#writing meta for years and years

[post-it-notes7]

happy 4th anniversary heart and soul!

[namisweatheria]

I feel like we don't discuss Nami's relationship with gender enough. Her entire character is so deeply informed by being a girl in a male-dominated pirate world and it's so interesting and so worth talking about.

The background creepiness of Bad pirate crews, which are most of them, how they tend to not have any female crew members at all, how they beckon any pretty young woman around to come play with them and join them. It's real bad. It's also like, a totally 2 dimensional portrayal of evil that is reserved for the most background of background characters.

However I think their ubiquity says a lot about how piracy is meant to be perceived by the public in One Piece, and is one of the strongest indicators of how prevalent misogyny is in-world.

It's very normal in One Piece for regular island inhabitants to have never met a Different class of pirate in their life. There's no reason for them to withhold judgement that maybe these pirates won't be like every crew that attacked before, and to wait and judge them by their actions. I mean frankly that would be irrationally weak self-preservation.

There are people who live peacefully under the flags of Yonkos who protect them, and feel loyalty and gratitude to them for it, but that seems to only be thing with very big name pirates. The East Blue, being the weakest and least populated, has no such plethora of powerful people and resulting turf wars.

So. Nami. Is very clearly implied to have never met any Different pirates before. I'm thinking about what that means. About how every group of pirates she stole from were creepy, dangerous men. How she started going out stealing when she was still a young child. How she didn't have a mother anymore to guide her or comfort her. How Arlong would grab her chin inappropriately, talk about her as a "human female", as property, and god knows what else.

How all the men in Arlong's crew treated her patronizingly, pretending they're all friends, teasing her and playing at respect when really not a single one of them ever stuck up for her or hesitated to accuse her of betrayal. Who were always ready to kill her if she refused to cooperate. Who grabbed her and intimidated her when they felt like it.

That's what she had to come back to after a close call with stealing from other predatory men, instead of the relief of home there was a dark, cramped room filled with endless hours of misery and isolation and blood. Where any one of her captors could barge in and demand new maps, work faster, where did you go, you took too long again this time. Endless threats and incursions.

I'm thinking about that her fight scene in Alabasta, where she tumbles and rips off her cape and uses it to catch her enemy's spikes, before leaping to her feet and running out the back door, all in one moment. How it makes her enemy reconsider her and think, "so the girl's not a total novice at fighting after all." What that implies about her experiences as a young thief. The times she wasn't fast or clever enough and had to fight and claw her way out. Why she always carried a staff and a knife. Why she was the only one before Chopper who had any medical knowledge or experience.

You know she was stitching herself up. And the weapons, how do you think she learned to use those? If any of the Arlong Pirates helped her it wasn't out of kindness and it wasn't gentle.

Then I think about Nojiko, and Bellemere's memory, and the only softness in a hard life. How easily Nami connects to every young woman experiencing hardship that she meets. How completely she dismisses the struggles of men unless they mean something to her and are going through something terrible. The way that Nami only has sympathy for women and children is easily noticeable in-text, but it's also something confirmed in those words by the author. And it's clearly because of the life she lived, the men who had all the power and only abused it, who saw her as nothing but a girl to take advantage of, without anyone aside from her sister clearly knowing and caring about any of it.

Nami clearly isn't bitter, she doesn't think the world owes her recompense, on the contrary she knows she is far from the only person in the world to suffer the things she has suffered. She is endlessly reaching out and kind, but only to those that she isn't sure would get help without her. Certainly, before Luffy, Usopp, and Zoro, no man ever reached out a hand to her without an ulterior motive.

I think when she sees a girl in trouble, a girl biting her lip to hold in a scream of grief, a girl running in the woods away from a monster, a girl captured by pirates, she sees someone who no one is coming for. Who no one will stick up for. A person without allies in a world against her. Whether it's actually true in this case or not, she runs straight for that girl anyways every single time.

[unicornpopcorn14]

Chuuya's reaction to Dazai getting hurt during the Lovecraft fight has always been so interesting to me...

Because it's the kind of worry you'd never expect from a character as gruff as Chuuya, who had displayed nothing but hostility towards Dazai so far. Usually, characters that are labelled as "angry" or "anger issues" (which Chuuya is much more complex than that but you get my point) act more as a tsundere type of way when the one they "don't care about" gets hurt. And show their care in very, very subtle ways (ex. their eyes widen, their mouth parts and closes again, etc) before putting up their front once more.

