#I don't like it when he's portrayed as the bad guy

[iobsessoverfictionalmen]

Competition for a heart

Tagging: @imwithyoutiltheendofthelinebucky, @jointhehunt67

If you want to be added to the tag list for this fic, send me an ask or leave a comment on the fic.

Chapter 1

Hades scowled at Aphrodite from where he was sitting, “I respect your thoughts and compassion, Goddess of Love but your idea is pure folly.  The Avengers have been through enough and it is not our place to overcomplicate their lives.”

Aphrodite dismissed Hades’ words with an elegant wave of her hand, “Competitions have been used in the past to great effect.  Some of the Avengers are our champions.  Why then should our champions not compete and show their strength to win the hand of (Name)?  After all, I am submitting the name of my champion to this contest, Sam Wilson.”

“Because they are people with their own lives,” Athena stressed, “I agree with Lord Hades.”

Ares snorted from his throne as he picked some dirt from underneath his nails with one of his knives, “You’re just saying that because you don’t want to submit any of your champions.  A wise move, sister.”

Athena gripped the arm rests of her throne, “It would not be fair of me to subject Otto Octavius to this competition as he is still grieving the loss of his wife, Rosie.  Peter Parker is too young to be considered as a romantic partner for (Name) and he has his eye on someone else.  So you see, brother, I am being wise, thoughtful and considerate.  Qualities which you lack.”

“Our sister’s reasons make sense,” Hephaestus rumbled, “I too will not be submitting the names of my champions.  Tony Stark, Bruce Banner, and (Name) are close friends but that’s as far as their feelings for each other will ever go.  Not to mention that Tony is married and I have no intention of disrupting a marriage.”

Apollo was lounging comfortably on his throne but at Hephaestus’ words, he threw his head back and groaned, “You two are such buzzkills.  I for one would like to see where this competition of Aphrodite’s leads.  I’m submitting my champion to this competition, John Walker.”

Hermes winced, “Brother, your champion will not stand a chance.  You would have been better off submitting Clint Barton as your champion even though he too is married.  I will submit my champion, Scott Lang to this competition.”

“You’re submitting the name of a joke of a hero who is only good as a thief to the competition as your champion,” Ares guffawed, “good luck with that.”

Hestia sent her nephew a warning glare which caused him to stop laughing immediately and curl into his throne, “Pay no mind to him Hermes.” She said kindly, “Ares is simply jealous as I chose Steve Rogers and Bucky Barnes to be my champions and he was interested in them.  It’s nice to see two Olympians submitting a champion with integrity and honour.  Though I regret that it will truly be a challenge as I am submitting both of my champion's names to this contest.”

Dionysus examined the floor of the room with an air of boredom, “In this, I agree with the Lord of the Underworld.  Our champions have endured a lot of the past few years and should we push our champions into this contest, we will lose their respect.  In my case, I would also lose the tentative alliance that I have made with the Egyptian Gods since Bast and I chose the same champion.  I will not be submitting the name of my champion, T’Challa to this contest and don’t think that I didn’t notice that you only brought this idea to our attention when Zeus and Hera were conspicuously absent, Aphrodite.”

There was a flash of heat and flame in the middle of the room and everyone present, except for Hades recoiled.  Slowly, the flames and the heat died down to reveal Thanatos.

“Why have you come here?” Poseidon demanded, gripping his trident tightly.

“I apologise for the abrupt intrusion,” Thanatos replied, “it has simply been so long since my sisters and I have submitted the name of one of our champions for a contest.”

“You can’t!” Apollo gasped, “It’s not fair!  How did you find out about the contest anyway?”

Thanatos raised an eyebrow, “Oh?  Can’t we?  It was my understanding that an immortal could submit the name or names as the case may be of their champion.  Last I checked, I am an immortal.  My sisters are immortals and we share the same champion.”  Nobody commented on the fact that Thanatos had not answered Apollo’s question.

Hades sat up straighter as the silence in the room became deafening.  He couldn’t have planned this better himself.  He caught Artemis’ eye and knew that she was interested in the name of Thanatos and the Keres’ champion as well.  It was rare for the Lord of the Dead and his sisters to agree on a worthy champion, let alone choose the same champion.

Hades wondered if Artemis would warn her champion, Natasha Romanoff about what was happening so that she could keep an eye out especially seeing as from what he knew, you and Natasha were good friends.  Hades also made a mental note to speak to Hecate about the competition as she didn’t come up to Olympus if she could avoid it and this competition would definitely affect her champion, Wanda Maximoff, as well.

Thanatos laced his fingers together in front of himself as he waited.  The atmosphere in the room showed no signs of changing and Thanatos let out an impatient huff, “Seeing as there are no more objections regarding my eligibility nor that of my sisters when it comes to submitting the name of our champion to this contest, I therefore submit the name of our champion, John Wick.”

