#and yet narratively it is necessary and justified in a lot of cases

[wowbright]

@redheadgleek it's got Ewan McGregor

[franklespine]

You know I think you guys might be on to something when you call Sam woman coded cause - genuinely - how do you, as writers of a show, be so misogynistic as to not include any female characters asides from damsels and hookups (specifically referring to the early seasons), and yet need so desperately to have a outlet for macho masculine patriarchy power dynamics that you have an adult male character experience misogyny?? How do you mess up that badly??

It's like, although they thought that putting female characters in the narrative other than to exist as sexy distressed lamps wouldn't appeal to the true blooded 2000s American audience. But yet it was completely necessary for there to be a bottom rung in the masculinity pyramid because - well how else can we as a society function!!

Anyway, ik reading too far into things is my special talent, and in most circumstances all of this stuff is just a joke in the show but wow they really had Dean poking fun of any of Sam's characteristics that don't fit into this Hyper True Blooded American Masculinity ideology as a butt of jokes for 15 years. The fact that he has longer hair, that he cares about his hair, that he's tidy, that he likes salads and isn't a big meat eater, that he's sympathetic, that he's a bitch. And of course these are just silly little jabs that Dean makes in sibling-like fashion but like wow 15 years. Damn.

And of course it's not only this that leads to the rather odd interpretation of a woman-coded Sam, but also the way he is treated directly by the narrative. Like, for example, being the family's possession, rather than an equal member. Dean has seen it as his job to look out for his little brother since he pulled him from the fire and the wellbeing of this infant was thrown onto his shoulders at age 4, and this has created a lot of ricocheting effects on both of them. This isn't to say that Dean doesn't love, care, respect, and value Sam, but it does mean that sometimes he treats him like a possession rather than a person. He makes a lot of crazy decisions in the show that he justifies as being for Sam's own good, even if it goes directly against Sam's wishes. After Sam leaves a note to Dean telling him he's going out for a bit to handle a case, Dean weasels his way in, not trusting him to handle it due to the mental issues Sam is facing at the time, and kills Amy, despite Sam begging him not to. Even though Dean knows Sam would never consent to an angle possessing him, he tricks him into it anyway. He does these things, and many others because he believes that he is acting in Sam's best interests, totally disregarding the fact that Sam has capacity to make judgements and handle the consequences himself, even going so far as to oppose what he directly knows or Sam tells him he wants.

Then of course there is the fact that the fear integral to his character - a loss of autonomy (bodily autonomy, but also autonomy to make his own decisions about his future, to be good, to be pure and faithful), is an explicitly feminine one. Then there is the strong subtext in his story of SA themes, I think in s4 a demon even refers to Sam as a 'whore' or that he's 'whoring it up' (with respect to Ruby), and the interesting prevalent idea of Sam questioning or going against the ideals/ideology of the masculine figure head (which would be Dean I guess) and getting punished for it. Sam suggests that maybe they take a more humanitarian approach with the cow blood drinking vampires in s2 and Dean punches him, Sam tries to get him to talk about their Dad and Dean punches him, Sam tries to get him to talk about Lisa and Ben and Dean punches him, Sam gets caught simply using his abilities and Dean punches him - twice. I think you get the picture.

Anyway. This post comes off as rather critical of Dean, which wasn't really my intention. It's more sort of a broader criticism of the rampant sexism that had its part in shaping the show - being one to come out of the early 2000s. Ideas such as this - you could really go on for hours as its fascinating how ideological frameworks are presented certain ways in media - and the way masculine and feminine social dynamics, to list only one, is presented in supernatural is definitely a can of worms.

[nem0-nee]

HANDS... of TIME will wring my neck.

It is 9:15 according to the watch. It was this late in the story, yet she was still in the shackles placed upon her by STYX.

How on earth did the Ramshackle prefect end up in such a predicament?

[The pages beckon you to take a peek]

Usually, she would've been back in NRC at this hour, just in time to prepare for what was to come with the Diasomnia chapter. Yet, somehow she's still shackled down in Tartarus. Why is that the case?

Guess it's because of those stones she ate, the ones Grim would gobble down in the previous timelines. This time, she was the one throwing these down the hatch.

Kyuu told her that it was necessary to swallow these blotted magestones in order to develop her UM. Each stone swallowed meant that she would get stronger and stronger.

You could say that she saw this as necessary. The ends justify the means, and it's utterly justifiable that she must get stronger to save everyone. Plus, if it meant that Grim would be saved, then she'd gladly take the fall.

And so, stone after stone did she get strong. The hour hand struck harder, and the minute hand moved faster. Each battle from each dorm got easier and easier the more she consumed a stone from the fallen phantoms.

Yet...

Of course, nothing in this world comes for free.

The night after the VDC competition, the Ramshackle prefect went rogue.

At first, Grim went missing from the dorm's premises. This greatly worried Mayuu, thinking that her efforts were futile and that he was bound to go ballistic and get captured by STYX all over again. However, this was proven to not be the case, as he eventually returned from his trip from Sam's shop with a wagon of tuna.

However, later that night, Grim woke to his tail getting stepped on by this stupid human. This would be a normal occurrence, but something about her this time seemed off.

Mayuu's motion was akin to a robot's; stiff and mechanical. The prefect definitely did a lot of strange things, but even this was an outlier for her peculiarities. What was even more strange was that she decided to take a trip outside without her weapons. Presumably, if she were to be awake at this hour, she'd go out to train.

Something was definitely up, Grim just knew it.

Thus, he decided to follow her. Better safe than to be sorry, and he didn't want to feel sorry if his human ended up disappearing just because of his ignorance.

Trailing behind the prefect, they both eventually reached the VDC stage. Everything else that happened went by so fast.

She was hungry, hungry for the magestone buried in the depths of the stage. She was desperate to get that crunch that the murky stone gave, and she was going to do anything in order to get that bite.

Grim witnessed the prefect unearthing the stage with her bare hands, causing them to wear and tear to a degree.

"M-Myaaah human!!? S-Stop it! I command you to stop! You're gonna get yourself hur-"

"H O U R H A N D"

The response Mayuu gave him for his rare concern was a punch to the face. What makes matters worse was that she used her UM against him, dealing a painful blow to the poor thing.

With this incident, Mayuu ended up being taken by STYX. There they discovered a concerning amount of blot building up in the prefect's system. Thus, she is to stay on the premises until it's deemed safe for her to return to the outside world.

To her, this is all worth it. The narrative deviated from the story she knew. Now, there was hope that she could finally change the ending of this tale.

Yet, who's to say that the route she's on would yield better results than the one she already knew?

[ - END OF CHAPTER -]

[frumfrumfroo]

Are there any big no-no's when it comes to time skips and/or separation in romantic arcs that span multiple entries?

I mean, if you're asking me personally, the no-no is doing it at all. I dislike time skips and separations as a general principle lol.

But as far as telling an effective story, I think it's just a case of making sure that it actually serves a necessary purpose, that it feels authentic both in that it's something the characters would actually allow to happen and in its effects on them, and that you aren't just killing all your narrative momentum by doing it. Because I think that's the main issue with a lot of separations in romance- it can totally destroy the tensions and build up that your audience is there for.

People seem to forget a lot, but romance is in many ways a kind of suspense, and to sustain that sense of anticipation without exhausting the audience is already a fairly delicate balance, so introducing a big separation can be a gamble. You risk losing the immediacy, you risk losing investment, you risk making it seem like the relationship maybe isn't that important to the characters involved or to the narrative arc.

So basically, it has to be justified. It has to feel like an obstacle put the in path of our couple which they cannot avoid but must overcome. When it's something we go through with them, we can be rooting for them and kept invested by their pov and their struggle, but when it's something like we left off at a cliffhanger and the next installment picks up two years later... That, I would say, has to be earned and it has to come at a place in the arc before any romantic resolution has been accomplished.

If you're going to do that, some big shit better have changed when you pick back up. eg: the TLJ cliffhanger is a breakdown in communication after Rey and Ben thought they were on the same page and discovered they weren't, both desperately wanting to be together and having it fall apart because of internal obstacles which manifest as an external space battle. The way to have a time skip is to radically shake up the circumstances so the internal obstacles can be approached from a different angle. We come back to discover the First Order is still using him as a figurehead, but actually Ben's gone missing, we come back to discover Hux has formed a splinter group within the ranks and there's a power struggle, etc.

You don't want character or relationship development of your pov characters to take place 'off screen', ever, because that's the thing we care about. But plot events which leave them floundering or throw them into turmoil, which triple down on their emotional state and position them to address the flaws that put them in the situation we last left them in, those are good reasons to have a time skip.

The big no-no, imo, is the classic bad kdrama time skip/separation, where you take people at the end of their romance arc, who have resolved their feelings for each other but haven't figured out the way forward yet, and are headed into their happy ending, and then randomly waste 1-3 years of their lives for absolutely no reason before then having an anticlimax final episode where they finally actually get together, but it's mid and awkward because all the urgency and momentum is gone. That's just aggravating.

[ruby-whistler]

Why c!Dream should (and probably will be) redeemed

Hi! I’m bad with intros. You’ve read the title, so, let’s start with the definitions.

In this essay, we are considering the popularized definition of “redemption” instead of the classical one, which is, as per the Oxford Dictionary, “the act of saving or state of being saved from the power of evil; the act of redeeming.” That’s not however the way the word is used in fandom and media.

/dsmp /rp

The definition of redemption I’ll be working with in this essay is not forgiveness by the people who c!Dream has hurt, nor is it removing himself entirely from his past actions, but moreso the decision to change for the better and abandon destructive mindsets for himself and others.

A “redemption” in a narrative sense would be circumstances and a character arc that would allow that kind of healing and betterment.

I’d like to start this off by the fact that being “irredeemable”, in this sense, also doesn’t exist; redemption is a thing of conditions and choice, not of being allowed by someone else. You can’t gatekeep healing from people who seek it, just to be clear, and that even goes for people who have done terrible things.

Since I understand there is a lot of concern for c!Dream’s past actions, here is a post from people who are much more fit than me to speak on the matter, about the way in which they see a possible c!Dream redemption arc.

Another disclaimer, I am not going to be considering c!Dream only from the perspective of c!Tommy in this essay. c!Dream appears in other people’s perspectives and he himself has his own, unseen perspective. As a character, he is an individual person in his own right rather than just the antagonist of c!Tommy’s story, and so I do not have much concern for their narratives intertwining too much should this writing choice occur.

I’d also like to note that redemption is, in this sense, always a positive thing for everyone involved - someone who’s been prone to doing bad things in the past deciding not to do them anymore and try to change, or just simply heal enough to consider it, isn’t going to have a long-term negative effect in any of the characters, but rather the other way around. Healing is an unlimited resource, and the victims do not have to heal first for the person who hurt them to consider being better.

Here’s a well-written thread on Twitter that elaborates a bit to finish off this point, and let’s move on to actually talking about redemption in the context of the Dream SMP, and c!Dream specifically.

Why a c!Dream redemption arc is not only a good writing choice, but in this case the only good writing choice;

c!Dream, as we all know, has been subject to mental and physical abuse to the point of straight up torture by both c!Sam and c!Quackity (to different extents). He has been in indescribable amounts of suffering for the past 74 days at the time this essay will be published. That is six and something times the duration of the entire exile arc in canon.

Whatever the interpretation of his words in prison is, what is undeniable is first of all the fact his mental stability is absolutely crushed at this point, second that no human being could possibly ever deserve to undergo this, and third, his stay in the prison is showing off his humanity and making him out to be sympathetic.

Now, consider this; how would it feel if c!Tommy died at the end of the exile arc? Empty, there would be no catharsis to such an end, especially because of all of the hurt he’d gone through. Objectively, a bad writing choice.

Let’s compare, narratively of course, this situation to the prison arc. Even though I would never say one of them is “better” or “worse” than the other, since both are terrible and undeserved, c!Dream’s current state checks off all of the boxes that would make his death unsatisfying in the storyline; even if people want him gone, there would still be the dissatisfaction at the current build-up and why they even did it in the first place (it really wasn’t necessary to anyone else’s story to make him out as a victim, and yet they did) if they were planning to kill him off anyways. And since the prison arc is naturally meant to induce sympathy, even from an angst perspective it would simply not make sense within the themes and writing of the plot.

