#as in. the concept of throwing different versions of the same character together is generally called [character]verse

[beardedhandstoadshark]

Are Linked Universe fans aware the word they’re searching for is probably Linkverse (or Link's Meet AU)

(genuine question)

[thegeminisage]

THE LEGEND OF ZELDA ECHOES OF WISDOM FINAL VERDICT

SHORT VERSION: minor nitpicks but rad as hell

LONG VERSION:

what i loved about eow:

zelda getting her own adventure, FINALLY. it matters so much to me <3

the thinking aspect of it. i'm used to trying a puzzle a few times and then looking it up if i can't get it, but eow made me WANT to throw myself at the wall until something clicked. it made solving puzzles even more satisfying than in link games, somehow. though i had my initial concerns over not getting a "real" sword, i didn't really miss it until the final fight, and most of the time, i went out of my way to avoid using it if possible, because i wanted to be creative. in fact, even while playing, i looked forward to being able to watch other peoples playthroughs to see how they tackled certain puzzles differently from me. it's so fitting to who zelda is in the lore that it's crazy to me she wasn't een in the original concept - she just fits so PERFECTLY here, as if they'd designed it for her from the ground up.

the way link mattered in the story without stealing the stage (everywhere except the final boss, which i have mixed feelings on). i know that link's function is to act as a stand-in for us, but in this project especially, it's nice to see him get some personality - i think he's earned it!

i ALSO really loved, of course, the final dungeon and working together with link to solve puzzles. the last zelda co-op game we had was four swords where everybody had the same abilities bc they were all link, but what if we had one with link and zelda where they had different abilities? it was so exciting and rewarding to finally get to work with link after all the mystery surrounding him and the fights with his evil duplicate.

the stilled realm stuff was incredible. i had so much fun in the rifts i wish there had been more of them. picking your way around that fucked up landscape is great

being able to cheat your way around any landscape is great also. like i can get to hebra from the ground with enough platbooms, i can jump over tree barriers, etc. it made me feel like a master of the world.

i liked tri! not the most standout companion, but they were just confused enough about basic emotion and nonplussed about things in general to be funny and make me fond

in fact, most of the secondary characters were a lot of fun. i was pretty neutral on wright and lefte and the gerudo ladies, but the zora leaders, impa and lueberry, and of course, conde - they were all fantastic. zelda's dad not being shitty for once was a really nice touch, too.

loved all the callbacks to other games - the deku scrubs, the river vs sea zoras, volvagia, big blue pig ganon even though he sin't my fav

speaking of, i'm not mad about the lore either. it fits with what we know so far and it was GREAT to hear from the three goddesses again when it's been like 20-something years. i was kinda mad when they got shunted aside for hylia and i'm glad nintendo is bringing them into co-existence again

most of the time the music was just okay but when it was good it was REALLY fucking good.

overall, the story was absolutely charming, filled with mostly fun characters and environments and a creative mechanic and a world i cared about saving. none of that feeling i got from totk sometimes where i went "wait, what?" or "this is bullshit!" except maybe when the goron had to break the picture of his dead dad lol.

what i did not love about eow:

my absolute #1 main complaint is the quality of life bs. i should NOT have to go through so many dialogue boxes for a task that is repetitive. minigames that have a 20-second time limit where i spend almost as much time skipping thru the dialogue to try again? come on. smoothies? the dojo? these are things we do dozens, perhaps hundreds of times per playthrough. there is NO NEED to make it that tedious. i would have had a LOT of fun experimenting with smoothies if it hadn't been so tedious, but instead i went out of my way to avoid using them because i was dreading having to sit through the animations and dialogue boxes for more. and there's no quick retry for minigames, either. for the dojo where one misstep means you'll have to start over, all you can do is quit early and then go through the dialogue ALL. OVER. AGAIN. it is 2024!!! surely when they played the game they got annoyed by this too! what are we doing!

similarly, while i didn't hate the slidey menu as much as everyone else cuz i got pretty good at skimming it, it's still nuts to me that they couldn't come up with anything better, perhaps involving some sort of category. sometimes i want platforming echoes and sometimes i want combat ones. separate them!!

while the final boss was FANTASTIC in mood and presentation, my echoes and automatons being kind of useless + me being denied a sword made me feel like i had nothing to do but run around and dodge and watch link and my lynel fight the boss. this is a tricky one because i'm not sure what could possibly be changed to make me a more active participant and still leave link his sword (his presence elevated it so much - much like zelda's does in final fights against ganon), but it felt just an inch to the left from perfect for me

automatons in general - i was really hype for them, but most of them don't even move around on their own, and they're so slow a fast-paced combat sitch will obliterate them instantly. which would have been PERFECT for the final boss where i wanted a more direct means of attack, but they'd get toasted before i had a chance to wind them up. JUST removing the winding element would have improved these greatly without any other change at all, but it's another quality of life thing

the horse was also useless, but the horses have been useless in every game since majora's mask, and even in majora's mask it's iffy.

the world DID feel a little small sometimes, but i think that's the natural result of being able to cheat your way around it - and i wouldn't change that.

finally, the music - most of the music for the overworld sections was boring, where the dungeon music occasionally had more character. i was a little disappointed there wasn't more of the old melodies aside from little snatches of them here and there. i definitely understand composers wanting to do something new, but if their new something is this atmospheric, unhummable stuff...that just doesn't feel like a zelda score, you know? that said, again: when it was good, it was GREAT. that final boss fucking rocked.

overall this made me SOOOO ready for an oracle or minish cap remake from grezzo and absolutely RABID for zelda to have her own 3D adventure someday. they thought it wasn't possible but it ABSOLUTELY is, and the co-op sections near the end were especially wonderful and something i'd love to see in a mainline title someday. yes, this game was flawed, but it wasn't flawed the way totk was, it was overall a great joy to play and well worth both my time and money. there's very little i would change.

and, on a mushy real life note, echoes of wisdom did also help me get through the 15-day power outage after hurricane helene...i started the game just before the hurricane hit and finished it just after i got my power back, so helene kind of defined the experience of playing it for me. i'll never forget sitting in my dark bedroom with all the windows open and the generators going outside and my switch just propped up on my monitor stand, surrounded by battery packs, my only light from flashlights or candles, trying to help the time pass and enjoy the game while keeping a clooose eye on my battery life. it was one of the very, very few things i could look forward to in an uncomplicated way every day, and having something to keep me going was vital to my not just going nuts. zelda games usually seem to come out when i need them most! and i'm grateful to her too <3

[practically-an-x-man]

✖️ for perhaps each of your OCs?

Oooh, this will be a big one! Thanks!!

Send me an X and I'll come up with a crossover I haven't talked about before

Rae: Hm... I write her in the timeline of the McAvoy X-Men movies, so I think it would be interesting to explore some different rendition of them with her - something from the comicverse, or the original movies, where I could look at the little differences in the characters from the way I've been portraying them

Robin: Some kind of musical crossover! I guess that makes it more of an AU than a crossover... but it would be neat to see Robin take the role of some well-known character from a musical or opera (not just playing the role as an actor, but living that story without any knowledge of what the outcome is). Not sure which musical I'd pick, but that's the idea.

Madison: I'd do a crossover with Vivienne! They're both aquatic, kind of fish-based characters, but there's enough differences between them that I think it would be interesting to see them interact together in something!

Ophelia: Hm... honestly, I think it would be neat to see her interact with Jimmy and the Paranormal Research Center! He'd be a curious case for her, ghosts as a whole would intrigue her, and the Ghostbusters universe already features enough sci-fi tech that I think it would be fun to put a little Ophelia spin on it!

Gia: Let's see... you've mentioned how Terra and Gia are similar characters, and that's true - this would be a good excuse to place them together and really observe the similarities and differences between them! Bonus points for bringing in Kate and Vi and just making way too many Hailee Steinfeld jokes about it XD

Jasper: What comes to mind first might be cheating a little, because AHS already does "crossovers" between its various seasons, but I think I'd play more with that idea! It would be neat to do some kind of discovery piece about Jasper finding they had a relative in the Jupiter Freak Show (from season 4), or having Kyle and Jasper take a trip and visit the hotel from season 5, or just finding some other way to fit things back into the wider AHS universe.

Kestrel:

Katherine: Oooh, got some options for this one! My brain goes almost immediately to Indiana Jones - not sure this is one I'd ever actually write out, but it would be easy to work in with the shared concepts of museums, archaeology, and elements of magic.

Quinn: I generally avoid placing Quinn in situations that involve magic, deep sci-fi, or things of that nature, since her story is honestly the only one I have that doesn't involve anything of that sort. But that being said... I'd be interested to see how Quinn would react to adopting some sort of powers or sci-fi tech, so I could throw her in with pretty much any of my OCs and come up with something interesting.

Eris: Hell, just a crossover with Eris and Nikoletta would be neat! I haven't actually crossed their worlds before - they exist in separate versions of The Suicide Squad, since their stories conflict with each other (they're not both on the Corto Maltese mission, and they both are involved enough in the Starro fight sequence that there's no way I could ret-con them even if I wanted to), but it would be neat to see them interact face-to-face in some way!

Nikoletta: Answered above!

Jimmy: Answered above!

Vivienne: Answered above!

Spider: Maybe this is just because I'm watching the Men in Black movies right now, but I'd go with that! Spider's fics already deal with aliens, and he's already in New York, so I could absolutely finesse some sort of fic that involves him, the Death Angels, and the Men In Black interacting in some way or another.

Terra: Answered above!

Pluto: I'd probably stick him in on that same Terra/Gia crossover, since he's kind of a package set with Terra anyway. But if I'm going with that, I'd probably find some way to finesse Matt Murdock into the fic as well (since I've already referenced him in Gia's fics, with it being Hell's Kitchen), and have him give Pluto some tips on how to build back that independence after losing his sight.

[dailyadventureprompts]

Monsters Reimagined: Thri-Kreen

D&D lore has never been kind to human/animal hybrid characters, especially to those who resemble animals stereotyped as being “evil”, such as gnolls or lizardfolk. This goes double for Thri-kreen the game’s default bugpeople, who etither get no lore at all, or get a few paragraphs describing how they don’t have emotions or personalities and see most other humanoids merely as food.

That’s the personality of a monster species, not a player option, and that general flatness of concept is expressed by almost every piece of thri-kreen art: depicting them mostly naked in a barren landscape brandishing a weapon at something.

While there’s a few seeds of interesting worldbuilding in the different versions of the Thri-Kreen , I’ve found the best way to make them conceptually rich is to continue my trend of combining two lackluster bits of canon into something distinctive, in this case, the mostly forgotten race of creatures known as dromites, who share the Thri-Kreen’s traits of being insectoid and psionic, but have a lot more interesting notes about their culture, Here’s What I’ve come up with:

The “Kreen” evolved on a distant world as a singular psionic hivemind, functioning much in the way you’d expect any colony of insects might save their ability to learn and retain information was far greater than that of any simple arthropod. Developing knowledge of engineering and magic that let them spread across the planes, they eventually suffered some kind of disaster that caused their hivemind to dissolve, leaving the “Thri-Kreen” as free willed individuals for the first time, where as before they were merely fragments of a consciousness that spanned planets.  The chaos was immediate, as if each organ and cell of a single body suddenly gained awareness, forcing the fragments of what was arguably a single world spanning organism to begin constructing cultures and civilizations from scratch.

While in the many millennia since the end of their hivemind have seen the Mantises take numerous different paths, the concept of “wholeness” is a reoccurring theme. The name “Thri-Kreen” literally means “un-whole”, referencing their psionic bond with one another, and hearkening back to their undiminished “Kreen” or “whole” state of the distant past. This search for wholeness leads the Thri-Kreen to live in small, closely bonded groups where each individual may be in contact with every other individual, much in the same way that creatures in cold climates will stick together to share bodyheat. While it’s not unsusual for smaller groups to break off from a larger one, absolute isolation is considered to be a terrible state for a Thri-Kreen.

Outsiders who come into contract with the Mantisfolk would describe them as a strange mix of dependant and standoffish: offering help without ever being asked but challenging every opinion ever voiced. This is because unlike most mortals, who tend to become resistant when their opinions are challenged, Thri-Kreen seek group consensus above all and when faced with a crisis will begin checking their ideas against others to throw their weight behind the best option possible. This leads to Thri-Kreen settlements being largely non-hierarchical, through prone to sudden political swings.

Thri-Kreen are mostly genderless, through groups looking to expand ( or larger enclaves looking to maintain their population) will yearly elect “queens” and “consorts” for the reponsibility of producing young.  Most other species mistake these individuals as leaders of the Thri-Kreen, when really their job is to fuck for days to months at a time.   Smaller, nomadic groups of Mantisfolk gather together to have these sorts of elections, and the young are divided equally to be raised by the different packmembers as they enter their pupation stage.

 The umberhulks that populate the underdark and slave pens of the cruel neogi bear an uncomfortable resemblance to present day Thri-Kreen, hearkening to the fact that while many of their kind found new beginnings across the astral sea after the dissolution of their singularity, many others found terrible ends. Likewise, the clockwork horrors that swarm across spelljammer ships and junkworlds communicate in a codified form of the Thri-Keen language, hinting at the existence of what might be an extinct conclave of mantisfolk engineers, or a hidden coterie of insectoid artificers intent on recreating their kind’s previous numbers in metal.

[kingsmanne]

To preface this — this is far from complete, and I’m always more than happy to delve deeper and throw around ideas. Also, this is going from my default version of Anne as Kingsman agent. Depending on the verse, dynamics change and are also very different. In short, if you’re interested, you’re more than welcome to hop into IMs / Discord, or if you’re shy ( don’t be! ), just like this post and I’ll come to you.

FRIENDSHIP & PLATONIC RELATIONSHIPS

Aside from the usual “they’re friends because they’re in the same job”, I’m really into some “real” friendships that go beyond. Hanging out together because they like each other, not because they have to. 

Also. Maybe for Kingsman agents ( or verses ), someone who knew her before her fatal mission. A friend from before. Someone she could relate to.

Considering Anne is an international super spy, maybe there were not only moments where she and your muse worked together, but also, and especially for civilian muses, saved their life? 

Mentor/Mentee. Let Anne recruit you.

In general, I’m a huge sucker for the “met at different stages in life” type of relationship, no matter how far it’s back. Maybe they knew each other as kids or teens? 

ROMANTIC 

Anne is a difficult character to ship with; but I’m still into shipping, so here are a few potential dynamics I can imagine for her. 

She’s loyal to Kingsman. She’d do anything for them. But what if her and your muse have something going, and she’d have to question her loyalties?

Mutual pining / star crossed lovers / forbidden lovers. I’ll be honest, it’s my bread and butter. It’s a bit similar to the first idea, but with the concept of them knowing what and who the other person is, and how it’s impossible for them to be together. It’s the angst.

Enemies to lovers. Enemies and lovers. Goes so well with an antagonistic relationship, but boy do I love it. Can’t with each other, can’t without each other.

Something re: different stages in life, just as for friendships: past lovers, maybe exes, now meeting again. There may be some feelings left. Maybe unresolved. Anne tends to just... flee. 

Cliché, but regular hook-ups and one or both catches feelings when it was strictly physical.

Maybe something more wacky: accidental marriage in Vegas, accidental pregnancy, and they’re bound together, trying to make it work somehow. Potential for angst and crack tbh.

ANTAGONISTIC

I don’t think there’s much to be told, but I’d love to develop more antagonistic relationships. Friendly rivalry? Or meeting with genuine vitriol? It would be interesting to explore, especially if they can’t kill each other on sight. 

[sanstropfremir]

Thank you so much for your blog - you manage to explain to me a lot of the feelings I have bubbling up these days when I watch kpop so I can finally understand why I do/don’t like something. It’s really nice to have some deeper perspective!

Since you’ve given a lot of your kpop pros and cons, a scenario: someone tomorrow magically puts you in charge of making a new kpop group. What type of people do you look for for the group? What sort of music/dance would you pick? Obviously also what type of fashion would go with it? I’m curious what your theoretical ideal is!

here anon take my whole heart i'm <333333333 sincerely i'm glad that i'm helping people to better articulate and understand how they engage with art!

ok first thing's first, my actual ideal job would be creative director for two midsize sibling groups to do a paired concept. like shinee's view and f(x)'s 4 walls. basically i would like to be min heejin. doesn't have to be two opposite gender groups, it can be two of the same; oneus and onewe could be doing some REAL dope shit, especially because they have actual twins hello rbw do something with them and/or hire me please!! second ideal actual job is to creative direct for a male soloist, someone like taemin, key, or woodz; someone who has good creative instincts and understanding of character and confident sense of self.

ok so ideally, in this fake scenario, i don't think i'd want to design a debut. i'd instead go for a boy group with minimum five-six years of experience and average age of the group is 24-25+. not because young kids aren't springy and spritely, but because they've all settled into their bodies and also have settled into their confidence. i also just don't have the feel for 'youthful' type content, i didn't ever feel young even when i was young so it's always been out of my wheelhouse. gimme a bunch of adults please and thanks.

