#episode 1-4 is his fathers writing | Explore Tumblr Posts and Blogs

jesncin · 5 months

Text

A Failure of Asian Lois Lane: Pt 2: My Adventures with Superman, an honest discussion

If I had to pinpoint the fundamental problem with My Adventures with Superman's depiction of Asian Lois Lane it's in their attempt to subvert the classic two person love triangle: Lois loves Superman but is indifferent to Clark Kent. In MAWS, Lois insta-crushes on Clark Kent and hates Superman. In the show's attempt to make sense of this dynamic, Lois' Asian identity becomes at odds with a story meant to touch on xenophobia and immigrant themes.

Let's have an honest discussion about a show that made fandom cheer as an Asian character removed the one thing that made her most visibly Asian.

Disclaimer: While I am of East Asian descent, I am not Korean. I'll be discussing general Asian diasporic experiences but the specifics of Korean culture are outside of my knowledge (as usual I can't and don't speak for every Asian person ever, I am 1 opinion). Secondly, I'll be pulling from my personal experiences every now and then particularly pertaining to being a butch Asian person watching this show. It'll be a mix of formal analysis and personal anecdotes. Thirdly, this isn't an exhaustive analysis of MAWS Lois' character. We'll be sticking to what I consider is relevant to themes of Asian identity and immigration. Lastly once more, I do not believe the MAWS crew had malicious intent in any (of what I consider) poor writing decisions. We're here to analyze and challenge these writing decisions.

Please read Pt 1 of Asian Lois analysis that covers the comics, as it provides the groundwork for the ideas expanded on in this essay.

We need to talk about Lois' design. In the follow up to MAWS' release, people have been speculating on Lois' ethnicity. CBR writes that the show has "some fans believing that she's at least part Asian" and other articles have the show crew confirm Lois Korean heritage via her hanbok outfit in episode 4. The existence of these articles, my own anecdotal experience of streaming MAWS with Asian friends, and comments I receive from people asserting Lois' Asian identity was never explored in the show ("you'd only know she was Asian if you searched up articles about it"), tells me we have a case of an ambiguously designed Asian woman. Tangentially many people had no idea Livewire, the white haired and blue eyed woman, was meant to be South Asian.

There's a lot to be said about art styles that don't properly stylize ethnic features, but for the purposes of our analysis that means the writing has to deliver the heavy lifting where the design fails. This is the opposite case of American Alien: a comic that relied on the art to portray Asian Lois.

Let's start at episode 3. In it, Lois finally manages to conduct a private interview with the elusive Superman. When she asks where Superman comes from, how his powers work, etc- Superman comes up empty. In this version, Superman can't talk to his Kryptonian father (Jor-El)'s hologram because of a language barrier, so he knows very little about his alien heritage. He leaves Lois, assuring her he's here to help the people of Metropolis. When Clark Kent congratulates her for interviewing Superman, Lois rebuffs him. "Oh, he's [Superman's] a liar." smirking as she says it. This is the start of the Lois Hates Superman For Being a Liar arc.

I'd like you to consider the optics of an Asian American woman interviewing an alien immigrant who honestly told her he doesn't know where he comes from and is still figuring out who he is, only for her to think he's lying. Because she didn't get the answers she wanted. I can't help but think about my own experiences, where I was asked "but where do you really come from?" or "okay but what's your real name?" I think of my Asian American peers who would honestly say they're from Texas or Atlanta and get a vindictive "you're lying" as a response. People want to hear you're from China. They want their biases confirmed. I think about how I honestly can't tell you where my elders hailed from, because of cultural genocide and language barriers. This scene makes me uncomfortable, but let's press on.

Episode 4 is where Lois is most visibly Korean. In this episode the trio of Lois, Clark, and Jimmy are tasked with interviewing rich techbro Prof. Ivo of Amazo tech at an investor event. It's a prom episode. Lois wears a "hanbok inspired gala outfit" designed by Dou Hong and Jane Bak in a deliberate move to showcase Lois' Korean heritage. Bak comments "I remember feeling strongly about wanting to inject some aspect of her Korean heritage without disrupting her characteristic as a spunky and resourceful intern/reporter." while the wording poorly implies that Korean heritage is at odds with Lois' spunky personality- I do want to challenge a couple of the decisions that went into this design.

I want to acknowledge as an Asian butch that there are many ways to sport traditional garments and it's okay to mix and match to figure out what reclaiming culture (and your comfort) mean to you. However we're talking about the opportunity to showcase culture in an episode of a fictional animated show. I also encourage cultural gender expression that thinks outside of western white people's idea of gender (in both fiction and real life).

Whenever artists try to do a non-conforming spin on a cultural outfit, I always have to ask: "what standard of masculinity are we basing this on?" It's clear that MAWS is pushing for a "tomboy" Lois, and this gala outfit is an extension of that. But what's the standards of masculinity in a Korean lens? Men wear hanbok too, so why can't Lois imitate how Korean men wear hanbok, by traditionally accompanying her look with baji (baggy and loose pants)? This design notably has tight pants that hug the form, instead. I know the hanbok look has been modernized in and out of Korea in many ways, but in a show where you have the opportunity to showcase cultural non-conformity, I feel more thought should be put into the outfit outside of a potentially western lens- or the idea that cultural heritage of any sort "disrupts" a character's personality.

