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stitchkiss · 1 year

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Hi!!! I’ve been following you for a while and I see that you’re very active in the teen wolf/thiam fandom. I want to be more active too and I’ve noticed that you tend to leave really long comments on fics and I was wondering how you do that? I don’t always comment but I want to more, do you have any tips?

hello anon! what a question! i’m going to use comments i left on @raekensarcher’s fics as examples bc that’s where i do my best work.

but first let’s start with why commenting is so important: it is a great way to integrate yourself into fandoms and can even gain you mutuals/friends! i tricked jack into friendship by dropping comments left and right! commenting is also a great way to encourage writers and to keep a fandom alive! it’s basically the entire purpose. i find that writers are kind of like crows. you drop a nice and thoughtful comment and they’ll latch onto it (and possibly you) forever and so they keep putting them out bc they want to keep writing to keep this good shit going with you. help a crow, they bring you shiny things. you comment, they write. it’s a rapport that needs to be nourished bc it’s beneficial to both parties. fandoms are kinda like an ecosystem in this way. comments are like the food and water to keep this network thriving.

alright let’s get into it!

when i comment, i usually type my thoughts as i read, so basically like live blogging. i like reacting in real time. more than once i’ve typed out a prediction or inference about what’s to come and it turns out i was right, so i make sure to mention that too! pointing out an author’s foreshadowing/hints is a good way to let them know that you’re paying attention to what they write. sometimes (depending on the fic and how i feel) this method of commenting can be a little distracting from the actual fic, so reading through it all then going back might be more helpful to get your thoughts in order. this helps make the comment long BUT the length of the comment doesn’t actually matter bc it’s about what you’re saying/putting into the comment

so, what should you say? easy: tell the author your reactions to what they’re writing. humans are social beings, they thrive off interaction and authors LOVE knowing their words elicit emotions in people. writing is basically a superpower in that way! below are a few comments i’ve left on jack’s fics.

as you can see, my responses to what jack writes is very emotional and slightly violent.

there is no wrong way to comment a reaction. in fact you should utilize all the ways you can think of for variation. such as telling the author that you’re screaming, typing an all caps “AHHHH” to show you’re screaming, tell them that you’re crying, laughing, etc. add in keyboard smashes, hyperbole, and even use emojis. there’s a lot more but these are my go-to. (also, please, be cautious if you’re going to threaten yourself with bodily harm, especially when commenting on a stranger’s fic. jokes aren’t often translated well online and it can also make the author uncomfortable nevertheless)

moving on! notice how i quote the author. they LOVE that shit. they eat it up like candy fr. when i pull out quotes they’re usually the ones that effect me the most and stand out. this varies by person ofc but the reason i do this is to show the author that i’m noticing what they write and that i understand (hopefully) what they’re trying to say. it’s even better when the author tells you that you pointed out lines that mean a lot to them or it was their favorite to write. although i will mention that pointing out seemingly small scenes or “throwaway” lines matters just as much! like a slice-of-life moment in the bigger fic pie. if something strikes you, tell the author!

following that, reacting to lines and quoting them is good, but what will make your comment better is if you tell the author WHY you reacted the way you did or why that particular line stuck out so much to you. this often leads me to typing an analysis of what they’ve written about a character or situation. while i’m not the most articulate person out there i do try my best. for example:

analysis! these are harder to write bc they actually require brainpower. like this whole comment is longer than the lit paper i wrote that same week, i even checked the word count. i don’t think i need to explain literary analysis even tho ppl on tumblr sometimes tend to lack comprehension and critical thinking skills BUT i have faith in whoever is reading this bc you wouldn’t have read this far if you weren’t interested. go you! anyway, my analysis usually comes from understanding the source material and the character(s)/situation in question, but i apply this to how the author decides to write. paying attention to what they’re saying and how it challenges and/or confirms canon as well as your interpretation of it will make a good comment. fics are often character driven rather than action/plot driven so consider that. but honestly analysis is up to you and your understanding of a fandom/ship, so good luck if you chose to drop an essay.

there will often be themes in fics, point those out if you notice it! sometimes they’re subtle and sometimes that’s the basis of the fic. tell the author how the application of a chosen theme works with what they’re writing about. reoccurring details are deliberate and authors will love if you mention it!

i think this comment is a good example of a few things i’ve outlined so far! this fic has an underlying religious/christian theme so my comment (analysis) acts according to that as well as my understanding of theo raeken and religion.

if you notice something about the authors writing style, point it out! this is actually something you have to tread carefully with though, so make sure it’s nice and polite if you do decide to say something! authors are human and their fics can be a way for them to bare their soul, so make sure you’re not causing them anxiety by pointing out certain structures/formats of their writing. so again, make sure to be nice about it.

you can also tell the author what the fic means to you. fics can be so personal and you might relate to it more than you realize. if it hits it hits.

interlude on what NOT say: if an author doesn’t explicitly say you can leave constructive criticism then leave that shit out of your comment and stick with unconditional love and support. while it’s true that constructive criticism helps authors they don’t need it all the time, especially when they didn’t ask for it. fics are like their homes, they’re inviting you in so don’t be a dick and insult their curtains, alright?

finally, compliment the author! i am the kind of person that tells strangers that i love them so i usually default with that to wrap up a comment bc i got a lot of love to give and it has to come out somehow! if spontaneous declarations of love aren’t your thing for whatever reason then tell the author how amazing they are! complimenting the writing itself is probably the way to go if you’re allergic to affection but it does make the author really receptive and happy. it’s very cute. acknowledgment of their work will bring them to their knees i promise.

i will admit that commenting how i do takes time. i usually comment when i’m not busy like at night or on weekends. one time i even arranged my schedule with the sole purpose of leaving a hefty comment on a 20k+ multi chapter fic! obviously you don’t have to do that, but i am certifiably insane and like avoiding responsibility. hope this helps anon! :)

jack’s ao3: https://archiveofourown.org/users/raekensarcher/pseuds/raekensarcher/works

#love you jack<3333 #this is all i can think of for now!#thiam #fic #fanfic #ao3 #ask #stitchkiss

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sakuraswordly · 1 year

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Some flashback memories:

Sonic: Can I keep him?

Velvet: Sonic. You know you don’t have to do this if you don’t want to.

Tails: A long time ago, I once had friends and the only family I had. Me, bokkun, Magillanica and Ivo.

Magilou: To put it short, he’s the exorcist’s shadow. Sincerity and conviction alone won’t save the world to remain free of malevolence, they need someone to do their dirty work. A shadow. Melchior was training me and Ivo to be the shadow for the next leader of the exorcists...Artorius himself.

Laphicet: Both of you are not just used to it. You've changed.

Sonic: Go home?

Eggman: I know you understand. Do you think this will last forever? I know you having a good time. You’re having a good time living with them everyday. If people from our world keep coming to this world, there’s going to be friction.

Peter: Your child’s personality? So that mean.....

Gilgamesh: True. As I told you earlier, Sonic’s existence similar to Watanuki’s but not the same.

Homura: You and Danny were different so you should be careful to not turn into one, okay? Or don't interfere because you don't have a human form or human vessel like me.

Sonic: Syaoran, you are the incarnation of King Arthur. As for me, I am the incarnation of King Gilgamesh. That's why I am the only one who can use chaos emeralds to turn into super form.

Tails: I've changed a lot since I started hanging with Sonic, but I can't depend on him forever. I know I can do this by myself! I need to protect him! Okay, Metarex! Bring it on!

Punch: You knew something that I don't know.

Danny: What if we were to turn into weird monsters who, like us, are not the next because of despair and malevolence? I was very afraid. I could not do it If I can't control my despair. Is there anyhing we can do? Jazz is going to become a witch..

Sonic: Both me and Punch are scared too. Even if it was scary, painful, or too much to bear, we can all talk and cry together. We should never exist or become monsters that we don't want to, but as long as we were together, I wouldn't have any regrets!

Source Character:

Sonic Crowe or Sonic the Hedgehog. Sonic's Original created by Sonic Team, is a video game developer owned by the Japanese video game company Sega as part of its Sega CS Research and Development No. 2 division. Sonic Team is best known for the long-running Sonic the Hedgehog series. As Sega's mascot and one of the key reasons for the company's success during the 16-bit era of video game consoles, Sonic is one of the most famous video game characters in the world. This picture was from Sonic X, is an anime series loosely based on the Sonic the Hedgehog series. It was animated and produced in Japan by TMS Entertainment with the partnership of Sega and Sonic Team. It was first broadcasted in Japan in April 2003 by TV Tokyo.(But in my country, Sonic is not very popular, and few of people know about this little guy.)

Translations:

Name; Sonic the Hedgehog English

Name; SONIC THE HEDGEHOG

Known as; Sonic

Species; Hedgehog

Gender; Male

Height; 100cm

Weight; 35kg

Age; 15 years old

Running Speed; Supersonic speed

Explanation(Analysis)

Gilgamesh is the top hardest character to write, Punch is the second hard character to write and Sonic is the third hard character to write. In the first encounter(Tsofph story), everyone gave Sonic the title as an innocent child. Sonic doesn't know what hurt is, what love is and what the outside world how much cruel world is. Grimoirh said that Sonic himself was not the hedgehog or Allen, he hie something that keep him safe from the outside world, and that's why Syaoran's group couldn't find Sonic world dimension. Sonic world's dimension itself had sealed off away until oneday when Sonic fighter Dr Eggman. Sonic managed to trick the robot into shooting the machine the Chaos Emeralds had been powering. The machine malfunctions and caused Chaos Control, warping everyone to another world, Earth(Chris' world). So basically, Sonic broke the seal with the power of Chaos Emeralds by himself. Sonic is the fastest creature with the greatest powerful unknown inside him, he has a great hatred of crookedness and cannot bear to witness troubled people. He hates to be bored, and restrained always goes on carefree adventures, prefers to be alone, he likes to relax often and both love and hate himself. He doesn't like to be famous but wants everyone to acknowledge that he is the best and coolest. Sonic love himself, everyone and the world or many worlds. Sonic believes that everyone has a good heart (Even Dr Eggman) and can change their heart or save their saddest heart. Sonic is arrogant, cares for others, very sensitive heart, and approval others. His favourite food is still Chili Dogs. Sonic had the ability to see slow motion when he runs, can understand different languages even nature but can't read different languages, has healing magic, can see some destiny lines around him(Like Punch), has the ability to see or hear the invisible(Like Sakura and Chester)and the power of good luck. Sonic is afraid of deep water or deep ocean, and if it takes too much longer, Sonic will crazy and run around. But if want Sonic to feel safe from deep water, there need some friends that Sonic trust the most about his safety. Sonic is an orphan and before found and took care of by Uncle Chuck and Queen Aleena. Nature was the one taking care of him even feeding him(Trees, wind and water). Sonic still believe he had a family because he had a memory relationship with his brother.

Gilgamesh: I was chosen by nature to become the next leader, and even though I lost my family even though they are not my family in blood, nature around the earth still takes care of me. That's why I understand how much those trees meant to you, Enkidu.

Enkidu: So that's why you create the garden of Babylon.

Sonic's ideal is "Freedom". Sonic want the best for everyone not only for himself. That makes him curse himself more without knowing, which can cost his life just like in Sonic frontiers. (From this blog (Source:tumblr.com/nightfurylover31))

[The reason that makes his being corrupted so much more painful. This isn't just about saving his friends anymore. It's so they can live their dreams. Having their freedom, even if it costs Sonic his own.] Sonic still don't know about the curse of Vaten Hörmulegt that he had.

Yuuko: If you use too much power until the curse is awakened, the illness will slowly control you and turn you into a tool. (Similar illness in Sonic frontiers)

Sonic believes in himself and often didn't listen to his friends. But thankfully Sonic had the ability to read people's hearts and feeling(Even Allen and nature). When Sonic and Velvet have different arrangements, Sonic feels terrible for hurting Velvet's feelings because Sonic doesn't understand Velvet why he can't run or tells him he doesn't know how much dangerous is and why he can't fight some monsters. Similar to this scene in Sonic Prime.

Source Picture: tumblr.com/descendant-of-truth

Sonic looked so sad in this scene, you can really tell he feels horrible about hurting Tails's feelings. But he can't understand why Tails is upset. (He misunderstood the word "trap" that Tails warn him about it.)

Tails: Even though there were so many times that Sonic didn't listen to me, he was still the only best friend that can understand me.

Until Tsofph season 6, by little, Sonic start to be willing to be passive and obedient to his friends. Because his legs were injured. Before meeting Leia(Tales of xillia) and Subaru( Tokyo Babylon ), Syaoran mention that Sonic missed Tails a lot and couldn't sleep well. Sonic was afraid that without him, Tails would be hurt, but thankfully Syaoran showed Sonic that Tails will be alright on his own because Sonic could see Tails in Syaoran. They shared something similar, the soul is the one. We all know that Tails is Sonic’s biggest fan by far. But a lot of people don’t know that Sonic is Tails' number one fan. That's how Sonic thinks about Syaoran. For a long journey, Sonic trust Syaoran and they can understand each other very well just like the relationship between Sonic and Tails.

Sonic: Tails did say to me once that I am their hope. Even you, Syaoran, you also said the same thing that my little bro said. Do you know? I'm kinda happy. When we first travelled together, you don't know how much happy I am.Thank you so much for always cheering me up. You kinda much like Tails but not the same.

Syaoran: Umm...What did I make you happy?

Source conversation: tumblr.com/sakuraswordly

Bonus: The first time Tails met Sonic in Tsofph story:

Source picture from Sonic X EP 18

Velvet: How you and Sonic met? Tails: After I lost my family and I only had the thing I made together with my family. Everyone around me said that thing is a tool weapon and they destroyed it. I cry the way I walk but along the way, I met Sonic running up. I was like"Who he is? Why he is so cool?! I should follow him!"

Velvet: Not because you were bullied by other animals because of your twin tails?

Tails: No, in our dimension they are kind and nice. We don't understand what bullying is until Dr Eggman conquered the world.

Velvet: Wow, that was a nice peaceful world you had until that mad scientist ruined everything.

Tails: Sonic then runs off while I eagerly follow him. He comes across a beach and sees a red biplane parked on the sand. I examine the plane and start to tinker with it, making it faster and even repainting it blue. Sonic then appears.

* Flashback *

Sonic: What are you doing?

Tails: Ah! I’m sorry! I was remodeling it would be faster. And I changed the color. Umm....

Sonic: Blue is pretty good too.

Tails:...!! It’s the color of your image.

Sonic: Thanks. By the way, you’ve been following me since this morning. Do you want something from me?

Tails:......Everyone bullies me because I’m only good at mechanics...but I saw you running and wanted to be cool, just like you! I want to be brave someday to help the people I dear the most! Do you think that's a possible dream?

Sonic: What’s your name?

Tails: Miles Power. But everyone calls me “Tails”.

Sonic: I’m Sonic. Tails, I’ll leave this in your hands, so do what you like with it.

Tails: Really? You don’t mind?

Sonic: No problem!

* End of Flashback *

Sonic love to be alone but he wants someone to stay by his side. There was some human inside his heart even though Sonic is not human. He was able to learn on his own by playing the guitar, repairing shoes, utensils, cooking and reading, although he was not a genius like Tails. He has a talent for making friends even though he's not very social. He is always in a good mood and smiles all the time like a child. That's why he called himself an innocent child in season 6.

In season 8 will be much more different now so I'm going to end this analysis this month. See “Analyze the characters” next time! Thank you very much!

Homura: What do you think about Sonic, Danny?

Danny: He is like the big brother but also a great leader too. But the problem is he is very lazy a lot when come to homework.

Homura: If I have to guess, Punch helps to do homework, am I right?

Danny: Yeah, she helps me too. I wish Tucker was in the same group. He was really great at Computers.

Homura: I know you are not really great at math and English. I understand that you need her help. She was greater than me, especially in the computer subject. What about now?

Danny: They having free time together lately. I wonder why Sonic knows about Punch. He just met her and I just know him.

Homura: Have you ever thought that because Sonic must've known her in a previous life, fate has reached across time and space to bring them back together again? But I never see this form as a hedgehog in Babylon. Why does this form exist?

Danny: Homura?

Homura: Isn't that strange that he knows about King Gilgamesh even Punch's life in the past? Also, I can't read his fate. It is just like it was sealed by someone. It was as if it had been sealed by someone. You were sealed by Enkidu and he was sealed by King Gilgamesh, but what about Punch? Even though Punch might not remember him, her subconscious could have taken note of him, and later brought her image out in a dream.

Danny: Homura...why are you know about Enkidu?

Homura: I just pictured what I imagined, that's all.

Danny: We met before in previous life, right?

Homura: Perhaps....

Danny: So then let's go!

Homura: Huh?

Danny: So the place that I know is very important must be connected to Homura. Maybe Homura can help me. A place I've never been to but important for even Sam.

Homura: Sam too?

Danny: She can be rational, sarcastic, forceful, bossy, passionate, and strong-willed, but also good-hearted and caring. She isn't spoiled and would rather earn real friends instead of dealing with the popularity and fake friendships that come with wealth.

Homura: I know you know her because she's your girlfriend. Sam could feel it? So the promise we made is still there, right?

(Below conversation: Source original idea writing skits are from Tales of Berseria)

Skits: Women can be deceiving(Tsofph season6)

Sonic: Hmm.....

Chester: What is it, Sonic?

Sonic: You once told me that women's looks can be deceiving, but I'm not sure what I'm supposed to see.

Syaoran: I also had a problem with that too. But as I know that's men's problem. Women are fickle creatures at best. They lie as easily as they breathe, and men can never see through their deceptions.

Chester: Yeah, yeah! I TOTALLY agree.

Sonic: Sounds like both of you have been through some tough times.

Subaru: The wounds women leave on a man's heart take longer to heal than a cut delivered by a sword.

Sonic: R....really?!

Chester: Remember Sonic. Beware a maiden's tears and guard yourself well. That's my advice to you.

Sonic: Okay. Beware a maiden's tears and guard yourself.

Velvet: Wait just a sec! Don't put any weird ideas into Sonic's head, you two!

Chester: They’re just facts.

Velvet: If you fill his head with any more garbage, I’m eating both of you, even you Syaoran.

Syaoran: Me again?!

Mokona: Wow! Too scary!

Leia: It seems you guys having trouble with women. Heh! Well, women are nothing if not difficult!

Magilou: Don't worry. I have the deepest sympathy for you both including you too, Syaoran.

Syaoran:........

Chester: Well? What do you think of the ladies' reactions?

Sonic: Velvet won't eat either of you, Leia is mad and Magilou didn't seem sympathetic at all.

Subaru: See? Appearances can be deceiving, especially Leia. I don't know what will she plan.

Chester: And it seems you’ve absorbed the lesson well.

Sonic: .....Thanks!

Sakura: I’m not like that, though.

Sonic: Huh?

Sakura: Yes, some women use their tears to manipulate others. But not all do, and I for one despise such duplicity. The women who did that to my Syaoran are just the extreme and badness.

Sonic: So Amy hates some women who use their tears to manipulate others too, right?

Sakura: Yeah, Amy hates that as much as I do.

Sonic: Girl surely is hard to understand......

Skits: Unknown book (Tsofph season6)

Syaoran: You know, I still have not mastered the ancient tongue yet so there are so many words and many scripts that I can't read. I hope Sorey-san was here. But I'm so surprised that you love to read books too.

Sonic: I like to read a book with the chilli dogs outside. I have to take care of Tails, so I studied by myself and become my hobby.

