#//Honestly I feel like this is a product of his circumstances also reflecting this 'either or' mentality.

[kingspuppet]

Something else I want to touch on in regards to chess symbolism is the pieces being black and white. In both the anime and in the image from the end of the false reality, Goro is playing the white pieces and Joker is playing the black. And awhile back I had seen someone ask if there was any meaning behind it. I didn't see what the response was, but I do have a theory of my own. Goro's thought process in itself is a very black and white mindset. That there can only be one or the other. It's how he views his plans against Shido and the Thieves themselves. There's a right and a wrong way in his mind, and you can see how he struggles with that concept when he's asked to join the Thieves after their fight in the engine room. Because there hasn't been a way for him to deviate from his plans and ideals before. He never thought that was a possibility for him so he never considers it. As for the pieces he uses, I think a similar concept follows. To Goro the white pieces are the heroes and in turn the black ones are the villains. It's a very cut and dry thought process that follows the one or the other thread. So in his games against Joker he plays the "heroes" because that's what he's always wanted to be. He needs to be that hero. He wants to be that hero. It's his justice, which he thinks is right, against Joker's, which he thinks is wrong. That's not to say that Goro actually thinks of Joker and the Thieves as villains. He knows that they're similar, to a painful degree. But it all falls back to the black and white thinking of there can only be one or the other, and that anything in between is useless.

[shihalyfie]

Hi :) If it's not too much trouble, could you please share your take on why they'd continue the Adventure brand after tri. was such a flop? (and a tangent: what does "dark history" even mean?). We got Kizuna, the reboot, and a 02 movie. Logically, it doesn't really make sense they'd keep investing in it.

This is a thorny topic, and I'd like to reiterate that although I've ended up making more posts related to this series and the discourse surrounding it recently (probably because it's even more on the mind now that another movie is on the horizon and a lot of people are apprehensive for various reasons), I do not want this blog to be making a brand out of being critical of this series. I’m writing this here and in public because I figured that there is a certain degree I need to clarify what I mean about audience reception/climate and how it might impact current or future works, and I’m admittedly also more than a little upset that I occasionally see Western fanbase criticisms of the series getting dismissed by people claiming that the only people mad about it are dramamongering or ignorant Westerners (which could not be further from the truth). However, this is mainly to address this and to answer your question, and is not intended to try and change anyone's existing opinion or impression of the series as much as it's me trying to explain (from my own personal reading of the situation) what practically went down with critical reception in real life; no more, no less.

The short summary of the matter is:

The series was a moderate financial success (albeit with some caveats; see the long version for details) and definitely outstripped a lot of prior attempts to revive the franchise;

However, the overall Japanese fanbase-side critical backlash from tri. was extremely and viciously negative to the point where even acknowledging the series too much could easily result in controversy;

Kizuna’s production and the PR surrounding it very obviously have this in mind with a lot of apparent “damage control” elements.

The long version is below.

Note that while I try to be diligent about citing my sources so people understand that I’m not just making things up wholesale, I’m deliberately refraining from linking certain things here this time, both because some of the things mentioned have some pretty crude things written there -- it’s not something I feel comfortable directing people to regardless of what language it’s in -- and because I don’t want to recklessly link things on social media and cause anyone to go after or harass the people involved. For the links that have been provided, please still be warned that some of them don’t really link to particularly pleasant things.

I am not writing the following information to suggest that anyone should agree or disagree with the sentiments being described. I know people tend to take "a lot of people like/hate this" as a signal of implication "it is correct to like/hate this" when it's not (and I especially dislike the idea of implying that Japanese fanbase opinions are the only correct ones). There's a reason I focus on "critical reception being this way" (because it influences marketing decisions and future direction) rather than how much this should impact one's personal feelings; this is coming from myself as someone who is shamelessly proud of liking many things that had bad critical reception, were financial failures, or are disliked by many. As I point out near the end, the situation also does seem to be changing for the better in more recent years as well.

Also, to be clear, I'm a single person who's observing everything best I can from my end, I have no affiliations with staff nor do I claim to, and as much as I'm capable of reading Japanese and thus reading a lot of people's impressions, I'm ultimately still another “outsider” looking in. These are my impressions from my observation of fan communal spaces, following artists and reading comments on social media and art posting websites, and results from social media searches. In the end, I know as much as anyone else about what happened, so this is just my two cents based on all of my personal observations.

A fanbase is a fanbase regardless of what part of the world you're from. There are people who love it and are shameless about saying so. There are people who have mixed feelings or at least aren't on extreme ends of the spectrum (as always, the loudest ones are always the most visible, but it's not always easy to claim they're the predominant percentage of the fanbase). That happens everywhere, and I still find that on every end I've seen. However, if I'm talking about my impressions and everything I’ve encountered, I will say that the overall Japanese reaction to tri. comes off as significantly more violently negative on average than the Western one, which is unusual because often it's the other way around. (I personally feel less so because the opinions are that fundamentally different and more so because we're honestly kind of loud and in-your-face people; otherwise, humans are mostly the same everywhere, and more often than not people feel roughly the same about everything if they’re given the same information to work with.)

This is not something I can say lightly, and thus would not say if I didn’t really get this impression, but...we're talking "casually looking up movie reviews for Kizuna have an overwhelming amount of people casually citing any acknowledgment of tri. elements as a negative element", or the fact that even communal wikis for "general" fandoms like Pixiv and Aniwota don't tend to hold back in being vicious about it (as of this writing, Pixiv's wiki refuses to consider it in the same timeline as Adventure, accusing it of being "a series that claims to be a sequel set three years after 02 but is in fact something different"). Again, there are people who openly enjoy it and actively advocate for it (and Pixiv even warns people to not lord over others about it condescendingly because of the fact that such people do exist), and this is also more of a reflection of “the hardcore fanbase on the Internet” and not necessarily the mainstream (after all, there are quite a few other Digimon works where the critical reception varies very heavily between the two). Nevertheless, the take-home is that the reputation is overall negative among the Internet fanbase to the point that this is the kind of sentiment you run into without trying all that hard.

I think, generally speaking, if we're just talking about why a lot of people resent the series, the reasons aren't that different from those on the Western side. However, that issue of "dark history" (黒歴史): there's a certain degree of demand from the more violently negative side of the fanbase that's, in a sense, asking official to treat it as a disgrace and never acknowledge it ever again, hence why Kizuna doing so much as borrowing things from it rather than rejecting it outright is still sometimes treated like it’s committing a sin. So it's somewhat close in spirit to a retcon movement, which is unusual because no other Digimon series gets this (not even 02; that was definitely a thing on the Western end, but while I'm sure there are people who hate it that much on their end too, I've never really seen it gain enough momentum for anyone to take it seriously). If anyone ever tells you that Japanese fanbases are nice to everything, either they don't know Japanese, are being willfully ignorant, or are lying to you, because there is such thing as drama in those areas, and in my experience, I've seen things get really nasty when things are sufficiently pushed over the edge, and if a fanbase wants to have drama, it will have drama. This happens to be one of those times.

(If you think this is extreme, please know that I also think so too, so I hope you really understand that me describing this sentiment does not mean I am personally endorsing it. Also, let me reiterate that the loudest section of the fanbase is not necessarily the predominant one; after all, as someone who’s been watching reactions to 02 over the years, I myself can attest that its hatedom has historically made it sound more despised than it actually is in practice.)

My impression is that the primary core sentiment behind why the series so much as existing and being validated is considered such an offense (rather than, say, just saying "wow, that writing was bad" and moving on) is heavily tied to the release circumstances the series came out in during 2015-2018, and the idea that "this series disrespected Adventure, and also disrespected the fanbase.” (I mean, really, regardless of what part of the world you’re from, sequels and adaptations tend to be held to a higher bar of expectation than standalone works, because they’re expected to do them justice.) A list of complaints I’ve come across a lot while reading through the above:

The Japanese fanbase is pretty good at recordkeeping when it comes to Adventure universe lore, partially because they got a lot of extra materials that weren’t localized, but also partially because adherence to it seems to generally be more Serious Business to them than it is elsewhere. For instance, “according to Adventure episode 45, ‘the one who wishes for stability’ (Homeostasis) only started choosing children in 1995, and therefore there can be no Chosen Children before 1995” is taken with such gravity that this, not anything to do with evolutions or timeline issues, is the main reason Hurricane Touchdown’s canonicity was disputed in that arena (because Wallace implies that he met his partners before 1995). It’s a huge reason the question of Kizuna also potentially not complying to lore came to the forefront, because tri. so flagrantly contradicts it so much that this issue became very high on the evaluation checklist. In practice, Kizuna actually goes against Adventure/02 very little, so the reason tri. in particular comes under fire for this is that it does it so blatantly there were theories as early as Part 1 that this series must take place in a parallel universe or something, and as soon as it became clear it didn’t, the resulting sentiment was “wow, you seriously thought nobody would notice?” (thus “disrespecting the audience”).

A lot of the characterization incongruity is extremely obvious when you’re following only the Japanese version, partially because it didn’t have certain localization-induced characterization changes (you are significantly less likely to notice a disparity with Mimi if you’re working off the American English dub where they actually did make her likely to step on others’ toes and be condescending, whereas in Japanese the disparity is jarring and hard to miss) and partially due to some things lost in translation (Mimi improperly using rough language on elders is much easier to spot as incongruity if you’re familiar with the language). Because it’s so difficult to miss, and honestly feels like a lot of strange writing decisions you’d make only if you really had no concept of what on earth happened in the original series, it only contributes to the idea that they were handling Adventure carelessly and disrespectfully without paying attention to what the series was even about (that, or worse, they didn’t care).

02 is generally well-liked there! It’s controversial no matter where you go, but as I said earlier, there was no way a retcon movement would have ever been taken seriously, and the predominant sentiment is that, even if you’re not a huge fan of it, its place in canon (even the epilogue) should be respected. So not only flagrantly going against 02-introduced lore but also doing that to a certain quartet is seen as malicious, and you don’t have as much of the converse discourse celebrating murdering the 02 quartet (yeah, that’s a thing that happened here) or accusing people with complaints of “just being salty because they like 02″ as nearly as much of a factor; I did see it happen, or at least dismissals akin to “well it’s Adventure targeted anyway,” but they were much less frequent. The issue with the 02 quartet is usually the first major one brought up, and there’s a lot of complaints even among those who don’t care for 02 as much that the way they went about it was inhumane and hypocritical, especially when killing Imperialdramon is fine but killing Meicoomon is a sin. Also, again, “you seriously think nobody will see a problem with how this doesn’t make sense?”

I think even those who are fans of the series generally agree with this, but part of the reason the actual real-life time this series went on is an important factor is that the PR campaign for this series was godawful. Nine months of clicking on an egg on a website pretending like audience participation meant something when in actuality it was blatantly obvious it was just a smokescreen to reveal info whenever they were ready? This resulted in a chain effect where even more innocuous/defensible things were viewed in a suspicious or negative light (for instance, "the scam of selling the fake Kaiser's goggles knowing Ken fans would buy it only to reveal that it's not him anyway"), and a bunch of progressively out-of-touch-with-the-fanbase statements and poor choices led to more sentiment “yeah, you’re just insulting the fanbase at this point,” and a general erosion of trust in official overall.

On top of that, the choice of release format to have it spread out as six movies over three years seems to have exacerbated the backlash to get much worse than it would have been otherwise, especially since one of the major grievances with the series is that how it basically strung people along, building up more and more unanswered questions before it became apparent it was never going to answer them anyway. So when you’re getting that frustrated feeling over three whole years, it feels like three years of prolonged torture, and it becomes much harder to forgive for the fallout than if you’d just marathoned the entire thing at once.

For those who are really into the Digimon (i.e. species) lore and null canon, while I’m not particularly well-versed in that side of the fanbase, it seems tri. fell afoul of them too for having inaccurately portrayed (at one point, mislabeled) special attacks and poorly done battle choreography, along with the treatment of Digimon in general (infantilized Digimon characterization, general lack of Digimon characters in general, very flippant treatment of the Digital World in Parts 3-5). If you say you’re going to “reboot” the Digital World and not address the entire can of worms that comes with basically damaging an entire civilization of Digimon, as you can imagine, a lot of people who actually really care about that are going to be pissed, and the emerging sentiment is “you’re billing this as a Digimon work, but you don’t even care about the monsters that make up this franchise.”

The director does not have a very positive reputation among those who know his work (beyond just Digimon), and in general there was a lot of suspicion around the fact they decided to get a guy whose career has primarily been built on harem and fanservice anime to direct a sequel to a children’s series. Add to that a ton of increasingly unnerving statements about how he intended to make the series “mature” in comparison to its predecessor (basically, an implication that Adventure and 02 were happy happy joy series where nothing bad ever happened) and descriptions of Adventure that implied a very, very poor grasp of anything that happened in it: inaccurate descriptions of their characters, poor awareness of 02′s place in the narrative, outright saying in Febri that he saw the Digimon as like perpetual kindergartners even after evolving, and generally such a flippant attitude that it drove home the idea that the director of an Adventure sequel had no respect for Adventure, made this series just to maliciously dunk on it for supposedly being immature, and has such a poor grasp of what it even was that it’s possible he may not have seen it in the first place (or if he did, clearly skimmed it to the extent he understood it poorly to pretty disturbing levels). As of this writing, Aniwota Wiki directly cites him as a major reason for the backlash.

In general, consensus seems to be that the most positively received aspect of the series (story-wise) was Part 3 (mostly its ending, but some are more amenable to the Takeru and Patamon drama), and the worst vitriol goes towards Parts 2 (for the blatantly contradictory portrayal of Mimi and Jou and the hypocritical killing of Imperialdramon) and 4 (basically the “point of no return” where even more optimistic people started getting really turned off). This is also what I suspect is behind the numbers on the infamous DigiPoll (although the percentage difference is admittedly low enough to fall within margin of error). However, there was suspicion about the series even from Part 1, with one prominent fanartist openly stating that it felt more like meeting a ton of new people than it did reuniting with anyone they knew.

So with all of that on the table: how did this affect official? The thing is that when I say “violently negative”, I mean that also entailed spamming official with said violently negative social media comments. While this is speculation, I am fairly certain that official must have realized how bad this was getting as early as between Parts 4 and 5, because that’s where a lot of really suspicious things started happening behind the scenes; while I imagine the anime series itself was now too far in to really do anything about it, one of the most visible producers suddenly vanished from the producer lineup and was replaced by Kinoshita Yousuke, who ended up being the only member of tri. staff shared with Kizuna (and, in general, the fact that not a single member of staff otherwise was retained kind of says a lot). Once the series ended in 2018 and the franchise slowly moved into Kizuna-related things, you might notice that tri.-branded merch production almost entirely screeched to a halt and official has been very touchy about acknowledging it too deeply; it’s not that they don’t, but it’s kind of an awfully low amount for what you’d think would be warranted for a series that’s supposed to be a full entry in the big-name Adventure brand.

The reason is, simply, that if they do acknowledge it too much, people will get pissed at them. That’s presumably why the tri. stage play (made during that interim period between Parts 4 and 5 and even branded with the title itself) and Kizuna are really hesitant to be too aggressive about tri. references; it’s not necessarily that official wants to blot it out of history like the most extreme opinions would like them to, but even being too enthusiastic about affirming it will also get them backlash, especially if the things they affirm are contradictory to Adventure or 02. And considering even the small references they did put in still got them criticism for “affirming” tri. too much, you can easily see that the backlash would have been much harder if they’d attempted more than that; staying as close as possible to Adventure and 02 and trying to deal with tri. elements only when they’re comparatively inoffensive was pretty much the “safe” thing to do in this scenario (especially since fully denying tri. would most certainly upset the people who did like the series, and if you have to ask me, I personally think this would have been a pretty crude thing to have done right after the series had just finished). Even interviews taken after the fact often involve quickly disclaiming involvement with the series, or, if they have to bring up something about it, discussing the less controversial aspects like the art (while the character designs were still controversial, it’s at least at the point where some fanartists will still be willing to make use of them even if they dislike the series, albeit often with prominent disclaimers) or the more well-received parts of Part 3; Kizuna was very conspicuously marketed as a standalone movie, even if it shared the point of “the Adventure kids, but older” that tri. had.

(Incidentally, the tri. stage play has generally been met with a good reputation and was received well even among people who were upset with the anime, so it was well-understood that they had no relation. In fact, said stage play is probably even better received than Kizuna, although that’s not too surprising given the controversial territory Kizuna goes into, making the stage play feel very play-it-safe in comparison.)

So, if we’re going to talk about Kizuna in particular: tri. was, to some degree, a moderate financial success, in the sense that it made quite a bit of money and did a lot to raise awareness of the Digimon brand still continuing...however, if you actually look at the sales figures for tri., they go down every movie; part of it was probably because of the progressively higher “hurdle” to get into a series midway, but consider that Gundam Unicorn (a movie series which tri.’s format was often compared to) had its sales go up per movie thanks to word of mouth and hype. So while tri. does seem to have gotten enough money to help sustain the franchise at first, the trade-off was an extremely livid fanbase that had shattered faith in the brand and in official, and so while continuing the Adventure brand might still be profitable, there was no way they were going to get away with continuing to do this lest everything eventually crash and burn.

Hence, if you look at the way Kizuna was produced and advertised, you can see a lot of it is blatantly geared at addressing a lot of the woes aimed at tri.: instead of the staff that had virtually no affiliation with Toei, the main members of staff announced were either from the original series (Seki and Yamatoya) or openly childhood fans, the 02 quartet was made into a huge advertising point as a dramatic DigiFes reveal (and character profies that tie into the 02 epilogue careers prominently part of the advertising from day one), and they even seemed to acknowledge the burnout on the original Adventure group by advertising it so heavily as “the last adventure of Taichi and his friends”, so you can see that there’s a huge sentiment of “damage control” with it. How successful that was...is debatable, since opinions have been all over the board; quite a few people were naturally so livid at what happened with tri. that Kizuna was just opening more of the wound, but there were also people who liked it much better and were willing to acknowledge it (with varying levels of enthusiasm, some simply saying “it was thankfully okay,” and some outright loving it), and there was a general sentiment even among those who disliked both that they at least understood what Kizuna was going for and that it didn’t feel as inherently disrespectful. (Of course, there are people who loved tri. and hated Kizuna, and there are people who loved both, too.)

Moreover, Kizuna actually has a slightly different target audience from tri.; there’s a pretty big difference between an OVA and a theatrical movie, and, quite simply, Kizuna was made under the assumption that a lot of people watching it may not have even seen tri. in the first place. An average of 11% of the country watched Adventure and 02, but the number of people who watched tri. is much smaller, in part due to the fact that its “theater” screenings were only very limited screenings compared to Kizuna being shown in theaters in Japan and worldwide, and in part due to the fact that watching six parts over three years is a pretty huge commitment for someone who may barely remember Digimon as anything beyond a show they watched as a kid, and may be liable to just fall off partway through because they simply just forgot. (Which also probably wasn’t helped by the infamously negative reputation, something that definitely wouldn’t encourage someone already on the fence.) And that’s yet another reason Kizuna couldn’t make too many concrete tri. references; being a theatrical movie, it needs to have as wide appeal as possible, and couldn’t risk locking out an audience that had a very high likelihood of not having seen it, much less to the end -- it may have somewhat been informed by tri.’s moderate financial success and precedent, but it ultimately was made for the original Adventure and 02 audience more than anything else.

I would say that, generally, while Kizuna is “controversial” for sure, reception towards the movie seems to be more positive than negative, it won over a large chunk of people who were burned out by tri., and it clearly seems to have been received well enough that it’s still being cashed in on a year after its release. The sheer existence of the upcoming 02-based movie is also probably a sign of Kizuna’s financial and critical success; Kinoshita confirmed at DigiFes 2020 that nothing was in production at the time, and stated shortly after the movie’s announcement that work on it had just started. So the decision to make it seems to have been made after eyeing Kizuna’s reception, and, moreover, the movie was initially advertised from the get-go with Kizuna’s director and writer (Taguchi and Yamatoya), meaning those two have curried enough goodwill from the fanbase that this can be used to promote the movie. (If not, you would think that having and advertising Seki would be the bigger priority.) While this is my own sentiment, I am personally doubtful official would have even considered 02 something remotely profitable enough on its own to cash in on if it weren’t for this entire sequence of events of 02′s snubbing in tri. revealing how much of a fanbase it had (especially with the sheer degree of “suspicious overcompensation” Kizuna had with its copious use of the 02 quartet and it tagging a remix of the first 02 ED on the Hanareteitemo single, followed by the drama CD and character songs), followed by Kizuna having success in advertising with them so heavily. Given all of the events between 2015 and now, it’s a bit ironic to see that 02 has now become basically the last resort to be able to continue anything in the original Adventure universe without getting too many people upset at them about it.

