#aside from like the few good memes and one good narrative I got

[so-i-grudgingly-joined-this-site]

Part 4: Damn Daniel, Back at it again with the (symbolic) white vans

Note: this is a part of my essay "The Awkward Meta-Tragedy of Neil Gaiman's The Sandman", see [here] for the masterpost of all links, reading order, and content warnings.

Ah, so, here we are.  This is where I actually started with exploring the ending, and what was originally going to be the entirety of this essay.  Clearly, as I re-read the books to get a grasp on what I wanted to write, things… expanded.

                To put things quite frankly, I don’t like the Daniel version of Dream of the Endless.  Not because he replaced Morpheus, nor because he’s a protagonist of the sub-par sequel series, nor for anything he does, really.  Rather, I’m severely uncomfortable with what he represents if Morpheus’ end is interpreted as a straightforward, fully prepared, and completely intentional suicide.  If that is the case, then Daniel rather awkwardly represents the epitome of what a suicidal person might assume in the depths of their depression: that someone better will simply come along and replace them, and that all their family members, friends, and work colleagues will end up better for their death.

                To emphasize this contrast, I feel that, of all things, the Christmas classic film It’s a Wonderful Life serves as a good foil.  Unfortunately, I can no longer find the link to the post that analyzed and explained the film far more thoroughly than I can here, but the gist of the message is that the oft-memed journey to an alternate timeline is the result of the protagonist, George Bailey, being so suicidal that he believes that not only is the world better off if he kills himself now, but it would be better had he never even been born.  It takes literal divine intervention of his guardian angel, Clarence, to show George that he is very, very wrong.  George believed that everyone would be better off without him, and in some cases he’d even be replaced by a “superior” person—he thinks his wife would’ve married a rich guy, for example.  But instead, George learns that he truly fulfilled a role in his loved ones’ lives, the whole town’s lives even, that nobody else could.  Without him, the town would be at the mercy of evil businessmen, his wife would never find love or marry, and his children wouldn’t exist.  The world is better with him, every person is unique and irreplaceable, Merry Christmas to all!

                In a stark contrast, the narrative of Sandman rewards Morpheus for suicide (or at least death), and shows him as being very literally replaceable.  Daniel takes up his powers, his memories, and not just his title or role but his literal life, even becoming the new replacement brother to all Morpheus’ siblings.  This isn’t even the first time they’ve replaced a sibling—an easily brushed-over point is that Despair was killed and replaced with the current version of Despair at some point in the past.  Given how little anyone seems to care that the new Despair is different, nor really even acknowledges a difference aside from a few throwaway lines hinting at the storyline, it doesn’t present an optimistic picture about Morpheus’ family really caring that he died and got replaced (Despair herself brings this up in her funeral speech for Morpheus, but then again it is her literal job to be a pessimist).  I mean, the Endless are a really bizarre and fucked up family in just about all respects, but that’s still really dark.  There’s also the argument that Morpheus is not a person, who would be irreplaceable, but instead a personified concept, who therefore can be replaced—but to accept that would be to subject the Endless and other nonhuman beings in the series to the same mindset that led to Calliope being imprisoned and tortured for decades: “It doesn’t matter because they’re not human.”

                And, in terms of “rewarding” Morpheus’ death… well, let’s face it.  In the little bit of canon, non-sequel screentime we see of Daniel, it’s clear he’s a lot more level-headed and dedicated to love and forgiveness than Morpheus was.  He spares Matthew from The Kindly Ones’ wrath, and is so even-keeled and all-loving that he even lifts the punishments from grade-A asshole rapist Richard Madoc and long-term Dream-torturer Alex Burgess.  In the perspective of someone living in that universe, well, if you have to have a being in charge of a major function of reality, you’d probably want someone that chill and loving, right?  That’s definitely an upgrade from the moody and vindictive Morpheus.  So yeah, the universe comes out great from what was potentially a suicidal meltdown.  If it was a suicide, it’s arguably framed as a heroic sacrifice for the good of the universe, even if it did cause a reality storm that waylaid some travelers at an inn along the way.

                It’s like if It’s a Wonderful Life had been dedicated to showing George Bailey that his death would be a good thing!

                I mean, Morpheus and George Bailey are very different types of characters, but framing an intentional suicide as positive still feels a bit off.

                It is not just this awkward framing of suicide as heroism that makes Daniel’s takeover uncomfortable from a reader perspective.  There is also the complicated relationship of Daniel to humanity, purity, and how the two are incompatible.

                Daniel’s color scheme is NOT subtle in the least.  He’s pure white from head to toe, and indeed he is the perfect new Dream of the Endless, now rid of those pesky flaws Morpheus had—which, like I mentioned, tended to be his more humanlike ones.  Tumblr user thenightling did an incredibly thorough explanation of “What is Daniel Hall?” [here] that I highly suggest reading for a greater explanation of the character’s existence, but the part I’d like to highlight here is that Daniel, though born to human parents and gestated in dreams to become a sort of human-dream-being hybrid, has his human side literally burned away by a purifying fire.  (Well, according to Puck the fire didn’t take all of it, but who knows how reliable Puck of all people is.)  Likewise, he even rejects his human name; I only use it here for convenience’s sake.  While having this setup is probably great for the people in-universe, it presents a rather pessimistic, dark view to the reader.  Humanity, and thus relatability to the audience, is something that needs to be discarded, purified, and burned away.  Humanity is a flaw.  Plus, there’s just the plain old problem of perfect characters being boring to read about.  I guess it’s to our benefit that Danny only comes into his power at the end of the canon run.

                I already touched upon Daniel’s rejection of his human name, but there’s also more to that rejection.  While Daniel was born human and rejects his human name, Morpheus was born Dream of the Endless, but chooses to go by “Morpheus”.  There is basically no way that this could be his actual given name; it’s Greco-Roman in origin, which, while ancient to us current readers, would be awfully new for a character that dates to nearly the start of the universe.  The audio drama version even emphasizes that the Endless fundamentally have no names unless they choose one.  It also feels notable that Daniel insists on going by his title, Dream, alone.  Morpheus, who not only chose a specific name but collected many others, desperately wanted a life/identity beyond his job but felt that it was irresponsible and/or impossible for him to do so.  Daniel, happy and insistent to embody his title and nothing more (note how even the “changed” Daniel still refuses Destruction’s reminder that he can quit his job), is thus also the embodiment of what Morpheus thought he should be: the ultimate workaholic with no desire to be anything but a function.

                I must say, The Sandman is unique in that it might be the first work I’ve seen that portrays someone completely absorbing in their career, forsaking personal identity in the process, as a good thing!                

And once again, I must emphasize, the contradiction between toxic work mentality and heroic happy ending is entirely between the audience and the in-universe crowd.  In-universe things are great; you want your essential universal forces to be dedicated to the job.  But the message to the audience, mortal humans who likely have struggled with work-life balance, is rather bleak.

[breakingthroughdawn]

Hiya! I’m gonna post this and see how long it takes for someone to get mad. I hate serious talk, but I have to put this somewhere where I won’t get an echo of what I already think. Because echo chambers suck. (I’ll use the block button if I need to for my own well-being.)

Videogame debate does more harm than good and makes no progress in the long run, and actually seems to be more counter-productive for the people against the game, because the attention and drama seems to be enticing to more than you’d expect.

Yelling and hurting eachother does more harm than good, and all it does is divide everyone more. We have enough divisions already, why are we making more?

Trying to eradicate information or the existence of something entirely does more harm than good (and you’re honestly not likely to succeed, people find workarounds anyway).

Telling everyone the content is horrible and morally wrong makes some people shocked. …I’m pretty sure most people would follow it up with “tell me more!” or “explain it?” Or “how’s that?” To get more details. Forbidden Fruit is a phrase for a reason, many enjoy the idea of something they think is bad or taboo. They’ll probably go looking for information to find it on their own anyway.

…

These are arguments about violent and Mature-themed videogames like GTA, what did you think I was talking about? 🤡

See, memes aside, the problem I’m having with a lot of the discourse rn is that everyone is pulling out every stop. For a goddamn game. The game has problem-themes, mhm. The source has problems, mhm. We knew this, regardless of what side of the problem you’re on, most people are aware of the discourse (and if not, bless you sweet person, please continue to live in blissful ignorance as long as you can).

Will everyone just *shut up and actually use some empathy please*?

Imagine with me, you tell a person that GTA is harmful to others in concept and don’t think people should interact with it. It has sexual/nude context, it allows murder without true consequence, and encourages bad driving. Obviously, playing as someone with such morals is going to encourage that behavior! (Just follow my thought experiment for me if you’re still reading)

There are a few ways that seems it could go (in my mind):

1) they put it down and never touch it again, losing something they were enjoying that was not from their view hurting anyone, but because you told them they were morally wrong for doing it they listened. They agree with you, and they simply move on, finding a new focus and carry on with their lives.

2) they don’t put it down, but they understand what you’re saying, and they actually find more details of this as they go along, recognizing the discourse you brought to their attention, and actively thinking about what they’re playing. They analyze it, they actively argue or debate it, if they stream it they point out how they’d change it, or they headcannon something new and argue with the problematic narrative every chance they get.

3) they don’t put it down, and they argue back at you for being overly sensitive and trying to control what they’re doing.

If you attack them more personally/vigorously than I described, it will likely be more visceral: they argue back with more force, and you have now gained a new enemy and possibly a ruined relationship with this person, and they probably have a more aggressive view of “your side” of this discourse.

4) they do put it down, as you asked, and now go and tell others why it’s evil and spread the word.

This can also be blown up into aggression, harassing and attacking anyone who is still ‘being part of the problem’.

…

Does- does no one else see which of these are upsetting? It baffles me sometimes how horrible people can be to each other.

To speak plainly and without reserve now: JKR already got her royalties, afaik. She’s been paid.

The people who made the game are going to sell copies wether you want them to or not. People are already playing it anyway.

Everyone turning on each other like this is so goddamn asinine to me.

Edit: Mhm, royalties are gradual, got it, she’s gonna make more money, got it. Doesn’t mean you call someone names.

I’m not saying that you should buy it, I haven’t even said what my own plans were. If you want to boycott everything made by assholes, microsoft, apple, twitter, google, amazon- you gonna toss your phone and computer? Yell at everyone who doesn’t? Goodness.

[actualbird]

Oh my god help I tried to submit this ask before and I got told a tumblrbeast ate it was it that long kjsfhjdshf. I'm so sorry if this is the second time you got this ask from me.

Me & my friend actually came up with a not-so-insane sounding theory: Marius is not from the in-game timeline. (This has basis in Marius third solo SSR, but I won't say anything you don't already know. You've seen that illustration, I can tell you it's seriously related to that!)

I'm thinking Madoka Magica here. Due to various events, Marius loses both Giann and Rosa. Unable to take the loss of both of them, he builds a time travel machine (only able to go to another timeline, not the past in his timeline), and sets out to save them both.

I'd like to imagine Marius at the start, so optimistic and eager, so helpful and open. He practically wore his heart on his sleeve around the first few Rosa, then gradually forced himself to close it off because he kept on failing. (As my friend pointed out, he feels like he doesnt deserve the love a Rosa in a timeline gives him because he's failed her too many times)

Also as my friend pointed out, this is why Marius doesn't open up as much to Rosa. He doesn't really like dumping so much about himself on her because he doesn't wanna get too attached to that Rosa in THAT timeline. Cause if he does, and he fails to save her- he'll be more broken than before.

The reason he seems emotionally detached while talking about the bad memories is because he experienced this in the first timeline, as the original Marius. The one that fell in love with Rosa and didn't know about the tragedy that would happen and didn't see the need to save her and Giann.

And can I add another layer of angst on top. He's stuck in a choose one situation. He can't save both, and he doesn't know that. Even if he does know that, he'd keep going to different timelines, in hopes of success, even if it's impossible.

omg jshdvfkj im glad this ask got through!! it's the only one that i got that looks like it, so hurray! u were successful!

that being said, u were successful in making me very emotional whHHHYYYYYYYY

im personally not too big on theorizing about canon (my go-to is just to make an au HAHKJSHVFKJS), but it's interesting cuz i have played around with like, a madoka magica-esque au in terms of timeline jumping and immense angst, but it's always luke who im casting as the pseudo role of homura, since hes so very much intertwined with the concept of time and self destruction through self sacrifice

however, hearing ur rationale for marius is SO GOOD cuz i can see the connections and motivations, especially with how guarded and detached he is and oh god why wHY HE'LL BE SO DESTROYED, HE ALREADY IS, WHATS THE WAY OUUUUTTT

overuse of crying memes aside, thank u for sharing this! if anything, im now immensely interested in applying some of the time-narrative concepts i usually apply to luke to marius too, cuz it fits him as well, what with how heavy his past is and also how he brings up the concept of memory a lot (like, his memories of giann, how he wants to be remembered always by mc, past anecdotes, etc). it fits, just in a different way and different angle

ah, subjecting faves to the Horrors <3 jhvVKJSHDF

[number-1-kuaidul-fanboy]

Jack, grabbing Carly: LEND ME YOUR HANDS WILL YOU?!

Carly:

Good to know the dub kept the absurdity of this scene.

[lazyliars]

/rp

Before I get into it, I want to state that is EXPLICITLY an analysis of the Characters, and is not intended to touch on how the cc’s played them in a meta sense unless specifically stated otherwise.

Also, this is technically a part two to my other post, which took a more in depth look at Techno and Phil’s reactions to Tommy’s death. It’s not necessary when reading this post, but I don’t address their reactions here.

So. The question must be asked.

Are we [the Syndicate] the baddies?

Yes.

The End.

 Why are the Syndicate the baddies?

They got damn logo is a wither skull.

The End.

That's not how this works.

Yeah, yeah. You’re right.

The Syndicate's goals as an organization are not inherently bad. They seem to have good intentions behind them, and the focus on the freedom of it's individual group members is important to remember when talking about it; It is not a government. There is no hierarchical power system. No one is forced to do anything against their will, or surrender any of their rights or power to remain a member. It is not a government.

I also want to address Techno and Phil backing Ranboo into a corner – I see them getting a lot of flack for this, but I personally do not think it is relevant to the greater discussion, or necessarily representative of any contradictions within the organization. It was clearly played for laughs, and after they back off they clarify to Ranboo that they won't force him. Then later when Phil and Ranboo are alone, Ranboo feels safe enough to express that he felt like he was pressured into it, and Phil assures him he is allowed to leave whenever he wants; He is not being forced to do anything, and he is not being coerced or blackmailed.

None of the Syndicate members have done any wrongs against each other in the context of the Syndicate, OR gone against any of the Syndicate's core principles.

That, said, holy shit are they the baddies.

Listen, there's trying to telegraph a meaning or message to the audience and then there's having your logo be wither skulls on blackstone. That is straight out of the skit I keep referencing, seriously.

Okay, but, they laughed at it! It was played as a joke, just like the Ranboo thing!

The Ranboo thing was improv, the Syndicate's headquarters were planned – the artistic choices that they made reflect on what role they want the build and the organization inhabiting it to play in the future storylines.

Wither Skulls kind of have some CONNOTATIONS. Techno is an English major, I don't think he chose the most threatening imagery possible on accident, and then joked about the way people would interpret it just to stir the pot. This reads as hugely intentional.

And beyond that, the jokes they make during this part aren't “haha yeah, we look bad but we're actually good!” they're “you can tell by looking at these that we're the good guys wink wink, this is good guy stuff right here :)” It is a joke about how they are definitely not the good guys. This isn't even a case of unreliable narrators, this is one step down from flat out saying the meta intent.

But okay, I hear you, I'm talking about things that haven't happened yet. The Syndicate hasn't used any Withers, they could be an aesthetic choice.  Lets look at what they do in practice.

So, they barge into private property, assess Snowchester's right to continue existing based entirely on their own ideals of what Freedom is, and then only once Tubbo assures them that they have no standing leader do they grant the place their approval to, and I gotta stress this part, continue existing.

 In my Quackity meta, I already talked about how Government in the context of a M1necraft RP cannot be compared to IRL Governments on a one-to-one scale. They don't serve the same purposes or have the same type of power. What I didn't talk about was Agency in the context of m1necraft governments.

In an irl government, if you are born into one, you can't really leave without committing a massive overhaul on your life, which can be expensive and difficult, if not impossible for many people. Even in a “benevolent” government, the simple physicality of where you were born can prevent you from leaving it easily.

The same hurdles do not exist in the Dream SMP. People who join M1necraft governments choose to. They want to, either at the beginning when they form one, or later on when they join up. So far, no Government has just Sprung Up and forced the current residents of an area to become dependent on them, except maybe the Eggpire, who's status as a government is... shakey.

