#still invested in the story itself and ignored everything shitty about it
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Let Shang Qinghua be arrogant about his writing skills
Say what you want about the plot and formatting of PiDW but let it not be said that this man did not keep millions engaged enough to follow a a story. He wrote something that was compelling enough for people to keep paying it for his work. Plus that 10k+ words a day that he wrote.
Give him some credit. He wrote a shitty novel but it was somehow good enough for millions to read it daily. Despite everything. Man needed an editor because he's story telling abilities were top tier.
If you want to compare PIDW to twilight just remember that twilight engaged thousands into reading it. Broke up friend ships over two characters and was adapted into a several movies.
PIDW may have been shit writing but it was engaging enough for it Shen Yuan to stick around if only in the hopes that it would get better.
#svsss#Shang qinnghua#he may be a poor writer but his ability to story tell was god-tier#svss is based on pidw and the world of svss is sooooo fucking intresting#pidw is interesting#pidw is comparable to twilight#..yes and?#you still payed for both#still invested in the story itself and ignored everything shitty about it#I've read poorly formatted crap simply because the story was interesting enough for me keep reading#bamf Shang Qinghua
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Quick little rant y'all can ignore (I just love ranting too much)
Unpopular opinion : it is NOT to be a hipster or to be like "I'M NOT LIKE OTHER GIRLS~" but very often either I will hate or just not be interested to watch at all the newest Tumblr fandom. I really feel like a Tumblrite but sometimes it feels like I just can't enjoy or be hyped by whatever the others are hyped with without doing it on purpose, as if we have nearly no common taste. I mean sure we all are unique and loving everything others we do is boring and impossible and would prove the person is shallow and can't be true, but just, absolutely nearly every big Tumblr fanfavorites annoys me
Superwholock ? Sherlock was nice but not THAT nice and the others never interested me. HH/HB ? Loathe the characters and story. Lackadaisy ? Don't understand the hype. Nimona ? Don't care. She-Ra ? Hated it. The Owl House ? Can't stand the posts on my dashboard nor the charadesigns. Centaurworld ? I know it is one of those things that look lame in the trailer but from what I got gets deeper, but I saw it being so much overhyped I can't. Green Eggs and Ham ? Ugh couldn't it have just been the old cartoon ? Arcane ? The more people said it was revolutionary the less I wanted to check it out. SU ? I used to love it but then it betrayed me with how badly written it endes up to be. SVSFOE ? Except one or 2 arcs it was not my type and the ending infuriated me. Ducktales ? Only season 1 was good to me. Miraculous Ladybug ? It broke my heart so fuck you show. Encanto ? "Narcissic families are ok and misunderstood if they are pretty". Wendell and Wild ? The demons did look interesting and I was curious for them but sadly the main character is insufferable and Idgaf she is sad she is still an asshole but gets away with it. Wednesday ? Tim Burton understood NOTHING avout the Addams Family and flanderized Wesnesday. HtTyD ? Should have been a standalone. LOK and to be fair ANYTHING coming after ATLA books comics and upcoming series included ? Burn em to the ground. Rise of the Guardians ? Seriously the animation is gorgeous but you have the blandest plot and characters ever but everybody calls it original and groundbreaking wtf ?! Arlo the gator boy/I Love Arlo ? Ew it looks ugly as fuck and I am VERY wary of titles that self congratulate (coincidently the Lou! franchise became very shitty when it was renamed into I Love Lou Very Much so it ticks me off) makes me wanna do the contrary and hate Arlo. Carmen San Diego ? Didn't care. The Cuphead Show ? Only season 1a is good 1b and 1c are shit but because "gae devil" everybody loves it holy shit the game is better. Frozen 2 ? Admit it, you liked it ONLY because you see Elsa like a lesbian and wanted to go "HAHA GET FUCKED" to Let It Go. AND DON'T GET ME STARTED ON LIVE ACTION REMAKES
Some I even actually just didn't dislike it or care at first but it was seeing all the excessive posting and love for it despite 1) not wanting to watch (I love Arlo, never I wanted to kill a gator child so much force of seeing him on my dash) and/or 2) seeing legetimate problems and flaws and yet everybody ignoring it (Encanto, I hated the end but I did like the movie itself but seeing everybody justifying the end made me loathe it) it turns into hate. But some I hate from the start but seeing everybody love it anyway makes me wonder if at that rate the problem is me and I nitpick too much or of course like everyone I just have my own tastes and what pops up on my dash is not a reflect of universal taste ?
But I often call it a curse because everybody seems to have fun and it's as if I am doomed not to like and it looks like what the audience usually loves is just not my type, which sucks because I don't have many people to vent about it, not many people to gush about the obscure things I love because I am cursed to really invest myself in old fandoms I only find about now or stuff that don't even interest much people but fit my specific niche tastes, dashboards flooded with "OMG GUYS WATCH IT IT IS *SO* IMPORTANT AND THE BEST EVER" making me want not to whereas only 3 likes on posts of franchises I love that are barely known or loved... Probably why I have so many obscure fandoms actually. I am SURE it is subconsciously why I wanted to give a chance to Elemental and Avatar 2 since nobody talked about it in good or at all here !
I am not even sure and just like me those who love these franchises and are part of these fandoms must just have their own specific intersts peaked of course and if so it is absolutely alright ! But often I see they all have a pattern and I feel like, like when I ranted in my posg that defends Elemental, that they will love it and adore it just for ONE element not matter the rest hence why they only talk about that one element that irritates me when I am flooded in posts praising it but really it is just that element. "Omg so much representation" ok cool what is the plot "it is a trans allegory" yes but more precise ? "it is so GAY (affectionate) and girl power !!!" yes but ? The characters ? "Oh the characters are minorities some are LGBT half are POC and some even have a disability and they fight heteronormativity and traditional beauty standards" ok ok I GOT it but what are they like as people !?! "there is a canon gay ship in it I love them little blorbos" I DON'T GIVE A SHIT DAMMIT WHAT IS THE PLOT AND HOW ARE THE CHARACTERS "also it has a varied cast and is made by minorities and women !" Ok bye now I won't be able to help but see it being loved only because of those and not for its story and it will make me bitter about it as if there is nothing else but that to defend because it implies the scenario itself isn't that special for people to only talk about the Christmas present package rather than the content
It is very occasional I will actually get curious because it IS my type thanks to Tumblr : WOY, Pinky and the Brain Undertale, Good Omens, TDC : AOR. It needs to strike a sort of special chord in me to go "uh !?! A modern cartoon that feels like an old cartoon with funny designs and animation and funny characters !??! Uh !?! 2 gay mice that were probably not meant to be gay but they accidentally cracked many eggs in their portrayal and to think I was not interestee when I thought Brain was bidimensional and didn't give a shit about Pinky like I thought ??! Uh !?! Fun skeletons and a macho fish woman with cute pixel style !? Uh !?! Angel and demon are friends and were on Earth for years looking for a kid !?! Uh !?! In that prequel it shows one reformed Skeksis being actually good helping Gelfling and in a relationship with his Mystic ??!" And other Tumblr favorites I loved like idk FNAF, MLP FIM, Spiderverse, Puss in Boots 2, The Bad Guys and usually in general most popular big studios block buster animated movies I loved and others did were stuff I found by myself which Tumblr just coincidently did too so it doesn't count. Some I even discover them years later when the hype died down and nobody speaks about it anymore (reinforcing my idea that IS probably wrong that they don't even really love it but just go "OO SHINY" when something is new and pretty) that I can notice and love years later or at least late a franchise, like I don't wait on purpose I just really discover it at this moment or something peaking my interest only happened recently or peaked my attention now
Those aside most of the time I will really not be interested, a third of the time because "I am told to so I don't wanna" and it has to be myself or it will feel like a chore like when I am recommended stuff IRL I will actually postpone even if if I had not been recommended I would have started watching it earlier (I heard from a friend this looks like a symptom in a type of neurodivergence but I AM NOT SURE), a third of the time it really doesn't look or sound like my type of story at all and I keep wondering why there is nothing new for me and why everybody is so hyped by it, and a third I actually give a try and I end up straight up hating it or just finding it meh and overrated. I just need to find my own fandoms myself, even if they are obscure, that spark my interest, hoping they don't become bad in the end (SU, Ducktales, the Cuphead Show, Miraculous Ladybug etc. Sigh) which happened too many times already and makes me even more wary force of experience about what is popular since even when I myself find it becomes shit people still love it. And of course they totally HAVE the right to never would I harrass and police what people have to like and dislike, but it kind of feels lonely at times and sometimes it makes me think if something is wrong with me not to enjoy what seems to be enjoyed by everyone else and if it is my fault ; and thinking that even makes me anxious and guilty feeling like I am ranting for nothing and people will think I am an attention seeker making me even more gjulty and so on which becomes a vicious circle with my anxiety
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Tangled Salt Marathon - “Rapunzel Knows Best!” ( A first half of S3 Recap)
So I decided to place the recap after Be Very Afraid for several reasons. For starters it’s where the season three hiatus took place. It’s also framed like a cliffhanger episode the same as The Great Tree and Queen for a Day; so while Cassandra’s Revenge is technically the midseason finale, Be Very Afraid functionally servers this narrative purpose better. Finally I want to keep the Cassandra heavy stuff contained in it’s own recap later same as I did for Varian’s arc in season one.
Also keep in mind, everything I discussed in previous recaps still apply here. Nothings changed and you could argue that the issues I bring up now could have also apply to past seasons; they just happen to be at their worst here.
Here are the past recaps
To Filler or Not to Filler
Hey, What Ever Happened to That Varitas, Guy?
What Is the Point?
‘Whatta Twist’
And here are the episodes that’s covered in this recap
Rapunzel’s Return Part 1
Rapunzel’s Return Part 2
Return of the King
Who’s Afraid of the Big Bad Wolf
The Lost Treasure of Herz Der Sonne
No Time Like the Past
Beginnings
The King and Queen of Hearts
Day of the Animals
Be Very Afraid
Poorly Defined Conflicts
I’m not just talking about Cassandra’s lack of goals here either, though that is a part of it. I mean in several episodes the central conflict isn’t laid out clearly enough before being resolved. We flip from one set up to the next without ever resolving the first; like in Rapunzel’s Return when Cass and Varian fight for screen time or whenever Rapunzel is suppose to learn one lesson only for someone else to learn a completely different lesson in every other episode. And to this day I don’t know what Rapunzel and Feldspar’s subplot in Lost Treasure was suppose to be about.
There’s also of course the ill-defined overall conflict; which at this point has become convoluted and nonsensical to the extreme, and will only grow more aggravatingly stupid as the season progresses. The main villains lack clear goals, their motivations don’t align with previously stated facts, and the actual interesting conflict involving the threat of the rocks and their destruction of people’s lives and homes is just shoved under the rug and forgotten about.
There is no story without conflict. Having the conflict be all over the place is not only confusing but makes it harder for the audience to invest in what’s going on.
Failed Narrative Promises
Tying in with the above statement regarding conflicts, we have failed narrative promises. Rapunzel is repeatedly told to that she needs to learn something in several episodes only for her not to learn it at all. She either learns some unrelated ‘lesson’ that wasn’t established, (like in Rapunzel’s Return with her pervious goal about ‘opening up to others’ being switched out for a generic ‘responsibility’ lesson that at the last minute, where she doesn’t even do anything responsible,) or she winds up ‘teaching’ the opposite lesson to a different character thereby rewarding her for her bad behavior.
And that’s just within the induvial episodes themselves; there’s also broken narrative promises through out the overall story arc; like...
no justice/redemption for Lady Caine,
no acknowledgment that the Saporians are the victims of colonization
no conclusion regarding Corona’s murky past
no satisfying ending to Varian’s plot that sees everyone in involve grow
a poor copout of an explanation for Cassandra’s face/heel turn
The Dark Prince reveal going nowhere
The Brotherhood being put on a bus
King Frederic, or any royal, not being held accountable for their past actions
Lance’s new found responsibilities just being thrown away for the tenth time
The Disciples plot being being dropped
next to nothing in season two winds up being relevant
And Rapunzel, the protagonist of a coming of age story, fails to learn anything at all
I could probably go on but you get the gist. Tangled is incredibly frustrating show to watch because doesn’t deliver what it promises. You’re not being clever by ‘subverting audiences expectations’ unless you can justify your narrative decisions with previous set up. Tangled is too lazy to build proper set ups so it’s ‘twists’ leave you wanting to punch things rather then impressing you.
Character Assassinations
Every single character in Tangled the Series gets thrown under a bus, driven off a cliff, and then allowed to drown in the ocean of their completely unaware self-congratulatory smugness.
Rapunzel is turned into a bully
Cassandra is given the idiot ball to hold permanently
The King and Queen are lobotomized
Quinin gets replaced by a robot
The rest of the Brotherhood are pale shadows of what they could have been
Edmund is transformed from tragic complex figure into a dumb jerkoff who abuses his kid for a laugh
Zhan Tiri, once an ancient demon warlock, is reduced to a floating impotent ghost girl
The Saporians become poor hipster parodies
Cap is put on a bus
Any villain who isn’t Cass is gets ignored
Lance is infantilized to the point of absurdity
Eugene becomes a doormat
and poor Varian is forced to become a complacent victim to his abusers as oppose to being allowed to keeping his dignity
I think the only person who escapes this mass murder of characterization is freaking Calliope, and she’s hasn’t even appeared yet! (Well okay her and Trevor, maybe)
This all ties back into the poorly defined conflict and failed narrative promises. Rather than let the characters drive the story, they’ve become puppets to the plot, and plot is really stupid and forced, and circles back in on itself and is full of contradictions.
Manipulating the Audience’s Empathy to Do the Work for the Writers
The reason why the creators believe they can get away with such poor characterization and lazy writing is because they expect the audience to do all the heavy lifting for them.
Cass isn’t given an on screen reason for what she does because they’re hoping her fans will just automatically excuse her because they like her/relate to her and not, you know, get mad at the writers for dumbing her down. And after all who doesn’t love the creator’s pet? Meanies! That’s who!
No one calls out Rapunzel’s bullshit on screen, because if everyone likes her, then you, viewing audience, should too. Because if you have any sort of independent critical thinking abilities and a sense of right and wrong then clearly you’re ‘just a hater’.
Everyone should just shut up and be satisfied that Varian is even on screen now and be grateful for the scraps that they get cause he’s not the real point of the show and according to Chris ‘Varian fans aren’t real fans’. Even though they make up most of his viewing audience.
I could go on, but it’s just variations of the above. The writing in this series is very fond of gaslighting the audience and trying to trick them into justifying the absolute worst behaviors while desperately hoping they doesn’t noticed the continued downgrading and dismissal of characters they do like or once liked.
And the sad thing is, it’s worked. There are people to this day that still try to justify this show’s shitty morals and bend over backwards to excuse the likes of Rapunzel, Frederic, Cassandra, and Edmund. Worst, there are loud sections of the fandom, (usually on twitter) who think bullying is okay and follow in Chris and his characters footsteps. Most of them young impressionable girls who are now ripe for TREFS to indoctrinate because they use the same bullying tactics and excuses for authoritarianism.
Media does effect reality, but not in the way purists and antis would have you believe. No one is going to become a violent manic from playing a video game nor a sex offender because they read a smut fic. But they very much will conform to toxic beliefs if it’s repeated enough at them by authorities they ‘trust’; like say the world wide leading company known for family entertainment and children’s media, and the ‘friends’ they find within the fandom for said company...
I’m not saying you can’t enjoy Tangled the series or that you’re some how wrong for liking it’s characters, nor do you have to engage with every or any criticism thrown it’s way. But yes you need to think about the media you consume on some level and valid criticism is very much important to the fandom experience for precisely the above reasons.
Conclusion
This isn’t even the tip of the iceberg of what’s wrong with this show, but it is most of its biggest problems laid bare. Anything that haven’t covered here or in the past recaps will be explored in the final recap. Cause this is it folks; the last leg of the journey for this retrospective. When come back, hopefully next week, we’ll tackle Pascal’s Dragon.
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"writes dubcon therefore is a freak who should be bullied off the site" ho boy i'm fed up with people acting as if consenting adults writing [insert "problematic" fictional thing here] is the worst thing in the world. seen way too many people justifying harrassment of REAL PEOPLE by "they write thing that triggers me". ok, and? mute the tags or don't follow! "it triggers someone" is not a valid reason to ban a topic. piano music triggers me yet i don't go around demanding everyone stop playing the piano.