Hades looked around the throne room.  He took in the furious looks on Apollo and Ares’ faces, the contemplative ones on Hestia, Athena, and Hephaestus’ faces and the gleeful one on Aphrodite’s face.  Hades would deny it later but in that moment, he was worried for your safety especially since you weren’t the champion of a Greek God. Although he didn’t agree with Aphrodite’s competition, Hades knew he needed to act now.

“I too will back John Wick as a champion in this contest,” Hades declared.

[the-casbah-way]

forgive the brief jesus chris superstar rant but. there is a very important difference between the pharisees being villains and the pharisees being antagonists. they're technically antagonists because they're actively working against the interests of our protagonist, but i don't believe they should ever be played as villains. they're not evil or bad or wrong. they're terrified just like literally everyone else in the show is, and their actions are completely justified. to me that's the entire point of the musical. it's not about christianity; it's about the impact the roman empire's brutal and violent imperialism had on everyone on all levels. including jesus and judas, but also including the pharisees, and even herod and pilate. when a powerful coloniser forces their presence on innocent people they are the only winners. everyone else suffers, even the puppet kings and high priests who look like they're reaping some sort of benefit from it all. that's roman propaganda. the romans kept native rulers like herod and caiaphas in power to maintain the illusion of provincial autonomy, and keep populations appeased and therefore under control. everyone in the show is acting out of fear of the romans. the one roman character we do see (pilate) is acting out of fear of his own emperor. it makes no sense to cast the pharisees as two dimensional Bad Guys, especially when the same productions that do that usually offer a sympathetic portrayal of pilate. it would be so easy to stage and direct a production in a way that makes it obvious that the pharisees are doing what they're doing because they truly have no choice, and not because they're pure evil and want to kill jesus for the sake of it. it's not only an antisemitic trope but also undermines a really important theme of the musical. if you can see the humanity in the violent roman governor installed forcefully on conquered land then you can afford some humanity for the pharisees too. they are victims of pilate and victims of rome just like everyone else

[lupins-hehim-pussy]

I wanna know ur Fontaine msq criticisms 👁️👁️👂I’m all ears

I'm not sure if you wanted me to talk about this secretly or publicly but! Here I go!

The TLDR: Fontaine MSQ aestheticised prison, poverty, child abuse, the justice system/court and didn't properly address any of it.

More:

Focalors/Furina has way too much of a sympathetic angle for a dictator who's lets people drown with her inaction.

Neuvillette feels Bad for sentencing some people to death/prison, but that's it. He's one of the most powerful people in Fontaine. If he felt like there are systemic injustices, I.E sending an abused Child to prison, he should be the first person to DO something about it, not just cry and be sad so the audience can be like aw, that's complex character writing isn't it? No it's not! And guilt doesn't absolve you!!!!!!! (These are stuff we deal with in OTCOJ read my fic now /j)

Meropide has children in it, both Sentenced there (Wriothesley) and BORN THERE (Lanoire), and this is just a quirk of the place. Not only that, Meropide accepts prisoners of all genders and crimes. There are abusers and abuse victims in one place. Do you know how bad that is? How much potential for crimes to happen in a place like that— oh wait, Meropide isn't under Fontaine's jurisdiction. If you are assaulted as an inmate it literally means nothing to the court.

Wriothesley had no qualifications when he took over. Depending on how long he lived on the streets, how old he was when he killed his parents, how old he was when he was first taken in by the orphanage, etc, the man might never have more than 4–5 years of formal education. Sigewinne probably had to teach him how to write reports. And do Meropide's spreadsheets. Edit because I forgot to elaborate on this one: This isn't a point brought up anywhere, which is bad, because when poverty and incarceration robs you of a proper education (and the rights to vote in many places too, too, by the way), it reduces your prospects for jobs, reduces many people's ability to get a home etc etc. Wriothesley was just, narratively, Given his position.

Meropide is an industrialized prison, and they portray this as a good thing. Prisoners are paid in coupons for their labour, and this is also portrayed as a good thing.

The One-Meal-A-Day reform was something Paimon gushed about being so great of a perk, that people might want to go to jail for food (could be interesting and reflective of systemic poverty if MHY had brains, but they don't, so I was just Pissed because essentially all Paimon wanted to say was "Prison isn't so bad, but still don't go to prison guys! Prison labour is really hard!"). By the way, in most real-world prisons they are obligated to feed you three meals a day. Because that's how much food a human needs. MHY went with one meal just so they can say "if you want to eat more, you have to work." And then the welfare meal is a goddamn gacha. So imagine you're a starving child who's too weak to work in the fucking robot assembly line, and you wander up for your first meal in 24 hours, only to luck in with a shit one. I'd kill myself.

