#I'm so invested in that character I really want her to be taken seriously by the narrative

[brsb4hls]

Thoughts on Sylvie's possible ending and why I don't think it makes sense narrativly to have her end up on her branch by herself.

Mainly because it would be redundant. (The fact that it would be a sad ending of sorts wouldn't stop anyone, shows love to pull that shit for 'emotional impact' or whatever).

But: We've seen her on the timeline, alone, pondering her choices with blues-y background music twice already!

The first time after she left the tva after helping to fight Dox, and the second time after she left the bar.

And both times it was about the same dilemma.

Sylvie's life on her branch is not bad per se. She lives uneventfully, which is what she craved after a life of hiding in apocalypses.

She's sustaining herself, she makes her own choices and she builts connections (to Jack, the barkeeper, the record shop owner).

From the outside that looks like a good life.

But Sylvie is unhappy.

Because someone is missing.

And that someone doesn't fit into her life at the moment and vice versa.

Sylvie's dilemma is that she still has a fundamentally different way of seeing things, then Loki.

Loki's sense of responsibility is tied to control and tactics, Sylvie's is about helping people when it's needed, but without interfering otherwise.

And she is still caught between her beliefs and missing Loki.

Sylvie is all about freedom of choice and freedom in general. (The tva took people's choice away in the first place, so she sees that part differently then Loki, who thinks they should be able to chose between their time line lives and the tva).

And she cannot arrange herself with supporting the tva as an oppressive institution just to be with Loki.

Sylvie hoped for Loki to 'chose' her over the system, after he suggested building a life with her in the void ('why don't we figure it out together?') and he didn't. Not at that time.

She is hurt by that decision and emotionally closes herself off, but let's herself be dragged back when people are in danger.

And she challenges Loki's choice, but he doesn't react the way she wants.

'Do you care about anything but the tva?'

Loki has the same conflict. He wants to stay with the people he already formed connections with and take responsibility for potential threats (that's not erased by him admitting that he does not want to be alone).

But he also wants Sylvie there.

He seeks her out, he asks her to stay, he asks her to help.

And in the pie conversation scene he shows his frustration over her decision.

The scene does not lead to a full resolution. So when Sylvie confronts him at the bar, he does not include her in his confession of not wanting to be alone, because he most likely considers it pointless. That's when Sylvie gets up and leaves, because she is too hurt to deal with it.

Sylvie and Loki are constantly circling each other, without truely approaching the other one.

If the show does not resolve that issue and just puts Sylvie on the time line again, with a bitter sweet ending where she's 'free but at what cost?' it would be redundant and undatisfying.

We saw that already and it sucks for her.

So she needs something else.

If she decides to overcome her hurt, dares to be vulnerable and works with Loki in the end, her believes have to be taken into account.

It cannot end with full control over other people's lives for her.

That interview, that points out that everything Loki says matters and that everything Sylvie says matters? That's a clear hint that her pov is just as critical to the solution as Loki's.

My initial thoughts at the beginning of season two where about Loki becoming the omnipotent ruler of the time lines and Sylvie being on her branch.

But that would be onesided.

They are both gods. They are both powerful.

There needs to be a compromise of some sorts for a satisfying ending.

At least that's what I want and hope for. Every other outcome is possibly, but it wouldn't sit right with me.

The only other 'solution' that would fit the narrative, but that I would hate personally, would be to restore Sylvie's branch, prevent her from getting taken in by the tva and have her live a normal life on Asgard.

While erasing the Sylvie we knew.

While that still wouldn't fully work, since she could still exist as a variant given the time line logic of the tva, I could see them pulling it off, because it would be fair to 'little Sylvie' so could be considered 'happy', while still being 'sad' because of erasing 'our' Sylvie.

Didn't Martin talk about 'bitter sweet'?

We'll see.

[deliciousangelfestival]

Love Lesson || Bucky Barnes (One-Shot)

Character : College!Bucky x College!Reader

Words Count: 2,265

Summary: Y/N's academic challenges lead to an unexpected romance, changing her life and future in surprising ways.

Theme: Fluff

Main Masterlist || support: Ko-fi

Thank you to anyone who gave a like, reblog, and left a comment. It motivated me to write more. 

Y/N and her friends were gathered at their favorite campus cafe, sipping on their lattes and chatting about the usual topics. Y/N was known among her friends for her beauty, and it wasn't uncommon for her to receive love confessions from various admirers.

Today was no exception. A fellow student approached her with a bashful smile and a heartfelt confession of admiration.

The admirer said, "Y/N, you're so amazing. I've had feelings for you for a long time. Will you be my girlfriend?"

Y/N, known for her kind and polite nature, smiled and thanked the admirer for their confession before asking a rather unconventional question, "What's your grade score in this semester's exams?"

Taken aback by the unexpected question, the admirer stammered, "Well, I'm not really into academics, but I'm great at other things."

Y/N's smile remained, but her response was clear, "I appreciate your feelings, but I'm looking for someone who's serious about their studies. I've had my share of handsome bad boys, and now I want someone smart and dedicated."

Her friends, who had witnessed this scene many times before, chuckled at Y/N's criteria for a potential partner. Y/N had outgrown the allure of handsome troublemakers and was seeking a different kind of connection, one that revolved around intelligence and academic ambition.

They couldn't help but playfully tease Y/N about the idea of her being with Bucky the famous campus nerd.

Emily: "Hey, Y/N, have you seen Bucky Barnes? He's like the campus nerd. Imagine dating him!"

Y/N, not thrilled with the idea, shrugged off the suggestion, "Come on, Bucky's way too quiet for me. I prefer someone more outgoing."

Steve and Sam, friends of Bucky, overheard the teasing from Y/N's friends about the possibility of Y/N being with Bucky. They couldn't resist sharing the humorous comments with Bucky.

Steve, with a grin: "Hey, Bucky, you won't believe what we heard. Y/N's friends were joking about her dating you, the campus nerd."

Bucky, who had always been reserved, smiled at the jesting comments. He didn't take them too seriously but was curious about this Y/N whom he had only heard of in passing.

Bucky Barnes was well-known on campus, primarily for his remarkable intellect and dedication to his studies. He was often referred to as the "campus nerd" by his peers, particularly in his computer science class.

Despite his nerdy reputation, Bucky was a kind and genuine individual. Whenever his classmates ask for help, Bucky will help them.

**********

Y/N was in her dorm room, trying to enjoy a rare moment of relaxation when her phone rang. She saw her grandmother's name on the caller ID and answered with trepidation.

Y/N: "Hello, Grandma."

Mrs. Johnson, her voice dripping with frustration, responded, "Y/N, I just saw your latest report card, and I am absolutely furious! Your grades are abysmal, and I won't stand for this any longer!"

Y/N, attempting to lighten the mood, quipped, "Well, Grandma, at least I'm not the one making the family fortune disappear in the stock market, right?"

Mrs. Johnson, not one to back down, retorted, "Touché, my dear. But we're talking about your future here! If your grade getting worse I will cut your allowance!"

Y/N, now feeling the pressure, replied, "I understand, Grandma. I'll make studying my top priority from now on, and I promise not to invest in any more 'get-rich-quick' schemes."

The call from her angry grandmother served as a wake-up call for Y/N. Y/N's grandmother, the famous CEO, had always been a beacon of intelligence and success.

Johnson Corporation is a well-established and highly successful conglomerate that operates in various sectors, including technology, finance, and real estate. Under the leadership of Mrs. Johnson, the company has grown to become a major player in the global business landscape. Known for its innovative solutions and strategic investments, the corporation is renowned for its commitment to excellence and its dedication to pushing the boundaries of industry standards. It stands as a testament to the Johnson family's legacy of business acumen and leadership.

However, it seemed that this remarkable intelligence had skipped a generation or two. Y/N's father had chosen a carefree lifestyle of constant travel with her mother, making every day feel like a honeymoon. They prioritized adventure and leisure over academia.

On the other hand, Y/N, despite her family's legacy, found herself grappling with math and her academic performance. Her struggles with the subject only added to her frustration, as she tried to live up to her grandmother's expectations and overcome the academic challenges she faced.

Mrs. Johnson hopes that Y/N will embrace her family's legacy and take on the responsibility of continuing the hard work and success that she has built. She desires to see a positive change in Y/N to ensure the family's bloodline carries on the business legacy.

As Y/N pondered how to resolve her academic issues, she found herself in a conversation with her lecturer one day. Little did she know that this conversation would introduce her to someone who would change her life.

Lecturer: "Y/N, I've noticed you're struggling with your grades. I'd like to introduce you to someone who might be able to help. This is Bucky Barnes, one of our top students. He's known for his dedication to academics."

Y/N, taken aback by the introduction, looked at Bucky, who was standing there with his kind but studious expression. She couldn't help but feel a spark of curiosity.

