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fanaticsnail · 4 months

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AAAAAAAAA!!!! SAPSORROW LORE!!!!!

Her story is so sad I can understand why she felt so anguished and took drastic measures out of anger. It makes so much sense in a way that doesn't try to justify the pain she's caused and continues to try to cause and it's all the more beautiful for it. Of course she's a victim who's choices are stripped from her but so too are her victims.

I support women's rights, but more importantly I support women's wrongs.

Also the fake out where for a moment I thought our Governess was talking to a princess?? The parallels? The way Mihawk's agate stone is left waiting for it's final command, the true desires of Sapsorrow beyond her need for revenge.

“And any words she brings onto you harbouring doubt, I will smother you in nothing but kindness and love to reassure you.” 🥺🥺🥺🥺🥺🥺 I love Governess and Peronas and Zoros relationship so much

(insert Irish "Back off ye spooky bitch!" Here)

"I love you, my lady. We both do, don't we Zoro?" And the hug????? Are you trying to kill me, snail???

The letterrrrrrrr....... Hhhhhhhhhhhhhhhhhhhhhhh

They're so Romance, I love them

Governess addressing Sapsorrow and offering her to walk down the aisle with her so she might share a happy ending is so sweet and brave to show such kindness knowing it might anger her more and be met with scorn. Sapsorrow admitting she's going after Croc next!!! Her hinting to Rosinante and Law!!!!

Her allowing herself to feel some warmth and conceding to the Governess that she might move forward in her story of her own volition, not compelled or controlled by anyone else the way Sapsorrow was. Her allowing her her choice when her own was taken from her unfairly, letting her try for a happy ending even though she didn't get one, AAAAAAAAAAAAAAAASAAA.

“The Sun-Dress is my favourite, my lady,” oh stawp it you're going to make me blush!

“If I had a heart, I would even show mercy on Red-Hair for such a fine craft. But alas, I do not.” AHAHA I found this absolutely hilarious despite knowing it only spells trouble for Shanks. But it's okay, I will laugh at his pain.

THE LONGING GAZES!!!! THE LOVE LOST EXPRESSIONS!!!! THE AFFECTION!!!!!

Corpse bride reference????? Thematically appropriate, actually.

Not Zoro getting teary eyed!!! I'm right there with you, babe, don't you worry

Without hesitation, Mihawk clasped your wrist, holding your hand in place as his tongue danced around your fingertips to skillfully rid them from the honey. Your shocked expression was shrouded by the presence of Mihawk’s thumb within your own lips, prompting you to perform a similar action to suck the sticky substance to rid its presence from his digits. -- SIR. SIR. SIR. THERE ARE PEOPLE WATCHING. THERE IS A PRIEST PRESENT. SIR PLEASE. GET A HOLD OF YOURSELF! ONE OF US HAS TO BE UNDER CONTROL HERE!!

Good God. Let me just take a moment for the word smithing of our talented writer who has a way with describing kisses.

Okay, I can't wait any longer.

The inclusion of the tradition is such a creative addition!! The drama!! The fun!! I know that Buggy's rapscallion behaviour is only a vessel for your mischief Snail, you can't fool me. But he is very rascally and himself, you write him so well.

I can't wait for Mihawk to officially fulfill his destined role as Mr "Where is my wife?"

"Hell hath no fury like a woman cursed by the law to marry her own father" - FanaticSnail

Sapsorrow: The Storyteller

I cannot marry my father // I cannot ignore the law // I cannot shame the king // But the ring-- is the ring-- is the ring--//

Her heart bares such great sadness, so she must bare into others the same curse of sadness; in hopes their outcomes be changed to a more desirable outcome.

I'm so glad you noticed the parallels! As the Princess' governess attempted to console her in her sorrow, she, as spectral queen, was comforted by a new governess now bound to Mihawk - a love she truly would have wanted for herself.

But also, yes: "Back off 'ya spooky betch"

I love how you've enjoyed her relationships and interactions with Perona and Zoro. I've thoroughly enjoyed writing their development. Little glazed eyes Zoro, squeaky Perona - they love their adoptive parents (their "mother" young enough to be their sister or favourite aunt, rather than biological).

Also, yes to Mihawk doing these displayed of unbridled lust in public. And who could blame him? He's in love!

Buggy kidnapping her to uphold a Kuraigana tradition will never not be funny to me. Gotta give the new husband a sense of panic as his bride is now lost to him.

I wonder what he will do to win back her adoration......

He's yet to hold a physical conversation with his wife aside for his vows to her, and now he has to hunt for her and woo her officially.

I hope the hunt doesn't take too long, the food is starting to get cold.

#one piece #opla #x reader #opla fic #one piece live action #mihawk #dracule mihawk #mihawk x reader #sapsorrow au #storyteller au #fairytale au #mihawk sapsorrow au #op oc #ask snail #snail answers

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chatonarya · 4 months

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Thematic Breakdown of "Heal The World" (part 2)

Original post on reddit.

Continued from part 1.

Overall picture.

In addition to the overarching themes of isolation and seeking connection, this is a song about love, sacrifice, fear, and hope, and all of these themes can be found scattered through the story and Gnosis’ characterization. Let’s connect the threads, shall we?

Love: as I’ve said before, despite everything, Gnosis still works to make Kjerag a better place. He still loves his homeland. “To him, the joint founding of Karlan Commercial, and behind that, SilverAsh’s concern for Kjerag’s future, are the few fetters that exist for him. Aside from his work, that is the one and only thing he cares about. And just as he’s willing to devote his heart and soul to his research, he’ll actually do the same for Karlan Commercial’s affairs. Even though he’ll never admit it, nor will anyone else understand.”

What is the true purpose of Karlan Commercial? To change Kjerag. Karlan Commercial is the vehicle for Gnosis’ and Enciodes’ dream of elevating Kjerag. “This undertaking is ours together,” Enciodes says.

Remember, "joint founding." Gnosis isn't just Enciodes' right-hand, he's co-founder. He has as much claim to ownership of Karlan Trade as Enciodes does.

Inasmuch as he says Enciodes promised him “Kjerag’s future. An emerging industrial country that would allow me to utilize my talent in research without fear of plagiarism, misuse, or suppression,” it’s still wrapped up in that shared dream. If he wanted, Gnosis could theoretically sell his abilities to the highest bidder, even if it would come with the caveat of not having full control of his own tech and it being used for its intended purpose. Then again, though, consider that as much as Gnosis’ file goes out of its way to emphasize how he is the consummate, stereotypical researcher with very loose ethics and cares about almost literally nothing else, if pursuit of knowledge was all Gnosis cared about, why would he care about how his tech is used, and why? Why would he care about something like misuse and having control or ownership of his tech, if he didn’t have a very clear purpose in mind for it?

We also know via his Bloodline of Combat skin that Gnosis accepts the position of becoming Kjerag’s first Speaker of the Parliament by Enciodes’ recommendation. “I’m not your pawn, and most definitely not your underling; I’m your partner-in-crime”: anything Gnosis does, he does because he wants to, not because Enciodes compels him to. He’s reached a point in his skin where he can accept a position that would leave him little time for research, either because focusing solely on providing technological advancement is no longer necessary or because now, their plans need him to do something else on the side. He takes up this mantle willingly, even though it will place him in the public eye and force him to deal with people, which he obviously dislikes. All of this stems from love.

So, too, would I be remiss if I did not say the song also seems to imply love in a more traditional sense, that is, romantic love. It’s clear throughout BI and his file that the bond Gnosis has with Enciodes is a deep one. They speak to each other very frankly, they’ve known each other for twenty years (that is, practically their whole lives; we know that the Silverash and Edelweiss children were always raised together, and since BI-3 refers to Gnosis as a "young man", they can't be older than 30ish), and they trust each other immensely. In BI-6, it can be argued that not only do they speak to each other without any pretenses or formalities (Enciodes casually asks him “What’s on your mind?” when he walks in), but their little squabble regarding Gnosis having repeatedly told him not to enjoy a challenge if he can’t afford to lose and Enciodes’ rebuttal that they can discuss it later implies it’s an old argument between them that they’ve had before; this strikes me not as something best friends would argue over but more in line with the kind of well-tread argument a couple would have.

Elements like shared fates, dreams, giving hearts, requests not to leave, looking into one's eyes… all of these typically are elements which appear in romantic love songs. This strikes me as unusual for someone like Gnosis, particularly against other songs like Eternal Flame (Fiammetta), Undertopia (Pozyomka), Ensheath (Mlynar), or Radiant (Margaret Nearl) which are more clear about their themes and ideals. For their characters, romance is one of the furthest things from their minds, and you would think the same about Gnosis given the kind of person he is, yet that romantic note is very clearly present. Under his layers of ice, Gnosis does still have a little spark of love in his heart, even if he doesn’t show it to anyone, and there’s really nobody else for this sentiment to be directed towards other than Enciodes.

Sacrifice: This is fairly self-explanatory, but regardless. Gnosis has sacrificed for the sake of their dream, in particular, his own dignity, respect, and reputation. He doesn’t care if he has to bear public humiliation or be a turncoat or be openly scorned; he doesn’t care if he has to “fall”, and he endures the pain, setting it aside no matter how vivid, and stays unmoved. He has his personal pride ("I don't remember needing anyone's permission to sit here"), refusing to bow his head to anyone, and secure in the knowledge of his true position as Enciodes's partner, that's enough for him. Everything else, he is willing to sacrifice. There is no price too great for him to pay, much like Enciodes, and Gnosis has already paid much of that price: he has cast away almost everything for the sake of his research: “leaving life around him.”

Gnosis has essentially no non-professional interpersonal relationships left except Enciodes, as his relationship with Monch, whatever little it was (a subject for another essay), fell apart at the end of BI (though it’s worth noting that with his ostracization, he wouldn’t be given much opportunity to form bonds anyway). It's Gnosis who pushes for bringing down the other clans and rebuilding, and Gnosis who pushes for the plan of casting himself as the scapegoat as time runs short: "Let me do it. Let me, the son of a sinner, the villain of Karlan Trade, be a traitor again. Even if you don't agree, I'll still do this. In fact, it's better if you don't. It will make our charade all that more realistic."

Gnosis also comments to the Doctor that if you know Enciodes at all, "he is not a callous man. From my point of view, he might even be a little indecisive." In some ways, Gnosis is actually more ruthless than Enciodes, more easily able to "set aside his emotions.” Enciodes hesitates to execute Gnosis' plan (he markedly doesn’t say a word throughout the entire scene after Gnosis tells him to drop the act because the idea has crossed his mind as well), perhaps pained by the thought of his best friend throwing away what tatters remain of his reputation, or by Gnosis' cavalier attitude regarding himself, or the plan itself (because we see he had the thought but obviously didn’t want to go through with it), but Gnosis doesn't hesitate, aware though he is of what it means for him (watch his expressions in that scene: first he smiles as he tells Enciodes not to play dumb; then he looks resolute; then resigned and gaze averted as he says Kjerag has no place for him and he doesn't care; and finally his eyes close as he states he's more than used to it; despite everything, he still feels the pain of being outcast on some level). He sees that Kjerag is at an impasse, and Enciodes' gentle methods and patient attitude has them at a stalemate while time grows short. He sees a solution, and he takes it, regardless of what it costs him. It's not the first time, either: "I told you. It's just another item on my list of charges. I'm more than used to that." Sacrifice is something that Gnosis is well accustomed to; and sacrifice comes from dedication, and love.

I would also like to give a shout-out to u/Lotikana for pointing out the symbolic meaning of Gnosis being based on the crane, and the meaning of his surname, Edelweiss. I quote:

that bird is also a symbol of fidelity and loyalty. Also cranes were usually embroidered on the clothes of Chinese civil servants edelweiss is a mountain flower. But there is more in it than just reference to mountains: edelweiss is a symbol of purity (literal translation from German is "noble and white") and patriotism (the "Edelweiss") song and century-long usage as insignia of alpine troops in many counties). Taking into account his loyalty to Kjerag it looks like quite suitable name.

I took the liberty of digging into this a little further myself, and I’ll add that in Chinese culture and folklore, cranes symbolize longevity, and have a spiritual meaning where they are a form of divine bird which travels between heaven and man's world. There’s also more than one Japanese folk tale about cranes repaying a favor with great sacrifice—for instance, “The Crane’s Repayment of A Favor” (also known as “The Grateful Crane”) the crane maiden secretly sacrifices her health to weave fine garments to provide for her poor husband after he saves her life, plucking out her own feathers to turn into brocade. Gnosis' file talks about repayment as well: “He reciprocated [SilverAsh’s] display of trust [by having him hold the post of CTO] by bringing a wide array of technologies to Karlan Trade.”

Fear: Something which struck me quite sharply during BI was Gnosis’ fear that Enciodes would not make it out of the incident alive and his desire to save Enciodes (“I only wish I still have a chance to save you before your own arrogance ends up killing you”). “Please don’t leave,” is the poignant line from the song; not only is Enciodes the only person Gnosis has in his life as I just said, but he’s also, clearly, incredibly important to him. An argument can be made that Gnosis only needs him for that freedom to research that Enciodes promised him, but if that was the case, why would Gnosis be so afraid to lose him? Why would he phrase it that way, “save you”—almost echoing the line from the song, “save me”? (Much like "please don't leave" almost seems to echo the young Enciodes saying "But you're leaving…")

It’s one of the clearest emotions that Gnosis shows throughout the story. Again, this is a moment where both Enciodes and Gnosis have dropped their guards and are speaking openly and frankly to each other. Up until this point, we see Gnosis as a cold, cruel, and calculating man, contrasting sharply with Enciodes’ unflappable grace and tact. Gnosis has little patience, is blunt with his words, and open with his displeasure and dissatisfaction. We have a sense of anger from him, a desire for vengeance (however false), and the feeling that he’s borderline unethical, almost giving him a mad scientist vibe who cares for nothing and no-one. We also know that he’s unafraid of the consequences to himself after everything—but he does fear for Enciodes. He fears losing Enciodes.

As I said, in theory, Gnosis can sell his abilities to the highest bidder if he is brilliant enough to essentially create his own tech and enough to basically modernize an entire country. Per his file, he not only provides all of KTC's tech, but he also designed all of their factories and facilities; he's not merely a scientist and researcher, but also knows enough to engineer these things. He's extremely talented and brilliant. Any lab (like, say, Rhine Lab) would kill to have someone like him. Yet he chooses to stay in Kjerag. There's very much a personal element to what he does (otherwise he would’ve stayed in Victoria or gone elsewhere), and his fear of losing Enciodes is a personal one as well.

The fear in the song is a fear of loss, of losing perhaps the one and only person who cares for him and who has stood by him; Enciodes never believed that Gnosis was guilty for the deaths of his parents. This fear is reflected in the lines "Please don't leave," and the note of fear in "It's starting to burn" and “save me”, and also in “calling to you” (seeking confirmation and/or reassurance) and “this is the fear”. It’s also a fear of losing oneself, I think—for all that Gnosis doesn’t care about what he has to do, the only thing keeping him from going off completely into the deep end is something very small and fragile: “it’s just a tear that saves me from the darkness.” If he truly didn’t care, didn’t feel the pain and terror of this, he wouldn’t be asking, “save me.”

Finally, hope. Despite the elements of darkness, pain, and fear, the song is about persevering through that suffering for the sake of something better, for a brighter, endless future; to heal the darkness from the world so light can take its place. As I’ve said before, this “endless future” is Gnosis’ primary motive, what he fights for. He breaks away from the pain and carries both it and the truth inside him, a truth that perhaps only he knows. His sacrifices are made in the hopes of tearing down the oppressive “system” (and we see via his Bloodline of Combat skin that this hope is not in vain: it refers to “the Vine-Bear Court’s final meeting of the Tri-Clan Council,” indicating that this system is abolished in favor of a more modern one).

This is another element which is a little unusual for someone like Gnosis, who has a very pragmatic and merciless attitude. But, in a way, when one is conducting an experiment, for what reason does one do it? In the hopes of achieving a good result. In the hopes of discovering something new. In a roundabout way, hope, in a sense, is an everyday element of his life.

Hope also goes hand in hand with love, as one cannot help but hope for and want the best for something one loves. Hope is one of the reasons he is in Kjerag. And one of the clearest shows of hope is this line: “Enciodes, remember our dream?”

Is there anything more hopeful—fragile, grand, impossible yet seeming possible—than a childhood dream? When you’re a child, even the most ridiculous and enormous dream seems possible, when your eyes are full of innocence and you haven’t seen the reality of the world yet. Gnosis holds onto this dream even after he has seen the reality of the world, even if it might be more tempered now that he knows what he has to do—but he’s still doing it in hopes of achieving it.