Chuuya, however, is open, and vocal about it. His worry is clear not only to us, but to Dazai himself, the one he shouldn't be displaying the concern to (as per the cliche). Shouldn't it be some sort of secret that Chuuya does care? Isn't that what skk's dynamic has been shaping up to be until now?

I'm telling you- the way my mind blanked when Chuuya just casually.... showed concern not once, but twice, was a sight to see.

Besides, the context makes it much more confusing, because Dazai isn't some rookie, and Chuuya knows that more than anybody. He was the youngest executive in Port Mafia's history, of course he can handle a hit or two. Of course he'd seen him handle a hit or two, sometimes without batting an eye.

Heck, Chuuya himself was hurling Dazai like a ragdoll in their reunion, which was their last meeting. And you could argue that he was going easy on him, but Dazai has mostly withstood the same damage (as far as I could see), and Chuuya was as bitter as ever.

So that kind of contradicts both what we knew of Chuuya so far, and how their dynamic was shaped to be. I mean, that just makes Chuuya a hypocrite, yeah? What makes him care now, all of a sudden? What makes him care at all?

Well, to me, this backasswards reaction implies one (or more) of the following:

- Dazai rarely got physically hurt during their partnership and thus this is an unexpected thing for him to see (during a mission).

- The four years of separation made Chuuya unsure of how much Dazai can withstand physically now. Also the fact that he isn't in the mafia anymore, aka fighting enemy organizations on the weekly, would naturally make Dazai lose his touch in a way, what prompts Chuuya's reaction.

- Dazai getting taken off guard took him off guard which led to panic. Especially since the situation was (momentarily) out of their depth. Seriously wtf even was Lovecraft?

- During the dungeon scene Dazai was an enemy, while in the Lovecraft fight he was as an ally. The difference might be significant to Chuuya.

- This has always been Chuuya's reaction to Dazai getting hurt regardless of the situation.

- "Only I can hurt him like that" ahh logic

- Asagiri was still experimenting with their dynamic and thus there are some inconsistencies.

This scenario didn't play out again (after their reunion) for me to exactly determine which one is more plausible, but it is 100% canon for Chuuya to shamelessly show his concern and run to Dazai to check on him before properly dealing with their opponent, which I find to be such an appealing layer to their dynamic, and a good spin on the type of character he gets stereotyped as.

Bonus: Dazai also becomes a softy when Chuuya's hurt, especially post corruption. Dead Apple alone displays that multiple times.

All in all, Skk are doing a terrible job at maintaining their 'hostile' and 'antagonistic' relationship post their reunion. Freaks.

[that-faerie-in-the-corner]

you know what I find fascinating about how Helen is talked about in the works in the epic cycle?