So, c!Dream can’t die, and he also can’t stay in the prison forever - the build-up must lead to something, which is logically a breakout. Great… what now?

Well, the Dream SMP prides itself in accurate representation of trauma and mental instability, specifically cc!Tommy and cc!Dream who have pulled it off incredibly during the exile arc.

Now, undoubtedly, after the prison, c!Dream is going to be just terribly traumatized- considering the writers’ past creative decisions, would it make sense for him to play the role of a dangerous, heartless villain in other people’s stories, while completely ignoring the logical fallout of what he’s been through?

In my mind, no. The most possible result is that cc!Dream is going to rightfully portray someone who’s been hurt so much he is broken, scared and tortured into submissions over months of agony and slowly stripping away of his agency, his dignity, his humanity. And that is… not going to be pretty, nor is he going to be in any way the same as before.

After everything, I’d be surprised if he can properly look at shears without shaking. That’s not villain behaviour, that’s the behaviour of someone who needs help.

Which leads me to another point, which is relatability. Believe me or not, there are people out there who heavily relate to c!Dream because they have been through things that allow them to see themselves in the character - abandonment, mental illness, etc. - or who have had destructive mindsets they have struggled to let go of in the past.

To them, as well as to the viewer, redeeming c!Dream could actually be a very good example, showcasing that anyone who has done bad things or has been hurt in the past can learn that it is possible to be better, to move on, to not be stuck in a loop but to actively seek help and then use that support to find the path to healing.

Making c!Dream a better person, who in a way, wins over his past, over his trauma, over the hurt he’s caused, and manages to actually get better… is inspiring, in a sense. It shows that you can abandon unhealthy mindsets, you can find a support group of people who care about you, you can make your life better simply by deciding to be better and then sticking to that, no matter how difficult the process.

This is why I believe that redeeming c!Dream would not be bad writing, but quite the opposite, and that the prison arc is an obvious set-up. Alright, but how does that work with the character? How could someone so widely hated mentally improve in such a seemingly violent and terrible environment? Would it even make sense within the context of c!Dream’s character so far? Well,

Why c!Dream has the capacity for healing and the Dream SMP the ability to provide it;

First of all, let’s remind ourselves that through c!Dream’s entire spiral he wasn’t ever directly given a chance to change. He was regarded as someone to defeat in order to accomplish a happy ending, or as someone who needed to be removed in order to achieve power on the SMP. Ever since the 16th, which is when the corruption of the character is the most obvious, there have been no attempts to reach out or to help him. I do not blame the characters for this - I am simply pointing out that since it has never happened before, we do not know how he would respond, and that, after everything he’s been through, any bit of kindness or compassion towards him will be a new concept he will have to learn to deal with somehow.

This point is especially driven home by the fact that both c!Quackity and c!Sam would often tell him he is a monster who deserves nothing but to suffer, and that what he’s going through is never going to amount to all the hurt he’s caused - basically removing any possibility for ever getting better (because by this logic, he doesn’t deserve support, and he doesn’t deserve to get better) from his line of sight.

He also hasn’t had a support system since shortly after the 16th, when his friends left him over c!George’s dethronement and made no effort to mend their relationship afterwards. c!Dream isn’t used to having allies and people on his side, but to being hated; again, wouldn’t that mean positive reinforcement could very well be all he needs to make the choice?

His bad mindsets - attachments are weakness, ends always justify the means, people will consider you a bad person no matter what you do - have been continuously proven right by his environment, even in prison. Any kind of subversion, plus an explanation as to why they are wrong, could be of great help to c!Dream.

Just another disclaimer; I do not believe c!Dream would change thanks to the treatment in prison, but rather despite it. His mental stability is non-existent at that point, and in order to get better he needs genuine emotional support from the people around him as well as to heal before he can redeem himself.

Alright, but… c!Dream has hurt a lot of people. Who would be fit to help him?

Let’s start off with the worst option and why it’s impossible the writers would even attempt this; c!Tommy.

c!Tommy has no responsibility to help or ever forgive c!Dream - not to say he could. The two, as it is, would drag each other down instead of helping in any capacity, and only make matters worse. The two of them shouldn’t even interact in the best case scenario - the best thing for both of them would be if they got enough healing and support individually that they could live around each other and not get their trauma or toxic habits triggered when interacting for whatever purpose of the plot.

So, if not c!Tommy (and c!Tubbo neither by extension), who could redeem c!Dream?

Well, he can’t do it on his own for sure. Being in nature with animals is nice, but further isolation from other people would merely help with the prison trauma, not with the state of his tendencies when interacting with others. He, once again, needs positive reinforcement from other people for him to heal properly.

There are two main options for this in my mind, and then there’s a few individuals he could also find comfort in, including people from both groups or those unaligned.

1) Kinoko Kingdom

From the people of this new country, c!Dream has never negatively interacted with c!Karl before, he has never hurt c!George and he hasn’t directly harmed c!Sapnap. Although the relationship with his old friend group could be difficult to rekindle, none of them have grudges against him that are too personal, and they have been canonically close friends since the beginning of the SMP, so it would be very much possible to rebuild burnt bridges. They’d be familiar, and with the addition of c!Karl they could be a good source of comfort for c!Dream after he either breaks out or is released from prison - just gotta convince c!Sapnap not to kill him first.

2) The Syndicate

From the Syndicate, c!Dream has never directly interacted with c!Nikki, and from what I know of her character she never seemed to be very affected by his actions - even doing his work for him when he was planning to burn down the L’Mantree. c!Techno is an ally who doesn’t have anything against him, and as for c!Ranboo, here is why I believe c!Dream being in the Syndicate could be positively influential on his character arc as well;

c!Ranboo and c!Philza have had a conversation about change, during which c!Ranboo made it clear he thinks everyone can change except for c!Dream; who, in his mind, is “too deep down the rabbit hole”. c!Philza replied that he thinks anyone can change if given enough time.

… you see what I’m getting at?

c!Dream has been implied to be an ally to c!Ranboo’s enderwalk state (or the state when he has access to his full memory), and hence would most likely not behave negatively towards him at all. While it might make it more difficult for c!Ranboo to deal with his own issues, it might also give him more motivation to get to the bottom of it as well, especially since he now has access to the person who, presumably, started this all. While this is going on, c!Dream would show himself in a much different light than c!Ranboo sees himin, which could lead to confusion, realization of the flaws in his own logic, and hence, positive character development.

Here’s a great post about why c!Techno as a character could be a great asset in c!Dream’s healing process & redemption, and why there is not much need to worry about him not knowing or finding out about c!Dream’s actions.

Of Kinoko Kingdom and the Syndicate, as far as I know, neither c!Tommy nor c!Tubbo have ever been directly involved with these groups, nor are they planning to.

Another important point to make is that, while c!Tommy needs to be kept away from c!Dream in order to heal properly, the same goes for c!Quackity and c!Sam in c!Dream’s case. While c!Quackity has high chances to interact with either Kinoko Kingdom or the Syndicate in the future, there’s an even higher chance, in that situation, that c!Dream would be offered protection, which is also important; there is no healing from trauma without the knowledge of safety, to some degree.

So, this was an essay as to why I think c!Dream’s recovery and redemption (one needs to come before the other, naturally) is not only extremely possible but also could be pulled off well and have a positive impact on both the characters, and the audience.

[findingjoynweirdstuff]

About the dream/ranboo parallels: man, ranbob was a nice piece of foreshadowing, huh?

To be fair, the Ranboo-Dream parallels have had a presence since Ranboo’s first panic room lore streams, I’d argue

Not wanting to pick sides, dealing with the consequences of getting involved with everyone of being seen as a traitor to all, and his dislike of countries dividing people...

They’ve always been there, it’s just that the narrative’s emphasized them and pointed them out more and more as time’s gone on, culminating in Ranboo saying the family line as a “flashing red lights PARALLELS LOOK AT THE PARALLELS” sign to the audience

Ranbob didn’t say much about why he supported Dream, but what he DID say — about Dream being a good man depending on how you define what’s “good” — was pretty on the nose, and that sentiment’s been echoed since by both Dream and Ranboo having lines about everyone being right from their perspective.

Now for a bit of a ramble about Ranboo because you’ve given me the opportunity to, anon (I’m so sorry lol)

Ranboo and Dream have had connections in their philosophy from the start, and that connection serves as a sort of...I dunno. A warning to the audience that if taken to an extreme, Ranboo’s ideas might become harmful.

He decides Dream needs to be gotten rid of, that making death permanent for good people is a worthy sacrifice if it means being able to get rid of the villains.

The entire server came together in the finale to decide that they needed to keep Dream alive to prevent future loss when one of their friends inevitably dies. What Ranboo is doing now is deciding against that collective decision, that he’s the only one to understand, that he’s the one who can make that sacrifice for other people, for the greater good.

And that’s how it always starts, doesn’t it? Deciding that certain people have to die. For the greater good of the server.

“We had to fight that war, it was a necessary evil.”

What he’s trying to do now is solving a problem that hasn’t happened yet. He’s preemptively acting to remove a danger, taking on the burden of that sacrifice for himself in the name of avoiding future conflicts. Of avoiding issues that haven’t occurred yet.

“I don’t cause the problems, I try and solve the problems! I try and prevent the problems from ever happening in the first place!”

I like that particular Dream quote a lot because it reveals a lot about his attitude.

When you’re willing to justify necessary evils, when you’ve got an ends justifies the means mindset, combined with a willingness to apply that problem-solving attitude to problems that aren’t problems yet, that’s when it starts to get a little dangerous...

Because you can justify an awful lot of awful things by viewing it as “preemptive problem-solving.”

Especially when you’ve got a character who views himself as “non-redeemable” already, who’s willing to be a little reckless, who isn’t willing to rely on other people again because when he’s done that he’s gotten hurt, who is scared to get attached to new things because something he’s attached to is already being used against him...

Ranboo’s on a dangerous path. 

Not a villain arc, just a flawed mindset.

As the person who gives soliloquies the most, it’s so easy for people who watch Ranboo’s POV to take his words at face value as what’s right, the correct perspective. Ranboo’s a good guy, right? A protagonist? So all his reasoning must be correct, everything he says makes sense.

What these parallels are doing is giving a sort of cautionary sign to the audience that that might not always be the case. 

A warning to question every perspective, Ranboo’s included.

[golden-redhead]

What traits does five make work for you that you hate in other characters…?🤔

I think mainly it's his aggressiveness and the fact that he was an assassin.

I've seen a lot of these 'forced to be an assassin' storylines and I am not a huge fan, they tend to make me very uncomfortable especially since it often feels like the narrative doesn't give you a choice and you have to sympathize with them and like them simply because they were so abused and mistreated rather than because they are genuinely interesting characters that I enjoy on screen. I really dislike this idea that just because someone experienced enough pain and torture and trauma it's enough to forgive them or like them and I especially hate when this is something that the narrative itself forces on you instead of letting you form your own opinions and thoughts. It's something that really annoys me and at this point I tend to dislike characters who fit this trope almost automatically because I rarely ever see it executed in a way that I would personally find satisfying.

I never got this feeling with Five, though.

I think it might be because TUA doesn't really try to paint Five as the good guy, it doesn't shy away from showing how traumatized he was but it also doesn't try to justify his actions or pretend that he deserves automatic forgiveness. You also see this with other characters' treatment of him, for me the reason why storylines like that often fail is because other people in the story often act very OOC arguing that this person is actually good, pushing for forgiveness for them and in general being very dismissive of their past while the character just... either goes with it or it is used as yet another reason to re-traumatize this character. In TUA no one tries to argue that Five is a good person or that everything he did was justified. Especially not Five. I am really looking forward to see how it will play out in season 3 with him and Lila to be honest because it gives the writers a chance to explore it a little more. In general, TUA is really good at giving the viewers enough reason to sympathize with the characters, see where they are coming from while avoiding the trap of forcing the audience to feel like they deserve to be forgiven for everything and are actually innocent people who were just put in bad circumstances.

Another thing tied to these types of characters is that they are prone to being aggressive and having violent outbursts which is... something that I don't appreciate, because it is often portrayed as quirky or not that big of a deal or for humorous effect. Or, in case of female characters, to portray them as a badass. Think of Sam from iCarly, she's a good example of a character whose aggressiveness is largely dismissed. It personally makes me very uncomfortable when you have a positive character lashing out at everyone and it being portrayed as something that doesn't need to be addressed and stopped.

