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xenodile · 11 days

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"Shuro loves Falin for the same reasons he hates Laios" Completely and utterly wrong, could not be further off base.

I get the impression a lot of people watching Dungeon Meshi as it airs, or are a bit removed from its original manga run, have forgotten that Laios and Falin being monster freaks wasn't actually apparent until the events of the story. The only person that knew Falin loved monsters as much as Laios was Marcille because they were best friends at school.

Once Laios and Falin were in an adventuring party together, they both had public facing personas because they had both learned through their separate upbringings that being super interested in monsters and dungeons wasn't normal. Laios is the blunt but well meaning, outspoken and opinionated guy we all know, but Falin was way more withdrawn and soft-spoken, non-confrontational, easy to get along with. Everyone that interacted with Falin would say she's a sweet, gentle girl that everyone likes. Because she was, frankly, kind of a doormat.

The whole thing with Toshiro's infatuation with Falin is he doesn't actually know her. She is outwardly very polite and reserved, and that appeals to Toshiro because it meshes with his cultural sensibilities and how he was taught people are supposed to behave. Then he sees her marveling at a caterpillar in a private moment and decides on the spot that she's the ideal woman and proposes without actually talking to or getting to know her.

And his lack of understanding of Falin as a person is brought to the forefront in every action he takes after she gets eaten. He leaves the party and makes no attempt to contact the two people that Falin loves the most. Whether it's a matter of him just not knowing how much Falin cares about her brother and Marcille, or actively avoiding Laios to rescue Falin himself, he's demonstrating that he doesn't actually know what's important to her or understand how she feels.

Then when he meets Laios's party on the lower floors and they go over what happened, it's made even more blatant that Toshiro's affection is shallow and half-baked. He came into the dungeon a week too late and neglected his health the whole way down, so he was in no state to actually try and save Falin when he got there. When Laios talks about eating monsters, something Falin was thrilled about, Toshiro is disgusted. He threatens to kill Laios and turn Marcille in, which would never fly with Falin. His anger at the use of black magic is entirely based in his selfish idea of Falin being tainted and blaming Laios and Marcille for "ruining" his attempt to rescue her, as Kabru points out that Toshiro would have done the exact same thing in their shoes and that he's being a hypocrite. To say nothing of how he'd rather kill Falin after she's been transformed and "put her to rest" rather than put any effort into saving her, because that would require further involvement from Laios and Marcille and methods that Toshiro doesn't approve of.

And there's the fight he has with Laios, and Toshiro's subsequent confession that he had hoped to just take Falin home with him. He at no point gives consideration to what Falin feels or what she might want, only what he has decided about her based on the most surface level observation. Just like how his problem with Laios arises from his refusal to just talk to him about his boundaries, he has no actual connection with the woman he claims to love because he just wouldn't actually talk to her.

Like it's not a coincidence that every time his attraction to Falin is brought up, another character goes "yeah he's being weird about it".

#Dungeon Meshi #Toshiro isn't a bad person. He has communication issues and makes very bad decisions based on his own refusal to communicate.

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headspace-hotel · 2 years

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Withdrawing from school was probably one of the best individual decisions i've ever made in my life, for reasons too numerous to list here, but I have obtained vital wisdom that I will share here:

Log off and talk to old people

Your brain is being microwaved by exposure to almost exclusively under-30s who don't get outside very much. There's nothing inherently wrong with being young or indoors, but it's really starting to click for me that your 20's are a garbage fire, and no one in their 20's knows shit (including me). We are all just so unfinished and terrified and confused.

You need role models that are older than you. If your role models are all your age you're admiring a lot of people that have fewer challenges than you, and not very many people that used to be like you and bloomed.

It won't click for you until you make friends with "boomers" who are the most blisteringly self-actualized people you've ever seen, actively involved in their communities, cool and thoughtful and full of stories, and 80% of the things that seem important to you burn away. You Will Be Okay.

Let me tell you a secret: The bigger part of the fight for good in this wretched world is invisible to the internet, rippling past without surfacing on Twitter or Instagram.

I'm organizing right now to launch a "re-wilding" project around my hometown, and joining forces with a lady who runs a native plant giveaway sort of thing, and she [coolest person ever] [gives off the powerful aura of a level 999 human] doesn't have a cell phone let alone the internet

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yamujiburo · 4 months

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Some of this might sound intentionally hostile in text and I apologize.

I'm saying this as an abuse survivor mind you - don't throw "abusive ships" under the bus so easily - at least, so long as they're not actually glamorizing the abuse. I lived that irl and I personally find someone overcoming it, slowly having enough of that bullshit and getting out over time, and the other person having to wipe their own butt for once after they've made the damn mess, very refreshing. Maybe that's not a ship in the traditional sense. It's no happily ever after bc it shouldn't be, but I find stories like mine shyed away from so often because even the portrayal gets considered a "canon ship". ... that's just how media works now, I guess? I very rarely See a fictional relationship not called a ship in literally any context now so that's the definition I'm running on.

I wish more people were willing to portray the hardships of finding acceptance outside of "whoever you can find will accept you" very much, and finding the better things after. I wish people weren't terrified out of portrayimg situations like mine.

Jessie.. is not a good person in canon. You expect me to believe she moved into to hanamusa seamlessly, without falling on her ass? I never see you talk about Jessie's abusive tendencies in canon. You never talk about the inherent meanness she needed to get over to get there. She's quite aml lot like my ex in canon, actually.

What do you mean you're going to just remove from the character that she is abusive to those around her. Jessie hits people. She takes her own junk out on others all the time. Do you even like the character then, are you actually invested in her growing, or are you just making an OC at this point?

Idk. Do you, boo. But you are posting about a character who, whether you like it or not, is canonically abusive. I just don't buy that dating Ash's mom alone fixed her. That isn't... How that works. It would be excellent if it did. Part of my love of hanamusa is that it signals Jessie's change - but she could have changed for anyone before now.

What makes Delia different? How is she specifically a turning point for Jessie? Because Jessie's flaws go well beyond just bossing people around.

I would love if my abuser had the same outcome as your Jessie. I adore your portayals of hanamusa, where she's still flawed but still strives to do better. That's all I ever wanted from my ex.

What the fuck got her there tho.

Anyways I've been watching a lot of Bojack Horseman lately -

I agree with you! I don't think abusive relationships (or any tough subject matter in general) should be shied away from in media. It can be powerful when executed well and written by folks who are equipped to tell those kinds of stories. I do think it's sad when people treat it as off limits. But the ask I got was definitely more about which ships I have where I actually like the relationship between the characters. I think the semantics of the word "ship" are kind of vague or rather, over time, got so specific to only mean "absolutely love together and want them as endgame" (for most people anyways). So that's usually what I take the word to mean when people ask me about it.

I can 100% appreciate how an abusive relationship is written and handled, but that doesn't mean I'm gonna ship an abuser with their victim (that falls into the glorifying you're talking about). Love Bojack Horseman! Big fan! I think the way they handled Bojack and Sarah Lynn was beautifully and tragically well written. But does that mean I ship Bojack and Sarah Lynn? Absolutely fucking not.

I've talked about Jessie's character plenty on this blog and the way she's handled in earlier seasons specifically. This is kind of a summary: If we look at it on surface level, yes we can say she was abusive. But I think it's important to acknowledge and take into account the medium, time period and culture. Slapstick and cartoon violence was HUGE in anime and animation in the 90s (and prior to that too). Characters were always cartoonishly slapping each other around with giant mallets, folding fans, etc. Looney Tunes style. These slapstick bits were always distinct from real abuse and hurt (for Pokémon, Jessiebelle comes to mind). Mean slapstick wasn't a character trait exclusive to Jessie either. We saw it in Misty, James, Meowth, characters of the day and pretty much any character who got mad. It was a visual shortcut to show anger.