Now that we've discussed the design of the outfit, let's look into the narrative role it plays in episode 4. While we can celebrate cultural representation in media, I consider it important to ask "what is this media's relationship with the cultures it represents?" and the answer for Lois' hanbok in this episode is: nothing! It's an aesthetic acknowledgement of culture. "Hanbok" or "Korea" are not terms explicitly mentioned in the show. When Prof Ivo offers beautiful women as compensation for Clark to keep quiet about his company's corruption, Ivo looks over to Lois- who spills food on her clothes, and remarks that she's unclassy. She's not judged for wearing othering cultural clothes- which would have tied nicely into Clark choosing to be silent on issues of Ivo displacing a neighborhood, making Clark realize his complacency actively hurts marginalized people. Despite wearing cultural outfits being a political statement in America, nobody reacts to it. It's clear what the actual goal of this scene is: Clark looks cool for defending his "tomboy" crush.

In a scene blatantly made for fanservice, Lois offers to sew up Clark's ripped tuxedo by undressing her hanbok so she can reach her little sewing kit. Lois never wears her hanbok again afterwards. This scene haunts me. It's a scene that tells you that fanservice is more important than cultural representation. It's a scene meant to set up that Clark gives his tuxedo to Lois later on for warmth. Lois removing her hanbok is meant for not one, but two fanservice scenes.

Lois talks to Clark at the stairwell. She opens up about her estranged relationship with her father, how her mom has passed away, and how she's been an intern at the Daily Planet for a year with no sign of being hired. This makes the narrative decision for Lois to lose her hanbok far more tragic. Lois being a diasporic child with so few familial ties to her culture would mean garments like her hanbok would hold a lot of sentimental value! It's hard enough finding a cultural outfit that fits with your butchess (many of my cultural outfits are hand made to fit my form and gender expression), and yet Lois unceremoniously loses her hanbok. You would think in Lois opening up about being distant from her parents that Clark would be able to culturally relate with the distance he has with his Kryptonian parents. But the narrative opportunity to link their immigrant experiences is not taken, because the show simply doesn't recognize the parallel between the two.

Instead MAWS pushes for the Lois Thinks Superman is A Liar thing again. A far less narratively substantial and fundamentally flawed arc. This episode starts with Lois calling Superman a liar and has Lois ranting about him "dodging her questions" (remember, he was honest with her about not knowing his heritage) thereby rendering her interview unpublishable. She resorts to conspiracy tabloids giddily provided by Jimmy for information. She rather cruelly says "nobody normal believes in aliens". We are uncomfortably seeing the build up of Lois being allegorically xenophobic towards alien immigrants- a Lois on a quest to out an alien before he's ready. This is their justification for flipping the love triangle. Lois loves cuteboy Clark from work, and hates Superman for not confirming her biases that would help her publish an interview that would promote her at work. What a love story.

To wrap this episode up: Prof Ivo ends up challenging Superman to a fight so he can flex his Parasite suit to investors, only for it to backfire, destroy his reputation, and greatly damage the Amazo building (remember this it'll come back later). The episode ends with Lois discovering Superman is Clark Kent. Anecdotally, I was so frustrated with the treatment of Lois' hanbok in this episode, that I went online to search if anyone else felt similarly. All I was met with was fandom thirsting over the stairwell scene where Clark and Lois were undressing. Consider the optics of an Asian character who removed the most visible signifier of her heritage (the outfit far more culturally specific where her character design was racially ambiguous) and how people cheered because that meant they could see her in her undergarments. They can happily thirst over the body they desired now that the othering cultural garment was out of the way. It's just clothes after all. Diversity clothes. This show continues to be very uncomfortable, and a little too real.

In episode 5 Lois is passive aggressive to Clark and Superman, trying to get Clark to admit he's Superman and vice versa. She eventually confronts Clark by jumping off the roof of the Daily Planet, causing Clark to fly down and save her. She proclaims she doesn't want to be friends with him anymore for "lying" to her. This episode caused a huge ruckus online as people were divisive over Lois' actions. Some defended Lois, saying that "women should be messy" and "it's not Lois Lane if she doesn't do something crazy for journalism!". Ignoring that opinion's very flandarized view of Lois' character for a second, let's thoroughly discuss how this relates to themes of immigration and Asian identity.

