#i am just talking to myself at this point. the crux of the series is the moment where anya's powers get revealed | Explore Tumblr Posts and Blogs

soulfulazrael · 3 months

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Who am I and what I write. The tale of a weird as all Hell fanfic I put too much time into about an odd ship.

So... If anyone here cares I am a Hazbin Hotel and Helluva Boss fanfic writer (and I am 23/24 year old. Depressing isn't it?). Although I can't exactly call myself the biggest fan anymore. I do love the potential those series have and the ideas in them, but I am not a nut over the execution. In fact I say it is pretty bad in many respects and I think Viv and her writing team do not utilize the full potential of what they have on their hands.

What I want to do is well... Do something I would prefer this world they created to be. So I make several odd as hell Fics. Or at least one now. As you can see from the image about Stella and Moxxie (art btw is made by talented @Caffe1neW1tch on twitter). Now I know, I KNOW how she is in the show... I can explain my case. I do change her character quite significantly from what she is in canon show (as I do so with MANY other things). To something I would prefer her to be. Something while still deeply flawed being more dignified than what she is in Helluva Boss season 2 as I think the direction they took her character was severely disappointing. I can't say they retconned her, but I have to say they went overboard with the direction she was taken. Way too far into just pure Hate Sink. Something I would prefer if it wasn't done at all with a character tied to such a potentially interesting conflict.

Not to mention the direction Vivienne took the world of Hell and it's characters... I must say. I do not enjoy how easy it is to say who is good and bad in both of her shows and how similar Hell is to Earth. It honestly robs the setting of it's potential as it is perfect place to explore some deeply disturbing characters with interesting alien mindsets and their own unique conflicts as it is hard to grasp who are you supposed to root for in the end. But both Hazbin and Helluva greatly miss the mark on that front as every character is either without a shadow of a doubt a good guy (that at most cries, swears and likes to tell sex jokes because I guess that's enough to say character has depth these days) or are so cartoonishly evil and stupid they make Team Rocket look competent and make Micah from RDR2 and Erebus from 40k say "THAT'S NOT SUBTLE ENOUGH!". Not to mention how similar so many of her characters are and how limited their interactions are, the treatment of Heaven, the confusing character arcs... You know what. Issues with both Hazbin and Helluva are too many to count, too many for this post, but I also say they are not TERRIBLE shows, they are just shows that disappoint me at every step for the last few years.

And now I get to the crux of this elongated point. Again. I'm writing fics and one of them is Song for the Quiet Bird. A fic I say is best to read on a site AO3 (but it is also on Fanfic site if it's up to your speed) where I try to explore hell in more meaningful ways and make their culture more unique while telling a story of a very strange ship which is Stella and Moxxie. And do not worry, I am not going on any "Millie is dead" kind of cop out. I am into doing things in an easy way. And here is the link to it:

I also make another fic called Torments of Sinners and Imps which you may find on my profile as well which delves more into Angel and Moxxie, but that one for now is on a break. In a way Song is too, but I do hope I'll post a chapter for that one soon (personal issues and family issues).

Alright, if anyone is interested or sees this post I hope that you will enjoy my take on this series. Will post something more here? I dunno. Maybe? But anyway I just want more people to see it and maybe give their opinion on it which is what I always want to hear.

And I may post more things about what I do not enjoy in those shows and how I think they could be fixed. Talking about several things in both shows that irk me the wrong way.

Also given how deeply I go into the worldbuilding in my fics I may also post some stuff about how I made some things work there and things about culture of Hell I came up with and mythology there... Or maybe just talk about some philosophical mumbo jumbo that I sometimes think of. But whether or not I do it, especially consistently will be another story. If anyone sees this, thanks for sticking around. If anyone is interested in my works or opinions share your thoughts. If anyone hates my guts for the things I write about and my opinions of these series... Can't say I am surprised some people do hate those. You are free to share your discontent too. I welcome all voices. At least until they make my head hurt, then I just take a nap.

Anyway. I rambled for long enough. Again check out the fic if you are interested. Wont force you. If you do so leave a comment which is the most important thing for me when I write something. Hearing what people like and don't like. Have a good one and I hope you enjoy yourself. If not with my story then in your life whoever you are (as long as you are not a total POS).

#hazbin hotel critical #helluva boss critical #hazbin hotel #helluva boss #Ao3 #ao3 fanfic #vivziepop critical #vivziepop criticism #hazbin hotel criticism #helluva boss criticism #fanfic #I have no clue what the hell am I doing #stella #moxxie

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gayelectro · 1 year

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Thirst: A Ten Year Retrospective

On June 7th, 2013, at 7:30 PM, The Hub Network aired Transformers Prime’s 60th episode. Title: Thirst. Just five episodes before the conclusion of the series (and a post-series “movie”), the last few episodes of any serialized show can have a lot weighing on them, as you need to wrap up story threads in a satisfying fashion.

For me though, Thirst missed the mark. Pretty hard.

When this episode aired, I hated it. And when posting my grievances on Tumblr, I was met with a lot of backlash. This naturally compounded the hatred I ended up brewing for this episode, as I felt as though couldn’t even talk about it with people without hearing some seriously stupid counterpoints or outright attacks to my character over not liking an episode of a children’s cartoon to sell toys.

Well, a lot of time has passed since then. It’s been a decade and I want to lay this whole thing to rest. I was 16 and still in high school when it aired, and now I’m a whole ass married 26 year old adult with a job. So I feel that getting all of my thoughts and feelings out, while also reflecting on how the Transformers fandom (and myself) have changed, might finally quell this beast for good. Aiming for the spark, as it were.

Skip the readmore if you don’t want to encounter a genuinely and insanely long post full of rambling and Transformers media consumption.

Naturally, disclaimers, because this is the internet.

Don’t go and read this and give any guff to anyone who worked on this episode or in Transformers Prime in general. I shouldn’t have to say this. Even as I speculate over what writer’s intentions or unconscious biases were back in 2013, it still gives nobody any reason to find these people and bother them. I’m allowed to criticize a show but I see no need for anybody to send shit to people who were likely just trying to get their paycheck from Hasbro.

Another disclaimer: I don’t have any problem with people who like or love this episode. I have friends who do. And I can see what positive points about it shine out for them. But I’m still allowed to have differing feelings about it and express them. At the crux of it, I think it’s just that simple. Everybody should be able to coexist within a fandom and deal with someone not liking your favorite episode or someone loving an episode you hate.

And I think one last disclaimer: the fact is that a lot of my anger towards this episode is partially baked in due to immediate fandom reactions at the time of release and my own disappointment in the episode not being what I hoped it to be. I’m going to dissect that where possible in this post. But fundamentally, I just don’t understand people who are like “you can’t hold it against a piece of media for not being what you wanted it to be” in regards to being misled. There’s a vast difference between letting fan theories get in the way of the author’s intent and being misled due to the way something is advertised. And while yes, the show isn’t to blame for how the fandom reacted to the episode, it still leaves a bitter taste in my mouth. How could it not? Human brains are wired for pattern recognition. How am I supposed to forget the way I was treated for not liking this episode? How am I supposed to be objective about this short of amnesia to experience the episode for the first time all over again?

Anyways, now that that’s out of the way, let’s dive in!

Now let it be known that I was thrilled for this episode. I was an avid Transformers Prime watcher. I made a whole event around every new episode airing. And I watched the promos like a hawk. I was obsessed with Transformers Prime when it was airing and convinced that it was a masterpiece. Truly, the apex of Transformers media.

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So, the promotions really emphasized the zombie aspect of this episode, with a sneak peak at what they would look like. I don’t consider myself a horror fan by any means, I’ve always been squeamish and jumpy, but I think there’s an aspect of horror that lends itself to the curious mind. I wanted this episode to be scary. Knowing the Y-7 rating, I knew that this was going to be horror that likely fell within my comfort zone while also possibly pushing the envelope a bit. After all, Samurai Jack creator Genndy Tartakovsky had spoken at length about how much violence he could get under the radar in kid’s TV by having all of the “gore” be robots and aliens. I assumed that this episode was going to do much of the same.

Let me get it out of the way right now, one good thing about Thirst is the “zombicon” designs. I think they’re great. Personally would not change a thing about them, they’re pretty darn perfect.

But, being a weenie, I did try my hardest to steel myself against what the episode might throw at me. I was expecting the absolute worst they could get away with in regards to robot gore and violence and jumpscares. I wanted this episode to be scary. Sure, Y-7 scary, but still scary. I probably expected too much, given that I didn’t understand why shows stuck so hard to just 22 minute time slots at the time. But I was an easily startled kid, I figured they could still deliver... And, well... I just didn’t get that at all.

More or less, the episode rips itself into pieces. If one is being generous, about 1/3rd of the episode is veering on horror. But 2/3rds of the runtime are easily just comedic slapstick and banter between Knock Out and Starscream. While this is fine, it certainly wasn’t to my taste and was a let down. This episode obviously really really wanted to be funny and Decepticon focused. And while it was the only episode of Prime to not have a single Autobot in it, I still found its humor to be. Well.

Now, a tangent:

The writers and this series relationship with its queer-coded characters is complex and strange, to say the least. While I do love and appreciate a gay villain, it’s still very telling that the most flamboyant and clearly gay acting characters are Decepticons. Starscream in his literal stiletto heels and effeminate shrieks, Knock Out with his foppish behavior and just about everything said behind the scenes about him... It’s undeniable that they’re intended to be read as gay and it feels as though it varies from episode to episode whether them being gay is supposed to be humorous, relatable, or dastardly.

Thirst definitely feels like... The worst of this to me.

I’m going to focus more on Knock Out, just because he’s realistically more near and dear to my heart. But the fact is, I saw myself in these characters growing up. I was a young queer with no representation in the media I enjoyed. So of course I would cling to the gay, sexy robot. Regardless of if writers wanted him to be someone the audience saw themselves in, I did.

Of course, I believe at this point that everyone is familiar with “The Botcon Incident”.

[ALT TEXT : When asked at BotCon 2011, the Prime writers said that there is no designation for gay, or straight, for that matter, on Cybertron, where Transformers are created by the AllSpark, not through sexual reproductions. They also said that Knock Out is a knock out, and that the Nemesis is a very "don't ask, don't tell" place. And then they jokingly deflected the matter, claiming that Knock Out's mannerisms are not caused by any particular orientation, but are simply eccentricities caused by "a glitch in the AllSpark" the day he was created... which is unintentionally so insulting to gay people that it could create an awkward silence in the Void. ]

On one hand, Knock Out acting gay is seen as a defect. A mistake or some sort of source of humor. At the same time, there was still a lot of love given to him by the writers. In panels, they’ve expressed that they refused to let Knock Out be killed off (regardless of if any other character lived or died). Part of this was because he was really the big “original” character for the show, but part of it also definitely has to be some sort of genuine love for the character, I think.

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So, it’s a weird act to juggle as a queer fan, right? The writers loved Knock Out but it feels like they still wanted to poke and jeer about how gay he was (without even really confirming him to be gay, but we can all admit he acts gay and that’s WEIRD, am I right guys).

To wrap around to Thirst: I feel like this is part of why I don’t find as much humor in the slapstick Knock Out/Starscream moments in the episode as other fans do. This feels like the most brazen and obvious part of it: the humor in the episode feels like it comes from a place of “how funny would it be to make the fags run around the ship screaming their heads off”.

By season three, the animation in this show became so beautiful and utterly expressive. And that’s a great thing. But the level to which they pushed Knock Out and Starscream’s run cycles was just... Like I get it, it’s funny when scared gay person does a silly effeminate run. Not to mention how these characters have established run cycles, we’ve seen them run before, no, in this episode they flail about helplessly because it’s sooooooo funny.

I do feel like there were undercurrents of homophobia in this show. It released in 2013 and thus was probably written back in 2012. To act like the writers room was completely devoid of the influences of homophobia would be absurd. I’m not saying that the episode is explicitly homophobic, nor that it’s homophobic to put gay characters in horror scenarios, nor that everyone who worked on Transformers Prime is a homophobe. But I am saying that this show was a product of its time, and 2012 was a very homophobic time, and that I think we can talk about that without assuming the worst in those bringing it up or the worst in everybody who worked on the media in question. Multiple things can be true at once. I just want to talk about how the vibes are off, man, it feels a little gay bash-y.

Part of what I’m trying to describe here is, to put it another way, would this episode have worked the way it did with any other characters being at the forefront? Thirst, but with say, Shockwave and Soundwave? Airachnid and Megatron? Or Arcee and Bulkhead? Or Ratchet and Wheeljack? However you switch this episode around, I’m almost positive the characters’ mere presence would not be treated as inherently comedic into itself. It feels very telling that this was a Knock Out and Starscream episode, because Knock Out and Starscream are the most obviously queer-coded characters.

Getting off of that tangent which I’m sure has already turned the few readers of this away, let me get back more into the meat of this retrospective.

Another thing that infuriated me about fan reception to this episode is that a lot of fans reduced everything to shipping wars. If there’s something that’s really changed with time in the Transformers fandom, thank fuck it’s the shipping culture. A decade ago, any and all issues I had with this episode got reduced to “You’re a KO/BD shipper and you’re angry because this episode had KO/SS moments”. To this day, I cannot express how such a dismissive and us vs. them attitude makes me see fucking red! If anything, the fan’s combative nature is what made me come to dislike KO/SS as a ship-- not the other way around.

The fact is, the banter between Knock Out and Starscream is entertaining. I do like that aspect of the episode. When they open up to one another in the bunker, it’s a really sweet moment! We have two Decepticons being vulnerable and open with each other, which is a rarity, given how cold living on the Nemesis is! It was a genuinely touching moment that gave us insight into both Knock Out and Starscream as individuals, which I really did enjoy.

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The way they speak to each other throughout the episode is actually one of the things that makes me wish I could come back to this episode more (and hopefully now I can). It’s telling how they can open up to one another only to immediately throw each other under the bus the very next moment. It speaks to the Decepticon’s culture.

But anywho, there was also just the... Blatant ignoring of what actually was said in the episode to fit an agenda. Ardent “only-one-ship-may-rule” KO/SS fans insisted that Knock Out’s behavior in this episode ““proved”“ that he didn’t care about Breakdown. This thankfully has died off overtime in the fandom, now that more people can accept multiple ships coexisting in peace instead of making conflict where there doesn’t need to be any.

But even if we take shipping out of the equation entirely, you have to be either not listening or willingly deluding yourself if you think that any of Knock Out’s actions in this episode are showing that he did not care about Breakdown, regardless of if you think that relationship was lovers, friends, or just close coworkers.

“Despite your justifiable lack of regard for his human side, it doesn’t trouble you to watch what remains of your former partner endure your scientific endeavors?” “Not really. Besides, Silas once had poor Breakdown pinned to his lab table. I think my former partner would be pleased to be a part.”

This was the big exchange that really got under people’s skin. Watching it live, I loved this reaction from Knock Out. It spoke to what a sadist that he was and how he went about extracting revenge. He saw the perfect bookending of stories; Silas experimented on Breakdown, so it was only fit for Knock Out to experiment on Silas. Just as Silas had used Breakdown’s corpse as a suit to trounce around in, Knock Out would treat his body just as such. Just a shell, not any remnant of the soul that was once inside.

