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tanenigiri · 2 years

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Review #8: Sasaki and Miyano (Volumes 1, 2, and 3)

Japanese title: 佐々木と宮野 (Sasaki to Miyano)

Story and art: Shou Harusono

English publisher: Yen Press

Number of volumes: 6 in English, 9 in Japanese (ongoing)

Hilariously, my second exposure to BL is the one that’s the most meta about the genre.

(This review contains story spoilers.)

Just like Given, my first exposure to Sasaki and Miyano was the anime. Right after watching the former, I looked online for recommendations of similar shows, and the latter was the title that came up the most. After watching it, though, I found it an odd recommendation outside of the context of “I want another good BL show” - in which case it’s the perfect recommendation - since the fulfillment I got after watching Given was so different from the fulfillment I got after watching Sasaki and Miyano.

Probably the main difference is how this series focuses a lot more on the relationship between the titular characters. As the story goes, Miyano is a BL fanboy who suddenly finds himself in an unexpected friendship with his senpai, Sasaki. The latter takes an interest in the former’s BL manga, which is a huge deal for Miyano as he has never had someone to openly talk to about it. Unbeknownst to Miyano, his enthusiasm about it is what starts Sasaki’s realization that his feelings for his kouhai might be deeper than what he initially thought.

I decided to group these first three volumes into one review not only because Volume 3 serves as a great halfway point of this whole arc - it features Sasaki’s confession - but it represents a pretty prominent shift in the narrative style. Volumes 1 and 2 feel a lot more episodic in nature, really leaning into the “Boys Life” label that the mangaka has given the series, while Volume 3 begins to steer the story into something a lot more linear. It still has the “snapshot of their lives” feel that gives the series its charm, but all of the scenes seem to be tied together by a major thread - how Miyano is processing his feelings while thinking about his response to Sasaki’s confession.

That’s not to say that the first two volumes were simply random - they feature an interesting exploration in how both Sasaki and Miyano are reacting to their slightly confusing relationship, made even more complex by Miyano’s BL addiction and, eventually, Sasaki’s confession. And those first two volumes did have a thread tying everything together, though I felt it was one that the story just brought up frequently rather than revolved around - Sasaki's internal conflict and eventual realization that what he's feeling for his kouhai is a lot more intense than usual. I felt that this was more of a major plot point rather than a central plot arc, though, as unlike what happens to Miyano in future volumes, most of the resolutions for this plot are driven by Sasaki himself. The way he reacts to Miyano's gestures - or, in some cases, Miyano's simple existence - already makes his attraction for him very concrete, and this all largely happens in his own thoughts. It not only makes for a great contrast between the two leads, but it also gives the story the room to explore different facets of the universe it's building.

But Volume 3 beginning with the confession steers the plot to something concrete that it’s working towards - Miyano’s answer. I think it was a great decision to introduce a central plot arc after several episodic chapters, as those earlier scenes being styled that way do a much better job in immersing the reader into the world and familiarizing themselves with all of the dynamics in play. While Sasaki and Miyano’s dynamic is what the manga revolves around, I think what elevates the series and saves it from becoming a simple “will-they-won’t-they(-oh-they-definitely-will)” story is its very solid supporting cast. The “Boys Life” label is already a big indicator that readers should pay attention to the characters beyond the main couple, and these first three volumes introduce us to a lot of great ones that add to the story’s humor and overall laid back vibes.

There are several examples I could talk about in this regard, but the one I wanted to highlight here was Ogasawara, one of Sasaki’s close friends who’s introduced to the story by questioning Sasaki’s sudden affinity for BL manga. This puts Miyano on the spot as he has constantly given Sasaki the impression that fudanshis like him should “live in the shadows” and not let their taste for the genre be known. I thought this was gonna go down the route of the slightly homophobic character that eventually improves as he watches the main couple’s relationship develop, but where the story takes his arc is a lot more interesting (and a lot funnier).

It’s revealed the next time he appears that the reason Ogasawara has a distaste for BL is because of his girlfriend, who he recently found out is a hardcore fujoshi. This leads to a lot of hilarious dialogue where he tries to make sense of his girlfriend’s love for BL in the context of their relationship, but more importantly, it gives a very solid foundation to establish his dynamic with Miyano. This brings us to my favorite chapter of these three volumes, where Ogasawara asks Miyano for advice on how to deal with his (admittedly ridiculous) problem. To Miyano’s own surprise, he ends up giving the unknown senpai pretty solid advice - that her being a BL fangirl has nothing to do with her being Ogasawara’s girlfriend - and it leads to the start of a genuine friendship that, as readers, is easily kept in the back of our minds as something that’s going to be revisited down the line.

And there are a lot of examples of these kinds of friendships being formed around the main couple, with many of them coming to fruition in future volumes. But it’s impressive that with a particularly large cast of characters, Sasaki and Miyano does a fantastic job in making every character someone you want to befriend and actively root for. All of these help in fleshing out these characters and giving the main couple a lot more to work with than just “the boy that pines for the other” and “the boy who’s being hit on,” and to have a fun cast on top of a genuinely cute and wholesome love story is such a treat.

Random thoughts that I couldn’t put elsewhere:

I wanted to mention the major arc in Volume 1 that didn’t make its way into the anime - Miyano’s first cultural festival that almost all of that volume’s extra chapters revolve around. Aside from being a really funny subplot, this is the earliest peek we get of Miyano’s main internal conflicts, though it’s brought up in a light-hearted manner and actually depicts him as being able to deal with it well. It’s an interesting take on his issues, and I think it just adds to how multi-faceted these characters are - instead of being something that Miyano constantly suffers from, it shows that he has found his own ways of making sense of his insecurities, even if he isn’t entirely over them. This arc also features best wingman Kuresawa in the end, and I genuinely believe that the main couple’s situation would be a lot more hopeless without him.

Two extras in these first three volumes revolve around the other main relationship that this universe explores - Hirano and his roommate, Kagiura. Yes, I’m following the spin-off manga, and I have a metric ton of things to say about this dynamic, and I’m honestly thinking of writing a review on it even if I’ve only read the scanlations. But for now, all I’ll say is that it is hilarious that one of the first gags we’re introduced to in the main story is Miyano projecting his BL fantasies onto Hirano and his roommate, only for those fantasies to pale in comparison to what is actually going on between the two.

I also very much have to mention the fujoshi and her friend who find themselves around Sasaki and Miyano quite a number of times, with the former freaking out whenever the main pair do something cute. She is the absolute best character in the series.

Thanks for reading! I have two more reviews lined up for Sasaki and Miyano down the line, one that covers Volumes 4 and 5, and another that covers Volume 6. And like I said above, I do want to write a review on Hirano and Kagiura as well, but it might be something separate from this mini-project as it technically isn’t part of my physical collection (yet). Let’s see!

#Sasaki and Miyano #Sasaki to Miyano #Sasaki Shuumei #Miyano Yoshikazu #Ogasawara Jirou #Shou Harusono #BL manga #manga review #manga

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remythologise · 3 years

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PLEASE share your ted/trent agenda with the world i'm intrigued by how relatively easy that would be to do in canon

WARNING: SPOILERS FOR TED LASSO UP TO CURRENT EPISODE

Alright well I’ve taken to answering recent asks as top ten lists so here’s another: Top Ten Reasons Why Ted/Trent Should Be Canon:

1. This reddit comment sums it up:

It’s simply a compelling rom com(munism) plot! What’s more compelling than a journalist falling in love with the person he’s meant to report on! The ethical dilemmas! The slow realisation! Half of this arc was basically already covered in:

2. The episode 1.03 Trent Crimm The Independent. Which is perhaps the best episode of the show and I simply think perhaps we could use more of that energy. Too much Trent on screen never a bad thing unlike Beard sorry to that man and that episode

3. In the episode 2.07 Headspace Trent Crimm exits the bar with what looks to be a male date with a moustache, indicating he is both a) into men and b) moustachesexual. Actually he DOESN’T exit the bar he gets distracted by Ted and tells his date to wait outside while he saunters over to get some goss. But you get the picture.

4. Trent Crimm has a daughter but no wedding ring and APPEARED to be on a date which means it is simply not out of the realms of possibility that he is a divorced dad. Sorry to be wildly ungeneric but I simply think DivorcedDad4DivorcedDad is a great and fresh premise for a tv romance actually.

5. Ted Lasso SHOULD be at least bisexual. - Firstly because nobody on the show is officially LGBT+ and they need a Big Swing to offset how bad their representation is. (no, Disney’s 56th Gay Character adjacent grindr references by Colin isn’t enough for me and also by the way their racial politics are absolutely fucking awful. But this isn’t an ask about that.) Also because the more people get pissed off with bisexual/gay main characters that weren’t marketable or pre-warned the better. Let’s BREAK that pink and satiny ceiling— - Secondly because in the meta plot of Ted Lasso being about Jason Sudeikis recovering from his breakup with Olivia Wilde it would be funny if the answer to his existential crisis was Sucking A Man’s Dick - Thirdly about once an episode he drops some Woke JokeTM thing about another male character being handsome, AND he has a passionate love for musical theatre. Yeah I know he’s just meant to be sooooo perfect positive masculinity etc. but I personally reject Apple TV+’s cookie cutter and did-no-work Manic Pixie Dream Dad and offer this as a fun alternative.

6. My personal opinion on Ted Lasso season 2 is that daddy issues are overdone, and I don’t care about Apple TV+ going over Therapy 101. (Don’t get me wrong, I really love interior character focused therapy stuff if it’s well written! But in S2, it is not.) You know whose panic attacks I DO care about? Eddie Diaz’s comphet panic attacks on 911. Ted Lasso you could learn a thing or two from that! I’m just saying main character gay crises are fun and fresh and sexy!

7. Every single look Trent Crimm gives Ted Lasso post-1.03 indicates to me he’s DEEPLY smitten despite his smug upper-class self.

8. In the most recent episode 2.11, Trent Crimm sacrifices his journalistic integrity to provide Ted with details. It’s actually embarrassing and all of twitter is on his back over ethical integrity because you NEVER give away a source etc. etc… but HE’S IN LOVE, YOUR HONOUR. In the words of his own (official) twitter:

9. Ted makes Trent’s daughter cupcakes which implies a quite friendly relationship. Ted’s question in the show of ‘can I be a good father’ and ‘do I have a family I belong to’ can and should be partially answered by taking up parental care duties for his male friend’s child much like Buck 911 and Dean Supernatural—

10. There is no love interest for Ted Lasso that is remotely as compelling. Actually Trent happens to be the least problematic option on the table (other than Sassy, I guess!). (don’t @ me over this yes we KNOW a m/f relationship is going to be the endgame of Apple TV+’s flagship show if you ship ted/sharon or ted/rebecca you’re not under any threat!)

#don’t take this too seriously although I’m right.#I’ve taken to calling it trend. haha let’s get it TRENDING #no but really twitter seeing ‘trend’ trend and trying to figure it out. fun concept #ted lasso #ted x trent #all part of my agenda to get trent/ted on the board they’re STARTING to write season 3… we can turn this boat around...#you read one leupagus fic and end up here. wasn’t even the leupagus fic that convinced me #the second I saw the ship I was like. [owen wilson voice] wow #watching ted lasso this season has been boring I’m sorry it’s simply not very well written!#need some meta game to keep myself entertained and that meta game is shipping two old men who are deeply unattractive to me #but attractive to EACH OTHER which is all that matters #kira for ts #ask #anonymous #long post for ts

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brachiosaurus-on · 3 years

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Brachio, friend! Hello! How are you?

I know you are reading the High Republic books, and I have to wonder, has any of it given you the impression the Jedi of that time have a significantly different experience from the Jedi of the late Republic? I hear a lot of people implying that lately, but I don't quite buy it, and so I figured I would consult you.

Mon, friend! Hello! I'm well, thanks! How are you? I hope you don’t mind that I turned this answer into a bit of a rambling meta.

So, the short answer is no. Their experiences are a little bit different due to the circumstances outside of the Order being different, but I wouldn’t say that their experiences are significantly different until the Clone Wars start. The philosophy and culture within the Order is the same, and I can easily see the characters trading places or recognizing each other as Jedi. The biggest difference is the fashion.

I think that this perception may come from big differences in how they are presented.

The scope of the story is different. High Republic gives us a broad scope through several points of view; the Prequel Trilogy gives us a narrow scope through only a few points of view. The Prequel Trilogy only includes what’s relevant to either the fall of the Republic or Anakin’s fall (which eventually become intertwined themselves), and has a small cast of characters. High Republic has many concurrent and overlapping plots and subplots with twice as many main characters. The scope and focus of the stories are very, very different. You may have heard that High Republic suffers from having too many characters, which is valid, but the upside is that we get a very full picture of what’s going on around the galaxy.

The audience’s perspective is different. High Republic is told from the perspectives of Jedi who love the Order and enjoy the lifestyle. The Prequel Trilogy is told largely from the point of view of Anakin, who does not find the lifestyle fulfilling.

The structure of the story is different. The prequels are very plot driven and most of the story happens during important events; we see limited exposition, resolution, and downtime between major events. High Republic spends a lot of time in characters’ heads before, between, during, and after important events. There’s a much fuller picture of what these characters are going through and how they’re reacting to it.

The explanations of Jedi philosophy and internal workings of the Order are different. High Republic is very direct about explaining Jedi philosophy and internal workings, taking time to elaborate for the audience. The films primarily use Yoda to explain Jedi philosophy; Yoda does not elaborate and is intentionally indirect to encourage the audience to think for themselves. The films show some internal workings but are rarely explicit.

It’s also worth mentioning that the trilogies show us more ideal Jedi because they’re establishing & introducing the audience to what the Jedi actually are and using narrative foils for Anakin’s story. Because High Republic doesn’t have this burden, they have more freedom to write more relatable characters (slutty Elzar rights) with more common flaws.

Scope

In High Republic, the story is about the Jedi working with the Republic, all of the Republic. We spend time with everyone, and I mean everyone: not just the main characters, but the side characters, and the background characters too; the worldbuilding is very detailed. We see plenty of Jedi with differing skillsets, opinions, experiences, and the story gives the audience breathing room to get to know them. They have many moments that are irrelevant to the plot, but tell us more about the characters themselves. We bounce between several Jedi Masters, who each play a different role in the Order, several knights who each have a different experience, and several padawans who are at different stages in their training. We have a broad view of the Order. We also get into the heads of the Chancellor, the Nihil, different politicians, diplomats, civilians, scientists, business people, reporters, an event coordinator, I could go on; aside from the Nihil, characters outside the Order are working with the Jedi and operating in good faith. We also know that the heroes are in a game that they can win, we know that both the Order and the Republic survive this era.

The Prequel Trilogy gave us the same huge galaxy and world building, but we saw most of it in the background. It’s extremely focused on the plot and Anakin’s character; if it’s not relevant to the fall of the Republic or Anakin’s fall, it’s not included. Even some things that were very relevant to the fall of the Republic were cut in favor of things more relevant to Anakin. Because it’s mostly about him and we don’t get the perspectives of other Jedi very often, we have a narrow view of the Order. We only spend time with Obi-Wan, Qui-Gon, Mace, and Yoda even though there are plenty of diverse Jedi in the background that we never meet. We see diversity within the Order, we know other Jedi are doing other things in other places, but we don’t interact with them until Order 66, when they become relevant to the story. We rarely meet other characters outside of their interactions with the main characters. The outside perspectives we see are Sith Lords, Padmé, other politicians, the Naboo, the Kaminoans, bounty hunters, crime lords, and a few civilians. Most of the characters outside the Order are working against the Jedi or operating in bad faith. We also know that the heroes are playing an unwinnable game, the Order and the Republic will not survive this story.