By this episode, Lois had known Clark for 5 days. In that time she's entitled and angry to the point of friend-breaking-up with him because he wouldn't disclose his marginalized identity to her within less than a week. "A secret is another type of lie!" Lois says, regardless of her lying on sight to both Jimmy and Clark upon meeting them at work, and continued to lie in episode 3 (after promising not to in ep 1) about her intentions to interview Superman. Only Lois gets to lie in this relationship. The hypocrisy of her character is never recognized. Clark calls out Lois for having previously admitted to him that she wanted to dox Superman and "publish all his secrets. MY secrets!". Keep in mind that when Clark brings up Superman feeling uncomfortable about his secrets being published by Lois in episode 3, Lois' response was "yeah, but HE doesn't know that's my plan!". She explicitly admits that she would publish private information about Superman without his permission. But when she's confronted by Clark in episode 5 about that, her response is "I would never do that to you, I didn't know it was you until after the gala. How could you think that?" It's only through conflict of interest that Lois spares Superman of being doxed. He's supposed to magically know this. Extremely cool of Asian American Lois to be entitled to an alien immigrant's identity within four business days.

Episode 6 wraps up the Lois Hates Superman For Being A Liar arc, so let's quickly summarize what happens. Lois and Clark set aside their fight to find Jimmy in an abandoned scientific facility (he's being cared for by Mallah and the Brain). Jimmy admits (very smugly) to having known Clark was Superman all along because he kept breaking stuff. As the trio are chased by killer robots, they emotionally confront Clark for not trusting them with his alien secret- despite neither Lois or Jimmy creating a safe environment for Clark to come out to either of them (Jimmy outed Superman as an alien on his video channel). The moral of the story is Clark should have trusted his friends anyway, because lying is bad. Not once does the narrative hold Jimmy or Lois accountable.

We have Black Jimmy Olsen and Asian American Lois Lane being entitled to their white passing friend Clark Kent's marginalized alien identity. A joke is made at Jimmy's expense that he doesn't understand bigotry, and Lois clearly doesn't understand why an immigrant wouldn't be forthcoming about his identity to his hostile friends at work. This is how that arc ends.

I'd like to quickly compare this Lois Hates Superman For Being A Liar arc to my favorite scene in Superman Smashes the Klan. In this story, Superman debuts as a strongman superhero instead of an alien, suppressing his more othering powers to pass as human. He jumps instead of flying. Roberta, the Chinese American girl targeted by the Klan, calls Superman out for not using his full abilities to save people who could've gotten hurt. Yet, as she's calling him out, Roberta understands Superman's fear of not wanting to be othered. She sees the way her father dresses up to pass as an accomplished scientist, how he tells her mom to speak in English, how her brother makes racist jokes at their family's expense to fit in. She's not mad at Superman, she's mad at the world that would be scared of Superman if he flew.

"I wish it were okay for you to fly!" Roberta yells. This is a beautifully empathetic scene that shows a marginalized person frustrated at a systemic problem, instead of blaming the marginalized for being marginalized. It's the empathy and perspective we're missing from MAWS.

Episode 7 is a metatextual episode where MAWS addresses how their Lois isn't like the other Loises you've seen before. Lois and Jimmy are brought on to a team of alternate dimension Loises to find interdimensional troublemaker Mxy. In seeing the other more accomplished Loises in the multiverses, Lois ends up feeling inadequate about her self worth...in connection to being Superman's girlfriend, of course. Because Superman only loves Lois Lane after she wins a couple of Pulitzers, right?

I'm open to a version of Lois Lane that isn't as accomplished as she's historically known to be. I can like a Lois that's young and idealistic, like in Girl Taking Over. It's hard not to compare this episode to 2022's Everything Everywhere All At Once, another multiverse story about an Asian American woman who is the "greatest failure" version of all the parallel iterations of herself. But while that movie talks in depth about themes of generational trauma, expectations, and self potential within Asian immigrant families, MAWS uses the multiverse to say that while their Lois is less accomplished, she's still a good girlfriend to Superman! Why should I bother giving grace to a different take on Lois only to get such a superficial story out of it. This is metatextual-ly frustrating.

Why is it, the minute we get an adaptation of an Asian Lois in something as prominent as an animated show, we get "the worst Lois in the multiverse"? Lois is historically depicted as excelling in her field. She's an award winning journalist, jaded and mean from having to work her way to the top. She owns her sexuality, she's the experienced city girl. Instead of taking the opportunity to inform Lois' jadedness and excellence with her Asian American identity like in Girl Taking Over, instead we have an Asian Lois that's simply incompetent at her job. Why are we now adapting historically accomplished women into adorkable quirky screw ups? She went from being sexually confident to being insecure over sending a text to Clark. Is it more relateable to see an Asian woman that way? Is it too intimidating to see a butch Asian woman who excels at her job? Who's romantically confident? This is what MAWS would rather do than humanize her excellence or her failures.

Are you tired of an ambiguously designed Asian American woman reporter being xenophobic to Superman in MAWS? Well too bad because episode 8 introduces us to Vicki Vale, voiced by Andromeda Dunker (an Asian actress), with explicit notes in leaked concept art to design this character as "Indian American or Asian American" (as if those are mutually exclusive...) inspired off of real Asian reporter Connie Chung. Vicki wants to write a hit piece on Superman and interviews Prof Ivo's assistant, Alex, for a negative biased opinion on Superman (to Lois and Jimmy's dismay).