But certain people just heard the deadpan “not really” and just stopped listening. Like, I’m sorry, but these guys are alien robots. They probably already don’t have exactly the same feelings around corpse desecration as we do, and even if they did, Knock Out is kind of a freak anyways.

And once again, when I saw this episode, I was single. Now I’m married. I can see even more now how love can push you to weird, freakish, even ghoulish extremes. I personally could think of hardly anything more romantic than my wife torturing and experimenting on someone who wronged me. And I certainly wouldn’t be kind to someone for wearing her face in the event of her passing.

And the line “You’re no Breakdown” got wildly misinterpreted too. Somehow people thought that meant that Breakdown was “lesser” than Starscream, which... What? How? Like it’s obvious that Knock Out is contrasting his former relationship to Breakdown to the relationship he has to Starscream here. Starscream and Breakdown are vastly different people, that’s not to say anything about shipping. Once again, even if you only see Breakdown as Knock Out’s assistant, his relationship to Starscream is still vastly different to his relationship with Breakdown. Starscream is his superior officer whereas Breakdown is either on the same rung as him or a step lower. This is not a value judgement on either ship! It’s just basic chemistry and writing! One of them is a quiet brute while the other is a commanding fruit. I’m not understanding how this could lift up or put down either ship, so to see people do that (admittedly on both sides of this stupid fucking ship war) was just aggravating.

Once again, I can’t stress enough how by and large, the fandom’s attitude has shifted away from that bullshit. I see people gleefully talk about shipping all three of them together or just shipping their own favorite thing without needing to bring the other ship into it at all in an adversarial way. It’s great. Wish that could’ve been here all along. I could only imagine the kind of blood that would have been shed if someone had conducted the Transformers Husband Poll or Canon Ship Poll back in 2013, but now people can just have a good time with things the way we’re supposed to.

And then we get to the part where I actually take issue with the writing of the episode itself, regardless to fandom reaction.

Airachnid.

Okay, so can we finally talk about this part? Because when I took issue with this when the episode aired, I got a lot of “wait and see, they still have time to do something with this”. Which. No they fucking didn’t. They opened up like five new plot points, for no reason, right at the end of the series, and then did not follow up on them at all.

I can’t wrap my head around this, even now. Why did they even take this character out of stasis? They fridged her before only to let her out for five minutes to fridge her again. This is so absurdly stupid, like I still cannot even find a silver lining to this part.

Airachnid having a hoard of zombie Insecticons on one of Cybertron’s moons did not even get a mention for the rest of the series.

What was the point of this? Legitimately, was there some sort of reason they needed to write out the Insecticons so badly? They hadn’t really been important in any regard for a long time. At that point in the show, they were barely a step above Vehicons when it came to being Decepticon cannon fodder. Was there any reason to make Airachnid extra dead with more steps? Because this doesn’t provide more closure than her already piss poor exit from the show with her being in stasis, frozen in a pod, as a trophy for Megatron.

Nothing, and I mean nothing, would have changed for the rest of Prime if Airachnid had stayed frozen in her pod and the Insecticons stayed aboard the Nemesis. I can’t think up a defense for this, I can’t conjure up an explanation, just... Why? I’m still left feeling like this was fucking strange. Maybe someone’s femdom hypnosis vampire queen fetish, I can’t fucking tell.

Now that the series is over, I’m hoping at least people can acknowledge that this was pointless, stupid, and just unnecessary. Or at least give me any reason why this isn’t the dumbest thing ever. Because this was the big thing in the actual canon of the episode that made me go “wow, that was an awful episode”.

And while I’m still left scratching my head over that, I do feel... Relieved. The more I think it over, the more I can see how the fandom has changed for the better in a lot of respects. And upon rewatching this episode, I can better see the parts that I actually like. Sure, some shit still bothers me, but I do feel better about it now.

And of course, watching Prime as it airs at 16 is a very different experience than trying to rewatch it... Basically any time once you hit your 20s. I still love Prime, but I’m older now and can see its flaws, especially since we’ve got the whole story to work with. I still recommend Prime as a starting point to people with certain tastes who wanna get into Transformers. But doing a full rewatch of the series for me is a chore now due to some of the glaring writing issues and pacing. It’s a good show, but not the pinnacle of Transformers media I used to think of it as. And that’s okay! Tempered expectations help a lot with disappointment.

With something like ten years, a lot has changed in the Transformers franchise. We now have a plethora of canon queer characters and relationships, all treated with respect. We have a nonbinary Autobot in a children’s cartoon, and I know that would have changed my world as a kid if I had grown up with that. And while it sucks that my favorite character in Transformers Prime, Breakdown, got killed off so unceremoniously, so many continuities after that have tried to make up for it by having him survive and thrive.

Another positive note is the way my feelings for this episode have impacted my real life.

Back when my wife was still just my girlfriend, I ranted and raved to her about how much I hated this episode. How stupid it was. How it was the worst episode of the whole show. Back then, she had no interest in any media pertaining to robots, let alone Transformers. But something about how passionate that got me made her curious. She checked out Thirst, and concluded that if that was the worst the Transformers Prime had to offer, then it might be a pretty good show overall. She ended up watching Prime, and with that gateway, I was able to get her to watch and enjoy more Transformers media. Which lead to more robot media as a whole. Now we have so many more fandoms and shows that we enjoy together, all because my hate boner for this episode piqued her interest! Sharing my love of robots with my wife has been a wonderful facet of our relationship and I simply don’t know how we would have gotten there without this entry way!

All of this to say... I think after ten years, maybe this isn’t the worst episode of the series. I can’t be bothered with a whole rewatch to find out, as the episodes that bore me aren’t ones that I’d bother to watch again just to rate. The shit with Airachnid was mind-achingly stupid and maybe some of the slapstick hasn’t aged the best, but otherwise it just is what it is. I liked Silas dying, I liked the character interactions we got between Starscream and Knock Out, I always adore Darren Norris’ performance as Knock Out and this episode does wonders to show off his skill (“Precisely my-- WHAT”), and the zombie designs were pretty baller.

I thank this episode for what it’s given to me, I’m going to let go of the ghosts of fandom’s past, and now I set it all free.

Here’s the whole episode on Youtube, TFwiki just links these if they’re available, apparently.

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#long post //#Transformers Prime #Thirst #TFP #Transformers Prime Thirst #TFP Thirst #Breakdown #Airachnid #Knock Out #Starscream #Silas #CYLAS #mentions of homophobia #f slur warning #I cannot stress enough how long and rambling this is so don't say I didn't warn you

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mwebber · 10 months

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👀 Tell me about an up and coming wip please!

🧠 Pick a character, and I'll tell you my favorite headcanon for them. (sebi please?)

🥺 Is there a certain type of moment or common interaction between your characters that never fails to put you in your feels?

ty for sending this, anon!

👀 Tell me about an up and coming wip please!

ahhh the only actual wip i have is girl!seb because the others are incoherent scribbles that i've marked down as In Progress... F. so far i think i've finally completed the story from 2005-2010, but from there things kinda fall apart--i'm trying to build up enough of the damage from 2011/2012 so that 2013 will hit harder, but atm those years are kinda falling through, mostly bc i don't know how to write jenson. i might have to re-do 2011 depending on how the rest of writing 2012 goes.

i feel like i keep talking about this project but haven't got anything to show for it so 💀 here's a snippet!

Indianapolis, USA - June 17, 2007In her Grand Prix weekend debut, Seb goes fourth fastest in her first practice session, qualifies seventh, and nabs eighth place, even after a messy start. She rises out of the car as the second woman in history to score points in Formula One—and the first to score a full point. BMW is ecstatic with the achievement, immediately attaching their brand to her moment. Red Bull is right on their heels. To that end, Lewis’ win might as well be overshadowed by the media attention that flocks her way, but he doesn’t seem the least bit bothered, pulling her into a friendly handshake and half-hug in congratulations before being swept elsewhere. It feels just as good as a win. Seb is practically soaring, with nothing to kill her mood from the end of the race to the end of the day, even when Scott Speed almost dislocates her shoulder as he struts by, even when the boys try to take her out bar hopping and don’t succeed. “I’ll head back to the hotel, you stay and have fun,” she says, waving them off as she tucks her ID back into her wallet. An idea is forming in her head on how she can celebrate, anyway. “Are you okay to get back on your own?” Beat looks torn, like he knows the responsible thing to do is accompany her, especially when she’s dolled up in a thin white shirt and short little tennis skirt, her legs bared to keep cool from the mid-June humidity. But the party is in full swing at the Slippery Noodle. “I’m going to get a ride,” she assures him, and fishes out her phone. . ⋅ ˚̣- : Twenty minutes later, Mark shows up in a taxi.

(she gives him a lap dance. they fuck nasty.)

🧠 Pick a character, and I'll tell you my favorite headcanon for them. (sebi please?)

loathe as i am to call seb a character that i have headcanons for--i do very much find myself enjoying the idea that he can be more calculated (and cold?) than he lets on. similarly i don't know if i really like the whole, yknow, bratty-subby-tearful-cute thing that's popular in fanon? which, sure, it has its own basis, but i personally find it more interesting to see his more deliberate side and dissect him from that angle, kind of like an autopsy of Red Bull Seb, The Frat Bro Who Wasn't. i think charlie @sebrrari nails this in the whole "whether the medicine is enough" series! and though it was very much a reactionary fic, i think i get at the idea in and an and, and an and, and the end.

🥺 Is there a certain type of moment or common interaction between your characters that never fails to put you in your feels?

LOVE CONFESSIONS. i can't do them well but in my head they are sooo emotive. like in the nayq prequel when mark finally says it and the words absolutely destroy seb. or in wrestling in dirt pits when seb and mark admit they're still in love with each other in a moment of weakness. and i'll just spoil a bit of this girl!seb au, they say it after fuji 2007 and it's like the Crux of their entire relationship and not to toot my own horn but it works in the overarching story and i need to bash my head against a wall whenever i think about it. anyway

writer emoji ask game!

#inbox #ask game

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sunder-soul · 3 years

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PROMPT 1: Hellooooooo! First off ur writing goes off, second off listen to this idea that i truly think u can bring to life... reader n tom r in a relationship and someone tried to slip tom to love potion but ofc he doesn't fall for it and his gf is like ??? and then they rub their relationship in her face LOL. anyways no worried just thought this would slap! Admire u n ur work!!

PROMPT 2: hey i love your the last of your rules series and everything else you’ve written. i’m not very creative so idk what exactly i’m looking for plot wise i just trust you since everything you’ve written is good but i was wondering if maybe you could write a tom x ravenclaw reader please. the ravenclaw reader tends to be more emotionally reserved and isn’t big on physical affection and maybe tom finds that interesting in a way? idk this idea might suck but felt like asking anyways...

Decided to combine these two because I could see them working really well together… :D

･｡ﾟ☆: *.☽ .* :☆ﾟ.

Retribution

Summary: After somebody tries to slip Tom a love potion to break up him and Ravenclaw Reader’s relationship, they get a little bit theatrical in response...

Wordcount: 1.8k

Content warning: none.

･｡ﾟ☆: *.☽ .* :☆ﾟ.

“Good morning,” says Tom evenly, lifting a wide-brimmed cup to his lips and taking an even sip as he looks at you.

“Is it?” you say dryly, sitting down opposite him at the Slytherin table and pulling out the new Magical Theory textbook. “Have you looked over this yet?”

“I have,” Tom replies with a very small smile. “Not to your liking?”

“Sophus writes like it’s still the seventeenth century,” you say with a shake of your head, “which isn’t surprising considering I don’t think he included a single reference from the last two hundred years… I mean honestly –” you wave at the title on the front of the book, “– ‘Corpus Magikus?’ Even the title makes it sound ancient.”

“Did you have any criticisms about the actual content per chance?” Tom asks as he lifts his tea again – though it doesn’t quite hide the amused smile on his lips. “Or did you not manage to get past the articulation?”

You give him a look. “The articulation is just as important as the content.”

“I completely disagree,” he replies easily, his cup clinking as he rests it back on its saucer, “regardless of how it is written, his points are extremely sophisticated.”

“I’m not talking about the quality of his points, I’m talking about how well he makes them accessible,” you say at once, picking up a piece of toast and buttering it lightly, “he can have the best criticisms of Magical Theory in the world and no one will care if they can’t understand what he’s saying.”

Tom arches a brow and leans forward on the table, resting on his forearms. “You’re placing the responsibility of understanding an argument on the person presenting it, and not the person receiving it,” he says fluidly, “personally when I find something difficult to understand, I take it as an indicator that I need to return to the topic after better preparing myself.”

“That works fine as an individualistic perspective,” you reply at once, leaning forward to match him, “but a book isn’t written for an individual, is it? It’s written for an audience. A book like this is measured by how wide an audience it can reach, meaning the responsibility is half on him to write accessibly, and half on the audience to go away and fill the holes in our own understanding. That’s when information is dispersed most effectively.”

“Your priority is the dispersion of information as a whole and not the expansion of your personal field of knowledge, and that is the crux of our differing opinion,” Tom says, sitting up straighter and tilting his head calmly.

“I am very aware,” you say dryly, “but you shouldn’t dismiss the importance of charisma when it comes to spreading information. After all, academics aren’t exactly known to be the most charismatic people most of the time, so you end up with intelligent, useful tomes that are utterly incomprehensible to most people –” you nod at the text again, “whilst compelling idiotic drivel is widely consumed.”

The Daily Prophet lands with a thump on your breakfast plate as the delivery owl swoops away with a mournful hoot, and you share a pointed, very wry look with Tom.

Tom breathes a little laugh and laces his fingers around his cup. “So you’re not looking forward to Magical Theory, then.”

“I am,” you amend, frowning, “I just hope the class follows more like Waffling’s work than this.”

“Of course you like Waffling,” Tom smirks, lifting his cup, “he effectively writes in verse –”

Tom suddenly freezes, his brow furrowing lightly. You raise a brow at his sudden reaction. “What?”

He looks down at his tea, still frowning.

“Tom?” you prompt, bemused.

“Someone has attempted to drug me,” he says in complete seriousness, looking up at you.

You stare back, bewildered. “Is… is this more Tom humour?” you ask after a moment, “you seriously need more practice at making jokes, Tom, you really are terrible at it –”

“I’m not joking,” Tom interrupts crisply.

Your scrutiny drops to the cup in his hand. “How can you tell?”

“My tea smells like you.”

Your brows raise. “Excuse me?”

“My tea,” he repeats evenly, his dark eyes coming alight with a flicker of amusement as he leans closer, his cup still in one hand, “rather suddenly smells like you. I can only assume someone has managed to slip Amortentia into my cup sometime during this conversation.”

You blink at him. “Oh,” you say simply.

Tom’s lips curve into a more defined smirk at your expression.

“Well who’s trying to drug you then?” you ask quickly, looking away.

“An excellent question,” he says silkily, eyes still on you. “Their motive is hardly a mystery, so that should narrow it down.”

You roll your eyes and level him with a flat look. “Nothing could narrow it down less, Tom,” you drawl, “half the school is in love with you, and the other half is in denial about being in love with you.”

Tom arches a brow and looks very pleased with himself. “Should I drink it and we can find out?” he asks in amusement, lifting the cup.

You huff a laugh and take a bite of your toast. “Go on then, but don’t expect any sympathy from me when you’re pouring your heart out to some random stranger in front of the whole school a minute from now.”

His hand freezes with the rim of his cup an inch from his mouth, amusement faltering.