This type of slapstick has since (thankfully) died out and it hasn't really been a part of the Pokémon franchise since the early 2000s. However, Jessie was a notably special case. One of my favorite fun facts about the Pokémon anime is that there was a point in the series where Megumi Hayashibara (Jessie/Musashi's seiyuu) told the writers that moving forward, she no longer wanted Jessie to be violent or to be shown hitting James or Meowth (source: her memoir "The Characters Taught Me Everything"). She thought it directly went against the vision Takeshi Shudo had for Jessie, James and Meowth, when he created them, which was that they are good natured villains. If you watch from DP and on, Jessie never lays a hand on either of them. I think it was a such a good move on Pokémon's part to change her character like that and I'm forever grateful that Hayashibara said something! Whenever I write Jessie now, I always keep that in mind. She's mean, shouty and stupid but would never genuinely hurt those she cares about.

From then, her character becomes much more bearable. She's still bossy, mean and vain (typical cartoon villainess attributes) but I'd hesitate to say abusive. She'll still yell at James and Meowth, they all yell at each other, but in more of a sibling way (imo) rather than a "i'm actively trying to hurt your feelings way". The show makes a point especially in later seasons to show that Jessie, James and Meowth are not beyond being redeemed. From conception the whole POINT of the Team Rocket trio was that they are redeemable but their persistence and obsession keeps getting in the way of them seeing that there's a better life for them out there.

I won't deny that Jessie was unsavory in earlier seasons, but when I write her, I choose to write the version that Takeshi Shudo and Megumi Hayashibara had envisioned from the get go. She's still incredibly flawed and makes plenty missteps but wants to be better as you stated! My favorite part about Jessie is that she's a piece of shit LOL and I enjoy writing the changes she goes through to be better (but then still showing her default so some of her evil tendencies). In this AU, Delia doesn't fix Jessie. Jessie fixes Jessie because she is with someone makes her want to be a better person. She's already in the middle of turning over a new leaf before even meeting Delia, after leaving Team Rocket. Writing Jessie as legitimately abusive I think could work, but that's not my story to tell and if someone who were more equipped to tell that story did, I'd be very interested to take a listen!

I hope this doesn't come off as trying to deny or invalidate your experience. If you see that in Jessie, I hear you! This is just how I've interpreted her character over the years, having watched every episode of Pokémon and reading Japanese interviews from the cast and crew. She's such a compelling character and I love how messy she is

#ask yam #long post #tw abuse

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ah-bee-blogs · 22 days

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I have been thinking about the shifting dynamic between Qian and Yuan all week. A ton of people have written really insightful posts about these two, and I can’t get them off my mind.

I’ve said it before, and I’ll say it again and again: the tragic backstory is not used as a shock factor or just to make you sympathetic towards a character. It is ingrained into Qian and Yuan’s thoughts, behaviors, actions, and responses. And it contributes to their compelling relationship.

Qian is hesitant around intimacy of any kind. Yuan is eager to care for the person who saved him.

We’ve seen from the beginning how much of a caretaker Yuan is for Qian. The vast majority of intimate physical contact Qian accepts is from Yuan (and by intimate I don’t mean romantic. I mean familiar, personal, etc.).

Qian rarely ventures beyond surface level relationships with people. His experiences growing up left him in a constant state of survival. He focuses on work as a means of survival and doesn’t consider slowing down as an option.

We see this at work, where he is often separated from his coworkers and rarely interacting with them outside of a professional capacity. He often stays late and arrives early at the expense of his own wellbeing.

It’s Yuan who bridges the gap. Who asks coworkers to take care of his brother. Who makes Qian sleep and eat right. Who is there at work and at home ensuring that Qian won’t overwork and exhaust himself.

But their relationship is not one-sided. Qian takes care of Yuan as well, making sure he’s able to take advantage of academic opportunities and clubs and things that Qian never had a chance to partake in. He gives Yuan a life where survival is a guarantee, not something to earn.

Qian protects Yuan through hard work. Yuan protects Qian through tender care.

When Yuan is sent away to study abroad, the time skip works because it isn’t used at the very end of the series to jump to happily ever after. Too often, time skips force us to miss important character growth and leave us unsatisfied and wanting more. By placing the time skip towards the middle of the series and using it as an actual part of the story and character development, we are able to see how Qian and Yuan live during the separation and the impact it has on their relationship.

And their reunion is more than one scene before the credits roll. There’s still many episodes for them to keep learning and growing together.

Once Yuan returns, the line between them has shifted. Qian actively seeks out Yuan’s care in a way he never did before. He’s always watching Yuan, reaching out for him, and aware of his presence. He had always welcomed it, but the separation forced him to feel what the absence of Yuan’s care was like. He was miserable.

Yuan matured on his own and still knows that he loves Qian. Being away only confirmed what he already knew. And Qian is starting to realize that he loves Yuan too.

Yuan knows exactly where the boundary is between them, but he’ll let Qian be the one to break it down. They have complex relationship, and it is being respected, not rushed. Moments are earned, not pulled randomly from the trope bucket.

#gahhh I could write about this series all day #everything is so intentional #so much thought and passion went into this series #unknown the series #unknown the series meta #unknown the series analysis #unknown bl #yuan x qian #qian x yuan #unknown #taiwanese bl #ah bee writes

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seventeendeer · 5 months

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sorry to keep bitching about frustrating rain world fandom trends, but I think if you read downpour as a pure "being alive is good, actually" metaphor with a weird dissonant twist at the end (saint's campaign), that ... reveals a shockingly surface-level reading of the story that ignores every interesting question the game poses in favor of trying to force a comfortable, one-note moral that only actually works if you ignore a significant amount of canon.

like, I'm sorry, but there's no way to in good faith pry a straight answer out of this story. I know fandom tumblr is a hotspot for disillusioned former christians, and stories about how religion isn't all it's chalked up to be are comforting for many, but this simply is not that kind of story. if that's your takeaway from it - that the world the game presents is worth sticking with, that ascension isn't the right choice - that makes sense, it's a valid personal opinion to come away with. however, to argue that the void sea endings are objectively the "bad" endings, or that saint's campaign makes no sense thematically, is to overlook a massively important reason why rain world works so well as a game in the first place: it's intended to be a choice.

saint's ascension ability is in YOUR hands. the game is asking you, the player, what you got out of this, what you think is best. it is asking you to reflect on the themes it's been trying to communicate to you for the last several dozen hours

(can you cope with a life that brings you more pain than joy? if there was another way to exist, would you choose to change? what would you give up to attempt another existence? everything? what if you're being fooled and you're chasing a terrible fate? what if powerful people are preying on your misery and it's all a scam? what is left of you when stripped of all things that cause pain? is it your true self? in a world without pain, what is even left? what if it's everything that means the most to you? what if you're going home? what if you could love without the fear of pain, loss, sickness, death? is the grand more important than the small? is it better to stick with familiar pain, or to chase something frightening that may ultimately make you happy? who can you trust to guide you? who will take advantage of you on the way there? what would get in your way? your own ego? your guilt? bitterness? love for the world you know, an ability to see beauty in the midst of tragedy? is this weakness or strength? etc etc etc don't even get me started on the commentary on religious institutions, classism, structural and familial abuse, and how this is all woven together)

like, I'm sorry, rain world is not a saturday morning cartoon trying to teach you life lessons, it's a piece of interactive fiction using game mechanics as a vehicle for some extremely interesting philosophical discussions, which it politely asks you to actively engage with as you go along. I'm sorry if that's uncomfortable to people who don't relate to those topics, but declaring bad writing on a piece of fiction for not presenting you with a clear-cut moral stance at the end that already aligns with your personal lived experience is just ... a godawful way to interact with stories.