This episode is where it's abundantly clear the writers don't know how to talk about xenophobia. They'll make nods to xenophobic rhetoric, but they don't know what the rhetoric means. In response to Alex's derisive opinion on Superman destroying Amazo tower thereby bankrupting the company and putting "thousands out of work", Vicki responds "Superman wiped out good American jobs". This is a misplaced nod to Replacement Theory: the fear white people have over people of color, but particularly immigrants, coming to "their" country to "steal" jobs they're entitled to, ultimately becoming demographically replaced by non-white cultures and people. This rhetoric is also commonly applied to Jewish people.

The problem is, that's not what Superman did in the show. Amazo tech was going to go bankrupt because of Prof Ivo's poor business decisions. Prof Ivo made the mistake of antagonizing Superman and ruining his own image. Superman damaging the building came from his fight with Prof Ivo, not a deliberate attempt to get hired (if anything don't the building repair people have new jobs now?). No one's job is tangibly being taken by Superman. None of this is called out by Lois or Jimmy, who know the full story and were even the ones to attack Alex for helping Prof Ivo (let's be real the writers forgot this happened). In fact, Lois and Jimmy don't react to Vicki's Replacement Theory remark at all! It's like they don't even recognize she said something with racist implications!

Jimmy and Lois meet up with Superman who learns the people of Metropolis are becoming scared of him (from causing some recent property damage in an attempt to hunt a criminal down) and writing mean comments on social media. A user writes "he should go back to where he came from." This is a transparently xenophobic comment. It doesn't work in the context of the show because of a huge plot hole: Superman never publicly came out as an alien to Metropolis. No verified newspaper has explicitly made this fact known. The only source that mentions this is Jimmy's conspiracy channel, which the citizens of Metropolis are apparently treating as fact- therefore (if we're to believe this is how people knew) this means Jimmy absolutely outed Superman as an alien without Clark's consent.

So how does Asian American Lois respond to seeing her alien boyfriend go through xenophobia? She says "Take a break from being Superman and just try being normal." To be fair, the narrative does portray Lois saying the word "normal" as charged (only here at least, not in episode 4), and when she tells Superman to "take a break" it's because he had been overworking himself after suddenly unlocking the ability to hear when someone's in trouble. But was this really the response Asian American Lois thought to say? To her boyfriend going through such explicit xenophobia? At this point it's abundantly clear that racism doesn't exist in the world of MAWS. Being "normal" is to be human. And to be marginalized- or as the show likes to call it "different" is only reserved for white passing alien man Clark (along with gorilla and robot that was once a white man). Any hope of an immigrant parallel between Asian American Lois and Superman should be fully discarded at this point.

After the events of the previous episode where Superman is kidnapped by Task Force X, in episode 9 Lois regrets being allegorically xenophobic to Clark. At least I think that's what's happening. I often describe MAWS as a show that's extremely squeamish with getting political- and I believe the vagueness of Lois' Dark Night of the Soul moment reflects that. "I said awful things to Clark. I doubted him when he needed us most. I was wrong and now he's gone..." Lois says as she cries to Jimmy. Is this dialogue implying she shouldn't have told a sleep deprived Superman to take a break? What did she doubt about him? This dialogue is purposefully vague about Lois being xenophobic. They've universalized Clark's immigrant identity to such a point that they can't keep their argument consistent. Was Lois in the wrong for telling her overworked superhero boyfriend to take a break? Or was she being xenophobic for telling him to lay low for a while? Or is she regretful for hating Superman for Being A Liar? How is that possible when the narrative sided with her and Jimmy in episode 6? It's woefully non-committal. Regardless, the intent of this scene is to pay off in the climax of the episode.

In the end Superman has a showdown with Prof Ivo Parasite, who has grown into a large godzilla-esque kaiju creature. In typical MAWS fashion, the show is more interested in a surface level nod to Asian media instead of engaging with the specific themes of nature and post-war trauma kaijus and godzilla serve in Japanese culture. I digress. Using Jimmy's massive social media platform, Lois delivers a hope speech that instantly heals Metropolis of its xenophobia towards Superman.

Lois says to the people of Metropolis.: "People have told you to fear Superman because he's different from us. But we humans are capable of causing hurt and pain too. [...] Because we want to punish those who don't look or act like us." I mean this in the most polite way possible, but who on Earth thought this line was a good idea for Asian American Lois Lane to deliver when talking about white passing man Superman?? Why did the writers feel the need to specify Superman not looking like us. I simply don't understand how nobody considered the terrible optics of this.