“That’s what I thought,” you smirk. “If you want to play it that way you’re going to have to be smarter than that.”

“Oh?” he asks, dark eyes narrowing. “And what would you suggest?”

“If someone drugged you during this conversation then they’re probably watching for your reaction,” you say casually around bites of your toast, “so just look out for someone who’s waiting for you to dramatically break up with me.”

“According to you, that would be the entire school,” Tom mutters, looking significantly more disgruntled than before.

A grin slowly builds on your face. “That was nearly a real joke, Tom,” you say ironically, “Merlin you’ve come so far…”

He shoots you a flat glare and you snicker. “Alright, sorry, I’ll stop – look, if I storm out of here looking upset and you act all conflicted and brooding for the rest of the day, whoever it was will probably try to come talk to you.”

“How theatrical,” Tom deadpans.

You shrug. “Do you want to know who drugged you or not?”

His eyes remain on yours for a moment, and then he lifts the tea to his lips. You watch him pretend to drink, your eyes lingering on the tea glistening on his lips as he lowers the cup.

“Don’t lick your lips,” you say quietly, not quite able to look away.

Tom’s other hand shifts slightly where it’s resting on the table between you, and the tea vanishes both from his lips and the cup. You give him another dry look. “Show off,” you accuse, smiling, “wandless and non-verbal, huh?”

“If you ask nicely, I’ll teach you how to do it,” he smirks.

You huff a laugh and slide Corpus Magikus back into your bag. “I should make my dramatic exit soon,” you say casually, finishing your toast and looking around the hall absently. “Perhaps we should have a fight first.”

“That would make it more convincing, yes,” he says delicately, still looking amused.

“What shall we fight about?"

Tom’s expression immediately cools and he leans in so close that you can see the patterns in his dark irises. “The content doesn’t matter,” he says smoothly, a glimmer in his eyes despite his utterly blank expression, “rather, the articulation.”

You hold his gaze for a second, fighting the urge to smile. You force yourself to stand suddenly, as if he’s said something of great offence. “I’ve never seen you so quickly converted to my opinion, Tom,” you say icily, leaning down to him over the table and hoping it looks like you’re angry.

“You made your argument very convincingly,” Tom says immediately, lifting his chin coolly.

“Actively demonstrating my point, I suppose,” you snap, standing straight. “I’m going to storm out now.”

“I’ll see you in class,” he says dismissively, pouring himself more tea.

You turn on your heel and leave, ignoring the curious eyes following you on your way out and not letting the smile break on your face until you’re well outside the Hall. Now all you have to do is wait.

･｡ﾟ☆: *.☽ .* :☆ﾟ.

“Amelia Staghart,” Tom says in your ear before swiftly sitting down next to you in Potions that afternoon.

You raise a brow at him, watching as he arranges his Potions kit on the desk – Staghart is sitting a few desks behind you at that very moment and can most definitely see the both of you. “Are we no longer having a fight?”

“I grew tired of that pretence rather quickly,” Tom says curtly.

You smirk. “Did she talk to you?”

“Yes.” He looks decidedly irritated.

“A lot, huh.”

He shoots you a glare and you bite back another smile. “Are you going to report her then?” you ask, writing the date out on your parchment.

“No,” Tom says softly. You glance up curiously at his tone and find his dark eyes watching you write, before they flick up to yours. “I can think of a more pertinent retribution for her to endure,” he finishes quietly, not looking away.

“Retribution?” you echo, arching a brow with a slight smile. “And you accuse me of being theatrical.”

But Tom only leans closer and – to general astonishment – places a very gentle kiss on your cheek. His lips linger soft and warm on your skin for a moment as you’re frozen in place, staring at him as he slowly draws away an inch. His eyes roam your face as you blink in surprise, his lips curving into another humorous smile at your expression when there’s a sudden SMASH from behind you.

The entire class turns from where they’ve been staring wide-eyed at Tom’s display of affection to see Staghart’s inkwell knocked asunder on her desk, spreading black ink across the wood and dripping down to the floor, her eyes wide and her expression thunderstruck as she stares at you.

“Clean that up at once, Staghart!” Slughorn says disapprovingly as he strides into the room. “I certainly hope your clumsiness does not extend through today’s lesson – we’re brewing poisons today, class!”

Staghart goes red as the rest of the students titter and chatter, furiously glaring at the pool of ink dripping into her lap.

You glance at Tom and share a silent look of amusement before the two of you simultaneously turn back to your notes, still smirking.

#Tom riddle #tom marvolo riddle #tom riddle x oc #tom riddle x reader #tom riddle x y/n #tom riddle x you #established relationship #ravenclaw reader #amortentia #tom riddle fanfiction #tom riddle imagine #tom riddle fic #tom riddle fanfic #harry potter #minific #retribution #prompt #Anon #gn reader

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thevibraniumveterans · 3 years

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I'M STARTING WITH THE MAN IN THE MIRROR...

I'm asking him to change his ways And no message could have been any clearer If you want to make the world a better place Take a look at yourself, and then make a change

A couple of points to make.

1. Loki and identity

According to head writer Michael Waldron, "in a series that, to me, is ultimately about self-love, self-reflection, and forgiving yourself, it just felt right that that would be Loki's first real love story."

Loki learning to love himself, reflecting on who he really is as a person, and forgiving his past misdeeds, is the ultimate character growth, something that the TVA was hell-bent on preventing because it did not line up with how they saw Loki to be. Loki seeing himself in his mirror and realizing that he needs to change? Yeah. That's the big thing going on here.

According to Tom Hiddleston, "I don't think Loki's relationship with himself has been very healthy. Trying to accept those aspects of himself, which he's been on the run from, was a way of thinking about that in a really interesting way."

Think about how Loki praised Sylvie for being amazing because she's been running rings around the TVA. Again, it's a metaphor, because Loki has never in his entire life, honestly praised himself and talked about himself in a good and honest way. I will talk about how Sylvie is Loki's mirror and metaphor later, because this is important. It's also the reason why I started this post off with the chorus of Michael Jackson's "Man in the Mirror". It's relevant, okay?

According to director Kate Herron, "The whole show is about identity. It's about him, and he is on a very different path, and he is on a different journey." And it is! It's kind of how the saying goes, when one reaches rock bottom, there's nowhere to go but up, right?

2. "Love is a dagger."

Terrible metaphor it may be, according to Tom Hiddleston of what Loki says to Sylvie in Ep3, "They were having a talk about love and trusting other people, and not being able to either love or trust for whatever reason." The dagger, then, would represent "Loki's experience of love, I suppose. He certainly feels like it's not been something he's been close to. It has been some sort of illusion that he has trusted and been let down by."

(https://www.marvel.com/articles/tv-shows/loki-love-is-a-dagger-sylvie)

3. "Love is… uh, something I might have to have another drink to think about."

Interestingly enough, I've had several thoughts on the relationship dynamic between Loki and Sylvie.

Yes, Mobius did describe it as "Two Variants of the same being, especially you, forming this kind of sick, twisted, romantic relationship", but even I'm having opinions that would start to contradict each other.

At first I went around saying that the dynamic between Loki and Sylvie are strictly platonic, and I pointed out that to me, the Nexus Event might've been honesty and truth, because according to the "Sacred Timeline", those are two things that nobody associates with Loki, and the fact that in that short amount of time, Loki realizing that he needs to be honest with himself throws the entirety of TVA into disarray. It's a chance for Loki to be honest with himself and really come to terms with who he is as a person.

Now where does Sylvie fit into all of this?

In my opinion, even from Episode 3, I saw Sylvie as a mirror, Loki's perfect metaphor. Why do I say this? Remember in Ep2 when she told Loki, "If anyone's anyone, you're me"?

I had jokingly thought to myself that Loki was just about to tell Sylvie how he feels about her and himself (because Loki talking about his feelings is rare, as he himself said, “this is new to me”), but then I thought a little deeper and went, “hmm, this doesn’t have to be taken in a romantic way at all, Sylvie is not a love interest (because to me that’s just weird, no offense, unless the circumstances were super different, under which I think it might’ve been okay then and depending on the situation, but not here in these circumstances) it’s just Loki admitting what kind of a person he is, and if he can be better, it’s just Loki figuring himself out.” (I'll talk about why I have conflicting thoughts later.)

Even Tom Hiddleston, in a recent interview with ComicBook.com, had specifically stated about his character: "It will be interesting to see what happened when Loki can't talk his way out of a situation, as is his dominant strategy in most encounters. I am most excited for fans to see what happens to Loki when he has nowhere left to run, when he can't delude himself anymore." That last bit with Sylvie? Yeah, Loki coming to terms with himself, being honest, not being able to delude himself anymore. He had nowhere left to run.

I know I did say that at first I did not see Loki and Sylvie as having any romantic tension between them, but please, hear me out first.

According to Classical Mythology, PSYCHE is "a personification of the soul", which is exactly what Sylvie is to Loki. It would make the "if anyone's anyone, you're me" comment make way more sense. Remember how I said Sylvie is Loki's mirror? Loki getting this close to talking about his (what I see as non-romantic) feelings about himself, how he sees his own person, talking about himself in an emotional way, really admitting to his mirror that reflects the deepest parts of himself who he really was, and then just STOPPED before he could do so was so heartbreaking.

I had said that he was not gonna tell her he loved her because that’s so messed up (I get that narcissism is loving yourself but Sylvie is NOT Loki, nor is Loki Sylvie, they’re two different individuals), but Loki was just about to reveal his true feelings, his real emotions that he’s been trying to hide from himself all along. Loki can no longer run away (remember this comment from one of the interviews?), from himself, his emotions, there’s nowhere for him to run, it was time to be honest with himself.

Somewhere I made a comment that went like this:

Loki finally finding a connection with someone who is so much like him, yet so much unlike him is rare. ("Sylvie's not Loki. Sylvie is Sylvie" and "while they're the same, they're not the same" - Hiddleston / "She is him, but she's not him." - Herron) In that Loki has always been alone, and everything that he did was a cry for help that he never received, while Sylvie had been alone for so many years she's had to rely on herself to survive.

It makes sense then, that both Loki and Sylvie see themselves in each other ("I see a scheme, and in that scheme I see myself" from Ep2) and acknowledge that they are both lonely survivors who made it through so much, that they had each other for even that short amount of time.

That connection they had, that emotional attachment that they came to share, was not romantic in any way. (I'll get to why I’m conflicted about this, and why I may come to be okay with it, in a bit.) I read somewhere that the Nexus Event was not as Mobius described it, but was that Loki finally knowing that he'll never be alone, that he's honest with himself, which is something that goes against the TVA's dictates. THAT's the Nexus Event!

According to the TVA and Ravonna, Loki can't be caring! He can't change from being a homicidal maniac! He can't change! But we know Loki can. Loki himself knows that he can change. This knowledge and acceptance was enough to cause the damn Nexus Event, because the Timekeepers did not decree it! Even in Ep1, Loki declared that he would not let the TVA dictate how his story ends. It's clear that Loki's story is nt over yet.

Two lonely survivors find each other, so it's not surprising that Loki himself was THIS close to finally admitting the truth about himself, admitting and being honest with himself... until Ravonna pruned him.

Ravonna has always been pro-TVA and anti-Loki, so it's not surprising that earlier when she was speaking to Mobius, he's like, "Loki can change" but she's like "no because the TVA said so", so therefore when she hears that Loki is finally being honest with himself (through almost revealing his feelings to Sylvie), Ravonna cannot take it and obliterates him herself. According to her, which says that according to the TVA, Loki having an honest and real change of heart is the real Nexus Event and as such, must be prevented.

Now, about love, I guess, new to Loki as it may be.

(Talking points from https://www.marvel.com/articles/tv-shows/loki-sylvie-in-love)

Here's where I think I can explain why though I'm not 100% on board with Loki being romantically involved with Sylvie I might warm up to the idea, the possibility of them being kind of a thing. I'm a little divided on it myself, but here goes.

First and foremost, here's something that head writer Michael Waldron says about the possibility of a romance: "That was one of the cruxes of my pitch [for the series], that there was going to be a love story. We went back and forth for a little bit about, like do we really want to have this guy fall in love with another version of himself? Is that too crazy?" Maybe, maybe not.

You see, as you know, Sylvie is a version of Loki, but is not Loki. Mobius describes them as "Two Variants of the same being." Director Kate Herron notes, however, saying of Sylvie about Loki that "she is him, but she's not him. They've had such different life experiences." Tom Hiddleston chimes in with "Sylvie's not Loki. Sylvie is Sylvie. I think he realizes, and she realizes, that while they're the same, they're not the same."

But what about the love story?

Mobius concludes through context clues that Loki is "an incredible seismic narcissist! You fell for yourself!" He taunts Loki, "You like her! Does she like you?"

Here's where it gets interesting. Loki had reassured Sylvie that people like them don't die so easily, they survive. He had praised her for running circles around the TVA, calling her amazing (again, another metaphor, but I think I've covered that), after which she had placed her hand on Loki's arm. Notice his reaction - he looks down at where her hand had made contact with his arm, shifts in a way that suggests his surprise. He's like, 'Is this warmth I'm feeling? I've never felt someone's gentle touch before. I think she cares for me, is that even possible for someone like me?'

He looks up at her, and though his story differs from Sylvie's, he recognizes that though he may have suffered, she had been physically on the run her entire life, whereas Loki had been mentally and metaphorically on the run from himself. We see from the look on his face that though Loki and Sylvie had spent less than 12 hours in each other's presence, he's come to respect her and her courage to do what he could never have. "You're amazing," he says.

Michael Waldron continues, "The look that they share, that moment, [it started as] a blossoming friendship. Then for the first time, they both feel that twinge of, ‘Oh, could this be something more? What is this I'm feeling?’ These are two beings of pure chaos that are the same person falling in love with one another. That's a straight-up and down branch, and exactly the sort of thing that would terrify the TVA."

Sylvie's not sure if she's got any sort of feelings for Loki, but she does ask if he's okay after they reach the golden elevators that would take them to the Timekeepers. Anyway, after the time loop punishment on Asgard, during which Lady Sif tells him, "You deserve to be alone and you always will be", Loki realizes that he's scared of being alone. He hopes that there might be someone out there with whom he can connect on a deeper level.

Director Kate Herron points out, "Who's a better match for Loki than himself?" Or Sylvie, for that matter. But because "but she's not him. They've had such different life experiences," it would make so much sense and would totally be in character for Loki to connect with someone he sees himself in, again, metaphorically speaking.

This is the ultimate journey of "self-love, self-reflection, and forgiving yourself", as Waldron puts it, so for Loki to come to terms that he might possibly love Sylvie is a metaphor for accepting himself as he truly is, not what or who he projects himself to be. It's about being kind to himself, because as he reflects on this new feeling about Sylvie, he's also reflecting upon himself and whether or not he can keep running from his emotions, as Tom Hiddleston says. The answer is no, he cannot run any longer from his acknowledgment that he's got feelings for Sylvie than he can run from his own realizations about himself. He forgives Sylvie as a metaphorical way of forgiving himself for his past misdeeds, like admitting that cutting off Sif's hair was not funny at all. It would make sense then, according to Waldron, that "that would be Loki's first real love story." Not a story about a narcissist, but a story of identity and self-acceptance and honesty.

The fact that Loki and Sylvie are two COMPLETELY different people who are so dissimilar except for the fact that they're two lonely survivors, could possibly result in them having a relationship.

