WAIT WAIT WAIT HOLD THE FUCKING PHONE

So normally we only get fullblown, extended and dedicated flashbacks for heroic characters in One Piece, the characters who we're meant to root for. The literal only TRUE exception we've had to this rule was Big Mom's flashback. Even fucking Doflamingo's flashback was tied to Law and Rosinante's

So the fact that we haven't gotten a single fucking GLIMPSE at Crocodile's backstory is?!?

Like sure, we haven't gotten like a Moria flashback, but you know, he literally told us all we needed to know himself, AND we got to see glimpses of him in the Wano flashbacks. Arlong didn't get a flashback of his own, but he did get to cameo in Fisher Tiger's flashback. And Rob Fucking Lucci got a flashback that was 6 whooping panels long

BUT CROCODILE?? Not only do we know almost Fuck All about his story, but also have never gotten as much as a glimpse at it? But his backstory has been HINTED and TEASED at multiple times??

GUYS. FELLAS

Like. I am SURE the "Full Backstories for Heroes Only" rule is going to get broken again, but with Imu and Blackbeard already there just BEGGING to have their beans spilled, can we even be sure Sir Fucking Crocodile is somehow going to become A Villain So Dangerous To The Narrative that he ALSO should also recieve a Full Fucking Backstory?? For his Nefarious Schemes?? AT THIS POINT??

Y'all

I think it's more likely Oda's been saving up Croc's backstory because it might just completely recontextualize his entire character

Would love to hear any thoughts on the codification of the poet-persona over time? 👀

Ok so in the spirit of the ask game, I am not checking any citations on this whatsoever, but if you want those lmk (though they uh. largely do not exist for rímur-poets specifically, because only me and Hans Kuhn have ever cared).

This is going to require some context because, as established, the number of living people who know and care about medieval rímur can be counted on my two hands. Probably without thumbs. So, rímur are a poetic form that developed in 14th cen Iceland, which look kind of ballad-y, in that they often use four-line stanzas with ABAB end-rhyme, though actually the ballad tradition in Iceland is quite distinct (on which, see Vésteinn Ólason, The Ballads of Iceland). End-rhyme was very exciting for Icelandic poets because it was only previously a thing in some uncommon types of skaldic metres, but rímur (as their name suggests) have end-rhyme as a defining feature and rapidly become The dominant form of poetry in Iceland until well into the 19th cen.

There are two very distinctive things about rímur, other than their metres: 1) they almost never tell 'new' stories; almost all rímur narratives are attested earlier in other forms, usually in prose, which can sometimes lead to the fun cycle of saga -> rímur cycle -> old saga is lost, new version is written based on the rímur -> more rímur are written based on the new saga -> repeat until the heat death of the universe; 2) as the form develops, it acquires introductory stanzas known as mansöngvar, a term which elsewhere usually means 'love poetry', although that's not really what they're doing here.

Mansöngvar are verses, sometimes in a different metre to the rest of the canto they're attached to, in which the poet speaks directly to the audience. In the medieval period, they're pretty short and often don't say more than 'look, I made you some poetry', but as time goes on, they get more and more elaborate, and the character of the poet begins to develop some quite distinctive traits. What's interesting here is that rímur were (certainly in the medieval period; less certainly later on) performed aloud, presumably by the poet, so there's definitely some questions to be asked about how accurate the poets' self-descriptions are when presumably the audience could go 'you're not pining away for love, Jón Jónsson, I've met your wife!'

So anyway, these mansöngvar are often linked to the medieval German Minnesänger tradition (er. The actual German word might be slightly different because I still don't speak German despite my PhD supervisor's pointed remarks), which is more overtly love poetry and which sometimes features the poet as an abject and despised lover of some cruel lady. This is something rímur-poets from the later medieval period and onwards have an incredibly good time with. You may be familiar with the story of Þórr wrestling with Elli, the personification of old age in the form of an old woman. There are at least two medieval rímur poets who have a whole extended passage about 'oh alas, when I was young I was a terrible flirt but now I'm old and no women like me, except oh no, I am being courted by this ugly old giant lady; Elli is the only ladyfriend for me now, wah'. it's very playful, it's very fun, it's drawing on this general sense that the poets put forward that they're poetically gifted, but romantically unlucky, which is kind of a Thing for poets across a lot of European literature (and probably more broadly, but I don't know much about that), and is especially pronounced in the earlier Icelandic sagas about poets, which usually feature poets failing to win the love of their life for various reasons (sudden attack of Christianity; sudden attack of magic seals; sudden attack of Other Guy With Sword; etc). So in evoking this, rímur-poets are situating themselves in this existing Image of the Ideal Poet, but doing so in a way that ties them into the specifics of the Norse literary/mythological tradition as well. Poets are also frequently old and tired (same, bro), and a statistically improbably number of them are also blind (although that might just be two guys we know about who were really prolific; most rímur are anonymous so it's hard to say. But it is perhaps convenient that this also links them to A Great Poet of Old, namely Homer).