Velvet: I was surprised to see you be able to be a big brother. When I took care of Laphicet at first it was very hard to understand him.

Syaoran: Is every species like you like to read too? Bienfu does a lot of reading, too.

Sonic: Really? I don’t know that.

Sakura: It’s true. But I’m not sure what he’s been reading, though.

Bienfu: Did someone call for me?

Sonic: Bienfu, do you like to read, too?

Bienfu: Oh, yes! Books are a treasure trove of knowledge! But I’m a greater malakhim, so the literature I enjoy might be a bit above your level, Sonic.

Sonic:”How to talk a Human Female into Becoming Your Vessel” and “Physically Escalating with Cuties.”

Syaoran, Velvet, Sakura: ?!

Bienfu: Bien?!

Sonic: “Physically Escalating...” What does that mean?

Syaoran, Velvet, Sakura: You really don’t need to know!!

Sonic: Huh? Why?!

Laphicet: You don't need to know, Sonic. It's a human girl thing.

Sonic: Wha....!!

Velvet: Yeah, I’m confiscating all of those.

Sakura: And I have some questions. Bienfu, you’d better be ready for a thorough interrogation.

Bienfu: Bieeeeeen!

#sakuraswordly #tsofph season 7 #tsofph #tsubasa of phantasia #tsofph season 8(story of daily life)#tsofph Season 11(Chapter2 Shadow Path(Butterfly Effect))#tsofph season6 #The explanation is quite long because it's New Year's Day so I give a special opportunity.#character analysis #Why did it end up explaining the character you liked?#velvet crowe #daniel fenton #homura akemi #sonic the hedgehog #miles tails prower #gilgamesh #punch whalen #sonic frontiers sage

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tarobytez · 3 years

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disability in the Six Of Crows Duology; an analysis of Kaz Brekker, Wylan Van Eck, and the fandom’s treatment of them.

****Note: I originally wrote this for a tiktok series, which im still going to do, but i wanted to post here as well bc tumblr is major contributor to what im going to talk about

CW: ableism, filicide, abuse

In the Six of Crows duology, Leigh Bardugo delicately subverts and melds harmful disability tropes into her narrative, unpacking them in a way that I, as a disabled person, found immensely refreshing and…. just brilliant.

But what did you all do with that? Well, you fucked it up. Instead of critically looking at the characters, y’all just chose to be ableist.

For the next few videos paragraphs im going to unpack disability theory (largely the stuff surrounding media, for obvious reasons) and how it relates to Six Of Crows and the characterization of Kaz Brekker and Wylan Van Eck, then how, despite their brilliant writing, y’all completely overlooked the actual text and continuously revert them to ableist cariactures.

Disclaimer: 1. Shocker - i am disabled. I have also extensively researched disability theory and am very active in the disabled community. Basically, I know my shit. 2. im going to be mad in these videos this analysis. Because the way y’all have been acting has been going on for a long ass time and im fuckin sick of it. I don’t give a shit about non-disabled feelings, die mad

Firstly, I’m going to discuss Kaz, his play on the stereotypical “mean cripple” trope and how Bardugo subverts it, his cane, and disabled rage. Then, I am going to discuss Wylan, the “inspiration porn” stereotype, caregivers / parents, and the social model of disability. Finally, I will then explain the problems in the fandom from my perspective as a disabled person, largely when it comes to wylan, bc yall cant leave that boy tf alone.

Kaz Brekker

Think of a character who uses a cane (obviously not Kaz). Now, are they evil, dubiously moral, or just an asshole in general? Because nearly example I can think of is: whether it be Lots’O from Toy Story, Lucius Malfoy, or even Scrooge and Mr.Gold from Once Upon A Time all have canes (the last two even having their canes appear less and less as they become better people)

The mean/evil cripple trope is far more common than you would think. Villains with different bodies are confined to the role of “evil”. To quote TV Tropes, who I think did a brilliant job on explaining it “The first is rooted in eugenics-based ideas linking disability or other physical deformities with a "natural" predisposition towards madness, criminality, vice, etc. The Rule of Symbolism is often at work here, since a "crippled" body can be used to represent a "crippled" soul — and indeed, a disabled villain is usually put in contrast to a morally upright and physically "perfect" hero. Whether consciously on the part of the writer or not, this can reinforce cultural ideas of disability making a person inherently inferior or negative, much in the same way the Sissy Villain or Depraved Homosexual trope associate sexual and gender nonconformity with evil. ”

Our introduction to Kaz affirms this notion of him being bad or morally bankrupt, with “Kaz Brekker didn’t need a reason”, etc. This mythologized version of himself, the “bastard of the barrel” actively fed into this misconception. But, as we the audience are privy to his inner thoughts, know that he is just a teenager like every other Crow. He is complex, his disability isn’t this tragic backstory, he just fell off a roof. It’s not his main motivation, nor does he curse revenge for making him a cripple - it is just another part of who he is.

His cane (though the shows version fills me with rage but-) is an extension of Kaz - he fights with it, but it has a purpose. Another common thing in media is for canes to be simply accessories, but while Kaz’ cane is fashionable, it has purpose.

The quote “There was no part of him that was not broken, that had not healed wrong and there was no part of him that was not stronger for having been broken.” is so fucking powerful. Kaz does not want nor need a cure - its said in Crooked Kingdom that his leg could most likely be healed, but he chooses not to. Abled-bodied people tend to dismiss this thought as Kaz being stubborn but it shows a reality of acceptance of his disability that is just, so refreshing.

In chapter 22 of SOC, we see disabled rage done right - when he is called a cripple by the Fjerdan inmate, Kaz is pissed - the important detail being that he is pissed at the Fjerdan, at society for ableism, not blaming it on being disabled or wishing he could be normal. He takes action, dislocating the asshole’s shoulder and proving to him, and to a lesser extent, himself, that he is just as capable as anyone else, not in spite of, but because he is disabled. And that is the point of Kaz, harking back to the line that “there was no part of him that was not stronger for having been broken”.

I cried on numerous occasions while reading the SOC duology, but the parts I highlighted in this section especially so. I, as many other disabled people do, have had a long and tumultuous relationship with our disability/es, and for many still struggle. But Kaz Brekker gave me an empowered disabled character who accepts themselves, and that means the world to me.

Keeping that in mind, I hope you can understand why it hurts so much to disabled people when you either erase Kaz’s disability (whether through cosplay or fanfiction), or portray him as a “broken boy uwu”, especially implying that he would want a cure. That flies in the face of canon and is inherently fucking ableist. (if u think im mad wait until the next section)

Next, we have Wylan.

Oh fucking boy.

I love Wylan so fucking much, and y’all just do not seem to understand his character? Like at all? Since this is disability-centric, I’m not going to discuss how the intersection of his queerness also contributes to these issues, but trust me when I say it’s a contributing factor to what i'm going to say.

Wylan, motherfucking Van Eck. If you ableist pricks don’t take ur fucking hands off him right now im going to fight you. I see Wylan as a subversion another, and in my opinion more insidious stereotype pf disabled people - inspiration porn.

Cara Liebowitz in a 2015 article on the blog The Body Is Not An Apology explains in greater detail how inspiration porn is impactful in real life, but media is a major contributing factor to this reality. The technical definition is “the portrayal of people with disabilities as inspirational solely or in part on the basis of their disability” - but that does not cover it fully.

Inspiration porn does lasting damage on the disabled community as it implies that disability is a negative that you need to “overcome” or “triumph” instead of something one can feel proud of. It exploits disabled people for the development of non-disabled people, and in media often the white male protagonist. Framing disability as inherently negative perpetuates ideals of eugenics and cures - see Autism $peaks’ “I Am Autism” ad. Inspiration porn is also incredibly patronizing as it implies that we cannot take care of ourselves, or do things like non-disabled people do. Because i stg some of you tend to think that we just sit around all day wishing we weren’t disabled.

Another important theory ideal that is necessary when thinking about Wylan is the experience of feeling like a burden simply for needing help or accommodations. This is especially true when it comes to familial relationships, and internalized ableism.

The rhetoric that Wylan’s father drilled into his head, that he is “defective”, “a mistake”, and “needs to be corrected”, that he (Jan) was “cursed with a moron for a child” is a long held belief that disabled people hear relentlessly. And while many see Van Eck’s attempted murder of Wylan as “preposturous” and overall something that you would never think happens today - filicide (a parent murdering their child) is more common than you would like to believe. Without even mentioning the countless and often unreported deaths of disabled people due to lack of / insufficient / neglectful medical care, in a study on children who died from the result of household abuse, 40 of 42 of them (95%) were diagnosed with disabilities. Van Eck is not some caricature of ableist ideals - he is a real reflection on how many people and family members view disability.

Circling back to how Wylan unpacks the inspiration porn trope - he is 3 dimensional, he is not only used to develop the other characters, he is just *chefs kiss* Leigh, imo, put so much love and care into the creation of Wylan and his story and character growth that is representative of a larger feeling in the disabled community.

That being said, what you non-disabled motherfuckers have done to him.

The “haha Wylan can’t read” jokes aren’t and were not funny. Y’all literally boiled down everything Wylan is to him being dyslexic. And it’s like,,,, the only thing you can say about him. You ignore every other part of him other than his disability, and then mock him for it. There’s so much you can say about Wylan - simping for Jesper, being band kid and playing the fuckin flute, literally anything else. But no, you just chose to mock his disability, excellent fucking job!

Next up on “ableds stfu” - infantilization! y’all are so fucking condescending to Wylan, and treat him like a fucking toddler. And while partly it is due to his sexuality i think a larger portion is him being disabled. Its in the same vein of people who think that Wylan and Jesper are romantically one sided, and that Jesper only kind of liked Wylan, despite the canon evidence of him loving Wylan just as much. You all view him as a “smol bean”, who needs protecting, and care, when Wylan is the opposite of that. He is a fucking demolitions expert who suggested waking up sleeping men to kill them - what about that says “uwu”. You are treating Wylan as a burden to Jesper and the other Crows when he is an immensely valuable, fully autonomous disabled person - you all just view him as damaged.

And before I get a comment saying that “uhhh Wylan isn’t real why do you care” while Wylan may not be real, how you all view him and treat him has real fucking impacts and informs how you treat people like me. If someone called me an “uwu baby boy” they’d get a fist square in the fucking jaw. Fiction informs how we perceive the world and y’all are making it super fucking clear how you see disabled people.

Finally, I wanted to talk about how the social model of disability is portrayed through Wylan. For those who are unaware, the social model of disability contrasts the medical model, that views the disability itself as the problem, that needs to be cured, whereas the social model essentially boils down to creating an accommodating society, where disability acceptance and pride is the goal. And we see this with Wylan - he is able to manage his father’s estate, with Jesper’s assistance to help him read documents. And this is not out of pity or charity, but an act of love. It is not portrayed as this almighty act for Jesper to play saviour, just a given, which is incredibly important to show, especially for someone who has been abused by family for his disability like Wylan, that he is accepted.

Yet, I still see people hold up Jesper on a pedestal for “putting up with” Wylan, as if loving a disabled person deserves a fucking pat on the back. It’s genuinely exhausting trying to engage with a work I love so much with a fandom that thinks so little of me and my community. It fucking shows.

Overall, Leigh Bardugo as a disabled person wrote two incredibly meticulous and empowered disabled characters, and due to either lack of reading comprehension, ableism, or a quirky mix of both, the fandom has ignored canon and the experiences of disabled people for…. shits and giggles i guess. And yes, there are issues with the Grishaverse and disability representation - while I haven’t finished them yet so I do not have an opinion on it, people have been discussing issues in the KOS duology with ableist ideals. This mini series was no way indicative of the entire disabled experience, nor does it represent my entire view on the representation as a whole. These things need to be met critically in our community, and talked about with disabled voices at the forefront. For example, the limited perspective we get of Wylan and Kaz being both white men, does not account for a large portion of the disabled community and the intersection of multiple identities.

All-in-all, Critique media, but do not forget to also critique fandom spaces. Alternatively, just shut the fuck up :)

happy fucking disability pride month, ig

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sethmacenzie · 2 years

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So I don’t know if you will see this @eva-white-11, because I can’t tag you, but you inspired me to do this entire post about Tokoyami, so this is for you and everybody else who loves him. Also this ended up with me noticing some wonderful writing parallels with Tokoyami and Hawks that I had to put in here. This is neither pro nor anti Hawks, this is simply an analysis of what is given.

I talked about quirk discrimination in regards of Spinner plenty and I have called Tokoyami “non-threatening”, to which I got asked how I can think that he’d be seen like that, seeing as ravens and crows are generally regarded as a bad thing and Dark Shadow is very demonic.

While both birds are associated with a lot of positive traits, such as intelligence, adaptability, partnership, foresight and transformation they are also often regarded as something sinister in the western world. Especially in the association with the famous plague masks they tend to be seen as a sign of death.

This is in stark contrast to Japanese culture, where crows are seen as something positive. Aside from the fact that the crows are playing a huge part in keeping cities rodent free, which is notable mentioned in Tokyo the mythological creature of the Yatagarasu (eight-span-crow) has a very positive background.

The three-legged crow is a creature that appears in multiple mythologies through East Asia, the Japanese Yatagarasu is a sign of rebirth, heaven, rejuvenation and divine intervention. Seeing as they clean up after death, especially being seen on battlefields eating the dead, which not only is a sign of the battle ending and something new beginning, it has also the practical effect that the bodies of the dead are being broken down preventing potential health threats to the living.

Tokoyami’s name comes from Tsukuyomi-no-Mikoto a deity with similar heavenly background, to be precise: the moon. The name Tsukuyomi having meanings as “moon bow” or “moonlit night” “looking, watching” even “reading”. Tsukuyomi-no-Mikoto is the brother of Amaterasu, the sun goddess of Shinto, and to cut a long story short: he killed another goddess, his sister got angry so she moved to another part of the sky, splitting night and day. And looking at Tokoyami’s actual spelling we get “everlasting darkness”, which fits rather well with the deity and his quirk.

His first name Fumikage’s spelling also litereally means “step, to walk through shadow”, being a direct recall to both darkness and his quirk Dark Shadow.

So Tokoyami’s name is based on the darkness, the night and the moon, but in natural manner, rather than a threatening one.

If we’re looking at Dark Shadow he’s often associated with the Enerna, a monster made of smoke and darkness that can take human form that was most likely born from the imagination of Toriyama Sekien, but that generally fits Dark Shadow rather well. And Toriyama Sekien works are known to have great influence of the public view on mythological creatures, even though his works were mostly parodic.

And because HK is a huge Marvel & DC fan, I’m going to mention Raven from DC and Venom from Marvel real quick.

Raven is a young heroine from DC Comics, usually part of the Teen Titans, which has to keep control over her powers because they otherwise can get very dangerous if unleashed. Aside from the power similarity she also has a very dark, Goth appearance, can have her body taken over while she sleeps and obviously has a direct bird relation through her name.

Venom an Anti-Hero from Marvel on the other hand is a symbiont mostly partnered with Eddie Brook, although he’s had quite a few other hosts including Peter Parker and notably Flash Thompson. In both cases there is a deep emotional connection between Venom/Eddie and Dark Shadow/Tokoyami and both can be a direct life threat to other, especially if their host is attacked.

All in all I think in bnha Japan Tokoyami has a far more positive view through his appearance as if he lived in the bnha western world, seeing as in our real world crows are seen as something darker in contrast to Japan.

Tokoyami seems more like a “night crow”, something new, something from above, something better, but instead of the sun, the light he is in the dark, the night, the shadows, but that doesn’t make him bad at all.

This would be a direct contrast to Hawks, who stands for light and the Icarus tale of flying to close to the sun.

Hawks is out in daylight with his sunny demeanor, flying like a bird wanting to be free like one. But behind this is a very dark history of abuse from his parents, of the hero commission using him and of the very controlled murder of Twice.

This is a direct contrast to Tokoyami. He is more grounded because of Dark Shadow, because he has to be careful, he needs to keep control over his powers because he could accidentally hurt someone if Dark Shadow went rouge, as seen in the forest. He is the one who saves Hawks; he kept the PLF at bay and fought Re-Destro all because he kept control over Dark Shadow.

Hawks did not lose control over himself when he killed Twice, which was on purpose, he used control something that is essential to his student and savior Tokoyami to take a life, and this is just a wonderful contrast between the two of them.

Hawks took Tokoyami in as a student because “they are both birds”, but Tokoyami is the next generation of Hakws, a better version, all while being in the dark shadows in contrast to flying into the sun.

Oh and apparently he got called a Myna in the light novels, which depending on who it came from might be a huge insult or a great meta joke, because some mynas are considered talking birds, aka they can reproduce sounds, including human speech (so far only seen in captivity).

#bnha #analysis #tokoyami fumigake #keigo takami #dark shadow #hakws #this was fun

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jackwolfes · 2 years

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what is your favourite thing to write? it can be anything, character, ship, or something specific you like to indulge in?

i solidly think we could do a content analysis of my fics and find an answer pretty easily 😂 a starter for ten:

The obvious one is Wesper, as a ship, hence why there’s so FUCKING much of it

I love writing Henry Fox in platonic relationships! As good as firstprince is I’ve written a lot of Henry & June and Henry & Pez lately and it’s super fun.

Pez Okonjo. Full stop.

I like writing characters overcoming mental health issues because I find it helpful and gratifying on a personal level!

Trans Crows! Trans man Kaz and Enby Jesper specifically

Again niche but I love writing embarrassing moms? 😂 I’ve done it a lot for Naomi Solace and Marya Hendriks and it’s genuinely a shock I’ve not done it to Ellen Claremont considering everything she does in canon

Side note I do miss writing solangelo fics just bc will solace is very fun to write

I like writing lyrical garbage that’s super poetic and flowery

I like a fantasy au tbh (mermaid wylan, magical soulmate AUs, etc)

I mean… I can’t not mention Kink can I 😂 I do write so much d/s dynamics because I find it fun!!

Also aftercare & safewording out!! I find “sex gone wrong” fics super gratifying to write

I don’t mean to keep doing top 10s but I love y’all and have so much to say 😂

#asks #anon

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trans-cuchulainn · 3 years

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What are the major details that confused you about the Hound blurb? The major one that stood put to me was the "way of the farmer opposed to the sword" thing which felt very...un-Cú Chulainn. Also, if you don't mind expanding further, which details didn't you question/be confused by?

and also for anon:

okay so it is like. 2am so there are not going to be any sources here but i can't sleep so here goes!! i will go through this blurb line by line and give youse my thoughts

In 50 BCE,

reasonable. this is roughly the right time period for when the ulster cycle is set. maybe marginally earlier than i'd place cú chulainn, but i'm talking a few years, nothing to get worked up about.