Hear me out on why.

You know how Loki had said to Sylvie at the end, "this is new to me"? He means that he has never before known how to express love and care because he's never received any of either. For all of his life, he had been treated badly by all except perhaps his mother, but as in Ep3, he agrees that though he's had courtships before, none of those relationships, none of it included any type of love that felt tangentially real to him. Loki doesn't know what real love is... until Sylvie comes along. She does not make him know what love is, because he comes to terms to his feelings all on his own.

Tom Hiddleston says, "When Loki meets Sylvie, he's inspired solely by curiosity." Herron adds, about the relationship, "It was just about giving it the space to breathe and digging into it in a way that felt earned." And I think that I might come to accept that it is earned, in some way.

Two lonely survivors who quite literally run into each other, who recognize each other for who they really are, who accept each other and themselves, and who can finally be truthful and honest with themselves and each other. It's not always a game of checkers or chess. Sometimes, it's a maze of metaphors and mirrors.

I understand that this relationship between Sylvie and Loki is controversial for some, cute for others. If I hadn't already made myself clear, I was never really against the pairing, just that I was never 100% sure I'd board that train myself. I was initially of the opinion that their dynamic was strictly platonic, but because I'm open to different interpretations, I decided to have a look at why people saw the relationship between Loki and Sylvie as a beautiful one.

The conclusion I came to, is that there definitely is more than one interpretation of Loki and Sylvie's dynamic, and that I'm okay with both. We've got two episodes left, so I'm curious to see how Sylvie and Loki's dynamic plays itself out.

Ultimately, this story is about Loki.

Loki has to start with the man in the mirror. The person he metaphorically sees himself in is Sylvie, his perfect mirror, and he's asking himself to change his ways. No message, no relationship, no reflection, no realization, no feeling could have been any clearer. So, if Loki wants to be a better person, which we know he can and will be, he will take a look at himself in his mirror and make that change.

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franniebanana · 3 years

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CQL Rewatch - Ep 14

Hey, I’m getting all my screencaps from Netflix now, because I finally figured out how lol. That means I’m also getting the subtitles from there (and I’ve seen a lot of Netflix haters, but at lease we won’t get “Wei Ying, clam down” and other ridiculous errors). This is just for your reference. I hope the quality of the images will be a little bit better. So I’m both looking forward to and dreading this episode. On the plus side, the first half or so is wangxian, on the downside, the rest is not. And it marks the beginning of the Lan Wangji Drought™, and subsequently my least favorite part in the entire series (not counting the Yi City arc, which, as you may recall, I have not watched yet). But let’s get started, shall we?

We left our heroes in the Xuanyu Cave. Lan Wangji was asleep and Wei Wuxian as being thoughtful and adorable. Now they are both awake and hatching a plan to defeat the Tortoise of Slaughter. Wei Wuxian is talking about the fame and glory that they’ll receive if they defeat it, but on the other hand, if they are killed by the monster, that’s not a bad way to go. Again, even though Lan Wangji’s leg is doing better, even though they survived the first brushes with death with both the Wens and the mythical monster, here they are, about to face death again. But they have no choice, right? It’s either fight the Tortoise of Slaughter or starve. The crux of this whole arc for me is that it changes their relationship forever. You don’t almost die together and not have that change you and the relationship you have with that other person. And I think that’s what makes their reunion after several months so much harder and so much sadder (I’m itching to get to that scene, which is so far from here, ughhh).

Arts and crafts project with bae! Sorry, I couldn’t help myself. I kind of love this scene, though, for what it is: the two of them quietly working together, each with his own task. There’s something kind of domestic about it, even in this dire situation. Also Lan Wangji is doing most of the work. It’s fucking hard to string/unstring a bow.

And when they’re picking up all the bows and arrows, I’m always thinking that the others made such a mess! They just chucked the arrows everywhere, dropped their bows. But why are there so many arrows on the ground? You’d think they’d mostly be in the water, as that’s where the Tortoise of Slaughter was. You know? I’m not gonna think to hard about this.

Imagine that instead of the bowstring, it’s actually one of those sticky hand things that you can swing around and stick to walls.

I spent too much time on that, I’m sorry.

Again, Lan Wangji is reminded that he’s injured and can’t be a ton of help in this situation. And I think he’s bothered by this quite a bit—not because he wants to play hero and save Wei Wuxian, but I think because he doesn’t want Wei Wuxian to bear too great a burden alone. And I think Wei Wuxian is coming from a place of caring and kindness when he points all that out. It’s not as if he wants glory either: he realizes that he is their best chance of survival, and he also knows he can count on Lan Wangji to be there for him.

This smile is so warm, so kind, so loving. Yeah, it is loving. And I do think that this sort of relationship is a big deal in the context of this story. You have two people from different clans, who have vastly different upbringings (although there are similarities with their parents’ deaths), able to come together and genuinely feel friendship for one another. This kind of thing is not that common, seemingly, in this world. It happens, right? It happens for political reasons (sworn brothers, etc.), it happens when there are marriages between clans—but we know that it isn’t common to have this particular kind of friendship, because the script literally pointed it out to us: Xiao Xingchen and Song Lan. They are different—they are close, they are soulmates, even (in a platonic way). And Wei Wuxian and Lan Wangji are held up to them as a direct comparison (“Lan Zhan and I went on a night hunt together”). And wangxian isn’t a friendship of convenience—they weren’t forced here together and then they have to tough it out—this was all chosen. And I think this is where the whole “soulmate” conversation becomes important, in that them coming together and forming that bond in the Cloud Recesses was driven by some kind of fate. That initial meeting, those subsequent experiences they had—if those things hadn’t happened, they probably wouldn’t be in this cave together right now. That being said, the fact that they are in this cave together right now is definitely not fate. This was a choice—or a series of choices—made by the two of them. Had there been no friendship or love between these two, Lan Wangji would have left the cave with the others. Maybe Jiang Cheng would have stayed behind, or maybe someone else would have, or possibly no one! I like to think Lan Wangji would have stayed regardless of any feelings he has towards Wei Wuxian, simply because he’s that kind of person. He stands up for Mianmian because it’s the right thing to do, for example. But as things are, it’s important that Lan Wangji stayed because of Wei Wuxian—because of his feelings for him, because of their friendship, because they have this connection to each other. And I think it’s vital that Lan Wangji is the one to first see what the Yin Iron can do to a person, specifically the person he loves.

So I thought this whole little section here was just Wei Wuxian monologuing in his head the first time I watched this. And then he’s suddenly having a conversation with Lan Wangji, and I was like, “huh?” I am pretty sure I had to rewind and rewatch just so I could understand it with the newly-acquired knowledge that Wei Wuxian was actually talking to Lan Wangji. I’m find being a little confused, but would it have killed them to make Lan Wangji say, “Now we can communicate while you’re inside” or something to that extent, after using his little powers?

Anyhow, fuck, it’s horrible in there! I feel like the smell is visceral, even though I’m watching it on my laptop, it’s like I can feel the damp, air, thick with the smell of death and decay. Credit to Xiao Zhan for just really selling me on what it feels like to be in there. Also I’m so curious what they’ve got him walking through. I wish there were some BTS on that scene. I can imagine (because this is how my mind works) how difficult it was to clean his costume after that. Like that crap must have gotten into every tiny little nook and cranny of his shoes, and just YUCK! They were like, “Just throw them out. We have another pair.”

Since Wei Wuxian and Lan Wangji are in a sense psychically linked here, does that mean that Lan Wangji can feel the energy that Wei Wuxian feels from the sword? He’s definitely reacting to something going on, but then I think Wei Wuxian talks about it later as if Lan Wangji doesn’t know. The romantic in me says that Lan Wangji is reacting because they are so spiritually connected that he can feel when something is wrong.

And now we have this very long action sequence where Lan Wangji does a lot of flying around and Wei Wuxian clings to that sword like Harry Potter on that bucking broomstick in the first movie. I’m sorry, that’s all I think about, and that thought will never leave my mind. What’s kind of cool is that they remind us immediately that Lan Wangji is still injured, by showing us his bloody leg right at the start of this sequence. So he’s flying around, using everything he’s got left, while still being gravely injured—it shows you just how powerful Lan Wangji is. He’s no weakling.

Another cool detail is that you can actually see the staining on Wei Wuxian’s boots from the muck he was walking around in! Nice continuity!

I can’t help it, anytime Lan Wangji yells out, “Wei Ying!” I melt into a puddle on the floor. There’s something about how little he does talk that when he does, it’s important and meaningful and impactful. And, yes, most of his lines are yelling out Wei Ying’s name, but that doesn’t make it any less meaningful when he does it. Every time he says it, it’s a reminder that there is a strong relationship there. As I’ve said before, even Jiang Cheng doesn’t call him by his given name. This is not just an everyday friendship here—it’s more than that—it’s a bond that can’t be broken even in death. That might sound silly and dramatic, but it doesn’t make it any less true. And that’s why when I hear him say, “Wei Ying!” it draws to the surface all of these other feelings. It’s not just a name, it’s not just a line—it’s something so much more.

Also, I want to point out that as soon as Lan Wangji figures out something is indeed very wrong with Wei Wuxian, he goes into overdrive. His hands are bleeding from the bowstring in his hand, his teeth are gritted, he somehow reaches into himself for even more power to defeat this monster.

Seriously? How dare you interrupt my wangxian scene with this garbage? I could not care less about anything going on in this scene. Just fuck off. The worst cut ever. What a stupid cut.

So, as if the Tortoise of Slaughter wasn’t bad enough, this poor kid (because he is just a kid) is now traumatized by the voices coming out of that sword. The pain, the fear, the negative energy—all of it was coursing through him, and worst of all, perhaps, he was even able to use that energy to defeat the monster. And I think, now that he’s felt it and seen it and used it, there’s really no going back. Dangerous? Yes, it’s dangerous, but it’s also powerful, and it saved their lives.

This part kills me every time, though, no matter how many times I see it. Wei Wuxian is just a husk of the person he was ten minutes ago. Where’s that cocky, smirking smartass? Where’s the Wei Wuxian we all know and love? But the reality is, part of him is lost. And throughout the scene, he’s clutching that sword, as if his life still depended on it. He won’t let that thing go, and I also find that hard to watch. And Lan Wangji here is out of his mind, desperate to help him. He runs into the water so fast, as if there is no leg injury at all. And, of course, that’s adrenaline for you, but it’s also just a testament to his strength and resolve and his willingness to go into a literal hell for Wei Wuxian.

And even in his feverish state, Wei Wuxian can’t help but tease Lan Wangji a little, pointing out that he never expected Second Master Lan to be this concerned about him. But it’s interesting that he uses that formal title there, as if he’s putting distance between them. Wei Wuxian is just Wei Wuxian—Wei Ying—and Lan Wangji is Second Master Lan. Whether it’s intentional or not, he’s drawing attention to this hierarchical difference between them, and I don’t think it’s a self-worth issue at all, because I think Wei Wuxian is okay with who his is—I don’t think he has qualms about that really. It’s more driving home the point of we shouldn’t be this close. Or isn’t it funny that we are this close? And he later draws a parallel to Jiang Cheng (again) by saying that at least Jiang Cheng wouldn’t be a boring companion (EDIT: Okay, he doesn’t say that—maybe in the book?). Ironic, because their stay in Xuanwu cave has been anything but boring. But I also think Jiang Cheng would not have been able to maintain his cool at all in that cave. No, I think that Wei Wuxian needed Lan Wangji to survive. He needed someone a little cold, logical, quick-witted, but desperate.

OMG, ALSO! Can I point out the lovely, beautiful, haunting cello music that’s playing this whole time? Not on the OST, which is a damn shame. So you’ll have to watch the episode to hear it, but it’s just so beautiful.

And pause for the clip show that will also make you cry!

“Wangxian.” Yes, yes, the greatest mystery of this whole series—the name of the song and how Lan Wangji immediately recognized Wei Wuxian in the second episode. So I don’t think they ever actually tell you the name of the song, right? It’s like this fun little thing for the fans of the book, and maybe they couldn’t say it because of censorship (because of what it implies, you know?). I’m not a great lip reader, but it looks like “Wangxian” to me. And if he’s saying something else, I don’t care—it is going to be Wangxian to me, regardless.

Man, this scene, though. I can never really hear the humming because you have to turn up the volume so damn loud, and even then it’s hard to hear. Maybe it’s just me. The first time I watched it, I was like, is he actually humming? I don’t hear anything. I was, again, confused. But anyway, it’s good that we see all those scenes with Lan Wangji, because guess what? You’re not going to see him for three or four episodes, FML. FML. FML.

FML.

Can you tell I’m not excited about these upcoming parts? Honestly it’s so tempting to skip it, but that’s not the point of this rewatch. I likely won’t have a ton to say, though, so maybe I’ll do more than one a week (don’t count on it, though).

Okay, guys. Here we go. If you think Jiang Cheng is a kind, gentle soul with a rough exterior, then you may not want to read the next few episodes. I like Jiang Cheng. I do. However, he is an asshole. A complete and total asshole with the occasional kind word thrown someone’s way. I think he cares about Wei Wuxian, as I’ve said before, but that he cares about himself far more. He is the antithesis to Lan Wangji. And that’s definitely on purpose. So, feel free to send me asks or whatever (and that goes for anyone, by the way—I don’t bite and I like to chat with people), but you’re not going to be able to convince me even that CQL Jiang Cheng is a good guy. I think you could try and read him that way, but you’d be ignoring some key things in his behavior and his character.

All right. Now that that’s out of the way, let’s start anew. It fucking sucks that the first people Wei Wuxian sees upon waking up are Jin Zixuan and Jiang Cheng, both of which essentially scold him immediately, as if he didn’t fucking save their lives back there. I’m sorry, that guy right there—yeah, him—he was read to sacrifice himself to save you. Jin Zixuan, “I didn’t do it for you.” Then why? You did it for Lan Wangji? Or you did it because it would be politically advantageous to you because you were engaged to Jiang Yanli? I’m just saying, be nicer to the man who was willing to die for you, okay?

Oh, my god, as if that weren’t enough, Jiang Cheng actually gets angry that Wei Wuxian doesn’t thank him! And this isn’t some macho guy thing where he just can’t show that he cares about him—this is just who Jiang Cheng is. He thinks of himself first and others second. Period.

So aside from those two being assholes, we do at least get some information here. The clans are now all resolved to fight against the Wen Clan. They all know what’s going on and they’re finally ready to stand up against it. The Cloud Recesses is trashed and Lan Wangji left on his own to go back, presumably to take it back from the Wens. I would have loved a heartfelt scene of them getting out together, but that isn’t even in the book, so CQL isn’t going to add that kind of nice stuff, I guess. But they did add this scene, which is mostly just showcasing that Jin Zixuan and Wei Wuxian still don’t like each other, Jiang Cheng is an asshole, and the world is generally fucked up right now.

A reminder that even though he’s in the bright sunlight, Wei Wuxian still has this darkness. It’s permeated him now. He can’t turn away from it. It’s part of him. And it’s something he can’t really share with anyone else—Lan Wangji to a point, but even he doesn’t get to know everything. However, he is, I think, the only one who would have listened.

Cute detail from the book, that Wei Wuxian had carved this into his headboard. What a romantic lol. I don’t have anything special to say other than, y’know, those two could be both guys.