The other thing that rímur-poets really like to bring up in their mansöngvar is the myth of the mead of poetry, which I will not recount here except to say that Óðinn nicked it from a giant, and also that some dwarves used it to buy safe passage off a skerry once, so it's poetically termed 'ship of the dwarves' because it's the thing that brought them safely across the sea. Every single medieval mansöngur, if one exists at all, refers to this myth in some way, even if it's just by having the 'I made you some poetry' bit use a kenning for 'poetry' that references the myth.* And poets have a lot of fun with this too! Iceland's a coastal community, they know about boats, so you get these extended metaphors about poets trying to board a boat to sample the mead of poetry and finding only the dregs because other, better poets got there first. Or they will describe the process of poetic composition in terms of ship-building: 'Here I nail together Suðri's [a dwarf name] boat'; 'Norðri's ship sets out from the harbour [= I'm about to start reciting the main bit now]'; 'the fine vessel has now been wrecked on the rocks [=I'm going to stop reciting now]'. They'll also speak of poetry as smíð, which means a work of craftsmanship, usually physical craftsmanship (obviously cognate with smithing in English), and of brewing the ale of Óðinn, so they're really into metaphors of physical craft when it comes to the intellectual craft of poetry, which I think is really neat.

*kennings = poetic circumlocutions, e.g. 'snake of the belt' is a sword because swords are vaguely snake-shaped and hang from a belt. Common poetry kennings are '[drink/liquid/ale/wine/mead] of [any of Óðinn's literally dozens of names]' e.g. 'Berlingr's wine', and the aforementioned 'ship of the dwarves' - poetic Icelandic has literally dozens of words for different kinds of ships and also literally dozens of dwarf names, so you can get a long way without repeating yourself.

So all these things that I've mentioned that poets like to bring up - old age, unluckiness in love, poets as craftsmen - become more and more tropified as time goes on, which in turn leads to these imaginative and extended reworkings of the metaphor. No longer can you just say 'I'm old and no one fancies me', no, it's 'My only assignations now are with Elli, wink wink, here's a long description of our date'. So you end up with this very codified image of The Ideal Rímur-Poet as an old man,* ideally blind, ideally unmarried, incredibly self-deprecating about his poetry, and because that's how everyone else talks, it's self-reinforcing.

*there is one (1) known female rímur-poet from the medieval period, the poet of Landrés rímur, who unfortunately didn't write many mansöngur stanzas but is doing her best with the 'unlucky in love' bit, although her lover (male) seems to have died rather than ditched her, which is a novelty.

Anyway, it's cool and weird and fun and as I say, only me and Hans Kuhn care, academically speaking.

Still haven’t seen a single person explain why making alicent more sympathetic is bad beyond “well it was different in the book and book good tv bad always no exception” What’s so compelling about a one dimensional evil stepmother character that makes you throw a tantrum when she’s changed to have depth lol

i cant explain it but daigo being subtitled to just be like 'you're making me look like i have no balls' feels so illegal and wrong. hilarious but something's off

The most frustrating part of engaging in any of this discourse with pro-Israel people is that they claim there's just something ineffable about "seeing and understanding" how supporting Palestinian liberation is directly calling for the eradication of Jewish people (as if that type of rhetoric isn't exactly how actual antisemitism often manifests in online spaces but that's a topic for another day)

They get through people debunking the "the land belongs to the people of Israel anyway" argument and the "LGBTQ Palestinians are safe in Israel" argument and the "Genocide isn't what's happening here so you should educate yourself" argument and when all of those points are meticulously disproven over and over they still stand with "Well, myself and your Jewish friends see the hate you have in your heart for us" and it truly doesn't matter what you say at that point because even if you yourself are Jewish they will claim that refusing to support the state, government and military of Israel is inherently hateful and bigoted, as if a religious ethnostate is some inherent human right that is being taken away from them. I know many of them are blinded by the relentless propaganda that's been around their whole lives and how hard it is to break free from a belief system that is so tied to your core identity as a human being but it is so frustrating watching people being led straight to the point over and over again and just turning around and refusing to see it.

It's also so frustrating to see people using the momentum of this movement to casually tack on actual antisemitism to these discussions, as if having Jewish people in positions of power is why the US bends over backwards to excuse the actions of Israel and not, yknow, the fact that our government directly benefits from having a military stronghold in the middle east. I've talked to some well-meaning pro-Palestine friends irl who casually use antisemetic talking points because they've ALSO bought into the narrative that Israeli = Jewish and so they blame the actions of Israel and the IDF on Jewish people's "religious values" and ignore the fact that this conflict really has almost nothing to do with religion itself and everything to do with capitalism, imperialism and maintaining the US's status as a so-called "global power".