Bucky, shifting nervously, managed a small smile and said, "Hi there, I'm Bucky Barnes. I'm not as interesting as my physics textbooks, but I promise I'm helpful with those."

Y/N, charmed by Bucky's humility and humor, couldn't help but chuckle, "Well, Bucky, I'm Y/N, and I promise not to make you as bored as a physics lecture."

Their lighthearted exchange during their first meeting set the stage for their unique connection, blending Y/N's outgoing nature with Bucky's shy, endearing personality.

Y/N and Bucky had started their regular study sessions in the campus library, with books and laptops spread across the table. Y/N, dressed in her stylish, confident manner, was determined to improve her grades, while Bucky, the campus nerd, was there to assist her.

Y/N would occasionally struggle with the material, but Bucky's patient explanations and tutoring skills made it easier for her to grasp complex concepts.

Bucky's friends, Steve and Sam, sat with him in the campus courtyard, discussing his recent interactions with Y/N.

Steve: "So, Bucky, we heard you've been spending a lot of time with Y/N lately. What's going on there?"

Bucky: "Well, I'm tutoring her, you know, helping her with her grades."

Sam, with a teasing grin, chimed in, "Tutoring? Is that what they call it these days?"

Bucky: "No, really, it's just tutoring. She was struggling, and I offered to help."

Steve: "Come on, Bucky, we know you're a brainiac, but hanging out with Y/N? It's hard to believe."

Bucky, feeling a bit defensive, said, "She's actually really cool once you get to know her. We're just friends."

Sam, raising an eyebrow, added, "Friends, huh? Well, if you say so."

Bucky chuckled seeing his friend's reaction. Y/N actually were cool. But he has to admit her understanding of mathematics needs help.

Bucky encourages Y/N to work on an exercise without directly revealing that it's challenging, with the intention of helping her improve her grades and spend more time with her.

Bucky: "Y/N, I've come across an exercise that I think could be really beneficial for your studies. Working on this will help you make great progress."

Y/N, eager to improve her academic performance, took Bucky's suggestion seriously and worked diligently on the exercise.

***********

Y/N and Bucky were sitting in the campus library, their study materials spread out in front of them. The atmosphere was relaxed as they exchanged notes and discussed their coursework. Suddenly, Y/N dropped the bombshell:

Y/N: "Oh, by the way, Bucky, my grandmother wants to meet you."

Bucky's eyes widened in shock, almost dropping his pen.

Bucky: "Wait, what? Your grandmother? You mean, like, your incredibly successful and impressive grandmother wants to meet me?"

Y/N couldn't help but giggle at Bucky's flustered reaction.

Y/N: "Yep, that's exactly it. She's quite impressed with how you've been helping me improve my grades, and she's curious to meet you."

Bucky, still slightly overwhelmed, stammered, "I...I don't know what to say. I mean, that's...that's quite a surprise."

Y/N reassured him with a warm smile, "You don't have to worry, Bucky. Just be yourself.

Bucky felt nervous but excited since he had always regarded Y/N's grandmother as an accomplished and inspiring figure. The prospect of meeting his idol made him understandably nervous.

On the night of the dinner, Bucky arrived at Mrs. Johnson's elegant residence with Y/N, feeling a mix of excitement and anxiety. He knew this was a significant moment and hoped to make a good impression on the successful businesswoman who had also become Y/N's role model.

During a family dinner, Y/N's grandmother, Mrs. Johnson, couldn't help but notice the bond between Y/N and Bucky.

Mrs. Johnson: "You know, Y/N, Bucky here is quite the intelligent young man. It would be nice to have a smart son-in-law, don't you think?"

Y/N turned beet red with embarrassment, stuttering, "Grandma, it's not like that!"

Bucky, who had taken the comment seriously, smiled and said, "Well, Mrs. Johnson, I'll do my best to live up to your expectations."

******

As Y/N and Bucky's friendship blossomed, an unexpected turn of events shook their world. Y/N received news that her grandmother, the successful CEO of Johnson Corporation, had suddenly fallen seriously ill. Mrs. Johnson, aware of her condition, appointed Y/N as the temporary director of the company. This decision was based not only on family ties but also on Y/N's substantial ownership of the company's shares.

Y/N was faced with the daunting responsibility of managing the family business during her grandmother's illness.

Y/N had been thrust into the role of temporary director of her family's company, and the pressure was beginning to weigh on her. She felt overwhelmed and scared by the responsibilities that came with the position.

Y/N, her voice trembling with anxiety, turned to Bucky:

Y/N: "Bucky, I'm really scared. I don't know if I can handle all of this. My grandmother has put so much trust in me, and I don't want to let her down."

Bucky, ever the supportive friend, reached out and gently placed his hand on Y/N's.

Bucky: "Y/N, I know this is a lot to take on, but you're stronger than you realize. You've got an incredible work ethic and a smart mind. You can do this. And I'll be right here beside you, helping you every step of the way."

Y/N looked into Bucky's eyes, finding solace in his words and his unwavering support. His reassurance gave her the confidence to face the challenges ahead.

As Y/N and Bucky navigated the challenges of managing the family business and excelling in their studies, they found themselves drawn closer together. Their shared experiences, their support for each other, and the time they spent working side by side had forged a deep and unbreakable connection.

One evening, as they wrapped up another long day of work, they found themselves sitting in the office, a comfortable silence enveloping them. Y/N was the first to break it, her voice soft and full of emotion.

Y/N: "Bucky, I don't know what I would have done without you. You've been my anchor, my support through all of this. I've come to realize that you mean the world to me."

Bucky, his heart racing, couldn't hold back his feelings any longer. His eyes filled with affection, replied, "Y/N, from the moment we met, my life has been filled with light and joy because of you. You're everything I've ever dreamed of, and I'm deeply in love with you."

Y/N's heart swelled with emotion, and she leaned in to press a soft, romantic kiss to Bucky's lips. Their affectionate gesture gradually deepened, the passion of their newfound love igniting as they kissed passionately and shared their hearts in this intimate moment, cementing their bond even further.

Epilogue:

In a surprising turn of events, it was revealed that Y/N's grandmother, Mrs. Johnson, had not been sick as initially thought. Instead, she had embarked on a long-planned vacation, taking a well-deserved break from her busy life as the CEO of Johnson Corporation.

Mrs. Johnson's phone chimed with an incoming text, and she couldn't help but smile when she read the message:

"Y/N and Bucky have confessed their love for each other."

Mrs. Johnson, with a sly grin, simply muttered to herself: "Well, isn't that a delightful turn of events! My matchmaking skills are impeccable, even from a beach."

-End-

Forever Taglist:

@magnificentsaladllama, @esotericgalaxy, @xcaptain-winterx, @buckysteveloki-me, @cherrybubblebullet, @bagoffeelings, @darkofimagination, @starsofcloud @shamrockqueen, @shinytreefire, @thezombieprostitute

[darlingkirstein]

im just curious about your headcanon for their job (for eremika and jeanpiku if that's alright)

this question has truly thrown me for such a giant loop because im super indecisive! so i thought instead of choosing one option, i could list a few plausible options for the characters! these are just the jobs that came to mind for some reason. im sure i could come up with others but this are the first that i decided on, and i tried to choose jobs that are a little more unorthodox to be unique 🩷

also sorry for how long this has taken ! i know you've been waiting for this for a while 🫶

Eremika

— Eren Jaeger!

Physical/recreational therapist: I can imagine him wanting to help people but not wanting to be a hospital doctor or anything like that. He seems like he'd be a pretty active guy so I think a job where he gets to help people and also move around and help clients move around and recover from injury would be both fulfilling and fun for him at the same time! Or even recreational therapy, getting to help people through different activities!

Small business owner: I can see him taking the charge and owning his own business, maybe with the help of his parents with a small investment to get it started. Mikasa might also help with this when she has spare time because she wants to support him! I'm thinking something that incorporates his love of cooking, like a bakery or food shop?

Stuntman/stunt coordinator: This one is more for fun but I love picturing him as a stunt man for movies. He would get a kick out of the thrill it gives him if he's actively participating or he'd find it satisfying to coordinate really interesting stunt work. Mikasa would always be fearful that he's gonna injure himself.

— Mikasa Ackerman!

Bookstore employee: I don't know why, but I think Mikasa would love working around a quiet environment with books. Getting to provide recommendations and organize the shelves makes her feel accomplished without over-stressing her. She loves reading so the employee discount is definitely a big benefit.

Speech-language pathologist: I'm biased here because this is what I'm studying! But I think Mikasa could thrive in this job! Getting to help people struggling with communication is really fulfilling and she gets to challenge herself to find creative solutions. I think she would love working with children, helping them fix their speech sounds, or even with adults, helping with different disorders.

