#because i like that series and she has the most compelling character arc from it

[waffowo]

While Donna Noble will always be my favourite companion in NuWho, Clara will always be the most multi-faceted and complex (as of now). I think that a lot of divisiveness surrounding Clara stems from 5 common criticisms:

1. Clara’s characterisation in 7B and how Moffat treats her mostly as a mystery box first and character second.

2. The length of Clara’s tenure and how some may have been fatigued due to the many times “she should have left.”

3. The emphasis on Clara’s flaws in Series 8 and how it kind of paints her as unlikable over her Series 7B depiction as at least kind.

4. Clara’s departure in Hell Bent as something that ruins her ending in Face The Raven.

5. The belief of Clara as the most important character in the Doctors life inherently devaluing other companions.

I think while I can understand the reasons leading up to these criticisms, I also think that it does help to look back throughout the Moffat and RTD era as it does help explain a lot of these points imo.

Actually, the character Clara most prominently echoes is Rose. Rose, like Clara, helped the Doctor through a time of extreme emotional vulnerability (for 9th, Time War trauma) and developed a relationship of co-dependency with him (as 10th) which never really went away even after Doomsday. Clara had the luxury of time however, and has undergone more events with the Doctor (Impossible Girl, Trenzalore, 50th Anniversary etc) but also how 12th was undergoing an extreme identity crisis of figuring out whether he’s a good man post-Trenzalore and saving Gallifrey. Clara was the one who facilitated his character growth through the turbulence of the arc in instances like Dark Water, Death In Heaven, Mummy on The Orient Express, Kill The Moon, Last Christmas etc and would naturally result in the Doctor developing an extremely unhealthy reliance on Clara as being his “carer,” his anchor to being The Doctor (refer to her whole “Be A Doctor” spiel in the 50th Anniversary). Series 9 already heavily implied the Doctor’s willingness to engage with destructive measures by choosing to separate Clara and The Doctor almost every episode (Magicians Apprentice/Witch’s Familiar) as the stakes rose and cumulated in Face The Raven.

RTD has also once said when paying tribute to Moffat:

“And nestling at the heart of the show is Doctor Who's very own problem category, the Companion, a title inherently subordinate to the Man. Until Clara comes along!”

Imo, while poorly phrased, I think does also hit another nail on the head to explain how Clara can be so compelling to someone like me but also extremely polarising. RTD is talking less about the companion being “weaker” or “submissive” but how Clara is the NuWho companion that wishes to obliterate the boundaries between the power dynamic of companion/doctor. Series 8 for instances plays on the recurring motif of, “Do as you are told” which the Doctor firstly uses to threaten Clara to keep her safe. However, Clara actively retaliates by parroting the phrase back in an attempt to attain parity. This escalates to the events of Dark Water where she attempts to maintain control of her circumstances by forcing the Doctor to be on equal ground with her. What is so fascinating is that Clara while changing and emulating more of the Doctor’s heroism, she equally begins to absorb his flaws which intensify throughout Series 8-9. Clara becomes more deceitful, egotistical, reckless and cunning as she begins to become more and more like him. The means she lies to Danny, her ability to think more and more like him.

However, what people (fans and haters) also ignore is how nuanced the circumstances are. While Clara’s flaws become more heightened, it is also a fact that she wants to be like the Doctor because of his kindness and heroism. Episodes like Robots of Sherwood, Last Christmas or even Rings of Akhten reveal a lot about how Clara reveres the Doctor as a mythic and heroic figure. Clara’s attitudes towards the children in Forest Of The Night, Name Of The Doctor and Into The Dalek reveal that in spite of her ego and selfishness, she is someone who desires to help people. Thus, her desire to become the Doctor becomes more explainable. What a lot of people can’t really accept is that she can be both egotistical, reckless and kind at once. Her actions in Face The Raven were driven out of the fact that it came from a place of ignorance and impulsiveness (not stupidity, the Doctor would do something similar, it’s just that Clara did not have all the clues) in what she believed would be what the Doctor would do and that she was confident she could match the trickery of the Doctor, and yet it was also driven by her compassion towards Rigsby and her while impulsive, sincere desire to save her friend.

Clara is punished because of this, she forgets that she’s far too human. The Doctor is less breakable. She pays for it and as Ashildr says in Hell Bent:

“She died for who she was and who she loved. She fell where she stood. It was sad. And it was beautiful.”

She died due to her physical fragility, her ego, her ignorance, her impulsiveness/recklessness and yet she also died because she was too brave, she died like the Doctor, who she loved (literally look at how her arms were outstretched as though she was mid-regeneration and how the black smoke parallels the orange glow of regeneration). However, this leads to the fourth main criticism I prior stated, so how does one answer that in relation to her character?

The answer is what Clara does and what the Doctor says towards the end of Hell Bent. Clara after being extracted and is with the Doctor in the TARDIS, spies on him because she is instantly suspicious of his erratic behaviour. Again, Clara shows how much she has become like him, she immediately picks up that he is hiding something because she has begun to think like him. Of course, the Doctor was planning on wiping Clara’s memories similar to what he did to Donna. But what does Clara do? She immediately reverse the polarity of the device that the Doctor was going to use on her and challenges the Doctors actions. Clara states:

“Tomorrow’s promised to no one, Doctor. But I insist upon my past. I am entitled to that. It’s mine.”

Clara’s language indicates her assertiveness and also a kind of last hurrah in her game of parity. She is refusing to submit to the narrative of being reduced to merely a companion that the Doctor moves away from. But more importantly, the Doctor after pressing the device and is losing his memory, states:

“Run like hell because you always need to. Laugh at everything, because it’s always funny (…) Never be cruel and never be cowardly. And if you ever are, always make amends (…) Never eat pears. They’re too squishy. And they always make your chin wet. That one’s quite important. Write it down.”

I think on initial viewing when the show was airing, this wouldn’t make much sense but this really shows the crux of how Hell Bent completes Clara’s arc and the necessity of her resurrection. In Face The Raven, the Doctor tells Clara that she’s more breakable as she questions why she can’t be as reckless as him. However, now the Doctor is instead telling her what would later be repeated in Twice Upon A Time, his regeneration speech. In his eyes, Clara has succeeded in graduating from the Magicians Apprentice and into becoming the Magician herself. He’s instructing her how to properly be The Doctor. As I said, Clara was also motivated by her desire to be kind when she engaged in her reckless gambit but what is so wrong about the desire to be kind? And why should Clara be punished for it? Thus, while Clara MUST die, her final act of kindness at the end of her arc enables the Universe to allow for Clara’s final transformation into the Doctor.

Clara is still dead, it is an unchanged historical event. However, to challenge the status quo and allow for Clara’s ascension, Clara becomes a fairy tale herself. Her body is caught in a permanent form of stasis, signalling her departure from the limits of her physicality (subverting her physical fragility) but also as seen through her last words to the Doctor:

“You said memories become stories when we forget them. Maybe some of them become songs.”

Clara has successfully become what she admired, a myth, a fable. She has become a symbol in a story, a story that would go on to have an infinite number of other stories. She has become the leaf she raises to the monster in the Rings of Akhten, she sails off into narrative ambiguity but also infinity. Clara is so polarising because she challenges the definition of what it means to be The Doctor on a pure metatextual level. It’s a logical progression from the introspection of the question from the Doctor himself in Series 8. To want to resist, I argue, is natural.

I could explore further about her adrenaline addiction in Mummy On The Orient Express or these traits I raised explored in Flatline which I may do another day, but I hope I have provided a new perspective on Clara Oswald.

[vigilskeep]

Out of curiosity, what direction would you have taken Cullen's character in Inquisition? Or would you have included him at all? :3

oh man well

first of all i’m not sure i’m the best person to answer the question because i am profoundly uninterested in cullen. even in dao, his most cohesive appearance by a mile, where he features in my favourite origin, he um... he sure is there! he serves his narrative purpose! i don’t know what else to say

more in the spirit of actually answering your question, i think dragon age inquisition is as fundamentally incapable of making good use of cullen as a game that would make cullen part of its main squad inherently must be. dragon age inquisition is not capable of breaking down what is wrong with the templars, which is why you get... i don’t know why people call it a redemption arc even in quotation marks. he just shows up. he still supports the templars, and would rather you go to them, who shouted you down in the street, than the mages, who by all appearances straight up invite you over. he has not had to face the consequences of his work in the templar order or his treatment of mages; for all intents and purposes, from his perspective, all he did wrong was not notice that his knight-commander was an anomaly who was crazy. he is fundamentally the exact same guy who told me to my face mages were not people, except he’s polite about it now, because this is dragon age inquisition and we all just need to shut up and come together to defeat the Real Problems. it is completely canonically possible for him to have taken part in two circle annulments, one of which he personally instigated. dragon age inquisition does not care!

so to take cullen in a decent direction for his character—if you insisted on bothering to include him in yet another game at all—you would have to be writing him in a different game than the one where the hero has no choice but to lead an organisation with cassandra and cullen at their side, where every challenge to that organisation’s divine purpose is laughed off. (meanwhile one seemingly humble elven apostate, who actually has entirely other concerns, is the only compulsory mage. no rebel aligned mages are even optional companions in the game.)

i am interested in what it would theoretically take to write a compelling ex templar character. my own inquisitor is an ex templar! dragon age is a series designed to challenge your ideas of what backgrounds allies can come from, and designed to throw in your face that, for better or worse, good or evil, everyone on every side is also a person who believes they have their own reasons to do what they do. but if you wanted the ex templar character to be cullen, you have to challenge the foundations of his beliefs as a templar. you have to make him... actually regret being a templar? criticise the templars for anything other than imperfect service to the chantry and impolite wording of their deadly prejudices? you might even want to consider centring his personal quest on, hey, the terrible things he’s done and believed, not on the harm to the poor little stoic self-sacrificing templars

sorry this is coming across a little aggressive. you see why i’m the wrong person for the job. i don’t like cullen and he was an antagonistic force in the previous two games who my characters felt personally threatened by. i don’t see why i have to swallow that he’s one of the good guys now without him facing a single consequence, much like cassandra, who was introduced interrogating my friend. (but hey, this religious army has good intentions!) and i certainly don’t see why you would not only do all that but make him the face of a ludicrously flat, wish fulfillment romance only available for women of the conventionally attractive races (available for circle mages! with a throwaway line about how she’s not like the other girls to address it!) to get straight married and settle down with a dog and a picket fence. (i’m not saying there is no place for wish fulfillment romances whose only stumbling block is cutesy awkwardness. but that’s not what dragon age is for! where’s the teeth! it’s representative of a wider tone change in dai that i deeply dislike and if i get onto it i’m going to make this post so long. and with this man?)

idk i think cullen should have been the rogue templar breaking rules to hunt wardens in awakening and sigrun should’ve got to cut his head off. the end. that’s my ideal. sorry again

[gremoria411]

*This post will contain spoilers for Mobile Suit Gundam: The Witch From Mercury. Also, I’ll probably ramble more than usual here, since a lot of my points are interconnected*

Alright then. I was planning on doing a big post breakdown on Mobile Suit Gundam: The Witch from Mercury after rewatching it, since I find that my general thoughts on a series typically coalesce around the second viewing. However that probably won’t be for a good while yet, so I figured I’d do a big post now, and I’ll add a few notes if anything jumps out on me on my (eventual) second viewing.