Also my partner and I have been watching the Legendary Godzilla movies (finished vs kong last night) and ngl...I imagined Artist and Scout growing up watching the original flicks and pictured them sitting in front of their teensy ass 50s television surrounded by their other brothers gushing about how cool Godzilla is 🥺🫶

Steve is most likely to end up in a lavender marriage and Tony's most likely to end up in a “married for tax/immigration/inheritance fraud” reasons.

They meet as married men and pine for each other hardcore and are also trying not to read too much into how their interest seems reciprocated and oh nooooo both Immigration/the IRS and the the Church/in-laws/DADT era army dudes or whatever are snooping around at the same time at each of their marriages and they have to be so good at being married at the people they are married to oh noooooo and they other guy doesn’t know why they are suddenly being iced out and maybe they were just imagining things? maybe it’s for the best with all these eyes around on them…

I just saw a tiktok that was like "can somebody explain to me the 'absolute batshit' formula one lore there must be to incite 21k fanfictions of the sport" uhhhhhhhhhh yeah lemme pull out my powerpoint with 1k+ slides

Many of you, guys, perceive Lithuania the same way English colonizers perceived Indian women in sari. Shall I tell you this story?

OPEN STARTER | Patrick Finch

"I condone lying. I encourage it, even. I recommend it. I could hardly live without it."

kanej haters don't have taste as we know. but one of the biggest things they cannot comprehend about their dynamic is how much kaz values having leverage over people to get what he wants and yet he never once uses anything against inej

Speaking of stupid reasons to criticize the Autobots (or rather, the opposite), I actually find the ““““problematic”““““ nature of Cop IDW Optimus and other elements of the plot to be quite essential to enjoying the story and seeing it as a balanced, nuanced story.

Because like... in other continuities, the story of revolution seems to be very much “there were good revolutionaries and there were bad ones, and then the bad ones wanted to be in charge and then they fought about it for 4 million years.” Which seems very weak to me not just in the “revolution bad” sense, but it makes me wonder how the war could go on for millions of years when the Autobots and Decepticons literally had the same goal and achieved it, now they’re just fighting over who gets to be in charge.

But like, in IDW1, the Autobot insignia and stuff already existed as a badge for the previous regime of the Prime/Senate. Orion Pax (now Optimus Prime) was a lackey of Zeta Prime who was either his loyal puppet at best or being groomed for the position of Prime at worst. Most of the people Optimus Prime recruited to help him fight were other police officers and military members he was affiliated with, who were already cracking down on the Decepticon movement as it became more and more violent.

With that base of Optimus/the Autobots being actually ~problematic~, I can absolutely see why the Decepticons wouldn’t consider the war over and would continue fighting. I mean, why the hell would they trust a police enforcer/military officer who was lackeys with the PRIME? Why would they think Optimus actually believes in peace and equality?

Of course, the Decepticons have their own problems as well. What was once a universal political movement (because remember, the Decepticon movement began with Megatron’s writings but he was NOT the leader of a militarized faction until Megatron Origins) was taken over by essentially an underground criminal gladiator organization that began engaging in weapon trafficking, crime, and terrorism. From the Autobot perspective, the Decepticons are allies for equality gone bad due to Megatron’s violent influences and the gladiator/criminal aspects overtaking the actual social equality vibes.

I just think that the premise of IDW1′s Autobot-Decepticon war is so good because like, the Autobots and Decepticons existed in a way BEFORE either Megatron or Optimus became the official leaders of those two specific, organized, militarized factions. But the society that created them and the two different social classes they came from doomed them to distrust each other. It wasn’t ever a fight about who got to be in charge, it was a war between two different factions of people who had every reason to distrust each other and think that the other faction would subjugate them if they allowed them to gain power.

wincesties will literally just follow you.

Do you think there's any elements of vampirism that the Mikaelsons sold as being quintessential and a norm of being a vampire that was actually just a side effect of their specific experiences with early vampirism. Like maybe they try to sell that vampires don't need sleep, they're superior to humans but that's because they couldn't sleep while on the run from Mikael constant diligence was expected of them. Vampires can go days between feeds if they wished but in reality they couldn't always find someone to feed on while on the run at least not without alerting Mikael etc. etc. That lil speech Rebekah gives Elena about vampires being a predatory species just screams rehearsed, a story they sell to newbie vampires that also helps dispel they're own guilt

I was texting a friend of mine about MDZS cause I sent her a picture of one of the English books and she told me that the name sounded cool (Grandmaster of Demonic Cultivation) and I told her it had other names before it such as Founder of Diabolism

And she told me she read “founder” as “father” and she instantly thought of the Founding Fathers cause she was doing Civics works prior

Then I sent her a pic of WWX and asked “does he look like a founding father?” With her replying that he gave her Thomas Jefferson vibes. Right after I sent a pic of LWJ and she told me he was Dr. Warren

Cue to the both of us laughing our asses off when I said Thomas Jefferson x Dr. Warren, with her right after saying Dr. Jefferson and talking about founding fathers fanfics

All this talk about willingly letting the fbi look through your shit till they go to your search history, pussies