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officerjennie · 3 years

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Title: As the Clouds Whisp Overhead

Summary: Jaskier gets off on Geralt's soft thighs and tummy. Literally. Geralt relaxes back and lets him, enjoying the show. Weight gain spoken of positively. Pairing: Geraskier. WC: 3.5K+

CW: smut, brief mention of weight loss due to difficult times (past)

It had been a rather easy spring, all things considered.

Geralt lazed in the field, not really watching the clouds that drifted overhead, his eyes closed and breaths deepening into an almost meditative state. The smell of wine and cheese was almost drowned out by the wildflowers about them but it was still there, as was the scent of apples, salt, the road, and the lingering oils that Jaskier had insisted on wearing ever since he’d discovered Geralt’s nose was sensitive to the others that he used to reek of.

Said bard was currently shuffling their lunch about, putting most of it away for later, humming one of his newest tunes as he folded back up the blanket he’d apparently bought for just this occasion. Though they’d eaten plenty of meals without it or the basket he’d purchased at the market as well, Jaskier had insisted that a picnic was a special affair and deserved the right accessories to make it just right.

Geralt had just let him do as he wished, not worried about his friend’s coin purse - and not worried about his own, for once. Usually the end of winter spelled a time of heavy work for him but he’d lucked out on a couple of easy and well paying jobs right off the bat - so he thought a bit of down time wouldn’t be the end of the world for them.

The song on Jaskier’s lips was one he hadn’t quite finished yet. Geralt had already heard several different renditions of the first verse alone, lyrics tweaked here and there, the exact lilt of his voice changing back and forth as he tried to settle on what he believed would sound the best. And despite his occasional grumbling over the repetition it was a rather relaxing tune, one he didn’t mind listening to.

Beyond that, there was a sort of...intimacy that came with being trusted with Jaskier’s unfinished works. The knowledge that Jaskier wasn’t always his best around him, was able to fuck around with a song and riddle the air with curses of “bollocks” and “cock” while he tried and failed and tried again to make it just right. That Geralt could see him like this and not the perfected performance that he was to the rest of the world, the mask that was firmly in place right up until the moment he didn’t want it to be.

And that moment just so happened to frequently involve witchers, whether directly or indirectly. How many times had he gone feral on someone for just saying the wrong thing about one of Geralt’s colleagues? Just early that spring he’d jumped someone for spitting on the ground over Lambert’s name, and Jaskier hadn’t even met him yet.

Something like pride welled up in his chest at the thought, though it was a quiet thing. Jaskier should be more careful, he shouldn’t be fighting their fights - but it meant the world to him all the same that he wanted to. Especially for his brothers.

“You know, I’ve never been one for cheese and crackers as anything more than a snack, but that was simply delightful.” Jaskier’s voice came closer as he talked, and the flowers and grass were disturbed next to him as the bard flopped over at his side, quickly snuggling in when Geralt moved his arm to make room for him. “We’ll have to go back and ask again what the name of that cheese was. Never have I ever given so much thought to pairing and wines and all that stuff - my youngest sister was always more interested in that sort of thing, and really if I heard her say one more time that my palette wasn’t refined enough I might have had to hide frogs in her bed again.”

Jaskier settled in nicely at his side, slotting in like they were made for each other, fit perfectly together. He chattered away and Geralt mostly tuned him out, something Jaskier loved to fake hurt over though they both knew it was just that: fake. Over the years Geralt had perfected hearing what he needed to hear and simply listened to the tune of Jaskier’s voice, the song of his highs and lows, his sighs and breaths and every heartbeat becoming the song that was his bard.

Meditation came easier around Jaskier than it did anyone else. Even around his own family it was a struggle. Lambert was a little shit at the best of times and Eskel simply existed larger than he wanted to, and Geralt was always tuned into his brothers, paying attention to them because he knew just how limited theri time was together. But with Jaskier, he could rest, relax, simply let himself be like he’d never experienced with anyone else.

His arm rested at Jaskier’s back, hand loose on his side, barely hanging on and feeling his bard breath in and out as he spoke. Jaskier’s fingers tapped a rhythm where they were rested on his chest, though eventually they moved, sliding down to rest against his stomach and making Geralt hmm at the pleasant warmth they brought.

They’d stripped earlier to bathe in the nearby river and had mostly dressed, though Jaskier had forwent his doublet as Geralt had his armor. It was nice, being out in the wild, away from the faux sense of safety that inn rooms allowed them and yet still able to be this content without his armor on. Just their loose clothing, not enough to be considered decent in any sort of societal setting, simply existing and being and just…

Geralt was content, and he didn’t consider that a bad thing. Not in the slightest.

A breeze rustled the field about them, loose silver hair tickling his face though Geralt didn’t have the bother in him to brush it out of the way or tuck it behind his ear. The air smelled nice for once, no clogging dust on the wind, no rotting anything nearby nor farms to make his nose want to clog itself. Since the summer was still a ways off the sun wasn’t too harsh on his skin, his chemise enough to keep any possible chill away though it was warm enough in this part of the country, everything pleasant and not too much.

There was also a lovely set of fingers that had wormed their way under his chemise. Jaskier hadn’t bothered to push it up, had just scooted his hand underneath, and with very gentle circles had begun to rub patterns into the soft flesh there. It was enough to make Geralt melt beneath him, a soft hmm on his lips accompanied by a sigh as he felt his every muscle relax at the touch. The winter had been extra good to him, Eskel having returned with more coin than expected from his path which had meant more meat for their stews, and the lot of them had eaten extra well.

Jaskier had never shied away from letting him know exactly how much he appreciated it when he ate well. There had been a few times on their own path that food had been scarce, and despite witchers having an accelerated metabolism Geralt had always done his best to see after his bard first and foremost - so when times were tough his body showed it, and Jaskier had played his fingers raw when he saw the worst of it just to make sure the both of them could eat their fill.

But there had been no such worries or struggles yet this year, what with the good winter and the well paying contracts that had followed. Geralt’s stomach was full and soft, protecting the muscles and other important organs underneath, and the rest of him was showing the spoiling as well. His thighs had grown softer, somewhat straining against the material of his pants but it wasn’t quite uncomfortable yet - he knew well enough to keep his clothes somewhat baggy, to make room for the waxing and waning that came with the path. His chest, too, had grown softer, encouraging Jaskier to nuzzle into it at any given opportunity.

Those calloused fingers found some of the scars that ran across his belly, caressing them gently. Some stretch marks veined their way across his skin as well, hidden at the moment by his chemise but Jaskier felt his way across them all the same, giving off a gentle sigh as he snuggled in closer and traced his love wherever he could reach.

Geralt could not have thought of a more peaceful way to spend the afternoon. The clouds blurred as his eyes slid closed at the tender affection, his breaths deepening. Deep breaths in through his nose, smelling the wildflowers. A rabbit was nearby, chomping as quietly as it could on some grass, its hops barely whispers as it braved further away from its burrow. Geralt could hear the gentle chuffing of its babies hidden away, the call of a hawk overhead that sent the rabbit scurrying. The scent of budding trees, of a little mouse that had found some seeds to munch. The scent of his bard, his oils and shampoo and the hint of river on the both of them, and the growing scent of-

A snort brought them both a bit out of the peace, and Geralt cracked his eyes just enough to smirk down at the startled confusion growing on his bard’s face.

“Really?”

Those pretty pink lips pouted up at him as if Jaskier wasn’t fully aware of what was growing in his pants. Geralt made a show of raising one of his eyebrows, raking his gaze down, down his bard, straight to stare at his crotch just long enough to get his point across before flicking his eyes right back up.

It took a few seconds for his bard to catch up, Geralt watching the thoughts clear as day on Jaskier’s face, until red spread pretty across his cheeks and darkened the speckle of freckles there. Jaskier sputtered a bit and Geralt had to bite back a wider grin, starts to words that had no finish dropping between them before Jaskier cut himself off with a whine, ducking in to nuzzle into his chest and push the rest of his body closer.

“That’s not fair, Geralt - what, can you, I don’t know, smell it or something?”

Geralt didn’t respond to that, just reached up to tug a stray curl back behind Jaskier’s ear. His bard peeked up at him with another adorable pout jutting out his lower lip, his nose scrunched up as he waited for his ‘ridiculous suggestion’ to be shot down.

But it wasn’t shot down. And Jaskier frowned, and then he squeaked, climbing on top of Geralt to straddle him and poke a very firm finger straight into the chest he’d just been nuzzling.

“You and your- your entirely unfair witcher ways! Are you telling me you could tell all this time? Every time?” Geralt didn’t stop his grin this time and the indignation just grew, hand gestures growing wider. “That is- Geralt, how am I suppose to walk through life knowing you can smell my erection? How am I ever supposed to get up of a morning knowing my every waking naughty thought will be given away? Which yes is entirely too often but you’re entirely not fair, have you looked in a mirror in the past decade? Cruelty, unfair, entirely too sexy for your own good, for anyone’s own good-”

Jaskier went on like that, ranting like only he could, while Geralt eventually tuned his words out just to listen to the lilt of his voice. And the bard made a rather pretty picture himself, straddling him like that. His chemise was loose, showing off curls of dark hair that Geralt could run his fingers through for an eternity and never be bored of it. Broad tanned shoulders, a soft stomach barely hidden underneath his clothes, his pants a wonderful shade of green that fit in with the waking world around them.

A very pretty picture, but a noisy one at the moment. Geralt sighed but Jaskier went on, wildly flourishing his hands as if it was the end of the world that Geralt could smell his arousal. An arousal that had notably not died down, still pressing against the fabric of his pants, catching Geralt’s eyes and making him tilt his head in that way that Jaskier insisted was ‘adorable’ - though Geralt didn’t think he was capable of such a thing.

His thigh twitched with a rather mischievous thought, and as Geralt’s gaze traveled back up to Jaskier’s face, cheeks still stained pink from his rather unnecessary embarrassment, he thought there perhaps that voice would do better singing for him than ranting about his dramatics.

He’d been called an asshole before, and Geralt had never disagreed with the label. But he was lucky enough that Jaskier for the most part never minded - and he greatly doubted Jaskier would mind his next movement.

As Jaskier waved one of his delicate looking wrists in the air, dandelion seeds drifting on the wind about them, Geralt shifted beneath him until he had room to lift up one of his thighs. Before Jaskier could catch his movement it pressed up into him, cutting his bard off with a gasp, his eyes fluttering as Geralt’s smile showed teeth.

“That’s-” Jaskier pressed right down onto his thigh, his hands coming down to support him, and he didn’t waste any time in making it more enjoyable for himself. Shifting down, one hand placed on Geralt’s chest to support him, Jaskier straddled his thigh and slowly ground down onto it. A pretty moan escaped his lips and his tongue darted out as if to catch it.

It was a lovely show, watching as Jaskier pressed down onto him, sought out his own pleasure by rubbing against his thick thigh. Geralt pillowed his head on his arms and just watched, not moving his leg, letting Jaskier set his own pace and feeling pride bubble up in his chest at how pretty he sung for him. On a particularly rough grind Jaskier whimpered and rutted against him faster, making Geralt’s own cock twitch - but he wasn’t really in the mood for pleasure, so he ignored it in favor of the show.

Though he made for a beautiful picture, back lit by the sun and clouds, a pretty blue above that couldn’t quite beat the beautiful blue of his eyes, Jaskier wasn’t purposely looking good for a show. He didn’t touch his own skin like he did when he rode Geralt, didn’t skim his hands down his chest and stomach to show it off. Didn’t bite his lip or run and tangle his fingers into his curls. The emotions that crossed his face were not stressed or controlled, his noises slipped out without thought, his body moving without any purpose beyond pleasuring himself - and it made it a moment Geralt wanted to sear into his memory forever. That Jaskier could let go like this for him. That he trusted that Geralt didn’t mind, trusted that Geralt did not judge him for his desires. How human Jaskier allowed himself to be, imperfect and all the more beautiful for it.

“Fuck,” Jaskier cursed on an exhale, his movements already shaking, his cock dripping enough precum that it soaked into the front of his pants. Geralt could almost feel it wetting his own. “Geralt I- fuck you’re gorgeous, so gorgeous, I want to-” his hips stuttered, breath catching on a moan, brown curls caught on the wind and dancing. “Can- can I get off on your stomach? Gods it’d be so soft, feel so good, I- fuck.”

That was something he’d never requested before. Geralt quirked an eyebrow, belying another twitch of his own cock, but he grunted out “If you must.” And he had to bite back a chuckle at how quickly Jaskier’s fingers went for the ties of his pants.

Jaskier’s cock was leaking profusely though that wasn’t anything he didn’t already know. It looked like it was aching from it, hard and red and angry when he fished it out of his pants and smalls, and Jaskier whined as he couldn’t help but stroke himself a few times. His hips bucked with it, a greedy and wanting noise slipping from between his wet lips - but then he was slipping down Geralt’s leg to straddle his hips, and his cock was pushed against the soft skin of his stomach.

It didn’t slide against him very easily. The precum leaking from the tip helped, but Jaskier didn’t seem to care, holding onto his cock and gently rubbing it against him, jaw wide and loose like it was the single most pleasurable act Jaskier had ever experienced. Geralt cocked his head and tore his gaze away from Jaskier to watch his cock rub circles on him, precum dribbling faster and catching in the hair that curled white all over his abdomen.

Honestly, Geralt didn’t quite understand it. Wasn’t entirely sure what had Jaskier’s breath coming so fast, his heart beating so quick at rubbing against his soft stomach. But he didn’t really care. Jaskier’s hips jerked and he fought to keep himself reigned in, to keep his movements steady and slow, and Geralt just watched him and let him. Let him take this pleasure, smelling the arousal coming off of him in waves, listening to the rhythm of his breaths and body and heart. And Geralt memorized every little detail, from the flutter of his long eyelashes to the way his fingers dug into Geralt’s side, nails just at the edge of biting him.

Jaskier whimpered, long and shaking, when he came. It was desperate, his face scrunching up, eyes shut tight as if he was grasping onto the pleasure with all of his might. Geralt reached out to take hold of one of his hands, letting Jaskier clench his fingers as hard as he needed, bringing them up to brush his lips against the knuckles as Jaskier spilled all over his stomach.

His bard almost collapsed onto him, but Geralt moved him before that could happen, bringing him down with a shush at his further whimpers and letting him rest once more in the crook of his arm. And Jaskier came down slow, heartbeat eventually matching the rhythm of his deepening breaths, eyes still scrunched up tight as if he didn’t want to let go of what he’d been feeling.

When Geralt ran his fingers through his curls, they were damp with sweat. He hummed, not minding, just holding him close as he melted against him.

Eventually, Jaskier stretched, letting his arm flop against Geralt’s chest and legs tangle with his once more. He almost made an effort to open his eyes. Almost. Instead he frowned lightly, nuzzling into Geralt and as he moved impossibly closer.

“Want me to return the favor, love?” His words were light things that could have been carried off by the wind if Geralt’s hearing had been even slightly worse.

In truth, Geralt was turned on. How could he not be when Jaskier had ridden his thigh and stomach so beautifully? But he thought it over for a minute, the cool breeze tickling his face with a few stray white hairs, the scent of wildflowers coming back to him as the one of arousal dissipated.

“No,” he said finally, pulling Jaskier closer to kiss the top of his head. Despite the interest his body had shown he found he wasn’t in the mood himself, content enough to let Jaskier have his pleasure and leave it at that.

Jaskier just hummed, not questioning him further, and a small smile tugged at Geralt’s lips knowing there would be no hurt feelings over it. His bard’s fingers eventually went back to lazily tracing patterns into his skin, though he made a bit of a yucky face when they found the sticky mess he’d left of Geralt’s stomach hairs. Still they were both far too content to clean up just yet, not even wasting the energy to tuck Jaskier’s softening cock back away in his pants as they laid there, relaxed, enjoying the non-harsh sun and the clouds that lazed across the sky overhead.

“Coin for your thoughts?” Jaskier whispered into his chest after a time, and Geralt grunted, not even opening his eyes to look down as he responded.

“A bigger food budget.”

A moment later, and Jaskier’s laugh filled the field around them, sharp and uncontained, a laugh that was so far away from the performance he played that it drew a chuckle out of Geralt as well. That they could be themselves around each other, that they could be so carefree and human, was the most joyous thing Geralt had ever found in his long, long life - and that they’d discovered a new way to have fun was exciting, and Geralt was certainly going to take advantage of this new discovery. How could he not, when his reward was a well-pleased bard melting in his arms.

#why did I give this smut piece such a poetic title?#geraskier #geralt #jaskier #the witcher #fanfiction #mywriting #lemony #geralt x jaskier #jaskier x geralt #geralt of rivia #geralt/jaskier #jaskier/geralt #gerskier #and now back to writing the stuff I'm supposed to be working on

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sexyglances · 4 years

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The "Rapunzel" is a Lie in Run On

My favorite theme of Run On is that it is up to you to make your own happiness in life and that you have the full autonomy to do so, no matter what anyone else says. And my favorite ways the way the drama shows that is how a) that for your own happiness you must put yourself first in your own life, b) building a personal found family with real, caring relationships is important, and c) cherishing both yourself and your found familial relationships together is key to creating a truly fulfilling life.

The idea of a Rapunzel is mentioned a couple of times in the drama, and in a way, many of the characters could fit the role of a "Rapuzel." Seongyeom, Danah, and Woosik have all been stuck in their own lonely "towers" based on society's "rules" and expectations about how they should conduct their lives. And while they all have had someone come into their lives that has made a profound impact on them, none of these people had a Prince/ess Charming swoop in and save them from their lonely towers. Instead, their prince/esses have only been catalysts for change. They may have opened the door for the Rapunzels and encouraged them out of their towers, but in Run On, the Rapunzel has to make the active choice to leave their tower. Only by their active choices to redefine their relationships with themselves and with others are they able escape the confines of duty, obligation, and expectation and learn to live life and build meaningful relationships for themselves.

The drama started off with a lot of relationships based solely on pretense only, as if circumstances are what make strong bonds. But as the episodes go on, it's demonstrated that it's not the obligation of a powerful relationship that defines the strength of a relationship, but rather the relationship strength is determined by the actions a person takes in the relationship. In the beginning, we have Seongyeom surrounded by "strong relationships," a picture-perfect successful family, an elite track team with a renowned coach, and a sports agent that gets him in photo shoots and in the press. But as we delve past the outside illusion of these relationships, we see a family that is mostly absent from each other's lives, teammates and a coach that at best Seongyeom leaves at arms length, and at worst actively talk and scheme behind his back (and do even worse to Woosik), and even Danah barely knows Seongyeom on a personal level and openly admits their business relationship is used for her personal gain. Danah is in a similar situation where most of her obligate family/business relationships are trash as well, even if they look great from the outside; and she openly admits she has no friends either. Woosik is the lowly hoobae in his track team that doesn't have enough social capital at the time to stop his bullying or get the coaches to stop looking the other way from his bullying. All of these dynamics are based on the idea they must sacrifice parts of themselves for the greater (fucked up) system at large.

Then Mijoo enters the story. As an orphan she has had to build a found family for herself her whole life. Because she has none of those pre-determined familial obligations, and is a freelancer with no business to ruin outside of her own, she isn't beholden to the same rules of conduct that seem to be holding down Seongyeom, Danah, and also Woosik. Because she had to survive on her own, Mijoo learned early on that let herself out of her Rapunzel tower long ago. Waiting for someone else who might never come wasn't going to put the proverbial self-worth food on the table. Instead, she went out and foraged for those found family relationships herself.

The other great thing about when Seongyeom confronted his father was that it wasn't because Mijoo said anything about what his father had done or that she had encouraged any specific action in that case. Again, there's no "damsels in distress" here with a hero ready to take control (the "Rapunzel" is a lie!), it's about seizing your own life for yourself. Mijoo may be "[Seongyeom's] strength" but the way he stood up to his father in a way he never has before was done alllll on his own. Seongyom, the guy that was once considered "shameless" because he felt no embarrassment in the past when he did things is now actually feeling real shame and embarassment at how his father treats the people Seongyeom holds dear. The portrayal of a loving relationship resulting in self-actualization and autonomy an incredibly beautiful sentiment that isn't really portrayed in romance stories, at least not as explicitly and openly as it is in Run On.