Perspective

In High Republic the audience is spending a lot of time with the Order and mostly seeing things from the Order’s point of view; we bounce between several different Jedi who all find the lifestyle fulfilling in different ways and the story is about all of them. The primary viewpoint characters have a broad, positive, perspective of the Order. When we’re reading from Elzar’s point of view we see his satisfaction when he uses the Force, how much he cares about others, how much he gets wrapped up in his own issues; when we’re reading from Stellan’s point of view, we see how much he loves teaching, how much he relaxes when he gets a chance to teach, how much he loves Elzar, how much he cares about the Order, how he wants to help; with Bell, we see how much he loves his master, we see him grieving, we see him reach these milestones where he figures out what it means to be a Jedi and how it frees him from his pain. The main characters actively participate in the Order’s community. Even when the characters are frustrated or upset with the Order or other Jedi, we know that they still love them because we’re in their heads and we get the characters’ full train of thought.

In the Late Republic, the story is told mostly from Anakin’s point of view. We see his frustration with the Order, his longing to be with Padmé, his desire for more power, his love overshadowed by his attachment. We see Anakin’s respect for the Order clouded by his disillusion (spurred on by a Sith Lord) and we don’t see him look outside his own perspective. We see him finding the lifestyle unfulfilling and not committing to it. The primary viewpoint character has a narrow, negative perspective of the Order. Another big thing is that Anakin is a Jedi who didn’t grow up in the Order and doesn’t have that inherent trust in the community, so we the audience don’t have complete trust in the Order. We see more of Anakin’s point of view than we do of Obi-Wan and Yoda who do reflect a positive experience. In the films, we’re in the room with the characters, not in their heads. We have to deduce what they’re thinking and how they’re feeling; we do not have the characters’ full train of thought.

Structure

The High Republic books have much more spread out pacing. There’s more exposition and we’re already familiar with the characters before they’re thrown through the narrative and then we spend more time with them afterwards. We get their reactions to major events and we see them struggle through recovery. The Jedi in High Republic have time to catch their breath, they are not moving from crisis to crisis the way the Order is in the Late Republic, and we are shown the time in between crises.

The prequel trilogy jumps right into the plot. We’re introduced to the characters briefly and we get to know them as they move through the plot. We don’t see much aftermath of major events, and we don’t see the process they go through to recover. They move from crisis to crisis and we do not see the time in between.

Here’s a summary of the different structures: High Republic shows us Reath, Bell, and Stellan all grieve in different ways and come to terms with their grief, but the prequel trilogy shows us neither Obi-Wan nor Anakin coming to terms with their grief over similar losses.

Explanation

The High Republic authors explain the philosophy of the Jedi more explicitly within their stories; they’re very direct. They also elaborate on what they’re saying for the benefit of the audience. I speculate that they do this to clear up some misunderstandings...

In the films, George Lucas prioritized concision and used Yoda to inform the audience; Yoda speaks in riddles to encourage the audience to think about what he’s saying. He speaks indirectly and without elaboration.

If you don’t have a background knowledge of Buddhism (or at least mindfulness), it’s not terribly difficult to misinterpret the prequel trilogy because there’s so little explanation. It’s also a little difficult to balance that within a film and there’s more room to do it in the novels.

Internal Differences within the Order

The most significant internal difference is the fashion: High Republic Jedi have fancy formal robes in addition to their day to day robes. My personal headcanon for why this is different is that as time went on and the golden age faded, the Jedi became busier, and didn’t have as much time for the fashion anymore (which is tragic, I love the concept art for their fancy robes) and by the time of the prequels we see it only in the Temple Guards, or the Order decided to dress less extravagantly to show greater humility.

We get descriptions of different career paths within the Order. This is probably where it seems most different from the Jedi in the Late Republic, but I don’t see any incompatibility. There’s nothing in the prequel trilogy or TCW to contradict the existence of these career paths, and in fact I’d say there’s evidence to support their existence. I’ll write a separate post about these because it’ll make more sense with examples and this is already quite long.

There are some other things that are different, but based on external factors. There’s one line about how Jedi don’t get killed in the field often, masters aren’t killed leaving a padawan behind, that it’s just not something that happens. I think it’s supposed to tell us about the time period, but then it happens at least 3 times, so I personally take it with a grain of salt. There’s one bit about how lightsaber dueling is primarily exercise because no one else carries a lightsaber and no Jedi would ever fight another (apparently Anakin missed that memo) but this is consistent with the culture shown in the prequel trilogy when they’re blindsided by Dooku’s betrayal.

#sorry i was not terribly concise #but i wanted to give you a full answer #the only difference I see between high republic and the prequels is the republic itself #also the sith that's a biggie #can you tell that i'm a feral jedi gremlin #meta #brachio's meta #high republic #prequels #jedi order #jedi #prequel trilogy #star wars #novels #brachio answers

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dereksmcgrath · 3 years

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I had said before that the number 108 can be unlucky. It wasn’t unlucky at all for My Hero Academia: Vigilantes. But 108 is kind of unlucky for this episode: not only are we focusing on the Villains, but we just aren’t giving their story the structure and emotional weight it deserves.

(I either opened with those remarks or just made a bunch of corny jokes about how “Meta Liberation Army” can be abbreviated as MLA--and I’m saving those jokes for a future review.)

“My Villain Academia,” My Hero Academia Episode 108 (Season 5, Episode 20)

An adaptation of Chapters 220, 221, 222, 223, and 224 of the manga, by Kohei Horikoshi, translated by Caleb Cook with lettering by John Hunt and available from Viz.

My Hero Academia is available to stream on Crunchyroll and Funimation.

Spoilers up to My Hero Academia Chapter 325.

When I teach literature, I refer to the plot as a problem: it is something that the protagonist is trying to solve. This problem can take various forms, but it is often as an antagonist that the protagonist confronts. When this episode has the Doctor refer to a “villain” as someone “who turns nonsense into action,” that’s kind of the point: the villain is here to get the plot rolling. Without them, you don’t have a hero, you don’t have a story.

It has been long accepted by a lot of fans and scholars that superheroes tend to uphold the status quo. I think the first time I gained awareness of this popular argument--although likely not the first time I encountered it--was Dr. Horrible’s mangled remark that “the status is not quo.” More recently, however, I have been reading academic books on superheroes, and not only does that argument persist--that superheroes represent law, order, and upholding traditional norms even in the face of new evidence or out of sheer obliviousness to the need for systemic change--but the argument has become that, if a superhero story does not have the heroes doing something to effect systemic change, then it’s not a good story. I may be misunderstanding that argument, but if I don’t, then it’s not an argument I can stand behind.

The argument is that superhero stories tend to reduce complex issues to having avatars for each side of the issue--the good guy and the bad guy--get into a fight, where we are focused on the spectacle rather than on seeing actual people engaging in the actual work needed to address problems not on the individual level--again, one good guy physically fighting one bad guy--but on a larger scope.

I am oversimplifying this argument, as even those same scholars will point out that, initially, of course there were superhero stories that had the protagonist taking the fight against the system. Superman is one of the ones named most frequently, whether in his initial comic book premiere doing what police and media would not to face down a corrupt senator (a sign of things to come in his later fights with Luthor and in Justice League Unlimited) or fighting the Klan (in the meta sense, fighting their analogue on the radio show and, more recently, literally in the comics). It kind of makes Superman look like one influence on the Peerless Thief in My Hero Academia, but we’ll get to him far later in these episodic reviews.

Even with that exception of Superman, it��s not hard for me to agree with the argument that heroes prop up the status quo. That has been the plot point for My Hero Academia and why this war against the villains has been incoming: a system that depended on just All Might, now depending on a wife-beating abusive father like Endeavor with his crimes not popularly known, has a level of corruption that cannot stand up with just one man’s shining example of honest goodness and integrity to be the Symbol of Peace. It was why I appreciated the manga eventually showing that, yes, there was an entire network of assassins within the Hero Public Safety Commission to keep All Might’s hands clean--and, in retrospect, while Lady Nagant was our first named example, given what Hawks ends up doing to Twice, deadly force may be frowned upon by law in MHA but has to have been something Hawks was told he had legal authority to do. (Also, as I will never stop pointing out, Endeavor unintentionally and unknowingly killed another Pro Hero in Vigilantes, and we’re just supposed to pretend that was fine.)

But going back to this academic argument, about how superhero stories tend to stick to one-on-one battles and don’t let the heroes effect systematic change, I’m ambivalent. There have been a range of superhero or superhero-adjacent stories that have the protagonist making on-page, on-screen, obvious work to not just get into fisticuffs with the bad guy. I already pointed out Superman’s first appearance and his fight against the Klan. I can also identify other examples, some hamfisted like Captain Planet, others more nuanced like Korra reaching out to Kuvira in The Legend of Korra. While the scholarship I read bristles at the idea of reducing these fights to just avatars for good and evil, I shrug and say that kind of comes with the territory of a superhero story. I hate justifying tropes: it’s like saying “this fanservice is acceptable because that’s part of the genre”--which leads to its own set of problems, especially when I hear fools defending sexualized fanservice that is just not needed for the story and is abusive by gender and representation. Heck, The Brave and the Bold animated series had Equinox and Batman battle as giants representing the avatars of chaos and order--which is confusing enough, with Equinox having a vaguely yin-yang motif that debunks any clean separation between chaos and order. And yet, here I am, arguing that this kind of fanservice of a hero and a villain beating each other up is to be expected: you have a debate about ideals of what a hero should do when you see Iron Man and Captain America each representing a side in a fight, whether the poorly handled comic book Civil War or the better film version, and even then, that film also lets the individual personalities get in the way of saying anything meaningful about government oversight and individual agency, ideas better handled in that other Captain America film, The Winter Soldier, and even then that film also gets stuck in just being about Steve and Bucky’s relationship.

All of this is me saying that, when you add a superhero to the fight, you’re going to feel disappointed that almost nothing systematically changes in its setting, not only because, as I’m hinting, these are stories about individuals fighting each other and not stories about the individual against society or nature, but also because a superhero can only change so much of their world for the better before that world no longer looks like our own or a new societal problem has to emerge to create the problem that is the plot itself for wherever the story goes next. Once a hero makes the setting into a utopia, either a new problem emerges to show the fiction of that story and that a dystopia is always married to a utopia, or the utopia is revealed to be hollow (Shigaraki’s word of the day) and fake. My Hero Academia already showed the utopia of a world where people get to live with their Quirks is fake, not only by (largely necessary) regulation of those Quirks but also, as we’ll see more with Spinner, Compress, Toga, Gigantomachia, and others, looking different, or being socially aware, or having disabilities, or being the “wrong” size, excluded you from that society.

What I’m trying to say is that, once you add superheroes into a story to fix the problem, you can’t show what systematic change looks like. How do you write a story where it makes sense that no hero came to save Tenko Shimura from becoming Tomura Shigaraki? What’s a story like My Hero Academia supposed to do to show the problems with a society, if you have superheroes who can fix those problems by beating up the bad guys?

Solution: You have the bad guys beat each other up.

In this corner, the League of Villains, people who were made outcasts because they did not fit in--which reveals the flaws of a society that is not accepting people who may not be able to change their past or their bodily conditions.

And in this corner, the Meta Liberation Army--which reveals how society breeds people in business, media, and politics who abuse laws and societal norms to elevate themselves and create a social Darwinist nightmare.

Granted, these are some foolish schmucks for starting up this fight in public, but I’ll address how the MLA just doesn’t work in a later episode review.

But for now, let the fight begin. No matter who wins, at least we see how society at large allowed these Villains to emerge--and we can either see All For One’s dictatorial forces get wrecked, or see Re-Destro’s fascistic oafs get wrecked.

Unfortunately, no matter who wins, the Pro Heroes are going to lose, too.

I am overly impressed with myself for realizing all of this. And I say “overly” not only because this is arrogant of me but also because I’m pretty sure just about every other person following this series already came to this conclusion: if you want to show actual systematic change, you have to show what the villains are up to, because they are the ones showing the holes in our society that need to be fixed. Either a villain exploits those holes to cause damage to people, or the villain is themselves representative of unfairness in the system and, by breaking the law to save themselves and others, are unfairly maligned as villains.

That being said, I’m not a big fan of the “[Insert villain’s name here] was right” arguments. Yes, Magneto is justified in his goals and ethics, and the debate is the means he takes to them, so his existence is to show why the X-Men are screwing up and need to be more radical. Yes, Killmonger is right that Wakanda’s isolationism is reckless and allows for travesties to persist, but his choices are largely out of individual desire for vengeance, so he’s an example that T’Challa can follow. Taken too far, though, and you get people who preach anti-establishment notions without having an alternative or are just trying to sound edgy rather than actually pointing to the actual problem: it’s someone who celebrates the Joker without recognizing that, no, you don’t want to be that asshole, or who celebrate villain-turned-hero Vegeta just because he looks cool and without appreciating what steps he took to change and what fall he experienced before he got to the point of being a villain.

In all these cases, if done poorly, you have the same tired trend of a villain existing only so long so that the hero changes for the better. It’s as tiresome as I unfortunately sometimes feel reading post after post celebrating how complex and sympathetic the League of Villains’ members can be when, still, a lot of them are just assholes using empty excuses to defend atrocious behavior (primarily, just All for One) or, for the most part, are people put into desperate situations (Shigaraki, Toga, Spinner, Dabi, Twice) who are doing the best they can (Twice, Spinner) even if their actions are not defensible (Toga) or also out of line (Shigaraki) due to their own refusal to seek the legitimate help they need to work through their issues (Dabi).

It’s hard to read posts online calling the League members sympathetic when we have not had a chance in the anime to know their full story. And as with the slow revelation that this setting is not really as welcoming of people of all shapes and sizes as initially hinted, so too do the villains’ backstories show that they were justified in some actions they took, except for those that led to deaths. Too bad none of that really pops up in a meaningful way in this episode that would rather tease out Shigaraki’s back story, keep dangling the obvious answer to who Dabi really is, and short-sells what should be a meaningful friendship between Twice and Giran but is just dropped as fast as Shigaraki takes off Twice’s mask. Jeez, Shigaraki, that is a dick move to Twice…

But I’m already on Page 4 of this rant, so let’s get to the episode already.

Pulling back the curtain yet again, these reviews tend to follow a pattern. Since I first wrote about the MHA anime, my process would be to first re-read the chapters, then watch the episode in Japanese, then watch the episode in English, so as to retrace my steps in how I first encountered most of these stories, as well as to see any patterns in the production process moving from manga to anime to localization. But with this episode, that practice was made nearly impossible given how prevalent the hostility towards this episode, this arc, and this season have been, especially when a friend shared numerous reactions from other viewers about this episode. Seriously, for all the whining I just did the previous four pages, you could read this person or this person who are much better at explaining why the introduction of Re-Destro to the anime sucks, for more than one reason.

So, I had a different approach: I already had the flaws to this episode shared with me by other viewers, then I listened to the English dub, then I re-read the chapters, then I watched the Japanese dub with English subtitles.

And, boy, am I grateful I took that approach, because this episode is a ton of talking--too much talking. For an anime adaptation that cut so much of Spinner’s Leonardo from Ninja Turtles narration, I’m shocked that they kept the boring parts of his narration and cut the only good parts, including the very opening that had a lot more action and gave us a reason to sympathize with these Villains.

I know I’m a snob regarding animation; I have expressed before how, despite my love for animated works, I tend to appreciate them more for what they do with storytelling rather than the spectacle of the visuals. I really dislike works where the value of the work is in the animation alone: I am here to see a story unfold, and if there is no narrative, no plot, no beginning-middle-and-end, then what I’m encountering is a museum piece, not a work of cinema. (Feel free to bash me for that hot take: I’m still railing against Patty Jenkins’s ridiculous argument from this week.)

And as with most forms of karmic punishment I experience, I pay the price: if I rail long enough about works that are only all about the animation and not the story, then my punishment is an episode where all we get is a lot of story and not much in the way of animation. Yet I can’t even say we got a story here, so much as back story, exposition, needless narration--it’s Blade Runner only bad. As much as I have loved how this anime’s storyboards stick so close to the manga panels, the pan over the League listening to Shigaraki’s vague back story felt like the least interesting way to handle this scene, especially when it excises so much of Spinner coming around from questioning Shigaraki to sympathizing with him. Who would have imagined cutting so much of Spinner’s initial narration and the opening from Chapter 220 would screw up how to adapt Shigaraki’s back story from Chapter 222.