Anon, not only is everything you said absolutely valid, but also, thank you for demonstrating that triggers are incredibly varied and as such, we cannot predict everyone's triggers. Making the entire "point" of banning for possible triggers invalidated as hell.
We should be aware of things like the most commonly occurring phobias (things like arachnophobia and coulrophobia that are, additionally, easily triggered by imagery) and tag them. We should be aware of very obvious triggers, that are, again, easily set off by imagery, like blood, eye trauma, and depictions of domestic violence. And we should always read and be aware of our writing partners' stated triggers so that we can tag them appropriately or even decide that it isn't going to work because our muse, canon story, or interests are going to present an unfair situation in this partnership.
But triggers can be highly unusual, as well as activated differently (even at different times) for everyone. I'm not triggered by seeing hotel rooms in pictures or movies, I'm not triggered by writing scenes that take place in them, but I'm triggered to some degree by being in one. It's outrageous oversimplification to act like all triggers are the same, they all display the same way, they're all going to trigger someone on the same basis, everyone's going to react the same to their triggers. There is absolutely no way to prevent 100% of possible triggers for 100% of the population, 100% of the time.
Add to this that way too many people trivialize triggers by throwing around that term to justify the banning of something that makes them uncomfortable or that they take a personal, moral issue with. "I don't like this" and "I'm grossed out by this" and "this makes me feel uncomfortable" is not being triggered. It's just a good way to weaponize the better nature of other people so that they comply.
Most people legitimately do not want to trigger someone, especially if they have triggers and know what it's like. Just like no one wants to be accused of cruelty towards trauma survivors in general, or be designated a pedo, rape apologist, or fascist. They're all things to weaponize in order to isolate, shame, and control. And that's really fucking gross. These are serious, real things that have no business being trivialized to police content, win internet arguments, or garner popularity.
The potential for someone to be triggered isn't a reason to ban anything; we have tags, we have blacklist.
While I'll be the first to say that tumblr's blacklisting can be as shitty as everything else on the site, the primary issue with running into content you don't want to see comes down to two factors: no one tagging/tagging correctly and actively exposing yourself to that content. Going through people's properly done tags and blog warnings about their content in order to "call it out" is actively exposing yourself by choice. You actual walnuts.
Calling people on on their "problematic" content is bringing those topics to the attention of other people. That's the whole point of this gross behavior: look at the freak pedo abuse apologist I found, they write dubcon!! Don't look if you'll be triggered uwu
Buddy, pal, my guy...you just put that on blast for anyone to run across. Maybe their blacklist catches those words in your callout post, maybe it doesn't. Maybe they think you're a safe space because you promote yourself that way, so they click it anyway. Point is, you just willfully and irresponsibly exposed people because it's more important to you to demonize a rando on tumblr RPing something you take issue with. Good job!
Furthermore, dubcon itself is such a hilarious issue to take. Do they realize that isn't always sexual, or? Not? I'm thinking not. Funnily enough, one of the oldest posts I've been working on for this blog is about exactly this topic, the myriad situations that are dubious consent. That doesn't have to be sexual, and neither does it have to be intentionally predatory. You can come up with some amazing character development with a lot of muses in the RPC with dubcon because almost everyone's muse has some manner of trauma that might negate their perception of their own consent...and what do you do then? Is it removing more agency from that muse to shut them down, or is that always the better option? Can you separate your opinion as the mun from your muse's natural reactions? How does this impact the muses involved not just that moment but the next year?
Point is, dubcon isn't always some rapey situation. Even if it was, even if someone is writing it that way, it's literally not your business or your problem.
There's one mutual-in-law on my RP blog that really bothers me. They write things that I find fetishizing, incredibly rapey, all around shit that bothers me. I don't want to see it, some of the things they write makes my damn skin crawl. This person doesn't know it, we certainly don't speak and I don't think they like me very much, but I've repeatedly defended their right, specifically their right as a person with some long-term callouts on them, to write what they want to. I have them blocked and their urls blacklisted so I never have to see my mutual reblogging their threads. It's not a problem because I don't click "show anyway." Why would I, if it genuinely bothers me so much?
That's how you handle things that bother you; you use the tools available to not interact even by accident. Not by launching a morality crusade.
If any of us want to write what we enjoy, we have to allow others that same freedom. It's always a matter of time before this policing grows to include more and more topics, it's been used multiple times to get well-meaning people who don't fall into the general demographics to police queer, BIPOC, and other marginalized groups off of platforms. We've been fortunate in most of the RPC that it implodes on itself before it gets all the way there, but even so, you can see it.
It starts with things that produce a visceral reaction in the great majority of people, positions this with a repeatedly condemned idea presented as solid fact that fiction is reality, and you've got the start of something awful. Today it's something you don't like, maybe even something that triggers you, so you either support it or you quietly allow it to happen. Who needs to write that "freak shit" anyway, can't they just be gross privately? Six months from now, it's something "problematic" that you enjoy like violence that's canon-typical for your muse, or your OTP because they're gay and that's fetishizing, they're cis male and female but one or both is bi and that's bad representation, or they canonically have a rocky relationship so that's romanticizing toxic/abusive relationships.
If you can't care for any other reason, you really should care about how it is going to impact you sooner or later. In an environment like this, you can stay in your space, put warnings on your blog, and tag properly and you're still going to get a callout if the wrong person finds your blog. Just takes a single person with more time, energy, and skewed ideas of justice than they have reading comprehension or common sense.
Again, I cannot encourage people enough to give warnings, but it's difficult to ignore why those warnings are slipping; they're a way to be found, designated as a Problem, and called out. Look, it's another reason why callouts actually make things worse, not better! People put that shit in their rules so you can avoid content, they're being responsible and interested in promoting a safe RPC. Let them do it, damn.
You can't tag everything, and if you've never experienced what a giant series of repetitive tags is like on a screenreader you probably should before you tag seven paragraphs of possible issues. You can tag for visuals, you can tag for the obvious things, and you can tag for what's in the rules you agreed to when you followed/followed back. But you should also warn people that you write "dark topics" on the tin, and expand on that in your rules for specific things like graphic violence, toxic relationships, dubon, and addiction.
That's how responsible adults, not over-aged children, make better decisions about their mental health and general comfort. Not by appointing themselves the watchdogs of the damn RPC, here to protect you whether you want to be or not, find that incredibly insulting or not when you're in one of their categories of people who must be protected, by forcibly banning Problematic Everything. Problematic, of course, being entirely in the eye of the content police.
It's fiction. No one and nothing real was harmed. It's great that you are so invested in the fictional world and people that make you happy, but take a fucking big step back into reality. The real people you're harming with your bullshit had every right to peaceably exist. If what they're writing is triggering to you, stay. away. from. it.
Without any coincidence whatsoever, that's how you get from the base-point of Problematic Material to Problematic Mun. Yeah, it's just fiction, it's just RP, but I also took something out of context OOC or was upset by their tone on their own blog or couldn't exercise the minimal adult logic to remove myself from their presence OOC as well. So, now, you've got OOC behavior being added to the callout, if it wasn't already. Everyone is now ableist, transphobic, racist, and a misogynist because it lends that visceral reaction to the callout and ups the game from just being "y'all so gross you aged up a cartoon character to ship" to "this is REAL and it won't be tolerated! OP is actually a pedophile, they told a sexual joke in a discord server with a minor present and I have the receipts!"
What are the most storied callouts in the entire RPC? I'm absolutely certain the same names came to mind no matter what fandoms you're in, and one of them was "Matt." Another was probably "Ares/Snow". They're all successful and keep being brought up out of the closet anytime people are bored enough because their primary punch is the mun themselves being a predatory threat to the community. The mun is verified to be a bad person. Well, of course, that's got to be repeated, it worked. (Even if it did not, at all, work and only made it harder for people to avoid any of these muns.)
Are there people in the RPC who are legitimately a problem? Absolutely, yes. We're all supposed to be adults, however. Part of being an adult is having and acting upon one's agency. If someone is coercing you into things you are not comfortable with, shut it down. If you have difficulties being certain of those situations, run it by a trusted, honest friend or available, impartial source in the RPC for a second opinion. If you can't handle any manner of confrontation, there really are situations in which it's perfectly alright to block someone without any discussion. It's just the internet, you're in control of your space. Own it.
Minors are a whole other can of fucked up worms I'm not even getting into right now except to say that because a minor exists in a space they were told to stay out of does not mean we ban all topics inappropriate for their consumption.
tl;dr: banning shit doesn't work anyway, the whole idea is predicated upon some incredibly problematic takes IRL, and no, there's no justification for it outside of intense personal problems with one's own importance. That energy would be infinitely better spent volunteering one's time to help real people in crisis or after surviving one, or even oneself in developing some healthier approaches and thought patterns.
#hey what if we all start saying we're triggered by callout culture is that bannable then lmao#vespertine#drama cw#bsnf#callout culture#tumblr rpc#rp problems#also thank you again anon I hope you're having a great day!
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I just want to enlighten the correct anon: bulk-buying cards was ALWAYS an issue. Before it was the rich kids, now it's rich internet stars (with internet making it into An Issue TM). That hasn't really changed, cause people are shitty when it comes to limited collectibles that can only by completed by select few. It's not a fair comparison. [Also, this argument kinda reeks of 'if you're adult you can't enjoy kids stuff, cause you're takin it from the actual kids'. Which is a bad take.]
I really don't know anything about the trading card scene, but yeah, as said, I think there are a couple different conversations going on in those asks. Discussing adults getting into cartoons is not the same as discussing adults invested in reboots of their childhood cartoons is not the same as someone buying up cards rather than collecting them "correctly," etc. The topic of adults interacting with kid's media is a hugely complicated one, as my own example of Cruella exemplifies. Is that even kid's media anymore? Where are we drawing this line? Who knows.
As for the question of adults enjoying kids stuff in general, I honestly don't think that's the angle the previous anon was intending to take. Their own interest in these franchises speaks to that. More importantly, I do understand the general phenomenon they're describing. Easiest (and perhaps most extreme) example I can give is that of the brony fandom. The issue there is not, and never has been, grown men getting invested in a children's show about ponies. The issue is not adults like the kid thing. If anything, the start of that movement had some really fantastic undertones: look at these grown men rejecting assumptions about masculinity and wholeheartedly embracing something society tells them it's embarrassing to like! So, on a surface level, that's great. I wholeheartedly support it. But it's just that: the surface level. Dig deeper and you find all the troublesome ways in which this interest has been expressed, from sexualizing the characters to outright Nazi propaganda. The conversation then is not, "Men can't enjoy My Little Pony" but rather, "At what point is My Little Pony, the fandom, largely inaccessible to the people it was created for: kids?" Now, a conversation like that is wrapped up in the issue of fandom itself and whether kids should even be in online spaces that are, well, sexualizing everything. But it's still a question to tackle. What do we do when kids can't google their favorite character without encountering porn? Can't attend a con without adults yelling at them over certain preferences? When adults become furious that such-and-such dark/gritty/romantic/nuanced thing didn't happen in this cartoon and other people have to remind them, "Hey... this is written for ten-year olds."
Those questions do exist and they are important but, as said, I think they're largely outliers. Adults get invested in kid's media the same way kids get invested in adult media and 99% of the time that's totally fine. If an adult tweets out, on the adult website Twitter, to their adult audience, how upset they are that the latest cash-grab (or copyright renewal) messed with a beloved franchise... that's not hurting the six-year old who is still going to happily see the next movie with their parents, ignorant of the drama. These are really questions about online spaces. Questions of accessibility. Even questions about how we respond to that ignorance in children: they don't know that a lot of the old Disney films are horrifically racist, so what are we, the adults, going to do about that? One answer might be ensuring that racist content doesn't worm its way into future works and that requires, well, being invested in that work. Or at least what it represents. For every "It's just a kid's story" I've seen in response to someone actually getting unreasonably upset over a story not written to their adult standards, I've seen triple that in response to someone getting upset that the kid's story they either enjoy themselves, or know their younger loved ones enjoy, is imparting some really messed up messages. Sometimes investment isn't just "I like the story" but is something along the lines of, "I like that this cartoon has queer rep in it and I'm determined that the insane struggle the writers had to go through to secure it doesn't continue into future shows." Adults write these cartoons. Adults invent them! How can we not be invested?
So there are a lot of moving parts here and, yeah, sometimes it's just a 40yo throwing a temper tantrum that the show aimed at 5yos didn't meet their specifically adult standards. But usually there's more than that going on and the response, "It's a kid's show. You shouldn't care" is never the right answer. We have kids of our own, we care about society, we grew up on that story, we study these works, we want to write them ourselves someday, we just like the cartoon... there are a hundred reasons why an adult might be invested in something aimed at kids.
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it’s 1601, how many shakespeare plays have they seen by this point? this is post- titus andronicus, romeo and juliet, richard ii, a midsummer night’s dream, much ado about nothing, the comedy of errors, and several others. they may or may not be strict followers of shakespeare’s work, may or may not have seen every one of his plays, but they’ve certainly seen enough - enough for crowley to have a preference, enough for aziraphale to be invested in this play becoming a success.
crowley “prefers the funny ones,” he says, and it’s hard not to wonder why, but it’s not hard to figure it out. crowley is fundamentally an optimist, and that doesn’t necessitate a partiality toward happy plays, but it says something for crowley’s preference. because for someone like crowley, someone with his experiences, to still be an optimist after 5600 years on earth, he has had to put up with a lot of tragedy. he can’t ignore it and he can’t deny it, and he’s meant to cause it, he’s meant to be proud of all that suffering.
and, okay. aziraphale is a lover of literature. aziraphale appreciates language and the art of the theatre and he appreciates a play for being a play. he likes it for the acting and for the words and for the experience of the play itself. he likes being a part of an audience - an audience as an entity, an audience as a living thing, an audience as a character in the play. he likes participating and anticipating and encouraging. this all makes sense, for him, and it all explains why he loves hamlet.
and aziraphale’s optimism is a different type of optimism. aziraphale’s optimism is an utterly fantastical belief in the power of good: that virtue will always beat out sin, that heaven will always triumph over hell, that hamlet can pull it together and make this tragedy something other than what it is. crowley’s optimism, on the other hand, is an optimism that says shitty things will happen, will always happen and will keep happening, but in between the shitty things, there’s love, there’s joy, there’s hope.
with that said: why would crowley want to seek out hopeless, tragic fiction? doesn’t he get enough of that in the real world? crowley has seen so much calamity and tragedy; he’s seen the flood, the crucifixion, he’s seen the fourteenth century and the inquisition, and he’s seen hell, and he’s seen it all without the clouded vision that aziraphale’s denial affords him. he knows suffering and cruelty and horror, and he doesn’t need or want to add onto it with his leisure activities, as well.
it makes sense for crowley to prefer comedies, especially given the selection of plays he’s likely seen. take romeo and juliet, for example, in contrast with much ado about nothing. two plays where opposites attract, where the main couple love each other in spite of themselves, or in spite of their nature, or in spite of propriety. crowley is strikingly aware of where he and aziraphale stand, he always has been; he knows how he feels and he knows what aziraphale thinks and he knows he’ll have to pull teeth to get aziraphale to even admit to a soft professional association.
so why would he want to put himself through a play where the star-crossed lovers die at the end? why wouldn’t he prefer the one where the lovers start off antagonistic and then get a happy ending? if he can’t have a happy ending for himself, the least he can do is go see a show where he can pretend for a few hours that it’s possible.
and then take richard ii, a story about a man who has everything, who somewhat willingly gives it all up, only to die soon after. being an angel isn’t like being a king, but honestly, where does crowley see himself in that story, if not in the man who tried too hard to please everybody and ended up murdered for his efforts? crowley, who didn’t fall so much as saunter vaguely downward - can he not be said to have given up his throne, as well?
and then there’s hamlet. the “to be or not to be” soliloquy is so culturally ubiquitous that it almost loses meaning when taken out of context, like in this scene in the show, but it’s also a sterling example of the themes in the play that would be upsetting to crowley. he’s a demon, he’s immortal, he’s an optimist - how could he enjoy a play that so openly addresses death and the afterlife, suicide and religion in the ways that hamlet does?
the problem with shakespeare’s “gloomy” plays, for crowley, is not that they’re depressing in a general sense, but that they’re achingly real for him. crowley can’t hear “deny thy father and refuse thy name” without hurting for aziraphale’s refusal of their profound connection. crowley can’t hear “there’s the respect that makes calamity of so long life” without hurting for immortality, for watching everyone around him die, for knowing what comes after death and knowing that he can’t help any of them. crowley can’t hear “cover your heads and mock not flesh and blood with solemn reverence” without hurting for the useless hierarchies of heaven and hell, and the humans who mimic them so perfectly, and the unfairness of who lives and who dies, who rules and who is ruled.
crowley doesn’t find joy in a play where everyone dies at the end. crowley goes to the theatre for an escape, to live out a fantasy, and that fantasy is happiness. he appreciates the artistry of the play, the words and the acting, but he needs the fantasy. and that fantasy plays out in the globe scene, not in hamlet, of course, but in aziraphale. because of his quiet acceptance of the coin toss, because of his hopeful look, because of his smile when crowley does something nice for him. crowley knows it isn’t going to last, he knows that aziraphale hasn’t changed his mind about any of it, but he can walk away with that smile burned into his eyes and pretend, just for a while, that it could be that easy.