And even when people want to leave or separate from the government, they have been historically able to do so without any trouble or any effort from said governments to stop them. Jack Manifold emancipated from Manberg. Fundy and Quackity both left to start new nations. In all cases they were allowed to do so without any attempts on the part of the governments to stop them, either through force, or institutions preventing them from doing so.

The most anyone has lost when leaving a government is their house, which is still usually their property anyway, and is something that is easily rebuilt elsewhere and is inconvenient to move anyway.

The only exceptions to this might be Schlatt exiling Wilbur and Tommy - but even then, they weren’t trying to leave, they were trying to get back in, and of course the original L’manberg revolution, where Dream attempted to force L’manberg back into the Dream SMP, which wasn’t even a government at that point in time.

I don’t consider Phil’s house arrest an example of a government forcing someone to stay a citizen - that was treated less as a matter of a citizen wanting to leave the country and more as a threat to national security. Still pretty fucked up, but it’s a different issue.

What I'm saying is, If Tubbo wants to create a government out in the middle of nowhere, threatening no one, forcing no one to join either through force or desperation, and allowing people to join willingly because they want to, then he should be allowed to do that.

The Irony of the Syndicate, a group of people consisting of some of the richest, strongest people on the server, going around and enforcing 'Freedom' that entails no one person having more power than any other, is absurd. 

It shows an extreme lack of self-awareness and/or self-righteousness, as they seem to think that they deserve to be the ones who decide what constitutes a government.

Snowchester is a small independent nation - they shouldn’t have to live in fear of being obliterated if they don’t walk on eggshells to meet an arbitrary standard decided by people who’s only authority on the matter COMES FROM THEIR PERSONAL POWER. No one elected them! No one chose them! They were not “approved” by the server at large to enact this kind of law.

The Syndicate are not a government, but they are an unsupervised power structure exerting their ideals on a land that did not ask for them. Like, These people have invented an actual Authoritarian-Anarchist faction. How the hell did they manage this?????

Back on topic.

Tubbo shows them the crater left by his nukes. The reaction is oddly positive – the nukes are fine by the morals of the Syndicate, apparently. I'd argue that they come across as more impressed than anything else; they seem to respect Tubbo for having gotten ahold of “real” power.

(There's a few good memes out there about “We can excuse nuclear weaponry, but we draw the line at Government!”)

So. By the Syndicate's standards: A single person or group of acceptably equal persons with weapons of mass-destruction are only worth “keeping an eye on” because they might provoke other people.

Like, I consider Project Dreamcatcher to be one of, if not the most morally ambiguous thing Tubbo has ever done, largely because it was all on his own initiative. He holds some culpability for The Butcher Army and Phil's house arrest, but they weren't his ideas and he was mostly following Quackity at that point.

And Phil tells Tubbo, IMMEDIATELY AFTER SEEING THE NUCLEAR CRATER:

“Looks like you've reformed a little bit Tubbo, I'm proud.”

And it's fine. Crimes against nature? Fine. A sign of healing in fact!! Tubbo is having a sweeeelll time and he definitely didn't make these nukes specifically in fear of being attacked by these exact people! Tubbo is doing great. Tubbo is doing fine. Tubbo. is. FINE.

Anyway.

I don't think this presentation of the Syndicate was an accident. Looking at the greater lore of SMP right now, after the Egg is done, their list of enemies is slim, and considering that they seem solely invested in taking down governments, that leaves maybe Snowchester, Kinoko Kingdom, and Eret and the greater Dream SMP.

Snowchester has not been shown to be corrupt, evil, or have any intent to go down that route. The most ambiguous thing they've done is, again, is the nukes. Other than that, it's pretty much your average cottagecore snow village.

Kinoko is presented in an even more morally 'good' light, Karl having founded it specifically for his Time-travel library purposes, which are currently being treated by the narrative as a selfless act, if not downright heroic.

Eret is also a fairly 'good' aligned character atm. He's been on that redemption grind since the og betrayal, and doesn't seem keen on backtracking. He's actively tried to leverage his position as king to make things better, and hasn't been quiet about that. He was also 'validated' by Tommy*, a character who has been described both by his allies and enemies as “the hero,” so take that as you will.

What I'm getting at is, all of the current potential enemies for the Syndicate aside from the Egg, are currently being cast as 'good,' and if they were to be attacked, they would undoubtedly have the moral high-ground, unless something drastically changed.

The only potential shakeups I can think of is are a Dream escape and/or a Wilbur revival, both of which could draw the Syndicate's attention and ire, depending on how things go. That said, it's just as likely that either or both of them would join the Syndicate – Dream still has that favor, and Phil and Techno both seemed to think Wilbur would've agreed with their blowing up L'manberg.

Both of those characters are currently **villains – the fact that they're both prime candidates for the Syndicate is a huge indication of the direction it's going to go as the plot moves forward.

((*I know some people are gonna come at me for painting Tommy as the “deciding factor” of what is morally good, so lemme just stop you there. I'm not talking about Tommy somehow having the 'right' to decide who is and isn't good, and definitely not the right to decide who should and shouldn't be king. I'm saying that Tommy, a character who the narrative treats as, if not a good person, then a person who is trying to be good, was in support of Eret, a character who has also been trying to be good.

Eret doesn't gain the moral highground because Tommy said so, he gets it because a character who the narrative treats as trying to do better, acknowledged Eret's earnest attempts at doing the same.

**I'm referring to Wilbur here as a villain because Tommy seemed convinced he would be if he were to be brought back. There is always the possibility that he's wrong.))

So, to summarize this: I read the Syndicate as being intentionally positioned as future antagonists, if not outright villains of a future arc. They are NOT a Government but their goals are contradictory with their means, and it is important to keep in mind that they plan to enforce their own brand of freedom on people who did not grant them either the authority or permission to do so.

So, uh. Can you tell I loved these streams? They were seriously so good. I kept switching between Ranboo and Techno's POV's trying to keep up with everything. I still have to watch Niki's!

All in all, I'm super, super excited for whats coming next, egg stuff, Syndicate stuff, Tommy stuff, all of it.

[iamanartichoke]

I wrote a Thing. It’s extremely long. I’d prefer it not be reblogged; I wrote this for my own catharsis and would prefer it not be circulated, bc of Reasons. 

I changed my mind, okay to reblog. <3 

Under a cut for (extreme, did I mention?) length. 

So I got about 12 minutes of sleep last night, as you do, and around 3am or so I found myself - out of sheer curiosity - going down a meta hole of Ragnarok discourse, trying to figure out where this "satisfying redemption arc" for Loki happened. (I mean, there's a lot of things I would like to figure out, but I started there.) Because I could. 

Basically I was looking for meta that went into detail about how Loki was redeemed in a satisfactory way. The ‘satisfactory’  is an important word here bc there is a redemption arc in the film, in that Loki starts off the film as an antagonist (kinda) to Thor and he ends the film as an ally to Thor, standing at Thor's side. In that sense, yes, there's a redemption arc. I didn't find much (and I had no idea how much people just despise Ragnarok "antis" [I really dislike that word] but that's another topic [that I don't particularly want to get into, tbh]) but I did find some. I read what I could find, and I read it open-mindedly, and overall I came away feeling like, okay, there are some valid points being made here and I can kinda see where they're coming from.

But it was a bit (a lot) like -- flat. Idk. The best comparison I can think of is that it’s like if a literature class read, I don't know, The Yellow Wallpaper for an assignment, and some of the students came away from it feeling like it was a creepy story about a woman slowly driving herself insane, and the other students came away from it incensed at the oppression and infantilization of women in the late 19th century -

- and neither side is wrong, but the former is a very surface-level reading and the latter isn't (bc it stems from looking at why she drives herself insane, why she was prescribed 'rest' in the first place, the context of what women could and couldn't do back then, etc; basically, a bit more work has to go into it). 

[Note: I am not disparaging the quality of The Yellow Wallpaper. At all. It’s just the first relatively well-known story that popped into my head.]

In this sense, I can see the argument for Loki's redemption arc, but I don't think it's a very good argument. Not invalid, but not great.

I mean, for example, I think the most consistent argument I found variations of re: Loki's redemption is that Ragnarok shows Loki finally taking responsibility for his bad behaviour and misdeeds. This includes recognizing that his actions were fueled from a place of self-hatred and a desire to self-destruct in addition to bringing destruction on others. That he probably feels awkward and regretful of these things and doesn't know how to act around Thor, but he figures it out by the end, and decides that returning to Asgard is the best way to show that he's ready to make amends. His act of bringing the Statesman to Asgard is an apology. He allies himself with Thor and ends up in a better place, both narratively (united with Thor once again) and mentally (having taken responsibility and made amends for his past).

And setting aside that he had already made amends by sacrificing his life in TDW (and also setting aside that the argument is made that Loki redeems himself in IW by sacrificing himself to Thanos but if that's the case, wouldn't that imply that he hadn't achieved redemption in Ragnarok or else there would be no need to achieve it again in IW? Or, if you think he did achieve redemption in Ragnarok, then what the fuck did he give his life in IW for? What was his motivation there, and why did the narrative not make it clearer? I digress.) 

- setting aside those two factors, I think this is a very fair argument. Loki is fueled by self-hatred, and he does want to self-destruct, and he does want to inflict that pain on others as well (particularly Thor). No lies detected here. 

However, I also need to know where that self-hatred and desire for destruction (toward himself and others) comes from and for that, we need to go back to Thor 1.

Thor 1. 

Loki starts Thor 1 out as "a clenched fist with hair," to borrow a quote from the Haunting of Hill House (that I tucked away in my mental box of Lovely Things bc it says so much so very simply). He's very used to bottling everything up, pushing it down; he slinks around behind the scenes, pulling the strings to this plot or that. He's "always been one for mischief," but the narrative implies that the coronation incident is the first time Loki's done anything truly terrible. And it all immediately pretty much goes to shit, so Loki spends the rest of the movie frantically juggling all these moving pieces while trying to seem as if he's got it all under control, every step of the way. That's how I view his actions. 

But I always come back to that quote where Kenneth Branaugh tells Tom, of the scene in the vault, "This is where the thin steel rod that's been holding your mind together snaps." In other words this is where Loki discovering he's Jotun is just one thing too many. He can't take it. But though the rod snaps, his descent isn't a nosedive. It's a tumble. As the story progresses, the clenched fist starts to loosen, the muscles are flexed in unfamiliar ways (that feel kinda good, after being stiff for so long), and it culminates with the hand opening completely and shaking itself out. All of that repression, that self-hatred, that rage and jealousy just explodes so that, by the time the bifrost scene happens, Loki's already hit bottom. It's not just about proving his worthiness to Odin. He wants to hurt Thor, too; he, essentially, throws a tantrum. (That's right, I said tantrum.) 

(Note: The word 'tantrum’ has negative connotations bc we normally equate it with a toddler stamping their feet and screaming in the aisle when their parent won't buy them the toy they want. But in itself, the word tantrum isn't infantalizing. It's an "emotional outburst, an uncontrolled explosion of anger and frustration" [paraphrasing from dictionary.com]. That's exactly what happens here [and why Tom called Loki's actions a massive tantrum, but people took that to mean Tom agreed it was childish whereas I doubt Tom meant it that way]).

He's been pushed past his limit, and he does bad things. He does really shitty things. He hurts Thor, he hurts his family. I'm pretty sure he knows this all along so this isn't, like, some revelation further down the line that "hey, those things I did were probably kinda bad." He got the memo already. 

Ragnarok 

Fast forward to Ragnarok, and we're introduced to a version of Loki who's had 4ish years to sit with everything that's happened. To sit with it and not do much else. The rawness of it has faded, and now it seems as though it's just become a thing, like when you move through life aware of your childhood traumas and have more or less just accepted them (and you probably share a lot of really funny depression memes on Facebook, which is kinda the equivalent of Loki's play, but that's probably just me). 

Loki has, more or less, chilled out. He seems more bored than anything else; he's been masquerading as Odin for longer than he ever planned or intended to, so he's more or less ended up hanging out, letting Asgard mind its own business, and entertaining himself with silly plays. This is the version that starts out the movie as an antagonist to Thor - a version that is, arguably, in a much different place [and is a much milder threat] than the version who originally did those Bad Things. 

And of course Thor is still mad at him, and of course they're going to butt heads, because that's what they do (and Thor's grievances are genuine, I’ll add, bc it's not really his fault he assumed Loki faked his death, nor can he be blamed for being pissed about Odin).

One argument framed this version of Loki as being a person who is facing the awkwardness of coming out of a dark place, which is fair. If we're going to frame his actions in Thor 1 as a tantrum, then Ragnarok would be the part where the toddler has been taken home, possibly has had some lunch and a juice box, and is now watching cartoons. They're over the tantrum, and would probably feel pretty silly about it if they weren't, yknow, toddlers. They probably can't remember why they even wanted that toy so badly. If they're a little older and self-aware, they might even be embarrassed for having melted down.

Like the word tantrum, this feeling isn't a thing limited to toddlers. I know I've had a few epic meltdowns as a grown ass adult, and I know I always feel deeply embarrassed afterwards - like, want to crawl into a hole and die. I've said things I can't take back. Adolescents and teenagers throw tantrums, mentally ill people throw tantrums, adults throw tantrums (I mean, my god, look at all the videos of Karens having screaming meltdowns - screaming! - over having to wear masks in order to shop at stores). Humans throw tantrums. And usually, after the feelings have been let out and the tantrum has passed, humans feel pretty regretful and awkward and embarrassed about whatever they did and said in the midst of their meltdown. 

I get all of that and agree it's valid and that Loki probably feels it. By the time Ragnarok happens, Loki's had some time to reflect and think hmm, yeah, probably could've handled that one a lot better. The argument further goes that in order to navigate this awkward period, Loki must come to terms with what he's done, acknowledge that some things can't be unsaid or undone, and begin to make amends. Supposedly, some people feel that Loki becomes a better person because he does "own" everything he did wrong and, even though he feels like a jackass (paraphrasing), he sets that aside to become a become a better person by choosing to help Thor and Asgard at the end. 

Thus, the overall arc goes like this. Loki, Thor's jealous little brother, 

throws a tantrum of epic proportions bc Reasons 

continues to act badly and make things even worse (Avengers) 

has to face consequences for his actions (prison sentence) 

ends up with a stretch of time in which he's free to contemplate and chill out 

feels embarrassed and awkward about how he's behaved

sees an opportunity to make up for it and decides to take it 

helps Thor, saves the day, and ends the film a better person. 

Redemption achieved.

None of this is wrong. The film supports it. It's a fair interpretation. But it leaves. out. so. much.

To circle all the way back around Loki being "a clenched fist with hair," and his actions stemming from his self-hatred, you have to ask - how did he get that way? He didn't end up with all this self-hatred on accident. Generally, one isn't born despising themselves, it's a learned behavior. (I realize chemical imbalances are a thing, obviously, as I have Mental Shit myself, but for argument's sake I'm assuming that's not the case with Loki [at this point in time]). 

Where did Loki learn it? From his family, from his surroundings, from his culture. We see examples of these microaggressions in the first, like, twenty minutes of the movie - a guard openly laughs at Loki's magic after Thor makes a joke about it (the tone of the conversation implies that Thor "jokes" like this often) and though Loki does the snake thing, the guard faces no real consequences. Thor doesn't acknowledge that anything went amiss. Not much later, on their way to Jotunheim, Loki's barely gotten two words out to Heimdall before Thor cuts him off, steps in front of him, and takes charge. Loki doesn't look annoyed at this; he looks resigned. 

Then, for absolutely no reason at all, Volstagg decides to make a jab at Loki ("silver tongue turned to lead?") just because he can. The ease with which he makes this comment and the way that no one else blinks an eye at it implies that this isn't out of the norm. And Loki doesn't react, not really. In the deleted version, he delivers a particularly nasty comeback but he delivers it under his breath, without intending Volstagg to hear it. In the final version, he simply says nothing, though his expression can be read as hurt or stung. Either way, the audience sees an example of Loki being walked all over by Thor and his friends and bottling up his reactions instead of standing up for himself. 

Microaggressions matter. They are mentally and emotionally damaging. They hurt. The implication that this is not unusual treatment for Loki means that Loki's probably gone through this for most of his life. It's like the equivalent of being, I don't know, twenty two and you're the friend who has to walk behind the others when the sidewalk isn't wide enough, and it's been that way since the first day of kindergarten. At this point, you're used to it, but that doesn't make it hurt any less when the jabs come seemingly out of nowhere, for no reason other than to make you feel bad.

(I personally identify a lot with this bc I experienced passive bullying in social settings for years. I was the 'doesn't fit on the sidewalk' friend; I hung around with people who'd pretend to be my friend and would be more or less nice to my face, but would laugh at me and make fun of me behind my back for whatever reasons. And often there'd be the random jabs at me, things that would come out of nowhere to smack me in the face, followed by the fake laugh and “just kidding!" so that I couldn't even get upset without being made to feel like I was overreacting and couldn't take a joke. I'd deal with this socially, particularly in middle school when girls are their most vicious, and then I'd go home and, because I was the only girl with a lot of brothers and because boys are mean and because I am who I am, the dynamic was that my brothers would just endlessly roast me to my face and sometimes it was a "just kidding!" thing, where I was the only one not laughing. But that’s beside the point; my point is that microaggressions, passive bullying, and consistent invalidation are harmful and that shit stays with you into adulthood.) 