The bright side coming out of all of this is that, while it’s still a bit early to tell, now that we’re three years out from tri. finishing up and with Kizuna in the game, it seems there’s a possibility for things improving around tri.’s reception as well. Since a lot of the worst heated points of backlash against it have a very “you had to have been there” element (related to the PR, release schedule, and staff comments), those coming in “late” don’t have as much reason to be as pissed at it; I’ve seen at least one case of a fanartist getting back into the franchise because of Kizuna hype, watching tri. to catch up, casually criticizing it on Twitter, and moving on with their life, presumably because marathoning the whole thing being generally aware of what’ll happen in it and knowing Kizuna is coming after anyway gives you a lot less reason to be angry to the point of holding an outright grudge. Basically, even if you don’t like it, it’s much easier to actually go “yeah, didn’t like that,” not worry too much about it, and move on. Likewise, I personally get the impression that official has been starting to get a little more confident about digging up elements related to it. Unfortunately, a fairly recent tweet promoting the series getting put on streaming services still got quite a few angry comments implying that they should be deleting the scourge from the Internet instead, so there’s still a long way to go, but hopefully the following years will see things improve further...

In regards to the reboot, I -- and I think a lot of people will agree with me -- have a bit of a hard time reading what exact audience it’s trying to appeal to; we have a few hints from official that they want parents to watch it with their children, and that it may have been a necessary ploy in order to secure their original timeslot. So basically, the Adventure branding gets parents who grew up with the original series to be interested in it and to show it to their kids, and convinces Fuji TV that it might be profitable. But as most people have figured by now, the series has a completely different philosophy and writing style -- I mean, the interview itself functionally admits it’s here to be more action-oriented and to have its own identity -- and the target audience is more the kids than anything else. As for the Internet fanbase of veterans, most people have been critical of its character writing and pacing, but other than a few stragglers who are still really pissed, it hasn’t attracted all that much vitriol, probably because in the end it’s an alternate universe, it doesn’t have any obligation to adhere to anything from the original even if it uses the branding, and it’s clearly still doing its job of being a kids’ show for kids who never saw the original series nor 02, so an attempt to call it “disrespectful” to the original doesn’t have much to stand on. A good number of people who are bored of it decided it wasn’t interesting to them and dropped it without incident, while other people are generally just enjoying it for being fun, and the huge amount of Digimon franchise fanservice with underrepresented Digimon and high fidelity to null canon lore is really pleasing the side of the fanbase that’s into that (I mean, Digimon World Golemon is really deep in), so at the very least, there’s not a lot to be super-upset about.

[incorrect-ikevamp-quotes]

why does jean warn up to mc so quickly? ikevamp makes it clear that jean is a pretty reserved person and doesn't open up or let people in easily but he seems to let mc in quite quickly and it confuses me quite a bit.

Oh boy, where to begin with this one.

Well, I have a lot of Feelings^TM about this, but I'll try to be concise. Essentially, I think Jeanne doesn't recover in the other routes--or the general storyline--largely because he's just a lot to unpack narratively speaking. And without some pretty direct intervention, he has a hard time healing. MC’s direct intervention was meaningful because it was focused, consistent, and adapted to Jeanne’s specific needs. She also doesn’t make light of his experiences which is key; she fully understands that she can’t fathom what he’s been through. There is a very weighty respect and acknowledgement, a seriousness with which she treats his wounds that’s important.

It’s easy to make this a “why is MC nOt LiKe ThE oThEr GiRlS” but honestly that’s just not the sense I get when I look at all the information available to us. 

That being said, I also just feel like every person's recovery from traumatic events doesn't really look the same? I mean Leonardo’s cptsd isn’t going to operate the same way Jeanne’s wartime/Inquisition cptsd is going to operate. Some people require very individualized healing, others will often require a large scale group effort to lift them up.

Typically people don't ever just get over what happened to them and never worry about it again, either. It's usually a process of coping; the hope is that with time you find healthy ways to deal with grief and move forward. Therapists aren't magicians, they just help people process painful experiences/thoughts. It's honestly up to individuals to find meaningful ways to implement these tactics. 

Tl; dr: My contention is that Jeanne doesn’t open up or choose to stay alive because MC magically heals him, rather his recovery is a convergence of many people’s efforts and hopes that he stays alive. Gilles (he insists that Jeanne must live, asks him to promise), MC (affirms and bolsters that promise), Comte (makes a second life and recovery possible)--and in no small measure Mozart and Napoleon--all make an active effort to buoy him. As people often say, it takes a village to raise a child.

While Jeanne seems to respond most powerfully to MC’s attempts, it feels more like a product of chemistry/compatibility than it does a random cop out. There is no insinuation that only romantic love can heal; after all, MC gets close to him without any romantic intentions at first. They’re just good friends? It’s more that their feelings simply moved in a different direction after a point, which doesn’t necessarily happen all the time. Jeanne is also incredibly moved by Mozart’s love for him as a friend, Comte’s love for him as a father, and even Gilles’ love as a comrade to an extent. If anything, without their input Jeanne’s capacity for romantic love would be questionable at best.

Now, because I can never for the life of me stop analyzing, I have a more large scale outline of my thoughts below. Spoilers for Jeanne’s route:

If we look at Jeanne's life history, he has pretty specific trauma. Most of the harm he endured was a direct result of human rights violations after the war itself. He didn't enjoy fighting and killing people, but he's also very much a man that sees the reality of his position: it's either kill or be killed. His entire goal was to defeat the enemy as efficiently as possible in the hopes of ending conflict, and with his enormous resolve turns the tide. He had no innate interest in inflicting harm, or lack of control when engaging. He isn't pathological about it, and doesn’t dehumanize the other side. He was more "this was an act of necessity, but those are still human beings." So as far as I can tell he has a very strong moral compass and sense of duty, he doesn't show much delusion/confusion in that regard. (Also evident in his conversations with the young orphan boy.) Furthermore, he has been shown to have a sense of humor--cracking jokes with Gilles and boosting morale for his fellow soldiers.

His childhood abandonment is significant (he left his home because he was "not an adequate farmhand and they had no ability to feed all their children") but I don't know if I would consider it a huge trauma point for him. It seems as though he deemed it an act of necessity--not spite. It was simply the way of things, and he couldn't help his wiry constitution. You'd be surprised how common that was once upon a time, tbh... While it's certainly not right or fair, it does appear that in his perception it was the choice he made and he moved on after he became a soldier. Just focusing on what he could do, rather than everything he lacked. For people in his position, they often feel it is useless to linger on what should have been. There’s no time to linger or doubt, life hangs in the balance.

That leaves us with his time under the Inquisition, just before he was slated to be burned alive. I think this is the keystone trauma point for him, because there are a lot of moving parts to his powerlessness here. The first part is that his entire life's mission--ending the war so that people would no longer have to die and/or starve as a result of senseless violence--was just sabotaged. All those years of doing things he never wanted to do (wartime violence) and being forced to leave his family to ensure they didn't all starve, all of it treated like some kind of joke. Like he didn't sacrifice years of his life and sanity to protect a people who were happy to call him a monster and watch him burn alive. The second part is the overt gaslighting and rewriting of Jeanne's personal history (and overall French public perception) for the sake of the King's political agenda. To call him a treasonous danger to the country when he was once lauded a hero. The third portion is the actual physical helplessness of being arrested, starved, and continuously maimed for no reason beyond pure malice. While it's never right to do that to any human being, this was done to a man who prided himself on his stalwart moral code. To abuse and torture him for something egregious that he would never do (at the risk of death) is just another slap in the face to everything he is and believes in.

I just feel like the context clarifies why that period of time would be the tipping point. His entire moral code and life’s work is being called into question and swept aside, as well as his agency? He believes very powerfully in a sense of right vs wrong, what's fair and what isn't fair. Somebody else deciding that for him--and deciding in a way that is openly unfair/incorrect--further makes him lose himself and his sense of reality. A person in that situation begins to doubt if they are good or bad. His belief in god all the more pressing; if he was a good person, why would fate bring him so much suffering? Honorable soldier or not, his blade has drawn so much blood...

People often reference his stilted social skills (and I am of the belief that he is on the autistic spectrum) as a reason why he is so "people-adverse" but tbh? I don't agree. His memories before the onset of this trauma reveal that he was actually a very warm person, and that people were more than willing to fight under his banner. He had friends, and he had comrades--his country loved him. He was the picture of well-meaning civic duty. Just because he doesn’t integrate smoothly into larger social groups or adapt well to socially shifting circumstances, doesn’t mean he just hates people lmao. When people give him the space to exist within his comfort zone and don’t take advantage of him, he thrives. Compounded by that, we also have his actions in the present to further prove what is true and what isn't.

While he is stern with the orphan boy (I'm sorry I can't remember his name, damn it) there is no malice or cruelty in what he has to say. He doesn't punish the kid or do anything out of line. It may not be fair in terms of the adult level of discretion he asks of him, but the kid also didn't have a lot of options realistically speaking lmao. Same thing with MC, she and the orphan boy are nearly identical in how Jeanne treats them. He's a little rough, but the route reveals that his intentions are just a reflection of what he's been through. He truly believes that if a person isn't strong, they won't survive--because his entire life was a series of trying to be strong/reliable because nobody else would. There was nobody to protect him, and nobody to care for him went things went south. It was him and his sword against the world, and even his exceptional skill as a fighter did not protect him from the Inquisition's arbitrary torture. He has lived in a world where good acts can become absolutely meaningless, where following rules and helping people still gets you slaughtered. That's going to take a considerable toll on his mental health: where do you find the will to go on when the next second of your life could mean the devastation of everything that matters to you?

Spoilers: you don't. Or if you do, every minute of the day is a fight to stay alive. That is the point at which we meet Jeanne. Caught in the hellish whirlpool of wanting more, wanting better--but being terrified of the cost. The cost of hoping, only for his entire world to go up in flames again. It's not a small thing, in my view.

If you have any doubts as to whether or not that is the case, I direct you to literally every singular instance in which Jeanne's emotional sensibility goes visibly dark/south. When do these instances happen? When it rains, for one. And when Shakespeare deliberately starts pressing on his sensitivities: about the soldiers he was forced to kill, about the nation that spurned him, how he's truly "wicked" at heart and doesn't deserve to be happy--seconds before flames erupt for the festival. Does that really sound coincidental? I mean lmao. The rain is a painful reminder, but MC transforms that memory into something a little lighter with her bet. He has nothing to lose in her game, all she does is ask for time with him or offers him something if she loses. There's a playfulness there, a restoration of agency and ease that's invaluable to his recovery.

As for Shakespeare's deliberate retraumatization...I can't even begin to explain how damaging that event was. Shakespeare is undermining Jeanne's agency in that he--not unlike the corrupt monarch of Jeanne's era--is twisting Jeanne's beliefs to work against him. He knows full well that Jeanne doesn't feel like he deserves somebody so bright and understanding (we need to remember it's not really a luxury he's had much in life, especially after the war ended). He knows Jeanne has a tendency to impose that strict moral code on himself even more than he does on others. To reaffirm his every worst fear and lurking terror only throws Jeanne into a vicious downspiral. Jeanne doesn't reject MC out of disgust or hate. He rejects her because he literally cannot handle the concept of trying to be happy again, or of burdening her with his constant struggle to move on while he’s in the middle of a bad episode. He knows he won’t be able to stop reliving the past, that every second of his life and breath will be colored by his gruesome memories. He's trying as hard as he can to keep the intrusive thoughts quiet, to move on. But I'm not going to lie to any of you, that is incredibly difficult to do alone.

The next obvious question is, well why can't the other men help him? This isn't to say that they can't--we see how much solace Jeanne finds in Napoleon and Mozart. Even Isaac is gentle with the veteran. But there are limits to how much they can do. Napoleon is struggling with his own wartime trauma, and it's not identical to Jeanne's. Plus there’s a distinct difference in their sensibilities? Napoleon is the type to habitually seek comfort in helping others when he can't help himself, he's not as in tune with answering his own personal feelings and regulating them. (I mean just look at his new ES: he knows what he wants, but it takes a nudge from Isaac for him to go through with it.) He’s very communally reliant in ways Jeanne isn’t; Jeanne is a very private person, and typically prefers one on one from what I can tell.

Mozart is the definition of repression, and if you look at their interactions it's usually Jeanne that's smoothing over Mozart's rough edges. Mozart says as much himself: that he feels like a rotten friend because he knew Jeanne was struggling with a lot of intense trauma, but he didn't know how to unravel it without hurting him in the process. Mozart calls it personal cowardice, but honestly I just feel like they both had too much going on to be able to help each other effectively. (And Jeanne expresses this sentiment too? This idea that he's not angry with Mozart? He knows they're both carrying a lot, he's just touched Mozart cares about him in return.)

Okay, briefly unrelated, but like. Am I the only one that wheezes uncontrollably when Mozart is like "?????? Idk what it is about MC...I don't want her to be scared of me..." in his own main story in the baths. And Jeanne. IS TRYING SO HARD. NOT TO SPILL THE BEANS ABOUT HIM O B V I O U S L Y BEING IN LOVE. THE HILARITY I CAN'T DO THIS. Jeanne was like "yeah....yeah that's rough buddy.......[screams internally, give your boy time Jeanne he's fragile]"

Honestly? That's the thing about Jeanne too--he has incredible self-awareness and hyperarousal-related (I mean the PTSD kind, get your head out of the gutter) awareness to the people around him. He's very, very conscious of the fact that he is surrounded by geniuses when he can't even write his own name. Just because he has the fortitude not to lash out with his insecurities, doesn't mean he never feels stupid or inferior. And it doesn't help when there are people in the mansion who call him--a fucking war veteran from 500 YEARS AGO--nAiVe. He's not naive lmao. He just doesn't know how the world works so many years later, and it's a ridiculously steep learning curve? Leonardo and Comte are nearly 500 years old, but they lived throughout every hour of that time in a linear fashion. It is a big deal to be moved from 1430 to 1890 in the span of a second asynchronously, and then be expected to function without a hitch??? Given the circumstances he adapts well.

That atmosphere--this constant impatience with what he doesn’t understand, his inability to be caught up to speed quickly--is going to hinder his recovery lmao. He feels like a burden most of the time, and agency and freedom are crucial.

Another thing that occurs to me about the mansion's arrangement is that there is a power dynamic, just as any space with people in it has some level of hierarchy (unless you live with miraculously chill people). Jeanne is acutely aware that Comte is the most powerful being in that space, and he is not only hatefully angry at him--but likely afraid too. We have to remember that the biggest betrayal he witnessed in his life was at the hands of a monarch; it was the aristocracy that turned on him and erased the truth. Comte is openly a child that resulted from both that era and that type of lineage, I don't really blame Jeanne for being wary. He intimately knows how willing rich people are to throw normal folks under the bus to suit their ambitions/whims. Comte, while not deliberately threatening, also seems to be painfully aware of this impression he gives off. His "chad persona" as I've mentioned allows him to navigate his life in secret by necessity, but it’s actively damaging to his son. He can't reveal the truth because of Vlad's betrayal, and he's openly unsettled by what it could mean to be honest. Will they wonder about Vlad and find themselves ensnared under his mind control as Charles and Shakespeare are? Will Comte himself be subjected to the mortifying ordeal of being known only to lose them?? That's a risk he isn't willing to take--and that leaves him in a double bind.

What is it that they say, the truth will set you free? This is where MC and Comte come into enormous play when it comes to Jeanne's recovery. One thing to keep in mind is that most of the people in the mansion have their own traumas they're trying to carry, and I feel like a lot of them are unsure how to approach Jeanne. Or if they do, he's very guarded. It takes a lot of consistent effort to get through to him. What does MC do when Jeanne unleashes his harsh worldview on her? She's understandably frightened, but Jeanne isn't malicious (so she chases him around). In fact, he openly avoids and runs away from her--well aware that what he's done is wrong. If anything, he did it on purpose, bringing us right back to Shakespeare's verbal undoing; why does Jeanne attack her in the first place?

LMAO. He attacks her because she essentially says "oh thanks for helping me!" "I am not nice. Watch yourself." "But you seem like a nice guy to me?" "REEEEEE" Does the pattern become a little clearer? When people think kindly of him, his instinct is to shatter that illusion with an impulsive reprehensible act. When people think poorly of him or lash out, what does he do? When that orphan boy starts yelling and screaming, Jeanne is nothing but calm. He explains the situation, and offers the kid a choice, perfectly happy to be the bearer of bad news. This operates on many levels I’m sure, but I have a feeling it has something to do with him being hailed a saint and a war hero only to be tortured and branded a monstrosity (and he probably thinks being a vampire is doubly monstrous). He’s more comfortable being hated because he feels it’s what he deserves in a lot of ways.

Jeanne has a lot of internalized self-hatred because of what he's done, and because of how much harm was inflicted on him outside of his control (he's Catholic and he was tortured, come on this writes itself). If I'm honest, I think that's actually the greater part of why he hates Comte lmao. Comte refuses the very concept of being cruel no matter how much Jeanne lashes out. Sure he lectures him and scolds him, but he never actively limits what's important to him or controls or harms him. Comte fully realizes the tragedy of how Jeanne's life was used by a nation in dire straits, and knows he needs time and acceptance to heal. No matter how dismal or unhappy, Comte doesn't stop--he fully believes Jeanne should have time in his life where he can really live for himself for once. But therein lies the issue, Jeanne doesn't know how to live for himself.

Which brings me to how MC and Comte "heal" Jeanne. I feel like they give him the space he needs to recover, and that's what results in his gentled temperament and happiness. Remember that so much of his main story is MC endlessly chasing after Jeanne. No amounts of his hissing or running or threatening stops her. Even if his refusals are empty of real dislike, they're enough to deter most people. Not MC. She's able to see through to the depths of who he is, and doesn't just use him for her own ends? She actively seeks to teach him (to read and write) to help him settle better in this era, she actively tries to ease his distaste for rain with a well-meaning bet, and she never gives up on him. (Actions mean so much more to him than words in general too, tbh...). Love is more easily defined by work and effort than it is by attraction.

When he has his episode at the festival, sure she's rattled; but that's because she truly believed that he didn't want to be around her anymore. When she notices he really doesn’t want to be followed, she stops like any normal person would. It’s only when she reads his notebook and sees the truth for herself (that he’s given up despite having the same feelings for her) that her determination is rekindled. She doesn't approach him fearfully, doesn't treat him like he's made of glass either. She just wants him as he is--accepts and loves him as he is. Scarred, bloody, exhausted, abrasive, terrified. She doesn't define him by how easy he is to love. That is a huge issue with traumatized people lmao. Because of their maturity, people always just assume they don't need help, or they rely on them to an extent that isn't sustainable. The second they reveal need or that they struggle, people walk away or victim blame them because it’s easier than taking them seriously.

While MC's attempts may be a little more obvious (cherishing his lily field, wearing the hair pin he gave her, careful about his gruesome injury, really listens when he talks about the horrors of his life and accepts that he experienced a level of agony/terror she can never understand, tries to express her feelings no matter his evasion) I think it's also important to consider Comte's large scale effort. I don't say this to undermine MC, I say it because Jeanne's life was defined by a complete lack of security. He left his parents to make their lives easier, he lived in a war that meant life or death any second, and his country's leader branded him a traitor which lead to his endless torture and public execution. Jeanne does not know a life in which safety is the norm. Point blank. He does not understanding going outside and not expecting the worst anymore.

Comte not only understands that level of despair, but treats it with dignity and respect. He fully accepts being hated if it means Jeanne can use that hatred to live on and find a way to heal. And most importantly, when Jeanne begins to move forward with MC and Mozart's help, Comte never once holds it against Jeanne when the truth is revealed. He's not angry, this isn't about reprisal or reparations or revenge. It's just love.