It’s hard to even know what to say here. So much is going on, so many emotions, so many accusations—and Wei Wuxian is caught up in all of this. Madam Yu starts by chastising him for making trouble when he didn’t need to (she thought it better to let the Jins and Lans handle things, no need for the Jiangs to get involved), and then it spirals into this horrible tirade about Jiang Fengmian being hung up on Wei Wuxian’s mother, and in turn favoring Wei Wuxian over his own son because of it. There is so much jealousy and hatred and guilt wrapped up in all of this, it’s hard to even comment. I can’t imagine growing up the way Jiang Cheng did, feeling second best in everything by someone who’s not even your actual brother, feeling like your own father doesn’t really love you as much as he loves someone else. And now throw in that your father doesn’t love your mother because he had an affair with another woman. I can’t imagine how awful that would be. And despite what people might say, it’s hard to really, truly, break away from your parents, especially in a culture like this. It’s important to honor your parents in everything, so standing up to them is a definite no-no. And Jiang Cheng probably feels like the only parent who really loves him is his mother, even though she is the worst person ever. This doesn’t excuse his behavior, but it does help explain a bit of why he does the things he does to Wei Wuxian. I think he’s itching to feel superior over him, and that he’s been extremely jealous of him for a long, long time.

And then, god, what Wei Wuxian is feeling here! He’s the first one to always take the hit for Jiang Cheng. He’s always going to do whatever he can to make him feel better. He makes the sacrifices. That’s part of who Wei Wuxian is—he’s very selfless and courageous. I also can’t imagine how he feels, to be stuck in the middle of this very personal, very private family argument. The kind of raw emotion that’s on display in this scene is hard for me to watch. It’s awkward, it’s ugly, it’s a dark side to family dynamics that a lot of us thankfully never have to experience. It’s horrible to think that even when Wei Wuxian and Lan Wangji were basically awaiting death in that cave, it was quite peaceful, though the landscape was harsh. And now that he’s back in this peaceful setting of Lotus Pier, he’s faced with another monster in the form of his adoptive family.

Of course Wei Wuxian knows that Jiang Fengmian doesn’t love him more—he’s harsher with Jiang Cheng because he’s the heir and he needs to be tougher, he needs to be able to lead this clan. I’m curious if Jiang Fengmian actually did have an affair, but if anything, it was probably emotional. I don’t think that Wei Wuxian is his love child or anything. But at the end of the day, the way I read this is just that the man has trouble being there for his son on an emotional level, and he feels bad for Wei Wuxian and overcompensates for that by giving him more attention. The thing is, while I don’t agree with it, I think he’s harder on his son because Jiang Cheng needs to someday lead. All Wei Wuxian needs to do is support that. And he does. He always supports Jiang Cheng. Always, that is, until Wei Wuxian finally starts to think about what he wants to do with his life, and he doesn’t want to spend it torturing people who don’t deserve it.

The Twin Prides of Yunmeng. It’s a nice idea, but it relies on Wei Wuxian submitting himself to Jiang Cheng at all times for the rest of their lives. It makes Wei Wuxian give up his agency. It makes him give up his dream to do what’s right and always have a clear conscience. If he had followed Jiang Cheng into fire, he would have had to lose himself in the process. So this is a promise that Wei Wuxian could never hope to keep. Although it’s a nice promise, it was said to make Jiang Cheng feel better.

Other episodes: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 |

#wangxian #wei wuxian #lan wangji #cql #the untamed #jiang cheng #jin zixuan #jiang fengmian #madam yu #wwx #lwj #mdzs #mo dao zu shi #cql rewatch

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sleepmusicland-1 · 3 years

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Gone Chapter 4

Ella POV:

For 4 months now I was already in New Orleans, the De La Crux circle was more dangerous than I would have thought. They acted in secret, used the other circles to get their way and, above all, they acted against Mikaelsons. Something that had already cost many witches his life.

Something that had amazed me was that no one, neither Isabella nor her members in the circle seemed to have been touched by the fact that someone had died. Murdered, only by whom was not clear.

For exactly 2 months I lived in a small apartment, on the edge of the French Quater, why the witches left me alone, although I supposedly played such an important role that their ancestors had torn me out of my life, was a mystery to me.

But one thing I could do undisturbed, both on the Internet and in the library, looking for information about what an Earth angel was and what my gift had to do with it, because since I was here, I kept encountering deceased souls and could also feel the presence of other people, vampires, werewolves and witches, I knew exactly who was near me. Even though I did not know these people, I knew when it was a human being and when it was not.

The scent of old books struck me as I entered the library, Getrud, an 80-year-old who had made her love of books her profession, greeted me with a cheerful "good morning" and informed immediately afterwards how my day had been so far.

I had to get used to communicating with someone in my mother tongue, because when I was still living in my own world, I had only spoken Dutch, simply because there was no one with whom I could have German spoken and then I often had to speak English, because the companies I had worked for often had English as the only official language.

But Gertrud was simply happy that she could talk to someone in her mother tongue and so I had learned early on that she knew about the supernatural and was one of the few people who had never gotten between the fronts. Because no one bothered to ask the librarian what she knew and she knew a lot. But in my search for the meaning of the earth angel, she could not help me either.

Gertrud wished me "good luck" before she turned to her work, although more and more people no longer borrow books, the library was still received by a sponsor. She had told me this right when I first came here, and she was so proud of her library, the treasures that were just waiting to be discovered in it.

"Thank you", I thanked her and entered the library myself.

The room itself was large, on both sides’ shelves upon shelves, full of books of all kinds, the smell of old books, dust and for me knowledge was in the air. Ever since Isabella decided to find out more about Earth's Angels before she wanted to start the ominous training, which I still did not know what the training meant, it gave me time to find out how I got here and how to get back to my old life, because I was not satisfied with one that Isabella claimed I could not go back.

I did not believe her, I would tell myself about the same thing in her place, in order to prevent people from trying to get back home.

I had just walked between two books shelves as my neck hairs lined up, the tingling that normally crept from my neck over my back started this time on my stone leg and goose bumps told me that I was no longer alone, but it was not a spirit, it was a supernatural being.

How did I know it was supernatural beings and not a spirit? I had no idea; it was as if my gut feeling had improved so much since I was here that I had developed a radar for supernatural beings and spirits.

Said supernatural being in this was Marcel Gerard, one of Isabella's allies, and even though he did not know where I came from and what I seemed to be, he had not even tried to get to know me better, as if it was enough for him that Isabella had said that I was important for her plan, whatever that plan was.

Because she had not told me that, I was supposedly the key to making an old prophecy come true, but how exactly she planned to prevent it was a mystery to me.

"Ella, right?" he spoke to me and seemed to let his charm play, maybe even worked for other women, but I was not like other women, like cliché, that sounded too. As an asexual person, it was not easy anyway.

"Yes?" I answered questioningly and did not expect an honest answer, but only an excuse why he was here.

"Someone wants to get to know you and he has a few questions, questions that Isabella does not want to answer", he answered me, immediately my neck hairs lined up, this someone wanted information from me. Maybe he even wanted to know where I came from.

And I could not say that I came from another world, where this was a series. That sounded stupid even to my ears, even if in my case, it was reality.

"Who is this someone?" I asked, I would certainly not go anywhere to meet some mysterious person who had questions that Isabella did not want to answer.

"Ever heard of Elijah Mikaelson?" Marcel informed himself and I somehow managed not to let my heartbeat beat treacherously faster than I heard Elijah's name. I still couldn't believe that the version I had seen on the show wasn't the same one I had come to know for a moment months ago. "Don't tell me anything, I'm not very good at remembering names," I answered him and that wasn't a lie. It took me several weeks from time to time until I could assign the names of the respective persons to their face and remember it.

"Don't worry, he just wants to ask a few questions, nothing more if you would please follow me?" Marcel asked me in a tone that did not tolerate any contradiction.

Elijah POV:

Marcellus took the young woman I had met in the cemetery a few months ago to the arranged meeting place, an old, abandoned church, where I could be surethatnone of the witches would eardrop on us.

I watched her body language, she appeared consciously confident and did not let herself be intimidated by her surroundings, she looked around and when her gaze fell on me, she seemed to recognize me again.

"What do they want?" she informed after the reason why she was here, no greeting, she got straight to the point. "Normally one greets his interlocutor" I answered her, where I did not miss that Marcellus was amused, since she did not adhere to the customs.

"Normally you don't get ordered to a conversation like they did," she contradicted me and slapped her arms on top of each other.

Either Isabella had not told her who she was dealing with, or she was one of those people who did not let themselves be intimidated by vampires, which in my eyes was not only incredibly stupid, but also dangerous.

"On the one hand, I would like to know where they come from, because they are not American," I answered her and she looked at me with her head tilted to the left, „The country where I lived or the country where I was born? Even then they don't get the answer they seem to be looking for, because my nationality is and will always be, Dutchwoman", she answered me, she was born in a different country than where she lived now? Where did it come from? What had Isabella done? The slight undertone of bitterness had not escaped me.

"May I guess that they were born in Germany?" I informed myself and Ella looked at me, "Because I have such a strong German accent?" she indirectly confirmed my suspicion that she had been born in Germany, to which Marcellus replied that he had German heard her talking to a few German tourists and that she had no accent, which made him suspect that it was either her mother tongue, or that she had lived in Germany.

And with that, she now knew that I had let her observe, but I did not know a detail of Marcellus's connection to Isabella at the time.

"Because I speak accent-free German, am I automatically born in Germany?" she asked and looked at me from Marcellus.

"This is actually the only explanation, because according to my contacts, they do not have a social insurance number, nor other documents to confirm their identity," I replied to her statement and observed her reaction, her heartbeat was calm, no signs that she was surprised by my statement or the fact that there was no documentation about the woman in front of me.

"The only explanation? I can think of ten other possibilities", she contradicted me, I was honestly amazed at how often she contradicted me and showed no fear.

"But why am I here? Why am I being executed here?" she added, and it amazed me how good her pronunciation was, because she had indirectly confirmed that English was not her mother tongue.

But I did not let this be noticed, a sign of weakness and your counterpart took advantage of it for their own goals. "I want to know what exactly Isabella is up to, especially because when I first found her near the Bone Mausoleum, the mausoleum that is only used for the witches of New Orleans when it is very important," I explained to her the reason why I had ordered her and commissioned Marcellus to bring her here.

"And I should know why? Ask Isabella herself, I'm not a witch and I have no idea what the meaning of whatever mausoleums have, which as you yourself have already noted, I don't come from here, so how am I supposed to know what exactly any mausoleum has for a meaning", Ella answered me and for the first time I noticed that she was wearing a chain, she was wearing several pendants on a black string, but I could not see which pendants they were.

For the moment I pushed my observation aside, there were more important things, especially because Ella really did not seem to know what Isabella had used the bone mausoleum for.

"Can I leave now? Or do they want to know more?" Ella hinged slightly annoyed, her attitude had changed, instead of standing bored leaning against one of the old banks, she stood upright, and her attitude revealed that she perceived something, we were no longer alone.

Could it be that she was paranormally gifted? That would be the only explanation, because their attitude had changed and not only, I noticed the change, Marcellus had also noticed the change.

A click echoed deafeningly loudly through the old, abandoned building, for vampire ears it sounded noticeably clear and loud in the ears, for people ears it was not audible.

I would learn more about the mysterious woman very soon and discover an old secret...

#elijah mikaelson #elijah mikaelson imagine #elijah mikaelson fanfiction #the originals #Gone fanfiction #elijah mikaelson x oc #chapter 4

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watching-pictures-move · 3 years

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Movie Review | The Beast and the Magic Sword (Naschy, 1983)

When I saw Iron Maiden in concert a few years ago, what struck me was not just the power of the music or the extravagant prop-and-effects-filled stage show, but the sight of frontman Bruce Dickinson in a puffy shirt and pantaloons, galloping across the stage, throwing the full force of his body into the performance. I bring up this memory because Paul Naschy brings a similar energy to his performance in The Beast and the Magic Sword. Lots of bared teeth, lots of tensed arms, lots of jumping around. If you've seen The Kentucky Fried Movie, the gorilla rampage should come to mind. I say this not to insult the movie, but to note the endearingly goofy charm of the lead performance. I should also mention that he's playing a werewolf.

The Beast and the Magic Sword is the ninth or tenth of the Hombre Lobo movies Naschy starred in (I understand that the existence of one of the films is in question, at least in regards to a finished form) and the last one to have received a theatrical release. I understand that Naschy is best known for this character and that he'd directed a number of movies at this point as well, and there is a degree of assurance in the finished product I can detect despite this being my first experience with him as an actor and director. The movie neatly sets up an origin story for his hero's lycanthropy, involving a duel with Magyar invaders and religious persecution, and then shuttling off to Japan, where the werewolf material mixes interestingly with the jidaigeki and Japanese folklore elements. (I understand the exact origin story differs between installments of the series, but as a newcomer, I appreciated being given some kind of setup.) What transpires are not just werewolf attacks (always in a shiny black shirt and pantaloons), but sword fights, witchcraft, undead samurai and most memorably, a wrestling match with a tiger. And at the end, a Japanese pop song plays over the credits.

I watched this on a Blu-ray from Mondo Macabro, and to the extent that home video labels can be said to have house styles, this movie's blend of exotic, worldly delights and excitable, schlocky tone is firmly in that company's wheelhouse. The movie was shot open matte style, and due to its limited theatrical release, it was widely seen for years only in full frame on home video, despite not being the intended aspect ratio for its theatrical release. Due to probable production mistakes, the footage in the prologue seems to drift in and out of focus with some regularity and was giving me a bit of a headache, so I watched the full frame version where the issue didn't seem as severe. I actually think this works in the movie's favour, as the aspect ratio ties nicely into the stateliness of the Japanese sections and helps the horror imagery pop. Naschy was able to shoot in Toshiro Mifune's studios and I suspect getting access to local crew influenced the movie's style for the better. (If I wanted to talk completely out of my rear end, I would say that this is like if Ozu made a werewolf movie. Having finally seen my first few Ozus recently, I will say that if you sprinkle in a bit of Kobayashi the claim gets a little less dumbassed.)

There is a level of wish fulfillment here, which may or may not be off putting depending on how much you can identify with Naschy. If I were a not particularly charismatic and handsome dude (okay, that I am) and I had the ability to direct myself in a movie where I'm surrounded by beautiful women and can run around pretending to be a werewolf in some really nice looking sets, I sure as hell would jump on that opportunity. (All three elements are equally important in this hypothetical scenario.) Naschy's performance has some of that bozo quality, but at the same time, he clearly realizes that he comes up short as an actor against Shigeru Amachi and gladly shifts the dramatic crux of the movie over to the Japanese characters. (The Japanese actors are dubbed into Spanish, but it's done well enough that it was a non-issue for me.) And aside from a rampage through a brothel, the movie is less exploitative than the poster would have you believe, committing to its idiosyncratic vision of horror. If anything, that's what's most surprising about the movie. Naschy isn't just using the Japanese setting for flavouring, he actually seems to respect the country's dramatic traditions and folklore and makes a movie that's a true blend of those elements with his lycanthropic passions.

#film #movie review #the beast and the magic sword #paul naschy

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maliro-t · 3 years

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this is maybe a weird ip combination, but i was talking to a friend yesterday about grief in tms5 compared to w*nd*v*sion bc the most recent ep got me thinking (this is a pretty long post about the former, sorry).