#p.txt#good omens#shakespeare#hamlet#rii#much ado#rnj#ac#meta#gawwwddddddd this is why it took me a month and a half to get these thoughts out
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Chuck, Becky, Leviathan, Cas, and writing endings
The new improved Becky is what happens outside of Chuck’s manipulations. Chuck didn’t have any more need for her in the story so she could just develop as her own person, not as a character. She went to therapy, she looked back to her past actions and mistakes with a clear critical eye, she dedicated her life to creating things that brought her joy, lived her passions in a healthy constructive way; she had a husband and kids... and Chuck makes everything disappear, in a terrible mirror of Amara disintegrating Metatron.
There was no real reason for Chuck to make Becky or her family disappear, just a whim; because she represents everything he and his writing are not and he does not understand.
He claims fans like monsters, like the Leviathan; she says fans like for the characters to talk, to have breaks from monsters to just live in domesticity. She represents fan fiction, of course, and he represents a certain way of doing storytelling, where characters are not given the space to talk and grow and heal. The Leviathan were a particular monster that represented an allegory for the lowest moment in Dean’s life and psyche (gosh, I had read such a great post about the topic many years ago but never found it again...). Also, the Leviathan were written as an anti-Cas figure, and Chuck deliberately leaves Cas out of his ending, leaves Cas away from the Winchesters. Also, the Leviathan represented Dean’s mental illness while Sam’s own was represented by his hallucinations of Lucifer, and Sam’s nightmare in this episode has a lot of Lucifer-Sam vibes.
So Chuck states to love the monster that represents all of Dean’s issues with identity and mental health, and who also represents the antithesis of Cas, and of course what Cas’ presence in Dean’s life means for him. Becky objects that the story the way Chuck wrote it is awful, because it’s too dark and hopeless; she also lists the absence of any mention of Cas as a flaw. Becky understands something about storytelling that Chuck doesn’t understand at all, as already highlighted by his favorable comment about the ending of Game of Thrones. Chuck thinks that the important thing is for a story to make the fan have some kind of emotional reaction, but he cannot see that there are good and bad emotional reactions to a story, especially an ending. It’s a discussion this fandom has had at the time of Charlie’s death (it can be read indeed as a reply to things that had been said at the time) and that other fandoms have gone through (The Magicians after Quentin’s death, for instance). The ending of Game of Thrones and Avengers Endgame have elicited a lot of emotional response, but overwhelmingly negative because of the objectively abysmal quality of the writing: fury and disappointment are a reaction, but not a good one, and arguably not better than no reaction (of course, if you only care about money, even bad reactions create revenue, but that’s a different matter).
Chuck does not understand that tragedy, that characters going through pain and terrible things, need to have a function, need to elicit specific emotional reactions in the fans, that are not anger and fury. The fans must not be left with a sense of betrayal, which is what happens when the story is just bleak and by the end you don’t really know which was the point of dedicating time and energy of your life to it.
Chuck wants to make the same kind of mistakes some very real storytellers of our time have been making. If the characters end up exactly the way there were at the beginning (may that be alone, sad, depressed, isolated, trapped in some abusive dynamic, what people said you’d be, what people feared you’d be, or even literally at the same period in time their journey started) what was the point of investing your enthusiasm and energies and time (and if you produce and/or consume fanworks, we’re talking about a lot of energies and time you invest overall in the thing!) in something that just... took these characters, made them suffer, and didn’t really do anything with that suffering?
And here’s the salt against Sera Gamble comes in. Because her stunt as a showrunner in this show is the closest the show has come to that kind of ending, the bleak hopeless ending where the characters just end up like they were at the beginning, having lost everything they had found during the journey.
Chuck insists with the Leviathan for this very reason. The Leviathan arc--which I adore in retrospect because it was not the end--represents the Worst(TM). It represents Dean’s issues condensed in one monster (while Sam’s hallucinations represents his).
(We interrupt our regular broadcasting to say something that has literally nothing to do with the topic of this post: what if they had left the head of the Leviathan inside Cas’ body instead of Dick Roman’s?? what would have the season been like?? We thank you for your attention and now return to our regular broadcasting.)
Fans liked the Leviathan, Chuck says. I think this can be translated to: fans like Dean the way he is Supposed To Be(TM), depression wrapped in identity issues wrapped in a bottomless pit of longing with no hope of filling wrapped in being trapped in unhealthy family dynamics that eat him up and everyone else wrapped in being “poison”. (That’s the Leviathan. Blackness with no appearance of its own, just a hungry mouth able to cannibalize itself, that puts poison in people’s food. Depression, lack of a solid identity, hunger/longing/disordered eating/etc, issues in interpersonal dynamics...)
If you widen the thing to the others too, you have Chuck channeling an attitude found in certain fandom circles: we want Dean and Sam with their issues, with their ~toxic codependency~, we don’t want them to grow and recover, we don’t want them to have other people in their lives, we don’t want their relationship to become healthy, because otherwise that wouldn’t be Supernatural.
Becky answers that that would be just a shitty ending. Most fans, the healthy ones, don’t want the dark hopeless ending, because that would just empty the whole story of meaning and significance. We don’t actually want the Leviathan, we want the anti-Leviathan, i.e. Cas, what Cas represented in season 7 and still does. The handpicked honey versus the poisoned corn syrup, the handmade sandwich versus the drug sandwich. The reversal of the dive into depression and suicidal attitude. Boning Dick together. Becky is us, the ones who understand the cathartic and folkloric function of storytelling, who get disappointed when white straight dudes with overlarge egos want to write edgy and ~surprise the audience~ (because the audience saw the character development and patterns and foreshadowing, so they decide to ignore all of that and do something different). Becky wants the story to go beyond the monsters and focus on the relationships and the ways the characters can grow and put themselves back together after the plot shattered them.
Stretching it a little--Chuck says Gamble rights and Becky says Carver rights. The dark hopeless ending won’t do, storytelling rules say we need to take our characters apart but then we need to put them back together (over and over, if the show gets renewed, of course, but still). I’m very looking forward to the next episode because from what we’ve gotten from the promo, there’s some heavy callbacks to the Mark of Cain arc. We talk about the Carver era tomorrow...
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You didn't ship Destiel until S13!? That really took me by surprise! In that case, thank you for defending the ship even if you didn't ship it, that's really nice and your meta made it easier to deal with the antis. And welcome to the Destiel side of the force! :)
Yeah, several people -- @dotthings off the top of my head, I really don’t remember who else -- literally witnessed the screaming fall into the dumpster.
Again, I really don’t know if I still consider what I do ~shipping.~ I have no specific demands for how their relationship continues from here, I just acknowledge it within the work. The difference that hit in S13 was welcoming that content instead of guarding myself against it because we got slammed with several consecutive bookends that completed an entire romantic arc and punctuated it with a far more impacting mirror of an endgame that didn’t even have said romantic arc to begin with, in Swan Song, so like??? what am I supposed to do? Just ignore it? Act like I can’t understand what just happened in front of me?
To put some perspective, I’ve been running SPN games for... a while. My most recent one was on a discord server that’s niche, but my prior one was on a giant multifandom server. I covered for Cas to keep his power levels in check to the story balance without like, making the humans irrelevant. My Dean at the time was hardcore shipping trash. His name was Chris, he was a bisexual dude in Chile, psychologist, good dude. But like??? it deadass annoyed me? How up Cas’ ass his writing was? The shippers that came in actually kinda annoyed me with trying to matchmaker them in game??? Like. I saw it, but I guess it’s the old “That’s not what the show is about” (which unlike how fandom whips it around, doesn’t mean it can’t exist at all, it’s the obsessive tunnel visioned focus that pissed me off because it kept railroading scenes)
But despite that, during and before it, I was yeah, defending it. Just because I wasn’t an active ~shipper~ didn’t mean I was cool with people stomping on people for very reasonably seeing the stuff my last post mentioned. I just kinda kept myself from investing because I know this old media song and dance too well and didn’t expect it to break, say, S10 levels. And then 11 happened. And then 12. And then--
Because no matter what this fandom says, Castiel’s alien mystified staring at Dean, while great chemistry in old seasons, does not actually compare to things like frequent lunch dates, need and love yous, mixtapes, Eileen being Sam’s Cas in 15.09 and so on. In the actual, not-head-up-ass-about-old-rewritten-content-meta’ed-15-times-over often fused to really bad hot takes on what people call queer coding. But I could respect that, say, the ramifications of swapping Cas and Anna roles to keep Misha around while Julie was bouncing out and getting uncomfortable naturally landed Cas in the hero’s journey goddess role, ala princess Leia if you will, the distressing warrior nondamsel rebelling against the empire and whatnot. But that doesn’t start or end at star wars, that’s thousands of years of human writing.
So while yes, the show heavily stripped the actual content that would have traditionally structured it romantic, people like seeing that x their chemistry early on-- not crazy.
And I defended it for years /to my wife/ despite my server vexations. On this giant dozens-of-thousands-of-users multifandom server not connected to any core fandom spaces and hosting innumerable fandoms and walks of life, I was the oddball out -- me. As a nonshipper annoyed by the crowd, often having 20-30 people logged into my channel at a time playing everything from early Cain to Benny to TFW to Wayward to *throws dart at board* whatever, of the hundreds of names that drifted through the game in sum (including player rotations, OCs and audience that just came to watch/read like a fic), you know how many antis we had?
Three.
One was my wife. so removing her, two.
Do you know how many shippers there were?
Yeah neither do I, just, “pretty much all of them.” a few hung in “see it, don’t care, moderately annoyed” like I did. But this idea that the GA is a bunch of het-guzzling bozos that can’t do the same basic math all of you fucking did before you got here, just because some other dead-ass irrelevant ship composed entirely on leftfield interpretations to validate niche fandom ships -- that shit’s so far fucking divorced from goddamn reality.
As for my wife, yes. She was an anti. In fact long before I wandered into fandom social media (I think I actually jumped in around S12 bc I saw Dabb taking over and Bobo getting promoted and was interested in Yockey-- Yockey was the first person I tweeted at), I was on these servers, running these games, having these ARGUMENTS with my wife to be quite honest, because like, look, I get it, Destiel fandom can be weird and needy and over the top but they’re not crazy for what they see out of it. By Carver era it was classic subtext.
But she had followed Winbros for years not realizing it’s literally run by the real world becky and her BFFs that have tasteful POVs like “Misha Collins is cancer” “Dabb is a disease” and whatever else on their personals that proxy through their posts and motivations. She attended it on Facebook, which is THE goddamn conservative magafarm asshole platform and yeah, read a lot of shitty arguments. Yes, she picked up sayings like “it ruins the show”. Yes, she hated it. No, that didn’t mean I felt anyone deserved more than mild frustration for their behaviors at the time just because they were stuck in fanfic-shipping-fiction-over-romanticised-land and not canon-divergent-show-genre-complex-interpersonal-relationships fiction.
She, too, cracked about the same time I did. I was more receptive sure, I saw it more sure, but after a mix of addressing some personal problems, making an OC that completely changed how her perception filtered Dean and Castiel working together, whatever-- and yes, 12.19->13.5. The night of 13.5, the final shot, as the screen went dark, she stared over her phone and, with tonal distaste, said “Oh. So they’re going there.”
Yes, it’s that fucking obvious. No, she didn’t admit that’s what did her in. Not until the end of the season, when she admitted she had been bullshitting arguments since early season 13 because, literally, and I quote, “otherwise Min wins.” -- which, if that comes by way of my own wife, I can only stare into the fandom camera at other people that have turned this show into a decade long money sink and have been divorced from the actual canon path for like minimum 3 years, maybe 6, yelling about it being wrong all the time, etc. Because on the internet, people convince themselves they have ownership and power, that their opinion of what the piece should be overrides even the creators, et cetera. Yeah. There’s a lot of disingenuous horse shit.
TLDR my wife fell into the dumpster and, as the flag of the end of our weird spats, and a birthday present, I made her this, since she IDs as Dean (OLD vid, has hiccup issues newer ones don’t)
youtube
So, yup, dat me.
To this day I still don’t read fanfics or browse fanart or any of that. I’ve never cared about that face of the fandom. I’ve never cared about making up rando ships, I’ve never cared about exactly how any given relationship plays itself out, I just enjoy the ride and address it as it does indeed play out. Most shipping culture still pisses me the fuck off with its dialogue, as I’ve made very clear. But because I’m acknowledging the text instead of denying what keeps happening more centrally and critically every year on screen, I’d be called a shipper. Because I’m tired of watching people spew logic even most children could pick apart in an endless roundabout of negativity, because I have no tolerance for absolute horse shit and fandom whining so I just lay out counters to bad talking points, I’d be called a shipper.
But 13.5ish is when I finally let myself start emotionally receiving the content rather than barring it off in a distant wall of exhausted old gay that knows their media too well. Why? Because it already completed and went above and beyond every element of the original way they painted the original goddamn endgame and I guess because I won’t set unfair bars against queer relationships and set them at Extra Hard Difficulty, I’m a shipper. IDK. This fandom fucking exhausts me. Fandom culture in general exhausts me.
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Ok I caught up with wtfock s3 because well, it felt weird to leave unfinished (except a few clips i just didn’t want to watch, like the attack one). here’s what worked and didn’t for me (i’m pretty critical so don’t read if that sort of thing upsets you or you’re not in the mood) because i still think having this story remade so often is an unprecendented storytelling experiment worth thinking about even when it doesn’t entirely work (and i think argumented criticism is good, but if you post hate about the actors/fans etc you really suck tbh) :
- to start with positives : like many said, the acting was pretty damn good. overall wtfock has a really solid cast. the willems have succeeded in creating an onscreen queer intimacy that feels very believable, no holds barred and no awkwardness, and they have to be commended for that. there’s a lot of chemistry and tension at first between them, which then turns into something very soft and sweet and puppy-love-like. it was nice seeing Robbe evolve and the sweet bean energy that emanates from how the actor plays him is very very powerful. i also loved the warmth of the flatshare, and as a Dutchie I just adored the Sinterklaas bits, it was so funny and i loved the found family vibes. warmth is just something they do really well, esp with the last clips, perfume shopping, playing board games, the party at the end. They use the Christmassy vibes really well. the cinematography has its moments too, contrasts between warm and cold, the episode at the beach is gorgeous, the sequence in the tunnel, the light on their faces when they are in that classroom surrounded by drawings. wtfock as a whole is also good at creating some very lovable secondary characters, be it Milan, Yasmina, Noor, or especially king Senne. So, I do understand that there are things to love about this remake, which is probably why my disappointment feels so strong. I really wanted to care about these characters in their journey.
- on to the controversial : i don’t necessarily fault them for wanting to show a more prononced aspect of homophobia. i think the debate about this often lacks nuance. on one hand, this is the sixth remake, and homophobia is something that is still often prevalent, and having one remake show that out of six is not in itself a problem. on the other, yes, happy fluffy stories are important, but sometimes people who have gone through stuff like this also need to see their experiences represented. the power of skam is that it shows difficult experiences BUT ALSO a happy ending. that can be very healing, i think, compared to other stories which focus only on the drama. the trouble is, i don’t think they dealt with it very well, or put any effort into processing the consequences of these harrowing things. and if you don’t, it feels cheap.
