#don't retcon the out of the series

[the-fandom-queenxox]

Wait I just thought of something, since the nuke killed everyone but everyone is still very much alive(cause of some revive book bs I'm assuming)with a full server reboot does this mean that all the npc kids (+the pets) are dead? Cause if that's the case I'll actually stop watching dsmp

[rhys-ravenfeather]

Yeah no, Jack and Maddie Fenton aren't good parents or good people and you can't, and won't, change my mind.

[capinejghafa]

i kind of want to work on a mal set as he’s gotten very little love this season and archie really do a good job.

[allatariel]

Further Cassian timeline confusion. In episode 4 Cassian says he fought in Mimban when he was 16 for two years of it. Luthen then corrects that he was there as a cook for six months. Mimban was the place Han Solo met Chewbacca in Solo: A Star Wars Story which takes place in 10 BBY.

Now the battle seems to have gone on for years, no clear information about how many all told, just that Cassian tried to say he was there for two years of it. But if Cassian was there in 10 BBY at 16 then his birth year is still 26 BBY, unless he’s referring to his age relative to a coverup birth year and he’s actually older. And it could have been either earlier or later in the years long battle, shifting his birth year up or down up to a few years.

There was also a battle on Mimban soon after the beginning of the Clone Wars in 22 BBY, which would make him considerably older, putting his birth year in 38 BBY. But that seems unlikely considering the way he says that they were fighting each other and no mention of clones or battle droids.

So nothing really cleared up, I suppose, just more questions and uncertainty. In fact it makes the dating of the flashbacks even more bizarre, even without the Separatist/Republic emblem nonsense.

[kaythefloppa]

The one good impact Bunk'd had is that it can serves the best example to why shows being renewed for more seasons past their prime is not always something to be celebrated over or fought for.

[translucio]

people on my dash are so polarized over fallout tv show

[mrdrhenwardhykle]

Having a decent conversation and discussion about a specific subject, usually with two different viewpoints: The other person all of a sudden: Well, clearly you haven't watched enough ____ to know what you're talking about. What is with it with these fake fans???

My need to overthink/over analyze everything:

[aroaceleovaldez]

okay last one for the night but. honestly i really hate how the franchise has been using loyalty to Rick as a shield for so long. If Rick was involved in a project or not doesn't matter, especially not anymore.

ReadRiordan and the publishing for the franchise has been using this tactic for ages - they obscure if any writing related to the series wasn't written by Rick unless it's special circumstances. It's near impossible to find out who the ghostwriters are (Stephanie True Peters and Mary-Jane Knight). TSATS was promoted as the first time we got a non-Riordan (Rick or Haley) author working on one of the companion novels despite having seven already existing ghostwritten books in the series. The only reason Mark Oshiro was emphasized so heavily for TSATS was because they also work as a sensitivity reader for topics such as queer identity, and Rick had received backlash in the past for being a Straight Cis Old White Guy repeatedly falling into bad habits (that he hasn't broken out of) with certain characterizations that he kept doubling-down on or retconning into oblivion. The show emphasizes that Rick was involved, but the LA Times article brings into question exactly how much he was involved, and it doesn't even really matter either way. The ReadRiordan site actively avoids putting any writing credits on their articles (or art credits...) or anywhere on their site.

Practically the entire fandom unanimously agrees the musical - which had zero involvement from Rick - is the best adaptation of the series so far, including the TV show. Some of the best writing to come out of the series recently was the stuff ghostwritten by Stephanie True Peters (Camp Half-Blood Confidential, Camp Jupiter Classified, Nine from the Nine Worlds, etc). And yet when promotional stuff is posted about CHB:C, there's clearly coded language used to hide the fact that Rick himself didn't write it. Yes, that's how ghostwriters work, but at this point we should really stop pretending "Rick Riordan" isn't just a pen name for a group of authors like "Erin Hunter" and that Rick is actually writing everything in the series. I can easily look up and see which Animorphs books were ghostwritten, and who those authors were. I can find every "Erin Hunter" easily listed on official sites. And yet most people don't even know the Riordanverse franchise has ghostwriters at all.

And the franchise is still trying to use the "Tio/Uncle Rick" stuff. Author loyalty and marketing parasocial relationships isn't going to save the franchise when the author himself can't hold up his own original themes or even keep basic series bible details straight, and especially not if the editors are barely if at all doing their job. And please at least get a goddamn series bible by this point.

[kingdomoftyto]

Finished reading Queen of the Damned (after re-reading/skimming the first two books) and I’m looking at how long the series continues to go on after this and geez, AR really had no idea how to quit when she was ahead, huh

[hamliet]

Derry Girls: A Masterclass in Detailed, Thematic Writing

Several years after the end, I finally watched Derry Girls, and it's become one of my favorite shows. Not only for the way it captures the absolutely unhinged aspects of Irish families (askmehowiknow) but for the sheer writing skill.

The vast majority of the episodes are laugh-out-loud hilarious, while also offering insightful commentary on the Troubles and on humanity's foibles as a whole. The characters are allowed to be human and act in unlikable, unsanitized ways, and to still be human and come back from that. (Almost like a metaphor for the Troubles or something.)

The story is also incredibly detailed; for example, when the girls are accused of killing a nun and Erin points out the nun was like, 98 years old and askes "might that shed some light on the situation?" there's an hourglass behind Sister Michael--emphasizing the idea that her time was up. Even more than that... the window is behind the hourglass, literally shining a light on it.

But that's a micro level. On a macro level, I also appreciated the way the story discusses the political backdrop that is part of its premise. Even as Erin, Michelle, James, Clare, and Orla grow up in a place that's been in a state of low-level warfare for decades, they live full lives. In fact, that's kinda the point.

Case in point: episode 4 of the first season, wherein Erin gets an exchange student from Chernobyl. The way the Northern Irish in general treat the Ukrainians is hilariously awful and patronizing, believing that they are giving them a respite from the troubles "over there" while Northern Ireland isn't in a much better state. But, as Sister Michael assures the Ukrainian students, the Irish troubles don't matter because "we're the goodies."

This line gets to the heart of what the episode is saying about political divisions and the way people view an "other." Everyone sees themselves as the "goodies." Because of that, they don't self-examine and wind up hurting the people they see themselves as wanting to help/save with their ignorance. It's a paradoxical egotistical (and frankly teenage) worldview that is also unwilling to look critically at oneself. The focus on their own perceptions over focusing on the actual humanity of the other results in ruining gifts that could come with cross-culture interaction, as seen in how Erin's misunderstandings and petty jealousy of Katya leads to her literally ruining a surprise gift Katya had prepared.

And the end of the episode also comments thematically on the story. One of the Ukrainian boys turns out not to be Ukrainian after all--he's actually Irish and from just down the road. He just didn't know how to say that. The ironic message is clear: despite differences in culture and views, they are actually all human beings, and assumptions make it hard for people to speak. If they could actually talk openly and without presumptions about who is "good" and who is "bad," they could prevent and solve a lot of problems.

This kind of background, symbolic commentary on the Troubles continues in just about every episode of the series. For example, even after the ceasefire, season 3 has an episode where it's discussed how negotiations are stalling, and the entirely of the rest of the episode takes place on a train that stalls between two separate places.