After Superman defeats Parasite, episode 10 is about Clark, Lois, and Jimmy celebrating Thanksgiving at the Kents' house. At the Daily Planet, the trio of interns are promoted to finally being reporters. It only took Clark and Jimmy a few weeks while it took Lois a whole year! Now feels like a good time to remind you that Lois as a character was historically frustrated at sexism in the industry and despised how men were treated better than her (including Clark Kent). Well in MAWS episode 4, Lois has no idea why she isn't getting picked up to be a reporter. According to the narrative, and Perry White's dialogue ("you're terrible interns, so the only thing to do was to make you reporters")- she simply didn't break enough rules yet! Thank goodness she had the help of two men to show her how it's done! This is a pretty clear case of character regression. Keep in mind that in American Alien, at the very least that Asian Lois still underwent sexism, and I gave it the grace that the story could eventually expand to talking about both sexism and racism if it were to continue. But in MAWS? I don't think even sexism exists, let alone racism. Somehow Thanksgiving does, though.

Half the final episode is spent on Thanksgiving shenanigans where everyone's trying to be polite but they dislike Lois' stoic dad (Sam Lane)- who Clark recognizes as the Asian American xenophobic man who tortured him in Task Force X's government bunkers. A parallel is pulled between Sam and Jor-El, two fathers with different ideals when it comes to protecting their kids. There's a huge missed opportunity to have Lois and Sam speak in Korean with each other, to create a parallel in the language barrier between Clark and Jor-El. Maybe Lois isn't as fluent in Korean as Sam is depending on how culturally connected she is. Oh, but the existence of non-English human languages would imply some sort of minority, who would be marginalized, and we can't have anyone outside of aliens and a gorilla be marginalized in MAWS. Non-English languages in America are political, after all. Oh, but they also got a Filipino actor to voice Sam. Generously Lois could be Filipino-Korean but if we're being truly honest it's clear the MAWS crew think Asians are interchangeable.

Let's talk about Sam. In terms of optics, it's already not great that the main villains who represent the face of America's secret government xenophobia are Amanda Waller and Sam Lane- a Black woman and an Asian man. What's doubly notable is that of the antagonistic villains, Sam and Vicki are the most xenophobic. When Sam tortures Superman, he shouts "When is the invasion? How many of your kind will come through this time?" without a hint of irony. Reminder that historically, Asian immigrants were (and still are) considered invaders in America. They are the perpetual foreigner. MAWS loves making nods to Superman being an immigrant allegory, and yet they can't fathom the human beings that allegory is inspired by.

It's not impossible to portray people of color or even Asian American characters specifically being xenophobic. In Superman Smashes the Klan, Dr. Lee is initially antagonistic towards Superman but we understand why. We see him trying desperately to assimilate into whiteness, to the point he rejects assistance from his Black neighbors who help put out a fire in their backyard (that the Klan started as a threat). We understand why he's a character who would turn on fellow people of color, or fellow immigrants, in order to fit in. For MAWS, if we had a flashback scene where Sam was serving in the military and fought against Asian soldiers, showcasing his loyalty to America over his own people- that would narratively explain why an Asian American character would be xenophobic. Writing bigotry from within marginalized communities requires specificity. Otherwise, you've just got a diverse villain. In the end, Lois defends her immigrant alien boyfriend from her xenophobic Asian American dad.

Whenever I bring up how MAWS fails its characters of color but especially Asian Lois, I'm met with people telling me that "hopefully they'll make Lois more Asian in S2" or "they'll just retcon the bad writing in S1" and I hope this thorough analysis on the treatment of Lois' Asian American identity can help enlighten why I personally think that's impossible. The entire concept is flawed from the very beginning. The story MAWS wants to tell is at odds with Lois' Asian identity. In trying to justify an Asian Lois that loves Clark but hates Superman, they never considered what it means to hate Superman. To hate the alien immigrant. The alien other. What it means for an Asian American character to do all that. MAWS is a show that wants to have its cake and eat it too, they want a diverse world without racism or sexism but still want to reap the clout of lightly portraying Superman as "different".

They'll make the most surface level nods to Lois' Korean heritage- but remove all of the cultural context from them. They can't be bothered to acknowledge the inherit political identity being a person of color means in America, they're too busy doing that with Clark. I'm told "MAWS didn't have the time to go over Lois' Asian identity, it's a 10-episode series that focuses on Clark's alienation", and to that I say the potential of an immigrant love story and time frame was there, they simply chose to go another direction.

When I bring up things like Superman Smashes the Klan, Girl Taking Over, and Everything Everywhere All At Once, it's not to say MAWS should have used those stories as reference when crafting their allegory. All of those specific media were released while MAWS was deep in production already. Girl Taking Over was released the same year MAWS premiered. What I am saying is that we, as the audience, should have higher standards. Because better media portraying Asian American characters already exist. Better media portraying Asian characters relating to Superman mythos already exists. What we're doing when we celebrate the breadcrumbs of representation that is MAWS, is allowing mediocrity to exist uncritically.