- on to my main gripe : the writing. previsible, i know. but to me, essential. and this is not about them ‘changing things’ - i like when remakes change stuff, when they do it well. the thing is, i have been burned too many times before. and when i sense that the writing is being wack, it makes it automatically much harder for me to invest emotionally in the characters. and simply put there were signs early on that made me distrust the writers. for starters, the first two episodes gave me a feeling that they didn’t have their priorities in order. the POV-immersion and depth is one of the most powerful aspects of skam, and it was lost. too many early clips felt out of Robbe’s perspective, and when it was him it was about Noor ; a few clips to show his discomfort were on point, but there were too many of them, and there were repetitive, losing time on what isn’t really an essential part of Robbe’s journey. and while they were spending time on clips that felt like misery flavored filler, they decided several times to condense original clips focused on Isak and Even, together ; like their first meeting and then their first hangout, or later in the series OHN and the minute by minute talk. and i think their story suffered from that. i think because they don’t have a real discussion early on, the buildup of their relationship feels mostly based on physical attraction. and while it certainly is a thing that happens, it just isn’t my fave love story thing. i missed the sweet pining from afar and tension that makes later drama believable. it felt like they brought the drama comparatively too fast without enough character work to make it worthwhile. Also there is just too much time spent on Zoenne drama, and their breakup seems like it foreshadows the dreaded s4 love triangle, which, yikes. the focus is all over the place, the rythm felt incoherent.
- what’s more, they decided to introduce pretty grave elements of plot, like Robbe using slurs against Sander, the homophobic attack, the suicidal urges on both their sides, Sander kissing Britt while he was still saying I love you to Robbe in the morning, without either proper build up or resolution. It made it all feel cheap, jarring, and unearned, especially when they didn’t put trigger warnings or made jokes about it on insta or waited forever to give news about the characters being ok. it felt like drama for the sake of drama, and definitely not written with a vulnerable audience of queer teens in mind. and at the same time, when it came to the ‘big scenes’ of their relationship, like the first kiss or the universes talk or sander’s episode, it felt more or less lifted from OG without a lot of effort made to adapt it to them. i actually quit live watching/blogging after the first kiss scene, because of how similar it was, and how uninspired it felt, and lukewarm. it felt like a lack of imagination. when it came to OHN, the scene in itself was lovely, but the weird time gap, random timing and people seemingly doing nothing after a suicidal Sander disappeared, sort of broke it for me. In the OG the combo of buildup, longing, realisation, fear, release works so well in a sequence, and splitting it over time really diluted it, to me. Similarly the quickly thrown out ‘life is now’ at the ending felt sort of out of nowhere, while in OG it was such a lovely bookend, him apologizing to Eva and reflecting on his growth. The symbolism, which ties everything so beautifully together in themes of rebirth, salvation, baptism, union, faith, deciding your own narrative in OG, here feels inconsistent. There is an attempt I see, something about wasteland vs. warmth/family, but it’s often absent of main clips. It’s nowhere near as coherent as it could be.
- all of this builds up to the main problem for me, of the season. which is, i didn’t really get into Robbe and Sander’s relationship. Or their individual arcs for that matter. When it comes to Robbe, I guess he just isn’t my type of character. I feel like he is missing the fire of an Isak. A lot of the time he just felt too passive, like he let other characters make his decisions. I was waiting for him to stand up for himself more than he did. And there are too many scenes of another character doing his coming out for him. And then Sander ; I have to say I don’t understand all the love his character gets. Maybe because that’s because he sort of gives me Dutch fuckboi vibes...but there were several times he just came accross as a flat out asshole. I found him intriguing in his intro clip, chaotic and charming, but that never really went where i expected it to. i didn’t get his passion, what drew him to art. the symbolism around his character - basically Bowie, and drawing Robbe, and Chernobyl (which is a bit tasteless imho, turning a tragedy like that into a cutesy romantic thing), feels ...disjointed, and shallow to me. Like I never really got into it. And maybe some people did and noticed deeper links but to me, I got stuck at the surface. I saw a lot of interesting theories with what was going on with him but in the end they just copied OG. And I’m sad to say, but he ended up feeling like a manic pixie dream boy cliché to me, and i just didn’t understand what drew them to each other so strongly. Yes, Robbe is caring and Sander is in need of care, but that feels like a very reductive reproduction of OG. Beyond that...i don’t know. Certain complexities of the OG i loved just...were sanded away, like Isak being ignorant about MI and learning compassion. This just...didn’t feel like it had the same depth, and often felt like soapy teenage drama, leaning too hard and too lazily on the actors’ chemistry. i like my romances wordy and solidly enmeshed in character development, and this was not it. It never felt like they had a real conversation about things, esp after the drama.
- i think this is the first remake that made me actually angry for reasons not related to problematic cast shit, and so i’m trying to analyze that emotion. for me it comes down to too much drama, too heavy handed. Too much of the boy squad being shitty to Robbe, too much Noor, too much filler clips without any deeper meaning, too much things distracting from getting to know the main characters and going into their issues in depth. They changed stuff, but didn’t have the guts to actually follow through. They broke the mold but only in ways that ended up feeling shallow and unconsequential. Like I would have loved seeing Robbe go to therapy ! see his mom ! Zoe and Robbe go to the police together ! Sander have a complicated home situation ! or doing a Bowie related art installation to express his feelings of alienation ! seeing more of the underground graffiti scene ! or just...something, idk. And them also removing the faith-related themes also felt disappointing. and the ohn clip taking place in the place where sander draws feels very....basic to me, even if it was pretty. very ‘oh he’s an artist, here is his safe place’....hm, okay. I didn’t like that they made Britt into such a villain, I didn’t like how the boy squad showed no care for Robbe whatsoever for weeks until the plot said it was time for them to be redeemed in a way that felt too jarring, and I didn’t like that they made Moyo so horrible but redeemed him so easily. I actually thought they would show that it’s okay to separate yourself from friends who are that bigoted, because it just shows they are not willing to care for people. And him suddenly saying those sweet and mature things felt too out of characters and a ahah ‘gotcha’ rather than depth . I didn’t like that Robbe, too, was made so virulent by his internalized homophobia but got over it so quickly. I think what disappointed me most, in the end, was that I kept picking up potential and the show kept doing absolutely nothing with it, or confirming my fears, and it made me feel stupid and out of tune with whatever they were doing. And it’s, to me, symptomatic in modern storytelling of a trend to privilege shocks and twists over inner coherence and build up. And it makes for...Very underwhelming stuff, in the end.
- all in all, i think this remake illustrates why s3 of OG is not as easy to remake as it sounds. it’s very intricate machinery, with a pitch perfect rhythm (and an extremely passionate nitpicky fanbase lmao). and if you don’t get all the parts of why it’s so great, you’re going to lose a lot of it. (and all the remakes ended losing up stuff in translation ; more or less compensated by inventivity and charm of their own.) so many mainstream press articles praise the real time/social media format and the ‘real talk about teen issues’ which, yeah, is part of the success, but doesn’t explain the devotion on its own. there’s the way the story uses real time to build up a storytelling rythm that feels organic and makes sense as if it was part of the lives of the viewer. There’s foreshadowing and aftershocks. Wtfock often feels like they wrote the clip numbers on darts and randomly threw them at a week planner. If an episode of a regular series ends on a cliffhanger, we can be thrilled and frustrated and put it aside for next week. but if you end an episode with a character shown to be suicidal, or you don’t show them being okay after a beating, for hours or days, that’s the emotion you leave your viewers with, because skam is a continuous experience. and remakes who pile on drama moments without respite (looking at you too skamfr s4) don’t get how tiring and disengaging this can be, in this format. skam worked so well because of how benevolent it was, on the whole. and also, cheeky, with that ‘don’t take it too seriously’ deflating humor. grumpy isak in ‘hate me now’ mode getting bumped into. this lightness and comedy often feels missing here. also my god the social media is absolutely terrible. plus...there is too much filler. honestly, them having more time, on the whole...ended up being a bad thing. Plus Wtfock feels like it has so much more unadressed plot points, like...why did Sander change his mind exactly and kiss Britt again ? How did Robbe’s mom react ? Who did the attack ? What is happening w Senne now ? etc. And it feels like they just missed the fact that OG, however subtly, did adress those things.
- now, don’t get me wrong, i’m happy it’s popular in Belgium. On the whole it’s still a beautiful story of love and acceptance. and that people found something in it that spoke to them. but as a remake, it’s probably one of the most disappointing yet, to me. and i sort of...don’t get the hype. and i don’t want to be too ‘oh cute boys kissing’ cynical about it. but i think this illustrates why in the end, this is also very subjective. there are probably things i missed because i didn’t feel the need to examine it in depth or do the extra emotional work that comes with being a devoted fan of something. and some of their choices made me angry, and i’m not forgiving when it comes to these things. i still wish them success for s4 and whatever else, but i don’t think i will watch live, at least unless it gets really rave reviews about their treatment of Yasmina’s season. i mean they got s2 right, who knows?
#wtfock#also i'm willing to discuss this reasonably but any sort of hate will be deleted on sight lol#i thought a lot about posting this or not but then i was like well this is my blog and i have a lot of emotions about this#so i needed to process
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Okay then, since both of y’all are just delving in I’ll try to keep things (relatively) spoiler-free and stick to story sense and semiotics! Few caveats:
Have not had prior experience with Kojima’s body of work and if that’s a prerequisite in how I “should feel” about it then yike on a bike (just getting this out of the way based on what I’ve had talked at me)
My read excludes the entire context of moment-to-moment gameplay; I basically watched chronological story cutscenes stitched together with NPC interaction vignettes sprinkled in-between. 9 or so hours in total.
I did this because the gameplay does not interest me at all - and not in protest of chill social games (I adore both No Man’s Sky and thatgamecompany stuff, for example, and try to champion anything without Gun in it), but because the setting and length did not align with my expectations for something to invest so much time into. Still, I was super intrigued by the story, and, to a lesser extent, the plot.
also I have a hard time writing in condensed English, so this may run quite long. I’ll put the rest under a break. Second language, sorry!
I’m trying to think of a good way to start this. Like I said, the story, or what the thing was ABOUT, was infinitely more interesting to me than whatever wacko packaging Kojima thought up for the narrative. Which was a complicated, thought-out piece of fiction shattered into many disparate pieces and fed to us in a mystery-box-filmmaker kind of way, making us reverse-engineer what essentially was a rather simple interpersonal uhh. family tragedy, I guess.
But to its credit the lore is visibly built solely to support whatever thematic messaging Kojima would want to weave in there - something I can respect. Meaning it gets as wacky and as nonsensical as it needs to be in order to reflect the high-concept allegories at play, aaand then it does so to a fault. I adore works of fiction that don’t give a shit about “tone” - I hate that word more than anything in modern media - but effective symbolism in storytelling, IN MY OPINION, requires a deft hand, nuance, strong authorial position, and a good grasp of social context.
I want to like, go through these four points individually and nitpick my problems with the game in their lens, because I think they cover pretty much everything I feel like saying:
1. A deft hand - to me means to selectively dramatize correct themes and plot points as you go so that shit makes sense in the end. I felt this was incredibly lacking here. It was like a symphony going for hours without a crescendo. The absolute wrong bits of soulless exposition would be reiterated THRICE within a single cutscene while necessary context of, hell, character motives or even plot geography would be left vague. Intentionally vague, some would argue, but their later function would never arrive. Other times, what would visibly be conceived as wink-and-you’ll-miss-it foreshadowing could overstay its welcome to the point of inadvertently spoiling a later plot point. My girlfriend sniped the (arguably) most important reveal of the game, which is left for the tail end of the final epilogue (!), in the first hours of watching. The symbolics and allusions were just too plentiful where they should have been more subdued. I am DYING to provide examples here but I’m keeping it spoiler-free. Again, if this is a Kojima-ism, too bad; but it’s not a catastrophic failure of storytelling by any means. There are very few masters of this thing working today. But what can be easier to navigate, I think, is...
2. Nuance - this kinda goes hand-in-hand with the upper point but is a bit more important to me and applies to what SPECIFICALLY you decide to heighten in order to slap us across the face with your deeper meanings. Certain characters - not all of them - feel like caricatures. The silly names and overt metaphors (wearing a mask means hiding something! connected cities all have ‘knot’ in their name!) are honestly, genuinely FINE as long as their function isn’t betrayed, but the lean into metaphor worship can sometimes wade into SERIOUSLY shitty territory as contemporary implications are ignored altogether, and that ties into my fourth point, which I’ll address before looping back to the third; needless to say, approaching sensitive subjects with broad strokes is not exactly the way to go. But broad strokes is almost exclusively what this game does, forgetting to incorporate...
3. Social context - and I feel like avoiding examples here will be difficult lest I end up sounding like a dogmatic asshole; but there is a right thing and a wrong thing to do when co-opting IRL concepts to fit fictional messaging/storytelling. I feel that a character “curing” themselves of a phobia by experiencing emotional growth that vaguely corresponds to what the disorder could have symbolized is a wrong thing. And I don’t even want to get into all the wacky revisionism the lore ended up twisting into, which was mostly honestly entertaining (the ammonite will be a good hint to those who’ve played it), until it decided to, again, lean a bit too hard into painting today’s reality as a crisis of human connection and imply some questionable things about why, uh, asexual people exist, for example. Yes it makes some sense within the context of the lore and what’s happening in the plot, but it’s completely lacking in social know-how of the here and now. In other words: a Bad Look. To me, this type of wayward ignorance is a much more serious issue that can historically snowball any piece of writing into a witless disaster. I don’t know if it quite does it here, but it’s not really my place to say. Still, you can have wacky worldbuilding that has no sense of dramatic tension, nuance, or awareness towards the audience, and yet containing one last vital glue holding it all together, and that would be...
4. Strong authorial position - or intent I guess, to speak in literary terms - and I still have trouble pinpointing how and where this exists in this game. A bullshit stance you say, and I hear ya; cause this here is a video game very pronounced in its pro-human-connection messaging, painting the opposite outcome as an apocalyptic end to our species. And as I understand the gameplay is all about connections too - leaning into that theme so hard it even renders itself unapproachable to most capital-g Gamers. I honestly respect the balls of that. But really, as an author who headlined the creation of this thing, what was it really about? What were you trying to say?
And beyond “human connection is real important to beat apathy” I got nothing, and I think that’s because of points 1 and 2 failing in succession, and then point 3 souring the taste. It just had to be apparent the moment the curtain fell, is what I find. You just have to “get” it immediately, get what it was trying to say, but that will happen only if it’s been articulated incredibly well up to that point. Maybe the entire punch of that message REALLY depends on you spending dozens of hours ruminating on the crushing cost of loneliness as you haul cargo across countries on foot and connect people to your weird not-internet? If so, I’ve missed a vital piece of context, and with this being a videogame and all, it’s honestly a fair assumption. But otherwise.. it felt like a hell of a lot of twisting and turning and plot affectations that only led to more plot affectations and sometimes character growth (which had its own bag of issues from point 3) and not a hell of a lot to say about human connection beyond the fact that it is. good and useful. It felt like a repeated statement instead of being an argument. Does that make sense? I understand the story optics here are zoomed waay out and set on targeting the human condition as a whole, but like.. if you’re committing to a message, you have to stand by it.
Why is connection good? it’s a dumb question without a DOUBT but since the game has set out to answer it then it.. should? Did I miss the answer? I may have, I honestly can’t exclude the possibility. My lens was warped and my framework of consuming storytelling is a bit rigid in its requirements (the four points I mentioned), so maybe I’m just too grouchy and old to understand.
I just think Pacific Rim did it better and took about 7 hours less to do it! And yet, it, too, involved Guillermo Del Toro. Curious.
If you made it this far and are interested in my thoughts on the technical execution of it all as well, uhm, it’s pretty much spotless? Decima is utilized beautifully, the Hideo vanity squad of celebrities all do their very best with the often clunky dialogue, the music is great, the aesthetic and visual design is immediately arresting, and it certainly does an all-around great job at standing out from the rest of the flock. I fell in love with the BB a little bit. It is also a game that is incredibly horny for Mads Mikkelsen, which almost fully supplants the expected real estate for run-of-the-mill male gaze bullshit. It is. A change.
That’s all I got folks
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Lmfao look @ this embarrassing display of pathological jealousy & butthurt right here https://liliaeth.tumblr.com/post/185660274761/i-will-never-get-over-how-the-teen-wolf-fandom
https://russianspacegeckosexparty.tumblr.com/post/185660318562/i-will-never-get-over-how-the-teen-wolf-fandom
https://princeescaluswords.tumblr.com/post/185660625460/i-will-never-get-over-how-the-teen-wolf-fandom
DELUSIONAL #1: I will never get over how the Teen Wolf fandom treated Scott McCall. He is the literal protagonist of the show (he’s the teen wolf!!) but the fandom looked at him and went : “you know what would be even better? His boring white best friend. We’re gonna make him the main character”.