In a nutshell, I found The Witch from Mercury to be really, really good, with an excellent cast and gorgeous action. However, I feel it’s let down by its comparatively low episode count.

And I’d like to stress that that low episode count is basically my only major criticism - I have several smaller ones, but they’re ultimately all extensions of that low episode count.

The Cast.

As above, really good. You’ve got a good selection of characters coming from various strata’s within society - Spacians, Earthians, Mercurians. It’s a good variety of characters and seeing how they interact with each other. They all feel pretty well-rounded as characters honestly.

Like, Suletta’s great, obviously. I feel like you don’t need me to tell you that which is great, because I’m not sure how to put it. I guess I like how emotive she is, how she portrays how she’s feeling so well, but then that might be because we, the audience are close to her as a protagonist (I’d argue that Miorine and Guel could also be counted as protagonists, if you wanted, but Suletta’s the one we spend the most time with). Suletta’s also good because she’s a newcomer to the Asticassia, so not only do we learn things with her but she’s also absolutely primed to upend the status quo there, which she does fantastically. I like the contrast between her doubts and capabilities - she’s not the most social of characters and doubts herself multiple times, but put her in a mobile suit and she is confidence incarnate.

Miorine feels like an extension of Gundam’s “Princess” archetype: your Sayla, your Relena, your Lacus. I really like how proactive she is - we first meet her in the process of attempting to run away from her school, and her arc feels more about her recognising the power she weirds and how to best use it for what she wants, rather than rejecting it outright. She’s in the process of actively cultivating “soft power” (negotiations, word-of-mouth, etc) rather than just having it inherently and -crucially- because the hard power isn’t actually that valuable. Compared to, say, SEED. Lacus has a whole lot of soft power, but it’s Kira and the Freedom that’s the driving force of the plot. Suletta has Hard Power - Aerial, but it’s borrowed power fundamentally, and it’s Miorine’s soft power that ultimately does more good. Actual Diplomacy versus Gunboat Diplomacy, if you will. I also like how Suletta and Miorine’s relationship progresses - they balance out each other - it starts out with Suletta having the power Miorine needs, but as Miorine grows they start relying more on each other. Also their interactions together are really great. They’re compelling because of both who they are in universe - a pilot and a princess, and because of their personalities with each other and how they spur each others development.

I do want to call out Lady Prospera as being amazing. She feels exactly how Char would be as a mother - manipulative and ruthless, but still caring in her own way. I’m given to understand she’s the first female Char Clone in the series, which is neat. Her relationship with Suletta (and Miorine) is just really good. She’s not unpleasant and she’s certainly charming, but she won’t sugarcoat how things are. Miorine knows she’s being manipulated in her interactions with her, but it’s genuinely good advice so she goes along with it, even as she has her own reservations. It’s also rather telling that once Prospera doesn’t need Suletta anymore, she leaves her. While callous and heart-breaking, we know now that Prospera fully believed she was going to die. While this doesn’t exactly forgive her abandoning Suletta, it does cast her interest in Suletta making friends and having relationships outside her in a new light. Prospera wants vengeance for Nadim and the rest of the Vanadis Institute, but she recognises that that is her and Eri’s vengeance, not Suletta’s. And doesn’t that sound similar to Mr Char “I have never once betrayed any one, in my life, ever” Aznable, who just wants his sister to grow up in peace while he avenges their family? It’s a fun relationship dynamic and it’s done well, is what I’m getting at. I also like how unapologetically villainous she is in some of her actions - both the audience and Miorine kinda clock her as a threat immediately, but we can also see why Suletta trusts her so much, even if it’s not the healthiest relationship. I just really like the juxtaposition of her being sweet with Suletta, uncompromising with Miorine, and absolutely brutal with everyone else.

Setting

I find the school setting genuinely fascinating, I don’t have a clever segue so I’m just going to get into it.

Asticassia School of Technology is a school to pilot giant robots. Great, Instantly appealing. However, then you get into all the ways it’s indicative of the wider society. It’s maintained and run by the Benerit Group - a Mega-Corporation that dominates the field of military-use mobile suits, which requires actual military force to be brought to heel and is basically a sovereign nation all its own - it’s rather telling that we never really see any national representatives throughout G-Witch, it’s all about the companies. So it takes this normally aspirational thing “wow, a school to pilot giant robots!” And extrapolates it out to what kind of setting would create that. Giant Robots are used in military applications, so you end up with a facility basically dedicated to the production of child soldiers to serve this military-industrial complex actively profiting from the glaring class inequality present in the setting, as set out in the prologue. And because the characters exist within that system there is no “easy fix”, the story ends with the characters making small progress against those inequalities rather than solving them in one fell swoop because the inequalities are systemic, and you can’t just take out the superweapon and expect everything to work out on its own. The existence of child soldiers is baked into the setting- not as a desperate gamble or as an illustration of the necessities of survival, as in other series. But as an accepted and -crucially- normalised thing. Notably, no-one expresses surprise or horror at Sophie and Norea being pilots - just that they’re a threat and have GUND Format units. We also see several child soldiers in Fold of Dawn in addition to Asticassia itself, so there’s also the angle of generational differences - the children exist in an unfair world built and maintained by the adults, fighting for the causes they are taught to. Many of the Benerit Heirs have unhealthy relationships with their parental figures, typically conflicting over them wanting different things (Guel vs Vim’s expectations, Shaddiq going out from under Sarius and basically everything about the Elan’s). So there’s the angle of the children fighting against the unfair world of adults, tying into the familial relationships in the cast. Which is a theme Gundam’s got a lot out of historically. So the school setting shows to illustrate how Ad Stella is civilised a first glance, but far more beneath the surface, and demonstrates several of the issues inherent in the setting.

I also really love how GUND format is actively debilitating to its pilots and how Suletta, while still a very good pilot, is essentially unbeatable because she has a way around the downsides for most of the series. Because it feels like an examination of “the Gundam is the strongest mobile suit”. G-Witch essentially states that having a stronger or better weapon does not solve these problems, in fact, the various elements of the company all fighting over Aerial gets several people killed, so if anything it feels like a takedown of “Gundam” as a concept (ie This great strong weapon that will win us the war”). It also puts emphasis on themes of dehumanisation - both the Elan’s and Sophie&Norea show that child experimentation, while not exactly common, isn’t unfamiliar ground in Ad Stella, particularly with Elan being replaceable, which again ties into the child soldier angle. I also find it delightfully hypocritical that Benerit, the weapon merchants, have issues with it because of the PR backlash of it killing its pilots, not because of any “moral” reason. It’s a bad look to have a weapon that can harm its user - who’s going to want to pay for that? The militant liquidation of Ochs Earth was essentially a PR stunt to show that Benerit will not make these weapons (not that that stopped Peil). Which is really horrifying to think about, really.

The Space Assembly League, Quiet Zero and the Interplanetary Laser Transmission System (or ITLS, that big gun in the finale) all function as illustrations of the excess of corporate power - a near full-scale war/ large scale destruction is only prevented because of Suletta and Ericht’s intervention. The SAL functions as a regulatory body for the corporations, but while it isn’t exactly lacking in force, it acts far too late to prevent the damage - Benerit has been allowed to run independently for too long, so it’s difficult to pull back even with evidence and force because it’s just so big. Meanwhile, the ITLS was constructed under the guide of a power transmission system, but it’s intended to be fired as a weapon. Furthermore, the destruction it will cause is written off as “Oh, Peil will get the reconstruction contract”, killing hundreds for corporate gain. The fact that it’s Peil specifically is also notable, since they are probably the most ethically bankrupt of the three corporations and were actively involved in the GUND-format technology themselves. But because the corrupt elements of the governing body favour them (and can presumably cut a deal for reconstruction costs), much of their misdeeds would have essentially been swept under the rug. Notably, other than their stock plummeting, we don’t actually see much in the way of consequences for the Peil CEO’s.

Mechanics

A fairly short one here - I’ll admit I’m not crazy about a lot of the mobile suits in Ad Stellar, but I like how each company has a different designer and are different thematically. Jeturk has big, bulky beetle-esque machines - heavily armoured and analogous to Zaku’s and other grunt suits from the series. Peil focuses on mobility - spindly MS with lots of thrusters, and typically deployed with aerial combat in mind. Finally, Grassley tends to lean towards units with exotic systems, such as the Michaelis’ beam bracer and Anti-GUND format and often have monoeyes. It’s a good illustration of the competing philosophies within the group and each one is distinct and easily recognisable (Burion’s utilitarian, I don’t have much more to say on it). It also emphasises what a big shakeup the Gundam’s are, since they look so different, and can put down any of these units with little trouble. I rather wish we saw more of the smaller developers - those units Suletta swatted aside en masse with the Aerial Rebuild, since they seemed to have a greater variety of designs (I particularly liked the little Acguy-looking one - the Hosler II?). Also, really liked the Prodoros used by Dawn of Fold (though that’s likely due to how it moves).

Criticisms

Or rather Criticism. Your typical Gundam series is usually around 40-50 episodes, whereas Mobile Suit Gundam: The Witch from Mercury is a comparatively paltry 25. Now, one series having a lower episode count than another isn’t inherently a point against it - better a short story well told rather than a long story poorly told, and it’s a new show, and (despite my persistent comparisons with other Gundam shows) should be allowed to stand and be judged on its own merits. But it kinda feels like it was meant to be a 40-50 episode series that was cut-down mid-production and fundamentally, it feels like we could’ve gotten more.

The pacing of the second season ratchets up considerably compared to the first, and I would like to stress that Witch From Mercury is a very-well-paced show - every episode has some sort of plot development, but it feels like that’s because it had to be. And every criticism I have of the show feels like it flows from that cut-down episode count.

It kinda feels like Peil Industries was supposed to be a much bigger player in this, and the Pharact doesn’t really do anything after its opening fight.

Peil’s never brought to justice, and Elan 5 just decides to join Earth House’s move on Quiet Zero. Meanwhile, the real Elan Ceres just resigns from Peil, even though he was presumably in on the Enhanced Person stuff too.

Lauda’s whole subplot about him piloting the Schwarzette had very little foreshadowing - I assume they put just enough of it in that they couldn’t cut it entirely (i.e. the Schwarzette), and it was necessary for Guel’s character arc.

Guel taking over Jeturk Heavy Industries didn’t really go anywhere.

Sophie Pulone and Norea Du Noc are really only there to tick gundam’s “Doomed Child Soldiers” box. Also Dawn of Fold just…… still exists after the events of the series?

The fact that Ochs Earth was still a thing kinda didn’t amount to much did it? Prospera just destroys them and their Gundam Lfrith’s. The ones used by Dawn of Fold might have well been older models, scavenged or bought by them.

Chuatury (Chuchu) Panlunch - great character, great design, excellent illustration of the tensions of the setting, but it feels like she was supposed to have a subplot focused on the people supporting her on Earth.