Morrigan, the goddess of war,

fine. normally i'm wary of pantheonising impulses with regard to irish characters (almost none of them can be identified as a god of anything in particular, it doesn't work like that) but tbh the morrigan is like, the most plausible exception to that, so whatever. normally her name has the definite article attached to it because it's kind of a species term as well but whatevs.

has become restless as a long-lasting peace settles over Ireland.

dubious. closest i can think of to peace being reference in any texts is togail bruidne da derga talking about conaire mor's reign being like, prosperous and peaceful and whatever, and even there you've got díberg (plundering/reaving) which is what eventually fucks him over and starts the otherworldly hell spiral situation. that's roughly the right period here but conaire's doom proves you don't have to do much to nudge peace into war, and connacht and ulster are at each other's throats for years before cú chulainn comes on the scene anyway

Deciding the time of peace must end, she chooses Setanta, the nephew of the king of the north, to become her ward.

hmm. i mean. like, this isn't the WEIRDEST choice they could have made. it's still completely made-up, don't get me wrong -- cú chulainn has a lot of different foster parents in different texts and they don't agree with each other but none of them ever mentions the morrígan. but like, they do have a connection of some sort, as evidenced by their conversations. and there's that one moment in the r1 boyhood deeds where little cú chulainn is out on the battlefield and hears her (not sure which name is used here) calling out to him and it like. motivates him to do some deeds or whatever, and i guess you could extrapolate that into some kind of teaching capacity.

so like. could be weirder. if you're gonna pick anyone, you could do worse. still seems weird to me! but not on its own a major issue, i could get past this and consider it a Fun But Unorthodox Creative Decision

(the fact that she tries to seduce him in the táin probably wouldn't get in the way of this considering sleeping with his teachers/foster-mothers is far from unheard of where cú chulainn is concerned)

After a young Setanta slays the demon-hound of Cullan, he becomes known as Cú Cullan—The Hound of Cullan.

weird spelling choices, they could have at least bothered to use the genitive properly. also the hound isn't a demon, it's a ferocious watchdog -- making it sound all Otherworldly and Hellish like this kinda confuses the issue of why he would need to take its place. he needs to take its place because the cattle and people still need protecting because it is a watchdog!! but whatevs, again, it's a brief summary so they can't exactly give us all the details and this is not actively objectionable

As Cú Cullan grows older, it is apparent that an extraordinary power lies within him … and a great darkness.

ugh boring. this makes it sound like he's going to be ~tortured~ and angsty about it. give me an unapologetic murder teen please. is the ríastrad dark? sure i guess, if you're going to be boring about it. it's more like, grotesque neon in my head

When he chooses the quiet life of a farmer over the sword,

this would fucking never happen on like five different levels. obviously like anyone who has ever read anything about cú chulainn can see that this is not in his nature. he is never going to choose a quiet life. this is the kid who tricked his way into taking arms before everyone thought he was ready. also juxtaposed with the "darkness" comment makes it sound like he would Angst his way into this quiet life which. again. have you seen this kid. he is an unapologetic murder teen

the only thing i can think of that might make him temporarily want to walk away is connla's death which... depends where you position that in the timeline really, he does seem a bit fucked up by it and maybe he'd want a holiday although i can see that lasting precisely 5 minutes before someone pissed him off enough for him to murder them. but if he's being raised by the morrígan i can't see him going to train with scáthach so then he'd never meet aífe and therefore connla would never be born so that wouldn't happen. so like. whatever.

but also like. he would not become a farmer. he just wouldn't! it doesn't work! the ireland of the stories is super hierarchical, right? and this blurb has already fucking told us that he's the king's nephew (canon) so we can tell that being a farmer is Not His Place. when we see upper class figures becoming menial labourers in texts, like in cath maige tuired, it's because Things Are Fucked, Shit's Gone Wrong. people don't just decide to change their entire social class on a whim lmfao

if cú chulainn really wanted to turn his back on being a warrior he could probably make recourse to certain other Suitable Professions ... his grandad's a druid so he might have a route into that, though his dad's not so that might fuck things up a bit bc it's one of those things that's usually inherited. he does give "wisdom" in at least one text though and we also know he can write (he carves riddles in ogham in the táin) and he composes verses on various occasions so idk, maybe something in a poetic direction, though again, usually requires two generations of inheritance to be a real poet and not just a lower-class bard. warrior's kinda the main thing he's got open to him tbh. but farming? i'm not a legal expert but as far as i'm aware based on what i have read, that would fuck shit up

more likely an upset cú chulainn would just go off in search of an adventure somewhere conveniently far away until he'd calmed down (alba, or the tyrrhenian sea, or -- if we're going to get early modern about it -- somewhere like india, which frequently gets thrown into the texts with absolutely no cultural context and it's always hilarious)

Morrigan, angry at the betrayal,

of the entire social order, yes,

instigates an invasion of his homeland

i mean. if they intend this to be the táin then.... táin bó regamna does kinda make the morrígan responsible for it? not in the sense of triggering the pillow talk argument that it's in the book of leinster -- it's her getting up to her usual cow-nicking behaviours for shits and giggles. [note to readers: it is probably for more than shits and giggles but did i mention it's 2am]

but all in all, not particularly out of character that she would be at least some way responsible for this so i can vibe with this. echtra nerai also supports the TBR explanation with her fucking around with otherworldly cows and pissing people off so, yeah, whatever. the morrígan engineered this. sure.

and Cú Cullan must challenge fate itself

this is probably a controversial stance but fate feels like a difficult concept to apply to medieval irish texts. like are people sometimes Doomed? yes. there are prophecies, there are gessi, there's all manner of otherworldly fuckery that can trip you up. is that the same thing as fate? no idea. considering cú chulainn comes out alive from the táin though and his doom prophecies don't catch up to him for like, at least another decade, maybe 16 years depending on who you listen to, hard to see how that would apply here

to keep the goddess at bay.

again like she IS causing fuckery in the táin but also it's like... one time. really not the main character. but she or maybe just some crows, hard to say, do get implicated in the death tale so maybe they're doing what people often do and conflating the two? even though there's like 10-16 years in between them?

anyway as you can see i don’t think it’s wholly terrible / i’m not completely thinkshaming it. like, having cú chulainn raised by the morrígan is unorthodox but it could be a fun and creative direction so i don't object to it. making cú chulainn get sad about murder and choose to be a farmer is just fucking laughable tho, and makes me doubt their characterisations in general. so that's offputting and would probably make me think twice about buying it, if that had ever been on the cards.*

and of course sure, their cú chulainn can be a Sad Boy Who Likes Sheep, but that means he's not the cú chulainn of medieval irish lit / irish myth, because that cú chulainn is a feral murder teen who keeps killing his friends and also is way too high social status to ever be a farmer, and whose only relationship to livestock is as the watchdog who kills anyone trying to harm them (which is an important role on a farm! but like. not the same thing as Being A Farmer. mostly because it involves more murder and is essentially just an extension of his role as a warrior. or rather the other way around. he promises to protect mag muirthemne as a watchdog and this like. gets extended into him becoming its sole defender)

this has been my analysis of this blurb i hope you enjoyed it

it's now 2.30am i should try and sleep now that i've exorcised a few thoughts from my head

*as i mentioned in the tags of my other post, i don't tend to read graphic novels due to disability stuff. they're much harder for me to understand and follow than prose, to the point where some are incomprehensible, so i don't really enjoy them. there are a few i've read, but they tend to be short ones, and i'm usually not reading them in order, just admiring the art separately from the text. so it's unlikely i would read a graphic novel of this size anyway.

#cu chulainn #hound #hound graphic novel #answered #oddnub-eye #anonymous #irish mythology #medieval irish #tain bo cuailnge

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aboveallarescuer · 3 years

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I know you've gotten anons about the YMBQ prophecy recently but I was wondering in what context could it be obvious for the reader that Daenerys is the YMBQ if Cersei is most likely to die or leave KL once Aegon arrives and not Daenerys. Even if Daenerys takes KL later on wouldn't he technically be the one to take all she holds dear (her power as regent)?

First of all, Anon, I think it’s interesting that you say that Young Griff (rather than Arianne) would take all that Cersei holds dear in this hypothetical scenario (that most people assume will come to pass). asoiaf tumblr fandom loved (loves?) to take for granted that Arianne would be YMBQ (after all, it was/is taken for granted that she would marry Young Griff and become his queen consort) years ago. At the same time, though, I’m not sure if you’re implying that Young Griff might actually be the one to fulfill the YMB(Q) prophecy in this ask. I actually saw this theory before. So I’m going to make counterarguments to this theory first and then address your question about how and when Dany might be revealed as the YMBQ (and if that’s what you were specifically looking for, just skip to the end, though you might be disappointed by the fact that I'm not really providing definitive answers because I have a lot of doubts myself).

In a way, it makes more sense for Young Griff to fulfill the prophecy rather than Arianne. Let’s remember what Cersei wants the most, which is shown in the beginning of her very first chapter:

She dreamt she sat the Iron Throne, high above them all. (AFFC Cersei I)

Unfortunately for Cersei, she can’t ever actually sit the Iron Throne, which is pointed out several times:

Cersei shifted in her seat as he went on, wondering how long she must endure his hectoring. Behind her loomed the Iron Throne, its barbs and blades throwing twisted shadows across the floor. Only the king or his Hand could sit upon the throne itself. Cersei sat by its foot, in a seat of gilded wood piled with crimson cushions. (AFFC Cersei V)

Seated on her gold-and-crimson high seat beneath the Iron Throne, Cersei could feel a growing tightness in her neck. (AFFC Cersei VII)

Cersei sat beneath the Iron Throne, clad in green silk and golden lace. (AFFC Cersei X)

As the first quote states, only the king or the Hand can sit the Iron Throne, which is what Cersei wants the most, since, to her, it symbolizes almost unlimited power ("high above them all"). Indeed, I would argue that what Cersei holds dear is the chance to reign supreme (“The rule was hers; Cersei did not mean to give it up until Tommen came of age. [...] If Margaery Tyrell thinks to cheat me of my hour in the sun, she had bloody well think again.”), not “her power as regent” (as you put it), which is limited by nature. After all, the king’s wife and mother can’t sit the Iron Throne. This means three things to me:

Queen consorts like Margaery or Arianne (if she actually marries Young Griff, which is far from certain) can’t take all that Cersei holds dear.

Queens claiming power in their own right but who have no claim to the Iron Throne are excluded too. In other words, Asha or QitN!Sansa (another fan theory that’s far from certain and that’s accepted as future canon) can’t take all that Cersei holds dear.

Only a she-king (that is, a queen regnant) with a claim to the Iron Throne can take all that Cersei holds dear - that’s Dany.

But then, we have Young Griff. He is a king with a claim to the Iron Throne, so he could, in theory, take what Cersei holds dear and fulfill the prophecy. However, I find that very unlikely for a number of reasons:

GRRM doesn’t highlight men’s physical appearances or objectify them in the same way that he does with women, as a lot of people have already criticized him for. He makes a point of mentioning women’s accomplishments along with overpraise for their physical appearances (though one might be generous and chalk that up to social commentary about how their society objectifies women instead of giving them their due praise for what they do). He encourages his fans to speculate about who is the YMB(Q) and pit his female characters against each other based on their physical appearances (e.g., people have criticized how Sansa stans often mention the number of times the word “beautiful” appears in Sansa’s chapters to back up their belief that she’s the YMB(Q), but the way GRRM himself wrote the prophecy lends itself to this sort of analysis) because he uses certain tropes uncritically. He portrays fat women negatively in comparison to thin women (see: Cersei (who’s said to be gaining weight throughout AFFC as she becomes more unstable) vs Dany, Lysa vs Cat, Barba Bracken vs Melissa Blackwood, arguably Rhaenyra vs Alicent). He takes an almost voyeuristic pleasure in describing women’s bodies and women having sex with women (see how Dany and Irri’s or Cersei and Taena’s sexual encounters don’t give any depth to Dany’s, Irri’s and Taena’s characters and, as far as I can tell, are mostly written to fetishize them). Consider, for instance, how 13- to 16-year-old Dany is the most sexualized character of the book series, while I’m not even sure if her male counterpart Jon is supposed to be considered attractive or not (on the one hand, he’s attracted women like Ygritte and Val; on the other hand, he’s meant to look a lot like Ned, who’s regarded as plain in appearance, especially in comparison to the hot-blooded Brandon). All of this is to say that I doubt that a man will fulfill a prophecy that remarks upon the person’s physical appearance (“younger and more beautiful”). Considering GRRM’s writing problems, a woman is much more likely to do so.

Young Griff is supposed to represent a lesser version of Dany (note that I’m talking about Young Griff as a fictional character, not as a person). After all, unlike Dany, Young Griff didn’t get to have lived experience of poverty, he didn’t get to have his skills tested, he didn’t get to apply the lessons he learned along the way, he didn’t get to take action and make mistakes and gain valuable experience and wisdom, he didn’t get to choose to stay in Slaver’s Bay solely to help marginalized people who aren’t connected to him by neither blood nor lands (which would emphasize how he doesn’t view his birthright merely as something owed to him, but rather as a means to “protect the ones who can’t protect themselves”). He could have had this sort of character development if GRRM wanted him to, but he has a different role in the narrative: he’s a tertiary character who we’re not meant to know all that much as a person or about how he would fare as king because he serves as a foil to Dany. With all of that in mind, what would be the point of having this minor character, who was introduced in the fifth book of a seven-book series, fulfill this prophecy rather than the one protagonist who the author said was deliberately written as Cersei’s foil multiple times (more on that below)?

Which brings me to a point that @rainhadaenerys made in our upcoming Dany/Cersei meta... Cersei views women with contempt because she thinks that they can only attain political influence with “tears” and with what’s “between [their] legs” (as she tells Sansa). This informs why, for example, she projects the unfounded idea that a widow must have lovers on Margaery or why she herself uses money and sex to keep her men loyal (which ultimately backfires on her). Unfortunately, it’s true that “[Cersei’s] strength relies on her beauty, birth and riches”. Because of her internalized misogyny, Cersei can’t conceive of a woman who might rise to power primarily because of her intelligence and shrewdness… Except that there is a woman who successfully conquered three cities and ruled the third and freed thousands of slaves relying primarily on her actual wit, political savviness and leadership skills rather than on sex, birthright or money… Dany. Dany is the competent, selfless ruler who could overcome many of the patriarchal limitations that Cersei couldn’t (hence why Cersei is a tragic figure). If Young Griff were to be the YMB(Q), he would simply be one of the many men (along with Robert, her brother, her father and the other Hands) who Cersei thinks wronged her and prevented her from staying in power. If Daenerys were to be the YMBQ, she would challenge Cersei’s toxic beliefs about women, which prevented Cersei from even imagining that a she-king might be the one foreshadowed to defeat her or that a woman (that isn’t her, of course) could actually be able to earn her accomplishments (just like she can’t imagine that Jaime might actually betray and kill her). Now, someone might argue that GRRM is not “woke” enough to do this, but I would disagree in this particular case. There are valid critiques to be made about how he wrote his female characters (I’ve made some points myself on the first item), but it’s still true that Dany’s character arc was written with awareness of how her gender affects her experiences. If that hadn’t been the case, AGOT wouldn’t have initially set up several men (Viserys, Rhaego, Drogo) to be claimant to the Iron Throne/SWMTW/the protagonist only to reveal that these roles are actually meant to be fulfilled by Dany, a woman. If that hadn’t been the case, he wouldn’t have had Maester Aemon acknowledge that “no one had ever looked for a girl” when they pondered on who might be AA/PTWP. So I don’t put it past GRRM to make Dany the YMBQ as a way of challenging Cersei’s entire worldview.

Indeed, I actually think that’s likely to be what he’ll write. GRRM has stated multiple times that Dany and Cersei are meant to be compared and contrasted because they were consciously written by him (specially in AFFC/ADWD) as narrative foils:

George regrets that Cersei and Dany will not be contrasted directly. (x)

His biggest lament in splitting A Feast for Crows from A Dance with Dragons is the parallels he was drawing between Circe and Daenerys. (x)

Cersei and Daenerys are intended as parallel characters --each exploring a different approach to how a woman would rule in a male dominated, medieval-inspired fantasy world. (x)

While discussing how he writes his female characters, he also mentioned that splitting the books as he did this time meant we didn't get the parallel between how Danaerys and Cersei both approach the task of leadership, which is a bit of a shame. (x)

And that one of the things he regrets losing from the POV split is that he was doing point and counterpoint with the Dany and Cersei scenes--showing how each was ruling in their turn. (x)

I think Young Griff as the YMB(Q) is very, very unlikely. If it’s not Dany, then I think Brienne (who at least is a viewpoint character that we know intimately) as the YMBQ (though I doubt it because she can only take Jaime away from Cersei and, as we saw in AFFC, Cersei was willing to separate herself from Jaime once she realized that he would question and disagree with her decisions and, in her mind, threaten her influence and power, i.e., what she wants the most) or even Cersei herself (the basis of this theory is that a younger Cersei caused her own downfall by making the choices she made. It’s not impossible considering that Cersei’s unreliable viewpoint prevents her from ever taking responsibility for her actions. Still, I think it’s unlikely because she’s been positioned as a passive participant in these prophecies - someone/some people kills her children, some person takes away everything she holds dear, some person murders her. Just like there’s a valonqar to kill Cersei, I think there’ll be a YMBQ to defeat her) are more plausible candidates. However, as I said in previous answers, Dany and Cersei have lots of clearly intended parallels and anti parallels (hence why GRRM mentioned them at least five times publicly) that people don’t often appreciate (but that I don’t want to mention here because I’m saving them for edits and that long meta). I find it hard to believe that GRRM would lay all this groundwork to contrast these two queens only to reveal that a minor character is the actual YMB(Q).

Now, the question about “in what context could it be obvious for the reader that Daenerys is the YMBQ” is difficult because, IMO, I don’t feel like there’s enough information to give you a reliable answer. First, let’s recap the most common theories, which, while I don’t think should be accepted as canon just yet, are popular for logical reasons. Here’s what GRRM said about the future events in the initial outline and interviews:

While the lion of Lannister and the direwolf of Stark snarl and scrap, however, a second and greater threat takes shape across the narrow sea, where the Dothraki horselords mass their barbarian hordes for a great invasion of the Seven Kingdoms, led by the fierce and beautiful Daenerys Stormborn, the last of the Targaryen dragonlords. The Dothraki invasion will be the central story of my second volume, A Dance with Dragons. (x)

GRRM: Yes, three more volumes remain. The series could almost be considered as two linked trilogies, although I tend to think of it more as one long story. The next book, A Dance With Dragons, will focus on the return of Daenerys Targaryen to Westeros, and the conflicts that creates. After that comes The Winds of Winter. I have been calling the final volume A Time For Wolves, but I am not happy with that title and will probably change it if I can come up with one that I like better. (x)

He said that in his original plan (when he wanted to write a trilogy) the Red Wedding would take place in book one, and Dany’s landing in Westeros in book two. Now he says that Dany’s arrival in Westeros will take place in book 5, A Dance with Dragons. (x)

From there he started to plan a trilogy, since there were 3 main conflicts (Starks/Lannisters; Dany; and the Others) it felt it would neatly fit into a trilogy (ah!), but like Tolkien said, the tale grew in the telling. (x)

“Well, Tyrion and Dany will intersect, in a way, but for much of the book they’re still apart,” he says. “They both have quite large roles to play here. Tyrion has decided that he actually would like to live, for one thing, which he wasn’t entirely sure of during the last book, and he’s now working toward that end—if he can survive the battle that’s breaking out all around him. And Dany has embraced her heritage as a Targaryen and embraced the Targaryen words. So they’re both coming home.” (x)

GRRM’s words seem to indicate that Dany will go to Dragonstone ("they're both coming home") and then King’s Landing in her campaign to take back the Seven Kingdoms before she goes to the Wall to fight against the Others.

And it is quite possible that she will clash with Young Griff. For one:

Hi, short question. Will we find out more about the Dance of the Dragons in future books?

The first dance or the second?

The second will be the subject of a book. The first will be mentioned from time to time, I'm sure. (x)

For two:

"It is dragons."

