#also don’t you just love when an adaptation does the book justice

[winnie-the-monster]

Lol now I can’t wait to find out if the, Charlie hearing Nick speak French scene is also in the show.

[riizebabie444]

𝙮𝙤𝙪𝙧 𝙛𝙪𝙩𝙪𝙧𝙚 𝙨𝙥𝙤𝙪𝙨𝙚 𝙖𝙣𝙙 𝙛𝙖𝙢𝙞𝙡𝙮 𝙡𝙞𝙛𝙚

─── hey everyone, back with another pac. this one is about your future spouse and your family life with them. please remember to support with reblogs and feedback!

i'm currently going through a tough time financially and would appreciate if you considered booking a reading with me <3

─── picking your pile: take a deep breath and allow your soul to centre itself. when you feel your mind balanced and cleared, allow yourself to be drawn to an image. your eyes may gravitate to one, or you may close your eyes and feel which image is calling out.

─── be sure to check out my other readings and don’t forget to share and give feedback. disclaimer: all readings done are for entertainment only. please do not use my tarot readings as a replacement for legitimate advice.

ʚɞ ─── masterlist. paid readings. exchange rules.

donations. games/events. feedback.

pile one

who is your future spouse?

with the hermit and the queen of swords, i see your future spouse being an introverted person, they like to spend a lot of time alone. perhaps this is because of past relationships that made them prefer to be alone, but i also see a case where they just like being alone because they would rather have zero connections that put up with bullshit people. they trust their inner guidance and don't force themselves to be around people that don't add value to their lives.

in that sense, they say it how it is. if they're not happy about something, they'll make it clear. they are perceptive and hate when others have hidden agendas or sly intentions. they can see right through it. they're a quick thinker, intellectual and emotionally intelligent. but sometimes a bit to harsh and strict with both themselves and others. they can be judgemental sometimes. however, they are a wise person who cuts through the noise. they see the truth easily.

how will they love you?

with two of pentacles and eight of pentacles, they seem like a practical lover. they seem like more of a traditional lover too. not necessarily in the way that they will fulfil traditional gender roles in a relationship, but in the sense that they seek balance above all else. they want to be on equal grounds with someone, and understand a relationship and love in general takes a lot of work. so they will fulfil the role in the relationship that you both expect of them, and they also expect the same from you.

they will work hard to meet your standards, so you will also need to work hard to meet their standards. they show their love with equality, equal effort, equal treatment. for most of you guys, this doesn't mean equality with money etc, like splitting the date costs. but more so about the effort you both put in. that being said, they will put in a lot of effort. relationships are an investment so you will definitely feel like they are investing in you by maybe spending money on you, spending time with you, sharing things with each other. they don't love for what they can gain, they love for what they can share with you.

while you are dating, i do not think they are the most romantic person. they are more practical than romantic but that doesn't mean the feeling aren't there. they just express their love in different ways because that is how the circumstances they've experienced has shaped them. i do see they have big love for you and they try really hard to show it, but it won't always be in the ways you want or expect.

family life with your spouse

with knight of cups and justice, family life however does seem more romantic. i think living together and having a domestic life together will definitely change how they express their love. they will be more obvious with their feelings and needs for you, they will adapt and express their love in the ways you like. i'm seeing more romance and grand gestures which they may not have understood prior to marriage. but after marriage and having a family, they understand it better and will show you. they will be a lot more emotional also.

i see they will still be practical. they could be a bit strict about routines, especially with children. though, family life will open up both of your emotions as there is so much to explore with a family. i see it being very chill and peaceful, some conflicts here and there but honestly, family life seems nice. it will be fair and equal. you will both contribute to the home fairly, they will recognise when either one of you is doing too much or not doing enough, and then they will work to balance it out. i see fair treatment for all children, like no favouritism or double standards. i see a lot of accountability and responsibility. family life seems so mature but in a good way.

pile two

who is your future spouse?

with ten of wands and justice, they seem like a burdened person. they have experienced a whole lot in their lives. they are someone who is afraid of being judged, they might deal with anxiety, but they try not to show it. they are someone who bottles feelings up instead of sharing them. they may be dealing with struggles when you meet them, but overall, they are talented and hard-working. but may sometimes work too hard and burn themselves out.

they have a lot integrity though. if they say they're gonna do something, they will. this could also indicate they have a hard time saying no so they often end up having too much to do which leads to them feelings overwhelmed and exhausted. honestly, your spouse seems like a bit of a mess, they need more balance in their lives. i think they're prone to escapism. i'm supposed to be getting positive messages but with this pile, their messy energy is strong. they have good morals, they won't ever do something they know is inherently bad. they are law-abiding, and maybe follow the rules too strictly. but they are also a lover of simplicity. simple is beautiful to them, and they pay attention to details.

how will they love you?

with the knight of pentacles and wheel of fortune, i think your spouse meeting you is a pivotal point in their life. like they will experience so much clarity in your journey together, and i'm seeing it can help them to change their ways. naturally, they are a good planner so they will love planning things for you. for examples, planning nice dates that fit your taste exactly or planning surprise gifts for you. they'll take notice of all the things you like and don't like, everything they learn about you will be stored in their brain for future reference. they will be hard working when you are with them, in their job, with their family, in your relationship. this energy is different to their overall energy, so i'm seeing they will really change when meeting you or prior to meeting you. they will start to get their life in order.

they will be so kind and loving, they won't let anyone treat you bad. they will also try to deter you from bad decisions also. i mentioned already they are strict with morals, so if you try to do something they don't view as good, they will try to stop you. not in a way to control you but to show you how to be the better person and not stooping to low levels. like, of course they will defend you. but say if you're just being petty or bitter and it is influencing your decision, they will guide you to the better path. they will love you by constantly reminding you how they think destiny brought you together. they will rejoice in your successes and share their own with you.

family life with your spouse

with the hermit and the chariot, i see that you guys will be very private. i think after getting married, you guys might become recluses but it is just because you guys want to spend so much time together without anyone else bothering you. i think maybe you guys might move somewhere new to start your family so you might not know a lot of people, which can also explain your guys' privacy. i see so many late night talks throughout your lives together. you would not get bored of hearing each other talk. you would also help each other uncover your dark pasts and difficult emotions, and face them together.

i see you guys having a lot of willpower. if there's something you want to do as a couple or a family, you will do it. i see children for some of you and not children for others, so take it as it resonates. you will make decisions that will be in alignment with your values. as a family, i see a whole lot of determination. not letting outside influences get to you or your children. you guys would overcome anything. i see so much mundane, day to day domesticity, but also balanced out with exploration of the world. your family could have regular holidays to travel the world. you could have an active family also, like physically active but also just active in the community. if you have children, i see them being very goodhearted. you would raise them well.

pile three

who is your future spouse?

with the moon and ace of pentacles, i'm getting lucky girl/boy syndrome from your spouse. they feel so young-spirited, but they have also experienced a lot. i'm also seeing pretty privilege, so they would be very attractive, and perhaps it helps them to get the things they want in life. however, i think they are quite emotional, and they have a big imagination. they dream of big things, and bright and eventful future. and i think they are known for being caring and nurturing. they have a lot of empathy. but although they are emotional, i see them being quite practical too.

it seems like they're good with money, they don't have a lot of trouble finding good jobs. overall, you will think they are so lucky. security and stability is important to them though, so that's why they are happier and brighter when things go their way. they like to embrace new beginnings but they will always consider the risk. they might come off as careless and impulsive but honestly a lot of thought goes behind all of their actions. they don't do things for the sake of doing them, but rather to enrichen their lives with experiences. i see they may be into manifestation and even spirituality. they try to work on their limiting beliefs because they don't want to be the person holding themselves back. they may look very positive and extroverted, but deep down, they are sensitive and introspective.

how will they love you?

with the knight of wands and the well reversed, i see them being the one to approach you. they will bring opportunities to you, push you out of your comfort zone and help you move closer towards your own dreams. they will be so enthusiastic around you. you absolutely won't be worrying about whether they like you or not because they will show it. if they like you and want to be around you, you will know. and if they don't, then they will also make that clear. they wear their heart on their sleeves. i see them trying to be a bit manly though, whether this is a man or a woman. they will try to act like a macho man which they will enjoy, but just trust that they are also heartfelt and have big feelings even when they wear this mask approaching you.

they will be patient with you, but only to an extent. like, they hate the feeling of waiting for forever. they are excited about what is to come so they will be uncomfortable if you make them feel stuck in place or if you are stuck in the past. they will show their love by helping you overcome your past, helping you close the old chapters of your life before heading onto the new one. i'm seeing that their energy will not be cold or stagnant, though sometimes i see you are the one who makes the relationship feel that way. and they will show their love by not giving up on you, they will bring you along to better places even if they have to drag you. they hate seeing you hung up on the past.

family life with your spouse

with the ace of cups and five of swords reversed, i definitely see you both overcoming troubles from the past after marriage. family life is a new beginning for you both. you or them or both could be very excited for children, for having a home together. it feels almost dreamy when you guys live together. it feels like you both will blossom and thrive as a family, so many new experiences and emotions. romance will also increase. i see you will also meet so many new people, like family members or new friends. you will be surrounded by good people, your spouse will make sure of that and to get rid of anyone who treats you how you were treat in the past.

any conflicts you guys come across, i see you guys resolving them and moving forward stronger. some may just be minor so it is easy to move past them, but even the bigger conflicts, you will both work on them. you guys won't run away at the first sign of trouble, you will stick together even when you hate it and eventually it will turn out good again. there is a lot of compromise and communication. it's not always going to be easy but i see time and time again, you guys will get through it. this isn't the type of marriage and family you want to walk away from, it's the type you want to fight for. so every time, you will always move forward and create positive changes for each other and your children.

© riizebabie444 — all rights reserved. please do not copy, steal, repost or translate my readings on any site. any act of which will be classed as plagiarism.

[autumn0689]

My guilty pleasure ship is Copollo… those two make me FERAL!!!

THE DYNAMIC!! THE FORMER FEELING FOR ONE ANOTHER!!! THE FEELINGS THAT PROBABLY STILL LINGER!!! THE TRAGEDY AND TOXIC PART OF IT ALL!!!

I wish we got more scenes, their drama was SO GOOD!!! I often reread the Flashback scenes CONSTANTLY and I just- their relationship fills me with SO MANY FEELINGS!!!

Istg if they ever get adapted to Live Action… they better do it justice! This is an important relationship that shaped Apollo! He can’t even look into water without getting flashback for gods sake! I really hope that if it does ever get adapted that they don’t take away they’re romantic relationship, because it’s such a key aspect to both of them.

I wish we got to see more of their dynamic, I loved how they both interacted in TDP when Apollo enters the stadium and Commodus semi-flirts with him and when Apollo charges at Commodus and when Commodus shouts at Apollo that “HE WILL ALWAYS HAVE MY BLESSINGS!!” I- these two are so dramatic and I LOVE it! I also like how Apollo still describes Commodus with “perfectly tanned calves” and “perfectly sculpted abs” like Apollo normal people don’t often comment on someone’s appearance like that unless they harbor some attraction to them. Commodus is also just… he is so driven by Apollo’s betrayal and harbors such hatred towards him, and how he used to have so much love for him. How they both loved each other, but Apollo couldn’t bare to see Commodus die by anyone else’s hands, and, for the second time in Apollo’s life, he fulfills that, he kills him twice, and isn’t it poetic, how Commodus, once again, dies with Apollo’s hands wrapped around his throat?

I just- these two!! Their complex dynamic is one of the reasons I adore the book series. I’m honestly shocked by how much you can talk about their relationship even with how little they interact. Their dynamic and how it was written is, to me, something I rarely ever see in media, with the bitter feelings and the lingering emotions… In my honest opinion, i’m not ashamed to say that Apollo and Commodus are THE BEST SHIP in the PJO-verse. I ship them more than I shipped any of the other relationships in the novels since I’m more of a platonic friendship type of person, but these two… I rarely ship anything, so to have these two invoke so much emotions within me… to me, it’s truly a one of a kind experience.

[starrology101]

Kindred on Hulu

I’m watching the new television adaption of Kindred on Hulu and…I don’t hate but I don’t love it. Kindred is one of my all time favorite books and seeing certain scenes being adapted to TV is great, but most of the changes they made seem so unnecessary. Spoilers if you haven’t seen the show or read the book.

Kevin is now a Tinder date she barely knows instead of her husband. In an interview, the show’s creator said he wanted to adapt to “evolution of gender roles or gendered behaviors, expectations around courtship” since in the book Dana’s present is the 1970s while in the TV show it’s the mid 2010s.

And I can understand that to an extent, but it feels like they’ve just removed a layer of protection from Dana when she jumps back to the past. Because in the books there’s a certainty that Kevin will do whatever he can to protect Dana. They’re a team, and while Kevin doesn’t fully grasp the horror of how jumping back to slavery era is affecting Dana, he is effective as her main form of support. In the show, because they are not married and don’t have that established bond, it makes me wonder if he’ll go to the same lengths to protect her or if their barely-a-relationship can survive all the strain time travel will put on it.

SPOILER FOR THE BOOKS: Dana leaves Kevin in the past, for quite a few years (for him, not her) if I’m remembering correctly. Would their relationship survive that in the tv show like it did in the books? Could this version of Kevin, that can’t seem to function in the past without Dana survive the way Kevin did for years? I don’t think I’d buy it.

The Kevin in the show just seems kinda dumb to me. He can’t tell a convincing lie to save his life. He’s constantly bumbling and stumbling over his words. And he wasn’t as concerned about Dana being on a plantation during slavery as I thought he should be. And part of that can be attributed to the fact that he barely knows her but still. I just don’t like him as much here.

They also added Dana’s mother as a character, as well as other members of her family. The creator said that was to “give her familial relationships that are complicated and that might also get us closer to an answer about why this is happening to her and more fully complete this metaphor I think Octavia was working toward”

That’s a horrible reason to make such a huge change to the source material. Dana was a fleshed out character without those immediate familial relationships. And Dana starts putting the pieces together about her time traveling fairly quickly in the book. We don’t need another character to spoon feed information to us.

It just feels like the creator and the writers are cluttering up the book with unnecessary characters and changes to make the book more interesting to a modern audience and it’s making the show worse.

On top of that, the acting feels weak.

For example: there’s this scene in the books where Dana is reading to Rufus and his mother, Margaret, comes in and starts interrupting them. She’s hostile towards Dana and doting to the point of smothering towards her son. Rufus snaps at her and Dana notes that his expression, voice, mannerism, etc. reminds her of Tom, Rufus’ violent, abusive father. I remember it being the first inkling I got while reading that Rufus wasn’t going to stay the little boy who treated his slaves kindly and familiarly. I remember thinking ‘oh Rufus is going to grow up to be more like his father, oh no.’

I was excited to see that scene played out in the show but the acting was so lackluster it barely made an impact on me.

I have other problems with the show but those are my main ones. I’m gonna keep watching, and I do think it’s enjoyable, but it does not do Olivia’s book the justice it deserves. I’m disappointed but I also didn’t have my hopes up.

[princeoftherunaways]

2023 book recs! (to read and to skip)

inspired by @deanmarywinchester's incredible rec list and general reading reviews!

RECOMMEND:

The Murderbot Diaries by Martha Wells: I love you autistic androids. forever and ever. I'm pretending the adaptation is not happening bc I don’t think the screen can do it justice so I’m simply enjoying every single page of these books before there’s inevitable show Discourse. I love the plots and the dialogue and just like murderbot I too wish I could be left alone to watch my shows.

Something That May Shock and Discredit You by Daniel Lavery: this book has a couple excerpts on here that make the rounds and piqued my interest and holy shit. if you are trans and queer and probably autistic. read this book as fast as you can. I felt seen in every word and also. Absolutely read to filth.

The Traitor Baru Cormorant (the masquerade series) by Seth Dickinson: I think I finally started this series because of my bestie @ofbowsandbooks (as is the case with so many things) but who's to say. either way I read this towards the beginning of the year and have not stopped thinking about it since. if you read it. please listen to so much (for) stardust by fob. I cannot recommend the specific kind of damage it does to you while rotating baru and tain hu in your mind. just. tailored to me in so many ways (fantasy story about imperialism and masks and lying and the terrible power of math) so I do admit bias there.