Also, what is the title of the song and the line repeated throughout? Heal the World. “Heal the world of darkness.” Why heal? Why would a researcher choose that word rather than something like fix? Because “heal” itself is a hopeful word. We refer to wounds healing; broken hearts healing; broken worlds healing; pain and grief healing. “To heal” means to restore to health or cure; to ease or relieve emotional distress; to set right or repair. For Gnosis, it isn’t merely about modernizing the country, as much as it will evolve under his hand. It’s about making it something better, about repairing everything that’s wrong. As forceful as his methods are, it’s always been done in the name of hope. (This also ties in a bit to his surname: Edelweiss the hardy flower of purity and patriotism, innocence and rugged individualism.)

During the flashback to Victoria in BI-6, when Enciodes says, “Do you remember what we said to each other when you left Kjerag? [...] Only destruction awaits us. [...] Kjerag must make contact with the outside world. We must take that step forward while we still have control. Come help me, Gnosis,” Gnosis smiles as he accepts the offer (and presumably shakes Enciodes’ hand for the second time). Enciodes doesn’t talk about technology, or power: only about how their little country will be destroyed if they do nothing. He’s gambling everything on the hope of averting “the twilight set on the world”. And Gnosis is right there with him, falling together with him, on that hope.

As a concluding note, all these elements—isolation, connection, love, sacrifice, fear, and hope—come together beautifully to make this song so poignant and striking, and add, in my opinion, a whole other dimension to the character it’s written for.

Finally, thank you for reading!

Now please don't ask me to do the B-side because did you know that Alchemaniac drew Heal The World and Silver Lining as one single?

#arknights #arknights essay #my essays #gnosis

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itsclydebitches · 3 years

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I’ve been seeing an uptick in “anti-RWDE” posts lately — which is a phenomenon I’d like to comment on at a later date — but for now one of them (quite unintentionally) made me realize something about the finale that I haven’t seen others discuss yet.

So RWBYJNOR saves everyone, right? Let’s just put aside the animation for a moment — which didn’t show any army members making it out — as well as the forgotten side characters — Maria, Pietro, Qrow’s group isn’t forgotten, but still left behind — and take things on good faith here. We’ll read the finale through the thematic intention: RWBYJNOR saved “everyone” in the Kingdom of Atlas in Volume 8, deliberately contrasting them with Ironwood who was willing to sacrifice a chunk of the Kingdom in Volume 7. Forget all the messiness and just accept that regardless of the consequences — like a destroyed Kingdom and a “dead” team — the heroes are heroic because they didn’t give into a “lesser evil” thinking and managed to save everyone.

Now, how was that possible?

Let’s go back to the beginning of the seventh episode of Volume 8, “War.” Salem’s grimm have just burrowed through Atlas’ defenses and taken them out. The shields are gone. She flies Monstra into the fields and releases an army of darkness that immediately heads for the city. What’s the very first thing Ironwood does?

Soldier: Yes, sir?

Ironwood: I am evacuating all citizens to the subway. Prepare Manta Squad Omega, and dispatch to every part of Atlas.

Soldier: But sir-

Ironwood: Now!

He evacuates the people, with “the people” meaning all the Atlesians and however many Mantle folk got to the city prior to Salem’s arrival. When this episode aired I mentioned being confused as to why the soldier was so hesitant. Why wouldn’t you want the people to get to safety when a grimm army is heading their way? Fans against Ironwood took the soldier’s side, claiming that Mountain Glenn proved that any underground evacuation is a death sentence and thus he obviously doesn’t really care about the peoples’ safety. Fans in support of/neutral towards Ironwood pointed out that this is a pretty big leap, no one is coming up with a better idea for what he should do instead, and that within these circumstances it reads like the soldiers is illogically against this idea simply because everyone is against Ironwood now. The show wants characters criticizing his decisions and making him out to look like a crazed dictator... even during moments when it doesn’t make any sense to be upset with him. Shooting the councilman yes, trying to keep the people safe no. Basically, this small exchange was a mess, but the rest of the volume proved that this was a sound call. The subway never collapsed and no grimm ever made it to that enclosed space to pick the civilians off like fish in an underground barrel.

So, why didn’t that happen? Well, one answer is because Oscar and Ozpin destroyed the whale. But how did they have time to do that? Without the people dying while they were being tortured, talking to Hazel, escaping with Emerald, fighting Salem, etc.? A lot happened between Salem starting her attack and Oscar ending it, so why wasn’t 2/3rds of the Kingdom’s population decimated during that time?

Because Ironwood sent his army out to keep the grimm occupied.

Outside of Ironwood’s cartoon villain actions — random murders and bomb threats — which get the most attention due to how deliberately, over-the-top horrific they are, these are the two actions that get the most negative attention from both the story and the fanbase. The soldier seems horrified by the order to evacuate. Marrow is devastated that young adults are fighting in this battle. The fandom is disgusted by both aspects of Ironwood’s character: giving orders that, as general, he expects to be obeyed and having an army that follows those orders. Putting side that cartoon villainy, this is what supposedly makes Ironwood the antagonist here. These are the qualities that have existed since Volume 2, resulting in a “he was always a bad guy” interpretation. These are the qualities that have resulted in anyone who likes his character being labeled as a “bootlicker.” We know these qualities make the fandom hate him because otherwise, more people would be confused as to why a presumably heroic character randomly shot Oscar. Orders, armies, and general military associations are at the heart of Ironwood’s presumed villainy.

So let’s remove them.

Ironwood has no evil army. Ironwood gives no evil orders. Power and control lies solely in the hands of our non-military heroes. Everything is better!

...well, no. Because we saw in Volume 8 precisely the choices our heroes made when the attack started: half of them focused on saving a single individual (Oscar) and the other half kept to the sidelines. At no point did our RWB group act after sending the message and prior to securing the Staff. AKA, during the attack of Salem’s army. We got a very explicit moment in which Ruby looked out the window at the battle going on and turned away from it, continuing to discuss ethics instead of joining the fight. The people of Atlas (which, again, includes many Mantle citizens) had no one but Ironwood and his army because a third of the group was trying to rescue Oscar (they never even had a plan to blow up Monstra — that was also Ironwood), a third of the group was up in Amity, and a third was sitting in the mansion. They did nothing to help the people of Atlas being attacked by grimm.

Thus, if you remove Ironwood’s actions, everything goes to hell. There is no longer an order to evacuate to the subway. Maybe some people go there anyway. Most probably don’t. They run in a panic wherever they can. Hide wherever they can. Go back home for some semblance of safety.

There’s no longer an army. Either it doesn’t exist because we’ve determined it’s simplistically bad despite RWBY’s grimm-specific context, or Ironwood likewise never gives the order to protect Atlas’ border. Salem’s army moves unimpeded through the city, killing countless people as it goes. How do we know? Because they’re civilians who can’t defend themselves and there’s literally no one else to help. Remember: Ironwood is not giving orders, there is no army, RWB is in the mansion, YJOR is in the whale, Penny is out of commission, the Happy Huntresses are in Mantle. Those in Atlas are entirely alone. In time, Oscar destroys the whale, but by then it’s too late. There’s no concrete way to theorize how many have died, but it’s inevitably a lot. Everyone else is scatted across the city, trying to survive.

So this scene

no longer exists.

When the group gets the Staff and creates portals for “everyone” to escape through, Mantle is ready to go. They’ve gotten everyone into the crater and can funnel them straight to Vacuo. Atlas, however, is in chaos. When Jaune enters the subway there’s only a few people there, many of which may be wounded or dying. He’s right back where he started, in Mantle at the beginning of Volume 8: needing to go door-to-door to find where people have hidden themselves, trying to convince them all to follow him (remember Oscar commenting to Ozpin about how difficult that was?). Except now, he and Nora are the only ones trying to get people to safey, the city is filled with far more grimm, a significant amount of time has passed for people to be killed or injured (making evacuating them even harder, both due to injuries and an unwillingness to leave hurt/dead/missing loved ones behind), he’s trying to convince these panicking people to go through magic portals, not just walk to a crater, and he’s aware that there’s a very short time limit for this task.

Jaune returns in a panic of his own, explaining how difficult it will be to get that 2/3rds of the Kingdom to Vacuo. How many are already dead. Barricaded. Missing. Closeup on Ruby looking horrified, but then she rallies. They can do it. Atlas is falling, but residual dust gives them just enough time to find, calm, and evacuate those people. They’re heroes after all. Beating the odds is what they do.

Then Cinder attacks.

Suddenly, the group can’t evacuate people because they’re trying to keep themselves safe from her. Maybe Cinder gets the powers because Jaune was off looking for civilians, leaving Penny without a mercy kill. Maybe Nora dies because she’s still trying to help people on the city that plows into the one below. Regardless of how details might change, they’re not getting a spread out, decimated population through those portals before Cinder changes the wish and makes them disappear.

In this version, the story starts with Ironwood wanting to sacrifice 1/3rd of the population to save 2/3rds and the future of the war. It ends with 2/3rds of the population dying instead.

This is what I mean when I say the majority of the fandom wants to view a very complex situation through a ridiculously simple lens. The fandom wants to denounce every bit of RWBY’s fictionalized military, the context issues of that aside. The story wants to paint RWBYJNOR as the only heroes, in part because they succeeded in saving everyone (“everyone”) in the Kingdom when Ironwood gave up.

But they only managed to save everyone because of Ironwood. Because he kept fighting for his people to the bitter end. This is why, though his horrific actions obviously exist in the story, they make no sense (he’ll threaten to kill his people so he can... save his people?) and mess up what little is working in the finale. The story wants us to celebrate the group for evacuating Mantle and Atlas, but the Atlas evacuation would not have happened if not for Ironwood’s actions — the actions that are ignored in favor of having Winter blame him for everything and then killing him off. The rescue of “everyone” was very much a joint effort. RWBYJNOR’s win is not actually a contrast to Ironwood’s intended sacrifice, for the simple reason that their win depended entirely on Ironwood’s actions.

If we’re going to celebrate the group getting everyone to safety, we should probably also celebrate the guy who got them all to an easy evacuation point and ensured they weren’t eaten before then. Does that mean Ironwood never did anything wrong? Of course not. As established, the story went out of its way to make him into a villain. Rather, it means that other parts of the story failed to maintain that black and white view, complicating the heroism of RWBYJNOR in the process. If we want Ironwood to be incapable of heroic action, always the bad guy, nothing good to say about him whatsoever... then we likewise need to accept that the group is rather unheroic in many regards too. That, on their own, they would have failed to save everyone, just as Ironwood’s plan failed to save everyone at the end of Volume 7. Because they chose their friend over a kingdom. Because they sat around in a mansion. Because by the time they took action again and tried to escape, without Ironwood’s help they would have lost a larger majority than they originally insisted be saved.

#rwby #rwde #mymetas

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13uswntimagines · 3 years

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Our Song (Alyssa Naeher x Reader)

Request: alyssa naehex reader thats set during quarantine w/ “Shy” by Alexander Stewart. I just kind of think it’s cute since she’s an introvert and that it would be fitting

Author’s Note: Speical Thanks To @literaryhedgehog

Alyssa knew she should just say it, that admitting it out loud would finally put an end to this madness. She ran a soothing hand through your hair when you sniffled loudly into her chest.

God, she should just tell you how she felt. But, she also didn’t want to overstep. That would make being roommates really awkward. Especially since neither of you were supposed to leave the apartment right now except for essential purchases. And she didn’t want to lose her best friend. That would really suck.

But she wasn’t afraid to say what no one else would- you had a terrible taste when it came to partners. You chose people who didn’t value you, and you always ended up hurt.

This time was no different, well, it was slightly different considering you couldn’t leave your shared apartment to cope like you normally would. Alyssa didn’t know if that was better or worse, considering that you had adapted your breakup routine to just be endless cuddles with her and your favorite stuffed animal.

She had already spent the last hour making comforting noises. You had stopped shedding tears 15 minutes ago, so Alyssa decided it was time to go for some humor. “Hey, so now you and Taylor Swift have something in common!”

“Hmm” You hummed in acknowledgment, your eyes never leaving where Supergirl was playing on screen.

“Well, she was broken up with over text. You were broken up with over text. I think this is the perfect opportunity to listen to her re-recording of Fearless, and really channel those emotions!”

“No, Joe broke up with her in a 27-second phone call,” You lifted your head up off of her very comfortable chest to raise your eyebrow at the woman.

Alyssa was a great keeper, and amazing at crosswords, but she always needed your help when it came to Taylor trivia.

“Then Joe showed more consideration as an 18-year-old child than your 32 year old wanna be soccer star. It doesn’t change the fact that I think listening to Mr Perfectly Fine would be cathartic.”

“It’s kinda funny that she wrote Forever and Always, Mr. Perfectly fine, Better than Revenge and Holy Ground all about the same guy, they’re all so different from each other,” You mumbled, settling back down on her chest. At least she didn’t say that you had as many breakups as she did. That was a rude joke. (One Alyssa wouldn’t dare make. She was more cultured than the media asshats that chased your team around).

“Woman’s efficient,” Alyssa shrugged. “No reason why you can't recycle the same emotion into a different song genre.”

“At least she could make millions off her pain. All I seem to be able to do is kick the ball harder,” You grumbled. Your landlord complained about you practicing in the street because of how hard you sent the ball careening into his precious brick wall. It wasn’t your fault Alyssa was too slow to stop the PK.

“Darling, considering you’re one of the strongest kickers on the east coast, I’d say that pain is going to a worthwhile cause. But you do kind of have the worst taste in relationships.”

“Hey! Savannah wasn’t a bad choice, just bad timing,” You huffed indignantly.

“So that would be one out of…. How many bad relationships?”

“At least one for every Taylor Swift album,”

“Okay, here’s a fun idea, choose an ex for each album,” Alyssa said brightly. Thinking about music would definitely cheer you up. “Wannabe soccer star is obviously your Joe, so represents the Fearless album. Which relationship is your… Drew?”

“You already know the answer to that question,” you said, already picking up your phone to add Teardrops on my Guitar to the music queue. You then quickly added Forever and Always and started scrolling through Speak Now for the next song inspiration.

Alyssa nodded. It was a well-known fact that you had a massive crush on one Hope Solo growing up, and you had been absolutely enamored with her the second you set foot into camp. But Alyssa also knew that Hope was very faithful to a certain veteran.

The veteran keeper had tried to let you down easy, and Kelley was still one of your best friends, but it had hurt in the moment.

“Kristie was my Haunted,” you said, smiling slightly. Dating her felt like a whirlwind, one that took your breath until you never thought it would end. She made butterflies flutter in your stomach, and you were so desperate to say the right thing, to be the perfect partner, that you always felt like you were walking a tightrope. Floating on air, but desperate to keep your balance. “At least she had the decency to wait until we were in the same city to end it.”

“Aren’t the two of you friends now?” Alyssa looked down at you, watching as you scrolled through songs from your comfortable place on her chest.

You nodded with a small smile. “Hmm, we are much better off that way anyway.”

“I bet you I can guess who your We are Never Ever Getting Back Together person is,” Alyssa trilled, reaching down to take the phone.

You playfully snatched it away from her. “Who’s to say I wasn’t going to choose I knew you were trouble?” You raised your eyebrow at the woman, who simply smirked in response.

“I can tell you who that is too if you like,” Alyssa reached for her own phone and took over control of the speakers, adding both songs to the music queue.

“Alright, I’ll bite. Who?”

“You definitely knew Sam Kerr was trouble, and I think it took you 4 breakups with Leah to finally call it quits,”

“I was going to say Leah for 1989, it took me forever to realize how fucked up our relationship was after we finally broke up,”

“I’m sure the distance didn’t help.” With her in London and you in Chicago things just kind of fell apart.

“Maybe,” you hummed, noncommittally.

“Okay, so for Reputation. I’m thinking Don’t Blame Me,”

“You did go a bit crazy for Jane…” Alyssa said with a roll of her eyes. You had almost moved to Houston for that girl, thank god you didn’t. You sunburned like nobody's business.

“Oh come on. You just didn’t like the idea of me moving. And considering how long we had been dating at that point it did make sense!” You argued.

“It was 3 months Y/n,” She deadpanned.

“I was in a wlw relationship. That’s like practically three years, it’s not like I brought a u-haul to our first date.”

Alyssa quirked an eyebrow up at you. “Didn’t you have one of those the first time we met?”

“Yeah, because I wasn’t moving into my college apartment without any furniture!”

“Whatever you say, babe. Who's your Folklore?” She rolled her eyes goodnaturedly.

“I think you skipped an album,” you said. This was weird because Lover was one of Alyssa’s favorite albums. “But, since you asked. I think Kelley is The 1.”

“Ah, our favorite squirrel,” Alyssa’s lips ticked up. You and Kelley had dated in college (something that should have made her jealous), but Kelley was the one pushing her to admit her feelings now.

“We were just too young and dumb,” you said, smiling. “We had a great time together, and it would have been fun if it worked out. But at some point we just realized, we were friends, but there wasn’t anything romantic there.”