- as far as makeup of the group: five members, generally all with good dance skills but it's not a must, at least three vocals and one of them HAS to be a baritone. actually, since this is my ideal group you know what? fuck it; three tenors (countertenor optional), baritone, bass. music? either classic rock/opera inspired (something like bad love, maniac, fever, valkyrie (rock version) OR go real crunchy and horrible and americana with it. i'm talking iron smashed together with l'enfer with devil with the beast with idea with jungle with eat raw meat = blood drool with impressionable. we're gonna get real dirty with it. the bside they also promote is gonna be a combo of hypnotized/love on the floor/sugar. there's also solo bsides for each of the members and the main dancer does a blend contemp/urban choreo routine to so handsome hello.

ok styling. this one could go a lot of different ways depending on song and lyrics and theme and truly i don't think there's actually a specific type of styling that i need to see, because my personal methodology is always to come up with something that fits those themes, not necessarily all the things i want to see ever in a styling. but let's do some brainstorming:

- IF classic rock route: since i'm imagining the theme of this as a very aggressive critique of celebrity + fan culture, we're talking a second crack at the fake reality concept and we are doing it RIGHT this time. think that combined with the maniac set design combined with papaoutai combined with this 2019 paper magazine shoot:

yes including the doll makeup. thom browne suiting x the new 2022 moschino:

big boots and square toed shoes, transformative references/silhouettes/shapes/colours from the late 50s/60s thru to the early 70s, plus throwing in some references to to surrealist photography + filmmakers like dora maar and maya deren. honestly maniac got really close to what i was thinking but personally i wouldn't have taken it in the pop culture/horror film direction because that isn't where my brain goes first.

- IF crunchy americana route: this one is a little harder to illustrate because the type of clothing i'm thinking about would be custom handmade builds for each of the performers, but here's some of the vibes i'm thinking about. this would likely be along similar theme lines of a critique of the fan + celebrity relationship, but with a stronger emphasis on the violence inflicted on the celebrity, whether it be from external forces or from internal ones:

yep. would love to do some choreographic/mise en scene stuff with mirrors and the idea of mirroring/things that seem the same but are different. also thorn imagery. lots of thorn imagery.

[keingleichgewicht]

WERE YOU KIDDING ABOUT THE ASK GAME if not i dont have any specific lyrics in mind but i always thought the lyrics to the mill were so cool and maybe you could get some thoughts out of them? :0

YEAH GOD OKAY LET’S TALK ABOUT THE MILL. LET’S TALK ABOUT UHHHHHHHHH [THROWS DARTBOARD]

this line. this MIGHT go on for a while so i will............  readmore

so the mill feels kind of notably different to the rest of the pafl songs, which tend to be unusually literal for lyric, either straightforward retellings of events (punch it, punk!) or character piece monologues set to plot visuals (strike 3) or both (all of them, but for instance particularly comfort zone, which is just dmitry’s horrible manifesto until it gets hijacked by a death sentence in the second verse.) the mill is a lot more like what we expect from poetry these days, which is to say it’s heavy on imagery, low on clarity, and fucking confusing!

I’ll draw a circle in the sand, drive myself around the bend in a desperate attempt to hold on to your battered hand Rocked to sleep beneath the snow, she is bathed in youthful glow ‘Strong enough to let it go,’ he says, but darling, I don’t know

a lot of the mill is about circles. this is in the name: a mill is something which turns. a waterwheel is a circle, a grindstone is a circle. it’s even in the melody: the chorus is a cyclic, pentatonic four-note riff that keeps going up and down and up its own ladder, chasing its own tail, not really reaching resolution. and then it’s also in, you know, the story:

the meat grinder!!!! everyone’s favorite fucking hellhole!!!! it is only semi-explicitly identified in the song but that’s because it’s a concept from the source material - both tarkovsky’s stalker and roadside picnic feature the meat-grinder, as a location nicknamed thus by stalkers because it is even more fucking deadly than the rest of the zone, all of which is already ridiculously fucking deadly, and if you’ve seen the movie:

it is more or less instantly recognizable in the mill as well. so here we have a circle! here we have a mill (the title has about seventy double meanings but this is certainly one of them,) and as it turns out, this mill at least will absolutely kill you. and horribly too. interestingly though, in roadside picnic (the book) the meat-grinder is not a tunnel, and it’s not round - it’s just a nondescript patch of ground which will wring you out like a dishcloth and kill you extremely dead if you walk into it. on the other hand what we have in the book in terms of circles is the golden ball, which is the equivalent of the movie’s the room, which is, well,

in short both stories ultimately hinge upon the idea that there is a something in the zone which can give you your heart’s desire. anything you want. everything you want. whatever you want. it is infinitely powerful; it is infinitely capable. the catch is that it will only give you what you want. the catch is that giving you what you want is not the same as giving you what you are asking for. the other catch is that in both cases you have to get through the meat-grinder first.

(so, by the way, what the fuck, right? does pafl’s zone have a wish-granting factory? is it also behind the grinder? where were the original trio going when they got themselves fucked up? and did they get there?)

but the point is: the golden ball, the wish-granting factory, is also a circle. it’s just sort of a sphere. it’s a big round fuckin yellow thing. you know, sorta like:

which is THE ONLY TIME yellow is used in occam’s razor not counting the full-colour shots, and it drives me CRAZY, but it is also me going full conspiracy board so let’s not even worry about it. THE POINT IS.

the circle is the death-machine and the wish-machine. neither of these things are really.... very good. the circle, or at least the arc, is also very closely associated with death:

(розовая дуга предрассветного, ‘rose arc of pre-dawn’. if i’ve fucked up that nominative please feel free to stone me to death!) 

in the gdoc notes to message lost ferry briefly refers to the dawn as if it were a good thing, the dawn of hope, which is a usage that sort of agrees with the desolate and deathless hope of strike 3′s ‘everything will pass / a day will come,’ but on the other hand it really is very closely associated with dying. nikolai bites it; nikita bites it; sergei and olga left significant chunks of themselves behind. and the thing about ‘this too shall pass’ is that it’s always true, as is ‘everything ends’, but of course that’s ‘cause the thing that ends might be you. and as we know

dawn is an ending. so that seems concerning!

i think the circle, the arc, the bolt falling back to the ground, is not a good thing. i am getting a little conspiracy board here in general but forgive me, i cannot make you a wholesome answer, my wit’s diseased. i think the circle is an enclosed space. it’s an unbroken cycle. it’s the grindstone. it’s the mill. it’s about what pafl’s always been about: about being trapped, about having no chances, about being bordered upon. the circle’s the geometric figure of equidistance from a given point, and you can walk on it forever, and nothing will ever change; you will never get closer, you will never get further away, you will never get out! the sun rises, the sun sets, and you are no closer to anything you wanted. it’s worth noting that anya’s borderline city, the zone-edge port town she complains is trying to crush all her dreams, her mill

is a circle. (a cog in a machine! a grind-wheel! a cage!)

and yura, whose dreams have already been burned out of him, who starts the series already resigned to never getting out of here, calls it ‘this dire deja-vu’, i am specifically resisting putting the accent marks back onto that, which is to say, it’s a repetition that haunts him. it’s going round and round and getting nowhere.

so if we bring it back around: drawing a line in the sand, as the phrase is generally used, means setting a border, means saying this far and no further. often it’s yourself you’re setting the border for. you hit some divide you can’t abide crossing so you say this stops here, it may be too early or too late, but i say it stops here. so logically: drawing a circle in the sand means you’ve locked yourself in completely.

I’ll draw a circle in the sand, drive myself around the bend in a desperate attempt to hold your battered hand

the whole first half of this song, i think, is olga promising to grind herself down in a hundred ways if it means she won’t be left alone. how hard can it be to never let it overflow? she may feel lower than the low, she may wish she could just disappear out here, into the postindustrial rust, but though it gets harder all the time she will keep pretending. she isn’t going to burden sergei, or indeed anyone, with her problems, her fears, her scars. she is hurt, but she’s used to it, she’s gotten used to being haunted long ago. she keeps her bad eye covered. she stays within her circle she has drawn. she keeps going round and round. she will take the smallest sliver of human connection and be happy, she promises she will be happy, she promises she won’t ask for more, she will take just the ‘hello.’

but you knooooow it’s not true. you know it’s grinding her down, that she’ll be milled to nothing pretty soon, and really she knows it too.

i am perhaps seventy percent sure that this line is a reference to the windmills of your mind by michel legrande, which features such lines as

Like a tunnel that you follow to a tunnel of its own Down a hollow to a cavern where the sun has never shone Like the circles that you find in the windmills of your mind

which on one hand seems sort of obscure to be a purposeful reference but on the other hand would be a hell of a coincidence if it wasn’t, wouldn’t it. either way it characterizes circles ambiguously, but definitely unsettlingly. going around in circles is chasing infinity, but what in god’s name would you do with it if you caught it? what are you even hoping to accomplish? and: 

the second half of this song is bitterer, sharper - staring down the mouth of the meat-grinder she’s a little more willing to admit to herself that this is going nowhere. she is running out of cages to keep herself in. she is very tired. it’s easy to say why don’t you leave it all behind, it’s easy to say, she’s strong enough to let it go, it’s easy to say, too strong to die. it is a lot harder to actually live.

this is also where the flashbacks admit to us how badly hurt they really were - sergei with his whole side in shreds, she still hides her eye but at least we get to see it’s bleeding. this moral compass is forever misaligned, she says, so there is damage, and it is lasting. and she can’t settle for hello, she can’t live like this, she needs someone by her side. the trouble is whether she can believe she has any hope of getting that

as for who ‘her’ is, or the ‘she’ of ‘she is bathed in youthful glow’, i figure there’s two possibilities: either it’s nadya, who haunts olga too, because nikita’s abandonment of nadya represents exactly what she most fears for herself, or it’s olga’s younger, unbroken, binocular self - both of whom were so young, and so easily hurt, and are now unfindable.

and then there’s this conclusion: ‘the sun will rise, until then / i’ll be waiting for you on the other side.’ which maybe is a sort of hope after all? she’s reached no real conclusions in the zone - she knows there must be hope but she can only barely believe in it - she thinks she is destined to self-destruct. but on the other hand she still has that, a version of sergei’s own ‘a day will come’

you may be hurt, but if you can hold yourself together, you can hope for a dawn someday. an ending. a change. but the trouble’s that there’s more than one kind of ending. and there’s more than one meaning for other side. there are cages, and then there are cages. and you know what else looks like a tunnel, a circle?

staring down the barrel of the gun.

[thefisherqueen]

The ‘monster’ in Dracula

Yeah I’m ready to totally throw myself into Whale Weekly, but that doesn’t mean that going to stop talking about Dracula

I’ve been reading so much literary analysis about the book and while there’s so many good ideas and insights being shared, I find that the ideas about the function of monsters in horror books fall a little short to me. Not untrue, but a bit simplistic, or one-sided, maybe. There’s this idea that is so often repeated: there’s a perceived threat, usually informed by the author’s fear, based in personal experience and cultural context, and that threat is projected onto the Other in the story - the monster. Who is thus made inhuman, strange, undesirable, dangerous, etc. Defeating the monster is the protaganist’s main arc, and by doing that they not only save themselves but also restore the status quo. 

But Othering is such a general, broadly defined and applied term, does it still have meaning? It’s impossible to interact with people without Othering them in some way or another. A large part of conversation consists of pointing out differences and similarities between people: we always pull apart and come back together, that is the balance between being an individual and belonging to a group. Structual inequality and isolation and exclusion are where the real harm is done. Yet, does the monster represent these? In Dracula it’s nearly the other way around, a high class monster versus lower class orphan Jonathan. Is the monster still being othered if he symbolizes class and employer-employee oppression?  I also find that these theories seldom mention the very valid reasons protagonists have to be afraid of the monster. “The vampires are destroyed and british society can go on as normal”, ehm, did you forget that Dracula literally was attacking and traumatizing the protoganists, turning their lives miserable, killing children, killing Lucy, killing the whole crew of the Demeter? That the vampires themselves are portrayed as living a cursed and lonely half-life, fearing the sun, always consuming who they love? What is the alternative plot for the protoganists - to be turned unwillingly into the very being that hurt them so much, causing the same suffering to others? As a victimn of sexual abuse myself, I have some Major Problems with suggesting such a plot would be more progressive. Maybe sometimes monsters are not just about perceived social threats, but also about personal threats in the flesh. What I loved most about Dracula is how the protagonist learned how to communicate their hurts to each other, to recover from trauma, to overcome gender and class barriers to fight this monster together. Maybe nothing radical changed in british society at the end of Dracula - but this group of survivors was certainly never the same after.     

Taking the threat of the monster away also doesn’t automatically solve things. For now it’s not a horror novel anymore. The harmless monsters of for example Beauty and the beast and Twilight turn it into a whole other genre. But these gentle monsters still don’t have a choice in what they are.  

Which leaves us with the concept of monsters with autonomy. Imagine a character consensually turning into a monster, without it causing them suffering, changing things in society while not being inherently abusive to people - that’s a pretty rad concept. Which I’m sure is done before but I can’t name any examples. The superhero genre comes to mind, but the superhero is not a monster, it’s an idealized version of themselves. Venom or The shape of water come closer. I would love a story where a girl slowly turns into a dinosaur, is totally chill with that, she is Different but it’s Not a Problem, she continues to live in the village, and people give her animals to feed on and build her an enormous stall to sleep in. She fiercely defends each kid to become what they want to, whether that applies to gender or occupation of appearance or whatever. And then she saves the whole village from a pillaging army.            

[shihalyfie]

"Canon” and “not canon” in the Adventure/02 universe

This is something I want to talk about, because it has a certain degree of relevance to the question of what I choose to take into account in my analyses and what I don’t. I write a lot about Adventure and 02 because both series are ridiculously consistent over their 104-episode runtime, but there are times when things contradict or don’t quite track together, and I have to figure out how to best rationalize them -- which means I need to make arbitrary decisions on what to count and not count, and when one does make those kinds of decisions, you’re very liable to get the complaint: “but that’s not canon!”

Which always makes me think: who decided that? And in the end, this is something that I think extends beyond just Digimon; every fanbase for everything always wants to believe there’s a clear-cut answer to things that everyone’s supposed to follow in a canonical timeline, and things that fall outside it. And sometimes, for some franchises, that is doable, because official staff will actually say outright that “this counts, and this doesn’t.” But that’s not how Toei and Bandai work, and their modus operandi has always been to toss a bunch of often-contradictory stuff at everyone and go “figure it out yourself,” and I think at some point the fanbase really needs to acknowledge that this so-called clear-cut boundary of “canon” and “not canon” doesn’t actually exist at all. Or in other words, any assertion of something being “canon” or “not canon” in the Adventure and 02 universe is purely something arbitrarily defined by fans, and was never determined by official - which, conversely, has actually encouraged you to take as much as you want and figure out the rest yourself.

Before we begin, I do want to make clear that this is not about one’s personal canon based on one’s own preferences -- that is to say, if you’re going “I don’t consider this canon because I don’t like this/don’t want to work with this,” then that’s entirely your right, especially if you’re doing creative work and need to decide what to apply and to not to apply. (Although, as always, one must be conscientious and respectful of those who do like it and consider it canon, because everyone’s going to differ on this.) What I am talking about is when people take a substantial part of the franchise that they otherwise like, such as a movie or drama CD, see one detail that’s contradictory in terms of the timeline or lore, and take that as evidence of “yep, the entire thing’s not canon. We’ll just throw the entire thing out, then.” It just makes me think -- you threw out a perfectly good work for that?! That’s such a waste!

First of all, Toei and Bandai don’t work that way

In general, a lot of the contradictions in the series have a “right hand is not talking to left hand” problem, because as much as we would like to believe that a Digimon series is written by a single consistent entity, the franchise itself is a huge trade-off between Toei and Bandai, and a lot of things from Bandai -- spinoffs, crossover material, games, what have you -- don’t exactly have a stellar track record of being vetted by Toei anime staff. It’s pretty well-known that game portrayals of certain characters can be really off or have misleading info, and even V-Tamer’s somewhat guilty of it. So this is going to happen no matter whether you like it or not, and it happens with any long-running kids’ series that involves a collaboration between multiple companies like this.

Moreover, the traditional custom for Toei “side movies” (in this case, meaning things like the original movie, Our War Game!, Hurricane Touchdown, and Diablomon Strikes Back) is that they’re produced with minimal involvement from the original series’s core staff -- at most, the producer is lightly involved -- and are sometimes even worked on simultaneously with the start of the original series, so you often end up with a movie that’s impossible to fit anywhere in the series timeline because there wasn’t any communication with the two sides. And for that, it’s all too easy to dismiss those movies as “non-canon”, with the fanbase arbitrarily deciding that canon ones are canon because they fit -- but Toei itself has never taken this stance.

The other thing is that, given that Adventure/02 is famous for its ridiculous level of worldbuilding consistency thanks to its director Kakudou’s conscientious efforts on it, it means that as a result, anything not made by him was prone to running afoul on it, and it’s not like the stance back then was to just reject all of it wholesale. “Doesn’t comply with the lore” is so often equated with “not canon”, but Kakudou, the author of that lore, not only made no indication of invalidating or disliking those non-compliant things, but also conversely made an active effort to make those things relevant in spite of that! (See: Our War Game! below.) The official stance is to not deny those works for being noncompliant -- it’s just that Kakudou seems to be the detail-oriented kind of person who personally prefers to work with things that have a high level of consistency (he’s very quick to say “I wasn’t involved on that” whenever someone brings up something from said external materials, not in any condescending way, just “I wasn’t involved, so don’t attribute that to me”). In fact, one of the reasons there wasn’t initially a third Adventure series was that he had difficulty finding a way to adhere to the higher-ups’ pressure to keep all of these contradictions consistent -- so the official stance itself is to try and maintain all of those side works, and that it would be better to end the series itself than to have to do something like deny them.