Daycare owner/lead employee: I think a lot of us agree that even in our modern AUs, Mikasa didn't have the happiest childhood. So, I think she tries to make sure that other children have the best possible childhood around. She would be very attentive to all their needs because she's naturally great with kids. Eren would find this so endearing and it would really give me lots of baby fever when she comes home and talks about the kiddos.

Jeanpiku

— Jean Kirstein!

Gonna start off by saying that I feel like Jean initially settles for an office job because he feels like he has to be a big breadwinner and have a stable, high-paying job but it ends up making him rather miserable so he quits to pursue other jobs.

Art restoration: I know the idea of Jean being an artist is kinda overplayed since he only draws once but I am so attached to it. But here I'm specifically thinking of him restoring old/damaged paintings for museums or for people's personal collections. He probably finds comfort in seeing the pretty paintings come back to life after being so dull. He takes it super seriously since it's so technical so he's very proud of his work and the results!

Something in the restaurant/food industry: Jean loves cooking so much! He would want to share his cooking with others. He might work at a restaurant making good or maybe even as a cooking instructor? I think that even if his job isn't in the food industry that he still volunteers his time to cook for people in need because it's something he's passionate about.

Art therapist: In a similar vein to art restoration, I am imagining him as an art therapist, trying to help people with their struggles through various forms of art. It's probably therapeutic to him, so sharing that therapy with others is so sweet to me. I think would love to work with children especially, just getting to see them smile after they've gone through some rough things :)

— Pieck Finger!

Something in journalism: Pieck would get a kick out of writing small articles for different papers or magazines, or even in the newspaper (even if it's a dying medium). She gets to show a more creative side while making a living and she also gets to work from home which is great because she's kind of a homebody! She gets to be comfortable while writing her fun articles :)

Accent/dialect coach: This is also kind of a half-serious one like the stunt coordinator one for Eren. I feel like Pieck would be weirdly good at accents, like stupidly good. So she might have fun working with actors either in bigger shows/movies or in local theatre productions to change accents.

Editor: Another job that could be done from home, I think she would like editing people's books or articles or anything to make them better. She finds it fun and satisfying to correct mistakes and make suggestions, and it's so fun because she can work on stuff from her bedroom if she so desired. Maybe she both writes and edits and just switches off depending on the day/helping out her writer friends by editing their work for them.

[mtkay13]

I accidentally sent a keysmash! I'm really sorry but I hope it can bring at least a laugh to you. I opened your askbox to make a consideration about TYK: I'm not sure if anyone has already talked about this, but I think Faraway Wanderers is a romcom with a wuxia subplot and not vice versa. I don't know how to articulate this more but I really feel like all the gruesome details make the romance humourous in a way (WWX and ZZS flirting often happens during very violent fights and the consequence is that you can't take neither the violence nor the romance very seriously) but also give depth to it thematically (the need of finding peace in one's own life as opposed to a lifetime of struggle and cruelty). It's like the wuxia setting is functional to the love story.

Helloooo!! Haha yeah the keysmash was very interesting hahaha, thank you for that <3 .

And thank you for bringing this up!! I have given it a bit of thought today, and I feel ready to respond now, haha.

First of all, it was great food for thought, and I personally think it's a great way to look at TYK.

There is definitely a play on genres within TYK, and I think that the wuxia-ness of the story is absolutely taking a backseat for the human relationships and dynamics to happen at the foreground. If anything, it initially does feel like an accessory or an artificial setting to put the characters in and let them do their thing while nearly ignoring most of the background plot during the story.

I also fully agree that there is a surprising lightness and a lot of humor in the way the story is presented; not only are WKX and ZZS quite funny, but the whole cast is often made fun of, turned into a joke--the LLJ (glazed armor) itself is a rather ridiculous McGuffin, and on top of that Priest really likes to tank her climaxes and emotional beats with either jokes or sudden events that both give whiplash and considerably defuse the tension (or outright turn the whole scene into a joke, LOL).

I think the twist I find in that is: WenZhou mostly deal with everything that happen in their lives with lightness because… it's what they are used to, it's maybe not that big of a deal, and it's also a way to not make it so serious when it threatens to be overwhelming. The extreme violence is normalcy, and it's that "casualness" that can suddenly make it jarring once recontextualized. The same way the wuxia genre is subverted in TYK (in the way the story doesn't follow the typical wuxia storyline, in the way some themes are turned on their heads), I'd argue that the romantic comedy genre is also subverted, and at times borders on…. tragedy, to be honest?

I feel like the latter part of the books, although some scenes like WKX's aborted confession (when he tells ZZS he'd like to spend the rest of his life with him, but then laughs it off like it was a joke, for the tone of the scene to then flip and be about the loss of WKX's parents); the scene where ZZS sings Li Sao, and many more later, and of course not to mention the entire last ark and extra 4---all of those passages send the message that actually, most of this was serious. In a way, those scenes, and the latter part, reframe the narrative to make that lightness serious, and as it turns out, the romance, the violence, all of that was serious and meant to be taken seriously.

The humor was there to cover for sorrow, frustration, disillusion, investment, and all of those more serious, deeper feelings. The ridiculous wuxia plot was no joke and was the core of WKX's entire life story. ZZS has a very serious backstory when it comes to attachement, to love, to commitment, and is going through a lot regarding his own ambitions, goals, and what living means to him, etc. On top of that, the wuxia story responds to Qi Ye's themes and storyline as well. So---the wuxia "subplot" is irrelevant until it becomes sadly relevant.

So to summarize… I almost want to say that it's a tragic love story set in a dramatic wuxia setting disguised as a romcom set in a setting of wuxia subversion, hahaha. Like you put it very well, actually; the way both genre are articulated around each other, and the way the romance and relationship between WenZhou take precedency over the wuxia narrative allows for it to be explored with depth.

I feel like the gradual deepening of seriousness is also to signify that, when people start mattering, when the characters care for each other, the events of the story start mattering in ways that they can't just be light and comical. The way the romantic comedy topes and the mockery of some wuxia archetypes only serve to amplify that and make it even stronger, more apparent, in contrast.

Anyway!!! Hahah thank you for raising those considerations and discussion points! I actually really wanted to engage properly and think about it thoroughly to the point I asked some people around to see what they thought and what they had to say as well. I really enjoyed it and I thought it was a great angle to go about the story. If you have anything you want to bounce off from this or feel like responding, I'd also be very, very pleased.

Many, many thanks for reaching out!!!!!!

[shinozaki-ayumi]

This is something that I was thinking about myself but I didn't really want to write about it on Twitter (Kedwin follows me so I feel a little guilty for being negative on there, I know that's a bit dumb but whatever lol), so I guess I'll spill my thoughts on here.

Anyway I really hope there's a lot more to the premise of DD than they've given us so far because "seeking social media fame" is just so bland... I appreciate the setup of Blood Covered because it establishes a lot in from the get-go about both the characters themselves (and how they feel about each other) and the story's major themes (coping with loss and change, in particular). It gives the story solid ground to build up from, like:

Ayumi's guilt stemming from "I just wanted to keep us together as friends and instead I got you all killed"

Mayu's death feeling especially awful since the whole situation was started in an attempt to make her feel better, and she yet dies first/in the most gruesome way

Kind of a sick irony that the survivors are definitely closer with each other by the end of it all than they were at the start, so in a roundabout way the charm "worked" when it comes to keeping them together

So I'm hoping we get some more robust thematic/character buildup other than "streamer does a challenge to up her subscriber count."

There's also been comparisons floating around about how it's just the modern equivalent of the Sachiko ritual spreading via blog sites in the 2000s and I actually agree with that! Paranormal phenomena going viral on the internet is completely rooted in reality and I've watched my fair share of YouTube videos reviewing/debunking "paranormal" TikTok content myself lol. But even then, Naho's motivations were still in line with the overall themes of the story. Her goal wasn't to find fame, it was to stay close to Kibiki -- and, like Ayumi, she got the people she cared about killed instead (Kibiki, Sayaka, etc.).

Anyway all of this is just a really long-winded way to say, I really really hope the story previews we're being given are extremely simplified and that the starting incident isn't JUST "I want subscribers." I want these characters to be emotionally invested in their relationships with each other and I want to watch them suffer for it lol. Maybe there could be some turmoil over prioritizing internet fame/validation over genuine, real life relationships? So the opposite of Ayumi's good intentions, basically. I just hope a character with as unserious a vibe as Nemu can be taken that seriously lol.

[reitheist]

bucchigiri ep 9 thoughts:

taken over huh... is that also what senya is doing to arajin maybe? like with the magic trampstamp (words i never expected to write...)

shindo is a bitch and pathetic but i enjoy his character unfortunately (in my defense, my interpretation of him threatening to do That to mahoro was just to make arajin pissed and get him to reveal senya. i think it was kind of narrative low-hanging fruit honestly.)