“I’m sorry it didn’t work out,” Alyssa said, like a liar.

“I’m not. Her and Emily are like made for each other,” You snorted with the shake of your head. “And at least she wasn’t afraid of the world knowing we were together,”

“Well, yeah,” Alyssa smiled. She had loved seeing the way being publicly out with Kelley had brought out the best of you. “ Okay moving on! Next, we need to narrow down your No body, No Crime.”

“I take offense. Alex is still alive, so that doesn’t count,” You huffed.

“I’m kidding! I’m kidding. I know you didn’t kill any of your significant others,” Alyssa said, laughing. “Though if you listened to the song you would know that’s my job… ”

“Alex was my Champagne Problems,” You mumbled sadly. That relationship had been the hardest for you, as had the breakup. She was terrified of the world even suspecting she wasn’t straight.

You had everything, except the freedom to be yourself, and In the end, you couldn’t take the hiding anymore.

“You did your best, love. But people come out at their own pace. And it was before Obergfell v. Hodges was decided. Being queer was still more likely to be presented as a scandal in the media then.”

“She cheated on me with Serv. She doesn’t get a pass,” You grumbled, crossing your arms.

“I’m pretty sure you were on a break dear,” Alyssa said, though she was inclined to agree with you. Being on a ‘break’ but not officially breaking up didn’t seem like a reason to start dating other people. Still getting over some of the semantics might theoretically help you move on. “BUT maybe we should move on. Who is your Lover?”

Your eyes squinted thoughtfully, a light pink shading your cheeks. “The only person who hasn’t ever left me is you. You let me leave the Christmas lights up until May and dance around the kitchen when you cook.”

Alyssa looked away, not able to meet your eyes. ”I mean, the lights can change color, so they can be thematic all year. And you’re the one who chooses the music to listen to while I cook. I can’t help it if they’re all great for dancing.”

“You can dance to anything. I’m pretty sure you turned a Hosier song into a salsa dance last week.” You giggled.

“The only person I dance with is you, Y/n,” Alyssa said, finally meeting your eyes. She could feel her body start shaking slightly, as the adrenaline kicked in. She was going to do it. She was going to tell you. “I don’t want to dance if I’m not dancing with you.”

“I’d dance with you in a storm in my best dress,”

“I have tried so hard to be supportive about your last several relationships. But seeing you dancing to your favorite song with anyone else… I’ve loved you for three years now and I couldn’t bear it.”

The air was suddenly charged between you, and you realized your faces were just inches apart. It was hard to breathe. You never dreamed your best friend would return your feelings (maybe that’s why you had so many bad relationships).

“Kiss me,” you breathed, slowly moving around so your heads were at the same level.

“That’s not a Taylor swift Lyric,” Alyssa said. In her brain, there was a loading sign currently whirring in little circles, as she attempted to process what you just said. Did you mean what she thought you said?

“Baby just say yes,” You said, feeling so happy that tears were coming to your eyes. You leaned forward getting inches from her face, so close you could feel her breath hitch. “Please kiss me.”

“Yes,” was all Alyssa had time to say before she closed the distance and kissed you.

#uswnt imagine #uswnt imagines #uswnt x reader #alyssa naeher imagine #alyssa naeher x reader

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roadkillramble · 3 years

Text

Darkstalker : Great potential, shit execution

Aka me rambling about our favorite genocidal theater kid.

-----

The opinion on Darkstalker in the fandom has a tendency to be very polarized : one side sees him as a redeemable character that is placed as a victim in the story, and the other as complete villain who is completely unjustified in his actions and should have died.

I think (and far from me to imply I'm the only one, I've seen a few other take note of it) that both are facets of the character, and not entirely true or false. Darkstalker is an extremely complex character that is both thematically rich, representing the madness of animus dragons and magic itself, and the feud between nightwings and icewings, that can be interpreted as somewhat dragon racism in general if widened a bit, as well as complex to portray due to his history of both being abuser and abused.

And, since Tui is both a child book writer, and quite frankly not very good at handling more deep themes in realistic ways (especially when her characters are grounded in real people), it was,, quite frankly botched.

A character I tend to compare him to is Bane, the albinos rat that is the main antagonist of Chronicles of the Underland. That book serie has a few things i could comment on, but overall, it handles a lot better a lot of darker themes, including a villain that is "destined to greatness" and abused. Both Darkstalker and Bane are born to a bad father that abuses them. Both are given an opportunity to do better, but continue to spiral out of control, with in Bane's case an extra layer of manipulation. Both end up as tyrannical leaders of a group that wants to commit genocide on another, although Bane goes further and the books are a lot more explicit about his acts. However, where Bane explicitly ends as a villain, and is killed, the fate of Darkstalker is to be reborn, "rebooted", which I personally found extremely unsatisfying.

I'd say Bane is a good character. Although his abuse is a massive part contributing to who he is, it is not an excuse, as there is a very clear limit after which you cannot excuse his actions, no matter how misguided. This limit is more grey in Wings of Fire, as actions tend to have a lot less consequences, and deaths tend to almost be meaningless.

I think his character is portrayed in the two ways the fandom sees him as in the books, hence the clashing. And i think sticking to one or the other narrative would have made a lot more sense.

I usually stick to the true antagonist route : the whole of arc two has an underlaying theme of using magic to transform other as being extremely bad (which makes Darkstalker's fate all the more puzzling), and he's the antagonist that is almost represented by this action, in the murder of arctic, and his manipulation of... Pretty much everyone.

His abuse can be present without his portrayal being insensitive toward abuse recovery : wings of fire is chokeful of abused kids, and one can very much be used as his reflection. In fact, it's interesting to see how the arc 2 character parallel the ones of Darkstalker's time. Moonwatcher is treated somewhat like Clearsight, Turtle is directly compared to Fathom, and both Qibli and Winter have parallels to Darkstalker (and none of the two became murderous like him, although you could argue it is because of the lack of animus power as an option to do so).

I'd have enjoyed this being explored further in the books : I'm not sure what good end Darkstalker could meet, but it at least would serve as a very good way to be directly confronted to his own choices. Especially winter, who is so similar to him while being the very tribe he despises.

He could realize that his choices were his own, and after a time not "forced" by any hand, or deny it. I think portraying all of his actions as things to be forgiven because he is hurt to be extremely dangerous : after all, he does transform a young dragon into his dead girlfriend, which is,,, gross, especially since it's a mind controlled version of her that basically obeys him, manipulates everyone into liking him (this one is *not* the worst, but adding up the rest is,,, ehhh), as well as provoke a genocidal plague upon a whole tribe. Even on a one on one level, he is manipulative toward Moonwatcher and Clearsight, and tries to get anemone, a child, to murder her whole family, which... You can't really justify by having a bad dad.

If he was to be redeemed, it should be before these actions in the modern WOF era, and with a heavy side of introspection on his actions toward Clearsight and Moonwatcher.

I enjoy the idea that didn't go through being that Clearsight would be revived. Her being the one to bring darkstalker down, to finish the job, feels right. She could have matured, with her life being spent with ppl who were not abusive toward her. She could have reflected on Darkstalker, offer him another chance, but take it back if he does not change. I don't like the fact it's basically tui's self insert from what I understood, and i don't have a vision of her as this perfect person, but being the one closest to Darkstalker, she also is the one with the most even field, especially if she is born again from his magic, which could have some implications of bypassing his other spell, mostly bullshit to justify how she could be able to harm him.

Hope, too, could have been the one to bring him down, in the way Yellowfang brings down her child, brokenstar (yet another exemple of this sort of character).

Finally, Moonwatcher, Winter and Qibli as a trio could be very good as the ones to take down Darkstalker, with the help of kinka and turtle. I like the idea of each being able to break at a part of him, with turtle being the one that handles the whole magic part.

That's it for now, disjointed ramble over.

#wof #wings of fire #darkstalker

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aspoonofsugar · 3 years

Note

What is your opinion about the Maidens in RWBY and their importance?

Hello anon!

I like the Maidens and especially how they explore two main ideas:

1) The concept of cycles and generations.

2) The trope of the chosen one.

THE CYCLE OF SEASONS

I think it is clear Ozpin created the Maidens partly because he wanted guardians and partly as a way to grieve his four daughters. He has symbolically dragged them into the cycle with him and Salem.

In a sense, the story keeps repeating. Salem kills Ozpin, he is reborn and his daughters are victims of the conflict between them.

Because of this, the four Maidens have become one of the many symbols of this endless cycle, which is clealry breaking its protagonists more and more.

This is well conveyed by the Maidens having a season theme. Seasons are in fact linked to the repetition of time aka one of Ozpin’s motifs:

At the same time, the idea of an older woman passing the torch to a younger one can be easily read as a metaphor for a mother-daughter dynamic. This is not always the case, but so far this interpretation is important for two of our four Maidens:

Penny receiving the Maiden’s powers from Fria is important on multiple levels and it plays on Penny alluding to Pinocchio. Fria (The Blue Fairy) recognizes Penny as a real girl, something she has been struggling with since the beginning:

Penny: Ruby... I'm not a real girl.

And is still struggling with:

Cinder: I don’t serve anyone. And you wouldn’t either, if you were built that way.

That said, Penny is not only struggling with enemies that consider her a robot, but also with the (understandable) overprotectiveness of people who love her:

Pietro: I lost you before. Are you asking me to go through that again? No. No. I want the chance to watch you live your life.

Penny: But dad… I am trying to.

She is not only a robot, who wants to prove she is a real girl, but also a daughter, who wants to grow into her own person.

This idea is made even stronger by Penny having been “created” through Pietro’s aura. She is a part of Pietro becoming someone completely different and independent from him. Still, isn’t it what all children are?

Raven is instead Penny’s opposite since she is not a daughter, but a mother. Not only that, but she is a mother, who fails three times.

She fails her biological daughter Yang by abandoning her and putting her in danger.

She fails Vernal, who dies for her.

She fails the previous Spring Maiden, who clearly looked up to her and was betrayed:

Cinder: Vernal was a decoy the whole time. The last Spring Maiden must've trusted you a great deal before she died. I bet that was a mistake...

This is well conveyed by Raven’s case being the opposite of what should ideally happen. Normally an older Maiden should pass her power to a younger girl, so that the cycle keeps going and that a new generation can keep fighting for good. However, Raven steals the powers of the Maiden for herself, just like she uses her shape-shifting ability for selfish objectives:

Ozpin: Everyone has a choice. The Branwens chose to accept their powers and the responsibilities that came with them. And later, one of them chose to abandon her duties in favor of her own self-interest.

She presents herself as a mentor for young women, but in the end she is a failure because she is too self-centered.

In conclusion, Rwby is both a coming of age story and a story that deals with cycles. Let’s think about the many abusive cycles in the story or the damaging cycles present in society, for example. All these cycles need to be broken and I would not be surprised if this will be the case for the cycle of the Maidens as well.

THE CHOSEN ONES

Up until now, the person who should be a Maiden never becomes one.

a) Pyrrha was destined to be the Fall Maiden, but Cinder stole the power.

b) Vernal is foreshadowed to be the Spring Maiden, but Raven turns out to be the real one.

c) Winter has been preparing herself to inherit the Winter’s Maiden’s role, but Penny is the one chosen by Fria.

Why is that so?

The story is clearly playing with the idea of the “chosen one” and asking some questions.

Are people chosen by destiny:

Cinder: It’s unfortunate you were promised a power that was never truly yours.

Or do they choose it?

Red-Haired Woman: She understood that she had a responsibility… to try. I don’t think she would regret her choice, because a Huntress would understand that there really wasn’t a choice to make. And a Huntress is what she always wanted to be.

What if the chosen person is the wrong one?

Lionheart: She was determined, at first, when she inherited her powers, but the weight of responsibility proved to be too much for the child. She... ran. Abandoned her training, everyone. That was over a decade ago. There's no telling where she could be now.

Finally, is it even right to choose a person?

Weiss: Doesn't it bother you? He practically groomed your entire military career.

Winter: It did at first, when the General first proposed it to me. But the more I thought about it, the more I saw it as a privilege, a chance to do some real good for Atlas. For Remnant.

Weiss: But your destiny was chosen for you, without your input.

So far each Maiden has explored this concept in a different way. Moreover, the story has highlighted many problems with the method used by Ozpin and his allies to select their guardians.

First of all there is the machine used to transmit aura:

Ironwood: We've made... significant strides. And we believe we've found a way to capture it.

Qrow: Capture it and cram it into something else. (gestures to Pyrrha as she takes a second to realize what that means) Or in your case ...

Pyrrha: (to Ironwood) That's...

Ironwood: Classified.

Pyrrha: ... wrong!

This method has been presented in-universe as sketchy and unethical both for the person who is having her aura taken and for the person receiving it.

It is also interesting that this machine is basically the technological equivalent of the Grimm used by Salem and Cinder to steal the powers in the first place:

One is the product of destruction (The Brother’s Grimms), while the other is the result of creation (in-universe technology is linked to creation). However, they both do essentially the same thing. They steal another person’s aura and change the one absorbing it:

Raven: You turned yourself into a monster just for power.

Secondly, there is the fact that so far several Maidens have died or have been targeted in horrible ways.

Some of them were specifically attacked because young and less experienced than others, like Amber. Some others made their choice without truly understanding it, like the Spring Maiden. And some of them. like Pyrrha, were not even given all the elements to make an informed choice.

In short:

Hazel: You send children to their deaths for a cause that you know has no victory, no end!

It is true that Hazel is a hypocrite that feels anger for Ozpin sending students to their deaths only to be the one killing them. It is also true that he does not respect his sister’s choice:

Oscar: Did she know the risk of being a Huntress?

Hazel: She was only a child! She wasn't ready!!

Oscar: She made a choice! A choice to put others before herself! So do I.

However, the narrative harshly criticizes Ozpin for not giving people all the information, “the knowledge”, they need to make that choice:

Yang: There was so much you hadn't told us! How could you think that was okay?!

Finally, we arrive at the current volumes where we see how Ironwood has tried to control Penny, Winter and Fria aka all the three people involved in the passage of the Maidens powers...only to fail miserably.

And in this failure probably lies the true mistake which has been made over and over again. The whole point is that probably the whole cycle (thematically) can’t and should not be controlled to this extent:

Goodwitch: At first, the only thing that was certain was that the powers were specifically passed on to young women. But as time went on, it was discovered that the selection process was much more... intimate.

Pyrrha: ... Intimate?

Goodwitch: As we understand it now, when a Maiden dies, the one who is in her final thoughts is the first candidate to inherit her power.

The powers are passed from a person to another through emotions. It is not by chance that the last person in a Maiden’s mind is the one who gets the power. It is because the power is linked to emotions and to ties and you should not try to weaponize them.

MAIDENS AND RELICS

Finally each Maiden is clearly linked to the theme represented by her respective relic.

Pyrrha and Cinder are both linked to the idea of destiny and choosing. I have shared some thoughts on them here.

I would say that Cinder wants to be chosen. She wants to be special and to be given value. This is probably why she is serving Salem. It is because Salem has chosen her for an important role:

Salem: When I chose you as my vessel for the Maidens, I put my trust in you.

This is not positive. It is dehumanizing:

Salem: This game is not yours to win, Cinder, it’s mine. Just because you’re more valuable to me than a pawn, does not make you a player.

But Cinder sees this as a chance.

Pyrrha is instead a person, who chooses her own destiny:

Pyrrha: When I think of destiny, I don’t think of a predetermined fate you can’t escape. But rather… some sort of final goal, something you work towards your entire life.

In other words, Pyrrha has an active role in her own destiny, while Cinder so far has accepted it passively.

This might seem ironic because all in all Cinder has been a pretty active character. She was born as nothing and fought to free herself and to become more powerful. However, she is still leaving her own life in the hands of another person, who is specifically coded as an abusive mother-figure. It is probable that her arc will be about taking back the agency Salem is clearly stealing from her.

This might very well be why she is the Maiden of choice. It is because in the end she’ll make an active choice to get her own freedom back.

At the same time, Pyrrha being active in her choices still leads to her demise. This is because she represents a choice without knowledge, as I have stated in the meta linked above:

She had been explained only a fragment of the truth, while the whole point is that one should learn, meet creation and destruction and then make a choice. This is why we have yet to meet the relic of choice.

As a matter of fact it is clear that knowledge and choice are complementary, just like destruction and creation.

This is highlighted also by their respective relics. On one hand the Lamp offers knowledge of the past. On the other hand the Crown gives its user a vision of a future choice.

This is because one has to know the past to change the future:

Bartholomew Oobleck : History is important, gentlemen! If you can't learn from it... you're destined to repeat it.

In a sense, knowledge is the passive condition of choice, while choice is the active goal of knowledge.