Which makes things very frustrating for the fans, of course, but nevertheless, that’s how it is -- even back in 2000, the right-hand-not-talking-to-left-hand phenomenon was this significant! And it would have been easy for official to step in and go “okay, we’ll put a statement out here that these don’t apply,” but no, the stance was be that it would be better to stop dragging it out longer and cancel a whole series than to deny those works, which leads us to the current situation. (Plus, think how insulting it would feel from a PR perspective if someone got attached to one of those “non-canon” materials only for official to come out and outright say “yeah this doesn’t count anymore”; we can name examples of this happening in other franchises that have understandably gotten a lot of people upset, and it would be especially offensive to do this right after said material had been released.)

Bolstering the concept of official staff’s very loose opinion of “canon” are the Adventure novels, which were supervised by Kakudou himself and written by Digimon episode screenwriter Masaki Hiro, and are non-compliant with Adventure timeline by design, because it’d be bad for the format to try and depict every single detail in the anime in the form of three novels. Several events are condensed or shuffled out of order, or even sometimes completely different (Koushirou’s incident with Vadermon goes very differently from the anime version). Despite that, this is said directly to be intended as a series of novels to help people understand Adventure and 02 better, and several details in Two-and-a-Half Year Break and Spring 2003 are incredibly consistent with it (namely in the sense of details meant to retroactively connect Adventure to 02, and other background details like Daisuke’s backstory). So you are supposed to do some kind of mental leap where you don’t take the contradictions around the actual events too seriously, but still accept the spirit and the background information you learn from it and retroactively apply it to Adventure and 02 -- and, presumably, that’s probably what you’re expected to do with everything else, too.

And this isn’t even getting into the fact that the anime itself has occasional contradictions and errors due to things like animator error or simply different writers writing different episodes -- the Adventure and 02 staff were certainly very detail-oriented, but they are human and of course inevitably slipped up here and there. How seriously do you take honorifics shifting from episode to episode in ways that don’t seem intentional, or the fact every background material refers to Osamu and Ken having a bunk bed and yet the actual episode with both of them fails to depict it? How do you deal with the fact that the Animation Chronicle is one of the most extensively useful post-02 reference materials with tons of production background info not revealed in the anime, and yet is infamously full of suspected typos that would cause some pretty massive implications if true, or all of those other Bandai and Shueisha-commissioned “side books” and other pieces of media meant to entertain the kids while the series was airing but clearly had no input from Toei staff whatsoever? 

In the end, frustrating as it is, the answer seems to be the same as ever: figure it out yourself.

The standards for what’s “canon” and “not canon” are way too arbitrary

Let’s look at a handful of things that have been historically dismissed as “non-canon” by the fanbase:

The Adventure mini dramas and Armor Evolution to the Unknown: Drama CDs that were generally dismissed as non-canon because they’re “too crack” to be canon (their writing style is of the “it’s okay to push the boundaries of characterization for the sake of comedy” sort, and it wouldn’t be until later when we finally got some more serious drama CDs). The latter is full of honorific inconsistencies, most prominently Daisuke and Ken still being on surname basis at a time they’re not supposed to be (due to the fact that it was released while the series was still being produced). But official word is that you’re still supposed to consider them canon -- and yes, that’s Kakudou himself giving official sanction to a drama CD that involved a massive amount of fourth wall breaking and a completely unexplained reunion between the Adventure kids and their Digimon sometime between 1999 and 2002 (apparently this wasn’t the only one, either). How is this supposed to work? Figure it out yourself.

Hurricane Touchdown: The funny part is that up until Kizuna validated Wallace’s existence, there was no actual consistent agreement on why this movie shouldn’t be canon (the Western side being “evolutionary form timeline violations”, the Japanese side being Wallace’s status as a Chosen Child prior to 1995), which really goes to show you how arbitrary all of this is. It also has a sequel drama CD in the form of The Door to Summer, which is also contradictory with Hurricane Touchdown’s ending, so we’ve got two layers of “it can’t be canon because...” -- and yet it has a lot of interesting Daisuke characterization, and, heck, the whole character of Wallace himself, that would all be rejected if you throw this out wholesale. Then Kizuna came along, and there’s a general sense of hesitation against easily denying officially-sanctioned “main” entries like that, which retroactively forced people to somehow skip past all that and accept it, just for the sake of Kizuna’s notability.

Diablomon Strikes Back: Similar to the above, it used to be constantly dismissed as “a non-canon fun movie” because of the evolutionary forms that appear in it, despite the fact that 02 itself established that it wasn’t that hard to restore evolutionary forms if you figured something out. Somehow, a ton of people treated it as such an impossibility that “they figured it out in the first three months of 2003″ would be a viable explanation, and yet official word is that of the second through fourth movies, this is the one that had the most amount of initial consultation with the TV anime staff! And then tri. and Kizuna came along and clearly had high-level evolutions in play too, and dismissing DSB on these grounds meant dismissing those by proxy, and a lot of people were too intimidated to do that and decided to retroactively validate DSB instead, after years of having dismissed it for this reason. Again: look how arbitrary this all is.

The tri. stage play: Mainly because its timeline of events doesn’t fit tri. at all (in regards to the reboot and part 5). This is a fair assessment to make in light of the fact that it doesn’t seem to work very hard to be compliant with the very series it’s branded with, but, funnily enough, it’s actually more lore-compliant with the original Adventure and 02 than the tri. anime series is, and yet the few minor contradictions it makes with the tri. anime series are sufficient to consider it completely kicked out of canon, yet those same people who declare it so aren’t as willing to hold the anime to that same standard just because it holds a more prominent “main” position.

On the other hand, let’s look at some of the things that have been more likely to be accepted than the above:

Our War Game!: Reading this is probably going to make everyone go “whaaaaaat?”, but yep: according to Kakudou, the second through fourth movies were all made without his supervision or involvement and thus have lore contradictions (although he also made sure to say that they’re very fine movies, too). We still haven’t figured out what the lore contradiction is, and so the fanbase considers it canon, and even 02 itself makes multiple references to “the Diablomon incident” in 2000, so you can’t consider this non-canon in the slightest...but yes, according to the official side, it’s actually got a contradictory incursion somewhere in there. There is one hypothesis as to what it is, and it’s such a minor thing that no fan or even official member of staff would dare deny the movie for it, but it still contributes to how arbitrary this entire concept is: Kakudou didn’t want to give anyone (except Miyako, who’s based off a real person) canonical birthdays or blood types for the sake of preventing horoscoping, but Sora’s birthday is portrayed as being around March in the movie. And yes, Kakudou himself refers to this as being something that only happened because he wasn’t involved. (Remember what I said about him historically being quick to disclaim involvement on anything he wasn’t involved on, regardless of how much of a minor detail it is, yet doesn’t necessarily intend to deny the work entirely due to it?)

Tag Tamers: A very vital part of Ken’s backstory that establishes a lot of context behind the Dark Seed and the elusive Akiyama Ryou, which also does not make sense with 02′s timeline and characterization at all, presumably because Bandai and Toei weren’t properly communicating on what kind of details they needed to iron out for this. But of course, all of us would like some explanation to Ken’s backstory, and we have to apply some kind of logic as to how that makes sense, and I’ve yet to see people declare Tag Tamers (or any of the other WonderSwan games) as entirely non-canon as a result.

tri.: For obvious reasons, it’s a “major entry in the franchise”, so people are generally more averse to dismissing it so easily (or, at least, for reasons that aren’t related to pure preference), but I find it rather ironic that Kizuna’s the one that got all the attention for apparently being lore non-compliant, when the exact same lore points mentioned in Kakudou’s reasoning as to why it’s non-compliant (along with a ton of things that actually were in Adventure and 02′s text) are gone against even more regularly and prominently in tri., whereas Kizuna still goes out of its way to adhere to most of these and only seems to have incurred a contradiction in terms of originally intended ideology, and, possibly, its extensive use of the aforementioned movies. (Recall that this got brought up for Kizuna specifically because Kakudou was initially consulted for it; he wasn’t involved in tri. to begin with at all.) See above on how people’s unwillingness to write this one off so easily despite everything ended up retroactively dragging DSB into “accepted canon” territory; that’s how arbitrary this entire thing is.

Then, tied to all of this and making it even more confusing is Kizuna, which, again, putting all issues of personal preference aside, is basically being torn back and forth between all of these whenever you try to apply one of the above arbitrary standards. It’s allegedly lore-noncompliant with Kakudou’s lore and thus lacks his involvement, but it does have the involvement of original series producer Seki Hiromi who was known to be responsible for the series’s original human drama themes (including the premise of 02 itself) and personally vetted the scripts so that everyone could be properly in-character and the original themes still intact; it’s supposedly a “main” entry to the point where people will stop denying older works’ canonicity because of it (see Hurricane Touchdown above), but, legally speaking, is actually classified in the same “gekijouban” category that the first four movies and things like the Tamers through Savers movies are; the staff will say to hell and back that the 02 epilogue still holds (and the movie makes abundant retroactive references in both worldbuilding and themes to it), but many people out there will still insist that the movie ending that way means that (like with DSB above) “they figured it out” between the movie’s ending and the epilogue is apparently some kind of impossibility, and either the movie is non-canon or the 02 epilogue is invalidated now. (My personal stance on this is that the epilogue itself provides the answer to how they figure it out if you look closely at the movie’s themes, but that’s a tangent.)

The point I’m trying to make is that regardless of whatever stance you take on all of the above points, this is all extremely arbitrary, and these fanbase rationalizations on why this and that isn’t canon are constantly contradicting each other, shifting, and occasionally based on really meaningless things. And, again, it’s fine if you’re saying that you don’t consider this or that canon because you personally dislike it or where it went, or you find it difficult to work with, or between two contradictory things you prefer one or the other (I certainly have my fair share of strong opinions in this regard) -- but it would be better if we all admitted this and went “I just don’t consider this canon” instead of acting like there were ever some universal consensus or official backing.

"It didn’t happen this exact way, but something resembling it still happened”

So, we’re in this uncomfortable situation where we’ve been handed a ball of knots and have to work with it (a very frustrating situation especially for fanfic writers), and I have to personally say that I think all of this comes from people having far too inflexible of a concept of “canon” and “not canon”, especially to the point of rejecting a full-on perfectly fine entry just because of one timeline issue. I honestly think it’d be better if we could rather take a certain stance close to the Pixiv dictionary wiki’s view of how Wallace can appear in Kizuna: “(some version of) Wallace exists in the timeline of the main story.”

Right, so: Hurricane Touchdown is contradictory. The evolutions don’t work at that point in timeline, and Wallace shouldn’t be able to be a Chosen Child from before 1995. Those things don’t work with Adventure and 02′s timeline and lore. However, let’s look at the following story: let’s say that, between 02 episodes 14 and 15 (when the movie first screened), while school was on break, Daisuke and his friends went on a summer adventure to the US and met a boy named Wallace, who had a struggle regarding one of his partners losing his sanity, and bonded with him and helped put his partner to rest. No part of this contradicts 02 at all. There we go! So we can safely say that some story that mostly resembled Hurricane Touchdown happened in the canon timeline. Some of its details weren’t exactly the way they happened in “the movie we, as the audience, saw” -- but something that substantially resembled the movie still happened in the universe of Daisuke and his friends. And you can apply that same logic to Tag Tamers, or any other vital canonical but ostensibly contradictory material -- the media that we as the audience got may not accurately reflect the events in universe, but there’s absolutely nothing saying that some more timeline and lore-consistent alternate version didn’t happen in canon instead.

Moreover, even Adventure/02 itself gives you a bit of precedent for this concept -- namely, the fact that the final episode of 02 reveals that the entirety of Adventure and 02 is part of Takeru’s novels. It’s a pretty common theory that there might be differences in the way “the story we got” was presented, versus how they actually happened in the world Takeru lived in -- of course, Takeru certainly went out of his way to remove as much bias from the situation as he could, but you can hardly say that he, as a human, would be completely free from it, and he himself even admits that everyone he consulted had differing opinions on the events in question. And not every single piece of Digimon media has the Hirata-Hiroaki-as-Takeru narrator, which means that perhaps it’s not entirely out of the question that the different takes on the stories that the Tokyo Chosen Children went through in their youth would not be entirely consistent with each other, depending on who’s telling it. But that doesn’t mean that those events necessarily didn’t happen at all, just that some of the details were different from what we as the audience saw.

In the end, I leave the rest to everyone else to figure out -- as I said, I think this is a decision everyone will have to make for themselves, whether they’re a fanfic writer picking and choosing what to include for the sake of a coherent fic, or whether they’re just expressing a preference to not have to think too hard about or work with something they’re turned off by. (And in the case that there is someone who expresses their dislike of working with something and doesn’t want to consider it canon, I think it’s very rude to give them grief for that, and conversely, if you don’t want to consider something canon but encounter someone who doesn’t have as much of a problem with it, it’s very rude to try and expect them to change their opinion to yours.) But I do think it would do well for all of us to have a bit more of an open mind and a creative attitude towards these kinds of things before trying to shove everything into a “fully canon” and “fully not canon” binary.

[veliseraptor]

got tagged for two fic writer memes yesterday! the one from @ameliarating first:

How many works do you have on AO3?

509.

What’s your total AO3 word count?

3,432,24. dang! that’s a lot of words

How many fandoms have you written for and what are they?

I have written for...counting the MCU as one fandom, on AO3 I have written for 32 fandoms, including at least one work in:

MCU, The Sillmarillion, Caliban Leandros, both DC and Marvel Comics, the book Barebacked by Kit Whitfield, Doctrine of Labyrinths, Doctor Who, Buffy the Vampire Slayer, Star Wars, Black Jewels, Dragon Age, Lucifer, Dexter, Temeraire, Gentleman Bastard Sequence, Supernatural, A Song of Ice and Fire, Greek Mythology, Lymond Chronicles, Merlin BBC, Code Geass, Good Omens,  Death Note, and White Collar.

this is not a comprehensive list of every fandom I’ve ever written for, because it is not including ones that live only on FFN or Livejournal.

What are your top 5 fics by kudos?

Life In Reverse tops the list (11066), aka my 200k Loki-centric post-Thor AU fic that I wrote between 2012 and 2018 and with which I have a decidedly complex relationship at this point. I love it but also I no longer think it’s my best work but also I credit it with teaching me a fuck of a lot about writing and writing longer projects in general.

With Absolute Splendor is rapidly catching up, to my astonishment (6559), despite having been posted for less than half as long. Aka the wedding planning fic that’s really just me mucking about in my Jiang Cheng and my Jiang Cheng and Wei Wuxian feelings, at length.

some good mistakes (4618) was my first foray into the Untamed version of “characters who hate each other going on resentful roadtrips together, feat. Lan Wangji and Jiang Cheng.” I have gone on to write others and will continue to write more.

Unraveling (3069) is a little bit of a surprise but also not - it was originally just sort of WWP stuff for my ‘what if people remembered that blunt force trauma is a really bad thing actually’ problem that pops up sometimes, re: Loki at the end of The Avengers, and then it kind of turned into a whole thing. I personally think it’s the weakest of the installments of the series it belongs to, but it is the first one and also the one that gets least into the broader family dysfunction and depression stuff that probably is less everyone’s thing (but is what came out this fic that mattered more to me, personally).

I am a little surprised to see Steve Rogers’ Halfway House for Notorious Supervillains (3068) here too! I was expecting one of the more...idk, mainstream concepts from the MCU to win out? But I also wasn’t expecting two Untamed fics to make it here, either. But I am stupid proud of this fic even if it is very extraordinarily unfinished. This is one of those unfinished fics that will nag at me unless and until I finish it, at least a little, because the concept - if I do say so myself - is so goddamn good and I think I was executing it pretty well, too.

Do you respond to comments, why or why not?

Pretty much never. I was never very good at it and now I’d feel like I had to go back and reply to all of them and I just. I can’t do that. and when I do try to just start at the beginning I get overwhelmed very fast and start avoiding it.

Basically I decided that if it’s a decision between wrestling with myself to reply to comments versus actually doing more writing I’m going to end up landing on the latter as feeling both more doable and more productive.

What’s the fic you’ve written with the angstiest ending?

probably it’s The Worlds Forgotten, the Words Forbidden for sheer level of “so then what was the point” of it all. but like. I’ve definitely written a few extraordinarily miserable fics, and by “a few” I kind of mean “a lot.” Other nominees I’d put down might be nor autumn falter (for currently personally making me suffer most), once there was a way to get back home (for I think having the ouchiest summary), and Waiting for the Summer Rain (which remains one of my personal favorite Supernatural fics I wrote).

but like. there are 43 fics I have marked with Major Character Death warnings and every single one of those, pretty much, has a downer ending.

Do you write crossovers? If so, what is the craziest one you’ve written?

I have written several though not in a long time! My craziest probably remains the Morgoth/Cthulhu short I wrote that actually got sporked because someone took it seriously (???) enough to do that. But the craziest that actually has any merit, (I’d argue) is probably the Maeglin/Viserys one.

not linking to either, if you want to go find them I don’t think it’ll be that hard.

Have you ever received hate on a fic?

Yeah, a few times on a few different things. More if you count “people who seem to like the fic but love telling you how much they hate the female characters you’re writing about in it” as ‘hate’ which I would but isn’t, you know, quite as straightforward. If I had a nickel for every time someone bitched about Jane in Life in Reverse, though...lots of nickels.