Jeanne doesn't really have a concept of this? His entire life was mostly transactional, defined by strength and efficiency. Nobody gives a damn about your feelings. You either hurl yourself at the problem or die. Nobody is going to help you or carry you or save you. While he may have had a little more support while he was in the military from his fellow soldiers, that support system was ripped away from him during the Inquisition.

One very common sentiment regarding elongated imprisonment and torture is that survival occurs in pairs. It is an undeniable fact that people need others to survive. It is the nature of who we are. Individualism has never proven to be successful, or if it is, its dividends are astronomically minimal when compared to people working together.

What does it mean to be the most reliable, steady person in the room? Usually it just means you don't know how to ask for help when you are no longer capable of maintaining that stance. Napoleon is guilty of it. Leonardo, Comte, and Jeanne all are too. It's part of why MC and Comte's capacity to see what he needs and provide as much as they can is such a big deal. That sort of consistent support (without a constant necessity to beg for help) allows Jeanne to be able to re-integrate into his new reality and find joy. Even if his nightmares and memories never go away, they are now being actively overrun by positive experiences. That's the thing about recovery, really--it tends to be more about drowning out the negative as much as possible and coming to terms with it, than it is about forgetting or never feeling it again. It’s about softening the sharp edges of pain like sea glass.

So is MC magical and randomly got Jeanne to open up? Nah, I don't think so. I think it was a series of persistence and real acceptance of who he is that made him warm up. People really seem to underestimate how deeply affecting understanding is, but that's how damage is undone. Jeanne can't really linger on the idea of his own monstrousness, his unworthiness, a lifetime of misery, when the person in front of him actively listens and cares about him. Makes him laugh and smile and lose himself in warmth for the first time.

If I'm honest, I feel like people also just...underestimate the level of traumatic resurgence that's perpetuated and inflicted by society’s standards in general lmao. This rhetorical structure in which good and bad exist in moral extremes, this idea that people should be able to recover and never experience relapses or periods of sensitivity. The refusal to radically listen to people and their problems, and make active attempts--not matter how small--to mend/ease those hurt feelings. Granted there will always be people in the world who do not want to improve, but I feel like most people want to. It's hopelessness, silence, and stigmatization that remain the true enemies of traumatized/mentally ill people everywhere. And among that population are always war veterans...

[jostenneil]

do you think that people that praise nobara but bash sakura actually cares about a good written female character in the shonen? idk it seems like ppl attach this title to female characters that have a “no shit attitude” and good physical strength. but what’s wrong with being vulnerable and insecure but having the agency to grow from it? In fact, I would argue sakura has more agency and these traits and complexity than nobara does.

Bluntly speaking? No, I don’t think they do. To me, what’s been so influential about Sakura as a character and her impact on female shounen heroines to follow is the fact that she is very much a product of shoujo tropes and narratives moreso than shounen ones, and that caught people off guard (to the point that it angered them, obviously). I would actually say that what makes her so likeable and relatable to me as a character is that emotionally she’s far more messy than Naruto or Sasuke, who are actually pretty straight laced in the majority of their actions and decisions. They respond very logically to their individual traumas in opposing manners, and that’s what sets the stage for their series-long clash as rivals or something more. 

Sakura, in comparison, isn’t someone whose feelings, decisions, or actions are as clear cut. In the beginning, she’s a little bit selfish, a little bit mean, and it takes the range of her experiences during Part I to mold her into someone with a broader sense of empathy and kindness. Sakura is a normal girl living a normal life who just wants to have a normal crush, until she’s thrust into a team of people all traumatized in some of the worst ways possible, and she has to learn to cope with that while maintaining her own sense of identity and purpose. That’s something that especially becomes a focal point of her growth after the time skip, and as a whole it’s a narrative arc very reflective of the classic shoujo. The thing about her story that’s compelling is there’s this constant back and forth between loyalty to love or duty. Sakura is someone dedicated to building up her strength and skill for the purpose of contributing to and supporting her village, but at heart she’s also the same girl from her childhood who just wants to live a normal life, for her friends to be okay, and for the boy she loves to realize that he is someone worthy of love in the first place. The complexity of that interplay over the course of Part II absolutely fascinates me, especially because it’s something she struggles so much with. A lot of people tend to act like Sakura is naïve or blind to the reality of her circumstances, but I would argue that she’s the most emotionally and realistically grounded member of her team. It’s what makes her internal emotional struggle so hard, because she’s fully aware of the realities, but they nonetheless break her heart and she doesn’t actually like having to acknowledge them. It’s an incredibly human response, and why I think her actions during the Kage Summit Arc and even afterward are so understandable, because, yes, there is strife and blood and war, but doesn’t love still mean something in the end? I think shounen fans who tend to hate her absolutely abhor that aspect of her character, because they can’t stand to see someone who would dare go against the grain of what makes battle shounen so addictive and enjoyable a genre. They’re being asked to contend with a character with more complex motivations and feelings, and they can’t stand it, especially because that complexity manifests in the form of a character who doesn’t have the heart to hurt the people she loves, because more than anything, she just wants them to be okay first. It’s not wrong that Naruto’s philosophy with regards to Sasuke is to fight violence with violence, that’s his prerogative, and there’s reasoning behind it. But there’s also nothing wrong with Sakura trying to appeal to Sasuke’s emotional side first, especially since he is someone who has been so thoroughly traumatized into relying on violence as a coping mechanism. That’s something she acutely recognizes, and yet somehow, it’s almost impossible for a good portion of shounen fans to recognize this themselves, and so you have either people who egg on Sasuke’s dismissive behavior with her or people who act like he’s the devil incarnate because his extensive trauma makes him respond non-ideally. There’s no room for nuance, because at the end of the day, a girl who cries over the boy she loves, or who cries at all, is a miserable human being and has no place in a shounen, regardless of her feats otherwise. 

And then, we have Nobara, who admittedly is a cool character, too! I like how her back story shapes her philosophy with regards to her admiration of and cooperation with the people around her, and how that mindset of hers grows and changes as she spends time with the other students at Jujutsu High. But, while it does present an interesting premise and fairly logical growth pattern, there’s honestly. . . not much more to it beyond that? Nobara is never paid the same amount of attention by the narrative as are Yuji and Megumi, and then it’s not like challenges to her philosophy are a significant focal point of the story (in the sense that it’s not really like her personal arc majorly shapes the story itself). It shows up where it’s needed, and then it’s more or less pretty neatly resolved and tied up with its own bow within a hundred or so chapters. Could she come back from the “dead”, and there theoretically be more done with her character? Maybe. The recent interview from Gege where he talks about the circumstances of her death was interesting. But something he also talked about in that interview is how the series is more than halfway over, and it’s like, is there really a lot more that he can accomplish with her narrative arc when there’s so much else that’s more important and needs to be resolved? I think people like Nobara because she’s someone confident in her own motives and her own sense of self, and that’s great! I love to see characters like that. But it’s also ridiculous to see her constantly lauded over Sakura when she’s hardly afforded a comparable significance to her own story, let alone an extensive character arc where her own personal development matters and is constantly challenged at large. People are far more concerned with dominant expressions of feminism, and that being synonymous with a “strong” female character, than anything actually bordering on a complex and fully realized character. And I don’t mean this in any sense as a criticism to people who like Nobara’s character. I’m just saying that it’s sad to see shounen fans constantly settle for bare minimum and not ask for more, or seek out more for themselves. Nobara, and several of the other female characters in Jujutsu Kaisen, deserve to have their narratives and characters be fleshed out on par with those of the boys. I wish more people were willing to acknowledge that. 

[bigskydreaming]

Dick has said it out loud explicitly, to Damian, that the mantle of Robin was his to pass on. Why do people still feel entitled to talk over him?

IMO? For the exact same reasons that people harp on so much about it being a retcon that Robin was Dick’s mother’s nickname for him and that originally he based the name on Robin Hood. To be perfectly honest that doesn’t make a damn bit of difference in regards to the fact that either way the point is still that Dick created Robin and it wouldn’t exist without him.....but the constant attempts to minimize its emotional significance to Dick and any kind of special attachment to it that he has and that the others can’t claim to share....

IMO these are just attempts to distance Dick from the mantle and make him seem less relevant or important to its very existence....freeing up people to focus on the importance of Robin as a symbol and a mantle to everyone else but without having to attribute any special credit or significance or respect to Dick as the originator of the mantle and the character that the other Robins are literally the legacy characters of.

It’s pretty annoying and very shortsighted IMO as actually, emphasizing the connection Robin has to Dick’s first family just enhances the weight and poignancy of Dick ultimately giving each of the other Robins his blessing when he didn’t have to and thus literally choosing them as his new family even without having to rely solely on a connection to each other via Bruce.

Of course people don’t seem to really want to do that either....given how rarely Dick’s blessing even gets acknowledged amid all the angst about who replaced who and who was fired and who wasn’t. It’s kinda ironic...I know so many fans HATE the version where Bruce fires Dick and so whatever they can not to acknowledge it and dismiss it as a retcon....and the ironic thing is? I get it. I totally see why it’s not something they want to run with and to be quite honest I can take it or leave it myself. I like exploring versions of events where Dick was fired, I like exploring ones where he wasn’t. Both have room for digging and delving imo.

My only beef with people who are soooo loud and quick to always dismiss the firing as just a retcon that doesn’t count.....is that in the pre Crisis version of events where Dick voluntarily gave up Robin and decided it was time to move onto a new identity....he gave Robin to Jason himself. The significance of that version of events isn’t JUST that it was Dick’s own choice to move to a new identity and that there was no conflict between him and Bruce about it...it was equally of significance that the Robin mantle was still viewed as inherently his, made by him, and his and his alone to pass on to a successor.

There is no version where Dick gave it up voluntarily but had no role in choosing Jason. The very premise of that mix and match honestly makes no sense because why make such a fuss about Bruce not having overstepped and fired Dick when it was never his place to say what he could claim as his identity or mantle on his OWN (fire him as his partner, sure that was always Bruce’s right, but tell Dick he couldn’t be the hero persona he created for himself? Fuck off Bruce LOL).

But my point is that mix and match makes no real sense because why preserve Bruce’s character from stepping between Dick and the mantle he created to honor his first parents....only to then turn right around and have Bruce still treat it as a Wayne family hand me down that Dick had outgrown when it was only EVER a Grayson family hand me down whose only connection to the Wayne family was through Dick being a member of both families and a bridge connecting them?

Whether Bruce fires Dick as Robin and gives it to Jason or JUST gives it to Jason without Dick making that choice....the one isn’t any better than the other because in both cases the actual offense is still the same: it was never Bruce’s to do ANYTHING with other than what Dick wanted done with it. Take on a new partner? Sure. But give him the mantle made of Dick’s work, Dick’s past, Dick’s every action as Robin? Nope.

So really the mix and match only serves one real purpose, for anyone who is intent on dismissing the firing as just a retcon but sees no need to uphold Dick choosing to give Robin to Jason instead of Bruce doing that...when Bruce doing that is literally part of the exact same retcon they’re so intent on discarding!

The only real purpose that mix and match serves is to keep Bruce centered in the Robin succession with his choice to give it to Jason being the basis of Jason associating Robin with Bruce. It keeps Bruce as the person Jason thinks of and feels connected to every time he thinks of why he’s Robin at all....because Bruce is the one who gave him the symbol that was already well known and full of meaning when Jason stepped into those shoes.

And then of course at the same time the mix and match also ‘lessens’ Bruce’s offense to Dick in taking Robin against his wishes WHILE also suggesting that Dick has less basis of feeling resentful of Bruce passing it on to someone else without his say so because it’s not like he was using it anymore right? And that was his own choice right?

But so what if it was? That doesn’t make it any less his creation and his legacy. It doesn’t make it any less a Grayson family connection and somehow more a Bruce Wayne family connection.

And that’s my beef. That’s the big irony of how flat out counter intuitive the mix and match retcon thing is and always has been. It only accomplishes half its objective....keeps the later Robins more connected to Bruce via it than they are to Dick via it....because it ultimately still runs through Bruce. But it fails to accomplish its secondary objective simply because refusing to acknowledge that Robin is intrinsically tied to Dick Grayson and not Bruce Wayne like....doesn’t actually make it any less true.

And that’s why imo the question should never have been “does your fic go with the version where Dick gives up Robin or the retcon where Bruce fires Dick” ...no, the right question in my mind should have always been “does your fic go with the version where Dick gives Robin to Jason or the retcon where Bruce gives it to Jason.”

And here’s the sticking point:

People always point to Bruce and Dick’s initial connection as the basis of their entire Dynamic Duo partnership. They understood each otrher via their parallel experiences losing their parents to murder. Bruce saw himself in a young Dick Grayson and he wanted to help Dick figure out a way forward to life after his parents’ death by drawing upon his own experiences.

But at the same time, they aren’t the same. Even with Bruce guiding Dick forward through his trauma and grief by following a map made of his own prior experiences, the end result was not the same for both....but it still used some of the same road marks on their respective journeys.

And this is why the Dynamic Duo were always emphasized as partners, as complementing each other, balancing each other....things they could only do because they were not the same and even using similar coping mechanisms to deal with their PARALLEL tragedies....produced entirely different results.

Both used their tragedies, their traumas, their PAIN to fuel their pursuit of justice and desire to help protect people. Both built new personas for themselves to use in their shared missions here....personas which embodied what they wanted to accomplish in these guises while at the same time reminding them why they were doing this.

But the personas they created ended up looking very different despite being born of similar crucibles...because they prioritized different things....and because they were honoring different people.

No matter how much Bruce and Dick have in common due to circumstances they are very different people who are both products of the families and places they come from....and thus even when using similar PROCESSES to build something out of their parallel tragedies, what emerged from the fires once they were done creating from their traumas.....don’t look the same. Aren’t interchangeable.

And neither are their creators.

Bottom line, it in my opinion flat out does not work to attribute more connection to Robin and the succession of that mantle to Bruce than Dick.....because Bruce would never, COULD never create that specific mantle out of his grief and pain any more than Dick ever would or could have created Batman out of his. Because they are too different. They needed different things out of their journeys forward, they were commemorating having had different journeys behind them, they were walking a shared path side by side but you can’t switch the clothes they made to wear going forward anymore than you can switch their footprints beneath their feet....they don’t fit into what the other made because it wasn’t made BY them and it wasn’t made FOR them.

So riddle me this, Batfandom: how does it make sense to focus on their parallel tragedies and how they moved forward from those in similar ways and on a shared trajectory, emphasizing how this is the entire basis of the Batman and Robin partnership from its very inception.....

Only to then view the role Bruce’s grief, his loss, his pain played in birthing the Batman mantle as something sacrosanct, undeniable....these things go hand in hand, there’s no separating them even when others end up wearing the Batman mantle as well, even through multiple generations....

But at the EXACT SAME TIME....treating Dick’s grief, HIS loss, HIS pain and the role all THAT played in birthing the Robin mantle....as something that barely comes up as a footnote the second you put the costume on anyone other than Dick? Something the others never even feel inclined to THINK about when reflecting on the mantle they’re wearing and where it came from and why it exists?

Why is the one rated as so less significant than the other....if the entire point of Batman and Robin is that both heroes were born from the ashes of tragedies so similar they understood each other in ways most other mentors and sidekicks never came close to?

How’s that work exactly?

Look, you’ll never catch me arguing that Bruce isn’t and shouldn’t be central to the Batman mantle, mythos, succession, etc. And I loved Dick as Batman too. But it ultimately should always come back to Bruce no matter how many people add to it in their own ways. Because it’s not just about what Bruce made.....it’s why he made it that matters too. The act of creating Batman is as important to the story of Batman as the created Batman.

And those very same reasons are precisely why Bruce shouldn’t be regarded as central to the ROBIN mantle, succession, etc.

To dismiss the Graysons as not being definitive to the greater Robin mythos is to say Thomas and Martha Wayne bear no special significance to the Batman mythos.

I love that being Robin connects these siblings and ties them all together as part of the same family. I love it being a shared family tradition that encompasses all of them and marks this family of choice as having been specifically chosen by not just it’s patriarch but each other.

But it’s not Bruce’s family tradition and it’s not a Wayne or even a Batman hand me down.

Because it doesn’t even come from Bruce’s family.

It comes from Dick’s. He brought it with him. It’s what connects him to what came before life with Bruce because as everyone knows but so many people often forget to give MEANING....

Dick Grayson, for as much as he is Batman’s son and is undeniably Bruce’s family, had a life of his own before he ever met Bruce.

He didn’t begin with Bruce Wayne. He didn’t come from Bruce Wayne.

And neither did Robin.

[petracore101]

Hello lovely friends and followers...

I’ll just out with it- I am not going to be posting RWBY content anymore. I don’t think I’ll keep watching at all, honestly. I’ll try to discuss why below, but regardless, I will still be around, just not for RWBY. And if you’re feeling rough about all this too, and want a sympathetic ear to talk through things with, please reach out. My inbox is open. <3

tldr; It feels like the heart of the show, the depth and nuance I have always loved about it, is just... gone.

It’s not a new feeling; those of you who have been following me awhile know I felt largely the same after V7. The journey was skipped to get to the destination. At the time, I had hoped it was just a product of circumstance- of taking on new writers, switching up the way they did things, and trying to juggle so many new characters... but this volume has solidified for me that it’s not a temporary shift. This is the new normal.

And that does hurt, because RWBY has been a big part of my life for... well, about 8 years now. I was drawn in the moment the red trailer dropped, and only grew more invested from there. Since the very beginning, I’ve watched the show and it’s characters grow with its creators, and been able to grow alongside them. Even when I had to take a break from the FNDM circa V5 (because the discourse around the Faunus arc got... unpleasant), I kept watching and engaging with those I could trust, because RWBY remained important to me. I’ve loved v1-6 dearly, despite their flaws, because the emotional core of the show has always shone through. And the belief in that core is what’s kept me here so long. But now the story just feels... gutted. And as much as it breaks my heart, I don’t think it can come back from that.

For two volumes now, I’ve felt as though the story has been rushing through the plot points without consideration for characters or their growth, while leaning heavily on shock value to make up for the lack of emotional depth. It’s become almost entirely a plot-centered narrative, leaving its intense character moments detached from or outright opposed to those character’s arcs. And because of this, it has relied on stunning the audience with increasingly brutal and sudden reveals, while skimming over or outright ignoring opportunities for nuance and emotional complexity. It feels desperate, using the characters’ pain for cheap emotional jabs rather than actually engaging with that pain or it’s consequences. And that results in it seeming to play the core character tropes straight rather than taking the time to subvert them in any meaningful way, because doing so would require engaging with their emotions beyond a surface level. For me, that engagement, that depth, that subversion, has always been a crucial part of the show, and the foundation of its story. It’s the hook that grabbed me in the first place, way back when I first heard Monty discussing the idea behind the new project he and his friends were undertaking. But now, all the narratives I have been invested in just ring hollow, as if they’re dolls imitating past movements, without any of the soul that first gave them meaning. The story isn’t about the journey, it’s just a collection of the major events that define it, with nothing deep connecting them. Gone too is the persistent hopepunk feel of the first 6 volumes- the quiet moments of hope and self reflection replaced instead with a breakneck sprint through an increasingly tone deaf plot. Everything that kept me engaged, kept me invested is just... not there anymore. It hasn’t been for two volumes. And this finale was the final nail in the coffin.

I do want to make it clear that I don’t say any of this to turn anyone off the show- I’m glad for those who still enjoy it, and I truly hope you continue to do so. Maybe you disagree with me completely, or perhaps this new normal is exactly what you’re looking for. I’m certainly not going to judge anyone for that. And even if it’s not what you want it to be, you may just want to keep enjoying it casually, or are simply not ready to let go of something that means so much to you. I don’t want to imply I have any kind of problem with that either. Because truly, I hope everyone still watching enjoys whatever they have in store. I just know that I... can’t.

And as much as it hurts to say goodbye, I also know that clinging to what feels like a shell of the show I’ve fell in love with 8 years ago would only ruin my enjoyment of the parts I do love. For me, RWBY ended at V6. We said goodbye to those we lost, resolved to carry on with their memory bolstering our spirits. Then, with that beautiful send off, started a new chapter... and that’s where I want to leave it.