'is that a yes or no' take a wild fucking guess buddy

zabuuuuuu you are such a good friend

senya hitting people as a show of affection lol

matakara gathering money, presumably he was saving to get an apartment with his brother. what's he planning to use it for?

oh my godddd the cat boy drama 💀 this side gag is so stupid but so funny i love it. i imagine jasmine as as a pure white long hair cat and pu'er as a classic brown tabby. also cat boy getting way too invested in his personal life is *chefs kiss*

arajin is trying his absolute best to convince himself he doesn't care about matakara

the dynamic between komao, zabu, and ara is really funny. i think in other shows they might just sideline the friend characters but they really have an awkward 'friend of a friend' dynamic i like. komao isn't really socially aware enough to be mean to ara despite being him being mean to matakara, and zabu is more hostile but puts most of that aside for matakara's sake. it's like your friends scoping out your awful crush lmao

THE LIFE SIZED NAKED MARITO DOLL? EXCUSE ME??? there is so much wrong with mahoro oml

wait is the life sized naked marito doll marito's? that's somehow weirder.

mahoro, is that concern for a person who isn't your brother? wow

matakara :(

so is the 'monster' literal or metaphorical? interesting

ichiya you're hot as hell but stop telling matakara to draw away from his friends you bitch

'one person would've wanted it' stopppppp 😭 arajin is realizing he liked having matakara around while matakara is being turned against his friends by ichiya. the dramatic irony is killing me

the fact that this 'love forever stone' is a lake blue stone wrapped specifically in a blue cloth as well... that thing is definitely going to be given to matakara by the end, right? pretty gay if you ask me.

ohhhh my god mahoro character growth. plus her relating to him specifically through their shared brother idolization is a good touch. very sweet

mahoro's basically saying like "dude how are you only focused on yourself and me right now. how have you not noticed your childhood friend is depressed and crazy in love with you. like seriously he has not been subtle. at all." lmao i love herrrrrrr

mahoro deserves her own show

also relieved to have ara's interpretation of matakara and mahoro's relationship as romantic to be kind of trivialized again in this scene. i think their dynamic is more interesting as two very different personalities which share just enough to relate with each other. she only wants ara to get his shit together for matakara's sake. i want them to be besties please

arajin is The Worst with emotions huh. he can't read other's feelings and he's somehow worse at reading his own. he needs to stop being relatable right this second

yknow at this point i think i can say i truly and properly enjoy arajin as a character. he's mostly an asshole and deeply emotionally unintelligent but i like him regardless and because of it

ah senya ichiya and arajin matakara parallels as i expected

so does senya=matakara and ichiya=arajin kind of?

i really wasn't joking about them being exes huh

stoppppp ichiya gave him his name? senya was and continues to be so ridiculously down bad

'he meant absolutely everything to me.' dude.

senya is trying to get ara and matakara together bc he couldn't do that for him and ichiya

i am so gd curious what happened to drive them apart

matakara losing sight why he wanted to become a honki person in the first place (ara) and trying to destroy it

'what senya wants is your body' context needed.

i'm thinking maybe ichiya is willing to fully take over bodies and senya isn't, thus why he hasn't done it to arajin already. that or he was planning to in the beginning but got too attached

ohhh this is gonna make for a good dramatic fight

ughhhh another really good episode. i think the story's finally full found its stride. very hyped for the last 3 episodes. i think next episode will probably deal with betrayal between senya and ara, leading senya to explain exactly what happened between him and ichiya. matakara will trying to fight ara and ara will have to run away, frustrating matakara even more. mahoro might focus on trying to help matakara

[sokkastyles]

I want to address a few tweets I've seen floating around about Iroh, because I only ever see them mentioned by the crowd that believes that Iroh treated Azula so horribly, and I feel that's not quite the whole story. It's easy to see why people use them in their arguments, especially since they come from people who worked on the show, which adds an appeal to authority to the argument. I'm sure many people can guess which tweets I'm talking about right now. The first one, which mentions Iroh, is by Aaron Ehasz, in reply to a response to his now pretty well-discussed Azula redemption thread (which I will link if people aren't sure what I'm referencing.)

I have my own issues with Ehasz's proposal of Zuko acting as "Azula's Iroh," which I've talked about pretty extensively on my blog. While I'm not necessarily opposed to the idea, I think there is a very real danger in placing an abused kid in a position where he's responsible for the well being of someone who took part in his abuse. The way I've seen people use these tweets as "proof" that Azula "deserves" redemption, while insisting that Zuko, Iroh, and every other character that Azula hurt actually owe her, pretty much confirms that. As does the below reply.

And there it is. The implication that Zuko would "surpass" Iroh by helping to fix someone who hurt him deeply and who has never wanted his help, nor apologized for the hurt she caused him. That this would, in fact, make Zuko a better person, along with the condemnation of Iroh for not equally sacrificing his own well-being or the well-being of those he was charged with protecting from Azula in the series.

I don't necessarily disagree with Ehasz' reply (although my opinion is colored with a skepticism of the entire thread because I think we need to take anything a creative says fifteen years later about a project they are no longer involved in with a grain of salt). It is, as he says, a cheeky and funny line, not really meant to be taken seriously or indicative of Iroh's relationship with Azula in general.

But that's just the thing. I don't think the line was ever meant to show that Iroh doesn't see Azula's humanity. Especially because the context under which he says it is after Azula has just tried to kill him. Not to mention Zuko saying that he thinks Iroh is going to shoot down his feelings that he needs to protect himself from Azula in favor of "getting along with" his sister.

I and others have defended the line because it's not wrong for Iroh to say that someone who has tried to kill him needs to go down. It's also not wrong, and even necessary, for him to tell Zuko that it's okay for him to want to protect himself from someone who hurts him, even if that person is family. If we are going to take this line as indicative of what Iroh thinks about Azula, I think this is far more in line with Iroh's canon characterization, because I agree with Ehasz, Iroh isn't a character who would easily dismiss the humanity of someone in pain. But there's also a line between seeing someone's humanity and allowing them to take advantage of you or others. And that's an important thing to distinguish because people who hurt others are often invested in blurring this line.

The other tweet I often see, which also was recently flung at me, to make the point that the fandom or the writers or Iroh or whoever is just wrongfully against Azula, is this one:

I'm not gonna discuss the idea of Azula "needing" a redemption arc, because that's not really what I want to argue about here, and I'm neither opposed to nor in adamant favor of an Azula redemption arc.

I mostly want to talk about the second of Baldwin's tweets, because actually, yes, I agree. It does "seem odd" that Iroh can dismiss Azula like that.

And I'm not entirely sure if I'm missing the context here, but the thing is, it seems odd because it's not what happens in canon.

And again, I'm not sure what Baldwin is referring to, but every argument for Iroh's "dismissiveness" of Azula I've ever seen doesn't actually come across as dismissiveness of Azula at all. I already addressed the "she's crazy and she needs to go down" line, but the other examples I usually see are Iroh getting Azula a gift she doesn't like and Iroh not allowing Azula to hurt Zuko. Those things only come across as Iroh being dismissive if you actively ignore the ways that Azula hurts him and others and what those scenes are meant to tell us about the characters and their actions.

Just like with Ehasz having clout as a former head writer - and one who is often credited with some of the best character writing of atla - giving him some air of authority in these arguments, I think people assume that Baldwin, who voiced Iroh, must have some special connection to the character which makes him an authority. Not that actors making misinformed statements about their characters is particularly unusual.

But Baldwin only voiced Iroh in book three and beyond, and that gives us an explanation for why there might be that "odd" disconnect between Iroh's seeming "dismissivensss" of Azula in book two and the character who is a loving mentor to Zuko, willing to see the humanity in all sorts of people. Baldwin wasn't a part of book two Iroh the same as he is a part of the character in book three. He wasn't part of the creative decisions during Iroh's interactions with Azula in that book and didn't go on that journey with Iroh or share his thought process when he told Zuko that Azula needed to go down. Baldwin is defending the character that he knows Iroh to be, but not necessarily the Iroh he played, and without, perhaps, the full context.

Which is not to say that he's wrong. I just don't agree with him about what constitutes "dismissiveness" when you're dealing with an abusive person who isn't sorry for their actions and I think "everyone deserves a redemption arc" is one of those statements that sounds insightful in theory but don't think as many people would agree with in practice if you asked them if they thought x person deserved to be redeemed. Does Ozai deserve a redemption arc? Did Zhao? I also think we could debate about what "deserving" means in that instance. Does everyone deserve a redemption arc or does everyone deserve the chance for redemption, whether that chance is taken or not? And should that chance look the same for everyone?

I think people forget that Iroh is also a character who believes people make their own choices, that we choose our own destiny, and that we must. And he's pretty dismissive of Zuko when Zuko thinks his "destiny" makes him superior to others. He has obvious disdain for Ozai and Zhao, and it's clear where that disdain comes from when you listen when he says, for example, that he's never known Ozai to regret anything.