The Troubles are always something affecting their lives, but the only time the Troubles ever become the main story is in the finale episode. Which is also an episode that makes everyone cry. Michelle's brother is finally mentioned for the first time the entire series, yet it doesn't feel like a retcon so much as a recontextualization, and again mirrors how a lot of society (and Michelle's own family) have treated those who murdered others during the conflict.

Erin and James' relationship also works as a metaphor for the Troubles--an Irish Catholic girl and an English boy. Earlier in season 3, after they finally kiss, they're told they can't be together, that it's wrong, and that it'll create problems for everyone around them. Michelle doesn't want things to change. And Erin agrees that it's not good to pursue something.

But, in the final scenes, as Erin prepares to vote in the Good Friday Agreement and talks to James, she directly states she thinks things can't stay the same forever--thereby countering what she said to reject James earlier:

There's a part of me that wishes everything could just stay the same. That we could all just stay like this forever. There's a part of me that doesn't really want to grow up. I'm not sure I'm ready for it. I'm not sure I'm ready for the world. But things can't stay the same, and they shouldn't. No matter how scary it is, we have to move on, and we have to grow up, because things... well, they might just change for the better. So we have to be brave. And if our dreams get broken along the way... we have to make new ones from the pieces.

Symbolically, also, given that we know the outcome of the Good Friday Agreement, I think it's pretty clear Erin and James end up together even if we're not directly shown it.

That the last shot of the episode (besides the funny epilogue) is Grandda Joe, one of the eldest characters, helping his youngest toddler granddaughter Anna leap over a threshold as they leave the voting station, is also incredibly clear in its symbolism.

Erin: People died. Innocent people died, Grandda. They were someone's mother, father, daughter, son. Nothing can ever make that okay. And the people who took those lives, they're just gonna walk free? What if we do it, and it's all for nothing? What if we vote yes and it doesn't even work? Grandda Joe: And what if it does? What if no one else has to die? What if this all becomes a--a ghost story you'll tell your wee-un's some day? A ghost story they'll hardly believe?

I dunno, I think this is a sentiment we need more of in the world. A peaceful future means taking risks and accepting that punitive justice will not be perfectly doled out; however, if you allow more people to be hurt, is that not also injustice? It's a paradox that the story leaves us without a dogmatic answer to (for example, we never find out if Michelle's brother gets released), but it's also hopeful--because we know that the Good Friday Agreement largely worked.

(For further analysis of the final scene, I recommend PillarofGarbage's analysis on YouTube!)

[rosabell14]

The hunters of Artemis, Reyna, and Asexuality in Riordan's writing

I kinda started thinking about this since Reyna became a hunter. I could never articulate why I hated this Choice. I was asexual after all. Shouldn't I be happy about this rep? We Ace people barely get any after all. Then I realized that it's because I just didn't like the hunters as ace representation. And I didn't need to be grateful for mediocrity.

You want to know why the hunters of Artemis suck in general? And as Ace rep specifically? Because Riordan did not write them with that mindset.

Like people are so busy hailing this man as the king of representation in literature(blegh) that they forgot how heteronormative and white(sometimes racist) the original series was. Y'all really think this man was thinking about writing asexuals in the year 2007? Get real. What Riordan was doing was a white man trying to write feminism and failing (there's a reason most of his female characterization of female characters boils down to tough "not like other girls" characters who are dicks to the boys around them yet also to the girls around them if they're jealous)

Now onto the hunters.

The hunters when first presented in TTC are not a group of asexuals but rather religious celibates. Fantasy Pegan nuns if you may. The first problem arises when their ages are brought up.

"Then the archers came from the woods. They were girls, about a dozen of them. The youngest was maybe ten. The oldest, about fourteen..."

Remember, before ToA gave us Emmie and Jo, the hunters WERE all young girls. Now why in the world are they so young? Especially when in the actual myths, the hunters could come from any age whatsoever? Well the reason is a doozy.

"Are you surprised by my age?" she asked.

"Uh… a little."

"I could appear as a grown woman, or a blazing fire, or anything else I want, but this is what I prefer. This is the average age of my Hunters, and all young maidens for whom I am patron, before they go astray."

"Go astray?" I asked.

"Grow up. Become smitten with boys. Become silly, preoccupied, insecure. Forget themselves."

Hooo boy. What a way to phrase it. Going astray. Losing themselves. This kinda confirms that the reason why Artemis goes after young girls specifically is because she only wants girls who have yet to finish puberty. Girls have yet to discover their own sexuality. Now I'm not a representative of Asexuals everywhere, but I'm pretty sure most of us don't discover our sexuality at the age of ten. Let alone have the maturity to decide to become celibates about it. And let me reiterate: celibacy is not sexuality. Sure asexual people CAN choose to be celibates but it's not the same thing at all. In fact Zoe and Thalia are big cases for this. Both of them had liked men before(herakles and luke) but joined for their own reasons. Thalia to escape the prophecy and Zoe out of heartbreak. Hell, Bianca herself is mostly swayed by the idea of having no responsibility and a new family.

Now Rick does another thing that goes against the myths. The exclusion of make hunters. Artemis frequently hung around or taught male hunters who respected her. Daphnis, Scamandrius, freaking Hippolytus whom Artemis greatly cared about. Oh but we need to come up with bullshit reasons why Nico can't just join the hunt with his sisters so the hunters of Artemis are all: Ewww men. Also note how at no point does Riordan mention people who fall in love with women.

Now the next point is the oath itself. Artemis says this:

"What oath?" I said.

"To forswear romantic love forever," Artemis said. "To never grow up, never get married. To be a maiden eternally."

When I tell you that Emmy and Joe were retcons . Rick was freaking INSISTENT on the hunters being kids. Also note the three points: to never fall in love, to never get married, to stay a maiden.

I mean I think I don't need to explain why obsessing over the virginity of young girls is creepy. Does Riordan think girls older than fourteen can't keep it in their pants? And let me be adamant here Riordan only cares about the virginity Clause here. He mentions falling in love and marriage because he sees them inherently intertwined with sex.

Now onto the wording of the oath itself:

'I pledge myself to the goddess Artemis. I turn my back on the company of men, accept eternal maidenhood, and join the Hunt.'

I mean you might be able to interpret men here as mankind and therefore excluding women as well. But I have many reasons to believe that Riordan didn't even CONSIDER women as a possibility(someone inform this man that lesbians existed smh 😞). Also note that falling in love is not mentioned in the actual oath but maidenhood is.

Now onto the next big issue. Percy Jackson's Greek gods and its chapter on Artemis. It basically confirms all of my problems.

"IT’S NOT THAT ARTEMIS HATED ALL MEN, just most of them. From the moment she was born, she knew one critical fact: Guys are kinda gross."

No mention of girls. In this chapter Percy(Rick) brings up Artemis' disdain for dudes over and over again.

“Let me be a maiden forever, Father,” Artemis said, twirling her finger in Zeus’s beard. “I never want to get married.---- But you can grant me a bunch of followers: ocean nymphs, river nymphs, wood nymphs—what the heck, how about mortal girls, too? Any girls who want to join me can become my followers, as long as they remain maidens like me. They should probably make the decision when they’re about nine years old, before they get interested in boys, because after that, they’ll be all distracted and of no use to me.”

Yikes yikes yikes. Ladies and gentlemen the age has been lowered to 9. Freaking 9. Also I guess girls older than that don't need Artemis' protection then? (the real problem is that older/married girls should be out of Artemis's jurisdiction and under the protection of other gods like Hera, Hestia, and Ares. But Hestia is barely there. Hera is terrible and the Amazons also suck)

Now when I tell you that Artemis' big point was about virginity, I mean it. This actually has mythological evidence.