Do you write smut? if so what kind?

Sure do! But what does ‘what kind’ mean, I don’t know how to answer that question. I feel tempted to just put in my “Mike’s Hard Kinks” image edit in this space.

I guess usually I tend to write smut that at least involves a little bit of a kink? I don’t think I’d feel comfortable writing entirely kinkless smut. I think I’d feel weird about it, the same way I do when I write really nice fic, generally.

Have you ever had a fic stolen?

I think I did back when but I don’t remember anything about it. I feel like it was one of those mass data scraping things where my fic happened to be among those caught up in it.

Have you ever had a fic translated?

I have! several actually, mostly into Russian and Chinese. every time it happens I’m immensely flattered that someone wants to put in that kind of work on something I wrote.

Have you ever co-written a fic before?

I think I’d be very, very bad at it.

What’s your all time favorite ship?

Depends on when you ask me! I could probably give you a top five but then I’d remember six that I forgot to mention five minutes later. I guess if I were to think about ships that feel like they hold very special particular places in my heart... Xue Yang/Xiao Xingchen, Steve Rogers/Loki, and Min/Rand come to mind.

What’s a WIP that you want to finish but don’t think you ever will?

oh god do you want the whole list cause honestly I could just like. screencap the entirety of my “in progress” folder with a crying emoji watermarked over it. and that’s not getting into the fics that are like...half formed babies in my consciousness but not anywhere on paper.

and also I just hate to admit that I might not finish something.

you know what? the Lucifer/Good Omens crossover I started would’ve been a lot of fun. I’m probably never going to finish it, but it would’ve been great if I had. I know other people did it too but my contribution could’ve been amazing.

I can say this very boldly with the near certainty that I’m not going to finish the fic so no one will be able to disagree.

(...also the Last Herald-Mage fix it. that was going to be a good fic too, and also will probably languish unfinished forever.)

What are your writing strengths?

I’m pretty sure dialogue is my strongest point. Dialogue and emotions, which is why I always end up just wanting to write about characters talking and having feelings at each other.

What are your writing weaknesses?

Writing action sequences throws me into conniptions every time I have to do it and I will take drastic actions sometimes to avoid doing it at all, which probably weakens the work as a whole.

Also, I don’t plan ahead and this means I write myself into corners kind of a lot. If I wasn’t writing long, dense fic it wouldn’t be a problem but here we are.

What are your thoughts on writing dialogue in other languages in a fic?

I tend to avoid it unless it’s in the context of, as in CQL/MDZS fic, leaving certain terminology untranslated. I’m pretty sure I almost never write full exchanges of dialogue in a different language than I’m using for the narration within a fic, and generally speaking my reaction to other people doing it is at least mildly negative.

What was the first fandom you wrote for?

Harry Potter was technically the first fandom I wrote for, but it was a crack fic I wrote to make my friends laugh more than anything; I tend to count Wheel of Time as my first actual fandom for which I wrote my first actual fic.

What’s your favorite fic you’ve written?

some days the answer is “all of them” and some day the answer is “I don’t like anything I’ve written in my entire life” and I never like giving this a definitive answer. yesterday I reread efforts in a common cause (the bound copy!! thanks @spockandawe) and you know what, that was a good fic and I’m proud of it, so I’m going with that one, for this meme, today.

tagging: @mostfacinorous, @jaggedcliffs, @silvysartfulness, @mikkeneko, @kasasagi-eye, @curiosity-killed, how many people am I supposed to tag for this one anyway

[hei-ch0u]

It’s long...(fair warning) ✰

 Shingeki no Kyojin 139 (Theories)

Since everyone is throwing around their theories from the wild to the more likely, I thought I should contribute. After all, it will be the last time we can theorise this amazing manga full of all its twists and turns. Like most, I do agree with the popular fan theories simply because this manga is consistently unpredictable with each chapter. Let’s face it, some stories are easily picked apart these days and finding one that continuously has you thinking about what could occur is a winning tale. So first, I will start off by saying that I am so sad that Shingeki no Kyojin is coming to an end. But! I will never forget this amazing manga as I have grown so attached to the characters and the story as you can tell from the past nearly 9 years of running this blog. So, thank you yams for being such a genius! Regardless of the ending, it will go down in history as one of the best stories I personally have ever read and witnessed.

With typical fan theories, I won’t go into them too much as I feel the concept of the “time loop” has been written about to filth and I think it is very blatantly clear at this point that the concept of a time loop is very likely in one way or another given the overall concept within aot/snk in general - there is a obvious manipulation of past, present and future. I will hold my hands up and say that I definitely do agree with ‘some’ popular fan theories and will list a fair few below in brief detail - as I do think they are highly likely to be true in some way or at least implied within the last chapter. Now, with the usual leak dates coming up on the horizon, I wanted to put my input in before hand. Although, because of recent prosecution warnings for leaking the final chapter - I would advise others just to wait for the 9th of April on official release for concrete facts rather than speculations and leaks simply because we have seen with past few chapters that a lot of false spoilers get released and I think with the final chapter it would be wise to wait as I have previously stated on here that it will be the ‘revelation’ chapter that ties this manga together.

So! With the typical fan theories, we see the likes of:

Eren being the baby daddy to Historia’s baby

Eren sacrificing his reason for living - freedom. By being the greater evil to bring about the greater good

The baby itself could become the new beast titan or baby Eren/Ymir reborn

Eren isn’t dead, but on Paradis by way of transferring his subconscious into a crystallised version of himself

Eren and Ymir have struck a deal

And of course - the time loop concept

…The list is endless of popular fan theories. It would be silly not to agree with any of them given the story and where we are currently at, its very clear that Historia, Eren and Ymir will play a big part somehow in the final chapter (if not id be genuinely shocked) since majority of the past few chapters they have been absent in full form and I feel this needs to be explained. After all we still haven’t seen the full extent of the memories of past/future that Eren was aware of from his contact with Historia and his connection with Ymir in Paths. We saw 137 being predominantly Armin based, 138 being Mikasa based and I think it is only reasonable given his absence as the initial protagonist that Eren will be the revelation within 139. Ultimately culminating EMA / the trio as a whole. We began with them, so it only makes sense to end with them (albeit separately as individuals).

Moving on, as you can see I agree with said fan theories as I think any route could be possible! The thing with Shingeki no Kyojin is that it has many hidden ‘Easter eggs’ (how fitting given its easter), whether it be in the background of scenes, characters wording, placement of scenes/characters, flashbacks, paths and even in the opening and ending credits of the anime we see hidden meanings through imagery. It has all been laid out very well for our finding, its just if we have an intuitive enough imagination to pick it apart and figure things out. This leads on to my own theory/theories (it can go any way and I wont sugarcoat it - I could be reaching)

I generally have 2 theories that run about in my head with how the story itself could turn out or how it works. Both theories kind of tie together in one way or another featuring predominantly Eren and then Mikasa or overall ‘Ackerman’ blood/gene concept and its potential involvement in control of said time loop. I will do my best to include manga panels to give visual insight to the points.

To begin, I want to touch on Mikasa's “dream” in 138 - although devastating, I think it is being taken as the opposite of what it was and personally I see many looking at it through rose tinted glasses. This wasn’t an alternative universe (in my opinion), this was Mikasa’s Ideal life - her dream. When it comes to Eren as a connection to Mikasa, he is her reason for being, even in death she chooses not to part with him for her own good and creates a dreamlike reality for herself to make herself go through with the deed. She as a character has dominantly surrounded her existence on Eren, he is categorised many times within the manga as ‘home’ - like other fan theories have stated, it has been mentioned many times Mikasa referencing the word ‘home’ and also how she wants to ‘be close to him’ because it gives her comfort and strength. The Ackermans as a whole have attachments to people and this is where they ultimately gain strength from. Without any of the Ackermans ‘attachments’ being in danger or being killed, their powers wouldn’t be awakened and without them I feel their strength almost weakens until they find a new reason for living to keep moving forward. I’ll touch more on the ‘Ackerman’ theory later as its one of the open loopholes still currently alive within the manga.

Mikasa has always been a character that confuses me, particularly with the way she acts and things she says or thinks. She has said many things that don’t make sense unless she has a certain belief system or knows of things from past lives.

Examples:

As you can see and I will produce more evidence of such comments further in. She implies that she either believes in reincarnation or she is aware of different periods within the said time loop. She speaks of starting over, being dead and returning and implies in different ways that she is scared of the same thing happening again. The last panel - what plan is she on about here? Her own plan. In my opinion it is - "Don't let Eren die". As we have seen, that may be what has to happen. It's fate. She interferes with this and never lets him go.

Mikasa does have an unhealthy bond with Eren, I do think he loves her ( I’m not dismissing that ) but do I think its the type of intense love she feels? no. Some things she has came out with has even shocked other characters and countless times her comrades have tried to ‘break the barrier’ to get her to realise her way of thinking when it comes to Eren is unhealthy. Hence why I think we seen Jean in this particular scene below so frustrated

not because he himself has feelings for her, but because she’s not letting them get through to her that she is refusing to believe Eren could ultimately be a changed person (which he definitely is, I’ll not go into my rant of why he isn’t ‘evil or a ‘monster’ because i’ve done so already) but overall, Mikasa constantly makes excuses for Eren and doesn’t recognise it, her life revolves around being close to Eren and she gets very emotionally troubled at the idea of not being with him or him ultimately taking a path that doesn’t involve her. We even seen Annie question her and this wasn't many chapters ago and she replies with the same mindset of bringing back "the old Eren". He is not the person he once was particularly as a child. Something that is implied at beginning of manga, it opens with them as children and somehow links with 138.

As stated by Armin below we see him even explaining to Mikasa that Eren’s never close, he always takes his own route and that ultimately both Armin and Mikasa aren’t his reason for living. Let’s face it - Freedom is Eren’s reason for being, his only desire. Armin has also expressed disbelief and almost frustration at her way of thinking when it comes to him (below examples) I think in a way the famed ‘table scene’ was Eren trying to break the bond, but he’s not doing that for no reason, its implied he does it to protect them, but it could also be because of what he has seen in memories past and future - he has perhaps became aware of Mikasa’s involvement within paths and the loop. He has to try to alter her way of thinking to protect her, but maybe also himself.

Armin + Other comrades reactions to Mikasa’s mindset 

Another visual point to make regarding Mikasa’s ties with previous loops and Armin, was her comment made about him at a very early stage in the manga just after Eren had been eaten by a titan after saving Armin - leaving his fate at this point unknown. 

this is implying that Mikasa has some knowledge of previous times Armin has helped them with his ‘ability’ which if we are referencing him as a character is his methodical intelligence. But, even here he is confused by the comment, simply because at this point there has been no signs of Armin’s usage of this ability - mainly fear and lack of confidence with that in comparison of his peers. We don’t necessarily see this until perhaps even a chapter later and as far as we are aware, Mikasa doesn't follow through with “i’ll tell you about it later”.

I don’t know about anyone else, but it seems odd she has such an attachment to Eren like this that is so intense. It’s not normal to be as intense as she is about someone unless she is used to losing that person over and over. Even as children Mikasa acted possessive over the ‘concept’ of Eren dying - it wasn’t allowed to happen. She doesn’t have this intense reaction with Armin or other comrades. She fixates on the idea of Eren being her saviour, the one to give her a ‘home’ and a ‘purpose’. Mikasa consistently opposes his death and his death alone, I can only see this from a standpoint that deep within her own memory she has experienced his death countless times before. She even uses force a couple of times to increase this intensity. Here are some examples of this even in childhood -

There are many more examples of this throughout the manga and her refusal to accept that what she doesn’t want, may just happen. Now this might just be my over active imagination or my own ability of media studies kicking in. But, previously I had been under the impression in the presence of a time loop that Eren was in charge of it and controlling it, that somehow it would constantly reoccur when he himself died and he would have to come up with a way to either prevent his death or ultimately stop the timeline of the titans. Whether that be under making a deal with Ymir herself or by essentially “breaking the wheel” and turning others against him to show Eldians as triumphant heroes.

However, the more i’ve thought about it and given the revelations of 138 - i would be more inclined to say it is Mikasa Ackerman herself due to either her specifically or her Ackerman gene. There is something about the bloodline that is missing and we have not had the fabled Ackertalk or much explanation of how they work (something I’d like to see covered in 139 - although i feel it will be an Eren chapter, I also think it will include the visions Eren has seen to give an explanation of why the previous 138 chapters played out the way they did)

I think there is a possibility Eren had to break the wheel on the loop,  Mikasa would go back each time and always Eren would die, something we’ve established she tries to prevent and never accepts. The only escape was her accepting his death therefore he did everything he could to push her away, break the bond and push her to kill him to end the cycle (since he’s seen the future). As I have a hunch previously in other loops he was not killed by her hand - it had to be her to break the cycle or vice versa (but we will get to this).

there is hints of this in the “Lost Girls” OVA. Yes, I am aware it’s said that OVAS are not necessarily canon per say, but I don’t think it would have so many open links if Isayama himself didn't want it to. This particular one gives many hints to Mikasa’s involvement in the loop and alternative universe theories. The anime adaptations are on point with showing us details we only recognise after more plot points are revealed. It may explain the headaches, every time Eren dies, she reverses the loop or changes realities. This ailment could be a product of her memory issues. In the OVA we see Mikasa in real time thinking about Eren and his constant state of taking his own path.

After this moment, the said “Scene” she speaks of is revealed to us. Another example of Mikasa’s dreamlike state or perhaps another timeline? We are taken back to the time where she had given up, had ran out of gas, a titan was approaching and she was ‘lost’ - her reason for being was gone and she knew her death was coming, but also in the manga during this scene she is “worried” she’ll have to start again (above in examples). This again implies she knows something we don’t. We then hear Mikasa’s voice speaking to Mikasa herself, telling her that if she simply didn’t like this reality she could choose the place she wanted, but as we have seen before - she can’t stop his death.

The peculiar scene in this OVA that got me intrigued by this theory is the masked figure and young mikasa scene. Mikasa is rushing to meet with Eren and Armin to escape the walls in a hot air balloon, but she has to be there by a certain time or the plan fails. As she is running she is stopped by a mysterious masked figure who asks her to join in on his hypnotism trick to spectators. Comments he makes involve him telling her that her ‘friend’ will ultimately leave her and that she couldn’t accept his death and created this universe. Also, that he is no one, but someone at the same time. I think this holds great significance since the strange thing about this is that his voice mirages into a distant adult Mikasa.

implying that she has to ‘kill’ a part of herself or she has to die to prevent and hault the loop. She has to return from her idealistic dreams of keeping him alive as it will only fail otherwise. Upon hearing of Eren’s yet again untimely death within this universe, she begins to have memory flashes of multiple scenes appearing within her eyes with a typical media ‘rewind’ sound as she wakes up back in the street with no gas and a titan approaching but... she says something I find interesting and links to what Eren says at the beginning of the manga 

“the feeling I’ve had a really long dream”

We witness Mikasa have these “headaches” multiple times within the manga and in the anime they are heavily focused on whenever it happens, which we can only recognise that this is an important part of the story itself. Eren too has random headaches, just not as much as Mikasa, he mainly experiences them when he accesses new memories. However, what if Mikasa too is affected by memories she cannot tap into or it is paths/ackerman gene warning her she is repeating past mistakes?

Notice how there is a lot of emphasis on the word ‘again’ when it comes to her headaches or the thought of losing Eren. It is constantly repeated. I think it is highly likely she only remembers some parts from previous loops, but the one that sticks is simply - she has to save Eren each time, but fails. Everything begins again after his or her’s demise. Perhaps each time Eren is the one who dies first, creating a somewhat butterfly effect. That maybe Mikasa has died once like she implies in previous example. However, the one to die first (in this case primarily Eren) loses all memories of the past loops - again this is implied as Eren does tell Mikasa he cannot remember his dream. I think deep within his mind Mikasa does remember, but given the fact she has potentially reversed the outcome many times...her memory is simply warped - that or she died in the previous loop and lost those components. 

Will she not remember due to her memories being altered in her death?

Either way something needs to change. Eren Kruger says this in Eren’s attack titan memories. They are doing something wrong.

I believe Eren in 138 within Mikasa’s dream, was trying to tell her to move on, not necessarily forget him, but at least accept his passing - to stop the loop reoccurring, he influenced part of her reality...maybe with the help of Ymir. In a way it could be implied Eren almost regrets wrapping the scarf around her (this is heavily emphasised as a symbol of their relationship), for me the scarf seems like a softer symbolism for a chain - a binding if you will. By wrapping it round Mikasa he binds her to him. He has always insisted she should throw it away, even in 138 within her own conjured reality he says the same. She needs to kill this part of herself or “the same history” will be repeated. I do have a HUGE feeling in my heart, head and gut that Mikasa may need to end up dead first as I do have another HUGE feeling that Eren is not dead (maybe its wishful thinking, but his death doesn’t make sense right now, so Yams I trust in you for explanation). His death seemed too convenient.

Now, before I go onto “Ackerman” gene factors, I’ll briefly bring in another peculiarity I have always had about a particular scene in the beginning of the manga. After it is decided Eren will carry the boulder to plug the wall, Eren (the attack titan) seemingly loses control and succumbs to pure rage, in turn he attacks Mikasa. Something he hasn’t done against humans unless its free will.