Iroh does believe in redemption, he tells Jet as much on the ferry ride to Ba Sing Se. But he also has clear disdain for those who refuse to change their ways, not despite his own redemption but because he knows personally that redemption is a choice.

All this is to say that I don't think Iroh would treat Azula dismissively if she truly were receptive to change. I don't even think he would or does refuse to see her humanity even when it's clear she has no intention of wanting redemption or that he's lost hope for her, as in the comics he does say that Zuko taking him to find their mother in the Search might be good for her. But seeing someone's humanity doesn't mean you have to make excuses for them, especially when that person has a repeated pattern of hurting you and others. And I think this is just as important to Iroh as a character because Iroh is as much a protector as he is a redeemer. As much as he believed in Zuko's redemption, he also encouraged Zuko to dispose of toxic outlooks and people in his life, because he had to do the same things. And as tragic and hard as that sometimes is to do, it doesn't make him less of a kind person.

[dolokhoded]

Who do you think is the female w&p character that Tolstoy treats the worst (aka for which he deserves to be brought back to life just so he can be killed again)?

honestly i think they all have horrible fates. i can't really compare them to each other because they're so different and they all want different things etcetcetc but they all have terrible lives. i can tell you who i think was shown more kindness, though, and i think it's marya b. her getting married to nikolai was out of nowhere but she seemed much happier at the end of the book than at the start of it and that's what matters, she runs her own home, she's not depended on her abusive father anymore, she raises her brother's child as her own which i think is nice, she has a much healthier relationship with her faith, there are still some weird things abt the epilogue but overall i think marya levelled up. her life wasn't perfect but by the end of the book i was happy for her.

everyone else was absolutely fucked over. helene was abused and misunderstood and forced into boxes and incredibly toxic dynamics her entire life, until she died a just as sudden and 'dramatic' death with little to no explanation just so she could be out of the way and pierre could remarry. natasha lost her entire personality, became bitter and sad and bland just to pop out a few babies, and completely stopped singing after finding her 'true purpose' in marriage, while her singing is what was used as a metaphor for her happiness for the entire book. sonya constantly lived in the shadow of her family with no life of her own and ended up being a babysitter for her cousins and their spouses. lise was robbed of her life and her friends to be isolated with her husband's toxic family without anyone ever considering her own happiness, ended up dying from something that could easily be avoided if she had been provided proper medical care (even in 19th century standards), didn't get to ever return to her friends or raise her son who she seemed so excited about and was completely written out of the narrative, not even being mentioned in the epilogue as the woman who literally birthed nikolushka, while he only ever cared for his father. vera was mocked and ignored by her entire family for no good reason, was never taken seriously by anyone and even when she finally met someone who cared about her and got married and managed to leave that house tolstoy had to come in a bunch of chapters later to remind us that btw vera never finds happiness because she's so unlikable and she and her husband hate each other, then is completely alienated from the rest of her family by the end of the book. i could go on these women were all having a fucking terrible time. i don't see their situations as comparable, so i can't tell you which had it worst. i can tell you who i'm the most emotionally invested it, and therefore seems worse to me, but i couldn't tell you which is worse. i wouldn't want to be in any of their places equally.

tldr we should bring tolstoy back to life just so i can kill him with my bare hands

[mustangs-flames]

About to go insane about this anyways I absolutely adore Ruth and Thatcher's dynamics in this, especially in the way of gender roles and how they both kinda break out of them, especially with thatcher being the emotional one and ruth being the logical one. Ruth somewhat reminds me of my friend in the way that everything in our education system has to be fought for by girls mostly because the system here is very patriarchal and traditional, though that is changing luckily! Thatcher seems to have some sort of innate instinct when it comes to alternates, especially after living around one for so long. He distrusts O'Brien, he immediately feels off about a child from a photo, I think that's honestly very cool!! I also really enjoy Mark's whole relationship with his scars and how the fact that they're there reminds him of what happened, maybe I'm projecting but it seems to feel nice that theres some sort of evidence of his suffering, that he hasn't suffered substantially enough to be taken seriously. That his scars leave no choice but to be taken seriously, if that makes sense. I also love how understandable Ruth's frustrations are, I felt like I was able to connect to her as a character a ton, especially as a trans guy. The feeling of always being cast aside, and the resentment that comes with that. It doesn't make her seem bitchy, honestly it makes her so much more understandable and better as a character, and I adore her for that. She's definitely one of my favourite characters now. Also learning about O'Brien enjoying cats is very fun. Like he's actually just a silly on the inside. He's just like me fr (I stopped breathing when my friend's cat curled up next to me and started purring.) Very excited to see Adam and Jonah's relationship and just Adam in general! /pos /gen Also I think you asked this before but my favourite part was probably Ruth in this chapter along with Old Rugged Cross and Mark's backstory, and his friendship with Cesar. Co dependent friendships my beloved. -Emotionally deranged anon :3 (Also sorry for not asking anything I just wanted to analyse this chapter cuz I don't have anyone else to analyse it to!! I am so normal about this book /pos /gen)

Honestly, I really love getting analyses like this! It's just really cool to have someone engage with the AU in this way /gen

I'm really, really glad you enjoyed Ruth and Thatcher's dynamic in the recent chapter! I love that the 2 of them are so different from each other and yet are very close regardless. Thatcher being very emotionally invested whilst Ruth is more logical and direct in her approach to things was a lot of fun to write - I really wanted to reinforce that Ruth is still in that mentor position despite Thatcher's recent promotion to Lieutenant to add to that friction between them with Ruth being resentful of him. I'm glad she didn't come across as 'bitchy' or anything - that's always a concern considering how fandom tends to treat or perceive women characters, especially flawed ones. So yeah, it's really cool that she's become one of your favourite characters in the AU! She's definitely one of my faves, too! :D

Yeah, O'Brien loves his cats a lot. Earth isn't so bad sometimes - he has nothing against animals, only humans and even then some humans get a pass lol. It's a little complicated like that khsdbdf

Jonah and Adam together won't be appearing for a little while yet - we've got a whole bunch of stuff to get through with Mark and alt!Cesar first - but I'm looking forward to it too! They have an interesting dynamic and it will be fun to show Adam's slow decline into behaving more like an alternate as time passes and how their bond deteriorates and yet doesn't fall apart completely.

Thank you so much for the kind words! And the analysis! It's always really fun to read and answer! :D

[the-monkey-ruler]

You’re kidding, there’s no happy ending romantic wukong?

I mean there are few where he reincarnates as a human and falls in love. Those aren’t really “Wukong” but they are still Xiyouji media. And in 1960 Saiyuki he got with Rinrin… though in the 2001 version she does die sadly.

There is another more low-quality version where like Wukong knocks up Bone Demon or thinks he does and while he isn't certain the kid if his, still wants to marry her. Another movie actually did a switcharoo to let Six Ears take Wukong's place so Wukong can be human and marry his love but that also wasn't.... quality storytelling per se...

But I mean it shouldn't be too surprising. Most popular Xiyouji media is retellings or continuations so things either go back to the status quo by the end of the movie or accept that Wukong is the Victorious Fighting Buddha. Wukong isn't interested in partners in the novel and while that does give directors a lot of free reign for OCs or humanizing minor characters in the novel to be his SO, it stands to reason that Wukong isn't inherently a romantic figure. It's only recently that this change in the past 20 years that Wukong is seen in more "romance" movies and while there are some good movies that really dive into Wukong's character and humanize him, none try to take away from who Wukong is either.

I talked a bit more about it here but what I'm trying to say is that while directors do have that suspension of disbelief to allow Wukong to struggle with romance, it would be asking a lot of the audience to accept that he would just take on a spouse of any kind in a movie or tv show. Artists have the freedom to express themselves and how they interpret characters as they wish but for movies and series there is an expectation not only for profit but also for audience satisfaction. Most of these movies are about Wukong more accepting his feelings so he can let them go rather than his accepting these feelings so that he can act on them. That isn't really the point of Wukong having a 'romance', it's about exploring him as a character and seeing how these experiences affect him and thus grow from them, having him relate to the audience while still being the Wukong that people are familiar with. These genres are never JUST romance and if anything, a lot of these movies have the romance as a sub-plot for the real plot. It's rare that I see one being taken seriously as... Wukong and romance is just not something that is to be seen as 'lasting' investment for movie or tv media.

I've only seen about two dozen romance movies/shows so that is the attitude I have gotten from what I have seen but what I'm trying to say is that Wukong not getting the SO, in the end, isn't meant to be "sad," in the way that people are leaving upset, but more that they leave knowing that Wukong has experienced heartbreak, and like most audiences who might be teens to young adults, he can relate to them as well. And there are other layers of romance like self-identity, personal aspirations, or even just empathizing with another person that these genres explore. Wukong doesn't HAVE to end up with an SO in the end to be happy and a lot of these romance movies show that as the story ends on a note of hope.