The anime cuts how this arc begins in the manga: Chapter 220 starts with Spinner facing off against an extremist group that hates him for his reptilian appearance--a moment that would have garnered more sympathy from the audience for these Villains than this episode is exhorting. We needed a scene to get behind these villains and agree with them, before we are shocked to hear Shigaraki say what we have long expected, that he just wants to destroy everything and make everyone as miserable as he has felt, to wake us up that, no, you may sympathize with these outcasts (to use Twice’s one-word self-description), but you shouldn’t agree with Shigaraki’s goals. (I know Shigaraki relents somewhat when asked by Toga, but it’s hard to backtrack from “destroy it all” to “destroy it all but not the stuff my friends like.” How on Earth is Shigaraki going to destroy Izuku when Spinner somewhat admires the guy and Toga...well, yeah, best left unsaid.)

While watching this episode, I also was reviewing other topics about anime and manga I’m going to go into more detail about later this month, and one topic of discussion is the assumption that anime and manga, by their visual style and story tropes, especially shojo and shonen, tend to be about big expressions--emotional outpours in words, movements, facial expressions, and actions to more easily communicate what is happening, regardless of context.

I hate to keep repeating “ambivalent” in my reviews (another academic word I need to expunge from my lexicon for a bit), but I’m ambivalent about that argument, that anime and manga, especially shojo and shonen, are better at communicating. If your character is unreadable, that likely has an intentional reason: we don’t get much of a read on the Doctor in this episode, not helped by his mustache and glasses, but we also don’t get a read on what Shigaraki is up to.

This episode only heightens my regard, not just about anime, manga, shojo, or shonen, but in animation and comics at large, that not everything is readable in what a character is planning.

On the one hand, I do agree that visual works tend to make ideas easier to comprehend for some people who can engage with such visual works. As someone who teaches English literature and writing in a United States setting, I use comics in my teaching to cross language and cultural barriers, especially for students for whom English is not their primary language or who are the first in their family raised in the United States. And this teaching approach also helps in reverse: I include manga and anime in my teaching to show how not all details cross language and cultural barriers in a one-to-one correspondence, hence the challenges of translation and localization, and how all of us struggle to make ourselves understood within our own primary language to someone else who is fluent in that language, let alone trying to translate into another language or to present ourselves in a different set of cultural norms.

On the other hand, anime and manga are not a fixed genre. Yes, I agree that the images tend to emphasize big eyes, big expressions, and big motions--but that’s like saying all animation is Looney Tunes, or all animation is Disney, or is Dragon Ball, and so on. Likewise, as I’ve discussed elsewhere, shonen is more than just one type of storytelling, and the same goes for shojo. This arc of My Hero Academia is placing focus, after admittedly far too long, on the Villains as the protagonists--and their behavior pokes holes in the idea that things are obvious, when the Villains are themselves such liars, so crafty, have their own hidden agendas, are keeping secrets from each other. It’s as if their behavior is a commentary on this plot and how BONES is adapting it: the Villains are keeping secrets, so this plot is going to keep its secrets for just who Re-Destro and the Meta Liberation Army are, what their personalities are like, and what Shigaraki and the Doctor have in mind for getting what he wants. We’re even kept in the dark as to Shigaraki’s full back story; we’re in the same position he is, knowing just little bits and able to make assumptions from a handful of visual cues and memories, without fully knowing who the hell Tenko is. Add to that Spinner’s struggles to narrate all of this and to get into Toga’s mind and Shigaraki’s mind, as well as Dabi’s own secrets and agenda with Hawks, and we have a story that blows up the notion that anime and manga are easier for reading a character’s mindset: no, they are not always easier, not when the creators deliberately mislead the audience or keep them in the dark for a surprise.

By keeping so much of the audience in the dark, so that we become aware of how deceitful villains can be, and we are put into Shigaraki’s place of not knowing where he came from. This should be a set of brilliant choices by BONES to adapt this arc in this manner. But the problem is, no, almost none of this gets anywhere close to brilliant. It’s not brilliant--it’s frustrating, because we already know what is going to happen. You can just pull up the manga at low cost with a Viz account and read all of this in the order it was originally presented and get the answers ahead of time. And if you’ve been reading the manga all along, you already know how this arc ends, and you know stuff from the next set of arcs so that you do know already what Shigaraki’s back story is, what Dabi was really up to, who survives, who dies. You even learn more about Compress’s back story--stuff that really should have been hinted at much earlier in the manga, and could have been hinted in this adaptation but as of this episode has not.

Maybe that is why the anime removes Re-Destro murdering his assistant: it’s such an odd moment that it is challenging for me to get a read on Re-Destro, as he alternates in the manga between being very friendly and devoted to his comrades but also violent and heartless.

It may be obvious that I didn’t like much of this episode. I think when I stopped taking this episode seriously was when I heard the voices. Like I said, I tend to start with the Japanese dub first before getting to the English dub. And I have nothing at all against English dubs: I would not be listening to them as much as I have, often first before I ever hear the Japanese, and I would not be a fan of so many English-speaking actors in dubs if I had any animosity to the craft, their work, and the benefit they provide for creating a larger audience for these stories. And nothing against Larry Brantley and Sonny Strait, but some of this casting feels off. I wasn’t able to take this episode seriously as soon as I heard the voice distortion that was used for Re-Destro’s phone call: that took me out of the story. If I had the chance for localization, I would really need Twice or someone to call out how freaking ridiculous that Mickey Mouse voice sounded. You have freaking Sonny Strait here: use the Krillin voice, use the Chibi Ragnarok voice, use the Usopp voice--use something, really go bizarre here, it’s just a voice distortion device! And as I said, nothing against Strait, but when I hear Re-Destro when I read the manga, that’s not the voice I have in mind. For right now, HIroaki Hirata in the Japanese dub is closer to that smoothness I expected for this character. But I have no doubt Strait will do excellent as Re-Destro’s empowered form: think Strait’s role in The Intruder II from Toonami. It’s just that Re-Destro in the English dub is lacking that odd refinement I was expecting.

Granted, it’s the same problem for me when I hear Brantley as Spinner: I am making unfair assumptions that don’t suit the goals of the creators when it comes to this character. It is sadly not as obvious in this episode as it is in the manga: this arc in the manga starts with Horikoshi invoking Laird and Eastman’s Teenage Mutant Ninja Turtles by having Spinner, who is already a sword-wielding reptilian martial artist, narrating just like how Leonardo narrating at the beginning of the very first issue of TMNT. I wanted a voice for the English dub that is like Leonardo’s, a little higher pitch and more youthful, like what Brian Tochi brought in the live-action Turtles film or what Cam Clarke and Michael Sinterniklaas bring in the animated versions. I think, for the Japanese dub, Ryo Iwasaki’s performance as Spinner is very close to what I expected. But that also may seem too obvious: Spinner may be young, but giving him an older-sounding voice can belie his inexperience, youthfulness, and naivete, similar to how people make assumptions about him by his reptilian appearance. The anime is putting me into my place--I think of Spinner one way other than who he really is, so I’m no better than the people around him who have discriminated against him for his physical appearance.

Just as I have a set of assumptions that unfairly influence how I would cast Spinner, I also think Re-Destro should have sounded more refined and less graveley in the English dub. But my expectations belie that, just the Joker whom he resembles, Re-Destro puts on this cultured facade to hide that he is just another violent gangster thug, someone who would kill his own assistant. I know I cited examples above about how complex Re-Destro is, but it’s hard for me to see him as sympathetic just because he’s crying over something he did out of his own volition: he coldly killed his office assistant Miyashita, his tears and kind words don’t suddenly make this a warm and cuddly death, we don’t get to think of him as our woobie. It only makes it more irritating that BONES so far has cut not only that scene of Re-Destro killing Miyashita but also Re-Destro’s TV commercial: it would clue us in that the reason he has that gravelly voice is because, no matter how much he tries to present himself on TV, he is not that kind of a man.

But since I invoked the Joker comparison to Re-Destro, yeah, I’m disappointed we didn’t get Troy Baker as Re-Destro, as unlikely as I imagine that would be to happen, regardless of Baker’s previous work with Funimation. It does lend a bit more to conspiracy theories on my part, though, given casting director Colleen Clinkenbeard telling Twitter followers to stop expecting Mark Hamill in MHA, it’s never happening--we can’t even get Troy Baker doing his Mark Hamill Joker.

(I’m not being fair to Baker: I’m not saying his Joker is at all bad--it is not, he has been excellent as Joker, especially playing him and Batman in the Ninja Turtles crossover film, but it is obvious Baker is performing the kind of Joker that came out of Hamill, so I’m trying to say he’s doing the “Hamill Joker,” rather than the “Nicholson Joker,” the “Ledger Joker,” or the “Caesar Romero Joker”).

It’s also a challenge to sympathize with these characters when we aren’t getting what this arc should give them: a re-introduction. I hate approaching this episode in a post-James Gunn The Suicide Squad world, but seeing how much MHA owes to not The Suicide Squad of the comics but that motif in so many superhero comics, there is that missed opportunity to reacquaint the audience with who are the members of the League of Villains. So, where the hell is my freeze-frame re-introduction to each League member? There was that fan theory a long time ago that Giran was really Present Mic in disguise: imagine doing Present Mic’s introduction of characters by name, Quirk, and pithy comment, only it’s Giran in the announcer seat this time.

(Don’t even get me started on how annoying it is to have Izuku handling the post-credit preview: give that to Spinner.)

Again, maybe it is brilliant for BONES not to include some re-introduction scenes, whether narrated by Giran or happening naturally in conversation between these characters. These Villains barely know each other’s back story, so there’s no artifice where they would believably share their back stories to each other in conversation in this context. And as I said, Shigaraki does not know enough about his own past, and Dabi is hiding his real identity. But when we’re stuck with Spinner as our half-hearted narrator, who seems not to know why he and Toga are still here with Stain being gone, and when Toga is this dull in her answer about what keeps her going after Stain’s arrest, and when Spinner himself seems not to know what he’s still doing here, all of that does not communicate a reason for us to keep going with this story.

I know this arc is going to get better, storywise at least, just based on how it went in the manga. I can only hope that the animation can capture the chaos that the original manga illustrations showed. But I am trying to think what a new viewer is going to do if this is their introduction to this series. I’m not invoking the Episode 7 Rule, I’m not doing a hypothetical experiment to gauge which episodes are the best to bring a newbie into this series--I am asking, honestly, if a fan was already into this series, and was watching it one Saturday morning, and a friend or roommate or relative saw them watching, they would be utterly lost about why they should care about this. Even the explanation for why Twice is indebted to Giran is presented as such an afterthought that does disservice to a potentially emotional moment, to what is supposed to be a pretty deep friendship, as deep as it can be for a weapons trader like Giran and an outcast-turned-criminal like Twice, so that, when Twice helps rescue Giran, we feel that emotional payoff.

It is honestly shocking that, for all the throwbacks, recaps, and flashbacks we get, including how Giran’s fingers match up to previous places where the League fought, that this still leaves a new viewer in the dark. And the problem lies at the feet of MHA arriving at a fifth-season slump: the series has gone on so long that things feel lazy and making far too many assumptions on what knowledge the audience is bringing. You’re not getting a bigger audience if you keep appealing to the diehard fans and the people reading the manga. After all, why would you keep doing ridiculous recaps and flashbacks if the fans already know what happened?

But speaking of the recaps and flashbacks, that should have been how this episode redeemed itself. As I said last time, if you re-worked the order of episodes to start with the Oboro Shirakumo story, that would be more shocking. But what if this episode could have been the very first episode of the season, and following the trend of previous seasons, make it a recap episode? We already had Izuku narrating a clip show, Class 1A at the pool, a photojournalist visiting the UA Dorms--it would be so much more interesting seeing “League of Villains camping in the woods while in the background Shigaraki gets squished by a giant.” Have the Villains tell campfire stories about how they got here: it would be a great excuse to re-use the animation and save on the budget. You could fit in a few gags, as Toga starts telling a really gruesome story but gets distracted by all the blood in it, while Twice’s story bounces between sugar-sweet happy and grim-and-dark chaos, while Compress and Spinner are stuck trying to keep them focused. It’d be a hell of a lot more interesting than how BONES somehow screwed up a potentially emotional volatile moment between Izuku and Amajiki that would put into question whether Izuku is going to have to kill a Villain and just how devastated Amajiki feels after Mirio lost his Quirk.

And speaking of whether Izuku is going to have to kill a Villain: obviously, this arc is setting up how much more dangerous Shigaraki is than UA gave him credit. Back in Season 2, I hated how Nezu and UA staff referred to him as a “man-child,” given the connotations that have surrounded masculinity and being a man. I wrote that before 2016; in this post-2016 atmosphere, and the increased prevalence of toxic masculinity, I am, once again, that annoying word ambivalent. I am likewise ambivalent how well this series has shown Shigaraki to be able to form the plan he does by episode’s end. We’re only told by Spinner how much faster Shigaraki is getting and how much slower Gigantomachia has become--but the animation doesn’t show that. And we’re being told how great Shigaraki’s plan is--when it sounds ridiculous.

By cutting so much of Spinner’s narration from the manga, we also don’t get a scene where Spinner confronts Shigaraki to ask him what is his plan. Up to that point, Shigaraki has said that, with Kurogiri gone over the last month and the computers at the old League hideout destroyed, they can’t reach the Doctor. Spinner is insistent: what is the plan? Shigaraki responds that he just told them--as Gigantomachia crashes through their hideout. The other characters explain for readers like me who aren’t following: Shigaraki just said Kurogiri was gone; to contact the Doctor, Kurogiri sought Gigantomachia; Gigantomachia would sniff out where Shigaraki is and bring him to the Doctor. Brilliant--that shows more attention to Shigaraki’s planning and scheming, and now, it’s not even here in the episode to make me think this guy is that smart. (This episode also had Shigaraki reveal his plan to have Gigantomachia attack the MLA, whereas it was Spinner who predicted that was going to be Shigaraki’s plan--so, again, we’re not letting Spinner stand out as smarter than we expected, either.)

I know Shigaraki is supposed to be our chessmaster, given his association with gaming, especially when he was faking his ignorance about shogi to lower Overhaul’s guard before defeating him and stealing his Quirk-cancelling bullets. But I’m having the same problem I had when following All For One throughout this anime: it just feels like these two antagonists are getting ahead out of sheer luck and because everyone else is a fool, not because either of them are that great as villains. Give me a Xanatos, give me a Luthor, give me a Norman Osborne (not Clone Saga Osborne, a different one). Show me Shigaraki is more than a pawn for All For One and the Doctor, because I don’t feel anything here, not even when we’re supposed to feel that Shigaraki has some legitimate concern for All For One that just isn’t getting communicated to me, whether by my stubbornness or because the content is not giving the animators and actors what they deserve. Eric Vale can sell the hell out of a scene, but Shigaraki’s talk about All For One is not giving that opportunity to the actor.

My remarks this time are a lot more disorganized and doesn’t really arrive at any conclusion. I have more to say about how this arc works and doesn’t work, especially when it comes to how ridiculous the MLA comes across in underestimating the League, but we’ll get to that next time.

#my hero academia #shigaraki #league of villains #meta liberation army #spinner #long post #mha spoilers

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asterekmess · 3 years

Note

Heyo! So I’ve been in the sterek fandom for quite some time now and I’ve been wondering about how you would describe stiles’ personality?