everyone has argued to death over whether she was kidnapped, went willingly, was influenced/controlled/threatened by Aphrodite, whatever, but the thing is the actual TEXTS can't seem to make up their minds on Helen. everyone will be cursing Helen's name as an unfaithful wife and destroyer of men in Agamemnon but then Paris will be called a "robber-rapist" which would obviously heavily imply that he stole and assaulted her (plus the part where Clytemnestra basically says "shut the fuck up about Helen she didn't force you to do all that", although how much we're supposed to agree with her is debatable). In Iphigenia In Aulis we're going to war to get REVENGE on the Trojans AND HELEN but then Agamemnon will accuse Menelaus of "lust(ing) only to hold a lovely woman in (his) arms", calls him crazy for wanting her back, and then when Menelaus changes his mind about killing Iphigenia to get the winds back he says "Could I not obtain A perfect marriage elsewhere, if I longed for Marrying? But a brother whom I should Most cherish, I was about to forfeit To gain a Helen, so bartering excellence For evil" which is still pretty spiteful towards Helen but also really fucking weird to say if he only wanted her back to kill or otherwise punish her. Then, in the same play, the Greeks are described as wanting to sail to Troy so "That they may halt the plunder of marriage beds And the rape and seizure of Greek women" which would also imply Helen was, in fact, raped and seized, otherwise why would it be phrased like that and not like, "seduced" or "whisked away" or whatever? In Orestes Elektra and Orestes interpret Helen's actions in the worst possible light while when Helen actually speaks she seems generally sympathetic towards them, distraught and grieving over the whole situation, and claims that she went because Aphrodite made her mad, which could absolutely be a lie, but the thing is we just don't know who's the unreliable narrator here Is this a translation thing? Indicative of a really weird idea of what rape is? Is this an intentional writing choice? This got me to thinking and then I realized that if Menelaus was away when Helen left then he almost certainly doesn't actually know what happened. He didn't see or hear what happened, he doesn't get a chance to talk to Helen and have her explain until after the war, and obviously none of the other Greeks would know for sure either, right? And I just think it is kind of a missed opportunity that adaptations don't really do anything with this kind of unspoken conflict at all. Paris the Musical kind of does (Menelaus believes Helen was abducted when she ended up begrudgingly going with Paris trying to help him to escape) but like, why do all the greek men have one idea of Helen in adaptations? Why don't they argue about it? Why don't they question Menelaus about his motivations more? What if (especially if Aphrodite fucked with her head, as I am one to believe) Helen doesn't even trust herself on her own intentions? What if Menelaus tears himself up debating this with himself every night? Like, could I trust that she wouldn't do this to me and our daughter? Is it better that my wife doesn't love me anymore and is safe with her new lover, or that she does but is trapped against her will having who knows what done to her? Do I know my wife anymore? Did I ever know her in the first place? What if he lays eyes on Helen, his Helen, for the first time in ten years and his sword slips from his grasp as he realizes that yes, of course he knows her, how could he have ever doubted? Or maybe he still doesn't know if he knows her, but maybe he doesn't need to, because he knows that she is tired and scared, and he still loves her, and he just wants to take her back to their home? What then? Hm?

[championari]

something about Rogue has truly grabbed me by the throat.

When Rose and Clara found out the Doctor could completely change their face, they got scared ("I keep forgetting he's not...human." "How do we change him back?"). When Rogue saw, his only reaction was complete and utterly besotted awe.

When they danced together, he placed his hand on his chest, feeling both hearts, and loved it so much he did it again as they kissed.

When Fifteen started planning the Chuldur's suffering, Rogue saw the fury of The Timelord and wasn't afraid of him. Only afraid for him.

When he sacrificed himself for Ruby, his only words were "Find me". He didn't doubt for a second that The Doctor would do whatever it takes to get him back.

And I think what it is is that Rogue loves The Doctor. Not just attracted to him, as so many have been. Because there's a reason why so many have been in the past. People like Madam De Pompadour, and Queen Elizabeth I, are attracted to the mystery of The Doctor, to how strange yet charming they are. They fall in love with the mask they put up.

But Rogue, he's not like that. He may have been attracted to the mask initially, but what won him over was the truth. In an episode all about cosplay, dressing up, and pretending, he can't improvise to save his life.

He saw past the easy smile, the joking exterior. He saw this broken, grieving, ancient alien, and said, "I love every part of him. and I'll wait for him. No matter how long it takes."

And, for a relationship played by two queer actors, written by potentially two queer women, and helmed by a queer showrunner, that's the greatest wish fulfillment a queer person could dream of. A partner who sees us at our worst, at our most potentially unattractive, and sees only beauty.

This episode makes me go insane guys, im sorry.

EDIT: I wrote an extra long piece analyzing more about these two idiots: x

[brokenheartwithheartbreak]

Wait. Wait a dang minute. I have a theory.

So I know one of the discussions I’ve seen floating around is ‘why Theo’. What made the DDs specifically go after this one 9 year old boy, what made him special. And here’s my little take on it.

What made Theo special? Nothing. We know the DDs target kids in bad situations - see; Tracey, Josh, Corey, etc - kids who can disappear for days at a time without anyone raising any red flags, and from that we can assume Theo and Tara’s parents were maybe not great too. We also know they’ve been playing at making chimeras/trying to make The Beast for quite a number of years.

So who’s to say Theo wasn’t just one of another batch like the S5 chimeras? Ten years earlier, starting with younger kids, maybe, and that being The First Chimera is being the first chimera that survived. Why? That’s the fun part. There’s any number of explanations; because he was stubborn, because he’s a survivor, because there was something slightly different in his genetic makeup that unlocked the next puzzle piece in the DD’s jigsaw Frankenstein, because he refuses to die and it adds just another layer to the nuance of parallels between him and Scott. Normal nothing loser kid becomes Something Else and the support system they have in the aftermath structures their entire life.