Settlers by J Sakai: If you can only read a book or two about understanding why colonialism/capitalism is at the root of all evil...read this book. It's at the top of my general list of political nonfic recs (next to capitalism & disability by marta russell and border & rule by Harsha Walia). I like to describe it as a leftist pov of us history that pulls apart some of the liberal/white "optimism" of People's History of the US.

They Can’t Kill Us Until They Kill Us by Hanif Abdurraqib: I think this was also based on an excerpt I saw on here. I finally started getting into memoirs/essay collections this year and WOW. I mean, even if that genre isn't your thing, you should still read this book. It's just so so good, and utilizes unique topics (particularly music, I love his FOB essay) to explore both small personal moments and larger existential issues.

The Wretched of the Earth by Frantz Fanon: This is considered a staple of anticolonial movements & education for a reason. Definitely helpful for understanding the global decolonial revolutions of the 1960s.

Decarcerating Disability by Liat Ben-Moshe: An incredible study of abolition from a disability lens. Clear (if a bit repetitive at times) but overall an engaging read that definitely brings a much needed addition to larger abolition texts.

Chain-Gang All Stars by Nana Kwame Adjei-Brenyah: I read this one after seeing @deanmarywinchester's posts about it. I read it in two days and it knocked me so hard on my ass. Especially as someone who was obsessed with the hunger games in middle/high school. Just. Wow. holy shit. we knew this already but abolish prisons police etc etc and also we have GOT to be done with tiktok. and alexas. and just being okay with casually reposting/consuming videos and images of violence against people of color and and and -

Exile & Pride by Eli Clare: transmasc disabled PNW crew rise up!!!! the trauma of growing up as all these things in a small rural town!!! I have very rarely felt so deeply seen and understood as when I was reading this book. It's heavy emotionally & topically, so warnings there. I did struggle a bit with it but only because of how deeply some of his story reflects my own.

Innocence & Corruption by Aiyana Goodfellow: This book and its author demand a fundamental shift from how we as a society view and treat children. If you are planning on having kids, have kids in your life, are a teacher, etc etc, cannot emphasize enough how important this book is to remind us that kids are people now, and they deserve autonomy, respect, and support.

Honorable Mentions:

he who drowned the world by shelley parker-chan : this was moved down a category only because the book before this one (she who became the sun) is literally just setup for this sneaky gut punch. So as a duology, could be stronger. this book as a standalone? Wow. There's some banger lines and concepts and characters in there. (Wang baoxiang. Just. Oh boy). Definitely fascinating in convo with baru cormorant, and I think a reason it's lower for me as well is because the lens of hwdtw is much more of an internal power turmoil than a study of imperalism, which I'm biased towards interest-wise. I read this purely because of @ash-and-starlight's incredible art, so please go check that out if you read the book - It is absolutely worth the read for their art.

the Black Jacobins by C L R James: I'm a french revolution bitch. it was a special interest of mine as a kid and got me invested in history. that said, we gotta talk about france's fuckery. which is to say, slavery/genocide/colonialism etc etc. This book is somewhat tricky to read at points, especially in keeping track of who's who, but a really incredible explanation of the beginning of Haiti's fight for independence. If you enjoy French or Caribbean history, anticolonial revolutions, and some of the nitty-gritty details of history textbooks, this is for you.

life under the jolly roger by Gabriel Kuhn: who here has seen black sails. (thee gay pirate show. Original edition.) strikes a good balance between an understanding of what pirates have/can/could represent, and absolutely clarity about their actual violence, legacy, and politics. Informative without being drawn in by the romanticism or dismissing its power completely.

the essential June Jordan: Politically relevant and also just lyrically beautiful poetry.

hell followed with us by Andrew Joseph White: trans horror fans w/ Christianity beef, this is for you. I am NOT a horror fan, but it was so well done and resonant with me that I stomached the gore for it and do absolutely recommend. if that’s your thing

DO NOT RECOMMEND:

the invisible life of addie larue by ve schwab: I love VE and am a bit of an apologist for her prose over plot bc her worldbuilding is always so cinematic to me, but this was such a frustrating waste of a brilliant concept. It was just...boring? Neither Addie nor Henry are particularly interesting (Henry's relatable, but again, not engaging as a character) and for someone who's been alive for a long time, I expected more unique flashbacks and worldbuilding. I expected the ten thousand doors of january, but this was not that, although I think at its soul it wanted to be.

the lies of locke lamora by scott lynch - Been meaning to read this forever since it was recommended a lot on here if you liked six of crows. I would say a similar setup (dickension fantasy) but that's about it. Characters aren't that likeable or clever, the action is slow, and I take issue with the ending.

unwieldy creatures by addie tsai - I so badly wanted this book to be good. It was not.

a day of fallen night by samantha shannon - It was fine, it's just such a long book I think time is better spent elsewhere, ya know?

provenance - second ann leckie book that i've finished unimpressed. despite murderbot being top of my list, this similar vibe of sci-fi did not strike me as one with such a unique clear voice. It just felt like a more inclusive version of many average space books.

[mashithamel]

In high school I had to read “Ragtime” by E.L. Doctorow (and then write a comparison paper with another American novel—that I got an ‘A’ for somehow managing to find something to compare and contrast between this contemporary-style historial fiction book and the gothic ghost story “Turn of the Screw” should tell you that back in high school I was really good at writing a lot of BS).

The book itself was pretty good—really interesting, a mix of real historical figures and some archetypes (literally called ‘Mother,’ ‘Little Boy,’ etc) about the turn of the century, and racism, unions, immigration, women’s sufferage, and peaceful versus violent protests.

It also has…some really questionable moments (I’m looking you, Younger Brother, with your “ticket tape parade” ejeaculation while watching anarchist Emma Goldman give disgraced socialite Evelyn Nesbitt a sensual massage—that’s an image I’m never getting out of my brain, and now you all can share it with me).

There is a “Ragtime” movie, with the only good thing being Mandy Patinkin playing Tata. The movie really leaned into the sensational, silly parts of the book (there is a scene where Evelyn is topless for no reason other than they wanted an ‘R’ rating, I’m guessing?). They left out so many of the more interesting plolines, like Mother becoming independent.

And then they made a musical, and this was perfection. They took all the good parts of the novel, cut out the stupid bits that really didn’t add anything, changed a few things to keep the story going, and told essentially told the same story with amazing music, only better. They kept the focus on the theme “change is hard and can be scary,” without looking for sensationalizing moments. I really think theaters all over the US should have been playing it in 2016 because it is just so timely, and really hits on so many contemporary topics.

So, what does this have to do with the reason for this Tumblr account, The Wheel of Time? Book fans, I think, are generally in agreement that while the books are awesome, they can be problematic at times (so much spanking, a lot of male-gazy romance plotlines, domestic violence and male rape treated largely with humor, among some of the big things).

The show has a chance to change some of this (and they have already, by addressing the excessive puritanical virginity of many of the main characters [I can’t buy that Min was a virigin!], not having Nynaeve hit everyone with a stick, no one has even mentioned the word ‘breast’ so far, and so on), and update some of the problematic bits to make the story better (I have high hopes for Perrin/Faile to be less dysfunctional). Queer representation is much more explicit, and actors of color are killing it in roles that were viewed by white readers as white.

There are things I miss—Lan training the boys in weapon fighting, the Perrin/Egwene rescue from the Whitecloaks, Mat going to Fal Dara, the name a few. Some of those missing things are important, and I’m hoping later seasons will do them justice. But I think the key thing is to realize it could have been just awful, like the “Ragtime” movie. Anyone ever see “When the Dark Comes Rising”? That was such a disappointing adaptation. Or the recent “A Wrinkle in Time”? Ugh. I love the Harry Potter movies, but there are so many changes from the books, in some places feeling like a really different story.

Instead, we have amazing costumes, detailed sets, great actors, and so many delightful Easter eggs for the book fans that are bringing this epic to life. The team seems to really love the source and to respect it at every opportunity. For every change I don’t love, there are so many other things I adore. I think the fans are the winners here. (Except when it comes to merchandizing—how is Amazon not all over this??)

TL;DR: Book great, show a little different but also great, and I’m dying for Season 2.

[cyberxsun]

First of all, Quinlan the beloved 🙏🏼 I hope it’s ok if I ask some of the oc questions cuz I’d love to get to know him more!

Basics 2 and 3, Personality 8 and 11, Background 1, Relationships 4 and Fun facts 8? Don’t feel like you have to answer them all if it’s too much I just think he’s really cool (*´꒳`*)

-What does their name mean? Why were they named that?

Quinlan means “shapely, fit, strong” Not too meaningful but his Ma thought it would suit him as he grew older, and it does!

-How old are they? When’s their birthday?

He’s 26 when he arrives in Sandrock. His birthday is 10th of Summer!

-What are their manners like? Any habits?

He’s adapted many mannerisms while traveling around but since he stayed at Atara and Vega5 the longest, he is generally polite, friendly and professional. At the same time though, while dealing with certain individuals at those cities he’s also learned to act accordingly when needed, such as being sarcastic, gentle, aggressive, cunning etc. He’ll switch it up when need be.

He has few little habits but his main one would be..singing. You may see him around with headphones popped in, hearing him sing or hum various tunes from the old world. It keeps his mind busy, keeps him distracted from…other things

-What are some items they always carry and why? Do they collect anything?

(This is an old drawing but-) He always keeps some kind of music player (+backups in case batteries run out) and headphones. A Gungam themed duffel bag; he always used traveling bc he traveled light, this bag was enough. In Sandrock he uses it to carry materials and commission items if he needed to. Mask + goggles of course for Sandstorms (and maybe for a disguise?) Also his red gem earring is a treasured item, it’s part of a pair and his dear friend has the other half.

He has a collection of various books, relics and tech that he keeps in a classified hideout location. Any duplicate items he’ll donate anonymously to the nearest museum/research center the item was found.

-Where were they born? What was their childhood like?

He’s Lucien born! You can find his brief childhood description in a previous ask~

-Who do they look up to? Who do they trust?

In general, he looks up to his older sister Mali,in Sandrock; Justice, Mort and Zeke.

He trusts: Mali, Mint, Claire (Portia oc), his Ma. It’s still up in the air for anyone in Sandrock though, the current situation is big sus. He leaning toward trusting a bit in Justice, Heidi and his outcast crew (Qi, Unsuur, Fang, + sometimes Zeke) He’s ok with trusting X, Jasmine and Pebbles though 👍🏼

-If you had to choose one tarot card to represent them, which would it be?

Hmmm I’m not at all familiar with tarot cards or things like that so I’m gonna skip ^^;

[shazzeaslightnovels]

Astrea Record 1

Author: Fujino Omori

Illustrator: Kakage

Label: GA Bunko

Release Date: 14 October 2022

My Score: 4/5

A new Danmachi spin-off! This time, the focus is on a young Lyu and the Astrea Familia. It takes place around 7 years before the start of the main series, shortly after the demise of the Hera and Zeus Familias as Orario has entered the dark age and the town is terrorised by the group Evilus. This one also serves as an adaptation of the Memoria Freese event of the same name. I was not aware of the event before reading this volume so I was expecting this to be more of a lighthearted look at the days of the Astrea Familia but it ended up being one of the more dark and serious entries in the franchise. It had a slow start for me but I could not stop reading it once I reached the halfway point and the action really ramped up.

So, this volume features a young Lyu who’s a lot more naive at this stage in her life. She believes in the pure justice that her familia strives for and struggles when questioned as to what that justice actually means. It was interesting to see a Lyu that closely resembles Bell in the main series. We are also introduced to her fellow familia members. Alise, Kaguya, and Lyra get most of the focus here and they’re all fairly likeable but Lyra felt like she was the only one given much exploration.

But the volume doesn’t just focus on the Astrea Familia as we get more of the Ganesha, Loki, Freya, and Hermes Familias as well as some cameos from characters who are important in the main and SO series. My favourites of these cameos were Lili and Filvis. It was just good to see them. Artemis is also name dropped quite a bit. Of the new characters introduced, my favourite was Ardee, a member of the Ganesha Familia and the little sister of the familia captain. She loves Lyu and their interactions were very wholesome. I do wish her attachment to Lyu had been explored more but she was the standout character for me.

I do think the villains were a little weak, at least at first. Evilus does feel like a real threat to our heroes but they don’t seem to have much of a reason for their actions aside from being evil. They did become more interesting in the last quarter of the book though as the true identities of a few of their members were revealed and I’m interested to see what happens with them.

I really enjoyed this volume. The story was so tense and exciting, especially in the latter half, and I enjoyed seeing more of the Astrea Familia characters. I’m very excited to see how the story continues in the next volume.

I’m not sure whether I would recommend this to people who aren’t familiar with the Danmachi series. The story is engaging enough that I think such a reader would still enjoy it but there’s so much service for fans of the series and the setting isn’t explained much because it assumes that you are already familiar with it. You don’t have to be caught up with the series to read it but I would recommend at least being familiar with the setting before jumping into this one.

[myneckmybackmyanxietyattack]

Sorta Rant/Thought

I have thoughts about the most recent version of Death on the Nile (the Branagh version) that I want to share with the small corner of Tumblr that sees my posts. Did this come out 3 years ago? Yes. Do I care? Nope. THIS CONTAINS SEVERE SPOILERS! The movie has been out for a while, so if you haven’t watched it, don’t.

Let’s start by saying this: I did enjoy Murder on the Orient Express. I generally prefer the original, but the casting was good and the movie was an overall solid adaptation of the book.

Now, I was pretty excited for DOTN. I love the original movie, and was curious to see how Branagh would adapt this particular book. He failed. Not just with staying true to the story, but also the characterization of every person in the film.

I was not mad about Bouc replacing Col. Race. I quite enjoyed the change when I first found out. People who were watching this sequel may not be familiar with the works of Agatha Christie, so having a character return rather than introducing a new person (especially one who has history with Poirot) was a smart choice. I even thought that Branagh would make Bouc the equivalent to Race in his movies. If you don’t know, picture Col. Race as the less-frequently appearing version of Watson in Sherlock.

However, this was the only change in the movie I was actively okay with. Let’s start with the dance scene. Jackie doesn’t just introduce Linnet to Simon in some random bar, she meets him at her house when seeing if Simon is fit to work for her. Also, POIROT SHOULD NOT HAVE WITNESSED THIS. The movie relies strongly on a ‘right place, right time’ mentality that makes no sense. Poirot can easily read this in any newspaper (and in fact does so in the book). There was no reason that he had to see this meeting except for drama reasons.

I also forgot to mention his mustaches backstory. Poirot doesn’t need a reason to have mustaches. He is just an arrogant, silly guy that likes the attention they give him. Also, I don’t think he could have even grown his mustaches in the scenario Branagh set up. The scar tissue would prevent hair follicles from growing in most situations.

Next, the characters in general. I was so upset about this change. In the book, Linnet invites all of the people on the boat to her honeymoon (except maybe Cousin Andrew). They aren’t randoms that share the boat. Also, why would Linnet let random people share the boat on her honeymoon? Linnet is vain, she takes what she wants. She would never let a bunch of strangers spend time in the same place as her on her honeymoon. She has enough money to rent out the boat, so why wouldn’t she?

Finally, the thing that irks me the most. Bouc’s death. The most awful, unnecessary, annoying death I’ve seen in a long time. You know how I mentioned Bouc being Poirot’s sidekick in future. My hopes were shot down just like Bouc. Why? Why would you drag in a character the doesn’t even belong in the movie, only to kill him. You know what would make more sense? Killing Salome. Apparently, Branagh is trying to make a romantic story arc with these two (which I disagree with as well, because Poirot never needed a relationship with anyone in the books). From what I understand, Poirot has trust issues after the love of his life dies. So why not stick with original story on this? Make this man fall in love. Make him watch as the woman he loves dies in front of him. Make him become cold again, only seeing black and white in terms of justice. Make him push everyone away for fear of losing them too, especially Bouc. Make his story arc being able to trust again. They could have done a lot had they killed Salome. But Branagh killed Bouc for shock factor, ignoring the way this destroyed the plot and point of having Bouc in the first place.

Well, that was long. (711 words to be precise.) If you got to the bottom, thanks for reading! I appreciate it.