The other thing I want to touch on is the running theme of embracing found families in lieu of obligate families in Run On. At the beginning of the story, Mijoo, while a bit of a loner, has a demonstrated strong relationship with May, and as the story goes on, we see most of her business relationships are also real friendships based on warmth and sincerity. That same sincerity is brought on as her relationship develops with Seongyeom and as she makes friends with Woosik, Younghwa, and even Danah (Mijoo's quips to Danah may be biting but they are sincere, haha). As Seongyeom learns to build his own sincere relationships with his own found family, we also see him bloom from someone with a husk of a social net, a person who barely ever put himself and his actual emotions out there, to a person not only with strong convictions for others but convictions in his actual relationships with others. He lets himself care for others and in turn that opens himself up to the genuine care others have for himself as well.

My favorite scene demonstrating this is after Woosik's training session when Mijoo and Woosik were sitting next to each other looking over the footage. Seongyeom looked at them, not with the detached observation he would have had in episode 1, but with a bit of jealousy tugging at his heart because he wanted to be included. And then he actually expresses he wants to be included, something that would not even cross the mind of the old Seongyeom to want or express. And Mijoo and Woosik's response? They immediately met Seongyeom with warmth, and they not just let him sit down, but sit with them. Like they literally moved and made room for him between the two of them as if it was nothing. Because unlike any relationships he used to have, Seongyeom being included warmly is a given with them. They have such a natural affinity for him, that they just automatically folded him into their interaction. It was such a small scene but it really demonstrated the growth these characters and their relationships have had. There's no room for jealousy here, but there is room for Seongyeom.

And lastly, Run On drives home the importance of cherishing both yourself and the people you care about in tandem for a fulfilling life. In episode 12 we have the scene when Mijoo told Seongyeom's father that Seongyeom is not an object that parallels when he in turn told his father that his sister and Mijoo couldn't be treated like objects either. Neither Seongyeom's or Mijoo's self-worth is defined by the other person standing up for them, hell, they didn't even know each other did that. But just knowing you have that emotional support in your life is a comfort that both Seongyeom and Mijoo know what is like to live without, which makes their convictions even stronger. They've felt life without that support so they do not want the people they care for to have to continue to be treated that way. Nobody deserves to be treated as a pawn in someone else's life. And they can both boldly stand up against this treatment of their loved ones because of their self-actualization (or at least partial self-actualization, they're not perfect) in how to extrapolate their self-worth and tie it into their strength of care for others.

What else is interesting is that at the end of episode 12 when Mijoo is upset because of her verbal tussle with Seongyeom's father, I thought we would get a parallel to Seongyeom in the beginning of the series, where Seongyeom sacrificed himself for others, he was always putting himself second. But in a poignant reversal, she broke up with him not as a sacrifice for him, but for herself, because she is the most important in her own life. This is due in part because she still has that automatic defense mechanism that she can only rely on herself in tough times. That defense mechanism of relying only on herself, however, also has the beautiful reversal of that she knows that she has to work through shit herself to make herself happy. A double-edged sword mounted in a hilt of self-worth.

"Must I continue seeing him at the expense of myself?" Mijoo says. Of course we know this is an emotional strawman argument but I love that Run On has a clear message that having to hide yourself in a Rapunzel Tower for a "caring" relationship means that relationship isn't based in care at all. She also says, "I value myself more than anyone else." Mijoo can't sacrifice herself for Seongyeom's toxic relationship with his father (not that Seongyeom is asking her to, but as an orphan she feels guilty for "coming between" Seongyeom and his father even though she is at literally 0% fault in that relationship mess). Younghwa won't change who he is for Danah, and in turn Younghwa doesn't expect Danah to put him before her either. Woosik can't let his self-doubt change him into someone who has no drive. Now that he's letting himself believe in his ability to recover, he has a better support system than he ever had in his former track team. And as far as Seongyeom is concerned, even all of friends, his new found family, (Woosik, the other track dude, Younghwa, and the former track coach he brought back to coaching) take his personality and his friendship for what it is, none of them are trying to change his personality or mold him into something he's not. They've all actually expressed acceptance and affection for his personality quirks.

The isolation of a "Rapunzel" state-of-mind is being dismantled for all these characters in Run On, and it is immensely fulfilling to see the characters grow as they leave their societal expectations behind and form fulfilling lives for themselves filled with people who love and support them. Self-actualization at its finest.

#run on #kdrama #meta #my meta #heh this started out as a 5-sentence-long post about the post-workout jealousy scene and spiraled #i have meta control problems lol #also i'm including seongyeom's bio sister as part of his found family bc their relationship is now an active choice #long post

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shortnotsweet · 4 years

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The Allegory of the Tin Man, the Dictator, and the Knight: a Dissection of Ironqrow and a Character Arc of Failure

“There lived in the Land of Oz two queerly made men who were best of friends. They were so much happier when together that they were seldom apart.”

— L. Frank Baum

A brief Ironqrow meta and character analysis of James Ironwood, the ultimate screw up, in three parts.

I. Qrow and Ironwood’s Homoeroticism in Canon Source Material and its Translation

II. Ironwood’s Repressed Characterization and the Inherent Chivalry of the Dictatorship

III. Ironwood, Alone

Qrow and Ironwood’s Homoeroticism in Canon Source Material and its Translation

Within the Oz series, the Tin Man and the Scarecrow are layered within homoerotic subtext, even if it is included unintentionally. Tison Pugh’s analysis Queer Utopianism and Antisocial Eroticism in L. Frank Baum's Oz Series posits that the land of Oz as portrayed within the series is a largely asexual environment of suspended adolescence that involves the deviation of binary gender norms, and of performative heterosexuality. Pugh refers to it later as a “queer utopia”. Men are portrayed as a lesser military force to women, and heterosexuality is a flimsy presence at best; all signs of procreation within Oz are stifled. While this could be chalked down to Baum not wanting to get into the subject of sex and exploration in a children’s series, it does contribute to a particular tone with real-life critiques of capitalism and a particular deconstruction of gender norms. Ozma, who will become the ruler of Oz after the Wizard and the Scarecrow respectively, for example, is originally a boy named Tip (the name itself holds phallic implications) who is “transformed” into a girl. The strongest military force is one of all-women led by a rebellious female general. Pugh observes, “At the same time that Baum satirizes...women as leaders…he consistently depicts women as more successful soldiers than men, and female troops appear better capable of serving militarily than male troops…[the] male army comprises of twenty-six officers and one private, and they are all cowards…” and cites the Frogman’s declaration that “Girls are the fiercest soldiers of all...they are more brave than men, and they have better nerves”.

RWBY itself isn’t opposed to this kind of subversion, either in its characters or its relationships. There’s an obvious effort to include LGBTQ+ representation (albeit primarily in the background), strong female characters are prevalent and make up most of the main and supporting cast, a character’s gender is not strictly reliant on its source material, and BlackSun, while cute and a valid ship in its own right, is treated as a heterosexual red herring to Bumbleby. Additionally, there have been a lot of hints by the voice actors, writers, and creators on social media that Qrow himself is queer, the infamous Ironqrow embrace included.

Admittedly, if I wanted to write an essay about the likelihood of Qrow being LGBTQ+ or having some kind of queer identity, I would probably focus more on his relationship with Clover, which had a lot more overt and probably canonically intentional Gay Vibes, and despite having known Qrow nowhere near as long as Ironwood has, it has just as much, if not more, to extrapolate. Unfortunately, that’s not the main point of this essay, although it remains relevant. While I personally don’t doubt that Qrow has had sex with women or experiences valid sexual attraction to them, I get the feeling that it is, to a degree, a performative act and a masculine assertation of enjoyment intended as a coping mechanism. It plays into the trope of the handsome, tortured alcoholic (best exemplified, perhaps, in the MCU’s Tony Stark, Dean Winchester in Supernatural, and critiqued in the superhero episode of Rick and Morty) who sleeps around just to recall the feeling of intimacy, or because he associates sexual ‘degradation’ as a reflection of his worth. Real self-deprecating, slightly misogynistic stuff. Qrow’s recall of short skirts, as well as his brief exchange with the waitress in an earlier volume, reminds me of one specific interaction between the Scarecrow and his own love interest. Within the series, the Qrow’s source-material counterpart, the Scarecrow, has one canonical love interest, the Patchwork Girl:

“Forgive me for staring so rudely,” said the Scarecrow, “but you are the most beautiful sight my eyes have ever beheld.”

“That is a high compliment from one who is himself so beautiful,” murmured Scraps, casting down her suspender-button eyes by lowering her head.

Pugh points out that the two of them never develop this relationship further than flirtation, and heterosexuality is reduced to a “spectral presence” lacking the “erotic energy [driving] these queer narratives in their presence”. Specifically, Qrow never reveals a serious or long running heterosexual love interest - he is not the father! [of Ruby] (despite much speculation that he and Summer Rose were involved) and he and Winter never really moved past the stage of ‘hostility with just a hint of sexual tension’ - and there is no debunking of potential queerness. His interactions with Clover (deserving of an entire essay on its own) seem to support this interpretation, and is more or less a confirmation of some kind of queer inclination or identity. Again, the “queer utopia” of Oz comes at the cost of the expulsion of the sexual or the mere mention of reproduction - still, through this device, same-sex relationships gain a new kind of significance with the diminishing nature of heterosexuality. Speaking of queer narratives, the Scarecrow and the Tin Man have the most tender and prolonged relationship of perhaps all the characters in the series, exchanging a lifelong commitment:

“I shall return with my friend the Tin Woodman,” said the stuffed one seriously. “We have decided never to be parted in the future.”

Within the source material, the Tin Man and the Scarecrow voluntarily live together, and are life partners in nearly every sense of the word. The second book in the Oz series is The Tin Woodman of Oz. In summary, the Tin Woodman recalls that he had a fiancée before the events of the first book, forgot all about her, and now must search her out so that they can get married. Who does he ask to accompany him in this pursuit? None other than his no-homo life partner, the Scarecrow. Although this sounds like a stereotypical heteronormative storyline, “this utopian wonderland...rejects heterosexual procreation...First, the Tin Woodman does not desire...Nimmie Amee...” and even acknowledges that due to the ‘nature’ of the heart that the Wizard had given him, he is literally incapable of romantically or passionately loving or desiring Nimmie, and by extent, women in general - to me, that works perfectly as an allegory for a gay man who is literally incapable of experiencing legitimate heterosexual urges, but ‘soldiers on’ out of obligation and societally enforced chivalry. “The Tin Woodman excuses himself from the heteronormative imperative...Only his sense of masculine honor, rather than a heteronomratively masculine sex drive, impels the Tin Woodman on his quest to marry his long-lost fiancée.” Again, Ironwood’s character follows the lines of propriety within the sphere of the wealthy elite, and his persona as a high-ranking military man and politician, as well as the conservative values instilled within Atlas, prioritize duty and obligation. This kind of culture is stifling and in a lot of ways aloof, as the upper class deludes itself into believing that it is objectively better and more advanced than its neighboring territories. *ahem the myth of American exceptionalism ahem*

“There lived in the Land of Oz two queerly made men who were best of friends. They were so much happier when together that they were seldom apart.”

I think it’s funny that the characters that Ironwood and Qrow are based off of are canonically the closest of friends, who coexist almost as a unit. In contrast, the first introduction we get of Ironwood and Qrow is a hostile exchange where they’re at each other’s throats, never on the same page, and never in sync, not when it matters. Indeed, Qrow snaps at Ironwood for his lack of communication, which is a recurring issue between the two of them on notable occasions. If the source material is anything to go by, there should be a significant relationship between the two of them, or at least some kind of connection, even if it goes unspoken or unacknowledged. To be fair, in RWBY’s canon, I think there is.

I’ve seen this joke that while Qrow hates the Atlas military, the only people he really seems to flirt with is Atlas military personnel. “Ice Queen” is something I interpreted to be partially hostile, partially mocking, and partially flirtatious, in equal spades - the voice actors and creators have indicated that it was flirtatious, and there was a whole Chibi episode dedicated to the concept of Qrow and Winter’s extrapolated sexual tension, albeit in jest. I might argue that his use of abbreviates aren’t reserved for people he dislikes, but for people who bring out his playful side. “Brat”, “Pipsqueak”, “Firecracker”, and “Kiddos” are all drawn from a place of affection, however short or mocking it may seem, because that’s what crows do: they mock others.

Qrow has little nicknames for people; while it’s not exclusively a sign of affection, I do get the feeling that ‘Jimmy’ is an informality that irks Ironwood, but can also be interpreted as Qrow giving James what he needs, rather than what he wants.

Glynda is by no means a pushover, but in assuring him that while he does questionable things, he’s still a good person, she’s softening the blow and probably further enabling deeply rooted and pre-existing traits, many of which contribute to his problematic control complex. It is established early on that Qrow resents the military (as he should), and it is implied that he’s spent a fair amount of encounters harassing and provoking military personnel (Winter being the most evident example of this), and has insulted the military numerous times to Ironwood’s face. He lectures Ironwood about the way he conducts his operations, his inability to communicate, and basically what a complete, inconsiderate asshole he really is.

What Ironwood needs is someone who operates outside of the pretense that he works, breathes, and lives under, and just tells it like it is. Jimmy isn’t all that - he’s a person, just like the rest of us, and he can flaunt all the titles that he wants, but James stripped down is still just Jimmy.

Qrow also is the kind of person who pries, who is insistent, and not particularly sensitive. For someone like Ironwood who has a lot of (physical and emotional) barriers, logically, in order for him to receive genuine understanding, Qrow fits the profile of someone who is invasive but not exploitive, who sees past the cracks in his armor and takes him for what he is. What is just important is that whoever Ironwood is with is someone who makes him want to try not only to be better, but to be real; thematically, General Ironwood seems to have a great respect for but a deep struggle with authenticity. He clearly resents the ignorance and frivolity of Atlas’s wealthy elite, as evidenced by his support for Weiss at the dinner party in announcing that “she’s one of the only people making any sense around here”, while struggling to project the facade that he’s carefully created.

See, we don’t have evidence that there is something going on between Ironqood and Qrow so much as we have enough evidence to inconclusively say that there’s not not something going on. I think there’s enough evidence to support the idea that something could be going on, or was going on.

When Qrow saves Ironwood at the Battle of Beacon, who is under the false impression that Qrow believes him to be the culprit of the attacks, his eyes follow Qrow and we get a closer shot of his awed expression; we the viewer can only imagine what he sees as Qrow arcs through the air and slices down a Grimm from behind his back. The focus on Ironwood’s expression portrays something like shock (so Qrow wasn’t trying to attack me after all, but then what the hell is he doing?), maybe wonder (I can’t take my eyes off of him, I can’t look away), maybe respect (I know he’s a good Hunter, but I’ve rarely seen him in action), but it is unfiltered nonetheless. In a show where fight scenes are vital to the progression of the story itself, the dynamics of these fights are at their best when they are character driven, whether it is revealing or reinforcing something about the characters and their relationships, or it is deciding their fates. There’s something to be said about characters being given moments together in battles, and what that says about the significance of their relationship. The best example of this might be the battle between Blake and Yang vs Adam; it served to give Adam what he deserved, help Blake and Yang reach closure in certain aspects of their own trauma, and solidify the bond between the girls. Similarly, Qrow and Ironwood’s moment is meant to reveal a theme that will later be revisited in volume 7; trust. Ironwood is startled but not shocked when he believes that Qrow distrusts him to the degree of attacking him, and is ready to attack or defend as needed.

Qrow tells him what he needs to hear, more or less: YOU’RE A DUMBASS. Ironwood is, indeed, a dumbass. While he does extend the olive branch of trust and good will to CRWBY and co. this trust is highly conditional and proves to be, while from a place of desperation and sincerity, at least partially performative.

When Ironwood snaps, he snaps hard.

Amber’s voice actress tweeted early on, joking that Qrow has two Atlas boyfriends, and Arryn has made comments, too. It’s one of the older ships, and the crew is certainly aware of it (“...extended chest bump...”).

Kerry has stated that he finds the Ironqrow relationship interesting, and wishes it had been explored more (additionally, allegedly lobbying that Ironwood’s arm in the Ironqrow hug scene be slightly lower). I’m not saying that they’re going to both make it out alive, or canon, or even that romantic subtext was intentionally woven into the script. All I’m saying is that I think their relationship is interesting too, especially when the subtext of their source material relationship is taken into context, and the way their characters are positioned is suggestive of some sort of compatibility, even if it is a hit or miss kind of opportunity, and I have the sinking suspicion that it was missed on both accounts.

The Tin Woodman of Oz concludes,

“All this having been happily arranged, the Tin Woodman returned to his tin castle, and his chosen comrade, the Scarecrow, accompanied him on the way. The two friends were sure to pass many pleasant hours together in talking over their recent adventures, for as they neither ate nor slept they found their greatest amusement in conversation.”

Ironwood’s Repressed Characterization and the Inherent Chivalry of the Dictatorship

“I don’t give a damn about Jacque Schnee...what about the other two? Do not return to this office until you have Qrow Branwen in custody.”

“And that’s not all we’ve lost...I had Qrow in my hands, and I didn’t do what needed to be done.”

Observe: Ironwood, at this point, does not care about politics. I doubt he’s ever wanted to, or ever liked it (if his tired outburst at the dinner party is any indication) but his Knightly qualities (we’ll get to that) have, up till this point, prompted him to adhere to them for both power and etiquette. James surrounds himself in a world that he understands and despises; more than anything, he’d like to be a general, a commander, and the Knight in Shining Armor archetype, because warfare is something he understands. It is a testament to his (superhuman) willpower that he forces himself to become fluent in the language of politics, and to live and breathe in it. To clarify, Ironwood sees himself as a man who does what needs to be done; if he wants to change and control Atlas, he will have to involve himself in its politics.

Likely, his resilience has contributed to the way he views himself and what he deserves, as someone long-suffering and almost martyr-like, a silent hero doing what needs to be done. But at the moment, he’s lost his goddamn mind coming undone. He’s murdered and jailed his political dissent (and might have considered executing prisoners), but at this point, that’s all that Jacque and Robyn are to him. First he dismisses Jacque, narrows it down to the two escaped prisoners, and finally reveals what’s really on the forefront of his mind: Qrow, free and out of his hands.

[ When recalling this dialogue, please do so while imagining a bad recorder cover of the Titanic music playing over the background. Here is a sample. ]

In the most recent episode, Ironwood seems to have gone off the rails even further. The fact that Winter, his most faithful lieutenant, is losing her unshakable faith in him, says a lot about how hard he’s fallen off the deep end. In Winter’s mind, I think that she sees him almost as a surrogate father figure, or at least a patriarch who can be positively compared to Jacques in every way. The previous volumes go to lengths to compare the two as adversaries and showing James in a favorable light; Winter is in her own personal horror right now, because she is beginning to understand that Ironwood is a man who may not be her father but is just as susceptible to corruption, and may have been that kind of person all along. Skipping over the...ah, genocidal tendencies, and the fact that he’s proposing to kidnap Penny’s friends to force her to obey him and likely is starting to realize that Winter is the perfect bait (let’s just say that “Ironwood is not good with kids” is the understatement of the year) Ironwood wants Qrow back (in captivity), I think that it’s significant that while Ironwood registers that Robyn is gone as well, his first priority is Qrow, probably for two reasons. On one hand, he still refers to Qrow by his first name, instead of the formal Branwen. Of course, that doesn’t have to mean anything at all. They’re colleagues within the same age range, both members of the same secret brotherhood and similiar skill sets.

On the other hand, it reminds me of the moment when Qrow and the kids first fly into Atlas, and they see the heightened security, and Qrow mutters, “James...what have you been doing,” under his breath, sounding concerned, apprehensive. He’s not addressing the kids, he’s talking to himself; he regards James much more seriously both as a potential threat and a friend than he’d rather the other know, and I think that James’ focus on Qrow at this point is similiar, only not only is this a sign of them knowing each other well, but of Ironwood’s slipping control. He offered Qrow his trust and camaraderie, his last attempt to keep a handle on his humanity (or, his heart). Qrow, in return, withheld vital information, got close with another operative instead, then allegedly killed him and and escaped ‘rightful’ imprisonment.