And the best part is Theo probably doesn’t even remember, just knows that once he was a Success, the First, but that wasn’t quite enough and the Doctors moved on and he’s spent the rest of his life chasing the feeling of being important in the worst way possible.

Something about the idea of Season 2/3 Scott looking at his baby pack at the time with that sweet summer child vibe they had before The Horrors started Happening and going ‘I don’t know what I’d do without you guys’ and then the scene cutting to a sixteen year old Theo murdering some guy because he’s spent seven years being moulded into a weapon to be aimed and fired because he might not have been good enough for The Beast but he was still an excellent tool for furthering the cause.

[43501]

Opened my copy of Another Note: The Los Angeles BB Murder Cases for the first time in a decade and man, I forgot this is a goldmine of info and Mello characterization. It lets us know what kind of person Mello is almost more than the source material. Every time he's on panel/screen he's always so intense, it's fascinating to see him write and kind of get this feeling of "oh, he is also a normal guy outside of those situations".

He says he had one extensive in-person meeting with L, which is backed up by this other post of mine where I point out that, in the anime at least, Mello references having spoken to L personally. If we take it as canon it means L and Mello met at some point between Kira emerging and L leaving England for Japan.

He expresses a strong sense he might die. I've seen people say that he's "narrating from beyond (heh) the grave" and it's nonsensical, but that's not what's happening here. He's just writing while anticipating his death and writing as if these notes may be discovered posthumously.

He thinks that, in the event he dies, Near is the one who will discover his writings. This is interesting to me because it suggests Mello either knows Near knows his whereabouts, or would figure it out and recover his belongings. I actually think this is outright supported by canon - we see Near eating Mello's chocolate in the manga's epilogue. I don't think he instructed his staff to go out and buy that same chocolate, I think that's straight up Mello's stash.

At some point he started identifying less with the "Mello" alias and calling himself Mihael.

He's so sentimental... ending the prologue simply with "Good memories and nightmares". Bro.

"Imagine you were going to kill someone. What do you think would be the most difficult part? .... The correct answer: killing someone." Damn, I love you Mello lol. Also fascinating when you remember that he achieved his status in the mafia by beheading someone. Yes, he would know how hard it is to kill a person.

Mello states that he and Near belong to the "fourth generation" of Wammy's House kids.

He expresses open sympathy for Beyond and his state, twice... based on his own narration and how he portrays B in the course of the story, he definitely relates to B's emotions.

"Perhaps these gods actually wanted a blood soaked world of betrayal and false accusation. Perhaps the entire episode exists as a lesson to teach us the difference between the Almighty and the shinigami." I can't entirely make sense of this, and I don't want to get ahead of myself, but is "Almighty" capitalized here to definitely refer to the divine? Like, the Christian God but in a bit of a sidestepped, roundabout way? Wish I could see the original Japanese text for this line. If anyone has essays/posts about it, please show me.

And on a meta-textual level, the ambiguity of our role/perspective as the reader of these notes is also interesting. We're probably just an omniscient, unmoored observer being told about this set of notes Mello wrote and his line to the effect of "if it happens to turn into [a book]" is tongue-in-cheek. I know there's a slight, hanging implication that Near did in fact publish his notes, but I think that's unlikely since they contain so much sensitive/classified information.

[self-made-purgatories]

From the Half-Empty Loveseat and the Cuck Chair to the Miracle on the Biobed

Master Post for my Season-3-to-TMP Spirk Breakup Meta Analysis Series

People complain all the time about the odd, out-of-character writing in Season 3 of Star Trek TOS. They also complain that there is no canon explanation for the reason why Spock left Kirk and Starfleet to attempt kolinahr by the start of TMP. Why are these two things both so weird?

But, consider this: What if these two weird things are related? What if the odd actions are not out of character at all? What if Season 3's subtext leads directly to Spock's abandonment of the life he built in Starfleet, and more specifically, to his separation from Kirk by the start of TMP?

What if we're actually watching a painful behind-the-scenes Spirk breakup unfold in real time?