However, a part of me has always felt that this could be the attack titan itself (in past inhabitants and memories) recognising her as a threat and trying to rid her of the world first to avoid the loop of Eren dying first to Mikasa controlling the loop to return to try to save Eren - nothing changes. This is what I meant by “breaking the wheel”, we have saw it in other tales, things can’t change unless you choose a different path than the same one with the same brutal cycle. As Kruger says, to save Mikasa and Armin, Eren has to change things - this could be to separate not only Armin, but Mikasa from him, that maybe in previous loops...they follow him. In this instance, he has definitely separated Armin and by way of second hand - Mikasa too. Hence why Ymir says goodbye to Eren in 138, he is free. Another notable concept is that aot/snk is made up of trios, we see it in:

Eren / Mikasa / Armin

Reiner / Bertholdt / Annie

Connie / Jean / Sasha

Hanji / Erwin / Levi

Levi / Farlan / Isabel 

Kenny / Levi / Mikasa

It would partially make sense for the trio to be the reasoning for the ending. Almost illuminati based - very yams style. 

Why not Mikasa?

Lets talk Ackerman and a slightly different theory, but with relation! 

(Obviously, I cannot provide much evidence to support any Ackerman based theories other than what has already been provided, which isn’t a lot to be fair. Dammit Yams)

I want to briefly start off on the Ackerman front with a brief comparison of our two currently known Ackermans: Levi and Mikasa. The main categorising difference between these two is that Levi moves on regardless of what happens to him or his comrades or his ‘attachments’. He also does not appear to experience these headaches, some say he does, but I can’t find evidence. Isayama shows these headaches with a throbbing sign around Mikasa’s head - so unless the Ackertalk happens and Levi confirms it, its still absent in theory. Levi treats Ackerman-ism as moving on, making choices with no regrets (as his backstory indicates) and even in current states he has said he doesn’t regret his decisions. It is why he is able to move forward and keep surviving. Its simple...his mindset is stronger than Mikasa's, she is the weaker link. This could be due to age difference and overall past experience, Levi has more life experience as an Ackerman to have mastered his emotion and reactions to outcomes - he accepts the bad. 

Mikasa is weaker in this regard, perhaps if you link it back to the theory of her control of the loop...due to this weakness she creates the loop since she can’t accept his death and tries to return to make amends. I think in reality, Eren knows due to the attack titan ability - he will die. Hence why he appeared so shocked upon making contact with Historia to then very depressed and detached before vanishing in Marley. He became aware of the outcome and I don’t know about anyone else, but I’d be depressed too after finding out my life was made to end especially since all he wanted as a character was Freedom. Eren x Freedom will be the only canon ship at this rate.

However, I do think the only way she can create said loop is through her Ackerman gene. Ackermans are products of ‘titan science’, they were genetically engineered (if you want to put it that way) to have titan like abilities while still maintaining their human form and sense of self being. Created to protect the Fritz family (royal blood), to eventually being ostracised for their dismissal of the plan to wipe Eldian’s memories. Therefore banished, but allowed to live, I can only see there being one reason why - they would be still useful at some point and their deaths/extinction would be wasteful. 

From what we know and can tell from mere viewing, the Ackermans are very skilled and powerful beings that have ‘hosts’ or attachments (I like this name better) to channel their goals, strength and energy into. They were made to protect, fight and survive. The only surviving Ackermans are Levi and Mikasa.

They cannot be affected by the founding titan and their memories cannot be altered. But, this brings about another question. Why were they created to protect the founding titan, yet could not be controlled by it? The theory with this bloodline is that they can do more than what we see, that they themselves don’t know it yet. One in particular can alter realities - that being Mikasa (as we don’t have mass amounts of information on Levi’s experiences other than his surge of power awakenings demonstrated throughout the manga to confirm his part) due to fact Levi really only knew he was an Ackerman within his 30′s after the previous Ackerman - Kenny, dies and informs him of this. Mikasa has always been aware. 

Mikasa’s ‘Power’ ultimately has something to do with the Attack Titan and the Founding titan - that being Eren and Ymir combined. In past loops, I believe each time she has seen Eren die she has said “see you later, Eren”... hence the ending of 138 and the beginning of the manga. Isayama did say the beginning would relate to the ending. Each time this happens they are transcended to the point Eren wakes up at the tree within the walls to begin once more, its the only clear explanation for why Eren comments of her hair length. The attack titan itself is the component of Ymir that captivates her freedom, it continues to move forward for 2000 years each successor until one has the power (the desire for freedom like her) to release her from enslavement to the power of the titans. In this instance Eren too has been a slave to the power, lets for arguments sake blame Grisha for passing it on to him. 

Again, with the Ackermans there is something I’ve always noticed between Levi and Mikasa - they have never touched skin to skin. It has always been over their clothing. I wonder if their Ackerman powers may stem similar to how Eren draws memories from contact with the royal family, i.e. Historia. They need to touch in order to access Paths and manifest it into their control. Eren is aware of this due to his connection to Ymir - there is heavy implied material to denote the idea of Ragnarok and reincarnation. Eren is the reincarnate of Ymir and previously I don’t think they were aware of this.

For anyone not familiar with the term “Ragnorok” - its definition has multiple meanings in Norse mythology. Particularly - development, origin, cause, relation and fate. It is a series of events that often lead to a great battle, the deaths of multiple people of importance to the ultimate end revelation of the world being remade and fertile (the opposite of Zeke’s plan) with the remaining ‘gods’ returning and ‘two’ human survivors repopulating the world. I personally believe this to be either two of these: Levi and Mikasa or Eren and Historia by the way of Ymir as the ultimate god, but just in different ways. The Ragnorok element is particularly of importance within Germanic studies, this would connect with Shingeki no Kyojin since it is implied its set in early germany/europe and given characters name origins - it makes sense.

The two human survivors are that of Lif and Lifbrasir (shown below) who survive by ‘hiding’ in the woods while the great battle commences. 

They repopulate the world starting with a daughter. In germanic regions, the concept of mankind originated from trees is an ancient notion “the tree of life” essentially. Trees have a massive importance and connection in Shingeki no Kyojin, we see Eren wake up at one in the beginning, the main Path coordinate resembles a tree, Ymir originated from trees and being within the woods would indicate “trees”. This would make me more inclined to believe the Eren and Historia theory to be likely, simply because Historia is all the way back in Paradis and potentially Eren himself by transferring subconscious. To me it seems very likely the leaked final panel released by Yams himself is Eren holding a child rather than anyone else as whoever this figure is tells the child they are free and this could only relate to both Ymir and Eren, the ones who sought freedom. This could mean in this instance Levi and Mikasa are the ‘gods’, the ones with the power to restore and mend, again through the concept of the Ackerman Gene being more than what meets the eye. Ymir will be reborn ultimately and no longer enslaved as will Eren. 

Ragnarok and Shingeki no Kyojin combined have connotations of ‘fate’ being a big part of their depths. It is fated. Everything is. Just like Eren’s death and potentially ability to be reborn into another timeline. Just like Eren’s fate to obtain the founding titan and attack titan, both very powerful titans in the manipulation of time and events. Eren makes a statement around chapter 123 in Paths when talking with Zeke that if someone tried to take his freedom, no matter who, he would remove theirs. That he has been like that since birth because he was “born into this world”.

Zeke: “Since birth?”

this further implies fate. He was born free, he expresses detest for people who aren’t free and bound by something, 2000 years, Ymir etc. This only ties together if Eren himself in past lives was someone with the same views and personality traits, like Mikasa, except hers are the opposite. Paths has always been there and everything that has happened in the past is imbedded within its clutches through Ymir. These two titans needed to be combined, Grisha was informed by Eren himself through Kruger and future versions of himself that he had to obtain the founder or nothing could be changed. Grisha is even seen asking Eren to show him everything that happens, whether carla dies etc. He did not have full control, this was made for Eren’s inhabitant period and he did not have access to all memories due to only being able to access the ones the future successor sends back in time. Like the mirror scene for example, Eren is speaking to someone else, not himself. Grisha was only instructed to go within the walls and have a family. Eren was instructed to save everyone. Remember that the common rule with time is that you cannot change the past or it significantly alters the future.

I believe all the memories (the ones we are seeing even now) are actually in paths, the story has always had an indication it is being ‘narrated’ by someone - in most instances this is Armin. This has implied he will survive into the future, but that others may not. How this will happen...I can only theorise that Ymir will factor into who lives or dies. She will need to leave paths however, the only way the titan curse will end is if she leaves and no one is there to build titans. She will be either reborn to capture her freedom or reborn through Eren for them both to obtain the same dream. There has been multiple theories that some other titan other than the attack titan could be the key or another character, like that of the Ackermans or armin for example as I do think the trio concept is likely. But, remember the manga is called “Shingeki no Kyojin” meaning “the attack titan” - its always been the key and Eren is that key...again, key? Eren. scarf? Mikasa. Equals symbolism.

At the end of the day, the characters who I feel personally will tie together the ending are Eren, Ymir, Historia and Levi, Mikasa, Armin - both trios on different sides of the coin. Just remember, this isn’t the type of story where the characters get what they desire and that they could die without obtaining these desires. Erwin died before learning the truth of the outside world. Hanji died. Sasha died, Niccolo lost her. Floch did not live to see Eldian rule. Levi may have killed Zeke, but what for? He killed a different version of him, not the one who murdered innocents in Shinganshina. Levi lost every attachment of his. Mikasa lost Eren. I’d be angry and sad for him, but Eren also could lose his freedom by striking a deal with Ymir for her own freedom. But! he could free the world and his friends through both Mikasa and Armin, the chain will break, the titan curse will end and he will cease to exist or be lost in Paths dormant, unlike Ymir for 2000 years. This would be a good culmination of Eren’s character, extremely heart breaking, but fitting. A character who only sought freedom for humanity. He is humanity’s hope after all. Remember, Kaji Yuki (Eren’s Japanese voice actor) expressed extreme sadness at learning Eren’s fate from Isayama. It has always been a manga that indicates a bittersweet ending, so this could also be highly likely. (Eren is my favourite character...so this guts my heart from my chest)

To conclude, these are merely my own speculation of the final events within 139 and although sad of its ending, my excitement for this final instalment knows no bounds. I can only wish for the best and I know Isayama will deliver. 

[washymylifeaway]

MatsuHana fanfic recs

HI LOVES :D MatsuHana is one of my FAVORITE ships and I always love reading their fics! I’m procrastinating my other wips rn, so that do be why this is coming out rn LOL. Also that ask really made me get onto writing this, so anon thank you for sending it in LOL. There are some with VERY sensitive topics and they’re very BOLD, but I hope you all are safe while going through this list <3 (also matsuhana leans more to lots of drinking, spicy smut scenes, and teenage boy humor (like d*ck jokes and sexual innuendos) and sometimes I don’t remember to warn for that, so again CAUTION)

As always, pls check WARNINGS, TAGS, and SUMMARIES for fics before reading and make sure you’re taking care of yourselves (since mental health is key!) Stay healthy loves <3

CP:

plus one by orphan_account (G) 6.1k // this fic made me feel so warm and fuzzy inside LOL. It’s also hilarious and is definitely worth a read! When will I get to share a heart shaped bed with someone :( But I really love it when they just go with the flow of things, and other people are like,,, aren’t you already dating? BUT THEY’RE LIKE UMMM NO? HSAKJSH.

rated m for by orphan_account (T) 10.7k // I love this fic it made me laugh so much throughout the whole thing! The vibes in this fic are immaculate and give me life (we love a good reunion with mystery writers), it is SO good! That’s why you should never leave/stop listening prematurely (@ iwa when he was a single dad fic). 

This gets annoying fast, Makki by Ink_stained_quills (G) 2.3k // IM IN LOVE WITH THIS FIC PLS I COULD NOT STOP CRYING TEARS OF LAUGHTER. This AU needs more fics PLEASE. It was SO freakin’ funny and the other teams KILLED ME. Like how they all approached the problem differently and how some of them (KUROO) asked for help LOL. Please this is so freaking funny go read it.

quidditch gloves, parchment, and custard cream by h_lovely (T) 12.4k // THIS IS SO GOOD, I love this fic. It really takes you through the emotions, and I love all the development in it!!!! Their relationship with one another (but only as homies right? ofc ofc), and even their families loving the other, this fic is so good! Read it even if you don’t like slow burn, you won’t even notice <3333

call me maybe by totooru (T) 33.6k // okay yea another (semi) chat fic,,, fight me. MatsuHana are just funny in general but throw some other characters (like Kuroo) into it and it turns into a comedy show. But the main point of this fic was like the near miss meetings and I think that the misunderstanding were hilarious (as much as I hate misunderstandings LOL).

Magical Mishaps and How to Deal by plumtrees (M) 10.9k // I lost this fic once and I searched for it FOR THE LONGEST TIME. But that’s cause I wanted to reread this masterpiece. IT’S SO FUNNY AND CUTE AND DOMESTIC AND UGH. Also the small angst made me SO SAD. But the ENDING? THE KISSES AHHHHHHH. (I’m yelling a lot BUT that’s cause I really love this fic <3333)

hang out fall in love by carafin (T) 8.6k // I love the Makki hates Mattsun initially but then falls for the irresistible charm he posses trope. It might be my favorite trope for MatsuHana specifically LOL. Like I really love this fic and it has MAGIC. It’s like a magical version of the VA one LOL. But like no radio shows or reunited best friends in this one :(

THESE ARE VERY ANGST!!!!!!!

boiled frogs by reginagalaxia (E) 91.5k // is it possible to hate a character this much? I never realized how much hate/rage I had in me. Really. Like. Imma boutta fight this MF LIKE SQUARE UP. The way I tried to manifest a fake characters death like,,,, Anyway. If my RAGE doesn’t explain how good of a freakin writer they are, then idk what will. PLEASE READ THE TAGS AND WARNINGS, THERE ARE VERY SENSITIVE TOPICS!!!!

Even Though it All Went Wrong by plumtrees (T) 9.2k // THIS IS THE REASON THIS POST CAME TO BE. I love this fic with all my heart (or what’s left of it). Like LOVE as in, this fic really broke me beyond just breaking me. Like. When Oikawa says what he says to Mattsun after the thing (you’re sorry __ _____ __ ____) and the Iwa right after (we know __’__ ___ ______ to make you ____ __ ____) (if you’re wondering wtf I’m putting here, just ctrl F you’re sorry and you’ll see), you cannot believe how hard that hit. GOD. (I am okay if you’re wondering :’)) This is my #1 favorite angst fic of all time and if you are okay mentally and have read the tags and warnings and are fine with them, then please read it. PLEASE READ THE TAGS AND WARNINGS, THERE ARE VERY SENSITIVE TOPICS!!!!

The Truth Comes Out by Your_Friendly_Neighborhood_Pigeon (T) 10.2k // this made me so sad and empty after I read it. Like I just sat there being like wtf did I just read I’m sad now. Again read the tags, there is a suicide attempt but there’s also some cheating in this one. This one also ends happy. PLEASE READ THE TAGS AND WARNINGS, THERE ARE VERY SENSITIVE TOPICS!!!!

New:

kiyala // this writer has a LOT of fluffy MatsuHana and I really love their works! It’s just all (for the most part) really cute and there’s a lotta blurred lines and boundaries that get cleared up (they define what their relationship is but with ~love~) in their fics :) My fav? Making Sense by kiyala (T) 1.5k // it’s very cute and I am one who loves when things just fall into place :D

tookumade // this writer has some of MY FAVORITE MatsuHana fics in it and I’m kinda really sad I don’t get to ramble on about them here :( (dw I will elsewhere LOL) If I had to choose, I would say Remind Me by tookumade (T) 28.6k and Zenith, Nadir by tookumade (T) 10.7k were my absolute favorites, but I cannot choose between them so don’t make me.

plumtrees // I LOVE THIS WRITER OMG. Again, someone who has written my all time FAVORITE fics (did I mention OF ALL TIME?) and I’ve obsessively read some of them too many times :’) Because I already recommended my other faves above, Captured Light by plumtrees (T) 3.5k will be my acting favorite rn. It’s really cute and depicts some really sweet moments between MatsuHana too!

h_lovely // this writer has SO MANY GOOD FICS! I really love their series and their getting together fics are all SO GOOD UGH. I recommended my favorite teen one above, but the other ones I loved are explicit so just check out this writer in general LOL. (I REALLY love mirror flower, water moon, it’s my favorite but it’s E cause some smexy scene happen, but it’s really SO good omfg. Also the roses series IS AMAZING as well!!!!)

cream puffs and carnations; by crossbelladonna (series) 11.6k // AU SERIES!!! I love the AU’s in this series and I really liked the prompts they chose for this MatsuHana week :D My favorite from this series might’ve been there he is again by crossbelladonna (T) 1.6k cause a) I love the mattsun hc in this (for his appearance) and b) IT’S CUTE :D I definitely related to Makki and his not very subtle crushing, and also I like the IwaOi + Makki as friends trope (and then they meet Mattsun), if you couldn’t tell yet LOL.

on the anatomy of crushes by carafin (T) 2.3k // (kinda cp but not LOL) it’s very short and cute and I love it a lot LOL. I love medical AU’s (even though it’s very back burner LOL), but also, like Mattsun saves the day is the move. Like the dedication he has even going on the bus? Especially for a guy? Amazing. I could never :’)

Parallel Lines by orphan_account (T) 16.3k // IN LOVE WITH THIS FIC LIVES IN MY MIND RENT FREE CONSTANTLY. I hate math. Just putting that out here. And while it’s a math fic, IT? IS? SO? GOOD???? And like I love it when characters are smart, like I love intelligent characters so like this was just ajndf. (also same Mattsun, I am allergic to normal math.) 

live it up, drink it in by punybastard (T) 2.1k // GAH this one! This is a pretty iconic fic in MatsuHana hell (in my personal opinion) and if I didn’t have that two fic limit on my staple fics, this would be there. I really loved the ending of it (v cute and v well done), but also the small side stories that were inserted made it all the more entertaining :D (aka the volleyball) But they are drinking underage, so if you’re not about that BE WARNED.

it's cold out here by bishounen_curious (M) 8.6k // PLEASE I LOVE THIS FIC. YES READ YESYESYES READ. OKAY FIRST check tags and warnings, there’s a lot going on in this fic. Like don’t be stupid like them, drinking underage, and don’t do drugs not a good idea very very bad. Aside from that, I am in love with sad sad sad Makki (along with stupid IwaOi) and him being a sad drunk made me ajhkjdfs. Just read it and feel the akfnakjs with me LMFAO.

poolside by tothemoon (T) 4.1k // I’m starting this out with I LOVE the ending and I REALLY LOVE the way this confession panned out. It’s such a great concept and it made me ajhfldshf inside!!! Also, recursive endings are some of my favorites (if you couldn’t already tell LOL), and I think it really makes something so nostalgic and adds depth to a fic.