So I guess that being said Wukong romance movies are not really romance movies but more just comedy/tragedy that we know how it is going to end but enjoy the ride while it lasts. Hence why more romance fans would be better off enjoying Bajie movies/shows as they do take the time and effort to establish relationships and flesh out characters more often than not. Bajie has experienced love before and has shown to never shy away from his own emotions. Rather than spending most of the movie having him deny his feelings, it does okay out as more of a romantic genre of him trying to impress or win the heart of the other. Whether successful or not is up there but he is to be seen as a more hopeless romantic that is willing to wait or work for his love as is ties closely to his character growth in the novel of him willing to work harder and be a more understanding person. Wukong is to grow as a person to look more at his own humanity and Bajie is to grow as a person to be more than he is. They are different kind of plot narratives and while both good, one is more prone to romance movies than the other.

So I can't say that they aren't any "happy" romance movies because Wukong is happy with himself at the end of most romance movies without an SO but... he doesn't get an SO often in these movies/shows.

[fanbles]

My rewrite of "Velma"

I'd have it take place in a college setting—a smaller college where pretty much everyone knows each other (like a liberal arts branch of a larger university).

I don't think I'd have anyone personally affected by the mystery in question, at least, not as directly as the Velma's mom mystery. It'd give unequal weight to the investment of the characters and I don't want it to seem like one characters is forcing their friends to solve a mystery that would mainly benefit them. The "killing people and taking their brains" part still fits the new setting (I personally wouldn't want to write that, but I'm not really writing this with the intention to make it), so I'd keep that in. I'm not sure whether I'd have it at the start or save it towards the end of the first season. I guess I'd put it at the midway point, after we get to know the main characters and have the chance to get attached to the side character who ends up being the first victim. Idk how long I'd drag out the plot (depends on how many episodes are in the first season), but I'd want to show the characters trying to balance the mysteries with their education (unlike high school, college actually requires your attention), social lives, and mental health. (The mental health aspect should be taken more seriously; I don't really like how it's treated in Velma. It also would add some realism and some conflict for the characters.)

The heart of the show should be the bond between the gang. Even if they're strangers before the mystery begins, they should act like best friends by the time the show ends...and they should at least be able to tolerate each other while remaining respectful. You can have banter or petty arguments, but you shouldn't be wondering why the characters are friends.

Starting out with Shaggy/Norville because I had an idea for him first—people like to make Fred or Daphne popular (usually both), but I feel like Shaggy would be more popular in a college setting. The lighthearted, mellow goofball who is a huge foodie? People would gravitate towards him at parties. I'd keep the "popular snack streamer" thing, though I wouldn't make him repulsed by stoners enjoying his content. He seems too chill to be judgemental or hostile towards people. Because of his popularity, he knows details about potential victims and might have some useful contacts. He's also allowed to have Scooby-Doo in his dorm as an emotional support dog. Idk whether I'd have Scooby-Doo talk or not. It could be funny if Scooby-Doo spoke one sentence in front of Velma and never talked to anyone again. Shaggy follows along with the mysteries out of empathy for the victims, though this can occasionally cause him burnout.

Fred is Shaggy's autistic roommate. He's really into puzzles and contraptions—solving riddles, setting traps, picking locks...you name it, he's into it. I could see him really liking escape rooms, which makes him a useful asset when he and his friends are trapped for real. Solving a mystery is like solving a puzzle and his utility in these investigations led him to have a friend group he desperately needed in his life (since he tended to drive people away, he went through several roommates before being paired up with Shaggy as a last resort). This means he can be a little too eager and misses cues (like Shaggy's burnout), but he gets better about it as the series goes on.

Daphne is into history and vintage fashion. She can point out historical inaccuracies in the evidence, info dump about fabrics, etc. (I like to think she made Fred's ascot; he never takes it off because he likes the feel of the fabric and his friend made it for him!!!) Her interests led her into reading about true crime that happened long in the past. The injustices faced by the victims and the blatant corruption of the justice system made her want to go into solving mysteries as a vigilante. [Daphne's outspoken passion also lends itself to a fiery temper and she WILL fight anyone who isn't taking the crime seriously. Someone, usually Velma, has to calm her back down because the last thing they need is for her to provoke the wrong person.]

Last, but not least, is Velma. She's the most difficult one for me to figure out because I don't want to make her unrecognizable, but I want to do something new with her. If we're going with the "Velma has been the leader the whole time" angle, she's the one who is organized enough to gather evidence and keep everyone on track. I could see her walking in on the rest of the gang with evidence scattered all around the dorm and she immediately butts in because the disorganization drives her bonkers. She's the type of person who micromanages group projects and though she isn't too interested in mysteries at first, she loves going on investigations with friends who actually appreciate her leadership skills (which used to get written off as being "bossy"). Velma also drives the Mystery Machine because she's the most responsible driver out of all of them.

[Bonus character: I think Gigi would be a nice addition to the show—I'd make her a semi-popular witchy TikToker who isn't taken seriously until the gang discovers she actually has powers. It'd be really cool if Gigi keeps the TikTok front on purpose because she doesn't want anyone to know her powers are real, but she reveals her true abilities to the rest of the gang when she realizes her powers could be vital to solving mysteries. Gigi can speak to the dead, see bits and pieces of the past or future, and read into the true intentions of people. Allowing her to read minds could be fun, but might make her too OP. She's roommates with Daphne and Velma. (Ofc, you can exclude her or rewrite her if this is a little too detached from reality, but I couldn't help but present the idea anyway.) ]

[onewomancitadel]

In the event that Cinder's redemption arc emerges as a consequence of arbitrary character interaction (e.g. 'why can't we be friendssss'-esque shenanigans, as opposed to actually unpacking her real character wounds, or doing so in a perfunctory fashion) which theoretically has no real constraints on it and it just kinda happens, yeah that will force me to similarly cast serious doubt over the story. I'm not asking for a perfect execution, in fact the real constraint on Jaune's role in it is just that you need them to have a reason to interact, but if it's not as intentional as I think it is even if it eventuates it's not going to do the same 'thing' for Ozlem that I think it can.

Like, if the grounds on which I argued for it were ultimately arbitrary, and you could just plausibly make the argument for her redemption because now friendship is magic for her despite it not being so previously (and having totally failed I/ronwood), then it doesn't have that same sense of dramatic narrative deliverance. Her redemption arc is not something occurring in isolation and I think it seriously justifies a lot of major narrative decisions (including and especially I/ronwood's tragedy, but even going back to Pyrrha, and similarly Jaune's entire whole fucking character).

I have remarked many times my frustration with the fandom of treating Cinder's redemption arc as simply involving any given arbitrary character, and I don't enjoy the (potential) perception that my interest here is solely because of my silly little ship. My silly little ship is inexorably tied to the stakes at hand here and how it justifies both of their characters and well, honestly, a lot of the story. I think it's also tonally appropriate middleground between being able to sit comfortably with Cinder's villainy but also embrace her redemption arc (which literally, by prerequisite, requires a little bit of evil in the first place). To me it's basically the answer to most of the fandom's problems with either the extreme position that Cinder is too evil or the side of the fandom that wants to whitewash her.

Part of what I think makes Cinder's redemption arc special is that there's so much constraint on it and so much character work that's possible to do with it and so much thematic work. In the event that those constraints (and character work) is taken off, then is it functionally the same thing I was invested in? If these questions have been posed to me (Cinder is very naughty, Cinder is very pained, but she's an extreme position where no one can reach her, and she won't let anyone do that, so how do you address all of this?), I want proper answers.

I just like that the answers are potentially really, really unlikely. Which is why it's hilarious it potentially involves Jaune.

[torchickentacos]

Pokeani character motivations and goals are SO fascinating to me. Often the motives we're given are just 'be the best!' or 'make friends!', but the ones you can find through analysis and interpretation of actions after some deep digging? SUPER interesting. Rambling under cut for seelct characters that fascinate me the most in this regard. long

First off, what am I referring to here in this? I'll be talking about two things. Goals, and what motivates characters to reach those goals.

Let's look at May first. In the beginning she just wants to see the world and seeks a change of pace (motivation with no end goal). And while that never changes, it does slide over to be not quite as much of a primary motivation or focus for her.

Going by her actions and how haphazardly she tends to join contests, especially in the beginning, she seems to have little internal drive or plan, other than 'get five ribbons and win the festival' (goal, but we'll come back to that). But what DRIVES her forward to do it? What makes her genuinely WANT to do well? Because I don't see her as particularly success-driven or competitive.