The myths actually DO mention what happens when female hunters fall in love. Rhodopis and Euthynicus were two hunters who offended Aphrodite by choosing a chaste life so she had Eros make them fall in love. However note that they weren't booted out of the hunters for falling in love, but rather after having sex in a cave. THAT was what Artemis took offense to.

Another myth is the story of Aura. A huntress who offended Artemis by comparing their breasts(Greek mythology am I right?). Saying that her breast were better than Artemis' because they were smaller and hey maybe that means that Artemis isn't actually a maiden. Artemis punishes her by making her lose her VIRGINITY. She goes to nemesis for revenge. Nemesis goes to Eros who makes Dionysus fall in love with Aura and when Aura refuses his advances he ties her up and... Yeah you can guess where I'm going with this.

But hey! Those myths aren't in the Greek gods book. You know which myth is? The myth of C(K)allisto. And this one angers me so much I want to chew on the drywall.

The way Riordan writes it. Zeus turns himself into Artemis, brings Kallisto's guards down with the disguise, gets close to her and then when Kallisto REJECTS Artemis' supposed advances, forces himself on her. I need to say this again. Kallisto does not fall in love, she isn't seduced, she does not break her oath. But we still need a reason for her to be yeeted out of the hunters so her lack of maidenhood it is

“You were my favorite,” Artemis said. “If you had come to me immediately, I could have helped you. I would have found you a rich, handsome husband and let you settle into a new life in the city of your choice. I would have allowed you to retire from the Hunt with honor. You could have gone in peace. Zeus’s assault was not your fault.”

Kallisto sobbed. “But I didn’t want to lose you! I wanted to stay!”

Artemis felt like her heart was breaking, but she couldn’t show it. She had rules about her followers. She couldn’t allow those rules to be broken, not even by her best friend. “Kallisto, your crime was keeping the secret from me. You dishonored me, and your sisters of the Hunt, by not being honest. You defiled our company of maidens when you were not a maiden yourself. That I cannot forgive.”

I want to slap this man so hard he flies to the opposite side of the universe. We are not here to blame victims of assault guys! Except we are! But with extra steps. If you get attacked, it's not your fault, but If you are too scared to admit the truth then you deserve to lose your only safe space and turn into a bear. Oh nooooo Kallisto DEFILED Artemis' company by being an icky non virgin. The moment you lose your virginity even if it's not your fault you get punished. But not because I'm gross but because YOU lied. How terrible! And he expects us to feel for ARTEMIS???

But rosabell! This is how things go in the myths. What was uncle Rick (bleghhhh) supposed to do? I don't know... Choose a different version of the story? There are versions were Zeus/Hera are the ones who transform Kallisto into a bear. There are versions where Kallisto actively CHOOSES to sleep with Artemis. Granted it's still assault because she's being lied to but at least then, she'd have a degree of autonomy in the events. At least Artemis could rightfully accuse her of breaking her oath. But noooo, Riordan doesn't know lesbians exist. He actively makes Zeus into a canonical Ra*ist. Why is he on the throne again?

(the fact that this book came out AFTER HoH y'all 😭)

Once again, Riordan sees maidenhood(virginity)/love/marriage as intertwined. This is NOT what being on the aroace spectrum means. You can fall in love but not have sex. You can have sex but not fall in love. You can have sex AND still be an asexual. You can be married and still be a "maiden". Riordan doesn't get to claim to be such a progressive ally for retconning the hunters in 2017, TEN years after he first introduced the hunters because he suddenly remembered that lesbians exist.

Or more like because he doesn't know what to do with his female characters. The hunters more than anything are Riordan's heroine dumping ground. If you don't want it put them in relationships, either kill them(Bianca whose main purpose is to die) or make them eternal virgins(the hunters, Rachel). The fact that some people genuinely think that Calypso should have joined the hunters astound me. Girl suffered for years because of the gods and you all think that the best thing outside of Leo for her(not that I like Caleo) is to become a servant to the gods? Because you can't perceive a female character doing anything else if she's not in a relationship. Like with Thalia, this at least made sense on a strategic level because she didn't want to reach sixteen. Oh but we also don't know what else to do with her so she needs to want to be a hunter after the war is over so we give her a half-assed argument with Luke and now she can be all: wah wah Zoe you were totally right about boys. And the cherry on the cake is that she doesn't even get to be in the final confrontation with Luke or say goodbye to him because of a freaking STATUE. And after pjo her personality becomes Zoe 2.0 and her and Jason get ONE measly meeting.

When I first spoke of not liking Renya joining the hunters this is what I mean. Riordan had so many options with Reyna. Why did she have to leave her esteemed position which she worked so hard for? Two boys rejected her? Why couldn't she go reconnect with her sister more then? She could have joined the Amazons. But nooo Riordan was so allergic to the fans asking him wether she could be Bi or a lesbian. For the stupidest reasons too? Oh Reyna being a lesbian would come off as stereotypical because she got rejected by two guys beforehand! My dude, do you think people don't say the same thing about us who are on the aroace spectrum? That we say we are aro/ace because we got rejected before? Come up with a better excuse next time.

My brother in Christ couldn't even allow Reyna to talk about her sexuality and whatnot. It couldn't even be fully about her. No. He had to turn Reyna into his own mouthpiece admonishing the EVILLLL fans who may have shipped Thalia and Renya. He literally had her say the word "shipping". How cringe can you get? And then he had the audacity to admonish the fans by saying: Why does a strong friendship always have to progress to romance?

It's a sentiment I agree with but coming from this man, it's extremely hypocritical? I don't know Richard maybe because YOU are obsessed with shipping? No character can escape your shipping hands unless they're eternal virgins or dead. You literally turned the Argo2 into Noah's ark2. So much attention focused on shipping that the seven barely felt like friends.

Why does Reyna need to join the hunters? She can choose to not relationship without having to become a servant to female Peter pan.

This is actually a really adequate metaphor when you consider that Emmie and Jo say that they have not met Artemis in YEARS and Apollo mentions that the two of them were lucky she let them LIVE. god can you imagine joining Artemis when you are 9? At an age when you have still not finished maturimg cognitively and therefore shouldn't be trusted on taking a freaking celibacy vow(were you even given the talk yet that age) and after 70 years you decide you want to leave? If you're lucky Artemis will part with you on good terms but SIKES every person you probably knew before joining is now dead. Where is THAT angsty Bianca fic?

Speaking of Bianca. How she was handled also angers me. In another post, I've already talked about how the hunters barely gave her adequate information before letting her join.

How Zoe was the main reason for her death. Zoe KNEW that at least 2 people might die in the quest she was given and yet she decided to bring the least experienced girl to the quest and couldn't even watch her properly.

But you know what else pisses me off? The fact that THEY should have been the one to tell Nico about his sister's death. I've always hated how Chiron made Percy the CHILD tell Nico the other CHILD about his sister dying. But more than anyone, it should have been the hunters' responsibility. Bianca was THEIR responsibility. She died in a quest to save Artemis. The least they could do was tell her remaining family of her fate. The Doylist reason of course is that we need to kickstart Nico and Percy's complicated relationship and have Percy discover that Nico is a son of Hades. But in universe, the fact that they immediately fuck off from the camp upon regrouping makes them come off as extremely selfish. We don't even know if Bianca was given a funeral by them or not. We see Artemis being upset about Zoe but we never see her react to the news of losing Bianca.