A few months ago, before I had ever seen TMP, I watched "Requiem for Methuselah" for the first time and the vibes were so weird that I started to dissect the subtext by writing my way through it. And the subtext kept getting deeper, episode by episode. And so I kept writing about it. And then I finally saw TMP, and I suddenly realized that, not only was I right, these things are all connected. Season 3 and TMP are not actually doubly weird; they are two related weirds that cancel each other out. And, even better, the pain and angst of Season 3 eventually leads to a happy ending in TMP!

To create this series, I wrote over 20,000 words on the subject in the space of a few weeks. (Thank you, hyperfixation.) Recently, a couple of the posts are making the rounds again. People keep reblogging segments of the series, so apparently there is an audience larger than my weirdass self and the void I am shouting into.

So, for your pleasure and convenience, I have reassembled the full series here in chronological order. Some of them are short, silly posts, and others are lumbering behemoth posts with tons of subtext to comb through and mull over. Enjoy the journey with me.

PART 1: END OF SEASON 3

1. The Half-Empty Loveseat and Other Tragedies Or, the Episode Where Kirk Broke Spock's Heart (and Mine) - S3 E19 Requiem for Methuselah

Spock has had a rough Season 3 so far. But this is the first time that Kirk's behavior is the direct cause. Kirk's blind cruelty causes irreparable damage to both Spock and their relationship.

2. they're still fighting, aren't they and one type of music - S3 E20 The Way to Eden

Vibes are off between Kirk and Spock. Spock finds reasons to be elsewhere and pointedly spends more time with a fun hippie guy than with Kirk.

3. From the Half-Empty Loveseat to the Cuck Chair - S3 E21 The Cloud Minders

Watching him sleep, watching him flirt, shouting in his face: Spock and Kirk try to act calm and professional, but tension bubbles under the surface.

4. why. WHY does it make me so fucking happy to watch this one man ogle this other man's ass like this - S3 E22 The Savage Curtain

Does this mean their fight is over??

5. To Hell and Back: The Seven Deadly Sins of Spock’s Inferno - S3 E23 All Our Yesterdays

In the tradition of ancient epic stories, Spock takes an allegorical journey to hell with McCoy as his guide, and his unusual behavior there – a descent into madness by way of all Seven Deadly Sins – gives us a peek into his ongoing internal struggle.

6. Running "Interference" - S3 E24 Turnabout Intruder

"He says, finally, resigned, 'I believe you.'" I'm pretty sure Spirk have broken up for good now. Their relationship is strained and it has affected their prior intimacy of knowing each other inside and out.

PART 2: THE MOTION PICTURE

7. The Betrayal of Irritation - TMP Part 1

Spock attempts kolinahr. But of course, it doesn't work. He is running away from life, away from love, away from Kirk, rather than running towards enlightenment. It was never going to work. 

When Spock returns to the Enterprise, he emanates a carefully constructed façade of aloof disdain. "I don't care," he seems to say. But if he didn't care, he wouldn't have come at all. And now that he is here, anything is possible.

8. "To Come Alongside and Lock On" - TMP Part 2

Two very small but very important details precede Spock and Kirk's reunion on the bridge of the Enterprise.

9. Feeling Trapped, Crisis of the Self, and the Hidden Meaning of Spock's Two Steepled Fingers - TMP Part 3

Spock's steepled fingers are a self-soothing gesture that first appears in "Plato's Stepchildren" and recurs in TMP during the kolinahr scene and a tense faceoff with V'Ger. What does this gesture tell us about Spock's inner struggle?

10. Yes, He is Here. But He is Still Gone: The Five Stages of Grief (and Seven Sorrows) of Heartbroken Kirk - TMP Part 4

Kirk openly experiences all five stages of grief in regards to Spock's cold return. Meanwhile, the bookend to Spock's experience of the Seven Deadly Sins in "All Our Yesterdays" is this: Kirk's experience of Seven Sorrows, seven metaphorical knives in the heart given to him in rapid succession by Spock's return.

11. sidebar: loyalty, obedience, friendship - TMP Part 5.5

In which I go a little nuts in the notes of someone else's post into greater detail about the three times Spock refuses Kirk's invitation to sit down.

12. Bare Feet on Holy Ground: A Story Of Doubt and Acceptance. - TMP Part 5

McCoy is the voice of reason, but love transcends reason. When Kirk finally lets go and reaches the Acceptance stage of grief, a miracle occurs: The steepled fingers are gone. All that is left is Spock's hand in Kirk's.