"Dragons?" said her mother. "Teora, don't be mad."

"I'm not. They're coming."

"How could you possibly know that?" her sister asked, with a note of scorn in her voice. "One of your little dreams?"

Teora gave a tiny nod, chin trembling. "They were dancing. In my dream. And everywhere the dragons danced the people died." (TWOW Arianne I)

For three:

Glowing like sunset, a red sword was raised in the hand of a blue-eyed king who cast no shadow. A cloth dragon swayed on poles amidst a cheering crowd. From a smoking tower, a great stone beast took wing, breathing shadow fire ... mother of dragons, slayer of lies … (ACOK Daenerys IV)

Now, here are my observations/questions/doubts:

The “cloth dragon” receiving a round of cheers from the crowd seems to indicate that a) Tommen will indeed fall from power when Young Griff (who’s already in Westeros almost ready to attack) invades King’s Landing and that b) Young Griff will inspire love from the population.

The more obvious possibility is that the second dance of dragons refers to a Dany versus Young Griff confrontation, especially since she’s prophesied to slay the lie that he represents (that he’s not Rhaegar Targaryen's son, but actually Illyrio’s son and a Blackfyre). However, since Victarion is currently in Meereen with a dragonbinder, it’s very likely that Dany will lose control of one of her dragons to a Greyjoy (either Victarion or Euron Greyjoy himself) and then will arrive in Westeros with only two of her three dragons. Or maybe Euron will use one of the dragons to attack Young Griff and that will be the second dance (though I find that unlikely since, again, Dany is prophesied to slay Young Griff’s lie). Or the second dance could actually refer to Dany versus Euron.

There are alternative speculations to consider. Right now, the consensus in the Dany fandom seems to be that there’s already too much in Dany’s plate for her (uniting all the khalasars and being hailed as the SWMTW; going back to Meereen; meeting Tyrion, Jorah, Moqorro and other characters; maybe going to Yunkai; going to Volantis; etc) to go to King’s Landing, which led to people assuming that only Cersei and JonCon will be involved in the city’s burning. It’s even theorized that Dany might actually skip King’s Landing and go to the Wall instead. These theories make a lot of sense and aren’t implausible, but it’s hard to reconcile them with GRRM’s initial intention with Dany (though it’s also been argued that he may have given part of her initial role to Young Griff). Additionally, I don’t think timeline issues are necessarily a guarantee of what GRRM will do with Dany. He made Tyrion travel much faster than reasonable back in AGOT to have him meet Catelyn in the inn at the crossroads and to be taken captive by her. So I wouldn't put it past GRRM to do something similar with Dany by having her arrive earlier in King’s Landing than she reasonably would just because he wants it to happen. And, as much as I don’t want it to happen and even though I criticized the theory before, I don’t think it’s impossible (though it’s not guaranteed either) for Dany to be accidentally involved in the burning of King’s Landing (though there is a recent counter-theory to that as well).

Re: Cersei, a lot of people tend to assume that she’s going to die when Young Griff takes King’s Landing, but I am not really sure. I do think that her parallels with Aerys II will pay off and reflect her ending. But that doesn’t prevent Cersei from surviving Young Griff’s invasion and meeting Dany later. Cersei could escape to Casterly Rock and they could meet there. Or Cersei could later attempt to retake the capital again in another impractical plan of hers, which then leads to King’s Landing burning. I don’t know.

Does Dany have to meet everyone to fulfill these prophecies? I’m not sure. Does Dany necessarily need to meet Young Griff and Stannis to slay their lies? Does she necessarily need to meet Cersei so that the readership finds out that she’s the YMBQ? Will there even be an actual moment that makes it “obvious for the reader that Daenerys is the YMBQ”? I don’t know, Anon. It may end up being up for people’s interpretation. Dany might end up burning the Iron Throne, if the theory about her accidentally burning King’s Landing actually happens. Dany might willingly melt the Iron Throne and install a new form of government that gives the smallfolk more political influence. Both of these possibilities could symbolize the end of Cersei’s desire for absolute power, even if Cersei and Dany don’t actually meet. I’m not even sure that there will be a moment that outright reveals that Dany is AA/PTWP/SWMTW (even though, IMO, the foreshadowing is way too overwhelming for it not to be her).

Speculating about Dany being the YMBQ is fun for me because it requires delving into her characterization, her parallels with Cersei and canon material in general. On the other hand, speculating about how this would actually happen is, IMO, less interesting (though I still enjoy reading what other people have to say) because it’s hard to accurately predict future plot points with the current information that we have (and I resent how fandom already accepts so many theories as unpublished canon). Dany has too many places to be and too many things to do and it’s not certain that she’ll be in King’s Landing when it burns (though I tend to think she will for the aforementioned reasons), the second dance of dragons can refer to different confrontations, it’s not certain that Dany needs to meet Cersei (or Young Griff or Stannis) to fulfill all these prophecies and it’s not certain that Dany is going to be explicitly revealed as the person who fulfills all these prophecies. We still have two books worth of plot development, so I really don’t think it’s possible to predict how the actual events will unfold. Sorry about not being able to give more definitive answers... I actually ended up making more questions. But that's kind of the point for now.

#daenerys targaryen #young griff #cersei lannister #asoiaf meta #asoiaf speculation #answered

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demonslayedher · 3 years

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Your content on Kny is interesting, being a Kny fan I would like to share a cusiority. During the final battle did you notice that the Hashira were passive about the death of some? When Shinobu died only Tanjiro had a reaction because of how busy he was; Mitsuri didn't seem sad and when Iguro remembered who died in the middle of the final battle he didn't even mention her. What did you think? It would have been nice if Gotouge had shown us what the Hashira's thought when the others died

[cont.] I'm the anonymous person who asked you the question about the Hashira who fell in the fight, Tumblr makes people write very little. Apart from Tanjiro they seemed cold to me, even for Tokito; the only one affected was Himejima; when always Iguro mentioned him during the clash with Muzan it was like he was thinking normally. There wasn't time to mourn for the dead but I was expecting a slightly deeper reaction. Anyway for Shinobu yes there was Inosuke and Kanao but the pillars are important too

Thank you for the Ask, time to get into it! This served as a good excuse to flip back through of a lot of the later volumes... or rather, a huge chunk of the series. Short Answer: I don’t think Mitsuri knew about Shinobu’s death. Longer Answer: A walk-through of the Pillars’ situations in the final showdown and a partial analysis of Kimetsu-style story pacing.

Disclaimer: I finished this around 2am. I chose to leave it rambling and unedited and typo-ridden. HAVE MY FEELS, I’M DISHING THEM.

(Disclaimer: This isn’t meant to be a plug for my own fics, but since they are born out of my emotional experience of canon, mentions will make their way in. U fu fu.) First, absolutely yes on there being no time to mourn. From the moment the Ubuyashiki Mansion blows up in volume 16 to the actual end of the fighting in volume 23, that is one hell of a night; this final arc(s) had NO CHILL. Like, wow. It’s been a long time since I followed another battle-driven manga, but that seems like a lot, especially for a relatively short series. And I was initially happy to dismiss all the lack of satisfying sadness as being due to the fact that they are in *PANIC MODE* and entirely focused on fighting, but that is also not necessarily the case; they do come off slightly cold. I want to touch a bit on what we want to see the characters mourn each other, but also why I think it works out a bit better that we didn’t; from a purely narrative standpoint. LET THEM BE SAD: Parasocial Needs Science says we form bonds with fictional characters that affect our brains in very similar and impactful ways, so our feelings are legit when they get killed off. It affects us like a breakup or other goodbye and makes us crave closure. As for my own assumptions, we look for proxy characters in-universe to give those characters we love the attention we wish to; their sadness validates our sadness, watching them get emotional can be super cathartic, and a good mourning arc can provide satisfying closure. This is something we got with Rengoku, canonically loved by like, everyone. Hell, even the guy who killed him was sad. Just to rub salt into it, the most recent fanbook that includes a section about how the Pillars see each other, and it drives home that even if we never saw much or any canon interaction between him and any other given character, they’re all like, “Oh yeah, Rengoku, he’s a great guy.” And, he’s the only character we really get space to mourn, pacing-wise. First, because of when it happens in the plot, this gives the story time to show us each and everyone one of the Pillars hearing the news; it gives them times to process it (which Tokitou clearly needed), and most of us, it takes us in depth through how it affects Tanjirou, our main character whose emotions that we, the readers, are most in touch with. Rengoku got star treatment in the way he was mourned, and we readers get to lap that up. So then when we don’t get that in-universe star mourning treatment, it does feel a bit jarring by comparison. Gotouge did say she was sorry to hurt everyone, but these are the conditions the little humans were up against all along and a point driven home again and again; even with power on par with demons through the attainment of a mark; even Pillars are just breakable humans who will never be able to regenerate like demons can, hence why their stakes are so much higher in every battle they go into. Furthermore, the Pillars are more ready for this than anyone else, they of all the characters would be the best at keeping their emotions in check in the heat of a battle. Which means they had to keep them in check for seven volumes of near constant battle, love it or hate it. KIMETSU LOGIC: The Writing Sins That Make This Manga What It Is I could go on and on and on and on about the writing sins this manga commits and how it shows that it’s Gotouge’s first time writing something of this length. In manga not all of it can be blamed on the author alone because the editors have a very significant influence, but yeah, this is not the most amazingly crafted story out there, by a long shot. Would I change any of it, though? Well, a few things, yes, of course, out of personal preference. But on the whole, no. It’s the collective errors that stamp KnY with its style and make it what it is, and I find it as endearing as all the randomly super goofy art. Now, when it comes to the lack of Pillars reacting to new of each others’ deaths, I wouldn’t necessarily classify that itself as a fault, and if I were Gotouge’s editor, I probably would have encouraged her to keep it to a minimum too. After all, I would be considered with selling a new shot of tension with every week’s installment to keep any readers from getting bored with the constant battle. And dang it, THAT TENSION WAS HIGH, those battles were remarkably emotional and tense through and through. The breaks in tension that we got were necessarily and not distracting, with the notable exception of Iguro’s past. That was clumsy placement. I’ll be honest, I didn’t bond with Iguro as much as a character because he lost his earlier chances to be appealing to me, and by the time the chapter with his flashback came out, I DIDN’T CARE, I waited anxiously all week to see what was happening to Tanjiro and was invested enough to have an appetite for the additional Sumiyoshi and Yoriichi bits, but dang it, Snake Pillar was getting in the way of what my emotions were primed for at that point. But, such is the way of fickle weekly readers; with THAT MUCH tension going on, readers crave a little breather here and there with a look at who else might taking in a breather in a flashback. We got bits and pieces of that mostly through flashback, like Tamayo’s memories of conversation with Shinobu experienced in real time through Muzan, as well as in-real-time moments with the characters having very slight chances to catch their breath (no pun intended). But, how well those breaths worked depending on each character, and how the readers’ emotions were getting slammed week to week. Just like how I as a weekly reader (by that point) had no appetite for an Iguro flashback while eager to move forward, there likewise would have been limited appetite for mourning, and we’re stuck with who we got as proxy characters to react through. ACTION, REACTION: The Rhythm of Basic Writing Advice It has often been said that in writing, something should happen in a scene, and the next scene should be a reaction to it. In the next scene something new happens, and likewise, there is a reaction. We could also thing of this as stages within the same scene, like the part when the music changes or the moment the battle has ended but we’re still on the battlefield. In Rengoku’s case, we got one big happening, and then a whole lot of reaction drizzled through the story after that. In the Infinity Fortress case, we get a big happening with the Ubuyashiki Mansion blowing up and then--a big happening!--a big happening!--a big happening--! A--uh oh, there’s a reactio---NEVERMIND, THINGS ARE STILL HAPPENING, GOTOUGE, PLEASE, THIS HURTS, OW, OW, HOW ARE YOU SO CRUEL, WE GET IT, THIS SITUATION IS AWFUL, PLEASE STOP HURTING THEM---

The reactions are there, scattered throughout. They’re short, but they sure make themselves count. While Tanjirou is our Empathy Personified hero, it’s natural that we get more of his reactions, but the lack of them in other characters is, I would say, a natural fault of having a huge cast to work with it. Once you start dragging too many other characters into the reactions, the actions have trouble moving forward, and with the level of seven volumes worth of tension it’s the actions that keep readers hooked and buying magazines. THEY’RE ONLY CORVIDS, OK: Now We’re Actually Looking At Canon Details Now that all being said, although it’s easy to dismiss a lot of Kimetsu Logic as amateurish at first, on further reflection, the little worldbuilding logic does excuse itself for not plunging each of the characters into a period of reaction to actions happening elsewhere. Not all the birds had Yushiro’s papers. Not all birds were created equal. It’s really hard to navigate that place. Ergo, communication was probably highly imperfect; not all the crows knew everything going on. We don’t feel that as readers because we’re seeing Kiriya and his sisters get all the available communications. In Iguro and Mitsuri’s case in particular, I suspect that might not even had been Mitsuri’s crow (as that one has a distinct personality and accessory) giving her orders to gather where Muzan is. It was probably any old down-to-business crow working with the information it had as clearly as it could in the battle that was most difficult to physically navigate. If Mitsuri’s crow (named Urara in the most recent fanbook) had been there, I imagine she’d have been having difficulty that whole time to even stay within a close range of that battle. Furthermore, a crow like that with a strong bond with Mitsuri might had also judged that telling her about Shinobu’s death was a dangerous distraction, and chosen to withhold information. The fanbook specifies that Iguro’s crow Yuuan was the one who told him about how Tokitou got a red blade (in fact, this is basically the only thing said of this crow besides its name and gender). To able to report in such detail that Iguro could analyze that Tokitou attained the red blade by the strength of his grip, that probably quite an accomplishment to have either witnessed that much, or to pass on crucial information that detailed and quickly. At that time, Iguro and Mitsuri were physically separated and she was distracted by the crow giving her orders to gather where Muzan was, so she might not even have overheard that Tokitou had died. As for Iguro, the second fanbook tells us that because Tokitou was young he had hoped he wouldn’t die. There was no opportunity to mourn him, and they weren’t close enough for that to throw him off much from battle, but on a Pillar to Pillar level, I think the amount of thought Iguro did dedicated to Tokitou showed a certain level of esteem for him and regret at this passing. What would have been nice? Maybe a little look over his shoulder to Mitsuri like “I hope she didn’t hear that.” That would have revealed a tender side of Iguro in a very short use of panels. I want to come back to analyzing Mitsuri’s reaction later, so let’s keep focusing on the loss of Tokitou. Once he attained more of his sense of self back, it seems he preferred the company of Corp Members closed to him in age (if we go by his little flashbacks, which in true Kimetsu Logic, are things we didn’t know about until they come up in flashbacks). Most of the Pillars weren’t especially close with him, even if they did care about his wellbeing, as they seemed particular aware of how young he was. Sanemi probably had never interacted much with Tokitou until that battle, and *OKAY, HERE IT IS, THE UPCOMING FANFIC SELF-PLUG* one of the things I really liked working with in my post-canon fic is that there’s a point at which thinking about Tokitou forces Sanemi to deal with all the trauma he’s buried from that battle. I figure it would hit him later; he had a good excuse of a distraction. Ugh. Man. My heart hurts again thinking of that chapter. Let’s also not forget, after Himejima showed his respects for Tokitou both quickly and sincerely, he couldn’t allow Sanemi to deal with Genya’s death until after everything was over. All the Pillars had to think like this. What would had been nice? I liked this reaction scene to two simultaneous and horrific deaths exactly as it was. Ow. Ahhhh. Owwwwww, it’s hurting again. This is catharsis exactly the way I like it. Let’s keep going with Himejima, the only one to have known to expect all this, and who stayed ready and likely hoped to bring down Muzan all by himself without any other sacrifices (welp, so much for that). There’s a scene in the novels that implies he had some idea that Shinobu wasn’t intending to make it out of the upcoming battle(s) alive, and I imagine he felt the same regret and bitter acceptance in advance that he also felt with Ubuyashiki. If we heard the news about Shinobu like Tanjirou and Giyuu did, I imagine he was hurt but it wouldn’t have been noticeable, and he probably would not be surprised even at how quickly it happened. What would had been nice? Anything. Just a “How pitiful” and some tears as he runs through the halls woulda’ been great. So since Giyuu did hear it loud and clear with Tanjirou, I first want to point out that whether that was Tanjirou’s crow or not (might not had been, because his crow was busy with a letter delivery from Senjurou at the time too), that crow must had loved to shared details; maybe even details that were not necessary. Like, would telling the lower level Corp members everything really help? Wouldn’t the loss of each Pillar make them lose their nerve? Was it because that crow was wearing one of Yushiro’s papers that it had to report extra detail for Ubuyashiki HQ? Whatever the case, Giyuu is initially shocked about Shinobu and then is like, “what is that paper the crow has? It sure is reporting things fast.” What would have been nice? ANYTHING MORE THAN ONE PANEL OF SHOCK. Come on, Giyuu, give the GiyuuShino shippers S O M E T H I N G. Granted, if Tanjirou had been killed in battle with Akaza, I believe Giyuu would have had an initial outburst of emotion, but then gotten himself under control real quick and stayed that way until it was safe to break down (which he did immediately later on, since the threat was gone--but he was just as soon picking up a sword and stabbing him, so again, Pillar-mode must come before experiencing emotions). I interpret canon as that even though Giyuu might had found it easily to address Shinobu in conversation due to frequency in how much they had conversed and the fact that she would usually talk to him first, he would never had considered himself especially close with her (since he never saw himself close with any of the Pillars). I feel their relationship had potential to grow closer if Giyuu had actually gone out of his way to communicate more with her, and he probably would had if they both survived, but at the time she died he probably still felt a distance, which is why it did him harder when Tanjirou--someone who Giyuu did actually get to a point of enjoying conversation with--was dead right in front of him. (Side not, oh man, OH MAN, being a weekly reader was so tough then. I still have so many emotions from that week. Oh man. Oof. Ouch.)

Of note, Giyuu had the best opportunity for reflection on a comrade’s death since he had enough recovery time once he woke up to build a fire and treat wounds, and Tanjirou took that chance to read a letter.