TUA is in the position where it feels justified because it is an action TV show about a bunch of people with super powers so fights and violence make sense in the universe and often the characters simply have to act in self-defense, so it's not jarring. Aidan Gallagher also puts a lot of thought into this role so it's clear that when Five goes full on maniac it is a direct result of his trauma and NOT a good thing, it's something very destructive and a symptom of how messed up Five truly is. And Five knows it, too. He's simply not in the position to be able to work on it in any way but also... I think Five experiences a lot of self-hatred and he sees himself as a monster who at this point simply exists to do what he deems necessary and to protect his family and stop the world from being destroyed as a nice bonus. And this self-hatred and guilt of his is not used as a sort of guilt-tripping tool to force the audience to sympathize with him but simply as another layer of his characterization.

[archetypal-archivist]

Tommyinnit and Hermitcraft- Heartstone P.2

So, a little while back I wrote piece titled Tommyinnit and Hermitcraft- Heartstone (linked here) which was inspired by the works of @petrichormeraki and @redorich, who popularized the AU of Tommyinnit from the Dream SMP getting dropped into Hermitcraft somehow and summarily getting adopted by the entire server. I, in my infinite wisdom, decided “yes, but also angst” and spat out a solid 1500+ words with a cliffhanger at the end because it was getting ridiculous and I had yet more to write. This is another 1500+ words of continuation. 

-----

It's not easy, knowing things. Joe knows more things than most, and oh, how it eats at him sometimes. He jokes with Cleo that between the two of them and their dogs, they are perhaps the leading experts on being chewed on, but she never laughs at that joke. He can't help but wonder why, his thoughts drifting as he lies still and silent in her arms, curled up together on his bed in the winery. Her orange hair tickles his nose as he moves to bury his face in her shoulder a bit more, her cool breath ghosting over the sticky tear tracks that still line his cheeks. All the things that remain unsaid lie between them, but their silent agreement binds them together tighter still. And indeed silence is the name of the game, however much he wishes it wasn't necessary- everything will work out in due time, he knows. But oh, how it aches that he can't say anything more on the matter, not even to her.

"Cleo?" The zombie woman makes a soft inquiring noise, politely ignoring how his voice cracks on the syllables. "Are we doing the right thing?" Her grip tightens again, almost crushingly so, and Joe goes limp at the implied rebuke. Be it right or wrong, his silence must be ensured- he knows so much that if he said anything, it'd all come pouring out. A real modern-day Cassandra, verbal fountain and harbinger of doom in one. No, best to stay cryptic when he can and silent when he can't- and if even his silence fails, Cleo is there, sword in hand, ready to keep him quiet.

He should not take comfort from that. But here, wrapped up in his best friend's embrace, utterly at her mercy and all the safer for it... He does anyway.

-----

Joe and Cleo aren't in a romantic relationship, but it would not be amiss to call them platonic life partners in this universe. Joe has been seeing things for as long as he can remember, the exact mechanics are strange and baffling at best, and if he tries to actually do any Science to figure out how this stuff works, the magic changes to spite him. It's led to a lot of unfortunate visions of peanut butter and how the server generally tends to misuse the stuff (Etho sometimes using it instead of slime in a sticky piston is a milder example), so after enough peanut visions to make him allergic on principle, Joe tends to just let the visions come as they may. The only hard-coded bit that comes with them is that anyone living who hears his prophecies won't believe them and will have something bad happen to them as a result. Cleo, being a zombie, is a special exception to the rule. She's only alive in the most technical of senses, so while bad things still happen to her if she hears Joe speak about his experiences, she at least will believe him.

Which is why she is so determined to not know more about whatever is going on with Tommy. When Joe had rushed in a month ago, tears streaming down his cheeks and glasses barely hanging onto his face, she had merely put down the book she had been reading and had opened her arms wide to him. Convincing him that she would not betray his trust or break his heart had been hard, but she had known it was worth it. How can it be anything but, when Joe had looked at her then as if she was the most precious being on the planet and had immediately thrown himself into her arms, bursting out into troubled tears? He offered to tell her the full story, eyes wet and longing, and her long-dead heart ached at the trust he is giving her- but she is far too selfish to give that up. So she had turned him down, smile on her lips.

Even when he whispered, voice hoarse, that they wouldn't be seeing Tommy for a while. Even when he shuddered and shook in her arms, fragile as glass in her grip. Even when he begged her to ask, just ask, please, it's too much... She did not ask. If she asked, he would tell her, and then she would be hurt and his heart would break because it would be his words that had hurt her. She would not, cannot, will never inflict that upon him, or let him inflict that upon anyone else. (Of all the heads in her collection, the one she has most of is Joe's.)

She simply asks him if there will be a satisfying ending, and when he says yes, she asks no more. Everything will be okay, in the end. So long as there is that much, so long as she has Joe in her arms and the comfortable silence stretches out between them, then she will be content.

(At the foot of their bed, deep in Joe's winery where the barking is muffled and the light cannot touch them, there lies a chest of heads. Inside it, nestled among the many faces of the dead, rests an old iron sword bearing the name Hush. It's blade is rusty from disuse, but if Cleo ever decides that she isn't satisfied, well. There are ways of dealing with that.)

(Things will be okay. She'll make sure of it.)

-----

Philza was no stranger to death. A veteran of a hardcore world, where even the very earth was out to kill him, he had seen his fair share of deaths and had dealt out even more. Usually just to the local mobs and wildlife, but there was still the occasional player dropped into his world by the cruel hands of the Void as a sort of "apology" for leaving him alone, bereft of his sons. As if some random strangers could ever fill the Void in his heart.

Most of them had wandered off upon seeing him, more interested in escape than any companionship he could offer them, and he'd inevitably see their death messages in the otherwise silent chat a few days later. Others would approach him, some curious, some desperate for kindness- he gave them none, was often intentionally cruel just to drive them away. He had the Void in his heart and the Void had him, and he ached and ached for what he could not have. Anything less would be a pale imitation, a mockery of the love he was desperate to return to. He tried not to think about how those kind strangers would also come to meet their ends, often more messily than those that had decided to leave him be to begin with.

Then there were the rare few with... less than gentle intentions. (Blood for the Blood gods, no matter the universe.)

Theirs were the deaths he regretted the least, but the blood still gave him nightmares. For all that he loved his sons, he never understood their love for glory, be it found in conquering other nations or the sticky ooze of a dying foe. Maybe that's why he had spent so much of his time with his elder sons when he returned, the Void finally releasing him from his hardcore prison. Just a father's attempt at understanding, even if it left his youngest at loose ends.

But the problem with loose ends, he had come to find, is that the world had a way of setting them to rights- either by tying them back into the grand narrative, or by cutting them out entirely. For months after Dream had come to him, apology on his lips and charred shoe in hand, he had believed that Tommy's fate had been the latter. He had  mourned his son as if such was the case, weeping openly at the news for the first time in years. (He wasn't the only one, though- Technoblade was an only child now and he was not taking it well.) It was only when Tubbo came to him with his compass to ask about its ever-spinning needle that he felt a spark of hope, for a compass that spun was not a compass linked to a dead soul- simply a lost one. Such hope was justified when, six months later, Technoblade burst into his house with a snarl on his lips and a smile in his eyes. Tommy had returned.

And as Phil stood, back straightening and wings spread wide, hope bloomed in his chest like hanahaki, choking him with love right down to his core. Tommy had returned, despite everything.

And Philza would not let him go again.

-----

For all that Tommy might have been... gone for at least a month now on the Hermitcraft server and life has significantly slowed down for all involved, by no means has it stopped entirely. The shops are still stocked, the torches are replaced when the old ones burn out, Hermits still go out and see each other, if less often than before. Xisuma, in fact, instates a series of mandatory meetings every week or so as a way of making sure that everyone is still alive- a bit of reassurance that no one else has died in the time interim. Even the hermits who prefer to keep to themselves show up, such as Tinfoilchef, Joe, and Cleo, although the latter two remain distinctly separate from everyone else on the server during the meetings, their refusal to take a side alienating them from the rest. Grian, broken though he may be, also comes, usually in the arms of Iskall or with a vacant smile on his face depending on the state of his mental health on the given day. His presence is also alienating, as most of the hermits don't quite know what to say around him and thus will give him and Iskall a bubble of space to themselves during the meetings. Mumbo is the only one to cross the divide, standing loomingly tall at Iskall's back, as if daring anyone to say something potentially hurtful to either of his friends.

Frankly, the entire concept of weekly meetings is a bit of a mess. Xisuma stands at the front with Keralis at his back, voice and posture more and more tired with every meeting and Keralis standing just a bit closer, a silent show of support (ready if his admin ever needs some physical support too). The prognosis is usually a mix of dull stuff and hopeless stuff- lag is better than it has been in years, the Chestmonster shop is out again, Tommy still has not been... found. It's not exciting exactly, but the tension during the reporting stage is palpable as everyone waits to hear if something else has gone wrong. It's a bit like being on the front lines- horrible, drawn-out minutes of tedium as everyone holds their breath, waiting to see if another bombshell will drop but knowing that they have to be there, because some warning is infinitely better than seeing a death message in chat one day and not knowing if that person will ever make it back.

In addition to this is the tension that comes from the server being split in three- the believers, the mourners, and those too damaged or too caught up in their own narratives or too neutral to swing to one side or the other.

The meetings are where the most near-fights happen, and Xisuma is so, so tired of having to be the sane one these days. (The benefit of a helmet, he's come to find, is that no one can see you cry.)

(He doesn't take it off much anymore.)

-----

It's after one such meeting that Zedaph finds himself cooped up in his base, eyes burning with unshed tears and feet dangling out into the Void as he sits at the bottom of the hole in his base, the one that goes straight to bedrock and then even further still. The chill is a welcome distraction from his own inner turmoil, and for all that it's dangerous to be sitting so near to the edge of the world, he can't find it in himself to move away form its cold comfort. After all, Tommy can't have died permanently, right? So sitting there is perfectly safe. He has to believe that. He has to.

The meetings are tough on everyone, but sometimes Zedaph wonders if they are a bit worse for him than they are for the rest. It can't be normal that the first thing he does after every meeting is burst into panicked tears as soon as he gets back to his base, as he's certainly never felt such deep fear and relief after the meetings they had before the Incident. And yet, as soon as the iron door of his base sncks shut behind him, he drops down into the Void hole, sits at the edge, and bawls his eyes out. It's kinda funny- he's shed more tears in the last month than he has in his entire life so far. And all for a boy he had known for less than a year.

During this particular day, however, something odd happens. When he sits down for a good cry, it feels like there's the slightest of breezes coming off the Void beneath his feet, chilling him right down to his bones. It's cold, yes, but a welcome relief as he feels a bit like he's burning up from the inside out. Every moment he spends with Tango and Impulse is stifling, as with them he has to shove himself into a hateful mold he never wanted for himself. He doesn't like being angry, and being angry alongside his best friends is hardly any better. If he had it his way, he would have curled up in bed and simply slept the horror away, only waking when the nightmare was over and he could go play mini golf and Among Us with Tango, Impulse, and Tommy again. Instead, his love for his friends demands that he supports them in all their endeavors, even if their goals these days seem to run a little closer to "get them all killed" than is comfortable.

But yes. The breeze. It feels like ice on his skin and sends every nerve in his legs buzzing. It has a distinct smell to it too, like TV static, ozone, and that sensation you get after you brush your teeth and go take a big gulp of cold water. It's... odd. But vaguely comforting. And as the tears finally well up in his eyes and drip down his cheeks, as he lets himself sob for all the friends- both new and old- he's lost, he finds that it's exactly what he needs.

And if Zedaph would only listen a little closer, let himself see beyond his broken heart, perhaps he would hear the whisper on the wind, too.

Everything will be okay. I'll make sure of it.

-----

Evil X has his own troubles to deal with. He had been present when Tommy had died, if watching from the wrong side of their dimension. Lost in the Void with nothing better to do, he had often found himself watching his friend go about his day. With space and time being as screwy as they were in the Void, he could find himself taking three steps and then would be watching Tommy go from sleeping over at BDub's base to having "breakfast" with Rendog. So when Grian and Tommy had gone out End-busting that fateful day, of course he had been watching.  And that was all he could do- watch- as he saw his best friend fall to his apparent death, that little line of code that signaled "perma-death" flashing once, twice, and then glowing a deep, ominous red.