They wrote Wriothesley, who's a victim of the system, into a guy who's say shit like "I'm the Duke I can do whatever I want" for a cool moment where he choke-slams an inmate (I know he was a bad guy. But also, in copaganda when cops are violent/disregarding protocols, they are always only portrayed to do that against bad guys, so what does our critical thinking tells us about this one?) They wrote Wriothesley, who was an inmate of a prison so bad, so notorious that it is the literal boogeyman of Fontaine, that has a legal (???) fighting pit, with an administrator who abuses his position to be unreasonable, to willingly stay in the place and become an Administrator who would choke-slam an inmate while saying a cool line about how he has the power to do whatever he wants. They wrote him, the guy who had to be fed on the streets by melusines, to think one-meal-a-day was a good enough reform (while he spends god-knows how much on his boat). This wasn't a victim-turns-into-abuser narrative either, they want all this to be seen as positive character growth.

And then, the final kicker is, they gloss over his entire abuse. You can only read about these shit in his profile, which most people don't because they don't Have Him or doesn't care to unlock it/read it online, and they jammed his entire backstory into a flaccid info-dump at the end of his character story quest. This man isn't Allowed to feel abused and neglected and show any reaction to it within the narrative of Fontaine itself, because if they actually Gave Weight to what happened to him, they'd have to confront THE FUCKING JUSTICE SYSTEM they had NO PLANS on criticising. I don't think they ever explicitly said the fucking Crime-Theatre nonsense was Bad either.

I could go on, but this is already so long. But yeah, I hope this gave you an idea.

[aroaessidhe]

2023 reads // twitter thread

To Shape A Dragon’s Breath

YA fantasy

a young Indigenous girl finds & bonds with a dragon hatchling - the first time in many generations for her people - and is required to go to the coloniser’s dragon academy in their mainland city, to learn how to raise her dragon and the science of its magic

historical inspired setting on the cusp of industrial revolution with steampunk vibes

bi polyamorous MC, Black lesbian SC, nonverbal autistic SC

[jasontoddsno1simp]

Dear Tim Drake stans,

If you're gonna keep making fics/head canons centered on the Titans Tower fight - whether that be the fight, itself, or the aftermath - can you make it compelling?! Idk about y'all, but I'm tired of reading fics where the events are portrayed The Exact Same™ every fucking time.

Are y'all not tired?!

Or, if that's too hard, can y'all at least make y(our) fave not look like such a pathetic little bitch who needs other people to fight his battles for him?! Like, if I have to see another fic where Superboy jumps in at the last second to save Tim, I'm going to fucking Kermit.

~Signed, a Jason Todd stan who is quite fond of the night terror known as Tim Drake and would appreciate it if y'all stopped making him a sniveling little cry baby

[04tenno]

so why can't mine be bi?

I mean... I would rather people think he's bi than outright deny his attraction to Daigo. If I've ever said he "can't be bi" at any point, it's not because I don't think anyone should be allowed to interpret him as bi, or because him being bi is entirely out of the question. It's because the concept of him being bi is diametrically opposed to my personal analysis of Mine and the concepts his character portrays.

He's asked out by twenty different women (notably, he has never asked a woman out himself and explicitly says he has no interest in doing so) and he never once shows any enthusiasm when he agrees. He goes to hostess clubs and completely ignores the actual hostesses in favor of the men who drag him there, spacing out entirely the rest of the time when they're not talking to him.

He's also one of the only characters who explicitly talks about sex, in that in he says in Japanese he could sleep with as many otherwise desirable women as he wanted (again, emphasis on the number)... within the context of a list of things that he feels should have made him happy, but didn't.

The one and only time he doesn't act like he's being subjected to abject misery when interacting with a woman who's clearly attracted to him is at the end of his Okinawa character story, but that's... not really saying anything. People aren't gay because they've exclusively had bad experiences with dating. In fact, many people realize they're gay because they've had the "ideal" experiences, but still don't feel fulfilled. Which is exactly the sentiment Mine expresses in the finale.

Like… it's not for lack of trying, or lack of interactions with women. At some point it's just no use looking for the "right woman," because the "right woman" is never going to come along for someone who's not attracted to women in the first place. For Mine, the "right person" was Daigo Dojima.

[coockie8]

oh I'm so fucking excited to write chapter 15 of A Ghosts Game

chapter 15 is in Lightning Strike's POV and I've been dying to get this maniac's mind down in writing XD

[problemswithbooks]

I just caught up and while I am not as thrilled as others that the Todofam "finally got agency" and Dabi's misery was understood by their big quirk use moment, the thing that really made my jaw drop was the way Midnight's death and it's effect was minimized to build a generic understanding with the enemy in a rushed fight. It felt worse than whatever the heteromorph racism angle was. Maybe because the spinoff had me grow fond of Midnight's character.

Oh, yeah that was a weird, very out of place moment. I wouldn't say it was as bad as the heteromorph racism thing because that was actually insulting to RL issues, Hori clearly didn't research at all before he wrote it, but it's not great.

The main issue I think is that it was unearned in every sense of the word and slapped in there to tie up a loose end.