The Courage of Stars by FairyLights101 (T) 7.1k // AHHHHHHHHHHHHH I LOVE THIS FIC YES!!!! OKAY TW CANCER THERE’S CANCER IN THIS NO DEATH JUST PAIN and chemo (which basically is pain). Some controversy, but the angst part of me wanted him to die DONT GET ME WRONG, I’m glad he lived, but like imagine. I really love this fic, and his efforts in the bucket list were admirable :’)

we could be the greatest team by anyadisee (T) 5.7k // it’s my crack fic :D Yes, this is just Seijoh messing around, boys being boys, relationships being compared with other relationships. No pining, just me with my established relationships (and Iwa fanclubs cause those are a thing. ALWAYS).

Wet Your Whistle by darkmagicalgirl (E) 5.4k // SMUT ALERT okay but like while it’s a major plot point (lmfao I can’t believe myself), the storyline itself is good. Also, I’m all here for bartender Makki and tattoo Makki and not subtle at all Makki and basically everything Makki. I like banter and stupidity okay?

[obnoxious clucking noises] by parenthetic (renaissance) (T) 3.4k // some more crack fic for you <3333 Literally, just idiots being idiots. That’s the fic. LMFAO but seriously, I would like to participate as well,,,,, I have yet to lose a game of gay chicken cause of my lack of fear akdjaslk.

that's what you get (for waking up in vegas) by skittidyne (T) 4.2k // THIS IS SO FUNNY. I love Elvis cause he’s always officiating marriages in my fics LMFAO. But also IwaOi in this added some real nice comedy, and overall another crack fic but I really liked this one (AGAIN LMFAO).

A Bouquet of Flours by guyfierimpreg (G) 5.2k // first I want to know how they got the flour to scream, I just can’t figure it out so if anyone would like to send me pictures that’d be great. Second, they would do this bs and this is all canon. I said what I said, and I don’t take criticism. Like, matsuhana best parents proven by the magical mishaps fic (LMAO).

texting (with a capital S) by parenthetic (renaissance) (M) 2.1k // okay I just wanted to say that the accuracy in the math stuff being mentioned makes me feel like this writer was in calc ab or something and that’s trauma right there. Anyways, it’s a texting fic kinda sorta getting together kinda sorta not? Idk how to explain it, but it was funny and then smut LMFOAJIAHFSJS (the derail was just like IwaOi in gay chicken, someone call the police LMFAO).

nebulas by tothemoon (T) 10.8k // I like the casualness of it. Like the confession was just so casual (smooth Mattsun) and like the progression was GOOD. Like, it’s a very poetic fic and there’s lots of thinking of deeper meaning, but its still got some comedy sprinkled throughout. I really loved the flow of it!!!!

my heart beats for contract law by orphan_account (T) 4.4k // I too would have a breakdown over school (me pretending like I haven’t already done that ahaha), but I really love so many things about this fic! Everything was just so ajsdfljdsn and I really love the 3 part plan Mattsun comes up with :DDDD (esp pt 3). Also, to propose while having an emotional breakdown at 3am in a McDonalds drive through. A mf dream.

Reflex by hiuythn (T) 2.3k // PLEASE IF THEY DIDN’T MEET AT HS THIS WOULD BE CANON ASF. You cannot tell me you don’t think this would not be cannon asf. They would meet like this. Also poor Teuchi stuck in the middle of all of this. I haven’t watched naruto, but it doesn’t really matter. What matters is random emotional sexual bonding over something. That is important. (THE ENDING AJKFHKJ)

You're in Pink (and I'm in blue) by Hyeyu (T) 4.4k // whooooo Hanahaki whooo anyway, despite how it seems, I like the hanahaki trope. I don’t fully understand it sometimes (most of the time tbh), but it adds some nice angst and desperate confessions, and I do appreciate those :D Honestly, I really liked the way this fic panned out, and I felt really bad for Iwa LOL.

stranger things by tinypersonhotel (G) 10.2k // I really like this one :D:D:D I love Makki + Oikawa friendship and they’re really the best to each other :’) The ending was satisfying, and the PLOT omg. It was SO good. I feel like I say this a lot though LOL, but I’m just really into fics with good plot progression (or else I don’t read them OOPS).

something of a disaster by latenights (T) 1.4k // chaos ahahhaha. Another crack fic? I hope no one is surprised LOL. It’s just a really short and simple, cute getting together fic with a LOT of insults LOL. I love this one in particular, “Tooru’s dinner special”.

snakes, meth labs and something like love by orphan_account (G) 3.6k // THE ROOMMATE AD PLEASE. I honestly would never think Oikawa would get a snake, but that doesn’t matter LOL. This was me indulging myself in the makki IwaOi best friends and mattsun stranger agenda but it’s a great agenda okay? It’s a good fic and there’s a microwaved fish :D

Lemonade by carriecmoney (T) 4.1k // okay once again, responsible drinking and don’t drink underage bad idea smh. But MatsuHana just making out where they want? I could see that. Yeah. Anyway, as much as public make out seshes make me *gag* feel embarrassed, what made me feel more *gag* embarrassed was the fact that the girls? just? stood? there? Like why are you watching this. Is that just me? I feel like they should’ve left smh.

surprise, surprise by airblends (T) 7.6k // some more pining and dancing around the issue whoooo. As much as I hate them not getting to the point (almost as much as I hate misunderstandings), it was a great fic. This is nosebleed c*ck block (idk if I needed to censor that but I did fight me).

A God for Every Season by timkons (T) 18.4k // I love the Hades and Persephone trope! Okay, I just love mythology leave me be, but anyway I really love a lot of this fic. Like how Mattsun thinks it’s a little brighter with Makki? CUTE I LOVE. But also, the fish funeral is ridiculous but also very on brand for Oikawa. And some BokuKuroo (idk is that their ship) in here as well :DDD

The Best/Worst Places to Cry in the City by AngryKitten (T) 4.4k // literally it is the title. Just you know, looking for the best place to cry in the city,,,, I’d like to say, don’t cat call people cause we’re not about that here. Even if it worked out for them, just don’t do it :/ Also don’t follow strangers. I feel like that’s a given but jic ya know?

this isn't exactly how i thought i'd be spending my adult years by jadedpearl (NR) 7.5k // okay petty Makki is yes and so is my Makki + IwaOi agenda LOL. (I’m thriving here can’t you tell? Yes regular skype/phone calls constantly) Anyway, blackouts and sickness really be here getting people together. (I’m asking nicely, nike.) And Makki is smooth with his words. (SHORTER MEN MADE ME LAUGH)

chocolate by tellalie (T) 3.6k // the dedication in this fic was amazing. Like making a whole a cake? Someone go do that for me. (For mankind.) Fake dating is really something else, but fake dating to out gag your best friends? Seems like I need to step up my game (but no seriously, my best friends are PDA monsters I hate it here). Also practice confessions are wack.

FINALLY I MADE IT. You don’t know how many times I almost gave up on finishing LMFAO. Is this my longest list? Idk. But I just know that I would’ve finished faster if I didn’t end up rereading almost every fic on this list LMFAO. Like no seriously I almost had to make a post saying this wouldn’t be coming out cause I got distracted by one of the longer fics (I’m blaming Mirror Flower, Water Moon specifically). But I hope you enjoyed this, and once again go thank that anon for spurring me into finishing this list LMFAO (am I a horse? Yea, probably but if one thing, I’m not sturdy).

[scottymcgeesterwrites]

ScottyMcGeester Plays Every Final Fantasy Game*

*Okay, all the main games except 11 and 14 since they are online only, and also no spinoffs or sequels.

THE INTRODUCTION

Years ago, I had a goal to finish every Final Fantasy game. As of December 30, 2020, I finally reached that goal. I originally started posting these reviews way back in 2017 on VGF(VIdeo Game Forums), and posted one review after another as I completed each game. I had already finished a few before I started reviewing the series, such as Final Fantasy I, II, VI, IX, and X.

Final Fantasy X was my very first Final Fantasy game, way back when it first came out on the PS2. It took me years to finish that game, mostly because I was still a novice at RPGs and I didn’t quite know what I was doing. Still, the world and concepts of Final Fantasy gripped me. As a sci-fi/fantasy writer, they inspired tons of elements in my stories. The series spans a multitude of genre-bending stories – sci-fi, fantasy, some steampunk, modern fantasy, space, traditional fantasy with knights in armor – and a whole lot of crystals. I wrote these reviews as if you have no idea what Final Fantasy is – whether you are a gamer or non-gamer. This first post is a general introduction to the series as a whole, but even if you are a die-hard fan already, there are some things that I explore that I hope you'll find interesting. What is Final Fantasy? Final Fantasy is a roleplay video game series that started back in 1987. The first game was reminiscent of Dungeons and Dragons, where you could choose one of six roles for a team of four: White Mage, Black Mage, Red Mage, Thief, Monk and Warrior. Square, now known as Square Enix, developed the game. A legendary rumor about the title “Final Fantasy” comes from the story that they were on the verge of bankruptcy. They only had money for one more game, a fantasy game. They dubbed it “Final Fantasy.” This apocryphal story is nowhere near true. Square had made video games before and they didn’t do well, but the company itself wasn’t on the verge of bankruptcy. What happened was that the developer, Hironobu Sakaguchi, had planned to retire. He didn’t see any foreseeable future in video gaming with Square’s mediocre performance. He wanted to make a fantasy game and dubbed it “Final Fantasy”, since it was to be his personal last work. He also wanted the game to be abbreviated as “FF” – they originally had “Fighting Fantasy” in mind but that name was already trademarked by a board game. Final Fantasy initially sold 400,000 copies in Japan and became and instant hit. Nintendo of America approached Square to release a localized version for the states. Final Fantasy became far from Sakaguchi’s last game. What’s Final Fantasy about? Every main Final Fantasy game has a new story with new characters and even new gameplay. Some games have direct sequels and are recognizable with a subtitle, or an additional number following a dash. For example, there is Final Fantasy VII, and the direct sequel to that Dirge of Cerberus: Final Fantasy VII. There's a direct sequel to Final Fantasy X titled Final Fantasy X-2. But even though each Final Fantasy game is different, there are still central elements that make them a Final Fantasy game. You can’t just write up a random fantasy story and slap the Final Fantasy name on it. The following elements are what make a Final Fantasy game. Some are obvious while others not so much. Chocobos:

Chocobos were first introduced in Final Fantasy II, but have been present ever since. They are cute, large birds that the characters often ride across fields or sometimes call into battle. They have practically become the mascot of the series. Moogles, Cactuars and Tonberries – oh my!

Moogles (pictured above) are telepathic creatures that help the players, or sometimes they can be a playable character. They debuted in Final Fantasy III.

Cactuars (right) and Tonberries (left) are cute, unassuming enemies that are actually highly dangerous, killing you in one shot if you are not careful or fast enough. The former debuted in Final Fantasy VI while the latter debuted in Final Fantasy V. Summons:

Sometimes they go by different names, like eidolons or espers. Summons are massive, fantastic beasts that you can call upon to aide you in battle to fight the enemy. Summons became a staple ever since Final Fantasy III. In some games, they are merely there to call into battle, while in other games they are central to the story. Airships:

Airships have been present since the first game. They are massive boat-looking airplanes. In the more recent games, airships look almost like spaceships.

Cid:

With the exception of the original Final Fantasy (except in later remakes), every game has a character named Cid. Cid is typically the character who owns an airship.

Items and Magic Spells:

Each game shares virtually all the same items and magic spells. Antidotes. Eye drops. Maiden's kiss. Holy water. Phoenix Down is well-known for reviving knocked-out characters in battle. The spells follow a hierarchy of levels. For example, Cure is the basic spell to heal somebody. The second level spell for healing is Cura. Then Curaga. Then finally Curaja. Most other spells follow the same format. The same high-level spells also frequently appear throughout the games, such as Holy and Flare.

Crystals:

With a few exceptions, crystals appear in nearly every game. They often serve as plot devices, whether they be the force that protects the planet or powerful objects coveted by the enemy. They also oftentimes have a consciousness of their own, communicating with the characters and calling them to their destiny.

Mythological References:

Final Fantasy is riddled with mythological references. Many summons and creatures take the names of mythological creatures or deities, such as Shiva, Bahamut, Leviathan, Behemoth, Odin, and Ifrit. Certain villains share the names of mythological figures or they are derived from certain mythological concepts, such as Gilgamesh and Sephiroth. Many of the games have legendary weapons you can find near the end of the journey. These are typically named after legendary Japanese figures, such as Masamune and Yoichi, or other world mythologies, such as Thor’s hammer Mjolnir. Saving the World:

Final Fantasy isn’t about saving a particular princess, or person for that matter. The ultimate goal is to save the entire world, or even the very fabric of reality. Evil spreads in many ways, such as a sealed darkness trying to break free, empires with ambitious goals, villainous subordinates who pull the strings of politics, or empires destroying the environment. Typically, the main cast consists of characters from all walks of life. They all have to learn to work together and get through their personal struggles to save the world. Existential Crisis (or Startling Revelation):

By the time you reach the third act of a Final Fantasy game, some startling revelation forces the characters to question their very existence. A villain is revealed to be a hero’s family member, a main character realizes they're a clone, another realizes that they cannot live without magic, etc. Typically, the main character questions the nature of their soul, if they die like regular beings and become part of some greater life force, or blink out into oblivion. Whatever the revelation may be – it serves as a final crisis that the characters have to overcome. The Descent into Hell:

Every third act of a Final Fantasy game ends with what I like to call a “descent into hell”. The final dungeon is always some kind of bizarre world. In Final Fantasy II, you literally descend into hell to fight the Emperor. Throughout the series, hell is more metaphorical. The final dungeons can be a massive, sprawling tower or dreadnought, or a strange dimension that appears to have no rhyme or reason. Sometimes I'm reminded of M.C. Escher’s work, “Relativity”, or sometimes it reminds me of some cosmic horror featured in the Cthulhu Mythos. These final dungeons can be inter-dimensional rifts between space and times, pockets in reality, subterranean depths, insane worlds that the villain created, and worlds of darkness. (Final Fantasy IX's Memoria)

(M.C. Escher's “Relativity”)

These stylistic approaches for the final dungeon represent the oncoming battle with the forces of chaos. Fighting God:

After venturing through the surreal and hellish final dungeon, you face the main villain. The main villain always achieves godlike status or the characters actually have to defeat a god in order to save the world from its oppressive reign. Many stories appear to throw in a last minute ultimate god who was pulling the strings of the plot the entire time. The purpose of dealing with gods and goddesses represents the characters’ desire to control their own fate and alter their destiny. Most of these bosses are strange and grotesque, definitely getting a Cthulhu vibe from them. I looked at them and thought, "Christ, what the hell is THAT supposed to be?"

It always feels like THE final fantasy:

Each game, no matter what happens or how it happens, feels like the be-all-end-all of its story – its fictional universe. Direct sequels were unheard of until Final Fantasy X-2, which while fun, was wildly different in tone from the original game, and critics pointed out that it ruined the finality of Final Fantasy X. This is one reason why I think direct sequels to Final Fantasy games fail – what else could the main characters possibly face that is more dangerous than the one they just encountered? Anything else would feel like child’s play to them. NOTABLE PEOPLE Aside from the characters, stories and games themselves, the people behind the series have achieved legendary status. Nobuo Uematsu:

The original composer of Final Fantasy. Uematsu single-handedly scored the first 9 Final Fantasy games. Uematsu surprisingly never had any formal training in music – a trait that would ostracize any composer, such as Danny Elfman. I find that the those who haven't had any formal training usually break the mold with music. Uematsu started working for Square at around 25 for the first Final Fantasy game, starting out with nothing and never suspecting his job would lead him where he is now. His music is unique for incorporating elements of classic and progressive rock, specifically in the battle themes. Uematsu’s themes for each game have achieved instant recognition in the gaming world, as recognizable as the theme to Star Wars or James Bond. Tetsuya Nomura:

Tetsuya Nomura is a video game designer and director who started at Square in 1990. He rose to prominence when he was given full control of designing the characters for Final Fantasy VII – arguably the most popular Final Fantasy game to date because of its characters: Cloud Strife, Tifa Lockhart, Vincent Valentine and Sephiroth. Nomura went on to create more legendary characters for Final Fantasy VIII, X and XIII. Yoshitaka Amano:

Amano is the artist whose work is most known now in Final Fantasy. He has done concept art and design for every game in the series. His style is instantly recognizable. He has also drawn for many anime shows, comics and mangas, such as Vampire Hunter D and Sandman: The Dream Hunters.