[seeingteacupsindragons]

Yuukoku no Moriarty and Cross-cultural Interrogation

I’ve touched on this before, but something I find most fascinating about Yuukoku no Moriarty is the way it adapts such incredibly well-known works from a perspective so very foreign to the original media’s culture of origin.

Honestly, part of the reason I’ve always like anime and manga is because they aren’t stories that could be created in the anglosphere. They come from a completely different cultural understanding of not only how media works, not only one with different classics and literary inspiration to draw from, different tropes and literary devices, but just completely different values. Their stories spring from a different understanding of humanity and narrative, and it’s one of the most popular (and most accessible to a baby monolingual American) ways to get that kind of exposure to Something Else. I loved books from Ireland and Australia in a similar (but generally less intense) way.

Yuukoku no Moriarty is a very Japanese series targeted to a Japanese audience, but it’s also an adaptation of two very famous pieces of British literature. Two of the most famous and most commonly-adapted pieces of British literature. They’re so well-known that they have oozed into Western media to its core at this point, and you don’t even have to have been exposed to them to know of them, to know names, characters, and tropes that they inspired. Three pieces, if you include Shakespeare and William’s obsession with it and repeated references.

And on top of that, a significant chunk of the material is also sourced from Christianity and references to that, which is…

Well, have you seen the way anime usually does Christianity? It’s always very. Uh. Interesting. Japan is not a Christian culture and never has been; Christianity stands at less of the population and it’s never been so entrenched in it that an…accurate understanding ever took root. A lot of Americans and Europeans see Christian values and rituals as so common and matter-of-course that they think they’re secular or universal. But they are a product of a very specific place and culture, and not everyone shares those values.

Takeuchi-sensei and Miyoshi-sensei understand Christianity in a way I think is much more nuanced than most anime and manga and they seem quite familiar with it. It’s really great! But it’s also very apparent that they are…well, very likely not Christians themselves and, even more importantly, not steeped in a Christian cultural environment. And as well-read as the creators of Yuukoku no Moriarty are in these original works, as many obscure references they can fit in, as much of the series is actually literally in English…they don’t have the same values a British Christian does. They use Christianity the same way they use Shakespeare and Conan Doyle and Fleming: it’s a useful literary device with meaning they can leverage, but they’re not beholden to it.

Now, Yuukoku no Moriarty is a deconstruction of a lot of things. A lot of things that…came from the original sources they’re using, but also of other things. The concept of justice and revenge. Of anti-villains and anti-heroes and morality and. Of the roles of heroes. Of detectives and goodness and darkness and shadow. Of adaptations themselves.

And a huge part of these deconstructions is discussing these very British, very Western narratives and values, taking them apart, analyzing them, and then commenting on them in a way only someone who doesn’t see these values as a matter of course can.

I talked about this before when I’ve discussed YuuMori as story of atonement. Sin, guilt, dishonor, and atonement are incredibly cultural, and the way they’re viewed varies wildly from place to place and culture to culture.

William thinks committing sin, committing himself to sin, makes him the devil. And devils need to be exorcised and sent to hell. There is no reforming the devil. There is no atonement for the devil. The devil is a symbol of sin and punishment. He can’t reform himself, because if he did, there would be no punishment for humanity. Christian theology starts to fall apart without Hell and the devil, because a big factor in Jesus being…relevant…is that he emerged from Hell to save people from it.

But even if William is a Christian, his creators are (probably) not. Hell and eternal punishment in flames isn’t William’s path, because while Christians may punish sinners with eternal torment and brutal justice…that’s not the only way to deal with wrongdoings. And…most religions don’t…rely on eternal suffering as a punishment for Being Bad.

(I’m not saying Christians and cultural Christians are the only people who find some kind of virtue or value in suffering, but it’s not actually universal, it’s kind of horrifying if you think about it, and it is very much a hallmark of Christianity)

The series doesn’t even beg you compare William to Christ—it does it for you. Moran says he looks like a man climbing Golgotha. He’s featured with halos of light as he preaches evil. Albert refers to him as a good shepherd who found a lost sheep (Albert being the sheep). He was reborn on Easter in a wreath of unholy fire, out of the Hell that was the Moriarty manor, to save humanity. He’s done the “reborn in a new world” thing twice, once after a long period of time in isolation alone to repent of his sins and be tempted (by Sherly). I could go on and on about this, but I already wrote about it once. I could do it again, but not here.

Quite honestly, the very excessiveness of the symbolism might not work as well in a Western work. The over-the-top nature of the comparison works for an audience who isn’t going to see it everywhere all the time so easily—and it being so over-the-top I think makes it easier to swallow than if it was tempered in a way that couldn’t be poked a little fun at. Once again, this is being treated and respected as something to use as a literary device, not necessarily respected as a Moral Authority.

It does something very similar with Western history. In case you were not already aware, the history in Yuukoku no Moriarty is. Very inaccurate. Very, very inaccurate. I’ve made jokes before about how Yuukoku no Moriarty is historical fiction to make its foreign readers scream, but it’s not actually meant for foreign audiences, and our reactions are really secondary. Japanese culture is probably taught some of it, but not enough to be wincing through the explanations of things—and, much like it does with Christianity, it twists Western history as it wants to suit the story being told. It doesn’t matter if it’s accurate or not, because it services the story this way, and Western history is no more sacred than anything else.

Because if it’s (Christianly) sacred, then it can’t be deconstructed and commented on. And the series wants to do that. It wants to comment on Britian’s history of imperialism and its proxy wars. It wants to comment on America’s freedom vs inequality vs power vs manipulation. It wants to comment on those things, because they aren’t totally foreign to Japan—it has its own history of imperialism and oppression and manipulation and inequality. But approaching it from the outside makes it safer, easier to deal with—and viewing another culture’s flaws and values can allow someone to evaluate their own.

And, from my own perspective as a Westerner, it’s really fascinating to see these things from my own culture treated as malleable and useful story material. To break them down to useful chunks on a thematic level instead of accuracy to really evaluate what’s true in the stories and what matters about the stories. To see the same tropes I’m so familiar with, the same stories I’m so familiar with just because I Live As A Westerner, being wildly reinterpreted as something else. To see what else they could be and what other shapes they could take.

We see quintessential British superspies being reinterpreted as the way Japanese sees superspies. We see The quintessential Great Detective reinterpreted in the way that Japan loves to focus on the human, emotional elements of men instead of the cold logic Holmes is often subjected to in the West because of where we place our values on men. We see the Shakspearian theatrical tradition mixed with traditional Japanese theatre like Noh of Kabuki where performers are expected to wear masks and overact as a matter of course. And it mixes Christian religious imagery and references with a story that does not at all share the same philosophy because Japan is rooted primarily in Shinto and Buddhism.

Yuukoku no Moriarty a great opportunity to see cross-cultural interrogation at work. It’s just. Fascinating to see how it works. And maybe sometimes it doesn’t work. Maybe sometimes the choices are a little strange. But the very existence of the choices is just such a wonderful thing to see and really dig into. But Yuukoku no Moriarty is commenting on Britain and white, Western culture from an outside perspective, and that’s always interesting.

[gimme-mor]

ACOTAR THINK PIECE: ELAIN ARCHERON, UNTOUCHABLE

*DISCLAIMER*

This will be a long post.

Please take the time to read this post in its entirety and truly reflect on the message I am trying to send before commenting. My goal is to use my background in Gender and Women’s Studies to deconstruct the comments I have seen on Tumblr and Twitter and bring awareness to the ACOTAR fandom.

The reason I am tagging “Elriel” in this post is to call attention to the arguments in the Elriel fandom that: weaponize Elain’s femalehood to shame real life people for their opinions about Elain’s character and her relationship with Lucien; victimize Elain’s character in fandom discussions; and coddle Elain’s character, which limits fandom discussions about her narrative development and prevents the ACOTAR fandom from holding Elain accountable for her actions and inactions in the same way that the fandom holds other characters accountable for their actions and inactions. It is for these reasons that I WILL NOT remove the “Elriel” tag from this post because all of the above points contribute to the toxic discourse surrounding Elain’s character.

I urge those who use these arguments to understand their implications, why they are problematic, regardless of intent, and reexamine their contributions to the ACOTAR fandom. I WILL NOT tolerate anyone who tries to twist my words and say I am attacking people and their personal shipping preferences. In fact, I AM CRITIQUING THE ARGUMENTS THEMSELVES NOT THE PEOPLE USING THE ARGUMENTS.

Also, I highly encourage the Elriel fandom to read this post because it addresses how the concept of choice as an argument enables arguments to exploit social justice and feminist languge in order to vilify Elucien shippers, among other problematic things.

Elain Archeron is one of the most polarizing characters in the ACOTAR fandom. Though opinions about Elain vary, arguments in the Elriel fandom cite society’s perception of traditional female characters in comparison to non-traditional female characters as the reason behind the hate, and this belief is used to provide an explanation as to why other characters in the series are favored over her. In the series, Elain is portrayed in a wholly positive light and this image carries over into the Elriel fandom, painting her character as a good and kind female who has been unfairly wronged and a victim of circumstances that were out of her control. When arguments in the Elriel fandom oppose other viewpoints in the fandom, they fall into one of three categories:

Category 1: Weaponize Elain’s femalehood to shame real life people for their opinions

Maybe people who hate Elain are just jealous of her in a weird way similar to when someone hates the pretty, nice, and charming girl in school just because she is too perfect

Disliking Elain is misogynistic

What happened to feminism? What happened to women supporting women? What happened to she can say no? All of that disappears the second you force Elain to be with Lucien

Elain antis are misogynistic

All Eluciens are Elain antis

Antis claiming they’re feminists when in reality they hate on Elain and Feyre but love Nesta

Elain antis are such sore losers. Y’all were that bunch of people who could not get over being rejected from hanging out with the cool kids so y’all are projecting your hatred towards pretty people now to get validation

I don’t get how Elain’s love for gardening equals boring for some people. I’m sorry your misogyny finds traditionally feminine activities boring

Why are you attacking a female? What did Elain do? Where are your feminist voices?

The fandom is misogynistic towards Elain

If people loved Elain they would ship Elriel

If you hate Elain it says a lot about your feelings toward women

If you hate Elain because she has no “development” then you must hate Azriel because otherwise you’re misogynistic

Eluciens are turned off by the idea of a woman that has the autonomy to reject a man for the simple reason that it is her choice

Eluciens are all about feminism and “it’s HER choice” until it comes down to females not wanting a male

Eluciens don’t respect Elain’s feelings when they ship her with someone that was part of her trauma and makes her feel uncomfortable

The way some Elucien shippers completely disregard how uncomfortable Elain is around Lucien is so hilariously not funny. Prioritizing being mates over Elain’s feelings is just regressive

It’s hard as a fan of Elain to see someone ship her with a person who makes her physically uncomfortable to be around. Wouldn’t you want both characters to be happy to be around each other

Imagine if SJM saw all the awful things her “stans” had to say about Elain

It’s true that we know comparatively little about her, but is she really boring or do you just not value stereotypically feminine traits?

So y’all are just gonna tell me you prefer Elucien over Elriel? Even though Lucien treats Elain as if she’s something that belongs to him? The only reason he wants to be with her is because she’s his mate, he doesn’t respect her, doesn’t treat her as his equal, even though that’s what mates should be? He doesn’t bother to look past what’s on the outside to see her for who she is. And Elain is obviously repulsed by the idea that she should belong to anyone or have no choice in who she can be with. Azriel is her friend and the only person who sees her quiet strength. He has so much faith in her, in her abilities; he’s the one who kept her company when no one else did, he’s the only one who bothered to see her for more than her brokenness. You’re going to tell me you still prefer Elucien over Elriel?

The more I see Gwynriels that ship Elucien out of their hate for Elain, the less I can understand Elain stans that ship Elucien. Pls Elain has made it very clear that she doesn’t want Lucien, why would you ship her with him? Do you hate her too? Smh

The real question would be, if you care and understand Elain why would you ship her with Lucien (where she canonically shrinks when he is near)?

People crying over Helion and Lucien’s mom not getting to be with each other and her being forced into a relationship she didn’t want, but also ship Elucien? Just say you hate Elain

When Elain’s book is out, Gwyn stans will look like clowns and I will laugh because they set her up by shipping her with Azriel just because they hate Elain. Watch them play the victims now because Elriels are clapping back the hate they’ve sent towards Elain

As romantic as wanting girl who is visibly uncomfortable around a guy who caused her trauma to end up with the said guy. Guess their standards for romance are in hell

Category 2: Victimize Elain’s character

Gwynriels only want Gwyn with Azriel because they despise Elain

Gwyn stans and Gwynriels are Elain antis

No one in the books dislike Elain, so why are there so many people who do?

Elain hasn’t done anything wrong or questionable to warrant the hate she gets

Not having Elain’s POV makes it easy for people to be swayed a certain way about her character if you already don’t relate to her in some way

It’s been years since this series came out and we haven’t gotten a lick of an Elain POV, but people still hate her for what? We don’t know her thoughts, dreams, or aspirations

We haven’t even had Elain’s perspective yet and people are passing these judgments off on her

Elain antis who say she’s boring are just cruel when she has obvious symptoms of PTSD like Feyre and Nesta

Gwyn is one of the most overhyped characters and that’s only because most people hate Elain and they couldn’t wait to find a random girl to ship Azriel with

Nesta was abusive to her sisters but Elain (who has only ever been kind) is painted as the villain

From the text we know that Elain is the epitome of feminine stereotypes (gentle, gardening, baking, non confrontational for the most part). Yet people still call her boring or deny that she has any interesting character traits?

You can’t love Nesta and hate Elain

People hate Elain because of internalized misogyny and lack of taste. All the girl does is tend to her garden and mind her business and they treat her worse than Tamlin

Does Gwyn deserve all this support? Of course yes! She is amazing! But where’s that support when Elain was in the same situation as she? Where’s that support for her right now? Why do they idolize Gwyn for her interactions with Azriel and hate Elain for having any interaction with him?

It’s not even a ship war anymore, they just hate Elain

People hate Elain for no reason

Some of y’all don’t like feminine traits and it shows

We know less about Eris and Helion but people don’t call them boring. Why would rejecting femininity make Elain more interesting?

Elain has had a lot forced upon her

The main reason I believe most people love Gwyn so much is to get Azriel away from Elain. It’s not a secret that Elain has been a widely hated character for years so suddenly we get a new female who has a minimal amount of interactions with Azriel and BOOM. New ship that once again doesn’t make sense (just like Azriel x Emerie after ACOFAS)

Elain hasn’t done something so terrible for her to get this hate. At this point some of you are just being misogynistic and you don’t want to accept it. Don’t call yourselves feminists and then say bs like this, it’s embarrassing. She’s pretty and everyone agreed to hate on her

Just a personal feeling, but I feel like a lot of the Elain hate stems from internalized misogyny. That to be a strong female lead, you need to pick up a sword and fight. That to be strong, you need to adapt traditionally masculine traits

Elain is feminine. She is beautiful. She loves to bake and garden. She is docile, quiet, observant, and a people-pleaser. All traditionally feminine traits. Yet for some reason, she’s like the worst in these people’s eyes?

I think also maybe a lot of people can’t relate to her femininity? That her being so beautiful and quiet doesn’t allow for the people who dislike her not to self-insert? Most of the hate stems from people not wanting Elain to be with Azriel. It’s mean, but maybe the people who hate Elain literally just can’t self-insert if they have a story and that’s why they’re vehemently against it?