It just feels like they made the first 12 episodes of a 40-50 episode series, with a bunch of setup that’d pay off later, and then they got cut down to 24 episodes and had to cut a lot of stuff to fit. I’d like to stress I think they made a good compromise - most of my criticisms are minor and the Suletta and Miorine are the heart of the series, and they come out very well. But all the same, I’d rather the compromise didn’t need to be made in the first place, so we could’ve seen the “full thing” as it were.

Even my….. restraint on the mobile suits designs can be pinned on this. My favourite designs are typically Monster of the Week and late-season Weirdo’s - the stuff that’s the purview of your charismatic villain or a specialised grunt. But if you’ve got to cut stuff for space and time, then by their very nature, those designs won’t stick around.

I should however mention that I’ve been unable to find any reputable source as to wether The Witch From Mercury did have its episode count cut, before or during production. My criticism is mostly about the series feeling like it should have had more, not that it was actually cut down. It is possible that Bandai wanted to see if the show could make a comparative return on a smaller budget than usual, especially considering most of their recent Gundam output has been adaptations (IE. Shows that already have a proven audience and prior success, and are consequently a lot less financially risky), like Unicorn or Thunderbolt.

All that said, I do think that the emotional core of the show - Suletta and Miorine was excellently done, and I found the action and themes to be similarly well-done. I’m mostly only complaining we didn’t get to see more of the world, since it has so many interesting concepts that feel like they would’ve been interesting to see.

[rollinouttahere-writes]

I wanted to write out the character dynamics between Lucky and the Straw Hats because I have fallen deep into the Little Lucky AU. At first it was just gonna be a series of one shots with little to no plot for funsies but now I’ve gone and fleshed it out into its own fully developed AU and I feel compelled to share my thoughts on it.

Since I have this happening right after Arlong Park, I realized that at most, they’ve known her for like a week and some change with Sanji only knowing her for a couple of days. I think that this would make adjusting to her becoming a child much easier because ultimately, none of them really knew her. Hell, with her amnesia Lucky barely knew herself. 

It would take about a week for everyone to accept that this is how it is now. The devil fruit user tried to warn them that the effects were permanent (meaning that she’s not going to suddenly switch back, not that she’s permanently 4 she is still going to age normally), but they thought this person was bluffing in order to get mercy or something. As time passes and Lucky is showing no signs of turning back, everyone begins to feel some regret about punting the user into the sea, but now it’s too late.

In Lucky Break, she doesn’t come clean about the truth of where she came from until after Enel is defeated in Skypeia, but in this AU she would tell them the truth during the Alabasta arc. After Drum Island when Nami is recovered because she felt bad for keeping it a secret when Nami was sick.

Luffy’s relationship with Lucky has by far been my favorite to develop, I find it super interesting. Despite not knowing the adult Lucky for very long, Luffy’s emotional intelligence being sky high helped him to understand her better than she probably even understood herself. There was something off about her, and he knew it within their first conversation. The way she had a tendency to shrink in on herself and physically close herself off, and the fact that her smile never once reaches her eyes told him a lot. He doesn’t know where she came from or what it’s like, but he can’t imagine it’s all that great if this is how she acts. He still wants to go there, but now it’s because he needs to throw hands with whoever made her that way. After she’s turned into a child, he immediately notices that she now has that spark that was missing from her eyes before, and he’s bound and determined to fan that spark into a flame so that he doesn’t see that same look when she becomes an adult again.

Having a small child on board does ever so slightly mature him. At first he’s like “Oh there’s a little kid here now? Fun!” but then it evolves into “Hang on I’m responsible for her”. He realizes that this little kid is going to depend on him for everything. Sure, he has his other crewmates to help, but as captain he feels the weight on his shoulder more.

After the Enel situation happens he becomes more noticeably mature and goes out of his way to hover around her more and make her happy. He’s more prone to involving himself in the actual childcare aspects of her life instead of just being ‘the fun best friend’ to her. He sits in on her appointments with Chopper and helps as much as Chopper will allow, both because he wants to help and also as a way for him to see what she had to go through in the moment that he wasn’t there to protect her. He also tries to give advice, mostly about following her dreams and understanding how valuable the freedom to do so is. He’s still her best friend at the end of the day, but there is an air of seriousness to it now.

Lucky idolizes Luffy intensely, he is her Shanks pretty much. Between him being her best friend and saving her, she wants to be just like him when she grows up. He’s the best person ever in her book and she will fight anyone who tries to trash talk him (much to the horror of everyone else who is rushing to stop her).

Zoro naively thought he would be escaping Lucky fussing over him now that she’s a little kid, but he was very wrong. She’s still trailing behind and yelling at him to sit down so she can “make it better”, but now she’s just got a box of colorful kid band-aids instead of actual bandages. Zoro is covered in a rainbow of band-aids at any given moment and he can’t even take them off because she’ll put more on there while scolding him. 

There’s a post where I talk about their interactions a little bit here. With the part about sword fighting, he is very serious about it, but if you look closely you can see small smiles here and there as she makes more progress. He is very proud. He wishes Kuina could have met her, he thinks she would have liked Lucky. Tries to shield her from the idea that she will only be able to go so far because of being a woman, he doesn’t want that stupid mentality weighing her down.

If someone asks him what his relationship to her is, he would state that he’s her teacher. If you asked Lucky, she would say he’s her big brother. Zoro feels like he’s going into cardiac arrest but keeps a straight face and says “that’s fine too”. Lucky looks up to him too, but she also lowkey likes to bully him in true sibling fashion. Like telling him to put his boobs away, running off with his sake, pulling pranks on him when he’s trying to nap, that kind of stuff.

Right after Arlong Park, Nami was feeling very attached to Lucky (tbh she’s the first to start showing yandere tendencies in Lucky Break), so she was honestly a little disappointed at first when they realized Lucky wasn’t turning back into an adult. She would never admit this out loud, but she did feel that way. She snaps out of it pretty quick though and declares herself ‘big sister Nami’. She gets very into it, and likes being the big sister for a change.

As far as she’s concerned, she’s the only responsible adult on board (until Robin comes in). As such, she’s constantly trying to keep Lucky attached to her hip because she’s worried that the others are going to hurt her by doing something stupid. This doesn’t work all that well because there are other people on the ship that are more fun and goofy than she is, so Nami spends most of her day running after Lucky. Lucky is the only person that she doesn’t have a tab for. She’s a little kid, and as adults, it’s everyone’s job on board to take care of her and that includes buying her stuff like clothes/toys/etc. Nami does teach her the value of money and how to be responsible with it for when she’s old enough to have some money of her own, but Lucky isn’t indebted to her or anything.

Lucky finds it a little odd at first when some woman she barely knows insists that she’s her big sister, but she goes with it. Nami can be a little bit of a stick in the mud, but Lucky knows that she can go to her when she needs help. Since they sleep in the same room (sometimes at least, there are lots of sleepovers in the guys’ room), Nami is usually the person she goes to when she has a nightmare.

Usopp is great with kids, and that includes Lucky. He found adult Lucky a little intimidating (for reasons we will get to soon enough), so he honestly gets along with child Lucky more. He loves having a gullible little kid around that he can tell his tall tales to, given that she’s too young to be able to immediately call bullshit. However, he doesn’t anticipate how many questions she’s going to ask about the story. He wasn’t ready for the constant flow of why’s, how come’s, and what’s that’s that get thrown his way. On the bright side, his improvisational skills skyrocket from this.

His job in regards to Lucky is to grab her in a dangerous situation and run away as fast as he can, a role he chose for himself. He does fall victim to being roasted by a tot over this because she will call him a big baby for screaming and crying (lessens post Enel). As a sniper, he is supposed to be further from the battle than others, so he typically is the best choice for her to be with. Like Zoro, he wants to teach her how to use his own weapon of choice and even makes her a tiny slingshot. This backfires because now she’s terrorizing him and Zoro with it (and also takes cracks at marines sometimes).

Usopp is her friend. He doesn’t have the title of best friend or big brother which hurts a bit, but he learns to cope. Lucky does spend a lot of time with him since she thinks he’s funny and fun to play with. He only helped her prank Zoro once because she immediately played innocent and threw him under the bus. That being said, only she can bully him, Franky better sleep with one eye open for beating him up!

Sanji is her dad now, and no one can rob him of that, he will kill for this title. He held off for a week tops after she was turned to make sure that she wasn’t just going to go back to normal, but after that he took a page out of Zeff’s book and adopted her. He wants to go back to the Baratie long enough to let Zeff know he’s a grandpa, but for now will have to wait. He’s always trying to get her to call him “papa” to varying levels of success. She doesn’t cooperate at first because she really doesn’t know him, but she’ll warm up eventually and start calling him that. Though she does sometimes switch back to using Sanji just to mess with him.

Lucky is his entire world basically. You thought he was obsessed with women? That pales in comparison to his devotion to his little princess! His wallet has more pictures of her in it than it has actual money. What money isn’t spent on getting food gets spent on her. If she looks at something for too long, she’s getting it. Nami gets on him frequently about spoiling her too much, even though he says there’s no such thing. Ironically, he has better luck with women now because he’s more toned down around them and it’s just cute to see a doting dad, but he is completely oblivious to it. He genuinely believes that the women are only approaching him because they think Lucky is cute and doesn’t even pick up on them flirting with him because he’s too busy showing off the pictures in his wallet. Nami thinks this is hysterical and won’t point it out.

He wants to cook with her so much, he’s always trying to involve her in the kitchen (with age appropriate things of course). There are limits to what she can safely do, but he’s happy just to have her in the kitchen as a taste tester if that’s all she can do. She doesn’t need to become a chef or anything, but he wants her to know the basics at the very least. If she wants to have a tea party, he’ll get her to help make the little treats to go with it and show her how to perfectly steep the tea. No imaginary tea parties on his watch. The one thing he’s strict on is her eating habits, she needs to stay healthy and that’s not up for debate. If she just genuinely doesn’t like something, that’s understandable, but she can’t just feed Luffy under the table to get dessert faster.

Lucky’s actual father was very emotionally and physically distant, so it takes very little time for her to latch onto Sanji as her new dad. When she does, she basically becomes a daddy’s girl overnight. Sanji gets pulled into playtime whenever he isn’t in the kitchen, whether it be including him in the tea parties, “styling” his hair with dozens of colorful barrettes, or simply making him get in on the games she was playing with the others. With how god awful his childhood was, it’s honestly a little healing for him. He’s happy that he can give someone else the childhood he didn’t get to have. 

Chopper doesn’t get to be the baby of the crew anymore. Lucky would probably be the first to be able to really get close to him on Drum Island, because even Chopper isn’t going to be scared of a four year old. Wary, but not scared. However, after seeing that she isn’t afraid of him and is genuinely trying to befriend him, he comes around. It’s shocking to him to learn that she’s part of a pirate crew, but also inspiring. If someone so young can do it, he can too! They’re fast friends and become thick as thieves. 

Lucky thinks all of his doctor stuff is super interesting and likes to watch when he’s making medicine. She asks lots of questions and also gives out compliments easily. Chopper even shows her how to do some very basic first aid since that’s a good thing to know in emergencies. He also goes over what plants are poisonous and to not eat anything she doesn’t know for a fact is safe. Besides the medical stuff, Lucky enjoys hanging out with him lots because she thinks he’s around her age (and does not believe him when he insists that he’s 15). 