[david-talks-sw]

The OTHER type of Star Wars fan

We've already covered (through this longer post and this addendum) that research shows George wasn't that involved or interested in the derivative material of the Star Wars franchise, also known as the Expanded Universe (EU). Aside from approving a few points, he let Howard Roffman and Lucasfilm Licensing handle it.

He is the first to say that he ain't as knowledgeable about Star Wars lore as we fans are.

Thing is... he's also not as passionate as we are.

Recently, I was watching some Q&A videos of George R.R. Martin, the author of Game of Thrones... and it occurred to me:

Martin is what most Star Wars fans wish Lucas was.

Think about it.

He's a talented writer who likes to focus on morally "gray" characters and complex political plotlines,

who created a series of novels for a mature audience in which his narrative merely asks questions and lets the reader draw their own conclusions,

knows and engages in the lore behind his creation and will often respond to those lore-heavy questions, and has gone on record stating that canon is the glue that holds a story together and keeps it coherent.

Contrast that with George "continuity is for wimps" Lucas, who:

Wrote a movie franchise which is also, partially, political... but he makes it for kids, and he's explicit about how this is thematically a clear-cut story about how the conflict of "good vs evil" is really about "compassion vs greed",

with flat dialogue, boring cinematography,

and whose approach to lore and canon can be summed up in his answer to how Anakin got his scar:

"I don't know. Ask Howard [Roffman]. That’s one of those things that happens in the novels between the movies. I just put it there. He has to explain how it got there. I think Anakin got it slipping in the bathtub, but of course, he's not going to tell anybody that." - Pablo Hidalgo’s set diary, August 2003

And as a Star Wars fan, I will admit that some of his casual retcons felt disrespectful, growing up.

"Boba Fett is NOT Mandalorian?!"

I had the same reaction when I saw an interview of Kathleen Kennedy stating she was a fan of Star Wars... from a filmmaking perspective. That seemed like such a finagling cop-out for me, at the time.

"Just say you're not a real fan, God!"

And it's easy to divide it in two camps, like that. You have 1) the fans, who will delve into deep lore, and you have 2) the average moviegoer.

But looking back on it... holy shit, that is actually a completely valid way of being a Star Wars fan.

Yes, Star Wars is a transmedia franchise, it's books, it's video-games, it's deep lore, it's lightsabers and Jedi and Sith and bounty hunters and Ewoks and Jabba and High Republics and Tython and Revan etc.

But before it was that, Star Wars was a filmmaking revolution. A juggernaut of innovation for the silver screen that inspired most of today's filmmakers.

So, sure, George Lucas isn't an avid lore-loving Star Wars fan like you and me. But he is a movie fan.

"I'm not that passionate about this story. I like it, it's fun and I enjoy doing it. But it's definitely not my life. I'm a bigger movie fan than I am Star Wars fan. I like making movies. At the end of nine years of making Star Wars, I was not ready to continue it. I was completely burned out on it. I was more passionate about raising my kids than making movies and especially making Star Wars. So I made other kinds of movies and TV shows and advanced the technology I needed. It's not a matter of passion. My passion is for filmmaking. I'll go and do filmmaking that is easier to do, where you can realise your ideas better. And nine years is a big part of your life, and to commit to another nine years, I didn't wanna do that right away." - EMPIRE, 1999

And you can tell this, when you watch the Star Wars films.

There are honestly so many homages and interesting filmmaking techniques, peppered throughout the six films, which only a nerd for cinema history like George would know how to implement.

C3-PO being based on the droid from Metropolis (1927) is a perfect example of this.

And that's interesting.

Because there's essentially this entire other dimension to the films, where it's not just the story unfolding, but to filmmakers it's also a series of techniques that make them go "I wonder how they did that!" or homages that make them go "OH! I know where that's from!" like we do when an comics characters appears in live-action.

Here's other examples:

CINEMA HOMAGES

All of Star Wars is absolutely littered with homages to cinema history.

I mean, you may already know this, but Flash Gordon is what George originally wanted to shoot, but the copyright holders said they only wanted Fellini to direct it (ironically, George wasn't artsy-fart enough for them). So he decided to write Star Wars instead.

As such, the inspiration from Flash Gordon is also present visually and spiritually throughout the two trilogies.

"It was like a Republic serial, a 1930s-style matinee adventure. The idea was that you came in, saw Episode IV, had missed the first three episodes, and wouldn't get to see the rest of it." - Starlog Magazine #300, 2002

The dialogue that a lot of people refer to as "campy" and "flat" is actually a mix of George being an experimental filmmaker who doesn't give much of a fuck about dialogue (and is by his own admission, not the best at it)...

"I'd be the first person to say I can't write dialogue. My dialogue is very utilitarian and is designed to move things forward. I'm not Shakespeare. It's not designed to be poetic. It's not designed to have a clever turn of phrase. [...] I just wanted to get from point A to point B. This film doesn't lend itself to that sort of thing because it's not about snappy one-liners.  I think that Lethal Weapon-style dialogue is overused, it's a necessary aspect of high action films where you have to have the smart retort. You have to say "I'll be back baby" and stuff. It's not my style. It takes away from the integrity of the movie. [...] I'm aware that dialogue isn't my strength. I use it as a device. I don't particularly like dialogue which is part of the problem." - EMPIRE, 1999

... which is convenient, because it helped him simulate the dialogue of 1930s matinee serials, such as Flash Gordon.

"Let’s face it, their dialogue in that scene is pretty corny. It is presented very honestly, it isn’t tongue in cheek at all, and it’s played to the hilt. But it is consistent, not only with the rest of the movie, but with the overall Star Wars style. Most people don’t understand the style of Star Wars. They don’t get that there is an underlying motif that is very much like a 1930s Western or Saturday matinee serial. It’s in the more romantic period of making movies and adventure films. And this film is even more of a melodrama than the others." - Mythmaking: Behind the Scenes of Attack of the Clones, 2002

But beyond that, literally it's everywhere.

The scene where Palpatine ascends to being Emperor as Anakin slaughters his political rivals parallels the final scene in The Godfather, where Michael becomes the Don while his goons do the same thing.

This video compiles all the tributes beautifully. Check it out.

Even The Clone Wars has whole episodes that are direct homages to cult classics. The Zillo Beast episode is a clear reference to Godzilla, the episode The Wrong Jedi is inspired by The Wrong Man, etc.

"CINEMA VÉRITÉ" CINEMATOGRAPHY

I've already written a whole post (one of my favourites) showing how his fascination with cinéma vérité documentaries is reflected in the cinematography of all six Star Wars films, and it's part of what makes the entire franchise feel so immersive.

You can check it out here:

KUROSAWA

We've gone over how he's a big fan of Akira Kurosawa, and how big an influence Hidden Fortress was on both the Star Wars trilogies...

... but so is the mise-en-scène and the way George approaches production design. The reason Star Wars feels so "lived in" is also a lesson George learned from Kurosawa, which is that by making everything just a bit off-kilter, a bit dirtied-up and imperfect...

... and yet keeping it all consistent, in a way, you manage to make the film feel grounded and immersive, no matter how alien it is.