This is why one needs both to contribute to the world in the most effective way possible. If one acts without knowledge they might make the wrong choice. At the same time, knowledge without choice is just passiveness, as shown in The Indecisive King fairy tale.

Too much knowledge might lead to indeciveness or even cynism. This is why Raven is the Spring Maiden. It is because she is Pyrrha’s opposite aka knowledge without choice:

Yang: Which is it, mom? Are you merciful, or are you a survivor? Did you let me walk into that trap because you knew I could handle it, or because it meant you could get what you wanted?!

Raven keeps making decisions only to run away from them immediately after. Knowledge did not make her braver, but just a coward.

Finally we arrive to Penny and the idea of creation.

I have mentioned Penny in the meta linked above:

Penny is an artificial human, a creation who was given life because her father loved her so much that he sacrificed a part of his aura for her… twice. She is at the centre of the theme of creation and it represents the good sides of it. She is a creation with a soul, a child, the fruit of parental love. It is because of the love she received that she is willing to protect creation.

Penny is at the centre of the theme of creation in two ways.

a) She is a child, who wants independence.

b) She is a good declination of technology.

On one hand children are new lives that join the world. They are the embodyment of creation.

On the other hand technology is an expression of human creation and a way humans have to change and influence reality.

Penny is both. She is Pietro’s girl and a robot with a soul:

Pietro: When the General first challenged us to find the next breakthrough in defense technology, most of my colleagues pursued more obvious choices. I was one of the few who believed in looking inward for inspiration.

Ruby: You wanted a protector with a soul.

Pietro: I did. And when General Ironwood saw her, he did too. Much to my surprise, the Penny Project was chosen over all the other proposals.

Ironwood choosing Pietro’s project over others is very interesting and ambiguous. Did he choose this project because at the time he understood the importance of “a protector with a soul”?

Probably consciously yes, but the way he has treated Penny since volume 2 suggests also something different. It suggests a desire of domination. The idea that putting a soul into a metallic body would make it easier to control it.

After all:

Ironwood: For the past few years, Atlas has been studying Aura from a more scientific standpoint; how it works, what's it made of, how it can be used. We've made... significant strides. And we believe we've found a way to capture it.

Each one of humanity’s gift has another side of itself. Knowledge can lead to fear and choice is linked to passivity/agency. When it comes to creation, this gift brings with itself the temptation of control.

Why shouldn’t a creator “own” theis creation? Why shouldn’t they be entitled to it? Why should they share it with the rest of the world?

If one looks at Ironwood, at Atlas and at the other protagonists of this volume this way, a lot of things resonate.

Atlas is the most technological advanced kingdom, but instead of sharing its resources it closes off. Ironwood’s embargo is just another declination of this same idea of losing control.

Similarly the Ace Ops and Winter are all repressing their emotions. They want perfect control over themselves. They are taught they should be like drones.

Technology itself is often misused by the characters. Technolofy should be like Penny. It should have humanity and a soul, but Ironwood likes it because he sees it as something logical that can be controlled (and of course he keeps losing control over it). Ironwood wants to become like he thinks Penny is aka a controllable soul. He fails to understand that Penny is special because she has her own free will.

Finally, this same desire of control is present also in familial relationship. It is not by chance that the Schnee Family is in Atlas. Weiss’s story has always been about exploring this specific idea of a family. A family, which is cold and controlling, just like ice. Weiss’s arc is about melting this ice, in herself first and now in others as well.

Technological control and the control of people. In short, the control over two aspects of creation. This is the the idea Atlas represents and this is why it is currently falling.

In short, the creation must be free and it is not by chance the world is in its current predicament because the Gods tried to control their creations with disastrous results.

CONCLUSION

These are my main thoughts on the Maidens so far. That said, they might chance since the story is far from over as the arcs of all the maidens we have met so far.

As a final note, I find interesting that so far none of our four protagonists is a Maiden. It is an interesting choice and I think that it lets the series make a good use of its ensemble cast.

That said, I wonder if our four protagonists will end up calling back the original Four Maidens instead.

The fairy tale is interesting on multiple levels.

In-universe, it is interesting because it tells us something about how Ozpin was probably inspired by the original Four Maidens to try to save the world again. Ozpin is inspired by four normal people, who are just trying their best to help others.

This is a recurring idea in Rwby and this might be why none of the four protagonists has been selected to be a Maiden yet.

If read as a stand-alone, the story is an interesting tale on how to overcome depression.

The story starts with the old man closed in his house and it shows how he progressively opens up until he himself is able to help others.

Winter is the one who teaches him how to work on his own interiority even when the world is cold.

Springs prepares the terrain for him to come out. It makes the garden more welcoming. It is like when a person has to find the right environment to open herself up.

Summer is the one who finally drags the man out and gives him energy.

Finally Fall is the one who makes the man realize he can now share his new found energy with others.

Theirs is a virtuous cycle and I would say it is very different of the tragic cycle that sees the current Maidens as protagonists. Who knows? Maybe it is about going back to that virtuosity.

Thank you for the ask!

#rwby #rwby meta #maidens #cinder fall #raven branwen #penny polendina #pyrrha nikos #asksfullofsugar #anonymous

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felassan · 3 years

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Thoughts on Dark Fortress #3

(This post is under a cut due to spoilers.)

There’s a lot I thought/wanna say about this final issue, to the point that it’s hard to know where to start!

The cover art is.. beautiful. The symbolic allusion between Shirallas and the dragon (his draconic-y claws, the semblance of a broken collar falling off in the same way, the fire) 👌 On the whole, lined up side-by-side the three covers of Dark Fortress feel really thematically cohesive. Shirallas’ and the dragon’s claws echo Tractus’ sharp metal gauntlet, and as well as the similarities between the dragon and Shirallas, both Tractus and the dragon have a circle of weapons, and the patterning encircles Tractus’ neck and wrists like the collars and shackles. Y’know, like you can just really tell the cover artist planned ahead and put a lot of thought into how the 3 cover arts would ‘flow’ from one to the other, blending elements between them.

I posted some of my fav panels here.

I knew he was my boy but Shirallas’ backstory broke my heart ( ´•̥̥̥ω•̥̥̥` ) the first panel is so bleak and heart-wrenching. the burning aravel parts.. another Dalish clan met a terrible fate.

I wonder if his clan wandered Tevinter like Clan Oranavra? it makes me wonder if Shirallas and Fenris met in Tevinter. It’s nice to see that another clan took him in. And if Shirallas is a name he took, not his original name, I assume it has a special meaning, maybe to do with his quest for justice/vengeance. Shiral means journey, “allas” is found in vallas, which means set, as in the sun. The “vallas” in vallasdahlen (life-trees, planted in remembrance of those who dedicated their lives to the Dales) means life. in many ways the sun and life are the same thing, and there’s the obvious connection to Elgar’nan, eldest of the sun. So journey/quest - sun/life? Like since the loss of his clan he’s on a journey/quest for the rest of his life to get justice/vengeance, which are attributes of the sun god Elgar’nan? that became his life’s purpose and his direction of ‘travel’ ever since his loss, what he dedicated his life to since then. :’(

Elgara vallas, da'len. ( ´•̥̥̥ω•̥̥̥` )

This is our first look at the vallaslin application process, no? what Shirallas is saying in this panel is the Song to Elgar’nan. it’s interesting, in that that prayer kind of resembles what happened, or almost happened, in this issue. a fortress shaken, fire, winged death (a dragon), pretenders to power, “strike the usurpers” (“Red Wraith, dispose of my enemies, kill the traitorous mage”). pretty cool right?

⬇️ me two months ago, look at the tags in red brackets.

oh my son.. Dalish father roams, and the Dalish son won’t survive the fight ( ´•̥̥̥ω•̥̥̥` )

the panel where Fenris and Shirallas shake hands ;; to which experience is Fenris speaking of, I wonder? once upon a time he saw Anders almost lose himself in his own quest for Justice/Vengeance for the mages.

Parallels between Shirallas succeeding in proving himself to Nenealeus and when Fenris succeeded in proving himself to Danarius all those years ago - compare. ;__; an elf surrounded by bodies of people he’d killed to prove himself, and a horrible Magister telling him “well done”.

I love the design of the sword and its use as a ‘divider’ on the first page splitting up the panels is both smart and beautiful. even here there’s pink light around it, the dragon’s fire

overall I wasn’t expecting this issue to begin with flashbacks to Shirallas’ past and backstory, so this whole page caught me off-guard

omg look at the red lyrium ‘veins’ under Shirallas’ skin. when he emerges from the sarcophagus that is a very cool picture of his face

Nenealeus has been taking beard-styling advice/trends from the dwarves

check out the sword crackling and reforming as Shirallas makes contact with it. is the red lyrium under his skin moving in this scene?

in the panel of Vaea running away from the dragon, it’s nice that as she runs Fenris is still behind facing the dragon, to protect her

gorgeous background in the panel with Marquette, and his expression is one of Regret for what he just did and for his part in all this. the dawning realization that I’ve Fucked Up Big Time

as Nenealeus’ weapon is a sword, does he have some Knight Enchanter-adjacent skills (I don’t expect the actual KE artform is exclusive to southern Circles only)? it’s a physical item ofc, not a summoned one. staffs are infused with lyrium to provide a conduit for a mage’s power. so then, mages can channel power through other [presumably similarly-infused] weapons too, not just mage staves/staff-like magic implements or their bare hands

given the color of Nenealeus’ magic and the fact that the dragon was under the control of his magic, it now makes sense to me why the dragon’s fire is that color! o:

Marius is badass (nice touch that his shoulder is smoking pink with the effects of one of Nenealeus’ magic attacks here) and the four panels where everyone’s grim and determined, facing off against each other and Venatori goons made me feel quite emotional. Aaron is Team Dad.. it’s nice to see him having a friendship / paternal moment with Francesca both acknowledging her pain and power while also giving her a pep talk. You can tell when he says too “We all need to do whatever we can in this moment” that he’s talking about himself too and may already be thinking one or some of them aren’t going to make it out of there

Francesca GO OFF!! she’s so powerful, and it’s really cool every time seeing her plant magic in action. it puts in perspective how powerful Velanna would have been with her similar skills (skills like Thornblades), and I enjoy the contrast of the fire in the background and the blue/green of Fran’s magic in action

Fenris is so cool-headed in high-octane combat situations, quickly taking stock, assessing and realizing the odds then coming up with a plan. the look on Vaea’s face when she’s like >:( wtf u can’t just leave is cute

cool pulled-back bird’s eye shot of the Fortress

Karasten continuing with the sass about Tevinter even during a siege

Fenris speaking Qunlat! I love that they brought this lore fact into play and had him make use of this skill, it’s a neat reminder of Fenris’ exchange with the Arishok if you take him into the compound in DA2. in the opening-up the gates scene, Vaea’s worried about letting the Qunari in and going to the Qunari (from her expression), but she trusts Fenris and his judgement enough to open the gate and see what happens

I like that Tessa’s bolts are fletched the blue of her accent color

chills at the panel where Shirallas is walking out of the flames advancing on Aaron. Ser Aaron, who never retreats, not at Ostagar, not now ;__;

the battle-scenes are beautiful, fast-paced and gory, chaotic and colorful, like it would feel to be there

Fenris then puts himself between Aaron and Shirallas. I could hear “I will deal with this Red Wraith” in my head

Autumn can look so scary. a true mabari warrior! when she leapt towards Shirallas I was Stressed for her safety despite knowing rationally that they wouldn’t kill their dog!

the horizontal combat splash page is awesome

CLEVER GIRL Autumn. she and Fenris are in sync in this sequence.

Shirallas serving super saiyan vibes with the bulk, strength, hair

Fenris bargaining for Fran’s life and then trusting her to use her magic as part of the attack on the Red Wraith

lmao Ser Aaron

smart thinking Fran

Aaron praising her ;__;

Marius was straight-up prepared to die to stop Nenealeus ;__; poor Tessa in this exchange

the face-melting scene 👌

“Ah, Marius... I knew it would come down to the two of us”: this panel is just really cool? Nenealeus looks almost congenial here, which makes him seem all the more colder and more dangerous. and the burning bodies strongly remind me of the bodies at the start of Inquisition which are at the ‘blast point’ of the Breach at the Conclave

when Marius and Vaea’s eyes meet and they formulate the backup plan 👌

nice to see ‘staff’-less magic in action. Nenealeus is clearly a very powerful mage. when he’s frying Marius he has Star Wars Palpatine and force lightning vibes

OH VAEA... you did it, but my heart hurts that she had to kill someone for the first time, even though it was foreshadowed by her discussion with Marius in a earlier issue. & Nenealeus’ look of surprise as he dies says it all

it’s a serious moment but Marius now looks like a cat that stuck its paw in a socket hh

when Nenealeus is doubled over dead, it’s a great panel- the white background taking us out of the chaos that’s going on all-around for just a moment, showing the seriousness of what’s just transpired for Vaea and the realization of it setting in. a pause, the shock. & it’s nice to see Marius being soft with someone other than Calpernia or Tessa

but despite what’s just happened Vaea is still Vaea, she’s concerned about life and immediately wants to save the dragon. I like the part where panels of Vaea and Fran ‘face’ each other as they have this discussion, a lot.

in the moment that it takes off, does the dragon realize Vaea is responsible for saving its life? the ‘eye’ panel feels like an acknowledgement from it, or between the two

Fran’s magic destroying and sinking the sarcophagus into the ground reminds me of what in-world lore says happened to Arlathan, in a way

omg they have to stop Shirallas before he gets over 9000

do you think when Aaron says “We cannot retreat” he’s thinking of Loghain’s retreat at Ostagar?

at this point btw I’m pleasantly surprised that Marius survives, I had sort of expected him to die in this issue

oh Marquette, curiosity killed the cat dontcha know

new lore just dropped: the Red Wraith is able to heal from any wound, which is notable, and he and the sword have a.. symbiotic relationship? with each other. “He feeds energy to the sword from the red lyrium in his veins. And in turn, the sword heals his wounds.” What are the lore implications of this? Just what is red lyrium capable of?

Paragon Branka reference! and later on a Black Marsh reference

:’( As soon as Aaron launched into his story at this point my stress levels went through the roof and I knew it was Time. and then - well. you know :’((( Aaron had death flags in previous issues, so I was logically prepared and not surprised by the occurrence (this isn’t a bad thing btw), but I still wasn’t EMOTIONALLY PREPARED

mfw

nooooooooo.... It was at this point everyone that I burst into tears.. i have never Ugly Cried at a comic before so that was a new experience.. It’s hard to put my feelings about this into words bc rly it just straight-up destroyed me, u know.. Vaea’s “Don’t leave me”, Aaron’s tears when he knows the deed is done, his pendant.. surely the resemblance between the way he looks on this cover and the way he looks in the panel when he’s falling and Vaea is shouting “Aaron!” is intentional. i’m just destroyed okay

On the next page, holes in Shirallas’ shirt where his wounds were before they healed is a nice touch. Autumn’s bite here must surely be shattering the bone in his lower leg. then as if i wasn’t in enough pain already - being separated from the weapon, did that bring Shirallas back to himself for a while? His “Friend?” and the look in his eyes when he looks up at Fenris is so pitiful :’( for a moment just before the end he’s the boy in the wood surrounded by his burning clan again. RIP Shirallas son, we barely knew ye but I loved u :’(((

Having Marquette escape is a smart choice, it means there’s someone still kicking around Thedas who knows what happened here and what went down. maybe we seek him out in the next game when trying to follow up on the plot-thread of the idol/red lyrium/its capabilities/Venatori/Qunari? anyway, can’t help but admire, in a fashion anyway, someone who dips out to save their own skin, and his attempted grift when he’s talking to Tractus x)

we hadn’t seen the last of Tractus indeed. there he is! “This is me, crying over our loss” - he’s such an edgy boi

THE IDOL

“Oh, you mean this idol?” feels like they’re breaking the fourth wall and deliberately teasing us x)

when Fenris says “[stay clear of it] Red lyrium can do things with your mind” I wonder if he’s thinking of his experiences with things like Bartrand and Meredith

started to cry again at the final Aaron scenes ok.. when it pans back to Vaea and Autumn on the shore with the dying Aaron, they look so small and lonely set against the backdrop of the gray rock, windy shore, jagged outcrops. it’s a beautifully poignant and incredibly forlorn backdrop for this scene. Autumn in these panels, and again the parallel between Aaron lying here and him on that cover page.. ;; the whole scene is raw and gutwrenching. even in death Aaron was thinking about Vaea, apologizing that she had to take a life, outlining his hopes that she continues to have a positive future and doesn’t descend into any kind of darkness. the fact that all this time he’s carried around a letter addressed to King Alistair in his pocket, to recommend that Vaea be knighted, the fact that he’s crying too, the pendant, the tenderness between them, how proud Aaron is of Vaea, the fact that he goes out telling a story and smiling because he’s so proud of her, here at the end Aaron is filled with pride and looks at peace.. i can’t ( ok i cried again on this re-read when writing this post, Dad Stuff is the ultimate way to get me ok.. don’t look at me _(°:з」∠)_ )

Vaea IS more than worthy. I’m so glad someone recognizes that and sees it in her. King Alistair WOULD knight her, and there’s a beautiful poetry in that fact as the son of an elf. there’s also something poetic in that, if Vaea becomes the first elven knight of Ferelden, well it echoes the Emerald Knights of old in a way. that’s beautiful. I’m very proud of Vaea.