So, yes, Loki needs to be held responsible for his misdeeds, and it's valid to say that he recognizes those misdeeds and wants to make amends. I have never disagreed with that. But the problem with this interpretation is that it lets every single other character who contributed to Loki's self-hatred and mental breakdown (let's just call a spade a spade here, that's what it was; he was broken psychologically) get off scot-free.

First of all,

Odin is not held accountable for instilling in the princes a mentality of Asgard first, everyone is beneath us but Jotuns are benath us the most, they are literal monsters. He is not held accountable for pitting his sons against one another (even if it was unintentional, he still did it) with "you were both born to be kings but only one of you can rule" being the general tone of their upbringing. He's not held accountable for his favoritism toward Thor.

Frigga is not held accountable for deferring to Odin both in supporting the above things and in keeping the truth of Loki's origins a secret while doing nothing to discourage the "monsters" narrative. 

Thor is not held accountable for his own tendency of taking Loki for granted (he assumes Loki will come to Jotunheim, he oversteps Loki constantly, “know your place,” etc.. He grants his implicit permission for Loki to be treated as the sidewalk friend in their “group,” a group which is loyal to and takes their cues from Thor as Thor continues to do nothing in his brother's defense).

[Note: Wanting Thor to be held accountable for things he's done wrong isn't vilifying him. Acknowledging that Thor benefited from Odin's favoritism and his own place as Crown Prince doesn't negate Thor also being raised in an abusive environment. I don't think anyone's saying that or, if they have, it's not something I agree with.]

Furthermore, 

Odin is not held accountable for his cruelty in disowning Loki (”your birthright was to die” is never going to be forgotten, speaking of people saying things that can't be unsaid or taken back) and in sentencing Loki to a severe prison sentence (life! only bc Frigga wouldn't let him execute Loki) for crimes that are no worse than what Odin himself has committed (around which the entire plot of Ragnarok revolves! Colonialism (and subjugation) is wrong is, like, a major theme [that people rush to praise, even] here). 

Thor is also never held accountable for not trying harder to understand what made Loki snap (fair enough, he didn't have a ton of time after returning from Earth, but certainly he had lots of time to sit around reflecting while Loki was being tortured by Thanos for a year). He knows Loki is "not himself" and "beyond reason" and accepts it at face value; he questions it once and then lets it go. He's fine with assuming Loki's just lost his mind, and isn't that a shame. (I realize I'm simplifying Thor's emotions but my point is that Thor could've tried harder to figure out that Loki was being influenced and/or not acting completely autonomously.) 

Thor is also never held accountable for - if not facing consequences for his own slaughter of Jotuns - then at least addressing why Loki can't kill an entire race even though Thor tried to do that, like, two days ago. (Granted, it’s difficult to understand how Thor got from Point A ("let's finish them together, Father!") to Point B (this is wrong!), but that failing belongs to Thor 1 (which is not, by the way, a perfect movie).

The interpretation that Loki is fully redeemed because he took responsibility for his actions, returned to Asgard, and allied himself with Thor to save their people is all well and good - but, why is Loki the only one here who has to take responsibility for their actions? 

What about all the loose threads in his story? 

For example, how did he get from: 

Point A (believing himself a literal monster, having a complete mental breakdown, getting tortured and further traumatized after that, etc) 

to 

Point B (Hey, yknow what would be fun? I'm going to write and direct a play about how I heroically died to save Thor and Jane, and I'll go ahead and have Odin say he accepts me and has always loved me. I'm going to do these things because Odin never said this in real life and instead of acknowledging my sacrifice, Thor left my body in the dirt, so someone has to validate what I've done right and that someone might as well be me. And hey, while I'm at it, I'm going to control the narrative on revealing myself as Jotun to Asgard, instead of living in fear of it being found out, and I'm going to do it in a way that they have to sympathize with me and revere me in death, bc they never bothered to do so when I was alive. And Matt Damon should play me, also.) 

to 

Point C (Yeah, I guess I feel kinda awkward about that whole tantrum thing, also I should help Thor and support him being king.)

? 

The answers to these questions are handwaved and the audience takes that to mean they don't matter. Furthermore, framing Loki's redemption around an act of service (more or less) to Thor makes Loki's redemption about Thor. Does Loki make this decision for the sake of Thor and of Asgard, or does he make it for himself? It's not super clear to me, and I think arguments can be made for both. Which, again, is fine, but - whatever.

If we're going to collectively agree, as a fandom, that Loki is complex, that he's morally gray, that he's worthy of redemption and therefore arguably a good person who's done bad things, then why is it asking too much to have it acknowledged that Thor (also a good person who's done bad things) played a part in Loki's downfall and has shit to apologize for, too? Bc one can only assume the reason is that you're taking a very gray concept and making it black and white by saying Loki has to apologize and make amends because he is the villain, and Thor doesn't because he is the hero (and it's his movie). And it's lazy.

This is where the crux of the issue lands. There's more than one valid interpretation, yes. And no two people (or groups of people, or whatever) are going to consume and therefore interpret or analyze the source material in the same way. I think I saw a post recently about how studies have been done on this, in fact. But, there is a lot going on under the surface that tends to get overlooked when exploring Loki's redemption arc in Ragnarok, as far as I can see, and that’s why I don’t consider it satisfactory. 

[I did read similar arguments regarding other issues that are often debated ('debated'), like Loki's magic and/or being underpowered, whether or not Loki's betrayal of Thor was the natural outcome of the situation on Sakaar or not, whether Thor actually gets closure with Odin [if he does, how does he reconcile the father he's idolized with the imperialistic conqueror he's discovered? Why doesn't he hold Odin responsible for covering up Hela's existence and the threat of her return, especially as he knew he was nearing the end of his life? Is Thor's "I'm not as strong as you" meant to imply that he acknowledges those shortcomings of Odin's and that he's okay with them, or that he's just overlooking them, or is he not okay with them but didn't have the chance to get into it bc he was in the middle of battle? T'Challa confronted his father on his wrongdoings in Black Panther; could Thor not have had at least one line that was confrontational enough to establish where he stands as opposed to this gray middle? Can someone explain to me how any of this equates to Thor gaining closure? Please?) but obviously I'm not going to go into all of them (well, I tried not to), bc this mammoth post has gone on long enough (I may not even post this tbh)]

- but my overall point to this entire thing is that when I say I'm critical of Ragnarok bc it's flawed, that Loki's arc was neither complete nor satisfactory, that many things went unaddressed and, due to all of these things, I do not think Ragnarok is a very good movie nor a very cohesive movie, this is where I'm coming from. I have not seen anything to change my mind to the contrary. 

But I am not saying that anyone satisfied with it is wrong, or shouldn't have the interpretation that they do. I'm not vilifying Thor in order to lift Loki up, just acknowledging that Thor is arguably just as flawed as Loki without the stigma of being Designated Villain. I think a lot of these arguments get overlooked or dismissed, and that's fine, but it doesn't make the people who do engage with them hateful, or bitter, or trying to excuse Loki's crimes, or feeling like redemption means that Loki's crimes should be erased rather than reconciled. 

And sure, yes, perhaps we are expecting too much and exploring all of these themes (or wanting them explored) means that somehow we think it should be Loki's movie (we don't). Loki is a supporting character, but he's still a character. And the movie itself doesn't have to delve into all these things - no one's saying that. (At least, I'm not.) We just want acknowledgement, from the narrative, that this stuff was an Issue. 

This could have been accomplished with - 

Some dialogue closer to the novelization (and original script), like Thor and Loki both acknowledging the harm they've done one another and their kingdom due to their Feels.

 A single line of Thor confronting Odin, or even asking "Why?" 

A narrative acknowledgement that Odin did both Thor and Loki dirty (”I love you, my sons” isn't an apology, because it doesn't acknowledge either that there's been wrong-doing or express regret for having done the wrong in the first place). 

A little bit more nuance in the way Loki treats his own past (ie, instead of flippantly telling the story of his suicide attempt, maybe - if it must be flippant - talk about getting blasted in the face with Hawkeye's arrow or sailing through to Svartalfheim [And in that moment, I sang ta-daaaa!]) or whatever. 

I recognize that wanting full, in-depth exploration on all of these issues regarding a supporting character is probably too much to ask or expect - but, I also feel like, if you're going to be professionally writing a narrative (or rewriting/improvising, as it were), it's not too much to ask that a little more care be taken in regards to all of the layers that have contributed to said supporting character's downfall and subsequent redemption arc. I don't think that's an unreasonable thing to want. 

And maybe if there had been more nuance and continuity in how these things were portrayed on screen (ie, if TW had actually done as good a job as his stans think he did), the fandom wouldn't have divided and conquered itself over which "version" of the same character is more valid and whether or not the film did its best to close out a trilogy (not start a new one), to the point where everyone in this fandom space makes navigating it feel like walking through a minefield. 

But, I mean 

(Again, please don’t reblog if possible.) 

Edit: Okay to reblog. <3 

[beatriceeagle]

I'm more of a fantasy than sci-fi person, but consider my interest piqued. Why should I watch farscape?

Okay, the thing is, every Farscape fan’s pitch on Why You, Yes You, Should Watch Farscape ends up sounding very similar, and that’s because Farscape is a black hole that sucks you in and does things to your brain, and after you’ve watched it you are never, ever the same, which incidentally is basically the plot of Farscape.

I would summarize the basic plot for you, but that’s work, and luckily, the show’s credits sequence includes a handy summary that I will provide instead of doing that work: “My name is John Crichton, an astronaut. A radiation wave hit, and I got shot through a wormhole. Now I’m lost in some distant part of the universe on a ship, a living ship, full of strange alien life forms. Help me. Listen, please. Is there anybody out there who can hear me? I’m being hunted by an insane military commander. Doing everything I can. I’m just looking for a way home.“

So let me break down that monologue into its component reasons you should watch Farscape.

1) Some of the strange alien life forms are Muppets.

Farscape a co-production with the Jim Henson Company, and while there are many aliens played by humans in make-up, there are also a considerable number (including two of the regular crew) who are Muppets. By which I do not mean Kermit. I mean really gorgeous, elaborate works of art.

Also, even a lot of the humans-in-makeup aliens just look cool, and incredibly weird. Here’s an alien who appears in a single episode of season 1:

Not that there aren’t, you know, occasional Star Trek-style “these guys are just humans with weird hair,” or whatever, but in general, the aliens on Farscape look really alien. And that’s more than an aesthetic choice; it’s Farscape’s driving narrative principle. The aliens look alien, they act alien, they have alien values.

You know how a lot of sci-fi shows will have a stand-in for “fuck,” like Battlestar Galactica has “frak”? Well, Farscape has “frell.” And also “dren.” And yotz, hezmana, mivonks, loomas, tralk, snurch, eema, drannit, dench, biznak, arn, drad, fahrbot, narl. Some of those are swear words, but some of them are just words, never explicitly translated, that the alien characters will pepper into their speech, because, well, why should translator microbes be able to completely translate all the nuances of an alien culture? You’ll pick it up from context. One time, in passing, a character mentions that he’s familiar with the concept of suicide, but there’s no word for it in his language. I cannot emphasize to you enough how fleeting this moment is; the episode is not about suicide, we’re not having a great exchange of cultural ideas—at the time, the characters are running down a corridor in a crisis, as they are about 70 percent of the time—it’s just that the subject got brought up, and this character needed to talk around the fact that he literally didn’t have a word, in that moment. Things like that happen all the time, on Farscape.

Because more than anything else, Farscape is a show about culture shock. John Crichton is this straight, white Southern guy, at the top of his game—he’s an astronaut! he’s incredibly high status!—and then he ends up on the other side of the galaxy, where none of his cultural markers of privilege hold any meaning, where he doesn’t know the rules, where he literally can’t even open the doors. And he has to unlearn the idea that humanity is central, that he is the norm.

2) John Crichton, an astronaut, is pretty great.

A show that’s about a straight white guy with high status having to learn that he’s not the center of the universe could easily be centered around a really insufferable person, but one of the subtle things that makes Farscape so wonderful is that Crichton is, for the most part, pretty excellent. He has a lot of presumptions to unlearn because almost anyone in his cultural position would, but he’s also just a stand-up guy: compassionate, intelligent, open-minded, decent, forgiving, brave, hopeful.

And the galaxy tries to kick a whole lot of that out of him. It doesn’t succeed, mostly, but if Farscape is about anything other than culture shock, it’s about the lasting effects of trauma. How you can go through a wormhole one person, and experience things that turn you into someone you don’t recognize.

That’s kind of grim-sounding, but ultimately, what I’m trying to say is that Farscape is almost fanatically devoted to character work. Crichton is not the only character who sounds like he should be one thing and ends up being another. All of the characters—all of them, all of them, even the annoying ones—are complicated wonders. And you don’t have to wonder whether the events of the episode you’re watching are going to matter. They will. Everything that happens to the characters leaves a mark. Everything leaves them forever changed. Whether it’s mentioned explicitly or not—and often enough, it’s not explicit—the characters remember what has happened to them.

3) The living ship houses a lot of excellent women, among them the ship itself.

Ah, the women of Farscape, thou art the loves of my fucking life.

There’s Aeryn Sun, former Peacekeeper (that’s the military that the “insane military commander” hails from) now fugitive, currently learning the meaning of the word “compassion” (literally). She will break your fingers and also your heart. John/Aeryn is the main canon romantic ship.

There’s Pa’u Zhoto Zhaan, a priestess of the ninth level, current pacifist, former anarchist. Sorry, leading anarchist. She orgasms in bright light! (Oh my god, Farscape.)

There’s Chiana, my fucking bestie, a teenage(ish? ages in Farscape are weird) fugitive on the run from a repressive authoritarian state. Chiana is like a seductress con artist grifter thief who mostly just wants to survive so that she can have fun, damn it. Characters on Farscape do not really discuss sexualities (sex, yes, sexualities, no) and it would be fair to say that several of them do not fall along human sexuality lines generally, but I’m gonna go ahead and say that Chiana is canonically not straight.

Then there’s Moya, the ship herself, and it’s hard to get a straight read on Moya’s personality, since she mostly can’t speak. But she definitely has opinions, and things and people she cares about. And she moves the plot, though that gets into spoiler territory.

Past first season, further excellent women show up: Jool (controversial, but I like her), Sikozu (I once saw a Tumblr meme where someone had marked down that Sikozu would lose her shit when someone pronounced “gif” wrong, and that’s absolutely correct, and it’s why I love her), and Noranti (who is incredibly weird, and incredibly hard to summarize, but man, you gotta love her willingness to just show up and do her thing). Plus, there’s a recurring female villain, Grayza, who I could write probably multiple essays about. (I don’t know how you will feel about Grayza, as not everyone loves her, but I think she’s fucking fascinating, especially because she’s not actually the only recurring female villain. We also get Ahkna!)

(Side note: I should mention, here, that the cast of Farscape is really, really white. There is one cast member of color, Lani Tupu, but he pretty much represents the entirety of even, like, incidental diversity in casting for the series.)

Anyway, Farscape is full of awesome women, and also awesome and unexpected men, and it really enjoys playing with audience expectations of gender roles, generally. Literal entire books have been written about the way that Farscape fucks around with sex, sexuality, and gender. It’s a little weird because it was the late 90s/early 2000s, and sometimes that does come through, but Farscape’s guiding principle was always to try not to present American culture of the time as the norm, so like. It is not.

(An aside on Farscape and sex: Literally every character on Farscape has sexual tension with every other character. If you are a shipper, this is a Good Show, because no matter who you ship, there will not only be subtext, you will get a Moment of some kind. Multiple characters kiss the Muppet. Farscape is dedicated to getting into the nitty-gritty of the galaxy—I like to think of it as showing the guts of the universe—so a lot of the show is kind of squishy. They live on a biomechanoid ship, instead of androids there are “bioloids,” there’s a lot of focus on strange alien biologies, and lots of weird glowing fluids and things. I think the sex thing is kind of part and parcel of the larger biology focus: Farscape is really fascinated with how we all eat and evolve and live and die and, well, fuck. Which is in turn, kind of part of its focus on making everything really alien.)

4) Other stuff you should know.

Farscape as a whole is excellent, but it was kind of the product of creative anarchy—an Australian/American coproduction (oh yeah, everyone except Crichton speaks with an Australian accent) that was also partnered with the Henson company, whose showrunners were based in America but whose actual production all took place in Australia, and who was just constantly trying new things. So individual episodes can vary wildly in quality. It really takes off in the back half of season one, but no season is without a few off episodes.