Lucky keeps referring to him as her little brother and it’s driving him insane. No amount of “I told you I’m 15!” will stop her. She thinks he’s lying because they’re both the same height give or take so obviously that means they must be the same age. He can’t even grow into a bigger form because she’ll just say that it doesn’t count since it’s not permanent. Like Luffy, being responsible for the safety of a child does make Chopper slightly more mature. Don’t get me wrong, he will still run away if Lucky is already safe, but if she isn’t then he will square up. Maybe if she sees him protect her, she’ll start calling him big brother! She doesn’t.

Robin feels so conflicted when they first meet. It’s one thing to be taking on grown adults that knew what they were getting into by taking on Baroque Works, it’s another to see a small child being dragged into by association. She intentionally leaves Lucky out of reports to Crocodile. She keeps hoping that Lucky will be dropped off somewhere else and be off the radar, and feels sicker and sicker as they keep getting closer to Alabasta. She’s just a little kid and doesn’t deserve to be dragged into something like this.

After joining the Straw Hats, she finds herself drawn to Lucky, and even uses her name. She does some mental gymnastics to justify this by telling herself that technically it’s a nickname so she’s in the clear. She’s totally not getting attached, she tells herself as she tucks Lucky into bed and reads her a bedtime story. It doesn’t help that Lucky follows her around like a duckling because she finds her very mysterious and cool. Having Lucky think that her devil fruit and all her knowledge is awesome really warms her heart.

It takes a while for her to be called it (post Enies Lobby), but she becomes the mom of the group. Unlike with Sanji, Lucky came to call her this entirely on her own. Robin needs a minute after she gets called that for the first time. That being said, she fills the role well. She’s got that calm and caring vibe to her, while also being a total mama bear. If anyone looks at Lucky the wrong way, she’s eliminating the threat on the spot. Her baby is not about to be punished for existing with what the government deems to be “bad people”. She’s harsh towards anyone she sees as a threat, but especially with marines/government agents. 

Franky is definitely surprised to see a little kid with the Straw Hats, but it also earns some respect from him. He appreciates seeing pirates that don’t just abandon their children, thank you very much. Franky has an energy to him that kids love, and Lucky isn’t immune to it. Granted, at first she just wants to fight him and he can expect to be pelted with pebbles from her slingshot until she’s forgiven him for the Usopp incident. He doesn’t take this personally. In fact, he encourages it. Hell yeah kid! You stick up for your friends! Show me who’s boss! His attitude makes it very hard for her to stay mad for long, especially with Usopp telling her that it’s okay they already made up.

His goofball personality and eccentric behavior make him a lot of fun to be around. On top of that, Lucky likes to sometimes watch him work. He’s very quick to engage her in it, too. He’ll explain what he’s doing and why in great detail, and is happy to answer any questions she has. He’ll even let her hold a flashlight for him even though he has his own built in. Very supportive if she wants to learn more from him, but won’t push it either.

After Lucky comes around on him, she calls him uncle Franky. He’s just got those fun uncle vibes to her. He truly loves the title and is proud of it. He gets a bit cocky and asks if he’s her favorite uncle only to get humbled by her saying no with zero hesitation. Sorry, Franky, you’re no competition for uncle Ace. Despite the devastating blow to his ego, he is a very fun uncle and is insanely protective. 

[wonderinc-sonic]

I know Espilver week is half over, but the first theme of absence got me thinking about why I find this ship compelling, and one of the few I would actually be happy to see happen in canon. Specifically, it's loneliness.

Where they came from:

Aside from being an uncalled for and fantastically blunt burn from Blaze that I love, I think it's fun that this is an insight that 06 felt to give us into Silver's character. We wouldn't have known this if she didn't idly wonder it - we definitely didn't know Silver well enough to assume. Love you, Blaze.

BUT my thought is there's a lot of characters in this series for whom a core lesson they are learning is accepting others into their lives. Silver is too, to an extent. But he's also inherently needy, and we are told as much by his closest and only friend. Silver's got a particularly raw deal by literally being satellite to everyone. I'm probably not alone in finding that makes me want to solve his loneliness more.

Espio has not (in my knowledge - being not acquainted with the og comics) been through any major character development that has transformed him, as he is presented as quite a mature (comparatively) character, but in my opinion he also has a core dissonance between being a loner and part of a team. He has a fighting style that lends itself to solo heroism, and yet we always see him in a team, and his personality is what makes it work. I like to interpret this as someone who used to be alone and has been through the journey that Silver needs to find his place in a group. Except Silver can't.

Wheras now:

Pulling out two screenshots that sorta give the vibe I'm looking for, but I think in present they're both actually and actively trying to find and be with companions/ allies. Silver's latest arc shows us he's still someone looking for people to guide and ground him in the past. Espio is the most stable and grounded guy you can imagine in the Sonic cast tbh, and although he's pretty self confident, he's never been ashamed to rely on his trusted friends. If anything, he has trouble trusting outside of his team, although we see him try and put aside his misgivings about others judgements and choices.

There's a lot of characters that have or can have chemistry, but this is one of the few pairings - if not the only pairing - where I actually think being in a relationship develops and furthers both characters growth. Which is very appealing to me.

Also, there's very few characters in canon that I actually think would be happy in a relationship in the current time, at current ages. Not that I think relationships all have to make sense, but narratively speaking, I like it for both of them as well as generally just thinking they're cute. Especially because the tragedy bug bit me, and their setting means they're stuck with the most isolating LDR ever ❤️

That's all, ty for coming to my tedtalk

[xbomboi]

thoughts about Epic Winter, & reconciling its place in Ever After High’s story as a whole

i wanna talk about epic winter because it—arguably more than any other aspect of the franchise—is definitely ever after high’s ‘ugly duckling’ piece of media, so to speak.

now obviously, a lot of it has to do with being the final big installment in eah’s main story, its premise being a side quest that sidelines the main protagonists in favor of new characters who are comparably far less compelling as the show’s actual leads, leaving the audience without any actual closure to the story which they were following.

in isolation, epic winter isn’t that terrible (though i think most would agree its better parts are the ones centered around already-established characters as opposed to the new ones), but in context it leaves a sour taste.

i entirely understand why anyone rewriting the series would either heavily rework it, only keep more important story beats such as daring’s arc & faybelle’s side plot, or completely remove the outing altogether.

in my case, however, deleting epic winter isn’t an option; my intentions are to continue where ever after high left off, and organically finish what they started. that means epic winter stays in tact, sanity be damned.

with that writing handicap, i can’t edit any pre-existing media in the ever after high animated lineup, which has forced me to brainstorm ways to recontextualize the purpose for epic winter’s place in the story and make the time spent on its story retroactively feel, at the very least, a little more worth it.

and the solution i found comes from viewing all that is introduced in the special through chehkov's gun.

(if you're unfamiliar, chehkov's gun is a narrative rule that everything introduced in a story must be done so with a purpose to serve. i.e. if you give a character a gun, they must shoot it.)

what's done is done; if we have to go on this detour following crystal winter and the top of the world, so be it. but let's pocket it like a tool that can be used later.

so here's my idea: bring crystal and the winter kingdom back into the story later down the line when the events of the story have reached a far more grandiose scale.

basically, i think the best way to use crystal would be when the story reaches a point of confronting and opposing the ruling powers in the fairytale world. having become the new snow queen, naturally, she'd be included in a gathering of the rulers of the kingdoms in the fairytale world.

i want there to be a moment in the story where the ruling powers gather together, and we see familiar faces return (including ones that we'd be introduced to after epic winter but prior to this), such as snow white, king charming, the queen of hearts, and of course, crystal.

with her outlook that would most reasonably be more aligned with the students at ever after high, she could end up being one of-if not the sole person-those present to voice opposition to whatever unfavorable verdict the rest of the rulers have made, as it would serve as direct conflict for the protagonists. she'd find herself outnumbered and ultimately her voice holding little to no power to sway the decision (especially being disregarded for her rather young age). afterwards we'd see her reflect on her frustrations with her colleagues and their rule of the system, thinking about it in terms of what kind of ruler she wants to be, before seeing her find determination towards something, though we aren’t yet shown what she actually decides to do.

the next time we'd see her would then come a little later, the conflict reaching the most dire circumstances. all hope is lost for our heroes; raven, apple, and co. would be down on their luck against odds they're unable to overcome. and that's when crystal would show up to offer her support, providing the numbers of her kingdom as allies to help better the odds. (she wouldn't be the only ally to show up, as this would be a 'getting help from all the friends we made along the way' ordeal. she would simply be one of said friends.)

crystal's help would ultimately play a part in winning the conflict. and because the audience would be familiar with crystal and the winter kingdom to a decent extent way prior to that point, the inclusion of it in the present fight at hand wouldn't feel like an ass-pull or a deus ex machina of sorts; it would make sense and feel earned for the most part.

and i think that's honestly the best thing to be made of epic winter's main adventure. we can't change it or fix it as it is, but we can create a payoff for it all later down the line. think of it like begrudgingly doing chores that lack any enjoyment factor, only to find that afterwards, you're glad you did.

so, yeah, that's my idea for how to give epic winter a genuine purpose. but i'm just spitballing.

[redjadethewriter]

My take on Blank The Series:

Age Gaps, GL, and Trauma

To make a slow-burn romance interesting to watch, especially with age gaps, regarding WLW relationships, we need many elements.

First, we need a decent cast pair. Second, we need believable performances from the actors who play these complex emotional characters. Third, we need drama. We need a reason behind each action and dialogue exchange between the characters. This is where the story becomes important. We have the characters' story and the plot of the major stuff going down. The back story of the two main characters is the most important to flesh out more than the side or supporting characters.

I'm just going to say it: I'm impressed by the performance of the two actresses who gave life to these characters.

Lately, I've had several coronaries because Thai GL has turned me into a Junkie for their content more than my own countries' versions of sapphic relationships. And they are making age-gap relationships so much more compelling to watch.

The premise is as basic as it comes in terms of story arcs. Actually, I agree with some people that "Blank" and "Gap the Series" were gender-swapped stories. Usually, a wealthy older man falls in love with a young girl. So, now we have an older prominent woman falling in love with the young girl instead, but they made it more tender and somewhat light-hearted. I understand this is an adaptation of a naughty novel, which is fantastic. I write naughty, too. But the series is more tasteful. It focuses more on the crucial aspects versus the naughty.

By the way, I enjoyed the playfulness in both the shows. It's nice to have playful flirting involved versus extreme seduction right out of the gate. Both shows remind me how a romantic relationship or even pursuing a special someone can have a silly, playful approach. It doesn't have to always be serious and get to the sexy stuff. As an older Lesbian, I have a similar playful nature when I'm allowed to express it. Thus, I feel for the older characters willing to become playful with their much younger romantic partners.

However, there's one thing I can relate to since I'm in my late 30s. Is the extreme insecurity of being romantically involved with someone younger than you? In Blank the Series, the age gap difference is 16 years. I'm glad they raised the age bar because it would've caused a lot of issues.