Midnight's death was handled terribly from the get go, with her being killed off screen by a nobody villain. Then it was only really brought up maybe twice in passing. Despite the kids crying over her corpse they didn't talk about it afterwards really and we never got any moment where her death was relayed to Izuku or the other 1A members not present to see her body.

It becomes even more of an issue that Mic and Aizawa didn't get much of a moment to really reflect on it either despite how close they were shown to be with her in the spin-off.

To have Mina suddenly understand the villain that killed her doesn't hold any narrative weight. He was a nobody and Mina never showed real drive to find who killed Midnight anyway. The villain who killed her has no reason to have done so, given she was pretty much helpless when he and his guys offed her. In fact he seemed to kill her just because he could.

It does nothing for the story, and to be honest her death was entirely unnecessary, and seems to have been done only to give the war arc more weight by killing off more then background characters. Cutting it and just having her be incapacitated like Gran Torino to take her out of the story would have worked better.

[theloopcrew]

& also god i DO love that part 5 bit where zenigata's talking to yata about arresting lupin's heart but it really is painfully part 5. like to me he Would Not under any circumstance admit that. his personally changed so much from part 2-3 where he would think it in a million words and if you even KNEW what was going on in his head it'd kill you like a dense brick but he would never say it out loud you know. i guess it makes more sense because yata's his subordinate but still. he needs to be full of pent up emotion to me

[i-like-media]

I was wondering when they were going to play with the fact the Doctor is black now. 13 being faced with how people think of women was one of my favourite things in her era, so I was curious how they were going to treat his skin colour this season, if at all.

And honestly, Dot And Bubble exceeded all my expectations on the matter!

What a lot of episodes about racism and bigotry do is coddle the viewer. They make clear early on "this is an episode about RACISM and why it's WRONG!" As if you've never heard of the concept before and don't know it's bad. The episode will often portray racism in an extreme sense and show the viewer the main characters are above that.

What Dot And Bubble did, for the entire episode, was letting the viewer figure it out on their own. There was no coddling, only racism as it silently existed. A perfectly pastel and white community with not a single person of colour and the only visible outlier being a goth white kid. And in this world, the first thing the character we follow did, was to block a black guy with a face of disgust.

The title screen rolls and you're left to rationalise it. Surely it was because he was not in her contact list/saying all kinds of mind blowing stuff... Right? Except when Ruby enters her feed and talks about it, she actually replies back... With an eye roll, but she replies... and keeps talking... and listening.

The episode continues, still not a single POC besides the Doctor. They reveal this is an exclusive place for rich people, and eventually the character in question even admits she thought the Doctor was a different person because "I thought you looked the same".

What this episode also does well, is portraying a character we wish to see change and find a better life behind that change. We see Lindy struggle to navigate the world without her bubble, calling herself stupid, and we genuinely hope she DOES learn to be better, even as you slowly pick up on what's been going on sofar. You are left to hope she'll thank him and realise the error of her ways, and maybe find a new drive to think for herself.

And then she doesn't.

She stays in her bubble, doubling down on how she feels about the Doctor, how they're excited to be like their settler ancestors, and finally CLEARLY revealing to the viewers what's been off this whole time... and the scene asks: did YOU notice the signs? Did you see what went wrong along the way, or did you only notice just now when it's explicitly shown to you? And why do you think that is?

It challenges the perspective of the viewer and tells you to reflect on why you didn't see it coming, and that is so so powerful.

The Doctor's reaction to this scene..... 👌👌👌👌

His mouth is ajar, stunned beyond belief that after all he's done and all he can offer, the offer to literally save their lives, he is reduced to someone who's nothing more than the hue of his skin. He yells at them, telling them he doesn't care what they think of him because he's still the same doctor he's always been, and to still get rejected with a dirty look... Which hits extra hard when you remember how much the Doctor loves being himself. He LOVES being the Doctor again! And he walks with such a pep in his step, celebrating his existence and sharing it with all he meets... and then he tries to save some rich white kids from certain death.

His performance in that moment was literally phenomenal. It's a narrative that's so powerful and so creative in its execution, my jaw was still on the floor throughout the credits.

This episode is definitely up there as one of my favourites sofar

[hailsatanacab]

A Persuasive Argument - dpxdc

"Great!" Danny says, clapping his hands together to get everyone's attention. The dinner table falls silent as everyone looks towards him. It's a full house today and, honestly, Danny's a little nervous. "I'm sure you're all wondering why I gathered you here today."

"It's dinnertime. In our house." Duke mutters, while doing a very bad job of concealing his yawn. He holds his fork poised over the braised beef, but, just like everyone else, still looks towards Danny before tucking in. It's intriguing enough to wait.

"Yeah, no one misses Alfie's dinner." Dick says, with a brilliant smile that Danny can't help but return.

"Precisely! What better time to talk to you all than when you're all actually here!"

"Wait, I thought you came round to work on our English essays?" Tim asks, blinking owlishly.