The Tin Man is offering Qrow his heart, at least proof of it, and the Scarecrow [and co.] steps back to observe the situation, and assesses that no, what you are going to do is wrong, and I cannot agree with it.

Ironwood is not an objective person, as much as he wants to be. He’s angry, desperate, scared, and humiliated. Worst of all, he’s rebuffed, and he’s taking Qrow’s escape personally. First, he understands that Qrow is a threat. He’s Ozpin’s best agent, he has years of field experience, and he knows too much, probably more than James knows. Second, they have history.

My personal interpretation of Ironwood is something this:

He’s a sad, sad, lonely bitch. What Ironwood longs for, just like his source material counterpart, is a heart. He will go to any lengths to achieve this, because he believes that he has self awareness and therefore is able to check and balance himself. He treats his subordinates well, is diplomatic, skilled in a variety of trades, fighting the good fight, and longs for the affirmation that yes, he is a good person, and yes, he’s had a heart all along. He just strays from the path, and loses his way.

This is symbolically represented by his partially mechanic exoskeleton; we have no idea how far the cyborg extremities extend, or how deep, but we do get the visual notion of humanity in conflict, or a man’s soul deconstructed and split between the cold efficiency of machinery and the very real warmth of a human body. Ironwood wants to appear human, and benevolent, and genuine, and in return, loved; he is human, and he could be all of these things. If my reliance on the source material holds any merit (although I highly doubt it), then there is also a potential struggle with sexuality, (Glynda herself even explicitly and exasperatedly references a testosterone battle between Ironwood and Qrow, suggesting a regular overassertation of masculinity) and a further incentive to achieve love and subsequent acceptance.

To clarify, I do believe that there were less-than-subtle allusions to Ironwood and Glynda having a vaguely flirtatious history, taking their shared scenes and background dancing into account, but this, again, does not “debunk” the presence of queerness within a narrative; it could be an assumption of heterosexuality, or performative itself, or just not an exclusive interest. Besides, Ironwitch isn’t what this essay is about. I’m not trying to persuade or dissuade someone of the notion that Jimmy is gay, or straight, or something else, only that the potential ambiguity exists. What I do think is most important is that James doesn’t openly ward people away, not when those people aren’t under his command and are technically outside of his jurisdiction. He’s friendly with Glynda, tries to extend trust to Qrow, is kind to people in the aftermath of battle, and overall clings to diplomacy as his first weapon. He wants to be accepted, to be liked, and to be welcomed. This is not an outrageous want, nor is it uncommon. Unfortunately, Ironwood’s understanding of love and acceptance is entangled within the concept of control, and he associates unquestioned compliance with this Want.

Ironwood’s introduction into the series shows him being openly cordial, and very considerate, especially his interactions with Glynda and Ozpin. He’s a gentleman, he’s apologetic, and, as Glynda assures him, he’s a “good man”. She doesn’t really elaborate on what a “good man” is, exactly, but we might presume that a “good man” is a person with good intentions, who strives to do what’s right, regardless of his options.

Here’s the thing - one similarity between Ironwood and the Tin Man is that they both have the capacity to love, but they fool themselves into thinking that they don’t; before the Wizard gives him a ‘heart’, the Tin Man suggests that he is only kind and considerate to everyone in Oz because he believes he needs to overcompensate for what he lacks, and is therefore doubly aware of how he treats others. However, the Wizard knows no real magic, only tricks and illusions, and what he gives the Tin Man is essentially a placebo that enables the Tin Man to act towards and feel about others the exact same as he always had, only with the validation that what he feels is authentic. Similarly, Ironwood has always had the option to be empathetic and not fucking crazy open to collaboration, which he’s very aware of, until his own paranoia cuts into his rationality and compels him to cut himself off from all allies and alternative perspectives. He then uses his difficult position and responsibilities to justify unjustifiable actions, to rationalize irrational urges, and to gaslight and brainwash his subordinates into compliance.

The Tin Woodman knew very well he had no heart, and therefore he took great care never to be cruel or unkind to anything.

“You people with hearts,” he said, “have something to guide you, and need never do wrong; but I have no heart, and so I must be very careful. When Oz gives me a heart of course I needn’t mind so much.”

Qrow sees through this, however, and not only seems incapable of following orders himself, but disrupts the decorum that Ironwood is used to. In return, I think we see a little more of James that he’d like to reveal.

“If you were one of my men, I’d have you shot!”

“If I was one of your men, I’d shoot myself!”

In case this entire ass essay doesn’t make it obvious, I do really ship Ironqrow. I’m open to other pairings, definitely, but this one in particular is just more interesting to me. It feels more revealing, more subtle. I have more questions.

In hindsight, maybe the dialogue example above ^ didn’t age well, considering where they’re at, but I do like how their professional animosity is flavored with a kind of camaraderie, and understanding. This exchange isn’t exactly playful, but they’re taking each other seriously - and, like repressed schoolboys, taking the piss at each other in a childish way, and isn’t that part of the fun of banter, when they’re so focused on each other that they forget to act their age? In a lot of ways, this is a really fun dynamic to watch. They’re opposite-kind-of-people, which I like, at least on a superficial level, and I can easily imagine them tempering each other in ways that would make them ultimately happier people.

They even look well-coordinated, with similar color schemes that lean on the opposite sides of the shared spectrum (white, grays, reds and black); I think the decorative design on Qrow’s new sleeves are supposed to be more ornate simply to communicate that Qrow is committed, and willing to be sentimental, but some viewers have suggested that it resembles the pattern on James’ weapon, Due Process (the revolver is based off of the Tin Man’s pistol, although, curiously, in The Wizard of Oz, the Scarecrow was the only character to carry a pistol, and the commentaries suggest that the 2007 Tin Man miniseries was the “basis of the allusion”. Does that mean anything? I don’t know. Probably not.). Still, it raises the questions: who was in charge of designing the team’s new clothes and gear? How much input did Atlas get, and was this intentional? Personally, I think that the vine-like pattern on Qrow’s sleeves also bear a resemblance to Ozpin’s staff, a subtle reaffirmation and foreshadowing of his allegiance in contrast to Ironwood, but I digress.

They can also deliver that UST kind of banter that takes up their attention, and get up really close to each other, in each other’s faces, and just be pissed, which I think is very sexy of them, mhm. Enemies to Colleagues to Reluctant Friends to Lovers is a trope that I very much appreciate. Gaining some sort of common ground at the Battle of Beacon only to reunite, tired and battered, after the shit has already hit the fan? Slow burn kinda vibes.

That hug between them was something genuinely vulnerable and a sign of Ironwood letting his guard down because he is tired as fuck. It also was uh...kinda fruity.

Ironwood approaches closer, and Qrow scratches the back of his head, a characteristically nervous gesture that he’s made before; it’s a nervous twitch, manufactured nonchalance. He has no idea what Ironwood wants, but he does know that Ironwood wants something. James is the one to initiate the hug, and Qrow startles and even freezes up before relaxing into it. He seems suprised, but gives the bisexual eye roll of grudging fondness. This is out of character for James - Jimmy - but Qrow doesn’t think that Ironwood is a bad person. He leans into the hug, and the camera cuts out before they separate, suggesting that they probably end up standing there for a long ass time. You can also see from the side shots that it’s a close hug; their torsos are pressed up against each other, front to front, and there’s not a lot of wiggle room. James must be really goddamn depressed. It’s a long, manly, intensley heterosexual hug. Like I said, kinda fruity.

Other people have analyzed the hug shot for shot, so I won’t get too into it, but I think that it was intentionally left as a double red herring; some people thought that maybe he bugged Qrow, and after finding out that he didn’t, we were forced to conclude that this is a genuine olive branch. To find out that Ironwood is sincere but was still susceptible to corruption is that second subversion that I didn’t really expect. I hadn’t prepared myself for it, at least, and neither did Qrow. I wouldn’t go as far to say that Ironwood’s descent into fucking craziness paranoia is triggered by Qrow not ‘reciprocating’ or something, but I do think it’s interesting how the volume opens up with a signifigant interaction between Ironwood and Qrow, only for Qrow to spend the rest of the volume homosexually bonding with Clover, while Ironwood basically has no one as emotional support (again, his subordinates do not have the power or the place to be viewed as equals and the veil of formality is one of isolation). Qrow initiates nothing further, and nothing further happens.

Ironwood’s downfall, in a thematic sense, is that what he Needs is a heart, and when he gets that chance to demonstrate tolerance and empathy, James ultimately rejects his Need (a heart) and his arc reverts into one of villainy. To be specific, Ironwood is essentially a fascist dick, and that is not very sexy. (Speaking of dicks, the thought of Ironwood’s dick makes me laugh. I bet in the RWBY universe, people have made memes about that. I do not accept criticism because I am correct. Anyway,).

Dictators are charming, charismatic, and one of the pillars of their method is absorbing potential political opponents into their own administration to reduce the threat of rebellion, to appear openly tolerant to their supporters, and to further consolidate power. A good example of this would be Mean Girls, which runs on a comedic commentary of dictatorships as a political structure of power. I hate to compare James Ironwood to Regina George, but Regina’s posse includes Karen and Gretchen, two of the only girls who might take away from the authority she holds over the rest of their school, both in their wealth and attractiveness, and Cady’s interesting backstory and conventional attractiveness is the main reason Regina draws her into her own sphere - because she detects a potential threat. Much in the same way, while Ironwood likely has good intentions, his efforts to win over team RWBY and co. - including Qrow himself - is a logical way to consolidate resources. His willingness, at first, to cooperate with political opponents (ie Robyn) is because he’s not inherently evil, and he has nothing to lose. It’s when he is openly opposed and diplomatic gestures no longer hold the necessary weight that he snaps.

In one really interesting meta about Ironqrow’s archetypes (that I reread occasionally just because I really love it), @onewomancitadel posits that Ironwood is framed within the archetype of the Knight in Shining Armor, which should inform us of the moral consistency of his character. The meta was written around the beginning of volume 7, I think, and obviously we have a lot more character development and information to go off of now, but I think she makes a really interesting point about the nature of parallels and how that might help drive Ironwood as a character. I love her analysis of the visual of Ironwood stepping out of an airship wreckage, onto the street, the smoke billowing around him to reveal his cyborg prosthetics, and of the intentional framing. Once his uniform is stripped back, we see a man who is literally half-armor, which could be indicative of a lot of things. He’s emotionally guarded, he’s used as a human weapon, and he wants to be a line of defense. In her words, “The symbolism is really obviously put into perspective of his actions in trying to do the right thing: in the flesh (his true physical self) he is literally a knight in shining armour. From the ground up. Even if it's unseen or distorted by his uniform, his nature is still true.”

While Ironwood clearly has gone down a darker path in the most recent volume, I think this analysis holds true in a crucial way. “Ironwood is working with different information, and he’s doing exactly what he knows: stick to his knightly virtues, even disgraced.” Disgraced, indeed. Ironwood is holding onto his knightly values, and doing what he believes is right. If not right, he believes that it is necessary. The problem is that these values are manifested within Atlas’s sociopolitical-military culture in an inherently toxic way - his response is, at this point, neither rational nor empathetic, but it can be explained partially due to his cultural (flawed) understanding of justice, and because of the extenuating circumstances. The harsher the conditions become, the more difficult it is for anyone to project a facade that is not sincere at its core. If James is to uphold his Knightly virtues, he needs to be a protector, a leader, and a servant all at once while operating under limited intel with dwindling trust. All he has left are the few key players still in his grasp, and the control of the people he is responsible for.

To digress: generally, knights take an oath. It could be to a King, or Lord, or some noble, but Knights are supposed to operate on a code of honor, and chivalry, and to uphold these values throughout the land as an extension of whoever they have pledged themselves to. The story of Sir Gawain and the Green Knight is a really good example of the way that, back in the day, chivalry and honor was supposed to place knights on a moral high ground compared to the common people.

In the middle of a celebration in Camelot, an obligatory tradition that has since lost real value but is rehearsed because Camelot fears that failure to uphold traditions that once had meaning is disrespectful, a Green Knight interrupts the celebrations and offers a strange challenge that boils down to a fight to the death. Gawain volunteers because accepting this challenge is what is expected of him, and Arthur would be humiliated if his knights, supposedly the best in the world, would not rise to the challenge. Gawain - and to a certain extent, the rest of Arthur’s knights - are fickle, in a sense, because their adherence to this code is performative, and it allows them to delude themselves into moral superiority and lie both to the commoners and amongst themselves; their identity as knights is based on a falsehood. Gawain is offered the first blow, and after beheading the Green newcomer, is horrified to see him become reanimated and immune to mortal blows. He invites Gawain to receive his own - likely fatal - blow, and gives him a time in which to meet, before promptly leaving.

Throughout the story, Gawain is tested in a variety of ways - in his final test, he fails, and allows his greed for self preservation and the fear of death to lead him to lie to his hosts and proceed to his meeting with the Green Knight under dishonest pretenses. While he is spared at the last second and becomes a better person (after it is revealed that Morgan le Fay orchestrated the ordeal to spook Queen Guinevere) - and by extent, a truer Knight, by the end of the story, the superficial and hypocritical nature of Arthur’s court is still in question, and still unanswered.

See, the entirety of Gawain’s trials was a test, not necessarily for him, but for Arthur and his court as a whole. Morgan wanted to prove the fickle nature of Arthur’s knights. The Knights of the Round Table were considered the best in the land, and to discredit one was to discredit all. What use is tradition if the meaning is empty, what use is chivalry if it is performed for reward instead of merit, and what use is loyalty if it is blind and unearned? Returning to Oz, the Tin Woodman, or Tin Man, grew to be made of tin because his axe became enchanted by the Wicked Witch of the East to sever his own body parts instead of the lumber he tried to cut down. A nearby tinsmith replaced each amputated limb with one of metal, until his entire body became tin and his meat body had been entirely discarded. Something to note is that Nick Chopper’s, (General Ironwood’s) wounds are technically self-inflicted. Each time he swung his axe, he made the decision to continue, knowing of the end result each time. In losing his bodily functions, the Tin Man believed that he had lost his humanity and ability to love.

The tragedy of his origin story draws a pointed correlation to Ironwood’s current dilemma; his unwillingness to stop, his self-imposed isolation, playing into the hands of the witch, and finally, the decision to let go of his ability to love remain consistent throughout both stories.

Watts even refers to Ironwood as a “Tin Solider”; a reference to the Tin (Woods)Man, no doubt, but could also evoke a soldier clanking around in metal armor. Ironwood is a Knight in Shining Armor, through and through. He wants to save the world, but at the terrible cost of civilian autonomy and possibly life. The problem is that he’s pledged himself to a discriminatory and hypocritical system, and his code is something that can easily be misconstrued by fear ( @disregardcanon ), much as Gawain’s own values. The Tin Man is, after all, still a man, and if we’ve learned anything from real fairytales, it is that men are fallible, whether or not they are made of metal.

Ironwood, Alone

he’s a lonely bitch

I know I f- up, I'm just a loser

Shouldn't be with ya, guess I'm a quitter

While you're out there drinkin', I'm just here thinkin'

'Bout where I should've been

I've been lonely, mm, ah, yeah

— Benee, Supalonely (2019)

You do get the sense that Ironwood is riddled with self-loathing conflicting with pride, with self-doubt clashing with competence, and that he is the kind of person who longs for things without verbalizing. Maybe his dad never paid enough attention to him as a kid. Maybe he suffered some terrible physical and emotional trauma, which might as well be assumed, given the extensive nature of his cybernetic limbs. Maybe (probably) he’d be more well-adjusted and would’ve made better decisions if the people around him trusted him and were a little more open. To be fair, though, he is the one at the wheel, and he is making the calls; no one else is to blame for his mistakes, and to pretend otherwise is to deny him accountability. I think we do enough of that in everyday life, in excusing powerful men of their responsibilities. To his credit, I do think he wants to help people. I think James also wants to project the personality of a leader who is stoic, controlled, and measured. He is charming when he wants to be, sympathetic when it suits him, and influential in just the right areas. He is not a sociopath, but he is a politician, and in a lot of ways, those are the same thing. We see in his brief flashes of temper, often prompted by Qrow, or most notably by Oscar, that this is not a calm, stable person. This is someone is on the verge of exploding, who is so fucking angry that he is not in control that it’s killing him, and so he is going to lash out and kill the things that are not within his grip. If the people beneath him will not reciprocate the heart that he offers, then he has no real use of it. James Ironwood does not begin this story as a bad person. This is a tragedy, in however many parts it takes.

I read, in one very smart and very put-together analysis that I cannot find and properly credit at the moment, that part of Ironwood’s (many) failures can be seen in Winter, and how, like Ozpin, he has appointed a woman as his talented, no-nonsense, second chain in command at his right hand. In this way, Winter is an intentional parallel to Glynda, who is, without question, a bad bitch. In theory, surrounding yourself with strong individuals is a demonstration of self restraint, in implementing your own checks and balances. James wants to project that he is powerful, yes, but he is reasonable.

I take this to mean that, to some degree, even if it’s unintentional or subconscious, Winter serves to boost Ironwood’s ego.

The issue with this is that within the inherently hierarchical structure of the military, Winter cannot question, undermine, or challenge Ironwood in a way that is particularly meaningful and their relationship is one of commander and subordinate before colleagues or equals (link to a fantastic post about Winter’s role as the Good, Conscientious Soldier by @fishyfod). Whereas Glynda is free to argue with, converse, and be as combative as she needs to be with Ozpin (although their power dynamic is arguably one of commander and subordinate albeit informally), Winter cannot temper Ironwood effectively, and through the illusion of equality, Ironwood is further isolated.

His head and arms and legs were jointed upon his body, but he stood perfectly motionless, as if he could not stir at all.

Dorothy looked at him in amazement, and so did the Scarecrow, while Toto barked sharply and made a snap at the tin legs, which hurt his teeth.

“Did you groan?” asked Dorothy.

“Yes,” answered the tin man, “I did. I’ve been groaning for more than a year, and no one has ever heard me before or come to help me.”

The Tin Man needs oil to lubricate his joints; without it, he cannot move, and he is rendered helpless and inanimate. When Dorothy and the group find him, he is entirely isolated with no one in sight, and he has been there for such a long time that he has begun to rust. Similarly, Ironwood needs valued voices of dissent to keep him in check. His colleagues were able to serve that purpose in the beginning, and out of them, Qrow is the best example of someone who doesn't take his shit, openly questions him, and looks down on the performative decorum of the military culture that Ironwood is surrounded by. What Ironwood needs is to be flexible and adaptable; his Semblance, Mettle (heh, metal, very nice pun, RoosterTeeth), is a double edged sword in that it gives him supernatural focus and willpower - enough, perhaps, to flay/chop off your own limbs - but it blindsides him, and is only further prolonging his pain.

There is a lot of sympathy to Ironwood’s character, as much as I’ve ragged on him for being an authoritarian, kind of a dick, and bad with kids. There are moments, such as the previously mentioned dinner party, where he shows his colors a bit, and when he assures the students at the Vytal Festival that there’s no shame in leaving before the battle begins, and in giving Yang a prosthetic arm before her father even has to ask. As far as Generals go, it seems that he’s seen soldiers come and go and understands, at least in his best moments, that not everyone is the same, and not everyone has power of unflinching determination to rely on. Ironwood performs his best when he tempers himself because he understands himself, and others. It’s when he fails to self-reflect that his hypocrisy shows through. Glynda points it out, too, as does Qrow; Ironwood advocates for trust but often fails to give it himself, going behind Ozpin’s back, being absolutely shit at field communication, and now the whole fascist, borderline-genocidal keruffle he’s gotten himself into.

I think that Ironwood reaching out to Qrow was his ethical last stand, his last chance and conscious effort to choose the right path. Qrow is unequivocally an equal, not like how Ozpin is the Big Boss, the authority that James becomes disillusioned with and tries to overthrow. He wants someone to trust, desperately so, and Qrow wants that too, but narrative subversion has hands. The Scarecrow and the Tin Man have no brain and heart respectively, and are in need of them. As it turns out, Qrow is actually a pragmatic guy with solid principles angled against authoritarianism, and Ironwood is a dick who would rather enforce martial law than to empathize and tame his military-shaped boner for one second.