But that wasn't the end of it, even as his dull and bruised heart stuttered in his chest at the sight.

Like a redstone pulse lighting up everything around it, that red glow set off a cascading chain reaction that rippled up and down Tommy's code until it eventually trailed out to wherever his code stretched out into the Void. There, it must have severed something because before he could even call for help, his friend's code yanked inwards and away, slingshotting the whole mess into the distant darkness beyond, leaving naught but a vague impression on the inside of his eyelids behind. It was... awful. One of the scariest things he had ever seen, perhaps second only to watching his brother, stern-faced and cold, send him off to the Void once again. But for all that it hurt to see that red glow and watch in mute horror as the server he had once tried to destroy shake itself apart at the seams, there was still hope.

The code was gone, yes, but not unraveled, not destroyed. Merely... transported. Moved. Like a file being sent from one computer to another, or a player teleporting between servers. Tommy's code vanishing like that was cause for alarm, yes, but somewhere out there in the vastness of the Void, it lingered still- and it had left a faint impression of itself in its wake. That meant there was hope.

Evil X- and by proxy, his twin Xisuma- were voidwalkers, beings specifically designed to see, understand, and even modify the world's code. Were he anything else, he surely would have perished by now, his consciousness scattered across the Void as it was. And having been in exile for so long, he had gotten to be adept at seeing the seams between worlds and reading the truths of existence as the Void had intended for her children. If anyone could follow that faint trail, could get Tommy back, it would be him.

For the first time in a long time, Evil X had hope. And hope is a vicious motivator indeed.

-----

TBC :)

[radiation]

Good evening, beloved mutual. Today I, Cactus, woukd like to ask you some some questions. What do you think makes Odd Taxi so striking that makes ir stand out so easily? Is it the dialogue, both the acting and script? The multiple influence of both sound mixing and the soundtrack? Maybe the animation style coupled with the designs? Or what about the story of being such a mix of genres and styles?

good evening beloved mutual :D

for me it is the acting & script. its naturally flowing conversation & attention to timing is what immediately stood out to me when i first watched the show. anime tends to have its own kind of language which includes very exaggerated mannerisms. and of course this exaggeration in exists like, everywhere, in any kind of storytelling at any time in any place, and theres a reason for it -- its an expressionist view of emotion, not realistic yet an accurate reflection of how it feels to like. feel intensely as a human being. But unfortunately its often used as a substitute for subtlety and well-earned characterization....

continued below (spoiler-free)

i was watching another anime today, it has very exaggerated main characters. and while i was watching i was like wow i am learning nothing about them. 5 episodes in and theyve done almost nothing but reiterate the same things we already learned about them in the first episode. they are literally just yelling their personalities out, while this dialogue is not based in good enough jokes and scenarios for it to work well (cuz it can work well! but it didnt here). in this case its just a bad substitute for care put into writing

oddtaxi rules because that care is 100% there. everything is so deliberate. such a short anime with so much going on in it cannot afford to waste time, and oddtaxi doesnt! with conversation being the driving factor of its storytelling, it's key that its there with purpose. oddtaxi totally nails this -- pretty much all dialogue has a direction, all of it can be justified narratively, none of it is superfluous. and the fact that the dialogue is more realistic is super instrumental in this. since most of the characters' dialogue isnt exaggerated, the times when they show a lot of emotion are that much more impactful. you get a main character like odokawa who speaks pretty monotone & with natural conversational flow, and characters with unique/exaggerated speech habits are much more noticeable. imai speaks noticeable more like an anime character - which feels totally right, he's an idol otaku! yano talking like no one else in anything fucking ever is so much more funny when he is speaking like this in a world full of relatively normally-speaking people. and the contrast between him and odokawa's speech styles is really interesting. odokawa's has a lot of give to it; it's certainly detached, but he's a great conversationalist and the flow of his speech allows people space to talk. while yano's is totally self-centered, leaves awkward silences, no one can get a word in edgewise. his conversation has flow, literally, its fucking rapping, but his flow is with himself only & is abrupt in the context of talking with anyone else. and thats just the tip of the iceberg, you really could analyze all characters dialogue and find something really interesting + poignant to the show's themes

but yeah, oddtaxi just has. tons of amazing qualities about it. but dialogue is #1 for me, in what makes it great, and what makes it stand out so much. im so glad so much attention to it was paid, with the entire development process changing due it; dialogue was recorded first and animation was done along to it later. this is so characters' speech and expressions would work together well, never be at odds. this is very nonstandard in anime, and definitely took a lot of money to do, but it was totally necessary and is so awesome!!!

thank you for the ask ^_^

[mgsapphire]

Ethics and morality... and how they're not the same...

Weird title, and I don't even know if I'll properly approach this one with all the topics I wish to this discuss in today's The Devil Judge essay, because a lot of things peaked my interest, I was debating on doing a separate post for each subject, but I'll do them all in here:

Starting simple

I know we're only 4 episodes in, but I want to break down the things that I often look for in a new show:

Cinematography

Soundtrack

Character building

Plot devices

Social commentary (sometimes)

Of course, these are things most people would consider basics, but I find that a lot of TV shows don't have enough balance in them. Also, cinematography and soundtrack are pretty up there for me because when a plot gets slow, or something like that, I stay for those two (biggest example: King Eternal Monarch).

The soundtrack in The Devil Judge is amazing and the cinematography can be a character of its own. They really get me hooked and are used as tools to properly tell a story. And I'll get into that further down this post.

The onlooker will never understand the actor

Experience is your best friend not only applies to job hunting, but it's true in the real world too. You can't truly weigh in on something unless you've experienced it yourself, you can give it your judgment and everything, but when bad things happen to someone, you'll never truly understand their pain. Am I bringing up because of the difference of mind in Judge Kang and Judge Kim's opinions? On how the public treated the minister's son? No. I'm talking about a very specific scene, where the cinematography told me to think that way and not the dialogue (it's that easy for my mind to be swayed). In episode 3, when the rich are about to dine right after the foundation's commercial for a better future, we see this aerial shot:

What's interesting about this? The seclusion and the enclosed feeling it conveys as a counterpart to the poverty shots we were just shown. Yet, these are the people making ads for a better future, what do they know?

They live comfortably behind concrete walls with no windows to see what goes on apart from the bubble they live in. This idea is further enforced at the party in episode 4, where they're not even a part of the donations, and watch and mock from afar as spectators. Yet, these people call the shots. They even call it commenting, as if they were watching the pain of others on TV.

The intriguing personality and the duality it encites

Now, this was a costume and wardrobe decision, but it was also very well thought of:

Judge Kim wears white and Judge Kang wears black. One is morally perceived by viewers of the show as morally good and the other is perceived as morally dubious at best. However, besides the costume and wardrobe thought put into this, we also have to think about the delivery of this scene and how it may further affect my detailing of this section. Judge Kang brings down the coats, and hangs over the coat to Judge Kim, he's the one who is making that annotation: You're pure, I'm tainted. This can have one of two interpretations:

Either Judge Kang believes Judge Kim to be pure and innocent due to his status as a rookie in the field

Or he believes Judge Kim to be morally white and himself morally black as he's looking at his brother's face and not at Judge Kim's heart.

Because most of the back story we're unveiling is through Judge Kim's perception, there's also an inherit bias we're having as well, because in Judge Kim narrative, he believes he's doing what's right and believes Judge Kang to be evil. In being served information about Judge Kang through Judge Kim's eyes, our bias is inherently skewed.

Another thing is that, when they put on the coat, they're standing in front of the other, as if the producers of this series are telling us they're two sides of the same coin.

The duality is made in more deceitful ways, which include:

A difference of classes that implies one has suffered while the other has not.

A difference of experience that implies one is more tainted while the other is pure.

A difference of age that implies one is a sly fox while the other one is is bunny about to be eaten.

A difference of temper that makes one erratic and the other logical.

Power dynamics

This one, in this one I could make a whole thesis based on just a couple of scenes in the drama. And you know I have to mention it: director Jung being the puppeteer.

It may not be as unexpected at first, nevertheless it brings forward a lot of things I've wished to touch upon for quite some time now. A woman being a puppeteer of an old man in the portrayed dystopia that The Devil Judge is painting makes much more sense than more common demonstrations of these dynamics where it's either a:

A man of power being controlled by a bigger man of power.

A man of power being controlled by a seemingly man of a lower status.

A woman being controlled by a man of power.

Although, there's nothing wrong with those power dynamics, and if they were to be used, a message could also be conveyed, this one in particular works as a megaphone.

A subversion of power in such a way can be interpreted as a true indication of the weak overcoming the powerful. Why? It is not that woman are naturally weaker than men, but that in society, patriarchy has been a big factor in taking voice away from women in order to give it to men.

In order for Director Jung to achieve her purposes, it's smarter for her to do it under the pretense that an old rich man in power is the one calling the shots.

This is better exemplified by her stance when the old man tries to excuse his behavior, and what her moral compass is. I'm not saying I agree with her unethical conduct, but that her morality is directly impacted by the perception of the public of her as a weak woman:

Just because a dog bites a human does the person get dirty?

This is telling on how she perceives the actions of the old man in gropping the waitress. She didn't do anything wrong, even if you touched her, you are the dirty one.

While she's evil, it's a refreshing and deep evil.

The public's opinion and how there's actually logic in the show's portrayal

The public opinion can make or break a person, even if it's not on a public trial like this. While "cancel culture" barely works in today's society, a person's reputation is forever tainted. The show does tell that, but it also exhibits the scary downside of it, by showing how easily it was to make people accept flaggelation as a fitting punishment.

There are many experiments that have tried to test the effect of societal pressure on an individual's decision and the effect of the authority's enforcement of power in the outcome of these decisions. Furthermore, theories based on analysis of human behavior not necessarily relying on experiments can also help break this down. What do I mean? Here's a small attempt at explaining:

Milgram Experiment on Authority: which measured the individual willingness to carry out actions that go against their conscience due to an authority's approval.

Argument from Authority; The idea that people are more likely to use an authority's opinion on something as an argument for their reason. This is often seen in science, where trusted authorities have done the research and offer it to the public. In here, authority bias also plays a role, as we often believe, at first, that an authority must be right.

Moral disengagement: basically speaking, because this is evil or bad, I'm not part of it and I most probably am not actively participating in it. One may disengage by moral justification, which means that before engaging in something that has been previously perceived as immoral, I'm changing my stance on it based on what I tell myself to be logical arguments. This particular form of moral disengagement is very effective in changing the public opinion. I'll be touching on another form further down this post.

Other factors played a part, but these ones in particular came to mind when public flagelation as a form of corporeal punishment was wildly accepted. First, an authority is the one telling them it's correct, to go ahead. Secondly, another authority (the minister) had previously shown approval to such unusual punishment. Thirdly, they are not the ones to be engaging directly in the act, and even if they were, it would be acceptable because an authority has told them so. They may even believe the punishment to be a necessary evil for the greater good.

In fact, the minister's son was actually correct when pleading his case, they were accepting it because it wouldn't affect them directly.

Regarding the cinematographic descent of the public opinion regarding the situation can better be exemplified by the old man we've seen through the episodes.

Does suffering justify misdeeds?

Today I came along the difference between excuse and reason. You may give a reason for your behavior, but it doesn't excuse it.

Not because I've suffered through shit, means I have to make you suffer too.

I may explain myself, but it's on the other side to excuse me.

Why I hate the unreliable narrator and why I love it so much

This story has been told mostly through the eyes of Judge Kim and what he hears and sees regarding Judge Kang, if anything, the narrative is very close to that of the narrative we've seen in The Great Gatsby. An enigmatic man is being narrated to us from the eye of a man who hasn't known him for a long time.

How is that an unreliable narrator? The narrator has their own set of bias and moral standards which function as lenses through which they see the world.

Another way of putting it would be the way teenage romances are often written in a first person narrative where either of the two teenagers is the narrator, so the author can sell to us something as simple as offering a pack of gum as the most romantic act on earth. We're perceiving interactions through rose tainted glasses.

In this case, we're seeing the interactions through Judge Kim's eyes who doesn't trust Judge Kang from the get go due to his own preset bias.