"[It] may sound odd in a movie like this, but credibility and realism, even in the most unrealistic situation… to sorta create that sense of realism is very important to making the story work and making you feel like you’re actually in the environment that transports you and gives you the suspension of disbelief that you need in order to enjoy a movie. [...] Kurosawa used to call it “immaculate realism” which is to make it slightly off-kilter, slightly eccentric, like things are in real life. Even if it’s a very predictable situation, give it that little funny edge that takes it away from that and makes it realistic. And I had to struggle very hard, in the Star Wars films, to make them appear to be realistic, even though they’re totally fantasy." - The Phantom Menace, Commentary Track #2, 1999

POST-PRODUCTION & VFX

Another one of the more impressive aspects of the first Star Wars was the dogfights and the trench raid of the Death Star. The camera pans with the spaceship, the dynamism of the cuts. The space battles is what made George creat ILM in the first place.

He was determined to do the opposite of what 2001: A Space Odyssey had done with that opening scene where the space ship moves into frame slooooowly...

... so he gave the team a collection of WWII dogfight footage to give them ideas.

(note: this was the same approach he would take years later with Dave Filoni, when teaching the latter how to edit and craft dogfights in The Clone Wars)

The attempt to film the trench run eventually led to the creation of the first motion control camera dolly.

Best analogy I can think of, when describing George's approach to Star Wars, is the following:

An avant-garde esoteric contemporary artist - y'know, the type who puts a blue dot on a white canvas and calls it art - creates a comic.

Why? Because he wants to make this one art installment for a gallery exhibition. After that, he intends to move on to other things.

But the comic is really good! And like, its audience quickly expands beyond just gallery visitors, no, everyone likes it.

Suddenly, the comic develops a cult following, and the entirety of comic book geek culture has zeroed-in on the artist and they're all asking him to make more art! And he makes more! And more!

Then he stops for two decades, moves on to other art projects, raises his kids. Years later, he discovers new ways of drawing, and he's like "I'm making a Prequel to the comic, y'all wanna see it?"

Everyone cries out gleefully: "Oh God, yes! Finally! Show us!"

But this motherfucker makes a manga.

Why? Because he feels like it.

And of course he does, he's just creating art, right? He discovered the graphic tablet, so he's having fun with it, because he's always innovating and pushing the envelope with his art.

And the movies are fine, by manga standards. But by comic book standards, they obviously suck! The comic book audience is mad. They wanted another comic book, not a manga. Why is it in black and white? Why is read right-to-left? This comic sucks!

(And arguably, they have a point... as a savvy businessman, he's made a whole lot of money off this comic, he built a media empire out of it, and instead of giving them what they want, he made something else)

But again... this guy isn't a comic book illustrator, and has been very explicit about saying this.

He's an artist who - for a very specific project - drew a comic.

Many things can be true at once:

the fact that these creative decisions didn't always hit their mark for the average moviegoer, or fans of "Star Wars, the space fantasy movies and expanded universe" (usually the lore-loving geeks like myself)...

... and the fact that they were meticulously and carefully crafted in a way that fans of "Star Wars, the revolutionary film" (aka fans of cinema and filmmaking) can appreciate.

There's a spectrum of the fandom, and there is a spectrum in the way we can appreciate Star Wars. Which kinda reminds me of that scene in Chef (2014) where Carl goes on a rant explaining the intricacies of making his chocolate lava cake to a food critic.

It's not just undercooked chocolate.

It's molten.

Conversely, it's not just flat, campy dialogue. It's an homage to the 1930s matinee serials à la Flash Gordon.

It's not just boring cinematography. It's a reproduction of cinéma vérité documentary-style camera work which effectively grounds the film.

Having considered all this, when I hear that Tony Gilroy or Kathleen Kennedy were more in the latter camp, I go "fair enough".

First of all, because like it or not, so was George. He clearly didn't give a single crap about the comics and books, besides signing off on minor plot points. He's not a "sci-fi movie director", he's an experimental filmmaker who makes movies set in space.

But secondly, because - aside from children - it's clear the audience he was targeting was these cinema-savvy folks who'd get his references and would be inspired by the filmmaking techniques.

Not the fans or the critics.

[wishful-thinking64]

Hazbin Hotel & Helluva Boss Rewrite Ideas #01

I truly believe that both shows have a lot of untapped potential that we'll unfortunately never get to see thanks to Viv refusing to take criticism and the fact that her writers are all yes men. However, that doesn't mean I can't give out rewrite ideas like they're candy to those who wish to tap into either show's said potential. With that being said, here are some rewrite ideas that you could use for Hazbin Hotel and Helluva Boss! ______ #01.) Have Mrs. Mayberry become one of the residents of the Hazbin Hotel. I promise you, this one writes itself. #02.) Have Glitz & Glam be Fizz's rival co-workers to parallel his time in the circus when he worked with the Buckzo twins who acted more like a family to him. #03.) Write some new workers for the Hazbin Hotel since they're still severely understaffed. You could make these new employees a Hellborn, a Sinner, an Overlord, or Goetia royalty if you wanted too. The possibilities for this one are endless! #04.) Let Heaven contrast with Hell based on how they operate. For example, in my rewrite for the Hellaverse, Heaven doesn't use currency at all. It quite literally doesn't exist up there. Instead, they use the Bartering System as they view it to be the most fair exchange of goods and services. #05.) Have there be a character who doesn't belong in Hell but got sent there anyway for whatever reason. I'd recommend using Valoris (my take on renaming Vaggie) if you don't mind keeping her as a fallen angel or using her original Sinner backstory however I feel like Amélie (I renamed Emily solely because her name is so common. It's not bad but you can tell that there was barely any thought put into it either.) could work just as well since she'd be a fallen Seraph. #06.) Make Lucifer and Stolas evil as they were originally intended to be before Viv scrapped the idea in favor of something worse. Stolitz is a toxic ship no matter how much damage control and retconning Helluva Boss tries to do and when initially asked about how Lucifer would act later in the series on an old livestream, Viv originally wanted to have his character be on par with that of Willy Wonka so do with that information what you will. #07.) Allow for Charlie's, "Anyone can be redeemed," mentality to constantly be challenged by those around her. Don't be afraid to have her be in the wrong because we all know that not everyone can be redeemed. Some people (Valentino) truly aren't deserving of it and others won't be accepting to change. You can lead a horse to water all you want but the horse has to decide to drink it. #08.) Create a proper foil ship for Fallen Star (I hate using the ship name Chaggie) cause if even Stolitz can have one in the form of Fizzmodeus then Fallen Star should have one too. Most people opt to use Emilute but I'm a damn GuitarSpear shipper so I opted for a crossover ship that has Emily and another character from Helluva Boss instead. Listen, if a rare pair and joke ship like CherriSnake can become canon over a ship like Sir Pentious x Rosie that actually makes sense when you consider they're from similar time periods, then a crossover ship being in my AU rewrite is the least of my problems.

For context, here's a screenshot for one of the HH mockup episodes before Viv and her team decided to scrap it. Like the majority of the HH mockup episodes. ______ Well, that's all I've got for now so happy writing and good luck!

[emma-o-yt]

Rick Riordan's problematic age gaps

Apparently reddit hates criticism because this got removed from there after a few minutes, maybe I can get it back up...anyways.

The age of consent in Texas is 17, Texas is where Rick lived (according to wikipedia) up until 2013. And yet...here we are.

Where do I even begin with this bullf*ckery? How about the most egregious of all?