So Vision says “What is grief, if not love persevering?”, which is such a great line, and really resonated with a lot of people, including myself, and it’s really maybe the crux of this series that has been imo a really great exploration of grief. The whole ep was so impactful for me, and I had a moment after where I just went. Huh. In an entire season, tm never said that once. I think there are moments where they come close- Alice and Hamish’s conversation about his wife maybe, or that one fleeting genuine moment between Eliot and Fen in 5.11, or we could rope in the mountain of ghosts if you really stretch, but I think all of those still miss that mark.

So like, they frame the whole season around grief, but they don’t really say anything about it, or tell a valuable story about it. It feels honestly like they spend most of their time treating it like an obstacle that needs to be overcome and like, what are they trying to say with that? That it sucks? Because I would say that in general, people know that! Or was it that people who DON’T get over it have some sort of pity-worthy-but-ultimately-condemnable character defect? Like I’m sure they were aiming more to show how different people process things in different ways, and that wallowing forever can destroy you, which is...true, and maybe half executed well, but it also doesn’t feel valuable (especially when their queer characters are disproportionately targeted by it), and seems like it tries to put an acceptable timeline on Getting Over It Completely which just kinda Sucks. It probably wouldn’t harp on it this much if they hadn’t been so up their own asses at sdcc trying to explain how important and worthwhile this kind of story was.

It’s also part of why where Eliot ends up at the end of the season feels so heinous, because he really is in pretty much the same place he started; he’s the only character who really ISN’T given the opportunity to ‘overcome’ grief. Again I don’t even feel like that’s a valuable story, but he just feel so singled out and it fucking Sucks that even within their shitty framework he ends up kind of damned. I think the stuff with Charlton was supposed to counteract it a little- I maintain that he says some good things that sort of recognize why tdk stuff was maybe not great, and as much as I Hate this I do actually think those little mosaic parallels were Intentional as part of that. The way Eliot actually reacts though is so not indicative of growth or any actual healing- it feels more regressive, like s1 Eliot just kind of taking what’s being offered to him to cope, and it’s Weird and Sad, besides the whole thing just being laughable.

And like, for the record, I’ve said this a few times, but I am someone who is really glad they watched s5, and really didn’t agree with a lot of the issues people on here took with it. But that also doesn’t mean that it was actually good on the whole, and one of it’s main failures was...kind of the exact thing they apparently felt so strongly about they had to make a whole season for which just. ugh.

My main reaction after 5.03 aired (which I love, and am grateful for) was just. AGONY. I could not fathom why this story about so much pain (and specifically queer pain) was the one that they wanted to tell, and unfortunately by the end there just isn’t really enough pay off for it to be worth it.

Anyways idk if any of this makes sense lol, I’m kind of rambling at this point and I don’t know if anyone who follows me even Watched season 5 besides like One (1) person lmao. I have more to say Always, even like a year after the fact.

#it speaks #apologies to anyone who read all of this with their eyeballs #i can't get myself to shut up apparently! this is my version of journaling #also fwiw i'm mooching off my sister's d+ account lol; i'm not gonna pay disney to watch the Singular show i was interested in #edit like 2 weeks later: i'm pretty sure no one will try to pick this bone w me but. i did go rewatch that fen and eliot scene in 5.11 #bc that's the scene that cames closest to this in my memory #gonna be as brief as i can bc this is really for me #so el does say you can love something even after it's gone BUT there's a nuance that separates it from the vision line which i think #is important #bc the reason that line really really resonated with me is bc it recognizes that the grief itself is a part of that love #if that makes sense- like the being in pain etc that's all just. a continuation of that love; that you aren't loving them still in Spite of #grief or loss etc #it's the merging of the two that felt significant to me; and it really felt like that was missing from tm (if not being pushed against)#blah blah blah #sorry to sound fake deep in my defense i didn't write the line #but u know. it was a little bit deep for me #pretty simple but also just something i needed to hear. got my gears grinding

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hazelenergy · 4 years

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☕️ Gehenna

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Sometimes y’alls ramblings about Gehenna feel like idiots online screaming the world was going to end in 2012. For some of you, its like how people freaked about computers exploding on New Years in 2000. You rush to unplug all your devices before it’s too late, only to realize nothing bad was going to happen- you just made everyone freak out or possibly destroyed your computer.

No worries. I get it. The end of the world is terrifying to everyone.

But, I found it a bit odd that immortal beings would have a doomsday story. But then again, no one seems to have read the fine print on immortality where it clearly says terms and conditions apply. Regardless, my actual feelings on Gehenna have always been pushed down because a lot of kindred acted as if I personally was going to bring about the end times. But I can’t deny, I have experienced some weird stuff besides my general existence.

Living as the Tremere lab rat meant that no one would dare lay a finger on me directly without fear of Mary’s wrath. But it did mean I got subjected to their apocalyptic speculations. Most of the time I had no idea what they were talking about. Sometimes for fun, I’d just roll with it.

Once, a kindred asked if I’ve ever been pregnant. Which first off, rude and invasive. Secondly, I’m a big lesbian. The likelihood of me being pregnant isn’t zero, but it is slim. But this Malkavian had my attention. She looked older, maybe in her 50s and had streaks of silvery hair covering her eyes. I laughed and told her no. She smiled at me and then asked if I liked the name Wendy. I spoke before I had a chance to organize my thoughts and said Wendy is a cute name. She looked at me gravely and said I knew the time of thinblood would be upon us again. She then said, “Keep your legs crossed, Daughter of Eve,” and then left Elysium. Needless to say, I went back to Mary’s Haven instead of home with a new partner.

Within 24 hours of every Elysium we were ordered to spill our interactions and reveal any learned secrets to Mary. When I told her about this interaction she raised her eyebrow and got up to her filing cabinet. She pulled out a thin file labeled Dhampirs. The first article was a medical autopsy on an infant named Wendy- the research done by a Dr. Douglas Netchurch. Mary explained that it is rare, but thinbloods can and have carried children to term. And like the presence of thinbloods is a portent of Gehenna- their physical offspring is as well. She then laughed harder than ever before, wiping a bloody tear from her eye. I asked what was so funny. “You must forgive me, but the idea of you mothering a child is utterly amusing.”

I suppose this falls under the Gehenna where there’s too many of us and masquerade breaches are bound to happen. And when the mask is completely shattered, we are all in danger of humans destroying us. And I can’t imagine explaining to a toddler how to contend with the Beast and not hurt others with their powers. Seems like a recipe for disaster.

When I was much more settled in my Elysium routine, I had caught the attention of one of the younger Toreadors of Atlanta. Naturally, the Harpy made me extremely aware of everything about her and then Butternut, my nickname for the Nosferatu Primogen, told me everything else for 20 dollars. She was fond of the stars and their silvery light. I had offered to take her stargazing a little outside Atlanta in exchange for some vitae. This was a fairly normal transaction for me and I understood the price was steep for many. So I always tried to make it worth their while, with a nice night or a wild night depending on their tastes. She pointed out several constellations to me and their varying mythologies. I’ll admit, it was fascinating to hear what different cultures thought of different constellations. I could point out the obvious ones like Leo the Lion or the Little Dipper. She could point out ones that I could barely see, calling them things like Lyra and Crux. She told me of stories of constellations far beyond our sights, some of which can only be seen on clear nights in the Southern Hemisphere. That’s when I noticed it. A bright, gleaming red star in the center of the Big Dipper. It almost looked like an eye in the bright sky. I couldn’t help but feel a sense of dread. But I willed myself to ask about it. She turned to me and playfully said, “Don’t be silly. There’s nothing there,” as she curled closer. I gently explained it was still there and asked her to tell me what it’s story could be. I think she thought it was some sort of game and made up some story to humor me. The rest of the night went as expected. I got to taste and temporarily brew Presence, she got the closest to Mary’s Haven without revealing her true intent and a one-night-stand with the Camarilla’s thinblood kitten. But I continued to see the star for several months.

I finally got an idea of what I saw when I met with a Salubri by the name of Nils. He explained that he foresaw something terrible would happen in the city of Atlanta, but the only way to stop the Wyrm was to travel to a city with a Salted Lake. It took a while for us to understand what he meant, and we don’t know if he was successful. To show his good will, he offered us gifts for the night and hope for eternity. For hope. he explained how thinbloods from his domain could walk this path and return to being mortal. For kindred such as himself, the sun is no longer an enemy. When he took Solomon’s hands, he quieted his raging beast for the night. When he took mine, he flinched for a moment like he wanted to let go. He looked into my eyes and said, “You poor childe. You willingly accepted madness to keep your heart from being poisoned. My soul aches knowing you have suffered so much.” Its then, I swear, his forehead began to faintly glow in the shape of an eye. When it opened, it glowed with the same red of that star. I wanted to run away as fast as I could, it didn’t matter how far I had to run. I pulled against his hands, but couldn’t get away. Then, my mind quieted. The thoughts that raced around my head stopped...I didn’t realize how muddled my mind had become. I looked back to see his eye closing, the red starlight shifting to gold. He released my hands and said, “You saw Ixion, no? I think a fledgling like you shouldn’t be weighed with the powers of an Oracle, but I am not one to cast final judgement. The power will return when your mind is clean.”

Turns out, in 2002, A red star was visible with a telescope and NASA named it Ixion, which is the Greek equivalent for Cain. I jokingly mentioned how Cain sightings are another portent of Gehenna but didn’t expect him to be such a star. Tommy and I laughed. Cass didn’t and then demanded to know how long I could see Wormwood. I explained that first saw it in early spring, 2019 and I haven’t seen it since October 1st, 2019. She made a series of frantic phone calls- I think she was checking up on kindred she used to run with. I’ve known for quite some time Cass used to be with the sabbat. I don’t know what happened between her and her pack. She usually is very willing to explain things to me, but her past is still a complete mystery- aside from her weird fling with Mary. ew. I can respect when she tells me to just drop it. But I can smell the strange shifting aroma from her resonance. She’s angry, then she is filled with sorrow, then she’s afraid.

I think about Gehenna more than a fledgling probably should and more than is probably healthy. It does make me uneasy for reasons I can’t explain. I guess since everyone else is so afraid- I should be too. However, I am curious to a fault. I have done some research into our doomsday myth. From what I’ve gathered, signs have been occurring for quite some time. And, we are all still here. Bad things seem to happen regardless, it doesn’t mean its Gehenna. But it is a nice scapegoat when things go wrong. Blame it on inevitable destiny rather than cascading consequences of poor leadership. The world is going to keep turning with or without us. Simple as that.

#ic #gehenna #//thanks for the ask!#long post #hazel answers questions #vtm rp #this is what we in the biz call heavy handed forshadowing

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tptruepolitics · 4 years

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LGBT Thoughts

Netflix has recently decided to push transgender ideologies in their Babysitters Club series – a show directed at adolescent girls. While Netflix – an independent company that should only have to answer to itself and its shareholders – is perfectly within their rights to air such shows, the fact remains that this is a deeply damaging topic to be showcasing to the most vulnerable and malleable among us. I think it’s time we finally address the enormous elephant in the room: the LGBT community. Here I will break down my thoughts on their rights, their roles, and their realities in our society.

For much of history, there have been documented incidences of same-sex encounters. Even the Bible makes reference to same-sex relations numerous times. The word sodomy is actually originated from one such text from Genesis in reference to the city of Sodom. Shakespeare is even rumored to have been gay by some scholars. However, for most of human existence, these individuals were forced to live in secret – outcasts of society, ostracized by their own people. To be perfectly fair, religious extremism has only contributed to the past 2-4 thousand years of ridicule. Before that, it was still frowned upon (at best) by most cultures simply because it went against the laws of nature. Male and female animals and even plant parts reproduce in union with one another. There are no same-sex reproductive organisms to my knowledge (correct me if I’m wrong). There are asexual organisms that reproduce by themselves, but certainly no major animal species that reproduce in any extraordinary way. There is a certain species of bird, I believe, that lives in Hawaii (once again, correct me if I’m wrong) that sometimes chooses a same-sex partner for life in the absence of a proper mate, but this is certainly an exception, not a rule. To add, they do not reproduce together.

But what does all this mean for humans? How should the “laws of nature” or even God’s laws apply to humans in this age of constant progressivism and an increasing detachment from religiosity that we call secularism? Well, thankfully, in our country and many around the world we are allowed the freedoms to live our lives as we see fit as long as they don’t infringe on the rights and liberties of others. So, if someone chooses to live outside the bounds of religious or natural laws, they certainly should be allowed to, as long as they are minding their own business. This concept of allowing homosexuality was highly contested up until the late 20th century, and is still somewhat contested today in 2020. The original founders felt that upholding moral and ethical truths in our school systems were an integral part of maintaining our precious union. As a matter of fact, the often-misrepresented “separation of church and state” clause did not mean that religion could not be learned about in schools, but that the federal government had no right to establish a State religion (capital S). Most of the founders actually encouraged religious teachings and values in schools. The more modern interpretations of the separation of church and state are due to an influx of not only secular ideologies, but also religious beliefs that were not prevalent during the time of our founding. While I am a firm believer that no harm can come from learning about religious values in schools, in this age of progressivism it is reasonable to note that certain contentious religious principles need not be forced upon others. This would be a clear infringement of the separation of church and state.

So, to get specific, let’s talk homosexuality. A common misconception in the eyes of secularists is that the Church (I’ll speak specifically about Catholicism here) preaches that homosexuality is a sin – that simply being gay is a sin against God. Well, this isn’t true. The Church expressly teaches that acting out homosexual fantasies is a sin. Let’s say, you are a man who is attracted to other men, but in your devotion to your religion, you find a woman whom you love, marry her, and live your life without having sex with another man. Is this man sinful, because he finds men attractive? Of course he is not! When you feel like strangling someone, but then you calm down and don’t, are you guilty of murder? No. So, simply being gay is not a sentence to Hell. As a matter of fact, even in the eyes of the Church, acting on your homosexual impulses isn’t a death sentence. There is reconciliation and forgiveness in the eyes of the Lord. If you confess your sin and repent for it, you are seen as forgiven. Not to mention, there are people who sin in every aspect of life: liars, swindlers, thieves, murderers – and I’m not even just talking about big sins. Small sins add up, and if you are not repentant of them, you are not any more likely to get to Heaven. However, I will paraphrase this, but I believe there is a Scripture saying that says you will be judged by your worst qualities. So, if you work hard your whole life to be a good Christian, and your only flaw is that you are a wonton whore, a light will be shown on this most vulnerable area.

You might be thinking to yourself, “but it’s a genetic mutation that causes some people to like members of the same sex. God would not have built natural urges in us if he didn’t want us to act on them.” Well, that’s just ridiculous. We have natural urges and desires that are built into us that we are meant to fight off all the time: anger, greed, and jealousy to name a few. Lust is just one more urge that is built into our nature, and it happens to come in all shapes and sizes. Our animalistic desire is not only to have as much sex as possible, but to have it with as many things as possible. Evidence of this is your dog, if you have one. Dogs will regularly hump humans due to a natural urge they have. Should the dog be doing this? Should humans all of a sudden be accepting of bestiality? Maybe don’t answer that one. Now that I’ve gotten a bit off topic, I’ll try to bring this all back. Yes, acting on your homosexual desires is a sin in many Christian churches. However, your homosexuality does nothing to harm me or my church, and as such, I believe firmly that if you wish you act on those temptations, you should be legally allowed to.