I might conclude that someone like Qrow might be best for Ironwood, but that does not mean that someone like Ironwood would be the best for Qrow. Qrow has a brain after all, but Ironwood does not choose his heart when it matters, case in point. Even the intro of the current season features Salem and Ironwood on a chessboard; his white pieces are disappearing, dissolving into dust, as hers transform into Grimm. Ironwood is isolating himself by depleting himself of allies. As this post by @hadesisqueer points out, Ironwood isn’t even positioned as King, the supposed commander, but the Queen, the most versatile player on the board that is so far underused, since he hasn’t moved from his spot. Ironwood’s refusal to unify against Salem is his failure to strategically utilize the best resources that were available to him; soon, the pieces will be swallowed by the dark.

James is guilty of something that a lot of us are guilty of: doing a Bad Thing for what we have convinced ourselves is a Good Reason, when in reality, it is actually a lot of Very Bad Reasons. James Ironwood is a Knight archetype, through and through, and he is charging forward to do the right thing. He is afraid, he is lying to himself, and he will never surrender.

“All the same,” said the Scarecrow, “I shall ask for brains instead of a heart; for a fool would not know what to do with a heart if he had one.”

“I shall take the heart,” returned the Tin Woodman; “for brains do not make one happy, and happiness is the best thing in the world.”

Dorothy did not say anything, for she was puzzled to know which of her two friends was right, and she decided if she could only get back to Kansas and Aunt Em, it did not matter so much whether the Woodman had no brains and the Scarecrow no heart, or each got what he wanted.

The lesson of James Ironwood is a lesson of failure, and of the way that we succumb to fear, because that is Salem’s agenda, really, in the end: fear. It’s the negative emotions, fear being first and foremost, that draw in and empower the Grimm, and it’s fear and uncertainty that causes chaos. It is when Dorothy’s friends give into their fear that they are truly defeated. FDR’s assertion that “The only thing to fear is fear itself” holds true here; it’s not so much that these characters are afraid of losing their lives, their loved ones, and of the dark, but that they do not have the love or the resources to be brave for themselves or for others.

Qrow as a character is introduced as one who is already defeated, in a sense. Half of his team is gone, dead or estranged, he’s forced into the shadows of espionage to protect a world he knows is darker than it should be, and he’s fighting a losing battle with alcoholism. As charismatic as he’s written, he’s referred to as a “dusty old crow”, a hunter of renowned skill but past the prime of his life.

Dorothy’s three titular companions are defined by what they lack; in the same vein of the Disney I Want song (a main character’s main monologue song in which their wants and desires that motivate them throughout the rest of the film is laid out in song; ie Part of Your World, Reflections, How Far I’ll Go), the Lion, Tin Man, and the Scarecrow want bravery, a heart, and a brain respectively. RWBY relies on flipping the script of its characters based on what the audience might expect from the source material; Ruby is not just a helpless little girl - her introduction is a badass with a scythe. The Scarecrow is a chronic alchoholic. Cinderella is a victim of abuse, and is also a villain who wants to set the world aflame. Subversion, subversion, subversion.

There are obviously parallels between the characters in RWBY and in their own fairytales to keep them in character, and part of the fun is spotting those clues and occasionally connecting the dots to anticipate the direction of the narrative and certain connections between characters and the significance of their arcs. While I’m not aware of Dorothy Gale’s RWBY counterpart, if she has already been established or is yet to be introduced, I don’t think it’s unreasonable to assume that Ruby has adopted a Dorothy-eque persona and can act as a surrogate in a way. She begins as a sweet, naive child eager to join a world of color and excitement, who initially believes that she has “normal knees” and is thrust into a political scheme full of powerful and older players. She even has a small dog as a companion, Toto Zwei, who seems like an odd addition, since he’s usually sidelined and basically forgotten about except in a few spare moments, unless he’s there to draw further comparisons to Dorothy. She may not be from Kansas, but she is first helped by Glynda (the Good Witch), and later expects assistance from Ozpin, Qrow, and the later Ozian counterparts. I find it a peculiar detail that for Ruby to be Little Red Riding Hood alone, she is surrounded specifically by Dorothy’s companions. This, of course, only increases the importance of the relevance of the Oz series in particular and the characters that are borrowed.

In the case of Ozpin’s inner circle, Dorothy’s closest comrades (sans Toto) differ in crucial ways to their source material. (After finishing this essay, I found a much better, condensed explanation by @neopoliitan )

Disillusioned by the Ozpin, the Wizard (who has been projecting an illusion of a failsafe) and overwhelmed by the rise of the Wicked Witch of the West, Lionhart (the Lion), gives into his cowardice and ultimately forgoes the arc and redemption of his character from the source material; as such, he is by all definitions, a failure and a premonition, as Ironwood eventually follows. If RWBY is a dark take on classic fairytales, then it is only fitting that these characters are charred husks of their fairytale selves - these are people, and some people are selfish, scared, and cowardly, and they do not overcome these traits.

This is all opinion based, pure speculation. I have no idea what will happen in the next episode, and whatever goes down will be...shit will hit the fan. I’m under no delusions that Ironqrow is going to be canon in a healthy, tender, endgame sense. They’re both kind of losing their minds, and Ironwood is shitting absolute bricks. No, they’re going to try to kill each other, and I personally cannot wait for Qrow to cleave this man in two. (Not sexually, just, literally. Like, with a scythe.)

On that note, I think that the RWBY writers are good at callbacks, at drawing attention to their own connections, and if Ironwood and Qrow’s inevitable confrontation is scheduled, then it will include visual callbacks to Qrow saving James at Beacon, maybe shot for shot. Their visuals have only gotten better as time goes on, and I imagine Ironwood’s eyes widening as Qrow leaps through the air, scythe drawn, in recal of a moment so long ago when they weren’t on the same page, but they were at least on the same side. When Qrow brings the blade down, there will be no enemy behind him. Only Jimmy James. The difference between the two of them will be that Qrow isn’t fighting out of fear, but out of love, for what happened to Clover, and to what could happen to his girls.

Qrow’s reliance on alcohol, as well as his (mostly) feigned nonchalance is meant to fit with the motif that the Scarecrow has no brain, and, had he a mind to desire anything, would desire it most of all. His role is, also, notably, gathering intelligence for Ozpin (his character is also based on Munnin from Norse mythology). There is so much about Qrow that is an act and so much that is not, and I think that this act is born both from this motif and from his own cynicism, and the alcohol contributes to this act. However, he eventually gets sober after Ruby expresses legitimate frustration, and he understands that he’s putting their lives at risk. While one could say that he gave up drinking for the kids, I would argue that the kids - Ruby in particular - made him want to give up drinking for himself, to better himself.

While Lionhart and Ironwood betray the people depending on them, Qrow’s love for his nieces (and for the kids) allows him to deviate from this pattern. The answer to fear is perhaps not merely bravery - Qrow’s triumph is love.

Ironwood knows triumph in the context of a military state, but he’s backed himself into a corner. Soon he will find himself alone and friendless. Hopefully, his last stand will not be in vain.

#ironqrow #james ironwood #qrow branwen #rwby #rwby8 spoilers #rwby volume 8 #rwby meta #ok this is all just based on my opinion ok #like i ship ironqrow but ironwood is a dicktator if u know what i mean #he is probably gonna die but anyway #ironqrow meta #winter schnee #snowbird #also includes links and credit to other posts and metas #I just had to get this off of my chest ok

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numbaoneflaya · 3 years

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Can I get a list of all ur ocs?

Well anon youve done it, you made me make a list of all my major OCS in one place. I hope your happy with yourself. Under the cut for obvious reasons, may link in my blog desc later.

Modern/BTD verse!!

Jilly- Ferret beastkin little creature, was recently turned into a werewolf by vincent as well so she's running around on full moons in a wereferret wolf hybrid creature form. Chaotic and friendly and wants to be everyone's bestie. She has the most energy in the world and is very kind hearted. Banned from most Claires for stealing and from one Home Depot for climbing the shelves. Prone to living life with rose colored glasses on and seeing the best in everything/everything even when there's nothing there. Socialization is a must for her and is why being basemented/kidnapped broke her psych so quickly and developed severe stockholm. Sometimes overly talkative/enthusiastic and can scare people off. Even if she sees someone shes decided shes friends with be noticeably 'evil', will convince herself it must be for some reason/her fault and ignore it.

Ciggy- Undead punk still learning to harness his powers to interact with the world as a ghost. Was sacrificed by a cult he joined for free concert tickets and to get laid. Likes to cause problems on purpose both pre and prior death and he's not above possessing someone once he learns how to. Was called Rooster in high school before he dropped out because he's loud, obnoxious and always screaming. And also has bright red dyed hair. Looking 4 ways to become less ghosty bcs he wants to be able to help raise his infant daughter, whom he died before he could meet. Bit annoying and in your face, likes poking at bruises, his or others. Kind of a sad heart seeking attention through volume and persistence.

Mike: Vampire loser! Sells drugs and lives at raves. Was turned when she was attacked by a coked out vampire (whom she supplied the product to) and has major scarring on her face and chest. Needs a somewhat constant influx of blood so shell sometimes take victims back to her place and chain them up, slowly draining them over time. Feels bad (ish) about it tho so it is possible to survive her if you are nice and or interesting enough. Kind of desperate for a friend and for love. Is a stalker. If she likes you enough/finds you interesting, she might just appear in your house one night and start rummaging through your fridge like nothing is wrong and youve been besties for years. Its best to indulge her and be friendly, otherwise she could turn violent quickly if her feelings are hurt.

Kilaine- Regular human woman, but fucked up. Born and raised by an elite waspy society she had an interest in the human body and pain tolerance since she was young. Quickly learned that these traits were socially unacceptable in most professions, so she became a doctor. The only family she cared about was her younger sister who she lost in a car accident, where they were flipped over and trapped inside while it was afire. While her sister burned up in front of her Kilaine only lost her left arm and had major burns on her body. This tipped her descent into sadism and she is now madly obsessed with bringing her sister back no matter the cost. Rude and offstandish, clinical.

Dragon age verse!

Thurwen- My main Hero of Ferelden with a bad temper and a heart of gold. City elf from the Denerim Alienage, 18 at the start of origins. She's a reaver warrior with a lot of pent up rage which sometimes scares others when she lets it out in battle. Over the years she's grown less moody as she's had to take the role of Commander. Crude sense of humor and violent impulses, very sensitive to the plights of others and tries often to help. Never seen crying in public but only cries to herself at night- major martyr and hanged man complex.

Caz- My circle mage elf inquisitor who was an apostate before the conclave. Blood magic, but make it sneaky. Wary of strangers and new faces, always dealing with the impulse to flee/find a high vantage point. Endless curiosity about the unknown/ the forbidden/ naughty, was supposed to be made tranquil for it but she escaped. Kind of a little creature as well, lived on her own for a while as an apostate in the woods, filed her teeth down to sharp ends to make herself look more intimidating (shes 5 ft tall) and less cute (her elf ears are huge and expressive, which shes embarrassed about)

Dag and Thagna- Carta twins! Professional lyrium smugglers since birth pretty much. Raised casteless in dust town and had to work their way up the chain of command by themselves. Dag is the brother, Thagna the sister. Their father traded them to the carta for drinking money and their mom died in childbirth so they have somewhat of a codependent relationship. Both charismatic and calculating, friendly and agreeable but won't hesitate to put a dagger in your back. Hard to pin down morally or physically, squirrelly bastards.

Reila: Dalish elf who works for the inquisition/ is the inquisitor in some aus. She has an extreme fixation on elvhen history and rebuilding what they have lost. Not a people person, prefers solitude. Takes some time to warm up to shemhlen as she has a hard history with them. Good friends with Caz, who recruited her in the first place. Doesn't understand very many social cues and finds societal expectations limiting and frustrating. Fondness for halla and hooved animals, which she finds graceful.

Elder scrolls verse!

Valkya: Near seven foot nord woman whos over a thousand years old by the events of skyrim. Tall and buff, two handed warrior and compulsive hero there to bask in the spotlight save the day. She was killed at the start of the events of Elder scrolls online and had her soul ripped out and sent to coldharbor and she's just been a pain in the ass about it since then. Her body can physically die and will not regrow pieces. Her soul however will escape and teleport to the nearest source of power where her body will regrow from an aetherial plasm until its whole again. Loud and brash, friendly and jovial. Actually pretty keen especially after centuries of life but prefers to play dumb as it makes people underestimate her. Plus, she really does enjoy mud wrestling and drinking contests and acting generally like a rambunctious frat boy. Ha developed a bit of a substance problem and a problem with acting out, as after being alive so long she would turn to anything to dull the ache inside of her that never goes away.

Espira- My Dragonborn! Redguard from Hammerfell who was briefly in the Ash’abah due to killing undead while protecting her parents water farm as a child. Ran away from them after years and went to Cyrodille, then to Skyrim and was caught crossing the border. Reserved, kind and soft spoken, she's a sword and shield warrior who's committed herself to doing good in the world by helping others. Dislikes killing and anything messy but believes it is often necessary in order to protect the weak. She blacksmiths often to save money on the upkeep of her own equipment, and takes up metal jewelry working as a hobby with the excess material. Prone to trusting others too much and giving too many second chances, as shes always looking for ways to make even the most hardened criminal a second look at life.

Riley- Espiras little brother who she locked in the wardrobe during the event of the water farm attack. In preventing him from doing violence against the undead she kept him from being conscripted into the Ash’abah. He's way more chaotic than his sister, and suffers from a case of little sibling syndrome in which he will often pester/poke at people just to get a rise out of them. Still kind hearted as his sister, he tries to hide it because he believes that the world is a cruel place and the cruel survive. Despite that belief he is often still unable to force himself to be cruel/careless, only making a show of it so that others leave him alone and don't see that he's very sensitive and emotional. Deaf in one ear due to a magic mishap in his youth, he trained and enchanted his most beloved rats to live for years and sit on his shoulder, alerting him to noises he would not otherwise notice.

Felria: Evil vamp :/ chaotic evil dunmer necromancer. Small and devilish and likes dead bodies too much. Manipulative and cunning, she loves acting. She's a trained assassin for the dark brotherhood and is the speaker. Likes dressing up for missions and wearing disguises like its all a play. Loves toying with people more than she loves killing them, will act in ways that cause as much trauma as possible for other people just for fun and she finds the reactions interesting. Considers herself too far removed from most people's perception of morality and of her so it's hard for her to trust someone or see them as worthy of knowing her. Finds the psychology of grief and fear to be interesting and wants to study them first hand. The hero of kvatch.

Herren: Fifty something year old rat woman looking for something to keep her going. Ran away from her wealthy family in her youth when they wanted her to take charge of the household, instead became an infamous jewel thief and swashbuckler. Spent most of her life traveling and stealing and double dealing. She's smarmy and sarcastic, a serial romancer of the highest caliber. Bit of a show off and a hedonist, always looking for the next good party or new product to snort. Her family died off due to the hard times she wasn't there for and she keeps looking for bigger and bigger heists to fill her appetite as she's chronically bored and lonely, though wont accept intimacy and will scoff at it out of the belief she doesn't deserve it. Irresponsible and selfish, lonely and terrified of any sort of commitment. Fun to party with though!

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mkstrigidae · 3 years

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Okay so I'm making my way through your masterlist and I'm in love?? Like let's start off with Winter's Child- a masterpiece. You make Sansa a loving and relatable character and interweave the powers into cannon in a way that actually makes cannon make more sense (preconceived biases and such). Jon and Sansa's relationship is SO SWEET and they way they bonded was absolutely adorable (and the backstory with the houses and the powers they have make so much sense) 1/3

(2/3) Neon Rain literally the best Cyberpunk AU! I've ever read. Like what you did with the world building?? The stark class differences (haha see what I did there?), the choices in SOUND, and I could FEEL myself there! I love the family dynamics between the Starks and I'm loving the little details you're dropping with the Greyjoy's , Jon's parentage, and all of the medical procedures. Jon is dramatic af and I love it and Sansa is a bamf AS SHE SHOULD. Nothing but love for this

(3/3) A Past Worth Having has a special place in my heart. You build up this setting like a tapestry, just seeing more richness and depth the longer you look. I'm proud of Sansa for holding her composure, just FEELING in the angst that the older Starks feel at her return, and loving the relationships with Robin and the rest of the Starks + Jon Arryn. The detail that you're putting into the investigation/Oberyn is awe inspiring and I can't wait to see what you do next with the trial + Jonsa

Haha thank you so much!!! This is such a sweet ask to get! My response is under a cut, because this might get kind of long! (lots of my own meta below, bc i accidentally had a lot to say, haha)

With ‘Winter’s Child’ I’ve really enjoyed weaving in fantasy elements to the world because I like to look at stories and pick at loose threads until they unravel and asking ‘what if?’. I thought it would be a super interesting concept to take a character like Sansa, who in ASOIAF is exactly what she is supposed to be as a noblewoman of her class and conforms very well in that role, and put her in a position where she was essentially a societal outcast in a lot of ways! In WC, Sansa has a lot of similar coping mechanisms to ASOIAF Sansa, in that she sort of romanticizes society to avoid thinking about how absolutely awful it is. In ASOIAF, Sansa holds tight to the notion of knights and chivalry and courtly love to cope with the fact that she essentially has no control over her future and, as a woman, is basically property. In WC, I have her really struggling to make herself into that perfect lady and using that as a sort of shield to the fact that, without a gift, there isn’t anything she can do to improve her lot in life. Sansa has these ideas about becoming a perfect lady and hoping that being perfect in other areas will ‘make up’ for what society perceives as deficient about her, but is more jaded than ASOIAF Sansa due to her age and her earlier exposure to the ills of society. So you get a Sansa who gets along better with Arya and Jon as a result, in part because she’s had that exposure to what it’s like to be an outcast in society. I think that the best fantasy has a really strong emotional backdrop (a really great example is ‘Fruits Basket’ which starts by hooking you with this wacky, fun premise about people in a family turning into animals when hugged by a member of the opposite sex, and slowly builds into a point where you can see that the family ‘curse’ is a representation of generational and familial abuse- of bonds that should be broken, and of bonds that may kill us even as we cling to them- it’s extremely complex and rich and if you haven’t read or watched it, I can’t recommend it highly enough), and so while I really love writing about the fantasy aspects, and writing scenes where Sansa does really cool things with her ice powers, the core of the story is really about Sansa coming into her own, and learning that she was a person who was worth something even without any sort of gift. Sort of overcoming societal stigma and realizing your worth and forcing others to see it. It’s so much fun to write, but i’m stuck at the moment, because i need to reread the books, and my roommate is borrowing them right now haha!

God, APWH is like, indulging my inner world-building suspense-narrative loving writer persona. It’s literally my all time favorite trope- which is of someone growing up to find out that they’re a long-lost somebody or have family they never knew about- combined with a lot of research on trauma (which i’ve been doing for academic and other reasons for a while) and a lot of slowly growing psychological horror courtesy of Petyr Baelish (trust me, it’s going to get WAY more intense). There are so many pieces of media that I love, but I think that GRRM has so many characters and such a well fleshed out world that it’s very fun to dive into his worlds and create something there. Inherently, I love a slowly unraveling mystery and morally gray characters, and this is allowing me to indulge in both!!! World-building is my favorite, because i tend to be fairly detail oriented, and i’ve been laying bread crumbs in so many places throughout the story to hopefully build up to a decent conclusion! I know sort of how it ends, and I think people are going to absolutely lose their minds if I execute it correctly. We have a few chapters to go until we get to anything in the semblance of a trial- there’s some more emotional aspects that I think need to get addressed first, and so I’m so grateful that people are so supportive of being willing to wait for the Jonsa, because they really start spending a lot of time with each other during the trial and prior to the trial (i’m a big believer in bonding via long car rides and so there’s a lot of that!). I’m just so humbled and awed by the response to it- I never dreamed that people would enjoy the story this much- when I started it, I was writing a light-hearted family piece that wouldn’t be too long, and, uh, it kind of evolved from there. Clearly, I am not good at keeping things concise haha.

I left Neon Rain for last, because your comments on this one really made me smile! Of all of my stories, oddly enough, Neon Rain is actually the most deeply personal for me, and I’m just so flattered at your kind words! I spend a lot of my time thinking about the flaws inherent in our society, and without getting too detailed, Sansa’s experience with a family member struggling in the medical system is not unfamiliar to me. There’s a weight that comes with the realization that a system that is supposed to care for people is based on capitalistic ideals of profit maximization, and as someone who has experience working in the healthcare system- no matter how bad you think it is in the US, I can promise you it’s actually worse.