(deliberately handwaving or ignoring major and obvious pieces of symbolism for the sake of declaring it a Good Story That Agrees With You, Actually frankly isn't much better. stop making me read analysis posts where half the story has to be a drug trip for your point to make sense)

#deerchatter #rain world #rain world analysis #yeah im putting it in the tag idc i love this game and if this can make just 1 person go back to the source material and try to #appreciate it in a new way then i'm happy. it has so much to say and i wish more people would listen #im not debating this btw <3 but feel free to ask questions ofc

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salted-bird · 1 year

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Unique interactions aside I adore how Sinclair Who Shall Grip's character is reflected on the gameplay side, we are told through his Uptie story that he doesn't believe in Faust's cause as much as he *wants* to, and it shows, because he is just godawful at the job she gave him.

For starters, Nails, the thing that defines the faction; Shall Grip Sinclair can't inflict any stacks of it.

All other N-corp IDs we have so far can apply at least one Nails, and we are informed in N-corp Don's Uptie story that the nails possess a symbolic importance for them because "the reason we pierce evil with nails beeth to utilize them as tools so the One Who Grips may enact justice". It's all about the One Who Grips, and even at his worst Sinclair is unable to aid her beyond the surface level, quite literally he can't help Faust carry out her Execution because the skill requires Nails and he can't give them.

Though it doesn't end there, the more you use them the clearer it becomes that the Faust Who Grips and Sinclair Who Shall Grip IDs don't mesh together at all. Faust's nails inflict Bleed count, Sinclair needs Burn Count, Faust's passives heal SP, Sinclair needs to stay at low SP, Whistle gives Fanatic to two allies, Sinclair hogs one stack due to always being the lowest SP ally by kit-design, but then there's how he can't make proper use of the Fanatic buff because of the SP heal ruining his tails flips, so rather than helping it's like trying to put a torn band-aid over a wound when that Fanatic could be going to someone actually capable of benefiting from it.

Sure, his skills include effects that involve other N-corp units, but first, it's a selfish interaction, they can help Sinclair but the most he will give them is a pathetic 2 Bleed on the last hit from Amoral Enactment, and second, what little ways they have to help Sinclair pale in comparison to letting him fight alongside IDs from other faction, what's a 15% damage increase compared to rolling 30 on each one of Self-destructive Purge's coins, and what's 5 Burn Potency compared the obscene amounts of Burn Count Liu Hong Lu can provide for his second skill and E.G.O? The N-corp effects are pretty much just there as lip-service, which applies to Sinclair's half-baked belief in their cause too, he shines the most when going against Nails and Hammer, and that keeps being the case even for the ID that's supposed to be on their side.

I find it funny how the closest to a synergy you can find between Faust and Sinclair is Faustie's Gaze buff, which sums up their relationship perfectly. She points to something and Sinclair kills stuff, Sinclair's core personality remains unchanged just like how the only thing that Gaze does is provide a crude damage-buff that doesn't help with any of Sinclair Who Shall Grip's obtuse mechanics, but the 'Sinclair kills stuff' part is enough for Faust.

Lastly, another point that I love is Sinclair's physical types and resistances.

All his skills deal Blunt damage, which is exactly what the N-corp Inquisitors are weak to.

Other N-corp units deal Blunt damage too, but they also have Pierce skills that the Inquisitors endure, Sinclair on the other hand doesn't waste a single bit of damage when it comes to killing them ASAP, and unlike the rest of N-corp Units, Sinclair Who Shall Grip has an Ineffective resistance for Blunt, at the same time his resistance against Pierce is normal rather than fatal, meaning he can go against the Inquisitor enemies without worrying about dying in a blink because they simply can't strike his weakness.

But of course, there's one N-corp character who Sinclair can't deal with, and it isn't Kromer, you must have seen already how she gets staggered if you bring Sinclair against her.

No, the one Nails and Hammer member who can claim the title of best counter against Sinclair Who Shall Grip is funnily enough, Faust Who Shall Grip.

Emitter is weak to Lust but it doesn't matter because Faust resists the physical type of all her skills, her passive ruins Sinclair's rolls to the point he can hit 0 as a coin value, and guess what, Sinclair's base E.G.O, Branch of Knowledge, has a fatal weakness to Pride, the element of Faust's Execution skill.

There's something so twisted yet beautiful about the fact that even in gameplay terms, Sinclair can't hope to go against Faust, while she could easily get rid of him if she ever felt like it.

But of course, what I find even more beautiful is that Sinclair Who Shall Grip has one small means of rebellion left, one last tool that can he could use to hurt Faust if he ever dares go against her: Branch of Knowledge, the E.G.O that encapsulates Sinclair's sin.

Emitter also has a fatal weakness to Gluttony, and unlike Sinclair Who Shall Grip's own skills, its physical type matches Faust Who Grips fatal weakness to Slash, making it the ideal tool for killing her.

Given how turning a blind eye to everything as a way to cope is a big part of Sinclair Who Shall Grip's character, I like how the one thing he could theoretically use to break free from his dependence on Faust is a manifestation of his inner psyche literally called Branch of *Knowledge*, I would assume these are all coincidences if it were any other game but PM has put crazier details on their works before.

#sinclair limbus company #project moon #limbus company

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timberwind · 1 year

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Yarragardee Basin, Mangala, 7995 A.D.

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Accompanying music: You’re On Fire by They Might Be Giants. Summer road trip music of all time, in my opinion.

Here’s a little expository write-up on the history and geography of the worlds shown here. Someday I’ll have more to show of the personal story of these two critters and their travels; until then, a more macro-level description.

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Mangala and its sister world Kahira (visible in the background) are binary planets, orbiting one another in a manner not entirely unlike that of Pluto and Charon in the Solar System. Mangala is a relatively small world - just about twenty percent the mass of the Earth, something like if you took two copies of Mars and smushed them together; it was a frozen, dusty, and arid place when transhumanity first established a permanent presence in the Tahoka system some four hundred years ago. Since those early days, terraforming using a Birchian soletta system (a huge but foil-thin Fresnel lens of mirrors, with a secondary focal lens for burning atmospheric gasses out of the regolith) has rendered it shirtsleeve habitable to baseline humans across much of the surface, although the global water inventory remains low* and the air in the “continental” uplands is stratospheric, with only the hardiest lichens establishing a foothold. Most of Mangala’s major metropolitan areas are located in the deep rift valleys and basins, where air pressure is highest.

Kahira, on the other hand, is arguably** too small for effective terraforming, having only a third the mass of its sister world (a little over the mass of Mercury). Some of its larger rift valleys and craters have been tented over, aerated, and planted with tall low-gravity forest and grassland, a style of habitat construction dating back to the first Mars colonists almost six thousand years ago. Industrial complexes and underground cities sprawl out across the bare surface of the moon, with huge low-gravity lava tubes seeing extensive urban development.

The Yarragardee Basin, pictured above, is a graben basin in Mangala’s northern hemisphere, notable for the historic industrial city of Tirupati - here we see two road-trippers between cities on the basin’s great plain, taking a break in the long late afternoon of a sunset-day***. Having stopped for a night at a motel near Tirupati’s aerospace complex, they’re now continuing their journey to the city of Redmond-Tonasket, located in the Woronora Valles trench system about two thousand kilometers to the southwest.

* While plenty of water could have been imported from Tiandonias’s cometary halo, it was decided not to do so in order to avoid inundating pre-existing cities in the valleys and deep basins. The extremely humid hothouse conditions that come after slamming dismantled ice moons through the stratosphere at over six kilometers a second were also broadly considered unacceptable.