Poor Elain. The Cauldron dealt her a bad deal. Upon emerging as Fae, she is immediately declared by Lucien as his mate, never mind that she was already engaged to a prick. Her love life is not good

It blows my mind how they really think that they can compare all the shit that Elain gets with some dumb jokes about Gwyn on Twitter (and yes, the “hate” towards her started mostly because Elriels are clapping back, it was bound to happen)

I would think of it as anti-feminist with Elain and Lucien because she has consistently stated that she does not want him so if she was forced to embrace the bond that would be taking away her right to have a choice but with Az she feels comfortable around so if they were mates then Elain would be happy and feel safe which again should be the priority for women to feel safe in their relationships with anything and to not be forced into any type of situation aka the mating bond in this

Category 3: Coddle Elain’s character

Elain has value the way she is, in all her domestic girly glory. Not every character has to be badass

We don’t speak of Elain’s flaws frequently because everyone else already speaks badly of her, mainly in an unfair way

There is definitely something deeper going on with Elain but by no means will she ever be evil or any less feminine. That goes against everything we already know about her

It’s ok to critique Elain because she needs growth but y’all keep forgetting the shit her and her sisters went through

The last “bad” thing Elain did in ACOTAR was not help Feyre when they were impoverished and I’m tired of people acting like she’s a terrible character when it was their father’s responsibility. It happened 4 books ago and Feyre has forgiven both Nesta and Elain

Elain’s character and the evil Elain theory are a great example of the trend where people only consider female characters interesting if they reject femininity

We don’t know enough to hate Elain

Many people want Elain to turn evil (which in my opinion seems to come from a place of internalized misogyny)

However we don’t tend to talk about her faults, at least not publicly, as that has been, and still is, done to death, and I--personally, at least--find it much more fun to theorise about potentially interesting aspects of the overall plot, than dwell on negatives

And ultimately, I would be shocked if Elain has a more karmically-charged story than Nesta, considering that Elain’s “wrongs” are so much less severe and bad than Nesta’s, and Elain has already apologized for them (or paid the price in other ways, like through what Graysen did)

I guess I also think Elain has suffered and been punished enough. I hope her story is about finding hope in terrible situations, and learning to love her new life, and choosing her own path after everything that has been done to her. I don’t think she needs to be punished anymore or face any additional trauma

Also, why is she being judged on her decisions as a human at all? Fae are monsters to humans! They enslaved them for thousands of years, and the Wall was erected to keep them out

Like I’m sorry, but think Elain would want to leave her ONLY FAMILY AND FRIENDS for the Spring Court where she has no one because--oh look, lots of flowers!--is the craziest thing I have ever heard

Her sisters are in the Night Court. Her nephew is in the Night Court. Her closest friends (Nuala and Cerridwen) are in the Night Court. Her love interest is in the Night Court. Her extended family is in the Night Court. Her home is in the Night Court

SJM isn’t going to keep two sisters together and split up the third. Especially not keep Feyre and Nesta together and separate Elain. They were either all going to end up in separate places, or together. Not 2 here and 1 there

Compared to the other female characters in the series, Elain is the only character whose femalehood is at the center of conversations; this is because arguments in the Elriel fandom fixate on it when discussing her character. While Elain, Feyre, Nesta, and Mor are all representations of white womanhood and white beauty, Elain epitomizes the most fragile version of white womanhood. It’s easy to blame society’s perception of traditional female characters in comparison to non-traditional female characters when it comes to the discourse surrounding Elain’s character because it: falls in line with the fixation on Elain’s femalehood to silence opposing viewpoints; is a simplistic explanation that fails to tackle the underlying issues with Elain as a character, the same issues that are downplayed in-universe; absolves Elain of her wrongdoings; prevents the ACOTAR fandom from holding Elain accountable for her actions and inactions within the series; and diminishes the impact Elain’s actions and inactions have on those around her. It’s not that Elain is hated in the fandom because she’s a traditional female character; it’s the fact that arguments in the Elriel fandom deflect a critical analysis of Elain’s character because she’s a traditional female character who embodies the ideal white woman in need of protection. White fans and white-aligned fans of color, especially white women, have a tendency to vehemently defend, gatekeep, and coddle white female characters in fandom; this makes it difficult for other fans to engage in critical discussions about these white female characters because they’re viewed as flawless and all around perfect characters despite evidence to the contrary. Since Elain is viewed positively by the other characters in the series, it has rendered her character untouchable to any perceived slight or criticism in fandom discussions because those negative opinions challenge what has been said about her character thus far. And as a result, her character has been placed on a pedestal and implicitly hailed as the epitome of white womanhood; and when she’s criticized, it’s seen as a direct attack against white womanhood. Arguments in the Elriel fandom: exploit feminist language and perpetuate white feminist tactics under the guise of defending Elain’s character; center Elain in conversations about female oppression in the ACOTAR world and uphold white feminist ideologies in their critique of ACOTAR’s patriarchal society; and use the fragile white woman narrative to victimize Elain in Lucien’s presence, playing into racial biases that are associated with white supremacy’s defense of white womanhood.

Feminism is a social movement that seeks to promote equality and equity to all genders, and feminists work toward eradicating gender disparities on a macro-level, in addition to challenging gender biases on a micro-level. As feminism became more mainstream, a flat and oversimplified version of feminism emerged: mainstream feminism. The mainstream feminist movement is meant to represent all women, but rarely does it center conversations around issues that concern most women. The problem with mainstream feminism is that it’s just a popularized version of white feminism. White feminism has relied extensively on an individualized understanding of women’s oppression, exclusively from the lens of privileged white women. White feminism only focuses on the oppression experienced by white, able-bodied, affluent, educated, cishet women; and it views gender as the key mode of privileged white women’s oppression, isolated from the privileges granted by their other social identities. White women can be and are oppressed under the patriarchy but only because they are women; their identity as women does not exempt them from the privileges granted by their whiteness. The term white feminist does not mean any feminist who is white, but refers to feminists who prioritize the concerns of privileged white women as though they are representative of all women. However, the term is not exclusive to white people. Because white feminism is so pervasive, people of other racial and ethnic backgrounds often buy into white feminism, believing that if they work hard enough, they may be able to reap its rewards.

Just like white feminism, mainstream feminism only recognizes the identity of being a woman, assumes that all women share common experiences of gender oppression, fails to address other social identities in relation to overlapping systems of oppression, and disregards privilege in relation to various social identities. Just like white feminism, mainstream feminism is palatable because it doesn’t seek to challenge the systems in place, instead its goal is to succeed within them. Essentially, mainstream feminism and white feminism are extensions of performative feminism. Performative feminism is a type of performative activism that’s used to describe feminist views that are surface level and solely for the benefit of one type of person. It’s a pretense which often has nothing to do with genuine activism. Arguments in the Elriel fandom normalize and promote performative feminism because the topic of feminism is only referenced when discussing Elain. This indicates that these arguments are engaging in disingenuous discourse to push a personal agenda within the ACOTAR fandom, and it becomes more apparent when they use white feminist tactics to shut down opposing viewpoints:

White feminists weaponize and exploit feminist language to silence the opinions of other women, especially when they’re called out for their problematic behaviors

White feminists use the phrase “Women supporting women” to defend other white feminists who exhibit problematic behaviors instead of holding them accountable 

White feminists weaponize phrases like “Women supporting women” and “You just hate women” to attack other women who disagree with them on any given topic

White feminists use phrases like “All women face challenges” and “Stop pitting women against each other” to sidestep conversations about privilege

White feminists divert conversations away from privilege and towards the Trauma Olympics to equate their struggles to the oppression of marginalized people 

White feminists skirt around the realities of other forms of oppression and discrimination, downplaying the experiences of marginalized people

White feminists diminish or ignore the ways in which gender oppression affects other marginalized people

White feminists paint those they harmed as aggressive, mean, or divisive when confronted with the ways they have harmed a marginalized group

White feminists deflect criticism by focusing on the anger or emotions being expressed rather than the issue that is being discussed, invalidating the concerns of marginalized people

White feminists speak over marginalized voices in an attempt to sound “woke”

White feminists get defensive and insist there’s no way they could be a part of the problem because of what they’ve done to help marginalized groups already 

White feminists say they don’t see color in an attempt to obscure racial issues that need to be addressed

White feminists center and victimize themselves in conversations about racism, which derails necessary conversations from taking place

White feminists who are white weaponize the intersectionality of their race and gender to avoid accountability

Feminism is not meant to be approached from an individualistic perspective nor is it only about addressing the experiences of privileged white women, it involves addressing the intersections of race, class, gender, sexuality, (dis)ability, and other social identities as well; and it involves addressing how these social identities relate to privilege. Moreover, feminism is not about women upholding complete loyalty to other women because of a shared gender identity, and to claim that it does implies that women should be held to different emotional standards than men. If men are able to dislike and criticize other individual men, real or fictional, without their characters being compromised, why aren’t women granted that same privilege?

It’s clear that SJM set up the ACOTAR world to mirror a patriarchal society, and that the imbalance of power between males and females stems from sexism. Arguments in the Elriel fandom analyze the ACOTAR world through a feminist lens to show how ACOTAR’s patriarchal society, to which the mating bond is innately tied, contributes to female oppression and limits their agency. When choice and free will are emphasized as part of Elain’s arc, they imply that Elain, through the mating bond, experiences female oppression under ACOTAR’s patriarchal society because of her identity as a female with that identity being the focal point of her oppression in the world. Elain is one of the most privileged characters in the ACOTAR world: she’s High Fae; she’s the sister of the High Lord and High Lady of the Night Court, which gives her access to wealth and political influence because of that connection; she’s able-bodied; she was magically blessed by the Cauldron; and she lives in Velaris, a place that grants females autonomy and power because of the beliefs of Rhysand and Feyre. Arguments in the Elriel fandom trivialize female oppression in the ACOTAR world because they disregard the fact that Elain’s privileges prevent her from experiencing female oppression in the same way that other marginalized females in the world do. The mating bond being one such example because those around Elain are not forcing the bond on her, instead they’re allowing Elain to reach a decision about the bond for herself; a privilege that other marginalized females in the world probably wouldn’t have. Just because Elain has endured hardships in her life and is a female in a patriarchal society, they do not erase the privileges she holds within the ACOTAR world. The failure to include Elain’s privileges in discussions about Elain being a female in a patriarchal society feeds into white feminist ideologies because white feminism operates from a very narrow perspective; it doesn’t take other intersecting identities into account when it examines gender oppression, leaving no room for discussions about privilege (or lack thereof) in relation to those intersecting identities. When discussing oppression in hierarchical societies, it’s imperative that privilege is also included in the conversation because privilege and oppression are not mutually exclusive; they equally affect the ways in which people navigate those societies through their social identities.

Rather than attributing Elain’s uncomfortability to her new life as a Fae female or the mating bond itself and her trauma to the Cauldron, the King of Hybern, or Ianthe, they’re placed on Lucien to cast his character in a negative light. Moreover, fandom discussions portray Lucien as a possessive character to further emphasize Elain’s discomfort despite the inaccuracy of this characterization in canon. Arguments in the Elriel fandom play into racial biases when it comes to Lucien (a male character of color) because they mischaracterize his character in order to victimize Elain (a white female character), placing her character in the role of the white damsel in distress. In Western society, the concept of womanhood has been conceptualized from a Eurocentric perspective with femininity and feminine attributes favoring white women. It’s the idea that a certain type of femininity is only inherent to white women as they are seen as the embodiment of an ideal womanhood. White womanhood has been a symbol of innocence and purity, and white women have been viewed as fragile beings in need of protection. The reason white womanhood functions within white supremacy is because it’s the same idea that has motivated white men to kill and beat black and brown men. The so-called protection of white women has been used as a justification for the horrific violence committed by white men because black and brown men were stereotyped as aggressive and seen as a threat to the virtue of white women. The white damsel in distress trope considered white women as worthy of protection because of their perceived innocence and purity; women of color were not granted that same treatment because they did not fit into the ideal image of womanhood. Over the years, this trope became a means for white women to exercise limited power in a patriarchal society with white women weaponizing their status as the damsel much to the detriment of black and brown men. It’s through the white damsel in distress trope that white supremacy sustains its dominance in Western society. The misrepresentation of characters of color in fandom, the dismissal of their importance to the overall story, and using them as tools in arguments centered around white characters are the foundation of fandom racism; they’re examples of how racism moves silently in fandom spaces. Instead of examining their behavior and taking constructive criticism from fans of color, white fans will often double down on their bigotry and center their uncomfortability in the conversation when confronted with their complicity in fandom racism. White fans expect fans of color to swallow fandom racism in its many forms in order to not ruin the experience of fandom, dismissing the fact that racism is prevalent in nearly every aspect of society. This mentality ensures that no one is held accountable for the harm they caused and alienates fans of color in fandom spaces.

To reiterate what I mentioned in my first think piece: terms like “oppression”, “the right to choose”, “feminist”, “feminism”, “anti-feminist”, “anti-feminism”, “internalized misogyny”, “misogyny”, “misogynist”, “sexist”, “sexism”, “racist”, “racism”, “classist”, “classism”, “discrimination”, and “patriarchy” are all used in specific ways to draw attention to the plight of marginalized people and challenge those who deny the existence of systems of oppression. Yet these words and their meanings can be twisted to attack, exclude, and invalidate people with differing opinions on any given topic. When social justice and feminist terms are thrown around antagonistically and carelessly to push a personal agenda, it becomes clear that these terms are being used to engage in disingenuous discourse and pursue personal validation rather than being used out of any deep-seated conviction to dismantle systemic oppression. Being an ally, activist, or feminist is not an identity, it’s a practice. It requires: ongoing self-reflection; holding ourselves accountable; listening to marginalized people; educating ourselves; dismantling implicit biases; challenging those around us who are exhibiting problematic behaviors; and action behind our words.

It’s important to be aware of the language that is used within the fandom when defending or critiquing characters and ships. It’s also important to question how an argument is framed and why it’s framed the way that it is to critically examine the intent behind that argument: is it used as a tool to push a personal agenda that reinforces problematic behaviors, or is it used as an opportunity to share, learn, enlighten, and educate?

-----------

Tagging: @spell-cleavers @bookofmirth @m0bulidae @ilya-boltagon

[partyinthemysterymachine]

I WOULD LIKE TO HEAR MORE ABOUT THE SH ACTOR AU (per ur tags on the sh1 post), PWEASE,

LITCHERALLY SHAKES AND CRIES AND MOUTHBREATHES SO HEAVILY THANK YOU

SO i wrote a little bit a while ago, and there's even some art i did to go with it, as well as a piece i commissioned in its honor

however A LOT has changed since then lmao like So Much it's kinda insane. the first post i linked has a lot of incorrect information now, BUT i thought i'd slap it there for some basic ideas, and reiterate what’s still true here as well

THE STORY GOES that, because i love my own work, Get Out Of My Town (GOOMT) has been adapted into a Netflix series from the books series themselves. (yes; GOOMT is a published book series. how blessed and unfortunate for everyone ur welcome. WHICH LEADS TO AN

IMPORTANT NOTE: i, as the author, actually have no place in this. i don’t put myself in it at all, like i wrote it, published, and then fucked off lmao just blip bye y’all can deal with this LOL - not the “death” of the author but. yeah i’m just not involved, like an absent parent. this is ur problem, enjoy)

it’s advertised as a “inspired by Konami’s Silent Hill series” and some other legal mumbo jumbo that makes this possible, and to reiterate, it’s an adaptation of GOOMT. because of this it’s a little controversial on the notes that the two main male characters will end up in a romance; the various, deeply uncomfortable themes; why tf Netflix is choosing to take this big a risk; why the hell it’s getting a TV adaptation in the first place, etc.

so it’s getting a bit of publicity, to say the least.

there are four seasons planned, though, of course, the future of it is hinged on its success. they will move on to shoot s2 if it does well.

WELL GUESS WHAT IT SURE DOES AND HOWDY DO HERE COMES SEASON 2

(ALSO ALSO IMPORTANT NOTE: for ease and to avoid confusion, i refer to the actors (who actually have real person names) as their characters - even when they haven’t been cast yet.)

WE GONNA NEED A CUT HERE MY GOOD SUCKERS SO AWAAAAY WE GO

(no like seriously there's so much text under here lmao rip in fucking pieces all ye who dare enter)

the director cast a C-list character actor to play Harry, whose resume largely consists of minor roles in TV and barely known by name, more by “hey it’s that guy!”, and a new and upcoming actor to play James, who, thanks to his debut comedy film, has suddenly rocketed into fame and the public eye.

naturally, casting James for such a serious role directly after cementing himself as a comedy actor has people scratching their heads and already saying he’s going to nuclear bomb it. he’s brand spanking new to the big time entertainment industry, possibly on the way to being an A-lister, and he’s gonna risk career death already??? ur fuckin nuts but ok sure whatever dude

the doubts that he can even go on an Ambien-powered DREAM of doing a small serious role any justice are high, as when digging into his resume, his theatre credits are primarily comedic roles. he’s shown himself as pretty relaxed and funny as person in interviews while, to his merit, holding an air of maturity. he’s very fun and interesting to interview, and his social media is rather chill. he posts every few days, answers fan questions and general interaction, does the occasional expected promotions, his pictures/videos are a total delight, and seems to be taking near-instant fame pretty damn well.