I’ve never actually sat down and watched a full episode of teen wolf (and honestly I’m not sure if I ever will considering everything I’ve heard about how they treat derek and his history but idk who knows I’m very curious in a lot of the plot lines and character development), and a lot of the stuff I know about the show I’ve scraped from fics, gifs, and meta posts

For me personally, Stiles’ personality and characterization is so fluid and nuanced that sometimes I have trouble pinning him down (tho derek doesn’t have trouble with that *wink wink*) So I would love to hear your thoughts! Sorry for the long ask, this grew legs and an ugly mug shdhdhhdjdcj anyhow have a great day :D

Well, everybody's got different perspectives and opinions on Stiles' personality, honestly. Even when you try to stick to 'canon' things, there's a lot of room for interpretation on the why when he does things, or what it says about him as a person, etc etc etc.

Personally, I see canon Stiles as kind of an asshole. I mean, I love him, and he does some incredible things, and he's clearly got an intense love for those close to him. But I do make him kinder in fics, or I at least make him regret being a dick.

In canon, we're given a Stiles who cracks 'dead baby' jokes (he's talking about human sacrifice, so the conversation was already plenty morbid. This wasn't out of the blue.) Who begs for Scott to let Jackson die (though it's made clear that this wasn't serious, and he later works to save Jackson's hide like ten times over), and who will mercilessly poke and prod at people's insecurities or painful pasts, especially when worked up. Isaac's previous abuse isn't a no-go topic. Derek having 'dated' (read: been assaulted at worst and at best, been lied to) serial killers isn't something he's going to tread lightly around. He doesn't try to soften things to save someone's feelings most of the time.

He's presented as someone who is incredibly impulsive, with his emotions, words, and actions. It's kind of implied this is because of his ADHD, but that doesn't explain how often the impulsively cruel or harsh things he says aren't retracted or apologized for, or just generally regretted. Yes, ADHD people are impulsive, and yes sometimes our mouths get away from us and we can end up saying some Fucked Up shit to people because we literally couldn't control the words coming out. But that doesn't mean we're cruel or evil or mean. We still feel bad for doing those things, and those of us who are decent people, try to fix or repair what we've messed up. I am...not a fan of how often ADHD is used as an excuse to make a character a dickhead because "he has no filter." No filter means we struggle to control our thoughts and what we say, it doesn't make us heartless.

So, when I'm writing him, I fix it. Even if he still Does something fucked up, I have him care that he did it. I have him realize what he did or said wasn't okay and respond to that knowledge in some way. Which to some people, means I'm just ignoring what a fucker he is, but imo it feels like a horrible fuckup on the creator's parts, so I'm just correcting the mistake. He's no less Stiles just bc I taught him to say sorry.

Anyway. I'm trying NOT to ramble here.

To answer your question, as best I can; Stiles is sarcastic. Stiles is passionate to a fault. His emotions are BIG, whatever they are. Good, Bad, or even apathy. Whatever feelings he has are just intense. He is very much a no gods, no kings, no masters, kind of man. There isn't really an 'authority' to him, except maybe his dad sometimes. He puts family, and those he considers family, First. But that doesn't mean he isn't selfless. Because he is. Incredibly so. Uncomfortably so.

He walks into gasoline for his friends. He puts himself in the position of losing the only parent he has left, for his classmates. He cares enough about strangers to insist a drunk girl he's spoken to for five minutes max stay hydrated and give her a bottle of water. He literally handed over his mind on a platter to a fox demon for someone he barely fucking knew, to keep her safe.

Loyal. Humorous. A fighter. Family-oriented. Clever. Passionate. Strong, physically, mentally, and emotionally. And a very good liar, in my opinion.

He doesn't lie very well in the show, not to people's faces. He'll stumble around a "I haven't seen him since the last time I saw him" or "are you asking me to tell you what I would have told you if I were going to tell you it?" but at the same time, he can repress and hide away his feelings and his pain in a way not even Derek manages.

He asked Caitlin questions about her girlfriend, and worked to solve the human sacrifices, literal minutes after finding out he'd just lost his oldest friend. He drove Lydia to the warehouse to save Jackson after having the shit beat out of him by a man who'd been learning to cause pain since he was a CHILD. And he never gives away how incredibly broken he is for more than a couple seconds. and it's a little frightening, because he convinces people in this show who are lie detectors that he's okay, when he's a fucking mess. Even Derek shows his pain.

You're right that he's nuanced, and part of that is because when you see him in meta or in fic, what you're seeing is a dozen versions of him sort of compressed into a flat image. Because he changes throughout the show, and while some of his core personality stays the same, a lot of stuff changes. So one fic might harp on his insensitivity, and callousness toward Isaac or how easily he says "just let them die" when talking about Derek or someone else. And then another will dive into how fucking far he's willing to go, travelling all the way to mexico and facing down a hunter clan a dozen times more powerful than the argents with no one but a banshee at his side, just to get Derek back. Or how he saw Malia hurting and sat with her on a couch and held her hand. One is a much earlier version of Stiles, from the start of the show, the other from his midpoint. Near the end, you're able to say that he was so torn about leaving Derek while he was dying, he had to be Begged to go save Scott. That he manipulated an ENTIRE FBI investigation in order to save and protect Derek. (im focusing on derek bc sterek, but also bc his relationship with Derek is the Biggest Arc he has in the show, and the most solid)

You're going to read about different versions of him, and I totally get how that's confusing.

We all sort of bleed ourselves into him and either bring certain canon characteristics to the forefront, or straight up add our own so he's more relatable to us.

So while I can't really help you pin down any specific Stiles, just know that there's not really a 'true' Stiles that anyone can confirm or deny. It's all just perception, so however you see him, go with it. Strengthen it. Explore it. I'm sure you'll find people who see what you do.

#personal #meta ramblings #go for it

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itsclydebitches · 3 years

Note

I have to wonder how season 2 Crosshair is gonna start with anything other than him escaping execution. Dude murdered his whole squad with one known survivor who reports it to the General, who then says 'We were gonna kill him anyway, so just let him die here'. It's not like Crosshair has any sort of bargaining chip to justify the Empire not abandoning or executing him.

It may end up being important that (I think) the surviving squad member doesn't know that Crosshair killed his team, only that they're dead. She was off looking for Omega, came back, saw her dead teammates and the clones fighting droids, and (smartly lol) got the hell out of Dodge. I think her exact words were that Crosshair "lost control of the situation," which tells the Admiral that Crosshair failed, but not that he failed because of his own betrayal. Granted, I think she's also the one who approaches the Admiral earlier, saying she doesn't trust Crosshair's motivations when it comes to his former team, so there's already a precedent set that Crosshair's loyalty may be less than perfect. Still, the actual explanation of what went down doesn't reveal that Crosshair killed his teammates and outright betrayed the Empire, just that he failed to complete the mission.

So based on what stories have done in the past, I can picture a couple of different ways for him to return:

Using the above, Crosshair straight up hides his shaky loyalties and frames the failure as just that: a garden variety failure. Perhaps he implies, though does not outright state, that his team's death came at the hands of TBB. A "Let the Admiral think what he wants" situation that benefits him.

The above + Crosshair emphasizing that TBB escaped. You know what kind of threat they are, Admiral, and though I failed before, I'm still your best chance at capturing/killing them. You need me. Crosshair believes firmly in his own usefulness — that ego — and he's not above working hard to convince others of that.

Between now and the time of his return, the Admiral has, for whatever reason, reconsidered the benefit of having at least a few clones in his army and is thus pleased that Crosshair survived, no matter the iffy circumstances of that. Personally, my mind keeps focusing on the weird motivations here. Namely, this push to have a conscripted army when, as far as TBB shows, that's a bad option compared to what they've already got. We as the audience know that the Empire needs to reach the point where they've got stormtroopers with terrible aim (that's the OG Star Wars), but right now, outside of that meta context, the Admiral's choices come across as rather stupid to me. Gregor and TBB point out, "These are our replacements?" highlighting that conscripted soldiers just don't have the skill of clones who were bred for war. I can only assume that the Empire was spying on Crosshair's team the same way they did TBB when they were sent to execute the "insurgents," which means they would have seen that the clone, Crosshair, was the only one originally willing to follow their order of killing civilians. Crosshair had to kill the other guy/talk the rest of the team into following that command. And of course, that's largely due to the chip, circling right back to why the Empire would have removed his when it gives them perfect control over Crosshair, especially after bothering to enhance it in the first place. So say nothing of Crosshair's crazy skills, making him one of, if not the best, shooter in the galaxy. I feel like if they want the Admiral to come across as less foolish, all these points should resurface at some point like, "Yes, having an ally specifically bred for war, with a genetically superior makeup to enhance his ability, who can be put under literal mind control and who while in that state has already proven that he'll follow our commands when conscripted soldiers won't... that's actually a good thing for us evil people to have!"

The Admiral has totally written Crosshair off. Doesn't need him. Doesn't want him. But a new character is introduced who is interested and who, crucially, outranks him. So Crosshair is let back in as someone else's evil pet, setting up conflict within the Empire.

The above, but specifically through the lens of clones now being a rare and useful commodity. We know they grabbed Nala Se, so either she (if she regains some power) or her new scientist boss could insist that they keep Crosshair around as a genetic source/experiment/whatever. Especially since they don't have Omega yet. Could even be that Crosshair becomes a prisoner again, returning to fight for the Empire, but becoming their lab rat instead.

Crosshair deliberately does something to get back into their good graces. Something, something, saving the Admiral from a legit threat, or one of Crosshair's own making. A way to show off how useful he is.

OR we do get a near execution that results in the same basic thing: Crosshair escapes, shows off his skill, all his would-be executioners are dead, he's the last one standing, and the Admiral is like, "Well then. Welcome back." You know when Rex is on the cruiser and goes "This will do nicely," Tech points out that it's not sterile, Rex pushes back that they can go to Kamino instead, and within a second Tech is going, "This will do nicely!" too? Same idea. It's easy to accept Crosshair as the best/only option if he does something to make himself that option.

Ultimately, I think how this goes down will depend largely on whether they want Crosshair back in the Empire's clutches or not. He's told TBB he intends to stick with the big power, but that doesn't necessarily mean the plot will allow for that. If the story wants Crosshair to continue being a willing Imperial for a time, prior to his assumed redemption, then yeah, I think it would be relatively easy to get him back in the Empire's good graces. It wouldn't necessary be the smoothest transition of all time, but as we've already seen in Season One — I don't totally follow why conscripted soldiers are supposedly better than clones, don't follow why TBB isn't trying to rescue Crosshair, don't understand yet why Crosshair won't clarify things about his chip, etc. — motivations in Star Wars can be... messy at the best of times. So if they just went, "And the Empire let Crosshair come back for ___ reason, don't think about that reason too hard" I'd be fine with that. But, if they want Crosshair to start his redemption now, one of the easiest ways to do that would be to stick him with a third party. Someone else finds him on the planet, perhaps someone neutral-ish like another bounty hunter, and Crosshair is given the chance to technically be opposed to his brothers because that's where they left things, but not actively working with the organization hunting him down. Plot-wise it would be relatively simple to put him in situations where he wants to return to the Empire, but can't just now, for whatever reason — they need to travel there, he hasn't thought up a means of getting back in their good graces yet, he gets caught up in another problem he needs to solve first, starts hunting TBB himself to return with that incentive, etc. — and that time allows him to start reconsidering whether he actually wants to go back, now that he's been forced to survive without them. An in-between space that will allow him to work towards the Light side again... even if I'd personally prefer for that to come about through his brothers fighting for him.

#TBB #The Bad Batch #SW #Star Wars #Crosshair #mymetas

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emily-prentits · 2 years

Note

Meta asks: 1, 2, 5, 7?

1. Tell us about your current project(s) – what’s it about, how’s progress, what do you love most about it?

already answered this with my silkcat wip but I always have others <3

we'll talk about my sayacindy wip hmm... the basic premise is Cindy visits Saya twice after the events of silk 2021, I have vibes ofc but no plot further than that😅 progress is going pretty slow rn, I've been more focusing on my silkcat wip because writing both of them at once was messing me up and giving me huge dynamic whiplash (mostly because I haven't quite figured out how I'm going to write sayacindy's dynamic yet). I have a couple parts that I really love tho!! this is a paragraph excerpt from what I have so far and I'm actually proud of how I wrote the descriptions!

The next night when Cindy drops into her penthouse, Saya doesn’t seem surprised. It’s sunset this time around, and the warm, tinted light filters through the floor to ceiling windows and turns everything in the room a shade of coral. It’s a beautiful view, the sunset over the city, but neither of them give it the slightest glance, gazes fixed on the other from the second Cindy had entered the room.

2. Tell us about what you’re most looking forward to writing – in your current project, or a future project

So many things so many things where to start… (probably a specific wip, that would be a good idea no?) We’ll go silkcat.

I’m actually looking forward to getting this fic done lol- mostly because it’s a giant pain right now but also because I think you guys will really like it! In terms of writing, I’m looking forward to dropping all their barriers and inhibitions and just having them interact (and be in love <3).

5. What character that you’re writing do you most identify with?

oh god. do I want people to know who I project onto? lol. I haven't written her in a hot minute but probably Julia Argent from Carmen Sandiego. she was the first character I really connected with and was obsessed with writing (see: my fifteen fics with her in them).

7. What do you think are the characteristics of your personal writing style? Would others agree?

This is a very good question actually, and the short answer is I have no idea. But I will ramble and try to answer for your sake lol.

I think I’m still kinda trying to settle into my distinctive writing style? I just started writing just under two years ago (wow already?) so I still feel like I’m jumping around and trying out new stuff yknow? As of right now I’d say that descriptions are a big part of my writing style though. In my most recent multi (The Wolfe Heiress) one of my mutuals told me that it was very descriptive and I agree to some extent- and have been trying to work on incorporating more into the works I’ve finished/released since the last uploaded chapter of twh.

writer asks

#asking jo #butchatalanta #twh #the wolfe heiress #this was really fun to think about ty!!

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incorrectlumityquotes · 3 years

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FULL REVIEWS: “Enchanting Grom Fright”

The hype for this episode was unreal. We got the crew telling us that we weren’t ready on social media. It was a madhouse. To think that the little ship that could would have this big a leap in canon is unreal. Let’s just get to it.

The cold open starts with Luz trying to find more glyphs in her off time. I thinks it really shows her development so far. Now she’s willing to do the work to figure out her kind of magic, as oppose to say episode two where she just wanted to be great because she was “chosen.”

“My glyph skills are blossoming”

But then reality ensues...

Using the portal to let the wifi signal into The Owl House is not the dumbest reason I’ve heard to open an interdimensional portal between worlds but it is one of the most mundane. SOMEHOW, Luz can still receive texts from her mom FROM ANOTHER WORLD. Not that it makes too much of a difference since Luz barely answers them.

As much fun as it is to focus on the magic and the shipping and the friendship and the curse, Luz still knows that she’s still lying to her mom. The guilt is there, but luckily being a main character keeps her too busy to think about it.

��Luz, time to fill that darling head of yours with...huuh huuh huuh HAKKK, mmm, mmm, mmh, delicious knowledge.”

Never change, Hooty.

It’s that time of year again that Luz doesn’t know about yet, Grom: The Boiling Isles’ weird version of prom. Every fantasy world has one.

*hiss*

Amity bumps into Luz, and I know this is going to sound weird, but I really like Amity’s “Watch it, nitwit.” Amity’s character has changed and developed from our perspective which is the perspective of Luz and The Owl House fam. But she’s not a completely different character. Amity still has a bit of a temper and gets agitated easily. It makes sense to me and I’m glad I haven’t found anyone be like “Hey if Amity is nicer, why did she get mad when she bumped into someone?”

Amity is nicer to Luz and co. because she’s gotten to know Luz and co. You don’t treat everyone in your life the same. Amity is one of those people that you need to defrost with first. Belief is backed up by experience and so are people’s personas. (Not that persona. I’m being serious here.) Because of Amity’s experiences, she’s believed that in order to survive she has to put people at arm’s length, then when she gets to know you, she’ll decide if she wants to let you in or not. So I guess that means that based on her interactions with Luz, Amity has decided...

You know what? I’ll save that for my Lumity meta.

The popular theory is that Amity was going to put her note in Luz’s locker, hence why she bumped into them. But actually seeing Luz and being announced as grom queen probably made her lose her nerve.