And they live happily ever after.

[oriley42]

Thinking about how House and Wilson have complimentary (or is that awfully contradictory) modes of repression

House's repression is like a wall with seven million layers of paint on it, and he's adding to it fresh, each and every day. He knows damn well what's underneath it, but if he doesn't have to look at it, he doesn't have to deal with it. And this layering is extremely effective at keeping people out, because every time they think they've scraped through the last layer to the "truth," surprise, there's another coat of beige between here and genuine emotion! It drives people who try to love House crazy. (It is also part of why Wilson adores him--the eternal fixer upper.) But by the same token, trying to dig through those layers sometimes yields fragments of real feeling. Those broken, painful shards of admission, actual emotion sneaking through before being quickly painted over again. Lots of chances for the mask to slip, but also endlessly self-renewing.

Wilson's repression is a concrete bunker. He poured the foundations long ago and buried that shit so deep that no one, including himself, can ever find it again with anything short of a C4 detonation. This is why he's like "I'm fine I'm fine I'm fine I'm normal there's nothing down there" and he means it because it's functionally true, he has built who he is on the absence of what he's locked away, until the pressure builds and builds and builds and then it's "AHH I'M THROWING A BOTTLE AT A MIRROR AND I NEED YOU TO TELL ME YOU LOVE ME" because the bunker has been breached and then. Among the ruins. Huh, was that me, I didn't know I was gonna do that?? Haha thank god you didn't take that seriously, because it was all a hoax. *Pours the concrete for a new foundation and buries those feelings like nuclear waste* This is what other people love about him (his smooth, well constructed surface) and what House loves about him (how much effort it takes to break, and how fascinating and unpredictable the results are when he succeeds)

At a meta level, I think the mis/match of these repression styles is a big part of what makes these characters' fascination endure. We noble netizens of fanficland have to do so much creative construction to stop House from frantically re-painting his vulnerabilities out of sight while also holding Wilson back from locking himself in the bunker, just to get them to have one (1) honest conversation, and that is just endlessly rich and interesting!

[cozylittleartblog]

9th annual nick valentines day (ft. soup again) + doodle i made last year that i forgot about, from when bethesda gave us that free update

[aoflameandco]

BONK

[thenerdyalien]

The real tragedy of bbc merlin

No matter how many years have passed since the finale, sometimes I still get choked up thinking about Merlin's devotion to Arthur and how cruel destiny really was to him. Because yes, Arthur's death was tragic, but for me Merlin's prophecised destiny was always the real tragedy of the show.

Like imagine being told that your whole purpose in life, your destiny, is another person, and not only that but someone you don't particularly like at first (a prat, you may say). And it's clear that he often feels trapped by this, even going as far as comparing his destiny with Arthur to a marriage (yes, that happens in not only one but two scenes, though one of them was deleted), an arrangement he had no say in but that has dictated his whole life. But the worst part is that he starts growing fond of him, he starts falling in love with the man he is inside, the real Arthur, not the facade he puts on for others. And suddenly it's not about destiny for Merlin anymore, it's about Arthur. He puts Arthur above everything. His kind, his beliefs, himself. He shuts himself off, he becomes a shell of the boy he used to be. Arthur's well-being is everything to him and nothing else matters. That's why he chooses Arthur over magic in the Disir, that's why he never told him the truth about his mother, that's why he was ready to die without ever letting Arthur know about his secret...because he would rather jump into the flames than to ever put Arthur in that position. And then imagine finding out that in the end, it was all a cruel joke, that the man you had come to love with all your being would be ripped from you anyway, no matter how dutifully you fulfilled your destiny, no matter how much you had given away for him. Because it turned out that your destiny was never Arthur, it was tragedy, it was martyrdom, it was giving away your body and soul for a future that will never come, a golden age that you'll never get to see.

That's why we're all still here 12 years later, because the bbc unintentionally wrote the most devastating tragedy of the century under the disguise of a silly family show.