James has loads of nerdy interests, mostly in prop replica, but include collecting playing card and baseball card decks, preservation of Las Vegas history, gambling machines (including pachinko! but not as much as American machines; and no, he’s not a gambler), SPAAAACE, and the evolution of toys.

on the other side of the concert hall, also casting an essentially no-name actor to play his first huge role is getting some chatter. people’ve dug up Harry’s credits and done some nitpicking, many believing that there’s no way he has the actual talent and range to do barely a pebble’s throw of a good a job as other main listers could. there were rumors of other well-knowns potentially slated to take on the role of Harry Mason, which were obviously all just that: rumors.

some speculate that he was chosen thanks to his SURPRISINGLY CONVENIENT natural, deep widow’s peak hairline, AND his left-handedness. (imagine that. what a coincidence. wow. what good luck indeed!!) Harry obviously nailed the auditions and if he didn’t, he was ready to retire from acting. he’s been in the business for decades, was tired of the small character roles. he stopped looking for his Big Break a long long time ago, and suddenly he’s Harrison Ford’ing it by getting a leading role in a Netflix show. Whew.

he hasn’t gotten to do an interview yet, only releasing a statement about how pumped he is (with some old photo from one of his TV roles for reference), so the public is left wondering what kind of a guy he is until he’s sitting across from some journalist.

so these are pretty gutsy casting choices, which pushes more publicity and anticipation onto GOOMT, ensuring a healthy viewership for, at the very least, the first episode. phase 1 of evil genius complete. suckers

James is 25 to his role’s 27; Harry’s 43 to his role’s 48. they tried to intentionally cast a bit younger without jeopardizing the “wrong look” of their characters, thinking ahead that, should GOOMT get its four planned seasons, it’s going to take years to shoot, and so James and Harry will age and “grow” into the look/age of their characters.

(this thought process was based on the evolution of the cast of Stranger Things; no, the adults didn’t really have much differences in their appearances to show for in terms of age during the years it took to shoot, and they of course have modern makeup to fix any problems, but they are working against time. this sounds very confusing and contradictory to the above “they have time to grow into their characters so cast young” to a lot of critics and such, but the director is so fucking weird that people have given up on trying to figure that one out.)

other changes include dyeing James’s hair from auburn to blond (which will then be decided that he’ll be wearing a wig to avoid killing his hair lmao), and dyeing the correct grey pattern into Harry’s naturally dark brown hair. neither have to wear contacts, as WOW LUCKILY ENOUGH, James bears green eyes, and Harry, brown. Harry does get to have prosthetics made for his ears to make them elfin :3c

Harry was required to gain weight for the role and, contrary to the first link’s information, was NOT as pleased. James just has to maintain. it sucks a little (lot), for, to the knowledge of absolutely NOBODY and they’d like to keep it that way, they both suffer from eating disorders. that are the opposite of each other. and they have no idea they’re about to be each other’s triggers lmao RIP IN PIECES KEK

i honestly flip flop between how they first meet: was it a part of their final audition process, doing a couple scenes together to judge their chemistry, or did they meet the first time when they met everyone else (crew, production team, big wigs, etc)?? i have actual scenes/ideas as to how both scenarios play out, but i’ll spare y’all for now LOL

IRREGARDLESS (god i hate how that’s actually in the dictionary now), they hit it off splendidly. they make a point to hang out outside of production time, text, get to know each other. Harry gets to enjoy (not) the paparazzi experience for the first time and thanks he hates it :) so now the public gets better pictures of him, unflattering and flattering, out on his own and also out with James. it really fucking sucks and it makes Harry so anxious that he’s This Close to actually backing out, but.. can’t do it, for a multitude of reasons; the show must go on.

he eventually gets used to it and, with James (and in the future, Douglas and Heather), get to have a bit of fun with the paparazzi, on their own terms.

Harry hails from West Virginia Appalachia. he worked hard to get rid of his VERY thick Appalachia accent, and somehow got out of that holler when he was seventeen, right out of high school that day. there isn’t a person out there that could confidently snitch on Harry’s “normal” American accent (aka, Midwest). there have been a couple roles he was able to use it for, though. these days he practices it in private, feeling attachment to it after being so ashamed of his roots for all his life, finally trying to preserve a bit of his own history.

he’s also mega fudged personal information in order to scrub himself free of being a deep mountain hick (which he’d say himself that he was.. is). but now that he’s stepping into the limelight, he’s just waiting for that shoe to drop, knowing how snoopy people are and how information can just be plucked out of thin air, and he’s always HIGHLY valued his privacy.

yeah. he hired a therapist. there’re a lot of triggers he didn’t even know existed for problems he didn’t even know he was repressing.

Harry’s lived in the Los Angeles area/suburbs for about twenty years now, and along the lines, bought a house. he paid off the mortgage on his house just a couple years ago. his house is time capsule frozen smack dead in the 70s and in the “ranch” style. it’s a modest, unassuming abode, with shingles painted brown and wood strips hatching diamonds onto the smaller windows. the door is an orange-yellow with four textured smaller glass diamonds in dark red, orange, blue, and yellow.

mustard yellow curtains shield the living room behind the large and wide front window, where built-in planters with the same white border and hatch pattern hold seasonal flowers. a huuuge old oak tree shades most of the lawn, which is kept such a pretty green, and even partially shades the lazy snake of a walkway. it’s cement and bordered by earthy, multicolored bricks, a few lanterns alternating in distance to guide the way, and annuals planted amongst them.

the house had seen an exterior remodel, and when he saw the original pictures, it drove him absolutely crazy LOL so he fully plans to get someone else in and DO IT AGAIN and return his goddamn house to its proper exterior glory. and fix a few things. anyway,

the most important thing about his house is that he has a conversation pit. thank you for your time

he also drives an old 1987 Toyota Corolla LE sedan in that wonderful light blue metallic (8D8), totally unremarkable, and he loves it so much.

James moved to Los Angeles from Portland, Oregon. he was born in Idaho and went to Portland at seventeen to try to get his foot in the door in doing some theatre, make friends, have weird experiences, meet a girl, break up with her, meet another girl and have an exciting two-year romance, dabble in plaster sculpting, get REALLY super into/discover the nerdy interests he has now, come to kinda super hate Portland,

he went to audition for the comedy movie on a fuckin whim. he was in San Fransisco of all places when someone mentioned it and he was like. okay fair when is it?

and he jokes about this a lot in interviews, how it was a literal race against time and all odds to make it to the audition before the cutoff, like he was in some late 80s-mid 90s feel-good movie. James had about no knowledge of what he was auditioning for other than it was comedy, had nothing prepared, a fly’s sigh worth of knowledge of the character, and blew it all right out of the park, home run, won the championship.

life has been BONKERS since then. he’s been nominated for awards, been on red carpets, getting starstruck meeting people he thought that the potential to be meeting them would be through a wild LSD trip - and so busy, and so stressful, and he’s turning back to unhealthy coping mechanisms. he’s seeing a therapist - and just glad he never got into substance abuse.

too much of that one at his childhood home.

James doesn’t like the flashy mansions - or any really huge house. it’s only gonna be him most of the time! truth be told, he’s no party boy, and the vibes gotta be good. he instead got himself a sweet little industrial/exposed brick wall/repurposed warehouse/firehouse type loft. a LOFT! with BIIIG floor space to skateboard on. (oh yeah; he does that. it’s kinda cute seeing him nyoom through the sets/backlots all dressed up as his character James Sunderland, backpack and all)

AND A FIREMAN’S POLE! FUCK YEAH he’s having a great time dressing up the place in all his nerdiness and yeah.. buying some expensive bells and whistles like telescopes, outfitting the garage into a workshop.. some collection items.. installing an enormous fish tank in the wall in his bedroom so he can have his bed right up against it and stare at the fish..

it’s weird and lonely and James isn’t sure how long it’s gonna take to get adjusted. yeah, he has friends over, has been making new friends, busy schedule, blah blah.. but just.. weird. he likes the fish though, and that he can skateboard indoors without anyone saying jack shit about it, and really didn’t like the Dolce and Gabbana suit at all……. not much of a fan of the brand so far, anyway….. god, rich people are stupid about brands. (hipster of him; you can take the man out of Portland, Oregon, but..)

James thinks that it’s SICK that his character drove a 1977 Pontiac Ventura but can’t see himself ever driving one. he can appreciate vintage/classic/hot rods/vintage muscle cars (Road Runners are fucking SWEET and they go MEEPMEEP and the Firehawks are REAL cool), but…… he likes motorcycles. yeah, he rides motorcycles - and he’s not about any discourse. straight up doesn’t care.

he owns a 2017 Yamaha YZF-R3 ABS that is custom painted with (yeah, sparkly) He-Man/KISS theme. look. he’s 25 and stupid as fuck and he unironically loves He-Man and KISS. actually he doesn’t really know about KISS, he just likes a lot of the KISS merch he always saw in Spencer’s and the pinball machine was cool. anyway, KISS

BUT ANYWAY

Douglas pops up out of total nowhere. GOOMT has wrapped its first season and they’ve already been green lit for s2. fame is comin to the cast and crew, and god pls leave Harry alone!!! he was doing his best to go incognito one night, wearing a stupid beanie to hide his hair (nothing can be done about his beak, rip), dressed casually and Not-Harry Mason (which he’s figured out has more of A Look than he thought it could), and for the most part, he’s been flying under the radar tonight.

so he was heading down the sidewalk after having dinner with James and his girlfriend (met her on set; was a monster girl extra lmao), going for his little car waiting for him at a meter. but parked a car ahead of his Toyota, there’s this REALLY stunning beige, four door Chrysler New Yorker, circa late 1960s.. but couldn’t tag the exact year. Harry’s not too much of a car guy, but he can appreciate a good looking car.

so he goes to take a look. it’s evening, about 9p. Harry doesn’t notice someone sitting in the front seat, so when he bends to look through the passenger window he gets a HUGE jump scare when he sees someone peeking at him lmao, and when this enormous, 6’4” dude (in his early fifties, Harry guesses, with beautiful, fully grey hair, built Ford Tough like kinda soft but undeniably STRONG underneath, whew) steps out Harry wants to die but for two reasons and the first one goes in the fucking trash—

anyway Douglas apologizes for spooking him, Harry says sorry for being creepy looking at his car, they have a little talk about the car. vibes are amazing. Harry, after that weird lull of silence after conversation you can’t figure out how to proceed with, says his thanks and goodnight and goes to leave, when Douglas is like hey wait. you wanna come to trivia night?

Harry’s like, h u h ? and Douglas explains that he was heading in to trivia night at the bar/lounge right up the street, he’s meeting some friends there, wanna come along? Harry bluescreens a bit, gets some anxiety about Being Seen but. doesn’t let that hold him back. his gut says go, so he says sure, drops quarters into the meter so his car doesn’t get towed and LA is HELL, and away to the bar

packed place. Douglas’s (rather big) friend group are wedged onto two couches (and perching on the coffee table) in the back. they all say their hellos - and, realizing he didn’t want to use his actual name because people are already giving him the curious ‘i think i recognize you’ squint, Harry grabs a name and profession out of the air to hide behind for the night.

Dusty Farlow the home carpet cleaner gets to know a great group of people during the Los Angeles History Trivia Night (with a bonus round of landmarks haunted by celebrities from the silver age of Hollywood!) he’s amongst a mixed group of people ranging from age 22 (it seems) to about 60 (it seems). and yet. none of these people (except a couple of amused/curious looks), not even the old-timers, recognized the pseudonym he chose for the evening.

guess no one watched Dallas.

ha.

anyway the night wears on and Harry learns that Douglas is a glassblower and he “moonlights” (as he calls it) in making glass tiles, glass paperweights, Crown glass for windows, and kaleidoscopes. he didn’t get to hear much more on that front and only got bits and pieces about him where he could cuz it was hectic, and loud, and the conversations were everywhere.

anyway eventually Harry has to make his excuses and ago, he’s kinda getting claustrophobic and super tired, and starts to say goodbye but can’t see Douglas :( probably went to the bathroom but hhhh he’s seeing a cluster glancing at him and whispering and not-so-sneakily holding up a phone so it might be time to make like a tree and scram

he gets out into the night and starts down to his car and Douglas catches up to him, apologizes for having disappeared into the bathroom at the wrong time, they say their “thanks it was great hanging out” and then Douglas asks for his number……. ……. and Harry surprises himself by giving it to him, and Douglas returns the favor, sent a text, now they have each other’s numbers for sure

another goodbye, shyer? shy from Douglas too? and Douglas goes off, leaving Harry standing there like. what the fuck just goddamn happened here on this one night and Yeah so There’s That

i can jump WAY ahead to how Douglas gets cast BUT GOD I’VE GONE ON SO LONG KDFLKSFGHSDIG

ANYWAY that’s essentially the basics of actor AU, it’s a TV show, shenanigans ensue, there’s So Much and by god it goes even HARDER on set and how their professional lives flow and all those other interpersonal relationships and i have so much lore it’s so stupid lmfao

THANK YOU FOR YOUR INTEREST AND GOD BLESS I HOPE YOU ENJOYED THIS GREAT BIG MESS 🙏🙏🙏🙏🙏

[thejudgingtrash]

Can you explain to me how Rachel was annoying in the series?

Well, I’ll try to keep myself short for this one (lol no, this took an hour to write). Also, let’s not forget that they’re all kids, but I’m basing this off from when I read the series as a fourteen year old because my opinions haven’t changed much (for better or for worse).

I’m not the biggest fan of Rachel. I have to admit that portrayals of her by Simi, Kit, Logan, Apollo and all the others helped to shape her into something cooler than what she had been in my foggy memories but I actually went back to take a look in the books (well, TTC + BOTL so far) to refreshen my mind about events that have happened.

Also, you should browse through @blackjacktheboss's blog as she’s a) hilarious and b) says whatever I say in like a single sentence lol. But your ask is about me and my opinions so here we go:

What I didn’t like about Rachel was that she’s rude and bold (DON’T GET ME WRONG, I love that in female characters!!!), but she doesn’t have Annabeth’s excuse of survival of the fittest (literally running off as a traumatized seven year old) and introducing us into the world of the Riordanverse.

Percy was on his way, had shit to deal with and Rachel pretty much interrupted him from the get-go and thought getting her answers was more important than letting Percy just rush forward. Yes, this is Rachel’s entrance into the series and the net Riordan threw into the sea, to make us little fish adapt to her. But it still didn’t sit right with me, probably because I would never interact that way.

I get why she did that, but it’s the way how she did it that’s just making me go ???

Even if I was seeing weird things, I wouldn’t set out to distract/interrupt someone who is incredibly busy to get my way. Rachel’s dick move seems like a Karen boomer type of thing to pull off, but guess that’s up to you.

If I were her, I’d either film/try to photograph the monsters via phone (if that’s possible) or internet stalk enough to find the other person (note: despite Riordan’s stupid rule of not being able to use phones, demigods still can use computers/the internet, I guess). Percy was national news like a year or two ago in the timeline, so it shouldn’t be that difficult to find more stuff out about him, even in like 2008 or so. Let him have a spot on Perez Hilton's shitty gossip blog, for the OGs reading this.

Annabeth was used as a tool of exposition to introduce us to CHB, the demigod life and how things roll around there. She barged into Percy’s mission as a nuisance first but a necessity second in TLT.

However, in comparison to Rachel, Annabeth was transformed into a fully-fledged protagonist within a span of a chapter or two. Rachel needed another separate book after her first appearance, so we don’t just know Annabeth better, we know that she’s an important constant throughout the story as of Rachel seems… almost random? Is she truly necessary as a character?

This doesn’t come from a shipper perspective, this is coming from a character design perspective and adds to the feeling that the way she has been introduced to me as a reader just seems off.

Yes, BOTL makes sense with her as a reborn Ariadne, but technically Sally could’ve done the job as she’s a clear-sighted mortal as well lol. Then again, Sally is an adult, went to college, had a job, was unfortunately probably working it up with Paul, did the cha cha slide with him and had overall better shit to do.