And last but certainly not least - THE MUSIC Final Fantasy has left its mark in the musical soundtrack of video games. Each game more or less shares three of the same memorable tracks.

The Prelude:

The Victory Fanfare:

The Final Fantasy Main Theme:

THE REVIEWS

Each review I post will critique major aspects of each Final Fantasy game, such as its gameplay, graphics, story, and music. Today is currently January 3, 2020 (technically the 4th when I post this because it’s past midnight), and I will be posting one review per day so as to not lose my sanity editing and formatting everything at once here. So look forward to the very first review tomorrow starting with the very first Final Fantasy game.

[twentiethcenturymoviesandtv]

Star Trek: The Characters

Storytelling, especially where it regards movies and television, is always evolving.  

Whether it’s in deeper themes, better effects, different genres, or evolving archetypes, there is always something that is changing, except, perhaps, where the importance of characters are concerned.

Characters are an integral part of storytelling, particularly where it concerns television.  When it comes to television, the setup is everything, and the characters are part of that setup, that ‘home base’ that the audience returns to at the start of every episode.  The characters are the people that the audience gets to know, who star in each adventure.  Characters are what holds the audience’s investment, the reason fanbases tolerate bad episodes and praise good ones.  In the end, the main characters keep an audience’s attention, making each episode, even the bad ones, enjoyable.

In short, characters can make or break a television show.  It is vital that they be likable, or at the very least, interesting, lest the audience utter those eight deadly words:

I Don’t Care What Happens To These People.  

Once those words are uttered, it doesn’t matter how gripping your narratives are.  The viewers will start to leave.

See, while a film can get away with some lesser characters by distracting with an interesting concept, set-piece or a fast-paced story, television can’t.  Thanks to a smaller runtime and a smaller budget, television, by necessity, tends to be character based.  As a result, the main cast of a television show has to be able to work in multiple stories of different kinds.

This means that writing for characters on television can be pretty difficult.

The best television characters tend to merge two ideas together: That of relatability and entertainment value.  

You see, television, like all stories, tells stories of exaggerated versions of reality, especially in the cases of science-fiction adventure shows like Star Trek.  The only way to make an audience buy an unbelievable world is to create believable characters to place in that world, that relatability in the stories and characters.  When we see McCoy’s frustration, or Kirk’s boldness, or Spock’s reservedness, we see elements of ourselves, our own personalities and lives.  It is vital to make characters seem real, if not realistic.

The question is, does Star Trek manage to do that?

That’s the question we’re going to be answering today.  Let’s take a look, starting with the Captain of the Enterprise Crew: James Tiberius Kirk.

Kirk truly was The Captain in every sense of the word.  A Reasonable Authority Figure who did far more adventuring than realistic counterparts would have, Kirk was an Action Man, level-headed, dutiful, and always loyal to his ship and his crew.  A Bold Explorer (it’s in the job description), Kirk, while not fearless per say, took the Chains of Commanding quite seriously, and would often face down hugely powerful beings, power-mad computers, or other forces beyond him in order to save his crew.  A Determinator to the last, known for his interesting ways to think outside the box and refusal to accept a ‘no win scenario’, he is the unquestionable Hero of the show, the Leader, who often throws the rules aside to do what he feels is right, in a constant battle To Be Lawful or Good.  He was a Charmer, an expert fast-talker, and very smart.  In later installations of the franchise, Kirk would become a Living Legend, much as he became in our own pop culture.

All that being said, the common cultural image of Captain Kirk isn’t quite right.  Allow me to adjust it, as best I can.

More than any other character in Star Trek, or perhaps the history of television in general, Captain Kirk is possibly the most misrepresented character of all time.  Since the ‘60s, Kirk has evolved into an icon of heroism, machismo, and brash boldness, with even the recent Star Trek reboot depicting, not Kirk, but rather, the distorted, separate idea of Kirk in the modern light.

This idea, quite frankly, is just not right.  While Kirk did have his share of romances, he was no womanizer, often entering into dubiously consented-to relationships reluctantly, in order to save the ship.  The relationships he did actively pursue, he threw himself into wholeheartedly, and he was just as crushed as the other party every time they fell apart (for proof, watch City on the Edge of Forever or The Paradise Syndrome).  Kirk was no player.  As a matter of fact, he was a deeply compassionate man who respected the women in his life as much as he respected Spock and McCoy.  It just so happened that the women in his life tended to not stick around, unlike his one true love: The Enterprise.

Even his reputation of the ‘Cowboy Captain’ isn’t accurate.  As I mentioned before, Kirk was defined by compassion.  His moments of ‘rule-breaking’ wasn’t to impose ‘the way he thinks things should be’, it’s because Kirk cannot bear to watch helpless people in trouble.  The few times where he does break the famous ‘Prime Directive’ (To not interfere with less developed races) is to help.  Kirk was a deeply moral character, determined to not stand by while people were taken advantage of.  He wasn’t rash, either.  While it may be accurate to say that the ship’s doctor, Leonard McCoy, was a bit on the hot-headed side, it is entirely inaccurate to accuse Kirk of the same.  Kirk was an extremely smart man, a level-headed captain who was an expert at thinking fast.  He trusted his instincts, but he trusted his advisors too, often finding a balance between McCoy’s impulsiveness and Spock’s cold rationality.  Kirk’s intelligence and competence is often lost, overshadowed by his more extreme companions, and some audiences have forgotten the truth of Kirk’s character: a cunning problem-solver capable of saving the day under enormous pressure, whose decisions are far from based in irrationality.  He is a romantic, duty-bound to protect his ship and crew, greatly exaggerated and mis-characterized in the years following his captaincy.

As such, Kirk was a well-rounded, balanced character, far more three-dimensional than the modern idea of him tends to give him credit for.

That’s all well and good, sure, but how does he fit as a main character in a television show?

As a matter of fact, absolutely incredibly.

Kirk serves as a wonderfully effective lead, compelling, entertaining, and interesting.  Infinitely more developed than most leads of his time, and even more modern examples, Kirk was a game-changer, a revolutionary kind of protagonist who just worked.  The perfect balance of the main trio of the series, Kirk is the perfect face for Roddenberry’s ideals: a hopeful pragmatist, an idealist who proves the best of humanity: compassion mixed with intelligence, boldness combined with understanding.  A man of action surrounded by True Companions, Kirk was an extremely gripping protagonist who felt intensely, a perfect person for the audience to connect to and be invested in.  He drove the stories, opposed the villains, and always saved the crew, as a hero should, but it’s important to note that Kirk was hugely human, possessing many of our greatest attributes, but some of our failings as well.  He wasn’t perfect.  Sometimes he made the wrong choice.  In the end, though, he was us, or us as we should strive to be: always learning and helping, and always reaching for the stars.

But of course, Kirk wasn’t alone in his position as the ‘lead’ of the show.  It’s doubtful the show would have survived in the popular culture as well as it did if it weren’t for his support team, his True Companions: Dr. Leonard McCoy, and, more famously: Mr. Spock.

If Kirk represented the best of humanity, Spock represented the critique of it.  In a previous article, I pointed out that Spock exists as a very unique character: a half alien, half human crewmember who, while equally valuable to the script and the characters as Kirk was, served a different purpose: to point out and explore humanity from the outside.

Like I’ve mentioned before, Spock is a different sort of character than Kirk is.  Where Kirk is a demonstration of the best of humanity as we see it, Spock is a demonstration of humanity as someone else might.  He served as a criticism of the human condition, a character at war with himself and his heritage, split between the emotional humans, and the rational Vulcans.  Spock is the Number One, almost Comically Serious as he eschews his more illogical half and chooses to embrace the stoicism of the Vulcan people.  A Gentleman and a Scholar, Spock has Hidden Depths, a heart of gold and deep emotions that he usually succeeds in hiding.

Most of the time.  More on that in a minute.

Spock’s role in the show was The Smart Guy, the Stoic who had all the answers, all the statistics.  He was the champion of impartial logic, of cold rationality.  His job was to give Kirk the hard answers, to bring to him the facts and give him their options, especially the unforgiving ones.  He is the cold to McCoy’s hot, a stern-faced, cold-blooded computer.

Or is he?

Much like Kirk, there is a lot more to Spock than meets the eye.  While the cultural perception of Spock has often mutated into a parody of itself, much as it has done to Kirk’s reputation, Spock remains a much deeper character than he, or a brief skim of the series, lets on.  As I said earlier, Spock is at war with himself, uncomfortable in his own skin.  He insults humans for their humanity, but has strong, deep friendships with them.  He is not above expressing frustration and their emotional natures when pushed (usually by other forces that knock his guard down), but isn’t frustration a human emotion?

Spock is a bag of contradictions, a supposedly emotionless master of sarcasm, a man without feeling who invites his close friends (emotional humans) to a private Vulcan ceremony, a cold-blooded creature with undying loyalty who occasionally makes ‘illogical’ decisions that would make Kirk proud.  A lover of music and a sympathizer to space hippies (Not one of Star Trek’s better episodes, admittedly), Spock was an outsider who fit neither fully as a Vulcan or Human, a person who was struggling to find his place in the universe.

At first, this seems incongruous with the ice-cold exterior he projects, however, rather than being an example of inconsistent writing, it’s a shining example of development and nuance.

You see, Spock never gives up his following of logic.  He just begins to approach it differently.

Spock’s style changes slightly as Star Trek progresses (most notably in the films, released ten years after the show’s final season), from cold, ‘computer’ logic to something else: human logic.

One thing of especial note in the original Star Trek show is that you could see characters visibly affecting one another.  Kirk, Spock and McCoy all influenced each other in the ways they thought, reacted, and planned, and worked best as a unit.  In this, the humanity of the main cast affected Spock in his slow, reluctant appreciation of human merits.  In time, Spock began to make one or two decisions based on human logic, intelligence and emotion.  In episodes like The Menagerie or The Galileo Seven, Spock makes decisions that seem out-of-character for him, based in emotion.

Spock is, in many ways, Star Trek’s best known and favorite character.  The most visibly recognizable, as well as the most distinct, Spock is given more episodes exploring him than any other character, with installments like Amok Time and Journey to Babel, (the latter of which we explore his parents, and discover why it is that Spock has such a hard time with his human half) helping to examine Spock as a character.

The end result was a beloved science fiction icon, Kirk’s right hand man, an analytical, fascinating character as well-crafted and loved as Kirk himself.

Spock and Kirk are often remembered fondly, and are typically considered the most memorable and iconic characters of the franchise, but they don’t work alone.  Their dynamic is as effective as it is because of balance.  Spock is one extreme, and Kirk is the middle, but it’s no good without the other extreme: Dr. Leonard Horatio “Bones” McCoy.

McCoy is all hot-blooded human, the third of the main Power Trio.  An old-fashioned competent doctor who wasn’t entirely thrilled with deep space, McCoy is a deeply emotional character, duty-bound to follow his morals.  He clashed with Spock regularly, routinely criticizing him for his perceived lack of emotion.  Despite the fighting, McCoy respected Spock greatly, counting him as a close friend, despite their arguments and different perspectives.  A cantankerous pacifist (though not above getting into the action when needed), McCoy is a Super Doc and a Sarcastic Devotee, a Grumpy Old Man who serves as the Heart to Spock’s Brain (hah!), a man who values Honor Before Reason who values the Good Old Ways.  He’s a Determined Doctor who does everything he can for his patients, and a Deadpan Snarker to the point where he can match Spock in verbal sparring.

Bones represents the unpolished rawness of humanity, getting carried away with his emotions sometimes, but always with the best intentions.  Another Jerk with a Heart of Gold, McCoy’s gruff nature accompanied a deeply moral man, very concerned with human empathy and doing the right thing.  No philosophical discussion was complete without McCoy’s two cents, telling Kirk what he thought the right thing to do was.  He was the quintessential Knight in Sour Armor, who would follow Kirk to the ends of the earth, complaining the entire way.

Despite the fact that he’s not as well-known as the other two members of the Power Trio, Bones was a vital component to the True Companions dynamic.  His Vitriolic Best Buds relationship with Spock made up one of the most interesting and compelling dynamics on the show, serving as perfect counterbalances to one another.  However, although his most famous role in the show was arguing with Spock (and delivering phrases such as ‘He’s Dead, Jim’), there is another, equally important position that he held in the trio.

McCoy served as a foil to Kirk, as well as one to Spock, a confidante, a close friend, providing perspective.  While Spock was focused on the logic, Kirk on the best thing for the mission, McCoy’s focus was purely on the ‘patients’, the people, the right thing to do.  No matter the situation, McCoy was the closest to empathy with the people involved, and provided the audience with another surrogate, saying the things that the viewers are thinking.

While not being a terribly big fan of space (and liking transporters even less), Bones was the epitome of the Frontier Doctor to the stars, taking care of every patient, even if they weren’t humanoid (Devil in the Dark) or a heavily pregnant woman who refuses to listen (Friday’s Child).  McCoy was painfully human, reminding us of our most problematic traits while also holding onto that wild, fiery compassion that made him so incredibly humane, relatable, and understandable, making him just as vital to the Enterprise and her crew as Kirk or Spock.

The trio worked best together, providing a perfect main cast for an audience to follow.  The formula was an interesting one, allowing the audience to hear separate viewpoints and ideas, listen in to the philosophical banter, and truly feel the strong friendship holding the leads together.  The dynamic between them was powerful, an extremely vibrant bond that connected all three very different characters.

The result?  Extremely dynamic characters that remain iconic and memorable even to this day.

But the cast didn’t stop there.

The other characters of Star Trek, while not quite possessing the pop-culture iconography of the main trio, still hold their own rather impressive cultural footprint.

None more so than the chief engineer, Montgomery Scott.

Scotty’s job was to be a miracle worker, solving impossible problems in impossibly small amounts of time.  Whether it was the transporters, the phaser banks, the shields, or the engines, Scotty was the man for the job.  Nobody had a better understanding, or love for the Enterprise than Scotty (except maybe Kirk).  He was the king of outside-the-box solutions, and had the Enterprise jury-rigged to push her past her limits more times than can be easily counted.  As the name implies, he was also Scottish, and extremely stereotypically so.  Kilt, whiskey, haggis and all, Scotty was extremely proud of his heritage (though not quite as much as Chekov).  Fitting the traditional stereotypes, Scotty had a fiery temper, with a Berserk Button triggered by any insult to the Enterprise.  A Gadgeteer Genius (and the inventor of Scotty Time) as well as a Genius Bruiser, Scotty was both the brains and brawn, more than capable of holding his own in a fight, or thinking of a new, creative way to push the Enterprise past her capacity.

Scotty also held the distinction of being third in command, routinely taking the Captain’s chair when both Kirk and Spock were in the landing party.  He was also the focus of a few episodes, making him a rare character with a Day in the Limelight, with episodes such as Wolf in the Fold, The Lights of Zetar, By Any Other Name, and The Trouble with Tribbles giving him a little more screen time and story than is typical.  Scotty was an indispensable member of the crew, a life-saver on more than one occasion, and another of the legendary, iconic characters of the original Star Trek.

But it didn’t stop there.

Lieutenant Nyota Uhura was another prominent character.  As the ship’s communications officer, she codified the term ‘Bridge Bunny’, although she proved herself far more useful than she’s typically thought of.  Whenever given the chance, Uhura is a capable Action Girl, intelligent, witty, and good at her job, being extremely fluent in multiple languages.  She too got her days in the limelight, with episodes such as Mirror Mirror, The Gamesters of Triskelion, and The Trouble with Tribbles giving her more to do than just sit at her station and say ‘hailing frequencies open’.  Uhura was Silk Hiding Steel, not typically in the heat of the battle, but tough as nails when she had to be.  (I’ve talked about Uhura’s extensive influence on the real world in the Legacy article, but even that doesn’t scratch the surface of what Uhura’s impact has been.)

There were others on the bridge crew of equal importance, including the ship’s helmsman, Hikaru Sulu.

Sulu was a level-headed officer, amiable and cultured, with an extensive knowledge of botany, fencing, and antiques.  Yet another Deadpan Snarker (it must run in the cast), Sulu is another Genius Bruiser, as skilled in fighting as he is in his piloting, with a great sense of humor.  He is given special attention in episodes like Mirror Mirror and The Naked Time (Albeit as evil, and Brainwashed and Crazy), but often got great character moments in multiple episodes (especially Shore Leave).  A reliable officer and loyal to the core, he made an interesting character by himself, although he did end up forming a fun ‘Those Two Guys’ dynamic with the youngest of the cast, Pavel Chekov.

Chekov was introduced in season 2 as the navigator of the Enterprise.  A bright young man with a fierce, passionate loyalty to Mother Russia (which evidently invented every good thing known to man), Chekov tended to be at the receiving end of a lot of the embarrassing agony in the series (mostly because Walter Koenig had a great scream).  Also serving as a relief science officer, Chekov was plenty smart, if a bit of a Cloudcuckoolander, and the king of Cultural Posturing.  Reckless and impulsive to balance Sulu’s calm good humor, Chekov’s temper tended to get the better of him.  Like the others, he’s given a bit more screen time in episodes such as Mirror Mirror, The Trouble with Tribbles, The Way to Eden, The Deadly Years and Spectre of the Gun, but got to shine in plenty of other episodes, demonstrating his capabilities (despite being ‘The Intern’ and the Plucky Comic Relief) as a competent officer.  Unsurprisingly, he was yet another Deadpan Snarker, lending his style of jokes well to bounce off of Sulu’s drier humor.