Shows like Wednesday are known in the discourse for their portrayal of Black characters as being functionally white, yet that kind of scrutiny doesn't seem known for MAWS. The diverse reimagining of Lois and Jimmy is so poorly handled in MAWS that it would honestly make more sense if Jimmy and Lois were white here. The joke made at Jimmy's expense that he doesn't understand bigotry would be actually funny if it was calling out his white privilege. If, for whatever reason, the writers are compelled to write a xenophobic Lois that unlearns her bigotry and falls for Superman, I'd rather she be white for that kind of story. I wouldn't personally root for that kind of couple, but at least it'd make sense. It's a common joke among DCAU fans of color that we like to headcanon Lex Luthor as Black, or Lois Lane and Terry Mcginnis as Asian. It's a cruel irony that the one time we finally have a canonized Asian Lois in an animated show, she honestly feels and acts whiter than actual white Lois ever was.

I mentioned in Pt 1 of my essay that Asian Lois and Superman has the potential to be a definitive love story. One that considers both their backgrounds as immigrants, othered in different ways by American society. The story of a jaded but accomplished Asian city girl who finds hope to be herself again in an alien immigrant superhero. One where she gets the courage to wear traditional clothes again, to practice languages she once suppressed. The story of Superman, an alien immigrant, finding hope in someone with a painfully similar experience.

As of writing, we have yet to see this dynamic in any canon DC media. A second season of MAWS will not give us that story.

#ramblings #media criticism #jesncin talks maws #lois lane #warning LONG LONG POST #this is a 30 minute read for reference. read it in chunks if u like but this is a big lad fellas #as always please be kind!#jesncin dc meta

351 notes · View notes

lilyginnyblackv2 · 1 year

Text

Buddy Daddies - Episode 6 - Thought Post - SPOILERS!

First, we now know that it is May 27th, so Miri has been with Kazuki and Rei for about 5 months now. We are very squarely in the "several months later" time frame when the opening from Episode 1 would likely have occurred. (Since several is usually viewed as being between 4 - 7). I'm personally thinking that the opening bit from Episode 1 has likely already happened/passed, since Rei seems slightly (only slightly) more attentive, lol.

It's also interesting that the bulletin about the school trip used 父兄 (fukei) instead of 保護者 (hogosha). Both can mean guardians, but 父兄 (fukei) is seen as a bit more outdated and not as all encompassing as 保護者 (hogosha), since fukei is made up of the kanji for "father" and "older brother." It makes me wonder if that little reminder was aimed specifically at Kazuki and Rei, lol.

Also interesting that Kazuki used ママとも (mama-tomo) instead of ママたち (mama-tachi) or something similar when pluralizing and talking about "the other mothers" when saying "Of course, the other mothers all say the same about their kids." It implies that he sees himself in that group rather than outside of it.

I really liked how the focus of this episode was in having a bit more faith in your children (and in how you've gone about raising them) and also how children can behave differently in a school setting than at home. Since I have definitely seen that before with kids when I worked as a teacher. I would mention how well behaved they were or mention something behavior-wise during Parent-Teacher Conferences, and the parents would be surprised, since it was different from their at home behavior.

Taiga was interesting to me, especially because earlier in the episode Kazuki was mentions to Miri that she doesn't understand the difference between right and wrong yet, and many children her age are still learning that and really don't know (also, just realizing that this was said over an image of Rei, highlighting the fact that he is still kind of learning this as well).

I feel like that was Taiga. We learn later that he is a big Morio Kart fan, but he must have had the impression that the others weren't, so he might have acted out a bit in order to get their attention (the other girls). I had a boy, also named Taiga, who used to behave a bit similarly. He was a big fan of zombies, but none of the other kids were, so he acted out in order to get attention and fit in.

The miscommunication between what actually happened (Miri accidentally hit his hand) vs. one of the caretakers thought a fight had occurred, is a very true and accurate thing as well. Young kids Miri's age can communicate their thoughts and feelings, but they may have a tough time communicating it properly still.

Like, Miri knew she didn't hit Taiga and that there hadn't been a fight, but she didn't know how to fully explain it to Kazuki, and likely a similar thing happened with the caretaker at the daycare. They eventually got it all straightened out though.

I love, love, love that Rei was the one who read through the notebook at the end. And how he took Miri to school with little complaint. He really is wrapped right around Miri and Kazuki's fingers and will go at their pace, huh (like the lyrics of the OP). But, I also think it highlights the ways in which Rei is becoming more proactive too. He seems more engaged with being an actual parent.

I can't really explain it well here either, but there is something subtle about the writing that really captures and shows how, with each passing episode, they are becoming more and more like a family. Rei and Kazuki's conversation in the car at the end of the episode felt like a very real conversation that parents would have at the end of the day. I felt they did a good job of making Miri and Taiga's friendship feel like a friendship too, and not any kind of 4 year old crush situation (regardless of what Kazuki's overactive imagination might think!)

Last week's episode introduced us to Kazuki's overactive imagination and his flaw of jumping to conclusions, but this week's episode showed how that could negatively impact Miri. I'm glad he has Rei to reel him in, though him imagining Miri as a delinquent girl made me laugh. Though, I am sincerely hoping that Miri turns out to be a lesbian otherwise Kazuki being so overprotective will turn into an issue in the future. Hopefully, Rei will be able to work on that with him over the years.