"I'm afraid I've lured you here under false pretences, Tim."

"This is where I live."

"I would still really appreciate help on that essay though, I mean, what the hell is Hamlet even about? I just don't get that old time-y language, like 'Hark! A ghost hath killed me!' - absolute rubbish, what does that even mean?"

"The ghost never kills anyone in Hamlet, he's there to tell Hamlet that he was murdered. Have you actually read it?"

"No, but it sounds like you have. Tim, I want this guy to help me with my essay instead. I know for a fact that you haven't read Hamlet, either."

"So? We don't need Jason, I've read the Sparknotes."

"Hi Jason, I'm Danny, pleasure to meet you, summarise Hamlet in three sentences or less."

"Am I auditioning to help you write your essays? I can't believe you’ve gone through your whole school life without reading it, it’s good!"

"Hamlet, along with a number of other classics, was banned in our house because it portrayed ghosts as intelligent and sympathetic beings rather than evil, animalistic beasts. I didn’t even get to see The Muppet's Christmas Carol until last year with Tim! It was surprisingly good, and I hate Christmas because everyone always argued and it sucked. But we're getting off topic. I—"

"No, no, please go back to that, because what the fu—"

"Boys, please." Bruce interrupts, looking to the world as if he wants to hang his head in his hands. "Danny, you were about to say something?"

"Oh, yeah, Mr. Wayne! Thanks!"

"Please, call me Bruce."

"Well, that very succinctly brings me to my point, because I'd actually really like to call you dad."

Nobody says a word. Nobody even blinks, all as shocked as the other, watching open-mouthed as Danny pulls his laptop out from beside his chair. Bruce can definitely feel a headache coming on.

"Before you say anything, I've prepared a 69 slide PowerPoint presentation on why you, Bruce Wayne, should adopt me, Danny Last-Name-Pending. Please save your questions, comments, and verdict until the end, thank you."

[dante-mightdie]

saw the thing about Simon with a gf w low self esteem and I kinda do wanna see how that'd go, mostly because he's usually portrayed as the guy to feel like his scars need to be hidden 'n stuff or whatever so seeing him w a gf who feels like she's not enough in terms of body or personality would be interesting, ofc u don't have to do this, it's just smth I felt like sharing bc the thing u posted had me thinking <3

no okay hear me out on this. this got me thinking of more realistic, not-so-sexy encounters with ghost due to you’re own personal issues

if you take medication such as anti-depressants, I see you both being on them. dulling your libidos or making it difficult to finish. clumsy thrusts and leg cramps when you’ve tried for too long to get each other off, setting for just cuddling and watching netflix instead

one or both of you having a bad self-esteem day but still wanting to fuck, keeping the lights off and you’re clothes fully on. simon slipping your panties aside or just pulling his cock out though the hole in his boxers, keeping your t-shirts on

sloppy kisses and gentle praises, maybe even a few tears from intimate touches. feather light fingertips dragging over insecurities in a weak attempt to dull the others pain

sometimes the dirty talk is not so sexy. simon’s blunt tone sometimes taking the lead when he speaks. asking questions as you take your clothes off like a questionnaire

“want me to lick your pussy or nah?”

“we makin’ love or fuckin’?”

“if I cum too fast, I’ll still get you off.”

sometimes sex is awkward and embarrassing but simon wouldn’t trade those experiences for the world

[wehelddarkness]

x

[intheholler]

the appalachian murder ballad <3 one of the most interesting elements of americana and american folk, imo!

my wife recently gave me A Look when i had one playing in the car and she was like, "why do all of these old folk songs talk about killing people lmao" and i realized i wanted to Talk About It at length.

nerd shit under the cut, and it's long. y'all been warned

so, as y'all probably know, a lot of appalachian folk music grew its roots in scottish folk (and then was heavily influenced by Black folks once it arrived here, but that's a post for another time).

they existed, as most folk music does, to deliver a narrative--to pass on a story orally, especially in communities where literacy was not widespread. their whole purpose was to get the news out there about current events, and everyone loves a good murder mystery!

as an aside, i saw someone liken the murder ballad to a ye olde true crime podcast and tbh, yeah lol.

the "original" murder ballads started back across the pond as news stories printed on broadsheets and penned in such a way that it was easy to put to melody.

they were meant to be passed on and keep the people informed about the goings-on in town. i imagine that because these songs were left up to their original orators to get them going, this would be why we have sooo many variations of old folk songs.

naturally then, almost always, they were based on real events, either sung from an outside perspective, from the killer's perspective and in some cases, from the victim's. of course, like most things from days of yore, they reek of social dogshit. the particular flavor of dogshit of the OG murder ballad was misogyny.

so, the murder ballad came over when the english and scots-irish settlers did. in fact, a lot of the current murder ballads are still telling stories from centuries ago, and, as is the way of folk, getting rewritten and given new names and melodies and evolving into the modern recordings we hear today.