It's funny because I was the girl in my early 20s who hooked up and dated older women in their 30s. The age gap was not 16, but 13 years between me and the older women I had short-term relationships with. So, watching the interaction between Khun Nueng and Anueng, oh my gosh, right way, I thought Khun Nueng was in trouble in so many ways.

Now that my position in life has switched and I'm a similar age to the women I used to date, I understand the complexities they went through. You just only know once you experience it for yourself. Insecurities around age are an enormous factor in reality and in this story. More than the woman loving women aspect or even the drama of others accepting the relationship. Really, the destruction comes from the older woman who can't deal with falling in love with someone younger than them. When you sprinkle trauma on top, with a side of keeping a facade or reputation, it can get chaotic super fast.

Not only did Khun Nueng become attracted to Anueng quickly, but she couldn't resist turning Anueng away, no matter what. The actress performed those rigid responses really well because, in reality, I would have to visit a chiropractor to break my body. The tension alone of repressing my desires would turn me into a ball of knots. Especially if I had no willpower to turn away the person. Ugh... I don't even wanna think about that. Because knowing my karma, something would put me in that position in life. I even resist dating any women in their early 30s. In the late 20s, I will say to the sky, "F***...Why me?" I'm like that anyway each time I fall for a woman. "Oh, f***...Why me?"

I have to sprinkle some satire on this topic because I can already see that the root of every decision and action Khun Nueng makes is based on that insecurity. Internally, she doesn't want to believe Anueng when she constantly says she only wants to be with her and loves her. It doesn't matter how often it's said; it is something that Khun Nueng must overcome regarding age-gap insecurities.

In the ending scene of episode 6, I reacted, "You totally just wanna keep piling on the torment, don't yah?" It's clear throughout the six episodes that she's in love with the girl. She can't even admit that she gets jealous. And oh my gosh, older adults' actions regarding jealousy are more diabolical than younger people. Actually, the older you get, the more sinister it gets. The passive aggressiveness turns up. Believe me... The sky is the limit on tactfulness and mind-f***ing when women get vengeful. Oh, my gosh... I still love women, regardless. LOL! Sweet as poison.

Khun Nueng's stoic demeanor is just a mask. She represses her emotions and vulnerability. Khun Nueng abides by stoicism, which rarely benefits emotional growth. We witness this when she refrains from showing anyone her weakness, so she doesn't cry in front of people, even at her grandmother's wake. When she finally ends up alone and breaks down, Anueng shows up, and Khun Nueng feels safe enough to break down in front of her. Which is hard to do that. I also have a stoic facade, so I recognize that bullshit a mile away, and I know exactly how hard it is to repress grief. Once it erupts, it hurts like hell, but I knew Khun Nueng was fully F*** because there's really no turning back with that kind of intimate exchange they had.

I can't wait for season 2 to see how that bites her in the behind.

Obviously, I don't want Khun Nueng to suffer anymore, but through her mistakes and emotional and mental anguish, she will learn what or who is truly important to her because she's dumb. Just because we are in our 30s or late 30s doesn't mean we are free from stupidity. She definitely needs to make better choices and stop playing so many mind games to protect her ego. She needs to learn to be more upfront about her feelings and wants.

Hopefully, we get that.

I have faith they will.

[atlafan]

Jordan, ik you probably don’t want to have a whole conversation about this but I recently watched Drew Gooden’s video on the live action atla series (it just affirmed that I definitely don’t want to watch it lol) but it did inspire me to do a rewatch of the original and ughhhhhh it’s so incredible😭😭 all the little characterization details are SO rewarding and so good. Zuko’s small acts of kindness, even early on in book 1, just show that he’s always been Ursa’s son and help set up his arc for the rest of the show. Going after the captured Iroh instead of tracking the Gaang in Winter Solstice. Saving his crew in The Storm. It just shows you that at his core he believes in doing the right thing, and that’s a huge part of why his overall arc pays off so well. It’s the same with all of them—seeing Sokka put on his war paint and his battle regalia (in ep 2 or 3 I think) to confront Zuko in the village…it shows you that he takes such pride in the responsibility of being a leader and a warrior, especially in his dad’s absence. Yet when he gets to Kyoshi, we see the humbled side of him, and that he’s devoted to learning and respectful of the masters in their craft (whether it’s the Kyoshi warriors or Piandao or even the mechanist) and wants to learn what they have to teach him. Even Jet, who is always a very complicated character for me, is so compelling and so real. He’s suffered horribly and unfortunately has let that radicalize him. Tbh it reminds me of when anti war groups in the 60s would bomb places and things like that…the mission is “peace” but you’ve let your mission turn you into a violent radical who doesn’t know the difference between right and wrong anymore. I KNOW I don’t have to tell you lol but all the little details of this show, from design to writing to performances, are just incredibleeee and I’m so happy it exists.

GISICKAKAAK what a fun message to wake up to!

Yes I am simply pretending the new series doesn’t exist because I know it’ll just piss me off if I watch it. And I know myself well enough to know I am just not mature enough to separate the original from the new, so yeah I won’t be watching and I doubt I ever will. The one thing I am mature about is that I don’t “hate watch” things anymore lmao

I think this is why zuko is like my favorite character. I feel like he was the first character I was ever like “no, that’s actually my son” when I got older. He is so fucking complicated and so not at all what you think he’s going to be. He’s not just the antagonist, he’s Aang’s foil. They parallel each other in so many different ways. There’s a scene in book 3 where Aang literally says, “I need my honor back”, and it cross fades from one side of his face to the other side of zuko’s!!

All of the characters have incredible arcs. They all learn something about themselves, and they actually use that to grow and get better. Remember, these are literally children who were thrusted into adulthood, forced to grow up way too early. Katara is a nagging mother, but she also remembers how to be a kid and have fun and laugh. Sokka is a sexier idiot, but what teenage boy isn’t? He unlearns so much behavior, and even though he still feels like he’s the leader of the group, and in so many ways he is, he learns that it’s okay to let someone else take the lead, that he doesn’t always have to be right or in charge. Toph learns that she’s loveable for who she is, blindness and shoeless and a badass.

Aang and Zuko obviously have the most difficult arcs. Aang has to come to terms with the fact that he ran away, and a mass genocide of his people ensued. But if he hadn’t left, he would have died along with the rest of them. Like it or not, it was fate that he froze himself. And most avatars get told who they are at 16 and are given all the time in the world to learn the other elements. Aang was 12…and then had to learn the other elements in less than a year. I would argue that he didn’t necessarily master all the elements in that year. I think he learned enough about each to get by, and I’d like to think he took some time afterwards to really master them. He still relied on his air bending a lot. Whereas if we look at Korra, she did a lot of fire bending even though water was her natural element.

And my baby zuko…I could go on for days about him. My tortured emo son. He overcame so much. He cried, he learned to laugh again, he learned how to be young again. He hated being in the slums of ba sing se, but he also went on dates and got closer with his uncle like he never had been. He was such a sweet little boy. The storm always makes me cry. Zuko alone always makes me cry.

I could go on! I always wanna talk about avatar so never be afraid to come to my inbox about it!

[yazthebookish]

There's a difference between wanting Gwyn to be a more multi-layered character (which doesn't necessarily mean she has to be evil or deeply flawed e.g., Yrene, Elide, etc) whose journey is to overcome her obstacles and show what a resilient character she is like all SJM heroines.

Vs.

Villainize her in the name of "adding complexity and different layers to a character" but her main role would be a plot device used to keep apart two lovebirds, rather than it be a journey of her overcoming her "so-called flaws and darker side" becauee she's just that—a plot device. It doesn't benefit her character at all no matter how you look at it.

So tell me which one genuinely benefits her own arc if people are so eager for her to face challenges and master whatever power she has and to make her as flawed as possible?

Doesn't this whole "luring argument" stem from the fact that she was in Azriel's bonus chapter? Azriel having a positive interactions with her? The slight romantic coding at the end of the chapter?

Although I'm not a fan of the Lightsinger theory because where the canon stands they're nothing but monsters (who knows if she'll elaborate more on those creatures or not)—but the arguments I read from the few Gwynriels who support this theory (a different version from the villain one), they provide much more compelling arguments and theories because the outcome is how to overcome that power, how to be in control, how to not let it define you, and all of that benefits Gwyn's journey alone, no one else.

This series is a romance and I read it for the romance but I also love those healing journeys Sarah writes for these characters regardless of their background and history. I'm by no means an expert in Sarah's writing style or storytelling, but as an avid reader of her books I have faith that she will do all these characters justice, including Gwyn. I always depend on Sarah on writing the most beautiful healing journeys for them alongside a sizzling romance.

And people don't get this... readers can still love Gwyn even if she had a monstrous or darker side. Lidia "The Hind" has so much blood in her hands. Manon has so much blood in her hands. Aelin has so much blood in her hands. Nesta was literally Death. Yet all these characters we managed to love because the author made us love them regardless of their bloody and dark past. They still have love interests who loved them and accepted their past.

Azriel did fucked up shit, would you really think he of all people would judge and resent Gwyn if she had a darker or monstrous side? Would it deter him? He did worse than what we already know.

Sometimes the discussions around Gwyn just strip her of everything we know about her from the canon text because it becomes easier to taint her intentions and actions.

[bluesadansey]

I had been trying to figure out where some of my issues with Emma's characterization post LM came from you are absolutely right, it definitely feels like CC stopped focusing in Emma's gray morality to focus on Julian's

In theory I think the idea of their arc being Emma starting off the more ruthless and revenge driven character then easing up on that mindset as things unfold with Malcolm (I really like that little moment where she tells Julian about how her conceptions have changed since killing Malcolm didn’t give her closure, but we should have seen more of her introspection on this after it happened before bringing it back up in QoAAD) vs Julian being more of a wolf in sheep’s clothing whose manipulation and ruthlessness becomes more apparent over time, until eventually Emma is willing to do something morally gray (break the parabatai bonds) that in this set of circumstances Julian will not do, is compelling to me but the execution on Emma’s side falls short after LM because there’s not consistent enough exploration of her changing attitudes towards glorified vengeance and violence, more of an occasional check in. Part of this has to do with pacing/structure and although I love TDA and find the ensemble probably the most compelling overall of tsc series it is overstuffed with how many povs their are as much as tlh is. But also Julian clearly took priority to her at some point and his arc is more the focal point of books 2 & 3 despite all the povs, maybe if that was only the case for LoS it could work because then LM is more Emma focused LoS is more Jules focused but even though QoAAD is pretty all over the place Julian’s emotionless + grieving arc feels like it’s at the heart of the book, and I like that arc I mentioned I related to quite a few of the grief manifests as repressed/controlled emotion aspects so subjectively that clicks for me, but it does put Emma in the role of having to be more of a tether morally for most of the book and then there’s not enough of a transition between that and the moment where she goes to break the bonds. So yeah it’s partially cc prioritizing exploration of the male mc’s gray morality as the series goes on and being less interested in the female leads corresponding gray morality (and I know I would be far meaner about this if I didn’t like Julian as much as I clearly do) partly just other pacing and point of view distribution issues towards the back half of TDA that lead to this. Is how I see it. I do also think there’s something to critique about how while I adore blackstairs and enjoy that they flip some gender roles typical of cc’s earlier books couples, if when gender inverting the bad-boy-with-a-heart-of-gold x good-girl-going-bad trope the male version of the good girl with a dark heart thing gets to have a more centralized arc that is allowed to go further gray morality wise than female chars you’ve written in that vein (I would say that both Clary and Lucie count as this, Lucie in particular has a lot of parallels to Jules imo which is fun family tree wise ) and have the more centralized arc whereas while I do think Emma is a much better written character than Jace who she was clearly originally conceived as the female version of, she doesn’t have the centralized status Jace does narratively.