The narrative becomes even more unreliable as we're not exactly sure if what Judge Kang disclosed himself is a fact.

The reason why I love this narrative is because it leaves a lot of space to make simple plot twists to a narrative and make them seem grand, and can elongate a story without making it obvious.

The reason why I hate it is because sometimes, in tv shows mostly, we as viewers can see the other side of the story and grow increasingly frustrated with the main character's prejudice and misunderstandings (I'm looking at you my beloved Beyond Evil).

Also, because I have to wait for a long time before I actually have a clear picture of it.

[troquantary]

Didyme, Part 2: Something, Something, Plato's Allegory of the Cave

Continuing from here, and we’re doing sub-parts for this bit. I’m genuinely surprised I had this much to say. (And fun fact, I almost lost the entire goddamn post, but fortunately I was copy-pasting into Word just in case. Not today, Satan.)

2.1. What Canon Tells Us

Didyme’s murder by Aro (and with Caius’ apparent assistance, either during or afterwards), is only mentioned on the page in Life and Death, the 10th Anniversary gender-swapped version of Twilight. Edythe/Edward mentions it briefly when discussing the painting of the leaders Carine/Carlisle brought back from Volterra, but it’s just background information with little narrative weight. I bring it up just to highlight Caius’ involvement and knowledge -- I’ll get back to that.

Now, here’s the “canon” backstory we have to work with. Per the illustrated guide, Didyme was Aro’s younger sister, and he turned her at some point after meeting Marcus, Caius, and Athenadora. Interestingly, the Guide doesn’t say anything about Aro returning to Didyme out of brotherly love; apparently he just wanted to see if she would have a powerful gift like his, only to be underwhelmed (”disappointed,” according to his Guide entry) by her actual ability -- she made people happy just by being around them. Then she and Marcus fell in love, sharing “the strongest romantic bond of any of the Volturi” (from Marcus’ Guide entry), and this prompted a suddenly very single Aro to seek out his own mate, Sulpicia. The Guide says Didyme “distracted” Marcus from Aro’s goals, and that the pair eventually made plans to split off on their own, leading Aro to murder Didyme so he could hold onto Marcus and his valuable gift. Although nothing written so far suggests that Aro even liked his sister, the Guide does state that Aro “truly loved her” and that his grief upon killing Didyme was genuine.

Apparently Caius’ role in all is was something Meyer thought up later, because none of the leaders’ Guide entries mention him being in on it. (You can’t see me, but I’m staring pointedly at Part One.)

2.2. Fuck Canon, Actually

(This just seemed like the funniest place for a cut. Continued below~)

I’ll be honest with you, person who’s persistent/unfortunate enough to still be here: very little about this murder scenario makes sense to me. I’m going to start with the “disappointing” nature of Didyme’s gift and that it was supposedly much less useful to Aro than Marcus’, because that’s just...stupid, frankly, and there’s no way Aro would have missed the inherent utility of Didyme’s gift. I don’t even have to read into anything to get this idea -- the Guide itself shows us how useful it is! It says right there in Marcus’ entry that Aro went off to turn Didyme, and returned with his sister, “along with the first members of the guard -- vampires who were drawn to Didyme’s aura of happiness.” That is a direct quote.

Just -- I practically shrieked when I read that. You’re telling me that Didyme’s gift was the stated reason their coven got its first subordinates, and I’m supposed to believe that Aro thought that was disappointing? Fuck off! Fuck off!! Even if Didyme’s happiness aura isn’t as powerful as Corin’s opium haze, well, Aro doesn’t have Corin yet, does he? He has every reason in the world to want to keep Didyme around, drawing other vampires to his cause -- even if most of those vampires aren’t gifted or skilled enough to join the guard, it’s still good PR.

At this early stage in the Volturi’s rise to power, it isn’t a good time to lose Didyme -- or any of his inner coven, really. Yet Aro apparently considered her disposable enough that he killed her. I can’t square this with what we know about Aro: that he’s still coherent despite holding god-knows how many people’s lives in his head; that he’s very intelligent; that he’s cunning, charming, and persuasive. Aro, once he learned they were thinking about leaving, would have tried to talk to Didyme and Marcus and done everything in his power to convince them to stay just a bit longer, until the Volturi’s position was more secure. And maybe he did; the timeline of all this is hazy, but nothing in the Guide suggests that Aro jumped straight to duplicity and murder. Clearly, though, whatever negotiations or arguments he presented failed. So what does their desire to leave the Volturi at this critical stage say about Didyme, or Marcus for that matter?

2.3. What It Says About Didyme and Marcus (Mostly Headcanon)

Brace yourself, because we’re into full headcanon territory now. To follow me, please refer to @therealvinelle ‘s meta about the larger mission of the Volturi and why they’re necessary, because I’m starting from the perspective that the Volturi are ultimately a force working in vampires’ and humans’ favor. While Meyer and the Guide would have you believe that Aro’s just power-hungry, actually looking at the impact of the Volturi and the benefits of enforcing secrecy shows that his broader vision isn’t just world domination, but establishing a world in which vampires and humans can both thrive and endure. There’s no way the rest of the inner coven was unaware of this goal; we know Aro talks a lot, so he’s certainly talked his coven’s ears off about this.

Now, we know very little about Marcus and what he was like before he was all dead inside. Based on what would be a logical balance of personalities, with Aro as lead decision-maker and Caius as ruthless enforcer, it seems likely that Marcus was originally the voice of reason and/or mercy. I also think Marcus would have had a strong sense of duty. The Guide says that Aro was the first friend Marcus had as a vampire, and I believe that Marcus cared about him very much and was committed to the Volturi. I think he would have been genuinely conflicted about leaving, especially considering the stabler, safer world the Volturi have been striving to build, and which they haven’t yet secured. Again, it’s a very bad time for any of the leadership to split off -- but in the end, Marcus and Didyme are going to do it anyway.

What for, though? Why leave? @theoriginalcarnivorousmuffin has an interesting take on that question here: that Didyme saw that she and Marcus would be locked into the Volturi life and a thankless existence for eternity and tried to opt out while she still could. I like it a lot, it’s a great post and that scenario makes sense, but the tone of it feels...too forgiving. Maybe that’s because I’m evil. But the way I see it, given the magnitude of the Volturi’s mission, and its (at best) very tenuous grip on power at the time Marcus and Didyme plan to leave (they haven’t even defeated the Romanians yet), jeopardizing the entire operation so that they can pursue their romance unburdened strikes me as...well, fundamentally selfish on some level, so much that I find myself side-eyeing Didyme and Marcus for it. Although to be clear, it’s not the desire to live their own lives apart from the Volturi that I find selfish, just the timing of their departure.

Honestly, I’d like not to vilify another female character if I don’t have to. Given everything I’ve just said, I see Didyme in much the same way as I see Bella: not a bad person, but someone with definite selfish tendencies. At best, she’s likely short-sighted or naive if she doesn’t see how leaving the Volturi at this stage is fucking them over in a big way. However, I hesitate to read into the happiness aura as a straightforward indication of Didyme’s fundamental goodness; I think she probably was kind, charming, and delightful to be around, hence the nature of her gift -- but that capacity for selfishness is still there. (I’m certain Meyer wants us to take her gift as proof of Didyme’s goodness, to reinforce how evil Aro is for killing her...but I think I’ve made my disdain for what Meyer wants me to think pretty clear.)

2.4. MURDER MOST FOUL

I am not saying it was justifiable or okay for Aro to murder his sister. I’m really not. It’s actually better, from a character standpoint, that it isn’t okay -- that Aro has to carry this with him for the rest of his life while Marcus sits in the throne next to him, reduced to a husk, so that in effect Aro has lost them both after all. It’s got that Greek tragedy element @theoriginalcarnivorousmuffin​ mentioned in her post. (Even better from that standpoint, the Guide implies that Aro found Chelsea relatively soon after killing Didyme, which compounds the tragedy.) I mean, it’s terrible, and it hurts me because I love Aro, but it’s compelling stuff.

What I am saying is, I can see how their insistence on leaving might have deeply hurt and offended him. And that brings me to my issue with the calculated murder scenario the Guide gives us -- I still think Didyme’s gift is too valuable for Aro to throw away by killing her in cold...venom (or whatever), even as the price for keeping Marcus in the fold. Plus, there’s the fact that Aro does love Didyme, and I imagine her gift makes it very difficult for people to think of harming her...when they’re calm, anyway.

Yeah, the only way I can really see the murder happening is if Aro killed Didyme in the heat of an argument about her leaving, possibly even by accident -- except you can’t accidentally kill a vampire, can you? It’s a very deliberate process wherein you have to dismember them and burn every piece, which also means it probably takes long enough that any irrational, overwhelming rage would wear off before you were done. But now that you’ve started....

I mean, at that point it would certainly be awkward to put your half-rubble sister back together, and Aro would be in a whole other load of shit even if he did. It’s possible, given what we’re told, that Aro could have lashed out and yanked Didyme’s head off before snapping out of it, only to realize that his sole option now is to finish the job. If he doesn’t kill Didyme now, she and Marcus won’t just leave, they’ll be sworn enemies of Aro from then on. And thanks to Didyme’s gift being the draw for a lot of the guard, and the inherently bad look of a leader who would brutally attack his own sister, a chunk of the guard would probably leave with them, destroying Aro’s plans. No, the only way to salvage it is to follow through.

Then Aro has to call in Caius for help with the cover-up, because it wasn’t actually planned and it’s just pure luck that no one walked in on the murder as it was happening.

And maybe Aro learns a hard lesson about learning to let people walk away, leaving the possibility open that they could be drawn in again. Because if Aro had just waited, he would have found Chelsea, and with her gift he could have had Marcus and Didyme back again.

Assuming everything didn’t fall apart as soon as they left, of course. But that’s a whole other what-if scenario.

[incorrect-quotes-from-she-ra]

Morning! I hope you don't mind if i give you yet another She-Ra thought I'm too damn lazy to post on my own. Also, it's long again. I WILL find that character limit some day.

So, we know the way Shadow Weaver raised Adora resulted, among other issues, in her being selfless to the point of self-sacrifice, which came to a climax in the Heart's failsafe business.

And it's been suggested that this was basically intentional on Shadow Weaver's part. Basically, selflessness is a very beneficial quality for others to have. My theory is that <b>her plan for Adora had always been specifically for her to someday use the failsafe and release all magic</b>.

(i will admit i am also curious how formatting works in this app. thank you for your help with these experiments)

So, evidence. Let's start with her name. I know this is a remake and they were stuck with the existing names, but there's a scene where Scorpia complains about it ("yeah i GET it, everyone LOVES you"), which constitutes the writers acknowledging its meaning, which makes me think it's fair game to analyze.

First, I'm obviously assuming Shadow Weaver choose it, as part of her ongoing parenting plan. It's also possible it was her original First One-given name, we don't know. Neither quite works because either she or Light Hope should have had some issues knowing what the name was and they clearly knew automatically. Really the entire series is weird in that everyone communicates with everyone else way too easily, and i will definitely rant about that someday.

For now let it stand that Shadow Weaver is the parent figure, it makes the most sense for her to pick the name, both in-universe and narratively, so i shall assume so by default. I have two things to say about that choice.

First, as we all have noticed, most of the princesses have names ending in -a. All of them, if you count "Glimma". It's never said to be intentional, but it would make sense. And then IF such a tradition exists among Etheria's royalty, it's not unreasonable for Shadow Weaver, a notable and moderately respected member of the land of knowledge, to know about it.

And then if she knew, of course she would take it into consideration when looking for names. Admittedly it's a little weird with the anti-Princess propaganda that the Horde has, but she doesn't really need to explain or justify this. Hordak has a very [i]laissez-faire[/i] attitude, and everyone else she clearly doesn't care about.

And if she knew or suspected that the princesses' powers were related to the Heart of Etheria, which i will argue for later, then giving her a princessy name is also adequately ironic.

The second name bit is that Scorpia clearly knows some Latin, but not enough. True, <em>adorare</em> means to worship and/or to love, but Latin verbs are more complex than that. _Adora_ specifically is 3rd person singular present indicative active. The translation would be "she loves".