“Embrace your dreams...”

Amity is announced to be this year’s grom queen. Luz is happy for her before Amity runs in shock and embarrassment. Okay.

Luz discovers the gym’s weapons cache (not a thing I thought I would ever type) and Amity explains grom. Since Luz is from the human world and all that.

Grom is a monster that lives under the school and needs to be defeated every year so it doesn’t invade the town. It’s a classic shape-shifting fear monster. Odd are I have (and so have you) at least seen three or four of these in our lives already. Amity doesn’t want to show the entire school her greatest fear, especially since she already knows what it is. Luz suggest talking to Bump and Amity says she’ll try.

Another scene of Eda and King laughing and mocking Luz. Because I liked it so much the first time.

Eda gets dressed up herself because she’s volunteered to chaperone grom. Luz tells her that Amity is grom queen but wishes that she could take her place. We get...you know and Luz walks off.

“I think we should kiss to ease the tension.”

Luz randomly meets up with Amity in the woods because I guess Amity had the same idea to take a walk to clear her head. Whatever. Amity tells Luz that Bump wasn’t going to change his mind unless Amity found a replacement. Luz volunteers because...she’s Luz, friend to all.

Except maybe that spider.

Top 10 Anime Betrayals

The Blight Siblings try to help Luz train against grom only for Eda to find out about their little plan. Here’s where we find out why Eda volunteered to chaperone a Hexside event even though she hates that place:

“What’s the fun in watching a kid get eaten by a monster if it’s my kid?”

That’s hilarious. To me.

Luz and Amity have a moment before Luz’s debut and Amity thanks Luz for everything she’s done. They have more adorable banter before Luz takes the stage.

“Wish me luck.”

“Luck.”

I’m guessing that’s not an expression in The Boiling Isles.

Luz faces Grom and it seems to be going better than everyone predicted until...you know

“Mija, this would be such a good shot for the trailer.”

Yup, we all predicted this. Luz’s greatest fear is her mom finding out that she’s been lying to her. Luz panics and takes off with Eda and Amity to chase after her.

Eda comes in for the save when Amity bursts in the scene saying “Boy let me tell you what.” She doesn’t really I just like saying that. You know, in my head. I mean, if you heard the way I was saying it out loud you’d probably think it was funny too but you know...text.

Grom gets a hold of Amity and transforms into her greatest fear. And we see why Amity didn’t want to face Grom in front of the whole school. She didn’t want everyone to see that Amity’s fear is very...emotional. Not physical. She’s not afraid of a giant spider or anything. It’s a little closer to the heart.

Amity clutching at her dress like a little kid is both the cutest and the saddest thing. This fear of hers is so bad it makes this fourteen year old feel like she’s four. I’m so sure she was about to cry right there. Or maybe that’s me. Could be both.

Luz picks up the note and discovers that Amity was trying to ask somebody out before she was announced as grom queen. Amity was afraid of being rejected. Luz tries to ease her fears by asking her out to grom.

Trying seeing it from Luz’s point of view. She has no idea who Amity wants to ask out. Luz doesn’t even consider that it could be her because again, belief is backed by experience. Luz was considered a weirdo with no friends in the human world. She even said earlier in the episode that she got kicked out of her last school dance for dressing like an otter. Luz has no reason to believe that someone would like her romantically. She would like to. It is a fantasy of hers, but her experience tells her that other people don’t see her that way so she doesn’t consider that Amity wanted to ask Luz out.

I’ll save the rest for another blog post, although I did talk about this last year too.

But since Amity did want to ask Luz out and Luz asked her out instead, Amity’s fears are eased. Grom does what every fear monster does when their target overcomes their fears and says “Screw it, I’m just going to kick your ass!”

And then this happens:

As a Star vs the Forces of Evil fan, let me just say this is our Blood Moon Ball moment. The moment that the show tells the audience in John Oliver’s voice, “Yup this is the ship we’re doing so strap in folks.”

Luz and Amity work together to combine magic to take down Grom. It also helps that they eased each others’ fears. Luz can’t think about her mom if she’s focused on helping Amity.

Luz and Amity defeat Grom in a blaze of glory. Luz being Luz, decides to ask Amity who she wanted to ask out just to see if she would tell you. Amity brushes it off.

“It doesn’t matter. After all, I already got to dance with the girl I like.”

Everyone celebrates but when Luz gets home she’s more tired than anything.

Maybe it was Grom, but Luz decides to give her mom a real answer. It’s been tough but it’s also been fun. There are good and bad days. Sometimes she feels like she doesn’t belong. But she has friends. They care about her, she cares about them, and that’s more than enough reason to stay.

THEN THIS SHIT HAPPENS!

Yeah, the Meteora moment in Star vs the Forces of Evil. The moment where the show went “Never mind that shit. Here comes a complete change in the status quo.”

Someone or something is sending Luz’s mom letters. It’s Luz’s handwriting, but it’s clearly not Luz since she can’t spell her name right. Season one already finished and we still have no idea what this is.

I was all happy a second ago. Now I’m nervous as all hell. It’s a madhouse I tells ya. A madhouse!

FINAL SCORE: 5 - LOVED IT!

Wow. Just wow. This episode had everything. Jokes, plot, romance, character development, cameos, dancing, girls, MOM(?), crashing on your couch because technically I’m homeless.

I shipped Lumity before this, but this was the episode that told me that yes it was going to happen. We’re all in.

But it’s not perfect.

Yeah, did any of you noticed that I didn’t even mention the B-plot? I’m going to be honest. The reason is...

I hate it.

I hate the B-plot so much that I skip it every time I watch this episode. I still don’t think Gus is that funny or interesting. Hell, Skara’s mini plot with her date and/or boyfriend was funnier.

But everything else about the episode more than outshines the B-plot so I still give it a five.

Next time we finish up the lumity trilogy next time.

Dammit I said next time twice.

#the owl house #my works #full review #full reviews

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ironwoodprotectionsquad · 2 years

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So as I said last night I started making a meta post about the dust embargo sparked by another James hater in the tag but I noticed something and my response kept coming back to this thing I noticed and I realized my discussion was focusing way to much on this detail I noticed that is only sort of mildly connected to the post I’m referencing so I decided to make a post talking about this detail I noticed instead and the interesting implications it could have had. Now I realize people have likely talked about this already given this scene was in volume 4 but I’m late to the fandom so I have no idea if people have talked about this and I’m not about to search through years of posts to confirm this or not.

While working on the meta post I noticed that the container Weiss opens on the smugglers ship had the Schnee Dust Company logo on it.

Now you’re probably wondering why this caught my attention and why I was so interested in this. It caught my attention because the animators had to specifically add this logo onto the container. They could have simply not placed a logo on the container but they decided to place the SDC logo specifically in the container and more curiously it being inside the container rather then prominently on the outside like normally would be done on shipping containers.

I feel this is important because it tells me that given Jacques greed and what lengths he’s willing to go for power I would not be surprised if Jacques was on some level working with smugglers to ensure his dust is getting out of Atlas and sold. We also know James is not popular amongst the Atlas elite right now so their is further speculation to be made depending on if only the Atlesian military controls air traffic or if civilians are also involved that possibly some Atlesians look the other way if they suspect any sort of smuggling happening in order to also line their own pockets.

Now we technically don’t know if this is the case but I can’t stop coming back to the point that the logo was purposefully put in. Why would the containers have the logo if they didn’t come from the SDC and given that Jacques never mentions dust being stolen from his factories it’s not that big of a stretch really to think Jacques is sneaking behind James’s back and having smugglers move dust to get around the embargo. Especially given the total lack of a dust shortage we actually see within Remnant when their should be given how the show implies the SCD is the only dust company in Remnant since we never see nor hear about any other dust companies that are still in business.

This could have been such an interesting point to explore, James finding out about Jacques smuggling out dust and the real reason Jacques is so angry about Atlas boarders being shut down completely is because now he won’t be able to snuggle out dust anymore. It would really well explain why Remnant wasn’t feeling the effects of the Embargo until the mains got to Atlas and would further show that Jacques is willing to do anything out of greed. It would also help further establish the corruption within the elite the show again claims is their but that we don’t really see. We see them being snobbish and such but corruption is just not something all that present. I just think this could have been a really good plot thread to explore the continue some all to important world building and help establish why dust is still seemingly pretty readily available in Remnant despite the embargo. It would also be interesting to explore this whole thing from James’s perspective. He’s trying to figure out how dust is getting out of Atlas but he and his people keep hitting road blocks from the elite and the rest of the council either couldn’t be bothered to assist with this because they possibly even have something to gain from the smuggling.

Sadly everyone involved in this is dead and given how the show this far hasn’t explored the should be shortage of dust I don��t have a lot of hopes for them actually exploring this moving forward. I think the writers just kind of forgot to show their is a dust shortage and are hoping we will continue to not notice even moving forward.

#rwde #rwby bashing #RWBY critical #rwby crititical #james ironwood #ironwood protection squad #pro james ironwood #pro ironwood #general ironwood #general dadmiral #dadmiral ironwood

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millenniumblog · 3 years

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[ID: A chart describing the core values of each of the nine Enneagram personality types with YuGiOh characters correlated to each of the types.]

YuGiOh Enneagram Analysis, Part #1

Please note that this is the “boring” informational post about Enneagram with the Types listed and explained as well as a few other things. The next post is what has the actual, in-depth character profiles promised!

Introduction & Motivation

Over the past several months, I have been trying to analyze my strengths and weaknesses as a writer and learn more. I have been writing fanfiction since I was a little kid, making my first FF.net account in 2003 when I would have been twelve years old. Even before that, I was a lurker and wrote fics to share with my childhood best friend on paper or floppy discs.

YuGiOh came into my life at some point shortly thereafter. I know this, because I spent my thirteenth birthday in a comic book shop, mostly watching some of my male friends play the trading card game. I had some of the cards, but I was never much of a player, unable to keep up with the seemingly rapid rule changes. Besides that, I was always way more interested in the story and characters than I was in the card game. I remember I even wanted to call “YuGiOh cards” “Duel Monsters” instead to make it seem a little closer to tween-y LARPing.

Eventually, I gave up on collecting cards or trying to ply the game. I felt that while my male friends didn’t mind me being around when they played, they weren’t extremely interested in helping me learn or keep up. I felt I had other strengths, so I started carrying around a notebook even more than I already did. I started my fledgling forays into online fandom. And YuGiOh was a big part of the beginning of that.

I can’t remember posting any YuGiOh fic in particular, and I’m sure that if I had it would make me cringe now. What I do remember is reading some and also spending a lot of time lying on my bed, headphones plugged into a small purple stereo, listening to the first of the two American-released CDs with YuGiOh-inspired music on them. In particular, the last three tracks were pieces of music from the original score composed for the 4Kids dub, which is - for some reason - different from the original Japanese music.

During that time, I would fantasize and conjure my own YuGiOh plots in my head, most of which were focused on the Ancient Egyptian and more spooky, spiritual, and horror themes in the show. I was really fascinated with the reincarnation angle, though my understanding of and opinions on how that works have grown with time.

Years went by, and I didn’t think about YuGiOh much at all. Then, something happened in 2018. I don’t know what got in my head, but it was like all the joy I once found in thinking about the YuGiOh characters came back in a giddy conversation with my childhood best friend. Then, for a little while, it wouldn’t leave me alone.

I started writing for the fandom then, and after several detours, I’m trying to get back in the groove of it.

My approach to the tone of YuGiOh-fanning is that it’s a bit serious, but it’s also with a tongue placed in my cheek because of how incomprehensible or silly the plot can be on a meta level. Sometimes, it almost brings tears to my eyes by being so over-the-top about something that, in the real world, would make no sense at all. But the drama, in the context of the universe, somehow rings true.

I think that’s all owing to how most of the primary characters are just... really freaking great characters.

It has often puzzled me. Like, did Takahashi do all this layering on purpose? Is it really there, or did earnest fanon just make it seem like it? And, as a person, I am always here for a good fan-and-canon symbiosis.

This post is going to be, from here on, an effort to match the YuGiOh characters to the 9 Enneagram Personality Types. I am writing this for my own benefit as I continue to work on my pet YuGiOh fanfiction project, It’s Always Sunny in Domino City, which is a mixture of YGOTAS-vibes-and-concepts taken seriously and a sincere take on fanfiction for the actual canon. It’s dramedy about a sizeable chunk of the main cast a few years post-canon with some canon divergence such as the Memory World arc not yet and possibly never-happening. If that sounds like something you’d like, I would humbly request you check it out!

Either way, this will be an in-depth character analysis cheatsheet for all of the characters above, based on my observations, opinions, and feelings. I invite discussion, but it’s fine if we need to agree to totally disagree!

If you are interested and enjoy what’s below the Read More and in the coming second post, then you are welcome to utilize the character analyses to aid you in your own fanwork!

Enneagram

What is Enneagram, and why am I using it?

Enneagram is a personality categorization system that one might compare to the somewhat better-known MBTI. However, in the words of excellent writing-advice YouTuber, Abbie Emmons:

MBTI shows us how we behave.

Enneagram shows us what we believe.

I will be referencing Abbie’s video Using The ENNEAGRAM To Write CONFLICTED CHARACTERS and her free Enneagram-cheatsheet, available in the description of the linked video. Whether it’s before you continue reading or after, if you’re interested in writing, I would highly recommend you check out her channel!

The Enneagram system has nine basic personality types that overlap and interact in really interesting ways. It is not a hard science, and it’s not a horoscope. Instead, it’s supposed to be “based on conventional wisdom and modern psychology.” All I can say is that with every set of characters I’ve tried it with, it works! Once you get the hang of it, it feels kind of like ~✰~magic~✰~!

Below, I will list Abbie’s simplified definitions of each of the personality types, in order:

Type 1: The Reformer

The Rational, Idealistic Type:

Principled, Purposeful, Self-Controlled, and Perfectionistic

Basic Fear: Of being corrupt/evil, defective

Basic Desire: To be good, to have integrity, to be balanced

Key Motivations: Want to be right, to strive higher and improve everything, to be consistent with their ideals, to justify themselves, to be beyond criticism so as not to be condemned by anyone.

Type 2: The Helper

The Caring, Interpersonal Type:

Generous, Demonstrative, People-Pleasing, and Possessive

Basic Fear: Of being unwanted, unworthy of being loved

Basic Desire: To feel loved

Key Motivations: Want to be loved, to express their feelings for others, to be needed and appreciated, to get others to respond to them, to vindicate their claims about themselves.

Type 3: The Achiever

The Success-Oriented, Pragmatic Type:

Adaptable, Excelling, Driven, and Image-Conscious

Basic Fear: Of being worthless

Basic Desire: To feel valuable and worthwhile

Key Motivations: Want to be affirmed, to distinguish themselves from others, to have attention, to be admired, and to impress others.

Type 4: The Individualist

The Sensitive, Introspective Type:

Expressive, Dramatic, Self-Absorbed, and Temperamental

Basic Fear: That they have no identity or personal significance

Basic Desire: To find themselves and their significance (to create an identity)

Key Motivations: Want to express themselves and their individuality, to create and surround themselves with beauty, to maintain certain moods and feelings, to withdraw to protect their self-image, to take care of emotional needs before attending to anything else, to attract a "rescuer."

Type 5: The Investigator

The Intense, Cerebral Type:

Perceptive, Innovative, Secretive, and Isolated

Basic Fear: Being useless, helpless, or incapable

Basic Desire: To be capable and competent

Key Motivations: Want to possess knowledge, to understand the environment, to have everything figured out as a way of defending the self from threats from the environment.

Type 6: The Loyalist

The Committed, Security-Oriented Type:

Engaging, Responsible, Anxious, and Suspicious

Basic Fear: Of being without support and guidance

Basic Desire: To have security and support

Key Motivations: Want to have security, to feel supported by others, to have certitude and reassurance, to test the attitudes of others toward them, to fight against anxiety and insecurity.