What would have been nice? AGAIN, GIYUU, ANYTHING, but after that battle I think he deserved to disassociate a bit. Also of note, I don’t know that they had complete information either, because NO ONE (by “no one” I mean Tanjirou and Inosuke) seemed to hear anything about Zenitsu single-handedly killing Upper Moon Six and surviving it. What would had been nice: “Good for you, Zenitsu, I hope you’re okay” or “Six? Again? Didn’t we already do that? There was a third??” or “well I got Upper Moon Two SO THERE” or “..........are you sure?” or even way, way after all is said and done, off in epilogue times, “you fought WHO by YOURSELF???” but I digress. Now back to Shinobu, losing her so early on in this marathon of high-stakes battles made her death seem forever ago by the time we got to another Pillar death. It would had been nice for more of them to react both with “no, not Shinobu!” and “we are in deep trouble” sort of ways. That made the glimpses we got of her in flashback feel way, way more nostalgic, since for our experiences as readers, she had already been gone a very long time. I like that the battle with Douma got stretched over so long a span of the manga, they really showed the stakes in how difficult of a foe he was, even if that battle was itself was relatively shorter than others. And as stand-ins for the readers to mourn Shinobu, I love how we got that both through Kanao and through Inosuke. But yes, it sure would had been nice to get something from... Mitsuri. Now, if I had only read the events of canon, manga chapter to manga chapter, and even the Taisho Secrets, I still never would have guessed that Shinobu and Mitsuri had such a warm friendship. I know this purely from the fanbooks and novels, and that is something I find a writing error that detracts a lot from the work. Some of the most apt criticism I’ve heard of the Kimetsu pacing is that it could have stood to give us one of more arc to bond with the characters at least a little more, so we could really, really be emotional over loosing them. We get all our spare Pillar interactions in works outside of canon and after Tanjirou initially gets to know Shinobu, he has no more on-screen interactions with her; she mostly appears in Taisho Secrets. Pillar Training was fun and all, but maybe another arc with stakes in it that occurs closer to home and brings out some different sides of the Pillars in Tanjirou’s presence, instead of each of them getting one dance each with our protagonist. That would had been a chance to show Shinobu and Mitsuri’s friendship, in which case, we would had really, really wanted to see Mitsuri’s reaction. But, Mitsuri had a job to do in the very, very, very heavy tension and battles that ran in weekly magazines for months on end. She carried the very heavy weight of needing to provide brevity. Her silliness contrasted against all that tension was fresh air for readers who had been holding their breath (no pun intended! kinda) through so much. And man, our reliance on her for that made it hurt all the more when things suddenly got very serious for her. But, that means she was also unable to play a heavy emotional role too early on. There wasn’t room to give her a satisfyingly emotional reaction to Shinobu or Tokitou; when after all, this is the girl who was fretting about dearly beloved Oyakata-sama, was horrified to see the explosion, angirly attacked Muzan, but was saved from certain doom almost immediately after she was taken by surprise in the Infinity Fortress, and then she’s BACK TO 100% FANGIRL MODE. Like, giiiiiiiiiirl, Oyakata-sama just diiiiiiied, tone it down a notch. I feel like I had more to say. OH YEAH. WHERE DO WE GO FROM HERE?: To fanfic, duh. Going back to reaction and action and producing something with sellable pacing, again, I wouldn’t risk bogging down the tension-heavy final arc with too much open sadness (less is more definitely applies when the reaction scenes were often SO GOOD), but it clearly set up the desire for it. And, the length and intensity with which a work of fiction can live rent-free in audiences’ minds is a measure of its success. If we MUST turn to fanfiction to get that emotional closure (or force the Pillars to get theirs), then this is proof of a job well done in making us care. Herein lies the freedom with fanfiction: It doesn’t have to be good. It doesn’t have to sell. It doesn’t have to fit a regular serialized format. Fanfic is whatever it wants, all it has to do is indulgently scratch an itch. I have way more stomach for sappiness in fanfic than in original canon, because I have higher expectations of canon to honor writing conventions, and to make decisions that will serve the overall story, not necessarily cater to my tastes. But fanfic? Fanfic, you are here to serve me. Dive into those characters’ dry eyes with a jackhammer and gives me their tears. I don’t care how much you have to fry their brains to do it, give it to me. I mean, I don’t write fanfic like that, noooo. At least, not that I post publicly. Ssh. No one needs to know aaaaaall my particular canon itches I wish to have picked raw. But all the more power to people who DO post that publicly and provide a great service to all the other people with that same need. But, in the spirit of writing fic that tries to honor the spirit of canon, I try to sprinkle the juicy emotional potential canon could have had around as needed, to draw out what I feel canon just didn’t have the opportunity to give us. It’s ultimately self-servicing for what I wish canon would had done, but my style of published fic does try to stay widely appealing as a gen fic. Everybody’s got their own balances and tastes, and that’s cool. And that is freedom canon authors don’t have. I’ll conclude by saying that, although we as readers collectively earned it, the ending of Kimetsu no Yaiba was too bright and happy and specifically chose bittersweet moments that would be easy to swallow (pretty smart for a quick ending), but entirely skipped all the really heavy stuff in the immediate aftermath.

And yes, as difficult (and even dull) as it would be to slog through, there’s a part of me that wants to see all that, for the sake of closure.

And now I sleep byyyyezzzzzzzzz

#KnY fandom theories and meta #KnY Spoilers #tw death #KnY nerdery #kimetsu no yaiba #demon slayer

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va9art · 3 years

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I think I’ve been quiet for way too long and I should come back and fangirl about it.

Before I go down the many lines of praises I have to just to let you know all about, all things considered, I think of myself as a huge Dramione fan but one that relatively to the majority of us in the fandom, doesn’t consume just as much.

I read fanfictions, but no that much - I read more books. (those sold on bookshop, you know the old paper concept).

I enjoy HP characters - but I somehow don’t branch out. (I tend to stick way too often with DHr and generally consider branching out when it’s a Draco/Hermione/Theo 🤷‍♀️)

I go crazy mad for certain fanfics too - but somehow I limit myself to rec those ff when asked, and generally leave only kudos.

So, if I’ve learned anything from @winewandsandwafflingpodcast I certainly need to step up my games.

First and foremost:

1. If you happen to read this post, go and click on the tag above, then find the podcast, put your headphone on and press play. Enjoy, darling.

I am now going through the very pleasurable job of catching up with the last few months worth of episodes - that somehow I missed to keep up lately, so typical of me, and I cannot express my gratitude to @frumpologist and her host @ladykenz347 enough for this podcast and their discussions. I am having such a great time listening to you fangirl-ing hard and simultaneously discuss on very deep level the analysis of fics and most importantly the fandom itself! You’re constantly touching important aspects of the world we live in - though only virtually, and I think your critical points of view, together with the voices of guests that you bring from the fandom, are a much needed review that we need to hear, explore and share together. So, really, thank you.

And it’s because of them and their Episode 8, that I finally branch out-branch out. With none other than:

‘The Secretary’ by @pacific-rimbaud

Summary:

Threatened with the loss of her trust fund allowance, wild child Pansy Parkinson takes her mother up on an offer she can't refuse: a job at the Ministry of Magic as personal secretary to tightly wound bureaucrat Percy Weasley.

The job is demanding, and so is her boss, in ways that Pansy never could have imagined.

When their mutual desires begin to spin out of control, how will Pansy convince her boss that sometimes, the only rules you need to follow are your own?

A loving tribute to the pure and criminally underappreciated magic that is the ParkWeasel ship, and the 2002 film Secretary.

Here I come:

This fic had me - all of me: attention, heart, fangirl wailing, all of it, from the very beginning. It shouldn’t really come as a surprise, since I absolutely adore PacificRimbaud’s writing style and stories. I am not quite too sure I can put Party Lines behind this fic, there is no need surely since one is a Dramione (surprise surprise) and the other one is a ParkWeasel, and why shall I even throw in there Major Arcana a Lucius Malfoy/Andromeda Black Tonks? This creator here has an extraordinary ability to make you instantly fall head to toe for rare pairs that you usually forgo, because - really, I know my linkings - and no, you don’t. The second you step into one of her story, the minute you begin to say ‘oh well, but that sounds nice,’ you’re so damn past the point where you can go back to your comfortable pairs, so much so that you might just want to change your introduction on Tumblr and just add the tag ‘whatever PacificRimbaud’s rare-pair present you with - I ship it’. I surely should, because now I’ve just locked eyes with a Draco/Scabior tag and I am trying to stay calm, because truly I should know my bloody likings, shouldn’t I?

I am one that adore, above all, Dom/Sub fictions without any worries to say this out loud, but I understand how this might not be the proverbial beloved cup of tea of one’s likings, so I should explain why this kinky fanfic won’t have you cringe in any possible way. Because she makes it sounds and feels so natural. Your read it and it makes sense. Particularly this fic, has the capacity of introducing a kink at the right moment, cleverly pacing it out throughout its 6 chapters. I liked personally how this was a fiction based on the discoveries of these sexual kinks, more than the narration of such things acted out exclusively. It has psychological description of it that just adds depth to the relationship - one I never even explored once in my life. And that now I’m digging for.

If asked, what’s the one thing that got me widening my eyes and going loudly ‘yessss, girl’, is Percy ending his working day on white paper, miniature crow, flying notes, neat and precise description of what Pansy should wear the next day. Down to her knickers. If you know, you know, if you don’t, read this fanfic right away.

Lastly, this writer here not only has created this (as many others) beautiful piece of fanfic, which I absolutely worship, but has also created an artwork for it! And I find it extremely lovely! I love her style (one that reminds me, and I mean this the outmost respect for both artists, the Fernando Botero’s style) and I feel so much for her that’s she’s written her fic and drawn for it, too. Damn, girl, you rule. (Also, I had the big, massive, apocalyptic magnitude size honour of having inspired her once to write a one off for a piece of art I made and which I am shamelessly going to tag along, because why not, the artwork might be average, but the story’s chef’s kiss! ‘Off the Ground’) Darling, I should have come and praised you high and loud a long time ago - it’s just not my modus operandi of participating in the fandom. But here it is, although you also write some rare-pairs that don’t meet the same degree of visibility and notoriety, as long as it makes you happy participating in it, I’m here for it and extremely grateful for your sharing it with us.

#annavek94 is ranting #fic rec #parkweasel #rarepair #podcast #winewandsandwafflingpodcast #frumpologist #ladykenz #pacificrimbaud #the secretary fanfiction #pansy parkinson #percy weasley #pansy x percy #fangirling #kinkystuff

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mchalowitz · 4 years

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the woman is the king

summary: a throughline of the matriarchal scullys; be they ethereal, sharp-witted, and ill-omened.

this is a revamped version of my unfinished wip chain reaction. some of it will be familiar but don’t worry, there’s plenty that’s brand new. it’s been a minute and i wanted to give the idea what it deserved. i’m hoping to post a new part every friday for the month of october! so with that we have

part 1: melissa

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Her door is barely open enough for a hushed conversation.

“It’s Friday night, Mulder.”

Scully keeps attempting to have a separation between work and home. After the underwhelming experience with Rob, she is sure Mulder is aware of this; that she wants to have a semblance of a personal life, even if she is dedicated to their cases. He is making it prove difficult, with his work and his interests so intertwined. It never ends.

“I know, but these reports just came through,” he insists. “You need to see them before…”

A cacophony of flatware and curse words comes from the kitchen. Scully continues to stare up at him, unperturbed, but Mulder’s eyes flash upward over her head. Behind his eyes, he is creating a story; putting together puzzle pieces that do not exist.

“Got a date in there, Scully?”

A female voice, its volume raising in comparison to the muttered expletives, calls, “Dana, is that the pizza?”

“My sister,” she corrects.

Scully has seen Mulder reserved in the face of criticism, but he seems sheepish, maybe even embarrassed, at the idea that his obsessive nature was exposed to this audience. She finds the bashfulness radiating from him to be endearing in a boyish sort of way.

He gives her the stack of papers held together with a binder clip. Not one of the small ones, no, one of the big ones meant for thick analysis that will take an entire weekend to sift through. “Just look them over when you get a chance,” he tells her.

She nods, and when the door is shut, Melissa appears behind her like a graceful apparition. “Working on a weekend,” she marvels. “Sounds like someone else I know.”

“Shut up.”

“Are you going to ask him out?”

Scully turns away, retrieving her wallet from her purse, and starts counting out bills for their soon-to-arrive dinner. “It isn’t like that with Mulder, our relationship is professional,” she babbles. “I already got caught up dating in the bureau before and people that really matter in the FBI are finally starting to see my value after two years of paying my dues at the Academy, I’m not going to jeopardize my future by consorting with my partner.”

"Consorting?” Melissa retorts. “Come on, Dana, be honest. If he were just a guy on the street, would you?”

She thinks. Mulder is ambitious, brilliant, and has an unrivaled sense of humanity. His dedication is frighteningly thrilling. It gives her an enthusiasm to strive for more.

Scully realizes the list could go on. Mulder’s positive qualities are more than can be said about most of the men she’s been involved with and in only a short amount of time knowing him.

Yes, she probably would. If he were just any guy.

The doorbell rings.

“No.”

Exiting the elevator, Mulder has anticipation in his step. His keys are already out and he hopes he’s beaten Scully to the door. It’s her first day back in the office.

And after interviews, and doctor’s approvals, and signatures, she’s been fully cleared to be back in the field. Fearing desk duty or reassignment, both of them are quietly ecstatic that they can pick up their work.

He nearly jumps when he sees a flash of copper in front of the door. Damn. But then he notices it’s attached to an unfamiliar head on a taller body. It’s Melissa.

“How did you get down here?” he asks, no introductions. Melissa steps aside so he can unlock the door. He invites her in with a wave of his hand.

“You would be surprised how far you can get with some kind words and a good explanation,” Melissa says. She runs his hand over the books on top of a filing cabinet. She looks over her shoulder at him. “Something to consider for the future, Mulder.”

He continues to stare.

“I told security I had an appointment with you. No one argued,” she smiles, almost amused with herself. “Dana tells me we’re very similar. With all of our ‘wild ideas.’ You know what wild ideas I have, Fox? The concept that my sister can go to work and no one has to worry that they’ll never see her again.”

Scully knows the risks of the job, Mulder wants to say. Do you really think I get a vote on the decisions she makes?

“I care about Dana.”

“Then you’ll go easy on her.”

He nods, even though it’s a lie. He wants it to be the truth. The question isn’t whether he’ll go easy on her or not. He already knows, and he believes Melissa does too, that Scully will only push harder if he tries to lighten her load.

When Melissa leaves with a warning glare, Mulder shuffles papers until Scully arrives with Dr. Pierce. He promises himself that he will not be compelled by whatever this guy presents to him. Above all else, they will not take this case.

Listening to the tale of something possibly wandering around in temperatures of 130 degrees, he repeats not interested to himself, even though he is really, really interested.

“I want to work.”

He reminds himself of his conversation less than an hour ago.

Lead investigator is not a title Mulder takes that seriously. He has never been able to successfully sway Scully in her beliefs and pulling the authority card doesn’t seem like a tactic that would go over well. And while it’s a fact he will keep to himself, in her absence, he sees how utterly incompetent he can be without her.

He’s got an angel and a devil on his shoulders, two dueling Scully sisters. He suggests time off anyway.

“I’ve already lost too much time,” she replies. Oh, that guts him. She knows how easily convinced he can be with some good poetic phrasing.

It won’t be a very intense case. Probably just watching that same footage, giving some opinions on the evidence. It’ll end up being something they can toss to another, more equipped agency. The explanation soothes him enough to not block the door when Scully leaves to pack a bag.

Lying in a month-long quarantine, he has a lot of time to wonder by what means Melissa Scully will kill him.

Mulder toes the line between agnosticism and fairweather judaism; a fact that Scully has always respected, and never pushed back against.

He normalizes empty pews and suspicious clergymen. The sea of mourners for Melissa Scully is a foreign sight.

Guilt feels like a target on his back and he hopes no one will shoot the proverbial arrow, hoping for a bullseye. Or maybe he does.

He sits right behind the reserved row and his eyes follow Scully as she walks gracefully up the aisle. She once described her sister as ethereal to him, a gossamer darling, but in her sorrow, it is she, it is Dana, that is the diaphanous messenger of all that is holy and light in the dark.

Scully doesn’t acknowledge him as she sits. He averts his eyes when he briefly meets the eyes of Mrs. Scully. Behind her crow’s feet and unwaveringly maternal gaze, he sees Dana, he sees Melissa.

The priest tells the legend of Melissa Scully that Scully never divulged to him. She studied anthropology at Brown and spent two years on an archeological dig in Peru. In her thirty-three years, she lived in four different countries, but felt a special connection to her teenage years in California. It is possible she cared more for her community than for herself, she appreciated art in all of its forms, and she loved writing letters to her beloved sister, Dana, while she was away at medical school.

Almost imperceptibly, Mulder sees the sharp raise of her shoulders, the sudden intake of breath. Her hand covers her mouth. He reaches forward and places his hand on her shoulder. She lays her hand over his.

“The dynamic presence of Melissa Scully is a gift to the Lord,” the priest finishes. “Let us bow our heads in silent prayer.”

Mulder wonders how Scully even allows his presence in the same space as her, allows him to breath the same air when they both know he is the reason her sister is dead. This stupid, this idiotic pursuit of his, that ruins lives with no remorse, and yet he remains powerless to surrender.

#the x files #xf fic #fox mulder #dana scully #melissa scully #i'm so nervous to post this!!!!#if i'm being totally honest

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natsubeatsrock · 3 years

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Should Hiro Mashima die?

My answer is no.

Though, this isn't about actually killing Hiro Mashima. Kinda got you with the title, though, huh? (This was originally going to be titled “Is Hiro Mashima dead?” and released on his birthday. You’re welcome.)

This post is about a widely debated topic of analysis known as the "death of the author." I've talked about this a few different times in passing in a few posts over the years. You could argue that this belongs in my series rewriting Fairy Tail and I considered placing it there. However, I feel that it's better that I keep this detached from that series. This topic concerns criticism of any series. Naturally, being a Fairy Tail blog, I plan on engaging this with the context of Fairy Tail's author being dead or not, hence the title. Still, this is helpful to think about for analysis of plenty of other series.

Again, though, my answer is still no.

Let's start with the origin of this term. The term comes from an essay by Roland Barthes called "La mort de l'auteur". Use your best guess as to what that translates to. I highly encourage you to read the essay as it's pretty short. It's about six or seven pages, depending on the version. There are three main points to his essay.

Creative works are products of the culture they come from and less original than people expect.

The idea of the author as the sole creator and authority of creative works is fairly modern.

The author's interpretation of a work shouldn't be considered the main or only interpretation of a work.

Of these three points, I'm sure you recognize the last point. But first, I want to talk about the other points. I believe it is important to understand the arguments being made as a whole.

The first point should be fairly uncontroversial. The vast majority of creative works use established language, tropes, and elements to create a new thing. I wouldn't go as far as Barthes does in this regard. Not to mention, this is somewhat weird to know considering his third point. However, I agree that creative works should be considered products of the culture and genre they come from.

The second point is a bit trickier for me. To be clear, the point is true. You only have to look at various cultural mythologies as an example. There isn't a single version of the Greek myths. There are several versions and interpretations of the various stories and myths.

Even recent popular fictional characters have had several different interpretations. This is especially true with comics. There have been multiple different Batman interpretations, Spiderman runs, and X-Men teams that fans love. Fans even love and appreciate numerous forms of established characters like Frankenstein's monster and Sherlock Holmes. So, as a consumer and critic of art, I can understand this.

My problem is as a creator of art. I understand this being contentious when it comes to something like religious myths. But, if I create something, I want to get the credit for it. I want people to love my music or writing. But I also want people to recognize me for my skill in crafting it.

This is true even if you hold to the first point Barthes made. Even if you believe that no art is truly unique, isn't the skill of synthesizing the various tropes and influences around a person worthy of credit in and of itself?

Then again, I am not without bias in this. Barthes says that the modern interpretation of the author is a product of the Protestant Reformation. As a Protestant myself, I get that my background plays no part in my view of this. Barthes also blames English empiricism and French rationalism, but personal faith is the biggest influence on me that Barthes lists.

That being said, there's also something Barthes completely misses in his essay. In the past, stories were passed down by oral tradition. As the stories were passed down from generation to generation, they slowly evolved and became what they are known today. Scholars today can gather a general consensus of what a story was meant to be and some traditions were more faithful about passing traditions down than others. However, you can't always tell the original author of a mythological story the same way we know who gave us stuff like the Quran or the Bible.

As time passed, stories were written down. With this, it was easy to share single versions of a story and identify its creator. We know who made certain writing of works even before the 1500s. For example, we have the Travels of Marco Polo and Dante's Inferno and know their authors. We could tell the authors of works were before the Protestant Reformation.