The above image, of a teen Miri with a teen Taiga also reminds me of an incident when I was working at as a shadow trainer for an ALT at a junior high school in Kawasaki City in Kanagawa Prefecture. The school’s in that area don’t have a great reputation, so while the ALT I was training was teaching a class, I was outside the halls, just going for a little walk. Then I saw two of the students (a boy and a girl) go into the bathrooms together. They had made it clear previously that they were dating, so I just ended up turning around and going in the other direction, because I had zero desire to get involved in any of that - as ALTs you can’t discipline students).

Rei had some absolutely stellar comedic moments this episode from him asking Miri how the fight went and not caring about the violence (which makes sense given his upbringing). To Kazuki mentioning that Miri got their genes and Rei's reply of "Our what?" (Dude was 100% questioning his understanding of biology and genetics right then), to him adding the "paca" verbal tic at the end of one of his sentences, even after they were out of the mascot outfits, seems he got too in-character, lol.

His smug expression whenever Miri preferred him was also unexpected but great!

Oh, also! Before I forget, Miss Anna is a gem and she must have been so worried when she couldn’t find Miri and the others! Anyway, I hope the rest of the field trip was a breeze for her. <3

#Buddy Daddies #Kazuki Kurusu #Rei Suwa #Miri Unasaka #Anna Hanyu #Buddy Daddies spoilers #BD spoilers #BD #long post #image heavy post #meta post #thought post

728 notes · View notes

kerrikins · 3 months

Text

Gonna share here some comments that I found on Twitter about the space that Sammon had:

Jin:

"Jin character is to represent the normal ppl growing up in a normal family (wealthy fam & good environment) with the mindset of everything will be good, this world is beautiful just like what he has learned & seen but one day when he faces the real & big disappointment in life… and Dr. sam talked about the dynamic and the conflicts of Jin’s character"

White:

"White’s character is the real outsider who is a completely unfortunate person and he represents the innocent who got affected by Tee’s actions"

New's father's death:

"The death of the father of New and Non at their mother’s funeral was dr. sam’s idea and she said she’s so sorry for the trauma this scene created but she wants to push New’s character to the point that he feels the pain like suffering in hell"

Sammon's answer on whether Phee still loves Non:

Phee’s POV: Non cheated on him so it’s something that when time passes, his love for Non is still there but somehow faded away. Beyond that is Phee feels immense guilt bcuz he told Non to get lost and d*e

The Flashbacks:

Dr. Sammon said at first they planned to have the flashback since ep.2 of DFF. The original plan was the series will run in sequence with the flashbacks inserted along the way but they decided to change to have the first 4 episodes focusing on the present days without the background of the characters. After the past had been revealed in Act 2, the audiences will go back to find any clues left in ep.1-4 to connect the dots.

All above are taken from herenthereafter on Twitter.

Tee:

Sammon said in her opinion having to live knowing you killed your loved one is the worst ending of all so she gave the worst punishment to tee - cr. kiiramei

New & the ending:

Asked if a listener was sure that New was dead and said that at the end they are still in the house (but offered no clarification as to the fate of the characters or where in the timeline in the last episode 'still in the house' means)

Kreng:

Definitively stated that Keng is a predator and Non was being groomed.

Uncle Joe:

Was arrested and died

Non:

Non is artistic and New is academic kid. New focused on study so their Mom will not pressure Non, but it strained their relationship, which New plan to amend after returning from England. Non is typical who draw, write, manga etc. That's why the script is important for him. It's the first time someone believe in his ability, he got some friends in the way and also he want to show his parent that he also had something he want to do (art).

#dead friend forever #dff: the series #dff spoilers #doctor sammon #dff meta

84 notes · View notes

syrena-del-mar · 3 months

Text

Echoes of Guilt: Exploring the Thin Line Between Tee's Redemption and Salvation in Dead Friend Forever, Episode 11

This week, I'm really enjoying what DFF is trying to say about the humanity in making shitty choices and having to live with the outcome. The framing of Tee's journey, about how in trying to survive the hell he's in with his father, he inadvertently causes Non's death, gives a reason to why he makes the decisions that he does, rather than excusing them. Arguably, this was never supposed to be Tee's redemption arc, rather it's the story of his salvation and reformation.

Non isn't meant to be an ingénue in this story. He's flawed and he makes some bad decisions, but he's still a victim. Yes, Non has, to a degree, had his own autonomy digging himself further into the shithole, but in the end, his actions were all reactions to an already existing shithole that he was forced into. While the bullying may have not started with Tee, man, did the kid know exactly how to lay a trap and let others burn in it. He was calculating, so much more than his peers, likely because he has been dealing with shitty adults in his own personal life. Before White, Tee was turning into the terrible adults that he was surrounded by. This episode is explicitly showing the journey of Tee's realization of the consequences of his actions and his attempt to change while still dealing with a dirty past.