It is extraordinarily funny, and I really think I haven’t stressed that enough. It’s one of the shows I want to quote the most in my daily life, but almost all of its humor is really context-dependent, and if you just wander around going, “Hey Stark? What’s black and white, and black and white, and black and white?” people look at you really funny.

It’s very conversant with pop culture generally (although obviously sci-fi  specifically, and Star Trek most specifically of all) and really enjoys deconstructing tropes, often to the effect of, “Well, Crichton really does not know what to do here, does he?” but sometimes just to be interesting.

There are also a lot of themes about science, and its uses and misuses.

The whole thing is fucking epic, and if you get invested at all, will take you on an emotional ride.

This show is weird. I know that that’s probably come across by now, but I think it’s worth reiterating as its own point: Farscape is so weird. Like, proudly, unabashedly, trying its hardest, weird. An amazing kind of weird.

If you’re into fantasy, you should know that there’s a recurring villain who’s just a wizard. Like, they don’t bother to explain it any more than that, he’s just a fucking wizard.

In summary: You should watch Farscape because it is a weird, wild, emotional, epic romance/drama/action/allegory full of Muppets and leather and one-liners and emotional gut punches and love, and if you let it, it will worm its way into you and never let go, which, now that I think of it, is another Farscape plot.

Send me meta prompts to distract me from my migraine!

[neutral-emerald]

SILVER THE COSMIC TIME-JANITOR (or: dude, what's with all the alternate futures)

silver the hedgehog has a very simple backstory. he's a kindhearted, sorta-naive but altogether very driven psychic hedgehog here to save the world by time-traveling to the past (also known as present-day) to prevent the apocalyptic future he was born into from coming to pass!

[ID: A screenshot of Silver from Sonic 06. He’s glowing with cyan energy as he flies over a dark, post-apocalyptic city.]

...wait, if he's time traveling 200 years into the past to completely change the shape of the timeline, how do the stars manage to align such that he manages to be born at the exact same point in the new timeline with the exact same genetics? how are his parents born? does silver have parents?? and how does he do this no less than THREE SEPARATE TIMES??!

hey everyone, i'm tumblr user neutral-emerald here to make good on the idea i vaguely gestured at yesterday and point out silver's wildly inconsistent backstory(s) and then explain to you how this isn't just sega playing hopscotch with the concept of time travel, but actually TOTALLY EXPLAINABLE if you don't mind a whole lot of conjecture and "fuck dude i just think it'd be cool."

LET'S GO.

before i get started, a few things to establish.

first, this is about… half serious, tops. it’s less of a theory and more of an observation of something that’s weird and then throwing some possible explanations at it because i am a massive sucker for time-based nonsense. if you wanna take my observations and build your own conclusions, go for it. i’m not your boss.

second, i'm basing my conclusions off of both the games and the idw comics. the conclusions i draw are applicable to either continuity, but the logic does rest a decent amount on the comics, so just a heads-up in case you were expecting pure game canon from this.

and third, i'm working off like half a brain and very intermittent checks of the wiki and cutscene compilations, so there's probably many things i'm missing! if you notice something i said was wildly off-base, go ahead and correct me in the replies and i'll either edit the post or explain to you just how that detail doesn't actually matter, depending on whether it. y'know. matters.

with that out of the way, let's get into the first topic of discussion!

part 1: the future is inconsistent, y'all

now, i'm not sure if you've heard, but in the year 2006 sonic team released this little indie game creatively entitled Sonic the Hedgehog. it was a smash hit, won countless awards, and for some reason went down in history as a messy, incomplete bugfest. but that's not what matters. what matters is that it introduced Silver the Hedgehog.

silver hails from 200 years in the future. the world is a bleak, fiery place, and has been since the monster iblis was unleashed after princess elise's death. silver was born into this world, which we know since it's literally the first thing he says in his story.

[ID: A cropped line from Silver's story in Sonic 06. "This world was devastated before I was born."]

i'm not going to drag you through a beat-by-beat summary of the entire plot of sonic 06, you should know it already. silver meets mephiles, gets lied to about who caused the apocalypse, mephiles yeets him and blaze into the past, he tries to murder Sonic the Hedgehog™, and so on. eventually he helps kill god, and then sonic and elise travel further back in time to kill god even deader so that none of the game ever happened, and the bad future into which silver was born never happened, thus thoroughly scrubbing silver's existence from the timeline!

...until.

sonic rivals.

i'm not going to speak much on sonic rivals, mostly because i'm not super familiar with it. but what matters is that silver is back! he's still from the future, he's still here to change the past, and most importantly he wasn't deleted from existence by the destruction of solaris, unlike everything else from sonic 06 including everyone's memories of it. and obviously, whatever state his future is in, it's not the same as it was in sonic 06.

now, i don't have a single clue what is going on in rivals 2, so do inform me if there's some big information i'm missing from that one. all i know is he's fixing yet another possible apocalyptic future, like always. correct me if i’m wrong, i don’t have the patience to trawl through it myself.

then we've got sonic colors, in which silver is again from the future. notably, he’s definitely not from an apocalypse!

[ID: Some screenshots from the DS version of Sonic Colors, again cropped to just the text. Tails and Silver are talking to each other.

Tails: What's the future you came from like, Silver? Silver: A lot brighter than this. Silver: The sky is blue, and everybody's got a smile.]

sonic generations doesn't add much. again, correct me if i'm wrong, but i don't think we learn anything about what kind of future silver is from, and he's definitely not here to fix it this time. that's sonic's job! he's just hanging out like everyone else.

now, up until this point the future has been reasonably consistent, setting aside my somewhat abstract understanding of the rivals games. there's nothing to say that silver's not coming back in time from the same point in a single timeline, which is the one and only version of the future ever since the destruction of sonic 06.

UNTIL.

[ID: Two panels from the comic Sonic Forces: Stress Test. In the first panel, Silver looks worried as he lands in front of Knuckles, who looks skeptical.

Silver: We've got big trouble! Eggman— Knuckles: How can you be here? I thought you returned to the future?

In the second panel, Knuckles looks away with a self-assured grin, while Silver looks more panicked.

Knuckles: Oh wait— I must be dreaming! Silver: What? No! I've come back with a dire warning from the future!]

i have a lot of issues with sonic forces, especially with how its story is written. something i do NOT take issue with is the supplemental comics, mainly because they are WONDERFUL evidence for my crackpot time travel theory.

like i said, up until this point we don't really know whether silver has been experiencing separate instances of the future, or simply traveling back in time to prevent an also-time-traveling eggman nega from messing things up in the past. but here, we get some very juicy information:

[ID: Knuckles and Silver again. Knuckles has his arms crossed and is looking at Silver, who has a nervous look on his face as he slams a fist on the palm of his other hand.

Knuckles: Come again? Silver: Something happens that brings the world to ruin! But the historical records are sparse or make no sense. I came back to hopefully head off whatever's about to happen and save the future.]

silver travels back in time to prevent a terrible apocalypse. this is not the beautiful future silver came from in sonic colors— but this is the same silver. everyone recognizes him. he recognizes everyone. and yet, the future he came from is different.

part 2: silver is a walking paradox

allow me to remind you of what i pointed out when i was talking about sonic 06. silver was born into the iblis-apocalypse. considering no elaborate timeline nonsense happened to him before the events of the game (by his reckoning) i think we can safely assume he was born like a regular person with parents.

in the first post-06 timeline, silver was probably also born. let's be charitable, acknowledge that sonic team doesn't overthink the butterfly effect like i do, and say that silver was born to the same parents, because the universe likes to keep things nice and simple and contrive itself to make this particular character exist in this time period.

so, it's entirely fair that silver comes to exist in a post-06 timeline at the equivalent point in time, aka 200 years in the future. it's also fair that he travels back in time to prevent some kind of apocalypse, because that's his narrative role! it's what he does. when it's time for him to exist in the story, that's what he's there to do.

what isn't fair is the fact that it keeps happening.

[ID: A panel from the IDW comics. Sonic is stretching his legs while looking faintly exasperated at Silver, who is nervously holding his arm.

Silver: Er… No. I came back because defeating Eggman didn't save the future. Sonic: Couldn't even play along. Had to bring the mood down. Sonic: *sigh* Okay, what happened this time?]

[ID: The following panel, cropped to just Silver's text bubbles narrating over a starry sky.

Silver: When I left, my time had been conquered by the Eggman Empire. Everyone lived in fear, choking on polluted air. Silver: When I went back, the Eggman Empire was gone— but so was everyone else. Silver: There was nothing left. No people, no animals, no machinery. Only water and sparse, metallic plant life.]

allow me to summarize my understanding of all this: silver is from the future. normally, the future is good. sometimes it isn't. when it isn't good, he goes back in time and fixes things, then returns to the future to check if that fixed things.

the least conjecture-y interpretation i can come up with is that sometimes silver will go into the past, then go back to the future but end up in a Bad Timeline and thus go into the past again to fix things. there's no weird warping directly between bad timelines, he only gets there by way of the past.

but that's boring, so here's my PREFERRED interpretation.

silver hails from a good future, but sometimes it just changes. he's unstuck from time— if something weird happens in the past, he's the only one to know that the passage of fate was changed, because he went to bed in one timeline and woke up somewhere categorically worse, and the only way he can fix it is by figuring out just what caused this and going back in time to fix it.

or, to say it in a meme:

[ID: A picture of someone lying in a hospital bed with a nurse standing next to them, edited so that Silver is in the bed.

nurse: sir… you've been asleep for 2 hours silver: oh boy i can't wait to wake up in the same timeline i went to sleep in]

part 3: how did this happen?

it's one thing to point out that silver doesn't experience time like a normal hedgehog, and another thing to explain how and why this happens.

fyi, this is the part where i go wildly off the rails and start saying whatever i want. there's a ton of explanations one could come up with, most probably stemming back to sonic 06. i'm just going to go with my own, and probably not come up with a whole lot of concrete evidence because i'm just spitballing. this is me having a fun time. going "heeheehoohoo time traveling hedgehog go brrrrrrrrrrrrrrrrrrrrrrrrr"

so. something i haven't touched upon is that in all games after sonic 06, silver can time travel. we never see him do it, it's never explained how he does it. all we know is that he's doing it under his own power.

which is kinda odd, don't you think? should he be able to do that?

in sonic 06, we see three mechanisms for time travel. first is the chaos emeralds. if two people perform Chaos Control with a chaos emerald apiece, they open up a swirling rift in the air which can send them to different points in time and space. silver can't be doing that, for obvious reasons— he's only one hedgehog, and he's not exactly running around with a chaos emerald at all times. that can't be how he does it.

second is a time machine eggman built. that obviously can't be it; the machine doesn't exist at all after the timeline gets wiped, and again, silver is doing this on his own. he's actively antagonistic towards eggman, even. absolutely not this one.

third and finally is mephiles, who can make big purple orbs to take himself and passengers to different points in time. this obviously can't be it either, for similar reasons to number 2, right? after all, mephiles is one half of solaris, who was destroyed before he could be split off. he doesn't exist to be silver's time-traveling uber driver.

...right?

well, obviously. i'm not going to try and tell you that mephiles is secretly alive and shepherding silver back and forth between timelines for no reason. that's ridiculous. no, i'm going to try and tell you that silver is mephiles.

or rather, he's solaris. or RATHER, he's the new solaris, sorta-ascended to the role of Time God after the old one got blown out like a birthday candle.

like i said, i'm going wildly off the rails and as such don't have any concrete evidence to explain why it's this instead of something else, but hear me out. after elise blew out the flame of hope, the universe was left in an interesting situation. someone needs to be in charge of the flow of time, but the previous time-god was just unceremoniously destroyed. but all the power and energy of a time-god has to go somewhere, in some form, in some time.

with nothing else to go off of, the role of time-god starts flipping through every notable being it had interacted with. they're all solidly accounted for in the timeline, except for one. silver the hedgehog was born into a timeline that cannot exist. silver the hedgehog does not, and cannot exist. silver the hedgehog interacted quite a bit with both sides of solaris— he spent a substantial amount of time fighting back iblis, and associated with mephiles, even being one of the few people to directly experience his time travel abilities. silver the hedgehog tried and failed to absorb iblis into himself.

here's my theory: after sonic 06, the universe reasserted itself such that silver was the new Solaris. silver is not consciously aware that this is what he is, but he knows that he can time travel. sometimes the timeline will rearrange itself around silver. he is unaffected by this because he is a higher being unaffected by such petty trifles as "an origin" or "paradoxes".

silver the hedgehog probably doesn't have parents. he sprang into existence one day and everyone just kind of went with it, himself included.

oh also something i thought was neat but couldn't think of where to put:

[ID: More cropped dialogue, this time from Team Sonic Racing.

Silver: I'm fine. It's just, something bad is gonna happen. I can't explain it. I just feel it. Blaze: Have your travels through time given you precognition? Silver: I don't know. Maybe they have. Or maybe I'm just thinking too much.]

silver might be becoming psychic in a future-vision kinda way. that, or he’s riddled with anxiety. possibly both.

TL;DR

silver hails from no less than three separate timelines, his existence is a tangled web of who-knows-how-many grandfather paradoxes, and i choose to believe that he's god.

if anyone who cares more about evidence wants to gather up like, little one-off clues that support or conflict with my conclusions, go right ahead. or just throw your own arbitrary headcanons for what's going on with this at me. or incorporate these ideas into an au or something! i just want more people thinking about what the Fuck is up with silver post-06, because by god there is a WHOLE lot of potential packed in there

anyway thanks for reading make sure to like comment and subscribe—

[actualaster]

Impressions of Episode 2!  Spoilers not just for the episode, but for the game--including parts towards the end of the game.  Screenshot-heavy

Also, NTWEWY Release Date Trailer reference at one point.

First up!  Love the proper intro!  Shame about what happened with the original intro being swapped out, there’s some spots where this version of Twister doesn’t quite fit.  But it fits better than the use of Calling they used as as a last-second sub in the first episode.

(For those who don’t know, one of the band members for the group that did the original song was involved in a criminal scandal so the music was pulled, apparently that’s not uncommon.  I feel more bad for the poor bandmates who’ve had their reputation tarnished by association, y’know?)

so!  first up on visuals!  New Noise!!  Wonder if these will show up in NTWEWY?  They don’t look as much like Noise as most others, missing that tattoo component, but they remind me of the Bats and the Sprogs.  Curious to see if that happens

FORESHADOWING with MR. PRODUCER HIMSELF.

So, we get some interaction between Neku and Shiki right off the bat when the episode starts, which involves Neku’s whole “I don’t like people” thing, and we see Beat and Rhyme join ‘em and they have a discussion.  Get some of the talk of everyone’s values colliding, which IIRC is a W2 sort of convo w/ Asshole Jesus?  Can’t quite remember...  Either way, get some more insight into the characters.

RHYME IS TOO CUTE HERE THIS IS SO PRECIOUS

Ahaha...  This sequence hurts.  The framing makes it so clear what they’re getting at with these two being siblings.  Also this entire bit is good, helps establish details about the characters both overtly through conversation and subtly, like the framing of this shot.

This part also hurts, Shiki getting so excited she forgets, just for a moment, what’s going on.

Honestly the entire sequence with the Prince is funny, and helps give some good insight into the characters.

Also. Same, Neku, Same.  That’s exactly my face when people start losing their minds over some RL celeb that’s apparently sexy or something lol.  But also starts to work in the importance of fashion and trends in this sequence.

The description is different but ultimatley the idea seems roughly the same for Imprinting--though Shiki knows what it is rather than Rhyme explaining memes.

(shame we couldn’t get “what’s a meme?” animated lol, but that’s probably just a funny thing in the ENG fandom and it IS based of the JP original ver)

Interesting way they handled Eri here, with her wearing a different outfit.

Dude talking to Makoto’s a Reaper, I’m betting--since he’s lacking that sort of washed out look the RG folks have.  Specifically planted here to give the Players the idea for what their mission is, if they’re paying attention to their surroundings and/or in the right area at the start of the day.

Nao and Sota make another appearance after their Ep 1 cameo!  Good way to introduce them before W2!

[knee-jerk reaction of screeching because THE FUCKING MOST ANNOYING FUCKING PINS EVER]

Also the fact that the dude in Red who was talking to Makoto says his boss is pressuring him to spread them around makes me pretty confident, aside from the “lacking the washed out RG look” that he’s a Reaper.