By the way, the Reformation happened to coincide with one of the most important inventions in human history: the printing press. Now you can easily make copies of an individual's works and you don't have to rely on word of mouth to share stories.

I can't stress how important an omission this is. The printing press changed the way we interact with media as a whole and might be the most important invention on this side of the wheel. And yet Barthes doesn't even mention as even a potential factor in "the modern concept of the author"? In his essay about understanding written media? That’s like ignoring Jim Crow in your essay about Birth of a Nation bringing back the KKK.

Now, we get to the final point. The author's original intentions of their works are not the main interpretation. This is understood as being the case after they create the series. Once the work is written and sent into the public, they cease to be an authority on it.

It's worth recognizing how this flows from the other two points. Barthes argued that works of fiction are products of their culture and our current understanding of an author is fairly modern. Therefore, the interpretation of the reader is just as valuable as that of the author. As Barthes himself wrote, "the birth of the reader must be at cost of the death of the author."

At best, this means that a reader can come away with an interpretation of a work that isn't the one intended. With Fairy Tail, my mind goes to the final moments of the Grand Magic Games. My view of Gray's line "I've got to smile for her sake" has to do with romantic feelings for Ultear. I don't know of a single person who agrees with this. Mashima certainly hasn't come out and affirmed this as the right view.

It's good to recognize that a work can have more meanings behind it than the ones intended by its creator. Part of the performing process is coming to a personal interpretation of a work. In many cases, two different performances will have different interpretations of the same work, neither of which went through the creator's mind. At the same time, both work and are valid.

That being said, there is an obvious problem with this: readers are idiots. Not all readers are necessarily idiots. But enough of them are idiots. The views of idiots should have as much weight as that of the creator. Full stop. Frankly, I maintain that idiots are the worst possible sources to gauge anything of note. (At the very least, policy decisions.)

I know this as a reader who has not been alone in misunderstanding a work. I know this as an analyst who has had to sift through all kinds of cold takes on Fairy Tail. (Takes that are proven wrong simply by going through it a second time. Or a first.) And I definitely know this as a creator who has to see people butcher my works through nonsensical "interpretations."

At the same time, the argument Barthes made comes with an important caveat. He also argued that works are the products of the culture and surroundings of the author. Barthes isn’t making the argument that author’s arguments don’t matter.

As far as I can tell, Barthes doesn't take this to mean that those influences are worth analyzing. Doing so would be giving life to the author. However, there should be some recognition that a creative work didn't come to exist out of nowhere. There's a sense in which Fairy Tail didn't just wash up on the shore chapter by chapter or episode by episode. It came to be as part of the culture it came from.

Now, you'll never guess what happened. Over the years, the concept of "death of the author" lost its original intent. Nowadays, people usually only care about the third point. "Death of the author" is only brought up to dismiss "word of God" explanations of work, after its release. I'd venture to guess that most people using the term casually don't know anything about its roots. I honestly don't know how Barthes would feel about this.

I can understand what might fuel this view. A writer should do their best to write their intended meanings in a work. It would be wrong of a writer to make up for their poor writing after the fact. I don't love Mashima's "Lucy's dreams" explanation for omakes. I know Harry Potter fans don't love the stuff J.K. Rowling has said over the years.

At the same time, my (admittedly Protestant) understanding of "word of God" and "canon" is that they have the same authority. After all, the canon IS the word of God. It is a small section of what God has said, but it isn't less than that.

Of course, it's worth recognizing that nearly every writer we're talking about isn't even remotely divinely inspired or incapable of contradiction. This understanding should cut two ways. An author should never contradict their work in talking about it. Write what you want and make clear what you want to. On the other hand, writers can't fit everything they want to in a work. I'll get to this soon, but their interpretation should be treated with some value.

By the way, people will do this while throwing out the other arguments made by Barthes in the same essay. People will outright ignore the culture and context that a work comes from in order to justify their views. Creators are worshiped and praised for their works or seen as the sole problem for the bad views on works.

What worries me most about this modern interpretation of "the death of the author" is its use in fan analysis. People seem to outright not care about the author's intent in writing a story. They only care about their own interpretation of the work. Worse still, people will insist that any explanation an author gives is them covering up their mistakes. Naturally, this often leads to negative views of the work in question.

This is just something I'll never fully understand. It's one thing if you don't like something. If you don't get why something happened, shouldn't your first move be to figure out what the author was thinking? Instead, people move to the idea that it makes no sense and the writer's a hack.

If all of this seems too heady, let's try to bring this down to earth. Should Hiro Mashima die so that his readers can be born?

Hiro Mashima is one of many mangakas who were influenced by Akira and Dragon Ball. He considers J.R.R. Tolkien to be one of his favorite writers. Monster Hunter is one of his favorite game series. He's even written a manga series with the world in mind.

It would make sense to look at Fairy Tail purely through this lens. You could see Fairy Tail as a shonen action guild story. Rather than seeing the guild as a hub for its members, Fairy Tail's members treat those within it as family. Rather than focusing on one overarching quest, the story is about how various smaller quests relating to its main characters threaten their guild. Adopting this view wouldn't necessarily be an incorrect way to engage with the series. (Mind you, I haven’t seen this view shared by many people who “kill Mashima”.)

Though, there's more to Fairy Tail than the various tropes that make it up. If you were to divorce Fairy Tail entirely from its creator, you'd miss out on understanding them. There are ways Mashima has written bits of himself into the series. Things that go farther than Rave Master cameos and references.

My favorite example is motion sickness. I often think back to Craftsdwarf mocking motion sickness as a useless quirk Dragon Slayers have. It turns out that its origin comes from his personal life. Apparently, one of his friends gets motion sickness. He decided to write this as part of his world.

This gets to the biggest reason I don't love "death of the author" as a framework for analysis. I believe the biggest question analysts should answer is why. Why did an author make certain decisions? You can't do this kind of thing well if you shut out the author's interpretation of their own work. Maybe that can work for some things, but not everything.

I've had tons of fun going through Fairy Tail and talking about it over the past seven years. More recently, I've been going through the series with the intent to rewrite the series. I've made it clear multiple times in that series that I'm trying to understand and explain Mashima's decisions in the series. I don't always agree with what I find. However, trying to understand what happened in Fairy Tail is very important to me.

It's gotten to the point that I love interacting with Mashima's writing. I talk about EZ on my main blog. I can't tell you how much fun I've been having. I'll see things and go "man, that's so Mashima" or "wow, I didn't expect that from him." HERO'S was one of my favorite things of last year and I regularly revisit it for fun. It's the simplest microcosm of what makes each series which Mashima has made both similar and distinct.

Barthes was on to something with his essay. I think there should be a sense where people should feel that their views of the media they consume are valid. This should be true even if we disagree with the author's views on the series. But I don't know that the solution is to treat the author's word on their own work as irrelevant.

There's a sense where I think we should mesh the understandings of media engagement. We recognize that Mashima wrote Fairy Tail. There are reasons that he wrote the series as we got it and they're worth knowing and understanding. However, our own interpretation of the series doesn't have to be exactly what Mashima intended. We can even disagree with how Mashima did things.

I know fans who do this all the time. They love whatever series they follow, but wish things happened differently. Fans of Your Lie in April will joke about [situation redacted] as well as write stories where it never happens. You love a series, warts and all, but wish for the series to get cosmetic surgery, or take matters into your own hands.

And who knows? It's not as if fans haven't affected an author's writing of a series. Mashima's the perfect example. I've said this a few times before, but Fairy Tail has gone well past its original end at Phantom Lord (or Daphne for the anime fans). Levy rose to importance as fans wanted to see more of her.

Could Mashima have done that if we killed him?

Before the conclusion, I should mention another way “death of the author“ comes up. People will invoke “death of the author“ to encourage people to enjoy works they love made by messed up people. Given everything we’ve said up to this point, that’s obviously not what should be intended by its use. For now, though, I do think that we can admit that we like the works of someone even if we don’t agree with everything they did as a person. (Another rant for another day.)

In Conclusion:

“Death of the Author” is an imperfect concept, but it’s not without its points. I don’t think we should throw out the author’s intent behind a work. However, we should be able to have our disagreements with the author’s views without killing them.

#fairy tail #hiro mashima #death of the author #i'm back #and what a way to return #i've been meaning to do this forever #fav

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bibliocratic · 4 years

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i found writing proposal fic really fun !! or wedding planning :) maybe u would also find that fun? x

jonmartin post-160 proposal fic

Jon tries to write vows.

Hunched over, crow-spined and squinting in the feeble cast of the firelight, he scribbles, mutters, scratches out, furrows his brow and clenches his fingers and snarls under his breath in irritation, at his fumbling incapacity for words. He was not born with a poetic soul, and his admiration for Martin's humble offerings grows each passing minute. His words sputter out of him with all the ease of water from a broken tap.

Jon has taken first watch, and it's a duty he approaches solemnly. They've broken into a boarded-up hairdressers, set up their sleeping bags and meagre provisions and the small fire in a waste-paper bin for warmth in the cramped office space at the back. Every noise, creak and snap and distant shriek has Jon straightening, widening the circle of his Knowing like a fishing net, giving it an exhausted push outwards that gets harder each time. The lawless world they are in has at least one advantage; nothing but the most fool-hardy of things wants to touch the architect of this nether-world of horrors, nothing skulking or spiralling or swooping wants to challenge an unfettered Avatar. It's more people, these days, that they have learned to avoid.

Martin twitches in his sleep. Sleeping bag pulled up over his face, head pillowed by folded-over barber capes, his body snug against but turned away from Jon, who is sitting up, his back supported by plastic wrapped boxes of industrial-size shampoos and hair rollers. Jon frowns again, his lines only deepening as he listens to the soft, undisturbed in and out of Martin's breathing. Because he wants to get this one right. To place words like mosaic tiles to create the imagery of his intention, to capture everything he feels he needs to say.

Martin deserves this. Jon can give him so few words, these days. Jon wants to give him ones that will mean something.

His impatience is one of the few things that the last few years hasn't chewed out of him. He huffs, irritable and discontent, his frustration leaden under his skin, and scrunches up another paper to sacrifice to his petty mood.

When Martin takes the next watch, he finds a nest of fire-scourged paper balls dying in the embers.

–

Jon tries to find rings.

His intention is to be a few minutes. He unpeels himself around dawn from Martin's heavy arms, gently shushing the unhappy noise this draws from his mouth. The jewellers is ten minutes from where they've holed up today, and Jon steals away guiltily, keeping his Eye on Martin long after he's left to make sure he doesn't wake up to find him gone.

Jon is away too long. He reaches the small, high-street shop with no issue, doesn't even need to pick the shattered lock of the door. Inside, he finds a scatter of rings and necklaces, but they're all soot-charred, twisted from an unnatural heat, their metals warped irreparable. And then there is something tooth-filled in the recesses of the jewellers, something that smells the human stench of him and feels hungry, and it takes Jon an hour to give it the slip, leading it into a fog-bank half a mile away to be subsumed by the greedy pull of the mist.

He Looks out of himself, and against the borders of him, he feels a blanketing heat-shimmer of terror and knows it isn't his own.

His long legs take the streets at a run, huffing as he reaches the grey-stone public square at the centre of the city, exposed and empty of people. Getting nearer, he hears a looping, repetitive nightingale whistle, low and plaintive. It stops, waits, and starts up again.

Jon, with perfect mimicry, makes the high harsh caw of a crow in reply.

Martin is standing at the door of the Wagamama's they broke into, his feet unshod by shoes, his hair uncombed and flattened at one side. The creep of dawn is not so faint that Jon can't see the pale wash of his face, the tightness of his jaw, the relief that cascades across it like the release of a dammed-up waterfall when he sees Jon haring his way across the vacant, space of the square to greet him.

“Where were you?” Martin demands even before he reaches him. His hands running over him as soon as Jon gets close enough, checking for hurt, injury, his voice high and pitchy and failing to translate his panic into something else. “God, I woke up, and – don't do that Jon! Anything could've – I had no idea where you'd – and what the hell were you thinking?”

Jon's hands motion, miserably, desperate to soothe and knowing it can't be that easy, sorry, sorry, sorry.

“Where did you go?” Martin repeats, insistent, almost angry but forcing it down to simmer at a panic-laced frustration. He doesn't usually push, usually recognises the limits of what Jon can communicate, allows them both space to sit down with paper and pencil and is patient with the slower exchange of this. But his shirt is coated with sweat around the throat and arms, his hands curling into fists to stop their juddering, nerve-shocked motions, and Jon tries to imagine how he would feel, should he wake up, and find Martin gone.

He pauses before opening his mouth.

“Looking for something,” he says carefully with a stolen clear-cut pronunciation, bathed in an entitled, self-absorbed air. Rifles through his records, despairing to find no words that he can chop-and-change together like a collage of explanation, glances up at Martin's distressed expression.

“Did you find it?”

Jon shakes his head.

“I feel like an idiot,” he tries again in a pleasant, justifying voice, and wishes someone had put to records some better expression of apology. Wishes someone had used the right words in the appropriate manner; stronger still, wishes his voice was his own again, a domain he could claim unsullied by the burden of his title. That he could say something, anything to wipe the blanket fear from Martin's scruffy face.

“Yeah, well,” Martin grumbles after a while, wiping at his eyes. “I knew that already.”

Sorry, Jon signs again, but Martin is stilling his hands, gentle even now, and bundles him into a tight, bone-squeeze of a hug.

“Don't do that to me again, Jon, please,” he whispers shakily.

Jon doesn't try and find rings again.

–

Jon tries to plan a proposal.

He knows, deep down, that the best intentioned version of himself is a planner. Likes order and alphabetized files and organisational stationery, is happiest with a well-crafted spreadsheet or a completed to-do list. Jonathan Sims is a man easily satisfied by things as they should be, appeased and engaged by the challenge of a logical puzzle, a knotty problem he can sort by analysis and application.

He also knows that there is another version of himself. The one that rashly takes an axe to possessed tables and jumps into fog-bound seascapes and soil-choked coffins after the people he loves.

He does try. He thinks of picturesque spots he can take Martin, places where the scenery isn't so horror-fucked, where there are still banks from which they can watch sunsets. But the picturesque spots, when they aren't shadow-infested or crawling with overzealous fungal growths that warn of Corruption nearby, are chilly, and there's not exactly time to stop and admire the views much anyway. The sunset-stained bank is a near success; drought-scoured and pocked with frost-damage, but the evening colours are unashamedly glorious. Jon spends hours trying to muster the courage and words and correct gestures, only for Martin, drained and wiped out from a run-in with the Flesh, to fall asleep on Jon's shoulder, his hair flopping over his face, a comforting dead-weight. Jon adjusts them carefully so Martin's head is cushioned against his thigh, and scratches his fingers soothingly through his hair as he watches the sunset alone.

But one day they're making their way through the Peak District, and they've found a tumbling river with a small waterfall. Martin's flicked water at him with a butter-wouldn't-melt smile, and Jon replied in kind, and Martin had made a shrieking giggling scandalised 'Jon!' as he continued splashing him. And it might have been the way the water dripped down his face and over his freckles, or the way the dim daylight caught his profile, or it might have been the bold and untempered heat that burnt like a forge in Jon's chest to hear the high, bright sound of his rare happiness, but whatever it was, the other version of Jon resurfaces. Decides that he doesn't need romantic scenery or rings or vows or other people's words in his mouth, that life is short and this can't wait and he wants this, wants Martin, more than anything.

First, he drags Martin to him. On his tiptoes, arms locked around shoulders, feeling Martin hum, surprised but pleased as he kisses him.

It is a good kiss. One of his best. Jon feels a little bit smug about it when they separate and Martin is slightly out of breath, a comet-streak of heat across his face, looking a bit struck at Jon's forwardness.

Jon seals his first kiss with a second, smaller, softer kiss, making sure Martin's looking at him.

Then he lowers himself onto one knee.

“Jon, what are you – ?” Martin asks, his face creasing with confusion. But Jon has chosen the most unsubtle non-verbal gesture he can, and refuses to look away from him, gazing up and waiting for the penny to drop, even as his knees complain on the hard rocky ground, even as his own doubts swarm that Martin won't understand, Martin won't want to, Martin might say no.

Martin gives a little sucked-in gasp.

“Jon, are you, are you asking...?”

Jon is nodding, almost feverish, and Martin's face has gone the colour of a vibrant sunrise, moisture welling up in his eyes. Jon reaches out, takes one of Martin's hands in his smaller hold, touches with the pad of his thumb the space where, if he could, he would have slotted a ring.

He lets go and precisely and delicately, he signs I love you. They don't have the vocabulary for grander expressions, but Jon doesn't have anything else he needs to say anyway.

“Jon, you – god, I love you,” Martin replies, damp-voiced and faint, a broad and beaming smile widening across and lighting up his face. There's not a pause before he's eagerly going to his knees to join Jon, pressing fierce, hopelessly charmed kisses against his lips, cradling his face in his hands, and Jon's so dazed by the onslaught, it takes him a minute to sign Yes? at Martin.

“I – oh, yeah, yeah! Of course, yes,” Martin replies, still struck by a thoughtless delighted giddiness.

Then: “Oh! Oh, oh, wait just a minute I – ”

He's digging his hands into his left trouser-pocket, tugging it out, pressing what he's found into Jon's hands.

Jon opens the travel-knocked, slightly cracked box to see two unpolished plain bands sat snugly in their display, and his own smile blossoms like a firework on his face.

send me prompts if you fancy!

#tma #the magnus archives #jonmartin #prompt fill #jonathan sims #martin blackwood #there was a happier comedy version of this in there somewhere #but other and more skilled writers than try for that

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beastars-takes · 4 years

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Zootopia Takes: Darker’s Not Better

The Shock Collar Draft

So, it sounds like people are largely positive on me doing some Zootopia posts on this blog, and I wanted to talk about this tweet I saw the other day:

I’ll punt on explaining why Beastars isn’t “Dark Zootopia”--that’s a great topic for another post. But I would like to talk about why this popular yet stridently uninformed tweet is so, so wrong. Why the shock collar draft was not better, actually.

And obviously, I’m not writing several pages in reply to a single tweet--this is a take that’s been around since the movie came out, that the “original version was better.” It’s been wrong the whole time.

Let’s talk about why!

Part 1: “Because Disney”

Let’s start with this--the assumption that the film’s creators wanted to make this shock collar story and “Disney” told them to change it.

That’s not how it works.

I try to keep stuff about me out of these posts as much as possible, but just for a bit of background, I’ve worked in the animation industry for about half a decade. I know people at Disney. I have a reasonable idea of how things are there.

There is this misconception about creative industries that they’re constantly this pitched battle of wills between creative auteurs trying to make incredible art and ignorant corporate suits trying to repress them.

That can happen, especially in dysfunctional studios (and boy could I tell some stories) but Walt Disney Animation Studios is not dysfunctional. It’s one of the most autonomous and well-treated parts of the Disney Company.

The director of Zootopia, Byron Howard, isn’t an edgelord. He made Bolt and Tangled. He knows what his audience is, and he’s responsible enough not to spend a year (and millions of dollars in budget) developing a grimdark Don Bluth story that leadership would never approve. It wouldn’t just be a waste of time--he would be endangering the livelihoods of the hundreds of people working under him. Meanwhile, Disney Animation’s corporate leadership trusts their talent. They don’t generally interfere with story development because they don’t need to. Because they employ people like Byron Howard.

