiful and fleeting. She carries around a gun that is explicitly "seldom pulled out".

To end the post, I have to admit I don't have many in-depth headcanons for Tennant? At least not enough to warrant more bullet points, and I already sprinkled a few throughout the post, so that's about it from me!

#reverse 1999 #reverse: 1999 #reverse 1999 tennant #reverse 1999 headcanons

115 notes · View notes