** Smaller worlds have been terraformed in transhuman space, both by worldhouse and more open-air methods, but it’s largely the kind of thing that much more energy-rich systems do as a vanity project. Kahira may someday see blue skies, but likely not for a thousand years at least. (edit, one year later: I actually changed up some of this while simulating this system for stability. I’ll be posting more about this soon.)

*** Mangala and Kahira, being tidally locked to each other such that they always show one another the same face as they orbit their common center of mass, both have days exactly as long as their orbital periods - 403 kiloseconds, or roughly 112 hours. This is for convenience divided into month-weeks comprising four “circadian days” of 100 kiloseconds (~26 hours), with the remaining three kiloseconds added on to the last day of a month-week to keep synchronization.

#cazart #deep blue #<- new tag for my sf worldbuilding project :0)

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alwaysonf1 · 6 months

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lewis is doing what?

Pairing: Charles LeClerc x Hamilton!OC

Genre: Slice of Life; Fluff

Word Count: 3k

Warning: Changes in the timeline for the sake of the story.

Rating: PG-13

Author's Note: This is my first F1 fic, which makes me nervous so why not start with a series.

Many Drive to Survive haters like to pretend everything that comes from the show and what it’s about are beneath them. That they couldn’t possibly care, and that the only important thing is the race on Sunday. And yet the day after the latest season drops you can find them amongst the chaos trying to figure out what the hell were all those hints about a new form of content that F1 plans to release.

Interwoven with the usual storylines and mild dramatics there was a lot of talk about how drivers show their families the support they’re given. How they show up for them in their careers and bits of their lives. It was weird at first, but then it sent off alarm bells when an almost fourth wall breaking moment happened where the Netflix team was blatantly dismissed.

“I think we have this one Netflix, but thanks for the help.” Those were the exact words spoken by the head of marketing as she closed the door to a room where you get a glimpse of team paraphernalia but see no faces.

Every social platform that you can find an F1 fan on has it trending and the conversations (and screams into the void) are fast paced. But Twitter is where the real unhinged and brain cell losing behavior is happening.

And the most accurate guessing.

Almost everyone within the community is discussing what that snippet could mean. Is it the end of DTS as they know it? The end of it completely? Are F1 and Netflix severing ties? Will F1 be taking over? Is this some little game they're playing with their viewers to keep them tuned in? Is it something completely different? What the actual fuck is going on?

In the middle of those questions are those who think themselves a genius or are delusional enough that they can’t help but form some wild ideas of what’s to come.

Someone must be retiring. Multiple people are retiring. There’s going to be a reality show ala Keeping Up with the Verstappens, where everyone learns that Max’s little trauma dumpy memories with Jos are just the surface level of how insane that man is. Someone is getting married. Someone is getting married to another driver. A nepo baby is going to become the “voice of the fandom” and host a show about the drivers during race weekends and it’s going to be all the wrong things. A dating show for all the singles. A behind the scenes at the lives of drivers and their families, but like Family Feud. And the penultimate dude bro dream of them getting to spend the season hanging out with drivers and get confirmation that their toxic thoughts that alienate most of the fan base is true.

After about twenty-four hours it all dies down. Everyone is still wondering, but they don’t feel like they’re losing their minds while they try to be the one who can say they were right when they news drops.

As if timed, the second that F1 drops in trends the F1 admin drops a graphic with the faces of six people who are clearly positioned like the thinking face emoji on every platform that they use. In the captions it says: Week in the Life - Sibling Edition.

If Twitter was home to the first wave of screaming, it belongs to Tumblr the second go round. Everyone is so excited for the content that someone must have thrown up from how aggressively happy they feel. Everyone is talking about who they want it to be and what content they’d love to see from which sibling. Those who make gifs are especially excited to get everything they can, though they won’t be outdone by those whose brains and fingers will be entities on their own once they get hold of a singular moment that will inspire the fic of everyone’s dreams.

Those who always have something negative to say are there as usual, but they aren’t as loud or upset as they often are. Being nosy doesn’t stop just because you want to pretend that you only care about the race, as if someone doesn’t have a file of screenshots from all the times, they’ve attacked the character of a driver for something not race related at all.

The reaction to this is the kind that instills faith in what is being done. The kind of thing that tells all the upper management who didn’t like it that it was a good idea, but also puts a certain bit of weight on the content team. They need this to deliver. Need to keep the hype, especially since the first episode doesn’t drop until the start of December and they’ve already recorded half the series so a failure could stop the rest.

So once the Singapore GP ends, Daniel Ricciardo’s face is no longer gray. You get to see that goofy smile and wink. You’d think they told everyone he was getting a permanent seat with a three year contract with the reception to it.

It’s Charles Leclerc for Japan.

Lance Stroll for Qatar.

Carlos Sainz for COTA.

Alex Albon for Mexico.

And coming off his first P1 of the season, Lewis Hamilton for Brazil.

For the next week or so if a tweet isn’t about excitement, disdain, or shock in regard to this new F1 exclusive content, it has a certain main character at its center.

#charles leclerc x reader #charles leclerc x black!reader #f1 x reader #f1 x black!reader #formula 1 x reader #formula 1 x black!reader #charles leclerc fanfic #charles leclerc fan fiction #f1 fanfic #f1 fan fiction #f1 imagine

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ganondoodle · 8 months

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more thoughts

big part of why i loathe what totk did with its story and lore is that it tremendously hurts botw in retrospect

i said that before and mentioned all of these points before as well but i just have to mention it again; how totk did away with all the little mysteries in botw, like the ancient hero looking kinda strange leading to lots of interesting theories- WHOOP its a sonau mix guy revealed through a collectable and its straight up said by purah/impa that that is the ancient hero .. like it was an always known fact ......

the sonau ruins in botw of a long gone group of people that lived in the forest of phirone - WHOOP those are just monuments built by hylians in memory of the sonau and actually their real architecure isnt rare and few but everywhere en masse and doesnt resemble the ones from botw at all, aside from some vague dragon motive; theres more stuff of the oh so sadly gone and not at all mysterious anymore sonau left than there was of the ancient shiekah in botw (and now it doesnt exist at all anymore, who cares about them, how important they were, or this worlds history, especially zelda, she never cared about shiekah or history that wasnt about sonau :)))) )

one of the biggest crimes, to me, personally, is what totk did with the dragons not actively mind you, but still changed my view of them and i hate it; i always saw them as these ethereal otherwordly spirits older than time itself (i liked the idea of them being like a final evolution of the dragons from skyward sword, tho of course i dont need that to be canon lol) and then totk comes along and .. the newly revealed -always been there super cool- race of people from the sky is heavily based on their designs ... and they have armor sets imitating the dragons ... and have ... magical never heard of before stones that turn people into .... dragons .... i get how that can be an interesting thing for people to connect but for me personally ... its a mystery that REALLY shouldnt have been solved, at all, or even touched, the fact that you knew nothing about the dragons other than they are here was what made them feel so much more divine and awe inspiring (i know you could try to think of it being the other way around, the sonau worshipping the dragons so much they dedicated all of their cultur around them ((but then again were is that anywhere, if they worshipped them so much then they sure didnt matter in any of what we say of them in memories..)) ... but the sonau designs, the armor ... the stones ... its all such an obvious connection ...) and its really hard for me to ignore it, i actively have to work now to keep seeing the dragons as these untouchable ethereal spirits instead of some sonau guy eating a fucking stone

and yet again its like .. can you really blame me for feeling weird about the sonau/dislike them when ... theres nothing that WASNT touched by the sonau, they already had tech way above the level of the shiekah, they were in the sky, the surface AND the underground all along, theirs is the actually important influence on the history of the world, they have been in every place that was once important, hell they were in every place were a settlement of people is EVEN THE FEW YEARS OLD TABURASA (tarrey town), their buildings look like they were abandoned 10 years ago, all their shit is still working, they founded (this) hyrule, they are the royals, they are the gods, they are the dragons, the ancient hero was a sonau mix clad in waht totk made out to be their signature design elements-

we had recordings from that time (tapestry) and even PEOPLE (the monks) and yet the sonau were a total mystery? even though their culture was literally still there when the shiekah built their tech?