Howard and the other creative leads of Zootopia have said a dozen times, in interviews and documentaries, that they gave up on the shock collar idea because it wasn’t working. They’ve explained their reasoning in detail. Maybe they’re leaving out some of the story, but in general? I believe them.

But Beastars Takes, you say, maybe even if Disney didn’t force them to back away from this darker version, it still would have been better?

Part 2: Why Shock Collars Seem Good

I will say this--I completely sympathize with people who see these storyboards and scenes from earlier versions of the movie and think “this seems amazing.” It does! A lot of these drawings and shots are heartbreakingly good, in isolation.

I love these boards. They make me want to cry. I literally have this drawing framed on my wall. Believe me, I get it.

But the only reason we care this much about this alternative draft of Zootopia is that the Zootopia we got made us love this world and these characters. You know what actually made me cry?

Oh, yeah.

So let’s set aside the astonishing hubris of insisting Zootopia’s story team abandoned the “good” version of the story, when the “bad version” is the most critically-acclaimed Disney animated feature in the past SIXTY YEARS.

“But Beastars Takes!” I hear you say. “Critics are idiots and just because something’s popular doesn’t make it good!”

Fair enough. Let’s talk about why the real movie is better.

Part 3: The Message (it is, in fact, like a jungle sometimes)

This type of thing is always hard to discuss, in the main--a lot of people don’t want to feel criticized or “called out” by the entertainment they consume, and they don’t want to be asked to think about their moral responsibilities. But it’s hard to deny that Zootopia is a movie with a strong point of view. Everything else--the characters, the worldbuilding, the plot, grows out from the movie’s central statement about bias.

And the movie we got, with no shock collars, makes that statement far more effectively.

To dive into the full scope of Zootopia’s worldview and politics (warts and all) would be a whole post on its own, so I’ll just summarize the key point of relevance here:

Zootopia's moral message is that you, the viewer, need to confront your own biases. Not yell at someone else. No matter how much of a good or progressive person you consider yourself to be--if you want to stand against prejudice you have to start with yourself.

That’s a tough sell! For that message to land, we need to see ourselves in the protagonist.

Judy’s a good person! She argues with her dad about foxes. She knows predators aren’t all dangerous. She’s not speciesist. Right?

Ah fuck.

Let’s fast-forward to the pivotal scene of this movie. In an unfortunate but inevitable confluence of circumstances, Judy’s own biases and prejudiced assumptions come out, and she shits the bad.

Nick, who’s already bared his soul to her (against his better instincts), is heartbroken. But not as heartbroken as he is a minute later when he tries to confront her about what she’s said, and she makes this face:

Whaaaat? Come on, Nick. I’m a good person. Why are you giving me a hard time?

People like to complain about this scene. That it’s a hackneyed “misunderstanding” trope that could be easily resolved with a discussion. They’re wrong. Nick tries to have a discussion. She blows him off.

This isn’t Judy acting out of character, this is her character. Someone who identifies as Not A Racist, and hasn’t given the issue any more thought. This is not only completely believable characterization (who hasn’t seen someone react this way when you told them they hurt you?) it’s the film’s central thesis!

Yes, Nick somewhat provokes her into reaching for her “fox spray,” and her own trauma factors in there, but she’s already made her fatal mistake before that happens.

(As an aside, people also make the criticism that the movie unrealistically deflects responsibility for racism onto Bellwether and her plot. It doesn’t. All the key expressions of prejudice in the film--Judy’s encounter with Gideon, her parents’ warnings, the elephant in the ice cream shop, Judy’s early encounters with Bogo, Judy's views on race science--exist largely outside of Bellwether’s influence. She is a demagogue who inflames existing tensions, she didn’t invent them. Bogo literally says “the world has always been broken.”)

So, anyway. But we love Judy. She’s an angel. She also kinda sucks! She’s proudly unprejudiced, and when her own prejudice is pointed out to her she argues and doesn’t take it seriously. This is bad, but it’s also a very human reaction. It’s one most of us have probably been guilty of at one point or another.

Look at Zootopia’s society, too--it’s shiny and cosmopolitan, seemingly idyllic. Anyone can be anything, on paper. But scratch too deep beneath the surface and there’s a lot of pain and resentment here, things nobody respectable would say in public but come out behind closed doors, or among family, when nobody’s watching. It’s entirely recognizable--at least to me, someone who lives in a large liberal city in the United States. Like Byron Howard.

Wow, this place is a paradise!

Wait, what’s a “NIMBY”?

Part 4: Why Shock Collars Are Bad

So, with the film’s conceit established, let’s circle back to the shock collar idea. Like I said, it’s heartbreaking. It’s dramatic. It’s affective.

It also teaches us nothing.

If I see a movie where predator animals are subjected to 24/7 electroshock therapy, I don’t think “wow, this makes me want to think about how I could do better by the people around me.” I think “damn that shit’s crazy lmao. that’d be fucked up if that happened.” At a stretch, it reminds me of something like the Jim Crow era, or the Shoah. You know, stuff in the Past. Stuff we’ve all decided couldn’t ever happen again, so why worry about it?

The directors have said this exact thing, just politely. “It didn’t feel contemporary,” they say in pressers. That’s what it means.

If anything, the shock collar draft reifies the mindset that Zootopia is trying to reject--it shows us that discrimination is blatant, and dramatic, and flagrantly cruel, and impossible to miss.

And...that’s not true. If you only look for bias at its most malicious and evil, you’re going to miss the other 95 percent.

The messaging of this “darker version” is--ironically--less mature, less insightful, less intelligent. Less useful. Darker’s not better.

Part 5: Why Shock Collars Are Still Bad

So what if you don’t care about the message? What if you have no interest in self-reflection, or critical analysis (why are you reading this blog then lmao)? What if you just really want to hear a fun story about talking animals?

Well, this is trickier, because the remaining reasons are pretty subjective and emotional.

The creators have said that the shock collar version didn’t work because the viewers hated the cruel world they’d created. They agreed with Nick--the city was beyond saving. They didn’t want to save it.

The creators have said that Judy was hard to sympathize with, not being able to recognize the shock collars for the obvious cruelty they were.

Fuck you, Judy!

But we haven’t seen the draft copies. We haven’t watched the animatics. We have to take their word for it. Anyone who’s sufficiently invested in this story is going to say “well, I disagree with them.” It doesn’t matter to them that they haven’t seen the draft and the filmmakers have. The movie they’ve imagined is great and nobody is going to convince them otherwise.

But the fact remains that the shock collar movie, as written, did not work. And, if behind the scenes material is to be believed, it continued to not work after months and months of story doctoring.

There’s even been a webcomic made out of the dystopian version of Zootopia. It’s clever and creative and well-written and entertaining and...it kind of falls apart. The creator, after more than a little shit-talk directed at Disney, abandoned the story before reaching the conclusion, but even before then the seams were beginning to show. How do you take a society that’s okay with electrocuting cute animals and bring it to a point of cathartic redemption? You can’t, really. The story doesn’t work.

Does that mean people shouldn’t make fanworks out of the cut material? That they shouldn’t be inspired and excited by it? Hell no. This drawing is cute as hell. The ideas are compelling.

But I suppose what I’d ask of you all is--if you’re weighing the hot takes of art students on Twitter against the explanations of veteran filmmakers, consider that the latter group might actually know what they’re talking about.

See you next time!

#zootopia #zootropolis #zoomania #zootopia takes #judy hopps #nick wilde #disney #chief bogo #byron howard

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rachelbethhines · 4 years

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Tangled Salt Marathon - Rapunzel and the Great Tree Part 1

We’re now finally at the mid-season finale of season two, and it’s easily the best episode of this season. That however doesn’t mean that it’s not flawed, so here we go...

Summary: The group makes it to the Great Tree, only to be confronted by a new adversary: Hector, the brother of Adira, the most dangerous member of the Brotherhood; sworn to keep all from reaching the Dark Kingdom. Despite all that has happened, Rapunzel is determined to continue on toward the Dark Kingdom to uncover the truth behind her destiny. As they navigate through the Great Tree, Rapunzel discovers the Moonstone incantation which overwhelms the magical powers of the Sundrop in her blonde hair and causes injury and weakness to those around her.

The Brotherhood Is Such a Wasted Concept

We have a group of highly trained warriors, directly connected to the series main macguffin, who consider each other siblings, who all have conflicting goals, and they’re all severely underdeveloped to the point of ridiculousness.

For starters, in a show all about pushing sibling rivalries as parallels to the two main characters, it utterly fails to show the only other siblings who are actually connected to the plot acting like actual siblings.

Adira and Hector should be a parallel to Cass and Rapunzel in this very episode. One that actually ties into the narrative, yet outside of calling each other brother/sister/brethren they don’t act like family; even feuding family. Adira also fails to treat Quirin, Varian, Edmund, and Eugene as family. She shows no real concern for any of them despite saving her home (which would included her family) from the rocks being her main goal. She should be just as every bit as invested in saving Quirin as Varian. Which is yet another reason why Varian should have been S2 and another entry point for him in the show’s plot.

As for the rest of the Brotherhood, they never even interact at all. I don’t think anyone tells either Edmund or Hector what has happened to Quirin or Varian. And Edmund clearly didn’t inform Hector of Eugene, even though he logically should have. And did any of them know if Edmund was alive, despite Edmund having the means to communicate with the outside world with the crows?

What we’re left with is a bunch of holes in the story, because there’s now a bunch of holes in everyone’s motivations and their actions never quite line up.

And before you say, ‘well they’re not that important’, or ‘they’re aren’t meant to be a real family’; then that is in of itself a flaw because they should be. Not making them found family undermines Raps and Cass being found family, as it undermines every other sibling parallel in the show, and those parallels are the only build up we have to the sister reveal in S3.

It also undermines the moonstone plot and the whole reason why season two exists. Don't introduce things that connect back to your story and not make them important. In fact don't introduce unimportant elements in a plot driven show like this period.

Another Indication of the Timeline

As stated before, Tangled is really bad at indicating the passage of time, despite the passage of time being a big plot point. We’re now a ‘few months’ past the island, which itself was 6 weeks, and before that it was several weeks to maybe even a few months before getting to the island...

So when does this take place? Well we were told that season two takes place over the course of a year by the creator, and that this is the mid-season finale so 6 months since SotSD sounds the most plausible. We also see fall trees dotted around like we did during the first half of season one. Which is the only visual indicator we get of changing seasons in the show, but it’s too understated to be properly noticeable most of the time.

However, the crew themselves can’t even seem to agree if Rapunzel’s Return is her birthday or not, so if you’ve heard conflicting sources, it’s because this shit wasn’t planned properly first. But all dialogue and visual cues point to the first half of season two being at least 4 to 6 months. With 6 being the most logical placement.

Just a Reminder, that Hook Foot Is Still Useless

If all you were going to have him do is whine like a child during the only plot important episode that he is in, then why not just replace him with an actual child?

It takes more work to leave Varian out of season two and force Hook Foot in his place, than it does just to write Varian in. There were so many potential entry points for his character, that the one they would up going with was the least natural to the characters and the story they were trying to tell. And even then, the Saporian take over they went with could still have worked had they handled things properly and pre-planned that stuff out.

But they didn’t. By all accounts S2 was a hasty re-write to get rid of Varian and Hook Foot was shoehorned in as his replacement at the last minute. And it’s the most utterly baffling creative decision I have ever witnessed in my life. There was zero logical reason for it.

This Plot Point Wasn’t Built Up Enough and It Goes Nowhere

Look, had they actually pointed out that Cass is a bodyguard now, and that this line from Raps threatens her career goals, that would make sense; or they could have explored the idea that Cass’s identity revolves around her job, and so feeling like her job is pointless makes her feel pointless therefore making her feel insecure about her future. Either of those would have been interesting jumping off points for her character arc and later conflicts.

But that’s not what they did.

I think that’s what they were initially trying to go for here, but it got muddled in the mess that was last minute rewrites.

Cass obtaining her goals in season one is ignored in favor of a bland and vague validation goal from this point onwards. Her issues with Rapunzel are then boiled down to be about; not identity, agency, class, or wanting a future, but into fighting over a dead mom and how one wasn’t ‘loved enough’ apparently. Which makes no sense given what we know of Cass from previous seasons.

Cassandra isn’t deep or complex; she is convoluted. The writing team couldn’t agree on what her goals and motivations should be, and so she performs conflicting actions throughout the story that actively undermines what was previously established and what she supposedly wants.

Most people who try to defend the writing for Cassandra do so with this idea that because they had to work hard to ‘connect the dots’ for all these seemingly disconnected plot ideas, means that of course the writing is ‘deep’ but that’s ignoring one of the basic fundamentals of writing.

The audience shouldn’t have to do the writer’s job!

Having to think about a story doesn’t mean that you need to go digging around for basic information like the character’s goals or what happened when. A writer’s job is to first and foremost clearly communicate ideas to their audience. Plot and character analysis is about finding extras like, metaphors, moral messages, and coming up with fun headcanons that don't impact the wider story. Because all of the bare bones information needed to understand the story should already be there for everyone to see.

If you gotta go into ‘analysis’ just explain the damn plot and why things are unfolding the way they do, then the story is badly written. Full stop.

Cinderella wanting to go to the ball is a simple goal, but it’s an understandable one that anyone watching can grasp. You could go into a deeper analysis about abuse and what the ball symbolises for Cinderella’s character or how the story is an analogy for wider social issues at large, but at the end of the day everyone needs to be in agreement that, yes, Cinderella wants to go to the ball and we know why she wants to go, so that her actions in trying to get there make sense.

No one knows what Cassandra wants. Cassandra herself doesn’t know what she wants. So the ‘why’ part for what she does is never answered.

Hector Is Wasted

As already stated, all of the Brotherhood is wasted, but Hector more so than most. Season two desperately needed an ongoing threat, a main antagonist to push the story forward. Hector should have been that antagonist. Instead he shows up for this one episode, and then in a few non-speaking cameos in S3.

Then Why Not Just Stay With Them Adira?

We’re never given an actual reason for why Adira keeps leaving the group, and indeed doing so conflicts with her stated goal of getting Rapunzel safely to the moonstone. It’s just shoehorned in here to create ‘mystery’, but mysteries have to be answered at some point. You can’t throw something in for drama’s sake and not explain why it’s there.

Lance’s Crush on Adira Isn’t Handled Well

Look, this isn’t a judgment upon those who ship the characters. When I talk about relationships in the show I’m only talking about how well they are written on screen. I couldn’t care less what the fans do with them.

Even when I discuss my personal preferences for ships, that is all that is, my personal preference. I don't give a shit if you ship something that I may dislike, or if you hate something that I do enjoy. I’m a grown up with more important things to do than worry over what a bunch strangers may write on A03 about a bunch of fictional characters, and as someone who hates bullies above all else, I’ll defend your right to make whatever content to want to because censorship is just a form of bullying and nothing else.

No matter how gross or reprehensible I may personally find it. Different stories resonate with different people and for different reasons. I may debate your reasons, if the subject comes up, or critique professional media for the messages it puts out to the wider public, but I’ll never say you can’t like it or that you can’t make it.

So with that stated, I don’t like Lance’s dynamic with Adira in the show and here’s my reasons for that.

She doesn’t ever return the feelings.

At best she tolerates him, at worse she actively kicks his butt when he gets too close, and most of the time she ignores him. Which is for good reason; she’s old enough to be his mom. Why would she be attracted to him?

Like I’m not saying that age gaps between adults are inherently wrong; I’m saying that if there is a significant age gap then you really have to work hard to build up a reason for why the two characters would go for each other when naturally they wouldn’t be in each other’s usual sphere of dating options. Which the series never does because once again Adira is clearly not interested in him.

This leads to Lance basically being an annoying ‘nice guy’ who can’t take a hint. Like constantly badgering someone who doesn’t want you to isn’t charming or endearing, and Lance is old enough to know this by now.

Basically the writers just took the Varian and Cassandra dynamic from Great Expotations and slapped it onto Lance and Adira despite the fact that it made zero sense for their characters. Lance isn’t a lonely teen who desperately wants to fit in and make a connection with someone. He’s not out to prove that he is mature, nor mistakenly believes himself to be an equal to the only other girl in the kingdom that has ever talked to him that isn’t already married/seriously dating and still living at home. Adira never comes around to considering Lance a trusted friend and confidante after shoving nearly everyone else away. She doesn’t seek out his help or approval, nor tries to build him up with compliments, ect, and so forth.

Now, I dislike the Cass and Varian ship for many, many reasons, but as they are presented on screen in the Great Expo it makes sense for why Varian would at first have an unrequited crush on her. Now after that QfaD he logically shouldn’t ever want anything to do with her but we’ll get to that later. That’s not the case with Lance and Adira; they’re both too old for such a dynamic.

To add on to the weird factor, they’re both related to Eugene. Adira is technically Eugene’s aunt, even if she never acts like it. Lance is also the closest thing to a brother Eugene has. They don’t recognize each other as such, so if you want to say their just friends or ship them or whatever, there’s wiggle room. But the end effect is like Maya in Girl Meets World crushing on her best friend’s, Riley’s, Uncle Josh. Only even with less basis, and it wasn’t that great there either.

Why Do you Suddenly Not Trust Adira Cass?

Forest of No Return was all about establishing trust in Adira, including with Cass at the end, so why the sudden back track? Especially since Adira hasn’t done anything but been honest with them, and has saved their butts several times now. All this does is make Cassandra look like an ass, which you don't need to be doing if you want the audience to side with her later on in the story.

Everyone Now Knows Quirin is a Part of the Brotherhood, So There’s No Excuse For Later

It’s an odd way to state that fact, but yeah, both Cass and Raps are told directly that Quirin is in the Brotherhood, and Lance, Eugene, and Hookfoot are also present and presumably listing to this exchange. So no one in S3 has an excuse to ignore this plot point until the finale.

This Backstory Goes Nowhere

Adira launches into this story about Zhan Tiri, Demanitus, and the Great Tree and literally none of it actually matters. It’s never brought up again after this episode. We never get any insight into why they were fighting, how Zhan Tiri corrupted a tree, what significance the tree has outside of being really big and holding some scrolls, nor how the scrolls got there, why the tree is still connect to Zhan Tiri hundreds of years later, nor how Demanitus magic spear works or what it even does exactly.

Don’t introduce lore and then don't have it mean anything.

Why Do you Care, Cass?

Cassandra isn’t a lady-in-waiting anymore. We’ve already established that back in Secret of the Sun Drop and in Beyond the Corona Walls. So why should she care if Adira calls her one? Adira isn’t from Corona. Adira isn’t in charge of anything. Cassandra doesn’t even like her, so Adira’s opinion shouldn’t matter.

This whole season we’ve seen Cass treat Adira like shit, but apparently we’re supposed to feel sorry for her when she can’t take clap back for all the grief she’s given. Is she really so immature that she can’t just ignore a petty insult for what it is? Why does she have to behave so insecure that she will jeopardize the mission or someone’s life over it? This is the deuteragonist I’m suppose to root for and relate to? I mean she’s twenty three for goodness sake! Grow the hell up woman!

Also while we on the subject, a royal guard and a lady-in-waiting are both servants. There’s no distinction between the two beyond what duties they perform, and that would be the case regardless of what job Cass had. Rapunzel’s a princess, everyone is her servant. That’s how the class system works, and by all means Cassandra enjoys more privilege than most people in Corona. She’s the Captain’s daughter, was granted next in line for that position in SotSD, and lady-in-waiting means to the princess means she’s above all the other maids except for Crowley and Friedberg. Cass may hate her job, but she hasn’t room to complain when Faith is right there and has things much worse.