Neon Rain actually just started out as a series of mental images from listening to music that I had to get down on paper, and evolved from there. I actually really love the ‘soulmates’ and ‘class differences’ and ‘mastermind art thief’ tropes, but am incapable of writing fun stories without thinking about the reality of those tropes (see APWH for another extreme example of this haha), and so as I was writing and trying to capture this mental image, the rest of the world began unfolding around me. Jon is different because of a different upbringing here, and so is Sansa, and to see the formerly idealistic Sansa become so jaded by the time she meets her soulmate is just catnip for me. You have this interesting dynamic between them, because Jon wants nothing more than to have Sansa in his life, and give her everything she wants and needs, but where the old Sansa (who was arguably middle-class and somewhat naive, as financially secure teenagers understandably tend to be) would have swooned over that, the Sansa who meets Jon when the story begins is seeing the world and all the unfair and unequal systems in it. She can’t just live happily ever after with him right away- there’s a sense of guilt there, of sansa not feeling like she deserves nice things, and there’s also Sansa’s deep sense of compassion and kindness that won’t allow her to just live life as the well taken-care-of girlfriend of a wealthy man, because she isn’t able to just put on blinders and pretend that all the injustice in the world around her doesn’t exist, simply because it wouldn’t affect her that way anymore.

I think that the core to writing Sansa, for me, in any universe, is that she is a kind and compassionate person who is capable of feeling sympathy towards even the people who have done horrific things to her and her family- that emotional awareness and empathy is a harsh thing to have in a world like Neon Rain, and in our own world, honestly. I’m so glad that you appreciate Sansa’s BAMF-ness in the story- I think that her chapters demonstrate that she is capable of doing extraordinary things when she’s doing them for people she cares for, to be kind (The scene where Alayne helps Robin down from the eyrie is most indicative of this I think), and so in this world, I just love having Sansa be a complete badass out of necessity. Also, it’s fanfiction, and I really wanted to give Sansa a cool motorcyle, because no one else was gonna do it!!!

Also, my characters like to run away with me, and before I knew it, Rodrik Greyjoy had a huge adorable crush on Sansa in the story that I immensely enjoy writing. The Greyjoys are fun because they’re all absolutely insane, and i’m a total sucker for ‘gruff dangerous character is completely a sucker for the kind sunshine-y character’ trope.

God, this accidentally got really long??? I’m sorry- thank you so much for such a kind ask!!! I love hearing what people think of my stories, and this was so sweet :)

#my writing #joanofarkansass #ask answers

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gunmetal-magnus · 3 years

Text

And what if I can’t? What if I’m not worthy of my ideals?

As I stare out my apartment window and watch the drizzling sky, I’m drawn to the subtle gradient of yellow. Clouds coasting through the sky, gray yet without dismay. And the sun? The sun will live to break another day, that I am confident in. I only wish I were so confident in myself.

....

Life is strange. Mine in particular looks like it might be going in a good direction. I’ve been getting interviews for jobs and as someone who’s spent their fair share of time hopelessly unemployed and depressed, not knowing what to do with themselves (besides salsaing with suicide ideation), I should be elated about any progress. I wish I could say that I am or even that I was but that wouldn’t be accurate. The truth is that I’m a harrowing hailstorm of things - surprisedsleepybusycuriousthankfuloptimisticexposedhorrifiedcriticalnervousanxiousinsecurepressuredtired - it’s all a bit overwhelming, isn’t it?

Knocking on the looming doors of success, I find myself feeling the crushing weight of my expectations. The walls are a deafening white with not a texture or pattern in sight. If you try to touch them they ripple like water. There are no windows for me to peer through. Fog creeps around me like a cheetah stalking its prey. It’s so thick you could choke on it. Success is...scary.

I know I know, that sounds a ridiculous thing to say, shouldn’t I be more afraid of failing? Welllll...no. You see, the weight I mentioned earlier was not merely crushing, it was also comforting. Over time failure became familiar and eventually, my friend. I got used to failure as the status quo, smothered in its cosy embrace and the threat of change, of combing out of this embrace into the chilling embrace of uncertainty, of becoming someone worthy of their success - it’s unfamiliar, it’s scary. But just what is so comforting about not achieving your goals - about not getting what you really want? For me it’s because of one paralyzing question: And what if I can’t? What if I’m not worthy of my ideals?

“But…I’m…I’m just a soldier, I-I’m not worthy.”

It’s a terrifying prospect that I could give something my all and find that I just couldn’t do it. I don’t want to be saying “I did my best and it wasn’t good enough,” because what I may mean is “I wasn’t good enough. I don’t have the power.” But that’s exactly the point! I do have the power and if that is true then I have to come to terms with my responsibility to that power - that it’s up to me to use that power because when you can do the things that you can do...and then the bad things happen...they happen because of you. I don’t want that burden so it’s easier to cast it off and reinvent the narrative by claiming powerlessness. It’s easier to identify as a fraud and be done with it, to say to myself “men like me should’ve never dared to believe.”

Haha…paradoxically in our journey to discover our own power we discover just how little power we hold, that our only power is in ourselves. Time and how bound we are to what we know at present, our surrounding circumstances, and the fact that we’re only people who can only do people things - these serve to remind us that the power of what we control and free will are only so vast. It’s strange - you are responsible for how you use your power but not the outcome because you’re not omnipotent. Bad things don’t always happen because of you. Sometimes they just happen. Sometimes things in general...just happen.

Let’s say I achieve success, what then? The pressure to maintain is immense and to exceed - it’s even more so. Who perpetuates this pressure? For many of us it’s society but the greater threat lies within the darkness of our own hearts. The societal gaze is nothing without validation and that validation comes from our self-worth and how grossly entangely that is with achieving success. There is an expectation of linearity and escalation in progress, if you get good grades you’re expected to keep getting good grades and then some, so it’s shocking and disappointing when you don't. People wonder how that could’ve happened, you wonder how it could’ve happened, you start to doubt yourself...should you though? Writer and retired athlete Christopher Bergland challenges the expectation of linearity in success and explained in a conversation with his daughter, “I learned as an athlete that in order to succeed and become the best that I could be, I had to fail again and again—but always keep trying. Inevitably, every time I raised the bar, and took on a new athletic challenge, I would have to fail first in order to ultimately succeed and break a record." He embraced failure as part of the ebb and flow, it was part of success. To him, failure was no reason for doubt. So why should it be for me? I don’t know, because life’s not that simple I suppose? Identifying as unworthy and fraudulent, these are not easy to shake. Negative self-identity manifests itself in habitual self-sabotage. Worrying about how we align with our perceptions of ourselves, procrastination via instant gratification distractions like Instagram scrolling and going back on our promises such as taking that drink we know we shouldn’t become commonplace - habitual and they will take habitual work to undo them.

Even so, is this really just about the burden of ideals? Perhaps not. Susanne Babbel writes in her article “Fear of Success'' that the physiological reactions to trauma and excitement over success are similar - too similar. “When we experience a traumatic event — such as a car accident or a school bullying incident — our body associates the fear we experience with the same physiological feelings we get while excited.” Heart tensions, shortness of breath, quivering and more - they are triggered in me by both stimuli and my body cares not for the messenger, only the message and that message is “be afraid.”

if I’m responding to excitement as if it were trauma, the question is what is my trauma?

…

Babbel mentions that throughout our lives, we may be made to feel less than, “many of us — especially if we've been subject to verbal abuse — have been told we were losers our whole lives, in one way or another. We have internalized that feedback and feel that we don't deserve success.” I knew someone who made me feel like this, I called her my mum. I spent a lifetime being told by her in one way or another that I wasn’t good enough. I remember being dragged into the unlit attic by her for losing a crayon as a child, I remember being shouted at for getting some mediocre grades in junior high school - being told that I better do better, I remember being told that she had given up hope on me - I remember, all of it. We don’t talk anymore - except we do. I internalised her voice and I made it my own, I began to identify with failure. I have an excerpt from an old journal entry that illustrates this identity crisis all too well.

5.11.20

“Sometimes I really wonder

If it’s better

To be a

Fuckup

Than a Success

Without

The Interesting Mess.

...Why do I have to compromise the things that make me who I am to be happy?...Why can’t I have my misery?...I hate doing the right thing...Maybe I like being a failure, a mess, a no man’s man.”

By this time I had long since left home but you can’t outrun your demons, only challenge them. I have only begun to unravel this voice due the therapy I have recently completed and am fighting this battle every day. Sometimes I lose and they gain territory. Other times I manage to reclaim it and even add more. It’s an endless battle.

And yet, the voice of Failure clings to me like some foul smog. Since he doesn’t want to let me try and fall, he’ll say, “It’s comfortable here. Flounder into the fondue of failure, it’s what you know - it suits you. What precisely is so wrong with failure in the first place?”

…

It’s a good question. In an ideal world, the answer may be, “nothing in particular,” because I don’t need to succeed to be valid - do the people you love need to be successful for you to love them? I should hope not. However, it is not so simple for me to love myself. Failure will cost me something more than money and a career. The price of failure is stagnation, embracing the non-linearity of progress and I hate that. I’m grossly impatient and want to move forward with my life, not wallow in the depths of Misery Mires. I’ve been stuck here all my life and I’ve just begun the journey out of here. Failure, as far as I’m concerned, you don’t suit me as well as you think. I must change sometime because I don’t want to die in the claws of the demons from which I was born.

I can’t stay in my comfort zone. Yet I can - I’d even quite like to. Why? Because...because...deep down I’m still reconciling with the idea that I’m worthy, that I’m worthy of living a life worth living, that I can be what I say I am without fear that it’s all a lie and always will be. The only way for me to challenge such a belief is to fly in the face of it - to say that “I am worthy” and to act like I mean it, whatever that means - I don’t quite know yet. My therapist and I agreed that this would be a long road and that ideals are nothing without practice. I guess all I can do now is drive…

“If you aren’t worthy, you’ll keep trying until you are.” In order for me to be worthy of my ideals, I first need to believe that I even have a shot. Beyond that, I need to believe that I deserve to take it. Being worthy means recognising my power to change and the responsibility to act that comes with that. Simultaneously, my power is not all-controlling as I am only a person. Success isn’t linear and failure is a part of that. However the burden of trauma is heavy. The self-sabatory habits I picked up from that will require me to reinvent my self-identity and in turn deconstruct those habits. Lastly and perhaps most importantly, I need to be willing to give the process time. Can I? Haha! - s-sure, why not?

Perhaps one day I will find myself staring out into the sky - maybe it’s drizzling, maybe it’s not. Maybe through an apartment window, maybe in a lush field as the gentle breeze brushes by. The clouds are coasting by as they always have, slowly but surely. What colour are they? Who cares, I don’t even know what colour the sky will be. Maybe it’s illuminated with a lovely peach pink that reaches out and touches the heart of my inner romantic. Maybe it’s an apocalyptic red that leaves you weak in the knees - the possibilities are endless but it doesn’t matter - it doesn’t matter what may be. What matters is what will be and

I will be watching.

I’ll say I’m worthy and

I will mean it.

I don’t know yet know how

But I will

Because that’s what I’ve decided.

#self worth #fear of failure #fear of success #trauma

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hannidae · 5 years

Text

The Value of Forgiveness

Why Reylo is one of the most valuable elements of Star Wars Mythology

And why Disney should not let Reylo end with The Rise of Skywalker if it wants to take the moral high ground.

As an American, I’d like to suggest that Americans have a lot to learn from Rey and Ben. Forgiveness, hope, and redemption, while recognized as nice ideas, are so often not given the deference they deserve. Instead, we’re so much more focused on the pursuit of justice and power, which reflected in film leads to resolutions like Kylo Ren’s/Ben Solo’s death. Or, in real life, leads to paradigms like those present in American criminal justice.

We are doing an unarguably terrible job with criminal justice and reform. We are not forgiving or empathetic as a society. Our justice systems cling to our grudges and desire for punishment when nothing good can come of it. I can only hope that we can recognize our faults, learn, and grow--with a little help from film and story-telling.

As does all good mythology, Star Wars presents morals. The intentions in the sequel trilogy are *ahem* perhaps less thoughtfully crafted than the previous trilogies, but there’s still something to be learned. In TRoS specifically, moral guidance is best sought in critically analyzing the filmmaker’s choices and identifying the fallacies presented.

Enter Reylo, the age-old enemies-to-lovers archetype where a heroine and anti-hero restore justice and find happiness. TRoS did it, then killed Ben. Why? Because in the American mindset Ben did ‘horrible’ things, and he should recognize his failures and welcome his own death in order to preserve the ‘pure’ deserving soul, Rey. Criminals don’t deserve a redeemed life of happiness, according to the American creators.

I object.

Now, before I get into how wrong this is, here’s a shout out to all of the incredible works out there that have analyzed Reylo and all its glory and value. Here’s a wonderful masterpost by raven-maiden.

The impact of Reylo in analyzing criminal justice

Our current criminal justice system, at least within the American cultural setting where Star Wars has been developed, is a self-defeating, myopic mess.

There is the profit-driven corporatization of its structures that ignore best treatment practices opportunities for convicts within the system. There is the systemic discrimination that plagues fair treatment of both individuals and groups in the criminal justice and judicial systems from beginning to end. There is the unwillingness and/or lack of resources in our criminal justice system to address and improve the mental health concerns and socio-economic disadvantages of its prisoners and, as a result, cultivate reformed behaviors and improved opportunities among people who have committed crimes. There is also the hypocritical tendency of the criminal justice system to bolster the privileged and penalize the disadvantaged.

Regardless of a person’s place in society, our criminal justice system is focused almost entirely on punishment and removal of people within society who have been convicted of crimes. This doesn’t fix anything. It either maintains or worsens the causes that encourage people to commit crimes. Additionally, our criminal justice system does very little to promote actual justice in the forms of restorative justice. Generally, people who have committed crimes are not provided avenues that offer meaningful opportunities for reparation, or counseling to recognize and alleviate the social, economic, or physical issues that caused people to commit crimes in the first place. No one is born bad, or wants to be evil, except for perhaps psychopaths. And it’s clear that Ben/Kylo is not a psychopath, despite of and evidenced by the crimes he has committed.

The Problem with Shunning Reylo or shunning criminals

Those who are Anti-Reylo are generally concerned about abuse, imbalances of power, and toxic behavior and relationships, which they associate with Kylo. I get it. None of those things should ever be tolerated, much less promoted. All people, including Antis, can be assumed to condemn at least most criminal behavior, like Kylo’s. However, the hitch is when people are not willing to tolerate and accept individuals who commit crimes into their communities or relationships ever again—like permitting Kylo to repent, atone, and have a romantic relationship with Rey.

Here’s my issue, many people, for the most part, are sufficiently intolerant to be willing to forgive a person who has committed certain crimes. Clearly, some crimes are beyond redemption. In the spectrum of the severity of crimes, what role does a line in the sand have in story telling? Where does society draw that line? Typically, once crossed the criminal cannot be redeemed. In this way of thinking, reformed behavior, with or without atonement or restitution, would be not be sufficient for welcoming a person who has committed certain crimes back into a community. Like Kylo. Now, it’s not that there shouldn’t be a line. But sometimes we draw that line sooner than we should, and we’re not helping anyone (ourselves included) when we do if forgiveness is never an option.

Just Kylo’s association with the First Order, who as an organization murdered multiple world populations, is past the line for a lot of people. For some, it might be his order to kill the villagers at the beginning of The Force Awakens. Or kidnapping Rey and pushing into her mind during the interrogation scene. Or calling her ‘nothing’ on the Supremacy. Whichever.

I’m not going further into that because for my argument I don’t consider him to have crossed the line, and most Reylos don’t either. Here’s why, and why it matters.

First, Star Wars is mythology. It’s about a god Force and space wizards with laser swords. It teaches values and morals through fantasy and fictional dramatization. It is meant to serve as symbolic guidelines, not hard rules for interpersonal relationships in daily life.

Second, someone argues that Kylo Ren/Ben Solo has irrevocably crossed that line, there is very little to learn or gain from his attributes, his experiences, or his sacrifices. There should always be something to learn. Some *may* be willing to forgive Ben. That forgiveness would have qualifications for the redemption such as certain acts of restorative justice or a sacrifice. But empathy here is limited, if not lacking. And to function as a healthy society, we need lots of empathy.

Third, while Kylo’s representation in the trilogy films is less dimensional that in the extended comics and novelizations, one can not argue that he was abused, neglected, and manipulated into the circumstances of his portrayal. He also was never given an opportunity to truly explain his justification for his actions or the conditions that led to his choices.

Overall, I’m not interested in where that unredeemable line is for people who support his death, or what redemption might entail. It’s likely they would never be willing to support his reintegration into society/the light side or consider him an appropriate love interest for Rey. Thus, what matters about him only matters in how it reflects on the heroes to whom he is an enemy. That would make him a black hole. But he is an anti-hero, and an amazing opportunity for self-reflective growth. We all make mistakes; he is just an extreme example from whose mistakes we can learn from.

Why Rey’s forgiveness is a necessary component of functional criminal justice

I am interested in the value of forgiveness, and the role mythology has in teaching that value. I’m fascinated by Rey’s willingness to forgive Ben Solo, especially since he turns and supports her once he knows she would forgive and welcome him if he renounced the characteristics that make him a villain.

Society is never going to improve if we lock up our criminals and throw away the key. Or execute them.

Now, I’m not expertly qualified to summarize the fields of criminal psychology or criminology in relation to Kylo Ren. However, I do hope to take a stab at why his criminal behavior is relevant in a tale of forgiveness.

Crime is cyclical. There will always be more people committing more crimes, and people committing crimes over and over. Also, most people who commit crimes, if released, will not be persuaded by punishment alone to stop doing whatever they’re doing that is criminal. This is because, for the most part, people with a history of delinquency have already experienced enough suffering in some form to create the impression that criminal acts will help them avoid the suffering they fear. The most commonly imposed societal threats of repercussions to their behavior, such as imprisonment, would be less severe to them than the punishment though suffering they’re attempting to avoid.

Kylo was abandoned by his family and betrayed, almost murdered, by the Jedi. The supposed crime of associating with Snoke/the First Order initially provided him shelter from those who wronged him. Then, a means of recuperating the power he needed to survive. However, he continued to be abused, manipulated, and neglected. Thus, his crimes continued though which he sought escape of fear and suffering through the pursuit of power in order to provide the needs he was lacking.

The motivations that cause one to commit a crime are generally recognized as related to the absence of any of Maslow’s hierarchy of needs: physiological, safety, love/belonging, esteem, and self-actualization. Maslow, A.H. (1943). "A theory of human motivation". Psychological Review.

Maslow’s Pyramid

Kylo suffered from an absence of up to four of those five levels of the pyramid.

Now, society will never improve if we believe all criminals are evil and will always be evil unless we scare them into being good. People who commit criminal acts typically act through fear due to lack of a need. Threatening people into behaving well is not going to take their initial fear away; threats don’t provide missing needs. However, it may foster in delinquents a sense of desperate hopelessness, which would only cyclically perpetuate the conditions cultivating their criminality.

For most of the Star Wars Sequel Trilogy, no one criticizing Kylo’s esteemed role in the First Order is going to convince him to abandon the people who have welcomed, protected, and admired him in order to return to the ‘murderers, traitors, and thieves [Rey] calls friends.’ Not until Rey offers him a place by her side and an opportunity to make things right.

Trust, counseling, and pathways that allow people to meaningfully reenter society into a safe place through proof of intention by reparation, are the conditions through which criminals most effectively break out of the cycle.

We should be providing people who have committed a criminal act with:

1) the security of a route to acquiring their missing needs; 2) the confidence and recovery to be gained through restorative justice; and 3) a safe place to re-enter society. If we want delinquents to go from inclined to commit a crime, to not, then society must give people with criminal pasts a means to reform. To redemption.

That requires forgiveness.