what gets me escpeially is how .. they didnt NEED to erase anything shiekah, they didnt need to act like they never existed, they didnt need to make the sonau be the coolest guys ever and were so desperate to get that into your thinking everyone in the game is obsessed with them and tells you why you should be obsessed too

like am i just insane or is it a rather .. obvious connection to make that the shiekah found the tech of the sonau and built theirs inspired by what they could find, it was so old at that point that its non functional or even recognizable in the present, but when the shiekah found it they could still research it; given how the shiekah built multiple shrines and puzzles to them WITHTIN ruins that, in botw, were sonau ruins, i thought that was the logical line to draw and a good way to connect them while still leaving the sonau to be a mysterious ... mystery (this is what im going for in my rewrite btw)

also another thought, if the ancient shiekah could see the future to a degree they built stuff to prepare the next hero for the next calamity that would happen in thousands of years .. how did they never find out about gan? i know they were more about the future than the past but like ... were they really so stupid to see that the calamity will come back just the same from the same place and NOT investigate?? ESPECIALLY considering that the weird half sonau ancient hero was literally THERE when they saw the furture and built all of that for it???? the sonau werent gone gone in any sense and you CANNOT tell me that the shiekah jsut ignored this weird half whatever looking guy outfitted in an aesthetic and culture that wasnt obviously present anymore and clearly connected to somethign else, with probably clear scars were whatever buildings were lifted into the skies- SOMEHOW- and monoments LITERALLY STILL READABLE IN THE PRESENT that tells you about all theshit that went down?? even if you hid them with some weird mechanisms, are you realyl not gonen investigate?? also why hide it anyway?? if its supposed to be a monument to the sonau why the fuck would you built stuff to HIDE the information from it?? gan cant reach it anyway bc hes KINDA STUCK you are telling me the group of people with a vision of the future and high tech stuff that are famously obsessed with the stars and sky didnt see any of the sonau shit floating around there?? ohoho but it was hidden by magic uwu WHY bc you wanted to wait thousands of years for the "right" link to come around?? so you let thousands of people suffer and die just bc you wanted a specific guy? why not the ancient hero instead?? and solve the problem right then and there?? or would that mess too much with the history all of the sudden, you didnt care about messing anythign else up before either

its all just so messy if you start to think even a little bit about whatever the fuck happened in totk and i ahte it, it solves stuff that didnt need solving, ignores or even erases stuff that didnt need erasing and was all ready to go and be more explored, its infuriating

(also additional thought about the previous rant where i mentioned how characters, esepcially zelda, regress HARD in chaarcter development) someone mentioend this about link and ... YEAH, in botw the main thing was the connection between link and zelda, how they didnt like each other at first and at the end were THE brotp; in totk, aside from zelda mentioning how strong link is, theres nothing, the link that was revealed in botw to only be so silent and expressionless (not fully but like supressing everythign rly) bc of the immense pressure that was put on him is now just the most importanest sword guy who didnt even shed a tear when you get the memories of zelda basically killing herself; or did he know she will just be returned to normal with no harm or memory done no problemo in the end?? i dont WANT link to talk mind you, i never want to hear him talk tbh, i like him being mostly silent aside from his grunts when he climbs a cliff or soothes a horse (i go non verbal in high stress situations too) but you could have shown him be affected by it at all, or idk DO ANYTHIGN WITH THEIR RELATIONSHIP they are best friends whod die for each other but that doesnt actually matter in anything bc he just do what sword man does-

#ganondoodles talks #zelda #totk #ganondoodles rants #it really is a replacement for botw isnt it #might as well not have happened

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mazzystar24 · 24 days

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What I don't get is why people think it's problematic to still wish for Buddie. Like isn't it worse to be happy just because he's with a dude now. Like so you didn't ship Buddie for their amazing chemistry and history, you just shipped them because they were two hot dudes.

(This is not directed at people who are enjoying Tevan for the ride, this is about people who jumped completely)

((obviously bi Buck is important, but I don't think seeing it as a step towards Buddie is bad. We've been waiting for something like this for so many years))

Sorry but this is all that’s in my head^^

But yes yay now I get to have my rant-

The fact that so many people genuinely just wanted buck to end up with a dude is just

Look there is wanting representation which I GET I am all for

Then there is not caring about anything to do with that representation as long as you see two hot guys kiss

Representation without substance, meaning and actually changing what we usually see on screen is just so surface level

and listen we are ALL guilty of that thing where we hear about a show with a queer couple and we instantly get excited and rush over there but some of these people don’t give a shit about the storylines as a whole, the characters as a whole, character development, etc all those things that make representation MATTER

Like we aren’t just happy that bi buck is canon because oh look here’s a bi man character

No we are happy because we got to see his development we got to see his insecurities, history, his personality and his bond with these other characters through the years. Now look I’m not saying oh look at this fictional character think about his feelings, I’m saying that characters and their complexities drive a story they are what make me invested whether it’s a book a movie or show, and to not care about any of that just for the sake of tokenism is insane to me

I also feel it bares mentioning that this is one of the RARE times that this representation in media isn’t a case of tokenism like they’ve taken a character and built him and built the show and built the dynamics outside of his sexuality and made it canon in season SEVEN like Tim and Oliver and the entire team did something we don’t see much or ANY of in media like the way they made it is like we have this journey with the character like it’s a double blind test ( sorry I’m revising for a psych exam rn and my brain can only use that analogy) and until the reveal seven years in we don’t know for sure even if there have been inklings and people are more focused on the fact that oh look some hot dude kisses another in this show

Like genuinely ship what you want to ship and enjoy the time but don’t disregard meaningful potential representation which would have 1. A character navigating sexuality in a situation as complex as Eddie’s 2. A gay couple which wasn’t planned and they actually listened to fans for 3. A well done queer slow burn with the same gravity and meaningfulness that straight slowburns get

Thank you for the opportunity to rant anon🫡

Sorry for the long ass reply😭😭

Edit: also wanna add that yes I’m in analysing media mode because I also have sociology revision on representation in media🤭🤭

#911 #buddie #evan buckley #eddie diaz #911 abc #911 fox #evan buck buckley #911onfox #asks open #send asks #answered asks #asks

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septembercfawkes · 4 months

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Why the Protagonist Must Be a Problem-solver

In some ways, this post's topic sounds obvious, in others . . . not so much. On the surface, the tip seems simple, and yet, it is easily and often overlooked.

Your protagonist must be a problem-solver.

Yup.

A problem-solver.

I don't care if she's the laziest, most passive, most dimwitted person on the planet, within the context of the plot, she must be a problem-solver (even if a reluctant one).

Otherwise, she'll feel like a weak character.

Otherwise, the plot will feel weak.

Of course, I'm sure you can find rare exceptions to this.

But 99% of the time, your protagonist needs to be a problem-solver.

So let's talk about why.

Why it's Important for The Character

Imagine a protagonist who doesn't problem-solve. She encounters the antagonist, reacts emotionally, but doesn't do anything to try to win the conflict, or at least gain the upper hand of the conflict. She won't be interesting for very long. It's hard to care about what happens to her, when she's putting no effort in to resolve it, when she doesn't care enough to try to fix it herself. It may start to feel like she's stuck in a loop--just circling the same internal responses over and over again, never really progressing, never really moving on.