So goodbye, RWBY.

I’ll remember you fondly.

[ineloqueent]

dreaming of you

Brian May x Reader

synopsis: a storm results in a power cut, after you get locked out of your flat. luckily, your neighbour is home.

warnings: swearing, drinking

word count: 2.7k

a/n: i hope you don’t mind that i took a few creative liberties with the prompts, m’dear <3

see the moodboard here!

⭒

London, 1973

It was one of those days that simply went from bad to worse. And then fell down the stairs. And into a frying pan. And then leapt out of the frying pan and into the fire. Except the fire was not simply a fire, but a flaming pit, that was somehow also freezing cold and pitch black.

In short, you’d had a terrible day. And as life would have it, your day was about to get a hell of a lot worse.

It had started that morning, when you’d got out on the wrong side of the bed, quite literally. You had fallen face-first over your office chair, which stood mere millimetres from the left side of your bed, because you lived in a tiny flat on Camden High Street, above a shoe shop, where, in the winter there was rarely hot water in the pipes, and you were forced to scrape ice off of the bathroom mirror with a razor in order to see your reflection.

So, you’d fallen out of bed and bruised— your forehead— instantly, only to realise that you’d slept through your alarm, and forgotten to lay out clothes for the day the night before. This was then followed by a rushed—  cold— shower, and jumping in front of the iced-over mirror to glimpse the large bump already forming on your forehead.

You’d made it to the kitchen, and found that you’d run out of both coffee and tea, forcing you to decide between going without caffeine, or being late to work in the process of getting a takeaway beverage. You opted for the latter, and sprinted out the front door with your scarf only half-slung around your neck.

You’d shouted a hasty good morning to your shop keeper neighbour from the lower floor, before running straight into your other neighbour, the one who lived right next door to you, and shared your rice paper-thin walls.

He’d narrowly avoided spilling his cup of scalding coffee down your front, but in avoiding spilling it on you, the poor bloke had instead dropped the mug at his feet, and watched it shatter to pieces, coffee spattering his white shoes.

Still, he was the first to apologise.

He was like that, Brian May. Very polite. Well-mannered. Ever the friendly neighbour.

And very beautiful. You’d noticed.

Off to work you’d rushed, once you’d helped him to clean up the mess, because you weren’t about to leave him standing in a pile of shattered porcelain, the existence of which was quite honestly your fault.

You’d been not five, not ten, not twenty, but thirty minutes late to work, and your boss had been none too pleased.

“Deadlines,” he’d told you. “We have deadlines!”

Deadlines your arse. You’d watched that man leisurely read his morning paper, with his feet on an ottoman, whilst you scrambled to get your affairs in order.

It’d then been a drab day, working at the newspaper, because it seemed that nothing was happening in the world, outside of your own little corner, where everything seemed to be happening all at once, and thus, there was no story for you to write. You’d been reduced to running fax and photocopies for various people, and— ironically— doing a coffee run, because everyone else was too busy for such a frivolous thing as a coffee run. Funny, though; for all they shunned the coffee run, they could not do without their precious caffeine to fuel their productivity.

The day seemed to drag on, and when it finally let up, the rain came down with the night, and you, with no umbrella and a good walk on either side of your tube ride, stared miserably through the window at the depressing weather.

But at home, pasta and television and your lovely, soft bed awaited you, and so, you were desperate to get home as quickly as possible.

With a sigh, you stepped outside, and let the rain soak you as you went on your way, having once read in a scientific study in the newspaper which had concluded from a series of experiments that one got more wet from running through rain than from walking through it.

The tube was crowded, as usual, and like a good citizen, you offered your seat to an elderly lady, only to realise upon second glance that she was not elderly at all, and you had just morally offended a rather prim-looking business woman. And lost your seat to the smirking man who’d watched the exchange occur.

You tracked mud all the way up to your flat, nearly breaking your foot at least twice when you nearly slipped on the rain-slick wood of the stairs.

The final nail— or so you thought—  in the coffin of your terrible day came when you fumbled in your jacket pockets for your key.

The sinking feeling in your stomach was perhaps the heaviest you’d ever felt.

In your rush that morning, you’d forgotten your key.

Brian May walked up the stairs just in time to see you kick your shoe off in frustration, and let out a laugh at the sight of you.

You looked up from your abused shoe to find Brian paused at his door, one eyebrow slightly raised in concern.

“Alright?” he asked, dubiously.

You took a deep breath, in an attempt to remain calm and appear normal at the height of your despair. “I’ve had a shitty day, since before you saw me this morning, and now I’ve locked myself out of my flat. Alright, you think?”

“No,” he conceded, “but it seemed polite to ask.”

“Do you always just do what’s polite?” you sighed.

“Now that,” said Brian, inclining his head, “wasn’t very polite.”

You shook your head quickly. “That’s not what I meant. I meant it in a much more flattering way, like, you never fail to be polite, even when it’s hard to be, or when I’m sure you’d much rather say something sarcastic, or even just plain rude. You know,” you rambled, “you’re good at that—” you waved a hand, and amusement flitted across his eyes— “filter thing. You have a filter, I mean.”

“And you don’t,” he observed.

“Exactly.”

“Well, to tell you the truth, for once,” said Brian, “you look an absolute wreck, but—”

At that moment was when the real final nail of the coffin fell into place.

Because at that moment, accompanied by an ear-splitting peal of thunder, lightning struck, and eradicated the power supply of approximately one-third of the London metropolitan area.

“Bloody hell,” Brian remarked, as the rumble of thunder receded. The two of you stood in darkness on the landing, and while before, there had only been one bare lightbulb to light your surroundings, it was greatly different to be standing in total darkness when the city outside had become equally as dark.

“The power—”

You thought Brian nodded across from you where he stood, in the blackness of the hall.

“So…” you muttered. “What now?”

“Well, given our presently rather strange circumstances, I’ll offer to let you sleep on my sofa, and we can talk to Clarisse in the morning.”

Clarisse owned the shoe shop beneath your flats, and therefore your flats as well. She was yours and Brian’s landlady, but, as with her shop, she was only ever in from nine to five. Given that it was now six in the evening, she was most certainly long gone.

You considered Brian’s offer.

The two of you had shared a landing for four, almost five years now, since you’d each come to London, and yet, though you were friendly, you’d never got past having coffee together. You knew that Brian was studying astrophysics at Imperial College, which was very impressive indeed, and that he was the guitarist in a talented, but relatively unknown band. You’d encountered the other members of the band a few times here and there, every year, given that they sometimes practiced, or held meetings, at Brian’s residence. Clarisse didn’t mind the band playing, and as the next door building always had loud music pounding, there was no danger of annoying the neighbours to the point of the police being phoned, so Brian and his band were free to hold their rehearsals. You knew they were talented because you could hear them playing through said rice paper-thin walls.

And having had coffee with the man in question at least three times, you felt safe enough in taking up his offer. You only regretted that in all your years living next door to him, you’d never invited him over. Then again, he’d never invited you over either. But here he was now, in your hour of need, and that had to count for something.

You nodded gratefully, then remembered that he probably couldn’t see you all too well, and said,

“I think I’ll take up your offer. You’re a lifesaver.”

“Nonsense,” said Brian. “I’m just polite.”

You thought he might have winked, but of course, in the dark, you couldn’t be sure.

He unlocked his front door, and you followed him inside.

“Watch out for the—”

You stumbled over what felt and sounded to be a guitar case.

“Oh shit, fuck, I’m sorry,” you apologised profusely.

He chuckled. “It’s fine. It’s empty.”

“Oh, thank god,” you muttered. “Thought I’d just destroyed something, again.”

“Yeah, it was bad enough that you ruined my coffee cup this morning.”

Reflexively, you covered your blush with your hand. “Please don’t remind me,” you groaned.

“I won’t miss it,” Brian assured you, tossing his keys onto a little table. “It was a hideous thing. Something Fred got me once from Kensington Market, where he works. Pretty sure the thing was second-hand too.”

Fred. Freddie, lead singer of the band you’d only heard through walls. Funny, charming, friendly though shy.

You wrinkled your nose. “Second-hand…”

“Yeah. He’s got no taste, silly bugger.” Though Brian’s remarks sounded harsh, he spoke with a fondness that could only have been reserved for the highest regard of friendships, and you thought that he and his bandmates must be quite good friends.

“Hungry?” Brian asked. “I’ve only got some left-over lasagna, unfortunately, since I wasn’t expecting company, and it’s vegetarian, but we can heat it up in the oven, and there’s enough for the both of us.”

“Honestly, Brian, that sounds delicious.”

Your eyes had begun to adjust to the dark, and so you saw his smile in response to your comment.

“Well, great. I’ll heat that up, then. Make yourself at home. If you can find the living room,” he added with a laugh. “There’s some candles in the chest of drawers by the window, so if you get those out, I’ll find some matches too, and we can have some light.”

“Will do.”

You set about your task, managing to only stub your toe once after removing your shoes, and set up candles about the living room, where you assumed Brian intended to set up dinner.

He brought you matches, and brought with him a glass bottle.

“Wine?” he offered you, having poured himself a glass, and you accepted, because it was Friday night and what the hell.

You lit the candles as Brian went back to his cooking, and before long, he returned with the lasagna dished up.

As your host sat down across from you, you couldn’t help but laugh to yourself.

With the candles providing a rather romantic glow, catching on Brian’s pretty ringlet curls and dancing in his eyes, plus the wine, and now, the static-y music coming in over a battery-powered radio, this atmosphere was a lot cosier than you had expected.

Brian furrowed his brow at your noise of amusement. “What..?”

“Are we on a date right now?”

With a glance about the room, with its overstuffed cushions and stitched drapes, the two of you eating a meal by candlelight, Brian laughed too.

“It would seem that way.”

He raised his glass to you, and you would have been lying if you’d said that the gesture and his words hadn’t made your heart skip a beat.

You ate in silence for a few moments, until Brian spoke again.

“Would you mind awfully if we were?

The question startled you a little, and you swallowed your wine carefully.

“No,” you said honestly.

A small smile graced his mouth, before his eyes dropped to his lap. “Good,” he said softly. “Because I always meant to ask you out.”

You blurted, “Did you really?”

He smiled fully now. “Yeah. But I’ve always been so damn shy.”

You were the one to raise your glass this time. “Well, here we are now. And you’re not getting rid of me. At least until tomorrow.”

He laughed gently in response, and you thought of how lovely and warm the sound was.

If only you were as warm as that laugh. The rain that had soaked your clothes was beginning to take its toll on you.

You finished dinner in silence, and Brian cleared the plates in silence too.

He came back after washing the dishes, just in time to see you shiver.

“Oh, yes,” he said thoughtfully. “Extra blankets.”

He fetched them, but then looked down at the bundle in dismay. It was very little; you could both see that.

You watched him close his eyes briefly in the wash of candlelight, saw him grit his teeth. You waited with bated breath for what he was going to say.

“It gets really cold here at night.”

This you already knew, from your experiences at your own flat.

“Yeah.”

“And it’ll get even colder now that we’ve lost all form of central heating… Forgive me if this is entirely over the line...” he sighed, and opened his eyes, watching you with a cautiousness that betrayed nerves. “But it might be best if I sleep here, near you. Body heat, and all that.”

“Oh,” you said, blushing slightly. Stupid blush. “Yes, that’s probably a— uh— good idea.”

“Right. Um. Bathroom’s down the hall, if you wanted to chan— oh. Well. Hang on. I’ll get you a jumper or something to change into.”

Your blush only deepened, knowing that you would be wearing his clothes.

You couldn’t look at him when you took the dry, clean clothes he handed you, and hurried to change in the bathroom, before returning to the makeshift bed now established on the floor of Brian’s living room.

He brushed past you to use the bathroom himself.

You slid under the duvet laid out, and shifted the pillow beneath your head, making yourself comfortable.

Brian returned, and began extinguishing the candles around the room.

Finally, a soft shuffling sound announced that he had laid down beside you, and you released a breath of relief, knowing you could soon go to sleep and forget the awkwardness you were so adept at in your conscious state.

But then you noticed that Brian, in his flannel pyjama trousers and t-shirt, was going to sleep with only a single blanket pulled over him; he’d let you have the duvet without a word.

You weren’t about to let him freeze to death on his own living room floor.

With a courage you knew not from where, you rolled over to face Brian. Or rather, Brian’s back. He was turned away from you. He probably thought you’d already gone to sleep.

You laid your hand gently on his shoulder, and he turned slowly.

“Hey,” you murmured, as his eyes met yours. “Sleepover?” You offered the duvet, a gift of peaceable intentions.

He smiled softly, and accepted with grace. But it was a stretch, with how far he lay from you.

“Oh, come here,” you said, and draped your arm over his lithe waist, drawing him closer to you. A little wine-tipsy and a little tired, a little cold, a little lonely, you nestled your cheek against his chest, your hands against warm skin beneath thin fabric.

Slowly, his arms wrapped around you too, and you breathed a soft sigh against his skin.

“Is this alright?” he asked carefully.

In silent response, you lifted your head, and kissed his pretty lips.

He reciprocated almost immediately, his kiss sleepy but tender, and you pecked his mouth gently once more. Then you nuzzled into the crook of his neck, and touched the skin there with another caress of your lips.

“Tomorrow,” you whispered, and he ghosted a kiss upon your temple.

“I can wait for tomorrow,” he said.

And soon you both drifted off, you in warmth and contentment, and Brian dreaming of you.

[e-vasong]

Can I ask about your writing process?

Huge fan of your TUA fics here - the way you just GET the characters is incredible - its almost like reading a novel written by the actual show writers!

How do you go about your characterisation and your drafting process? Any tips on nailing the complexities of the characters (specifically five)?

Thanks!!!

:') This is literally so nice I don't know how to respond, oh my goodness. I wish I had, like, life-altering writing wisdom for you here, but I honestly feel like my entire process is kind of a mess. I'll share it with you anyways, though, just in case you can glean anything helpful from it. I’ll tuck it below a cut, but here it is (ft. some of my specific characterization notes on Five, since you asked :D).

Pre-draft: Concept stage! This can be a variety of things -- sometimes it's a specific scene. For me it's usually a challenge of some sort. I like to take things that I think are unlikely for a character (under what circumstances would [x] character ever become a bad guy? How would [x] character’s secrets get revealed if they never talk willingly about their emotions?) Then I build out from there. I outline sometimes now, but I’ve been winging all my pieces for so long that it’s pretty tough for me. 

Draft one: Throw things at the wall. If I let myself, I will spend way too long agonizing on making every word perfect on the first go around, and I’ll never write anything. So draft one has permission to be as bad as it needs to be: sentence fragments, OOC dialogue/actions, clunky word choice, the whole nine yards. The most important thing is getting the words/scenes on the page.

Draft two: What sticks? Everyone is different -- I find it easier to edit than to write in the first place. So here’s where I look over my work from draft one. Is my sentence structure variable enough? How are their voices? Their actions? Does the narration work with the POV I’m using for the scene? 

Like, okay. I’m working on chapter two of the end of the war right now. Currently, it includes this line:

“How did you even—” Five starts, then shakes himself.  Absolutely not.  He isn’t entertaining this.  “Luther.”

In retrospect, I’m not wild about it. It doesn’t sound in character to me. I’m not pulling out receipts right now or anything, but the more I think about it, the more that I feel certain that Five rarely expresses surprise unless really shocked. Part of this is likely the contrast between him in his siblings (all the stuff about the Apocalypse and time travel is familiar to him and new to them, so the show has a lot of “Five explains [x] to his siblings while they look flabbergasted by him.”)

Anyways, it doesn’t sit right. So maybe, instead:

Five frowns, taken off guard. He could ask, but--quite frankly--he’s starting to think that he doesn’t want to know. He does, however, know what this is a preface to -- Luther is going to meddle. 

“Luther,” Five says it like a warning. Luther either doesn’t hear it or doesn’t care.

Anyways, rinse and repeat step two as much as necessary, and you basically have my entire drafting process.

Characterization, though, I have a more thorough process for!

Fanon and meta is super, super helpful, but I definitely prefer to look at canon first and foremost. I find it easiest to build characterization by asking myself questions about the character! I mean, don’t get me wrong. The first step is just to...get your own read on their personality? And there’s no trick to that. Everyone comes away from watching a show/reading a book with a slightly different interpretation of a character’s personality. But when building off of that to write them, I find questions helpful. They vary from fandom to fandom, but, like, here are some of the questions I’ve asked myself while writing Five.

What motivates them? For Five, this is a super easy one. He literally says it at multiple points throughout the show. He’s motivated by his family. To the point of wanting to save the world because they’re a part of it. Five troops through injury and pain and discomfort, but one reference from Handler about a deal to save his family is enough to coerce Five into 1 - working with her when he doesn’t want to and 2 - taking a job that he doesn’t seem like he wants to take.

How far are they willing to go to get it? For Five, he’s willing to do pretty much anything.

Are there any contradictions in their characterization? This is a weirdly specific question, but! People are inherently contradictory. Sometimes in TV or movies or books, it’s just bad writing. But sometimes it’s because people are complicated. So, in TUA, Five is consistently a big-picture thinker throughout the series. He seems to view his job at the Commission with apathy because he knows that it’s part of maintaining the timeline and necessary for him to get back home and stop the Apocalypse. He plans to kill an innocent person because he believes the butterfly effect of their death could stop the end of the world. He is, in many ways, a utilitarian -- the needs of the many outweigh the needs of the few. The greater good sometimes requires a lesser evil. Pull the lever in the trolley problem, and kill the one to save the five. Unless that one is one of Five’s siblings. 

For instance, his dialogue with the Handler in season one seems to imply that he is willing to give up fighting the Apocalypse if and only if she can guarantee his siblings’ safety (though this admittedly turns on how honest you think he was being with her -- I think he was honest, but smart enough to know she’d never follow through, but a fair argument can be made either way.) There are a million ways to read this, and the fun of playing with characterization is that you get to experiment with them! I read it as proof that Five is so driven by his desire to save his siblings that he actually places their wellbeing above his own moral compass (whether his moral compass is right or wrong is a whole other debate.)

What are they like at their best vs. at their worst? At his best, Five is strategic, driven, independent, determined, loyal, and protective. At his worst, he’s controlling, suspicious, bloodthirsty, temperamental, and obsessive. Of course, most people don’t just switch between these two extremes, and these traits frequently coexist, interact, and manifest in milder ways.  Five being suspicious usually manifests as him being cautious until he’s confronted with a character (in season two, Lila) that strikes him the wrong way. Him being obsessive is often just a side product of the fact that he is determined, loyal, and protective.  The fact that he can be controlling is connected to how independent he can be -- the same reason that Five tries to keep Diego in the mental hospital, never tells people that he’s injured, and hides things from them is the same reason he’s so quick and effective at getting things done. This is just a handy way of compiling a flaws/virtues list, and I like to look at it in terms of the potential extremes because I think it makes it easier to see how they interact to create the middle ground where the character actually exists.

How do they talk? Arguably the most important question for actually getting their voice, and the easiest way to nail this down is to just...look at the canon dialogue. Does the character use really big words? Do they talk in long gusts or in short, clipped sentences?  Do they use contractions more or do they not shorten things? This is the hardest part of writing Five for me, because my first impulse is to make him talk like an Intellectual (tm) and Very Erudite Adult. Like, I default to that when writing him, and it’s a horrible habit (in my opinion) because...while he does speak that way sometimes (usually when explaining things to his siblings) that’s not actually how he talks most of the time.  (Like, for instance, I tend to default away from Five using contractions in my first drafts of things. He actually uses contractions a lot, and frequently shortens words--”got to” is “gotta” for Five, “because” becomes “‘cause”, etc.) 

Other examples:

Five: Billions of people are about to die tonight. You can change that.

The Handler: Tonight, tomorrow. So little difference in the scheme of things. Don't you remember the Commission's raison d'etre? What's meant to be is meant to be, or, as I like to say, que será, será.

Five: It's bullshit in any language.