Then Rachel as the oracle, which is just super weird in general. Wasn’t Apollo himself responsible for issuing prophecies in the OG myths? Or did he both, have the oracle of Delphi as his spokesperson and issue important stuff to Team Olympus? Am I mixing things up? I’m getting sidetracked, my bad.

Either way, this oracle gig might be the only time I’d say Rachel might be important in the future (badum tzz), but Riordan fumbled the bag in the follow ups series so there’s that. Did she even appear in HOO? Can’t remember and also don’t care.

Rachel is used as one out of three choices in regard to his love life that Percy can make. Calypso literally got introduced into BOTL and was admittedly Percy’s biggest what if… But the general gist doesn’t sit right with me. We have three possible routes with Percy and the others:

Rachel: somewhat normality in the mortal realm

Annabeth: the danger and thrill of the demigod life

Calypso: ambrosia and nectar. a hint of immortality

(On one hand, literally why but on the other hand, mad props for Percy who has literally three romantic leads in the same book.) I’d cancel one of them at least out and since Annabeth isn’t going anywhere, I’m taking Rachel. Sally could literally been Percy’s anchor to a normal mortal life as she had intended until it didn’t work out anymore when he became twelve and his monster alerting scent grew stronger.

Calypso and Annabeth would’ve been the perfect opposites where each of them had a strong case. The demigod life within the realms or mortal or the demigod life ascending to Olympus/immortality. Sounds cooler and is way simpler. Three people is way too much, this truly feels like a shonen anime harem thing and it’s defo not my cup of tea (and while some Annabeth sideships aren’t my thing (Lukabeth go cry in the corner, no one likes you, WTF, Connabeth you fugly), it’s super unfair that Annabeth solely has Percy (fuck off Luke) to rely on in regards of romantic endeavors).

Rachel almost feels redundant? The option to walk away from all of that… which isn’t really true as Rachel really tries to push and insert herself into the story the very first time we meet her? But that’s just me, I’m certain that others are saying they’d kill off Annabeth or kick Calypso (I mean yeah) into the curb.

Big ALSO:

Why does Percy need another white and uber-rich love interest?

I semi-joked on Dez’ post (@sawasawako) with this response about Annabeth needing to keep up with powerful Rachel, but the core still stands.

We already have an affluent Annabeth (granted, we don’t know exactly how the Chase’s riches are divided, whereas it’s clear that Rachel can just make anyone drop dead by saying who she is. Annabeth needed that weird lotus casino credit card to make that happen, so Miss Harvard Legacy doesn’t wield that Dare schmoney. Also don’t think Annabeth can just up papa’s money and go…? Idk).

Why do we need another person needing to upstage this?

Like Rachel has to triumph in regards to standard and prestige as if it were a badly written Jane Austen AU. For what reason…? Why not make Percy friends and acquaintances with someone who comes from a normal household for once, not super rich brats (Piper, Annabeth, Rachel, technically the Graces with their TV starlet mother amongst others).

Moreover…

Important question: why should Percy actually be impressed/attracted to that? He’s dirt poor and has been sent to (boarding) schools filled with stupid rich people since he’s been twelve, probably even younger than that. As if that’s the very first thing Percy would look out for or be wowed or something. He’s used to rich douchebags. I think he’s more surprised that someone used their money for his benefit for once and not to crash daddy’s new Mercedes again.

Like seriously… Rachel did that weird art project thing in BOTL with her covered in gold and posing like it’s a super normal thing to do? Even for rich snobbish kids standards? That sounds weird to me. I don’t know, maybe Riordan’s been streaming the new Gossip Girl reboot on HBO Max on repeat and thought this girl is on fiyah (performed by Alicia Keys).

Rachel trying to separate herself from her money just comes off as super hypocritical when she’s using the very same funds to finance her lifestyle. I get it, trying to make amends and make a difference with the damage you have done but... your father still doesn't give a shit about the environment or YOU, sweetie. Kick him in the balls for once! Then you can go out about your art projects.

The concept of Percy having friends in the mortal realm is cool, but why does Rachel almost have to compete with Annabeth with her wealth and art stuff?

No seriously, the comparisons are constantly there, out and about. Roaming freely on the finest grass, needing to be feed delicious locally sourced carrots and stuff.

Annabeth is Athena’s kid. Athena is the goddess of wisdom, weaving, justice, warfare yada yada and arts and crafts. So definitely something which would affect Rachel, right (someone write that Athena messing with Rachel because she can AU and tag me please!)?

Annabeth wants to become an architect which translates to fancy building designer who is driving engineers like Leonardo Eugenio Valdez Cortes insane irl because the maths and physics don't work like that in the working field trust me I'm an engineer, which could/should be considered an art form.

They even shared some common ground while talking about architecture and design in BOTL!

Furthermore, they both share broken homes with absent parents (granted that all demigods go through that). Wealthy families at that as well. Shitty fathers that don’t care about their daughters well-being. Rachel however, is super powerful and influential in an unseen level in the mortal world. She isn’t like Matt Sloan (?) who truly messes up by destroying shit to get his father's attention, but she’s still in that circle and can easily demonstrate that. Making deals with her father and what not. We rarely see Annabeth doing that. Did y’all forget the fucking helicopter Rachel brought along in TLO?

Pan saying Rachel is just as important as her father has multiple meanings to me…

(Sidenote: I do think it’s hilarious that Annabeth is jealous/annoyed of Rachel that her remarks were she’s cute right and Percy went??? Or when Tyson said Rachel’s pretty? Or that time when Annabeth actually defended Luke and his weird behavior (because Kronos was slowly taking over, don’t forget that kids!), because f that rich artist nepotism kid that Rachel seems to be, right?)

Another note: Percy thinks Rachel is annoying in BOTL for a while and it took a while for him to admit that and he spent way more time being annoyed/jealous (for once, Lordy) at Luke for him to even notice lol.

I guess it’s really hard for me to exactly pinpoint what’s bothering me. I believe Rachel's persona just doesn’t seem to hit right, because it feels like a knock-off Annabeth who just simply isn’t a demigod, yet has two cool powers, but in even richer who still needs to be part of the story for exactly what reason?

The jumping around from the richest in the series to the poorest in the series is kinda bothering me as if the middle class doesn’t exist, like I’ve stated earlier. Why didn’t Riordan mix it up with Rachel, giving her more nuance the minute they met, not towards the end? Have her be Percy’s platonic friend from the get go. No weird oh wait she is kinda cute in the middle bullshit.

This kinda drifted more into a Perachel vs Percabeth essay, which really wasn’t my intention. Don’t worry kids, I’m criticizing Annabeth (and her stans) enough already.

And I do think that others in the fandom have softened my views on Rachel as a person like I’ve stated in the beginning. So friendship!Perachel is popping! But I do think that there are some valid points that I’ve made.

Also not gonna lie, Rachel issuing the new prophecy in TLO kinda dampened the end of PJO series but that’s more Riordan’s fault than hers.

TLDR: I’m just not a huge fan of this overbearing, uber-rich, excessively flaunting being that Rachel sometimes displays. She’s flawed, she’s broken at times, has a semi-interesting background story (although it has been done over and over again throughout the series and should be changed up for once) which is great, but it is still annoying.

We don’t need an anti-Annabeth who feels like a weird caricature of the real Annabeth.

Also if this seems super incoherent, repetitive, or whatever, I'm sorry, massive headaches + mental health going down the goo lagoon does this to ya, I hope I made somewhat sense!

[t4tlawlight]

YOU'RE AN AVENGER, A DEATH ANGEL. YOU KILL PEOPLE WHO ASK FOR IT, WHO DESERVE TO DIE. YOU'RE A WATCHDOG, A PROTECTOR OF THINGS DECENT. YOUR COMFORTS ARE SACRIFICED FOR EFFICIENCY -- YOU CAN'T DO WHAT HAS TO BE DONE WITH PEOPLE MOANING AND CLINGING TO YOU, YOU CAN'T STRIKE WITH POSSESSIONS WEIGHING YOU DOWN. YOU HAVE A CLEAR HEAD AND NO REGRETS. YOU CAN TAKE OUT ANYONE BECAUSE YOU'RE STRIPPED DOWN AND YOU DON'T DEPEND ON OR TRUST A SOUL. YOU ARE EFFECTIVE BECAUSE YOU DON'T LOVE ANYBODY OR ANYTHING. YOU'RE A ONE- MAN FORCE, THE PERFECT INSTRUMENT OF DESTINY.

– "INFLAMMATORY ESSAYS 5" by Jenny Holzer

(this is a companion piece to Love and Belonging, my early drama light analysis! [LINK] i heavily recommend reading it before continuing this analysis, as i reference events and ideas explained in that post.)

in my previous analysis of drama light, i focused on the events that led him to become the man we see in the beginning of the drama: a gentle, kind man who is underachieving but still brilliant, who takes a maternal role in his household after the death of his mother. This is all crucial to understanding Light’s character in the drama and how the events leading up to him becoming Kira change in line with his altered characterization, but that analysis only barely skimmed the surface of Light’s character development throughout the drama, and especially after L’s death.

the drama fandom--including me!--is somewhat guilty of making blanket statements about drama light’s morality as opposed to his manga counterpart, that drama light is kinder and gentler in comparison to manga light. this may be true early on, but i would argue that as the series progresses, drama light willingly and deliberately throws away his love and humanity just as much--if not more!--than his manga counterpart.

to understand what i mean it’s important to compare light’s relationship with his father between the adaptations.

in the manga, light grows up idolizing his father, loving and admiring him and wanting to follow in his footsteps as a police officer. his morality that leads to him ultimately becoming Kira comes from Soichiro, as does his dissatisfaction with the world as he sees his father work himself to the bone trying to eradicate crime that seems to never end.

there’s a lot more that can be said about the nature of their relationship and about how Light desperately seeks his father’s approval, but instead of typing out an entire analysis i’ll link you to this post by tumblr user mikami [LINK], which is a very good analysis of the two of them in the manga.

conversely, in the drama Light begins much the same, but Soichiro choosing to chase a criminal instead of being by his wife’s deathbed--leaving his children to witness their mother’s passing alone--strains Light’s relationship with him. Light has much of the same morals and worldview as manga Light, but now believes that his father’s morality is more or less worthless, since he had to give up his family to pursue justice.

Light: When my mother died when I was a kid, my father was off chasing a criminal… I thought my father’s form of justice couldn’t be worth much, if he had to sacrifice even his family to see it through.

– Episode 7

however, it’s important to note that while Light is cold with his father and resents his occupation, that does not mean that Light does not still love and idolize his father. he wants his father’s love and support, and he cares as deeply for him as does his manga counterpart. in fact, drama light only becomes kira out of a desire to protect his father--after his first, accidental murder, he throws away the Death Note and tries to forget about it. however, his father is taken hostage by a criminal who intends on seeking revenge for Soichiro putting him in jail years ago, and Light is forced to retrieve the note and write the criminal’s name to protect his father.

[photo: a zoomed in shot of the Death Note. Light is writing the name “Otoharada Kuro” in Japanese. the penmanship is shaky and nearly illegible from how hard Light’s hand is trembling.]

– Episode 1

Light is literally shaking with terror as he writes the name of the man about to kill his father.

and this is not something Light does lightly--after he saves his father and it’s announced that Otoharada is dead, Light is absolutely stricken with guilt and horror for murdering two people, including the man who was about to kill his father. he saved his father’s life at the price of another, because he loves his father--and his entire family--very deeply.

it’s also worth noting a slight difference between the manga and the drama; after the mock execution, drama Soichiro admits that he believed Light could be guilty and was prepared to die. Light--who at this point has no memory of being Kira and thus completely believes himself to be wrongly accused--does not blame his father for not trusting him. Light, who desperately wants his father’s approval, does not blame him in the slightest: instead, the subject of his anger is Kira himself for putting Soichiro in this position and making Soichiro suffer.

Light: I… I hate Kira. Kira, who made you suffer this way… I hate him so much. Soichiro: Light… Light: Please catch him. I believe that you can catch Kira, Dad.

[photo: Light and Soichiro in an abandoned parking garage. the two of them are crouching beside Soichiro’s car. Soichiro is hugging Light, who weakly raises his hands to hold his father in return.]

– Episode 6

the two of them embrace and weep before collecting themselves and returning to Countermeasures.

by this point in the story, it’s obvious that both versions of Light love Soichiro very much. Light is creating his “new world” for the good of humanity but also for the people he loves the most--his family.

later, the emotional death of manga Light comes after the passing of his father, which he never wanted nor planned for. he never wanted Soichiro to be in a position to get hurt and he is never, ever the same after Soichiro's death, especially because he never gains his father’s approval for his actions as Kira--in fact, Soichiro leaves him with an outright rejection of Kira entirely.

[panel 1: a close up of Soichiro’s eye. he looks like he’s in pain. the speech bubble above his head reads, “I still have the eyes. And according to that Shinigami… Ryuk, I can’t see the lifespan of someone who owns a notebook.

panel 2: Light is standing above his father’s prone body. Matsuda stands behind him, bandages on his face and arms. Soichiro continues, “Light, you’re not Kira… I’m so glad…” Light looks shocked in response, a speech bubble above his head reading only “!” Matsuda says, “O-of course he isn’t! You were still worried about that?"]

the fact that Light can never gain that approval leads to him becoming incredibly dissatisfied and simply going through the motions--it’s what leads to him treating other people like cogs in a machine that will listen to him without any free will of their own, which is what makes him not foresee that Mikami might take action of his own accord. this is how Light gets caught in the end.

in the drama, however, Light experiences more than just his father’s rejection. Soichiro confronts Light directly about being Kira, catching him in the act. this is, of course, Light’s worst case scenario--he does virtually everything he can to lie his way out of it, to get his father back on his side, but fails. Soichiro acknowledges the fact that it was his fault that Light turned out this way, and also that he failed to notice that Light was suffering up until now--and then begs Light to turn himself in, in a scene that echoes L’s confrontation with Light from a couple of episodes prior.

when Light refuses, Soichiro begins to write his own name in the book.

Light: No way. Dad… Stop it. Dad! Stop it! Dad! Soichiro: There’s a struggle going on in your soul right now, isn’t there? That’s what it means to take someone’s life. That’s the weight of a human life. Do you understand, Light? Light: If this suffering is the real thing, I really can’t forgive criminals. I realized it, Dad. Even someone like me… There’s something even I can do to serve the world. Soichiro: How does killing people serve the world?! Light: I’ve sacrificed a lot of things, too! You of all people must understand how I feel! We’re working for the same thing. To protect the peace for everyone. With that notebook, I can create a world without crime! I’m just like you! Soichiro: You’re wrong. Open your eyes, Light. Come back, Light.

– Episode 10

with this ultimate rejection of Light’s actions, Soichiro finishes writing his name and Light allows him to do so. it isn’t as though Light couldn’t have stopped him if he really wanted to, either; on one level, turning himself into the police as Soichiro requested would have saved his father. on another, we see him rip the Death Note from Soichiro’s dying hands moments later as his father attempts to burn the book. Light is perfectly capable of saving the book and only acts when the Note is in danger, not his beloved family member.

of course, we never see manga Light exactly in this position, either, and I can’t say that I think that manga Light would have turned himself in or physically ripped the Note from Soichiro’s hands. both Lights did virtually everything they could to never be in a situation where they had to choose between the safety of their family members and being Kira, and I doubt manga Light would have done well emotionally with Soichiro outright rejecting him, his actions, and his ideology.

however, their actions and behavior immediately after Soichiro’s death is extremely telling. when manga Light is rejected by his father, who died as a result of a plan gone awry, he is completely devastated.

[photo: a panel of Light Yagami screaming over his father’s body. tears are running down his face, and he yells, “Dad! Dad! Don’t you die, damn it!”]

he sheds tears--which are rare for manga Light--and he mourns over his father’s dead body for quite some time. as i said previously, he is never the same man again after his father’s death.

drama Light sheds tears as Soichiro writes his name and is clearly upset by his passing, but his mourning period is immediately interrupted by desperation to get the Note back. he spends Soichiro’s last moments wrestling with him for the Note, and once his father collapses he takes the note, wild-eyed, and holds it to his chest protectively. in this instant, he cares more about the safety of the book than his dead parent--because he had just chosen the notebook, and being Kira, over his father.

after Soichiro’s funeral, Light thinks this:

Light [internally]: Dad really did open my eyes. If I am to become a God, sacrifices are inevitable. No matter who it is that pursues Kira, I will erase them.