Luke and Annabeth

We have two lines confirming their mutual feelings, one from The Demigod Diaries:

"Overtime, Annabeth developed a crush on Luke. As Annabeth got older, Luke developed feelings for her, too."

Mark of Athena (from her conversation with Venus):

"First there was Luke Castellan, her first crush, who had seen her only as a little sister; then he’d turned evil and decided he liked her—right before he died."

Now let me remind you, Annabeth and Luke have a seven year age difference, they knew each other at 7 and 14. By the time he died, Annabeth was just 16, while he was 23. And it's implied he begun returning her feelings a little before he asked her to run away, perhaps when she was 14. He's paralleled with Percy as Annabeth is his string in the river styx. He asks Annabeth explicitly if she loved him romantically (and she denies because Percy is there).

It's disgustingly inappropriate but at the very least they don't end up together...as for when they do...

Sadie Kane and Anubis

When it comes to immortal romance, I usually go for coded age. Anubis is thousands of years old but is mentally and physically 16, which is fine and dandy except for the fact that Sadie is 12. What do you want me to say except Rick is disgusting for promoting this.

Speaking of extreme age gaps:

Calypso and Leo

When you have a philosophy that every character must end up in a relationship, you run out of sensical options to pair up. Now, I'm a Caleo hater mainly because of how it retconned PJO and also because they are very toxic.

Now hold on, doesn't Caleo fall into coded age? Calypso is 15/16 and Leo is 15, so it's A okay! I suppose, if it wasn't for Calypso's past loves.

Odysseus, he had a wife and a son who was 20 years old in his final year on Ogygia, he is well into adult age. She also mentions the privateer Francis Drake and his wife Elizabeth, he was 45 when he married her.

If your defence is that she's actually thousands of years old, then that must also apply to Caleo. You cannot have it both ways.

Hazel and Frank

It's not that bad but it's necessary to mention for the point I will be making.

The timeline is messed up but I think they're 13 and 16 and meet at 12-15. I mean, come on.

Misogyny and Racism

What do these have in common? Well in 3/4 or 4/4, the younger one is female. In 2/4 or 3/4, the younger one is a person of colour.

Remember Nico? His crush on Percy as revealed in HoH? Well in MoA, there's a cheeky little red herring that happens a bit before Annabeth's talk with Venus (where it is revealed that Luke liked Annnabeth back). She wonders if Nico had a crush on her, but denounces him as too young. Now, Nico's age is inconsistent, I am unsure of his gap with Annabeth but I do know his gap with Percy. It's 3 years 5 months in PJO and 2 years 5 months in HoO (the series we are currently in).

So in RR's messed up mind, a white boy having a relationship with someone 2 to less than 4 years his senior is inappropriate. But a black tween girl dating someone 3 years her senior is just fine, a 12 year old biracial black girl dating a 16 year old is daijoubu, a 15 year old mestizo Latino boy dating an elderly woman is relationship goals, or the reverse a 15 year old girl dating middle aged men is a tragic romance and a 12 year old girl having mutual feelings with a 19 year old man is a "love story for the ages"!

The tv adaptation is so infuriating for this, they made Annabeth black, a lot of the changes they made came off as micro aggressions but especially her relationship with Luke. It's reduced to Luke simping for Annabeth behind her back and it's even worse because you can visibly see how large their age gap is. Heck, Charlie Bushnell and Leah Jeffries have a smaller age gap than book Luke and Annabeth.

Adultification is a huge real life issue. Children of colour and especially female children of colour are seen as less innocent than their white counterparts. Rick, who is dedicated to inclusivity should've known better than to include these illegal relationships. Stans will try and make excuses but it's there, deal with it.

As a black teenage girl who has been a fan of Rick's work for 12 years, I am disappointed.

[penguwastaken]

Nobody Understands Mukuro Ikusaba (aka Mukuro Character Analysis)

...except for the people that do (lol).

But first I want to clarify what I mean by this title and why I even wrote this thread in the first place. Mukuro is my second favorite Danganronpa character, only beaten out by Kyoko. There's a lot of reasons why I really like Mukuro, but one of them is her writing.

I think she's one of the best written characters in the series. But unfortunately, she also happens to be one of the most misunderstood characters as well. Not even by the people who don't like her, but also by her own fans.

"Mukuro has incestuous feelings for Junko" "Danganronpa 3 retconned her character" "Mukuro was just a plot device" These are all claims that baffle me because simply just consuming the media will say otherwise.

To many, Mukuro is either a one note incest freak or a pure innocent cinnamon roll who did nothing wrong and both of those interpretations are wildly incorrect. I've been meaning to write this post for a while, but we're finally here.

Nobody understands Mukuro Ikusaba (a ""🧵"") (Spoiler warning for the entire series)

Story Overview

We don't actually know too much about Mukuro's backstory aside from the fact that at a young age, she was separated from her younger twin sister Junko. Before being taken away, she claims that she was homeless and after she was taken she was forced to become a member of the military group Fenrir.

So clearly Mukuro never really had the chance to have a normal life, and more importantly: never had a chance to feel the care of another person.

Her sister, who Mukuro had not seen in years, suddenly got in contact with her and called Mukuro over to participate in her plan to overthrow Hope's Peak Academy (and the world). Mukuro, who already felt bad for losing her sister and was desperate for any kind of affection, accepted and began working for Junko.

Junko took advantage of Mukuro's desperation and had her basically work as a servant to her plans. She started by having Mukuro wipe out the entirety of a middle school in order to prove Mukuro's skills and how far Mukuro would go for her.

With that out of her way, Junko made Mukuro obey like her servant in order to overthrow Hope's Peak and cause the tragedy. Mukuro did so without batting an eye and disregarding any second thoughts she might have had, all while facing Junko's abuse.

During her time attending Hope's Peak, Mukuro met Makoto Naegi. Unlike most of her classmates, Makoto was friendly to her and showed her compassion. This confused her as we already established that Mukuro wasn't used to affection. Because of this and her tendency to latch onto anyone who shows her even an ounce of care, she began to develop feelings for Makoto (that even Junko acknowledged).

"In the past two years, Ikusaba had gained an interest in the world beyond her sister. And in that world, Makoto Naegi--the first person who smiled at her and bridged the gap between her and the world--had become like a sapling of sincerity taking root in her heart." -Danganronpa IF confirming Mukuro's feelings for Makoto

"Upupupu… I wonder what kind of fun you were having in the infirmary? Did you take care of your rival in love, or did you wish them a happy marriage? Either way, don't you think our nice guy Naegi standing side-by-side with Kirigiri makes for a wonderful picture? If this were a thriller, they'd be the last surviving couple!" "Upupupupu… Or how about just killing all of the others? If everyone but you and Naegi die, then the two of you can spend the rest of your student lives together! After all, we can't even hold a trial if there's only two people left. Maybe it'll be best if you just hole up here, safe in the building forever!" "And what're you going to do once he goes back to his old self? It's not as if you were dating Naegi, right? You were just watching him from afar all this time! Now this is a shock. You can shoot right through people's heads and hearts without even blinking, but you can't even steal away some skinny little boy's heart! You want me to tell you who Naegi had a crush on before his memories were erased? Upupupupu…" -Junko teasing Mukuro about her feelings as she aids Makoto in Danganronpa IF

Once the tragedy occured, Mukuro was locked inside of Hope's Peak with Junko and the rest of their classmates and she helped orchestrate the killing game. She disguised herself as Junko, under the impression that Junko would fake her death and they could spend the rest of the game together.