Type 7: The Enthusiast

The Busy, Variety-Seeking Type:

Spontaneous, Versatile, Acquisitive, and Scattered

Basic Fear: Of being deprived and in pain

Basic Desire: To be satisfied and content—to have their needs fulfilled

Key Motivations: Want to maintain their freedom and happiness, to avoid missing out on worthwhile experiences, to keep themselves excited and occupied, to avoid and discharge pain.

Type 8: The Challenger

The Powerful, Dominating Type:

Self-Confident, Decisive, Willful, and Confrontational

Basic Fear: Of being harmed or controlled by others

Basic Desire: To protect themselves (to be in control of their own life and destiny)

Key Motivations: Want to be self-reliant, to prove their strength and resist weakness, to be important in their world, to dominate the environment, and to stay in control of their situation.

Type 9: The Peacemaker

The Easygoing, Self-Effacing Type:

Receptive, Reassuring, Agreeable, and Complacent

Basic Fear: Of loss and separation

Basic Desire: To have inner stability, "peace of mind"

Key Motivations: Want to create harmony in their environment, to avoid conflicts and tension, to preserve things as they are, to resist whatever would upset or disturb them.

Now that you’ve seen all those, what do you think your favorite character is? In YuGiOh or anything else! It works great for original characters and even yourself and your loved ones.

The actual Character Profiles will be in coming post(s), but continue reading if you want me to explain more about how and why the Enneagram is a great personality typing system. #nonspon, or whatever.

The Enneagram Chart

Now, you could just go to the Enneagram Institute’s page on How the System Works, but below I’ll cut it down to only the parts I’m interested in and explain those in a way that helps me.

Unlike in astrology or MBTI, which are both more restrictive in different ways, the relative position of each type matters a bit on the Enneagram chart, because it can be used to visualize a lot of things about a person!

The Basic Chart

The Types are shown in a clockwise fashion with “1″ in the 1 o’clock position on an analog clock. The interior lines mean things, but I have trouble reading it without further delineation.

Centers of Response

Below are two small charts, displayed side-by-side. (If it’s too small, try right-click, open in new tab!)

The chart on the left shows the three “centers.” The “centers” indicate the first ‘processing language’ a person would use to respond to stimuli.

Type 8, Type 9, and Type 1 respond first based on instinct (primal, gut-feeling). If you want to go Freudian, this is from the id.

Type 2, Type 3, and Type 4 respond first based on feelings (social or personal desires, the heart). If you want to go Freudian, this is from the ego.

Type 5, Type 6, and Type 7 respond first based on thoughts (analytical rather than emotional, the head). If you want to go Freudian, this is from the superego.

Remember that, of course, every single type and person engages their instincts, their emotions, and their thoughts at different times and to different degrees, and some of these are learned or changed behaviors. This is about what their innate drive toward that would be.

Likewise, the same “centers” can also be used for the chart on the right. You will notice that all three of these are defined by what is typically considered a negative emotion. This is because this is about a person’s instinctive, not particularly conscious emotional response when they are backed into a corner and deprived of something that is core to the needs of their personality type.

Type 8, Type 9, and Type 1 tend to respond to a threat to their psychic well-being with anger/rage.

Type 2, Type 3, and Type 4 tend to respond to a threat to their psychic well-being with shame.

Type 5, Type 6, and Type 7 tend to respond to a threat to their psychic well-being with fear.

Stress vs. Growth

We all know that there are times when a person isn’t acting like themselves, for better or for worse. Usually, “You’re not acting like yourself,” means that a person is behaving badly. Of course, it’s way easier to withdraw and bristle and defend rather than growing in the midst of adversity. However, it is certainly possible to experience character growth in response to experiences, good and bad. Unlike a lot of other personality typing schemes, the Enneagram has a way to display and predict what stress and growth do to a person.

The Enneagram never suggests that any Type is an island unto itself. Every person contains multitudes, but a person’s Type is likely to remain relatively stable throughout their lives, once they have had a chance to develop any personality at all. This means that when a person is stressed or growing that they do not become the type they emulate. Rather, they are more highly expressing that aspects of their personality that reflect those drives and desires but in a way that is either fraught, sickly, or unwell (in the case of stress), or aspirational, flying-high, and incorporating the hard-lessons into who a person is going to be going forward (in the case of growth). The latter, especially, isn’t a sustainable mode, while a stressed person can become more entrenched in their bad habits and defensive coping mechanisms.

Stress

Note the white, directional arrows. Each number has an arrow point pointing to it and an arrow leading away from it. The point indicates that this is the stress manifestation for the Type at the origin of that arrow. The origin of each arrow indicates the Type being described.

Confused? Let me finally give you a YuGiOh example.

When I was trying to identify the Types of the characters, defining Marik was difficult, because he has a “Yami,” or Dark Side, which has its own personality and will but which is not its own separate soul or person than Marik himself. Rather, it’s a kind of fantasy/magic-assisted personality splintering where Yami Marik is a full manifestation of the negative traits Marik needed to embody to survive.

So, for reference:

When stressed, Type 1 behaves more like Type 4.

When stressed, Type 2 behaves more like Type 8.

When stressed, Type 3 behaves more like Type 9.

When stressed, Type 4 behaves more like Type 2.

When stressed, Type 5 behaves more like Type 7.

When stressed, Type 6 behaves more like Type 3.

When stressed, Type 7 behaves more like Type 1.

When stressed, Type 8 behaves more like Type 5.

When stressed, Type 9 behaves more like Type 6.

Alternatively, you can use these sequences to follow the stress lines:

1-4-2-8-5-7-1

9-6-3-9

Growth

Think of the above-explanation in reverse.

The sequence:

1-7-5-8-2-4-1

9-3-6-9

As a Type 1 grows, they incorporate more positive traits of Type 7.

As a Type 2 grows, they incorporate more positive traits of Type 4.

As a Type 3 grows, they incorporate more positive traits of Type 6.

As a Type 4 grows, they incorporate more positive traits of Type 1.

As a Type 5 grows, they incorporate more positive traits of Type 8.

As a Type 6 grows, they incorporate more positive traits of Type 9.

As a Type 7 grows, they incorporate more positive traits of Type 5.

As a Type 8 grows, they incorporate more positive traits of Type 2.

As a Type 9 grows, they incorporate more positive traits of Type 3.

Wings

The final thing to know about the Enneagram chart for my purposes is about wings. The wing of your personality traits accounts for the complementary and contradictory aspects of your personality. They are the inconsistencies that make you human, predicted and jumped in. Typically, a person is not thought to have both possible wings but one or the other. A wing is one of the two adjacent Types to yours, the number before, or the number after, and it is annotated, for example:

Type 1, Wing 2: 1w2

Type 1, Wing 9: 1w9

Link to Part 2 Here!

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honeykept · 4 years

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Catalysts & Changes: a 15x16 Meta

I wanted to talk really quickly about Dean’s change this season, especially regarding 15x16.

My main focus of this meta is to talk about Mary’s impact on Dean being the catalyst for this change we’ve been seeing, but I’m also going to be mentioning some Cas/destiel things to tie into this. So, here we go:

I. Mary as Catalyst & Myth

Mary is Dean’s reason. By that I mean that literally the whole reason Dean hunts--or, rather, continues to hunt, since John honestly forced it on him--was all in the hopes of catching what killed Mary. That was the main purpose of season 1, other than finding John. This is Dean’s motivation, his basis as a character.

Dean has also mentioned on multiple occasions that Mary was why he was brave, why he kept fighting, and that he often thought about her.

Dean: I was scared, too. I didn’t feel like talking, just like you. But see, my mom...I know she wanted me to be brave. I think about that every day (1.03 Dead in the Water)

Remember this quote, because I think it’s eerily similar to the one in 15.16 that I’ll talk about later in this post.

This makes sense--she’s his mom, he should be affected in some way about her death. But Dean takes it to the extreme, based his life around it, held on to it for far too long. Sam was different, because he never actually knew Mary, and we know from earlier seasons that their feelings about her are pretty different.

Meanwhile, almost any time Dean has dreamt of something ideal, Mary was there (think of his djinn dream in 2.20 where Mary never died, and in heaven in 5.16). We can especially see that this is true because of what Amara said in Gimme Shelter:

Dean: What was the point?

Amara: I wanted two things for you, Dean. I wanted you to see that your mother was just a person. That the myth you’d held onto for so long of a better life, a life where she’d lived, was just that: a myth. I wanted you to see that the real, complicated Mary, was better than your childhood dream because she was real. That now is always better than then. That you could finally start to accept your life. (15.15 Gimme Shelter)

Here, Amara was anticipating a turning point. She had wanted Dean to be “released” by having Mary back, but obviously this didn’t happen. Instead, Mary’s death was once again the catalyst for Dean’s change, just like it was the first time when Azazel killed her. We can also see from this that Dean has always been stuck in the past, hence Amara telling him that he should be focusing on now, instead. Another thing to note for future reference is the “real” line. Remember Cas saying “we are” when Dean asks him what is real.

Mary was also not exactly what Sam or Dean--hell, not even the viewers--had been expecting when she returned. She was scared, alone, and had trouble dealing with being back in a new century with her little boys all grown up and even worse-- hunting. But Dean eventually accepted this. He accepted the real version of Mary, but continued to idolize her and bring up the past.

II. Mary’s Death

Now let’s take a look at what’s happened since Mary’s second death:

Denial. Dean hopes Mary isn’t actually dead, even though all signs point to this.

Grief. Dean cries alone at the site of her death.

Blame. Dean blames Jack and Cas for what happened.

During and after the funeral, Dean avoids talking about it with anyone. However, he is obviously affected by her death. Sam even holds Cas back from going to Dean while burning the pyre. Bobby makes a comment about Dean being a lot like him and not wanting to show his feelings to others.

These all sound like the Dean that’s been built up since season 1. Not dealing with his feelings properly at all, pushing people away, denial. The one thing that makes this time different from other deaths, though, is that--just like the first time Mary died--there's no body to bring back. It's implied in 14.19 that if there had been, Dean would have tried, because he even tells Sam:

Note: This is also an episode where we see Jack being a mirror for Dean by doing exactly that--doing everything in his power to try to bring Mary back by himself. It doesn’t work; Mary’s gone for good. And she’s happy--she’s in heaven!

In addition to there not being a body, Dean also knows who did it. It's not some unidentifiable yellow-eyed demon that he can spend years tracking down, it's Jack. It's his son, it's someone he can't and won't kill, because he's family, even if he’s guilty. So Dean has no outlet for his rage except to put blame on not only Jack, but Cas (specifically in 15.03 The Rupture, Jack is dead at this point and he pushes Cas away for several episodes). And here is where Dean begins to change.

III. The Shift: Anger, Apologies, and Forgiveness

Because then, in 15.09 The Trap, there is a big, significant shift. Dean forgives Cas:

Dean: You’re my best friend, but I just let you go. ‘Cause it was easier than admitting I was wrong.

He cries, looks around, and gets on his knees.

Dean: I don’t know why I get so angry. I just know-I just know that it’s just always been there. And when things go bad, it just-it comes out. And I can’t- I can’t stop it. No matter how--how bad I want to, I just can’t stop it. And I forgive you, of course I forgive you. I’m sorry it took me so long to...I’m sorry it took me ‘til now to say it. (15.09 The Trap)

This is an incredibly important scene because it shows that Dean knows about his anger--the anger that Amara talks about in 15x15, and he wants to stop it.

Amara: I thought having [Mary] back would release you...put that fire out. Your anger. But I guess we both know I failed at that.

Dean: You’re damn right. (15.15 Gimme Shelter)

After this, Dean clarifies that he’s not only angry, but furious. This is change, this is change caused directly by Mary’s death--by Amara bringing her back again. Dean might say he is furious, but he has also said before that he wants to stop his anger. And, in many ways, he’s been taking steps towards doing that:

For example, here in 15.09 when Dean forgives Cas, (gif credit)

and here in 15.14 when he tells Jack he’s trying to forgive him for killing Mary, (gif credit)

and again in 15.16 for not telling Sam and Caitlin about the dead bodies when they were younger (gif credit)

and most recently, at the end of 15.16, when he didn’t tell Sam about Jack dying. (gif credit)

So now we’ve taken the turn towards forgiveness. Dean has been handing out apologies and forgiveness like never before this season, which is a definite change to how it used to be with him. He’s opening up, and he is trying to do better and be better than before. Billie also tells him this at the diner:

(gif credit)

I’m inclined here to believe that Dean is on that road to forgiveness with Jack. I mean, he said it himself in 15.14 that he’s trying, and Cas also vouched for him when Jack asked if forgiveness from Dean was a possibility. So in 15.16, when Dean says they have “no choice” but to let Jack die, it’s not because it doesn’t haunt him. It clearly does, with the entire episode dealing with Dean coping with the deaths of children, even his brother. He doesn’t want Jack to die, but his anger, his fury towards Chuck is taking precedence over that. It’s something he wants to change, but feels like he has no choice in the matter.

To add on to this, Jack has been a clear mirror for Dean this entire season. Dean’s argument with Sam about them having no choice is an indication of this. Just an episode prior in 15.15, Jack told Cas that the choice wasn’t his whether or not Jack died. So the pair ups in 15.17 aren’t all that surprising. With the episode being titled “Unity,” I think that the four of them will reach an agreement by the end of the episode (I keep mentioning agreements in all of my metas, because I think Chuck/Amara and Sam/Eileen’s agreement had important implications, but alas...), and be unified in a new plan to defeat Chuck.

As for Dean? I don’t think his ending is going to be expected. He is changing--he won’t be making the same decisions he used to make in earlier seasons.

I also find it fascinating that they made 15.16 a flashback episode to their past as children. Not only did 15.16 show us Dean being annoyed by sex, ignoring a possible love interest (which we were right as an audience to assume it would be written that way, because it has been so many times before), and how he’s dealing with the prospect of Jack’s death (with all of the imagery of dead children), but it really brought to light how much Dean has changed.

The most obvious way they showed us this was through this scene with Caitlin (who looks eerily like a young Mary...interesting), who says this:

(gif credit)

Dean: Always am.

Caitlin: You have changed. The old you never would have admitted that.

Dean: Well, I’m not sure that’s a good thing.

Caitlin: I think so. What do they say about getting older? You tell the truth more because lies...they don’t make anything better. (15.16 Drag Me Away (From You))

Now, ignoring the fact that Dean has admitted this (in 1.03), we know that the only time he has admitted to being scared before was in relation to Mary. But I think what the writers were going for here was not only to highlight Dean’s recent character growth by admitting to Caitlin that he’s changed, but also the running theme of lying this season. I’ve said it before that Sam has been the only one telling the truth in s15, and I think it’ll eventually come into play during the final episodes. The truth/lies aspect will become a central plot point--I mean, it already is. But I think it’ll factor into how the show will end as a whole, especially with this episode and previous ones alluding to normalcy and the possibility of it for Sam.

I’m going to finish this here, because I’ve dragged on too long, but some other (destiel) things to note are:

Dean falling to his knees in the hallway as a parallel to falling on his knees in Purgatory, praying to Cas, apologizing.