I do think both modern TSC arcs end up prioritizing Jace / Julian over Clary / Emma in terms of who’s character and dynamics the series eventually revolves around most (although again TDA being so ensemble changes this a little). I’m meaner about it with tmi because I don’t like Jace and Clace doesn’t work for me as a ship, and more just passively critical about it with tda because I do love Julian and Blackstairs really works for me as a ship, so I’m definitely a bit of a hypocrite there but I’ll still critique what’s relevant. I think both historical arcs do better with this I’ve spoken before about how Tessa is my Favorite tsc char as well as protag, and I think her arc and narrative is really really good and that she is central, maybe tied with Will towards the end but definitely her narrative isn’t given less importance than the guys and I’ve disagreed with takes on that to the contrary. Cordelia is an interesting case because again, the overstuffed nature of the cast means she often does not feel like the protagonist in her own story and I found that aspect worse in tlh than for Emma in tda. However I actually really don’t agree with takes that Cordelia’s story went badly because she was turned into ‘just a love interest/got lost in her romance plot’ because imo James is way less of a character in his own right than she is even in the last book where he has more agency than he did with the gracelet. Her emotions and struggles drive the plot of their romance much more than his do, and outside of it she does get to be a more proactive character in the Lilith paladin plot, dealing with her familial relationships etc. So while I did often feel like I would rather tlh focus on Cordelia herself more that really had nothing to do with James who I think was just not a priority for cc a lot of the time. Perhaps there is something to the cursed plots Will / James start out with and that device creating a need for cc to lean on the female protagonist’s characterization more (but also I’ve only read TLH once so maybe my opinion would change if I revisited I do want to say I don’t think I am a TLH or TMI expert).

[mermaidsirennikita]

ARC REVIEW: A Fate Inked in Blood by Danielle L. Jensen

4.5/5. Releases 2/27/24.

Heat Index: 6.5/10.

Vibes: vIKINGS!!!!, slutty guy/serious girl, "oops I'm married to your dad", and legitimately intense battle and magic stuff that actually works and puts people in those heartrending situations where it's all "STAY ALIVE!!!!! I WILL FIND YOU!!!!!!!!!" as it should in a FANTASY ROMANCE

Married to a man she hates and hiding the fact that she's the child of a minor goddess (children of gods are a Thing in this world) Freya lives a life of drudgery. Until, that is, her secret is revealed to all and Jarl Snorri declares that she's a prophesied shieldmaiden, meant to clinch him the kingdom he's always wanted. As such, she must marry him--kind of an issue, as she is very, very attracted to Snorri's son Bjorn. Another issue: Bjorn has been bound to Freya as her protector. On top of everything, Freya's goddess-given abilities are obscure but dangerous, leading her to wonder if her fate is less that of a protector than that of a monster...

OOOOH WE'VE GOT SOMETHING HERE. I've read Danielle L. Jensen before, way back in the day with her Malediction books--but those were YA (albeit, pretty hot YA) and I really don't read YA anymore. However, I do like Viking Shit, and I especially liked the idea of a romance between a Viking lady and her husband's SON, which was something I always wanted to happen on Vikings. So I picked it up.

And dude. It sucked me right in. I am, as I will get into more below, kind of a hard sell on fantasy romance--when it works, I am HOOKED but when it doesn't I am quickly turned off. This is the former. I was so drawn to Freya, a heroine who does have Chosen One aspects, but is also very human and just trying to make it work, one battle at a time. (Also? She's not instantly gREAT at fighting, how refreshing.) And I absolutely fell head over heels dumb girl for our hero Bjorn, who I expected to be a stoic silent warrior type. NO. He's so much better. He's like, an amazing warrior--but is also so funny and super slutty and just a BRO. I love him. Protect him.

The fantasy plot is compelling and doesn't get so in love with itself that it's impossible to follow. It's really good! I'm excited by this! Can't wait for the next! (What a relief, God.)

Quick Takes:

Here's my issue with fantasy romance (or romantasy, though I'll point out that this series is billed as "fantasy romance" on Netgalley, and that is so HOT to me): often, though the name implies that it's a subgenre of romance with a heavy fantasy bent... It's basically fantasy (well-done or not) with a romance subplot tucked in. The character work is shoddy, the tension is nil, and you can tell that the author is just trying to horn in on the romance audience. Not so, here. 

First off, I think Jensen was really smart to create a fantasy world that is very "Vikings But Fantasy". It's not poorly drawn. You can tell that she's really into the Norse vibe, and I will say that I am biased because as someone who has somehow been watching the Vikings franchise since its inception (pray for me) I'm fairly familiar with it on that level. But the way she weaves the fantasy elements, most distinctly the idea of these empowered children of gods (who are basically made when their mortal parents HAVE THREESOMES WITH GODS??? Amazing. Just imagine having these superpowers and knowing that it's because your parents took some dude home from the bar one night and he turned out to be Thor.) into the story is really natural.

Secondly... There is a really compelling plot, yes. I am really into the duality of Freya, don't get me wrong. I really like the royal intrigue. All the WIFE DRAMA. It's My Brand. But the real heart of this story, very openly and honestly and presented without any self-consciousness, is Freya and Bjorn. And I think Jensen just lays it all out there the moment she introduces the brilliant plot device of "Bjorn's Dad, Who Freya Is Technically Married To, Wants Bjorn To Follow Freya Around And Make Sure She Doesn't Get Into Danger". Oh, so he's supposed to protect her as she hurtles into adventure and fights Viking zombies and shit? HOW CONVENIENT. Throughout the story, their immediate physical attraction melts into this emotional slow burn... and I am also a hard sell on a slow burn, so thank you for doing it right, Danielle. The book is single POV (Freya's, though I wouldn't mind Bjorn's in a future installment) but you can just tell that Bjorn is so mad that he's this into a woman who is technically his stepmother. Like, he can have anyone! But he wants HER. But he can't have her! 

Picture me gobbling this up like a raccoon in a trash can.

--Speaking of! If you're all "ew, I hate that Freya is married to his dad"--no spoilers, but this is dealt with in a way that I think both avoids the ick that some readers (to be clear: not me, I am very resistant to ick) may feel over that setup, and avoids a copout. 

At the same time... First off, Bjorn doesn't fully know that the ick has been avoided, and to be frank, I don't think Bjorn really cares about a little ick. But he does have like, you know, the "WHAT IS WRONG WITH ME" vibe for a while, and it is delicious. All very illicitaffairs.mp3.

--I also really loved that there is no mistake about Freya being a GROWN WOMAN. I strongly, strongly object to shelving this as New Adult, because regardless of her age, Freya (and honestly Bjorn as well) has been through a lot. She's literally married when we open this novel. She gets a second husband. She is not a virgin; her marriage was not chaste; it sucked. (To be clear: you don't get a lot of insight into Freya's first marriage beyond "it sucked" because it's dealt with pretty quickly. You don't see any sexual assault on the page in this book, and I don't know that Freya would see it that way? It's alluded to as "lie back and think of England" bad, gross sex, which I think suggests assault, but there is not any explicit violence, sexual or otherwise, depicted in either of her marriages.) She is JADED. She has never had a man like, take care of her.

And then she gets linked up with local dude who's snarking at her horrible husband about how he must not go down on her enough, and she's all "WHAT'S THAT MEAN :/". I really, really enjoy a pairing that involves a tough woman who's never been properly taken care of and a man who's like "I am DESPERATE to take care of you". Freya deserves!

--Another good choice: often, in fantasy romance (or at least in fantasy romance of yore; I feel like there has been a recent push to correct this, at least somewhat) the heroine is hypercompetent. She's smart, she's a good fighter, she's a femme fatale, she's the seventeen-year-old master assassin...

Freya is... a person. She does want to fight, and she is--not surprisingly, as she does come from a culture in which women do fight--not incapable of holding her own. Somewhat. But as soon as she's up against a master warrior like Bjorn, she's kind of not great, Bob, and even with the benefit of her goddess-given abilities, she still has a lot to learn. It's giving "Book One Aang", and I'm good with that. I'm actually much happier with her giving Book One Aang as a twenty-something woman because like? Give us hope, Freya.

She also doesn't have all the answers. Frankly, Freya doesn't have 80% of the answers, and she shouldn't, because she's new to this. She's new to the magic stuff (though she knew she had it, which I did like--she's not an Alina Starkov-level "WHAAAT" about it) and she's new to the court intrigue, and frankly she's new to Hot Dudes. Speaking of, she does spend a decent amount of brain time going "STOP! STOP, SELF! DO NOT LOOK! DO NOT TOUCH!" Which, frankly, I loved. I feel like that's the kind of behavior people are going to be annoying about because people are dying, but like. This woman just spent years surrounded by Village 2's and suddenly she's being swung around and guarded by a very flirtatious Royal 12. Give her a break. I would be much worse. 

And she doesn't know what the hell she's doing with this man. She knows the mechanics, but she doesn't know the FINESSE. Speaking of...

The Sex:

The reason why I'm between a 6 and a 7 on this (and that's not quality, that's literally just how hot the book is re: sex acts) is that the story is a slow burn. Everything sexy happens in the back half, and you don't get to the full shebang until pretty late in the game. It's ABOUT THE YEARNING.

However, I think this was a good choice, and when we do get those scenes they are super hot (and explicit, though not like Sierra Simone explicit to be clear) and passionate and you definitely get the sense that it's this giant deal for these two. I was quite touched. I was like "awww" but also "oh" which is where I want to be when a story builds to two people hooking up for that long.

And Jensen fully takes advantage of the "Vikings" component and does have some "under the sleeping furs with 76 people sleeping in the near vicinity but we just need to get this done" action here. Which. Brava.

I'll be honest--I was worried about this, as I feel like I've been let down by a great fantasy romance in the past. I, much like several people in this novel, have been burned before. Not so here. I'm fully on board. I loved where we left off, and I cannot wait to see where those two crazy kids go next. Hopefully, like. To Vikings divorce court. So she can end that marriage to his dad.

Thanks to Netgalley and Del Rey for providing me with a copy of this book. All thoughts and opinions are my own.

Preorder:

Amazon

B&N

Bookshop.org

[redwolf17]

So i'm curious why did you decide to kill Tyrion at the Blackwater. Don't get me wrong I despise Tyrion and he deserves all the humiliation and rejections he gets in Storm. I was just asking because I wondered how Tyrion would have reacted to Sansa calling Tywin a cowardly oathbreaker in public.

Hi anon! Totally a fair question. Someone else also asked about Tyrion recently over on Ao3, so I'm gonna copy/paste my answer.

GRRM loves Tyrion so, so much.