305 such scottish and english ballads were noted and collected into what is famously known as the Child Ballads collected by a professor named francis james child in the 19th century. they have been reshaped and covered and recorded a million and one times, as is the folk way.

while newer ones continued to largely fit the formula of retelling real events and murder trials (such as one of my favorite ones, little sadie, about a murderer getting chased through the carolinas to have justice handed down), they also evolved into sometimes fictional, (often unfortunately misogynistic) cautionary tales.

perhaps the most famous examples of these are omie wise and pretty polly where the woman's death almost feels justified as if it's her fault (big shocker).

but i digress. in this way, the evolution of the murder ballad came to serve a similar purpose as the spooky legends of appalachia did/do now.

(why do we have those urban legends and oral traditions warning yall out of the woods? to keep babies from gettin lost n dying in them. i know it's a fun tiktok trend rn to tell tale of spooky scary woods like there's really more haints out here than there are anywhere else, but that's a rant for another time too ain't it)

so, the aforementioned little sadie (also known as "bad lee brown" in some cases) was first recorded in the 1920s. i'm also plugging my favorite female-vocaist cover of it there because it's superior when a woman does it, sorry.

it is a pretty straightforward murder ballad in its content--in the original version, the guy kills a woman, a stranger or his girlfriend sometimes depending on who is covering it.

but instead of it being a cautionary 'be careful and don't get pregnant or it's your fault' tale like omie wise and pretty polly, the guy doesn't get away with it, and he's not portrayed as sympathetic like the murderer is in so many ballads.

a few decades after, women started saying fuck you and writing their own murder ballads.

in the 40s, the femme fatale trope was in full swing with women flipping the script and killing their male lovers for slights against them instead.

men began to enter the "find out" phase in these songs and paid up for being abusive partners. women regained their agency and humanity by actually giving themselves an active voice instead of just being essentially 'fridged in the ballads of old.

her majesty dolly parton even covered plenty of old ballads herself but then went on to write the bridge, telling the pregnant-woman-in-the-murder-ballad's side of things for once. love her.

as a listener, i realized that i personally prefer these modern covers of appalachian murder ballads sung by women-led acts like dolly and gillian welch and even the super-recent crooked still especially, because there is a sense of reclamation, subverting its roots by giving it a woman's voice instead.

meaning that, like a lot else from the problematic past, the appalachian murder ballad is something to be enjoyed with critical ears. violence against women is an evergreen issue, of course, and you're going to encounter a lot of that in this branch of historical music.

but with folk songs, and especially the murder ballad, being such a foundational element of appalachian history and culture and fitting squarely into the appalachian gothic, i still find them important and so, so interesting

i do feel it's worth mentioning that there are "tamer" ones. with traditional and modern murder ballads alike, some of them are just for "fun," like a murder mystery novel is enjoyable to read; not all have a message or retell a historical trial.

(for instance, i'd even argue ultra-modern, popular americana songs like hell's comin' with me is a contemporary americana murder ballad--being sung by a male vocalist and having evolved from being at the expense of a woman to instead being directed at a harmful and corrupt church. that kind of thing)

in short: it continues to evolve, and i continue to eat that shit up.

anyway, to leave off, lemme share with yall my personal favorite murder ballad which fits squarely into murder mystery/horror novel territory imo.

it's the 10th child ballad and was originally known as "the twa sisters." it's been covered to hell n back and named and renamed.

but! if you listen to any flavor of americana, chances are high you already know it; popular names are "the dreadful wind and rain" and sometimes just "wind and rain."

in it, a jealous older sister pushes her other sister into a river (or stream, or sea, depending on who's covering it) over a dumbass man. the little sister's body floats away and a fiddle maker come upon her and took parts of her body to make a fiddle of his own. the only song the new fiddle plays is the tale about how it came to be, and it is the same song you have been listening to until then.

how's that for genuinely spooky-scary appalachia, y'all?

[ystrike1]

I hate doing this but there's drama in the horror webtoon community and I have to vent.

Do NOT support Hanza_art

If you don't want to be spoiled/involve yourself in a toxic situation do not read further.

My Deepest Secret was infamous for its overly miserable plot twist ending. The main character turned out to be "crazy" and "delusional". Somehow that protagonist was capable of living a normal life and being a serial killer at the same time. This character never got real professional help, and they were left to suffer in their delusions.

The horror community is often wary of authors that portray mentally ill people as unsalvagable or monstrous. Personally, I was horrified.

The backlash was horrible because the plot twist made no sense in general. In addition the story was marketed as a romance and by the end nobody had paired off. I felt my time was wasted, and I was disgusted by the way the "true villain" was discarded for the crime of being mentally ill.

When Hanza returned with a more level-headed protagonist and a more violent psychopathic villain....some readers gave the author another chance.

I don't blame them. Paranoid characters like Rozy are very interesting! Especially as main characters!