Sometimes writers mistakenly think this makes her more sympathetic, but in reality, as counterintuitive as it may sound, the opposite is true. Audiences lose interest or become annoyed.

We've all met people who talk, and whine, and fume about their problems but don't do anything to better their situation. We may feel sorry for them at first, but eventually, we want them to take action to improve their predicament. Often we may even find ourselves giving advice (or in some cases, doing the problem-solving work for them).

We feel the same way about characters.

Your protagonist doesn't need to be the next Sherlock Holmes or Violet Baudelaire to be a "problem-solver."

At the most basic level, what this means is that when she encounters an antagonistic force (a problem), she's coming up with--or perhaps shifting--goals and plans (however big or small, or grand or modest), and taking action to try to make those a reality.

If she's not doing that, she's probably too passive in the plot and not exercising enough agency. The story is happening to her, but she's not doing anything to make the story happen. She's not influencing the direction of the story.

When the protagonist is the one coming up with goals and plans, and implementing them, the audience becomes more invested in her. They want to stick around to see if she's successful. She also now holds some accountability over what happens--the consequences--and that actually makes her more interesting and more sympathetic. What happens, good or bad, is on her. She holds responsibility.

If your protagonist isn't problem-solving, it may be a sign that her wants aren't strong enough. Solid stories will showcase the protagonist's deepest desires (however big or small, or grand or modest), what she would sacrifice almost anything to obtain, avoid, or maintain. If the right desire is in jeopardy, the protagonist should naturally be driven to problem-solve. Characters with strong wants are more compelling. And in reality, we all have powerful wants we house deep within our hearts.

Great stories will test and challenge the deep desires of the protagonist's heart. And if that's not happening, you likely haven't figured out your protagonist's deepest desires or you need to alter the character so that she desires what she desires more deeply. Don't settle on something she kinda wants. Find what she'd be tempted to sacrifice her life for--literally or figuratively (meaning her current lifestyle). What does she want to obtain, avoid, or maintain bad enough, that she'd consider doing things she wouldn't ordinarily do? That's the kind of want you should showcase--whether it be obtaining recognition as employee of the month, avoiding responsibility by taking on a new identity, or maintaining control by offing all rebels.

It's usually helpful to focus on an abstract want--obtain recognition, avoid responsibility, maintain control--that can then manifest into various concrete goals. Most people aren't going to give their "lives" to become "employee of the month," but many have gone to such lengths to obtain recognition; becoming employee of the month is just one way to obtain that. So even if the goal seems modest on the surface, tie it to a deep abstract want. (A bit of a tangent, but it's useful, so I left it in here 😉)

When the protagonist is problem-solving, it conveys to the audience what she cares about. If the rebels are increasing in power, and she doesn't do anything about it, then obviously she doesn't really care about being in control very much. That's not a deep desire of her heart. So we need the protagonist to problem-solve to help convey character.

And finally, if she's not struggling to overcome (problem-solving), she's probably not growing through a character arc. She's stagnant. She's not changing her worldview as she strives for success, nor is she wielding her beliefs, growing in resolve. This can make any attempt at an internal plotline feel repetitive or nonexistent, because the character isn't progressing on an internal journey. She's just stuck in the same spot.

Why It's Important for the Plot

Solid stories will showcase the protagonist's deepest desires, and even if those desires are abstract (obtain recognition, avoid responsibility, maintain control), if the character wants them bad enough, they will manifest into concrete goals (employee of the month, new identity, off the rebels) that have specific plans (show up on time to work, move to a new city, locate the rebels' base).

So the protagonist has a goal. The antagonist opposes the goal.

And since there should be an antagonist for nearly every scene, this means there are problems in nearly every scene.

If the protagonist isn't trying to solve those problems, by adjusting his goals and plans, then it's likely the plot isn't properly progressing. Like I mentioned with the internal journey above, the external journey probably feels repetitive, or in some ways nonexistent. It's just circling the same situation over and over, in the toilet bowl.

If you find yourself arguing against this, then it's likely because another character is the one doing most of the problem-solving, in which case, it's also highly likely that character is the true protagonist, and your "protagonist" is really more of a viewpoint character spectating the external plotline.

The plot needs conflict in order to progress properly. If the antagonist shows up, and the protagonist allows himself to just get beaten, it's not strong conflict. Sure, stuff is happening, but if the antagonist is hammering him to the ground without his resistance, it's not much of a conflict. It's passive victimization. And while that might work in a scene or two, it's not going to hold for a whole story, or even a whole act.

A passive victim isn't a problem-solving protagonist. Obviously.

So, suffice it to say, your protagonist needs to be a problem-solver.

#writing tips #writing tips and tricks #writeblr #writing help #writing tip #writer #writing #writing advice #fanfic #writing reference

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miraculous-ninjabird · 4 months

Text

Musing on this scene and how on a surface level it…doesn’t really make sense. Especially to someone with no prior background to these characters.

At this point in the story we know very little about Dazai’s past and even less about Chuuya. The only things we know for sure are that a.) these two have a shared history, b.) thanks to that shared history, they knew each other very well and c.) points a and b are not good things because they despise each other.

With those three facts being the only things we really know, it doesn’t really make sense for Chuuya to do that. Why would he? It’s fairly humiliating, it’s clear that Chuuya is completely fed up with Dazai’s bullshit, and there is literally nothing stopping him from storming off in a rage. On top of that, the bit isn’t even all that funny.

However, I think that’s what actually makes it an excellent choice because it throws a wrench of sorts in the dynamic that’s been established. We don’t yet know the depth of their connection but this moment right here prompts a halt. It genuinely makes you go. Wait. That doesn’t make any sense. And I think that’s the point becuase in doing that it prompts people to start thinking that maybe this relationship is more than it seems on the surface. Maybe there is more to this dynamic than just jaded ex-partners who can’t stand each other.

When you look at it from that angle, all of a sudden it does make sense. As the story builds on Chuuya and Dazai’s past and present relationship, it only serves to support that first little inkling of ‘maybe this isn’t quite as it seems’

Going back to that scene with the knowledge that their relationship doesn’t begin and end at the surface portrayal shifts the scene from an unfunny, nonsensical bit to a dumb (but important) inside joke. A call and response where Dazai is, in a way, testing the waters. It’s a way for him to get a feel for where he and Chuuya currently stand after a selling separation without having to come outright and ask for it.

Dazai telling chuuya he’s going to act like a rich little princess has no apparent benefit other than Dazai thinks it’s funny. Yet it can also be a way of him asking ‘Hey. It’s been awhile and we’ve both been through a lot. Are we okay?’

Chuuya initially not responding but then later giving in and doing exactly what Dazai wants him to do despite the fact he clearly frustrated by the insistence and humiliated by the idea is his way of saying ‘I’m pissed as hell at you right now. You’re fucking menace. But yeah. We’re good’

And I love that. I love the way the scene is built in a way that so early on establishes that they are not ordinary enemies. I love the way it tells you to watch closely because their bond runs far deeper than you could possibly imagine but you won’t see it unless you look for it.

#bungou stray dogs #dazai osamu #chuuya nakahara #skk #but honestly it’s not even romantic #this holds true regardless of wether or not you ship them #in one way or another Dazai and Chuuya share a deep indescribable bond built on shared experiences and unshakable trust #soukoku

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chirpsythismorning · 1 year

Text

Why I Don’t Experience Byler Doubt

It’s simple. One of the most essential techniques in storytelling: Show, don’t tell.

Show, don't tell is a technique that allows the audience to experience the story through actions, words, subtext, thoughts, senses, and feelings rather than exclusively through the creators' exposition, summarization, and description.