This is when the seeds of doubt began to sprout inside of Mukuro. I wouldn't say that she necessarily began to go against her sister, but she definitely was starting to get a little more hesitant.

"It was only recently that she began to question her mindset. Hearing about this plan from Junko and watching the world burn at the hands of people in Monobear masks did nothing to sway her, but when she heard that Junko was intending to plunge Naegi and the others into a game of murder, something within her began to move. The seed of doubt soon took root, sprouting into a thorny vine that twisted around her feet. And the moment she met her friends for the first time under the identity of Junko Enoshima and realized their memories were truly gone, the vines quickly tightened around her ankles." -Danganronpa IF describing Mukuro's feelings when the killing game began

To Makoto and the player who are under the impression that this is Junko, they assume that she's referring to not wanting to be a model anymore. But given her backstory of never being able to live a normal life and always having to fend for herself or follow the orders of others, we can infer what she actually means. She expresses disappointment in the fact that she never really had a chance to do what she wanted.

This all culminates in the moment where Junko was supposed to fake the death of Mukuro, but that isn't what happened. Instead, Junko killed Mukuro and betrayed her. To say that Junko felt no remorse from this action would be a lie, however. Junko only did this because she knew it would hurt both of them.

...but what if that wasn't what happened? What if Mukuro wasn't killed? What would happen then? That brings us to:

Danganronpa IF

Danganronpa IF answers the hypothetical question of what if Mukuro survived Junko's attack. Of course this means it isn't canon, but due to Kodaka being involved with its creation and its existence as an event that hypothetically could have happened, it is canon compliant. This means that while the events didn't happen in canon, they could have and things like characterization are all accurate. Think of it like an extended free time event. While the events themselves aren't canon, the things they say and imply are. I'll also be referencing Danganronpa IF a lot because since it's told from Mukuro's perspective, it gives a lot of insight on her thought process.

After regaining his memories, Makoto recognizes and rescues Mukuro seconds before her would-be death and he gets impaled by one of the spears. Mukuro rushes to save him, abandoning her disguise and goal.

During this time, Mukuro does a lot of thinking. Why did Junko try to kill her? For all the time they've been working together, Mukuro always assumed that her job was to prop Junko up and help her achieve despair.

It turns out that Junko didn't want Mukuro to obey Junko's every order, Junko wanted Mukuro to retaliate. She didn't want Mukuro to submit to her, but instead to fight back.

With this Mukuro changes her mind, choosing to fight Junko instead of assisting her. Not because she's on the side of hope, she never cared about hope or despair, but because she only wants what's best for the only person in her life who cared for her.

"'That's why… I'll take responsibility. I'll make you happy, Junko . I'll make youdespair. I'll save Naegi-kun… I'll make sure none of our friends die. I'll get them all out of here. And I'll kill every last one of the ones on the outside. You planned this for years and killed so many people to make this work… so I'll destroy every last trace of it.' She was not driven by resentment at the sister who abandoned her. Ikusaba would do all this for her sister's sake." -Mukuro changing her approach to making Junko happy in Danganronpa IF

Who is Mukuro Ikusaba?

Now this is the part where I finally exit the synopsis phase and finally get into the character analysis, explaining why Mukuro acts the way she does in all entries.

Now, I want to begin with a common critique of Mukuro's character, specifically one that's attributed to Danganronpa 3. The one that says that Mukuro's behavior is not only out of character, but also claims that she has romantic feelings for her sister.

First point out of the way, Mukuro's blushy and flustered attitude is nothing new when it comes to her character. It's been an aspect of her since the very beginning of her characterization.

"'I don’t know if… she attracts despair, or despair attracts her, but… she’s lived her whole life with despair by her side. She lived while immersed in despair. That’s why she began looking for despair in others; she began to enjoy pushing people into despair. But you know… that’s normal. It’s no different than someone cursed by misfortune falling into hatred for those who are better off than them. But what’s special about her was that… she learned to enjoy inflicting despair upon herself. That’s how the link to despair began: as she chased down despair, she pushed it onto others along the way. Doing so caused her to crave falling into despair even more… and because of that chain to despair, the Ultimate Despair was born.' While she spoke, it was like she fell into a fever; the expressions on her face slowly turned into ecstasy. It was so completely absurd that it would have been difficult for anybody to think of it as anything but a joke, but I could tell that this was real. It might have been the hazy memories of Junko Enoshima inside me that led to that conclusion. 'You don’t get it right? That’s fair, I don’t think anybody could… But you know, only I can understand it…' Consumed by ecstasy, even Ikusaba’s breathing had begun to turn ragged." -Mukuro describing Junko in Danganronpa Zero

The second (and more important) point to address is the one that Mukuro holds some kind of romantic feelings for her sister. Now, in all honestly, I can't hold this against anyone for thinking this even if I think it's a wild misinterpretation of her behavior. Danganronpa has a track record of using incest for comedic effect (to always poor results). However, Mukuro's relationship with Junko is not used to comedic effect and it's portrayed in a negative light. Not only that, we know that Mukuro does not enjoy behaving that way.

"'She hoped that, perhaps her sister on the screen would say something like 'Not! You seriously thought I'd say something that sappy? Jeez, you're annoying! Can't you just disappear forever or something?'. She hoped that Junko might criticizeher and call her useless. Ikusaba was no masochist, but she would have preferred to hear scornful laughter and be shot at rather than continue to endure this pain." -Danganronpa IF explaining Mukuro's "masochism"

Mukuro doesn't behave the way she does because she has feelings for Junko, she does so because she believes that's how Junko wants her to behave. Danganronpa Zero and IF makes it clear that Mukuro was wrong about how Junko wanted her to behave.

“'You don’t get it right? That’s fair, I don’t think anybody could… But you know, only I can understand it…' Consumed by ecstasy, even Ikusaba’s breathing had begun to turn ragged. 'Only I’m able to understand her… That’s why she needs me. She still hasn’t realized it, but… maybe she’s only pretending not to. Ufu… It’s because she’s so shy. Ufufufu…'” -Mukuro explaining that Junko needs her in Danganronpa Zero

"Ikusaba knew that not even she herself was her own ally. After all, despite the fact that Junko had betrayed her and very nearly killed her, Ikusaba still believed that she was the only one who could understand her little sister. And that was why she felt that she had to protect her. That's right… you were just being you, Junko. You just wanted despair, right? It's because you love me. You wanted to kill me and fall into despair. That must have been it" -Mukuro in denial in Danganronpa IF

"Ikusaba believed that she alone could understand the despair known as Junko Enoshima. It was a ludicrous notion. The moment Junko said, 'I love you', Ikusaba realized--to her agony--that she never truly understood her sister. Only now had she come to realize Junko's feelings." -Mukuro realizing that she didn't understand Junko in Danganronpa IF

Because of Mukuro's incorrect interpretation of understanding Junko, Mukuro believes that Junko expects her to respond to her abuse with acceptance and masochism. Even if she was uncomfortable to, as long as it made Junko happy, that's what mattered. Of course, we learn that Junko wanted Mukuro to respond her abuse with retaliation, and as soon as Mukuro realizes that her behavior immediately shifts. Mukuro holds a great deal of admiration for Junko, so much so that she only wants to do what would please Junko the most.