Names aside, i want to talk about how they (we) learned about the Heart of Etheria. Castaspella doesn't know what to do, Shadow Weaver suggests they take a road trip to research, which she's reticent about but concedes is probably the best use of her time, and they find success. We don't know how long it took them, but i had the distinct impression that it wasn't very long.

Naturally, I'm suggesting Shadow Weaver knew all along, and led Castaspella on the trip to have an excuse for the inevitable "how do you know?". Also tricked her into thinking it was /her/ discovery, and maybe even that she was succeeding where Shadow Weaver had failed before, if necessary.

That's why she's so excited to share their results with everybody, and Shadow Weaver cuts her off, apparently just to antagonize her for fun, but I'm suggesting it was also because for her this is the culmination of a decades-long plan, and she wants to Get On With It.

It's also interesting that there was a mural depicting the Spell of Obtainment in the hallway leading to the failsafe. It was a reminder of Shadow Weaver's past, and an opportunity for her to show she regrets her results but doesn't repent from her choices, which i quite like actually. But I'm also saying that, meta-textually, it was a signal that she'd been there before, literally.

And then there is the potential in-universe connection, since we don't know what exactly the spell was meant to be obtaining. Power, for sure, and from what happened we're probably meant to assume it's tapping into some sort of demonic entity or dimension.

Fair enough, except that it never comes up again. And it's kind of a big plot point that Etheria is isolated from the rest of the cosmos, which may or may not conflict with it having a contactable "hell". Meanwhile there's the Heart of Etheria Project collecting all that magic, which Mara's allies (and their descendants) would know something about, have access to at least one backdoor to, and may well have tried to tap into its power at some point.

And then what went wrong may well be one of the defense mechanisms of the Project, though I'm admittedly veering into unfounded speculation.

So, a rough timeline. Light Spinner was always motivated to excel and craved power. She was probably always envied the princesses, who command greater magic than most sorcerers with apparently none of the study and practice.

She took to researching everything she could that might lead to power, eventually discovering the chamber with the failsafe, and presumably other information left by Mara's Friends, either in other chambers or in documents she's since removed. She would have learned a lot of things from this.

As i suggested, i believe she knew there's some connection between the princesses at large and the Heart of Etheria. Incidentally, i don't know exactly what that connection is, and in particular whether princesses were created by the Project or an existing phenomenon that the First Ones co-opted. But it doesn't matter, exactly.

What's important is that there's clearly a connection, more specifically a control system for the princesses and their magic, which is presumably related to how Shadow Weaver was able to tap into the Black Garnet's power. With Hordak's help, obviously, since she clearly believed it when he claimed he could cut her off at will, but he's later shown to have basically no understanding of First Ones' tech, so the knowledge must have come from her.

For the record, i would guess she thinks princesses are artificial, empowered both magically and politically to keep the planet in check, and that they would be depowered once the failsafe was fired. I also think that may be true, actually, since it almost happened when Entrapta was messing with the system, and if i recall none of them were shown to use any magic after Adora did fire it, while she clearly used Perfuma's power. But anyways!

Back to what Shadow Weaver learned, she would know some of what the failsafe does, namely disrupt the system that's hoarding most of the planet's magic, thereby spreading magic to all (most notably her), and some of how to use it, and the fact that she couldn't do so and hope to live, and some of the criteria for who can. That part is important.

But first, she also learned the Spell of Obtainment, deemed it more likely but didn't think she could do it herself, despaired of getting help until she thought Hordak's rise to fame would give her #casus belli#, lost her patience when the Mystacor leadership disagreed, etc etc etc. Pretty uncontroversial in this part, i think.

After she'd joined the Horde, when Hordak showed up with baby Adora and wanted to lump her with the rest of the orphans they have, Shadow Weaver pleaded to have her get special treatment. She even said that she's special, and it couldn't have been her leadership skills or good heart, since she didn't have either yet. It's heavily implied she could recognize her as a First One, but it's not clear why she would care, since they were known for leaving behind advanced technology, which a baby also doesn't have. Unless, of course, she knew there are devices only a First One could use, and maybe has plans related to that.

So I'm pretty sure she learned the criteria that the failsafe requires, devised some spell or technique to check people for them that she pretty much used all the time, just in case, and was very surprised when a newborn tested positive. She was also surprised when Hordak made her personally responsible for the raising of the kid, but her reaction is pretty much "ok, that could work, i guess".

Also also, i suspect she can read First One script. Not perfectly like Adora, but better than Bow's parents probably. Mostly because when she puts Adora's hand on the crystal and says "i think you know the password", that seems like a very transparent attempt to pretend she knows it too when she doesn't. But that seems irresponsible at such a crucial moment, she and Castaspella should really have researched it earlier. Or at least her line there should have been "you can read this, right?" or somesuch.

So I'm thinking it's a double bluff, hoping everybody assumes she doesn't know so she doesn't have to reveal how and why she knows, again.

And that's all i have, i think? This is not nearly as well laid out as i would like. But then, nothing ever is, right?

Also it's not even close to morning anymore. Thank you if you even got this far, and have a good evening!

hi!!! this took me a while to answer, i'm so sorry about that <3

i'm very low on energy today so i cannot summon up the brain energy to respond properly to this, as much as i want to, i'm really sorry for that as well

i love this theory!! it actually fits in really well with canon and makes, like, a LOT of sense now that i think about it. i definitely wouldn't have thought of this on my own, so thank you for sharing this with me!! :D

[centrally-unplanned]

Allocating Your Aesthetic Budget: Sailor Moon Edition

Sailor Moon is a show that undoubtedly built a powerhouse of a visual brand. Should I even bother posting a screenshot of the sailor scouts, given that I am 100% confident anyone reading this can recall them instantly? I guess it won’t hurt: 

Anime is often really good at creating iconic designs like this, through repetition of the visuals. It is awkward in live action shows if characters just wear the same outfit every scene (what, they only own one outfit? Are they homeless/work in the tech industry?), but animation gives us enough aesthetic “distance”, an awareness that this isn’t accurate to real life, that you can buy into the conceit. By wearing the same outfit every time, it just becomes the character. Not to mention a studio can really save quite a few bucks by streamlining production with neat tricks like having only one character design to animate - when you are on a shoe-string budget, like pretty much every anime in the 90’s was, every cut corner counts.

What is interesting about Sailor Moon is that most of the time it doesn’t really use this conceit at all.

-----------

Episode 15 of Sailor Moon’s first season has, in its opening act, this shot of all of the Senshi (at the time) talking to the plot-of-the-day character, who clearly trains rock Pokemon in 16-bit caves in his off hours:

If you knew nothing about these three characters, you could probably infer about 80% of their personality just from their outfits. Usagi (the blond one in the middle, if that's necessary) is wearing:

Light pastel colours, with pink on top of that: girly, feminine, bubbly and breezy

Short-but-not-too-short of a skirt, and red heels: cares about fashion, wants to project an image of being a woman with a romantic hint to it

Long-twin tails w/ buns: Contrasting the shoes, she is still immature and childish. It also means she is the protagonist of an anime 

Rei (far right) rocks a very different look:

T-shirt and jean shorts, shoes over heels: sensible, practical, a bit sporty

Very short shorts, long black hair: Confident, a bit aggressive, and suggestive of a more overt sexuality

Ami (far left) settles into a more restrained vibe with:

Full, long, but sleeveless dress, bob-cut hair: Chaste, more conservative, but not to the point of prudishness; particularly with the length (and the hand posture, shielding her body) probably a bit shy

Monochrome blue colour in outfit & hair: reserved, serene, possessing a calm demeanor

I know I have seen the show already, but really none of these details are a stretch - this is just the language of fashion. And all of these outfits are outfits that the characters have never (or rarely) worn before up until this point. The cast of Sailor Moon, far from that animation conceit of “standard outfits”, change clothes all…

the….

time.

     I just randomly clicked on episodes to find these, it requires no hunting

And while it isn’t always as spot on as the top picture, they all in some way embody the language of visual design to speak to the personality of the characters. If you want to see more, check out one of the multiple tumblrs dedicated to the everyday clothing the Sailor Senshi wear, because of course those exist.

If this was a 2010’s Kyoto Animation show, pointing this out would be the end of it - every one of their shows has this level of impeccable detail. Sailor Moon is notable in that it is not at all that kind of show; the animation and designs in Sailor Moon take perpetual shortcuts to get the job done. I don’t think the transformation sequences need to be belabored - the way they permitted the team to recycle identical animation sequences, multiple times per episode, was surely a godsend to the production schedule. Yet not all of the budget limitations are so prettily masked:

     I’m sure they finished the background art in the...VHS release?

The show is filled with dirty animation, unfinished backgrounds, backgrounds that are a simple color gradient for no clear reason, and so on. It is clear that the Sailor Moon team did not have the resources for every detail - which is why the decision of what details they did choose to prioritize is so interesting.

----------

What is the point of Sailor Moon? I do believe that shows have “points”; and by that I don’t mean a message or theme but a core appeal to an audience, something specific that they will get out of the show. Almost every show appeals along multiple axes, and Sailor Moon is no exception, but I want to focus on one: aesthetic identification.

If you learn someone is a Sailor Moon fan, there is the obvious follow-up question you have to ask, namely “which Sailor Senshi are you?” It’s the which-Harry-Potter-house-are-you question of anime, a horoscope where you can choose your sign (in this case literally). The premise of this concept is not hard for media to execute on - it is just personality traits and aesthetics grouped together under a label, a basic building block of media and clickbait internet quizzes. Harry Potter, ironically, raised up its memetic question almost by accident, as its focus is so squarely on House Gryffindor that the others are almost forgotten; it was just so mind-bogglingly popular that it didn’t matter. 

Sailor Moon, however, takes this concept and allocates so much of its aesthetic budget into making it a centerpiece of the show. Sailor Moon herself is a klutzy, lazy romantic, Sailor Mercury is a shy, earnest bookworm, and so on, with none of them ever really becoming very complex characters. However, the show devotes itself to making you *feel* these archetypes as strongly and intricately as possible. All of those outfit changes are chosen because not only do real girls care about their outfits and can therefore identify more strongly with characters who do the same, but so they can constantly emulate their archetype in diverse, different ways. The show doesn't have the budget for intense action scenes, so after Sailor Moon engages in her hyper-serious transformation sequences, she proceeds to, nearly every time, bumble through the combat scenes like this:

Oh sure, the scenes are done this way because it is funny (and good comedy can be done on any budget - these shots are frequently still frames with motion lines!), but it is also done this way because Sailor Moon is a total screw-up, and if you identify with that it is validating to see someone “just like you” able to pull off wins despite it all. The transformation sequences are not only beautiful animation that showcases aspirational power, but are also crafted to highlight the personalities of the Senshi in question - unless you think aggressive, combative Rei got fire powers by coincidence. Half of the run-time of every episode is spent, not on the plot du-jour, but on light-hearted personal squabbles between the cast because those scenes are not just funny, but also allow for far more moments of character expression. 

All of that work pays off in building with the audience, not a connection with a character who reflects their identity in total, but a connection that reflects one aspect of their identity in an extremely deep (dare I say multifaceted?) way. I think if you were to describe Sailor Moon as a “shallow” show, you would actually be right to say so, in a sense. These characters will never have the true depth of personality, themes and so on of a more ‘adult’ show. But those adult shows have to spend their effort somewhere - for all that the themes of say Evangelion or Paranoia Agent are pristinely detailed and impactful, you aren’t ever going to be memorizing the moves of their transformation sequences. The way Sailor Moon committed so strongly to fleshing out the archetypes the Senshi stood for is, I think, one of the keys to how this cast of five became so iconic.

     Not even their school uniforms match! They had to spend time in-universe *justifying* this!

----------

A Final Note:

At least, everything I’ve said here applies to Sailor Moon at its peaks. The show, however, is not one without its stumbles, even in Season 1. This section doesn’t flow into the core essay too well, but I wanted to note it because if you were to watch Sailor Moon today, you might struggle to feel the dynamic outlined above. The biggest culprit here is the length - Season 1 is 46 episodes long, and sections of it most certainly drag. They also take a startlingly long time to introduce the cast - this choice builds tension around their arrival, but it also means the later Senshi get a lot less time to establish themselves. Sailor Venus in particular gets hamstrung by this - she is introduced and then immediately arc plot elements sweep the narrative, and so she is left as a hollow shell for some time. The pacing of the show is undoubtedly flawed.