Even more importantly (assuming we want to enjoy ourselves bc this is supposed to be high quality entertainment), it adds drama. Rather than telling viewers what's happening, a filmmaker will use this technique to show drama unfold. 'Telling' is factual and avoids detail; while 'showing,' is detailed and places the human subject at the centre of the drama.

This technique is literally playing out in the narrative when it comes to Mike’s inability to tell El he loves her (or even simply write love Mike in his letters), which he never would have had to tell her (spell out) in the first place, if he had just shown her that he loved her.

It’s no fun having to spoon feed your audience. Instead, it's much more enjoyable for the storyteller to present the truth in the details, even sometimes contradicting very basic assumptions that are being outright told. Hence why, for example, when the Duffers were asked about the Vecna reveal, Ross used the opportunity to go on a mini tangent: 'the best twists are ones that you go, “Oh, I should have seen that coming.” As opposed to the twists that go, “Oh, well that just came out of nowhere.” So, “Oh, I missed these clues along the way.” But you get nervous when you’re writing it because you go, “Well, to me it seems obvious--'.

In fact, Show, don't tell is what largely allows surprise revelations to hide in plain sight. Because obviously, if a writer just tells their audience everything that's happening while it's happening, we would always see what's coming next.

And so the problem I have with downplaying or even completely refusing to acknowledge the importance of Show, don't tell, in the case of Stranger Things especially, is that, in order to comfortably subscribe to what is being told, I have to ignore what is being shown.

We see this play out all the time on Reddit in particular, which if I'm being honest is the only platform at this point that treats mere speculation about Will and Mike's relationship as if it is the end of the world. On the rare occasion the mods don't remove a byler related post, the post is either already negative towards byler or the comments are filled with fury over the poster simply thinking critically by speculating about byler. Even if you manage to get a fan over there in the comments to consider certain evidence pointing towards byler as incriminating, they'll still manage to end it by downplaying the Duffers and their abilities, because 'They're not that smart!'...

They'll ask for evidence, be presented with it, only to insist that it's all reaching because details mean nothing and everything about the show is actually just surface level, ie. it's not that deep.

Without even realizing it, they're low-key admitting that going the byler route would be smart, and yet here they are tirelessly defending a show that, according to them, has shit writers and no deeper purpose. All this does is prove that they are hoping this is the case. Because even despite being presented with strong evidence that the show might very well be epic, they would rather reject it altogether.

They would rather have one of their favorite shows suck and defend it religiously, then consider the possibility that it's good and gay...

Don't get me wrong, there are definitely fans on reddit that don't hate byler. I imagine out of the million in that sub, there's a silent majority that would be open to it. Keep in mind, most fans still active at this point in hiatus are hardcore fans, and so they're obviously opinionated, that goes for everyone on most platforms rn. And yet, I know there are very likely casual fans who are popping in there every now and then, the same people in the majority when after s4 dropped, saw that monologue and said What the actual fuck was that?

There’s a reason no other couple on the show has needed to hear the words I love you to believe it. Well, besides Steve and Nancy…

Because SHOW, DON'T TELL. That's why!

So, what do I mean when I say that Show, don't tell is why I no longer have byler doubt?

It's actually pretty ironic, but basically the moment Mike told El he loved her, that's the moment they showed us that he didn't.

I mean, for starters, how does one go about filming a romantic love confession? Because if we're being entirely serious right now, they made just about every artistic and creative choice possible to go against what a romantic love confession should look like to feel satisfying.

I mean, you'd probably want the atmosphere to be intimate, right? Make the audience feel like these two are the only two people in the room (world) for this moment?

Well, that's not the case for Mike and El, nor is it the case for literally any of their scenes in s4 (arguably a lot of their scenes in the series; Will the wise drawing in El's room, I'm looking at you). Almost all of the scenes with them together in s4 had Will in the background, often times in the literal frame between them. That is NOT how you film scenes for a romantic pairing that you want the audience to root for, from beginning to end.

You guys gotta understand, rewatch value is one of the most important aspects to this story for the Duffers. When talking about the prospects of s5, they mentioned that they rewatched all the Lord of the Rings, saying how important it was, despite what some fans might say about the ending being too long, or this or that, bc to them, it was necessary to watch it all, and to rewatch it and rewatch it, in order to appreciate the entire story as a whole, aka the way it was intended.

If you're a serious about Mike and El as a romantic pairing, but because of the way the show has set up their relationship over the seasons, you can't sit down and enjoy more than a quarter of each season bc they're either separated, broken up, or on the rare occasion they are together and happy, they're accompanied by a kicked puppy in every shot, maybe all of that's for a reason.

And that applies to the scene in Surfer Boy more than any other scene in the show, a scene that is supposed to be Mike's monologue to El... You mean a scene that directly parallels Mike's monologue to Will in s2?

When planning the end of s4, do we think the Duffers just decided they wanted this intimate moment between Mike and El to have Will in the frame behind Mike (visually piggybacking off of him, in an episode titled The Piggyback...) in almost every shot, including when he said I love you for the first time, for no reason at all? Or is it possible there was a reason for it? Just like there's been a greater reason for everything?

Like bro, I'm sorry, but even if what's being told in that scene is relevant, all of it still reads as either a lie, a partial lie, a lie of omission or a platonic truth hiding behind romantic phrasing: I don't know how to live without you = platonic (trauma bond), whereas I can't live without you/I don't want to live without you = romantic. The later is out of desire/want, the former is out of fear of the unknown.

The entire scene the lighting is blinking rapidly. And so the vibe they're going for here is uncertainty, which is quite odd for a love confession that's supposed to feel certain? Then we have El seeing all red the entire time. She's literally choking, hearing Mike struggle to muster up anything that could help her pull through, only to overhear Will calling Mike the heart, followed by Mike finally saying I love you????

And I guess according to the Duffers, nothing says true love like a love confession ending abruptly by a two day time jump...

Oh and how about, instead of them taking the time at the end of the season for El and Mike to have a private moment, where they could finally address their love for one another, let’s have them barely on speaking terms, and the one time they do talk, let’s have it be offscreen and mentioned in a private moment between Will and Mike, who in contrast to Mike and El, we're going to prioritize having a scene with them alone together at the end of this season...

In the last minutes, let’s have El look at Mike and Will, only to avoid them with visible annoyance. And THEN let’s show Mike visibly defeated by El's annoyance, instead prioritizing reassuring Will, aka his friend with whom he shares an I didn’t say it/ You didn’t have to bond...

I mean? Are we just not going to talk about it? The fact that I didn't say it/You didn't have to could pass off as a literal synonym for Show, don't tell...

It just kills me that even with all of that, the Duffers were like, You know what? Fuck it. Let's show them all the endgame couples lined up next to each other, with Will and Mike in the middle and El standing on her own in front of them. If by now they still refuse to consider it, after everything, this ending probably wont convince them anyways, but it makes for great rewatch value...

Seriously, if you're subscribing fully to the belief that what is being told is the whole truth and nothing but the truth (so help you god), then you're having to ignore all of that. And I can't ignore all of that, I just can't. Which makes it impossible for me to experience doubt anymore.