This was very interesting--the Support Reaper let them through because Shiki was holding a Keypin.  Setting the precedent for “this pin caused a wall to be cleared for us” but at the same time...  Not opening the wall itself.  And I wonder why the Reaper didn’t seem to care that a Player was holding onto a Keypin?  I mean, the Reaper addressed it with “take care of that pin”, so I suppose they’ve acknowledged it but still feels odd.  Then again, might be a case of “Player with a Keypin?  Higher ups didn’t say anything about that.  Welp, not my problem then.” and just not wanting to deal with it lol

also look at the Support Reaper (guy in red w/ the facemask)’s outfit.  Compare it to what “Neku” in the end of the latest (as of this posting) NTWEWY trailer was wearing--it’s pretty much identical except “Neku” is wearing black instead of Read (Harrier Reapers wear Black), is this “Neku” in NTWEWY a Reaper now?  Or trying to blend in and appear similar to a Reaper for some reason?  Or is it just coincidence?

see how similar they look?  (I know it looks purple here but the boxart it’s black so I assume it’s just lighting)

Then again, since the art seems the same between game and anime (or very similar, the eyes are handled looking the same it seems to me) it could be something else...  (Of course, who even knows if this is the real Neku?)

Anyway...

AHAHAHAHAHAHA Oh shiki, if only you knew that the second player pin is because of the bullet that wasn’t stopped XD

Working trends in somewhat, interesting to see that.  Makes total sense they’d do it this way since the “trends change based on what Players use in battle” is a game mechanic that I can’t see being easily worked into the story in another format, so this swap makes plenty of sense.  Using Imprinting on the Prince to get him to plug the advert makes sense.

LMAO.  SAME NEKU, SAME.  THAT IS SUCH A RELATABLE FACE.

I gotta wonder, though--using the Prince this way instead of the Players making it work, seems like that might not make Makoto get a big head about “his” success which would alter things in...  W2, right?  The ramen shop stuff’s W2.

So.  We have a few interesting massive deviations here.

First up, a look at the influence of the Red Skull pin on people.

And second...

A Familiar Looking Noise Symbol, found on the Shibuya River...  Megumi’s Noise Symbol.

Obviously a massive deviation as Players start getting Erased--despite the Mission being cleared.  Neku and Shiki are on the chopping block when...

A familiar bit of hair reveals their savior who’s not about to let Megumi end their little Game early using some underhanded tactics like “Earsing Players after the Mission is cleared”

I’m very not sure how I feel on a personal level about this decision, but on a narrative level I fully get where they were going with this.

It establishes a very powerful Noise, and if they remain true to the game later it’s foreshadowing that Megumi’s involved heavily.  AND it establishes (through subtle implication you’d not necessarily get if this was your first time watching and didn’t catch the hair) that Joshua is a very powerful person.  Before being in the Game.

Shiki comments on the unsualness of it, too!

I do, however, think they did real justice to the Eri and Shiki revelation.  I still wanna know what that “accident” is that killed Shiki, though.

And here we see a person having his ENTIRE WORLD rocked by the revelation that he’s dead.

Also we got a slight flashback to the incident that killed him, too blurry to see much but a little bit of one.  We saw a little of that in Ep 1, too, IIRC.

AND THAT’S IT FOR THE EPISODE

Well.  Except for the title card for Episode 3

WHO’S READY TO HAVE THEIR HEARST SHATTERED LIKE GLASS OVER THAT SCENE?!

[elkian]

I was gonna do a “missing the point”-style meme but I’m honestly not sure that would even work tho so:

Harry Potter and My Hero Academia/Boku no Hero Academia have similar issues with introducing and then immediately ignoring ENORMOUS issues re: ableism.

I think these two series in specific come to mind bc it’s ableism within a specific empowered community, and in both cases the series are pretty well-known and the community (Wix/Heroes) are immediately identifiable to many audiences.

[WARNING: Discussions of ableism, child harm, and abuse on multiple levels.]

What’s the problem?

SQUIBS.

[This post got stupid huge SO here is a tl,dr for all you lovely people who understandably have no time for this.

TL, DR: Both Harry Potter and Boku No Hero have a bad tendency to implement or imply a level of disability regarding unempowered people in empowered societies. They then continue on to completely disregard important conclusions to these implications, such as how heavily it is implied that these unempowered people (Squibs) are so ‘worthless’ to those societies that their very deaths are merely a byline rather than an actual tragedy.

This is especially troubling in MHA/BNHA when so many other political and worldbuilding considerations HAVE been planned out, and seems to be less-discussed in the fandom as a whole, so that’s a much larger chunk of this post.]

That’s your tl, dr!

Here’s the Harry Potter angle:

HP has a bit that I’ve seen people discussing already: Neville’s magic was discovered when his uncle dropped a literal child a potenial lethal distance. 

Neville activating his power and surviving is celebrated, and then JKR immediately glosses over the glaring issue this has introduced: the heavy implication that a Squib dying from this incident would have not have been mourned or even really commented on.

The few adult Squibs (and isn’t that a whole new slice of wonderful /j) are generally disliked and ridiculed for some reason or other. Now, while obviously there are plenty of places where the Venn diagram of “disabled” and “asshole” intersect irl, when your ONLY presentation of a disabled character or group is, every time, an asshole or a fool or both, boy! That’s bad!

Neville (who is generally presented as magically, physically, and mentally weak and often treated as comic relief) is a bit better via the POV Character constantly having positive interactions with him, but this is still a mess. Yes, Neville canonically is not a Squib, but it’s not subtle that he’s on the cusp OF being a Squib, and that is a key element of ridiculing him in many situations (also the whole trauma thing multiple times, like if I really get into it I could do a whole double-size post of how Neville was done dirty or nearly dirty by JK all the time but this isn’t that post).

This isn’t even the point of this post. Let’s move to MHA/BNHA

Hero Academia has differing but honestly even worse issues. And I’m aware that different countries handle ableism and accessibility in different ways, but if you think too hard about it this is an absolute clusterfuck.

What is the problem now?

Squibs! Or rather, the main character of the series, Midoriya Izuku.

Deku (a nickname meaning “useless”! Imparted after his disability is recognized! hilarity!!) is also born without powers. Even worse in some ways, he is born without powers in a world where the overwhelming majority of the global population has some kind of empowerment. I can’t recall if it’s outright stated or only implied that someone with a functionally useless (and hoo boy, usefullness to society is its own post nope not today i do not have that much energy) Quirk is still more of a person than a Quirkless human.

That sink in? Okay, let’s move on.

In a narratively not-uncommon turn of events, Deku gains power. This is partially a product of, and directly tied to, his own work and determination, as well as his willingness to help even when physically outmatched.

To an American audience (NOT the intended audience though I wouldn’t doubt it if Horikoshi meant to have international appeal more or less from the start), this is a deeply satisfying narrative. Who doesn’t love an underdog story? And we even learn that the strongest hero of all time (til this point, anyways) was ALSO born Quirkless!

However, from here, things take a nosedive.

The key problem is a combination of story progression and overall thought put into worldbuilding. Horikoshi’s efforts may not be the MOST thorough, but he has put a great deal of work and thought into his creation (he at least understands the concept of implications and sometimes plans accordingly, looking at you JKR). However, that tied with story progression and personal repercussions actually works to the detriment of the matter.

Especially given recent turns of events.

 [BIG MEGA SPOILERS FOR FAIRLY RECENT PLOT

 STOP HERE IF YOU’RE NOT CAUGHT UP

 SERIOUSLY]

 What I mean by this is the current state of events re: two particular recent/recent-ish plot arcs.

First, Quirk Removal, and second, Endeavor’s comeuppance.

Quirk Removal/Loss was the start of my realization to what the narrative was doing regarding Izuku’s Quirklessness and the state of being overall.

This arc was a perfect time to bring up Midoriya’s past! A lot of Western works certainly would have done so! And yes, it may be bordering on done-to-death, but many elements of Hero Academia put new twists on common themes and cliches; it wasn’t unreasonable to hope that he might do it again.

Instead, little to NOTHING is discussed during this time! In fact, iirc I’d go so far as to say Midoriya straight-up never considers his past at any point during this arc!? If I’m wrong then it obviously made little impact.

NOW, not every disabled character needs to incorporate their disability and/or skills gleaned from living with it in every narrative. In fact, it would get tedious and questionable if they did (note: this does NOT mean ignoring/forgetting the character is even disabled when convenient. Like, I’d like to think that’s the obvious point of this post but... *gestures at tumblr*). 

But the complete lack of it here feels really weird. Like, almost hollow. I think Midoriya makes some kind of suggestion to Mirio of his former Quirklessness at the end of the arc, but nothing that made any kind of impact.

Let’s move on.

Endeavor.

Now, the problem with Endeavor’s arc is not the arc itself. Or, rather, it’s the fact that Endeavor’s Comeuppance is pretty good.

This is a problem because someone else should be getting this exact same arc, yet the issue is never even RECOGNIZED, let alone addressed.

Endeavor’s abuse of his wife and children, all in the name of creating a Heroic legacy, is publicized and tanks his popularity. The general public is now aware of what he’s done to the people closest to him, which aside from giving him a more correct reputation, means they can’t trust him to protect them if they can’t trust him to protect his own family.

This isn’t the goal of this post and I’m no expert regardless, but up to this point (around chapter 290) this was handled in an interesting way. Endeavor is humanized and often shown interacting with people in a way that, while often domineering, isn’t always aggressive or abusive. He runs a Hero Agency for crying out loud! But abuse in the real world often isn’t constant, nor happening to everyone in contact with the abuser. So this is a surprisingly good lead up to the reveal, where you can understand how most people never realized this was an issue.

But here’s my main point. Let’s examine some traits and actions that come up:

physically abusive to a child (often dangerously so) to the point of permanent trauma and severe scarring in some cases

target of abuse was weaker (physically and/or regarding Quirk power)

often abused victim emotionally/psychologically, bringing this weakness up again and again

own immense power led to rising in the world of Heroics

comrades, fellow Heroes, UA teachers etc. not aware of prior abuse issues

Who does this sound like?

Endeavor, who has a whole fucking arc dedicated to this reveal and repercussions?

Or Bakugou?

Reminder: This isn’t a hate post. This isn’t a character post, or even an abuse post. This is about ableism.

Bakugou exhibits many, many traits and actions that Endeavor was literally just punished for. So why does the treatment of these characters in-universe differ so drastically?

Two primary reasons I can think of, which feed into each other:

1) Bakugou was a child (still technically is a minor, remember! Still a first-year high schooler!) when this started. This doesn’t mean he’s strictly innocent, but it’s an important point, because it leads us to

2) Bakugou Katsuki’s abuse of Midoriya Izuku is socially accepted.

Reminder of the audience’s first encounter with Katsuki. The very first page with him is him and his grade-school posse picking on a kid that Izuku is trying to protect. His posse is showing off their Quirk powers and mocking Izuku’s lack thereof.

Then we flash forward to late-middle school versions of the kids. Bakugou, in front of a fucking teacher and entire class, is verbally, physically, etc. abusive to Izuku. He trashes his stuff, threatens him, tells him to kill himself (which, as Izuku notes later, is a fucking felony in Japan too).

No one stops him.

No one criticizes him.

We don’t even get a shot of like, some more ‘regular’ students being like “man Bakugou’s kinda fucked up but we’re too scared to do anything about it” NO. NO. Everyone more or less either backs Katsuki up or straight up doesn’t care.

Remember that this started when Katsuki and Izuku were four. Remember that Katsuki’s power is absurdly dangerous, ie. LITERAL. GODDAMN. EXPLOSIONS.

Izuku has scars. He probably has hearing loss! He may have gotten at least one concussion which can cause serious neurological issues and open him up to further risk!

He could have died.

And?

NO ONE. DOES. ANYTHING.

THIS is the point of the post. THIS is the value placed on Quirkless people in this society.

And yet. Despite Endeavor’s comeuppance. Despite All Might and Izuku’s blatant ‘value’ to society through Heroics. Despite so many other political implications and quandaries address in the Hero Academia series.

Nothing. Nothing. Nothing about this is addressed. The nearly-lethal ableism towards Quirkless people in this society is never ONCE brought up properly once Izuku receives One For All.

There is so much potential here! There is so much worth talking about! And yet we’ve moved into what feels very much like the Final Battle without it being addessed, despite numerous, numerous opportunities for a meaningful conversation about it along the way.

Mirio losing his power! Hell, Mirio’s powers’ drawbacks (and pretty much every Quirk’s drawback! if acknowledged properly!) border on a disability-analogue, and even more when Yuga’s laser comes up, and yet again and again we fail to truly engage with the matter in a meaningful way.

At this point, even if it comes up in the finale, I’m going to be disappointed in this particular aspect of the series due to the complete and total shut-down it’s been given so far.

What the FUCK, Horikoshi?

[creativenicocorner]

Slides a ⭐ for a star person :p

Holy shit it took over a year and I barely remember which fanfic ask this is about...I think it's like a director's cut one? REGARDLESS! I do remember the star was to like talk about whatever - and while looking for a WIP I came across an attempt to answer this WITHIN a wip? Past Nico what were you thinking?!

I do know this was written sometime before Ch15 of Terpsichore came out, because there were a few references? But I rephrased the wording a bit.

Forgive me for using this as an excuse to just babble on about how I choose the music titles for chapter sections in Terpsichore, but also, I'm not entirely sorry haha Without further Ado! Here’s hoping this rambling makes sense haha!!

⭐ AN ANSWER!（♥￫ｏ￩♥）

So it’s taken me a long time to figure out how I wanted to answer this. For a while I was going to ramble about M*A*S*H how it was a rather formative show for me growing up, especially in its anti-war message as well as how it feels like a comedy played in a minor key. There was even going to be a link to a video essay on the show, and then I was going to hint at a want to write a series following the changelings in a pre-show context in the sort of vibe M*A*S*H gave.

But it got lost, and weighty…and…idk, I can’t seem to stick to a lot of things these days? I don’t know.

But there’s always been in me the want to attempt to explain why I choose the music pieces I choose to title the sections in each chapter. Cause despite the little message at the bottom of the first chapter and the last chapter talking about motifs leitmotifs…writing prose is nothing like composing music.

And not only that I’m sure less than half of the people reading the fic will listen along with the playlist. Which is 100000% fine! I anticipate it even!

Because at best, those sectional pieces serve less as soundtrack more like a silent movie’s musical medley.

Because it’s the written word, and I’m not Andrew Hussie ldgj though the day I find out how to put a little ‘play button’ to listen to music during a fic, I might do that. But at this point in time Hell No haha.

Despite this, there is a process behind my music selections.

There is a difference between what I consider ‘corpse de ballet’/ ‘ensemble’ sections, and ‘leads’ / ‘duet’ sections.

Or what my poor readers go through as ‘a shit ton of prospective shifts’ and two prospectives at best, at the same time. I don’t know why I’m such a fan of bouncing between perspectives so much that you probably feel seasick. I always consider it a miracle anyone understands what the heck is going on dfjglk The answer is probably because I like third person omniscient writing, and am a sucker for situational/character irony. But I’m also a grammar school drop out haha and don’t actually know the rules of writing by heart? I’m just a fool with a bunch of vibes and a dictionary doing their best lol.

[ stressed coffee sip ] Fake it til you make it baby

But yeah! Enough borderline weird self deprecating! Let’s talk music!!

So! Usually when writing a section I try and think about who are the central characters in the section, and or what is the theme/emotion I’m trying to call on. Is there a motif, or a reference I can play on musically? An idea or concept I can echo or even enhance? Will it be a specific genera of music tied to a character because that character embodies and or is known for a specific genera (example: Nomura and Opera- more on that at during ACTII )

Once I answer those questions, I’m able to narrow down my music choices. Which, again, acts more like a book of suggested musical medley orchestras and musicians would purchase during the silent movie era as like a cheat sheet of what they could play during a specific scene.

So…for instance, for a character like Barbara Lake I wouldn’t use video game music -or maybe I could…but it would only be in terms of perhaps referencing her son.- who I would have a higher chance at choosing to select a video game music piece for (hang on to your butts ACT II Zelda soundtrack).

In the fic I’ve built the idea that in order to explain Barbara’s ability to paint, that she not only took classes but was part of the production team in putting on a play, mainly in set design painting props. Which opens me to a world of musical options when it comes to Barbara’s character. Especially when certain musicals hold songs that can be really fitting to her character later on. An example of this can be seen in ch3 “Aquarius”, and ch14 “Julia”.

Ch3 is Barbara’s big planned picnic date. The first date she and Walter go on after she ingested the binding spell. The two of them coming together, but also the magic of which awakening something magical inside.

And Ch14 in which the binding spell is broken, but also whatever was holding Barbara’s potential to reaching towards that magical something inside her is also broken. And in a sort of my own attempt at written diegesis between the narrative and the song selections in the sections, the lyrics to Aquarius is written out as Barbara depends into the water. In which it is no longer the dawning of Aquarius, Aquarius is starting to take center stage. Their cue is played.

That would be my example on a very character driven musical choice.