I… do not. While Tyrion is a very well written character, I do not enjoy him. Yes, Tyrion has his moments of kindness and generosity, he has some witty lines and compelling scenes... but I just cannot get over how vicious he can be. Yes, he suffered horrific abuse from Tywin which informs his determination to punch down against others. Yes, the ableism he faces sucks, and no one should have to endure it. That informs his actions; he is not cruel solely for the sake of being cruel.

But. But. This is a man whose reaction to Tywin's slaughter of Masha Heddle for the crime of being a hepless bystander was to reproach her pitiful corpse for events completely beyond her control. This is a man who sent Bronn to grab Shae (or rather, the prettiest whore he could find) like he was shopping for a carpet; Tyrion's chapters are steeped in some of the worst misogyny of any POV. Yes, Cersei is an incompetent asshole, but Tyrion constantly antagonizes her to his own detriment (just as he antagonized Catelyn and Lysa previously), and his contempt for Cersei and his "jokes" about wanting to rape her are disgusting. This is a man who creeped on the "beautiful" 12 year old Sansa throughout ACOK and BARELY managed not to rape her during ASOS.

I swear, the show whitewashes Tyrion so aggressively, people forget that in the books Tyrion made Sansa strip naked, HE stripped naked, he groped her breast, he made her look at his naked, erect penis, and only then, when he saw how terrified/repulsed Sansa was, did he finally stop. Not because he suddenly grew a conscience, but because he resented Sansa for not wanting him, for not pretending to want him, and blamed it on his looks/dwarfism rather than acknowledging she would have likely been just as terrified with ANY Lannister, because she's a 12 year old hostage facing imminent rape!

Tyrion murders Shae for the crime of being in Tywin's bed, as if she had any choice about being there. He resents her for testifying against him, as if Shae, a random sex worker, could have said no to Cersei and refused to bear witness. He wants to burn the whole Vale of Arryn in retribution for Lysa being a dick which, yes, she was, but his desire for retribution is outsized to say the least). Tyrion consistently resents the smallfolk for not worshipping him even though he puts 0 effort into PR whatsoever. He threatens the bedwarmer in Illyrio's house with rape and murder; he DOES rape the poor "sunset girl" later at a brothel.

GRRM loves Tyrion as a grey-and-getting-darker villain, and gives him some of the most unnecessary, bloated chapters throughout the series. GRRM sees Tyrion offer crumbs of kindness to Jon, to Bran, and thinks that somehow tips the scales against all the terrible things Tyrion does. But what other good things does Tyrion do? Like, I'm not giving him a medal for not raping Sansa, not raping terrified 12 year old girls is a LOW bar to clear! What other good deeds has Tyrion done?

Aaaaanyway, after all that rambling, here's my thoughts on Tyrion in TWQ. I really, REALLY had no interest in doing a twist on his book canon arc, which meant my options for what to do with him were pretty open. I could have done a redemption arc, but frankly, I didn't want to. It would require a LOT of time and effort to do it properly, and plenty of other fics have "redeemed" Tyrion (although usually by ignoring his vicious misogyny rather than by confronting it; or they just depict him as heroic from the start because the show nuked his characterization).

And I had zero interest in making Tyrion an ongoing villain, which is the approach some other fics have taken. Reading his ADWD chapters is punishment enough, let alone trying to write something that grotesque. Not to mention the... uh... not so great history of fiction often ignoring disabled people except to depict them as villains or helpless, agency-free pawns like poor Lollys Stokeworth. GRRM... sorta tries to handle disability with nuance, but I don't think he always hits the mark. Side note, Paul the Pious, Edythe, Bran, Jaime, and a plethora of disabled side characters both good and bad are my effort to push back on that trend.

So, by Part II, I already had a vague idea that TWQ was going to spiral into a larger tale, and I knew that doing anything with Tyrion after Part II would require a LOT of work I wasn't interested in doing. So... I decided not to do it. Writing fanfic is a hobby for fun, and developing an entire Tyrion arc I found worth telling did not sound fun. Especially since I knew I was going to force myself to tackle both Dany in Essos and the Others, which were/are a headache and a half but essential to the overall story. So... karma bit Tyrion in the ass, and a combo of his wildfire (which he used on his own men!) and Cersei (maybe breaking her arm was a bad idea?) finished him off.

[kyouka-supremacy]

hii again!! thank you for answering my asks hehe 😊🤭

Going off from your response (about the bsd ladies ✨), I have some random questions for you 💗

Who is your favourite bsd *female* character?

Who is one female character you'd want to rewrite?

And who is the female character you see the most wasted potential in?

No pressure btw!

Omg hi thank you so much for this ask I love sharing opinions almost as much as I love talking about women 💞💞💞

Favourite bsd *female* character?

All of them LMAO. But Kyouka holds a special place in my heart <3 I mean, I think she's quite objectively the best written female character in this series, if anything because she gets an actual character arc beyond the two occasional chapters of spotlight. I really like the inherent duality of her character in being both a skilled assassin and a little girl (and how it can be both tragic and hilarious! The versatility). Her character arc is sincerely compelling, I'm a sucker for any character who's just doing their very best to be a good person even when it feels like going against their nature. Her backstory is so tragic! Her relationship with her ability is so interesting! But I just love how truly… Strong-willed she is, how determined and resolute she can be; she's truly inspiring. If you ask me, she's got that charm of magical girls anime: sometimes you really need to see little girls defeat unimaginable evils with the power of love to heal your heart. And the fact that she doesn't really fit the trope of happy-go-lucky girl is all the more capturing!! Again, I really love the interior conflict - or coexistence - between her dark, ruthless side, and the side that likes bunnies and crepes and girly things; it makes her so authentically and unmistakably Kyouka. I appreciate how she's the only character who can sort of keep up with the protagonist role to ss/kk and s/kk, and she's only 14 eheh. And I LOVE her interactions with the other characters, so much!!!! I adore her relationship with Atsushi (truly. Not even remotely close to how much I talk about them), and I feel like they truly deserve each other in a lot of ways. The way Kyouka's sharp attitude and blunt personality fit and mitigate Atsushi's eternal indecisiveness and insecurity and the way Atsushi reminds Kyouka every day that she can do good and that she is good. How they saved each other and how they keep saving each other every day. I've said it a lot of times that Atsushi is profoundly selfish and that all good actions he does are to be traced back to some twisted conception of self-survival, but if there's really anyone Atsushi loves selflessly and unconditionally, that has to be Kyouka. If there is such a thing as platonic soulmates, Kyouka and Atsushi definitely are for me; they're just so siblings in a way I can't even put in words. AND AND AND her relationship with Akutagawa I've talked about endlessly before!!! Her relationship with Dazai!!! KOUYOU!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! (Kyouka and Kouyou chapter my beloved aka the only bsd chapter to pass the Bechdel test). Omg potentially Yosano!!!!! Kenji Kenji Kenji!!!!!!!!! I just. Love Kyouka a lot okay she gets me emotional. Kyouka supremacy forever. (Also, she's dubbed by beloved tpn Emma va Sumire Morohoshi :') )

*Catches breath*

One female character you'd want to rewrite?

Ah, as of now, definitely Teruko. Here's the story I imagine her having: she fought the Great War by Fukuchi's side, as her second in command; despite what her appearance may have looked like back then, she's about the same age as him. She doesn't love or worship him, but she surely admires him a lot; they were comrades and she learnt from him a lot of her ideals on how soldierse have to stain their hands and do horrible, ruthless things in order for the majority of citizens to live safe and happy. She learnt to adore the cause because of him, and she's very loyal to her uniform. She started dressing as a young girl after the war ended, as a way to negate the cruel and traumatic experience of war in her mind and withdraw to the unknowing, happy times of childhood (while still staying her and self-aware; it's just an ephemeral relief). The rest of the story proceeds pretty much as it is in canon, but when Fukuchi reveals to her that he's actually a terrorist working with the doa, she doesn't side with him. She actually feels throughout betrayed, because he had been this pillar of justice and integrity for her, and knowing he was actually a terrorist left her shell-shocked. She DOES act like she's following him, because she is smart and experienced and she knows that she can't take him on her own (differently from Tachihara and Jouno who faced him alone with no backup. Lol. They're a little stupid.), and waits for the moment he lets his guard down to strike and impale him. AND NOT BECAUSE HE ASKED HER TO. WHICH IS HONESTLY TERRIBLE UNDER EVERY ASPECT. Insert here a flashback with her backstory and how Fukuchi himself taught her that justice comes before anything else, because it's the prime tool to serve citizens and pursue world peace. Interior turmoil and trauma for killing the person she respects the most ensues. Now that's how I would write Teruko, because I care about her.

Female character you see the most wasted potential in?

Probably Naomi!!! I love how sly and ingenious she is even in spite of not having an ability, I really hope we'll get to see more of her. I like the theory of her being a projection of Jun'ichirou's ability, although I acknowledge it's problematic in the way it takes away even more agency from her character; even then, it would be cool if she took the form of some kind of sentient ability like Gab in 55 Minutes, or if Jun'ichirou himself was a projection of Naomi (eh. a girl can dream). I really like @frankenjoly's headcanon that she and Mori would be besties, I think about it a lot ahah, I can really see it.

ALSO Higuchi and her ability C'MON I know it's there!!! It MUST be there because bsd so far has been following a very strict pattern where all characters named after writers have abilities, while non ability users are named after novels' characters or non-writers irl people (not to talk about Sakunosuke Oda's The Literature of Possibility passage that's mentioned at the start of the Dark Era novel, with the novel creating a DIRECT connection between writers irl and ability users in the bsd world). I really really hope after this arc is over we'll get an Higuchi arc!!!!

That said, pretty all characters I feel have wasted potential pffttt. Give Lucy and Yosano more screentime!! BRING KOUYOU BACK!!!!!! Finally elaborate on Agatha who's the only female organization leader!!!!! Gin!!!!!!! Wells!!!!!!!!!!

[calliecopper]

Been getting back into Stranger Things recently and this is probably a hot fucking take but Nancy and Steve works 100x better than Nancy and Jonathan romantically in my humble opinion.

Stranger Things is clearly a show that leans heavily into 80's archetypes and cliches. One of the classic cliches is the popular/smart girl dating the jock guy, but then she falls in love with the loner underdog. I feel like season 1 definitely hinted at this being a possibility, but what I really loved was that they didn't actually do it. At the end of the season, Nancy gives Jonathan a kiss on the cheek, and then he walks away, and Nancy goes to sit next to Steve. It felt almost like a final goodbye to the potential romantic feelings that could've been there. It directly goes against what you'd expect the series to do, like season 1 actually does a lot, especially with the teens.

Two teenagers having sex? They should die while the smart "not like other girls" girl lives to fight the monster, right? No. The teenagers live, and the smart friend dies without anybody there to witness it.

The loner dude and the smart/popular girl are sharing a bed? There should be some tension there, right? Nope. Nancy is fucking traumatized, and she just doesn't want to feel alone; she's bonded with Jonathan through trauma, and in that moment romantic and sexual feelings are nowhere near her mind, she's simply seeking out comfort in somebody who made her feel safe in a moment of need.