Rey offered these things to Ben. She wasn’t willing to take him as he was in The Last Jedi as Kylo Ren. But she was willing to help him meet the needs he was missing: safety, love and belonging, esteem, and self-actualization. And if he turned, which provided him a pathway to meeting those needs when the dark side and First Order would not (despite his hopes), then she would take his hand. Ben’s hand.

Rey’s forgiveness of Kylo would provide a necessary step in the path to him becoming a better person. To reform. To become a hero that the galaxy desperately needed.

In the Rise of Skywalker, perhaps Rey didn’t need him to defeat the Emperor. She might have done it on her own. But she likely wouldn’t have survived if she did. And then the Jedi, the light side, peacekeepers who attempt to maintain balance in the world where the dark doesn’t over take the light, would have disappeared.

Ben’s turn, his choice to change, is what all people who have committed crimes should be permitted. But Rey’s forgiveness, and empathy before that, is a necessary part of Ben’s redemption. Why change criminal behavior, if it is somehow necessary to survive meaningfully, for nothing? Because it’s the right thing to do? That’s not how we work, fundamentally. We’re not angels.

It’s time to say it:

To err is human, to forgive, divine. -Alexander Pope

Rey’s compassion and empathy for Kylo, and her subsequent forgiveness, to me, is the most important thing to come out of Star Wars. Her willingness to respect and admire a person for who they are, despite a dichotomy, despite a criminal history, is a lesson we urgently need today.

Rey learned this herself, which is perhaps the best story telling choice in TRoS. After she stabbed then healed Ben on Ker Bir, she never again chose to engage in attack. She only saved what she loved. She never again used her lightsaber for assault, only deflection. With her potential for mercy, she convinced Kylo to turn. With only self-defense, she defeated the true threat to the Galaxy, the Emperor. The psychopath.

Retaliatory violence would have only made her become part of the cycle of evil. As our criminal justice system does.

Rey and Kylo teach us empathy. They teach us to be better.

Ancestral archetypes embodied through Reylo, and how they’re wasted

If Ben had lived to atone fully, apart from helping Rey free the galaxy of the true source of evil in fascist totalitarianism, Palpatine, he would have lived to cherish and reward Rey for her empathy through their relationship. The ‘dyad in the Force’ that connects Rey and Ben is related to the long-standing concept of dyads representing two parts of one soul, or soulmates that come together to protect humanity.

Dyads have been seen throughout the history of Western philosophy and literature and have played a role in archetypes as discussed by well-recognized voices including Carl Jung, Joseph Campbell, and Plato. These archetypes, dyads included, have been seen as ‘universal, archaic patterns and images that derive from the collective unconsciousness and are the physic counterpart of instinct.’ They serve to inform and instruct, to help us digest our psychologies and nurture our societies. We’ve seen this dyad in many forms, including that described by Carl Jung as the anima and the animus, and reflected around the world in various cultures and spiritualities including Adam and Eve, Yin and Yang, etc. Essentially, a dyad represents balance. Through Ben and Rey’s archetypal dyad, we can learn so much on why to reform our criminal justice system and mindset. And this is not a new thing.

Behold, Plato’s Androgyne.

"The man was originally the child of the Sun, and the man-woman of the Moon, which is made up of sun and earth, and they were all round and moved round and round like their parents. Terrible was their might and strength, and the thoughts of their hearts were great, and they dared to scale the heavens, and they made an attack on the Gods.”

Connecting this to Star Wars, as perhaps (we could only hope the writers considered, or through the pervasiveness of Jungian’s theories of archetypes we can assume was inadvertently manifested) we see representations as both Rey and the light side (or also the Sith due to her parentage being of the darkness/the Moon), and Kylo, as the dark side (but also of the Rebellion/Resistance due to his parentage). Either way, there’s so many ways to relate this. Regardless, Rey’s and Kylo’s ancestral battles are embodied through the balancing of the light and dark sides of the Force. "The Gods took council and Zeus discovered a way to humble their pride and improve their manners. They would continue to exist, but he cut them in two like a sorb-apple which is halved for pickling.”

Assuming the Gods and Zeus are expressed in the Force, here is where Rey and Kylo are separated from their families and tread their separate ways into the light and dark respectively. The same can be said for the Jedi and the Sith. "After the division, the two parts of man (the Androgyne), each desiring his other half, came together and throwing their arms around one another, entwined in mutual embraces, longing to grow into one; they were on the point of dying from hunger and self-neglect because they did not like to do anything apart; and when one of the halves died and the other survived, the survivor sought another mate, man or woman, as we call them--being the sections of entire men or women--and clung to that. “

Now, because it’s clear that Kylo and Rey are obvs meant to be together, I’m going to connect the Androgyne to the Sith and the Jedi. "They were being destroyed when Zeus, in pity of them, invented a new plan. He turned the parts of generation round to the front, for this had not always been their position, and they sowed the seed no longer as hitherto like grasshoppers, in the ground, but in one another; and after the transposition the male generated in the female in order that by mutual embraces of man and woman they might breed and the race might continue; or if man came to man they might be satisfied, and rest, and go their ways to the business of life: so ancient is the desire of one another which is implanted within us, reuniting our original nature, making one of two, and healing the state of man.

Here the Force is Zeus, and the “seed [that is the] male generated in the female” is the birth of Rey. And through ‘the mutual embraces of man and woman’ Rey and Kylo, turned Ben, they ‘breed and the race might continue…reuniting our original nature, making one of two, and healing the state of man.”

Plato. "The Symposium". Benjamin Jowet, trans., Great Books of the Western World

Thus, the value of Reylo.

Through recognition of: 1) the unintended flaws in our humanity need-based motivations for crime; 2) the cyclical nature of crime within our psychology and society; 3) the requirement for forgiveness, support, and acceptance to stop that cycle; 4) and the requirement for man and woman to come together to create new life;

we find that the pairing of our Heroine and our Anti-hero, and the forgiveness and compassion of Rey, serves to restore the balance and heal the wounds in our story.

However, the filmmaking choice to kill Ben, even if in self-sacrifice, is characteristic of society’s unwillingness to tolerate a criminal’s reintegration into society. Despite this, even I started out after the film thinking, “they couldn’t let Ben live. Not for Rey to reach her full potential as a Jedi. He’d drag her down.” Would that necessarily be the case? No. End of discussion.

Thus, Rey’s forgiveness and compassion are devalued and defeated with Ben’s death. There is no hope for those who have been neglected, manipulated, and abused into committing crimes, and our Heroine is left without her soulmate amidst a society that cannot relate to her. With our need for ostracism and retribution, despite the inherent suffering of our repentant villains, we only subtract from the light in society, not add to it. And we’re back where we started.

So. In conclusion, Rey and Ben’s story cannot stop here. Looking at you, DLF. Fix it.

#reylo #Reylo meta #Star Wars meta #bendemption #bring back ben solo #tros ending

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dgcatanisiri · 4 years

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So, this is one of those things that is made obvious by hindsight, and, honestly, given the IRL stuff that created the bind that production was in during season five, I understand that there was probably a proverbial mad scramble among the production staff that hit all sides on production (with New Zealand about to host the Lord of the Rings movies, it was taking away some of their production people, on top of Lucy Lawless’s actual pregnancy impacting a very physical character, as well as Rob Tapert going off for a good stretch of episodes, focusing on Cleopatra 2525, so handing off the reins of the show, and all that fun stuff).

I think the big issue surrounding Eve is that they never really figured out who and what she was to the overall show, leaving her as just this plot MacGuffin and motivator for Xena, not as a character in her own right. Because once they committed to including Lucy Lawless’s pregnancy (which, don’t mistake me, I absolutely applaud the producers for that, considering how there are certain other high profile shows and creators who weren’t so accommodating who I hold a grudge against for NOT doing that *cough**cough*JossWhedon!*cough), they had to account for this baby.

And after Solan, it is 100% in Xena’s character to holding her second child as tight as she possibly could. She lost her chance to not just be a mother to Solan, even the chance to make that right as best she could when he was murdered. So she would hold Eve tight, no matter the cost. Xena would make every effort she could to be the mother to Eve that she never had the chance to be for Solan.

But a Warrior Princess with a baby is a stifling thing on the writing level - it’s a bundle you have to account for at all times, and there is a perception (a bad perception, but a perception, one that was definitely common twenty years ago when Xena was produced and honestly probably still prevalent among studio execs today) that making a “Warrior Princess” into a mother means that you are going to “weaken” the character, because now she’ll be focused on diapers and first moments over killing. Obviously ridiculous if you have any conception of Xena as a character, but I have this feeling that very few of the people who finance anything in the general Hollywood system actually watch the final product unless there’s some news buzz surrounding it, so...

That led to finding a way to age Eve up, which, to remain in character, to stay true to the character of Xena, which, for any and all flaws one can levy at the show, particularly through the lens of hindsight and twenty years of societal progress we won’t get in to here, the show absolutely DID stay consistent with, meant that Xena had to be separated from her daughter.

And then... I really feel they did a disservice to Eve at this point with the Livia stuff. Because after all their talk of how the cycle of reincarnation and “better in the next life” in the back half of season four and the first half of season five... Eve ends up reenacting the greatest tragedy of both her mother’s life AND Callisto’s, going through a similar path as Callisto.

And, from the perspective of the season arc, the Twilight of the Gods, there honestly was a missed opportunity to try and hammer out some flaws, explore the gods now that they felt the danger had passed and how they had settled back into complacency over the time jump, rather than spending time having to redeem Eve, taking up a good couple of hours on her alone, rather than the concept of the Twilight of the Gods.

Consider instead... Joxer had taken her in, then and there, after Xena and Gabrielle were presumed dead. He takes her in, raises her alongside his children, telling her the stories of her mothers and making sure she knew how much she was loved by them, that they sacrificed everything to protect her. Sure, you have to work around the gods missing the fact that Xena and Gabrielle’s closest ally JUST HAPPENS to pick up this infant child RIGHT AFTER the supposed death of Eve, but... I mean, it’s still Joxer, the gods probably don’t really pay attention to him unless they want to use him against Xena anyway.

Anyway, this happens and Eve (raised under another name, probably, I figure Joxer would have that much intelligence) grows up safe and happy, having the chance at a life and love that she deserved as it was, that Callisto, her past life, had never been able to, that XENA never had been able to, the life that Xena would have wanted for her daughter, to know only love and peace, rather than a life of constant battle and blood. When Xena and Gabrielle awaken, they meet her, and she is happy and content to know them... But her path is not that of a warrior, and she has no intention of joining them on their journeys, just being someone that they visit, like Cyane or Ephiny were, characters who only showed up when there was a specific story to tell with them. Have her say “Thank you for doing everything you have and will for me, mother, I love you so much, my place is here, in this peaceful village, living the life I have.” Because I think Xena, despite missing Eve’s life, would be so damn HAPPY to end up seeing her daughter being able to live her life and finding happiness in it, outside of battle.

You can even keep a lot of the various events from that arc, just shift the responsibility over to the gods, give them some focus in the midst of their existential crisis - Ares and Aphrodite are the survivors, so show their uncertainty with this path of killing Eve, Discord had been around for several seasons, yet her death is ultimately so offhanded, if you blink, you might miss it, Hephaestus had appeared as a sympathetic character before in the franchise, yet he dies even more offhandedly than Discord, I don’t think Artemis even gets a proper line in the course of Motherhood, her only appearance in the arc, and even that’s really more than freaking POSEIDON got... Have Athena or Artemis be responsible for Joxer’s death - hell, let him die DEFENDING Eve against the gods. Even visit with or at least touch on what the gods who aren’t actively being killed off on screen are doing in the midst of this - Apollo sent some of his people against Xena, but never appears himself, meanwhile gods like Hermes and Cupid go unmentioned entirely. All of this could have been happening across the episodes Livia and Eve, instead of focusing on having to go through Eve’s fall from Roman grace, descent into darkness, and ultimate redemption.

In the end, Eve never really ends up fitting in to the series, you can tell by how she ends up being written out of Xena and Gabrielle’s travels once they finish the cleanup of season five’s aftermath, and I think making her a drop-in character who is not a warrior (still could be a follower of Eli’s way, just... Not having the background of Rome’s Greatest Warrior and all the sins that accrued), someone who has chosen to NOT fight, would have been even more of a better legacy for her as a character, still set up what does serve as her character’s finale in the show proper. I mean, she just disappears for several episodes after the start of season six, and... Really, nothing is missing when she’s gone, this is a character who clearly was never really made to fit the show, just circumstance.

I mean, yeah, with the benefit of hindsight, twenty years down the line, it’s easy to backseat write out how things could have, should have, would have gone. Like I said at the start, this was probably at least in part due to the background upheaval of general production issues that were outside the creative control that impacted the decisions of the show’s direction. So this ultimately a lot of things that, really, I would easily figure were really just making the best out of the situation they were in and the hand they were dealt.

Still, always interesting to consider the what could have beens. Or at least, it always is for me.

#dg rambles #xena warrior princess

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loveafterthefact · 4 years

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Love After the Fact Chapter 56: Sex Education Part 1

In which Thace is medically certified to run a sex ed program and Keith is an unwilling pupil with a splash of Galran societal norms and pressures

Warning: Discussions of sex, but like, from a health perspective

First Previous Next

“Mnh?” Keith’s eyes flutter open, heart sinking at the empty space beside him. Straining his ears, he can’t hear his chosen mate. He’s alone. It’s an awful feeling, sudden, sharp. Before he even realizes it, he’s chirping, calling for Lance to come back.

Startled by the intensity of his reaction, Keith cliches his jaw, keening softly in his throat. He doesn’t want anyone thinking he’s in trouble. He feels like he's in trouble; he knows he's not. Curling tight into a ball, a purr starts thrumming deep in his throat, his body's attempt to soothe his distress.

“Keith?” A mercifully familiar scent reaches Keith’s nose. “Was that you, kitten?”

“Momma?” Hunkered down in the bed, Keith peeks his head from beneath the blankets. He’s behaving like a very young kit, he knows, but he can’t help it. He feels lost, alone, abandoned.

“Hey, kitten.” Krolia sinks down on the bed, running a hand over the top of his head. She’s wearing a shirt and pants instead of armor, accentuating her slight frame. Keith looks so much like his mother. He doesn't mind. “Lance asked me to come check on you. Said you had a hard night.”

He had had a hard night. He woke up twice with growing pains, an indication that he’s actually starting to grow. Still, there’s only one thing on his mind right now. “Where’s Lance?”

“The compound. Allura called for him. Something happened this morning; we don’t know what.”

“Is she okay?”

“All I know is that she spent the night with Romelle, then sequestered herself to her own room, asking for her brother.”

“I hope she’s alright.” Keith closes his eyes, allows his mother to continue petting his head. “Momma?”

“Yes, kitten?”

“What- What’s happening to me?” Krolia’s presence isn’t helping soothe his distress.

“If I had to guess?” She shifts her kit’s head into her lap, doing the best a mother can do. “You’re bonding to Lance. I know you haven’t mated, but you’re very close to maturity, and your attachment to him is strong.”

Keith gulps, detecting the edge in his mother’s voice. “Please don’t be mad.”

“No, kitten. I’m not mad. But you’re my baby, and the idea of you having no other choice than this hurts me.” A sigh. “Accepting any less than the best for you is hard.”

“I do have a choice. Lance has given me every choice he possibly can.” Keith knows his mother’s doubts. “I chose him because- because he cares. He cared about me before he even knew me. And he cares for our people and wants to learn more about them. You don’t even know him, Mom. Please give him a chance.”

“Alright, kitten. For you, I’ll give him a chance.” Krolia goes easily, not wanting to cause her kit any undue distress. He’s experiencing more than most thanks to his abnormal childhood and growth, and a barb of guilt creeps ever deeper into her chest. “We should take you back to Thace. I want to make sure your bonding process isn’t due to any developmental problems. Besides, you need an exam anyway. It’ll just be a bit earlier than usual.”

“Okay.”

At the clinic, Thace is only just getting his materials together to start the day. “Oh, hey guys. How are we doing this morning?”

“I’d like you to give him an examination,” Krolia murmurs. “His development appears abnormal.”

Thace frowns, normally cheerful face creasing with worry. “Abnormal? How so?”

“He-”

“I seem to be bonding to Lance,” Keith grits out, displeased at everyone making fuss and speaking for him. He really needs to learn how to advocate for himself. “Which would be totally fine, were I anyone else except myself.”

“No, it wouldn’t be,” Thace argues, scurrying around to gather a few supplies, wash his hands. “You’re at an extremely delicate point in your growth. Anyone experiencing early bonding should at least be interviewed, and anyone with a growth disorder should be examined. It might indicate abnormal physical or hormonal development.” He turns back to Krolia. “You are still his parent. How many chirps before I release him?”

“Twice, and you’re done. More than that, and I’ll-”

“Whatever you’re about to do, I’ll be fine. Advisor Krolia will go and inform Crown Prince Lancel of where I am.” Keith draws himself up, poised and formal. Pulling the prince card isn't something he enjoys, but it's the only thing that might possibly help him wriggle out from under his mother's coddling thumb. He loves her, looks up to her, but her coddling is damaging to his image.

He hates that he even has to think of such a thing.

The two both nod, even though his mother’s eyes narrow. He’ll take it. Only one person is allowed to coddle him, and he’s not here right now. Krolia heads off reluctantly, leaving Keith alone with Thace.

“What are you going to do?”

“Scans, blood, and then a visual and manual examination.”

“Examination of what?” Keith can guess, but he wants confirmation.

“Your genitalia. This examination is to assess your reproductive health.”

“... This is going to su-u-u-u-ck.”

“Yes, but it is important. For anyone, not just a prince.” Thace guides him into a dimly lit room with another scanner. There’s a reclined chair in the middle with footrests at the bottom and a spotlight above. Totally not ominous at all. “Before I was offered the emergency medic position here, I specialized in sexual health, with an emphasis on final growth development.

“If so many are going to push themselves to the limits of their reproductive capabilities, I might as well make sure there’s someone competent to look after them. For you, for our futures and the futures of our children, it would be an honor to make sure you are healthy and well.”

Thace helps him into the chair, types settings into a panel on the scanner. This one has an arm that hangs down, instead of rising from the floor. Keith bites his lip, staring at a probe on the counter. “But do you have to-”

“In your case, yes. Premature bonding isn’t rare exactly, but we still want to make sure there’s no underlying cause. It could just be that you really are that fond of Lance, or you could be having some kind of hormonal or anatomical complication.”

Awesome.

“Will it hurt?”

“I’ll have to stimulate certain nerves, so it will cause discomfort-” The scanner hums, the curved arm spinning around Keith. “That discomfort will be fleeting, and the very last part of the exam. After that, you’ll be all done… I will not harm you, Keith, nor do anything to damage you.”

Keith nods, trusting Thace to mean it. He’s a kind, gentle soul, one held in fond regard by all who meet him. Plus, Thace is a bearer with a mate and kits. This won’t be enjoyable for him either.

“How can you do this?” Keith asks, genuinely curious to know as he watches his friend clean a patch of skin at the crook of his elbow and tie a thick elastic band around his arm. He winces at the snap. “How do you conquer your instincts so you can touch me?”

“It was something I struggled with, to be sure, but having a defined purpose helps.” Thace pulls out a needle with a thin tube attached, and a few vials. “I'm one of fifteen siblings. When I was growing up, my parents taught me that it was my duty to find a mate and have as many kits as possible, starting with my first season. And that’s what I knew. It was fact. An incontrovertible truth. That was how I could serve the empire: ten years of service, and a kit every season until my body gave out.”

“So when I went to school to be a medic, and I learned how much strain our culture puts on bearers, and sires to a lesser extent, I was… horrified. Frightened. I didn’t want to waste away, or be left with no quality of life. I wanted my life. I wanted to have something for myself. I realized that, because I too am a person, I deserve the same as anyone else, regardless of my sex.”

Keith stares at the blood pouring into the vial. He can empathize with Thace. He feels the same pressure, has felt it ever since Shiro brought him to the mountain, felt it more and more since moving to Altea. It keeps him up at night, weighs heavy on his thoughts. The burden of other peoples’ expectations.

What if he can’t bear enough kits? Will Lance be disappointed in him? Will he still want him? Alteans don’t necessarily mate for life. He's well on his way to belonging to Lance forever. What if Lance can't give him the same? He sighs, stares at his blood pooling in another vial.