I love this exchange so much :D. And it establishes some great things about the way Five talks! He doesn’t dance around the issue or debate her or try and prove her wrong. He just tells her he thinks that that opinion is dumb, obviously.  He’s blunt, straightforward, and honest. (This seems to tie into the thing I was saying about Five and contractions -- he picks the most straightforward way of saying things unless he’s giving a technical explanation.)

Five: Okay, Luther, but be careful. I mean, I've... I've lived a long life, but you're still a young man. You got your whole life ahead of you. Don't waste it.

Five talks like an old man. Not all the time (though there’s a wonderful gif set out there somewhere of Five using old timer slang -- wait, I found it here.) He doesn’t use the old-timey slang all the time -- and I personally like the idea of mixing up Five’s slang habits and including slang from all sorts of eras because he’s a time traveler whose primary source of interaction after four decades alone was other time traveling assassins. But! He also talks in a way where he shows his age. 

Regardless of where you think Five’s psychological age falls (I have my own Opinions on this), he seems to unilaterally view himself as the Big Sibling, and by a very large margin at that. That’s reflected in how he talks. Not always, since not every line of dialogue is relevant to his age. But stuff like this, or related to it, crops up a fair amount. He counsels his siblings on their problems (as when he comforted Diego post-Eudora’s death), and there are little moments like the quote above, where the point is that Five has indeed seen many more years than his siblings and has the perspective to reflect that.

Well, this is way too long now, and it’s really late where I’m at. I feel like the comprehensibility of this post has been steadily declining the whole time, but if other writers have tips that they want to add onto this, please go ahead! 

[the-signs-of-two]

Do you think there are still hopes for season 5? A lot of articles claim that there is no future for sherlock holmes and that we should give up our hopes of season 5. Thoughts?

Ouf.

Tough one. And a long one to answer. But I want to be truthful and thorough.

Based purely on advertising and how keen people are to keep audiences invested, I don’t think they’re allowing us much hope. It’s been almost four years and they’ve done very little to maintain any kind of hype or interest, perhaps with the exception of keeping the escape room going. The sad truth of it is that a show will rarely get picked up for a new series if the majority of viewers have moved on. And they’ve done very little to keep their viewers excited about the prospect of a series 5.

Then, of course, there’s the elephant in the room, whether you’re a hardcore TJLC’er or a casual viewer: the fact that series 4, on a surface level, was just... not very good. It looks and feels disjointed and very different from the previous series and casual viewers don’t want to spend hours and hours trying to figure out if it was actually better than its surface narrative. That sort of thing - taking a long hiatus, hyping a new series by saying it’ll be television history and then delivering a somewhat lukewarm product - drives viewers away. And like I said, if most viewers no longer care, chances are it won’t be picked up for a new series.

That’s one way to look at it. But what about the actual story?

The show is called Sherlock. And I think, putting my Johnlock-glasses to the side, you could actually argue that Sherlock does come full circle. In series 1, Sherlock is driven almost entirely by his logic. He’s arrogant, cocky and he makes a show of being disdainful and unfeeling, even if you get small glimpses showing that that isn’t actually who he is. With every series, Sherlock has moved further away from that and become a softer, more emphatic version of himself - a version of himself who cares more about making his close ones happy than about making himself look cool and mysterious. Series 4 does seem to complete that narrative. They made Eurus into the synthesis of everything Sherlock was and tried to be in the beginning of the show and turned that against Sherlock - and I actually really like that. I think it works. When Sherlock says that they’re “experiencing science from the perspective of lab rats”, we’re reminded of the time when he would do something similar: when he would pretend to be Ian Monkford’s friend to get information from his wife, when he would scare/traumatise the already traumatised headmistress to get information on two missing children, when he would compliment Molly’s hair to convince her to show him two bodies. In each instance, it was to do good, to get ahead in a case, but it was also a coldly calculated piece of manipulation, one which Sherlock showed zero regret for. The way he acted in first couple of series hurt other people - sometimes you wouldn’t feel any remorse for them, but sometimes it was Sherlock’s closest. Let’s take the most obvious example: locking John in a lab after (as far as he knew) drugging him, then providing him with sound effects and watching what would happen on the monitors. Don’t you think John experienced science from the perspective of a lab rat then? Sherlock is a different person now, but TFP also forces him to come to terms with the consequences of his previous behaviour. He has to confront logical problems - kill one man or three men, kill one man or two people will die, save Molly’s life etc. - but he has to face the emotional consequences of those logical decisions. He can’t just look away as he used to do. Seen in that way, I actually think TFP does provide a poignant culmination of Sherlock’s character arc. When Lestrade says that Sherlock is now a good man rather than a great man, it does feel earned.

However. Then there’s... well, everyone else. I’m pretty sure I could tell you what John’s character arc was all about in HLV. If this is the end, I no longer know what his character arc was. John makes horrible decision upon horrible decision in series 4. A cynical reading would be that he’s “stupid for the plot”. They needed to drive a wedge between Sherlock and John for TLD, so they didn’t care that John’s decision to blame Sherlock for Mary’s death in TST makes absolutely no sense. Then there’s the morgue scene, which... To be fair, it has actually been foreshadowed that John is a violent person. That he has very bad aggression issues and that he deals with a lot of anger in a physical manner. Sherlock isn’t perfect, but John certainly isn’t either. And I actually think the morgue scene could work in that light. Hear me out. Sherlock has done bad things to John, he really has, and all those things have been in line with his character and a reflection of his flaws. John beating Sherlock up could work in the same way. But it HAS TO BE ADDRESSED. When Sherlock does something morally reprehensible and psychologically scarring, it’s not presented as acceptable. When Sherlock locks John in the lab, you FEEL that what he did was unacceptable. John calls him out for it and it’s discussed. And this happens a number of times and each time, Sherlock shows more and more regret for his actions. He begins to apologise. He begins to try to change. If the morgue scene is going to work as a low point in John’s morality which prompts him to feel regret and try to change, it needs to be presented that way. It needs to be presented as bad (it is), it needs to be presented as a low point (it is), but it also needs to be presented as unjustified, unacceptable and inexcusable. No matter how you feel, beating up your best friend is never okay. Just as no matter how badly you need to solve a case, experimenting on your best friend by subjecting him to a terror-indusing drug and locking him up to examine the effects is never okay. But John isn’t called out for this and it’s never discussed. That leaves John with no incentive to change, no moment of remorse and regret, no need to make amends. So, in a way, the series leaves him at his absolute lowest. Which isn’t a character arc, friends.

Then there’s Molly. After the most heartbreaking betrayal of all time, the series just... ends. Like, she’s there at the end and it’s all fine. The part where the man she loved told her to tell him that she loved him FOR AN EXPERIMENT and then she took the opportunity to make him say it in return, clinging on to those three words like her life depended on it... yeah, that happened, but he presumably told her that he had to do it and it was all fine. No lasting emotional damage or mistrust there.

You could argue that Mycroft does come full circle too. In TAB, he decides to relinquish control over Sherlock and instead tells John to take care of him in his place. In TFP, he goes all the way and decides to die to let John live. In doing so, he acknowledges that Sherlock needs John more than he needs Mycroft, but also that John is better for Sherlock than Mycroft ever was. After a lifetime of controlling and watching over Sherlock against his will, he finally decides to let Sherlock go live his own life and make his own decisions. And he proves his love by being prepared to die to give Sherlock happiness with John.

So... yeah. I think some character arcs did actually come full circle, while others definitely didn’t. I just took the most obvious examples here.

As a background story for the Holmes family, I don’t really think it works. To me, it doesn’t explain why Sherlock and Mycroft are the way they are - and it certainly is weird that their parents seem so normal and unconcerned about the whole thing. Buried trauma is definitely a thing, but there doesn’t seem to be any obvious correlation between what happened with Eurus and who Sherlock was at the beginning of the series. As for Mycroft... I honestly don’t know how he feels about Eurus, apart from the fact that he’s scared of her.

Then there’s the part where John flat out tells Sherlock that a romantic relationship would complete him as a human being. This goes completely unresolved. Are we meant to assume that Sherlock called Irene after this conversation and they got together? 1) Why should we assume this? And 2) effing straight culture, let him be gay, because he is.

To summarise... I don’t think TFP works as a conclusion. Some things are resolved, some are not. I think there’s so much story and plot left unresolved that a series 5 would definitely have story points to work with. Also, once you’ve said that a character needs a romantic relationship, you need to go through with that or it turns into a major hole in said character arc.

Getting a little more tinfoil hat-y, I think the television history, gut-punch moment could be a recreation of the circumstances around The Final Problem. The Final Problem seemingly finished the Sherlock Holmes stories by having Sherlock die. People were outraged and deeply upset. It took ten years for ACD to undo it and reveal that Sherlock had actually survived. Trying to recreate the atmosphere surrounding a beloved piece of literature in 1893 - that sort of thing has never been attempted before and would be television history. And in that light, it would make sense that they aren’t encouraging the rumours surrounding series 5. They need to make people think that Sherlock is “dead” if they are going to resurrect him. That’s the tinfoil hat speaking, but I can’t help but find it an intriguing idea. And I would be DOWN.

Still, they didn’t need to make series 4 bad for this to work. They could have just made it end sadly. Series 4 being bad and difficult to understand lost them a lot of viewers. And sadly, viewers are what make shows happen. In that sense, I think it could backfire very severely if that is their plan.

So there you have it. I haven’t lost hope. I think there’s still story and plot and characters that would make series 5 worth making. And of course I’ve only discussed surface narratives in this post. If some of the theories proposed by us (EMP) should turn out to be correct, it could fix a lot of the problems with series 4 and make for a fantastic gut-punch moment in series 5. But I will admit that I’m concerned it won’t be greenlit because people have lost interest. If it’s no longer likely to have a large audience because series 4 was bad, they may not be able to make it even if that was their original intent. Or they may need to really amp up the hype when and if they make series 5.

I hope this long ramble answered your question.

[awomanofscience]

HEADCANON: On Carina and "filthy pirates"

・。.・゜✭・.・✫・゜・。. .・。.・゜✭・.・✫・゜・。.

TL;DR:

Carina has a Canonically disparaging view of pirates that I believe is influenced by her upbringing within the fold of "polite" society, the fact she's not a perfect character, and her treatment at the hands of Jack and crew. Their shared adventure and her familial connection (via. Barbossa) somewhat challenges this perception. More, positive encounters with pirates and a better understanding of their motivations would do this better. Eventually, I think she'd find certain elements of the pirate's life appealing (freedom from social constraints, fighting back, etc.).

*Longer explanation under the cut*

Throughout Dead Men Tell No Tales and her spin-off novelisation, it's pretty obvious that Carina has a disparaging view of pirates. There's evidence of this everywhere:

Calling Jack a "filthy pirate" during their near-execution

Expressing no moral opposition to his execution, unlike her own ("Kill the filthy pirate. I'll wait.")

Repeating the insult "filthy pirate" several times throughout the film

Refusing to believe one of Jack's crew could have an educated parent ("You're telling me your mother was academically inclined?")

Taking offence to Barbossa suggesting her father was a thief, particularly because he's a pirate ("The memory of my father will not be defiled by the tongue of a pirate!")

Regularly using "pirate" as an insult/judgement of character

Her perception of pirates doesn't really change until towards the end of the film, when she learns that one of the most infamous pirates of her time - Barbossa - was her father all along.

As an otherwise unusually progressive personality, why does she automatically take this view?

Carina is a product of her upbringing in "polite" society

For all the hardships she's endured throughout her life, financial/social hardship isn't really one of them.

Unlike pretty much every orphaned child in her time, Carina is neither condemned to the streets nor to a workhouse. Instead, she's sent to a "children's home" run by a rich and charitable benefactor in the countryside. This is highly unusual for her setting, given that the first real orphanage in the UK - The Foundlings Hospital - was opened in 1741. The orphanage movement didn't really take off until the mid 19th century, and although a few places did exist beforehand, most parentless kids were simply... abandoned. Some went to monasteries, others to work (and likely die) in workhouses. Some ended up on the streets. But very few were admitted into care.

In this care, Carina was also fortunate to get some semblance of an education. She's literate, well-spoken, has a higher-than-average understanding of the world around her, and is even tutored to near-fluency in Italian. The objective of this education is to turn Carina into a young lady worthy of polite society, and who can take up a working position in an upper-class household.

And this is what happens. Her first job is as a maid to the extremely wealthy Lady Devonshire, but she doesn't stay in this position for long. After bonding over their love for astronomy, she's taken in as a Lady Devonshire's ward. This is emphasised to be an elevated position that earns her a room in the estate, relief from her duties as a maid, and even curtseys from the other staff. She's in this role for four years before she leaves for St. Martin, directly before the events of the film.

The point of this context is to show that whilst canon!Carina has absolutely suffered hardship and discrimination (I am by NO means saying that 18th c. orphanages were good places to live), she still had a relatively privileged and sheltered life, compared to others like her, before DMTNT. She was brought up by and lived in "polite" society as a member of it in her own right, and so naturally reflects some of the attitudes that she doesn't yet know to challenge.

Before DMTNT, her perceptions aren't challenged

Carina doesn't live in a period where privileged society understood the links between social/financial desperation and piracy. Until you either lived or saw it for yourself, what evidence did you have to know to challenge the narrative? Carina grew up far removed from anywhere where she could see or experience it first-hand, and had nothing but stories and what she was taught to go by. And let's also be honest - real-life piracy could reap violent and unjustified consequences for innocent people. Without ever meeting a pirate for herself, or having a sympathetic example to relate to, how can see them as anything but the bogeyman?

Carina isn't a perfect person. She's highly flawed, and only truly understands how social barriers have impacted her and influenced her choices. Part of her journey throughout DMTNT is learning how they impact others, too.

Her first impressions of pirates don't exactly challenge them either (tw: sexism, objectification)

Carina's first encounters with pirates include being tricked and thrown off a building, bound and held captive, continuously condescended for being a woman, sexually objectified, and countless other pretty shit things that don't really do much to challenge what she thinks she knows.

Jack's crew treat her pretty awfully and belittle her throughout most of the film, and Jack's has his moments too (undressing scene on the boat, anyone?). I actually take issue with this narratively as a lot of this treatment makes no sense given the events of the previous films. But it's "canon", and it's pretty reasonable for Carina to feel negatively towards the only pirates she's met under those circumstances.

She isn't shown any respect from a pirate until Barbossa gives her the wheel of the Black Pearl, and even then we get that stupid line from Mullroy/Murtogg: "Sir, you wouldn't allow a woman to steer your ship...?"

Honestly? Throughout most of the film, Carina doesn't get to meet a "good" pirate who she can empathise with. By the end, she has both a shared experience and familial connection to begin the process of challenging her perceptions, but little else to take it further.

Do I think her views would continue post DMTNT?

No, I don't. Finding out Barbossa was her father was the first "big" step towards canon!Carina empathising more with at least one pirate. But even then, I headcanon that she would have a really hard time coming to terms with it, and the objectively awful things he's done, once the initial emotion wore off.

What Carina needs is to meet not awful examples of pirates that don't interact with her exclusively with put-downs, discrimination, and objectification, and learn more about what motivates them/the hardships they're often trying to escape. I think later conversations with both Will and Elizabeth would go a long way towards this in Canon, and am hoping to explore this with other characters here too.

I actually think Carina would eventually find some elements of piracy attractive. The idea of living a comparatively "free" life outside of society's constraints, and getting to "fight back" against the authorities that have persecuted her for so long.

BUT, I don't believe she'd ever really be on board with violence and acting against the innocent. Not outside my more "Dark Carina" verse anyway.

Does she take this view towards everything she's taught by society?

Absolutely not. I am not saying at all that Carina accepts all truths as taught by society as being absolute truths, including ones that don't relate to her. She is not discriminatory, or judgemental, and society was (and is) in many, many ways. But it's easier for her to accept "all pirates bad" as truth when there's significant evidence to support it right in front of her.

Summary? It's hard to challenge what you're taught as an absolute until you know how to. Carina does this well in some areas, but not in others - and that includes piracy. DMTNT gave her nothing to challenge her perceptions, so I'm going to do it here instead ;)

[harry-leroy]

OK. I've got to ask--Henry VI? I think you're the first person I've met who claims those as their favorite Shakespeare. I'll admit that I've read and seen a fair bit of Shakespeare, but I'm not familiar with them at all. What's the appeal? Why do you love them? Sell them to me. ;)

Oh boy, here we go :))))) (Thank you for giving me permission to scream - I also think I’m the only person I’ve ever met who has those as their favorite Shakespeare plays). Also, as we’ve talked opera - I think these plays could make a great Wagnerian style opera cycle. 

First off, little disclaimer: I’m not a medievalist, so I can’t say that I’ve definitely got the best interpretation of the Wars of the Roses and the history that the H6 cycle covers. I know I do not - so you may read these plays and have totally different interpretations, and that’s great! This will kind of be how I came to love the plays and why they were (and still are) exciting for me to read. 

I will admit, these plays are a bit of a minefield (as my Shakespeare professor said during a lecture on the histories and I don’t think I’ll ever forget that descriptor). Some of these scenes are not as well written, and many of them are almost irrelevant to telling a tight-knit story, so things get cut. Sometimes 1H6 is just cut entirely from productions, and I might venture to say that it is probably the least performed Shakespeare play. We get lines like “O, were mine eyeballs into bullets turn’d, / That I in a rage might shoot them at your faces” (1H6.4.4.79-80), which I might say is nearly on par with “a little touch of Harry in the night” from Henry V. But despite the unevenness, there is so much from these plays that are meaningful, heartbreaking, and that continue to fascinate me. There’s so much about power and leadership that we can learn from these plays - and perhaps that’s why I took an interest in 1990s British politics because there are actually some very interesting similarities happening - but also a lot we can learn about empathy, hope, and love. 

These plays have a lot of fascinating key players - it would honestly be a privilege to play any of them - and most (if not all) of these key players have some claim to power, just in the family lines they were born into. And this conflict is one that’s been building up since Richard II. With the Wars of the Roses we have a man who is unwilling, and sometimes unable to lead because of various circumstances, some of which having to do with his mental health, which was generally poor, and some of which have to do with the various times he was dethroned, captured, etc. - and I say unable for lack of a better word. Essentially, politics in these plays are caving in, and at a very rapid pace. There’s a hole at the center of government and people are ambitious to fill it. We also have a lot of people who could potentially fill that role, people who on principle, have a lot of political enemies. The nobles in these plays are having to assure that they themselves are in power or that their ally is in power, otherwise it is their livelihood at stake. 

We have Henry VI, who was made king at nine months old after the untimely death of his father, the famous Henry V, and basically has people swarming him since birth claiming that they’re working in his best interest. He’s a bit of a self-preservationist to start, but by the end we see a man completely transformed by the horrors of war and ruthless politics. I also think he might be the only Shakespeare character who gets his entire life played out on stage. We see him at every stage of his life, which makes his descent all the more bitter. (One cannot help but see the broken man he is at forty-nine and be forced to remember the spritely, kind boy he was at ten). He’s a man who clings closely to God in an environment where God seems to be absent. He desires peace, if nothing else, and he wants to achieve this by talking things through. He’s an excellent orator (one only needs to look at the “Ay Margaret; my heart is drown’d with grief” monologue from 2H6, but there are countless other examples), but there’s a point where even he realizes that his talking will achieve nothing, and his alternative is heartbreaking. 

We have his wife, Queen Margaret, otherwise known as Margaret of Anjou, or the “she-wolf of France”. I advertise her as “if you like Lady Macbeth, you’ll love Margaret of Anjou”. Sometimes Shakespeare can portray her as wanting power for herself, but I genuinely think she wanted a good life for her husband and her child, otherwise the alternative is begging at her uncle’s feet for protection in France (her uncle was Charles VII of France) while separated from her husband, having her or a member of her immediate family be killed, or worse. I think it’s important to remember with Margaret that historically she came from a family where women took power if their husbands were unable to. Her assumption of power in these plays is something that’s natural to her, even if it’s not reflected very well in Shakespeare’s language. You also see some fantastically thrilling monologues from Margaret as well, especially her molehill speech (one of two molehill speeches in 3H6, totally different in nature - the other one is from a heartbroken and forlorn Henry after the Battle of Towton) - Margaret’s monologue has got the energy of a hungry cat holding a mouse by the tail. 