Here we see another parallel - when Francesca is comforting a crying Vaea as her father figure passes away, it directly echoes when Vaea comforted Francesca when she was crying after her own father died.

Aaron’s hometown of Portsmouth is a real place in England

I’m happy to see Fran and Autumn continuing to travel with Vaea, and Fenris continuing to keep his promise to Aaron to keep Vaea safe, and that Cassé is now Fran’s horse (that’s a lovely touch considering she healed him in Blue Wraith, a full-circle moment)

Fenris is right, they were family. soft supportive Fenris, with emotional intelligence ;; (and he of all people knows about Found Family)

the last panel of Vaea crying is beautiful too, the sun is rising in the east after the terrible night they’ve had, and the ‘faded’ rectangles is a great style/composition choice

even Cassé the horse looks sad

the scene of Fran and Vaea riding double with Fenris smiling in the background is super cute, and I love that the last we see of the party is them honoring Ser Aaron by telling stories like he did, of his exploits. I hope they always tell stories of Ser Aaron ;;

I’m glad Tessa made it out okay, she’ll be able to return to Charter. 💜 I was a bit worried this wouldn’t be the case

the last page DBKGRRGRKRKGREKF

Pour one out for Ser Aaron Hawthorne of Portsmouth, Knight of Ferelden.

---

A recap on wider plot-points

The Qunari Antaam have taken control of Castellum Tenebris, and Neromenian has fallen to their advance.

The sarcophagus is broken and has been buried deep in the ground. Francesca asserts that it won’t be found.

The Inquisition agents retrieved the broken shards of the weapon, and are going to take its remains to the shadow Inquisition.

Tractus Danarius is alive and in possession of the idol, or was at the timepoint of this comic. He wants to use it to impress the Venatori remnants so that he can rejoin them. Marquette thinks, or said that he thinks (could easily be a bluff or his lack of knowledge about it compared to someone like Solas), that it doesn’t work anymore. (I’m leaning towards it does still work, otherwise why would Solas be interested in it?)

Solas, in what looks kinda like his most recent DA4 trailer gear, was watching the events of this series/arc the whole time and knows what happened. He knows Tractus has the idol. None of the people in this comic plot are “People Solas doesn’t know”. And it seems that he is able to use eluvians to watch people.

There’s a chance that Tractus Danarius is the mage in Tevinter Nights, from Dread Wolf Take You - the mage from House Danarius who went with some slaves to Nevarra to use the idol to perform a ritual with the Mortalitasi. That mage wanted to change the world to help fight the Antaam’s invasion. In the tale at least, he used the idol, a rift opened, the Dread Wolf popped out and killed him. At the time of that ritual the idol was still working.

+ some new lore -

the Red Wraith was able to heal from any wound, which is notable, and he and the sword the idol created had a.. symbiotic relationship? with each other. “He feeds energy to the sword from the red lyrium in his veins. And in turn, the sword heals his wounds.” What are the lore implications of this? Just what is red lyrium capable of?

eluvians can be used to watch people. not just to communicate over long distances or as portals between places

Lastly I don’t know what to do with myself anymore as this is the end of a long-running DA arc and was the final piece of [currently-known about] new canon Dragon Age content that we’ll get.

#dragon age 4 #the dread wolf rises #da4 #dark fortress spoilers #dark fortress spoiler #dragon age #bioware #fenris #spoilers #spoiler #dragon age: dark fortress spoilers #dragon age: dark fortress spoiler #the Fenaissance #feels #gpoy

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twh-news · 3 years

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How Loki's big finale reveal failed Marvel fans | Digital Spy

Loki finale spoilers follow.

Marvel used to have a major villain problem. Throughout Phases One and Two, Earth's Mightiest Heroes fought cookie-cutter bad guys who just wanted to get rich or take over the world. Loki and Bucky were the only exceptions to this because of their personal connections to Thor and Cap.

Phase Three began to build on this idea with fan favourites like Ragnarok's Hela and Black Panther’s Erik Killmonger. Both of them committed terrible acts, sure, but their plights were also understandable to some degree, and even relatable.

With the advent of Marvel TV on Disney+, Phase Four has developed this approach even further by putting anti-heroes front and centre in each of their own shows. Even Wanda, a full-fledged Avenger, is forced to reckon with her own morality in light of what she did to Westview. And that's been integral to the success of these shows, which each unpack what it means to be a hero in ways that no other Marvel project has ever attempted on screen.

But by centring the so-called "antagonists" like this, a different kind of villain problem has risen, like a seemingly dead baddie who thrusts one hand up from the grave just as the credits start to roll.

Since Loki's very first episode, there's been endless speculation on who the Big Bad might be. The mysterious Loki variant who showed up to kill TVA soldiers was perhaps the most likely candidate at first, but things took a surprising twist with that Lady Loki reveal (although given that betrayal at the end, Sylvie certainly did make a good case for her being the show's true Big Bad).

And then of course, other villainous candidates soon raised their heads. Everyone from Ravonna and the Time Keeepers to Alioth and President Loki all played a "bad" role to some degree. Loki's willingness to tackle the greyer areas of morality has been a strength of this show. But throughout the first five episodes, there was always this idea that someone else, someone "bigger" was waiting in the wings, controlling the TVA from a distance.

The penultimate episode leaned heavily into this idea with a final shot that practically begged fans to speculate about who could be hiding away in that castle beyond time. And then the finale arrived with the big reveal of He Who Remains, "a ruler" and "a conqueror" who also refers to himself as a "jerk" of sorts.

If you're not a fan of weighty exposition, you might consider him to be a jerk as well. Jonathan Majors does everything he can to sell these scenes, but when you break it all down, the vast majority of this final episode was dedicated to explaining an entirely new character whose arrival made little or no sense to casual fans watching back home.

On the flip side of that, He Who Remains was always the number one suspect for comic book readers who know their history. Kang, as this character is called in the source material, has been hinted at throughout the series, and Marvel even announced Jonathan's casting in the role months before Loki even started.

For some, Kang was the obvious choice for this reveal, which makes it a bit less exciting because it's so predictable. And then for others, it was the complete opposite problem. If you don't read the source material, then Kang's arrival came completely out of nowhere because his character wasn't even mentioned prior to the finale. Without comic book knowledge of Kang's identity, this just doesn't work as a satisfying end.

And even if you do know exactly who Majors is playing, what is there to actually gain from a random character showing up like this last minute? Loki has no emotional attachment to Kang beyond his manipulation of the TVA, and as a result of this, there's no closure. Thematically, another Loki variant would have made for a far more satisfying villain, one who forces "our" Loki to confront himself and his notions of what it means to be good.

Logistically, Kang's debut here isn't ideal either given that it required hefty amounts of exposition which slowed the finale to a crawl. While it was refreshing to see Loki avoid the usual CGI spectacle that often plagues the end of these stories, Marvel's incessant need to focus on set-up dragged things down in a different way here, forcing Kang in at the expense of the story that's currently being told.

It's thrilling to think about how this new multiverse will impact the MCU moving forward. The possibilities are literally endless, and we tried our best to outline some of the biggest ramifications to this big reveal right here. But what about the here and now? What about Loki's arc in this season and what about the viewers who couldn't care less about the wider MCU?

The ways in which this franchise connects everything together (much like the comics it's based on) is easily one of Marvel's biggest strengths, to the point where rival studios have desperately tried to replicate this format. But when vital plot points are introduced purely as a nod and a wink to fans who constantly look forward to what lies ahead, then this connectivity also becomes one of the studio's biggest weaknesses.

For decades, comic book giants like Marvel and DC have rebooted themselves and wiped the slate clean over and over again because they eventually become too inaccessible, weighed down by the sheer volume of backstory that newbies are forced to wade through. Marvel Studios has managed to circumvent this problem for the most part due to its widespread popularity, but sooner or later, people who don't have time to watch every single movie and show will start to resent stories like this that don't end to at least some degree.

Clearly, what was once a villain problem has become symptomatic of a much larger issue. But the essence is still the same. Characterisation is still being overlooked just to move the story along in whatever way Marvel sees fit.

And if this fixation on setting up the next project continues to take precedence over character and story, then shows like Loki run the risk of existing solely to continue one ongoing saga, like a snake eating itself in an endless loop.

Of course, fan expectation does play a role in this too, but when Kang said "We're all villains here," it's hard not to think that he might be referring to something far bigger and even more powerful than himself.

#loki #loki series #loki spoilers #spoilers #loki series spoilers #article #digital spy #marvel #MCU

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ariainstars · 3 years

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Will Din Djarin and Grogu Have to Part?

Since this question has been discussed quite controversially in the fandom since the second season of The Mandalorian, here are my two cents about it.

Luke and Anakin

A subject my husband and I can’t agree upon 😉 is the character of Luke Skywalker. I always liked him, while my husband finds him annoying. But consider: Luke’s hotheadedness, his naivety, his obstinacy, are perfectly normal for a young man of nineteen or twenty. Given A New Hope’s roots in classic Western, Luke is the typical greenhorn, who tries to man it up but doesn’t know how to do it yet. Luke is a normal adolescent with dreams and ambitions. Remember how we see him playing with a toy skyhopper at his uncle’s homestead? He obviously feels safe there. His aunt and uncle later even sacrifice their lives rather than revealing to the Imperial stormtroopers where R2D2 is, because they know that Luke went in search of the droid, and they don’t want them to find him. Luke is a good boy though raw and green. In the end, his story is a success because he chooses to use his powers to save the ones he cares about, even when it’s a father who, except for saving his life at the last moment, never did anything good for him.

Now compare him to Anakin Skywalker, his father, at the same age: many fans define young Anakin as a whiny, arrogant brat and they’re not so wrong with that. Anakin comes over as an irritating person, much more so than his son, because he is emotionally stunted, having spent the last ten years being told to stifle his emotions and not to allow any personal attachment. Which blatantly failed: we see right away that his bond with Padmé is still intact although they didn’t meet in the meantime, and we witness him getting mad with fury and hatred when his mother has to die in that cruel, meaningless way when he could have saved her had he arrived just a little sooner. Young Anakin is unbalanced and frustrated because by now he knows his enormous powers but is not allowed to use them in a way that actually makes sense to him. Anakin is a family man: his instinct is to protect. But at age nineteen, thanks to the uncompassionate mindset of the oh-so wise Jedi, he already is a ticking bomb.

Now to Our New Heroes…

While the first season was about Mando’s redemption and hero’s journey, the second one thematizes the development of the child. Until now he hardly wielded the Force and most of the time he’s just being cute and getting into trouble, but that’s not simply bothersome, nor is it unfitting for the narrative: it’s normal. Grogu is being a child at last, because he can, and he can because someone is looking after him and genuinely caring for him.

Look at him: the little cookie monster is having a blast. He’s meeting people and making friends. He’s enjoying life (including food). He can let go, because he knows that “daddy” has his back. Literally!

Which is why I don’t believe that Grogu will choose to join some Jedi or other: it would be pointless for his story. Grogu has the chance to be the child he could not be until now, and since he thankfully ages slowly, he’s taking that chance. Like with his predecessor Yoda, there is more to Grogu than meets the eye: he understands more than he lets on. He’s making experiences, and he’s learning from these experiences. Instinctively, he wants Mando because he wants belonging. My take is that he will learn how to have healthy attachments, and that if he is to be the future Yoda in some distant new tv show or new trilogy, he will be very different from this one in that he won’t discourage Force-sensitive children from learning how to love other people in a proper way. Also, Yoda lived mostly at the Jedi temple, which from the outside reminded of an ivory tower and indeed did shield the Jedi from seeing many of the ugly things happening outside. Grogu is travelling: he witnesses the injustices in the galaxy with his own eyes.

One of the crucial messages of the Star Wars saga always was how wrong it is to separate families. Palpatine’s greatest villainy was making people who belonged together mistrust one another until they resorted to violence. What’s worse, he enjoyed it.

To remain in balance, children need to grow up serene and protected. Anakin, the Dark Father, was the most blatant example for this: his mere existence was a living proof for the Jedi’s failure. Terrified of his former padawan’s turn to the Dark Side, Obi-Wan set the seal on his fate right when Padmé was succeeding into making him go away with her. The Jedi was aware that Anakin was a husband and future father at this point, but the convictions of the Jedi had been so deeply ingrained into his mind since he was small that he believed them to be more important than Anakin’s role not as a Jedi, but as a human being. Still twenty years later, he tried to trick Anakin’s own son into killing him. Anakin’s soul was saved, though only by a hair’s breadth, due to his son’s stubborn compassion. Anakin had been willing to sacrifice everything to save his wife; Luke chose to rather give up his life than his integrity, which is why the moment when he throws his light sabre away before Palpatine is so significant, setting him apart from Anakin.

None of the surviving Jedi would have lifted a finger for Anakin: to them, he was a damned man. Which he was, but that was largely also due to the Jedi’s sins and not only his own. They never showed regret or assumed that they might have wronged him. The aim of both the prequel and sequel trilogy was not to excuse Darth Vader’s / Anakin Skywalker’s or Kylo Ren’s / Ben Solo’s terrible deeds, but to demonstrate that their fate could have been avoided; that they were not alone with their guilt but had been for a large part pushed into their role by their environment, instead of being, as the cliché runs, “mad guys who choose to be evil because they want power”, like e.g. in a James Bond movie. (Except of course for Palpatine, but even he got a second chance through Rey, equally powerful but much more well-meaning than him.)

Conclusions

The message of Star Wars is not about the all-powerful Jedi and the significance of their order: they are not some kind of superheroes who will return and save the galaxy. I daresay that who hopes to see Luke Skywalker, e.g. instructing Grogu, will be bitterly disappointed. If Luke would enter the narrative, the story would become about him, making the show’s set-up and title pointless. His story, the Hero’s Journey, was accomplished with Return of the Jedi, which is why George Lucas never wrote a continuation. Luke himself developed his capacities instinctively, both Obi-Wan and Yoda had little time to train him. (So much also for Rey being “a Mary Sue who knows how to wield her power without training”.) It obviously does not take years and years of learning at a Jedi temple to learn to wield one’s Force powers: it appears that what padawans are taught there, more than anything else, is how to control their feelings. Which is unrealistic on the long run, because every living being wishes for personal fulfilment and even the greatest Jedi can’t live solely for others.

Will the child’s Force abilities fade in time without training, the way Ahsoka said? They won’t. The show is set some 25 years after the fall of the Jedi Temple, and yet Grogu managed to make a mudhorn float in the air with his power. He was exhausted afterwards, but he managed. In another episode he healed Greef Karga from a mortal wound and he is the first Force-sensitive whom we ever saw with this capacity. In the next episode he rejected a fireball with his bare hands. The Force is strong with this one. He does not need a Jedi master to train him. What he needs is to develop a good judgement about what he should use his powers for, and when he should not.

The saga as a whole always showed a clear structure where the puzzle pieces fit together, adding up to one final picture: life is not about power but about love and belonging. Power can win, but that victory is always short-lived. Who chooses power over compassion in the end will always lose and have to look back on a destroyed world where there are only losses and bitter memories.

Ever from the first episode, The Mandalorian lived from the dynamics between the gruff but kind bounty-hunter and the innocent yet powerful child. At its core, it is a father-son relationship: tear them apart and the whole story ceases to make sense. By the beginning of season 2 Din Djarin and Grogu have grown so close that you could hardly fit a sheet of paper between them. Their story is not about rebuilding the Jedi order, it is about healing together, overcoming loneliness and trauma, starting a new life together.

Maybe they will be separated at the end of the second season, e.g. by Moff Gideon who wants the child for his despicable experiments: but if that happens, I can foretell what the next season will be about:

Mando will move heaven and hell to get “his” child back under his protection. Because contrarily to both Luke and Anakin, he is a father, and a good and devoted one at that.

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thedivinedemom · 3 years

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An AU of DC with a mass crossover of PS4 properties.

Provisional name: Players Searching for Detectable Changes (Get the pun?)

The setup:

This is the future of DC, a world where the old guard has slowly withdrawn and the newer generations have risen to the occasion. The original Titans in particular, most of which have formed the new Justice League while many other, very similar teams had started to form across the world. One of which was a resurgence of the Teen Titans, led by an older and purified Raven. She wanted to make the Teen Titans something akin as it was for her, a place to belong and learn to use one's powers.