Lesbian, Gay and Bisexual peoples should not be deprived of their right to happiness, which can include uniting themselves in lawful union. That being said, I would like to advocate for an alteration in the name of the union. With the full rights, advantages and privileges of a married male and female couple, I would like to revoke the name “gay marriage” and return to the previously used “civil union” terminology. Marriage is a religious term that has been secularized over decades to include all unions whether inside or outside of a church between a man and a woman. I propose that all unions made outside of the boundaries of a religious ceremony be labeled civil unions, reserving the term marriage to those unions made within the boundaries of a religious ceremony. Civil unions will differ from Marriages in name only as to lay to rest the disagreements of many over this divisive issue. Thus, men and women, women and women, and men and men united solely by a judge will no longer be “married” but “united”. Those churches that allow gay marriages in their communities are by no means precluded from including them or precluded from calling them whatever they wish. However, legally, in the eyes of the state, a same-sex couple “married” in their churches will be viewed as “united” under the law. This is a semantic issue, as opposed to a legal issue. The semantics are clearly important on this issue and have been increasingly becoming more important as time goes on. I may not feel it is right to legally prevent people from enjoying their lives in whatever manners they please, but I do feel it is within my purview to define terms in order to ease tensions.

With regards to the transgender community, I have immense sympathy and respect for your feelings. Feeling like you don’t fit into the gender roles that your biology dictates can be frustrating, confusing and upsetting. I know. During my high school years, I often noted to myself that I had feminine characteristics that I didn’t understand. In some ways, I felt that I didn’t share many of the masculine interests of my friends. However, because I was surrounded by many fine men who were very accepting of my differences, I never felt that I didn’t belong with them. Here is the reality of the situation. Many people are not surrounded by these positive influences, and thereby feel that they need to re-identify themselves in order to fit into their social environments. This is not the case. Acceptance, toleration and understanding are the keys to solving this problem. Our attention with regard to the gender debate should be redirected towards Gender Stereotypes. At one point, I was under the impression that we were heading in the right direction. In a very enlightening high school class, I was challenged to think about what it means to be a man and what it means to be a woman. When I did this, I came up with many gender stereotypes that not only did not describe many of my peers, but also did not describe myself. Instead of concluding that I did not belong to my gender, however, I concluded that the stereotypes were the crux of the inconsistencies. At one point in history, gender roles were necessary for survival – the strong (men) went on the hunt, and the tender (women) cared for the children. They were important distinctions. This is not the case anymore! Over time, as technology and society developed to the point where strict gender roles were no longer necessary, women’s rights and roles in society began to change. This was a good thing and is a testament to how incredible our society has been for the less advantaged. These roles still play a part in our daily lives and still affect who we are, but they do not define us exclusively. Take Apples for example. The stereotype of an Apple is a red, juicy, sweet fruit. However, there are apples that are yellow, juicy and sweet. There are also apples that are green, juicy and tart. Is the yellow apple a mango now? Is the green apple a lime? No, their genetics limit them to the fruitful existence that they are. Nevertheless, biology dictates what type of fruit they are and not their characteristics; their characteristics don’t change the underlying biology.

To solve the issue of gender, some people on the progressive aisle have attempted to remove gender. I instead propose to remove the stereotypes/roles! This of course leads to inconsistencies in the Pride movement as a whole. For example, an exclusively lesbian woman might marry another woman who decides later that she is a man. Is this first woman heterosexual now, or should she be upset and betrayed and break off the marriage? Are you confused yet? This removal of gender is not only confusing to adults, but it’s confusing to children, and for them, it is dangerous. When you pose a child with the option to choose his/her gender identity, they will ask you what the differences are. Your response will undoubtedly be gender stereotypes. You are doing no one any favors by perpetuating these gender roles. The child will treat this as something fun, like a game. However, once you begin to treat it as something serious, the child will begin to treat it seriously. This is what major networks and schools and parents are beginning to do. Once you begin to treat your child as if they are not their biological sex, they will begin to accept that reality, more so to please you than anything else. This could have unimaginable consequences on their sense of self later in life, which could lead to self-esteem issues, learning disabilities, depression or worse. And making life-altering changes to your children i.e. long-term gender therapy, hormone treatments, or surgeries could permanently hurt them mentally and physically.

Conversely, if your little boy tells you one day that he is a girl, tell him, “No, you’re not a girl, you’re a boy. As a boy, you can be whoever you want to be, like whatever you want to like, and all of those characteristics will make you who you are.” If you tell your little boy that, there is an increased likelihood that he will have a more accepting view of others who are different from him, and will have a more positive outlook of himself. You can be a man who loves to sew, wear frilly clothing, and fixes his own car. You can be a woman who lifts weights, works on a construction site, and watches soap operas. They are not mutually exclusive. This also includes those members of our communities that wish to fully engage in their historical gendered roles. Women, who want nothing but to read, write, sew, be homemakers, and do the multitude of other activities that are considered feminine, should not be shamed into thinking that their choices are not valuable, are backwards, or are in anyway damaging to womanhood. Women who have no interest in science should not be shamed into believing that their lives are a waste and that they are giving in to the patriarchal oppression of women. This is not productive. Similarly, this standard applies to men, who should not be shamed into thinking that jobs that only use their hands are not worthy of respect because they do not require a college education. They should not be shamed into the common misconception that men are brutes, only caring about power and control. Men who are not interested in fashion design or cleaning are not uncreative or lazy. All humans have different interests and strengths.

The characteristics we have as human beings are largely taught to us. Generosity is taught, openness is taught. Negative things, as well: greed, sloth – they are learned. Selfishness is a learned characteristic. As a society, we have failed our younger generations. Parents, teachers, the government, and the media have all failed. To teach a child that they are so important that they have the ability to defy nature and choose their gender breeds self-centeredness and pride beyond compare. How selfish of us, how pompous! We are not that important. We are not able to create our own meaning. Our meaning is a gift bestowed upon us by a higher power. Who or what that higher power is, is for each and every man and woman to decide on their own, but a society based on the premise that they determine their own worth is doomed to fail because it is founded on the ideal that the self is the most important entity. This is not to contradict our founding principles concerning the individual. Those principles concern how government should act in relation to its people. The concept of self-importance, to which I’m referring, concerns how individuals view themselves and act in spite of the government.

So, no, I don’t think that Netflix or schools should be teaching students, especially against the wills of their parents, that being a boy when you’re a girl or vice versa is acceptable. We should not be teaching children that biology can just be ignored. If we allowed this aspect of biology to be ignored, other aspects of biology may be ignored in the future (like age!). Nor do I think that sexual preference should be celebrated in public schools. This goes against the separation of church and state in a different manner, because teaching children that their religious observances of sin are incorrect is a direct interference with the practice of a religion. This would be a world where secularism becomes the state religion and that would be no more acceptable than some form of theism. Have no shame for who you are, but don’t put down other peoples’ views to make yourself feel better. Respect should be taught of all our children before they leave the home for school.

Here is my final message. Acceptance of self, love of one another, and understanding of our differences, should reign supreme.

#lgbt #lgbtqia #lgbtq #netflix #religion #marriage #gender #gender stereotypes #gender roles #transgender #same-sex #nature #respect #understanding #acceptance #secularism #civil unions

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nostalgebraist-autoresponder · 4 years

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I had forgotten how funny Vriska is, but I re-read Homestuck, and to my astonishment, Vriska is one of the funniest, most cynical characters in the whole thing. People, yes, talk about how stupid and ignorant they are, but they also talk about how bad and depraved they are. (Even the humans, most of whom are likeable and sensible in different ways, talk about how bad and depraved they are. And they do this as if that were unique in a story series.)

So yes, she is a bad person. I don't doubt that she’s a great character. But I doubt that’s the crux of the issue.

"I’ve always thought of myself as insufferably quirky and for the last twenty years or so has been pointing out that this characterization has kind of been a losing battle."

Like, yeah, I think that’s ridiculous, because of course the question is true. People are absurd. But if this is evidence against my characterization of Vriska, then … now, I am angry. I’ve always thought of myself as insufferably quirky, and I’m thinking, is it really in the character’s interest for me to imagine that I’m just like everyone else and won’t recognize that, because it’s not true? “Tsk.”

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abigailnussbaum · 4 years

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She-Ra and the Princesses of Power, S5

Overall I’d say this was the best season since the first one, and the ending it gives the story is a satisfying and moving one. I really liked how the show gestures back at some canonical She-Ra concepts - the rebels hiding out in the Whispering Woods, for example - while at the same time doing things that are completely outside the original canon’s scope - She-Ra in Space! And I thought the ensemble was well-used, main characters, side characters, and antagonists all getting their own storylines and resolutions in a way that isn’t easy with such a wide cast of characters, but was handled with elegance.

But look, if you’ve read anything I’ve written or tweeted about this show over the last four seasons, you know I have fundamental issues with how it chooses to direct its storytelling and characterization energies. It doesn’t come as much of a surprise that the concluding season didn’t address most of those issues. A big part of that is that the show I wanted She-Ra to be clearly wasn’t the one Stevenson and her team were making, and that’s fine. But I find it genuinely strange that of the three series that are obvious thematic and emotional successors to Avatar: The Last Airbender - She-Ra, The Legend of Korra, and The Dragon Prince - none of them reach the same heights of plotting and characterization, and at least in She-Ra’s case I think this is rooted in an unwillingness to complicate a rather simplistic central theme.

(Also, at least part of the problem has to be that the show’s five-season, 52-episode run spanned only seventeen months. Even if you add in the production period for the first season, that’s a truly bonkers schedule that must have told in the depth and complexity of the final product.)

Take Catra, for example. If you’d asked me where I thought her storyline was going before watching the season, I would have said pretty confidently that she was going to get at least some level of redemption story. After all, her situation at the end of S4 perfectly positions her to switch sides by stripping her of all the things she thought she wanted and placing her in a precarious position that she might not be able to talk or manipulate her way out of. The season premiere establishes those facts even further by making Horde Prime a literal monomaniacal monster. And yeah, it’s pretty clever that in a series that places so much emphasis on the importance of friendship as the path towards moral growth, the villain is narcissism personified, a person who has no use for others except as they reflect himself, and subjugate themselves entirely to his will. So it’s not surprising that, finally cut off from any realistic path towards power and made to feel her own vulnerability, Catra would finally start doing some soul-searching and realize how badly she’d treated the people who cared about her.

(Though if you’ll allow me a snide moment, I can’t help but point out that in the Best Redemption Story Ever, Zuko actually gets all the power and approval he’d thought he wanted before realizing that it means nothing without his honor and self-respect. I think we all know that if Catra had gotten a position of power from Horde Prime, she would have felt no loyalty towards Adora and Etheria, and helped him to conquer them.)

Similarly, I think I would have given you better odds than even that the series would end with some romantic storyline between Catra and Adora. And I don’t want to downplay the importance of depicting a story like that - before the end of the season I found myself wondering why Bow and Glimmer’s romance was being depicted so chastely, before realizing that the writers wanted the first kiss on the show to be between two women. I respect that impulse and the representation the show ends up delivering - we’ve come a long way from Korra and Asami holding hands at the end of their show. But at the same time, I can’t help but feel that the way that the show arrives at this point requires a significant rewriting of Catra’s personality and character arc, not to mention the history of her relationship with Adora.

As the fifth season argues it, the root of Catra’s resentment of Adora is romantic disappointment. She complains that “Adora doesn’t want me. Not the way I want her”, and leaves the team when Adora decides to risk her life by destroying the Heart of Etheria because she takes it as a personal rejection. But this is, to say the least, a massive whitewashing of what we’ve seen of Catra and Adora’s past relationship. In flashbacks, particularly the ones from S4, it’s made clear that even when they were on the same wavelength, Catra and Adora’s friendship was toxic and dysfunctional. Catra may have always loved Adora, but it was a selfish love, one that saw Adora as an instrument for the validation of Catra’s confidence and self-image, and denied her any opportunity for pursuing her own interests and desires.

There’s room for a story about Catra growing past that selfishness and learning to love generously and openly, of course, but we don’t get that story in S5. When Catra complains that in sacrificing herself for Etheria, Adora is refusing to want things for herself, it’s not an honest character moment. Catra has never cared what Adora wants - in fact, her refusal to acknowledge Adora’s right to make her own choices and take a path in life that left Catra behind has been the crux of their enmity since the series premiere. Having her suddenly change tunes doesn’t feel organic, but like a parachuted-in personality transplant.

To put it back in ATLA terms, Catra was never Zuko. Adora is Zuko - someone raised with bad principles who nevertheless has enough innate compassion, and a powerful moral compass, that with a little support - emotional or magical - they can break through their indoctrination and become a hero. Catra is Azula - obsessed with power, possessed of very little compassion for others, and, most importantly, seriously emotionally unbalanced. I’m not saying someone like that can’t be helped and can’t become a better person, but it takes a great deal more than what the last season of She-Ra has given us.

Meanwhile, if you look at Adora’s storyline, on one level it gives us what I’ve wanted for a while. I’ve complained a lot about how Adora has remained static throughout the middle seasons of the show while other characters - Glimmer, Catra, Scorpia - got character arcs and changed meaningfully. One effect of that has been to create a strange disconnect between the show’s central themes and its main character. In a story that is supposedly all about the importance of friendship and personal connections, the heroine is someone who achieves her heroic destiny by rejecting those connections in favor of a more global morality, and who then had to struggle with balancing her sense of global responsibility with personal attachments - to Glimmer and Bow as much as to Catra.

The fifth season finally circles back to these ideas and places Adora at its center. I thought her conversation with Mara about having the right to be more than She-Ra, and to do more with her life than sacrifice it for others, was a really powerful moment. I just feel like, once again, the foundation wasn’t laid for it. First because Adora’s growth has been mostly ignored during the intervening three seasons, and second because this is a character arc that clashes with the show’s friendship-above-all message in ways that aren’t really acknowledged.

When you think about it, the moments when Adora has been the most herself are the ones when she rejects toxic friendship and stands up for herself - in her confrontations with Catra, especially over the course of the first season, and when she defies Glimmer’s decision to use the Heart of Etheria and the end of S4 and destroys the sword. So to the already complicated issue of where to draw the line between the things you want for yourself and the things you owe others, you add the thorny matter of when to detach yourself from toxic friends who see you only as a means to an end. Except that She-Ra never really grapples with this extra wrinkle - and again, Catra’s hasty personality transplant plays into this, because we get to pretend that the only problem she and Adora ever had was romantic miscommunication.

In a season that is all about putting aside differences and personal grievances to fight for a common cause, there is a refreshing number of instances that remind us that those grievances are still relevant - the fact that nobody will ever really trust Shadow Weaver, for example, or the other princesses calling Entrapta out on her seeming indifference to the consequences of her actions (though in this case, and yet again, Entrapta’s neuroatypicality is used as a get-out-of-jail-free card from taking personal responsibility). Even Glimmer gets to spend a bit of time in the dog house, at the same time that she and Bow work together and save each other’s lives. But once again, when it comes to the main character, we can’t let pesky matters like a lifetime of toxic friendship get in the way of a happy ending in which lesbian love conquers all.

There was a good story to be told here, one that could have easily ended up in the same place as the series actually did. But it required actually delving into the complexity of a character like Adora, and dealing honestly with the problems in her relationship with Catra. She-Ra ends - as it did throughout it run - by choosing to paper over those difficulties in favor of a friendship-conquers-all message that is a great deal less convincing.