[elf-trash]

casual reminder to the dragon age fandom that criticism of a game isn't an attack on you personally if you are a fan of said game. also, it's very possible to have a nuanced take about these things. e.g. "i liked the queer representation but not some of the politics displayed in the game" etc. if someone says the game's writing displays some questionable neoliberal ideologies, that doesn't mean they're calling YOU a neoliberal for liking it. if someone says they found certain aspects of the game to be islamophobic, they're not calling YOU an islamophobe because you enjoyed the game or didn't see a problem. and so forth.

as has been pointed out, EVERY dragon age game has these problems to varying degrees. there are things they've handled very well in each game (esp for their respective times) and things they fumbled. discussing and critiquing the places where the storytelling fails doesn't invalidate the good things nor does it make you a bad person for liking any of the games. this applies to all media btw, not just dragon age!

and finally, criticism of a piece of media you liked is not inherently bullying nor is it some organized campaign to tear down anyone who enjoyed it and/or the creators of said media. publicly disagreeing with a public opinion posted on a public website where opinions from the opposing side are actively invited isn't bullying. this is the fandom discourse website. if you post fandom discourse and it leads to more fandom discourse, then idk what to tell you!!!! obviously harassment is never okay, but we're talking about a piece of media that none of us had a hand in making. no piece of media is perfect or above reproach nor are criticisms a personal attack on its fans or supporters (or even creators). are some criticisms of the games rooted in bigotry? sure! does that mean all critiques are coming from that place? absolutely not, especially considering a fair amount of the criticism is coming FROM queer POCs.

anyway, this got long and i know the dragon age fandom has quite literally always been Like This and i've been here since origins came out so this ain't my first rodeo. but let's please try not to lump every take we disagree with and paint it all with one extremely bad faith brush!!!!

[cuddytism]

the turn from cameron and wilson being our house-related co-conspirators to it being cuddy and wilson is so fast you don't even realize it. you go from season 2 to season 3 and all of a sudden wilson and cuddy are around each other so much more, and the premiere of that season solidifies them as our new co-conspiring duo.

i think it's really easy to go through the entire show and feel like wilson and cuddy were close the entire time but... they weren't. prior to season 3 they had very little to do with each other. i wouldn't necessarily call it a relationship retcon; Meaning seems to imply that they had grown closer in the two months between the end of season 2 and beginning of season 3, and even before that with the date in Forever. but there is a very distinct jump in their closeness and likelihood to share a scene or scheme between seasons.

prior to season 3, it was pretty firmly cameron and wilson playing the roles of The Ones That Care About House--not that cuddy didn't care about house at that time, just that she did it solitarily--so i find it interesting that they all but completely ditched the cam/wilson duo for cuddy/wilson in this season.

the reason that i believe this happened is quite the boring one; cuddy needed more screentime, and it evens out the character dynamics. they're trying to solidify her as being a Main Character, now that she's getting her own storylines, as well as the fact that this season is the one where the role of 'love interest' for house undoubtedly shifts to cuddy, where it'll stay for the rest of the show. the closer cuddy gets to house, the closer she has to be to wilson. the less that cameron is interested in house, the less she feels the need to seek out wilson, and vice versa.

it's strange how unnoticable this change is when you aren't paying attention, though. because it doesn't come out of nowhere, it does build, it isn't like wilson and cuddy have never plotted before (hello! Detox!) or that cameron and wilson stopped having scenes together completely. it's just that things are changing. in a way that feels... sort of natural, so it doesn't really catch you off-guard. it's kinda jarring on paper, but in practice i think it works.

character dynamics are changing. character roles are changing. change is a big theme of the season, and though it's quite hammered in by the finale, it starts at the very beginning. with these two!!! there's a reason the first real scene of season 3 is of cuddy and wilson conspiring in her office. it's solidifing this change, without us even realizing it.

[jackattack20writes]

Also as a more serious post I keep seeing claims that Gquuuuuux is telling a story about Gundam or is doing “uc slop” or sudden rebuild bullshit in the last five eps but no it’s not. It’s telling a story about two possibly three teenagers proving that they have the right to decide their own destinies and not be bound by what the older generations have decided for them. It’s just that it’s achieving that by using the most iconic parts of Gundam to represent the older generations.