The first 'class' of such individuals include:

Stargirl (of the now-disbanded JSA and still getting used to the Starrod)

Blue Beetle III (Freshly attached to his alien symbiote and freaking out a bit)

Robin V (to work on his anger issues, mostly at the new Batman's request)

Kaldur (a half Atlantean half metahuman who is struggling with his identity and the surface world, Aquaman feels a kinship for the boy seeing their similarities)

Static Shock (a promising new hero but little experience working outside his city or in groups)

Mary Marvel (she's... she's going through alot. Fresh from a coma, her brother is distant as he acts as the new Wizard, and she may be, sorta kinda, being corrupted by Black Adam's gifted power)

The team was rough and there was plenty of head butting (Mostly between Stargirl and Robin/Damian as one is almost the unanimous leader while the other thinks he should be) but they were getting there. They were more of a clean up crew for the Justice League, they did more than the "kiddie missions" that the Outsiders didn't do, and they meant more than the PR grab that was the International team. Though they didn't seem to amount to more than that. They still did their best, pushing past the silent ridicule, as they went about their missions.

This may be why tempers were so high that day.

One day, outside a little city by the name of Weller's Point, the prisoner transport for the villain Plasmus had an "accident". Released and awakened the creature went on a rampage, heading ever closer to the populated area. Luckily, the mentor of the New Teen Titans could teleport. The new team did fairly well in the fight, though they did struggle a bit as Plasmus was not a being where simple brute force would work. It made the fight tricky and more than a bit... messy.

Messy enough that juvenile and emotionally compromised Mary Marvel lashed out against the downed villain but was stopped by her teammates... things escalated from there. Restraint turned blows and the whole team struggled to stop their powerhouse without hurting her. The ones who do the best are Raven, Stargirl, Blue Beetle, and oddly Static.

While both of the former could use their abilities to restrain her to a very effective degree Static was actively draining her of strength, or at least of the electic aura she was radiating and blasting with. Frustrated, done with the situation, and a bit petty Mary launched her largest attack yet by saying her magical word.

SHAZAM.

Virgil did what he did best, he handled that lightning as it came crashing down towards Mary and the Titans restraining her. Well, he tried. The bolt was just too powerful, too unlike anything he had ever encountered. He could not handle it and it was dissipating, if anything it clung to him or tried to jump towards the girl. He had to get rid of it and he had to get rid of it quickly, safely too if he could help it.

He shoved it into the ground, into the power lines. He did it as carefully as he could, trying to prevent overload or flashover as guided the charge into the power grid.

What happened next was a combination of a few things. 1. The Mystic and transformative properties of the Lightning, 2. It is effectively being filtered through a bang baby, 3. The kryptonite power plant owned by, provided by, and operated by Lexcorp.

This interaction, this new charge, cycling through the power grid interacted strangely with a number of devices but none more so than PlayStation 4s and the devices connected to them. This new electricity changed things, literally. It brought fantasy into reality.

Whatever game was loaded into became a part of our reality in a small way. Sometimes TVs, Controllers, and even the system changed to reflect items from the game but the bigger change came with the Players. If a person was playing their console during the surge then they would become a metahuman with abilities based on the playable character they were playing.

The city, the county even, was now flooded by an abundance of metahumans and items of varying power of devastation. Static felt horrible.

He couldn't help but compare what has happened here to what happened in Dakota City but on a wider scale. And this time it was his fault. His sense of responsibility wouldn't, couldn't, let that stand. He had to fix his mistake and his team was dragged along for the ride.

The story to follow is a mix of Final Crisis and Kingdom Come with a bit of the Young Justice cartoon in events and themes, a few twists and likely a bit lighter in tone but to the DC geeks this should give a rough idea… Maybe a bit of Marvel's Civil War but hopefully not the rushed knee-jerk mess that that ended up being.

But it's here that I start having issues with my planning. One part in worry as outside the set up we start to follow the perspective of OCs (something rarely smiled upon) and another part in wondering which OC to focus on.

Now, one thing I love in fiction is progressive powers and the conflict escalating from the different paths people take in said progression. In that vein, I have a pair of protags in mind as well.

The main two/co-protagonists:

The Lawkeeper- a cop before the change and now a member of a task force made up largely of those affected by the surge. A gamer, a man of color, and a believer of the spirit of the law. He doesn't always get along with his fellow officers but he believes in what the blue does. He believes that an organized response is what is best.

His abilities are based on those of Jesse Fades of Control. Meaning he has tremendous psychic potential but he needs 3 things to reach his full potential.

1.Items to bond to so he can generate these psychic abilities. Jesse's used altered items of her universe to get thematic abilities from them (ex: a safe to generate a shield, a carousel horse for a dash ability, ect). Here he can use items generated by the surge.

2. A patron/partner entity to help guide, give insights, and empower. It also let's the user enforce reality, basically becoming an anti reality warper.

3. A bonded morph weapon or a weapon to come to his hand when called.

The knight- a recent college graduate who instantly decided to go the route of the caped hero. She, after figuring out how to get her powers to work, instantly went the route of a caped crusader. Going out to the streets, saving lives, stopping instances of surge item abuse, and (in the humble opinion of the local Police Department) getting in the way of operations. In her opinion they were taking too long to get things done.

Her abilities are based on those of Prince Noctis of Final Fantasy XV. This means she has tremendous physical and magical potential but like the above she has a number of check marks needed to gain access to the character's full power.

1. A gem/crystal to draw power from.

2. 13 magical weapons to boost strength. The generated game weapons will do and I have most picked out in a way that likely would help the plot progress.

3. The blessing of 5-6 gods.

4. A power ring of some king to channel all this power.

I keep debating the two above as I do like the idea of both of them climbing in power and clashing over conflicting ideals of what to do with their power. At the same time, I think that just smooshing aspects of both into one (which is actually where they started, a single character) and play off the different ideologies of how best to help people from within her friend group and precinct along with internal conflict. Maybe have the one be a fellow officer they butt heads with because of the... precarious nature

Another OC I was thinking on, keeping with the theme of what to do when you have power, is a thief who played Persona 5. Like both of the above they would be crippled in their ability to use their abilities without a way to fake the connection to. In this case, without the Mementos App, they would need an item that could affect or enter the hearts of others. Luckily, more unlucky really, there are plenty of items floating around that can do just that. Namely Keyblades.

Most other Players are an odd mix but most are variations of the Shooter build. Peak physical humans who heal quickly and often have bullet time. But there are enough other variations to cause trouble. Demigods of unreal strength, men and women who can easily tap into a patron for powers from the outside, 2 variations of spider powers, cat eyed men and women who can cast magic with simple gestures, and so much more. But the real issue was the first two, the demigods without a parent to protect them and those easily connected to a divine source.

The disembodied New Gods of Apocalypse were very happy with those groups. For how bad this can be please look at what happened to Mary Marvel in canon Final Crisis.

Thoughts and opinions would be appreciated.

#dc community #fanfiction #dc fanfic #dc fandom #playstation #mass crossover #orginal character #dc fanfiction #dc fanfiction idea #outline

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path-of-my-childhood · 3 years

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Taylor Swift: Pop Star of the Year

By: Jonathan Dean for The Sunday Times Date: December 27th 2020

Rather than hunker down, the singer put out two albums in 2020 and won over new audiences. She’s the pop star of the year.

Taylor Swift met Paul McCartney in the autumn for a big interview in Rolling Stone. The two would have headlined Glastonbury this summer. Who knows if they will do that next year. Anyway, both recorded albums in lockdown, working from home like the rest of us. When they spoke, though, Swift had a secret. As well as Folklore, released in July, she had a follow-up record in the pipeline — Evermore, which was released this month.

Swift noted that the former Beatle was still so full of joy. “Well, we’re just so lucky, aren’t we?” he said. “We’re really lucky,” Swift replied. “I can’t believe it’s my job.” And she is right. Being a pop star is an extraordinary way to earn the living she does. But rather than accepting luxury and letting this tough year tumble on, Swift is also keenly aware what music means. Sad songs soothe, happy songs make us dance, but as fans of most artists waited for something — anything — this year, this 31-year-old released two albums that broke chart records, were critically adored and introduced her to people who once thought that she wasn’t for them.

“I’m so exhausted!” she said to the American chat show host Jimmy Kimmel, laughing, a few weeks ago, when asked if she had a third new album planned. “I have nothing left.” In addition to Folklore and Evermore, she filmed a TV special and even started rerecording her back catalogue, after a volatile dispute over who owns her work. By October I’d just about cobbled together my first sourdough loaf.

A decade ago Swift moved firmly into the limelight thanks to a squabble with Kanye West entirely of the rapper’s own making. In 2009, when Swift — then a nascent country music star — won the best female video award at the VMAs, West stormed on stage, grabbed her microphone and said that Beyoncé should have won. Swift was 19 — West was 32 — and she looked scared. This wasn’t just about her biggest moment yet being stolen, but also about her position in the pop hierarchy being questioned, very publicly, from the off. She stood there as that man bullied her. Apparently she left the stage in tears.

Years later West released Famous, with its infamous lyric “I feel like me and Taylor might still have sex/ Why? I made that bitch famous.” The alt-folk singer Father John Misty also wrote about sleeping with her. Every time that sort of thing happened, a powerful man in Swift’s industry was reducing a successful, talented, younger female to the level of a sex object. It was back-in-your-box belittling — as it was when a TV host groped her. (She successfully sued him.) While Swift herself would retort to West, as her music became less country, more slick pop, such retorts felt forced and gave the rapper too much of her oxygen. A nod to him on Folklore comes with the “Clowns to the West” line, but it is a sideshow now, not a headline.

Not that Swift’s life is entirely her own. She’s been one of the world’s bestselling female artists for a decade, coupled with curiosities such as a well-orchestrated relationship with Tom Hiddleston that kept her in the spotlight. Like many twentysomethings, Swift spent her youth apolitically, only to receive flak for staying silent during the 2016 US election. This year she endorsed Joe Biden, but what if she had wanted to stay quiet? Would the media have let her? She is under so much scrutiny that, after she made an innocuous hand gesture in a recent TV interview, similar to one women make to draw attention to domestic abuse, this headline ran: “Some people think Taylor Swift is secretly asking for help in her latest interview.”

Like many at the start of the pandemic she felt listless. The world we were used to was a wasteland, and we could only find the energy to watch Normal People. Swift’s ennui, though, was, well, swift. Stuck in LA, she emailed Aaron Dessner of the beloved beardy indie band the National to see if he fancied writing with her. No fool, Dessner said yes and, mere weeks later, the duo — with help from Swift’s regular collaborator Jack Antonoff as well as Justin Vernon, from the beloved beardy indie band Bon Iver — released Folklore. The gang just carried on working and, five months later, gave us Evermore.

Creativity is not on tap. Indeed, this year is not one for judging what others may or not have achieved. However, the silence of many big pop stars is striking because they know that even a single would make someone’s day; distract for a while.

Everyone needed to adjust to working from home, but Swift was one of the only musicians who did and, by eschewing the arena pop of recent albums for something more subdued, organic and folky, she gave the sense that she was letting fans in more than ever. She was at home, like us. This is who she is, and the first single from these sessions was so cosy, it was even called Cardigan.

“I just thought, ‘There are no rules any more,’” she told McCartney. “Because I used to put all these parameters on myself, like, ‘How will this song sound in a stadium?’ If you take away the parameters, what do you make? I guess Folklore.”

Maybe it is tedious, for a deft writer with a career of varied, brilliant songs — Love Story, I Knew You Were Trouble, Blank Space — to find respect from some people only when artists who appeal to middle-aged men start to work with her. On the other hand, pop has never been particularly welcoming to many until it sounds like something you are used to and, with delicate acoustics and gossamer-like piano, Swift’s two new albums recall, sonically, Nick Drake or Kate Bush. Thematically, lyrics seem to come from anywhere. Daphne du Maurier, for one. Even the Lake District and its poets.

Some songs are personal. She is dating British actor Joe Alwyn, and on one track she sings, “I want to give you a child.” Make of that what you will. But these records’ highlights are not about herself, but others. “There was a point,” she told Zane Lowe on Apple Music, “that I had got to as a writer, [where I was only writing] diaristic songs. That felt unsustainable.” Instead, she does what the best writers do and mixes subjective with objective. The Last American Dynasty is a terrific piece of writing about the socialite Rebekah Harkness, who lived in a Rhode Island house that Swift bought and was, by all accounts, a bit scandalous. Swift tells her story almost with envy. Imagine, she seems to say, that freedom.

“In my anxieties,” she said in Rolling Stone, “I can often control how I am as a person and how normal I act. But I cannot control if there are 20 photographers outside in the bushes and if they follow our car and interrupt our lives.”

Then there is Epiphany. The first verse is about her grandfather, who fought in the Second World War; the second about frontline workers in hospitals now. Sung in a high register, it is suitably choral. Marjorie, on Evermore, is even better. It is about her grandmother, an opera singer who died in 2003. “What died didn’t stay dead” is the repeated line, and it is eerie, gorgeous. Swift sings how she thinks Marjorie is singing to her, at which point some vocals from the latter’s recordings waft in. Touching, but the real power is in Swift writing about vague memories of a relative who died when she was young. “I complained the whole way there,” she sings. “I should’ve asked you questions.”

In person she is warm like this, and funny. When Kimmel told her there were far more swearwords on Folklore and Evermore than previous records, she replied: “It’s just been that kind of year.” She is also odder than people realise. In the way pop stars should be. Obsessed by numerology, she wrote, on the eve of her birthday when announcing Evermore: “Ever since I was 13, I’ve been excited about turning 31 because it’s my lucky number backwards.” When I turned 31 I just wished to be 13 again, with all that youth, but then, maybe, she is just joking. “Yes, so until I turn 113 or 131, this will be the highlight of my life,” she said. “The numerology thing? I sort of force it to happen.”

Swift, of course, is far from the first pop star to become public property, or have a close bond with fans. This year, however, she was one of the few to show that such adoration is not one-way. She is, simply, a fan of her fans — from planting secrets in her artwork and lyrics, to recording two albums of new music as a balm for them when real life became too deafening.

“One good thing about music,” sang Bob Marley. “When it hits you, you feel no pain.” The 80.6 million who streamed Folklore on its first day will attest to that idea. So will the four million who bought it. Swift is pop star of the year, no doubt — leaving her peers in her wake, on their sofas, rewatching The Sopranos.

#thanks to anon who brought this to my attention!#🖤#taylor swift #the times #article #about taylor #folklore album #folklore era #evermore album #evermore era #twitter.com/hendopolis/status/1342959069792002050

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uzunofu · 3 years

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My dash brought me several posts on the same topic at once, and since I couldn't choose which one to reblog, I decided to make a separate one and tag the OPs, lol. @jaebald @withinsnow @grewlikefancyflowers

I love both vers and switch!wangxian (a friendly reminder that switch and vers are different terms) because reading the same kind of smut over and over is boring and I start skipping, but initially I was in favor of switching them precisely because of power dynamics. And not WWX being the badass YLLZ and thus being the one more suited to topping (what even is that logic, heavens) — no, it was about how during the course of the book we see WWX vulnerable physically and emotionally, injured, distressed, needing help. (Even more so in the show, but CQL has a different relationship dynamic altogether, and since their preferences in CQL aren't expressed, I can vibe with nearly anything.) We see him like that way more than we see LWJ like that. LWJ is the love interest who, in the present timeline, swoops in and saves him, who takes care of him, who is the rock WWX can lean on. In the past timeline, the Xuanwu cave is the only time we see LWJ in distress.

Thematically, it fits that in his second life WWX finally gets that one person in his corner, finally has someone who will help him and stand by his side. Thematically, WWX can fight his own battles, but it's nice when he doesn't have to. I can acknowledge all of that and still wish that we had more moments of LWJ in a position of vulnerability and WWX being his rock.

For me, it's not about their power objectively. They're both shown as badass during the plot. It's about how LWJ, despite his adorable drunk shenanigans and offended princess act, fulfills the narrative role of the LI saving the MC. That's why I adore WWX's tendency to swoon over LWJ being soft and cute, to call him a good boy, to fuss over his dirtied robes, to treat him like a spoiled princess. It evens it out somewhat.

It's also why I like their sexual dynamic as it is presented in the book (chapters 111 and 112, I didn't read the incense burner extras) — despite WWX physically bottoming, he is the one who takes initiative, who tells LWJ what he wants him to do ("Wouldn’t it be convenient if you take off your forehead ribbon and tie my hands up?"), who plays at being a helpless victim with gleeful abandon. He plays at it. He blabbers not because he wants LWJ to shut him up but because he wants to egg him on. He laughs, he has fun, he doesn't take any of it seriously even in the heat of the moment. Their dynamic isn't the typical dom/sub you see in fics, or the typical smut, which is why fics that have them as vers or switches tend to get it right more often since they throw "typical" out of the window. Funnily enough, I have seen more BJYX (the actors' CP, if you're out of the circle) fics nail that exact dynamic than actual wangxian fics.