If you knew nothing about Teen Wolf except for what you would find on Tumblr, you would assume that Stiles is the protagonist. He gets the metas, the thousands of fics dedicated to him and his family and his angst. He gets the most popular ship, he gets all the people defending him and actions.
Meanwhile, Scott gets treated like dirt. He’s villainized, he’s dumbed down, he gets ignored.
Scott McCall deserves better 2kforever, and if any Stiles fans try to argue you’re getting blocked.
DELUSIONAL #2: I never knew how much I hated the color taupe (lbr, I didn’t even KNOW what the color taupe was) until every fucking where you turned in fandom was an ode to Stiles’ whiskey-taupe colored eyes.
DELUSIONAL #3: Let’s be completely fair here, Jeff Davis said multiple times both in interviews and in Dir. Commentary that he liked Stiles the most, identified with him the most, and poured the most into that character. The Fandom got bored with Scott because well, Jeff kind of wanted us to. /he/ was bored with Scott.
It’s only on my most recent re-watch that I’m falling in love with Scott. His heart I used to chalk up to “boring Lawful Good”, his loyalty as well. And to be fair, Tumblr was going through kind of a “Sherlock” phase where being super smart and talking fast and making doe eyes at another boy made you automatically the most likeable no matter how uninteresting you are.
None of this excuses treating Scott poorly. He’s the definition of “best boy”, he’s the soft gooey center that pulls this overly dramatic teen drama together! But it might at least explain it.
DELUSIONAL #2: Yeah, except that doesn’t track for a number of reasons. Firstly, the show itself WAS focused around Scott the first two and a half seasons. Sure, Stiles still had his ‘scene stealing moments’ or whatever, but the plot, the character arcs, the themes - they were very clearly focused around Scott and his story up through the end of 3A.
That never stopped fandom from being shitty as hell to Scott from like, the very first episodes. So Davis’ investment or lack thereof in Scott is not connected to how much or how little shit fandom shoveled Scott’s way.
Secondly, fandom is extremely vocal about hating Davis and his choices like….across the board. Even when he poured EVERYTHING into Stiles’ character and story to the exclusion and detriment of the main character, it still wasn’t enough for fandom as it wasn’t HOW they wanted everything focused on Stiles, he wasn’t with the right love interest, he wasn’t kicking ass in the right way, he wasn’t a spark, etc, etc. Fandom never ever took their lead from Davis and his story and character directions, and they were never shy about saying so.
I have a lot of criticisms for and of Davis, like a looooooooot, but there’s no spreading the blame around here.
Fandom’s treatment of Scott is on fandom and no one else. They never wanted the quiet kind-hearted Latino boy as the lead, they wanted him supporting their two white faves instead of ‘stealing focus’, and no amount of focus and nothing Scott actually did or didn’t do was ever going to change that!
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Wow. Looks like Tyler Posey is not the only one who’s unhealthily obsessed with Dylan O’Brien (and with Stiles Stilinski, too, since TP feels the need to bring Stiles up in every single fucking interview and keeps whining about how Sciles should have been the most popular ship of Teen Wolf, or about how he wants to see more Scott/Stiles stuff like a whiny, entitled manchild)
https://poseysprostate.tumblr.com/post/183385569523/i-think-the-stiles-and-scott-shippers-or-anyone
https://blamscilesswanqueenforever.tumblr.com/post/183424757827/hobrien-will-teen-wolf-fans-like-now
Also, nah. Scott McCall is a bland, boring, uninteresting, shitty excuse of a badly written and portrayed fictional character with no development whatsoever, therefore no one owes him nor Tyler ”shipping non canon ships is incredibly offensive and disrespectful towards the writers, producers, and everyone involved in *MY* show unless said non canon ships involve *MY* character Scott McCall” Posey anything.
No one’s fault even Peter Hale’s Shelby Cobras are canonically more complex, relevant and interesting than true petty dictator wannabe with delusions of grandeur Scoot McBelowAverageIdiot could ever hope to be, delusionals! ¯\_(ツ)_/¯
Cookie: Shit like this makes me very glad I was not involved with the fandom in its heyday. I remember when I joined tumblr in like 2013? 2014?? Everyone kept going off and ranting about how the fandom was so racist and horrible and abusive to main character and blah blah blah, so I wisely chose to just stay away from Teen Wolf. (Literally didn’t even watch it until the show ended two years ago and I started seeing promos for Maze Runner: TDC and realized I never saw Scorch Trials and was like ‘oh hey! I recognize that dude!) I was very pleasantly surprised to find that the fandom as a whole is actually pretty great.
As for all of that mess up there, whoo, I hope they stretched before all that reaching! Literally the only people that concerned with race in this fandom are the delusionals. Sorry babes, but an ethnically ambiguous (and proud of it!) actor playing a character who alludes to being Latino one time like 3 seaons into the show does not representation make! What’s more, no one is required to like a character purely based on your head canon of their race, and disliking that character based on many factors (that don’t even touch what Scott McCall’s race may or may not be) does not make any of us racist. Funny enough, Most of us actually adored Boyd, and Danny, and Kira, and Mason, and everyone else on this show who’s race wasn’t ambiguous. Why? Because those characters were actually fun and interesting. Scott McCall? Not so much.
And I have no idea what part of fandom they are in that Scott is the most poor abuse puppy ever and everyone hates him like, what? I love fanon Scott, and I mean that unironically. In fandom I often see him written exactly as the kind of character they wish he was; kind, empathetic, a good friend, and a good boyfriend. When they rant and rave about how Scott is portrayed as dumbed down or villainized, I can’t help but wonder... are they talking about, *gasp* canon Scott? Because I’m sorry, but canon does not support their idealized view of him. Which is okay! That’s what fandom is for!
A few weeks ago i got a really shitty comment on a fic I wrote like a year ago, and this person complained (for an exhaustive amount of paragraphs) that I didn’t write the characters to their specific tastes, and that I had to be sympathetic with their predicament because you see, they cannot write. Therefore I must do it for them, or pay the consequences.
That is the same time I am getting from this, about Stiles getting all the meta and such. Like, do they understand why Stiles gets the meta? Because people write it! No one is stopping the delusionals from writing meta about Scott, in fact I would encourage it. Be the change you want to see in the world. (Although fair warning, I have read their metas and they seem to somehow always end up revolving around Stiles in some way. Who is it that’s obsessed with him, again?) Instead of spending all their time complaining, they could be writing all they physically could about Scott, creating content that portrays him in the way they want to see him portrayed. But they don’t. Because then what would they complain about?
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Who’s Going To Die In The Homestuck Epilogue Tomorrow?
Homestuck is finally ending for real now so, obviously, somebody is staring down the barrel of Hussie’s final Chekhov’s gun, except also for real now. After 10 years, the shed wall has more bullet holes than wood knots and the proverbial horse stands dutifully awaiting the next shot in a series of hundreds, but it might actually get put out of its misery forever this time, with John and Vriska - in my mind - the most obvious candidates for permadeath. I’ll briefly discuss the (de)merits of both outcomes - and how both could (maybe, hopefully, please?) be averted - under the cut.
For context, I’m assuming that John will meet Terezi and Vriska at the Green Sun/Black Hole before he goes gallivanting with them through time and space.
We’ve known John Egbert for 10 years and for all the characters and perspective switching we’ve done since 4/13/2009, he is our protagonist. Homestuck is a story about breaking free from fated suffering - the will of Lord English - and becoming an independent agent, so it should only make sense that the main character is an embodiment of that freedom: the Heir of Breath.
It’s for this reason that John dying forever at the end of it all - having survived the death of his dad, an omnicidal dog god, the reset of reality, misadventure in the bubbles, a solo retcon journey through Paradox Space, a fight with Caliborn and another on the horizon, killing the Condesce, and making it to Earth C - would be really bad narratively and philosophically! There are no merits! Let’s go over why it Just Won’t Happen.
1. As the quintessential bildungsroman character (a story requiring the survival of its protagonist to gain experience of the world, find their place in it, and mature with hope for the future) and audience surrogate, killing him in the final act would just be bad writing. It goes against the story’s holistic narrative and philosophical arc and totally undermines Act 7 thematically.
2. In a story about overcoming fated suffering, the depressed character with the most repressed trauma - who represents freedom and is working to help everyone escape that suffering - dying without coming to terms with sadness and reconciling with his friends and purpose to find happniness? It’s even worse writing. The only possible merit to his death is having to directly confront that trauma in a super sadstuck way; what stakes will it take for him to overcome his disaffected ennui, right? But killing him is a real shitty way of dealing with those problems. Dying with regret is just... super lame. It could be said many characters die with possible regret in HS but if a character doesn’t at some point get revived in one way or another and their death served a purpose, then, on word of God, they just weren’t that important.
3. It defies the narrative of fantastical escapism. At one of its many cores, Homestuck is a story about kids playing a crazy game about wish fulfillment: bringing the dead back to life, meeting their friends, having an adventure, and becoming super heroes. As the Heir of Breath, especially with the retcon powers, John is ALL ABOUT fantastical escapism. John dying for suffering, subverting escapism, is 100% counterintuitive thematically. Super unsatisfying conclusion to his arc.
4. People cite this scene with Scratch as evidence that John is going to have a permanent heroic death one day, but I would argue that the metaphysical way in which John would permanently be tying himself to the narrative to ‘maintain canonicity’ (whatever the FUCK that entails) would be a little bit more than a Just or Heroic thing. For me, this was more about Scratch acknowledging John as - though not infallible personally - a totally good guy. And note that reference to Vriska and her ‘Justness’ at the end there:
Instead, I imagine the whole situation, despite the seeming distinction between Meat and Candy, COULD go something a little more like this -
A story that is just meat - dense with exposition, action, violence, and tension (plotcentric) - is bad, and a story that is just candy - light with fluff, fanservice, frivolity, and comfort (charactercentric) - is bad. In isolation neither is of consequence to the reader, and reader investment is what this whole epilogue and the quest to avoid ‘dissipation’ is about. You need both to develop the other in a healthy and satisfying way, ultimately producing a well-developed set of characters. Homestuck is the best story of all time and it’s been meat and candy all the way, I don’t foresee that changing. For me, the ‘dual epilogue’ is a 1+1=3 situation. Typheus’ choice for John here was a practice for a metacosmic-scale third option regarding the meat/candy ‘binary’ he’s faced with now.
The whole story, John - though he represents freedom - has never made his own choice besides in this moment. He’s gone on quests for prophets, just like he’s doing now, and done whatever people told him or expected him to do. Becoming a free agent is the capstone of his character arc and what better way to realize that than assuming control of the narrative and Doing Whatever You Want For Real - the Ultimate Riddle (as many people theorize) which I imagine we’ll see more of soon being ‘do as you will.’
But let’s imagine that John does become in every way a martyr for the narrative itself in a Christ-like sacrifice befitting of the Easter Sunday I will probably be reading this upd8 on. How could he get out of it because, trust me, John Is Not Dying Forever:
Transcendence. We’ve descended and ascended, so what comes next?
Juju nonsense. The house or something else, who knows?
Denizen nonsense. I’ll get into this in a second.
A second John takes his place and we get ours back. ‘2 endings,’ right?
The Ultimate Self is gearing up to be important. It’s Jesus 101 people.
So I’m expecting Abraxas, Jake and possibly Karkat’s denizen, to make a significant appearance in the epilogue. The epilogue itself, as the rest of the story, is geared up (with it’s black and white symbolism) to basically revolve around the cherubs which I fully expect to get more lore on. As @revolutionaryduelist details in this video, Abraxas is “technically at the center of Paradox Space, as a deity that represents both everything in the multiverse that exists ever both physically and conceptually,and the very process which leads to the creation of those things.” Abraxas is, as the true god in enlightenment, the opposite of Yaldabaoth, the false god in ignorance: more relevant, truthful, and essential as a deity - representing the 3 pillars of canon. Yaldabaoth was Caliborn’s denizen, giving him the clock and juju he required to assume ultimate power in the first place. It makes sense that Abraxas would have a hand in his undoing. Abraxas also shares a connection with the cherubs physically and metaphorically, and considering the importance of the cherubs, I think it’s safe to assume this similarity will become relevant. In this way, Abraxas could Just Get Up To Some Nonsense to save John (who is related to Typheus, a potentially Christ-like figure within the denizen genealogy as John is to the story). Resurrection of Christ anybody? Our snakey parent who art above Paradox Space? As somebody connected to magic, it also makes sense that Abraxas could pull off the miracle of the century if needs be.
All in all, John’s not dying. So what about...
Vriska?
Vriska dying forever is almost ALL merits. This is NOT because I hate Vriska: she is one of the best characters ever written, has never done anything wrong, if she dies I will weep, and I NEED Vrisrezi to become Earth C endgame, but I can’t deny the narrative quality of a potential sacrifice.
Vriska has never had direct karmic comeuppance for anything she’s done besides Make Her Pay and getting killed by Terezi: all other forms of punishment for her actions were either problems with self-hatred or people she cares about suffering - there’s been little direct consequential action taken against her. Even when She’s 8ack with a second chance she gets to dominate and bully others and still be the leader. And look at what she did to Tavros. That was just mean (but will hopefully be relevant in the epilogue because I love GCATavros oops). Her character is also marred in the emulation of Mindfang, and being an inauthentic individual is a Great Crime in Paradox Space which you could say she has been punished for but we can always squeeze a few more drops out of the cloth. Key to understanding Vriska is knowing that she has little ill will. She said herself, she wants to be a hero. That’s why she’s obsessed with becoming the Most Important Person. She wants to save everyone. It just so happens this conflicts with her selfishness (coming in parts from Spidermom, Mindfang, and her caste) which sweeps people up as collateral damage. The important thing is that she feels really guilty about losing control to her ego/persona and hurting people.
And she turns to John for absolution. For freedom from her circumstance and misery.
EB: i guess i had no idea how different we really were.
EB: what i am hearing is seriously scaring the shit out of me!
AG: Yeah, I know. I wish we didn't have to 8e so different. I'm just trying to 8e honest with you, 8ecause like I said, I have nowhere else to go.
John is ignorant of her culture and her behaviour at large, and his kind, innocent disposition makes him the perfect person to tell her that she hasn’t done anything wrong, or - at least - can become a better person. That’s why his opinion matters so much to her when nobody else’s does.
And even knowing that she’s not a flawless person, she still doesn’t think that she deserved to die. She has never been truly absolved of her guilt, and turning to a stranger - and an alien, whom you manipulate even though NOT doing that is the WHOLE point - to do that for her is cheating in the same way Tricksterism was for the alpha kids.
That said, John does present a genuine avenue of character development and emotional vulnerability for the girl who would become (Vriska). (Vriska) became her own person free of Mindfang’s shadow, having overcome the trauma of her past and the need to be ‘the best,’ which is as close to well-adjusted as we could hope for Vriska to be. But this character arc - a form of redemption itself - ends with the death of (Vriska) with GO!Terezi as Paradox Space collapses around them in the most emotional and romantic moment in storytelling history. John’s effects have yet to take hold on post-retcon Vriska as they did on pre-retcon Vriska starting from the above interaction forward, as Vriska is still a 8ig 8itch. John has come to recognize this, and I’m sure it will come up at some point, perhaps inspiring some kind of change in our anti-heroine.
Sacrificing herself for canonicity - maintaining all relevance EVER in a mostly selfless but still kind of selfish act that represents a major step in a redemption she would never get to complete but may not fully deserve besides - is the perfect end for her personally and thematically. Vriska saving John would be wild after their entire relationship including but not limited to the pivotal moments of their ghosts meeting and him saving her life so she could once again experience relevance in the first place; she’d basically be repaying him: something she has never done willingly for totally selfless reasons in good faith and karma before. Wouldn’t that be the most bittersweet character growth to end on? John would FINALLY be a mechanism for her absolution. It was cheating when John didn’t know her. Now it’s been earned after their relationship has evolved so thoroughly and John sees her for what she is, presumably removing his ability to absolve her from the equation entirely. What a 180 that would be. Her arc would technically be incomplete as a character who never fully matured, but what a beautiful step in that journey to end on. It would also be a form of direct recompense to John, having manipulated him in the past as Scratch alluded to! The (Just) master becomes the (Heroic) student! What a great fuck you to Scratch that would be after he ruined her life and fucked up her personality (so would her surviving to become a better person outside of Scratch’s narrative but we’ll get into that).
Vriska has been primed to destroy the Green Sun for a loooooooong time.