The UC “bullshit” is the culmination of the shows thesis about how the newer generations need to be left free to chart their own paths. Nyaan and Machu represent two ways in which younger people live with this. Nyaan aimlessly floats through life without convictions or passion for what she’s doing, her only wants restricted to her needs while she pines for what she truly wants but is unwilling to grab it until her hand is forced, and Machu is raging against the bonds holding her with no regards to what happens if she breaks free, she just knows she needs to be free becuase that’s worth whatever she’ll lose in the process. And then if I’m right about Shuji (and even if I’m not the earlier stuff with the red Gundam still fits) he’s the total loss of identity outside of the older generations wants and needs he no longer has his own id or ego he’s subsumed by the older generation and mirrors them (like those kids whose parents never made it in sports or whatever but they “totally could’ve” so the kids are forced to push themselves to the brink no matter what they actually want to enable their parents need to vicariously live through them.)

The fight against RX-78 isn’t just them fighting to prove their universe’s inherent right to exist but also the younger generations right to chart their own paths. This is why Challia and Kycilia’s treatment of Nyaan and Machu are so contrasting, Kycilia impose her own values and beliefs on Nyaan and Nyaan fights against them, she used the gun she was given to protect her self to protect someone else finally choosing what she wants rather than floating along. While Challia gave Machu the freedom to do what she felt was necessary and her gun was used to free herself and the Gquuuuuux to not only achieve what they wanted but to reach their full potential with the omega psycommu. It’s the same reason Challia doesn’t want to kill Xavier. he let Xavier go the way he wanted to and do what he felt was necessary and even though they’ve ended up on opposite sides he doesn’t want to take that freedom away from him in death. Whereas Kycilia was fully willing to kill Nyaan as soon as she didn’t align with her beliefs. And I think this is partly why Challia was chosen and written the way he is. He’s not an icon of Gundam like Char, Lalah, Kycilia, Amuro or even the titans. He’s of the og series but isn’t bound by it, it’s why he can straddle the line of being of the older generation but not trying to bind the newer generation to what they decide and be the only one willing to let them have the freedom they deserve.

The RX-78’s appearance is the manifestation and climax of this, the gquuuuuux timeline isn’t doing what it’s supposed to so it must be destroyed. This isn’t a show about Gundam, its not a meta story about Gundam needing to move past the UC timeline, it’s a show using the most iconic example of the old generation that Gundam will ever have to be the final boss in Nyaan and Machu’s journey to prove that they have a right to decide their own destinies. It’s why Beyond the Time works so well at the end of ep 11, it’s not only a callback but a call to arms for Nyaan and Machu to change their destiny and futures and share the happiness that’ll come from being finally, truly free.

[kideaternomnom]

JJK’s god forsaken fandom has done lots of characters dirty. Whether it be downplaying Nobara’s backstory, some calling Maki a “Toji copy,” you get it. However literally no other JJK character has been done as dirty or bad in the fandom than Megumi:

His trauma and his damn FATHER leaving him gets downplayed by the fandom, saying how “he said he didn’t care.”

He gets called bland, yet if his insecurities are explored along with his inferiority complex it either gets ignored or he STILL gets slandered.

When he is appreciated he either gets sexualized or watered down to his long eyelashes.

Good fights that show his INCREDIBLE smartness along with fighting the curse, Reggie, Kirara, etc get ignored or get credibility taken away.

The scene where he literally gets Yuji back up at the campfire is ALSO ignored. (Without Megumi or Todo Itadori would’ve given up. It’s no debate.)

Gets sexism from toxic masculine wannabe “alpha” boys who are butthurt he isn’t your typical “cool powerful badass.”

(MANGA SPOILERS) His body when taken over by Sukuna gets touched inappropriately by Yorozu, which can practically count as SA. However literally NOBODY notices this.

His dynamic with Tsumiki and how much he cares for her is undermined.

Literally almost all scenes that show his mind and depth gets undermined.

Some people say his backstory “wasn’t that bad” just because he had Gojo take him in. ☠️

He gets victim blamed for what happened with Sukuna in the manga.

(MANGA SPOILERS) He gets blamed for being depressed and giving up when his LITERAL REASON for becoming a Jujutsu sorcerer and living is gone, along with his body being used to kill his own mentor and taking billions of hits.

There’s literally so much more but I’ll stop there. The way Megumi aka a literal TEENAGER is treated in this god awful fandom is actually so disgusting, and reeks of major apologism along with victim blaming. It’s sad because Megumi is easily VERY well written and complex. He just had to be in this illiterate fandom. Seriously, f this fandom. 😭