Also Henry and Margaret have a fascinating relationship. Because they’re so different in how they resolve conflicts, they grow somewhat disenchanted with each other at times, and can actually be mean to one another, despite their love. My favorite scene might be at the start of 3H6, where Margaret has come in with their seven year old son, Edward, and starts berating Henry for giving the line of succession to the Yorkists. What strikes me there is that we have a little boy having to choose between staying with his mom, or going with his dad - it’s something very domestic, and I think the emotional accessibility of that scene is what makes it memorable. It’s not about politics for me at that moment, it’s about a boy having to choose between his very estranged parents. Here’s a little taste from 1.1. in 3H6 - lines 255-261: 

QUEEN MARGARET: Come son, let’s away. / Our army is ready; come, we’ll after them. 

KING HENRY: Stay, gentle Margaret, and hear me speak. 

QUEEN MARGARET: Thou hast spoke too much already. Get thee gone. 

KING HENRY: Gentle son Edward, thou wilt stay with me? 

QUEEN MARGARET: Ay, to be murdered by his enemies. 

We also have Richard, Duke of York, who is Henry’s cousin and leader of the Yorkist faction. If you’re at all familiar with 1990s British politics, as I have grown close to over the past month, York reminds me very much of Michael Heseltine (filthy rich and constantly vying for power) - and I would love to stage some kind of modern H6 cycle production just so I could make that connection. York’s father is one of the three traitors executed by Henry V at the start of H5, leaving him an orphan at four years old (historically). He is also Aumerle’s (from R2) nephew, and so when Aumerle dies at the Battle of Agincourt, little four year old Richard inherits both his father’s money and titles, and his uncle’s money and titles, making him the second richest nobleman in England behind the King. All this information is historical and doesn’t really show up in the play, but I think that kind of background would give a man some entitlement. He’s also next in line for the throne if something were to happen to Henry (until Henry has a son), so he feels it is his duty as heir to the throne to protect Henry (or in better words, he feels that he should be running the show) - Margaret feels that it is her duty to protect Henry as she is his wife and mother of Edward of Westminster, the Lancastrian heir, and so you can see where these two are going to disagree. 

More fascinating are York’s sons, Edward, George, and Richard. Edward is this (for lack of better words) “hip” eighteen year old who comes and shreds things up at the Battle of Towton - becoming Edward IV in the process and chasing Henry off the throne. He is incredibly problematic, but I might venture to say that he’s the least problematic of the trio of York brothers. George of Clarence is (also for lack of better words) “a hot mess” and feels entitled to power, even though he may not readily give his motivations for it. I think he just wants it, and so he actually ends up switching sides mid-3H6 because he would actually be in a better position in government with those new allies. And finally, we have Richard of Gloucester (future Richard III), and in 3H6, you just get to see him sparkle. It puzzles me a bit how people can just jump into Richard III without getting any of the lead up that Shakespeare gave in the H6 cycle, and I think 3H6 is the perfect play to see that. I think it clears up a lot of his motivation, which Shakespeare didn’t get perfectly either, because there are some ableist things going on with these plays. He’s just as bloodthirsty, just as cynical, but in this play, he wins out the day. 

These are just a few of the main characters. We’ve also got Richard Neville, Earl of Warwick (known to history as “The Kingmaker”), who is this incredibly powerful nobleman who is wicked skilled in battle and seems to have a lot of luck in that area (until he doesn’t). We’ve got Clifford, who is just as bloodthirsty as Richard III (if not more so). We’ve also got Humphrey, Duke of Gloucester - Henry’s uncle and quite unpopular with his fellow noblemen, and Eleanor Cobham, his wife who gets caught in the act of witchcraft. (Talk to my lovely friend @nuingiliath if you want to hear about Humphrey or Eleanor). Joan of Arc also makes an appearance in 1H6, and often she’s the only reason that 1H6 gets performed. 

There are so many ways to latch onto this cycle, and it can be for the huge arcs that these characters go on, or it can be for the very small reasons, like in the first scene of 3H6, like I mentioned earlier. It’s very much akin to Titus Andronicus in the language (I did a bit of research a while ago about the use of animal-focused language in Shakespeare’s plays, and the H6 cycle and Titus Andronicus lead the charts just in terms of frequency of people being referred to metaphorically as animals- they’re also chronological neighbors, all written very early in Shakespeare’s career). Also, these plays held a huge amount of weight at the time they were written - the effects of the Wars of the Roses were still pressing over the political climate of the 1590s. 

I think these plays are great to read just in being able to contextualize the histories as a whole - you get to know how things fared after Henry V (spoiler: not well), and you also get the lead up to Richard III. The ghosts in Richard’s dream make sense after reading the H6 cycle - because those ghosts lived in the H6 cycle, and (spoiler: Richard wronged them in the H6 cycle). They were also the first of Shakespeare’s history plays, so you read subsequent histories plays that make subtle references to the H6 cycle, and I think you can take so much more out of the rest of the histories plays once you’ve read these. 

I hope this was a little informative, and perhaps persuaded you to check them out! 

Productions I recommend (you can click on the bold titles and it’ll take you to where you can access these productions): 

Shakespeare’s Globe at Barnet (2013) // Graham Butler (Henry VI), Mary Doherty (Margaret of Anjou), Brendan O’Hea (Richard, Duke of York), Simon Harrison (Richard of Gloucester) - filmed at Barnet, location of the Battle of Barnet, where Warwick was killed in 1471. 

ESC Production (1990) // Paul Brennen (Henry VI), June Watson (Margaret of Anjou), Barry Stanton (Richard, Duke of York), Andrew Jarvis (Richard of Gloucester) - a more modern production, one cast put together all seven major Plantagenet history plays (1H6 and 2H6 are combined into one play - a normal practice). Sometimes this footage can be a bit fuzzy, but I loved this production. 

The Hollow Crown Season 2 // Tom Sturridge (Henry VI), Sophie Okonedo (Margaret of Anjou), Adrian Dunbar (Richard, Duke of York), Benedict Cumberbatch (Richard of Gloucester) - done in a film-like style, also with some pretty big name actors as you can see. Season 1 stars Ben Whishaw as Richard II, Jeremy Irons as Henry IV, Simon Russell Beale as Falstaff, and Tom Hiddleston as Hal/Henry V. (also available on iTunes) 

RSC Wars of the Roses (1965) // David Warner (Henry VI), Peggy Ashcroft (Margaret of Anjou), Donald Sinden (Richard, Duke of York), Ian Holm (Richard of Gloucester) - black and white film, done in parts on YouTube. 

BBC Henry VI Plays (1983) // Peter Benson (Henry VI), Julia Foster (Margaret of Anjou), Bernard Hill (Richard, Duke of York), Ron Cook (Richard of Gloucester) - features my favorite filmed performance of Edward IV (played by Brian Protheroe), and my favorite filmed performance of Warwick (played by Mark Wing-Davey). 

Also if you ever get to see Rosa Joshi’s production of an all female H6 cycle... *like every time I see photos my immediate reaction is *heart eyes* I haven’t seen it yet, but my amazing friend and fellow Shakespearean @princess-of-france has - I’m sure she’d love to talk more about it sometime! I’ll leave a picture I found on the internet... 

Also tagging @suits-of-woe because we could cry about these plays all day. 

[go-go-devil]

If You Have Ghosts: The Story of a Song

This is an informative/personal essay I wrote about the history of Roky Erickson’s well-beloved song, “If You Have Ghosts.” Honestly I should have written & posted this on the 1-year anniversary of his death back in May, but I completely forgot. This piece is mostly a study of Erickson’s original and the band Ghost’s famous cover of it, alongside some other things. I would also appreciate some feedback on this if you all don’t mind.

The information I used as a reference when describing the making of the original song comes entirely from Joe Nick Patoski’s writing on Roky Erickson’s career and the making of The Evil One (included as a booklet in recent vinyl additions of said album).

Throughout our lives there will be songs that capture us in ways that we cannot escape from. Oftentimes it’s as simple as an infectious melody that we refuse to discard from our memories, either due to it becoming attached to a pivotal part of our lives or because we cannot dislodge it no matter how hard we try. Other times it can be something that attracts us so much that we begin to covet it to the point of obsession, and it is through this attitude that the song transforms from merely a piece of music into a piece of ourselves.

“If You Have Ghosts” is one of these songs for me.

What can I say about this wonderful track that hasn’t already been said? It is fierce, yet subdued. It is both hard rocking joy incarnate and a solemn reflection of one’s self, and it says so much by saying so little. The reason for all of these seemingly contradictory phrases I’m using is because this song, unlike many others, is a shared entity that exists in multiple forms. Quite an odd way of stating that the song has been played by more than one band, but hopefully this essay will demonstrate how the meaning of the original piece can mutate into different forms while still keeping its essence intact.

There’s no better place to start than with the original, recorded in 1977 and released in 1981 by rock n’ roll legend Roky Erickson.

Originally recorded as part of a four-song demo of what would later become his first solo record, The Evil One, “If You Have Ghosts” contains many of the themes Erickson presents in his music as a whole. Those of which being: horror-themed esoteric lyrics, high-energy playing, soaring guitar riffs, and a general sense of raw, psychedelic power.

In less than 15 seconds the song has already built itself up and blasted into your eardrums, but never does the melody ever resort to sounding like a wall of noise. Each instrument weaves its sound around each other like some tripped-out embroidery design in order to create a rich tapestry in the listener’s mind. The lyrics are as catchy and repetitive as any of Roky’s songs, yet for this one he sounds less like he’s singing but instead simply proclaiming each line like it’s a definitive statement.

“If you have ghosts, you have everything”

“One never does that”

“The moon to the left of me is a part of my thoughts and a part of me is me”

“In the night, I am real”

“I don’t want my fangs too long”

Barring a few other scattershot words present in the chorus, what you’ve read above is all that you get for what this piece is trying to say. Unlike most of the other songs from the album, whose lyrics clearly convey the story/theme presented, this one does not have a lucid form to it and thus its meaning can only truly be grasped through interpretation. Personally, I always saw it as a proud declaration of one’s deviance from society, with the rip-roaring instruments serving to show how this person’s mind finally feels free enough to run wild in the night, with only the moonlight and their own invisible spirits to guild them.

But of course, all forms of speculation can never undermine Roky’s own intent when crafting this song, which, unfortunately, is not nearly as liberating as my previous presumption…

“If You Have Ghosts” as we know it is a direct product of Erickson’s mental illness. There really is no way of sugarcoating it. After being diagnosed with schizophrenia in 68’, Roky was sent to various state hospitals in 69’, where he was subjected to multiple electroshock treatments by doctors alongside being heavily sedating with Thorazine. Even after he was discharged in ’72 he never fully recovered from the abusive “therapies” he was given, resulting in decades of battling intense mood swings and heavy drug reliance as well as making it difficult for him to record many of his songs in studio.

Roky was under one of these spells whist recording the vocals for this song. He was only able to sing the chorus once, and after recording was no longer able to remember any of the lyrics. Out of all the tracks, Producer Stu Cook had to put the most effort into inserting the vocals into this song using a complex progress called wild-syncing to place multiple takes of audio alongside the instruments without using synchronization. It’s honestly a miracle that we even have this song fully formed in the first place given the circumstances of its creation.

Despite all of the hardship and effort put into creating this piece, for a long while there didn’t seem to be as much appreciation for it compared to Erickson’s other work. Partially because it was not present on certain releases of the album back in the day as well as the fact that Roky seemed to rarely play it live in concert (even on YouTube, recordings of these performances are scarce). As much as I love this version of the song, even I’m willing to admit that if I were ever forced to rank each song on The Evil One, I would probably place it somewhere in the middle. What can I say? When you make an album that great, the competition can be fierce!

For many obscure classics, the story would end there. Yet another buried treasure forever existing in the mind of one musician. But that’s not what happened, for several decades later a new band from Sweden will emerge, different in form but identical in spirit to Roky’s sound, whose frontman will breathe new life into a once forgotten masterpiece…

…Or at least that’s what I would lead into were it not for the existence of this version.

Interestingly, the first notable cover of “If You Have Ghosts” was not done by Ghost but instead by an English folk-rock group called John Wesley Harding & The Good Liars on the 1990 album Where the Pyramid Meets the Eye: A Tribute to Roky Erickson. This now-obscure album consisted of a compilation of various bands and artists covering the songs of, you guessed it, Roky Erickson. There was actually a great deal of artists present on this record, including several well-known musicians such as ZZ Top, R.E.M., and The Jesus and Mary Chain (and even Butthole Surfers too!).

I’ll be the first to admit that I am not at all familiar with John Wesley Harding or his backing band; however, I will say that this piece is a worthy follow-up to the original in it’s own right. It slows down the song to a level not unlike the many psychedelic songs that followed in 13th Floor Elevator’s wake, keeping the main melody in tack while filling in the gaps with many little flourishes as a means of expanding it into something new. I’m especially fond of the echoing effect given to the vocals, which gives the already obscure nature of the lyrics a more outwardly ethereal quality.

Anyway, on to what you’ve been waiting for!

After enduring another two decades of invisibility from the public eye, the song was once again exhumed and resurrected by an emerging metal band named Ghost for their 2013 EP If You Have Ghost. Considering Roky Erickson’s wide array of demon-inspired songs, it’s interesting how Linköping’s residential Satanic metal group chose this piece as opposed to more well-beloved hits like “Night Of The Vampire” or “Stand For The Fire Demon,” many of which work perfectly with the band’s themes of evoking retro horror films and devil worship. It almost seems like they just chose “If You Have Ghosts” solely on the basis of it having the word “Ghost” in it. However, just one listen to this cover will quickly prove otherwise.

Right off the bat, the instruments and vocals are a far cry from the original. Unlike the previous J.W.H. cover that made sure to keep the main melody in tack while adding onto it, Ghost instead chose the more daring option of altering the melody and tempo of the piece significantly. From the ominous drawing of violin and cello strings in the opening seconds to the melancholic metal sound of the guitars throughout (with the rhythm guitar being played by none other than Dave Grohl, who also produced the EP), this version slows the once fast-pace beat of the song down until it becomes almost unrecognizable save for the lyrics. Even Tobias Forge’s singing creates significant contrast with the original; his silky smooth, haunting baritone guiding a melody once held by Roky’s hard-edged yells.

And yet… the spirit still remains.

Although the sound itself has been thoroughly converted to the stylings of Ghost, they still managed to keep the fierce energy that ran through the veins of Erickson’s version, albeit with a twist.

Both songs convey a contemplative examination of one’s mind, with instrumentals and singing that amplify the power one feels from this reflection. However, Ghost’s version differs in that it amplifies the sense of isolation and longing present in the lyrics. The music notably softens at the beginning of many of the verses, particularly lines like “One never does that” or “I don’t want my fangs too long,” only to grow in power through the repetition of each line. It conveys the feeling of the singer having to grapple with these feelings before they can fully accept them.

Nowhere is this more apparent than the band’s acoustic cover of the song.

At this point, the piece has been stripped down to an entirely naked form, its themes conveyed only through the guitars of two nameless ghouls alongside Forge’s vocals (presented here in his previous stage persona, Papa Emeritus III). There is no triumphant shouting or swelling electric guitar solos here anymore, just a somber reflection gently carried by melodic strumming and mournful singing. Despite now being as far from a rockin’ tune as humanly possible, it actually manages to come closest in recapturing the sense of rawness in the original, albeit on the exact opposite scale.

I remember watching a recorded acoustic performance in Paris back in 2015 where Papa introduced “If You Have Ghosts” as being a song about “loneliness,” which is an interpretation I can definitely agree with. In fact, I would even say that with this acoustic cover brings the entire meaning of the song full-circle. Through its peeled-back, unflinching depiction of being enclosed in darkness and isolation, it serves as a perfect end-note for a song that began from such troubled origins by telling the listener that, despite all the hardships, this beautiful piece of music will never lose its everlasting spirit.

Thanks for giving us everything, Roky.

[bedazzfangirl]

GOOGLE DOCUMENT: HATE FOR GRUVIA & JUVIA

Warning: Long Read.

OKAY. So, there's this document going around on twitter talking about why the writer hates Gruvia & Juvia. A glean of that document shows that the main reason for his/her hate is stalking. In fact, at the end of the document, the writer admits that he/she has been a victim of stalking twice.

First, please do know that I am sincere in saying this: I finally understand where your hate is coming from. I don't share in the sentiment but I understand. I will not counter your reasons. I will not debunk your proof or evidence. You won't get any hate, any demeaning words from me. Rather, I hope my sincerity will reach you.

Second, I have always thought of how important mental health is for everyone. Especially, now, that for some reason, in the age of internet and social media, most people have become victim to mental illness. The worst thing about it is this: unlike physical pain, mental pain is even harder to detect & sometimes, detection becomes too late. On that note, to the writer of the document, if you haven't gone to a professional yet, I sincerely encourage that you see one.

My brother works for a pharmaceutical company who sells prescription medicine to mental health patients/clients. The job entails not only mastering the field of marketing but, in order to be an effective marketer, they must learn more about their products and the illness it ought to help. Hence, we must first agree on one point: Mental Illness is a real illness and a genuine concern. It's not just about fighting spirit or courage or merely a 'just deal with it' problem. Mental illness is caused by some irregularities in the chemicals inside our brains, inside our bodies. It is real. And just like the current Corona Virus, it takes away lives.

So, how did we go from the Gruvia Hate to mental health? Simple. I think we can all agree that stalking is a manifestation of a mental problem. I cannot go deep into a discussion of it because I am not a professional and in no way an authority to speak on the matter. But it is a problem.

In the case of Gruvia, the writer find the ship distasteful because Juvia stalked Gray and made him uncomfortable for a number of times and that Juvia's development, if there was any, cannot change the fact that she was once a stalker. For the writer then, Gruvia sends a bad message.

So, how can we, the Gruvia supporters, even promote this kind of relationship, which in your opinion is toxic and manipulative? It's because we see it differently. Gruvia and Juvia has a different effect on us and we sympathize on a different aspect to them. What do I mean by this? We view the world differently because of our own experiences in life. What we've been through. What we saw. I'd like to expound on this but we are going off topic.

Before you accuse me of not knowing how you feel or what you are going through then let me share this with you.

I have this workmate (let's call him Mr. S) who I don't talk to at all but I do greet them politely when we pass each other by the hallways. In the office, there are already rumors about this guy's tendency to stalk. In fact, someone has already reported this person because he graduated from just stalking into approaching. Imagine, you were strolling leisurely in a mall then someone calls your name, you look behind and there's no one there. Then, that person texts you and say that he sees you in that mall? Geeeerl. That is exactly what happened to a lady workmate (Ms. V). & the person who was calling her name and texting her excessively? It was Mr. S. It happened because Mr. S thought that Ms. V liked him. What?

Let's get closer to home. I was new at my job and I didn't know about Mr. S's issues. I was a friendly idiot. Bad move. Lol. So, of course I greet everyone in the office. No one warned me. But somehow, Mr. S starts approaching me when there was no one around either the hallways or canteen or wherever. So, that's no biggie right? Then, he starts saying how he saw me at my university (I took up law while working) on a Saturday (Univeristies in my country don't usually cater to weekend classes). He had no business to be in the university (Mr. S is already a lawyer) so how come he knew I go there and have classes on weekends? Weird, right? That did not creep me out but I started putting distance between us. There was even one time he offered to take me home or to school but I said no because I was already aware of his reputation (& mainly because I didn't want him to know where I live nor my routine). There's just too many instances to mention but main point is that yes, I do have an idea of how scary it is to feel unsafe and uncomfortable around someone.

So, back to my main topic. Why am I suggesting you go see a professional?

I WAS THE ONE BEING STALKED AND NOW I AM THE PROBLEM?

Nope. That's not what I am saying. Your stalker (like our Mr. S.) has the problem. Not you. Not the victim. It's the stalker who manifests his mental illness through stalking. It's not you. You are not the problem. You are not at fault. You are the victim.

Unfortunately, as mentioned by the writer at the end of his/her document, stalking has a lasting effect on not only the doer but also his/her victim. It's not right. I absolutely agree with you on that. It's not right that you were the victim but you are forced to endure the negative effects of his problem on you. But consider it like this, when a person assaults another, doesn't the victim of the assault, let's say stabbing, get him/herself treated too?