Within the scope of the story before we were introduced to serious meta like ‘dissipation,’ destroying the Green Sun would have been the most significant thing a person could ever do. But there’s a reality beyond Paradox Space and a wider ‘canon’ that needs to be maintained both within and outside of the Green Sun’s influence. Vriska never truly got to cash in on the Green Sun imagery. What if she got a second chance to do so?
Assume in some way that the most significant object within Paradox Space and its resulting black hole eating all of reality - which, as Terezi showed us in the Credits (making it still canon) has something strange at its centre - plays a role in maintaining canonicity. I know, a bit of a gimme, right? Presumably,we’re going to explore the confrontation with Lord English as part of the ‘unloading’ of the house juju. If the mechanism for canonicity lies in all this green mess, we’re killing 2 birds with 1 stone! Her relationship with John serves its original purpose in a newly genuine context and the green sun foreshadowing would finally amount to something.
I think Vriska would be almost perfectly content to die like this. It fulfils her philosophy and places her in canonical lore as the most significant, undeniable hero. As Hussie discusses in the Viz book 4 author notes, one of the dynamics Homestuck revolves around is Vriska inserting herself into everything and the Scourge Sisters’ karmic cycle that arises from that, so wiping it all clean would be a fitting end.
That said, I don’t want Vriska to die forever, because I love her with all my heart and I would never want to do that to Terezi, and Earth C would be way more fun if Vriska got to fully develop as a character with friends outside of canonical restraints/pressures. Let her enjoy candy after a life of meat! (Vriska) got to enjoy candy with Meenah and Terezi after she gave up on meat. Vriska has never had true candy comparatively. All of her relationships and romantic leads have had undertones of contention and manipulation that it would be fantastic to be free of in a new world where she can leave the burdens of ‘importance’ behind. This happening, I feel, is one of (if not the best ways) Hussie can further the commentary on candy being just as important as meat: making someone who has prioritized meat her whole life happy with candy once she learns to let it into her life. Meat is NOT the only important thing, Vriska.
How could she escape dying forever if she wanted to sacrifice herself to save John from doing the same? Sounds pretty final. I can’t imagine the ultimate self is in her near future, she doesn’t have retcon powers, and unless she pulls a juju out of her ass (maybe auryn somehow???) then the only mechanism I can see working is denizen nonsense. Beyond this, we know Terezi would not be content to let Vriska be dead forever. I was thinking maybe, on Earth C once the dust has settled and canon is Gucci, the kids could use their god tier powers to recreate Vriska (Terezi/Dirk for memory and self, life from Jane, a body from Roxy/Jake/Jade etc.) but that might be a long shot. Who knows. But also resurrecting Vriska as a free person in a free world would be... really Cool. Like, wow... what a scene. Ultimately, I think both potentialities would be pretty rad and would make me weep like a baby. I’m open to anything here.
In the end, we’ll see what happens tomorrow! I started Homestuck when I was 12 and its influence on me for the last 6 years as both a person and a creative is incomprehensible. I cannot imagine who I would be without it, and I don’t want to. Making analysis/theory posts and getting involved with community discussion has been one of the best things ever and I’m glad I could squeeze this one in before the end of everything. I’ll have plenty more to write about Homestuck and Hiveswap in the future, but it’s crazy to think this is the end of theorizing for Homestuck proper. Homestuck as a property has plenty more to give and I’ll be here with ideas for all of it :)
Thanks for reading!
#Homestuck#John Egbert#Vriska Serket#Homestuck Spoilers#Homestuck Epilogue#Epilogue#Abraxas#Homestuck theory#My theory#Me
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How “The Umbrella Academy” Surprised Me
In many ways, good and bad.
This is a spoiler-free review of season one of The Umbrella Academy
I remember when The Umbrella Academy comics came out. It was 2007 and I was a broke thirteen-year-old living in suburban Australia (a cultural wasteland!) so I never actually read them, but as a rabidly obsessed My Chemical Romance/Gerard Way fan, I managed to fold The Umbrella Academy into my identity anyway. I’m not sure exactly how that works, but hey. Adolescents are powerful creatures.
As a distinguished almost-twenty-five-year-old (I’d like to acknowledge that I took a small break here to have an existential crisis) my walls are free of band posters and my eyes are no longer encircled with that thick black eyeliner that always managed to look three days old and slept in, but I still got kind of a thrill when I learned that The Umbrella Academy was being adapted into a Netflix show. It was something I had always assumed I would end up reading, back in the depths of my emo phase (which is probably more accurately defined as a My Chemical Romance phase) but then just kind of forgot about. So, great, I’m simultaneously being reminded that this thing exists, and freed of the nostalgic obligation to go seek out the comic and read it. As much as I love reading, comics have just never been my thing.
Then the trailer came out. Honestly, it kind of killed my enthusiasm. It just looked kind of generic. Apocalypse. Superpowers. Bold characters. Lots of action. My takeaway was a big ol’ “Meh.” Frankly, without my pre-existing attachment to Gerard Way and the very idea of The Umbrella Academy, I highly doubt I would have given it a chance - not because it looked inherently bad, but just because I’m a hard sell on the kind of show it appeared to be.
But it’s Gerard Way, man. I had to watch at least one episode.
The Umbrella Academy centres around the famous-yet-mysterious Hargreeves family. The seven children - six of whom have special powers - were adopted by Reginald Hargreeves, a cold and severe patriarch who didn’t even deign to name them. He made them into “The Umbrella Adademy,” a crime-fighting squad of tiny children who would later dissolve after a tragic incident. Now they’re grown up, and Dad’s dead. His spare and tense memorial is what brings the adult Umbrella Academy back together, and this is where the show kicks off.
We’re treated to a rather clumsy beginning; a gripping opening scene followed by an unimaginative montage. We get a glimpse of each of the Hargreeves’ regular lives, leading up to and including them learning of their father’s death. It’s a heavy-handed introductory roll-call, complete with on-screen name cards. It’s a baffling waste of time, considering we don’t learn anything in this montage that isn’t later reiterated through dialogue or behaviour. We don’t need to see Klaus leaving rehab to know he’s an addict. We don’t need to see Allison on the red carpet to know she’s a movie star. It dragged, even on a first watch not knowing that the whole thing would be ultimately pointless, and I’m surprised no one thought to cut it and let us go in cold with everyone arriving at the mansion for the memorial - an opening that would have both set the tone and let us get to know the characters much more naturally. Maybe it feels like I’m focusing too much on this, and that’s only because it gave me a bad first impression - and I want anyone who reacts the same way I did to stick with it. It really does get better.
The further we got from the montage the less gimmicky it felt, and I started to sense some sort of something that I liked about this show. Stylistically it was interesting, and there seemed to be an underlying depth; room for these characters to be more than brooding ex-vigilantes with daddy issues. I was intrigued enough by the end of episode one to keep watching, and was gratified as the series went on and truly delved into those depths. There was a memorable turning point for me around episode five, where Klaus (the wonderful Robert Sheehan) was given space in the runtime to visibly, viscerally feel the effects of something he had just been through. It sounds so obvious, and so simple, but it’s something that is frustratingly glossed over so often in fiction. You know. Fallout. Feelings.
It wasn’t just that moment, though. Prior episodes laid the groundwork, developing not just Klaus but all the Hargreeves. Each character feels real and grounded, each of them uniquely good, uniquely bad, uniquely damaged by their upbringing. It’s this last point I particularly appreciate, this subtle realism in the show’s execution of abused characters. We see how siblings growing up with the same parents does not necessarily mean they got the same childhood, endured the same abuse, or that their trauma will manifest in the same ways. And certainly, it’s important to see the different coping mechanisms each of them have developed. Furthermore, there is a lot more to each of these characters than just their trauma. There are seven distinct personalities going on, and I have to applaud the writers for this commitment to character. It was largely this that kept me hooked (I’m such a sucker for good characters), and to my own surprise very invested in the way things unfolded.
I love the tone, which found a cool rhythm after the pilot. The pacing was decent and the character development balanced well against the plot. I like the little quirks that remind you of the show’s comic book roots, like Pogo, the talking ape and Five, the grouchy old man in a teenager’s body.
Weirdly, I like the apocalypse stuff, which they managed to put their own spin on despite it being such a played-out trope at this point. I like that the show found small ways to go in unexpected directions, even if the overarching plot and big twists weren’t all that surprising. And most of all I love that in a world saturated with forgettable media, I woke up today still thinking about this show.
Even if not all of my thoughts were so generous.
See, for everything I love about this show, there are also quite a few things that rubbed me up the wrong way. I can’t list them all without going into spoilers, but I think it needs to be said that there are like, a fair few problematic elements in this show. I couldn’t help but notice that while women and people of colour are the minority in this cast, they also seem to cop the worst abuse. Only two of the Hargreeves siblings are female. One of them has no powers and the other’s power is influence (a non-physical power). Their “Mom” is literally a robot created for the sole purpose of caregiving; she dresses and acts like the epitome of a submissive 50s housewife. The Hargreeves sisters are also the ones most likely to be left out or ignored when it comes to making decisions, with one of them even literally losing her voice at one point (yikes!). Beyond that we have some truly disturbing imagery of violence being inflicted on women of colour almost exclusively by white men, and the fact that the only asian character is um… well, he’s literally dead. Before the show even starts.
Overall the problem is not just insufficient diversity, with white men taking up most of the screen time, dialogue and leadership actions, but the way that the few female and non-white characters are depicted.
These are all depictions that, in a vacuum, would be innocuous. I mean, just looking at the root of many of the show’s problems exemplifies that - the root being that all of these characters were white in the source material (uh, a problem in itself, obviously). It wasn’t a problem, for example, when Dead Ben was not the only Asian character but just another white Hargreeves sibling. And wouldn’t it be nice if we lived in a world where you could race or gender-swap any character and have everything mean - or not mean - the same thing. But life is more complicated than that. Art is more complicated than that.
Honestly, I’m not sure if we should give props to the developers of The Umbrella Academy for diversifying their cast when the fact is they did so - and I say this gently - ignorantly and lazily. Race-swapping willy-nilly and leaving it at that ignores a lot of complex issues surrounding the nuances of portraying minorities in fiction, and leaves room for these kinds of harmful and hurtful tropes to carelessly manifest. So many storytellers don’t want to hear it, but let me tell you writer to writer that it does matter if the person being choked is white or black, male or female, trans or cis. It does matter who’s doing the choking. Camera angles matter. Dialogue matters. It’s all a language that conveys a message - about power and dominance and vulnerability in the real world. Because art doesn’t exist inside a vacuum, as inconvenient as that might be. Having the empathy to recognise that will actually make us better storytellers.
In shedding light on these issues, I am not dragging this show. I am not condemning it. And although it is problematic in itself, I’m not even saying it’s problematic to enjoy it. I’m pulling apart the lasagne, looking at the layers, poking and prodding at the individual ingredients and saying, “Hey, the chef probably should have known better than to put pineapple in here. Maybe let’s not do that next time.” I’m also saying, “When I get a mouthful with pineapple in it, I don’t enjoy that. It’s jarring and unpleasant. But it doesn’t ruin the whole meal for me.”
I’m getting better at allowing myself to dislike something on the basis of its shitty themes. To not have to justify myself when something is problematic in a way that just makes it too uncomfortable for me to watch. That wasn’t the case here. I won’t lie; the bad stuff was no afterthought for me. That kind of thing really gets to me. It does ruin a lot for me. But in this case, the show redeemed itself in other ways; mostly by just being a compelling story with characters I liked. I’m trying not to justify that too hard either.
So I liked The Umbrella Academy, and I hope it gets a second season. I also hope that the creators will listen to people like me who want to be able to enjoy their show even more and create more consciously in the future.
And please let Vanya be a lesbian.
The Umbrella Academy is out now on Netflix
Watch this show if you like: witty characters, iconic characters, complex characters, mysteries, dark themes, superpowers, vigilantes, comics, dark humour, epic stories, shows about families, stylistic TV shows, ensemble casts, character dynamics, dramedies
Possible triggers (don’t read if you care about spoilers): suicide, child abuse, claustrophobia, addiction, violence, violence against women, violence against women of colour, death, torture, incest, self-harm, pregnancy/childbirth, kidnapping/abduction, blood, mental illness, medication/themes of medication necessity, blood, manipulation/gaslighting, homicide, forced captivity, guns, hospitalisation, medical procedures, needles, PTSD, prison rape reference (1).
Please feel free to message me if I failed to include a relevant trigger warning and I’ll include it.
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The 100 Ask Game
Tagged by @thelittlefanpire --thank you! This looks like fun.
Soooo okay, first, full disclosure: I haven’t watched S5. I stopped watching toward the end of S4 for Reasons. So there might be a little bit of salt and/or confusion in some of my answers. But only a little; this blog is still a positive space and it is, of course, Show Night: a big fandom night regardless of my personal participation.
1. What Station on the Ark would you be from?
Hmm. Well I have farmers and factory workers in my family but I don't know which end of a wrench is up myself. I guess I'd probably be from one of the stations we know nothing about like Hydro or Tesla. It would be cool to be from Mecha but I'm not a mechanical person in the slightest lol.
2. What would you get arrested for on the Ark?
Probably theft. I'm not a thief in real life but I do like eating and comfort and I'm p. sure the only way to get anything above subsistence-level rations on the Ark is to do some law-breaking.
3. Would you take off your wristband when you landed on the ground?
I'm too much of a rule-follower to do it on my own but I would definitely be a sucker for Bellamy's "take off your wrist band as payment for some delicious puma meat" plan. To heck with this silly piece of metal, I want to eat.
4. What would the necklace Finn would make for you look like? (Clarke: deer/Raven: a raven duh..)
Some sort of large cat. Or small cat, not picky.
5. If you could resurrect any MINOR character who would it be?
If Wells counts as a minor character, then Wells. Otherwise...perhaps M'Benge. He looked like a promising delinquent.
6. Create a squad of 5 characters to go on missions with. Who are they?
Bellamy, Clarke, Raven, Jasper, and Monty. This is partly practical--I do think they're the smartest/most capable members of the group--but also partly about the Narrative. They're my favorites.
7. What Grounder Clan would you belong to you?
I guess Trikru based on where I live? Or again, some clan we know nothing about. I don't know anything about Trikru's non-warriors so perhaps I could be one of them.
8. What would your name be in Trigedasleng? (example: Octavia=Okteivia…just make it up!)
Skipping this one because I don't give my real name or any variants online, sorry.
9. Thoughts on Finn? Some people hate him, and others love him, so I’m curious
Okay. My general thought on Finn is that he had an appropriately sized role in the narrative--which is more than I can say about a lot of other characters, many of whom, imo, were either killed too early, or too late/not at all when they should have been, or who take up way too much screen time, or are given way too little for their worth. But Finn contributed decently well to the first season--sometimes oddly, in that, once he outlived his usefulness as a love interest, he was shoe-horned into a Peacemaker role that probably should have been Wells's. But at least he was contributing a needed and consistent POV. And while I go back and forth a bit on how realistic I find his season 2 breakdown... I think it is more realistic than not, at least narratively. He seems like the sort who would have a breakdown after a battle, and the short timespan of 2A makes it more likely, not less, to me, that he would spiral quickly into something so atrocious: no time to cool down, to get perspective, to heal. Also, he had a completely unique story, which is also pretty rare on a show that likes to reuse its plot points. (Sorry! It does though.) I can also honestly say that Finn's death and funeral still ranks as one of the most resonant and heartbreaking moments of the series, for me. I have a hard time with any sort of capital punishment story line usually but I really felt for this one and I think it was very well done.
So basically what I'm saying is that I think Finn was decently well used as a character--like B+ narrative role, docked for the random interest in peace and the occasionally annoying nature of his personality. Because he could be annoying. He and Clarke didn't have much chemistry and he and Raven had surprisingly little, too, given how important they allegedly were to each other. And one of the good aspects of his death was that, not only was the event itself well-constructed and moving, but he wasn't exactly missed, by me or by the story, after he was gone. He served his purpose. I'm glad he wasn't on the show longer. (Except for that post speculating on a Finn/Murphy redemption arc/love story, which I would have watched and cheered on for sure.)
I don't hate him, though, and it does annoy me a little that he almost always shows up in fic as the 2d villain, the shitty ex/boyfriend, the annoyance. I mean, I get the appeal of having a readily available character like that (ngl I've used him that way at least once myself) but like.... it's not my fave trope, let's put it that way.