But there was more to the crew than the bridge.

Another crew member of note was Christine Chapel, one of the nurses who operated in the sickbay.  Chapel was notable for having an attraction to Spock, as well as being another in the long line of Enterprise Deadpan Snarkers.  One of the most caring of the Enterprise’s crew, Chapel was given larger roles in episodes like The Naked Time, What Are Little Girls Made Of?, Amok Time, and Plato’s Stepchildren.

Arguably though, one of the most important characters in all of Star Trek was the Companion Cube: the Enterprise herself.

The Enterprise was one of the most powerful ships in Starfleet, a character in her own right.  The epitome of the Cool Starship, the Enterprise was well known for Explosive Overclocking, and always coming through in the end (with a little help from Scotty).  A Lightning Bruiser of a ship, the Enterprise became as legendary as her captain and crew, as beloved as the characters themselves to the point where one of NASA’s shuttles was named after her.

The characters of Star Trek are legends, both in and out of universe, and they are for a reason.  No member of the crew is useless.  Everyone has a purpose and a job to do, and each was distinct and unique.  No two characters were the same, and each brought their own special personality and abilities to each episode they appeared in.

And that’s what made the drama of the show work so well.

Each character felt real, memorable and genuine.  We as an audience worry for them with each danger, and cheer with each victory.  We liked these people.  We cared about what happened to them.

And they worked.

In each scenario and situation, the characters found new and interesting ways to deal with the circumstances, while never losing the core elements of their personalities.  That’s important, hugely so.  These characters were loved, and still are, for a reason.  They work very well as characters, both in main and supporting roles, providing entertaining and compelling figures for the audience to invest in.  The balance between relatability and entertainment was hit perfectly for every single character, allowing everyone to shine in their own ways in each episode.  They felt real, and in the end, that’s the point of a character.

After all, one doesn’t get to be some of the most iconic television characters of all time by being boring.

Thank you guys so much for reading!  Join us next time as we discuss Star Trek’s place in the times and the culture.  If you have anything you’d like to say, don’t forget to leave an ask!  I hope to see you all in the next article.

[fandomshatelgbtqpeople]

On Loki (or I take too long to get to the point but I promise it’s a good one)

So, I saw someone on my dash claiming that people shipping Loki/Sylvie were invalidating genderfluid people and that anyone who disagreed with them or continued to ship it was “ignoring the voices of genderfluid people.”

Let me get this out of the way, I really don’t give a shit whether you’re okay with Loki/Sylvie. Literally could not care less. And while some of the points I’m going to go over while dismantling this person’s argument overlap with the reasons I personally don’t have a problem with it, that is not what this post is about. We will not be having an argument about whether “selfcest” is okay on this blog. I do not care whether or not you’re into that.

But, as another genderfluid person, their argument made no sense and the fact that they were lambasting anyone who pointed that out as being fluidphobic pissed me off, so I’m going to use it as an example of something I’ve been wanting to talk about for a while. And to be clear, people can feel how they feel personally and I’m not saying anyone should go tell this person that how they personally feel is wrong, but feelings are often irrational and if they’re going to claim that something is invalidating to genderfluid people as a whole, there needs to be some logic there.

On Loki and genderfluidity

Making the point I want to make requires me to explain the thought processes a non-genderfluid person could use to dissect this argument.

This person’s argument was that shipping Loki and Sylvie invalidated genderfluid people because it reinforces the stereotype that a genderfluid people become a different person when their gender changes. Here’s why that doesn’t make sense to me:

There’s actually no evidence right now that Loki and Sylvie even are different versions of the same person.

Even if they are different versions of the same person, they’re two distinct characters as opposed to “our” Loki as a man and “our” Loki as a woman.

As far as I’m aware, that is not actually even a widespread stereotype about genderfluid people. This was literally the first time I’d ever heard of that idea.

Starting with #1, we don’t know enough about Sylvie or any of the other Lokis’ origins to know whether they have any kind of genetic relationship. For all we know, the Odinsons adopted a completely different kid in each of these universes. The different ages and races of the variants suggest something like this (unless they all turn out to be a shapeshifted Tom Hiddleston, in which case we’ll have other, more important things to talk about). My point here is that we just don’t have enough information to know whether they’re different spins on the same person or completely different people altogether. Sylvie also might not even end up being a Loki. There’s all kind of people in Marvel pretending to be other people. All I’m saying is that you have to make a lot of assumptions to get to “they are different versions of the same person” in the first place. A non-genderfluid person is just as capable of recognizing that as a genderfluid person is.

To address #2, we’ll accept for a moment that all the different Lokis are different versions of the same person. Even if that’s true, the characters are not one person who’s gender fluctuates or changes like a gender fluid person’s does. They’re two separate characters with different genders, one of whom has been confirmed as genderfluid. If we accept that treating these characters like two different people invalidates genderfluid people--which again, I strongly disagree with--then it’s not shipping them together that’s invalidating. It’s the fact that they interact at all. Romantic relationships are not the only kind of relationships that require multiple participants. This would also imply that any story where parents from one universe adopt a son and the same parents from a different universe adopt a daughter would invalidate genderfluid people if the narrative acknowledges them as different people.

Finally, a character being two versions of the same person has never stopped fandom from shipping them regardless of gender (see: the Onceler, the Doctor, mirror-verse Star Trek characters), so trying to make this into something that’s only happening because they’re different genders is kind of ridiculous, and once you lose that, you lose the connection to genderfluidity. Again, you don’t have to be genderfluid to recognize that there’s a difference between two characters with different genders and one genderfluid person.

#3 is the only point that I’ll acknowledge is easier to understand if you’re genderfluid. Genderfluid people are just more likely to know what the stereotypes are. That said, if you’ve been involved in conversations about queerness in media for years and someone is telling you a character reinforces a stereotype you’ve never heard of before, run a google search! See if you can find anyone other than this one person discussing it! To double-check myself, I ran a search on genderfluid stereotypes and didn’t find any mention of the idea that a genderfluid person becomes a different person when their gender changes.

Now, it’s entirely possible that someone in the OP’s life does have that misconception. That doesn’t mean it’s a widespread negative stereotype that media or fandom have a responsibility to avoid. The Half of It probably reinforces somebody’s mom’s idea that lesbians can only be friends with boys, but that doesn’t actually mean there’s anything wrong with it. It’s impossible to avoid every potential misconception, especially since we have no way of knowing what all of them are. The OP may very well legitimately feel invalidated by the whole thing, but that doesn’t make it invalidating to the group at large (and it also doesn’t make it objectively wrong).

So what’s my actual point?

You know all those posts starting to go around about how “listening to marginalized voices” doesn’t actually mean “take everything every marginalized person you come across says as the gospel truth,” how that’s actually dehumanizing and forces marginalized people to do all the work for you, and at some point you actually have to use your own critical thinking skills to decide what you believe in? Every time I look through the notes of those posts, there’s tons of people going “I don’t know how tho” or “I’m afraid to be wrong.”

This is a simple example of why it’s important (another example is all the people who were mislead into attacking artists over various lesbian flag designs in 2018-19), and hopefully this post is an okay explanation of how to get started.

Start with what you know. These are the points we started with here. You may recognize some of them from other common bad arguments floating around:

This argument is premised on an issue I’ve never heard of despite being in a position to know about it. -> “I’ve been in and out of nonbinary spaces and helping run a blog about queer representation in media for years and I’ve never heard of anyone thinking genderfluid people become a different person when their gender changes. I did some research and it doesn’t look like anyone else has heard of it either.”

This concept doesn’t mean what this person is saying it means. -> “The OP is saying a ship between two different characters is fluidphobic because they have different genders. That doesn’t make sense.”

This person is relying on assumptions without evidence that they’re accurate. -> “This argument relies on Sylvie being (1) a Loki, and (2) a different version of ‘our’ Loki. Either of these things could easily not be true.”

This position is internally inconsistent. -> “How does shipping two characters imply that you think of them as different people in a way that, for example, referring to them as brother and sister doesn’t?”

This position conflicts with information you know to be true independently. -> “The OP is claiming that shipping two characters means you think of them as different people but I’ve personally witnessed multiple popular fandoms spring up around shipping a character with themselves,” and “This argument relies on a widespread willingness to accept that a person can have multiple personalities, but people with DID (at least in the US) actually struggle with a widespread perception among both laypeople and psychologists that multiple personalities don’t exist.”

Following this logic to its natural conclusion leads you to a position that’s ridiculous -> “If treating Loki and Sylvie like two distinct people is fluidphobic, that means any story where a family adopts a son in one universe and a daughter in the other is fluidphobic unless they’re treated by the narrative and fandom like the same person” and “If treating genetically identical people of different genders as distinct people is fluidphobic, wouldn’t that also make Orphan Black fluidphobic for treating the clone who was a trans man like a distinct character, since he’s not the same gender as the others?”

This person is making proclamations about how other people think and feel without evidence. -> “The OP is assuming everyone who ships Loki/Sylvie must be taking the position that they’re distinct people because OP personally would never ship anyone with themselves.”

This person is generalizing how they feel about something to how everyone feels. -> “OP leapt to the conclusion that shipping Loki/Sylvie invalidates genderfluid people in general because it hits on their own insecurities as a genderfluid person.”

This person is throwing accusations and ad hominem attacks instead of engaging with legitimate counterpoints. -> “Multiple people pointed out that the OP was relying on several assumptions that might be wrong. Instead of responding to this point, the OP called them ‘weirdos’ and accused them of ‘speaking over genderfluid people.’” (This is not the same thing as making a post and then not engaging with the notes at all. That’s a legitimate choice.)

There is a motive to mislead the reader. -> “The point OP is making isn’t actually about genderfluid people and is in fact, ‘You’re a bad person for shipping Loki/Sylvie.’ Not liking the ship seems like a clear ulterior motive to make this argument, and I’ve definitely seen fandoms weaponize representation issues during ship wars before.”

That’s a lot of flags! All of these are reasons you should be skeptical of an argument and seek out other points of view or other people with the same point of view who are willing to address these concerns, but the last two are major red flags that, combined with any yellow flags, signal the person you’re listening to is not speaking in good faith and is not a good source of information. 

Listening to marginalized voices means making an effort to seek out the perspectives of marginalized people on issues that affect them and taking those perspectives into account in shaping your own opinion. It does not mean taking every post made by anyone who is (or says they are--people lie on the internet) x identity as the gospel truth and never doing any thinking of your own. Hopefully these tips will help all of you prevent yourselves from getting dragged into and used as a mouthpiece for positions that make no sense after a few minutes of thought.

Edit: Apparently Loki is canonically genderfluid now?? Anyway, I think I got all the references to him not being genderfluid removed. Sylvie may or may not be but we’re not getting into that here.

[exploding-carrots]

I’ve been wanting to draw or write out my ‘future’ Bottom ideas for a while but haven’t gotten around to it. So here’s a long post of some head canons and a general story line of them vaguely developing as people at some point set after the live shows. If anything this is just sort of my personal AU for the characters getting together. Mostly focused on the progression of Richie and Eddies relationship and my thoughts on both of them being trans

- They’re both trans, (a lot of Ades characters give me trans dudes vibes but that is 70% me wanting to time travel and body swap w the man) Eddie is a bi trans dude (who medically transitioned young, but is not necessarily out as either) and Richie is a closeted/repressed bi trans woman who begins to come to terms w it during the whole island era

- Richie is also intersex, which while yeah is sort of canon in a mean way, is sort of important to me for the character 🤭 However she is not aware of the fact

- Eddie is dyslexic and has ADHD which both contribute to him struggling on and off (which was really just a gag they went with when funny) with reading/writing depending on how well he can focus on it at any given time (example: the Edies Bra sign vs the grave stone). I am not even going to attempt to say what is going on w Richie but the woman is a mess of unresolved issues and trauma complications

- After everything they go through in the live shows they do somehow make it back to the flat which is unexplainably the exact way they left it.

- Every single joke about Richie going off and fucking dudes from the live show is taken as fact. It is the most poorly kept secret amongst the cast. They literally do not talk about it unless Eddie is trying to make a point or piss off Richie

- Eventually Eddie IS trying to piss off Richie and does bring up everything about her sex life and the clothes, and... well everything else. After a ridiculous fight it somehow turns into an almost semi-serious conversation. Eddie makes the assumption that Richie is gay and Richie counters with the fact that she is genuinely interested in women but it’s a hell of a lot easier to get attention from specific types of men. Gets some wheels turning in both of their heads

- Personality wise they never really calm down, but they do start to slow down a little bit as it takes them longer and longer to recover from their fights. Obviously there is still the odd dart to the forehead or gentle push down the stairs but the ridiculous games and completions they make up take center stage

- they get weed at some point (Dave Hedgehog and Spudgun seems like a feasible source, because let’s be honest if Richie and Eddie tried to buy weed it would not work) that leads to all sorts of embarrassment because Eddie gets crossfaded as all get out and starts hitting on Richie. Which while having a precedent in their history (I mean, the first episode gives us that right away) takes on a new sort of meaning once the concept of bisexuality has been rolling around in their heads. Nothing particularly saucy happens at this point Bc they are high, drunk, and old but all of the actual acknowledgement of feelings start to really develop after this point

- in an attempt to do something with her time Richie picks up sewing and picks up where she left off with the wrap skirt and rubber underwear she made on the island. Starts to really develop the little wardrobe she wears when she’s alone. It’s a mix of the same awful button up shirts she always wears and some dresses and skirts along with a couple pairs of sexier (for Richie at least) under garments

- eventually Eddie comes home while Richie is still in her feminine clothing. Eddies Reaction is different from the first time he saw her dressed up that way since now there is a precedent. Eddies approach is much more “playful teasing” and fake surprise than it was previously.

- Slowly Richie starts dressing up around the flat more and more often as opposed to just when alone. Eddie ramps up with the pet names and husband/house wife dynamic they already had going on.

- THE MOMENT is when Eddie is leaving the flat to go to the bar and there is an ‘accidental’ kiss on the cheek along with his usual good byes. Eddie realizes what has happened immediately and bolts before Richie can say anything. Richie has a moment of “teehee that was nice” still in her little fucking house wife head space before it catches up w her.

- Richie panics, paces around the flat, gets changed like 8 times, cooks dinner, throws it away, takes it out of the trash, paces more, breaks like 8 things, and essentially just fluctuates between “Ooo Eddie fancies me” to “oh fuck the bastard is making fun of me again” to “it was an accident and Eddie is going to make it into a fight” back to “ooo Eddie fancies Me~”

- eventually Eddie comes home, pissed to hell and back way later than he’d normally come home. Richies passed out on the couch. Eddie wakes her up by pushing her over on the couch so he can sit. Eddie says something along the lines of “I’m fucking drunk so I’m only going to say this one” before saying some incomprehensible drunken rambling and pulling Richie into an awkward full kiss. It’s a nice moment for maybe about 5 seconds before he stands up again, pulls a pint out of his jacket, chugs it and says something about drunkenly passing out before doing just that across the coffee table.

- Richie just sort of gawks at Eddie sleeping across the table before giddily tossing a blanket over him and heading off to actually go to bed.

- relationship wise this really just sort of introduces a sexual/physical dynamic to their relation while ramping up their camp version of domestic life

- it’s Spudgun and Dave Hedgehog who actually say something to Eddie about it. They’ve always been in on the “oh look, it’s Eddies terrifying wife” thing. Probably only actually say something about it after the 2nd or 3rd actual display of physical affection they witness. It’s more of one of them asking Eddie if Richie really is his wife (in that half aware sort of way they observe things). This alone doesn’t change much, but it does takes a lot to get through to any of these repressed bastards

- Richie grows accustomed to the more feminine/soft pet names that Eddie uses for her. At one point Eddie uses more traditionally masculine terms which sets off “oh actually I am not a fan of that” in Richies head and leads her to asking Eddie to not refer to her that way. Leads to an awkward half coming out on Richies part. Eddie does genuinely switch up how he refers to Richie at this point and her gender just sort of becomes an silent fact that they both respect. Everyone else sort of knows them as those weirdos who have some sort of common law marriage going on and it’s not really questioned. This is the point where Richie starts to earnestly medically transition without really saying to much about, canonically she has been on estrogen pills before (even if it was a ‘mistake’)

- End game is essentially just them being casual about their identities and relationships in a unspoken sort of “well that’s just how it is” way that naturally sort of bleeds into a the other aspects of their lives.

- Additional note on Eddie being trans: Richie is already vaguely aware of this fact Bc obviously they’ve been seen what the other is working with at one point or another but the fact that she is unaware that she herself is intersex and has a skewed sort of idea about genitals and peoples bodies Richie genuinely does not think about it all too much. Eddie assumes that she knows, especially as they get older and casually refers to being trans (in my mind probably during the entire “Edwina” disguise thing. I imagine Eddie wearing the dress came down to the clothing size and some off hand comment about him “having experience”, which is total shit Bc even before he transitioned Eddie never presented that way). That’s probably around the point that things start to click in Richies head about Eddies identity and she starts comparing and contrasting Eddie to other ppl and such.