Sometimes people have physical preferences, and maybe WWX isn't into sticking it in or LWJ isn't into taking it. Sometimes people have psychological preferences, and maybe WWX isn't into doing the work, he wants to be a pillow princess and feel pampered (hello to LWJ bathing and dressing him, that man is the best, WWX really lucked out). Sometimes those two overlap, which is why people tend to conflate top/bottom with dom/sub and probably why the "YLLZ is a top" take exists — when you're into someone being forceful and powerful in life and you want to see them behave that way in bed, it doesn't usually translate to envisioning them topping from the bottom. When I see that take, it usually comes across as someone wanting WWX to be absolutely in control and drive the encounter. But if we look at MXTX's books, the ship that is the most traditional one in this sense is actually hualian. From the glimpses we get of Xie Lian remembering their first time, it was exactly that.

I'm not into telling people what they should or should write, nor am I into judging other people's fanons. Fandom is transformative. It makes sense that people would change stuff to their liking. But when you take a canonical dynamic that is subverting the stereotypes both from a "personality" perspective (the reserved one topping, the bold one bottoming) and from a smut perspective (the top taking cues, the bottom remaining himself instead of getting overwhelmed and lost in his own head) and try to claim it homophobic, that's where I draw the line.

#mdzs #mo dao zu shi #wangxian #top/bottom discourse #mdzs meta #ish #wei wuxian #lan wangji #the cursed discourse ugh i swore i'd never get involved in it #to use a wildly overused phrase #get some reading comprehension please

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mst3kproject · 3 years

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Caltiki, the Immortal Monster

We've talked about how there are an awful lot of fishman movies. There are way too many Bigfoot movies. There are even a surprising number of movies about monsters named Paul, but one thing I swear I never thought would be in two different movies is growing space blobs in the Mexican jungle. Yet here we, are following up The Flame Barrier with Caltiki, the Immortal Monster. The cast includes Gérard Herter from Secret Agent Super Dragon and Daniele Vargas from Hercules Unchained. Mario Bava insists he didn't direct this but Riccardo Freda says he did, while most film websites blame both of them.

Long, long ago, the Maya were doing math and building pyramids in Mexico when a sudden unknown cataclysm forced them to abandon their cities. In the present (or at least the 60s), a group of scientists have come to the ruins to see if they can solve this mystery. Two of them venture into a cave, and only one returns, raving about Caltiki, a Mayan goddess. The rest of the party set out to find out what happened and perhaps rescue the other man, but instead discover a huge carnivorous blob monster! Most of this beast is destroyed by crashing a gasoline truck into it, but they take a sample back to Mexico City with them for analysis. Because that's a great idea that won't bite them in the ass at all.

The opening titles of this movie tell us that it is 'based on an ancient Mexican legend'. I don't know anything about Mexican folklore but I did look through the List of Mayan Gods and Supernatural Beings page on Wikipedia and there are no names there that you can remotely bend into 'Caltiki'. I'm going to assume this movie has about as much to do with ancient Mexican legends as Village of the Giants has to do with H. G. Wells' Food of the Gods. The same credits also tell us that the dancer we see ripping her own clothes off in some 'native ceremony' was a woman named Gay Pearl. The early 60's was around when the word 'gay' stopped being used to mean anything other than 'homosexual', so I suspect she changed it shortly thereafter.

Although the basic premise of a growing space blob in the jungles of Mexico is strongly reminiscent of The Flame Barrier, in several ways Caltiki, the Immortal Monster takes an opposite approach to telling the story. One of the things that made The Flame Barrier kind of annoying was how it puttered around in the jungle with character-driven stuff for ages before it even introduced the monster. Caltiki goes almost entirely in the other direction. The first thing we see is the aftermath of a monster attack, with the dying archaeologist staggering back to camp. In the minutes that follow, we watch the rest of the expedition puzzle over what happened to their colleagues, but we have almost no idea of who they are. Most of the character development has to wait until they get back to Mexico City.

Unfortunately, the characters are really not very interesting people. Our supposed hero is the dishwater-dull Dr. John Fielding, who is one of those movie science guys whose significant other whines because he would rather look down a microscope than gaze into her eyes. Fielding promises his wife Ellen that he'll pay more attention to her, and I guess he does because next time we see him he appears to be happy with her and their little daughter, but if I were to call the issue 'minimally addressed' I would be giving it way too much credit. The other subplot in the movie is about a mixed-race woman named Linda (repeatedly described as a 'half-breed') and her relationship with one of the archaeologists, Max. Max was a dick to begin with, and when he goes mad with pain after being attacked by the blob monster he only gets worse. He never seems very interesting or threatening, and since the audience knows there's a blob monster coming, we feel our time is being wasted. Linda, as the only major character who isn't white, is killed when Max decides she is no longer useful to him.

Another place where Caltiki does exactly what The Flame Barrier didn't, but with far better results, is with the monster itself. In The Flame Barrier the space blob was immobile and basically just looked like somebody spilled a truckload of petroleum jelly. The blob of Caltiki, however, truly is the coolest thing in the movie. It's a pulsating, leathery mass that reproduces by stickily dividing in two, and dissolves people's flesh to leave only their skeletons. There were worse monsters on Star Trek: the Next Generation nearly thirty years later. Not only that, but the blobs are active, able to roll around and grow to engulf screaming victims, with a satisfying sense of weight and volume to their movements. There are also some pretty good gore effects, my favourite of which is a guy who's still breathing despite having had his face dissolved.

The Flame Barrier kept its blob in the distant jungle, where the only people it was menacing were three explorers and a chimp. We were told about the threat of its exponential growth, but that was fairly abstract. In Caltiki we still don't get the city-smashing rampage depicted in one of the posters, but just knowing that the city is there and having Fielding's wife and daughter around to be chased by swarms of blobs makes the threat feel far more concrete.

So this movie gets right a lot of things the other Mexican Space Blob movie got wrong, but I wouldn't be reviewing it if it wasn't still a bad movie. The dull characters and the refusal to deal with their arcs is one big problem. Another is the poor picture quality. The lighting is mostly good enough that you can tell where people are and what they're doing, but the film stock itself is not very good, which makes for a loss of detail. In some of the wide shots you can't tell who's supposed to be talking because it's impossible to see whose mouths are moving. In another, Fielding consults a book that appears to consist entirely of blank pages.

The dubbing is also not great. Fielding and his wife have very bland voices, which is a big contributor to them seeming like very bland characters. The guy voicing Max gnaws on the scenery, sounding like a villain from an old Disney movie. Fielding's daughter Jenny has the voice of an adult woman trying to talk like a child, and it sounds even worse than the same thing did in Manos: the Hands of Fate.

The script is pretty ham-fisted at times, particularly in the character scenes that tell us things far more often than they show us. Much of this is the fault of whoever wrote the English dialogue, but there's also the series of ridiculous plot devices that prevent anyone from warning Ellen Fielding that the blob in her basement has begun to grow. First, Max escapes from the hospital and goes to the house to get help from Linda, and pulls out the phone cord so nobody can turn him in. One of the scientists, finding no answer on the phone, tries to drive out to the house to talk to Ellen, but gets into a car crash. The police block the road off while they investigate the wreck, and Fielding runs the road block in his own haste to get home, leading him to be arrested and thrown into jail! I have to admit, it was pretty funny just watching these contrived events pile up.

As far as having a point to make goes, Caltiki, the Immortal Monster kind of shaves by one in two different places, but never quite gets there. For starters, there's the idea of archaeology as a treasure hunt. When the diver first ventures into Caltiki's sacred underground lake, he finds the bottom littered with bones but also with the gold jewelry the sacrificial victims were wearing. He returns to the surface and does not even mention the skeletons, but brings fistfuls of gold and goes back for more despite the risk of running out of oxygen. I suppose he is punished for this, as is Max when he tries to retrieve a piece somebody else dropped, since they're both attacked by the blob. It doesn't really qualify as a thematic thread, though, since the gold is never mentioned again. For the rest of the movie, the characters are motivated by scientific interest in the blob itself.

This leads into what's sort of a second motif, people disregarding the danger posed by the blob. Fielding has a sample he wants to study (the movie has no idea what kind of scientist he is. An archaeologist? A microbiologist?), and upon discovering that radiation makes it grow, he pumps more into it to see what happens. He and his colleagues are admittedly more cautious about this than the characters in Reptilicus, but the idea's still there: scientists who think they have everything under control, but don't understand how dangerous what they're working with really is. Again, this doesn't really go anywhere. At the end they about-face and insist on destroying every scrap, not even leaving enough for an “... or is it?” ending.

Caltiki, the Immortal Monster comes very close to being so bad it's good. There's plenty of stuff to laugh at, while the actual monster is threatening and well-executed enough to be entertaining in the way it was intended to be. If the film-makers had diverted a little of that money into better film stock, I probably would have enjoyed the movie very much.

#mst3k #reviews #episodes that never were #caltiki the immortal monster #i reference star trek #60s #we're running out of plots

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davidmann95 · 3 years

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How about those JL storyboards?

In case you haven’t heard, Zack Snyder is putting on display the ‘storyboards’ - i.e. a rough plot summary accompanied by some Jim Lee sketches - for what would have been Justice League 2 and 3, or as this puts it 2 and ‘2A’. You can see them here (I imagine better-quality versions will soon be released), and read a transcript here. This is evidently a very early version: this was apparently pitched prior to the release of BvS and Justice League being rewritten in the wake of it, with numerous plot details that now don’t line up with what we know about the Snyder Cut, plus it outright mentions it builds on the originally planned versions of the Batman and Flash movies. But it’s a broad outline of what was gonna go down, and while I initially thought it was Snyder throwing in the towel, the timing - paired with the ambiguity left by the necessity for changes, including that this doesn’t factor whatever that “massive cliffhanger” at the end of the Cut is - says to me he’s hoping this’ll be a force multiplier behind efforts to will sequel/s into existence. He’s probably right.

I’ll be discussing spoilers below, but in short: with this Zack Snyder has finally lived up to Alan Moore, in that like Twilight of the Superheroes I wouldn’t believe this was real as opposed to a shockingly on-point parody if not for direct, irrefutable evidence.

Doing some rapid-fire bullet points for this baby to kick us off:

* Folks who know the subject say a lot of this is a yet further continuation of Snyder doing Arthuriana fanfic with the League reskinned over those major players, and I’ll take their word for it.

* I don’t know whether I love or hate that in Justice League 2 the Justice League are only an extant thing for the first scene, and then it’s Snyder giving everybody their own mini-movies. It’s compressing the entire MCU “loosely interconnected solo stories leading to a single big movie later” strategy into a single movie!

* Funniest line in the whole thing: "Even Lantern has heard of the Kryptonian, worried that he's under the control of Darkseid. He heard his spirit was unbreakable." Hal what fuckin' Superman movie did YOU watch? Second funniest being “IT WILL GIVE HIM POWER OVER ALL LIVING LIFE”

* 90% of the plot I have nothing to say about, it’s generic stage-setting crap. That to be clear is the ‘shocked it’s Snyder’ element, it feels so crassly commercial in a way I can’t believe is coming from the BvS guy.

* Most of what I have to say is unsurprisingly gonna be about a handful of characters but Cyborg’s happy ending being “he isn’t visibly disabled anymore!” is not great!

* The Goddess of War battle with Superman...never pays off? No clue why it’s there.

* What I’d originally heard was that the Codex in Superman’s blood was the last key to the Anti-Life Equation and that’s why Darkseid was coming to Earth. It’s not like all of this wouldn’t have already been averted by Kal-El’s pod smacking into an asteroid on the way to Earth so it’s not as if this makes it any more Superman’s fault, and it would have at least tied all this back to the beginning of the movies, but I suppose that was either fake or from a later draft.

* I have NO idea how this was reimagined without the ‘love triangle’, it’s the central character thing and the entire climax flows directly out of it!

* Darkseid’s kinda a chump in this, huh

Anonymous said: So: Does Zack Snyder hate Superman?

Look: the hilarity of this when Cuck Kent has been a go-to Snyder cult insult towards ‘inferior’ takes on Superman for years cannot be understated, yet at the same time I can almost wrap my brain around where Snyder’s coming from with that as the end for his take on the character. He talked in that Variety piece on how his interest in Superman is informed by having adopted children himself, and Deborah Snyder is the stepmother to his kids by previous relationships, so I can see where he’d be coming from, and I can even imagine how he’d see this as ‘rhyming’ in the sense of “the series begins with Kal-El being adopted by Earth, it ends with him adopting a child of Earth!” In the same way as MARTHA, I can envision how he would put these pieces together in his head thematically without registering or caring what the end result would actually look like. In this case, Superman raising the kid of the man who beat the shit out of him who Batman had with Clark’s wife, who earlier told Bruce she was staying with Clark because he ‘needed her’, suggesting if inadvertently that this really honest to god was a “she’s only staying with Superman out of pity, she really loved Batman more” thing.

But Clark is nothing in this. He’s sad and existential because of coming back from the dead I guess, then he’s corrupted, then time’s undone and he woo-rah rallies the collective armies of the world (interesting angle for the ‘anti-military/anti-establishment’ Superman he’s talked up as) as his big heroic moment in the finale, and then he stops being sad because he’s adopting a kid. So his big much-ballyhooed, extremely necessary five-movie character arc towards truly becoming Superman was:

Sad weird kid -> sad weird kid learns he’s an alien, is still weird and sad, maybe he shouldn’t save people because things could go really wrong? -> his dad is so convinced it could go wrong he lets himself die -> ????? -> Clark is saving people anyway -> learns his origin, gets an inspiring speech about being a bridge between worlds and a costume -> becomes superman (not Superman, that’s later) to save the world, albeit a very property-damagey version, rejects his heritage he just learned about and space dad’s bridge idea -> folks hate him being superman and that sucks though at least he’s got a girlfriend now -> things go so wrong he considers not being superman but his ghost dad reminds him shit always goes wrong so he should be good anyway, which sorta feels like it contradicts his previous advice -> immediate renewed goodness is out the window as he’s blackmailed into having to try and kill a dude but the dude happens to coincidentally have some things in common so they don’t kill each other after all -> big monster now but superman keeps supermaning at it because he loves his girlfriend and he dies -> he’s brought back, wears black which apparently means now he likes Krypton again? -> he has work friends now but he’s still sad because he was dead -> evil now! -> wait nevermind time travel -> rallies the troops -> his wife’s having a kid so he’s not sad anymore -> Superman! Who gives way to more Batman.

Do I think Zack Snyder is lying when he says he likes Superman? No. I think he sincerely finds much of the basic conceits and imagery engaging. But I don’t think he meaningfully gives shit about Clark as a character, just a vessel for Big Iconic Beats he wants to hit. Whereas while for instance he’s critical of Batman as an idea (at least up to a point), he’s much more passionately, directly enamored with him as a presence and personality. So while Superman may be the character whose ostensible myth cycle or arc or however it’s spun might be propelling a lot of events here, it’s a distant appreciation - of course the other guy takes over and subsumes him into his own narrative. Of course Batman is the savior, the past and the future (though if he’s supposed to be Batman’s kid raised by Superman there’s no excuse for him not to be Nightwing), the tragic martyr to our potential. Admittedly the implication here is also that Batman can apparently only REALLY with his whole heart be willing to sacrifice his life to save an innocent, for that matter apparently his great love, once said innocent is a receptacle for his Bat-brood, but he and Clark are both already irredeemable pieces of shit by the end of BvS so it’s not like this even registers by comparison.

Anonymous said: That “plan” Snyder had was utter dogshit. Picture proof that DC & WB hate Superman. Also I love how you’re like Jor-El: Every single idealistic take you had about Snyder, his fandom, and BvS was wrong. Snyder’s an edgy hack, his fanbase just wants to jerk off to their edgy self-insert Batgod as he screams FUCK while mowing people down with machine guns, and the idea that BvS said Superman was better than Bats was completely wrong. You know what comes next SuperMann: Either you die or I do.

In the final analysis, beyond that mother of god is there sure no conceivable excuse for the treatment of Lois in this? The temptation is to join that anon and say as I originally tweeted that these were “built entirely to disabuse every single redemptive reading of the previous work and any notion of these movies as nuanced, artistic, self-reflective, or meaningful”.

...