“I chose to deviate from my original plans. I left my chosen mate right before my first season, deciding she was too forceful and domineering given what I wanted for myself. I spent that first season alone at a friend’s den. Ulaz’ den, actually. He was unmated, but I trusted him to keep me safe, since I wasn’t his. He looked after me while I recovered my strength, and… I ended up staying.”

Thace removes the last vial and needle, rubs Keith’s skin with alcohol, wraps some gauze around his arm. He places the vials into a machine, typing in a series of commands. “I made the decision to study reproductive and sexual health. I wanted to do whatever I could to keep people healthy, even if they were putting so much strain on their bodies. Later, when Ulaz was stationed here as part of the Imperial guard, I elected to come with him. I put my life’s work on pause so our family could stay together and so we could complete our required service concurrently. When our service is completed, he will likely stay with the Blades, and I will go back to my work.

“While your tests are being done, we can do the rest. Then we’ll talk about the results… Prince Lancel should be here for that part. It will pertain to him as well.” The medic slips his hands under Keith’s shirt, prodding at his soft tissue. The younger Galra winces, discovering sensitivity he hadn’t realized he had.

“How?”

“Because he has absolutely no fucking clue what he’s doing, like most sires… Now, a common issue seen in Galra with growth disorders is that their mammaries don’t develop. I’m seeing that here. You've clearly got some sensitivity, but I'm not feeling anything as well-developed as I would expect... It’s not surprising, or concerning, but you won’t be able to nurse.”

“Oh.” Keith’s ears wilt. “Okay.”

“I know it’s disappointing for you, but from my perspective, it’s a good thing.” Thace smiles. “Your body does not have the resources to fully complete your final growth spurt. That’s just the facts. So what your body is doing instead is allocating resources where they’re needed most. It’s prioritizing child-bearing over nursing. That’s actually what I want to see in your case.”

“It’s not like Galra milk would be enough for my kits anyway. They’ll need formula to get the proper nutrition.” Hybrids nearly always do.

“They almost certainly will, since your biology and Lance’s are so very different. Your rather unsettling attendant has already tasked me with coming up with a few suggestions for formulas that might be suitable... Can you remove your pants, please?”

Keith removes his pants, reluctant and anxious, but knowing that this is something every kit endures during their final growth spurt. Thace gently nudges his knees apart, makes a soothing noise in the back of his throat as every muscle in Keith’s body instantly tenses.

“If I bite you-”

“I’m asking you to defy the basic instincts of our species. If you bite me, I’ll take no offense. I wouldn’t even call it even.”

For that, Keith clenches his jaw, muscles jittering beneath his skin, claws digging into the arms of the chair. He knows he doesn’t want to hurt Thace, even if his body wants it very, very badly. The medic touches him with a probe three times, once slipping inside, deftly reaching clusters of nerves Keith's always known he had, but never had use for. The probe vibrates, only for a tick, but it’s enough to have him yelping, hissing, ears pinned tight against his head. It hurts, has him baring his teeth at his friend.

“That’s it. We’re done.” Thace pulls a thin blanket over him, rubs his ear. “I’m so sorry, little one.”

Closing his legs, Keith hisses at the adult Galra again, painfully aware that he’s still not quite grown. Said adult Galra only persists in his ministrations, working at that ear until Keith’s settled. “I know, I know. I suck. I’m sorry.”

“You didn’t say you were sticking that thing inside me,” Keith grumbles.

“Would you still be sitting there if I had?” Thace raises an eyebrow at Keith’s scowl. “That’s why we don’t say it. Be lucky I didn’t have to check your prostate.”

“Not comforting, dude.” Keith snuggles under the blanket. “It’s gonna make it weird when we come over for dinner.”

“Only if you make it weird. For me, this is just work.”

"What do people normally say when they find out that you look at sex organs for a living?"

"Well, they never say thank you, that's for fucking sure. Ingrates." Thace goes back to the blood testing machine, scans the results. “Yes, I definitely need to speak to both of you. But while we wait for Prince Lancel to get here, there are some things we can talk about just us… Have you experienced any arousal? Erection? Vaginal secretions?”

“Not… exactly.” Keith shifts in the chair, remembering that kiss in the rain. “Maybe… a little?”

“What did you feel?”

“Like a tingle? Or maybe an ache?”

“Vaginal?”

“Yes.”

“Okay. So that’s also good. What that means is that your body is priming itself for the bearer role. Since your mate is male, we would expect the female parts of your reproductive system to respond automatically. If both, or your male parts responded, it might cause some concern.”

“This is… so much.”

“Yes, it is. You are a very complicated person, Keith. Inside and out.”

Keith nods, preoccupied. Teasing the end of his braid, he finds the courage to ask, “Why do you need to speak to Lance? Is something wrong?”

“No, not at all. But from your test results, I can tell that you are in the process of bonding, which is premature. There’s nothing wrong with your bloodwork or your scans, so I’m not worried, but it’s time to have those uncomfortable conversations.”

“This is already an ‘uncomfortable conversation’,” Keith bites, feeling a little petty. Okay, maybe more than a little. But he's more than earned it, so there.

“We need to have a serious discussion with him, make sure he understands all of this from a medical perspective.” Thace makes a few notes on a datapad. “So since you are priming for female reproductive behaviors, you may need to stimulate yourself manually if you wish to achieve an erection. You should be able to, and perform like any other male should you wish to. I’d like you to attempt that before leaving Daibazaal, even if not during coitus.”

“Seriously?” Keith rolls his eyes. That's just unnecessary.

“Seriously. To completion. Reproduction is complex, yours more so than most. It’s important to make sure everything is functioning properly. Besides, Lance might like it.”

“This is the worst conversation I’ve ever had. I just want you to know that.” Stupid Thace and his progressive attitude toward sex talks.

“Yes, I imagine it is. But important for your body and mind. And it’s important for Lance to learn, too, since he is already instrumental to your health and well-being.”

"I hate that you're right."

"That poor boy is in so far over his head. Wait until you have to explain gender identity to him."

"He needs to explain gender identity to me! Alteans are so. weird. You have no idea!" Keith curls up in the chair. "Apparently there's this thing where 'normal' people are either female women or male men, and then anyone who doesn't adhere to that is 'abnormal'."

Thace frowns, utterly baffled. "That's so... primitive. What's the correlation?"

"Not sure. Apparently, on Altea, there is one."

The adult Galra shakes his head. "His brain is going to short-circuit. Oh! I forgot to tell you!" Thace's face breaks into a grin. "My oldest, Mashan? A girl!"

"Hey, that's great!" Keith shares his friend's excitement. It's always a joy when a kit determines their gender.

"Yeah... Gods, I'm so proud of her. Fuck, Keith, before long, I'm gonna be chasing people away from her!"

"That's what you get for making cute kits. What's the phrase? Reap what you plant?"

"Reap what you sow. And that's so unfair, blaming me for passing on my hotness to my kits."

"They certainly don't get it from Ulaz."

Thace gasps, ready to rise to Keith's playful tease, when Lance arrives. He looks tired and sad. Eyes red, scales dull, pale-faced... It seems they're both having a difficult morning. Krolia stands just behind him, face studiously passive.

The Altean surveys the scene before him, eyes travelling about the room, lingering on Keith's pants rumpled on the floor.

"What, the fuck, is going on in here?"

It's going to be a long morning.

#LoveAftertheFact #LAtF #klance #galtean au #altean lance #galra keith #adashi #altean adam #galra shiro #voltron legendary defender #vld

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olimpiacroy · 4 years

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hshqtask46 ⸻ family dynamic 𝐓𝐇𝐄 𝐂𝐑𝐎𝐘𝐒

❝ ᵃⁿᵈ ⁱᵗ ᵐᵘˢᵗ ᵇᵉ ᵏⁿᵒʷⁿ ᵗʰᵃᵗ ᵃˡˡ ᵗʰⁱⁿᵍˢ ᵇᵉᵃᵘᵗⁱᶠᵘˡ ʰᵃᵛᵉ ᵗʰᵉ ᶜᵃᵖᵃᶜⁱᵗʸ ᵒᶠ ᵇᵉⁱⁿᵍ ᵈʳᵉᵃᵈᶠᵘˡˡʸ ʷⁱᶜᵏᵉᵈ. ᵇᵉᵃᵘᵗⁱᶠᵘˡ ᵖᵉᵒᵖˡᵉ, ᵇᵉᵃᵘᵗⁱᶠᵘˡ ˢᵒᵘˡˢ, ᵇᵉᵃᵘᵗⁱᶠᵘˡ ᵐⁱⁿᵈˢ. ᵃ ˡⁱⁿᵉ ᶜᵃⁿ ᵃˡʷᵃʸˢ ᵇᵉ ᶜʳᵒˢˢᵉᵈ ᵃⁿᵈ ʷʰᵃᵗ ˡⁱᵉˢ ᵇᵉʰⁱⁿᵈ ᶜᵃⁿ ᵇᵉ ᶠᵉᵃʳˢᵒᵐᵉ. ❞

i started working on a croÿ aesthetic board and decided to put into words all the things we’ve discussed over the years ! the focus is mainly on fanni, tekla & olimpia... because this also has elements of the psyche task. but this is more or less an explanation of the family dynamic rather than just an explanation of olimpia’s relationship with her family. ( @lcvcntc, @tvkla, @fannicroy ) ( and also i hope y’all agree with what i’ve written because otherwise this is embarrassing )

Ⅰ ⸻ The Croÿ dynasty is not much of a dynasty. The Croÿ family are pretty much the nouveau riche of royalty. There is no Saxe-Coburg, Braganza,Habsburg, Bourbon or Schleswig-Holstein blood mixed in with the Croÿ blood ( more on that if hails ever finishes the modern history task ). People don’t necessarily bring it up, it would be a weird thing to do, not to mention difficult now that three generations of Croÿs have sat on the Hungarian throne, however it’s something that hangs over the Hungarians’ heads. They aren’t a dynasty. They don’t have a family tree that can be traced all the way to the the 12th century. There’s a subconscious effort to prove themselves.

Ⅱ ⸻ So blame it on the subconscious need to be equals with other royals or on the outdated societal norms of Hungary but the Croÿs, especially the Croÿ women, have always played a role. They have fitted themselves inside a mold and adopted mannerism and personality traits in order to appear to be the best Croÿ-approved version of themselves. It’s not by design, it’s due to the conditioning that happens without anyone noticing. It there is almost only one way to flourish as a Croÿ and if you stray too far away from what is desired and accepted, you’ll be cut down. By your own blood. The Croÿs are as demanding as they are well-meaning. It happens slowly: you stop receiving compliments and praises from other members of the family, then comes quick and almost casual comments, then comes actual criticism, and eventually the family that speaks loudly about being there for you makes you an outcast. To be fair, you’ve brought it on yourself if that happens. At least partly. The Croÿs believe in unity but it’s clear that each and every one of them is deeply selfish. Sometimes that selfishness isn’t put aside for the good of the family: Levente and his infidelity, Fanni never trying to ease Tekla’s burden, ( up for debate but ) Tekla leaving Hungary, and Olimpia concentrating on her own thing, not bothering to match her siblings’ sacrifices. They’ll help, protect, fight for their family members as long as the personal sacrifice isn’t too great.

Ⅲ ⸻ The youngest generation ( or... second youngest since nilsa and katya exist ) have bent the rules a bit but not enough. Fanni didn’t end up like that by accident, Tekla doesn’t breathe easier in Copenhagen for no reason, Levente is not emotionally guarded because he wants to be, and Olimpia isn’t drawn to the people who are her antitheses because she finds them interesting. Fanni and Levente are examples of what happens when you accept your role without a single question. It’s why the two are a team too. They haven’t learnt to look outside of Budapest. Hungary first, then the family, and then themselves. Tekla is arguably the smartest one out of the group for creating something for herself on her own terms. Olimpia’s saving grace is the fact that she’s some years younger than her siblings and was never made to partake in politics.

Ⅳ ⸻ ( okay my love for the tekla-fanni parallels is infinite ) Tekla and Fanni are the perfect way to assess the Croÿ family. Tekla was born unlucky, there really is no other way to put it. So you have the two Hungarians growing up together, as close as sisters, and you have the absolutely unfair difference in the treatments they receive. Fanni is not harassed, all her decisions are supported and she is lead onto the right path. It’s easy for her to slip into the mold: it’s so safe and shiny. People adore her for doing what is correct. Why would she challenge an institution that treats her so nicely. Then we have Tekla who, in theory, should get everything Fanni’s getting. The adoration, the attention, the unconditional love. That doesn’t come. People keep challenging Tekla, try to pigeon hole her into a role that doesn’t quite fit... maybe because it’s so directly in Fanni’s shadow for no good reason. The girls, the young women they stay close until Tekla leaves and gets her own life. Tekla thrives outside of Hungary since the expectations are different. They aren’t lower by any means but her worth isn’t based on the angle of her chin and the straightness of her back. She exists as a person, not as a woman.

Ⅴ ⸻ The real problem with the Croÿs is that the game is rigged for the female members of the clan. There is no way to win. Levente’s issues sprout from toxic masculinity and the unrealistic expectations that have been placed on him but he doesn’t need to strive to be something impossible. People will even let him trip a few times. Olimpia is dumb and essentially worthless since she isn’t hard-working ( in the right useful way ), never mind she’s barely past her mid-twenties. Tekla is selfish and difficult for having created something for herself... and Fanni is simple and embarrassing for not having created anything for herself. You can see it in the way Levente talks to the women: Olimpia is just the annoying little sister, Tekla deserves respect but only if it is delivered with a small amount of guilt tripping, and Fanni is a book he has read a dozen times and has lost interest in a long time ago. How can you be ambitious but dutiful at the same time? When each one of your accomplishments is the family’s accomplishments, not yours? How can you be loyal but independent when doing something on your own makes you a turncoat?

Ⅵ ⸻ The Croÿs, however, are a forgiving bunch. Every fight gets forgotten almost immediately. If it lasts longer than a week, someone is just making a point. If it lasts for months... well, then someone needs to get on their knees and beg for forgiveness. Fights are explosive but it has a lot to do with the way the Croÿs express themselves. They know how to add bite to their words and it’s an efficient way to get a point through. Fights are great for introspection too since family members tend to pick out your worst flaws, the things you truly, without a doubt, work on. It’s a raw way to communicate but it’s an honest way. The Croÿs have no need for secrets since they know the family will stand behind them no matter what. Even through the most questionable decisions. The transparency is what makes them strong. They can lie to others, not to each other. It’s an unspoken rule. Something will break if words are swallowed instead of spoken.

Ⅶ ⸻ And one last word on loyalty. It’s unconditional. It’s why it’s difficult to be an outsider among the Croÿs. New members struggle at first because the family’s mentality is difficult to understand at first. The fights are impossible to grasp: how can you claim to love someone so much and still scream such cruel things at them? The Croÿs expect honesty, they expect unfiltered words, they expect to see the ugliest parts of you. Family knows you through and through and still accepts you ( though among the Croÿs the worst bumps in your person will be gotten rid of ). No one else knows you like family does, no one else could ever accept you like family. Family is strength and that strength comes from loyalty. You keep your lips sealed and lie and lie and lie if it’s necessarily. Among the Croÿs it’s a greater crime to be disloyal than unjust. Sylvia will learn it the hard way.

#task.#tekla g.#levente c.#fanni c.#hshqtask046

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winebleeds · 4 years

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@bnjmin sent ❛ 🍍 (obligatory to send this one) 🍏 🍎🍊🥝 for all ❜

⤑ FRUIT HEADCANONS

you’re really making me add this to a read more, huh.

🍍 : how comfortable is my muse in their body? how do they feel about their height, weight, strength, and body type? how important is being attractive to them?

raleigh: yeah, he’s not. he hates looking at a mirror. out of his insecurities, his height gets to him the worse. while barely below average at 5′8, he becomes one of the shorter men within a group. doesn’t help when his younger brother became taller than him or even his youngest sister being taller in heels. he was also the weakest of his siblings when they got older, though he doesn’t make too much effort gaining muscle. only enough to keep lean and not too tired looking. despite his insecurities about his appearance, he is low maintenance when it to looking attractive. in fact, his insecurities block how others consider him attractive, puzzled when someone does mention such; it’s just pity for him. so yeah, the most insecure about his body but the least caring about attractiveness.

liz: yeah, very comfortable. too comfortable. a big portion of her attire is meant to show off her body, knowing she looks good... and people definitely pay attention to that. still, like raleigh, she does have some insecurity about her height. instead of drowning in said insecurity, she alters how people view her height, to the point people blink at figuring out she’s 5′2; it’s the same at minimal curves, considering she enjoys viewing curves on other women. she does the most to portray her attractive features through her attire and confidence, knowing it pays off. but, again, it’s less on insecurities or even as much on manipulation anymore; it’s simply a preference.

jamie: despite his job as a fitness trainer, he’s smaller than his football years. he won’t gain those muscles of his college prime again, and he does look back with a twang of guilt, even if some of it wasn’t in his control. after his injury, he lost a lot of weight he’s beginning to gain back. he also had a smaller figure during his teenage years that brought insecurities, especially his braces, until he grew several inches and boarder shoulders right before his senior year. he also made a drastic change in his outfits to better fit his fitness now rather than the southern style of his former years. he’s the most cautious on his attire because of his insecurities, despite acting confident about it.

maddie: due to societal standards on plus size, she does have insecurities about her weight. but even jamie & liz, one in fitness and the other much smaller, ensure her she doesn’t need to worry about such; she’s just board built and curved like a spencer. but her conservative clothes, especially compared to her sister, hints of her hiding herself, though her personality outshines those internal feelings. she can feel insecure of her height as well, since it throws of men shorter than her, but she’s gotten more comfortable with that aspect of her.

🍏 : how stable is my muse’s physical health? do they go for regular or semi-regular checkups by a physician? do they have any diagnosed illnesses and / or take any medication? how often do they get sick?

raleigh: unless his slight limp from his leg injury counts, then he doesn’t have any health issues, and never really did. so far, his seasonal allergies haven’t occurred in la, though he has his allergy medicine just in case he gets stuffy like he did in the carolina autumn. otherwise, he’s quite healthy. besides being, well, a surgeon, he does get checkups.

liz: generally, she’s healthy. she may get the sniffles or a cold during the winter seasons, but nothing she can’t recover from by the next couple days. however, her reproductive organs cannot reproduce. she was diagnosed with primary ovarian insufficiency at 16, since she never experienced her natural period. the doctors are not sure the source of the condition, though it’s potentially a genetic defect once amenorrhea and/or being underweight was ruled out. so she had taken estrogen & continues taking calcium and vitamin d supplements to avoid bone loss. besides more common dryness during sex that lube fixes, she doesn’t think often about the condition; she’s never wanted children to begin with and knew her career would define her anyways.

jamie: oh boy. so his childhood was bombarded with health issues. the main two were chicken pox & tonsillitis, which weakened his immune system. once his tonsils were removed, his health started to get better, where he was able to stay outside without high risk of getting sick. still, his immune system isn’t the best, and will get a sinus infection or the flu (if he doesn’t get his shot in time) each year. then, there’s his concussions, his single ear deafness, and other injuries. throughout horseback riding, he has broken a wrist and a couple concussion. for football, there’s his rotator cuff, sprained ankles, and his deafness in his right ear, though he’s been hoh since the fall from the cliff with raleigh. the lining of his stomach is also weak from alcohol, so he’s careful about any foods that could erupt it. despite having the healthiest lifestyle (now), he’s the least healthiest.

maddie: she had appendicitis, and had her appendix removed. but other than that, she’s been pretty healthy, similar to raleigh. out of the four, though, she goes to doctors least, and haven’t been to a checkup for awhile.