She does not have romantic feelings for her sister and to say so misses the point entirely. She isn't behaving that way because she's a masochist, she behaves that way because she believes it's how she's expected to, even if she's visibly uncomfortable. Once she learns this isn't what's expected, she immediately changes course.

Danganronpa 3 also has official relationship charts that depict the relationship between characters. In this chart, crushes or explicitly shown romantic feelings are labeled with a heart (as seen with Kazuichi's attraction to Sonia or Toko's attraction to Byakuya). Mukuro's relationship does NOT feature this heart. You would think that if Mukuro's very obvious admiration towards Junko was romantic it would have a heart, but it doesn't because it isn't. If what I said before didn't convince you, I think this itself is proof enough.

Mukuro's admiration doesn't extend to just Junko though. Due to her unfortunate upbringing, Mukuro has a tendency to get attached to anyone who shows her the affection she's desperate for. So much so that her behavior changes completely around the people she cares about.

"The mass of monochrome spun round and round, making it look as though they were projecting a hypnotic image from three directions, but Ikusaba remained expressionless. In fact, the bizarre sight unfolding before her compelled the Super High School Level Soldier to regain her focus. She was an entirely different person from the girl who had panicked at Naegi's injury in the gymnasium." -Mukuro while fighting in Danganronpa IF, behaving completely differently from when she panicked over Makoto's injury

"Not only that, if anyone who knew her as the Super High School Level Soldier and mercenary were to see her now, the difference in her attitude might even make her look like another person altogether. And Monobear continued to drive the girl into a corner." -Mukuro panicking over Makoto's injury in Danganronpa IF

"The mask of ice she wore around others was entirely unlike the face she showed her sister, making it almost seem as though she had multiple personalities." -Danganronpa IF explaining that Mukuro's behavior around Junko is different from her typical icey expression

This is why around most people, Mukuro has a pretty blank expression. However when she's around Makoto or Junko, the two people who she cares about, she displays a much more soft and emotional side.

That being said, an often overlooked aspect of Mukuro is that she actually has a slight ego and is proud of her skill. This is especially obvious in her fight with Peko in Danganronpa 3. Of course, if I spent years in the military without getting a single scratch, I'd probably have an ego too.

Mukuro is also capable of turning off her feelings and going into a "killing machine mode" whenever the situation demands it, mostly when she's carrying out some mission. It's not because she doesn't feel bad for what she's doing or isn't having any second thoughts, it's that she pushes any doubts to the side to focus on getting the job done.

"In battlefields, where she made her home, her main mission was to kill and survive. And in that setting Ikusaba was invincible. She could put her own emotions on a leash in order to become a killing machine." -Danganronpa IF explaining how Mukuro is capable of ignoring her own feelings

"With a single whisper that was drowned out by the sound of gunfire, Ikusaba went completely silent. Thanks to her status as a member of Super High School Level Despair, her heart was filling with joy. And as if to offset the sudden surge of emotions, the sparkle in her eyes disappeared." -Mukuro turning her emotions off while fighting in Danganronpa IF

So Basically...

Due to her upbringing Mukuro is someone who gets attached to people easily, particularly those who give her attention. Junko took advantage of this to make Mukuro essentially act as her servant. Believing that Junko expected her to return the abuse she faced with enjoyment, she forced herself to do just that. Even if it made her uncomfortable, making her sister happy at her own expense is better than being alone. She's capable of turning off and ignoring her emotions to following orders when necessary and is generally a proud and skilled soldier, though she has a softer side that she only shows to people who she cares for.

That is who Mukuro Ikusaba is.

Conclusion

There's a lot of reasons I really like Mukuro. I think she's silly and cute and I like her singing voice. But I also think her characterization is really good in all of her appearances. I think a lot of the critiques made towards her (especially towards her appearance in Danganronpa 3) are misguided or just a result of her being misunderstood.

She's not a plot device or a character exclusively there to act as an extension of Junko. She's filled to the brim with character depth and interesting writing and has plenty of characterization on her own. I'll admit that her presence in Danganronpa: Trigger Happy Havoc is a bit limited, however she doesn't just become an important character in four other entries without getting some kind of development.

Many think her characterization is inconsistent or different across entries, but I honestly think it couldn't be any MORE consistent. The only times where I'd say she acts out of character is in the comic anthologies, but those are non-canon media that's kinda known for flanderizing characters for the sake of comedy.

Basically, I like Mukuro. I hope I managed to change some minds or shed a new light on her to anyone who didn't before. And if you already liked her, I hope maybe I could make you appreciate her a bit more or just help you explain her in some way.

anyways follow me on twitter cough cough

Also special thanks to Twitter user @LKSixtyfour for their tweets about Mukuro's characterization, many helped me organize my thoughts to form the thread that you just read.

Edit: didn't make any changes to the post, just fixed some typos

[hestzhyen]

Sunken Ships and SoRiku

Hi internet void. I went feral and maybe you'll read the result.

KH has made a lot of choices around SoRiku from a narrative perspective that, in isolation, wouldn't amount to much. A heart-to-heart here, a questionable line there, and so on. The usual things that one would do to court a queer shipping audience in an otherwise het or unromantic work. And SoRiku circles have painstakingly documented every instance to show something that looks more like a consistent and intentional effort rather than a few dollops here and there to keep shippers engaged. There's... a lot. But one stupid, insignificant thing really shook me up and made me a believer in SoRiku Endgame, Actually.

Silly as it is, it's Nomura's reaction to people shipping RikuNami that gets me the most.

Generally speaking a writer doesn't want to interact with fandom shipping unless it's to urgently course correct. As in it would be catastrophic to the narrative if the fandom had the wrong idea. Otherwise it's best to just take note of how people are interpreting things and adjust the next installment accordingly, or live and let live. Keep distant and don't risk accusations of retconning/bad writing/queerbaiting in bad faith. So the normal reaction from Nomura seeing people get excited over RikuNami would have been to just do nothing. But instead, the scene was patched to downplay the smile, and Nomura went on the record to clarify that it's not a setup for a romantic relationship between Riku and Namine.

That's insane.

Why is it so important that Riku remain romantically uninterested in a girl he'd have a natural connection to, huh? What about accidentally implying RikuNami was so detrimental to the story that it was changed and explicitly addressed like that? Even if it wasn't meant to be, surely letting it play out like AkuRoku did would be enough. Just gently clarify and move on with the story (which pretty much sunk the ship on it's own anyway). You don't wade into fandom shipping and launch nuclear warheads like Nomura did against RikuNami unless you want to leave no room for doubt.

Torpedoing RikuNami also doesn't help them keep up appearances in terms of straightness at this point. Leaving it intact would only help the case of Riku and Sora being bffs with the strongest bond 5ever- a huge boon for the writing team if they wanted to avoid things looking too gay. Nomura et. al. are absolutely aware of the impressions and jokes about how gay KH is. And KH definitely would not be the first series to play in to queer ship teasing for the lols until it's time to pair everyone up at the end.

But they did the one thing you're not supposed to do if you're just aiming to queerbait: undermining the plausible straight ship. You don't eliminate the only straight option for your character like that for the sake of "he so gay" jokes! Having a straight option available is vital to make the bait; they don't have to be compelling or important to the story, they just have to exist. Yet at this point, Riku's only option is Sora. They went out of their way to ensure we wouldn't think anything else makes sense for him.

Holy. Shit.