Not only that, but it is at Ch3 where Walter is influenced more and more to Barbara’s appreciation to musicals, so much so that it begins to influence his own array of music pieces. His dreams no longer dialogue from movies he fell asleep to, but sometimes full on reproductions of staged musicals and plays. An example of this can be seen in Ch11 On the Right Track from Pippin the Musical - which oof I could go into a full dissertation on in regards to changelings/Pippin and The Pale Lady/Leading Player.

Not only that, but due to influence from Barbara’s love we get the moment of Walter’s ‘I want’ section piece in the form of Ch9 “Corner of the Sky” (aka Pippin’s I want song as well). The moment before this happened there was the interaction with Angor AND Otto AND the repercussions of Angor attacking the school. It is clear to these characters that Strickler is not giving his all in killing Jim, and perhaps never tried to give his all. Something that Otto proclaims as Strickler making excuses, and Strickler insists is tact.

Then there is the situational character driven choice.

I’m going to continue to use Barbara as an example here, and say that THIS can be seen in Ch2 “No. 9 – Finale Andante” and ch12 “Le Lac Des Cygnes Introduction: Moderato Assai”

Both of these music pieces come from Swan Lake. The reasoning behind the choice is probably asinine in thought process (Barbara Lake, Swan Lake), but also thought out in the sense of the following:

In Season3 of Trollhunters Morgana, in order to attempt to reacquire her shadow staff from Strickler (“The Exorcism of Clair Nuñez), transforms herself to take Barbara Lake’s physical form.

IN THE BALLET SWAN LAKE The wizard Von Rothbart, in order to obtain what they want, transforms (granted someone else) Odile to look like the hero Odette in order to trick the prince into proclaiming this imposter Odile as their one true love. In which Odile is the mirror to Odette, and while looking similar (in fact typically the ballerina who performs as Oddette would also perform as Odile) are opposites in spirit.

And, at least in Terpsichore, what near primordial eldritch force can rival that of the Eldritch Queen that we know from cannon will inevitably impersonate Barbara Lake?

But wait, there’s more.

In chapter 2 the piece used in section 2 is the end of ACTI from Swan Lake. The music hints not only the arrival of Odette, but also her inevitable tragedy. What is written in this section, briefly at that cause we watched how the scene plays out in the show, you don’t need me writing that back at you, but I digress- What is WRITTEN in this section is Barbara sipping the enchanted tea that binds herself to Waltolomew Strickler. Something that you, the viewer and fan will know ends in tragedy, as do I the writer and also fan knows will end in tragedy. The only people out of the loop here are the poor poor characters.

And then the revolving door of bad situations that is ch12 happens, and we return to Swan Lake with “Le Lac Des Cygnes Introduction” In which Barbara is introduced to Jim Lake’s Trollhunting world, finally. But wait! There’s EVEN more.

Because not only is Barbara introduced to Jim’s Trollhunting world, Barbara begins to allow herself an introduction to that weird magical more that’s inside her via dream. And YOU/WE the reader/writer/audience, are introduced to the strange figure Giselle is talking to on the beach of Lake Superior…who…well, you’ve probably already have an idea as to who that figure is ;)c

There are also moments when I just select a song piece because I think it fits Thematially well - ch11’s “Powerhouse” section. Aka the music that plays in Looney Tunes whenever an assembly line montage occurs - to which in that section Jim Draal and Walter are putting together the booby-traps to thwart Angor Rot (as well as try to reassemble some sort of emotional connection between them). Or it could be a reference to a meme I really enjoyed, example Ch12’s “Roundabout” aka the music piece known vernacularly as “The Jojo Meme” but also like…meme aside it’s really good and fits and just lkfgjkgsdj I have a lot of feels about Roundabout and I won’t apologize for it haha

And yet, something I pride myself in, is that you don’t need to know all of this to enjoy the story. It isn’t necessary to listen to the Swan Lake pieces or even the Musicals, or even the Jojo Meme. Because, if I did my job right, those echoes ought to be in the writing. The pieces to the section have always been optional. Just little markings in a booklet to be given to you the reader/composer as a suggestion and you can choose to play those pieces along to the silent film, or boot up a ragtime. And that’s the power you have. And that’s equally as wonderful!

[2-point-5]

my essay on why gamzee is good, actually.

@daughterofapollo123

tw for drug addiction, bullying, murder, and general spoilers for homestuck

Gamzee Makara is a joke character from the hit webcomic Homestuck. His entire purpose was to be a meme, to make foolish decisions, and to drag the plot along if necessary. “Then why do you care, Alyn? He’s a joke, a hint of comedy, an easy villain. Why would you use your entire lunch break on an essay for a literal clown?” That, my dear reader is a good question with a simple answer. Gamzee deserved better. He was a good character, ruined by both canon and fanon, and could've been an incredible contribution to the cast, if he hadn’t been brushed off, ignored, and dismissed by his own creator, as well as the readers.

Let’s start with his character. Gamzee Makara is a young troll from the planet Alternia, around 13 years old in human years. Although addicted to some very heavy drugs, and a firm believer in a bizarre cult of juggalo gods, he remains a loyal friend, even when the others dismiss and ridicule him, and telling him that he was a waste of space. His best friend, Karkat, clearly didn’t care about him much at all, something which Gamzee was morbidly aware of. He was brushed aside, not just by the narrative and his friends, but society. He lived completely alone, after his lusus, or guardian, having left him years before. He raised himself, his only contact with anyone being his online friends, few of which showed him any compassion. When SBURB, a universe ending video game, began, he was roped in with his friends, showing himself to be a surprisingly formidable fighter. When they reach the meteor and are forced to wait for the human players to reach them, he is mostly removed from the narrative, allowing Karkat and a few others to become the stars of the show. The next we see of him is his downfall.

After messaging Dave, one of the humans, to chat, he discovers that Dave has already spoken to him, at another point in time. Dave sends him a link to Insane Clown Posse’s “Miracles” music video. Gamzee is outraged by the blasphemy, and goes “Hero Mode” a short lived joke, with little to no effect on the story. Next though, he starts to unravel. He’d mentioned in his conversation with Dave that he hadn’t had a pie- a drug pie that is- in a while, so he was likely going through withdrawal. His mind was perfect for Lil’ Cal, the malevolent puppet, to access his mind. He realizes that he is the mirthful messiahs he had worshiped his whole life, and he takes it upon himself to cleanse the world of impurity. He proceeds to kill Equius, one of the people who had been cruel to him, along with Equius’ platonic partner, Nepeta, who witnessed the murder. From then on, he stayed in the vents of the facility, rarely coming out. At some point, he came across the young cherubs, Calliope and Caliborn, the very embodiments of good and evil.

He stayed on the edge of canon for a while, occasionally helping further the plot, but had little to no further meaning until the retconned timeline. He had previously been taken control of by Aranea to help further her nefarious plans. He and Terezi, one of his former friends, had a fight, resulting in her death, but there was a very vibrant moment where the layers of mid control from Cal, as well as Aranea Serket fade off, and he comes to for the first time in around three years, and realizes what he’d become, immediately before being stabbed by Terezi and chainsawed in half by Kanaya. Unfortunately, this timeline was removed from canon, meaning he never canonically regained consciousness after his initial sobering. He spends the rest of the comic being irrelevant again.

So, now that we’ve gone over his character, let’s discuss his fanon treatment. Most of the fandom took him as a joke, reducing him to a haha funny stoner clown who kills when he goes sober. Most people either hate him or don’t care, making me somewhat dubious that anyone will read this essay. However, if you did, and you got this far, I would like to offer up this:

Gamzee was mistreated his entire life. Suddenly, his whole world falls apart, his drugs, his religion, his friendship, and then he is taken over by the embodiment of evil itself. He was a thirteen year old boy, with mental health issues. He was a nice person, who cared about his friends, so naturally, the canon had to destroy him.

[leapyearkisses]

For the director’s cut: Orbs Are Bad News, please? Part 2 (or both, if you’re willing!) It’s one of my favorites 💗

One of my favorites, too! Thanks for the ask! :D I'll do both parts, with Part 2 to follow this a bit later.

Director's cut comments in bold below the cut! MESS, m/m, holding a handkerchief, etc.

This story came from a prompt on a writing meme about a character losing the use of their hands while having to deal with snz. I can't remember at the moment if the prompt was D&D-flavored or if I just picked that setting myself because I was really into playing the game at the time (still am!). Also I'm incredibly sleep-deprived, so I hope these comments don't ramble overmuch.

"Okay, we don't know what we're dealing with here, so let's be careful." Gerrit pushed open the heavy wooden door and lifted his torch to illuminate the room inside. The firelight played over several tables covered in intriguing objects and glinted teasingly off of more than one hint of gold. Gerrit himself spotted a stolid wooden chest in the corner and his heart rate quickened.

When I was a kid, my mom gave me the Dragonlance books and I fell in love with them, although it was a long time before I was able to play D&D myself. I attribute my love of the very traditional fantasy realm to these books and my enduring love of sickly mages to Raistlin (Soulforge was like an EXPERIENCE for me). Gerrit has his origins in Tanis Half-Elven - he's a good guy, kind of a normal/default fighter build. "Jackpot," breathed Remembrance, the party's resident ne'er-do-well. She rubbed her hands together, sharp nails clicking. Gerrit was sure she was assigning price tags to the lot of it, except for whatever she hid in her bags for herself, of course. "I know a guy in the capitol who'll pay through the nose for that pervy little statue there." "That is a religious object," chastised Cordes with a haughty tsk. "It's used in rituals of worship for the goddess Fortuna." "Oh, I'm sure he'll be worshipping," cackled Remembrance, and she slipped past Gerrit into the vault. "Few hundred gold and he'll be rubbing out a grand ol' prayer." Her pointed tail waved with greedy delight. "Hey! The proper course of action would be to bring it back to a temple!" Cordes went after her, pushing Gerrit aside.

Remembrance and Cordes are here to be the beta couple and provide background color. Their development was based on a few factors: A) a D&D party should have ~4 people with different abilities (fighter, sorcerer, cleric, rogue), B) a priest and a devil is never not a fun/ny dynamic, C) I'm not into F snz but I feel bad that most of my OCs are not women, and D) given that Gerrit is a "default" archetype, there needed to be differing characters to contrast his personality with (or he would seem to have none). Also I like dirty jokes, so Remembrance can be my humorous id for this purpose lol The half-elf grumbled but wasn't surprised. "At least TRY not to touch anything cursed," he called. He'd been the one to organize this little band, but although he was the one who reported to their patron, he had precious little influence over what they did. They were happy to point to him when some upstart had a problem with the party, though. Ingrates. He turned to the last member of the group. "What about you, Llewellyn? I thought I saw some books on the far table." "Lead the way," replied the sorcerer, and his usually mellifluous voice sounded strained. Purple shadowed the hollows under his faintly luminous silver eyes, and he had his nose tucked into his handkerchief again. Gerrit hadn't spent much time around full elves, but he'd always believed they couldn't get sick, at least not like a human or dwarf. Llewellyn had been dragging since Saints' Day, though, and seemed to have come down with a flu. His skin, where visible under his fitted robes, was wan.

Fuck up that slender, haughty elf man is an endlessly running subroutine in my head. "Sure," said Gerrit, and he stepped into the room, holding the door out so that Llewellyn could join him. "You, uh, you don't look like you're feeling any better." "Oh," said the sorcerer, "I'm not. I ran out of tonics." He entered the vault and walked over to one of the tables, investigating a strangely shaped glass bowl. "But as we were already down here, I'm not sure what you want me to say. There's no inn at which I might rest my weary bones." "Cordes could make you an herbal remedy," Gerrit grumped. He went over to the chest he'd seen earlier and smashed the lock off with the pommel of his dagger. He didn't need any fancy lockpicking tools like Remembrance's. And hitting something felt good when his companions were all intent to be annoying, acerbic, or both. "I suppose," Llewellyn replied, sounding uncertain as his voice wavered. Gerrit tried to ignore the way his ears heated at that. That was the tone that overtook the elf when he was preparing to sneeze. It wasn't any of Gerrit's concern. His occasional roll in the hay (literal and figurative) with Llewellyn did not make it easier or more appropriate to acknowledge his odd attractions, especially since they were currently ransacking a dungeon with a priest and a psychopath. He focused his attention on searching the chest, and he was rewarded with a heavy coin purse, a stack of calfskin-bound journals, and a ruby the size of a robin's egg. He whistled.

Gerrit and Llewellyn are the dynamic opposite of Eliseo and Padgett. Gerrit is the less-privileged, more personable, "low class" character and Llewellyn is the high-born, fussier, sarcastic noble; however, in this story Gerrit is the voyeur character with the fetish and the POV window while Llewellyn is tortured for everyone's amusement. Narratively it's more fun and easier for me to describe the non-fetish-having character because I also like the power of the narrator to be that voyeuristic eye. Llewellyn gasped. "Hah- hahttsch-ow!"

I made myself laugh while writing this hahah "'Ow'?" Cordes appeared from behind a bookshelf, one arm wrapped tightly around a thick rug, the other reaching for his pack of salves. "What is it? Cut? Burn?" When Gerrit looked, their sorcerer was rubbing his nose with his left hand. "Bruise," Llewellyn said. He lifted his right hand, in which he held a blue crystal orb that was knotted inside a thin lattice of gold chain. "I got my hand caught." He'd apparently run the thing into his nose when trying to cover his sneeze. Llewellyn's thin face was already dusted pink from the embarrassment. Gerrit couldn't help but laugh. "Very graceful," he chuckled. "I will thank you for keeping it to yourself," Llewellyn replied, and that was elvish dialect for "fuck you." Gerrit laughed again.

Embarrassment is a huge part of my enjoyment of this kink because of the ensuing power dynamics. The victim is thrown into disequilibrium by something (snz) that is inherently seen as socially inappropriate, disgusting, or at least uncomfortable. Almost always their reaction is outsized to what it would probably be outside of a fet context (most people can sneeze in public without feeling shame - which is the typical mode, lol. It's a normal bodily function). However, then the other character, motivated by their BF's anxiety and potential humiliation is prompted to caretake and comfort them, "approve" of the "shameful" act, and deepen the intimacy of the couple. They can also enjoy the embarrassment and the act voyeuristically while feeling their own discomfort about watching, then deal with either having to divulge the kink or be found out by their partner later (because consent is the sexiest thing, really). But I love my characters and I'm not into hardcore stuff so much, so there are almost never any consequences of the "humiliation" - the characters do not get caught out, they do not get shamed by society, they do not actually lose face or have to explain their sexual preferences to anyone who should not know them.

Now you know way too much about my psychology but also the basic formula for any kink story I have written or will write in my entire life. Yay! Cordes had leaned over to see the orb better in the firelight. He was the only one among them whose vision was hindered by the dim light. "What kind of artifact is this?" he asked. "It doesn't resemble anything I've studied."

Lol humans don't have darkvision. "I'm not sure." Llewellyn held it up to the torch. The orb lit up like a lamp, but otherwise nothing happened. "Whatever this chain is, though, it's very prone to tangling." He tried to shake it off his wrist and failed. This was a task for both hands, and he set to freeing himself. And kept trying. And trying. Gerrit frowned. "What are you doing? Cordes, would you get that off of him?" "Sure." The priest reached out to help, but Llewellyn suddenly backed away out of reach. "Uh... I'm not trying to steal it, elf." "Oh, I would let you take it," Llewellyn said, scowling. "But I have a feeling we would be in for some trouble if you touch it now." He held up both hands. His palms were wrapped around the crystal and bound with the ball in that thin gold chain. "I am... I'm stuck."

---

"STUCK," hooted Remembrance again. She was crouched at the entrance to the dungeon - a root-cellar-like set of doors they'd found in a small bandit settlement - and hauling out a heavy pack stuffed with loot. In the daylight, she looked menacing and out of place, her horns, dusky maroon skin tone, and black eyes setting her apart from this land's primarily human residents. "And you even said not to touch any curses!"

Jump cuts are funny! I love this kind of thing, honestly. It's some of my favorite humor - that and dramatic irony, which is also often depicted in visual media with a funny jump cut. "I recall you said so as well," said Cordes, who looked exactly like a run-of-the-mill human resident except for the star-like scar on his left temple. He reached down and grabbed Gerrit's hand, steadying the half-elf as he climbed out of the hole. Llewellyn was hanging uncomfortably on Gerrit's back, arms looped around the other man's neck. They'd tried to find a more dignified way to get him out of the dungeon, but he couldn't manage the ladder well enough without the use of his hands. "The artifact didn't react to my detection spell," sniffed Llewellyn disdainfully, and Gerrit was quick to set him down before that sniffing could become another sneeze. He didn't want to blush in front of the others.

Blushing is very appealing to me, so everyone blushes all of the time. "There must be someone in Veigh who can help you," Gerrit said. "We'll just swing by on our way to the capitol." The city was three days out of their way, but they couldn't have Llewellyn stuck this way for the two week trip back to their patron. With his hands bound, he couldn't cast any spells that required him to gesture, and that was almost all of them. He'd effectively rendered himself completely useless in combat. Veigh had a chapter of the Mages Guild in residence, though, and if no one there could help, they might at least be able to send Llewellyn on ahead via a transportation spell.