There are more examples of this, how the show both honors 80's cliches while also subverting expectations. But then season 2 rolls around, and things change.

Obviously, Steve, as a character, subverts the typical 80's jock douche cliche that he very easily could've been. He has undergone the most character development and change of any character in this series, and it's clearly served well as he's now a fan favorite. This process did begin in season 2.

But season 2 also gave us the beginning of Nancy and Jonathan's romantic arc. Now I'll admit, 14 year old me was SCREAMING for them to kiss back in 2017, but as I've grown older I feel more and more icky about it. It plays right into what fans were expecting to happen, even when the characters themselves - to me - seemed to display little to no romantic interest in each other until Murray outright says it.

Nancy and Jonathan are victims of a very cheap trick to build romantic tension between two characters- outside influences and characters.

The woman after Jonathan is arrested who says that only love can make somebody be so crazy, even though Jonathan was completely justified in beating the shit out of Steve because he was being an asshole, and was not at all implied to be an act of jealousy based in feelings for Nancy.

Mike asking Nancy if she likes Jonathan, which is a question that really seems to come out of nowhere and feels like a very unlikely thing for Mike to have asked given the current situation.

Then, the most egregious of these examples, Murray telling the two characters that they have romantic tension. This breaks the very basic writing rule of "show don't tell" in the most literal way.

The only reason Nancy and Jonathan ever had tension is because of that 80's cliche, and outside people telling the characters they liked each other.

Then, you have Nancy and Steve. I find their romance in season 1 to be incredibly compelling in multiple complex and fascinating ways.

These characters are never TOLD to have tension with each other. They're never INFLUENCED to like each other. From before the show starts, they're already seeing each other. It's clear that both characters actually like each other just because they like each other, and not because of shared trauma or outside influences. A fascinating aspect of this is Steve's typical jock douche demeanor that has Nancy questioning Steve's intentions with her.

The show sets up the idea of Steve "corrupting" Nancy through Barbara. "This isn't you," she tells Nancy, right before Nancy goes upstairs to sleep with Steve, which has been set up as something she's hesitant to do. It's very clear that Nancy is petrified that Steve is only interested in her for sex, and after she does sleep with him it's clear that she feels a sense of shame or upset. With the 80's cliche, this probably would be the case. Steve would've only used her for her body, then she would run into Jonathan's arms and be treated with the respect and love she deserves. But then, Steve is still interested in her. He actively defends her against his friends when they're teasing her about Barbara. He's shown to be worried about her multiple times between Barbara's disappearance and when he finds her with Jonathan.

Steve is given redeeming qualities that show how much he genuinely cares for Nancy, even if he is somewhat consumed with his own woes. Then, on the flip side, we see genuine conflict that feels a little less forced than that between Nancy and Jonathan. Steve is self-consumed and more concerned with getting in trouble than giving the police valuable information about Barbara's disappearance. This is incredibly believable for his character at this point. Then, when he thinks Nancy is cheating, he's a complete douche to both Nancy and Jonathan, and rightly gets his shit kicked in for it.

But then he shows genuine remorse for his actions in helping clean up the theater, and then going to apologize to JONATHAN. Not only to Nancy in order to get back into her good graces, but to the other person he GENUINELY hurt because he GENUINELY wants to right that wrong.

Now this isn't a "Jonathan is a horrible character" party, he definitely is a good character, and Steve is not "better" just because he's a fan favorite.

I have a difficult time articulating my thoughts clearly and stringing them together to make them coherent, but my point is:

I feel like Nancy and Jonathan would've worked way better as platonic best friends bonded through trauma. I feel like this would've allowed Jonathan to operate more as his own character instead of being turned into "Nancy's sidekick" for most of the series. It also would've allowed Nancy to just have a friend even after Barbara's death.

I also feel like Nancy and Steve would've worked better as a sort of "slow burn, right person wrong time" romantic relationship. Nancy is no doubt traumatized and feels guilt for Barbara's death, which happened to take place while she was with Steve. The basis of the Nancy/Steve fight that ultimately ends their relationship is that Nancy doesn't feel like she can just move on. To paraphrase, Nancy is saying "Pretending like we're in love, like we're just dumb teenagers at a dumb party, like we didn't kill Barb, is bullshit." Then Steve, still being a bit of the self-consumed guy he is, focuses only on the "like we're in love" piece. "You don't love me?" he asks. And I think that this just pisses Nancy off. I'm telling you that we killed Barbara, that I can't live with myself and this guilt, and you're worried about our relationship? "It's bullshit."

I don't necessarily think that Nancy didn't love Steve. I think that she simply wasn't in the right place to love ANYBODY. And I think he was still too immature for Nancy to maintain a relationship with him.

Nancy can't be with Steve because she's simply too consumed with her guilt, and Steve is too consumed with maintaining a sense of normalcy to confront that guilt head on. She NEEDED Jonathan in that moment, because he shared that guilt in feeling responsible for Will's disappearance. He had just as much a desire to burn Hawkins Lab to the ground. It wasn't until Steve was FORCED to grow up in order to protect Dustin, Max, and Lucas that he finally let go of that desire to be normal.

I think both Nancy and Steve needed those two-ish seasons to grow and heal for them to even consider reigniting that flame. Then, in season 4, when Nancy sees Steve as somebody finally willing to do the hard thing and be an adult, I think she finally starts to consider allowing herself to love him again.

So, in my ideal version of events, Nancy and Jonathan would've been really close platonic friends, and Nancy and Steve would've been tragic lovers who simply couldn't find the right time for each other.

Anyways that's my word vomit. Don't take this as a ship war thing cause that's stupid I think everything is good I just wanted to express my preferences

[mixelation]

oh, i watched pixar's elemental this weekend. it was okay? not a bad movie, but not great by pixar's standards IMHO. what did everyone else think?

more random thoughts under the cut

i've been trying to isolate why i was so "meh" on the movie. tbh i purposefully ignored marketing for it because the premise of people with element-based affinities seemed stale to me, so i had no idea what to expect going in.

the opening scene is a couple having an immigration official change their names, and i was like, oh. okay. good news: it's not a ~metaphor~ a la zootropolis, it's just straight up a story about an immigrant family. when i briefly scrolled reviews, this seemed to be the element (HA) people identified with most, and i think the parts with ember's family were definitely the most compelling..... but i also felt like all the other plot elements really detracted from it. "watered it down," if you will

like: the first half of the movie is straight up just ember trying to hide a safety violation report in a series of weird fetch quests. the second half is her dating and trying to fix a canal leak. she has to do this all herself with help from her boyfriend because ???? reasons. she admits 3/4 through the film she doesn't want to run the shop and wants to be an artist but this is barely foreshadowed because the movie has to waste run time on her trying to undo citations and having convoluted conversations about canals (WHO IS THE AUDIENCE FOR THIS). her having a bad temper and not being able to connect with other people is introduced as her character arc, but this.... mostly just gets dropped as soon as she's dating wade

speaking of wade: i thought he was annoying at first, then warmed up to him, and then he gave a speech to ember in front of all her family and friends and god after she'd told him to fuck off that ends "...and i think you love me too." i know movies function under different standards of what's romantic or not, but this is shit behavior. she told you that you don't understand why she has to do something, so you showed up to stop her from doing it, in public so everyone she knows see to, and i'm supposed to understand this as romantic? wtf? let ember have her own agency and come to this conclusion herself. if you need wade to be there, have her mom extend an olive branch by having invited him or something so he's secretly off screen. why did you have a scene of the water guy telling her how she feels?

one thing i keep going back and forth on in my mind is the way the movie handles xenophobia/racism/ableism* because it's constantly there but it's barely engaged with. and if this were just someone telling their story, i don't think you HAVE to engage with it too much? but this is a fantasy kids' movie, and we barely see any of it, like, addressed. because it's not addressed/engaged with much, ember yelling at wade that he doesn't understand her life rings a little more hollow than it should have, imho.

also there being no consequences to a fire and water person touching is a coward's move

*tacked ableism on here because, while i don't think this was the intention of the movie, the way the city is built in a way that is actively harmful to fire people and refuses to accommodate their bodies definitely reads as ableist to me

[mdhwrites]

Boscha Ask: If people like seeing bullies slowly not be jerks, why not allow Boscha to have an arc? It could have been really compelling.

(I accidentally posted this ask when I meant to queue it. Wanted to post it later so sorry the full ask isn't here. I've included the main thrust and relevant parts of the ask for my response.) You're absolutely right that it can be extremely satisfying and worthwhile to watch a bully become a better person. To see them let their guard down and see the worth in others. For them to go from defensive and worried about any weakness to being able to open up.

TOH had one of those already and her name was Amity and we all saw how that worked out right? And she was a genuine, primary member of the cast. THAT'S why I argue that the show in S2 actually used Boscha well. She appeared for a couple gags when it was the right time to do so and otherwise vanished. Her role was after all as a small time antagonist and a marker for Amity's progression. She is not Sasha who has a deep, personal tie to both Anne and who Anne was before Amphibia and that is the point of her existence. That's why I say that after Winging it Like Witches, she has no reason to be here anymore because Amity is past Boscha, past most of Hexide, and this ISN'T Amity's story.

Or hell, how about a different character who after their main narrative use was up decided to stick around, albeit briefly: Lilith. She got mistreated AWFULLY by the show because she got in the way of Hunter's narrative purpose. She couldn't continue to be a character for the sake of the new villain. She could only be a joke. And while Boscha is just the romantic interest's old bestie, this is arguably the second main character of the show's SISTER and the PRIMARY ANTAGONIST of the first season.

Just covering a proper redemption for Amity and letting the fallout of S1 actually have an effect on the show, including what should have been Lilith's rage at Belos, could have easily taken up the main plot of at least half a season. Hell, in the show we got, Lumity IS the focus effectively for S2A plotwise with how little movement is in that half season. S1 sets up threads with just those two, ignoring Eda, Luz and Hunter, that are connected to the world building and drama of the world and plot itself that evaluating it... Making someone who is almost a one off in S1 and a supporting member of a supporting cast member seemed like the wrong move to me even when I was writing her before S2 came out.

And here's the ultimate rub: I AGREE. There IS a story there. I wrote a fuck ton of it with The Power of Love. Little Miss Rich Witch flips main character's perspective over to Amity, not Luz, and makes it her story in an original context. And do you know the part of TOH's identity that story focuses primarily on? The school drama, where a school bully can be a primary, ongoing member of the cast. TOH wants instead to have a plot that's grand fantasy and that's NOT where Boscha lies, even if she would have made sense as a member of the EC eventually.

Which, tangent, for as much fun as Sport in a Storm's scene is with her, I did one off for it at one point, it also creates the problem that Boscha didn't see Hunter and try to sign up for the EC despite having no reason to not want the power that would give her.

The problem with your position is a problem with a part of modern ship culture. You love a character so OF COURSE including them as a main character would have been great for the story overall because you'd get more of them. But... Is that actually true? I love Boscha. I think she had a lot of narrative potential that was never tapped into but that was for the best because this isn't a romantic school drama.

It's an adventure, fantasy comedy and the fact that we got Boscha at all out of that is almost condemnatory of the series as much as it is praising it. Sorry.

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