10. Be honest. How willing would you have been to take the chip without knowing all the horrible things it does?
I've thought about this some, not so much as it pertains to me, but in comparison to some other Failed Utopia plots in other fiction, and because my sleeping beauty au involves Clarke taking the chip, and it was very hard for me to bring her to a place where I felt like she could realistically, and in an in-character way, make that choice. But it's also been a while since I watched S3 and it's difficult for me to remember at what point different aspects of the CoL became obvious to the characters. Certainly, I can see the appeal. I think anyone can. It's an interesting concept and one I actually wished had gotten more time in the show... I think anything that obviously perfect (live forever in a wonderful city, away from pain and death and hardship!) should immediately cause warning bells: what's the catch here? Taking the chip without knowing the answer to that question is an assumption of the risk sort of situation, except you can't predict what the risk is, and the stakes are enormously high. Not exactly smart, and I like to think I am smart. I also have a great fear of AI and VR, which would make me wary.
On the other hand, I'd do poorly in the impoverished landscape of the post-apocalypse, which might make the chip more tempting. Also, if ALIE and friends tortured me or someone I loved, I would take the chip like that. No question, I am weak.
11. What character do you relate to most?
I relate to the intensity of Jasper's feelings, and to Monty's method of shutting down emotionally as a survival mechanism.
Generally I wouldn't say I have much in common with any of the characters, though, and I don't really watch because I 'relate' to anyone, personally.
12. What character do you like the least?
My first instinct is to say I dislike a lot of the characters, which is true but... I also spend almost no time thinking about the ones I dislike. My fandom experience at this point is very much about retreating into the aspects of the show/canon/fanon I like, and ignoring everything else. That said... probably M/di and J/rdan because the whole concept of a Next Generation down from the delinquents offends me, and also because they're both so universally loved that it's quite hard to avoid them. Also b/c J's name corresponding to that of my fave character makes blacklisting really obnoxious lol.
13. Describe your delinquent outfit. (Would you wear something like Murphy’s jacket with the spikey red shoulder patch or have a trademark like Jasper’s goggles? Be creative, yet practical)
Mmm, something comfortable. A nice jacket, like Clarke or Bellamy's S1 jackets, or Jasper's pilot jacket. Nothing with weird patches like Murphy's S1 or Jasper's S3 jackets. A shirt with something interesting written on it like Jasper's Earth Day shirt. Big boots. A nice heirloom necklace. Multiple layers. Knitted wristlets like Clarke has in early S1. A sweater with thumb holes like Monty has in S4.
14. Favorite type of mutant animal?
All the mutants! I really feel like the show missed some good opportunities in the irradiated-animal department. Take some $$$ from the explosion budget, or the Boring Side Character payroll, and invest in some more two-headed beasts. But if I had to pick one, I'd say Lincoln's two-faced horse, because the image of him saving Clarke and Finn in late S1 is so underrated but so iconic.
15. What would your job be on the Ark?
I don't think I have many useful Ark skills. Archivist, perhaps? Member of their proto-justice system? Probably that, though I don't know what sort of jobs, specifically, make up that unit. Though I have some ideas; see: a fic I haven't yet actually written.
16. Would you have willingly pumped Ontari’s heart if Abby asked?
Gross. But probably if I had to, I'd force myself to.
17. If Lexa wasn’t Heda, but she was still alive then who would have made the best commander?
I gotta tell you, I literally do not care, nor have I have ever cared, about the commander or Grounder leadership in the slightest. They all seem pretty incompetent. They should cede their power to the Sky People, who are marginally less terrible at running things.
18. How would you act if you ate the hallucinogenic nuts like Jasper and Monty?
You'd never know from my obsession with alternate states but I have never been high, nor intoxicated in any way, so I really can't say. Hopefully calm and happy like M'Benge in the broom closet. But probably miserable and confused and afraid of my inability to corral my thoughts.
19. How would you have dealt with Charlotte’s crime? A more John Murphy approach or Bellamy Blake approach?
Interesting question. I actually think the Charlotte story line was one of the best of S1, probably the show as a whole, and I kind of wish it had played out more long term, instead of just being, in retrospect, more of an excuse for some drama. I mean that is one of the central dilemmas of a new society, as the dropship camp was starting to be at that time: what do you do with people who break the rules and/or are dangerous? They had roughly three options: execute the wrongdoer (which eliminates the problem pretty efficiently, if brutally); ignore the issue entirely through immediate forgiveness; or apply some punishment in between, like imprisonment. This situation in particular was more complicated because, first, technically, they had 'no rules' at the time (killing is just, uh, obviously wrong), second, the actual perpetrator was a child, and third, she was so obviously unstable as to seem a likely continued threat. And in addition to all THAT, Bellamy and Clarke were such tenuous leaders (Clarke wasn't really a leader at all, so really I should say Bellamy was a tenuous leader) that any option that didn't go along with the will of the majority could cause a complete break in legitimacy. So it's really a delicate scenario. One I can't say I have an answer to.
I will say I think banishment is literally the worst thing they could have done, for either Murphy or Charlotte, if she had lived, and I think the narrative bears this out. It looks like a good compromise but it's cruel and it's dangerous. Cruel because they have to assume the banished person would die in the wilderness, and if you believe he deserves death, shouldn't you just execute him? Have the courage of your convictions? Take on the full moral weight of your decisions? A hanging death is probably less awful than slow starvation or being eaten by a wild animal. And dangerous because if he doesn't die, he's an obvious target for...who's that? Your enemies in the woods? Which is exactly what happened? They brought that whole bio-weapon story line on themselves, tbh. I think it was an in-character decision for a couple of dumbass kids, but that's not the same thing as saying it was smart.
I like to think I would have sided with Bellamy early on, in being careful about what information goes out to the camp as a whole. I mean, it's not perhaps the most moral decision, but it's practical--and certainly inciting a riot, as Clarke ended up doing, is neither practical nor moral, so there's that. If the actual perpetrator had been found before Murphy was caught up in the mess... I guess some sort of middle-ground punishment is the best you can do. Imprisonment, shitty work shifts. Showing consequences for bad actions and trying to keep the group safe. Hopefully if there was enough tact in the beginning of the process, the crowd could be convinced to go along with it. I don't know, though. It's tough.
20. Who should have been the Chancellor, if anyone?
Bellamy.
Bellamy, Bellamy, Bellamy.
Honestly, watch the first season, or even, arguably, the first three, and tell me that ultimately becoming Chancellor wouldn't be a neat, logical, and emotionally satisfying conclusion for Bellamy's arc.
Obviously, it would take him some time to get there. Before then... I don't know. If I had to pick among one of the former Chancellors, I'd go with Abby I suppose.
21. Would you have been on Pike’s side like Bellamy or on Kane’s side? Or Clarke in Polis?
Oh gosh they're all terrible lol. I guess I'd pick Kane as the least of the three evils. He certainly was in the right once Pike's anti-Grounder agenda went into play, but I don't exactly think he had the ear of the people prior to the election, which is why I'm not enthusiastic. But, still. You gotta get through the Dark Times to get to Chancellor Bellamy, I guess.
22. Mount Weather had a lot of modern commodities. (example: Maya’s Ipod) What is the one thing you would snatch while there?
I'd grab up some interesting books. Possibly a stuffed animal because I like soft things. A nice piece of art.
23. What would your Grounder tattoos look like? Hairstyle? War paint?
Lol I don't care what universe we're in, I'm never getting a tattoo. Hair: probably something simple and loose. War paint: pass, as I wouldn't be a warrior.
24. Favorite quote?
I suppose Jasper's quote about wounds needing to heal before they become scars.
25. If all of the characters were in the Hunger Games, who would have the best shot at winning?
I've never read or watched the Hunger Games but I'm nevertheless going to say Raven. She's just been the deus ex machina too many times.
26. Least favorite ship? Favorite canon ship? Favorite non canon ship? NOT INCLUDING CL OR BC OR BE
Least favorite: M/rper
Favorite canon: ummmmm idk not excited by most canon ships tbh. Probably Jasper/Maya, maybe Mackson or Briller.
Favorite non-canon: Jonty
27. A song that should be included in the next season? If there had to be another guest star like Shawn Mendes on the show, who would you want to make a cameo?
HUNGRY LIKE THE WOLF DURAN DURAN
Lol, Idk. Something poppy and 80s would amuse me, though. In part because the show needs to take itself at least 75% less seriously.
I don't have any opinions on cameos.
28. What would you do if you were stuck in the bunker with Murphy for all that time?
Hopefully make friends with Murphy.
29. You're an extra that gets killed off. How do you die?
Something painless and quick?? I don't know. Poison?? Nice dramatic non-bloody death?
30. A character you’d like to learn more about and get flashbacks of?
JASPER. OBVIOUSLY.
...Lol I think this question is really about plausible character flashbacks and if so.... well first off ANY flashback about the Ark is 100% my thing, and flashbacks about almost any delinquent would be great. We're still not in the realm of the plausible, though, imo.
Raven, perhaps? Always want more Raven.
31. A character you’d bang?
Raven. Even though she'd intimidate me a lot.
Monty (as an adult, ofc).
A lot of the characters are bangable tbh. Might be faster to name those I wouldn't...
32. Would you stay in the Bunker? Go up to Space? Or live on your own in Eden?
Uhhhh none of the above??
I suppose the bunker. (This answer is based on the concepts of bunker/space/alone on Earth, not what actually happened in S5.)
33. In the Bunker, would you follow Octavia? What would you do to pass the time underground?
Read a lot and make friends. Idk if I'd follow Octavia since I just don't have enough data on the season... but from my understanding of her recent arc, probably not.
34. What crime would you commit in the Bunker that lands you in the fighting pits?
???
35. Up in Space, who would you bond with first? Who would be the most difficult for you to get along with?
I wouldn't last a year in space with such a small group of people but hopefully Raven and I would hook up before I spontaneously expired.
36. How long do you think you would last on Earth by yourself?
Definitely less than a year.
37. When the Eligius ship lands what do you do?
Eligius ship? I don't know her.
38. Favorite Eligius character? Least favorite?
???
39. Would you Spacewalk?
No. But actually. Probably yes. I'd totally freak out about the idea, swear a million times I'd never do it, then get cajoled into trying by my beautiful girlfriend Raven, and I'd love it so much I'd immediately want to do it again.
40. Would you prefer to eat Windshield Bugs, Space Algae, or Bunker Meat?
Algae?
41. Would you start a war for the last spot of green on earth? What would your solution be to avoid it?
There's no way I'd make it this far in the narrative in real life. I didn't even get there in fictional life.
42. Would you rather dig out flesh-eating worms or stick thumb drives into bullet holes?
I guess the thumb drive thing sounds less disgusting.
43. Are you willing to poison your sister for the Traitor Who You Love? What would you do to stop Octavia?
I don't have any siblings (well, no siblings with whom I have a real sibling relationship) so, yeah, sure, why not lol?
44. Would you go to sleep in cryo or stay awake like M/rper?
Leave my body behind on Earth, please, where it belongs.
45. Who are you waking up first to explore the new planet?
New planet? I dunno what that means lol.
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21
It took Marvel way too long to get around to a movie starring a female superhero, but Captain Marvel does a good job of sticking to its comic book movie roots while acknowledging, yeah, it’s a little different.
There’s nothing inherently special about a comic book movie with a female lead (and a white one, at that), but what I absolutely love about Captain Marvel is how they played it. For the most part, it seems to know it’s not special. It’s pretty standard fare: you don’t see it for a good feminist time, you see it because you like comic book movies. That’s what it is to its core. But it has all of these moments that work on a universal level, but carry gendered undertones - and it’s nice to be able to relate to those.
Like one of the key plot points in the movie: Carol is constantly chastised for being emotional. There are plenty of reasons that makes sense - the Kree not wanting her to be herself, for them to be able to control her and rely on her (after all, it was her disobeying orders that got her captured to begin with) - but, of course, there’s that moment every time a woman is told she’s being too emotional and can’t be taken seriously. But it’s when Carol gets emotional that she has to be taken seriously - whether it’s Maria giving her a supportive talk or her getting the chance to use her powers in full for the first time, Carol getting to be her true self with full expression is when she’s at her most powerful. And there’s a real joy in getting to see her experience it. The final battle is pretty anti-climactic because she’s so strong, but she’s also literally whooping during it - she’s getting to have the time of her life because she finally knows who she is again, and she’s emotional and protective, and she finally gets to express that as she’s found herself. It’s a celebration of a woman getting to do what she wants and anybody who would tell her off for it can go to hell.
And there’s also what leads up to it: Carol always gets back up again because she’s human. And that’s something pretty much anyone can relate to. But it carries that extra weight for anyone who grew up as a girl because it’s flooded with those mocking moments - “too emotional, too weak” - because she’s doing things not typical of a little girl, like going all out while go-karting or playing baseball (and either the kid pitching has absolutely terrible aim or he was absolutely trying to bean her). I remember those moments of being picked last for whatever I wanted to do and the neglect and dismissal that came with them. Carol’s resilient because she’s a human, but she’s also resilient because she grew up being told she couldn’t be.
And and, of course, the final moment with Yon-Rogg, which has so succinctly put into words exactly the tell-off I’ve needed: “I have nothing to prove to you.” Yon-Rogg’s move was absolutely a survival tactic, and it wasn’t inherently gendered in any way - he was completely outmatched, he knew it, and playing on his history with Carol as the one thing that could have possibly actually worked for him - but at the same time it was gendered, because he made himself the centre of her story. Carol used to go knocking on Maria’s door way too early in the day; she replaces her with Yon-Rogg and latches herself onto him because he’s made himself the central figure in her world (and probably gaslit her to do it, at that). He tried to set it up so that without Yon-Rogg, there’s no Carol; everything she did had to tie back to him in some way. That’s how a main character works, after all. But Yon-Rogg was never anything but a side character to her story - a nuisance, really - and Carol refusing to take him seriously at the end (to the point of dragging him across the desert, which was a perfect shot) is that one last weapon: a fuck off to a small, little man who has nothing to do with you and doesn’t deserve the attention he thinks he does. He’s not important and she tells him as much.
But otherwise, you know, comic book movie.
Except for some of the other moments in which it’s tonally different. It feels like there are many more quiet moments in which characters get to just talk - most scenes in Maria’s house are like that. They talk to Talos to advance the story and find new things out. They’re just having a nice evening together after the big battle. Carol calmly gives Fury his modified pager while they’re doing dishes and goofing around together. The movie gets the chance to breathe and explore its characters emotions, a lot, and that’s what i’m missing in a lot of these: something traumatic happens to a character but there’s no time to process it (except for maybe a scene in a sequel) because it always has to be go-go-go, and Captain Marvel is completely happy to just hit pause on things and square up its characters.
It also does a great job tying itself into the MCU canon and weaving itself into decade-old fabric rather seamlessly. For one thing, it finally gives us a Fury movie - not someone who knows all but certainly doesn’t say all and operates behind the shadows, but a Level 3 agent adapting on the fly to new situations because he has no other choice. We finally get to see him as a person, not just a figure, and turns out the person is pretty awesome. He’s competent, he’s curious, he’s a good judge of character. And his quick rapport with Carol makes the entire movie - when they first escape on the jet and are joking around together is when it really hits home, how easily he can make her laugh as her personality actually gets the chance to start shining through (before she knows the truth, even).
It’s easy to see why they’re friends, too: they have similar lived experiences, as he points out rather quickly from his “rogue soldier” remark. He quickly admitted to his faults in not quite trusting her without argument and had redeemed himself pretty much right away, as well. They don’t just end up with similar goals; they genuinely enjoy one another’s company. It’s what will tie Carol so well into Endgame, in all likelihood, judging by the first post-credits scene - she has a real emotional investment in the outcome, she has just as strong an emotional tie as any of the other characters to fight. We’ve only known her for one movie but she’s just as relatable as the rest of them thanks to her time with Fury.
And, of course, the kicker: the very end, in which Fury names the Avengers Initiative after her, with the theme briefly playing before transitioning to the credits. That’s what makes Carol feel like she’s been a long-time part of this universe even though she was just introduced: her friendship with Fury sets the stage for everything that’s to come without ignoring everyone else who built it up. Her shadow touched it all, even though we didn’t know it at the time, and then seeing Fury quietly work to build a legacy around her really drives it home.
Also, it was completely predictable how they’d tease him losing an eye, and once they showed him aggressively playing with Goose at the end it was obvious, but it was still perfect - him losing an eye was essentially played off as a joke, but also he did lose an eye to one of the most powerful and dangerous creatures in the universe, so it’s not that much of a joke if you really think about it.