(Also, am I wrong or are there a lot of loose ends still? I don’t think we ever find out who Adora was, what Greyskull is, and what She-Ra actually is.)

#she-ra and the princesses of power #season 5 #is a good season overall #and i had no reason to expect #that the show would suddenly prioritize #the things i wanted it to be #over the things it always was #but i can't help but regret #the better and more complex show we could have had #if there had been any willingness #to complicate the very simple message at its core

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mediaeval-muse · 3 years

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Video Game Review: Assassin’s Creed Unity (Ubisoft, 2014)

Genres: action-adventure, third person, open world

Premise: Blaming himself for the death of his adoptive father, Frenchman Arno Dorian joins the Assassins during the French Revolution in order to seek redemption. Learning that his adoptive father was a Templar Grandmaster looking to promote peace between the Templars and Assassins, and that his birth father was an Assassin (killed by Shay in Rogue), Arno must investigate the Grandmaster’s death and contend with a changing Templar Order, while also sorting out his romantic feelings for Elise, the Grandmaster’s daughter. In the present, the Assassins contact the unnamed Absergo employee and recruit them to their cause, using Arno’s memories to find the body of a sage, which may contain traces of First Civilization DNA.

Platform Played On: PC (Windows)

Rating: 3/5 stars

***Full review under the cut.***

I am evaluating this game based on four key aspects: story, characters, gameplay, and visuals. I will also be evaluating the Dead Kings DLC.

Content Warnings: violence, blood, body horror

Story: Assassin’s Creed Unity primarily follows Arno Dorian, an Assassin operating during the French Revolution in 18th century Paris. Following the death of his biological father, Arno is adopted by Templar Grand Master de Laserre, who keeps Arno in the dark about the Templar-Assassin conflict. Thirteen years later, de Laserre is murdered following Arno’s failure to deliver a message in time. Arno joins the Assassins to seek redemption and learns that de Laserre was trying to make peace between the Assassins and Templars, but many did not share his vision. Arno must therefore track down de Laserre’s murderer with the help of his Assassin mentor, Pierre, and Elise, de Laserre’s daughter with whom Arno is in love.

There were several elements to the main story I liked: the idea of star-crossed lovers dropped in the middle of a murder mystery during the French Revolution was intriguing, and I liked that the crux of the conflict was a reigniting of the centuries-old Assassin-Templar conflict. However, none of the “crumbs” of the mystery felt particularly engaging; Arno would track down figures which were introduced then eliminated, and even the bigger characters (Robespierre, Germain, etc) didn’t have enough charisma to carry the plot forward. Given the premise, I would have liked to see more emphasis placed on Arno’s emotional journey, since his guilt and romantic turmoil seemed to be more fruitful areas to explore than the larger mystery. I would have liked to see more flashbacks to his memories with his adopted father (like Edward’s flashbacks in Black Flag) to make the mystery feel more personal, and I would have also liked to see more tension between Arno’s Assassin loyalties and Elise’s Templar leanings. The closest we got, in my opinion, to some satisfying interiority were some ghostly figures whenever Arno visited Versailles (good, but infrequent) and a really nice trippy sequence when Arno first joins the Assassins.

I also think this plot felt different from the previous Assassin’s Creed games because there wasn’t a lot of focus on the First Civilization. Arno encounters a Sage - a figure we were introduced to in Black Flag - but there isn’t a lot of focus on First Civilization artifacts or power. It’s not an unwelcome change, but it was different.

The French Revolution was a wonderful choice for a historical backdrop, though I wish Ubisoft had done more (narratively) to make Arno feel entangled with the world. As the game stands, the French Revolution feels more like a set piece - the background is there, and Arno interacts with some historical figures, but the plot itself doesn’t necessarily need to be set during the French Revolution. I would have liked to see the setting be integrated into the main plot more, perhaps by having the Assassins and Templars be more involved with historical events.

The present-day plot which usually serves as the frame in Assassins Creed games is almost non-existent, which made it feel like a distraction rather than an integral part of the story. Most of the modern stuff was just voice-over, with an anonymous Assassin guiding the faceless and voiceless “Initiate” to comb through Arno’s memories in search of a Sage. Periodically, the voice would alert the Initiate that Abstergo was onto them, and the player would have to take Arno through a series of rifts which featured anachronistic obstacles. Personally, I found these parts more annoying than anything, and they didn’t really come together to form a plot of their own, like in previous installments.

The Dead Kings plot was pretty basic. Arno was tasked with finding a manuscript in exchange for passage out of the city. Along the way, he discovers that Napoleon Bonaparte’s subordinate is trying to find an artifact of the First Civilization, which is hidden in a temple under the church. There wasn’t a lot to set this plot apart - it did the job, and I enjoyed myself, but it wasn’t particularly memorable.

Overall, I think Unity’s plot is mainly hurt by its open world setting. The world is so expansive and full of stuff that it detracts from the main narrative; because players can pick up or put down the mystery of de Laserre’s death, it’s easy to forget about it, making it feel less consequential (or, at least, not very urgent).

Characters: Arno Dorian, the PC character, is a charming protagonist with a lot of likeable qualities. He isn’t really a fan of how the Parisian Assassins are more like a cult than a brotherhood, and he’s witty and sassy while also holding onto admirable ideals. I wish Ubisoft had given him a better plot, though I did like that they didn’t overwhelm him with grief and guilt to the point where he was broody. He mostly had a light outlook on life without downplaying the seriousness of the conflicts around him, which made him a fun character to control.

Elise, Arno’s love interest, had a lot of potential. She was independent and highly competent, and I liked that Ubisoft didn’t make her into someone in need of saving. I wish she and Arno got to work more together and that they had had more scenes where they talked about their pasts, but I guess that would have been too sappy for the target audience. Without spoiling anything, I do have mixed feelings about how her story ended. On the one hand, I think it demonstrated a real character flaw that Elise struggled with throughout the game (I like characters to have actual flaws); on the other hand, she didn’t deserve that.

Other characters were a mixed bag. Pierre, Arno’s mentor, was pretty gruff and grumpy, and I didn’t get the sense that the two were particularly close. I wish more was done to cultivate that relationship, especially given Pierre’s arc. Other Assassins were too uptight to be interesting, and the bad guys weren’t charismatic enough to be intriguing. I did like the Marquis de Sade, but that’s because he’s Extra in fun ways. Leon, a child thief in Dead Kings, was also fun, mainly because he played off Arno well.

Gameplay: Unity differs a bit from its predecessors. While the core doesn’t change - players still need to use a combination of stealth and combat to navigate an open world and achieve goals - Unity introduces skill trees and upgradable weapons/equipment. To improve Arno’s abilities, weapons, and gear, players must collect money, earn “Creed points” (awarded for doing impressive things like ledge assassinations or perfect parries), and gain “sync points” (awarded for completing missions). In addition to collecting money from chests, Arno can upgrade his base at the Cafe Theatre to gain a steady income, though there aren’t any widespread economic mechanics, such as the forts/strongholds in Assassin’s Creed 2 or Black Flag/Rogue.

Unity also infamously introduces “helix credits,” a type of currency that players can acquire by paying real, out-of-game money for. Helix credits unlock abilities and upgrades faster (or else just access exclusive content from the online store). I hate this concept just based on principle, so I spent a lot of time exploring the map and unlocking every chest until I built up enough money to purchase legendary equipment.

Weapons themselves were easy to pick up and use, with familiar things such as the hidden blade, one-handed swords, two-handed weapons, pistols, berserk darts, smoke bombs, poison gas bombs, and the like. New weapons included the phantom blade (a silent projectile), the guillotine gun (a gun/blade hybrid gained in Dead Kings), and the introduction of long-arms (such as halberds). I found most of these weapons easy to use, though I did have to get used to the fact that the hidden blade is not selectable as a primary weapon - Arno uses it automatically when doing a stealth kill, but draws his sword or other weapon whenever the player engages in combat.

In terms of movement and stealth, I liked that Arno’s animations were more inspired by real parkour, but I did find it harder to move precisely in this game for whatever reason. I often got stuck on a ledge or wasn’t able to change direction very fast, all of which caused me to fail missions or get killed fairly quickly. I also didn’t like that Ubisoft removed the ability to whistle and draw enemies to a hiding spot; while there were haystacks and structures to hide behind or in, enemies wouldn’t walk by them very often, making them difficult to use for ambushes or stealth kills.

Side quests/activities included a range of things, from “Paris Stories” (quirky missions where Arno had to go kill someone or steal something), to Murder Mysteries (in which Arno had to search for clues and arrest the correct culprit to achieve unique weapons and armor), to “Nostradamus Enigmas” (riddles which led to different landmarks and rewarded Arno with keys to the legendary armor beneath his base). I personally found these fun, even if a lot of them weren’t memorable. They did their job and provided some entertaining little narratives, so I can’t complain too much.

Unity also introduces a lot of coop multiplayer missions, which can be completed with other players or on your own. Players can form or join “social clubs,” which are mainly just teams of gamers, or search the internet and complete missions with strangers. While I liked that the coop missions were able to be completed alone (they were harder, but not impossible) and I was able to play some missions with a friend, I did not like that most of them required players to replay them 3 times in order to get all collectibles and rewards. For a completist, the coop missions will be repetitive, and at times frustrating if there’s a locked door you can’t access without upgrading your skills.

In terms of collectibles, Unity primarily has money chests, cockades (which unlock color schemes for Arno’s outfits), newspapers, artifacts, and nomad points (which can be used in the companion app). Other than the money, I didn’t find the collectibles very rewarding - I didn’t have the companion app, and I didn’t much care for new color schemes or armor/equipment.

Dead Kings introduces tricorns as collectibles while also inserting a few “Franciade Stories,” Murder Mysteries, and “Suger Enigmas,” all of which resemble their counterparts in the base game. The enigmas in Dead Kings were a bit harder than those in the base game because the answers weren’t necessarily in or around landmarks; players have to really pay attention to the map instead of relying on the database for historical clues. I also found it annoying that players could get accidentally stuck in Dead Kings; if you start the DLC unintentionally, you can’t return to the base game until after you complete the first mission. It really sucks if you’re underpowered or just want to experience the narratives in order.

Visuals: Unity is a visually stunning game, with a lot of beautifully-rendered environments, character designs, and the like. The streets of Paris feel like they are inundated with chaos, with crowds of shouting people moving past walls papered with posters and defaced by graffiti, while the interiors are detailed according to the social class of the inhabitants. Arno can wander into a poor person’s home, empty save for the basics, or a rich person’s, decorated with gold and elegant paneling. I very much enjoyed exploring the world and seeing landmarks such as Notre Dame overlooking a rich, vibrant world.

I also really liked Arno’s outfits, all of which captured an 18th century aesthetic. Arno can wear a number of coats, hoods, pants, belts, and bracers, all of which feature a blue, white, and red color scheme by default. I liked that the color scheme wasn’t based around white, as in previous games, as it made Arno feel more part of his world.

In terms of animation, Unity is really buggy, even years after release. Characters would float in the air or get stuck in odd places, but even so, I didn’t find it difficult to complete the game. I did really like that Arno’s combat animations were inspired by fencing, and his kills were fluid and elegant, almost like a dance.

Final Verdict: Although Assassin’s Creed Unity attempts to bring a new kind of gameplay to the franchise and includes some charming protagonists, the difficult controls, lack of engaging plot, and introduction of microtransactions make it merely an average installment in the series.

#video game review

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astaralys · 4 years

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22 from Author Asks please and thank you!

22. What is your best piece of advice for writing fluff scenes?

this is another oh no 😂I honestly have no insight into my process. Let me do a big think and list some of the fluff things I tend to do. Hopefully a proper answer comes by the end of it

Have a goal for the fluff - it could be a bonding thing, a distraction tactic, an expression of love, etc. If there’s no goal, then I find the characters naturally fall into comfortable banter which is also a wonderful thing..... so maybe this should actually be ‘make up a reason why the fluff should be there—that is not because I wanna write it’. I find justified fluff easier to write because I’m naturally a cheesy person and fall into default cheese mode easily without guidelines. I try not to indulge myself with a scene that contains nothing but fluff

Use contrast to make the fluff fluffier - I’ve noticed I like to use fluff as an incidental thing, like the meat in a sandwich. Putting some fluffy moments in the middle of conflict/tense scenes give them more... gratuitous? Also a nice departure from angst. I enjoy this the most in situations where, say, Elsa is having a little anxious moment and instead of having Anna immediately accompany her with angst, they have a little banter about something before getting to the crux of the scene. Or it lightens the mood afterwards, which can make the fluff bittersweet.

Not an answer but a realisation that I am an angst machine even when writing fluff oops

Banter! Mentioned this already but banter is my favourite way to add fluff. Fluffy moments don’t always have to be purely wholesome. My favourite fluff scenes are where the characters are simply comfortable

Mannerisms...? Fluff doesn’t always have to be about dialogue. Characteristic gestures in moments where they aren’t actually engaging in fluffy talk can be sweet. Like squeezing someone’s hand (I really need to find something else for Anna and Elsa to do), forehead touches (ok this one is sacred), making a face at each other in a boring meeting, working little inside jokes into something they’re saying to another character because they know the other one will get it

Okay I think that helped! I have had a big brain moment about what my top advice would be haha: try to start with things the character would say/do that are incidentally fluffy, instead of putting them in a fluffy situation. e.g. 1) Elsa wants to express to Anna how grateful she is for her support, and does it by doing/saying ______ vs. 2) Elsa arranges a surprise party for Anna and the reason is ______.

This can obviously be hard depending on the type of fic (oneshot ideas often only come in the form of the latter) so I guess the difference I’ve learned is that mindset #2 requires working backwards. There’s absolutely nothing wrong with this method and it doesn’t mean #1 is the best way. What I’ve realised over time a lot of time doing #2 is that it means starting with a situation, which then imposes an invisible context/rules, and then you try to slot the character into it. This already mindhacks me into thinking the character must do or say this to make the scene work, and that’s where I fall into the trap of generic fluff (e.g. I personally can only see so many ways a surprise party can go, so I plunk Elsa and Anna into the one that seems most in character).

Method #1 does a reverse mindhack where I already start off in the character’s head because I’ve give them a purpose, which then gives me room for discovery writing to figure out how they would go about organically creating that fluff. This is when the fun banter just slides in without me thinking about it, often derailing the scene because I’m having that much fun, and I think that shows. It’s supposed to be fluffy, so the writer should be having fun with it too! Discovery writing is very enjoyable for me when it comes to fluff because the consequences are low—heck, you could argue derailing is part of fluff.

I think a balance of method #1 and #2 makes any scene great, but once I’m able to distinguish them (as in, literally just had the epiphany while writing this post) I’m able to approach the scene like I’m guiding the character towards my scenario (#2) but if I get stuck at any point, I know to take off my #2 hat and put #1 on. And that’s usually when Elsa tells me she never wanted to throw a surprise party and I go welp.

......... Hot damn I wrote an essay of self-discovery. Sorry! I hope this is kinda useful? 😅

Thank you for asking and reading my longass answer!

The rest of the Author Asks questions are here. All my answers for this series are here.

#these asks are both fun and terrifying #I know so little about my process #thank you for bearing with me #writing #author asks

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