#byler #stranger things #byler doubt #not really #quite the opposite #but i'll tag in case #show don't tell allows you to acknowledge what is being shown AND told bc the truth of what's being told is hiding in the details #that's not the case for people only wanting to believe what's being told bc they're having to completely ignore the details to believe it #like i know for milkvans... byler scenes do NOT work in their favor #whereas for bylers... pretty much all milkvan scenes do work in our favor #and so genuinely i just can't experience doubt anymore #arguing with antis is fun to me #looking at reddit posts is peak entertainment #ppl praying to the gods that ST sucks bc they would rather have that be the case than it be an intricate story with deeper meaning #bc then that would mean all the queer-coding that's been hiding in the details all along was intentional...#there's nothing I can do for ya'll except sit here and watch you unpack that #reddit is going to be quite the spectacle over the next couple years #once byler happens there's probably going to be instant denial #then mourning #then acceptance #or whatever the 4(?) stages of grief are #then they'll eventually get to a point where they will allow themselves to look at the evidence instead of avoiding it out of fear #and that's when it's finally going to hit them #oh my god #it's me #i'm part of the reason they had to water it down #bc even upon being presented with evidence #they rejected it #and now they gotta give credit to tumblr bylers who discovered most of the evidence they've been shitting on for the last few years #honestly i'm looking forward to it

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wistfulweaverwoman · 1 year

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Could you share your thoughts on Madge?

The screenwriters/director apparently felt she was irrelevant, but she must have a deeper meaning to the series, right?

Oh wow, thank you for the question!!!

So yes, Madge's character sure does have a deeper meaning!

On the most surface level of the story Madge acts, in part, as a characterization for Katniss. As we all know, Katniss is a pretty unreliable narrator. She seems to be under the impression that she's just like Gale but here's a prime example of why she's not. Madge is Katniss's only friend, other than Gale. And she's not just a merchant kid, she's the daughter of the mayor. While Gale has a narrow viewpoint and see things much more in black and white(she claims he understands the socioeconomic differences are just the Capitols way to divide 12, but he has a really tough time extending empathy to people he doesn’t relate to, unlike Katniss who is incredibly empathetic when she takes time to put herself in the shoes of others), Katniss actually has a more nuanced understanding about the Seam/Merchant dynamic which later extends to deeper understanding to the other tributes and even Capitol citizens all really just being victims to their circumstances. With the director ditching (mostly, Gale still has a few choice words about merchants) the whole Seam/Merchant narrative her role is vastly diminished.

The pin that Madge gives to Katniss as a district token (and later the symbol of rebellion) is so much more important in the books because of who it used to belong to, Maysilee Donner, who was Madge's aunt (her mom's twin), Katniss's mothers best friend, and partnered with Haymitch in his games. It's most likely Haymitch's own experience in surviving the arena with Maysilee as a team that gives him the idea to partner Peeta and Katniss. Without Madge most of these connections are lost.

In the metanarrative Madge represents a lot more. She, through the symbolism of her name, offers salvation through sacrifice. She gives Katniss the pin:

"His eyes land on a small, circular pin that adorns her dress. Real gold. Beautifully crafted. It could keep a family in bread for months."

And then she basically risks her life to bring pain medicine for Gale, who hasn't been particularly nice to her:

When she opens it, there’s not a squad of Peacekeepers but a single, snow-caked figure. Madge. She holds out a small, damp cardboard box to me. “Use these for your friend,” she says. I take off the lid of the box, revealing half a dozen vials of clear liquid. “They’re my mother’s. She said I could take them. Use them, please.” She runs back into the storm before we can stop her.

Madge (and Mags) is short for Margaret, which is derived from the Greek word for Pearl (pearl is derived from the Sanskrit word for Pure). Peeta and Katniss are Pearls as well, so I'll expand on the pearl theme beyond just Madge.

Pearls themselves are created through sacrifice, traditionally the life of the oyster is forfeit for the gem. In some asian cultures the pearl represented the journey of the soul or spirit along the path to perfection (The Hunger Games trilogy is a retelling of Dante's Comedies- which represents the souls journey towards Paradise- the pearl symbolically represents Katniss’s inner arc). In ancient burials, mourners placed pearls in the mouths of the deceased. Since pearls apparently contained the principles of life, they hoped they could assist the dead on their journeys beyond. Mourners also decorated burial gifts and clothes with pearls.

Pearls are mentioned a LOT in the books. Here's a few quotes:

‘Well, if you put enough pressure on coal it turns to pearls!’” Effie beams at us so brilliantly that we have no choice but to respond enthusiastically to her cleverness even though it’s wrong.

He unzips the bag, revealing one of the wedding dresses I wore for the photo shoot. Heavy white silk with a low neckline and tight waist and sleeves that fall from my wrists to the floor. And pearls. Everywhere pearls. Stitched into the dress and in ropes at my throat and forming the crown for the veil.

As coal pressured into pearls by our weighty existence. Beauty that arose out of pain. Peeta rinses the pearl off in the water and hands it to me. “For you.” I hold it out on my palm and examine its iridescent surface in the sunlight.

I sit back on my bed cross-legged and find myself rubbing the smooth iridescent surface of the pearl back and forth against my lips. For some reason, it’s soothing. A cool kiss from the giver himself.

Katniss putting the pearl to her lips as both the mourner and the dead. We can actually infer that the pearl is a placeholder for Peeta.

But what exactly does the pearl represent beyond the obvious? There's the biblical symbolism and then there's literary symbolism.

There's a ton of Christian symbolism in these books, probably the most obvious being the Christ-like sacrifices that Peeta makes, he sacrifices his body to provide the life saving bread, and again in the arena which after spends three days in a cave, followed by his resurrection. The trilogy follows the Divine Comedies, Katniss as the heart and caught between Gale (the body) and Peeta (the spirit).

You shall bring from your dwelling places two loaves of bread to be waved, made of two tenths of an ephah. They shall be of fine flour, and they shall be baked with leaven, as firstfruits to the Lord.

Above from the Bible, below from The Hunger Games

It was the boy. In his arms, he carried two large loaves of bread that must have fallen into the fire because the crusts were scorched black.

Below is a quote from the Bible (Revelations) describing the 12 gates of Jerusalem. It could be written off as a coincidence, 12 gates, 12 districts, except that the 8th gate is the Cotton Merchants' Gate, which correlates to District 8, which is the district that manufactures textiles and uniforms.

And the twelve gates of the city were twelve pearls; each single gate was made from one pearl. And the street of the city was pure gold, like transparent glass.

In literary symbolism Pearl, (the daughter of Hester Prynne in the Scarlet Letter), represents several things. Pearl was the physical manifestation of Hester's sin (adultery), the pregnancy therefore making it apparent she had sinned. At the same time Pearl was a blessing, as without her she would have most likely committed suicide.

“… Had they taken her away from me (Pearl), I would have willingly gone with thee into the forest, and signed my name in the Black Man’s book too, and that with mine own blood!”

This is similar to Katniss's thinking at the beginning of Mockingjay

Peeta. If I knew for sure that he was dead, I could just disappear into the woods and never look back.

Below is a quote from the end of The Scarlet Letter:

"Pearl kissed his lips. A spell was broken. The great scene of grief, in which the wild infant bore a part, had developed all her sympathies; and as her tears fell upon her father’s cheek, they were the pledge that she would grow up amid human joy and sorrow, nor forever do battle with the world, but be a woman in it. Towards her mother, too, Pearl’s errand as a messenger of anguish was all fulfilled."

And another quote from the near end of Mockingjay:

I lean in and kiss Peeta full on the mouth. His whole body starts shuddering, but I keep my lips pressed to his until I have to come up for air. My hands slide up his wrists to clasp his. “Don’t let him take you from me.” Peeta’s panting hard as he fights the nightmares raging in his head. “No. I don’t want to . . .” I clench his hands to the point of pain. “Stay with me.” His pupils contract to pinpoints, dilate again rapidly, and then return to something resembling normalcy. “Always,” he murmurs.

I delve a bit into the Divine Comedies in this post.

#anon ask #madge #madge undersee #pearl #devine comedy #mags #wistfulweaverwoman

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