I think Sailor Moon is a show that you do have to keep its time and place in mind for - namely, middle schoolers and anime nerds watching it on broadcast TV in the 90’s. As an adult you “get” the point of the show pretty quickly, and get satiated on it almost as fast. Watching it all in a few sittings only heightens this problem. For a younger audience, and one that is waiting for a week between episodes with no internet for plot reminders, all that extra time is needed to jog memories and build connections. And younger audiences just have that limitless commitment to the things they love! If you think no one could actually enjoy seeing the same transformation sequence for the 30th time, watch it with someone who would have died for this show when they were 10 and you will be disabused of that notion *very* quickly. 

Still, we can’t travel back in time - Sailor Moon is a show of its era. There are “filler-reduced” guides out there, though I caution that the plot of Sailor Moon is absolutely not the point of the show in comparison to the character dynamics, and so sometimes the filler is the best part (Cat-Rhett Butler is the best character in the show YOU KNOW I’M RIGHT). Certainly, however, some method must be used to cut down on its length. If you are going to be a first time viewer in adulthood, that reality should be kept in mind, and if you do accept it for what it is you can really appreciate its core appeal - and don’t forget to finish it off with a 1990′s era internet personality quiz to really wrap it up!

[feysandandnyx]

You can say what you want, but Feyre will always be better than your sisters, starting with the fact that if Feyre hadn't forgiven you, you wouldn't have a book of your favorite to piss off. Preferring something is really subjective, you don't have to like a character even though he is the main character in the book. I've liked a lot of backers, Feyre is an exception and I've liked a lot of defective characters, I have no problem with that. But I never romanticized Nesta. I admit that she did some positive things, but I always found this badly built, as if Sarah didn’t know what to do with it. And honestly, if you think this character is complex you urgently need to expand your reading skills. She may be a different character, but to say that Nesta is complex in the first place is wanting to not recognize how abusive she was to Feyre, something that Sarah herself seems to have backed off in the end. Nesta's relationship with Feyre was not just a fight between sisters.

Nesta left a negative mark on Feyre that even the Feyre fighter needs to overcome. When you feel humiliated by someone to the point that it makes you feel less important, then we are not talking about a healthy relationship. Most cases of abuse occur among family members. So I will always say that Feyre would be more than justified in not wanting anything more with his sisters. Is Feyre a perfect character? No. She is far from being. But she is not obliged. It shouldn't be. She should not be forced to forgive people who have always taken good advantage of her and who have never done anything for her. The fact that Elain and Nesta helped in the war is a good thing, but the war was everyone's duty. They could have refused and died in the end. And it is necessary to highlight the role of Elain here, because if it weren't for Elain, Nesta would not have accepted to help Feyre even knowing what that meant. So I'm going to go back to my point to justify why I think Nesta is a character who actually suffers from a bad build and that Sarah tried to save at any cost in the end.

1- She spent the whole life sitting, 10 years, hating Feyre and waiting for her father to do something. But the narrative itself states that her father was crippled and that he developed some kind of trauma that made him apathetic. So, why do you expect such a person to go into a forest to hunt? Could he have tried other things? Yes. But you should also understand that it was limited.

2 - She lived with Feyre for 10 years without realizing that Feyre did not know how to read, but calling her ignorant and savage. How's that? You are built as a character who likes to read. Do you have a sensitivity for that and you didn't understand the basics? How old was Feyre when you were poor? How many years was your education considered complete and satisfactory when you were a few years older? Justifying that you didn't notice it to make you look better had the opposite effect, as it only showed how negligent you were. You weren't obliged to teach Feyre how to read, but you at least could have realized that she couldn't. She would have shown that at least you cared. It wasn't months or years of poverty, it was a decade. So you spent years calling Feyre ignorant and filthy and you never realized how bad she felt about it? So you are so good at discovering people's weaknesses and using it against them?

3 - Elain tries to justify the way she and Nesta were negligent with Feyre with: we had no skills and we didn't receive adequate training just for us to find out in addition that Feyre taught Nessa how to use a bow and even then she didn't move.

4 - it is useless to want to justify that the three were children. They were, in fact, the fault of the father of the three, but as I already pointed out, not without a reason. However, you and I know that Nesta's characterization would take you to that forest if it were for Elain. There would be no age, his mother's shadow or his father's hatred. She would have gone. She always prioritized Elain, including leaving Feyre alone with her father while he was assaulted and she hid with Elain

5 - Repentance? do not. She spent the rest of the years hating Feyre and spending her money on ribbons and boots she didn't need, again ignoring the rags her sister wore. And the narrative implied that Feyre really tried to argue about that, but her opinion didn't matter, there was always an urgency between Elain and Nesta for their futility to be attended to

6 - Don't try to discredit Feyre's point of view about Nesta when you are the first to isolate the positive points that Feyre spoke about his sister, for why show how much "complex" Nesta is

7 - Nesta's justification for Feyre about spending her money (stealing Feyre), was that she knew Feyre could get more. Nesta completely ignores how Feyre needed to risk his life in the forest every time she felt she could spend her money on new boots because "Feyre could get more". And how were you upset with her to the point of treating her badly because she was doing something when her father didn't and at the same time you stole her because you knew she would get more ?????

8 - It is sad to know that Feyre always needs to die or be kidnapped in order for Nesta to show how he feels about her;

9 - Feyre never did anything to make Nesta hate her other than being a better person than she is, even though Nesta feels entitled to hate her;

10 - Feyre is not to blame for Nesta's problems and failures, yet Nesta always finds a way to hurt her because she is angry with other people. She did this for 10 years while feeling angry at her father, she did it by telling about Feyre's risk of pregnancy in the most irresponsible way possible just because she was angry with Amaren. Don't come to me to say that she was concerned for Feyre's well being because she wasn't. If she had really been worried, she would have called Feyre for a chat and would have told her. But she just agreed with Rhysand and left the responsibility to save and support Feyre in his hands. Then she only remembered the danger that Feyre was in to destroy her relationship with Rhysand and Amaren. Seriously, your sister's pregnancy was risky and you couldn't think that she could have fallen dead right there just for you to have your victory over Amaren;

11- "You chose Feyre" Seriously Nesta, how dare you?

12 - It is very easy to build a character like Nesta and then resort to trauma to try to justify her and awaken the empathy of the reader. We got to the point that if we don't like Nesta, we are called misogynists and insensitive. However, before being abused, Nesta was abusive. Her mother was never an obstacle to protect Elain. So her mom is not a good excuse to try to explain why she never did anything for Feyre. Her attempted sexual assault does not give her the right to use people's trauma against them, as she does with Cassian. In fact, she always did this to Feyre before Thomas, Sarah just justified it with "I didn't really know that you couldn't read". Pathetic.

13- in most parts of acosf I couldn't say whether Nesta had a trauma to be cured by her father that she always mistreated for "being sick and traumatized" or if she was just a spoiled and selfish person who resented Feyre's happiness. I'm still confused;

14 - Sarah gave her impossible powers that she clearly didn't know how to develop. What was Nesta after all? A witch? A puppet of the Mother or death incarnate? I am confused about what her powers really were and I was not surprised by the lazy resolution that Sarah invented to get rid of them. I think we all agree that Feyre's pregnancy plot line didn't need to be there or it could have been developed without us having to see Feyre dying again. What a "creative".

I don't think Nesta is a bad character, I just think she is badly built because all of her justifications for behaving in a certain way are not satisfactory or open up holes in the narrative (her relationship with Elain is an example).

To make up for these construction flaws, Sarah tried to justify Nesta out of emotional issues. Establishing a toxic relationship with your mother in the past, an attempted sexual assault in the not-so-distant past, and the recent trauma caused by your father's death. Behind Nesta's decisions, there is always a purely emotional issue and that, in my view, takes away the complexity of the character.

She would be complex if she just admitted that and she was wrong and that was okay. Nobody is perfect. I got to see a good progression from Nesta to book 3 and I was fine with that. I thought that her whole issue with her father was worse than positive. But I think Sarah understands what Nesta was (abusive) and she wanted to ensure that she would be understood by opening up all of her feelings. I think it worked for some and for others it didn't. I found it appealing. I still don't like her, but I'm glad she is no longer allowed to be toxic. But for me she just needed to really explain herself and apologize to Feyre. I never thought Nesta really hated Feyre. The problem was not whether Nesta loved her or not, but the years when she was abusive to Feyre. She should have just recognized what it was and apologized for it.

[qqueenofhades]

You once said the Renaissance was a uniquely bad time for women. Would you mind going into moreso why? Thanks in advance.

Aha. I have indeed said this before, most recently-ish in this ask about the witch trials. I say this especially because the common (wildly erroneous) narrative of Western history goes essentially like this:

Rome good. Fall of Rome bad.

Blargle blarge Dark Ages. Bad!

Yay! Renaissance! People suddenly became smrt! (Note: by this they only ever mean the Italian Renaissance, when there were many eras of “renaissance” across the medieval world, including the Carolingian Renaissance and the Twelfth-Century Renaissance, but we don’t talk about those because Dark Ages.)

Columbus Discovered America! (tm)

Enlightenment! Yay science! Boo religion! Make Europe Smart Again!

We are now Modern. The End.

Aside from the witch trials, which were a early modern phenomenon rather than a medieval one, the cultural climate of the Renaissance involved, to put it bluntly, a lot of rich and pretentious dudebros deciding that the crises of the late medieval world had been caused by the fact that society insufficiently resembled that of Greco-Roman antiquity (which was considered to be the most perfect form of society). This involved, similarly to the backlash against women currently taking place as a result of the crises of the 21st century, attacks on the fact that medieval women enjoyed quite a bit more latitude in public life than women in antiquity ever had, and the belief that it was clearly a Bad Thing that they were now well outside those social roles. As Joan Kelly-Gadol puts it in “Did Women Have a Renaissance?”:

The Renaissance is a good case in point.  Italy was well in advance of the rest of Europe from roughly 1350 to 1530 because of its early consolidation of genuine states, the mercantile and manufacturing economy that supported them and its working out of post-feudal and post-guild social relations. These developments reorganized Italian society along modern lines and opened the possibilities for the social and cultural expression for which the age is known. Yet precisely these developments affected women adversely, so much, so that there was no “renaissance” for women, at least not during the Renaissance. The state, early capitalism, and the social relations formed by them impinged on the lives of Renaissance women in different ways according to their different positions in society. But the starting fact is that women as a group, especially among the classes that dominated Italian urban elite, experienced a contraction of social and personal options that the men of their classes did not experience as markedly, as was the case with the bourgeoisie and the nobility.

I talked in this ask about how over the course of the late medieval era, women (who had heretofore been relatively present in universities and medical schools) were subject to increased and formal efforts to exclude them, under the guise of ensuring licensing requirements, standard curriculum, and individual competence. (This post also debunked some myths about premodern women’s healthcare and updated some of the arguments in that first ask.) The fact that Henry V felt it necessary to ban women from England’s universities and medical schools in 1421 demonstrates a) that they were there in the first place and b) they hadn’t been formally excluded beforehand. (This followed similar legislation in France.) Renaissance women faced sustained cultural and social pressure from this new ideal to restrict them back to “appropriate” domestic spaces. The average fertility and child-bearing rate for Renaissance women went sharply upward, especially for rich women expected to bear multiple heirs, and pregnancy and childbirth (but not necessarily child-rearing) became their overriding function. Girls began to suffer more systematically from more overt and institutionalized misogyny, both in cultural attitudes and social institutions, and it became still more of the case that daughters were regarded as less valuable than sons. These attitudes had obviously existed to some degree in the medieval era, but were refined, gained more currency and prevalence, were spread by the increasing popularity of printed literature, and began to be crystallized more explicitly.