Dean cutting off Baba Yaga’s fingers, whereas Cas restored a woman’s fingers in 15x15. The pastor telling Cas that people are god’s hands; they lift each other up with each finger. The implications of Dean cutting people off, and Cas bringing people together.

another amazing meta regarding 15.16 and another about dean changing + 15.16

#i have literally spent HOURS on this #im so sorry it's so long oh my god #supernatural meta #rambleoncas meta #spn 15x16 #spn spoilers #spn #supernatural #destiel #dean winchester #roc original #my post

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arofili · 4 years

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how’d u get into writing? like, writing fic and being part of the silm community, being Known, that stuff? i’m really new to being a silm cc and i’d love to know ur advice! also: how’d u build up the confidence to start posting meta/hcs? bc i have a Lot of hcs and meta ideas but also i’m really anxious abt posting them bc yknow anxiety is like that

these are some great questions, anon! I’m gonna go through them one by one :)

how’d u get into writing?

not to be like, super cliche, but I’ve...kind of always been a writer? as long as I can remember I’ve been telling stories, and when I was too young to read or write I would dictate them to my mom, who would type them up for me and help me choose clipart illustrations to accompany them. when I got old enough I would always be writing; I attempted my first novel at age 9, and while that never really went anywhere I did finish the darn thing and it had some pretty sophisticated plot twists for a 9-year-old!

like, writing fic

around the same time I got into fandom! I was deep into Warrior cats (like. really deep) and I believe I started writing my first fics when I was like? 10 or 11? my memory is kind of fuzzy on the order of things, but I know I got an account on the Warriors forums when I was 9, and that I was already posting my fic there when I made my FFN account. I believe I was 12 when that happened, but who knows. I haven’t the faintest idea of what happened with those forums, but uhhh pretty much all of my Warriors fic is still up on FFN lmao. you could probably find that if you want to but um...maybe don’t?

my first Big Fic was a self-insert of...my entire 5th/6th grade class into the then-current timeline of the Warriors books...well. I honestly think that might still be my most popular fic of all time l m a o though I try not to think about it because Hashtag Cringe. though as much as I look back on that time with a “yikes,” I am very grateful for the Warriors fandom in a way? that place was so accepting and encouraging of OCs, of AUs, of completely disregarding canon, of worldbuilding that is completely alien from canon - it was a fantastic sandbox to begin with, there were so many ways to write stories and practically all of them were accepted and had fellow fans invested in them!

and being part of the silm community,

soooo I wrote Warriors fic until my freshman year of high school (wow sdjfhkdsjfh), which was when BOTFA came out, and I was absolutely wrecked by the ending and immediately started writing my own fixit fic. I was also super hooked on Kiliel! so that was my intro to the Tolkien fandom; and simultaneously, I joined tumblr, and, well, the rest is history tbh.

I honestly do not remember when I first read the Silm, but I kind of got into the more obscure parts of the Tolkien fandom through fandom osmosis, and I do have a vague memory of doodling the Finwean family tree in geometry class so it might have been later on in freshman year? that was also the same time I was having my Queer Awakening, and Russingon definitely contributed to me unlearning my internalized queerphobia, so probably around then.

anyway - queer awakening, tumblr, Tolkien, transitioning from FFN to AO3 - all of that was happening around the same time. I know I dipped my toes in the Silm fandom then, but I was still primarily a Hobbit fic writer focusing on Kiliel. toward the end of high school I kind of shifted to LOTR and (qp) Gigolas...but somehow the Silm fandom is the most active of the Big Three within the Tolkien fandom, and I was getting dragged further and further in.

it wasn’t until @backtomiddleearthmonth 2019, my freshman year of college, that I really dove into writing Silm fic! I picked some Silm-specific bingo cards and never looked back :D that was really not all that long ago but I am obsessed in a way I don’t really remember being even with TH/LOTR, I obviously cannot see the future but I anticipate hanging out here for a long time. the Silm fandom is great overall and there’s just so much material to work with!! <3

being Known, that stuff?

so I don’t really have a whole lot of context on how “well known” I am in the fandom?? definitely within the past year and a half or so I’ve noticed that I like, get asks like this, and get a significant amount of notes on my posts, and I’ve made a lot of fandom friends especially since I joined some Silm servers on Discord (hmu if you want invites; I’m on the SWG server and 2 general Silm servers and the Russingon server) this past year. and I have 3,000 followers as of this month - and while ever since I hit 1k I don’t particularly pay attention to my follower count I can definitely say that I have more engagement now than I used to! but it took me a long time to build this “audience,” I suppose; I’ve been around the Tolkien fandom since late 2014, so nearly 6 years of this, lol.

really the best way to build a following, in my experience, is to just post a lot of stuff. when I started making edits I got a lot more engagement, because for a long time I would post one every day! (I made them in batches and queued them; I didn’t actually make one every day lol...and now I’m too busy to do that, so I just make edits for events and whenever I feel like it) And I have [checks ao3] 145 works in the Silm fandom as of today - I’m fairly prolific! I’ve come to generally expect 3-10 comments on most of my oneshots, which is a lot more than I used to have back in the day. consistency and quantity are more likely to attract people to your work - and quality, of course.

also: how’d u build up the confidence to start posting meta/hcs?

I’ve been writing since I was very young, and I’ve been writing fic for like...11 years? I think? in that time I’ve produced a lot of garbage, but imo most of that was in my Warrior cats phase, so I came into the Tolkien fandom with confidence in myself and my writing. I’m also working on original fiction on the side (I hope to eventually become a published fantasy author, but right now school takes up most of my time that I don’t devote to fandom, which gives me more immediate gratification and also is just Very Fun) and I know I’m a good writer.

basically, I’ve been doing this for like...half my life, and I’m still fairly young, so I’ve had time to build up my skill and confidence and I know I’m only going to get better with time. you will get better with practice. like I said, I’ve written a lot of terrible stuff, and it’s only through sucking for a long time that I’ve gotten to the point I am now. and I am far from perfect; I know I still have lots of room to grow!

for meta and headcanons specifically, I started with writing fic, and then when I didn’t think I could stretch something into an entire fic I would just make a hc post. I have a vivid memory of writing my first meta in a notebook during driver’s ed because it was so goddamn boring and I had Thoughts about Tauriel and Thranduil!

in my experience, meta comes from having Opinions and wanting to share them and most importantly to back them up - you need to have sources! you need to have reasons! you need to have justification! otherwise it’s not meta, it’s a headcanon or an AU. which is fine!! I love hc/AU!!! but they are not the same as meta, and I’m a stickler for being accurate when it comes to meta. if you have sources and shit to back you up, that will help you build the confidence to share your meta.

sharing disinformation and passing it off as meta instead of just coming out and saying this is a headcanon/baseless theory/AU or whatever is such a fandom pet peeve of mine; it’s not bad for something to not be Accurate! you just have to have that disclaimer - and even when you’re writing meta, you’re offering an interpretation of the text, and you need to acknowledge that other interpretations also exist and are valid.

um. I hope this answers your questions? and sorry for basically word-vomiting my entire life story, lol. this post got long; the main reason I’ve written so much fic is because I really just cannot shut up for the life of me. sooo if you can tear of that filter of being shy and just. say shit. you can go so far~!

OH and one more thing - I can’t believe I almost forgot this - but part of being a writer is participating in the community. this is code for LEAVE A DAMN COMMENT IF YOU LIKE A FIC. that’s how I made most of my fandom friends before Discord! I follow @ao3feed-silmarillion and stalk that blog for new Silm fics; I read the ones that interest me and comment on them.

I know this is not really the most common way for folks to find fic but it’s so rewarding to interact with new fic, new writers, new commentors, new stories - you can find gems that don’t rise to the top of the kudos/bookmark lists; you become friends with your fellow writers; you can watch people grow and change; you support smaller content creators. yeah, you might not be getting Just The Best Stuff, but it’s so so so worth it!!

and if you make friends in the comment section of other people’s fic - I guarantee you some of them will go to your AO3 profile and check out your fic, too! and they’ll leave comments! this is a fic community, and that’s what I cherish about fandom most of all, tbh.

anyway - again - sorry for rambling so much, but I hoped this helped! feel free to send in another ask, or to come talk to me off anon if you’d like! and definitely send me your stuff if/when you decide to share it; I would love to support you!!! <3

#silm #silm fandom #silmarillion #fan culture #tmi anna #(for real this time sjdfhdkfh)#tefain nin #long post #anon #answers

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fatalism-and-villainy · 3 years

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What Makes a Work “Fannish” for Me?

So there’s been some well-need pushback against the idea that fandom-inclined people are “ignoring” quality media, or media with more unique premises/plotlines, more explicit canonical queerness, etc. This post, in particular, points out that people, in their fandom activity, tend to gravitate towards more “fandom viable” works, but that their taste could very well stretch beyond that. I agree with the general sentiment, but it got me interested in poking at what, exactly, constitutes “fandom viable.” My own fannish history is perhaps a little idiosyncratic, and my tastes are individual, so I can’t claim to speak for everyone here, but I did isolate certain aspects of a work that make me personally more inclined to write fic about it, read fic about it, extensively headcanon about it, write meta about it*, etc.

*My analysis brain is rarely turned off, but churning out actual quality longform analyses or interpretations, as opposed to condensed observations, take brain power that I don’t want to devote to everything I watch.

Here’s the reasons I could come up:

There has to be a semi-substantial fandom in place already. I won’t be prompted to think extensively and fannishly about something if the infrastructure to do so isn’t in place already!

By extension, there has to be a lot of Lore in the work or its worldbuilding to pick apart and analyze, or at least a lot of interpretative potential to its characters and relationships. I first got drawn to online fandom for meta, and that still exerts a powerful pull in me in terms of whether or not I want to engage with a fandom (even in fanfiction-related ways).

There has to be something porous about it, some sort of empty space I can crawl into. I’ve seen people cite the work in question letting them down as a motivation to participate in fandom, because they want to write or read fix-fic. That’s not quite what I’m getting at here, or not necessarily - sometimes the work in question works completely well and feels perfectly realized as its own story, but still leaves lots of potential to expand it beyond the bounds of its structure. The Silmarillion, for instance, is very broad strokes in its narrative, which works for its aims considering it’s meant to be an historical/mythological account (with various in-universe framing devices). But the extent to which important events, character interactions, and eras are glossed over leaves open lots of room for a fan to hone in on a particular element of the story and magnify it. The story as it functions purely on its own level is the appeal for me as a reader; the ambiguity and expanse of space to imagine the relationships in any number of ways is the appeal for me as a fan.

There has to be a large cast. Gertrude Stein imagined theatre as analogous to a landscape painting in that it focused on group structures and relationships, and that’s the kind of approach I like to take to fanfic, and to building my own headcanon-universe. I often have my favourite characters, of course, but I’m not the kind of person who focuses exclusively on one character or ship. I’m drawn to networks of people whose lives rotate around and brush up against each other, and who offer a variety of permutations in interaction to play around with. A lot of the novels and stories I love don’t lend themselves to this, because they’re essentially a one-man show, with other characters existing to serve that one protagonist’s story. I need to have not necessarily multiple protagonists or POV characters, but multiple characters who are players in the game and whose perspectives, backstories, and interiority are at least hinted at. This is a big appeal of MDZS for me - it’s Wei Wuxian’s story, but there are numerous side characters who are given attention and whose personal relationships are important plot-wise or theme-wise.

There needs to be a fantasy element - more specifically, it needs to take place in a world not our own. (Whether or not Star Trek or the MCU could count as this is.... questionable). Obviously not everyone feels this way - see Hannibal, Sherlock, and countless other popular fandoms that are set in our world. But for me personally, I like to have some remove, and in fact feel rather uncomfortable at the prospect. The reasons for this are twofold. One is negative - I’ve never felt entirely comfortable with writing stories that take place in our world, especially with no magical or otherworldly aspect. It’s hard to say why this is, as my reading habits certainly don’t tend in that direction - I read and enjoy a lot of realistic fiction, and, while I enjoy SFF, I’m quite picky about it. (This is what we mean by “people fannish tastes don’t necessarily indicate their media tastes as a whole.”) But I find writing those kinds of stories stifling and hard to express my voice in, for some reason. The other reason is positive - I get a lot of active joy in cultural worldbuilding, in playing in fictional settings not my own. This is a big appeal of The Silmarillion, and why I’ve toyed with writing fic for Homestuck. I will say that I also like writing queer characters and relationships, and there’s no way I want to touch real world queer identity and politics. There’s an appeal to exploring issues like those through a funhouse mirror. Art lets us look at our reality a bit slantwise.

I’m sure there are other factors present for me, especially ones that are more minor or idiosyncratic, but those are the main ones for me. I’m curious to know what the draws for that particular kind of engagement are for other people!

#fandom natterings #alpha speaks #my meta #fandom #for pillowfort #queue

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highladyluck · 4 years

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Here, have 4.5 pages of rambly Tuon meta. I wrote this to try to get a handle on Tuon’s character, and to develop the theoretical framework for a redemption arc for her. I’m hoping posting this doesn’t cut my motivation to actually write it...

Who is Tuon? Tuon Athaem Kore Paendrag, High Lady, Daughter of the Nine Moons; now the Empress of Seanchan (at least on the westlands side), Fortuona Athaem Kore Paendrag. To borrow some phrasing and framing from @websandwhiskers: She’s the pinnacle of Seanchan culture and an extremely functional tool of the state; responsible (both personally and institutionally) for psychologically and physically torturing people and enslaving them; she also has some compelling moral and personal qualities that she and the state have not yet managed to quash, which kind of makes it all worse, ethically speaking. She’s a villain whom the original narrative neither sufficiently condemns nor sufficiently redeems, married to one of the Big Damn Heroes in a match that’s both very odd couple and very complementary.

She respects people who stand up to her, as long as they aren't 'disrespectful' in the process- and the 'disrespect' is very situational, she'll accept things in private or in non-court settings that she can't let slide in court without losing face and therefore power. She cares very much about the legitimacy of authority, because it correlates positively with stability and is ingrained in her self-image, but she has an autocrat’s idea of what is legitimate. She assumes you know your own self-worth in relation to hers and are prepared to both display it and back it up. She has also internalized that other people's challenges of her are opportunities for her to prove her strength and fitness to rule, and she probably low-key seeks to provoke reactions now as validation/training, for herself and others.

She has rigid moral standards within the context she was raised in, and punishes herself first for perceived failure because if she does it first, perhaps she can avoid someone else doing it, with deadlier results. She has never been allowed to be less than perfect by her culture's standards- she can be (and has been) odd, but she cannot be flawed- and possibly expends all of her natural empathy on others instead of herself, because she can't afford that kind of indulgence herself, but she knows she owes it to lesser beings?

And as @websandwhiskers pointed out, she does have a lot of empathy within allowable contexts, and I think she is willing to push the envelope compared to her peers as long as she/the empire isn't directly threatened. That's what the kiss after Mat let the poisonous snake go was about. The snake was poisonous but not attacking, and not likely to attack unless someone escalated the situation, and Mat deescalated it. No harm, no foul. Mat responded to a fraught situation both logically and mercifully, in the way she imagined she would have if she had been in his shoes and known he same facts he did, and she rewarded him.

She’s competent and charismatic; I hesitate to say that she inspires loyalty in underlings because honestly with the damane it’s brainwashing (eurgh). But Selucia and Karede are both really into her, personally, even when there are societal inducements not to play favorites. Mat is loyal to her, though honestly Mat is loyal to like... anyone he’s responsible for, so maybe it’s more relevant to say that Mat genuinely likes her; at least, he likes the person he thinks he can coax out of her, and in terms of the persona she has more typically, I think he responds well to her competency and self-possession. The ability to project those things is probably a big part of what goes into charisma.

She thinks that the people who oppose her just don't have all the facts. She doesn't like to admit she's changed her mind; it looks like weakness; she's fine identifying it in others but not herself. Ideally she would pretend things have always been the way she now knows they are, and if she can't, she goes for the "Yes [fact], but [here's what I've decided is now germane to the argument at hand]." redefinition of the problem. She always thinks she’s right, though she does tend to leave some space between when she’s decided something and when she promulgates the decision, to allow for opposing arguments.

I think the original relationship Tuon has with omens is that she uses them to look for external justification from the universe for decisions she's already made. (I mostly like Sanderson's Tuon POVs, but I also I think Sanderson sometimes used omens as a 'make Tuon do OOC things for the plot' card.) Tuon's running dialogue with omens also shows that she's always observing the world and interpreting her effect on it and its effect on her. She loses her composure with omens when they are more concrete and less subject to her control (via interpretation), as with Lidya's fortune.