In that sense, physical and mental illnesses are the same in that they both can be treated and, if too late, equally fatal.

IF YOU CLAIM YOU'VE BEEN STALKED THEN HOW COME YOU SUPPORT AND EVEN PROMOTE GRUVIA?

There is a difference between my case of stalking and of the writer's, to wit: 1) gravity; 2) degree; and 3) frequency of the offense.

I did not share my story to compare it with yours but to show you that I know and understand your situation. I will not claim that I have better understanding of it because you have the first hand experience of what you went and are still going through. But like I said earlier, we view Gruvia differently.

WHY DO I HAVE TO SEE A PROFESSIONAL?

For peace of mind. Life is tough. We all know that. And peace of mind is a commodity easy to have but hard to possess. Do you get me? We all know what we need to do to get some peace of mind but it's always easier said than done. However, issues like these have the tendency to snowball when left unchecked. And sometimes, it becomes too late.

WHY SHOULD I LISTEN TO YOU?

Honestly, you don't have to. But I did spend my time composing this long ass blog discussing a possible root of the hatred, which to others seems to be unreasonable. Because I care.

There are Fairy Tail ships that I also dislike, and some I really hate, and I was in the verge to become a toxic person until I muted, blocked and just ignored their existence. I swear, my life became less toxic! So, if you hate Gruvia then just ignore its existence. If you can't then...

If there are circumstances that prevent you from seeking professional help, then, I'm at loss for anymore suggestion. Maybe, try to get an assessment first? As far as I am aware, the doctors will first assess if you only need psychotherapy or, in severe cases, medicine. In case of the former, self reflection might help. I can't claim I'm religious but in my time of depression, I found solace in prayer. But in the latter, I don't know what else to tell you.

[365days365movies]

April 1, 2021: The Gold Rush (Review)

This is a classic silent film...and that doesn’t make this easy.

This is the first silent film that I’ve covered in this blog. Not the first I’ve ever seen, of course, but the first that I’ve ever had to sit down and review like this. So, before I jump into attempting to judge this film on my own merits, I have a couple things to say. First things first...why didn’t I choose The Kid, Chaplin’s first feature-length comedy film? Why The Gold Rush instead?

Well, chief amongst those reasons is simply the fact that I think this one is more important for me to watch. It’s Chaplin’s third film, he’s already an established star, and he was able to exert a lot of creative influence on this one, making this a good pick to view him as an auteur. It’s lauded as his best film by most people, and it produced one of the most famous scenes in film history (the bread roll dance scene). To be honest...I thought that it would be weirder having not seen this film, and it would be having not seen The Kid. That make any sense? It’s weird, I know.

That’s not to say the The Gold Rush is the last Chaplin movie I’ll ever see. Hell, this month, I have TWO MORE on my list, although we’ll see if I inevitably decide to watch them. I think I will, though, because they’ve been on my list for a while. Although, I’ll have to decide between City Lights and Modern Times...hmmm. We’ll see.

The other thing I want to address is what happened to Chaplin around this time. I hinted at it in the Recap, but I want to elucidate further here. In 1919, Chaplin came up with his plan to make his own film studio, uniting with famous director D.W. Griffith, and famous silent film actress Mary Pickford. This became United Artists, and was meant to allow actors to control their careers and interests, instead of relying on larger studios. And in case you weren’t sure, this studio is indeed still around! Their next film?

Oh, yeah, these are the Bond guys! What was their last film?

Ah. Well. That’s too bad. They also work with LAIKA and MGM, control the Rocky/Creed franchise alongside Bond, and are a pretty successful studio, all things considered! As for Chaplin, he made films with UA starting in 1923, with A Woman in Paris, and ending in 1952, with Limelight. He made 2 more films after this, but I’ll talk about that at a later date.

Once The Kid came out, Chaplin’s studio was a success, and he was a millionaire, and had been married to actress Mildred Harris, with whom he had a child when she was...16, oh NOOOO. That child sadly died a few days later, but their marriage persisted for 2 years, before ending quite bitterly in 1920. Chaplin wasn’t the best partner. But, losing his child ended up fueling his work on The Kid, which was a smash-hit. He wrote a book, he got engaged, he stopped being engaged when he straight-up ghosted that girl, and he filmed the drama A Woman in Paris with UA, and it was another reflection about his life, being about ill-fated lovers. It didn’t do very well.

That was made WAY worse by personal circumstances with newest wife, Lita Grey. Also 16 when they married (compared to Chaplin’s 35, BIG FUCKIN’ YIKES), this was a shotgun wedding of sorts, spurred on by an unexpected pregnancy. The two wed during the end of the production of The Gold Rush. Grey, by the way, was in The Kid, and was ORIGINALLY Georgia in The Gold Rush. But this is Chaplin we’re talking about, of COURSE this marriage was terrible.

See, they ended up having 2 kids within less than a year, because Chaplin was...Chaplin. But Charles HATED spending time with Lita, and spent most of his time away from her at the studio. The Gold Rush replaced Lita for Georgia Hale (an admirer of Chaplin since she was young), and the film was a massive success. And the marriage to Lita ended in a FIERCE divorce, which resulted in Lita taking the kids and leaving a year later in 1926. And that divorce was huge news...but I think I’ll wait to talk about that later.

Let’s get into...oh, God, she was ELEVEN when they started working together on The Kid, and they had a kid together FIVE YEARS LATER??? GROSS, DUDE.

...Let’s get into the Review.

Review

Cast and Acting: 8/10

Charlie Chaplin is, well, Charlie Chaplin. He’s keyed into his role more than anybody else in history, and the Tramp/Prospector shines here, unsurprisingly. Chaplin’s basically perfect, and for all of his IMMENSE faults as a human being, his acting in this film certainly isn’t amongst them. All credit where credit’s due, honestly. But, OK, everybody else? Honestly, pretty good! I’m not accustomed to judging silent performance, ESPECIALLY in a comedy, so the visual performances are almost all fantastic. But if you want a liiiiiiiittle nitpicking...Georgia Hale is a little stiff at times, Mack Swain is a little over-the-top occasionally, and Tom Murray is just...there. These are extremely minor, but compared to Chaplin, they don’t QUITE measure up. To be fair, though, this is basically nitpicking.

Plot and Writing: 9/10

A comedy’s strength is in its writing, which I argued in my little dissection of the comedy “genre” (you can check that our right here, if you want), as well as the performance of that writing. Which is why silent films are...complicated. So, instead, my target has to be the execution of the plot and story. And...yeah, it’s a straightforward plot, understandable story, no real strain here at any turn. It’s a good story, and Charlie Chaplin (of course) does a good job with it. Apparently, he really WAS inspired by the story of the Donner Party (meaning that the choice to film in Truckee MUST have been on purpose), which is why I KNEW that shoe-eating thing seemed familiar. The Donner Party did the exact same thing with their shoes! Y’know, before eating each other, of course. But this was a well-written story, with more complexity than expected. Or possibly necessary, because Larsen really didn’t need to be here for the plot to work. That is a little weird for me, but I also understand why he was included. Again, nitpicking all over the place.

Directing and Cinematography: 10/10

No nitpicking for me here! Charlie Chaplin is a famously good director, and this is a great example of his work. Very typical for the time, sure, and mostly just perfunctory, but it’s still a well-directed film. Cinematography was surprisingly Roland Totheroth, and not Chaplin! Not that Totheroth was a slouch either. Ol’ Rollie (as he was often billed) is one of Charlie Chaplin’s most ardent comrades (ha...communism. That will...that’ll make sense later), and accompanied him as cinematographer and camera operator for over 30 films. And this is another great example of his work!

Production and Art Design: 10/10

If Chaplin wanted to recreate arctic boomtowns and desolate cabins...gotta say, he nailed it. This looks great, and the setting feels quite authentic, all things considered. For 1925, I think Chaplin exceeds expectations here. Now, granted, there are films from this time period that have really hefty production budgets, but this one is still a great looking film regardless of that. Again, credit where credit’s due.

Music and Editing: 9/10

Funny thing; the 1940s reissue of this film had different music added to it, because Chaplin wanted different music on it, and a lot of people who say they like that release say that the music is better. Which is interesting, because I REALLY liked the music in this movie! Using covers of classical music works quite well, I think, and the original tracks are pretty great as well. I mean, just looking at the dancing rolls GIF up there reminds me of the sprightly tune accompanying it. And that music was selected by, big surprise, Charlie Chaplin. He’s not the only person involved, of course, but he was a major part of this choice. And yes, he was ALSO the editor for the film! Geez, dude wore many black bowler hats, huh? Well, that docked point is for the slightly off editing in a few scenes, but it’s really not bad. This is once again me nitpicking.

94%, and it’s worth every digit, and more!

This is one of the great American classic films (ironically made by a British filmmaker), and it’s a movie that should be seen by everybody at least once. Is it my favorite comedy? FUCK NO IT AIN’T. But mostly, that’s because this film is funny...but that’s not where its charm lies. It’s not nearly as funny as many comedies I’ve previously covered, but it has a HELL of a lot of heart to go with it. It’s a worthy film on its own merits, divorced from the normal trappings of comedies. You can literally find the film, THE ENTIRE FILM, on Wikipedia. So check it out!

But for now, let’s move from the Tramp to another dynamo of the Silent Era. And yeah, we have a few more people from this time period to cover. Isn’t that right, Buster?

April 2, 2021: The General (1926), dir. Buster Keaton

[sapphires-and-gold-fics]

Fictober Day 13: “I never knew it could be this way.”

Fandom: Game of Thrones / ASOIAF / Jane Austen

Characters: Jaime Lannister / Brienne of Tarth, and a whole bunch of other characters that I have shoved into this Sense & Sensibility adaptation

Notes: Alright listen. This was just going to be a very short little passage from Sense & Sensibility adapted for ASOIAF/GOT characters and then it just got away from me. It ran. It fucking ran. So now it's the first five chapters of Sense & Sensibility adapted for Brienne & Jaime. I know what you're thinking - WTF? My answer to that is... IDK. I honestly thought I was going to be shoehorning Brienne into this thing and I have to say she's been much more cooperative than I ever imagined. A word of warning - I don't know that I will pick this up again at any point. I 'm not making any promises. I love S&S and I love GOT and I REALLY love the world that I've mashed them into but I don't know if it's sustainable. So... I guess please don't get too attached? But if you like it, let me know! I was gonna do something else for NaNoWriMo but if this is pleasant for people maybe I'll do this instead? Please please please comment whatever your feelings because that will help me know if this is something that other people will enjoy or if this is unique to me, and I should put it to bed. Thank you all for reading "Put Me Back Together" thus far. I hope to not go as crazy for the rest of the month.

Read on AO3

xxxxxxxxxxx

***

The Stark Family had long been settled in the North. Winterfell, their estate, was large. And for many generations they had lived respectably, earning the good opinion of their neighbors.

Mr. and Mrs. Ned Stark had no sons, only three daughters; one, product of his first marriage, who was of an age to be wed, and two others by his present lady. With luck, his daughters could beget sons during Ned’s life, and he might thereby amend the inheritance. In the meantime, the estate was entailed away to his cousin and best friend from childhood, Mr. Robert Baratheon who had improved on his already considerable wealth, in marriage. To him therefore the inheritance was not so really important as it was to Ned’s daughters.

Ned might reasonably hope to live many years and to save a considerable sum for his family should he pass before a male issue came. Regretfully, he passed within a year of inheriting Winterfell; and the sum of ten thousand dragons was all that remained for his family.

Robert was sent for as soon as Ned’s illness was known, and to him Ned recommended, with all the urgency which illness could command, the interest of Catelyn and the girls. Robert promised to do everything in his power to make them comfortable. Ned was made easy, and Robert had then time to consider how much precisely was in his power.

***

No sooner was Ned’s funeral over, than Robert’s wife Cersei, without sending any notice of her intention, arrived with her child and their servants. No one could dispute her right to come; but the indelicacy of her conduct, and her ability to act with so little attention to the comfort of other people made things highly unpleasing. So acutely did Catelyn feel this ungracious behaviour that she would have quit the house immediately, had not the entreaty of her husband’s eldest girl induced her first to reflect on the propriety of going.

Brienne, this eldest daughter, possessed a strength of understanding, and coolness of judgment (according to her father, she had inherited these characteristics from her late mother, who had died in childbirth); these qualified her, though only nineteen, to be Catelyn’s counsellor and to counteract that eagerness of mind which otherwise could lead to imprudence. She had an excellent heart and was affectionate of disposition, but she knew how to govern her feelings, however strong, as evidenced in her disciplined pursuits - riding, archery, even fencing. Her father had supported these in acknowledgement of her departed mother’s interests. Her strength of character and ability to control her emotions was a skill that her stepmother and sisters had resolved never to learn.

At sixteen, Sansa's abilities were, in some respects, equal to Brienne's. She was sensible and clever; but eager in everything. The resemblance between her and her mother was strikingly great. Brienne saw, with concern, that she and Catelyn encouraged each other now in the violence of their affliction. Brienne, too, was deeply afflicted; but still she could exert herself for propriety and could strive to rouse her stepmother to similar exertion, and encourage her to similar forbearance.

Arya, the youngest sister, was a good-humored, well-disposed girl; but as she had already imbibed a good deal of both Sansa’s romance and Brienne’s quiet guardedness, she was a bit wild and spent much time in trees.

***

Cersei Baratheon now installed herself mistress of Winterfell; and the Stark women were degraded to the condition of visitors. As such, however, they were treated by her with quiet civility. Robert had resolved to make a gift of three thousand dragons for the girls as the measure of support he had promised Ned. But Cersei did not at all approve. To take three thousand dragons from the fortune of their dear boy would be akin to impoverishing him. She begged him to think again on the subject. Why was he to ruin himself, and their poor little Joffrey, by giving away all his money to strangers?

“It strikes me that they can want no money at all,” said she, “for they will have ten thousand dragons divided amongst them. If they marry, they will be sure of doing well - Sansa shall, at least - and if they do not, they may all live very comfortably together on the interest of ten thousand dragons."

“I believe you are right, my love; whatever I may give them occasionally will be of far greater assistance. It will certainly be much the best way. A present of fifty dragons, now and then, will prevent their ever being distressed for money, and will, I think, be amply discharging my promise to Ned."

"To be sure it will. I am convinced within myself that Ned Stark had no idea of your giving them any money at all. Indeed, it would be very strange and unreasonable if he did. They will be much more able to give you something." In the end, Robert insisted that Catelyn and the girls stay on at Winterfell until they could find a suitable home; in doing so, he saw his promise as kept.

***

They remained at Winterfell several months. Catelyn was impatient to be gone, and untiring in her inquiries for a suitable home in the neighbourhood. But she could not find a situation that at once answered her notions of comfort and ease which also suited the budget as Brienne had laid out for them.

The contempt which she had early-on felt for Robert’s wife was very much increased by prolonged acquaintance with her character. Catelyn might have insisted on leaving sooner, Brienne’s prudence by damned, had not a particular circumstance arisen. That is, there was growing attachment between Brienne, and Cersei’s brother, a proud young man whose gentlemanly qualities were at first in question, though they improved upon acquaintance, who was introduced to their household soon after his sister's establishment at Winterfell, and who had since spent the majority of his time there; most of it was spent at Brienne’s side.

Some mothers might have encouraged the intimacy from motives of interest, for Mr. Lannister was the eldest son of a man who was very rich; and some might have repressed it from motives of prudence, for the whole of his fortune depended on the will of his father. But Catelyn was uninfluenced by either. She thought only of Brienne’s happiness. It was enough that he was honorable, that he had an affection for her stepdaughter, and that Brienne returned the partiality.

Mr. Jaime Lannister was not recommended to their good opinion by any particular graces of person or address. He was handsome to be sure, but his manners required intimacy to make them pleasing. He was proud, yet almost too shy to do himself justice; but when his natural shyness was overcome - most obviously when he was not in the company of his sister, but most pronounced when he was with Brienne - his behaviour gave every indication of an open, loyal heart. But he fitted neither by abilities nor disposition to answer the wishes of his father and sister, who longed to see him distinguished in the world. His father wished to interest him in political concerns. Cersei wished it likewise, though perhaps not so lofty as to take him away from her influence. But all of Jaime’s wishes centered in more earthly things. He spoke of farming as oft as he spoke of military pursuits. He preferred riding a horse to driving a barouche, and it had nothing to do with the knowledge of how fine a figure he cut whilst riding.

Jaime had been staying several weeks in the house before he engaged much of Catelyn’s attention; she saw only that he was tall and quiet in the presence of others. He did not disturb the wretchedness of her mind. She was first called to observe and approve him farther quite by accident when the sharp strange sound of steel clashing in the garden caught her ear. When she made her way thence, she was surprised - not to see Brienne clad in breeches, or even to see her sparring with Cersei’s brother, but by Brienne’s smile - a sight she’d not seen in many moons.

***

Catelyn now took pains to get acquainted with him. She speedily comprehended all his merits as well as his faults, but the persuasion of his regard for Brienne perhaps assisted in disregarding the latter; she felt assured of his worth: and even his reserve, which went against all her established ideas of what a young man's mien should be, was no longer uninteresting when she knew his heart to be warm toward her girl. She considered their attachment as certain, and looked forward to their marriage as rapidly approaching.

"In a few months, my dear Sansa." said she, "Brienne will, in all probability be settled for life. We shall miss her; but she will be happy."

"Perhaps," said Sansa, "I may consider it with some surprise. Mr. Lannister is very handsome and amiable, but yet there is something wanting. He would rather speak of horses and swordplay than anything approaching artistry. Though he admires Brienne's drawings very much, he admires as a lover, not as a connoisseur. To satisfy me, those characters must be united. Oh! mama, how spiritless was Mr. Lannister's manner in reading to us last night! I felt for my sister most severely. Brienne has not my feelings, and therefore she may overlook it, and be happy with him. But it would have broken my heart, had I loved him, to hear him read with so little sensibility.”

"Remember, my love, that you are not seventeen. It is yet too early in life to despair of such a happiness."

***

"What a pity it is, Brienne," said Sansa that evening, "that Mr. Lannister should have no taste for reading."

"No taste for reading!" replied Brienne, "He read himself the other night. It is true, he prefers other activities, and he is not a great reader - he confided in me that it… challenges him at times. But he has an innate simplicity of taste, which helps direct him. I hope, Sansa, you do not judge him for this. Indeed, I think you cannot now I’ve explained it. Promise me that you will be civil with him.”

Sansa hardly knew what to say. At length she replied: "Do not be offended, Brienne, if my praise of him is not in everything equal to your sense of his merits. I promise I have the highest opinion in the world of his honor.”

"Of his honor, no one can, I think, be in doubt,” Brienne said quickly, “He and I have been at times thrown a good deal together. I have heard his opinions and, upon the whole, I find him well-informed, his imagination lively, his observation just.” She took Sansa’s hands in hers. “You will agree that, at first sight, my own address is certainly not striking, and my person can hardly be called handsome, yet he has had occasion to call the expression of my eyes... uncommonly good.”

“Uncommonly good? Tell me he used those words again, and I shall indeed change my mind about my civility toward him.”

“No, indeed. He called them… he said they were astonishing… in their similarity to a flower - I’ve mislaid the name. But certainly that meets your demands? He has his pride, Sansa, but the general sweetness of his countenance is easily perceived.”

"When you tell me to love him as a brother, I shall indeed think him sweet, Brienne.”

Brienne started at this declaration. "I do not attempt to deny," said she, "that I think very highly of him—that I greatly esteem, that I like him."

"Esteem him! Like him! Cold-hearted Brienne! Oh! worse than cold-hearted! Ashamed of being otherwise. Use those words again, and I will leave the room this moment."

“Be assured that I meant no offence to your sensibilities by speaking so quietly of my own feelings. In truth, I never knew it could be this way. Believe my feelings to be stronger than I have declared. But farther than this you must not believe. In my heart I feel scarcely any doubt of his preference. But there are other points to be considered besides his inclination. He is far from being independent. His sister and father wish a great deal for him, and I am very much mistaken if Mr. Lannister is not himself aware that there would be many difficulties in his way, if he were to wish to marry a woman who had neither a great fortune nor a high rank, and not even agreeable looks."