We do have women writers of the Renaissance, Renaissance networks of intellectual exchange centered around women, and women who participated in the creation of Renaissance text and drama, whether as patrons or authors. It was sometimes the case that wealthy daughters were educated alongside sons, but dare we remark, the fact that they had recently been banned from going to university makes that a distinctly backhanded compliment; “hey, no college for you, but at least you get to learn with your brother at home!” Certain women like Margaret Roper, daughter of Sir Thomas More, were renowned for their learning, and Elizabeth I (who was obviously a princess) received an outstanding education in the Renaissance model. But nonetheless, this was a cultural sphere intensely designed by, for the needs for, and around the interests of (wealthy, educated) men, and this had both implicit and explicit misogynistic consequences. Once more from Kelly-Gadol:

In sum, a new division between personal and public life made itself fit as the state came to organize Renaissance society, and with that division the modern relation of the sexes made its appearance, even among the Renaissance nobility. Noblewomen, too, were increasingly removed from public concerns—economic, political, and cultural—and although they did not disappear into a private realm of family and domestic concerns as fully as their sisters in the patrician bourgeoisie, their loads of public power made itself fit in new constraints placed upon their personal as well as their social lives. Renaissance ideas on love and manners, more classical than medieval, and almost exclusively a male product, expressed this new subordination of women to the interests of husbands and male-dominated kin groups and served to justify the removal of women from an "unladylike" position of power and erotic independence. All the advances of Renaissance Italy, its pro-capitalist economy, its states, and its humanistic culture, worked to mold the noblewoman into an aesthetic object decorous, chaste, and doubly dependent—on her husband as well as the prince.

In other words, the Renaissance was a great time for a certain subset of elite male society, and not necessarily for everyone else. It was certainly no movement toward proto-equality, often represented an active drawback for women vis-a-vis their status in the medieval world, and laid the foundations for many of the misogynistic attitudes and assumptions that still enjoy widespread currency in the modern world. We are taught that it was some moment of “awakening” for humanity due to the deeply elite, Eurocentric, and androcentric nature of the canon of Western history, and while its ideals certainly did transform Europe at the end of the late medieval period, these were not always for the best. Once again, we can see some parallels in our own time, and while women have always served as a useful scapegoat during moments of social and economic upheaval, it would be helpful if we could at least realize how much, and what form that has taken before, even (especially) in things we are otherwise supposed to celebrate.

[dioptre-hertz]

Pathologic 2 ending thoughts

i don’t really use tumblr much anymore, but i recently finished Pathologic 2 and i have thoughts on the ending, which i felt was somewhat incongruous with the rest of the game’s themes and ideas. and tumblr felt like the right place to put a long-form post about it. so, here i am, haha!

MAJOR spoilers for Pathologic 2 below, obviously. this post will probably only be interesting to you if you’ve already played the game, so if you haven’t, be warned! hehehe!

okay, so. i have a lot of thoughts about the ending stuff, but basically it boils down to: i think the ending as presented would have been a good ending for a different game.

quick summary: towards the end of the game, Artemy learns that the Polyhedron, a physics-defying tower and architectural wonder, is rooted into the ground with a long metal spike that pierces the Living Earth. destroying the Polyhedron would therefore open a gaping wound in the Earth, spilling rivers of blood that could be used to mass-produce a cure for the plague. however, doing so would not only destroy the Polyhedron, but also kill the Living Earth, and by extension the Kin. alternately, Artemy can choose to preserve the Polyhedron, which would prevent the Living Earth from bleeding out and dying; but it would come at the cost of the lives of everyone in the town, since the plague would then be unstoppable.

so, the ending choice is principally about this: you have to choose between preserving the magical wonders of the world, the Kin and the Polyhedron and the Living Earth, but at the expense of the actual living humans of the town; or, you save the town and all its mundanities and its ordinary people you've worked so hard to protect, but at the expense of your cultural heritage and all the magical, impossible things of the Steppe. do you choose a world that is dreamlike, enchanted and strange, even if there is no place for regular humans in that world; or do you choose an ordinary, realistic world, one in which there is life for common folk but not for magic and fairy tales?

here’s what irks me though: this dichotomy is not at all what the game is about. or, to be more precise, it never felt to me personally like this was what the narrative was setting up. the choice as presented is fine in a vacuum! there’s nothing wrong with telling a story that creates this kind of clash between magic and realism, and asks you to choose between them. but it doesn’t feel congruous with the rest of the game’s story. let me elaborate.

so, part of what’s going on here is that the game is asking you to make a sacrifice. as the game itself repeatedly tells you: “you can’t save everyone”. either the Kin, the magical steppe creatures, and the Polyhedron are destroyed; or, the ordinary humans of the town are destroyed. you can’t protect both. Pathologic 2 goes to great lengths to show you that you are not a magical fantasy RPG hero who can complete every quest, rescue every NPC, overcome any obstacle and get the Perfect Ending. that’s the whole point of the overly punishing hunger and exhaustion mechanics; that’s why you die so easily in combat, why you’re always running out of time, and why the game is perfectly willing to punish you for every single mistake you make. it’s not a game about being the chosen one, who has magic powers and is uniquely capable of saving the day. right?

except... it kind of is precisely that, if you think about it. Artemy’s story is very clearly a traditional “chosen one” narrative! he is the sole inheritor of his father’s legacy, he is the town’s only menkhu, and so much of the story revolves around his spiritual journey. over the course of the game, Artemy undergoes a coming-of-age of sorts, reconnecting with his heritage, unlocking the secrets of being a menkhu, brewing magical tinctures that slow down and ultimately cure the plague. multiple characters make it explicit that Artemy is important - Foreman Oyun, Aspity, Isidor, and various minor characters of the Kin (like Nara) all talk at length about how Artemy is special, and his role (should he embrace it) is to lead the Kin once he is ready. and the entire conflict with Rubin revolves around the fact that Rubin isn’t the “chosen one” the way Artemy is!

this whole plot thread reaches its climax when Artemy ventures into the Abattoir to seek answers. there, he undergoes a series of harrowing spiritual experiences. several really important things happen here, and i want to focus on two of them.

firstly: upon reaching the central chamber of the Abattoir, Artemy is tasked with performing “surgery” on three seemingly random objects: a candlestick, a fingernail coin, and a spindle of thread. he has a metaphysical conversation with the odongh he meets there and then “connects” these objects into a living, beating heart, and the heart speaks to him. this scene is either hallucinatory or supernatural (or both), but it doesn’t matter which; the point of the scene is that Artemy has finally learned to read the Lines, learned to see how seemingly disparate objects can be spiritually connected into a singular whole. he takes three items that appear to have nothing in common, and he forges a beating heart out of them, a living thing. as Artemy himself learns:

This system isn't symmetrical. It's not just "Nerves, Bones, Skin." Or "Nerves, Bones, Flesh." Or "Spirit, Hair, Blood." Any triad is correct.

Truth is not a set point, but an intersection and confluence of many small truths. Knowing this, I can match and connect anything.

furthermore, shortly after leaving the Abattoir, Artemy has a dream in which he returns there and speaks to the ghost of Isidor, his father. here, he learns a difficult truth: that Isidor intentionally brought the plague back to the town, believing - essentially - that it was necessary for the town’s growth. the decision seems monstrous. Isidor justifies it thus:

This town was… connected wrong. Its parts were tied with artificial seams—so different, so awkward. One could say that Simon, the Mistresses, and I held it all together by force.

So I tore it apart, so you can sew it all back, better than before. Because you're better, and smarter, than I am.

so here we have the high point of Artemy’s spiritual journey, the part of the story where he finally understands why things are the way they are, and what it is he must do.

and this is where things start going wrong, in my opinion.

because all of this, all of what we’ve seen, seems to point in one very clear direction: Artemy will find a way to connect the Kin, the Town, and the Polyhedron into a single coherent whole. it fits so perfectly! Artemy learns that there is a way to mass-produce a cure, but doing so would require him to destroy the Polyhedron and the Living Earth. it appears as though the Polyhedron, the Living Earth, and the Town cannot all coexist; something must be sacrificed. but this choice is presented right after we’re told that Artemy’s destiny is to “sew it all back, better than before”. it is presented once we’ve seen that Artemy can connect a coin, a candlestick, and a spindle of thread into a living, beating heart, no matter how impossible that may sound. knowing this, he can match and connect anything.

and yet, he... doesn’t. the game does not end with a solution that connects the Kin, the Polyhedron and the Town. ultimately, Artemy fails to sew it all back together - and it’s not just that he fails, it’s that the game itself seems utterly unconcerned with that possibility once it heads into its final act. the mere idea that there could be a solution that “connects things right“ goes unexplored. even if the game wanted to be pessimistic and suggest that it can’t be done after all, it should at least acknowledge the thought! the game does admittedly have a focus on the idea that “you can’t save everyone”; this is one of its core motifs. so, fair enough! but since it fails to address that cynicism, it feels less like a statement on the game’s part and more like a lack of awareness.

but that’s not all! there’s a second thing that really bugs me. see, there’s another major event that takes place in the Abattoir: Artemy finally has his fateful encounter with Nara, the Herb Bride who has haunted him throughout the game, insisting that their destinies are intertwined and that he will one day kill her. here, Artemy finally comes to understand what it all means. in the depths of the Abattoir, Nara is waiting for him; the other Herb Brides give Artemy a menkhu’s knife, and they task him with cutting open Nara’s body without killing her:

We know how to open things up. Our way. You know how to open things up. Your way. Do you want to know why the sand pest passes us by? Show yourself.

Cut a living sister in such a way that she stays living. You can do it, if you know the Lines.

Artemy follows through, and he converses with Nara even as he cuts into her flesh; they talk to each other right until the end, when Artemy retrieves a spindle of thread from her body, and she dies.

now, this scene is somewhat tricky to interpret; Artemy must show that he can “cut a living sister in such a way that she stays living”, but in the end, Nara does die. so was he successful or not? well, i would argue that he is; even though Nara dies, he proves that he is able to read the Lines with such precision that she can speak calmly with him until the very end.

more importantly, this scene is the high point of a recurring theme in the game: Artemy’s skill as surgeon.

on Day 1, the very first part of the game, Artemy is sent by his old friend Bad Grief to perform surgery on Piecework, one of the thugs in Bad Grief’s gang. Piecework has gotten in a fight and been stabbed in the gut with a lockpick; without Artemy’s intervention, he will die. you can choose to save him, flub the surgery and kill him, or ignore the sidequest altogether; in any case, this early quest introduces the player to the surgery mechanic and serves to establish Artemy’s unique skills as a surgeon.

on Day 11, the last day of proper gameplay, you have a repeat of this encounter. while pursuing the main quest for the day, you wind up in a pub, where a gang of local bandits have set up shop. they threaten you and order you to rescue one of their pals, who has been shot in the stomach and is about to die. here you again perform surgery to save a man’s life, but this time you don’t do it through the usual surgery minigame - it happens entirely through dialogue choices, and i’m actually not even sure if it’s possible to fail this interaction. in any case, you retrieve the bullet from the man’s stomach and inform his friends that he’ll live.

so what’s the point of all that then? well, the way i see it, the point of all this is to foreshadow a climactic conclusion: Artemy will remove the Polyhedron without killing the Living Earth.

the game spends a lot of time setting this up! on Day 1, Artemy saves a man by removing a long metal spike from his gut non-lethally; in the Abattoir, Artemy proves his spiritual growth by demonstrating that he can “cut a living sister in such a way that she stays living”; and on Day 11, the game throws yet another surgery vignette at you in a scene that frankly feels a bit out of place otherwise.

all of this feels, to me, like it's foreshadowing and setting up one very obvious result: Artemy, having mastered not only practical surgery but also the art of reading the Lines, of being a menkhu, is the one person who can remove the Polyhedron without killing the Living Earth! the game spends all this time explaining that in the Steppe culture, cutting open flesh, or the earth itself, is taboo: only a menkhu is allowed to do so, because a menkhu is someone who knows how to read the Lines, who knows how to cut in a way that will not harm the Living Earth. the culmination of the story, therefore, needs to be that Artemy puts this exact skill to use. that was the point of his character arc, right?

except... no, it isn’t. in the end, there is no way to surgically extract the metal spike from the Living Earth. the only two choices we are presented with are: botch the surgery, or leave it be.

...

in the end, i feel that the ending(s) of Pathologic 2 aren’t appropriate conclusions to the ideas, motifs, and overall narrative progression we’re shown throughout the earlier parts of the game. Pathologic 2 is in many ways brilliant, and i do not hesitate to call it a masterpiece, aforementioned criticisms notwithstanding - but that’s precisely why i cared enough to write all this down! it’s a story that gets into your head, really stays with you, and maybe that’s the reason why i have such strong feelings about the direction the story takes in its final act.

if you reached the end of this post: thank you so much for reading it! i hope you enjoyed my thoughts, and i hope you have a great day!