It makes sense that she's super controlling. It was how she was raised, and aside from having loyal/brainwashed companions (who are, themselves, a form of distributed control), being controlling is obviously the only thing that makes her feel safe. It's still interesting how it extends into a dialogue with the Pattern itself. Like Mat, she wants to survive and she wants to go her own way, and also like Mat she's caught up in the Pattern a little more tightly than others. I think she and Mat have both subconsciously decided that the only way to deal with what the universe wants you to do, when the universe is that powerful, is to say "Fine, I didn't really want to do that other thing anyway, let's learn how this path works and play to win."

She knows she makes bad decisions when angry, and I think in general she distrusts strong emotions, or at least tries to hold them at arms' length so they don't form part of her judgment. She's very very good at compartmentalizing, but as a result sometimes emotional stuff will come up and blindside her a little because she doesn't prioritize it or see it as a natural part of her decision-making. I think her emotions do influence her, usually subconsciously, but she's obviously a Thinking type. (Mat is also a compartmentalizer, but more somatic/emotionally focused; he's got his feelings directly wired into his body and together they make decisions that his brain then evaluates a second later, with running commentary that he never expresses to anyone else. They are both comedically un-self-aware, although Tuon is even less self-aware than Mat is, since at least on some level Mat knows he's been repeatedly traumatized even if he tries to pretend he isn't, while Tuon still thinks that her childhood was completely fine.)

Within the original narrative, I think her POVs are always a bit mysterious and her actions are always a little surprising. What’s impressive about that is that this is basically *always* true no matter what setting she’s in and what she’s doing. When you’re in her head you see her thought process ticking away, but RJ and Sanderson both have her constantly withholding important contextual details in her POVs, like Lidya’s prophecy (the hints are there and come out in bits and pieces, but she doesn’t reveal everything and slot it into context until 2 books later). Like with reading Mat, you’re aware that she obviously has reasons for what she’s doing and you even see her decision-making process, but because you’re missing the details, she remains opaque even though you’re in her head. (Mat’s decision-making process is more clear to the reader, but somewhat opaque to himself and definitely opaque to those around him.)

Meanwhile the things Tuon does share via narration or via action are always kind of buck-wild for the reader because her entire deal is such a culture shock. She’s obviously surprising Mat & co, but what’s weird is that she also seems to be constantly surprising her fellow Seanchan. Her scenes with her peers are usually punctuated with shocked murmuring in the background. They have trouble anticipating her, both because she keeps her cards close to her chest, and I also think because she’s a slightly different person from the one who lived her entire life in a cloistered murdersphere in Seanchan, and if she wasn’t a different person after leaving home, she’s definitely one after her kidnapping. But I think she is a fundamentally different person after leaving home, because of the structural parallels she has with Mat.

In Mat’s first POV chapter, he wakes up in Tar Valon with partial amnesia and a much stronger sense of self-preservation than he had before. As everybodyhatesrand points out (crediting but not tagging them since I feel like they wouldn’t appreciate being tagged in Tuon apologia), we have never been in pre-dagger!Mat’s head. We have never been in dagger!Mat’s head. Everyone in the books, throughout the books, is like “At least Mat’s still the same!” and yeah, he does do and say more or less the same things before and after the dagger. But we had to take it on faith that his personality is more or less intact pre- and post-dagger because we, the readers, only know post-dagger!Mat’s inner monologues. The Mat we inhabit in book 3? He’s been broken. The continuity between his old life and his new life has been disrupted (and will continue to be disrupted, including with an actual literal timeline reboot!) He immediately starts off to fix himself, others, and then eventually the world, so it’s motivating, but the hits really just keep coming...

Like Mat, Tuon’s first POV only appears after she’s left the traumatic environment that shaped her. We don’t know what travelling across the sea did to her sense of self (and we can’t really know since we don’t have that in-Seanchan-baseline), though we do know she’s changed after travelling with Mat (aside from catching feelings, I think she learned that the Seanchan are not always in possession of all the facts), and we know what becoming Empress did to her (she doubled down on duty and lost a lot of personal flexibility). I think there are major structural parallels between Mat and Tuon’s POVs because they’re both broken people who try their very best to act as if they are not broken. In Tuon’s case I think she just doesn’t know how broken she is. In Mat’s case, he knows, but he’s doing a weird balancing act of integrating lessons learned (healing!) while also, like, frantically trying to ignore or drown out the emotional cost of trauma (not healing!)

By the end of the series I think Tuon knows, but is not letting herself actually think, that being made damane is a) a real possibility for her, specifically, and b) that it is not, in fact, something she would willingly choose for herself even to serve the empire. I think this is different from the more intellectual disgust of the idea of herself channeling; that's abstract, and she imagines there's an actual choice for the person with the spark between channeling and not channeling, or possibly that there's an actual choice between learning to channel vs not learning to channel if you have the spark inborn. (We know that the actual choice if you have the spark is 'learn to channel properly or die'.) Tuon's out there like "If I were a marath'damane I would simply choose not to channel. RIP to marath'damane but I'm different".

She's never been a marath'damane in the sense of someone who started channeling involuntarily, and isn't interested in imagining herself as one, at least not when confronted by someone who is succeeding in making her angry. So even if you made her choose, as a theoretical marath'damane, between dying and learning to channel properly, I think she'd consider 'learning to channel properly' as 'becoming a murderer' and therefore the choice would be between dying and becoming a murderer. There's a clear argument to be made in that idiom that the marath'damane is 'becoming a murderer' in self-defense, which would have a different moral tenor (manslaughter vs murder). But Tuon strikes me as the type to say in an argument (and probably believe) that "The end result is the same & I would die before compromising my principles.”

I think in the confrontation with Egwene she probably internally justified not putting the collar on because there was a Seanchan audience and because the taunt came from an escaped damane, even though the actual reason was fear that it would work. She’s letting the circumstances invalidate the argument so she doesn’t have to think about it. I think if she were to let herself think about the authentic emotional response- and she probably has, I feel like she does a postmortem on all of her public discomposure- she would consciously know that her instinct was that it would work on her, and furthermore she would know that she does not want to be damane, even if the Empire would require her to be.

If she followed out the chain of reasoning, she’d know that if she were a damane, if she were actually leashed, she would be forced to channel. She’d know because she’s taken great pleasure in training and breaking damane, and she knows how to get damane to channel and how to break them. Therefore, if she were damane, she would know that she would need to be broken, and she knows how she would go about breaking herself. She probably thinks that her last act of free will would be to suicide if she possibly could. But I think that what she’s AFRAID OF is that she would actually convince herself that being the very best damane is all she wants out of life. And that's the scary, universe-ending thought she's avoiding the consequences of, because a) it’s about breaking herself (as Cadsuane points out, no one can easily think about breaking themselves) and b) the fact that she would need to be broken and that she doesn’t like the idea is a sign that she’s not the perfect avatar of the Empire that she thinks she should be.

I think becoming damane has been added- in the bare abstract- to her mental list of the price of failure. It's a very fundamental loss of control and identity, where all she has is resignation and brainwashing that- best case scenario- she does to herself. She's scared of it in a way she was not before, now that it's been made personal. Like Mat, she's going to shove that down deep and ignore the bad scary implications as long as she can, up until the point that they actually disable her or otherwise bleed out into her intellectual or physical world in ways that aren't as ignorable.

But while Tuon thinks she would die before compromising her principles, and even more secretly is extremely afraid that she *wouldn't*, I also think that like Mat, if it came down to it she would transform herself radically to survive *as herself*.

She’d realize that she has other principles, more human ones, underlying her socially acceptable and externally imposed principles of enforcing hierarchy and maintaining personal integrity. (Parallels to dagger!Mat being exorcised?) I think her basic motivations are that she should survive, that she should retain as much control/power over her own fate as possible, and that she should make decisions from a place of empathy rather than anger or fear. I think she would also realize that she does in fact value some principles over others. She would redefine the meaning of ‘personal integrity’ to separate it from what the state wants.

If she knew what was really driving her socially acceptable principles, and that there was a difference between what she really, fundamentally wanted & what she had been told to want, with encouragement she could prioritize the organic, primal ones and apply those to the external world. If she is a person, then everyone else is a person, and she should want for them what she wants for herself. I think she might get to the point of realizing there is an alternative path (of what looks like selfishness) but I don't think she's going to let herself be selfish (in this healing, positive way) without external prompting/confirmation, so this is probably where friends, positive role models, and finally omens come in.

#tuon paendrag #problematic fave tuon #meta #wheel of time #If I were a marath'damane I would simply choose not to channel. RIP to marath'damane but I'm different.

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im-the-punk-who · 3 years

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Could you post some more malex thoughts? What about that song? Or thoughts on them being endgame? Or season 3 malex thoughts?

Baby’s first RNM meta request 😭

ABSOLUTELY I can.

So I am gonna start with my S3 thoughts and endgame thoughts because everything else will tie into that.

From what I’ve seen, Roswell had 5 seasons originally planned, which is still what it feels like it needs to me. Which is cool! It also means we’re probably(hopefully, actually) not gonna get canon malex in s3.

The show has set them up as the ‘will-they-won’t they’ couple - most of their tension together focuses on *whether or not they get together* instead of if they’ll stay together. To me at least, it’s pretty clear the show’s assumption is that if they end up actually getting together in a healthy way(which they both seem to want in their relationships now), they will stay together.

If the show actually does it’s job right and takes the time to let both of them heal, grow, and experience other things that likely won’t happen until at least mid s4. It would make a nice dramatic midpoint for the season, they could play out a bit of that relief of finally being together in the late s4, and then whether or not they renew s5 they’ve told the story they wanted to. But if they do get a fifth season they can play with some hurt/comfort with Michael and Alex actually building/cementing their relationship.

As we’re seeing with Liz and Max, tension has to come from somewhere and where RNM(as most shows do) fails is thinking it needs to come from the relationship, which is what I’m afraid would happen if malex get together so soon after making the(at least private) commitment to get better for each other. There won’t be enough time for growth and dramatic build to sustain the afterglow and they’ll have to find something else to torment the poor boys with.

I don’t hold out a *super* large amount of hope for it, because like...this is the CW. But I do think either way malex will likely be endgame. Just from everything the show has told us and set up, I would be extremely surprised and honestly really fucking angry if they don’t. Not necessarily because they’re My Ship, or because it would be any sort of queer baiting - they’d both still be undeniably queer and I assume Alex would end up with Forrest or someone else in that scenario.

Honestly it would just be bad storytelling to set up your characters as having this deep cosmic connection, setting them up directly in parallel with our other pairs of starcrossed lovers Max/Liz and Nora/Tripp, dropping all the hints in the music choices(Holy Moly being the big one when linked with the Would You Come Home scene, but there are other small parallels in song choices - ‘Through Your Eyes’ as Alex walks away in 2x06 for example.) Especially with the literal confirmation that they both still *want* to be with each other (Alex’s song saying ‘if I got better and worked through my issues can we be together’ and Michael recognizing he’s got to give Alex the space to do that work so that maybe someday they can be together. ‘It’s not our time right now.“ “But it will be.” “I hope so.”)

Anyway! So, I would count a Not-Malex-Endgame as a bad ending, but I wouldn't be at all surprised if we get zero canon Malex content in S3. In fact given where the characters are, I think it would be an AMAZING choice to have these characters who are fan favorites and who everyone *wants* to be endgame - stay apart and work on themselves, and build all that TENSION( ͡° ͜ʖ ͡°) for an entire season in order to cash in for an s4 payoff.

Also, I really want to see Alex grow as a person.

Michael really started to change in Season 2 - we’ve seen him start trying to be better, dealing with his emotions more, recognizing how bad his relationship with Alex is and trying to improve with Maria as well as building his other relationships, too. To me, Michael is already very different than he was in S1 and honestly, Alex has some catch up to do in terms of working on his fears and how they relate to how he cannot stand to be around Michael in stressful situations.

To that end, I really want to see how Alex and Forrest interact, and how a relationship with Forrest might change Alex. We heard before that Alex doesn’t really consider himself to have had a real relationship, and Forrest does *not* seem the type to be up for a fast and easy thing, so I think he could really push Alex to face his issues around commitment and his tendency to cut and run.

Which would actually be really cool! I am not a Forrest-endgame person at all, mostly because he seems both way too put together and way too needy for Alex long term, but I do think they would be really fun to see played against each other and also just .... nice things for Alex Manes please.

Also then we get lots of Michael making sad eyes at Alex which is just *chefs kiss*.

For Alex, his personal conflict has always centered around his trauma, his father, being ashamed and afraid of being openly gay, and having enough faith in people to believe he personally is worth fighting for and my main wish for Alex is to finally fucking learn how to love and be loved in return.

So in that vein and especially if we see Malex as endgame, it only makes sense that Michael’s journey needs to be a parallel one of him finding something worth staying on earth for. He’s started to build a family for himself fucking finally - Maria, Isobel, Sanders, hell I think there is even the potential for Liz, Max, and Kyle to be family. And of course, Alex has always been his family. But previously no one has ever had his back in the way he’s had theirs.

From what we’ve seen, Michael has always been the one who gives with his whole self - both Maria and Alex comment on it - “I don’t doubt your capacity for love” & “He keeps secrets because of how much he loves Max and Isobel, not because of how much he loves you.” He is a character who has spent his life throwing affection and emotion at the wall and seeing what(if anything) sticks.

He took the crayon from Max at the orphanage, told Isobel he killed the girls, dropped his plans to leave Roswell for her, he both defended Alex from his father and didn’t stop him from leaving a place he was in danger, he let Liz experiment with his blood for Isobel’s antidote. He tells Alex once that he was glad that Max and Isobel had an easier time, even if it meant he didn’t. Michael’s biggest character flaw is that he believes he has to be useful to be wanted. That he, as he is, is unloveable. Or, maybe better put, that he is not worthy of the kind of love others have.

In S3 I want this challenged, CW I will fight you. I *REALLY* want to see him have to face head on his assumption that he’s going to leave Earth at some point and everyone is going to be fine with that. I want him to realize he’s become core in someone’s life again. I want to see someone grab hold and refuse to let go. I want it to get messy, and I want them to stay, damnnit!

I want to see Michael start making plans to stay again.

I said in a previous meta that I thought the growth Michael has gone through already would lead to him being approached by Jones with an offer to leave (so that Jones can separate the pod squad, so that he can use Michael to get to Max, something like that) and I really want to see what decision a more grounded Michael might make in a situation like that.

And what my tiny shriveled shipper heart REALLY wants is a scene where Michael is put to this choice of being able to leave and - despite being offered everything he has been working towards for his entire life - the relationships he’s built are strong enough to make him stay(again.)

(Hint, I REALLY want this to be Alex, for the plot resolution for them in S3 not to be ‘we get together’ but to be ‘we are able to recognize that we can BE there for each other even if we aren’t together’, which would lead spectacularly into an early/mid s4 get together after some light angst :)

I have a lot more thoughts re: what I want from everyone else and what I’d love to see from the non pod-squad squad (MARIA ALEX LIZ ROSA PICNIC DATE WHEN) (CENTERING YOUR MAIN CHARACTERS OF COLOR WHEN) (TRY MAKING YOUR VILLAIN NOT A FUCKING PERSON OF COLOR!) Also like, Generyx, Deep Sky, Mr. Jones, possible connections between them and characters who aren’t pod squad oh my god can we for one episode focus on someone else, etc, but like.....this is already so long so maybe that’s for another time xD

Also as stated like....this is a CW show so this isn’t what’s going to happen, but it’s what a I *DESPERATELY WANT* to happen. My interaction with RNM is VERY much dead-plot-do-not-eat until proven otherwise and I’m just here to no-thoughts-head-empty enjoy the parts of Malex I like and ignore everything else :)

I’m gonna use this image that Diana made me because honestly this should be a disclaimer to any RNM post I make.

#LMAOOOOOOOO SORRY FOR THE GIANT POST #this should probably be readmore'd but uhhhh your assasins failed to kill me during the night #and you must now suffer another day of my insanely long meta #long post #malex #roswell new mexico #rnm meta #roswell new mexico meta #michael guerin #alex manes #Anonymous #milo answers

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