Sansa was astonished to find how much the imagination of her mother and herself had outstripped the truth."And you really are not engaged to him!" said she. "Yet it certainly soon will happen. You are so alike, Brienne. You have the same affinity for activity and thought. Trust his feelings as you trust your own. The only thing I am glad for, in your not being promised to him yet, is that I will have greater opportunity to know him and be assured of your future felicity.”

Brienne could not consider her partiality for Jaime in so prosperous a state as Sansa and Catelyn had believed it. There was, at times, a want of spirits about him which, if it did not denote indifference, spoke of something almost as unpromising - some hesitation or doubt. She knew that his father neither opened his home to Jaime at present, nor gave him any assurance that he might form one for himself, without strictly attending to his wishes. With such a knowledge as this, it was impossible for Brienne to feel easy on the subject. The longer they were together the more doubtful seemed the nature of his regard; and sometimes, for a few painful minutes, she believed it to be no more than friendship. But then he would seemingly stumble across her in the library or in the gardens and in the next moment they’d be suiting up to spar. She flattered herself to judge that it was only when he was with her that he seemed truly at ease, and happy. His regard at those times seemed limitless.

***

But, whatever might really be its limits, it was enough, when perceived by his sister, to make her uneasy, and to increase her incivility. She took the first opportunity of confronting Catelyn Stark on the occasion, talking to her so expressively of her brother's great expectations, of Tywin Lannister's resolution that all his children should marry well, and of the danger attending any young woman who attempted to draw her brother in; Catelyn could neither pretend to be unconscious, nor endeavor to be calm. She gave Cersei an answer which marked her contempt, and then instantly left the room, resolving that, whatever might be the inconvenience or expense of so sudden a removal, her Brienne should not be exposed another week to such insinuations.

In this state of her spirits, a letter was delivered to her from the post, which contained a proposal particularly well-timed. It was the offer of a small house, on very easy terms, belonging to a cousin of hers, a gentleman of consequence and property in the Riverlands. The whole of his letter was written in so friendly a style as could not fail of giving pleasure to his cousin; more especially at a moment when she was suffering under the cold and unfeeling behaviour of those she currently depended upon.

She needed no time for deliberation or inquiry. Her resolution was formed as she read. The situation of Riverrun Park, in a county so far distant from the North as the Riverlands, which, but a few hours before, would have been a sufficient objection to outweigh every possible advantage belonging to the place, was now its first recommendation. She instantly wrote Edmure Tully her acknowledgment of his kindness, and her acceptance of his proposal; and then hastened to show both letters to her daughters, that she might be secure of their approbation before her answer was sent.

Brienne had always thought it would be more prudent for them to settle at some distance from Winterfell. On that head, therefore, it was not for her to oppose her stepmother's intention of removing into the Riverlands. The house as described by Mr. Tully, was on so simple a scale, and the rent so uncommonly moderate, as to leave her no right of objection on either point; and, therefore, though it was not a plan which brought her any joy in her current state of uncertainty, she made no attempt to dissuade Catelyn from sending a letter of acquiescence.

***

No sooner was the letter dispatched, than Catelyn indulged herself in the pleasure of announcing to the Baratheons that she should inconvenience them for not much longer. Cersei said nothing; but her husband civilly hoped that she would not be settled far from Winterfell. She had great satisfaction in replying that she was going into the Riverlands.

Jaime turned hastily towards her, his voice full of surprise and concern, and repeated, "The Riverlands! Are you, indeed, going there? So far from hence! And to what part of it?" She explained the situation, describing Riverrun Park and its position along the Green Fork. She watched Jaime absorb the information and then turn his eyes to Brienne.

Catelyn concluded with a very kind invitation to Robert and Cersei to visit her. To Jaime she gave one with greater affection. To separate Jaime and Brienne was as far from being her object as ever; and she wished to show Cersei how totally she disregarded her disapprobation of the match.

***

The furniture was all sent ahead. It chiefly consisted of household linen, plate and china, with a handsome pianoforte of Sansa's. Cersei saw the packages depart with a sigh: she could not help feeling that as Catelyn’s income would be so trifling in comparison with their own, she should have any handsome article of furniture. Their man and one of two maids were sent off immediately into the Riverlands, to prepare the house for their mistress's arrival.

Catelyn took the house for a twelvemonth. No difficulty arose on either side in the agreement; and she waited only for the disposal of her effects at Winterfell before she set off for the south; and this, as she was exceedingly rapid in the performance of everything that interested her, was soon done, though she dawdled for two days longer than necessary in order to give Jaime and Brienne more time together.

They spent the majority of their afternoons walking the fields just beyond the garden away, by design, from Cersei’s prying. Brienne would have been contented with the library and gardens and their usual routine, but Jaime had insisted. There were still moments where he was all too quiet and Brienne was certain that he was preparing to clear the air with the secrets he was harboring, and make more firm his lack of regard for her. But in the next, he would be pressing her hand or smiling at her in that way he had only done before with foil flashing.

***

In a very few weeks from the day which brought Edmure Tully’s first letter to Winterfell, everything was so far settled in their future abode as to enable Catelyn and the girls to begin their journey.

Many were the tears shed by them in their last adieus to a place so much beloved. "Dear, dear Winterfell!" said Sansa, as she wandered alone before the house, on the last evening of their being there; "when shall I cease to regret you!—And who will remain to enjoy you?"

That same eve, Brienne went to the stables to visit to her favorite mare, which Catelyn had sold to Robert when keeping her proved unnecessary and unsustainable for their new life. Brienne was brushing her when the door opened and Jaime appeared out of the darkness, his hair bright, catching the light of her lantern. His look was solemn, and Brienne wondered if the hour of his confession had finally come. But he smiled and pulled a small book from behind his back and offered it to her.

She took it and studied the lettering on the spine, fingering the worn edges of the indigo cover in surprise. “This was my mother’s.”

“So you told me.”

She smiled, “You remembered.” He nodded sheepishly. “My father kept it in his study in the home I grew up in. When we moved here, he added it to the library thinking it would be kept in the family.” Jaime stepped forward and laid a hand on hers comfortingly, warm, “He used to read to me from it - stories of princesses and merfolk and knights… all of them with happy endings.” She stayed the tears forming in her eyes, and firmed her resolve. She slipped the book back into his hand. “Take it. Take it back. I wouldn’t want to lose track of it between now and morning. It belongs to your sister now.”

“Brienne…” he took her other hand and secured it around the book so that all four of their hands clasped it together. “It’s yours. It will always be yours. She won’t miss it. And even if she did, I would own it, for I was the one who took it. You’re leaving enough behind. I don’t wish for you to part with something so dear.” His hands were warm on hers and of them was trembling though she couldn’t tell if it were Jaime or herself or both. She nodded and he let go, his fingers whispering against the backs of her hands. “May I walk you back to the house?”

Brienne looked from him back to the mare whom she had abandoned on Jaime’s arrival. “I haven’t finished my goodbyes.” Jaime looked somewhat sad but he nodded understanding, and turned to go. “Jaime - “ he stopped and turned back to her, something shining in his eyes“ - we did not gather as usual after supper tonight.” She held out the book, “Will you read to me?” He grinned, a shadow of his usual smile, and took it. Then he sat on the stool by the door and slowly read her a well-traversed tale of knights and dragons while she worked until the horse’s coat shone.

***

The next morning, Robert and Jaime saw the Stark women off. Cersei claimed a headache and stayed abed. Jaime handed each of the women into the hired carriage. He lifted Arya into it, setting the eight-year-old giggling; then Catelyn who kissed his cheek like an affectionate aunt; then Sansa who, grasped his shoulders dramatically and wished him well; and finally Brienne. He handed her into the carriage, and then she reached her arm out of the window so that he might shake it. Instead, while Robert engaged the others from the other side of the carriage, Jaime looked up at her sadly and pressed her hand harder than she expected, and brushed her knuckles with his lips. “Goodbye… Miss Stark.”

“Goodbye, Mr. Lannister.”

He silently mouthed “Jaime” and she nodded before her hand retreated back into the carriage. He set a smile on his face - the kind he maintained in mixed company - and joined Robert on the opposite side of the carriage, and from there the two waved them off as the Stark women drove away from Winterfell.

***

They would travel four days to reach Riverrun. On the third night they were stopped at an inn and Brienne was alone while her stepmother and sisters finished supper below. She drew the indigo book out of the reticule she kept on her person. The edges seemed more worn, more loved, than she remembered. She settled onto the bed to read one of her favorite passages when she noticed that something almost the color of the cover seemed to be tucked into the pages about a third of the way through the book.

She carefully parted the pages to that spot and there, carefully pressed, was a cluster of five-pointed blue blossoms with yellow starbursts at the center of each. They marked in the book her favorite tale - that of Ser Galladon of Morne. And the blossoms themselves were the exact shade of her eyes. She’d been avoiding the truth when she told Sansa that she couldn’t recall the name of the flower Jaime had compared them to - she hadn’t wanted to inspire her sister’s romantic notions. But presented with them now, and in the privacy of her solitude, she could not deny her own notions. For if he’d meant to express indifference, why send her away with the book? And why press forget-me-nots between the pages?

[ultimate-miles]

Miles Morales: Spider-Man (2018) - Or, what happens when you give a Black character to a Black writer

Miles Morales: Spider-Man follows the exploits of a now sixteen year old Miles Morales, setting the timeline of the story far beyond his earliest exploits and his then current title, Spider-Man (2016-2017) where he is fifteen going on sixteen years old.

 The Good Stuff

Miles Morales: Spider-Man is a story focused wholly on the boy behind the mask, the titular lead, Miles Morales. The book, no more than two hundred and sixty-one pages long (unfortunately), can probably be accredited with doing something Miles’ comic book titles (Ultimate Comics, The Ultimate Spider-Man, Spider-Men, and Spider-Man) really couldn’t or wouldn’t bother themselves with – which is focus on Miles’ life as student at Brooklyn Visions Academy and how he interacts with the people in his Brooklyn neighborhood.

Everything important that happens to Miles happens within the confines of the Brooklyn area. Miles isn’t off globe-trotting with the Ultimates, and he certainly isn’t fighting within the central New York City area with a villain-of-the-week, and there’s not even a mention of Peter Parker – clone, resurrected, or otherwise – present in his narrative here, which makes this one of the first stories focused on Miles where Peter Parker wasn’t lording over it like an intrusive shadow.

The most pivotal conflict that pushes Miles’ narrative forward in the book is his persisting (if not misplaced) guilt over the death of Aaron Davis, who killed himself in an effort to murder his own nephew. The re-visitation of Aaron’s death opens the narrative to the odd addition of a cousin, Aaron’s son, who contacts Miles from prison in the hopes of connecting with one of the few surviving members of the Davis family. Miles torments himself with the information, uncertain if the intent behind the letter is genuine or a stranger looking to talk to another stranger.

For the most part, I like how it was handled. It paints the actions of Aaron Davis in a completely different light. Maybe in a “not as bad as one thought” kind’ve way, and I’m not particularly sure how I feel about that considering it flies in the face of what the comics establish –which is an unrepentant man with no real affection for family – but it was an interesting angle to take with the Miles/Aaron dynamic nonetheless.

Reynolds’ use of language goes to a decent length to make Miles’ life feel lived in. The attention to detail to Miles’ internal observation of his life works to Reynolds strength as a poet. The author captures the mentality of a restless teenager, drowning in his own angst (often self-imposed) without falling into purple prose or wordiness. 

Brooklyn is the world that Miles lives in, so the people he talks to throughout the story deal the with circumstances of low-income areas, places people of more – I guess – “wealthy” circumstance have learned to dismiss as criminal despite the people who live there often not reflecting that.

Miles contemplates the projects where his uncle Aaron lived, the barber shop he goes to get his hair cut – where the older men recognize him as one of the more fortunate children with a chance to pull themselves out from the under violent cycle of gang and hustler life. He also contemplates the number of young and older residents who’ve been driven out of homes by the city looking to redevelop the area for white buyers. This is the kind’ve of stuff you’d read about in Milestone Comics stories for Static Shock, Icon, or Hardware.  

This is the kind’ve day-to-day life stuff that Brian Michael Bendis – as a white man – were so disconnected from, Miles as a character – in the comics – might as well have lived in New York City. I can only imagine that Jason Reynolds – as a Brooklyn native – used his own experiences, to a degree, to flesh out the story he was telling.

Another element I think Miles Morales: Spider-Man gets right is Miles and puppy love. This book is probably the only Spider-Man story featuring Miles to actually give him a crush that is neither – a creepy adult [white] woman for him to mack on (Diamondback and Gwen Stacy), a Plot Twist Nazi (Katie Bishop), or a really boring version of Mary Jane Watson (Barbra Rodriguez, who unfortunately appears in his recent series).

Alicia is a character I would’ve liked to have seen more of in the story, particularly outside of the purview of Miles’ heart-eyes. She’s nothing if not a brief exploration into the expectations that come with being born to “Old Black Money” and keeping up public appearances. 

Alicia’s want to stand against casual racism in the classroom is the kind of “young awakening” you see in teens who pull themselves out of apathy long enough to understand how the world functions around them, when they realize they can’t turn a blind eye to microaggressions any longer. 

But, her disadvantage is trying to churn up enough support from her classmates, who honestly just want to get through the day without conflict, or don’t give a shit, that she faces an uphill battle. And when her stance threatens her position in Brooklyn Visions Academy, her parents and the expectation that comes with their family’s reputation forces her to choose between her own belief system and her future.

Miles’ affection for Alicia is cute, and watching him struggle to make a connection with her amidst what he thinks his spider sense going off-kilter and dealing with a Mr. Chamberlain’s constant interference and need to diminish him among his peers, endears me to their [potential] relationship. 

Again, I really wish Alicia and Miles’ interaction, Alicia herself, had more time in the story to develop. Maybe with two hundred more pages (which could’ve knocked the page count up to 361 est.) this could’ve happened, but as it stands, what’s given isn’t bad and fairly enjoyable.

The Spider-Man content within the story is brief, and for me, that’s fine. The one thing about it that I did enjoy, when Miles donned the mask, is how Reynolds uses that persona to tackle the social structure surrounding muggings in Black communities. There’s a whole – and often misguided – unspoken rule wherein the victim cannot call out for help when being mugged. 

One loses the respect of the neighborhood (if you’re into that kind of toxic masculinity) and respect of your peers. Miles, afraid that the actions that led his father and Aaron down the path of crime and hustling is genetic, is faced with a situation where he can either ignore muggers who stole a kid’s sneakers, or use his alter ego to set things right.

He does the latter, and a lot about how Reynolds approaches the sequence reminded me a lot of how Peter David (the writer of Spider-Man 2099) handled Miguel O’Hara. Miguel isn’t what you’d call a “nice Spider-Man”. When he aims to teach you a lesson, chances are, a lot of his targets are left peeing on themselves. 

This is kind’ve the energy Miles uses when he utilizes the “strength of his street knowledge” on the muggers who attacked the kid. But, in the end, this really doesn’t change things. The cycle continues, and it kind’ve highlights the kind of futility Miles faces as a vigilante superhero.

 The Disappointing Stuff

Action sequences really aren’t Reynolds strong suit. I mean, writing action sequences are – in general – a pain in the ass, because a lot of it is a deliberation about how long a description needs to be, preventing things from becoming too wordy, and getting the point across without losing the audience’s interest. It’s difficult balance, one I don’t think even the best writers manage 100% of the time.

But, to his credit, I think his ability to use poetic language is a strong enough short hand that most of his descriptions don’t get lost in the soup. Additionally, because a lot of the Spider-Man sequences don’t occur until the very final climax of the story’s conflict, even when his weakness starts to show, the sequences don’t overstay their welcome.

I don’t think Reynolds really manages to marry the fantastic with the reality of systemic racism. There is definitely a way of creating a mythologized monster to represent the ugly realities of anti-Blackness as faced by Black youth within the general education system. Mythology is nothing if not one culture’s way of rationalizing or simplifying things encountered in their waking lives. But, I don’t think Reynolds manages to pull it off here. 

The idea that there is a supernatural “Mr. Chamberlain” for every Black male youth across the ages isn’t a bad idea. You can some really interesting things with that – like Crossroad Blues type stuff. But, here, it’s kind’ve ridiculous – or it’s presented in such a way that the suspension of disbelief strains to such a degree that I simply don’t buy the product being sold to me.

It feels like something that would’ve been a monster-of-the-week in the first season of Joss Whedon’s Buffy the Vampire Slayer (Angel: The Series even had an episode where a demon stoked the fires of racism against a fair-skinned Black woman, who trapped herself in a hotel room until her dying day). 

I mean, the fantastical version of Mr. Chamberlain even comes like Principal Snyder – the walking parody of the militant school authority who hates children – which is frustrating because the Mr. Chamberlain in Miles’ waking life is a proper representative of the unrepentant racist school teacher obsessed with the confederacy to a Hollywood degree.

Another sticking point: Judge still isn’t utilized in any way that makes him a character and less of a random extra that pops in and out of the narrative. I really fail to understand why writers refuses to make him and Miles friends, because at this point he needs someone else besides Ganke, the Lego obsessed non-Black character, to talk to. Honestly, the fact that Miles still lacks any Black friends his age – especially in this novel – is rather annoying.

Jefferson Davis is probably even less likeable in this story than he is in general in Miles’ comics. To be sure, he’s completely reflective of the overbearing Black father who doles out punishment with the excuse of helping his son “build character” – there are no lies detected in his characterization on that front – but his rationale is often narrow-minded and assumes bad faith on the part of his son, who is often caught in situations where he neither the aggressor or the cause of his problems. 

Like, he makes Miles clean the entire neighborhood block of trash left behind by the garbage men because he dipped out of school to play superhero. Again, I get Jefferson’s intent, but it was wildly misguided.

The situation regarding Aaron’s son, Miles’ cousin, is simply left hanging. There’s no real resolution following their official meeting in the prison, which is a shame, because it brought another kind of dynamic to the story itself. It offered a particularly ripe opportunity to use Jefferson and Aaron’s past just a little more – if only for the sake of exploring the history of the Jefferson family. 

It could’ve only  aided of Jefferson’s characterization and Aaron’s son, who needed more face-time in the story.  But, this also leads to the biggest issue with the young adult novel itself. How it ends.

The ending of Miles Morales: Spider-Man just kinda fizzles out. I don’t know whether it was due to time constrains (not really an excuse) – that Reynolds had to have the manuscript completed before a certain period of time – or Reynolds truly reached the end of his rope with the story and couldn’t think of any other way of ending things (other than how he did), but there’s no true resolution to the story.

The students, who’ve thus far shown the atypical apathy of a teenager toward one student being singled out by a racist teacher, suddenly rising up and protesting with Miles and Alicia against Mr. Chamberlain’s ritualistic dehumanization of Miles, is questionable. It’s idealistically something you want to see happen, but I feel like the story should’ve done more exploring of the students to really set this up.

 The Conclusion

Miles Morales: Spider-Man is a solid Miles Morales story. It’s the kind’ve Spider-Man story Miles Morales’ comic book series, past and present, should’ve been from the jump, and if Marvel was remotely interested, I could actually see a book series coming out of this (so long as the Black author(s) remain). The Spider-Man elements are few and far between, and perhaps that’s for the best. Anyone looking for superhero antics equivalent to what happens in a 19-to-20 page comic book, or a trade, should probably look elsewhere because that’s not the focus of the story.

The strength of the story is how Miles deals with the day-to-day issues of his life and how a Brooklyn-native author uses his familiarity with his home turf to do what Miles’ comic books honestly failed to do. Make Miles a part of the world he was supposed to be living in in-between his life as a superhero, which was the world of Brooklyn, New York.

Even with the shortcomings of the narrative, Miles Morales: Spider-Man is without a doubt the best story that has come out for Miles Morales in four years (like since issue #19 of Ultimate Comics Spider-Man).

This is the kind of storytelling, the kind of writer, which Miles Morales needs. But as long as Marvel continues to be allergic to hiring Black creatives for his comic book title – or anything for that matter – a milquetoast (and often inauthentic) Miles Morales is more or less what the consuming audience will be given.

If you’re a Miles Morales fan, I definitely recommend this book.