In short making Cass suddenly indignant over being treated as lower class when she didn’t give a crap about the likes of Attila, Caine, Varian, Eugene, Lance, ect... just makes her look like a hypocrite.

The Other Reason to Dislike Lance’s Crush is That It Hinders His Development

Lance’s arc is that he’s suppose to learn to be more responsible. This episode in particular is suppose address his habit of lying... only it doesn’t. We get no real resolvement on this point. We also never see Lance progress enough to give up on Adira and stop pursuing her even when it’s directly pointed out to him that she doesn’t reciprocate his feelings. So in the end he still remains immature and irresponsible.

Though this conversation just proves that Eugene and Lance still have the healthiest relationship in the show. They’re about to disagree or call each other’s bullshit without resorting to insults or getting violent, which is more than what any relationship involving Cass does.

Questions With No Answers

We never learn why these scrolls are here, why they have the incantations on them and upon the wall, we don’t know who translated them, nor who came up with the incantations in the first place.

This is all important info that he series glosses over, because unlike the moonstone and sundrop, the incantations are things that someone had to have made at some point, and they could only have made them by studying what our plot macguffins are and how they work. Since the incantations are things that are also sought after by the big bad along with the magical objects, then we need to know how the big bad knows about them when no one else does. How they came about.

Which is yet another reason why we needed a magic system in place.

This Song is Catchy, But It Doesn’t Need To Exist

In a musical a song needs to either establish the plot, build the world, or further the characters. This song does none of those things, it’s not needed for Lance and Eugene’s relationship, it doesn’t actually resolve Lance’s plot as he is high when he apologizes for lying, and it wasn’t needed to established the man eating plant. I honestly think this song only exists so that the animators could just reuse assets they built to save on money.

The Hurt Incantation Is the Coolest Thing In the Show! Shame It’s Not Utilized Well

People are suckered into this show by one of three things usually, ‘Let Me Make You Proud Reprise’, ‘Ready As I’ll Ever Be’, or this scene.

It’s shocking, powerfull, and a really, really awesome concept. It’s one of the best scenes in the show, and an interesting idea that offers up a lot of story possibilities.

Possibilities that’ll never actually be explored on screen. The hurt incantation isn’t useless, it does affect the plot, but it’s not used effectively. There was so much you could have done with this but it’s then never explored. Characters outright forget its existence even when they have no reason to, or it’s used to do things that should have been accomplished in other ways. It’s also never fully explained or expanded upon. They couldn’t even bother to give it more than one verse.

All of the incantations are mishandled in this show, but the hurt incantation is the one that has the biggest let down.

Conclusion

So that ends part 1, join me tomorrow for part 2.

#tangled #tangled the series #rapunzel's tangled adventure #anti-tangled #anti-cassandra #hector #the brotherhood #lance #adira

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samiii-p · 3 years

Text

miss temptation (I don’t think you know) 1/?

aka The Maryan Roommate AU no one asked for 🙃 ao3

“You need a home address by next week or I’m writing you up.”

Fuck

Scratching an 'X' over another available apartment listing in the newspaper, Ryan grunts, blacking it out in her frustration. This one was her last true option within her price range and it was about the size of a walk-in closet with a communal bathroom to boot.

And no, just no. God no.

At least the last one had a view. It was a brick wall of the neighboring apartment but one nonetheless.

“You know for someone who needed this job, you sure don’t look the part.”

Sucking her teeth, Ryan glances up from her troubles, spots Luke in his custom three piece suit, grumbles and glances back at the paper where the only options left cost an arm and a leg to stay. Gotham wasn’t cheap by any stretch of the imagination, but selling her organs on a monthly basis just to get by didn’t seem all that appealing either.

“What do you want, Luke?”

“Can’t a guy just stop by?”

“Sure.” Ryan says, flipping the newspaper to the next page, maybe she could find something outside of town. The commute would be hell, but at least she’d have an address and her parole officer would finally get off her back. “I take it that’s not what you’re here for though.”

She hears him harrumph and nothing else. He does it a second later, again … and again.

“Okay, how can I help you?” She asks, sliding her current issues down the counter. Another 18 months in jail won’t hurt, let alone leaving the city in shambles when Batwoman disappears again .

Luke tilts his chin, hard line forming between his brows, a look Ryan has grown accustomed to over the past few weeks. Even though he’s apologized and promised to give her a chance until Kate’s return, there's still a tiny bit of friction lying beneath the surface no matter how much they both try to ignore it.

Reaching into his breast pocket he unearths a photo and slides it across the bar into Ryan’s line of vision. A picture of a black mask, outlined like a skeleton, stares up at her with cold hard eyes. In the corner a coiled snake is drawn with Luke’s handwriting underneath.

Snakebite - fear toxin/mushrooms

“Um, who or what am I looking at?”

He thumps the photo twice. “I was hoping you could tell me. You said you run in similar circles-”

“- ran.”

“As Victor Zsasz, I was hoping you could tell me a little about our friend here.”

“Sorry to tell you this but, no.” She pushes off the bar with a huff, nodding at the photo. “Whoever this person is, is new in town. At least to me.”

“Yeah, well his snakebite is hitting the streets like a plague and no one knows its source. There’s only this photo as a possible supplier but there’s no name, no facial recognition, no origin or leaks, no nothing.”

“So what do we do?”

“You suit up.”

Heat signature enabled, Ryan takes a look around the abandoned building noting two low level street hands Luke identifies as TJ Pillar: 1 to 3 strike for armed robbery and Curtis Armstrong: out on parole for possession.

“Come on, dude.”

She totally gets how uneasy it is to get back on your feet after spending a little over a year incarcerated but at least try to do better.

“What?” Luke asks through the coms, Ryan ignores him, scouting more of the building. It’s been over an hour and nothing. They wouldn’t be here if no one was coming but it’s growing closer to midnight and she has to be back at work at nine.

“Can’t I just bring them in? It’s late.”

“I mean you could, but it’ll be a waste of time. The guys on the street don’t know anything except to wait for the drop here.”

“And we couldn’t call in Gotham PD or the Crows for surveillance because..?”

“Hey, you wanted the job, this is what it entails.”

Behind the mask, Ryan’s eyes roll, mocking this is what the job entails meh meh, like she's a child grounded for the night, which, all things considered…

“Besides, it’s not like you have anything better to do.”

“Okay! Okay!” Over the coms, Ryan hears hushed voices arguing, a muffled ‘no’ then the sound of chairs being switched, Luke’s voice replaced by Mary’s, “heeey, girl. How ya’ doing?”

She smirks, attitude vanishing the moment the heiress speaks. Call it a general preference to all things sans-Luke based but she’d one hundred present rather talk to Mary until the butt crack of dawn instead of Mr. Kate would do it like this and Kate would do it like that. For starters Mary’s a lot nicer. Calmer. Funnier, I mean the girl’s one liners are top tier, bone tickling funny.

And well, she was a hell of a lot prettier too.

“Oh, you know, just pulling an all-nighter right before my day shift.”

A hiss sounds dramatically over the intercoms, the image of Mary’s twisted face pops up and Ryan can almost see the apple of her cheeks bunching and her eyes closing in that cute ass scrunchy face she makes when she’s thinking hard or embarrassed clear as day.

“Don’t worry about it, you can always come in later.”

“You enable her by making exceptions.”

“Luke!”

“What!?”

More muffled noises, a bang and yelp later Mary comes back on. “What I was getting at is that if you want to come in a little bit late, it’s totally fine or we can even change your schedule to mid-day, as your boss and fellow bat accomplice, I would totally understand.”

The corner of Ryan lips quirks up, “you don’t have to do that.”

“I do. We don’t know for sure how long you’ll be out tonight. Coming in afterwards is going to be draining-”

“It’ll be draining for all of us.” Luke yells.

“Shh!”

Unfortunately, Luke has a point. It's not fair on the team if she’s the only one taking the easy way out when they all have lives and responsibilities outside of the cave to adhere to, and a mid-day shift would never work anyway. Mid-day is Officer Steven’s favorite time of day to intrude on Ryan’s life.

“No that’s okay,” Ryan says, “Luke’s right. I have to put on my big girl panties and suck it up like everyone else, besides, I’m going to be too busy selling body parts for an overpriced cardboard box in the foreseeable future or it's a one way ticket back to Black Gate-”

“Wait, what-?”

“Oh, hold up.” An engine alerts Ryan to an incoming vehicle speeding into the warehouse disrupting their conversation. “We got action.”

Censors pick up on a lone body inside, facial recognition scanners kick on and work to identify the driver’s profile as well as the car’s make, model design, vehicle number and license plate number are all shot over to home base for further analysis. She twitches them off once complete just in time to see a window roll down and a hand throw two duffle bags out the window before speeding off.

“Did we get anything?”

A beat passes before Mary’s back on, “Not yet. Gotham PD and the Crows database has no facial identification, Luke’s expanding the search but the car is unmarked, plates false, even the tires vin numbers have been scrubbed. Whoever this person is, really doesn’t want to be found.”

From Ryan’s personal experience, news like that is never good. Someone that deep undercover either has a checkbook large enough to make themselves disappear or an iron grip so ruthless the utter mention of their name is probable cause for permanent removal. This was going to be harder than any of them expected.

“Keep me posted.”

Kicking off the beam she leaps down sticking another perfect grand entrance; hoping the acclaimed symbol printed on her chest will be enough to scare off the bad guys for once.

She is really tired after all.

Unfortunately, Twiddle Dee and Twiddle Dumb both reach for guns, shooting before she can warn them to stand down. And there goes her ‘early’ night. Figures.

“Ya’ll know I’m fucking bullet proof, right?”

Another bullet ricochets off the suit as she takes a step forward. Idiots. Surprisingly they keep at it until the clip clinks, empty, and Ryan comes face to face with Curtis who tries throwing a punch she easily ducks, coming back up to head butt him so hard his knees crumple. His coworker steps up and he’s a bit more of a challenge throwing blow for blow with her until she ducks up under him and comes back with a roundhouse kick to his Adams apple. He clutches his windpipe, now down on one knee she delivers the final blow to the bridge of his nose.

She picks up the bags and hightails it out of there, latching onto a high beam for an easy escape, and heads towards G.C.P.D where she drops the contraband with a note attached of where they can find the assailants tied up and ready for arrest.

“Why didn’t you tell me you’re homeless!?”

Ryan wonders if disrupting her day as a civilian was going to become normal protocol for Luke and Mary going forward and on a recurring basis.

“I wouldn’t say homeless.”

“How else would you classify living out of your van down by the docks?”

“Surviving on wheels – ow!” Ryan giggles, rubbing her shoulder and doesn’t know whether to cower or soothe the frustrating scowl rapidly spreading across her friend’s face. “How’d you find out?”

“I had Luke track you after you left last night.”

“Wow, talk about invasion of privacy.”

“And for good reason, why didn’t you say anything?”

Ryan flips an empty glass, dries it out before placing it on the rack and considers how to move the conversation forward, possibly far, far away from this topic all together. The best she comes up with is, “it’s handled.”

Handled ends up being a 200 square feet one room apartment Mary demands to see. The bedroom, kitchen and living room are all one in the same but at least she has her own bathroom. The walls are paper thin, she’s pretty certain the constant dripping sound is coming from the kitchen, one she can easily fix after a YouTube tutorial or two, and a hotter than hell furnace the landlord warns her not to touch when the temperature is anywhere over 60 F unless she enjoys suffocating.

She watches Mary take in the room, the petite brunette moving in a slow swirl on her heels, lip turned down and Ryan just knows it’s not good when they make eye contact.

“Nu-uh.”

“What do you mean nu-uh?” Confused, Ryan watches Mary storm past her and out the door. “Mary! Mary, what does that mean? Mary!?”

Mary breaks her housing contract. When Ryan tries to object she quickly learns that all 5’2 of Mary Hamilton-Kane is nothing to play against and a powerhouse forced to be reckoned with.

… It kind of gets Ryan hot under the collar watching Mary tell her landlord exactly what’s about to happen, and cutting a check like it's nothing in the process.

Assertive has always kinda been her type.

“You’ll be staying here.”

Mary says, showing Ryan around her penthouse in the upper echelon of Gotham City. The apartment is just shy the size of a department store, the lounge being big enough to take up most of the square footage, built in with four bedrooms, one now officially hers, one for guests and another used for office space and three huge bathrooms big enough to house a football team.

“Jesus,” the name slips under her breath as she takes it all in. This place is – is. It’s too much. “I can’t afford this.”

The carpet under her feet probably cost more money than she'll ever see in her lifetime.

“Well, it’s a good thing I’m not asking you to pay anything.” Ryan quickly gets shut down as Mary carries on, “until you can save enough money to get back on your feet. It’s the least I can do. Being this city’s vigilante is hard work. The last thing you need to worry about is where you’re going to lay your head at night.”

It makes sense, but still. “I’m not comfortable asking you - I won’t use you.”

“You’re not.” The med student emphasizes. Mary takes the box out of her hands and places it on a dresser. “My home is yours now, bestie. Stay as long as you want to.” And before Ryan can prepare herself, Mary’s arms are snug around her waist and her cover girl smile is beaming up at her.

This is going to be terrible.

It’s worse.

Far worse than Ryan could have ever predicted. Not only is Mary super considerate of her new roommate, but she makes her resources Ryan’s own. She’s never slept so good, ate so well or drank water so delicious for that matter. Until recently she thought water was just water but Mary’s fridge is full of this alkaline stuff straight from the mountains, and Ryan swears she can never look back.

“You want pickles?”

Ryan visibly gulps, sitting on the couch, eyes focused on anything other than Mary prancing around the kitchen in her underwear. Mary’s always been super comfortable in her skin but especially at home when she’s surrounded by her things in her place of peace and why shouldn’t she be, this is her home. Ryan wants her to go about as she normally would, actually prefers if Mary pretended Ryan wasn't there altogether. The last thing she wants is to intrude or take up space but she can only take so much. It’s been nearly a month of coming home to Mary asking how her day was, waking up to Mary smiling at her over homemade breakfast or passing out on the couch cuddled together after another failed movie night. There’s only so much she can take.

What they’re doing is borderline domestic. And Ryan’s too gay for this.

“…pickles?”

“Hmm – what?”

“I asked if you want pickles on your sandwich?”

"Uh, sure."

Handing her a plate, Mary plops down on the couch leaving no space between the two and licks the pad of her thumb, humming pleasantly at the taste.

Ryan bites the inside of her cheek. “So, what are we watching?”

Hopefully something gory, and bloody staring a cis-het white male. Anything to take Ryan’s mind off of Mary Hamilton.

Mary chooses Its Okay Not to be Okay on Netflix and by the end of episode 2 both girls are huddled together, simping hard for all the three leading actors. Mary is obsessed with Kim Soo-Hyun's entire face and Ryan’s pretty sure if Seo Ye-Ji stomped on her in six inch heels and dragged her through the mud, she’d thank her.

At least they can agree Oh Jung-se is a freaking king and is killing his role as Moon Sang Tae.

It's nearly midnight before they start to turn in, cleaning up the little mess they made, Ryan shuts off the lights and walks Mary to her room; the first door to the right.

“Night.”

It kind of feels like a date, which is absurd. She knows. But can you blame her when pillow soft lips press against her cheek and Mary breathes, “sleep tight, Ryan” in her ear. Its stupid. She’s being stupid, and seeing things that arent there. Or maybe she needs to get laid. Whatever she needs to do, Mary can’t be a part of it.

After weeks of failed interrogations the team finally manages to catch a break. A source looking to get out and start over leaks the warehouse location where a scheduled supply of ingredients are due to be shipped in at any day now. Niko of course makes Batwoman promise to protect him at all cost and that means working with the Crows.

“Where’s the shipment being dropped?” Sophie asks.

“Unimportant.”

The lieutenant cocks her head to the side, unsurprised at how this conversation is going. The Bat has never worked well with authority in this town, no matter who dons the emblem.

“The only thing I need is for you to make sure Niko is somewhere safe, undetected.”

“Is he at least willing to stand trial in the event you manage to catch this guy?”

“I think that all depends on if your team can keep him alive. Crow.”

The alley is dark, damp and the chill fogs Sophie’s breath as she sighs. “You're going to get yourself killed. I know you have something against my badge and everything it stands for, but it can do some good if you let it. Now, tell me where the shipment is and I can have my team there as back up in seconds. We can get this drug and these thugs off the street.”

That word makes Ryan's jaw tingle. Thug. Of course a Crow wouldn't understand that sometimes people do bad things to make ends meet, but it doesn't make them bad people. To a Crow they’re all the same and need to be locked away never to see the light of day again. Including her.

“Focus on our informant. If I need you for anything else I know how to find you.” And she’s gone, vanished in a cloud of fog.

“Nice job pissing off potential allies.” Ryan switches her coms off.

The warehouse is guarded heavily by six men up top, double the number at the bottom not including the others unloading trucks full of supplies. Photo analysis identifies them and sends the information to Gotham P.D. before she strikes.

“Hope you’re ready for this. If we’re lucky this can all be over tonight.”

“Don’t I know it.”

Taking it as his cue, Luke hits the lights covering the warehouse in complete darkness. Motion sensors switch on and Batwoman moves into action. The training her team insists she go through pans out as she’s able to take out four guys twice her size in fast compact moves. One guy goes over the railing after she cracks him in the nuts with the steel toe of her boot. His strangled whimper is heard all the way down, but hey, no one ever said this was going to be a fair fight.

The team at the bottom catches on and gun fire immediately follows, running across the bridge Ryan spreads her arms and flies through the air, her red and black cape bellows behind her as she sticks another perfect superhero landing. All at once it seems like twenty people are coming at her from all different angles but as always she's quick on her feet tying a handful of them up by their ankles and running through the rest with a non lethal taser, just enough to subdue until she can contain everyone before she starts asking questions.

“We ain’t telling you shit!”

Another guy spits on her shoe, the red of his blood splattering against her boot and she rolls her eyes. There’s no need to be nasty.

“Look, I’m trying to help you guys out here.” Spotting a pair of boobs in the corner, she course corrects, “and girls - theys? Whatever! I’m trying to help you all out here. This thing,” she holds up a box of snakebite, “is killing the community and while it may bring you all brief satisfaction, financially, what’s it going to do for your futures when you get caught, to your families?”

“Who knew the new edition of the Bat came with such a bleeding heart?”

“Well, she does. So if anyone here is willing to tell me anything that’ll point me in the right direction of your boss, I promise I can protect you, get you somewhere safe.”

From the little the authorities have been able to dig up about this gang, anyone willing to betray their leader either winds up dead or living their last days in a vegetative state. That’s why it’s so important to have Niko, no matter the length it takes to protect him, it was for the sake of Gotham.

“I said-!”

“I heard you the first time,” Ryan says, cutting him off, “And I don’t know what you’re used to but I’m only going to tell you how this is played once. I ask the questions and you give me the answers, if you don’t, have fun rotting in jail or better yet … I can let the little I do know out onto the streets.” She bends down right in front of the man and lifts his rabbit mask, exposing his face. In seconds she knows his name. “I’m sure your boss would love to know who’s ratting him out, huh, Robert Michael Humprey?”

The terror in his eyes says it all.

#ryan wilder #mary hamilton #batwoman #maryan

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