Let's go on a short tangent about names. Usually I name my characters using Babynames.com or similar sites and I pick based on the look, sound, and meaning of the names. For this little group, things were slightly more haphazard. Llewellyn is a Welsh name meaning "leader." I just happen to like this name already, but it also has a visual beauty and difficulty to pronounce on sight that lent it well to an elf character without me having to look up specifically elven names. When I make elf characters in D&D, I tend to give them a nickname or alias that is easy to remember and pronounce so that the name isn't a hindrance while playing the game.

Gerrit's name was picked based on sound. It is similar to the Welsh name Gareth ("spear ruler"), which is on purpose, but it was altered to make it a bit more fantastical/removed. It's appropriate for a fighter in meaning but also suits his more familiar/pedestrian half-elven experience vs. that of a noble elf.

Cordes was given a short name because he is a no-nonsense human, but I chose it to resemble that of conquistador Hernan Cortes because of the "holy invasion" and "treasure hunter" associations. Remembrance is named using the PHB's suggestion that tieflings often pick "ideal" names for themselves, and she has a complicated past (like most tieflings). "I will hope there is." Llewellyn looked pale and worn, though his fine features still exuded the otherworldly beauty of the high elves. His hair was a silky black, although mostly covered by his hood, and the contrast made his silver eyes look even more curious. He fumbled for a minute at his waist before scowling heavily. "I can't get into any of my bags, of course..." "What do you need?" asked Gerrit. Remembrance had started off through the trees, humming, her bulging pack swaying with her sinuous movements. Gerrit really didn't want to let her get too far ahead, not least because she was scary good at concealing herself in the foliage and might slip the party completely. However, Cordes was with her, and Llewellyn couldn't exactly fend for himself right now. "My handkerchief..." The elf's voice had gone wavery again, and Gerrit watched as his nostrils flared. Fuck.

Oho! Here is the plot and the kink conceit. Gerrit hurriedly patted his pockets until he produced his own handkerchief, or what he bothered with when necessary. It was a large square of flannel, rough around the edges. It wasn't embroidered or monogrammed like Llewellyn's, but he figured by now the flannel was a hell of a lot cleaner, and it was soft for an irritated nose. "Here, take mine."

Characters' belongings are also a good way to contrast their situations and personalities. I don't consider handkerchiefs particularly vital to my enjoyment of this kink, but they are a useful visual and I like to describe things. Small details like this are how you can worldbuild without having to do too much extra research. Llewellyn held out his hands plus the orb for it, breath hitching, but no matter how Gerrit tried to drape the cloth, it kept slipping off of the artifact. He supposed he could try to tie it around the-

This is just so funny to me XD Llewellyn made a desperate sound and tipped his head back, exposing the long line of his throat. His breath was coming in soft pants now. And he was raising the orb reflexively. Gerrit couldn't let him whack himself in the face again, so he did the only other thing he could think of. With one hand he reached out and took Llewellyn by the shoulder. With the other, he lifted the handkerchief and pressed it over the elf's nose. His fingers settled firmly on either side of Llewellyn's nostrils, and none too soon. After another half-hitch, Llewellyn ducked forward again with a quiet but insistent sneeze. "Happtsch!

One of the most pleasing sneeze sounds, tbh. Gerrit was sure he was beet red. “Bless you,” he mumbled. Through the cloth, Llewelyn’s nose felt hot, and any gentle pressure resulted in a bit of a squish. “Let me just…” "Whh- wait-" Llewellyn leaned into the handkerchief. "I'm nh- I'm not done hhH-" His eyes slipped shut and he gasped again. Gerrit swallowed and tried to ignore the tenting of his breeches. "R-roger that." He could feel Llewellyn's nostrils twitching against his fingers. "Hh...Haah- Hapttschuh! Snrk... Aptschiu!" His body rocked, and he took a half-step forward. Gerrit could hear the thick sound of congestion in the elf's nose as he tried to stave off another sneeze.

The desperation, talking through the sneezing, and congestion are all vital parts of this scenario. Unavoidable embarrassment + disgust factor + need for caretaking/mitigation. "Blow your nose," he said. "It will help." Llewellyn hesitated, but in the end, he had to comply. There was nowhere for the mucus to go except out. He started to blow with a gurgle.

I used to be really against mess, but the taboo/disgust part of the brain turns off psychologically a LOT during arousal and now I really do not find snz interesting without it. Snz without mess isn't embarrassing enough or visually exciting. Gerrit moved the hand from his shoulder to start rubbing Llewellyn's back. The handkerchief and his fingers were rapidly growing damp, but he really didn't mind. "There you go." He held the handkerchief to Llewellyn's nose until the elf moved back on his own. His nose was red and tender looking, and his cheeks were flushed rosy. He didn't seem to want to meet Gerrit's eyes. Gerrit didn't mention it. He didn't really want to look at Llewellyn either right now. It had been a while since the elf had looked so very fuckable.

Potentially due to my propensity to write fanfic about established ships, all of my OCs apparently have a history or mutual attraction out of the gate. On one hand, it's difficult just mechanically to write a scenario about a romantic or sexual encounter without there being chemistry and an excuse for them to already want to rub bits (obviously), especially in short stories, but I also cannot stand the thin veneer of situational causality that underlies porn (to borrow from Cards Against Humanity). If I can't care about my characters' lives outside of the one random fetish scenario, I can't care enough to write about them at all. He put the handkerchief in an easily-accessible outside pocket of his vest. "Ready to go?" Llewellyn coughed lightly. "Yes." "Excellent." Gerrit gestured for Llewellyn to precede him, and the two of them headed out through the trees, following the sounds of Cordes negotiating the underbrush and swearing about it. --- Travel proved easy enough once they made it to the road. They were fortunate not to meet anyone else along the way. The party could handle a group of bandits without their sorcerer, but they had their treasure to worry about, and Remembrance always drew stares, and sometimes aggression, even from normal travelers. Gerrit thought her skills more than made up for the extra negative attention they drew. And anyway, Remembrance was crazy but she wasn't evil. She did better out on the road than in town, but that was probably true of all of them. Llewellyn kept up with her pace, but it was clearly a struggle. He was usually fairly quiet, but he didn't speak at all as they walked, focusing on breathing and not devolving into coughing or more sneezing. There were a few times when Gerrit hastily reached into his pocket, at the ready, but Llewellyn fought back the itch with admirable determination. He kept his nose from running by sniffling heavily, which sounded somewhere between awful and revolting. Cordes commented on it multiple times with disgust, but nothing could be done. Llewellyn held his tongue, and Gerrit was reluctant in this case to offer the handkerchief without being asked.

Cordes is here providing the societal reaction and voice of reason lol, but there still aren't any consequences or shaming from them. I just imagine how fricking uncomfortable it would be if people acknowledged this porn scenario happening in-world and so that is never part of the story development. They found a place to camp about half an hour outside the small village of Tewks. Remembrance cleared out some brush to make a flat area for the bedrolls and then promptly decided she'd rather sleep in a tree with everything she owned. She found a good, solid oak a few yards from the camp and ensconced herself in the crux of its branches. She had a good view of the road in either direction and volunteered to take the second watch in the middle of the night, which was her favorite time. Gerrit agreed to take the first watch as Cordes started to set up his tent. The priest refused to sleep on the ground and always took an extra fifteen minutes to erect a curious one-person canvas canopy. It wasn't even large enough to sit up inside, but whatever. The priest never asked anyone else to haul it along, so Gerrit wouldn't complain.

Remembrance and Cordes are thus handwaved away from the sexual center of the plot and they will neither see nor hear anything they aren't invited to. These arrangements left him and Llewellyn alone together on one side of the fire, and he supposed that was preferable during the orb situation anyway. Llewellyn couldn't handle his own bedroll, help with the fire, or unpack any of their supplies. Gerrit realized he would probably have to help the elf eat, too. And... Well, when he noticed Llewellyn fidgeting uncomfortably, Gerrit took him out into a thicker copse to see to his other needs. They didn't talk about it... Llewellyn could hardly undo his own buttons, though, and it wasn't the first time Gerrit had taken over.

I am very into watersports, so it creeps in, although I don't think there's a friendly community out there for that like there is for snz, so I haven't developed any kind of presence for it. It appeals to me for pretty much all of the same reasons as described above. Maybe someday I will start writing those kinds of stories on this account as well, but I don't know if they would find an audience, so maybe not. By the time the fire was hot enough to cook over, Llewellyn had tucked himself up to sit on a tree stump, exuding an aura of furious self-reproach. Cordes took some jerky into his tiny tent with him - for some reason. Gerrit made up two bowls of pottage and sat himself on the ground at the roots of the stump. He put one bowl on the ground for himself and then held up the other. "Hungry?" "Not particularly," Llewellyn replied, voice blunted with congestion. He coughed. "But you're going to make me eat something, aren't you." "I'd prefer you do it willingly." Gerrit tapped the spoon on the side of the bowl. "Come on. It's hot. You'll feel better." Llewellyn growled in a manner more suited to orcs than elves. "I feel like an invalid." Gerrit sighed. "Well, if it makes you feel better, we can pretend you lost your arms in an owlbear attack very tragically." He could feel Llewellyn's fiery glare on him and smiled a little. "Look, we've all done stupid things while adventuring. I'm sure you remember when I tripped and knocked myself out on that knight's shield during the tournament." "I remember," replied the elf, begrudgingly. "Besides, you're sick on top of the whole orb thing. Maybe your detection spell wasn't sensitive enough. Maybe the thing's not even cursed! Maybe it's supposed to do this, and we just don't know why." "I have a hard time believing that. What possible purpose could this serve?"

Porn! Gerrit shrugged. "Don't ask me. Dad says my mother was a druid, but I haven't got a magical bone in my body." He tilted his head. "We could always try smashing it?" Llewellyn's rejection was forceful. "Do you want to explode?!" Gerrit chuckled. "Not really." Llewellyn sighed. Gerrit held out a spoonful of pottage. Feeding both Llewellyn and himself was a bit difficult, but Gerrit did well enough when he could alternate. It would be better if he could use both hands equally like Cordes, but he couldn't, and so he didn't. He just thought about it wistfully as he worked. Llewellyn ended up eating most of his bowl, then went back to sitting quietly and sniffling. Gerrit finished the rest and put the utensils aside to deal with later. And... Even though Llewellyn hadn't asked, he drew out his handkerchief again.

More caretaking, more intimacy. Gerrit is a kind and loving person even though he's a fighter by trade. "Hey," he began, trying not to sound awkward. "You wanna blow your nose?" No one else was paying attention and Llewellyn didn't need to inhale any more of that crap. The elf gave him a shitty side-eye. "Come on," said Gerrit. "Don't be like this." He patted the ground in front of him encouragingly as if Llewellyn was a recalcitrant cat. "I'm fine," said Llewellyn, and then betrayed himself with a quick breath. "Hah--" "Come on," Gerrit repeated, "before you make a mess."

He is also pretty comfortable talking about a lot of things that people with the fetish have generally admitted difficulty acknowledging. This is because even though he's the one with the fetish in this, he is also the "Padgett" character and practical and not caught up in the anxiety prison. Llewellyn came down off the stump to sit in front of him, legs tucked underneath, and rested the orb on Gerrit's thigh to balance himself. His eyes were pinched with reluctance, but Gerrit could see that the elf's nostrils were already damp. "Hah- hh- hurry," Llewellyn gasped.

People should sit in each other's laps. It's good. Again, Gerrit reached out with the handkerchief, enfolding his companion's nose. He could feel Llewellyn's breath fluttering against his hand through the fabric and hear quite clearly how it kept catching on congestion. "Hah-hngk- Hahgkttscht!" Llewellyn ducked forward with the force of it and Gerrit steadied him with a hand on his hip. "Ngkttsch! Hnggktxch!!"

The sneezes now involve nasal consonants because of congestion. Sometimes people tend to have a certain way their sneezes always sound, and I try to maintain that, but these details are important to show a change in the severity of the cold (and evidence of sniffling for hours). Gerrit bit his lip sharply to keep from saying anything, but his body was singing with arousal. Llewellyn hiccupped a short gasp and Gerrit pulled the handkerchief away to present a clean corner. The current spot had become soaked and silvery. "Bless," he managed after a moment, and he carefully readjusted the cloth. "Are you going to sneeze again?"

Hiccupping is also sexy and cute. Also I spelled that wrong in the original, gdi... Llewellyn nodded, eyes teary with the effort of the first bunch. Gerrit wasn't surprised; the elf had been holding back since they left the dungeon. He couldn't imagine it had been comfortable, but Llewellyn had his pride. He never would let Gerrit give him love bites either. Annnd Gerrit was going to have to stop thinking about that. "Haptsch!" Easier said than done. Really. But Llewellyn's comfort came first.

Voyeur with a heart of gold. "Hahkptsch!" The sorcerer groaned softly. "Hah- hh- Hgnaptscxhx!" Gerrit did his best to assist Llewellyn through the fit. He kept the handkerchief secure, moving it when necessary to keep it dry enough. He steadied the elf when the sneezes bent his body or when he felt faint from lack of breath. He even massaged Llewellyn's nose for him when he was trying to blow it and the congestion was stubbornly refusing to move. By the time he felt finished enough to lean back, Llewellyn was flushed and light-headed, swaying where he sat. Gerrit was sweating and needed a towel. "........Thanks," murmured Llewellyn, eventually.

Sometimes kink authors tend to just write out like twenty sneezes in a row and I hate that, honestly. (No shade - I don't even have an example in mind because I don't read a lot of stories anymore and everyone has their preferences.) I just think that the kink should support the storyline and not the other way around. The story should be enjoyable and sexy but have a narrative structure and coherent rising and falling action. Even if a fit is a sexy scenario (it is), trying to make your eyeballs power through a repetitive series of nonsense syllables is counterproductive and takes the reader out of the story and into the realm of annoyance, which disrupts arousal as well. "Yeah," said Gerrit. "Sure." He swallowed. "Let's wash up." He helped Llewellyn to his feet and they went a little way to a creek (generously; it was little more than a ditch through the woods). Gerrit gently washed Llewellyn's face, careful of his tender eyes and nose, and sent him back to camp to lay down for the night. He lingered at the water's edge to wash the handkerchief and, well, to take other matters in hand.

If ya know what I mean. Llewellyn was completely out when he returned, and Gerrit was grateful. He smoothed the elf's bangs back and then settled beside the fire to take watch. The woods in the dark were full of the sounds of insects and small animals moving in the undergrowth. And Llewellyn snoring and sniffling in his sleep. Safe sounds. Gerrit rested his chin on his hand and looked toward the road. Damn orb. It was going to be a long way to Veigh.

And this was getting long, so this is where I cut it to make part 2, which I will also commentate in a bit (hopefully after a nap =___=). Thanks!

[gaycey-sketchit]

(Gary anon) Since Lapras was mainly used for water travel, that's probably why it got released later. Can't exactly move well on land. (It's likely why we rarely saw half of Misty's team) It was nice that they had it reappear briefly in Johto. (I can totally see why some; while agreeing that Paul was good foil for Ash's character at the time, preferred other rivals when it comes to personality more) I know some want him to be in the PWC, if to reference that one quote by Cynthia, but

(Part Deux) seeing a few pull up the idea of Paul being Brandon's apprentice sounds like a better 'end' for him. (And since Gary's here, I doubt they're gonna reignite that rivalry. Not impossible, but stuff is crowded enough as it is. I feel characters like Ritchie and even Trip deserve to have something that can be left on a high note) Except being aware of stuff like Speed Racer, I'm not well-versed in old anime either. This is from watching a lot of "behind-the-scenes" for animated media.

(Part 3) (Stuff like that is why the meme thrived, it truly was a time xD) Aww, sometimes moving the reblog to a new tab works or repeat refreshing of the reblog page. (If it still doesn't work, here's the *post to the original gif instead) Heh, if anything, the fact that those two showed up in SM added to why some thought Gary WOULD show up in Alola. (Aside from Red and Blue making a surprise appearance in said games) If not Blue's Alola outfit, people drew Gary in his pink holiday shirt again.

Yeah. It was nice while it lasted, Lapras was precious. A baby.

My opinions regarding Paul can pretty much be summarized as he is an excellent rival and a terrible person, and I hate him but I respect his role in the narrative as Ash’s total antithesis. Still, I prefer antagonistic rivals that are antagonistic in more entertaining ways and/or have an apparent soft side. (Read: Gary, Drew, Harley.)