🍎 : how stable is my muse’s mental health? have they been diagnosed with any mental illnesses and / or conditions? do they have any undiagnosed mental illnesses and / or conditions? do they or should they attend therapy?

they all need therapy.

raleigh: besides extreme insecurities and bouts of depression, he’s pretty stable. his stress levels can get high, which heightens his insecurities and anxiety about how other people view, which spark his depression. he has been diagnosed with depression during med school, and goes back & forth to therapy when he feels worse about it. but he’s done better since he has a more stable life, instead of the turbulence during his parents’ divorce.

liz: most of liz’s mental state come from her fears. while, yes, she is scared of snow & water, those are two factors that trigger her claustrophobia; elevators and not being able to see a way out of tight spaces trigger it as well. the source came from her nearly drowning in the lake as a child, and has been struggling since then. she has gone to therapy for her infertility as a teenager, but not much happened during the sessions with the minimal talking on liz’s side. but she should go back to have someone to guide her about opening up & her trust issues, since it does cause issues in relationships. and, no, while particular on cleaning, she does not have ocd.

jamie: his multiple of concussion enhance his recklessness & behavior. and his alcohol intake did alter his decision making & temper as well. he was diagnosed with alcoholism, and went to aa meetings for a couple years. he still goes to therapy, though continues to have anger issues. when he was a child, people did think he had adhd, once he gotten out of his shell from the health issues, but doctors did not think he had adhd & was just simply hyper.

maddie: she’s the most stable of them all. she’s open about her feelings to people; she probably opens up too much. and, while she can get sad or mad about certain aspects of her life, it doesn’t halt her life. she doesn’t go to therapy, but she’ll do fine at it when talking in general helps her.

🍊 : does my muse desire romance? is it something they would actively seek out, or prefer to happen more ‘ naturally? ’ what is their love life like? do they have any exes or past flings, or crushes?

raleigh: it’s less about romance than having a partner when raising a family that will stay long term. because he really wants a family and kids. which, due to his clueless, the romance will have to happen naturally and the other person has to seek him out. he has dated here and there, but nothing that amounted to anything beyond a first date; sometimes, he’ll go get coffee with someone and not realize it was a date until a week later, so... but he does have two exs, one in high school and another from undergrad, which is mentioned in this timeline. and he did have a crush on his friend tessa, but it died down when they both decided to remain friends.

liz: no. not romance, and 9/10 she ghosts someone the minute they think anything between her is getting serious, with examples in her timeline. it’s the opposite of one night stands, she does not seek out romance at all. gross. she doesn’t have time for that.

jamie: similar to raleigh, he wants a family in the near future, though wants to settle into his life a little bit more, knowing how rough his past will work to a future spouse. he’s a good 50/50 on seeking out dates and letting it happen more naturally; it will be more naturally with men while he controls the flirtation with women. he has several exs and old flings and crushes, but the most noticeable is lillian irene, a dance major he dated throughout college... even if he wasn’t the most faithful and she deserved so much better than him; still, she helped him sober up even after the officially broke up their relationship. oh, and his main celebrity crushes as a teenager were britney spears & jennifer beals... who lillian irene had close resemblance to...

maddie: she enjoys dating and being romantic, but it’s something that’s casual as she’s still exploring the world. while she seeks out dates, she also seeks out the friends and just enjoys knowing other people. she doesn’t understand how liz can have one night stands, since sex for maddie means close attachment and romance.

🥝 : does my muse have any ‘ unusual ’ habits, interests, and / or talents? do they hide it, or are they proud of it?

raleigh: he has some obscure science fiction books that have a special place on his bookshelf, but those have a personal connection to him coming from his piano instructor / role model. but a lot of his interests are pretty mainstream in terms of star wars & whatnot, even if they were as much as a child.

liz: her most unusual will have to be her random construction projects. this started with raleigh’s legos as a kid, and of course expanded to her engineering career. but she still have her designs of buildings or computer codes or airplanes in her free time, and, once she has the space for it, will experiment on building her own car engine or whatever she can assemble in a garage and may get a few patens in her later life. while not too unusual, it’s more of a shock that someone as “feminine” as her would do something so “masculine.” because, while she doesn’t hide it, she doesn’t promote it either.

jamie: he dances, or he can dance well. which makes sense, with his ex being a professional dancer & needing to impress her. but, still, it wasn’t hard to get him to share that interest. even before lillian irene, he would sneak into hidden places to figure out the choreography for music videos, especially britney spears. of course he hides it, outside of appropriate moments of dancing with someone on the dancefloor. but he’ll just pretend he doesn’t know the difference first and fifth position in ballet or that he knows the final dance to flashdance.

maddie: she often paints on jean pockets or vinyl records rather than a tradition canvas. considering there’s a market for such, it’s not too unusual and can make money from it. but she purposefully doesn’t like using traditional canvases for her artwork. also, her knowing how to play the harp stands out when she points out which music instruments she knows how to play.

#ask to tag #this took me the whole day i hate this.#and yes jams has repeatedly watched flashdance and yes that is a guilty pleasure of his.#if there's anything you need to get out of this... it's that.#( j. headcanon )#( m. headcanon )#( e. headcanon )#( r. headcanon )#bnjmin

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recentanimenews · 4 years

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Happy Birthday, Space Cowboy: A Shinichiro Watanabe Retrospective

Today we wish a very happy birthday to the Cowboy Bebop director, the one and only Shinichiro Watanabe! Watanabe-san has been a powerhouse in the world of anime for well over two decades, working with acclaimed studios such as Sunrise Inc., Studio Nue, and BONES. His mastery at blending Western and Eastern elements has earned Watanabe a devoted fanbase in many different countries. One of the most consistent aspects of Watanabe's catalog is his skill at successfully amalgamating a variety of genres from sci-fi to Westerns to comedy and more.

In honor of Watanabe's birthday, I'll be exploring the artistic depth of three anime from his impressive oeuvre and celebrating the very special spark that can be found in all his works. Read on for more!

Terror in Resonance (2014)

Terror in Resonance seems critically underappreciated when compared to some of Watanabe's other directorial efforts. Though it lacks the robust character development and sense of immersion found in his other titles, the series still retains many of the qualities that make Watanabe such a globally respected anime auteur.

Terror in Resonance follows two high-school-aged terrorists named Twelve and Nine as they plot a series of bombings in order to reveal the injustices enacted against them — and many other children — during a secret government operation called the Athena Plan. Along the way, a lonely girl named Lisa finds herself enwrapped in the boys' mission, and experiences camaraderie for the first time due to their presence.

The show's basic premise alone reflects Watanabe's willingness to explore uncommon thematic spaces by featuring literal terrorists as two of the main characters. Common in his other works as well, Watanabe invites viewers to feel compassion for characters who inhabit the outermost margins of societal acceptability. The show doesn't endorse Twelve and Nine's actions, but it does position them as isolated characters with real human attributes, acting coherently in retaliation to the incorrigible exploitation they faced as children. Twelve and Nine also make extreme efforts to make sure no one is killed due to their bombings, which serves as an empathetic deviation from standard depictions of terrorists as one-sided, monstrous caricatures.

Ultimately, Terror in Resonance features many trademarks of Watanabe's unique touch: compassionate explorations of loneliness, a tragic narrative interspersed with brief moments of beauty, and yet another gorgeous soundtrack by Yoko Kanno (a frequent collaborator with Watanabe).

Macross Plus (1995)

Watanabe made his directorial debut as co-director for Macross Plus working alongside Shoji Kawamori (the creator of the original Macross). This four-part OVA is the best flying mech, artifcial-intelligence-pop-music-gone-horribly-wrong redo of Top Gun I've ever seen. I remember I first saw it on the Starz Channel back in 2002 or 2003. It was fun to revisit the US dub recently with the fresh realization that Bryan Cranston — aka Walter White, our favorite fictional suburban meth dealer — did the voice acting for the main character Isamu. Isamu is like a more womanizing Spike from Cowboy Bebop, mixed with the arrogance of Mugen from Samurai Champloo, and is an early example of a recurrent protagonist-archetype in Watanabe's titles. The playful comedic qualities Watanabe would become known for were already apparent in much of Macross Plus, such as the scene when Isamu and his rival Bowman bring up old adolescent/high-school gripes while they're both engaged in an airborne mech-duel to the death.

Once again, Yoko Kanno's absolutely incredible score must be mentioned. The soundtrack ranges from orchestral music perfect for dogfights to emotional ballads and '90s trance (there's also a really cool reference to the Aphex Twin album "Selected Ambient Works 85-92" on a bus sign in one scene). Watanabe's first directorial outing already grapples with a subject near and dear to his heart: music. The last episode features an intense sequence involving an AI popstar named Sharon Apple, who takes control of everyone viewing her concert via seductive musical mind control. This scene explores a what-if scenario: an imagined future where technology meshes with the power of music for nefarious — rather than healing — ends. Either way, since Watanabe is a self-proclaimed "music freak," it's fun to watch him implement a plot device about just how disruptively powerful music can be (his most recent anime Carole and Tuesday tackles AI and pop music with a more neutral lens, as an FYI). Macross Plus is not to be missed.

Cowboy Bebop (1998)

I'll never forget what it was like to experience Cowboy Bebop for the very first time when it initially aired on Adult Swim in 2001. I must have been 12 or 13 at the time, and few pieces of media have made such a lasting impression on me. I was already extremely impressed even after seeing the first episode "Asteroid Blues," but it's the fifth episode entitled "Ballad of Fallen Angels" — where viewers are introduced for the first time to the central antagonist Vicious — that completely sold me on the series.

"Ballad of Fallen Angels" culminates in a climactic battle that takes place in a church, with the main character Spike duking it out against Vicious and his goons. The most memorable moment for me is the scene when Spike is thrown out of the top of the church by Vicious. Spike falls in slow-motion as viewers are treated to a montage of his tragic crime syndicate past and his relationship with his lost love Julia. It's such a stunning moment that perfectly echoes the old creative writing adage "show don't tell," since it subtly expresses so much about Spike's life without explicitly battering it over your head. The scene speaks volumes in just a few wordless seconds, with no sounds to be heard at all other than Yoko Kanno's gorgeous choir and piano-based track "Green Bird." I've drifted toward arthouse movies as I've grown older, and I truly think the aforementioned scene was my first time experiencing the ineffable artfulness that I find in the experimental films that move me most. It feels a little silly and overblown to say, but the sequence feels like it contains a large spectrum of life — love, hate, sadness, memories, dreams, etc.

Cowboy Bebop is a show that abounds with moments like this. There are so many moving scenes rich in an atmospheric tenderness that aches with longing, loneliness, and beauty. Intimate scenes where characters in interstellar ships stare quietly at a sea of stars. A view of someone smoking a cigarette alone in a dimly lit alleyway. Or something like the ending of "Waltz for Venus," when a music box-esque song plays while Spike gazes into the sky as spores that can blind drift downward like snow.

I could go on and on about the series — the masterful quality of Keiko Nobumoto's screenplay, the riveting action sequences and lovable characters, the expert blend of genres coupled with breathtaking animation and music, and how Spike's somewhat Buddhist philosophy (whatever happens, happens) influenced my own. Cowboy Bebop truly deserves all the praise and is undoubtedly one of the best animated works of all time.

So here's to you Shinichiro Watanabe. I hope you have a birthday as stunning and cool as the anime you've graced the world with.

What else do you love by Shinichiro Watanabe, and why? Sounds off in the comments below!

Do you love anime? Do you love writing? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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philomaela · 5 years

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Is there any characterization of the Ragnarssons in the show that you think is close to the ones in the saga?

Disclaimer: I need an easy way to refer to Ragnar’s saga, the tale of Ragnar’s sons and the Gesta Danorum book 9, since I do believe those texts are the core influence on Vikings. I’m going to refer to those texts as the main trio. Yes, that is the best name I could come up with lol.

I guess if I had to pick… I would say Hvitserk and Bjorn? However, it’s not necessarily because what Hirst wrote for those two is so in line with the main trio, but rather because they are less fleshed out compared to their brothers. While they do things and have a certain level of characterization, most of their actions take place while the brothers are acting as a team, rather than acting as individuals. The result is that the bulk characterization often rests on things that can be ascribed to the Ragnarssons as a whole, rather than on them as individuals. So you have more wiggle room with them, you’re not contradicting anything instead you’re just supplementing, if that makes sense.

On that level, both Hvitserk and Bjorn are regarded as honorable-ish, passionate men who are great warriors. Bjorn also has a desire for maternal affection/praise that is implied by one of his verses in Ragnar’s saga. Bjorn in the Gesta Danorum is also a strong leader who inspires loyalty in his Kingdom and he’s very close to his father, choosing to fight beside his father against his half-brother Ubbe. All those things are in line with his characterization in the show imo.

However, I should add… as is the case with everything on Vikings… Hirst isn’t just drawing from the main trio, he’s drawing from other sources that sometimes contradict the narrative of said trio (even those texts sometimes contradict each other lol!). For example, Ragnar’s adventures in Paris come from contemporary French sources, not from the main trio. And it’s not incorrect to do that, it’s a valid storytelling choice! I just think the way it’s done sometimes leads to some problematic elements.

I know you didn’t ask, but I find it fascinating how Hirst has (imo, obviously) essentially given Sigurd, Ivar and Ubbe the opposite characterizations of the ones they had in the main trio. So, I want to go into detail about that, I’ll put it under a cut because it’s slightly off-topic and also this is already too long lmao.

Sigurd:

This one I’ll mainly be talking about Sigurd as he stands in Ragnar’s saga and the tale of Ragnar’s sons. So, do you want to know what the key is to understanding Sigurd’s characterization in those texts? It’s that he is Aslaug’s son. He is a living symbol of his mother’s proud lineage, his birth saves her marriage and reveals her true background to the world. Sigurd, Aslaug’s youngest son, earns her the respect she deserved, but could not get while she was known as the daughter of peasants. While Aslaug loves all her sons (including her stepsons), to me the text makes it clear that Sigurd Snake-in-the-Eye is her favorite. And Sigurd is a mama’s boy in through and through. When his brothers are refusing their mother’s advice to go to war, he speaks up on her behalf, even though he is only 3 years old. In the tale of Ragnar’s sons, Aslaug is given Sigurd’s sword and shield when he dies and raises his children, one of whom is a daughter named after Aslaug. (TBF, the translation I’ve read says that Aslaug gave her own name to the girl, but due to some weirdness in how facts are revealed in the story, I’m not sure if she did this before or after Sigurd died…)

Anyway, the thing about Sigurd as he stands in Vikings… his “origin” is totally different! Aslaug is known as a princess the moment she enters the story, she makes the prophecy of Sigurd’s eye due to anger at Ragnar making fun of her. In fact, the snake in Sigurd’s eye is treated ambiguously, rather than a straightforward blessing linking him to the Volsung line. So in this world, where Sigurd’s birth is not a transformative point in Aslaug’s story… well, he’s not quite linked to his mother in the same way, is he? Sigurd is not her precious boy, instead that spot is reserved for her “new” youngest son, Ivar the Boneless. She gives most of her affection and attention to the son who needs it most and so Sigurd grows jealous and resentful of Ivar. Rather than being a great king who rules justly, as in the Gesta Danorum, he’s seems somewhat petty and spiteful and since he dies young, he never has a chance to grow beyond that.

Sigurd goes from a favorite son and mama’s boy, to a resentful, less-favored child. Rather than inspiring (a small level of) jealousy in his brothers, he is jealous of his brother. Rather than being precocious, he’s just petty and in terms of the narrative, he dies before he has a chance to be anything else. These core character changes imo, come from the decision to change Aslaug’s origin story and as a result, erasing the original narrative importance of Sigurd’s birth. Oh sure, Sigurd’s still got a snake in his eye, but it’s purely aesthetic, it does not carry the same thematic weight and importance that it did in Ragnar’s saga.

Ubbe:

The changes to Ubbe’s characterization are similar to Sigurd in that his origin story is completely changed and this subsequently changes his characterization. For Ubbe, I’ll mainly be discussing the Gesta Danorum, though Ubbe is briefly mentioned in the tale of Ragnar’s sons (as “Husto”) all that is really said about him is that he’s one of Ragnar’s illegitimate children. But anyway, in the Gesta Danorum, Ubbe is indeed Ragnar’s illegitimate son, born out of an affair with a woman of lower-birth. As far as I can tell, this class difference creates some resentment in Ubbe, because there is a line about how he respects his mother more than his father. Later, Ubbe’s paternal grandfather convinces him to stage a rebellion against Ragnar. Ubbe asks his half-brother Bjorn for help, but Bjorn prefers to fight by his father’s side. Interestingly, Ivar picks neither side, claiming that there is no honor in fighting against family. Either way, it’s Ubbe and his grandfather against Ragnar and Bjorn. Ragnar wins and kills Ubbe’s grandfather for inciting the rebellion and Ubbe eventually is captured. After Ragnar’s son Hvitserk dies, before Ragnar leaves to take vengeance, he forgives Ubbe for his rebellion. After that Ubbe disappears from the narrative.

Now in Vikings, Ubbe’s origin is again… completely different! Rather than being the an illegitimate son whose mother was of a much lower social class than his father… now he’s the legitimate son of a princess and an earl/well regarded hero! He’s not an only child anymore, now he’s an eldest son, with many younger brothers to look after. As well, his father isn’t a king whose achievements lay in conquest and forging an empire, but rather a king whose dream was to find farming land. So he transforms from a resentful and ambitious son into a responsible, unambitious son. Power is given to him so easily, he doesn’t need to take it by force and rather than taking away his father’s empire, he aims to fulfill his father’s dream.

So much changes for Ubbe once he becomes Aslaug’s son, you could say his fortunes are completely reversed! It’s funny in a way, Ubbe in the show complained about Margrethe having so many ambitions, perhaps because of his princely upbringing. However, Ubbe in the Gesta Danorum has a far more troubled background and the way he straddles class lines makes him far more ambitious and willing to challenge the societal norms.

Ivar:

So… Ivar is unique case, because I don’t think his “character flip” comes from the changes in his origin, like with the other two, but rather in Hirst borrowing from multiple other sources for Ivar. The dichotomy that comes from reading sources about Ivar are fascinating, you get the sense that the Ivar of the Great Heathen Army and the Ivar of Ragnar’s saga were two very different people lol. In sources such as the Íslendingabók or the writings of Adam of Bremen, Ivar is an evil pagan, the cruelest of all tyrants, continuously waging war, killing and torturing christians. But, interestingly, Ivar is not “boneless” in these sources, no mention is made of him having a disability (unless there is another source I am forgetting?). Now, in Ragnar’s saga, Ivar is very different. He is born disabled, the result of his father ignoring his mother’s prophecy. He is the eldest son and all his brothers follow him because he’s the wisest and most clever of them. He is so well-regarded, that when his brothers try to go to war without him, they’re not able to gather that many forces. He takes vengeance for his father without technically ever going to war and he rules well, watching over England even after he dies. There is a line in the tale of ragnar’s sons about how he didn’t lack cruelty, but… it seems like he is only cruel under very specific circumstances.

So, Ivar’s “origin” is changed a little bit, he goes from the eldest son to the youngest, so he has to fight for control against his brothers. He’s less responsible and more resentful. However, it seems that unlike Sigurd and Ubbe, whose new characterizations follow largely from changes in the story… Ivar’s personality in the show is the result of grafting his characterization from various other sources onto his backstory in Ragnar’s saga. Now, we have an Ivar who was born disabled and is a cruel, angry Pagan. Ivar does inspire loyalty… but as a tyrant, he also inspires fear in the people he rules over. Now, he kills one brother and gladly goes to war against the others, something he refused to do in both the Gesta Danorum and Ragnar’s saga. He’s still clever, but now he’s impatient and has rage issues, rather than being able to maintain a level of calm and work on long term plans like he does in Ragnar’s saga.

I… struggle, with this change more than with the others tbh. There’s nothing inherently wrong with changing an origin or pulling from multiple sources, but in the implication and effect they have on the story. While I don’t really care that Sigurd isn’t a mama’s boy or that Ubbe is a responsible son in the show, I’m not sure if I appreciate the decision to keep the disability of his Saga characterization but to cast him as a cruel, monstrous tyrant, as he is portrayed in other sources. It feels especially egregious when his brothers are painted as more noble and fighting against him. I wonder if there was maybe a middle line that you could have walked, either by making Ivar a little less gleefully evil or by making his brothers a little less virtuous.

#sifshoney #Asked and Answered #vk ask #vikings #I'm putting this in the tags bc... well it's really long y not lmao #also as always #I hope people know... I'm just a fan of this story #I have no credentials #a lot of this is a combination of my opinion on things I read #and supplemental papers that let me look at them in a new light #so if anyone wants like sources or to know if I'm citing something or if it's just my thought process #feel free to ask

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