Though Carol’s friendship with Fury is a big driving point, her friendship with Maria is equally so: she regains her humanity through her (and Monica), nobody else. It’s Maria she has the most emotional moments with, seeing the astounding loss play out from Maria’s point of view, Maria being the only reason she actually finds herself again. The moment in which Carol is screaming at Talos that he doesn’t know her, not even she knows herself - but there’s one person there who does know her, and then they just hug for a long time - was beautiful. The MCU has extremely little in the way of female friendships - Gamora and Nebula reconciling is the only one that comes to mind off the top of my head - so finally getting to see one so genuine and of such consequence was wonderful.
That, and all of the Photon foreshadowing. Monica was a delight as well - though that seems to be expected, since she was basically co-parented by Maria and Carol. (Seriously, this movie was Steve-and-Bucky-level gay.) It wasn’t a movie dominated by women, but their presences were so much more pronounced than they normally are, it really does make one wonder why they can’t do better in this area. Black Panther figured it out; Captain Marvel downsized it and made it more intimate.
But again - even with all of that - this really was a comic book movie. The way Talos uncovered Carol’s memories was unique and set the right amount of intrigue, but the casual way he goes about it really introduces us to Talos as a character, as well. He’s someone with a sense of humour trying to solve a puzzle - highly relatable - and yet when they made it to Mar-Vell’s lab, I was bracing myself for his inevitable betrayal, because Skrull. It’s wild how relieved I was he actually was just a good guy, because it was easy to get attached to him and his straightforward nature (when he finally decided to go in that direction). Skrulls can be tricky but just making this small group genuinely good people caught up in a shitty war was the right way to do it. I hope the MCU never does a Secret War storyline, because it won’t translate to a movie-verse like this - there’s too much time between movies/chapters, too much time to get attached to characters and actors; it would feel like a betrayal. I look forward to seeing evil Skrulls at some point, but I’m happy Talos wasn’t one of them, and he got to hold his share of heart in the movie, too.
That, and Monica’s budding friendship with Talos’ kid - they’ve set themselves up to do more if they want to.
I wish we could’ve gotten more Ronin - he feels so underused in every movie he’s in, and maybe that’s just the gravitas to his character or maybe he’s legitimately being completely underused - but he was really threatening in the bit of screen time he did have. His intrigue with watching Carol go about her business and his respect for her was outstanding and highlighted the both of them: he’s a brutal murderer and he recognizes he’s no match for her.
Getting to see Coulson again was really great as well, especially since I’ve finally taken the time to watch Agents of SHIELD and get attached to his character. Seeing Coulson as a loyal rookie was just the perfect dose, from him being left behind at the Blockbuster to looking upon Fury in awe at the end. He’s kind of just a guy, but you can tell why he’s special, and why he would have looked up to Captain America: ultimately his defining trait is a very warm heart.
And finally: making Mar-Vell a woman was something I definitely wasn’t expecting, but it really did add another layer to the entire movie. It gave someone else for Carol to relate and look up to; her history and Maria pretty explicitly spell out that their being women is a problem, so it makes it all the more believable she would grow close to someone like Mar-Vell and truly want to help, all the while admiring what she was doing, even if she didn’t know the truth behind it all. It carried so much more weight than if they had kept Mar-Vell a man. And she was such a good character that seeing the Supreme Intelligence warp her into someone so warmongering actually did hurt - and seeing Carol fight partly in Mar-Vell’s honour made it so much better, and it makes so much more sense that she would take on her name.
It really shouldn’t have taken Marvel this long to create a movie actually starring a woman and focusing on her relationships with other women. But at least when they finally did it, they did it right - and it made for a really good, fun comic book movie with just that little bit extra under the surface.
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Establishing an Ethical Dilemma: The Clone Wars’ “Downfall of a Droid” vs. RWBY’s “Gravity”
On today’s episode of Metas No One Asked For we’re going to talk about how The Clone Wars’ sixth episode “Downfall of a Droid” managed to do everything RWBY’s seventh season “Gravity” failed at.
(Apologies in advance for the very shitty picture quality.)
In each show we start off with an incredibly difficult situation: if Anakin and his troops leave then the Separatists will gain this area of space. If they stay and fight they’re likely all be killed. If Team RWBY leaves a good portion of a city will perish. If they stay and fight they (including that city) will most likely all be killed. Now, in comparing these episodes we need to acknowledge that RWBY is setting up immediate consequences whereas The Clone Wars is setting up long-term consequences. It feels like Team RWBY has less of an option to retreat because their immediate consequence is that a good portion of Mantle will die. It feels like Anakin has more of an option to retreat because the impact of letting the Separatists gain a foothold won’t be seen until later in the war. Those long-term, mostly invisible consequences simply don’t resonate with us in the same way that the deaths of large swaths of minor characters we’ve seen throughout the volume does. It feels worse for Team RWBY to retreat because we’ve seen the Mantle citizens on screen throughout the season. They feel more real to us than the nameless, faceless people who will die later on if the Separatists gain this advantage. But both situations require sacrifice in order to keep the war going and both situations require sacrifice in order to save the immediate people around you. Ironwood wants to save everyone in Atlas and the people he’s evacuated from Mantle. Obi-Wan wants to save Anakin, Ahsoka, and the who knows how many clones on these ships. Both situations ask the question, “Even if you’re personally willing to take a nonsensical, terrible, borderline impossible risk to save others, how can you doom those around you in the process? The people you’re speaking for - as civilians or as subordinates - do not get to make that choice for themselves. In the name of the unlikely possibility that you’ll save people in the future you’re taking the far more likely risk of killing others here and now.”
Despite taking up only six minutes of screen time (the real emphasis is on losing R2. This battle is just the setup for that) The Clone Wars manages to provide a more complex and balanced account of the ethics of this situation than RWBY managed in multiple episodes. It is made abundantly clear that, despite coming from a noble place, Anakin is in the wrong here. He’s trying to risk too much on the basis of nothing. He’s in the same position Team RWBY was in, just insisting loudly that they have to fight because it’s the right thing to do, and he’s called out for that by the story itself. Obi-Wan, Anakin’s Master and superior, tells him not to go through with this.
Ahsoka, his padawan, agrees. This is how you have a much younger, much less experienced character being better than their elders, by actually allowing them to act as the more mature party in a scene. If Ahsoka, who thus far has been characterized as equally reckless and desperate to push the war as far as she can as fast as she can, thinks this is a dumb move, you know it’s a very dumb move.
“Suicide is not the Jedi way.” We could also say that “Suicide is not the huntsmen way.” Doing the “right thing” means absolutely nothing in the face of your own death and the death of everyone following you. What have you achieved here? Satisfaction of some sort for being a Good Person? Congratulations, you can feel smug about that in the afterlife while ignoring the deaths/detriment to the war weighing on your conscious. Here Anakin’s superior and his subordinate call him out on this selfish behavior. He’s not a bad person for wanting to defend this sector but, as someone in a position of power, he does need to do better. He needs to make the harder choice here, prioritizing the lives he can realistically save over the Happy Ending he wants.
However, in the face of their criticism Anakin just digs in his heels and, to be frank, comes across as delusional at best, downright dangerous at worst. Again, despite this choice defending (some) others, he’s being selfish: “I can’t let them do that.” He’s prioritizing his own conscious over the logic of the situation and the lives of his men. And he’s appropriately called out for that too.
This is a flaw that Anakin needs to work on, not something heroic the audience is meant to praise. So far he’s in nearly an identical position to Team RWBY, insisting on a suicide mission despite everyone else around him laying out precisely why that’s a death wish and, therefore, a very bad move. Emotionally we understand why Anakin wants to fight, but the story reminds us that what we want is not necessarily what we (and everyone else) needs, even if it seems so at first glance. The generalized “defending this sector is a Good Thing” simply can’t hold up against the undeniable danger of choosing to fight. To him. To his men. To his padawan. To the war. Anakin’s noble desires mean nothing in the face of an impossible situation. He simply has no way to win.
The difference between this scene and RWBY’s - the key, crucial, AMAZING difference - is this line right here:
At the very end of the scene we establish that Anakin does have a plan. He’s not risking everyone’s lives on the illogical hope that they’ll win because they’re the good guys, he’s banking on an actual strategy he’s come up with. Now, in a show where this dilemma is more central to the story we’d want to hear precisely what this plan is and weigh it against the established dangers. However, as said this fight only takes up about 5 minutes of screen time in a 7 season show. This dilemma is only setup for the primary conflict of finding R2, so we’re able to skip the explanation and instead have the plan function as a fun reveal for the audience. How will Anakin get them out of this situation? We’ve already established that he can, now it’s just a matter of showing how. Unlike Team RWBY, Anakin is able to justify this choice to everyone around him. The people he’s asking to fight beside him and risk their lives. He’s able to prove that this battle isn’t as impossible as it seems.
Crucially though, even the audience isn’t investing blind trust in Anakin. Later on, his strategic nature is worked into the surrounding plot. We’re shown how good he is at coming up with plans, thus lending support to the audience’s belief that he’s truly come up with a way to beat Grievous here as well as providing in-world support for why others would trust him to this extent. Not only did Anakin provide a concrete, smart, doable plan to justify going on this “suicide mission,” he has a track record of using this sort of strategy successfully in almost every battle. In contrast, the last time Team RWBY implemented a plan was... volumes ago? They don’t use strategy to beat the Ace Ops. They don’t fight together at Haven. They kept hitting Tyrian head-on until they lost. The closest thing we’ve gotten to strategy lately is the Nuckelavee battle which amounted to “Hold him down so we can hit him as opposed to just hitting him.” There’s been very little lately to convince us that Team RWBY can get themselves out of tight situations via intellect like Anakin can. More significantly, Anakin didn’t just rely on his reputation as a smart guy. There was no, “Trust me because I’m just that good” which, again, is what Team RWBY demands of Ironwood: trust us despite our disloyalty and our lack of a plan. Trust us despite everything telling you you shouldn’t. Anakin has been faithful to his allies, proven his ability in the past, and - though it happens off screen - is able to lay out logical reasons for taking this risk. For all his playful arrogance, he knows he’s not going into that battle unless he can provide a persuasive reason as to why he’ll win.
Despite having a plan, despite successfully pulling it off, Anakin still makes mistakes and still needs a great deal of help from others throughout this episode. His impulsive move to go after Grievous means Rex has to rescue him and results in him losing R2, a MAJOR consequence for him. Later on, Anakin needs to be rescued by Ahsoka and Rex again. At no point does the story insist, “Anakin is capable of soloing everything because he’s one of the main characters.” Or worse, show us how much help he needs and then retconning it later (looking at you, “We don’t need adults” scene).
Anakin is not only shown to have flaws but exists in a story that continually calls him out on them, allowing him to grow. In his despair over losing R2 he starts threatening this ship captain. In a story like RWBY that behavior would be excused because the audience knows the captain is a bad guy. AKA, the sort of situation we got with Cordovin: it’s totally fine for Team RWBY to steal from her because she’s racist, attributing a connection between these two actions when, in reality, there is none. Here though, Ahsoka reminds Anakin that he can’t treat people this way simply because he’s upset/doesn’t like them. The captain acting like a slimy asshole does not justify threatening him with a lightsaber, in the same way that being a racist asshole doesn’t justify taking headshots at Cordovin and destroying her city’s primary means of defense. Here, The Clone Wars allows for even main characters to make mistakes and acknowledges those mistakes in a way that neither demonizes them nor acts like those mistakes don’t matter. Or tries to present them as heroic.
At the end of the episode we get to see precisely how much R2′s disappearance is still eating at Anakin,
but crucially he’s not risking his life, the life of his padawan, his subordinates, and the war efforts in order to search for him based on... nothing. Anakin has nothing here. Nothing to go on except his personal belief - “I know it” - that R2 survived and him hearing a droid beep on the ship. Which, as Ahsoka points out, sounded just like any other droid. Logically there’s no reason for anyone to believe that R2 survived and thus no basis for risking so much in order to find him. When Anakin is told to continue the war efforts, he does. He might not like it, but he follows orders. He recognizes that these orders are smart based on their current information. Up until there’s proof of R2′s survival, he can’t drop all his other responsibilities to go on an aimless search for him.
Why is Anakin heroic here? Because he has faith in R2 while likewise continuing his duties as a Jedi/war general. His conflict is that he wants to go looking for R2 yet knows that he can’t. He has a duty to those around him and he’s made promises he has to keep. A less responsible, less mature group - like Team RWBY - would ditch their superiors and follow that hunch of theirs, risking a great deal in the process, which the story would then reward them for by revealing that, of course, the character they assumed had to be alive actually was. But that doesn’t mean they were right to be reckless in the first place. Or that their faith was well-founded and not just denial. In the previous five episodes we have seen Anakin disobey orders, most notably in “Rising Malevolence” when he teaches Ahsoka how to do the things she believes in (like searching for survivors) without outright butting heads with her superiors. They find a middle ground. A compromise, searching for survivors in a pit-stop fashion and then agreeing to catch up with the rest of the fleet when they don’t find anything. It’s only Ahsoka suddenly sensing Plo Koon that changes their minds. Now, with evidence, they have a reason to continue their pursuit, disobeying orders in the process. Even then we end the episode with Anakin joking about how if he’s going to get in trouble for this, so is Ahsoka. Their easy-going banter implies that their superiors are level-headed people - they understand the emotional reasons why they searched for survivors in the first place and are no doubt persuaded by their reasons for staying - but they still disobeyed orders. That comes with consequences and everyone involved will shoulder those consequences together.
We get a similar situation regarding searching for R2 at all. Once again, Anakin’s personal feelings are at the forefront of his decision making. His emotional investment in R2 as an individual blinds him to the larger picture. Indeed, that investment is presented as both a flaw and a strength. Allowing R2 to keep his memory is a HUGE threat to the war effort and (again) Anakin is called out for risking so much. At the same time, Ahsoka establishes that this choice isn’t entirely selfish one - I personally want R2 to stay as he is because he’s my friend, no matter how many lives that risks - but a practical one as well. R2 having that information makes him a great asset, demonstrated beautifully when he’s chucking assassin droids out of airlocks (established as deadly a few minutes earlier) and R3, the newer model with faster computing, can’t even open a door. Admittedly, Goldie’s competence is complicated by him being a traitor. We don’t know how much was a mistake and how much deliberate sabotage. However, Ahsoka is still correct that R2 is far more competent than the average droid and that’s at least partly due to him developing via maintaining his memory. Ahsoka’s words invite Obi-Wan to weigh the pros and the cons here. Is R2′s assistance and his individuality worth more than the threat he poses if they lose him? Obi-Wan, who previously claimed he was “just” a replaceable droid, implies that it is because he doesn’t order Anakin to wipe his memory if he finds him. He may still order R2′s destruction later because, as established, they’re not on a rescue mission, but he is starting to see this droid as more than just a tool. The main take-away though is that the story skillfully creates a situation where, for a time, the same action feeds two different motivations. Obi-Wan wants to find R2 for the Republic’s safety. Anakin wants to find him because R2 is his friend. Here he’s allowed to follow orders while still doing what he feels is right and we get to see how happy that makes him.
Then when the situation changes and Anakin’s orders no longer align with his desires... he puts those desires aside. A least for a time. Because he’s a Jedi. He’s a general. He’s in the middle of a war that’s far bigger than himself. Obviously the story eventually rewards his faith/desires by returning R2 to him, but that’s not because Anakin immediately risked everything else in the process. He took no action until he had evidence that R2 was nearby, very conveniently held in the same place he was ordered to find. The end of “Duel of the Droids” is very explicit about both sides of this debate: Anakin did risk the lives of everyone under his command (indeed, two Clones died) and Ahsoka agrees that he was reckless in disobeying orders, even if it was done under the expectation that they’d finally found R2. Anakin pushes back that R2 is more than just a droid, he’s a friend, and he had faith that Ahsoka would carry the mission without him. We as the viewer can push back further with Ahsoka taking on Grievous alone and nearly dying: she never would have been put in that position if Anakin hadn’t left the mission to find R2. And on and on. They’re both right in regards to some aspects and wrong in regards to others, and still other parts have no “right” answer, providing a complex look at this highly debatable situation and allowing the viewer to draw their own conclusions. For all his (uh, rather massive lol) mistakes to come, here and now Anakin is a great protagonist, someone who is heroic while also allowed to be flawed. To me that’s far more compelling than giving us “heroes” who continually harm others in the name of “what’s right” and only get by via the grace of the plot.
TL;DR: I’ve only watched six episodes of this series and already, from a writing perspective, RWBY could only hope to be half of what The Clone Wars is
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