– Episode 10

this is Light implicitly saying that sacrificing his family members--sacrificing Soichiro, the man he began killing in order to save--is inevitable if they oppose Kira. of course, this is very similar to the way that manga Light distances himself from Soichiro after Soichiro’s death, to save him from the hurting that it caused him.

[photo: a panel of Light Yagami’s face, zoomed in close so we can only see one eye, his nose, and most of his mouth. He is scowling, most of his eye cast in shadow, and he’s sweating and panting. He asks, “Dad? Are you talking about Soichiro Yagami?”]

of course, all of this begs the question of how drama Light--who began a sweet, gentle boy who was more or less coerced into using the Death Note to begin with--got to a place that even manga Light didn’t have the chance to get to, where he was more willing to save the Death Note than his own father. it’s important to consider another relationship that drama Light has that’s much different from manga Light’s--his relationship to L.

manga light respects L's intelligence and sees him as an equal, as entertainment at times, but he doesn’t like him. not even during yotsuba arc, where they’re ostensibly on the same side--in fact, i would say yotsuba Light has more reason to dislike L, seeing as though he believes L to be falsely accusing him and having tortured him for virtually no reason. they're not actually friends--it’s a manipulation tactic. moreover, L sees him the same way. they were not friends and they both intended on killing each other until the bitter end.

by comparison, drama light and L's relationship starts that way--with the two of them wanting to kill each other, with a pretense of friendship that is actually an excuse to get close to each other to try and test for weaknesses--but the difference is that they, well, fall for their own bullshit. during yotsuba arc, Light’s memories are rewritten in such a way that he believes that L and light are genuinely on friendly terms, and L finds himself over the course of the arc going from respecting Light’s talents and thinking him as something interesting to genuinely wanting him to not be Kira and seeing him as a friend.

if you want to know more about L’s thought processes during the series and specifically the blue scene I recommend reading my analysis about him [LINK] but what is important to note is that L does not want to kill Light anymore by the time episode 8 rolls around. like Soichiro later will, he attempts to convince Light to confess--with the intention, we later find out, to potentially give him a way out. of course, Light doesn’t understand this and believes, for the moment, that it’s a fight to the death--so he writes L’s name in (what he believes to be) the Death Note.

this is intrinsically different from the way Light kills L in the manga. manga Light convinces someone else to do the dirty work and he is absolutely gleeful when L dies, gloating over his dying body--but up until this point L has made manga Light’s life an absolute hassle and expressed time and time again that he intends on executing Kira, who he believes to be Light. L wants to kill him, and they are not friends. while drama Light also believes it’s a “me-or-him” situation, he cannot deny that he actually likes L, that he wanted to be friends with him--he wanted, like Soichiro, for L to accept him and to be a part of the world Kira would create.

[photo: Light, cast in blue light, is bent over double. we’re looking at his face from below, from L’s point of view on the floor. his face is contorted with grief, face wet with tears and spit. He says, “I’d have wanted to be your friend forever.”]

– Episode 8

these are what Light believes to be his last words to L, so he has no reason to lie. he’s weeping as he says it, seeming absolutely heartbroken. this is the first time that Light kills--or attempts to kill--someone he cares about, and it’s the moment he decides to throw his humanity away. if he hadn’t cared so deeply for L before deciding to kill him, I don’t think the scene with Soichiro would have played out quite the same. Light even says it himself right before he writes L’s name:

Light: I can’t afford to lose to you. I’m creating a perfect world, without crime. To see that happen, I… L: Light… Light: I… I’ve decided there’s nothing I won’t do!

– Episode 8

these words are immediately followed by Light attempting to kill L. this is the fundamental moment that Light throws away his humanity, literally deciding that he would do anything for his new world, including killing his friends if they stand in his way. this culminates in him letting his father die and ripping the Note from his hands. he believes that the ends justify the means and that this is the only option he has.

it’s important to note that it isn’t that Light stopped loving his father, or stopped liking L--it isn’t that he lacks guilt over their deaths. it’s exactly the opposite. while their deaths--and the deaths of the Countermeasures team that he planned to take place, as well as the FBI and countless other people--are a necessary evil in order to make the world a better place, Light has to absolutely jump through hoops to justify it to himself and compartmentalize the guilt. as I said earlier, Light saying that Soichiro’s death was inevitable is a way to distance himself from the pain and guilt and rejection he feels, but as he’s dying that guilt cracks back open wide. when he sees that the Death Note is on fire, he panics and begins crawling towards it.

Light: Not yet. I can still do more. If I give up now… What was it all for?

– Episode 11

this is immediately followed by a flashback to Soichiro’s death, where Soichiro questions him about how killing people serves the world--after he crawls a little further, he flashes back again to L, recalling L’s desire to be friends with him.

these flashbacks go to show that Light feels a deep and profound guilt for killing both of them. he’s justified and rationalized it to himself as being for the good of the world--he chose being Kira over both of their lives. however, this means that if Kira fails, if he dies and the world goes right back to the way it was, then all of it was for nothing. he gets himself into a situation where he has to keep killing and killing people he cares about because if he stops then it means that all of it was for nothing.

it’s honestly an incredibly sad situation, that someone so full of kindness would become ultimately cold-hearted in an effort to cope with guilt.

[freckledbodty]

Stripping Away The Bloat - The Umibe No Etranger Movie Did The Manga Dirty

I finally got around to watching the movie of Umibe no Etranger - a movie I didn’t know existed based on one of my old favourite BL mangas. And oh boy, does this adaptation reflect a painful trend in manga to anime/movie adaptations overall. Allow me a moment to rant, if you will...

TL;DR: READ THE MANGA BY THE LOVE OF GOD IT’S WONDERFUL. Also the movie is super pretty, but here’s a semi-detailed look at why it still really didn’t do the manga justice. You bet I came with receipts.

A few important notes before you start: 

1. Remember this is just my opinion, and I’d love to hear other people’s point of view on the matter, whether you agree or disagree! 

2. I am not fluent enough in Japanese to read the original without a translation, so my thoughts on the manga are coming from fan translations, which 100% might have affected how I view this! The anime I’m a little more sure on as I can generally tell when the subtitles have deviated, but that does mean I may have missed something/something was lost in translation that means something I say here is incorrect. I’m very sorry for this, so remember this is my view based on the media types I’ve consumed. 

3. Also the manga cuttings I use are not the best quality because of tumblr’s sizing, so even more of a reason to go read the books yourself! 

I’m aware I’m very late to this party, but when I saw the other day that this movie had been made, I was horrified that I hadn’t known about it sooner. I read the manga years ago, and adored it - it’s genuinely a sweet and beautifully drawn romance, and I’d highly recommend it to anyone. With that, however, the movie was a huge disappointment to me and I just need to have a moment to gush in a less than positive way. 

The Pros: 

Let’s get this out of the way, I’d still probably recommend this movie to anyone who likes romance anime-style movies. It’s beautifully animated. Seriously, this movie is stunning, with wonderful expressions, bright colours, and a pretty well suited soundtrack too. The animation tries to match the original art style of the manga, and frankly, I think it captures it perfectly. 10/10. Gorgeous. Watch it just for the prettiness. 

I’m also a big fan of any BL/GL adaptations that get a little more into the mainstream. This movie is definitely a huge win in terms of representation, especially when the manga (on the whole) avoided the more negative tropes that the BL/GL genres have historically been known for. (More on that later...) So that’s a win, and I will take it. 

The Bloat Cut: 

To put it simply, this movie fell into the trap of what I call (in my head) ‘cutting out the bloat’. As a long-time anime and manga fan, who has seen countless adaptations over the years, it’s a common theme that tends to make or break an anime. 

‘Cutting out the bloat’ to me means that the adaptors cut out a lot of the ‘smaller’ moments and panels that are seen in a manga. This movie was thankfully very good at following the original plot and took us through the same beats that the manga did (many adaptations don’t bother doing that at all), but they left out a lot of the extra stuff - the aforementioned ‘bloat’. 

The bloat isn’t really bloat in that it is pointless, however: the problem is that these little moments and scenes are seen to be pointless by the adaptors. Again, understandable: they have a limited run time, and it’s hard to include every little tiny moment, especially when they are ones that are easily scanned passed. Some bloat cutting is necessary to make an adaptation viable at all, but sometimes, it can be hugely detrimental to the piece. Umibe no Etranger is a key example of this. 

Setting: 

I watched this movie without rereading the manga, and as such, I was quickly thrown off by how bad the movie was. This was one of my favourite mangas, wasn’t it? Had I really had such terrible taste? (Yes, let’s not go there, but this manga was not one of my high-school bad decisions). 

The characters felt strange. Personalities did complete 180s after the time skip and did some questionable things that I couldn’t recall finding issue with when I read the manga. The two main characters felt so hot and cold that it didn’t feel like the story I remembered. Even the pacing felt off and janky at times. 

After watching, I went back and reread the manga, and this is where I saw all the ‘bloat’, the little intricate moments and minor panels that were easy to overlook but made the story what it was. Here’s a few of the biggest examples I could find. 

Shun:

Oh, Shun. What did they do to you? 

Shun’s character was bizarre. In the first 15 minutes of the movie, he was bubbly, friendly, and even bold enough to flirt with Mio. After the time skip, he was sour, cold, and completely withdrawn from the world. I understood Mio’s confusion because after the time jump he was a completely different character. 

The manga is often focused on Shun and his inner thoughts, and he’s the one who is hurt the most by the bloat cutting. For starters, he wasn’t as over-the-top friendly at the start of the manga as he was in the anime, and we’re able to see his inner thoughts and worries that cause his reservations from the first few pages we meet him. We also get more hints earlier on as to Shun’s past that explain a lot of his behaviour as a whole, as well as getting little hints as to why he’s even more negative and exhausted after the time jump. 

Mio: 

The biggest bloat cut out in terms of Mio is the big plot point of the phone call. For context, before leaving for the time skip, Mio promises to call Shun once he’s gotten to his new home. In the movie, this is never really brought up again, focusing on the relationship in the present, but this was a huge point to leave out. I think it was cut out because it was explained in one short scene in the manga, and therefore easily mistaken for bloat. 

In the manga, it’s explained that Mio does call, but it’s Eri who answers, and there’s a very important conversation that sets up Mio’s whole character development and explains why he returns to the island set on having a relationship with Shun. Eri warns him that calling Shun, despite knowing that Shun has feelings for him, is cruel and unfair, and tells Mio he shouldn’t contact him unless he’s worked out his feelings. It’s a great scene, and a real shame to leave out when it explains firstly why Mio never called back, and secondly why he is so adamant about his feelings and love for Shun when he does finally return: because he saw Eri’s warning to mean ‘don’t come back unless you are serious’.

Relationship:

In the movie, Mio and Shun didn’t really seem to have a relationship until the drama kicked up and then it quickly seem to disappear again. Shun was extremely held back and reserved, and barely ever seemed to return Mio’s feelings (even in the scenes he was instigating) - he even totally avoided anything resembling physical contact at first. 

Compare this to the manga, where there are little hints of their relationship progressing throughout the chapters. For one, Shun is never as cold and blank as he seems in the film, and when he does seem that way, the manga quickly shows a glimpse of his thoughts to explain how he’s exhausted or distracted - without those little bloated thought bubbles, he just seems... a little cruel frankly.

A really good example of this is the beach kiss scene. In the movie, as Mio is about to kiss him, Shun suddenly announces that he’s hungry and avoids the kiss altogether, leaving Mio confused. 

In the manga, they actually do kiss - it’s their first kiss, in fact. Shun seems embarrassed and his ‘I’m hungry’ feels like more of a way to distract them both. He explains he’s exhausted (which is fair enough, this is a big thing for him to process on little sleep that his inner thoughts earlier in the chapter already set up) rather than just outright shunning him. (Ha. Shun. shun. Get it?) 

A more *noted* bloat they cut out is that Shun and Mio get physical in the manga way earlier than the movie, the touches just not quite being everything Mio wanted. Without those more tender moments, where they actually seem like a couple, it seems like Mio is chasing after Shun desperately, whilst Shun couldn’t care less about him. It detracts from the whole relationship. Below are some examples of the two of them actually seeming like a couple that were cut from the movie, including longing looks from Shun, Shun hugging Mio whilst he’s asleep, and Shun asking to kiss and touch Mio. 

The Issue: 

Bloat cutting always annoys me, but usually, if it’s not hindering the story, I don’t mind. What bothers me most of all in this movie, is that without these subtle little panels and moments, the relationship between Shun and Mio seems... forced, frankly. In the movie, Shun seems to be the instigator of the flirting, and then after the time skip he acts practically disgusted, avoiding a lot of Mio’s advances, and we don’t get to hear his inner thoughts like we do in the manga to explain why he’s feeling this way. 

In the manga, during these ‘bloat’ pieces, Shun is an actual willing participant in the relationship, and Mio isn’t just forcing his advances onto Shun. It’s natural. It’s not flipping between hot and cold, or suddenly ramping up after a big moment of drama, it’s slow and careful and a real relationship. 

This would be a bad change in any adaptation, but it’s especially so in this one. Anyone who is a fan of BL specifically is probably aware of the genre’s bad rep historically for having some... questionable consent issues. This manga didn’t have them. The movie? I’m not so sure, and that’s why it’s rubbed me the wrong way. I could spend another 1000 words talking about this issue as a whole, but I’ll leave it there, you get the idea.

Expected? Yes. Okay? Meh. 

There’s no real point to this post aside from to complain a little and point out just how much more the source material gives us. Cutting the bloat always happens, and I don’t want it to stop happening per say, that would be impossible, but I’d kill for adaptors to just take a little more time to work out what is unnecessary and cutable bloat, and what is something they should really keep in. 

The movie is still cute and beautifully made, so please go watch and see for yourself! Mostly, I’d highly recommend the manga: it’s got the same gorgeous art style, only about 5 chapters long, and the story and relationship is that little bit more firmly built. 

I’ll stop ranting now, and I hope this actually made sense? Anyway, congrats on making it all this way.

[kuboism]

Bleach Canon Vs. Studio Clown Episode 1

Intro to the series

WARNING: Long read but theres plenty of pictures

The first deviation we’re greeted with is what the anime presents as the arrival of hollows into the human world. With a likely artistic rendition of them forming from the shadows of Hueco Mundo and dripping/bleeding over into the human world like splotches of ink, after which they disappear - unable to be perceived by humans.

A/N: Which, kubos to the anime, is rather neat.

The anime also decided to incorporate the first volume poem which is the thematic beginning and a great establisher of the mood/themes of Bleach, which roughly translates to: 

我らは 姿無きが故に それを畏れ

“We fear that which cannot be seen”

And then they curiously add a line to this poem? 

姿無き故に敬う

”We revere that which cannot be seen"

A/N: Which, initially seems on brand with the spiritualism of that “which is not seen” - the shinigami, DEATH itself if you will. However, unlike the themes of “fear” and “fear of death/the unseen”, “reverence” is not really a theme prevalent or definitive for bleach. Reverence is not particularly reserved for death or death gods, but antagonists with themes of divinity/the Soul King himself, but I digress.

Next off the bully scene has a couple of missing/reworded lines, as well as some of the delivery changed, but overall it’s not significant enough to mention.

I also wish they’d kept Ichigo’s shit yourself scary face from this moment right here, since it really underlines how serious and personally invested Ichigo is in bringing small justice to the souls of the departed, but I can only pray a future remake does include it.

^ I am disappointed in y’all :/

vs.

v Karma delivery, bitch

Then for some reason the next scene is changed significantly:

In the manga, it builds up slowly to Ichigo’s reveal of supernatural abilities with the iconic TM character profile intros (which I can see why weren’t recreated in the anime, but I sure wish they put them in....)

with him spooking the bullies off with the ghost girl right behind him

Versus his scary face doing the job instead.....

It’s a small change, and I can see why it would be opted for - we don’t really know if they even saw the ghost in the first place (then again you could argue that would spook them anyway). There is a tonal difference in the long run though. The manga emphasizes once again *why* ichigo is scolding them in the first place - he sees the people disrespected by them knocking down the vase, he wants them to acknowledge their actions *because* in his mind, there are real victims he knows from it. While in the anime, since the ghost is not yet introduced, it feels more like “you are disrespectful to the dead” in a more generalized way vs. him actually being acquainted with the dead and treating them like the living. 