Hawa, the secondary female lead, grows out of her "naive victim" stereotype as well. It's very satisfying to watch. It was tied together nicely by the handsome villain, Adam.

Adam is extremely evil and irredeemable. When the story begins he is a serial killer who targets "innocent, sweet" girls like Hawa.

Rozy is overprotective and she doesn't trust men. In fact she's a known man hater. The characters are all adults, so their character traits and desires aren't just quirks. They are all deeply flawed people.

It was a very promising start.

Plus, it wasn't marketed as a romance so I was sure it would be written better! The weakest part of My Deepest Secret was the romance (by the end I mean) so yay!

Or not...

I do not keep up with TGU on a regular basis. The plot slowed down considerably and I noticed a worrying trend. Frankly, I'm not shocked by this immature behavior in the slightest.

Every single male character in TGU is a sexist abuser who harbors violent thoughts about women.

Hanza is very good at writing scary, irredeemable, sexist pigs that belong in jail...but it was a worrying trend all the same.

Adam was a smart, handsome serial killer who liked to hide in plain sight. By about chapter fifty he was alot dumber, and I cannot stress this enough.

Every male character that associates with Rozy or Hana turns out to be a stalker or harasser. The kind that would get charged in real life.

That kind of hatred towards "all men" is worrying in a thriller comic, and it was very annoying.

I wanted Rozy to outsmart Adam.

I don't want to watch her and Hana be abused by multiple men (mostly former friends!).

I came for the girl boss mystery, and I got alot of sexism instead. What a slap in the face.

Past a certain point I was only checking in to see how bad the story had gotten....and...yup....the male police officer helping Rozy is also a weird guy.

............first of all that's boring.

Second of all it's insulting.

Hanza hates toxic romance, and it shows, and that's perfectly ok. It's not for everyone, but Hanza has built their entire career on top of sexy murder men...so their attitude is extremely hypocritical and annoying as heck to watch.

"I hate toxic romance but I'm also going to sell suit merch of Elios and Adam."

Like, what did you expect?

Hanza is an adult creator, and they do know who they're catering to.

At this point they are absolutely insulting the fans that pay their bills, and that's unacceptable.

Authors are public figures now. They have been since the Facebook Era. Random internet trolls should not influence how you speak to your fan base. I understand that working for Webtoon is brutally hard, but Hanza is a popular artist despite their fumbled first story.

It's like watching somebody blow their nose on a golden ticket.

TGU was their second chance. A very generous second chance, that got great reviews in the beginning.

I'm astonished that Hanza somehow managed to concoct another dud plot twist. Their rude attitude has to be the nail in their coffin. They should not get a third generously funded chance.

Don't interact with their posts.

Don't review bomb the webtoon.

Don't give them any more attention.

They've made more than enough money off of fans they clearly don't respect.

Every creator worth their salt knows trolls and super perverts are only 0.05% of any given Fandom.

If Hanza wants to spit on the 99.95% fine.

Just don't give them any more money or support. That's the only punishment fans have the right to inflict.

Why am I so upset?

Well, as you can see Hanza posted spoilers. They spoiler bombed Twitter because they don't want to finish TGU.

That's right. On top of insulting everybody who paid for this comic they also don't want to finish. Despite the fact that the story reached its climax recently. The girlboss alliance is finally forming against Adam but...too bad I don't wanna write it (suckers).

The sibling plot twist is just abysmal as well.

Shame on you Hanza.

You damn well know that this sibling plot twist is completely out of left field and unexpected. (and boring. I am convinced you are trolling your fans.)

The shipper trolls and the edgy Rozy/Adam fans had no idea it was coming before you randomly spoiled it.

For the record I don't ship anything in this lackluster comic, because I know better. Again, My Deepest Secret was marketed as a Romantic Thriller and then there was zero payoff. Sure, this one isn't a romance, but I don't think anyone signed up for every guy on the block being evil. Just the guy upstairs. Since the story isn't even about love I never imagined so much drama would come out. It feels very pointless and petty. Every time I hear about this artist it's a drama issue and I can't help but think they're part of the problem. Their recent behavior on social media hasn't left me with any other options.

Hanza, you are being manipulative and childish on purpose because you don't want to finish what you started.

You pandered to horror and toxic romance fans on purpose just to get money.

You spoiled a story millions of people have been reading regularly just to satisfy your childish need to bully your own fans.

You took their money.

You signed your contract.

Nobody made you do it.

If you really are super conservative and you think romance must be pure LEAVE US ALONE, and go write pure romance.

Nobody is stopping you, but you wanted to milk more money out of people you don't respect.

It's sickening, and I'm happy that TGU will never get a physical release.

You don't deserve a dime of that money.

Shame. On. You.