I'm NOT kidding or shipping, but... the answer is Drew. Or, rather, other people. She's a very social people-person. She takes other people's words and opinions very seriously and to heart. We mostly see this with her rival Drew- he knows just how to aggravate her enough to get her raring to go, but also in a way that helps guide her along. For each bitchy rival thing he says, there's always advice in it. I guarantee. It's not just "oh you suck lmao". It's "well maybe if you actually paid any attention and had taken advantage of the sunny weather with bulbasaur (random example), then you'd have done better. rose be upon ye." This works INCREDIBLY well for May. The irritating advice, not the roses. I'm half convinced she kept giving them to beautifly. ANYWAYS We see the same with Harley, with his words affecting and influencing her, though he uses it against her, leading her astray. We see it with some of her fans- she can get a little overconfident from their praise or dejected from harsh words. She moves forward and improves (or worsens) due to other people and how much she takes in their reactions to her preformances. She's like a sponge, kind of.

But WHY is winning contests a goal for her? Genuine answer, she thought they looked dope and they're fun. Not kidding. THe only reason she started them was because they looked like more fun than the gym challenge. SO, goal: have fun (contests). Motivation: other people.

Drew is an interesting case. Most of what we get from him has to come from personal interpretation, as despite having an excellent arc, a lot of it lies beneath his surface and takes some digging. In my opinion, Drew's motivation hinges and differentiates on what he's trying to achieve. Contest-wise, don't know. We have little insight into his coordinating career path. But we DO see him interacting with people, and here's the thing: he's an introvert. he prefers to travel alone. He would rather walk out of an uncomfortable situationthan deal with it (spontaneous combusken. in-text citation: that scene where brianna talks to him and he's just like. "ok cool hi. may why did you do this to me. why did you make me socialize. goodbye." AND YET do you want to know the one consistent thing throughout his interactions???? Advice, just as mentioned above with May. BUT WE EVEN SEE IT WITH ASH! Also spontaneous combusken (AMAZING for his development despite it being shitpost worthy at times. I ADORE it despite of and because of the Moments). ANYWAYS in SC, ash is telling a heartbroken Sceptile to snap out of it. Drew comes over like "hey maybe don't yell at it. you're making it worse." We see it with him talking to Brianna, though he seems much less invested in how she does. Drew is really good at giving advice. AGAIN, we see it the most with May. He's REALLY invested in how she does. Even with other coordinators, he'll watch the screen and pay close attention to how they do. I think he's motivated by making a difference, in seeing that he can help people. Though it's also difficult to say that definitively, as we don't get much clear internal insight to him.

What about Zoey? Zoey is very, VERY internally motivated and takes contests seriously, even coldly scolding Ash for... checks notes, having fun and battling like a gym battler, which he is. (Half joking here. I love Zoey but GOODNESS she went OFF on Ash that one time.) For Zoey, contests are not a silly side hobby. They're a career for her. And while I have less examples for her, I can pretty easily conclude that she's very internally motivated to do well. Whether that's to prove herself, to make a name for herself, or what, I cannot say- but it's all internal as opposed to May's opposite motivation. Which is internally nonexistent and basically only from external influence and interaction.

So, I'd argue Zoey's goal and motivation are one and the same: to be the best coordinator she can be. Her goal is what drives her forward.

[brookheimer]

kieran absolutely isn’t a worse actor than jeremy (this season in particular so far I cannot imagine how anyone thinks he’s giving a weaker performance) and I know wins matter etc but if he and sarah are considering submitting for leads (which would be the correct category) I don’t understand why people can’t just accept it, as you posted there’s so much shit on twitter. I do feel like this fandom is kinda weird about roman in way it isn’t about the other sibs and that’s fine he’s not for everyone to get, clearly, but lately I’ve been noticing this kinda affects how everyone treats kieran and that’s…

it’s like just because they find roman to be the more dislikable brother out of him and kendall, kieran shouldn’t have the “audacity” to fashion himself a lead…

YES YES EXACTLY !! honestly that's one of the reasons i became such a big roman proponent -- i've said it before but no i'm like pretty positive that the reason i get invested in the characters i do is literally spite. like, there are a lot of characters i love and think are phenomenal, but i never get, like, insane about them the way i do with other ones. and really what i've realized is that the sole difference there is just... whether or not they're widely misunderstood/misrepresented in the fanbase, in media critic circles, or even sometimes in the show itself (looking at you, veep and game of thrones). they say be the change you want to see in the world so i always say yeah okay fuck you i will be and then i end up writing 382438943928 words on Why This Character Is Actually Just As Nuanced And Meaningful As All The Others.

in early high school i was fucking insane about diane nguyen because i kept seeing video essays calling her a bitch and not understanding that she's literally the foil to bojack in that they are incredibly, incredibly similar, but at the start of the show she's just at the start of her downward spiral and he's been in his for years. but everything i saw was just saying she's selfish and terrible and poorly written and unrealistically insufferable and it was just INSANE bc all of the qualities they were actually complaining about were the same ones she shared with bojack, she's just a woman. then in late high school/early college i was fucking insane about amy brookheimer because- well, if you've been following me for a while, you've probably already heard this a million times. and now it's roman (although i'm still incredibly insane about diane and especially amy), because i've always found him so fascinating and sad and imo the most interesting character on the show (tom as a close second) but everywhere i looked people just saw him as a funny sleazeball with no depth -- like saul goodman before better call saul came out and showed that he's one of the most fascinating, sad characters on television. except in this case roman has always been fascinating and sad! ppl just were so blinded to it and also just fucking hated him especially in early seasons like nobody liked roman. no one. obviously it's a bit different now but even so there's still this weird Thing where roman isn't taken as seriously as all the other characters -- which is uniquely funny ironic and sad because that's exactly what happens in the show itself -- despite having just as much depth. and, of course, this has been pushed onto the actors as well, which is just batshit crazy to me.

idk. the way i've always felt ab characters is like... if people don't like a character i like, then sure, tastes are different, blah blah blah. but if people are actively misunderstanding and misrepresenting the character?! well. cracks knuckles. let me open google docs

[fizzingwizard]

Over the past almost two years, give or take, I've been reading every Austen novel (the completed ones, maybe I'll try Sanditon some day, but after this I'm gonna read some other things ^^). I'd read most of them before, except I had never finished Persuasion, and I'd never read Mansfield Park.

It's been really amazing getting to know books I read as a teenager (Sense and Sensibility, Pride and Prejudice) as an adult with a different perspective. In a similar way, I think the reason I didn't finish Persuasion when I was younger was because I needed to be older to connect with Anne. I recall that when I first tried to read it around 18 or 19, I felt that Anne was so sad and dreary, and really saw her as much older than she's meant to be. I guess it's that childish way of imagining life stops after you hit 30, haha. But the second time around I was invested in Anne specifically because she was such an older protagonist (for a romance heroine *wink*). I really wanted to know what kind of message Austen had for women who no longer have the liveliness of youth, their feminine ignorance, or their untainted hope.

Persuasion ended up being one of my top favorites, specifically because of the ending - not because she gets the man, but because she's able to tell the man that she doesn't regret the decision she made rejecting him the first time around. "I loved you then as now, but I was right." To be honest, I was not expecting it - I thought validating the heroine whose hero is giving her a second chance was too much to hope for! After all, how is male pride supposed to survive the trauma of female rejection? But if there's one thing Austen hates, it's people who chose incompatible partners for stupid reasons. For example, men who like silly, stupid women because their silliness gives the man plenty of openings to show off his knowledge and lead her. And women who purposely flatter the man's ego by pretending to be stupid. Either way, you're going to wind up miserable: a man with a stupid wife and the world on his shoulders, a woman whose destiny is never, ever to be taken seriously even in matters that concern her. The triumph of Wentworth is that, even though he's a man, he becomes humble, empathetic, and practical enough to understand and respect Anne's choice. And the triumph of Anne is that she's able to recognize her own sense and strength of mind no matter how the narrative tries to punish her for being a woman who doesn't let a man make her choices.

I'm on my final book now: Northanger Abbey. It's one I read probably fifteen years ago. My impression of it then is that, in total contrast to Persuasion, Northanger Abbey is an Austenian YA novel. It's comparatively very easy to read, it moves fast, it doesn't linger and introspect as much as others. The main character is a teenager who's never been away from home before, and it's easy to draw parallels between Catherine's journey to Bath and Lydia's trip to Brighton in Pride and Prejudice. Unlike Lydia, Catherine isn't flirtatious, and has a lot more good nature, and potential for good sense to balance it. But she is young and impressionable. I'm always interested in the way Austen's novels treat younger female characters like Catherine, Lydia, Marianne, even Brandon's ward. On the one hand, when a suitor enters her life, or when she enters society, that flips the switch between childhood and adulthood. It's very sudden. You're terribly young, but you're now expected to make proper decisions - decisions even adults struggle with - and heaven help you if you fail. It's essential to be rich, if you mess things up, because there's no going back when you've lost your virginity, or worse, ended up pregnant.