...yeah, okay, that’s mostly right. Zack Snyder’s vision really was the vision of an edgelord idiot with bad ideas who was never going to build up to anything that would reframe it all as a sensible whole. He’s a sincere edgelord genuinely trying really hard with his bad ideas who put some of them together quite cleverly! But they’re fucking bad and the endgame was never anything more than ramping up into smashing the action figures together as big as he could, the political overtones and moral sketchiness of BvS while trying to say something in that movie reverberated through the grand scheme of his pentalogy in no way beyond giving his boys a big sad pit to rise out of so when they kicked ass later it’d rule harder, and all the gods among men questions and horror and trappings were only that: trappings. Apparently he’s really pleasant and well-meaning in person, but at his core his art as embodied in a couple weeks in his 4-hour R-rated Justice League movie meant to be seen in black-and-white all comes down to that time he yelled at someone on Twitter that he couldn’t appreciate Snyder’s work because it’s for grown-ups. He made half-clever, occasionally exciting shit cape movies for a bunch of corny pseudo-intellectual douchebags, folks latching onto and justifying blockbusters that at least acknowledge how horrifying the world is right now even if the superheroes are basically useless in the face of it if not outright part of the problem until a convenient alien invasion shows up to justify them, and a handful of non-asshole smart people who vibe with it but...well. ‘Suckered’ is a harsh word, and definitely doesn’t apply to all of them re: what they’ve gotten out of it up to this point and would (somehow) get out of this. But it doesn’t apply to none of them, either.

#Justice League #Zack Snyder #Superman #Batman #DCEU #Opinion

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aspoonofsugar · 3 years

Text

RWBY Chain Of Faves

Who are your top 10 favorite RWBY characters and why?

Hello anon!

Thank you very much for this ask! I love talking about faves!

1) The murder kids aka Emerald and Mercury

I have talked about them here and here and I’ve shared some minor thoughts here and here.

I think their story has yet to enter its climax, so the metas on them are not as finalized as those on other characters. Still, the set-up is all there and I love it. As I say in the metas linked, they are a unit (body and soul, weapon and semblance). They are also two of the characters who mostly explore the cycle of abuse (together with Cinder, who is both victim and perpetrator).

I like how they are given the chance to screw up very very badly (and are given consequences for their actions), but are also always framed as two kids who try to be toughter than they are.

What is more, I love their relationship and their dynamic with Cinder. I think both bonds are very complex and are shown rather than told. This is why Emerald and Mercury’s body language is very effective imo. Their closeness is mostly conveyed through them glancing at each other or how they move around each other. This makes sense because they are in a place where they can’t speak freely.

In particular, I like that their relationship is deep, but not idealized. They care about each other, but are too scared to save each other. This is why Emerald needs the help of an adult (Hazel) to leave her abusive environment. This is also why she is recovering in a healthier environment that also lets her understand the consequences of her actions better. At the same time, Mercury who is instead stuck with another abusive mentor can’t currently escape.

When it comes to each one of them individually...

Emerald’s design and semblance are among my personal favourites. Her semblance especially is at the very top of my list. It has so much potential thematically and flexibility in terms of use (invisibility, transformation, specific illusions fitting a character’s flaw). I hope they use it more and in diverse ways in the future to show Emerald’s growth. For example, how cool would it be if she used it to help another character overcome a panic attack? Or if she helped Ruby enter the mental state to use her eyes with it?

I also really like she has a specific fighting style that fits her thief motif and is very different from others. It is less scenographic, but very pragmatic and I love it.

I also liked the focus she received this season and I think it needs to be finalized. I am curious on how it will happen.

Mercury’s background is the one which breaks my heart the most. The little we know is horrible :( I also think it is a story that heavily relies on symbolism to convey the idea of abuse...

Marcus took Mercury’s legs, so he can’t psychologically escape the cycle of abuse... Marcus told Mercury he needs no crutches and Mercury is refusing to aknowledge his hurt and to heal... Marcus’s violence messed up Mercury so much he is not sure what he wants and his semblance is missing to underline it.

I wonder if we will discover more about his background or if what we have so far is all. I can see it go both ways to be honest. Also, Tyrian’s interactions with Mercury are interesting and meaningful, but also terrifying. I both want more and I am scared of having more :’’)

I am also looking forward to see how his allusion will be used. As for now, he has the potential to have at least three different motifs going on. The one of Mercury the God, the one of Mercury the metal and the one of Mercury the planet. Curious to see what is done with them!

Finally, I’m the One is one of my favourite songs because it is full of foreshadowing and perfectly conveys what their characters are about. I would love to properly analyze it one day, even if I have used it in multiple metas already :), so I am not sure I have new things to say.

The same can be said about their fight against Coco and Yatsuhashi and their fight with Cinder against Amber. In a sense, those two fights are complementary, since the first one foreshadows their major assets that are properly shown and charged symbolically in the second.

In short, their fight with Coco and Yatsuhashi is how they want to appear:

I'm the one that your mama said 'Don't mess with them or you'll end up dead That type they don't follow any rules'

Their fight against Amber is who they are deep down:

I'm the one That was born in a nightmare a murderer's son

I'm the one Who rose out of filth and was loved by no-one

3) Penny

She is the protagonist of the Atlas Volumes and has my favourite arc so far.

Her arc is contradictive, sad and powerful. In a sense, her whole character is written to hurt :’’’) She is given a happy and enthusiastic personality to hide how tragic her story is.

Penny is an example of how to write a specific kind of tragedy, where the main conflict does not lie in the character’s flaw, but in the environment she is in. Penny wants to be a “real” girl, but others won’t let her. This conflict escalates until she tragically manages to affirm her personhood in death.

At the same time, she is given self-issues that can be seen as a flaw and tie to her environment. She is self-sacrificial and struggles to see herself as a true person. Still, this flaw does not really drive her plotline (others’ control of her does) and, as @hamliet has stated, it does not eat everything around Penny.

So, she dies tragically because she never gets the chance, not even to overcome these self-issues, but to properly face them. At the same time, her death is powerful and cathartic because she negates others’ control and manipulation. She negates the mechanisms that had her develop self-issues to begin with.

Is it a happy outcome? Not at all. It is sad and contradictive. It is gray, but this is precisely why it is powerful. It manages to convey and explore complex and contradictive ideas. It does not offer an answer, but only bittersweet questions.

I also really like how Penny’s allusion is used in the story. It is played straight in terms of plot since Penny becomes human as the story goes on. However, it is problematized in terms of themes. It conveys that humanity is about making choices and experiencing both happiness and pain. Finally, Penny’s final scene is an inversion of the original novel.

Penny is not the Blue Fairy’s creation, but the Blue Fairy’s creator:

She goes from Creation (passive, a child) to Creator (active, an adult).

Incidentally, Penny too has one of my favourite songs. Friend is beautiful and it perfectly describes her arc. It conveys how much she loves humanity despite how complex and painful it is. The music starting slow and melancholic to gain more power as it goes on describes Penny’s life beautifully. It is a story that ends too soon (the music interrupts at its most vibrant), but it is still a melody full of love for life:

An answered prayer A chance to Share the world To be a girl Who fin'lly felt alive

4) Cinder

Cinder is probably the most complex and best written character so far.

She manages to make me feel for her and to make me incredibly angry with her at the same time :’’’)

I have written several metas on her, so you can read my thoughts on her background, the focus she received this volume, how I think her arc will end and some minor symbolism.

Cinder is built on an equilibrium between victim and perpetrator. She is both and the narrative strikes perfectly with its framing of her. It is both sympathetic and strict and most of all tragic because no matter if Cinder wins or loses... she keeps spiralling either way and she can’t understand she is fighting a worthless fight.

She is also full of interesting motifs and symbolism. One I would like to explore more in the future (and for it to be explored more by the story itself) is her fall motif.

She chooses the surname “Fall” herself when it is decided her first target is the Fall Maiden. This makes for a nice juxtaposition between her and Winter.

Cinder is born with nothing. Her own name refers a substance almost completely burnt, something with almost no color. It is a very humble name, so she chooses a surname which is important. It is a surname that hints to her role as a vessel of the Maidens.

She is not chosen to be a Maiden... she is not supposed to be one. However, she decides she is going to take the power even if it is not hers. She is taking destiny in her own hands.

Winter is born with apparently everything. However, this is also why everything gets decided for her. She is given the name Winter before she was born. Similarly, Ironwood chooses her as the Maiden even before she discovers about them.

Cinder sees Winter as having everything Cinder deserves. However, she misses how Winter is facing very similar struggles. She might be given what Cinder is negated, but she too has to make that destiny hers. She has to take her story in her own hands, just like Cinder.

At the same time, Cinder’s fall motif is linked also to the idea of falling. She falls and makes others fall. Exactly like she burns and is burnt. The orange of her flames aesthetically calls back to the orange of the falling leaves.

This idea is also conveyed through Cinder constantly mistreating and even killing characters representative of sides of herself.

She abuses Emerald and Mercury aka her child selves.

She kills Watts aka her negative foil.

She kills Pyrrha and Penny aka her Maidens’ foils.

It is clear that all this hurting and killing parts of herself won’t end well for her. I mean, she, not Salem, is the one responsible of the two major deaths in the series (Penny and Pyrrha), so she is bound to receive consequences.

Another thing I love about her is how her intelligence is people focused. She is very good at reading and manipulating others and this is how she wins her major fights. This is both her flaw and her major asset. I like it because I think RWBY is good in showing different kinds of intelligence and Cinder’s one is very coherent with her personality.

Finally, I love how her Cinderella allusion is used. It is a deconstruction of the original fairy tale that is born from a question: “What if Cinderella were not the kind victim of the story, but a bad victim?”. It is also interesting how the key character in Cinder’s allusion is not the Prince or the Stepmother, but the Fairty Godmother who fails her twice (Rhodes and now Salem).

As a side note, I can’t wait for The Truth to be out in its complete version.

5) Oscar

Aka the one who deserves nothing of what he gets :’’’)

I love him because he is an example of how to write a character who is a cinnamon roll, but that also is not boring and has complexity.

His struggle is about his sense of self. He starts the story by wishing to become more than what he is, but he does not like that this “more” turns out to be about fusing with another person. He wants to grow not to lose himself to another entity.

This is his major fear:

Who will you see? There in the darkness When no one is watching Who will you be? When you're afraid And everything changes Will you see a stranger? Feel proud or betrayed?

This is well conveyed also by his relationship with the rest of the group. He starts as the odd man out and others mostly rely on Ozpin rather than him. He sometimes even seems to disappear behind Ozpin. However, as time goes on, he forges genuine bonds and he becomes dependable on his own. He becomes even more so than Ozpin because he has something Oz lost out of cynism. The ability to trust.

In the Atlas volume he is the character that embodies the thematic statement about trust:

Oscar: You want him to trust us? Then trust me.

The point is that to be trusted you should trust first, even if there is no guarantee it will work.

It is interesting because the theme of trust is explored starting with Ozpin, Oscar’s foil, who does not trust others, so our protagonists feel betrayed. However, in Atlas they find themselves in Ozpin’s shoes and must choose if to trust Ironwood or not.

Here, we explore a form of conditional trust. This idea is presented by Ruby, who wants to be sure it is safe to trust Ironwood. So she keeps secrets and studies him until she decides she can trust him... only to discover that was not the case immediately after. This happens because trust can never be completely safe. Actually, in its most negative declination, this kind of trust becomes the control symbolized by Ironwood.

No matter what, trust is always a leap of faith. This is why trust is a risk. Oscar shows this concept well. He decides to still trust Ironwood at the end of volume 7, but it does not work. Still, he does not stop and decides to trust Emerald and Hazel. This time his trust and faith are repaid. He is fred and gains a new ally:

I love Emerald and Oscar’s interactions btw :’’’) It is good that Oscar is the one who is growing closer to her. They escape Salem together and Oscar has not been hurt by Emerald the same way the others are.

Anyway, even if trust is worth it, the exploration of this theme in Atlas actually ends on a negative note. It ends with Cinder who is an enemy of trust because she uses others’ trust and feelings against them.

Anyway, Oscar is a key character and I can’t wait for his story to develop more!

6) Ironwood

He breaks my heart.

He is a an excellent tragic Hero.

He thinks he is the Great Good, but this is precisely why he spirals out of control and falls with his own Kingdom, hated by his allies and forgotten by his enemies.

His downfall stems from his inability to trust, his refusal of emotions, his single-mindness and mostly his convinction he is better than others. This idea is structural of Atlas society and is seen in many of his inhabitants. No matter the social class, we see multiple people thinking they deserve better and that they are above others. This is why Atlas falls and his people becomes refugees in the poorest Kingdom of Remnant.

Anyway, Ironwood thinks he is better than others, so he should be the one deciding for others as well. This idea is flawed and perfectly conveyed through his ideology of sacrificing everything. He feels he has everything, so he can sacrifice what he wants. Still, this is not the case. Others’ lives and feelings are not his. He doesn’t own them.

7) Weiss

I love Weiss. She has one of my favourite designs and one of my favourite semblances and fighting styles.

Her snowhite allusion being played to explore the idea of a dysfunctional family is very good.

In general, I love how much she has grown slowly, but steadily and how she has progressively become warmer. I enjoyed her interactions with her siblings this season. She also gets many moments where she shines for her humanity and intelligence.

She is both Snowhite and the Prince, but also the Huntress that changes and makes others change. She becomes an inspiration for her whole family and since the Schnees are all in Vacuo and she will eventually join them, I am curious if there is going to be more about their family dynamic.

Other than this, I am excited about her Nevermore summon, what is means symbolically and when she will use it.

8) Ruby

I think Ruby’s arc must still enter its climax and that she will shine towards the end of the series.

That said, I love her as a protagonist. She has an interesting set of skills that makes her competent, but not invincible. Moreover, I like how she is important and a participant of the plot, but also does not single-handedly solves everything by herself. She has to learn just like the others. For example, this volume she learns that trust is a risk and the importance of taking risks.

Moreover, she is actually very rarely the protagonist of a volume climax. Speaking of the most climatic volumes, Pyrrha is the protagonist of the climax in volume 3, Yang and Raven are in volume 5, Penny in volume 8.

The climax where she is the most in focus as a character is volume 6 and that is the volume where her eyes are explored and her personal arc is set up. That said, she still manages to be important and to contribute to the action in many ways.

I think her role is to inspire others and I guess that by making that speech this volume she is gonna grow into a symbol even more. If that happens it will be interesting to see what this means for her.

Apart from this, I am curious about her subplot with her mother and if it will tie to her choice to save Cinder with her eyes (since I think this is where we are going). She is going to be both Hood and the Huntsman who kills the Wolf and saves the Victim.

9) Nora and Ren

They are my favourite canon romance.

Their story starts with Ren getting focus (with Nora as a support) and is slowly shifting to Nora developing as her own person (with Ren as a support).

It fits for them to be one of the series main romances because as characters they both explore the concept of emotions and emotional intelligence.

I would say Nora is one of the most emotional intelligent characters in the cast. She is aware of her own feelings for Ren and tries to push their story forwars. She quickly picks up on Pyrrha’s crush and encourages her to make a move. Honestly, she sees herself as a dumb jock, but she is far from it. She is one of the wisest and most sensitive characters:

Nora: You shove people out so you don’t have to feel things that are hard!

Ren is ironically the one struggling with feelings, even if his semblance is all about emotions. In a sense, it is as if he develops it precisely because he struggles with this part of himself.

As a child he is easily overwhelmed by emotions like fear, which goes in the way of his actions. So, when he is under stress he deveops a magical power that lets him control this part of himself. However, as time goes on, it becomes more and more obvious that he should face his own feelings. And once he faces them:

Ren: No! No one is replaceable.

Then he becomes able to see both himself and others more clearly.

In general, both Ren and Nora must overcome their issues if they want to end up together.

Ren’s issue was his fear of being completely vulnerable and to open up with another person. Nora’s is her complete dependance on Ren and how she sees herself as only a part of him, while she is much more.

As a side note, Ren finally confessing his feelings for Nora only to be (temporally) rejected is a great note for his character arc. He was repressing his feelings out of fear, but now he has grown enough to take a risk (opening up, showing vulnerability). Well, this risk does not pay off immediatley. Nora asks him for some time and this is surely not how Ren would have hoped things to go. Still, he understands and supports her. He takes an emotional risk that does not pay off immediately, but he is able to live with it.

In terms of writing, I also think Raven is top notch. Moreover, Winter is a lowkey favourite as well.

I also like some minor characters like Ilia, whose background is built on a very interesting premise that fits her chameleon motif, and Whitley who manages to be helpful even if he is not a fighter. Velvet also has a cool weapon and semblance that tie with her photography motif.

I also love Yang, Blake and Jaune aka the other members of the main cast.

In terms of design, many of my favourites have also my favourite designs (Emerald, Weiss, Mercury, Cinder, Penny, Winter, Ruby, Ren and Ilia).

Other than them, I love Neo’s design, characterization and fighting style:

Finally, I also like Tock’s design and concept, even if she only appears once.

Thank you for this ask! I had fun with it!

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