[genericpuff]

wait wait wait, regarding that Minthe post, you're telling me that Rachel literally wrote the character as having BPD.....and portrayed her as an abusive mean piece of shit??? WOW. fucking WOW. sorry for being so angry, but even if she "retconned" that - it's still so god damn disrespective. as someone who has BPD it hurts so much to see my mental illness villanised :(

ugh I'm so sorry pal. and I don't blame you for being angry about it, like I don't even have BPD and I'M fucking pissed LOL like I can understand why Rachel might have wanted to backtrack from that knowing fully well that Minthe's story wasn't gonna have a happy ending, but writing her with BPD in the first place and then BACKTRACKING from it as soon as she likely got heat for it (or just realized it wasn't a good look) isn't much better because it means now all she's done is written the stigmatized negative effects of BPD into her character without showing the more positive outlooks of healing and managing. Maybe that was doomed to happen considering Minthe is someone who doesn't get a happy ending in the myths, but it begs the question of why she'd write her with BPD to begin with because in hindsight it really does seem like she just wanted to use it as a way to make her "evil".

But like, when you read the actual episode, you can SEE the potential there for character growth, you can SEE that she's aware of her actions - but doesn't understand why she's "like that" which is a VERY common feeling among people with undiagnosed mental illnesses - but it was never meant to be.

Like jfc not only is it HEAVILY IMPLIED, but again, the episode is literally called "Splitting". And we see exactly that with Minthe, who can't seem to rationalize with herself that she messed up.

But... that leads me to another point that I failed to mention in that first ask response: she DIDN'T mess up. Like, yes, she messed up by escalating it to the point of slapping Hades, but it wasn't her fault that she didn't make it to her date with Hades. Whose fault was it?

Continuously throughout the first season we see Thetis being an awful influence who manipulates and gaslights Minthe. They're "friends", but it's clear Thetis does not have Minthe's best interests in mind. In this very scene we see Thetis manipulate Minthe and even attempt to get her so drunk that she won't be able to show up to her date. And then of course when that plan works and Minthe freaks out, Thetis spins it around on Minthe in a very passive-aggressive way.

But of course, the narrative has to find a way to turn this whole thing on Minthe being the bad guy. Hence we get the slap which shifts the focus entirely away from what led up to it back onto Hades who has, in a lot of ways, put her in a situation that she can't control. And of course, being in those kinds of situations does not help with mental health.

Like, sorry, I'm really going off here now, but... the slap happens in Episode 76.

When is it finally addressed again? Episode 103.

It took Rachel nearly THIRTY EPISODES to finally bring it back to Minthe, and in that time the reader has spent SEVERAL EPISODES reading about how sad and lonely Hades is, and about how cute and lovey he is with Persephone. The reader has not had ANY time to reflect on Minthe's circumstances, because it completely pivots away from her to focus on H x P as a sort of distraction from the fact that Minthe is a victim in her own right.

And when it DOES return to Minthe in 103, we get this harrowing reminder that her entire life is dependent on Hades-

And once again, here comes Thetis to the "rescue", reinforcing the negative feedback loop that Minthe is trapped in where she's put in unhealthy situations. She drags her to a bar and the whole time Minthe is not having fun because she's understandably still reeling from what happened.

Now we DO get some character development here, where Minthe realizes exactly what I've just finished explaining, that Thetis isn't her friend, that she'd rather not have Thetis as a friend than continue being talked down to and manipulated.

But then, as we know, because Rachel still needs Minthe to be the "bad guy", the breakup between Hades and Minthe winds up being all about Persephone from a POV that attempts to villainize Minthe for being "jealous" (rather than focusing on how shitty Hades actually is for having an emotional affair with Persephone to begin with) and then Minthe goes right back to hanging out with Thetis anyways for the sake of having the "evil other girl" who wants to "ruin" H x P's relationship.

It's not until Season 3 that we finally see Minthe tell Thetis to fuck off for good, but by then it's too little too late, and Minthe has lost an entire character arc. Rachel tries to go "see! Minthe's life is so much better now that she's taking care of children!" but that's an entirely different solution to a problem Minthe never had. She never got treatment for her BPD. She just got away from H x P which, while is a good thing, isn't actually analyzed as such. It's treated more as a "good thing" for H x P and the readers, because now they don't have to be subjected to Minthe's evil scheming anymore, something something "the evil is defeated". And don't even get me started on this comic's problem with constantly resolving female characters' story arcs through motherhood.

It bums me out so fucking much. Minthe deserved so much better. She's one of the many characters in LO who make it so painfully ironic when they're done dirty, because despite Rachel's attempts to write a "feminist retelling" that focuses on "moving on from trauma", she's inadvertently done more damage to feminism and the stigmas around mental health and trauma through her assassination of grounded and realistic and relatable characters like Minthe and Demeter who are shown ZERO empathy or understanding for their actions (unless it can be done so by making Persephone and Hades into the heroes). It happens so often throughout the comic it almost feels like how the comic markets itself as a "progressive feminist retelling" is some sick joke that I'm just not getting.