(Again, not sure why change it so much at all........the suspense and reveal are in the manga just the same.... but ok)

As well as cutting off this small moment where you can see Ichigo’s very human (and cute!) interactions with the ghosts. To him they’re just as real as the living, and he lends them a hand whenever they ask for help.

Also lmfao this 4kids level of censorship.....

It goes on rather faithfully for a while, no significant omissions, then Pierrot decides to randomly replace Yuzu’s lines with Karin??

Manga:

Anime: 

Which is an odd choice, given that not only does Yuzu sense ghosts just fine (albeit at a much lesser level than her family) and that later comes into play with Fishbone & Grandfisher, but Karin literally later admits that she doesn’t even want to acknowledge their presence, so why the change....?

They also cut short Karin’s little talk about Ichigo’s stats, which is a fair change for screentime’s sake, but mentioned for the record.

There’s a bit of a divergence with Yuzu lore, when the manga explicitly states she sees them, but not “clearly”, the anime focuses on her barely sensing them. I guess it doesn’t matter that much in the long run, since she is not that prevalent in the story, but it’s here for the record nonetheless.

Anime: 

vs. 

Manga:A

Also this next bit was removed, probably for the sake of pacing (which, totally fair!!), but it’s funny and I love the Kurosaki family so here it is:

It does make the flow a bit better in the manga, since this talk of selling his talents distracts Ichigo and creates an opening for his father to strike, in the anime, the same is done with Ichigo just randomly saying 

and thats where his father attacks him, which isnt really an issue, just kind of funny of how the manga is like:

Ichigo’s distracted by his sisters plotting to sell him out and hence Isshin has his chance to strike back

vs the anime being like:

Ichigo randomly thinks about dinner mid convo about ghosts and thats what distracts him from play-fighting with his dad 

gfdkhlgfdg okayyyy....moving on 

In the manga this scene is interspliced with Ichigo’s inner monologue about the nature of his powers (with hip jargon like “for real” courtesy of Viz ) 

(but my beef with Viz translations are for another day)

Also the line about “He told me more ghosts than ever have been haunting me” has been given to Karin for some reason, probably to make her feel more included in the scene/Ichigos life.

Notably, Isshin’s response is changed from “What?! He talks about stuff like that with you (Yuzu, singular)” to “What?! He talks about stuff like that with you guys?” as well, again probably to include Karin more into the dialogue. (Mmmm ok....)

Minor detail, but Karin’s lines has been changed to more “boyish” speech structure in the Japanese dub, which may seem insignificant, but ...... that is for later. 

.....

This little exchange

 is replaced with: 

Which, seems innocuous adaptation differences, but Yuzu’s lines keep decreasing and it’s a short enough moment to like....include and establish how motherly Yuzu is acting towards Ichigo.....but ok...huh. 

And now we get into the big boy changes.

So, probably for the sake of grounding the supernatural element of the series, the anime decided to skip time to the next morning and introduce the hollow attacks with a news report.

Which.....is an interesting choice. I am assuming this is addressing how the real world perceives the hollow attacks, which Bleach doesn’t put too much effort into addressing, but very soon after this we learn about stuff like memory replacement and other various technology to keep things under wraps so this is either redundant or implying that shinigamis have not been doing their job, which hm......

Next off is the bizarre choice to paint Isshin out of the picture for the night

Not sure why, but ok

Again, where’s the shinigami with their Kikanshinki (memory replacement devices)??? Pierrot where’s the lore coherence......

Anyway, Ichigo goes to replace the girl’s vase, but suprise-surprise she’s gone-zo. Wonder what happened to her.....

(And....again, people vehemently don’t want a reboot when the anime looks like this? )

So Ichigo hears a scream and a hollow scream and follows the sound (Ok?).

Totally random hollows attack. Which Ichigo somehow has never seen so far? Mind you, this isn’t like in the manga, where Fishbone was sent by Aizen specifically after Ichigo to make him aware of it. These are random-ass hollows attacking people, so how come Ichigo suddenly sees them. Ya coulda played it safe Pierrot, and stuck to the book, but we got plot inconsistencies episode one so let’s party.

The girl is, of course, not eaten and they run away.

She trips at the most inconvenient moment. (can ghosts trip? Ghost don’t even have legs in japanese lore and Kubo draws them floating around so okkkkkkkk)

(ok ok, im just being petty, bUT YKNOW)

(convenient tripping on deadass levelled ground is convenient)

(also God I really want that bag Ichigo’s got on his shoulder, it looks so nice)

Random-ass hollow closes in and 

BOOM

Rukia

(Now, if the rest of Bleach and the manga didn’t exist I would like this moment. We get a glimpse into Rukia’s abilities, into shinigami as a concept and we don’t really get to see her slice and dice hollows that much overall so the moment itself is rad in isolation.

Now, unfortunately for Pierrot’s screenwriters, Bleach manga exists and so does it’s lore, which again, would not be inconsistent with each other if the adapation was faithful. Now, Ichigo sees a shinigami, for some reason, for the first time in his 15 years of life. All of a sudden. 

You could argue, that much like in the manga, this is all part of Aizen’s plan TM, but like, she literally leaves right after leaving Ichigo gaping in awe ghfkjgdf. Why’d Aizen give him an appetizer, I really don’t understand how this change is benefitting the narrative in any way. It’s ....dare I say....generic.)

Rukia yeets the hollow

(why is this kid suddenly not wearing shoes?)

and goes off on her merry way, leaving Ichigo shooketh

ALSO RUKIA MA’AM THERES A FUCKING STRAY GHOST RIGHT AT YOUR RIGHT????? ISNT IT YOUR LIKE....JOB.......... TO HELP GHOSTS MOVE ON??? i know killing hollows is the fun part, but like ghjkfdlgfd ??? are you gonna ignore her???

( his fucking face ghfjdkgdlfgfd)

So after this wholeass pointless detour (you’ll see why it’s pointless in a moment)  we timeskip again (the filler is strong in this one. These 6 minutes were worth not coming up with something cohesive and removing scenes that actually make sense ah yes)

Ichigo is in deep thought TM about who tf is the stranger he’d just seen. Likely mulling over the monsters and how this person was able to slay said monsters. Probably thinking how unusual they are.

and as if on cue

the stranger makes their presence once more

(my God these faces gfhgkldfg)

....

Now let’s briefly address what happens in the manga instead.

Instead of the whole timeskip scene with the fight, Ichigo simply returns to his room on the same day, and oddly enough recognizes the species of the butterfly he sees? (nerdy boi! nerdy!! boi!)

rukia arrives much the same

(With the little text emphasizing how he’d never been aware of soul reapers, which is unsurprising given their secrecy, and makes sense in the long run since their first meeting is specifically orchestrated by Aizen. Two species that werent meant to interact brought together by his schemes.)

Back to the anime:

Ichigo pauses to ponder who tf they are and why the fuck they’re there.

and then the anime has the gall to suddenly revert to sticking to the manga, which like.... Ichigo kicks her for no reason? I guess because she isn’t answering? Even though Ichigo knows she has a sword and can wield it? Reckless boy.

Manga Ichigo thinks she’s a burglar, therefore, unsurprisingly, is comfortable kicking her outta his house. It’s a silly moment, but it also shows how accustomed or stupidly brave he is with the supernatural.

In the anime Ichigo asks her who she is instead of all that, and she responds pretty similarly to the manga

AND THE NEXT SCENE IS WHERE IT CLICKS WHY THEY WENT OUT OF THEIR WAY TO REMOVE ISSHIN FROM THE HOUSE.

(Ichigo and Rukia addressing the pointless filler, this leads nowhere)

Rukia check him out like she’s checking if the oranges on sale dont have mold on them 

slapstick ensues

and Rukia decides to answer his question.

Vs. the manga in which Isshin doesn’t leave his children home alone for some random conference and is actually used very efficient for two reasons:

1) building up on the burglar gag with actually funny slapstick that is based on a previously established joke

2) Instead of Rukia just saying “oh usually people can’t see me”, we get an actual demonstration of it, the reader gets to see “oh Isshin can’t see her - she must be a spiritual entity,” which further clicks with her surprised reaction at him being able to kick her in the first place.

The next scene is the classique Pierrot censorship.

Ghost girl runs away from what I’m assuming is Fishbone.

Aside from not showing her get eaten, the scene is pretty much delivering the same message, 

bUT

BECAUSE OF THE STUPID ASS FILLER WITH THEM MEETING RUKIA BEFORE THIS, I CAN ACCUSE RUKIA OF NEGLIGENCE.

UNLIKE THE MANGA, where Rukia arrives the night before and is specifically seeking Fishbone, therefore having no time to help this girl pass away, 

This vvvvvvv

could have been prevented if SOMEONE DID THEIR FUCKING JOB THE DAY BEFORE VVVVVVV

(I rest my case. Thank you Pierrot for making Rukia either negligent or an idiot. Awesome, And mind you, these changes were unnecessary. The manga’s pacing is fine. They could’ve extended scenes. But nope, had to go for making them meet beforehand.)

Anyway, we get to see some actual stakes in the manga

The next scene which is this in the manga 

has two changes to it. Firstly, obviously Isshin being consoled by Yuzu isn’t included since he isn’t home in the anime, and even if he were, I can see why that would be removed, cute as it may be.

And secondly, due to them having met prior Ichigo asks two additional questions:

And Rukia nods at both, which means she acknowledges that she had seen the girl the hollow was after and yet did nothing to help her pass on. 

(Reminder the Bleach anime was in production WAAAAY past the first 4 volumes, which gave a good general idea of the series, which y’know, was fine to adapt as is.

You’ll see these changes add up into becoming inconsistent with further Bleach lore. There’s a reason people call Bleach a hot mess, and I’m afraid Kubo ain’t really it.)

(Volume 14 Note from Kubo where he talks about the anime being announced)

Back to the series

Pet peeve time: Wish the anime was half as expressive as the manga

These scenes are supposed to represent

This panel:

(Nitpicking? Perhaps, but idc)

So uh, this scene is odd

Again, because of the addition of that filler with the hollow

Ichigo has seen her in action

And they even added Rukia trying to convince him 

even though, yknow???

LITerally the previous day???

Anyway  in the manga, where Ichigo has reason to be distrustful of her and her claims since y’know hes never seen her or a shinigami in action, but has enough proof that she’s a ghost bc his dad didn’t see her, he simply dismisses her before she can reply, and instead of just getting angry for being called a pipsqueak

she shows both Ichigo and the audience proof of her spiritual powers by binding Ichigo and forcing him to quietly listen to her explanations.

(To reiterate - Anime Rukia  has to verbally try to convince Ichigo WHO SAW HER FIGHT A HOLLOW THE OTHER DAY that shes no ordinary ghost. And because of that, she has no other reason to use Sai on him other than that shes mad she was called a pipsqueak bc she just tried to verbally convince him shei is a shinigami. When they could just adapt the manga and have her both demonstrate her powers and put him in his place at the same time. Wild.)

Also CRIMINALLY BORING SHOT, WITH CRIMINALLY BORING RUKIA

#NotMyRukia

LOOK AT THE MANGA

LOOK AT HER SMUGLY OWNING ICHIGO’S IGNORANT ASS #FuckYeahRukia

Also the subs may not show it if you’re watching it on Netflix, but anime Rukia says “I am not allowed to lay my hands on humans outside orders,” which like, you ARE LITERALLY DOING THAT. Manga Rukia is fine with bullying Ichigo, but she draws a line at killing him, but man Anime Rukia, you give no fucks about the laws huh.

why so cheerful?

(also Rukia be right tho)

(specifcally compared to hell you could say Soul society is a resftul place lmfao)

Also anime salary man gets to rest in peace, even like, pray and shit

Meanwhile the manga

YEET TO SOUL SOCIETY

(also notice how we’ve been robbed of ichigo’s silly socks

I swear the anime knows how to suck the soul out of the manga 

Get it? Soul! haha ....moving on.)

Really Rukia? One of your jobs?

GUESS YOU WERE OFF DUTY HERE!!!!!!!!!!!!!!

(I’M SORRY BUT LIKE, SEE HOW POINTLESS THIS FILLER IS UGH!!!)

(Again pet peeve but look at how ugly this screen is COMPARED TO THE MANGA)

(What have they done to you, queen)

(also they never mention the name Konso ( or as Viz calls it here -”soul funeral”, thanks Viz)

Next on, not a pet peeve, but an observation:

Anime Rukia keeps her sketchbook in her kimono

Manga Rukia keeps it at the titty

Yep, which you neglected to do the day before,

she literally says “With the konso I did just a  moment ago” like she used the word before. Like you can contextually get it, but why cut that line out of the dialogue if you don’t change the next line it’s referenced in?

There’s also a dialogue change from the manga’s well, Viz uses “vaporize” which is not a bad choice given the specific wording Kubo uses, but the original says 

昇華 • 滅却

sublimate/convert • extinguish

which is a clever little nod/foreshadowing to the nature of souls in bleach and that they can be “converted” in and out of a hollowfied state. 

While the anime just says “to slay hollows”, and albeit it lacks the little nod the manga has to offer, I can’t see how they’d include it in the anime at that stage so I’m fine with them simplifying it to like, an exorcism.

A better question then Rukia - WHY DIDN’T YOU SEND OFF HER SOUL????

also WAIT THE GIRL IS STILL ALIVE?? she’s dead-dead by this point in the manga.

BULLSHIT !!!  YOU LITERALLY EXPLAIN LATER WHY!! ACTUALLY YOU EXPLAINED EARLIER WHY!!! YOU LITERALLY SAID THIS, 1 MINUTE AGO :

Anyway, Fishbone almost grants her the priviledge of escaping this God-awful anime, but is suddenly stopped?

AND CAN TALK??

wait WHY DOES FISHBONE TALK?? GHFJD isnt this supposed to be  a juicy reveal for later when Ichigo realizes “hey theyre not actual complete monsters - but used to be humans!” Hm, ok.

Also leaves her alone? Damn ok...

Reminder:

Moooving on...

Speaking of the manga, this little moment is missing:

Since there is no pointless filler that would make him ask about the ghost girl therefore exposing Rukia’s slacking off of her duty, Ichigo realizes that there must be a hollow nearby bc in the manga he actually has braincells to spare. 

Also wiping off the Baron’s moustache moment is gone 😢

Missing and dearly missed is also this moment, which consolidates how protective Ichigo is of his family. He only needs to hear Yuzu scream to click that the hollow is nearby and his family is in danger. I feel like anime Ichigo should be even more worried since his sisters are alone but ok??

Also foreshadows their dynamic of Rukia trying to stop his reckless attempts at pushing himself to protect his family, bc yknow....she has her own Kaien trauma to process.

Next off....

This is .... a choice....

They were very eager to give Yuzu’s lines to Karin just a couple of moments ago but now this whole exchange:

Where we see a very pragmatic yet soft side of Karin

She doesn’t know what is happening, and doesn’t expect her brother to fight it - he just wants him to be safe, because she loves her family. At least warn him before it gets to him and hurts him.

is replaced with this:

Yuzu, sweetie, what do you think he can do to achieve that.

I guess at least Anime Ichigo tries to get Rukia to do her job as she looks down on Yuzu in silence. 

But compare it to the manga:

#MyRukia stops by Karin to check for a pulse and reassures Ichigo that his sister is alive.

Manga Ichigo is NUMBER ONE oniichan in town and doesnt have time to call out to a stranger to save his family - HES BEYOND READY TO GO FIGHT, RECKLESS AS IT IS, EVEN THOUGH HIS OWN FAMILY BEGS HIM TO JUST RUN. because he cant let himself be unable to protect them. He cant live with himself if he doesnt try his darnest to protect them.

*elevator music playing as ichigo tries to get rukia’s attention but she fucks off downstairs, but instead of doing shit he just does the worm on the floor*

which I guess is more realistic for a teenage boy, but Ichigo is literally traumatized by being unable to protect a family member. Y’all think a ghost he’s never seen before is gonna stop him? 

Yooo, pathetic. #NotMyIchigo