If Paul were to make a return... I’m both concerned and curious about how that would play out. I agree that with Gary making a return they probably wouldn’t reignite another old rivalry. I think Ash’s rivalry with Paul ended about as well as it could be expected to--in their conflict of principles, Ash won out, and with Infernape so Infernape got to triumph against its past abuser. I’m pretty satisfied with that, and I honestly think there are other past rivals that’d be better to see again. (Remember Casey? I wonder how she’s doing.)

Cool, I should start looking into stuff like that. I’m fascinated by how dubbing works and it could be fun to do some research on the history of it.

Yeah, definitely. The Gary Motherfucking Oak era was SO fun, what a time to be alive.

It’s whatever, I’m not too bothered about it. Making note of that for future reference though.

The circumstances were so right for Gary to make a return in Alola (he could’ve even brought back the vacation outfit, which is so tacky but I love it) but I guess he just couldn’t take the heat. (For Whumptober last year I actually wrote a Drew/Gary fic where the two of them took a little trip to Drew’s hometown in Hoenn, another tropical region, and Gary nearly passed out from heat exhaustion. I feel like him getting acclimated to Sinnoh means he’s resistant to the cold at the expense of having much less tolerance for heat.) Glad he’s finally coming back now, Kanto’s probably a bit less likely to kill him, haha.

[justanotherpersonsuniverse]

More of that dnd thing cause I’m invested now

This is just a big ass post with their dnd characters I got bored

This was fun to make hope y’all like em 

Marinette: Felicity Xyrna— She’s a wood elf cleric who’s a bit on the dumb side (-1 intelligence for 8, she’s okay with it cause she didn’t want her character to be smart anyways), she’s lawful good and is an acolyte of nature. She worships Tikki. She’s very oblivious to Chat’s character’s attempts at flirtation but their characters slowly bit by bit are falling into a romance. It’s disgustingly cute for the rest of the team and Chloe is silently face palming. 

Adrien: Einar Gray— A Tabaxi Warlock to the eldritch being Plagg, he’s absolutely in LOVE with Felicity and refuses to give up on his endless quest to woo her. His charisma is incredibly high despite his occasional low rolls and he’s accidentally made a habit of throwing chairs at people as a last ditch effort. He has a troubled past that Chloe’s excited to tie into the narrative and despite being a complex character, he probably gets memed the most. 

Alya: Surprisingly, Eimi Lockhart- Surprisingly she chose a bard. She’s a very bombastic tiefling coming from a family of entertainers. Best friends with Luka’s character. Literal life of the party. Like a sister to Felicity. When her family is under threat of some secret underground mob the whole team is ready to Murder for her. She loves flirting with Nino through her character but the fans still ship Eimi with Felicity anyways. She thinks it’s cute. She also likes to whip out her flute during scenes where she’s using it to play and impress everyone and set the mood. 

Nino: Grim Darkwood- A Goliath Paladin who’s working through his long travel of redemption after his gruesome past. Just wants to protect everyone man.. Carapace isn’t actually that popular as people keep focusing on the heroes until the campaign starts, where everyone just falls in love with this sweet boy!! He is a surprisingly deep role player and makes a few close ties to his civilian life that make Marinette or Alya almost leave the table in tears sense they knows who he is and know where/what he’s pulling from.

Kagami: Raven StormBreaker- Dragonborn barbarian. She originally starts as just a mindless monsterkiller with zero role playing skills because she doesn’t understand the game is more than just dungeon crawling. Chloe pulls her aside after one game and stays with her to help her develop her character. The next session Raven shows more of her awkward but soft personality that she was afraid to show. The fans immediately go in “protect this bb” mode. Still doesn’t role play much sense it’s in character for her not to speak much, but when she does, shit gets deep. Also her character accidentally develops a deep camaraderie and character bromance with Kim? No one knows how that happened but she’s devastated when his first character dies.

Luka: Clem ThimbleBrook- They’re Faun bard and rouge multiclass. Best friend’s with Eimi. Plays the harp. Amnesiac. All that wonderful jazz. They are probably the most cryptic character but the fans love them anyways as they drop very ominous nuggets of wonderful wisdom that make people like them a lot. (Enby character)

Kim: Starts out with the most memeist and stupidest character. Probably some reiteration of Shrek. However he slowly develops and becomes one of the greatest clutch characters.. ever?? Probably some fighter or something but eventually He becomes so emotionally invested with the others and they all grow to love him. He doesn’t even change his shitty backstory on how much he just wants people to leave his swamp but he still becomes legendary? Halfway through the campaign, he sacrifices himself to save the others— saving them all from dying and it’s genuinely tear jerking. His second character definitely seemed more serious at first.. but.. then he revealed her name and everything shattered.. he named her Fiona, she’s a goblin princess with a falsetto and British, accent so.. no the jokes have no left (he watched critical role and got inspired, the moment he introduced his character the table fell into laughter and tears)

Max: Theodore Lance Jamison Von Dutchman- Human Artificer. Same energy as Percy from Vox Machina’s long as fucking name. His character has a surprising temper and for whatever he lacks in role play he makes up for gameplay and also.. accents?? He’s very good at accents somehow. This comes in when one day- Nino has to leave early because of home issues, and Max covers for him and does a perfect voice imitation for him. They all kinda go crazy over it and he’s really happy. Also he, along with Raven and Grim- probably have dishEd out the most damage in one turn so far— making the table scream at some points in shock. He’s planning a few one shots because he knows Chloe wants to play too.

Alix: Alexandra Brenwin- Firbolg Monk. Surprisingly very chill for her usual bombastic personality. Marinette tried her best not to strangle for the very close to civilian name for her character. But Alix is a troll so she doesn’t care. Alexandra is.. very very tall.. look people make fun of her for her normal height she’s living her dream right now. Friend and body guard of Fiona. The fans were skeptical of her at first but grew to love her. Is technically romancing Chloe sense she wonderfully charmed many of Chloe’s npcs. It’s killing the poor dm.

Chloe loves them all but also likes to hurt them by making a terrible amount of cliffhangers, close calls, and twists. Many sessions end with screaming and shoulder shaking, they all become really close thanks to this.

[littlemixnet]

Little Mix's Jesy Nelson on surviving the trolls: 'People were saying horrific things' Eight years after she shot to fame on The X Factor, Nelson describes how she navigated the trauma of being relentlessly bullied on social media. When Jesy Nelson was 19 and working behind the bar at a pub in Dagenham, Essex, she remembers watching The X Factor on TV, and thinking: “I know I could win that.” In 2011, she did just that, as part of the girl group Little Mix – and thought: “This is the worst day of my life.” Competing in Simon Cowell’s singing contest unleashed ceaseless criticism of her appearance and weight (although rarely her voice). “All I cared about was what people were saying about me,” she says now. Winning offered no respite. When Little Mix were crowned, the first Facebook message she saw was from a stranger. It read: “You are the ugliest thing I have ever seen in my life. You do not deserve to be in this girl band, you deserve to die.” “I should have been on cloud nine,” she says. “I had Leigh-Anne [Pinnock, also of Little Mix] in my room being like: ‘This is the best!’ and I was like: ‘No, this isn’t.’” Little Mix went on to become the biggest British girl group since the Spice Girls, but Nelson was consumed by the trolling and abuse on social media. Within two years of the finale, she had depression and an eating disorder and had attempted suicide. The downward spiral and her eventual, slow recovery are the focus of an intensely personal BBC One documentary, Jesy Nelson: Odd One Out. Before shooting it, she says, she had never spoken publicly about her struggles in the spotlight. When we meet in a corner of BBC Broadcasting House in central London, Nelson, now 28, is friendly and glamorous, dressed in a double-breasted tangerine suit. It is the eighth anniversary of her X Factor debut and #8YearsofLittleMix has been trending on Twitter all morning, thanks to their fans, the “Mixers”. Within minutes of sitting down, she says that, had she known the consequences of appearing on The X Factor, she wouldn’t have done it: “I don’t think anything is worth your happiness, and it was a lot of my life that I won’t get back.” As a child growing up in Romford, Essex, Nelson was intent on becoming a performer, be it singing, dancing or acting. “I didn’t really have any reason to not be confident,” she says. In mid-2011, she auditioned for The X Factor as a solo entrant, and was eventually placed in a group with three others: Pinnock, Perrie Edwards and Jade Thirlwall, all aged between 18 and 20. Back then, social media was not as inextricably linked with reality TV as it is now. In fact, that eighth series was the first where applicants could upload their audition videos to YouTube; Nelson didn’t even know what YouTube was. She remembers being wowed when all the contestants were given new Samsung phones and told to get on Twitter to build their fanbase. On the first live show 12 weeks in, Little Mix (then Rhythmix – the name was changed later) performed Nicki Minaj’s Super Bass to gushing praise from judges Louis Walsh, Gary Barlow and their mentor Tulisa Contostavlos. It was “the best feeling in the world,” said Nelson through happy tears on stage. That night, off-camera, the contestants gathered to watch themselves on YouTube. Someone pointed out the comment section. “I was very naive,” says Nelson. “I thought it would be people giving their opinion on our performance. But nearly every comment was about the way I looked: ‘She’s a fat ugly rat’; ‘How has she got in this girl group?’; ‘How is the fat one in this?’” She remembers the air being thick with tension – “because no one knew what to do or how to react. “I felt a rush of anxiety, because I’d never experienced anything like that in my life. People were saying my face was deformed – just the most horrific things. I felt like I was heartbroken. I remember ringing my mum and saying: ‘Mum, I want to go home, I don’t want to do it.’” At about 1am, a member of The X Factor team found Nelson crying alone and asked why she was so upset. A couple of days later, she was asked to explain again – on camera. She didn’t want to do it. “They told me it wasn’t recorded, and it was.” A few weeks later, the clip of Nelson in tears over “a few nasty comments” was broadcast before Little Mix’s performance, the reality TV playbook of “sad piano” switching to upbeat pop music when Thirlwall comforts her: an uplifting moment of girl power. From then on, that was Nelson’s public narrative. She does not hold that clip, or the producers, responsible: “I think it would have always happened – that just added fuel to the fire.” From the start, relatability had been billed as a central tenet of Little Mix’s appeal. Contostavlos introduced them as “the girl group to represent ladies in this country”; she framed Nelson’s tears as evidence of Little Mix having “the same insecurities as every other girl”. Nelson, however, was the only member even remotely close to the average UK woman at size 16. Although the four bandmates have always been friends – “that’s why we’re still together” – she felt singled out. “I was with three other girls to be compared to. I don’t think it would have been as bad if I’d been on my own.” After the clip presented her as Little Mix’s weakest link, the abuse snowballed. “It was like as soon as people knew that it was really affecting me, they wanted to do it more.” Nelson had been bullied at school, to the point of stress-induced alopecia – “but this wasn’t playground stuff”. She was shocked by the cruelty from adults – some clearly parents. “Obviously everyone sits in their living room and will see someone on TV and make a comment. But to actually pick up your phone and go: ‘I’m going to make sure this girl sees it’ – even if they didn’t think I was going to see it – you have no idea the effect that one comment will have.” Nelson became “obsessed” with reading criticism. The praise didn’t register. “It only got worse when I got Twitter. And that led to the Daily Mail, and reading the [below the line] comments – the worst you can read about yourself. It was like I purposely wanted to hurt myself.” “I had a routine of waking up, going on Twitter, searching for the worst things I could about myself. I’d type in the search bar: ‘Jesy fat’, or ‘Jesy ugly’, and see what would come up. Sometimes I didn’t even need to do that, I’d just write ‘Jesy’ and then I’d see all the horrible things. Everyone told me to ignore it – but it was like an addiction.” At one event, Nicola Roberts of Girls Aloud – who had seen the clip of her crying – took Nelson aside. “She said: ‘Can I just give you one bit of advice? Please don’t read stuff about you. It’s the worst thing you could do.’” Nelson rolls her eyes self-mockingly. “But did I listen? No.” Contestants had been told help was available if they were struggling, but Nelson had learned that talking only made the problem worse. “I don’t think any of the team really knew how upset it was making me – it’s just go-go-go, from the car into hair and makeup, then rehearsals.” It was also a popularity contest. “We just wanted to make everyone happy, and we wanted everyone to like us.” In December 2011, Little Mix became the first group to win The X Factor. Their debut single entered the charts at No 1 seven months later; DNA, their first album, was released in November 2012. Scrutiny of Nelson only increased amid the pressure to maintain momentum. Although she tried not to discuss it, she feels the abuse came to define her public image. “I’d become a bit of a joke. People would make memes, chopping my head off in a group photo and putting a monster or ET on there. I’d be in live Q&As and these things would pop up and I’d have to just sit there.” Interviewers asked her how she dealt with it; fans said they looked up to her. She was depressed and in denial: she refused antidepressants, and therapy didn’t help. “Our schedule was so gruelling. I was going to see a therapist at six o’clock in the morning, crying, and then going to a photoshoot.” Meanwhile, in public, she was “giving speeches about being confident”. Little Mix, as the guardians of girl power, were not only supposed to represent every woman, but defend every woman. “I felt I had to be this person who was like …” Nelson juts her jaw, sashays from side to side, a facsimile of her sassy music-video persona: “‘I don’t care what people are saying about me, I’m this strong woman.’ That was the role I had to take on in the group, when really I was an absolute mess.” In the lead-up to TV performances or video shoots: “I’d starve myself … I’d drink Diet Coke for a solid four days and then, when I felt a bit dizzy, I’d eat a pack of ham because I knew it had no calories. Then I’d binge eat, then hate myself.” Yet she did not see herself as having an eating disorder. “I could see that I was losing weight and sometimes I’d see a few good comments and that spiralled me to be like: ‘This is how I need to stay.’ No one cares whether your performance was good, or if you sounded great.” Nelson started skipping events where she knew she would be photographed. On one magazine shoot, the wrong size clothes were provided. “I had a meltdown. I cried so much, I had to wear sunglasses. I did one photo, then left.” She hid her misery well, she says now. “I think people just thought I was a miserable bitch.” Her lowest point was in the lead-up to Little Mix’s second album, Salute, in 2013. Her mum, Janice, increasingly desperate, told her she had to quit the band. Yet Nelson worried that leaving – or even taking a break – would draw more attention to herself. “Everyone’s going to ask why.” In November 2013, Little Mix returned to The X Factor to perform their new single, Nelson notably slimmed down. Coverage centred on one tweet from Katie Hopkins: “Packet Mix have still got a chubber in their ranks. Less Little Mix. More Pick n Mix.” Increasingly, Nelson felt trapped. “I felt that I physically couldn’t tolerate the pain any more.” She attempted suicide. Nelson’s family, her management and the rest of the group knew – but “once it was spoken about, it wasn’t ever spoken about again,” she says. She was offered time off, but once more was too frightened of drawing attention to herself to take it. The turning point came in February 2014, when Little Mix spent six weeks travelling across North America, opening for Demi Lovato. One day, on the bus, the dancers pulled her aside and told her she had to quit Twitter, likening it to a book filled with “loads of nasty things” that Nelson always had her nose in. She finally deleted her account. “It was a long, hard process, because I didn’t want to help myself. But it wasn’t until I deleted Twitter that everything changed for me and I slowly started to feel normal again.” Through more regular therapy and talking to friends and family, eventually she was able to stop reading articles about herself, and distance herself from her public image even as Little Mix’s star continued to climb. In 2016, Glory Days became their first No 1 album in the UK. Since February, Nelson has been dating the 2017 Love Island contestant Chris Hughes, who has defended her publicly from online trolling and who she says is a positive influence on her feelings about fame: “It’s nice to be around someone who doesn’t give a shit about all that stuff.” Making the documentary also contributed; she lights up while talking about meeting a body-image specialist, Liz Ritchie, to help her understand her relationship with social media and the “mask” that she had developed to withstand the spotlight. Part of this involved going over footage from The X Factor, which was a difficult experience, but ultimately empowering. “Don’t get me wrong, I still have days when I feel shit in myself but instead of beating myself up about it and being miserable, I think: ‘OK, I’m going to have my moment of being sad, and I’ll be over it.’ Before, I didn’t let myself be sad.” Talking to other young people who have experienced online abuse made her feel less alone. “A lot of people think ‘stop moaning’, but until you’ve experienced it, it’s hard to understand – and it doesn’t just happen to people in the limelight. There’s so many people struggling with social media and online trolling. People need to know about the effects it has.” The turnaround in five years, she agrees, is remarkable: now, as Little Mix work on their sixth album, Nelson is less conscious of her weight, her appearance, what she’s eating – even what is being said about her. To shoot the documentary, she returned to Twitter, and discovered some new slurs. “I didn’t even know some people said that about me, but it’s because I don’t look for it – and also, I. Don’t. Care,” she says, leaning forward in her chair. “Now I’m mentally a lot happier, I just think people are always going to have an opinion. But I only care about mine.” She flashes a smile from beneath all her hair, happy but defiant – and for a moment she looks exactly like the girl in the music videos.