Being a young woman in an Austen novel is so fraught with constant peril. Among low income families, the boys are more likely to be sent to work dangerous jobs at young ages. But Austen families are typically decently well off, and in many cases the men have no pressure to work at all. Men with money aren't in much danger. But women always are, because all women have purity to protect regardless of class. Or age. Austen did with her young protagonists what she did with everyone: use them to critique the ridiculous in society. It's ridiculous that we judge the mistakes of very young women away from home for the first time the same way we would an adult with twice their age and experience. A teen girl makes one mistake, easy to make when you think it's for love and you've been taught your whole life that true love can't be wrong, and now she's saddled with it forever. Meanwhile, men like Willoughby knock up Brandon's ward, break Marianne's heart, then marry a rich woman he doesn't like who questions his loyalty (it's not paranoia if it's true!), and while it's nice he's capable of some self-reflection about, he's done so much damage before he realizes now he's squandered something precious. He even still has the gall to be jealous of Brandon because he thinks Marianne will probably marry him. And Henry in Mansfield Park, after declaring his devotion to Fanny, goes off and has sex with Mariah, which does very little to affect him but means the ruin of Mariah's marriage and confines her to living as a spinster with her aunt. Mariah made her own decision, but there's such a difference of impact. I'm reminded of George Eliot and how much more a pariah her messy love life made her than it did her husband.

In other books, the question of how reasonable it is to have such high expectations of people who are still basically girls is part of the framework. But Northanger Abbey makes it central. We've got a heroine who reads novels, and novels, of course, give girls fanciful ideas and lead them astray. However, Catherine meets characters like Thorpe who dislike novels ("there has not been a tolerably decent one come out since Tom Jones" is peak humor y'all, I'm laughing for ages) and they are the ones who lack sense, lack virtue, and can't see beyond their own noses. And the characters who are kind and decent not only like novels, they even make fun of the notion that men read good books and anything a woman likes is impossible or a man to like. By contrast, Isabella loves novels, and is petty, self-centered, and mean. But she isn't that way because of the novel: rather, she reads the novels a certain way because of who she is. And Catherine reads them in a completely different way, according to her nature. Austen takes care not to make Catherine a paragon of virtue. Catherine messes up - her imagination runs away with her. But it's hard to censure her when we've just spent so much of the book watching her be manipulated by people and always attributing any misunderstanding to her own lack of experience. When she fights off Isabella and even her own brother!! when they try to force her to cancel plans with the Tilney's, it's an amazing win for Catherine, who finally trusts her sense of right and wrong over the guidance of older, wiser folk. She is punished every time she does anything: when Thorpe lies to her that Tilney won't come, she goes with him to the castle, when she discovers the lie, she has no way to escape, and when they turn back without ever seeing the castle, no one cares at all that Catherine is upset. When she puts them off the next time, they blame her for why they now can't go on the trip at all, claim she's selfish, and then go anyway??? by asking Thorpe's other sister to complete the party, the exact method Catherine suggests!

Her innocence is used and abused and no one is protecting her. That's the thing. Her parents trust the Allenses, like the Bennets trusted Col Folster to look after Lydia in Brighton. But being a family friend isn't the same as being a parent. Just because someone is nice to your kids doesn't mean they know what to worry about or where they'll need help. The Allenses don't want any harm to come to Catherine, but they're completely incapable of predicting it. And the person who should have most been interested in Catherine's well-being, her brother, is too enamored with Isabella, and only interested in his sister as an excuse to spend time with Isabella without it looking improper.

So young women are thrust into the dangers of the real world, where all women regardless of class are in constant peril, and no one protects them, and the consequences of mistakes are lifelong. Austen never gets so terribly bleak about it (her protagonists still generally don't have to worry about much, and characters like Col Brandon's ward are peripheral only). But she does question it and satirize it and, ultimately, her usual message of "Women, use your own sense, trust your own wits, and know your own worth" comes through loud and clear. Isabella is a Gothic novel heroine-wannabe. She is the most ridiculous character ever. She has conversations no one else is involved in - she makes up drama for drama's sake - she is basically writing her own novel in her head in which she is the most Mary-sue self-insert ever. Only she's doing in the real world. She's half the manipulative temptress, trying to get what she wants (admiration, and money), and half the clown without one drop of self-awareness. Her behavior is for a purpose, but it's also who she is. She imagines she has the world figured out, but in the end, what she gets is treated the same way every other young, unlucky woman who makes mistakes does. Not a heroine's happy ending at all.

I think it's funny that years ago, my impression of Northanger Abbey was "Austen's YA novel." Because it's not young adults who most need to read it. It's adults, who have power over the young, and world experience to manipulate abuse them, but who like the Allenses tend to be so comfortable in their belief that since they intend no harm, no harm can happen. Adults need to reflect on the stupidity of expecting greater restraint and foresight from children than we expect from ourselves. Adults need to remember how much we skate by on luck, how little can be controlled, and then maybe we'd have more empathy for the folly of youth. Instead, we pat ourselves on the back for making it this far and decide it must be because of our superior virtue and wisdom. So many of us are Jameses and Thorpes to the Catherines of the world and it's a wonder more of them don't turn out like Isabellas.

[caatws]

As a Natasha and Gamora fan I find it interesting that both women were firsts in many ways, had their lives ended using Vormir and as a result of their deaths they both ended up with less focus in their final team films. Also It's interesting that in both cases a male character, Tony and Yondu, ended up with funerals while they didn't. Natasha ended up with the better end of the deal than Gamora did, which is another layer of issues with representation, but in the ways things for them are similar I think it brings up how women's stories aren't centered in the same way men's are and that's a symptom of how women's lives aren't valued in the way men's are. It's not just the mcu either. There are more stories centered around men and we see the same types of stories over and over often be lauded as fresh and unique when really it's nothing new. We also have more instances of men getting to play roles well into old age and be seen as worth investing in. I have also noticed that when women speak up about wanting something to be changed about a role they play or wanting more they are seen as being greedy or whiny. When men have similar issues there's more support. I'm glad things are changing but it's still something I believe is worth noting when I think about how it was only 5/4 years ago that both Gamora and Natasha were killed off in a concept that didn't exist before IW and has had no further meaning for them or the mcu. It was ultimately just a place to die.

I am glad Natasha eventually got a solo movie but it's sad it took so long and it was after she died instead of adding to her story beforehand. I'm glad Gamora was in vol 3, but the fact that they brought her back in a way where all of the life she had that wasn't attached to being abused by Thanos no longer existed for her, is unsettling

With Gamora it's also interesting to see how while Natasha's death was taken seriously, hers has been uneven. Following Endgame, where we got to explore it with Nebula, it's Peter devastated and the writing around the rest of her family is almost like a running gag of we don't know what happened, who knows what happened. Which isn't funny. We know what took place so why not be serious about it and show more respect. It was sad to see Rocket's abuse and near death written as if it was a bad thing while Gamora's abuse and murder was written as if it didn't really happen. Same for 2014 Gamora being in the future. It's treated as if that wasn't a hard and emotional experience for her though Endgame showed there was so much going on that would need to be worked through.

It's frustrating that there has been no transparency about what dying on Vormir means for Natasha and Gamora potentially having an afterlife. Are their souls stuck on Vormir would be nice to know. Does Thanos trying to destroy the stones mean anything for Gamora's soul is another important factor. This lack of transparency has disappointingly followed Gamora. Gunn doesn't make much of anything clear about Gamora's post Endgame life or purpose. Why she end up with the ravagers and was she ever curious about the guardians at some point are never talked about. Was there something for her to gain by taking part in this last journey with the guardians separate from her interactions with Peter is another important part not elaborated on. These are some things I think could be beneficial for fans to know. Especially in light of a number of people wanting to dismiss her after vol 3. I'm curious if Gunn is at all aware that Gamora has represented something and that her death wasn't a non issue.

At this point I just think gunn doesn’t even really care abt the gamora thing. Not necessarily in an intentional or even malicious way, but I wouldn’t be surprised if this whole thing is just way more unserious for him, and like he thinks those of us with these issues are just taking it too seriously or are way too focused on just one thing. I mean, that’s just the vibe I get from him lol which is just kind of annoying

The blatant sexism throughout the infinity saga could not have been made more apparent in infinity war and endgame. Like after nat and gamora’s deaths, we got the All Female Team-Up Scene that did feel forced bc literally hardly any of those characters have gotten to interact before, meanwhile we just spent 5 hours watching male characters from different franchises get to interact and develop relationships etc. And just…how are you gonna finally have le epic girl power scene after 10 years but not even have either original female lead (not counting 2014!gamora bc she Is Not The Original Female Lead of gotg bc she is a Separate Character) in it 🫨