The misdirection of the Redemption Arc in Tee's story

First things first, the redemption arc deals with the characterization of a deep internal struggle within the character. A character undergoing a redemption arc deals with personal guilt, remorse and the desire for atonement. The redemption journey is usually initiated by the character themselves after being confronted with their flaws or wrongdoings. Broken down into steps, a redemption arc typically involve: (1) a flaw, (2) acknowledgement of the effect of their actions, (3) seeking atonement, (4) struggles with guilt or remorse, (5) significant growth because of their struggles, (6) tangible manifestations of their acts of redemption, (7) seeking forgiveness. A redemption arc typically resolves when the character achieves some form of personal redemption, whether it be through forgiveness, closure, or inner peace. Redemption arcs emphasize personal responsibility and the inner journey of the character.

The reality is that Tee doesn't redeem himself. He never has the opportunity to because Non dies two weeks after Tee delivered him to Uncle Joe. Non's dead (as far as Tee and we, as an audience,know so far). Sure, Tee was working towards redemption, with his several attempts to save Non from his Uncle's grasp, but he'll never reach redemption because Non is gone. He doesn't even get the chance to seek forgiveness, nor I'm sure that he needs any forgiveness from Non. The guilt that is consuming him, the realization and acceptance of how much pain he has caused a fellow human being is not redemption, it's remorse. And you first have to have remorse to find the road to redemption. So while episode 11 might have shown that Tee was starting on his redemption arc, by the end of the episode, he's still not redeemed. In comparison to all the pain that he has caused, working a second job to help Non get out of the debt he caused doesn't erase the extent of harassments and suffering he subjected Non to. Here, the story was never truly centered on Tee's journey to atone for the pain he caused Non but rather it seems to make it a point to show his guilt. That's not redemption.

Also just from a writing stand point, Non's confrontation, and ultimately, Tee's decision to attempt to get Non out of being his Uncle's slave is part of Tee's progression, but is not the climax of his story. Even if you consider Tee's emerging guilt after realizing that his uncle was planning to sell Non for body parts, it's only serves as a catalyst for Tee to realize and confront the pain he has caused. The true change that we see in Tee comes the moment he meets White. White's presence is the turning point in Tee's life, that makes him want to change.

The initiation of Tee's Salvation Arc

The Salvation arc of a character focuses more on the development on the relationship between the "savior" and the one in need of salvation. Particularly, this arc highlights the external forces that shape a character's transformation, leading to a new direction or purpose in life. The resolution often involves the one in need of salvation finding a sense of change, sometimes without ever fully achieving complete redemption. Both arcs deal with the change and growth in a character, yet while the redemption arc often leads to a cathartic resolution where the character finds peace or closer, the salvation arc focuses more on external influences and the power of compassion. This arc doesn't particularly signify that that the character will fully find true redemption. Instead the character may become reformed having changed into a better person and acknowledged their wrongdoing, but not particularly working to make amends for their past mistakes.

No person exists in isolation and Tee's change is interconnected with White's appearance. Tee frames it himself. "Since I met White, I started knowing what happiness is. I started having my goal. Wanting to start over. I wanted to become a better person." That very moment is the climax in Tee's story, the moment where Tee needed to make a critical choice of who he wanted to be. Every moment that he had to witness Non's suffering and ultimately come to the realization that he is in large part the reason for Non's death is a lesson that he's learned of has shown him who he no longer wants to be. Non is the journey, but it's only assists in Tee's growth, making him ready to be a better person for the moment that he meets White.

Tee was going to stew in the regret and remorse he felt for Non's death, but Tee wasn't making amends FOR him. He was stagnant. He accepted his culpability and thought that being unhappy would be the proper punishment that he deserved. Yet, he didn't seek to right the wrongs, he didn't reach out to Non's family to let them know their baby boy had died in obscurity. That is a far cry from atonement and redemption. Instead, White gave him new purpose and direction in life. Humans are always capable of change, it's just depends on an individual's want or need to do so. Dead Friend Forever seems to be making a message about how even though Tee has the capacity for growth, change, and healing, Tee still has to respond for the pain and hurt he caused beyond Non.

Final Thoughts

While a redemption arc holds many similarities with that of a salvation arc, the exploration of the complexities of human nature are done through two distinct lenses. I don't think Dead Friend Forever is trying to focus on Tee's personal responsibility and inner struggles while ignoring the damage that he did to Non, but rather seems to be making a stand on the effect of external influence and finding personal salvation from connections with others. The very thing that Non had always been denied by Tee and the others, human connections.

Salvation arcs don't automatically make a character likeable, which DFF seems to be aware of, so I don't think it's an attempt to make him another version of a hero for Non. Rather it lays a foundation to Tee, showing his own struggles with his family, his own flaws, and his own attempt at change. It explains Tee's incentives behind his actions, but doesn't create an excuse for them. It not a redemption story, because he doesn't redeem himself. Non's dead and he can't ask for forgiveness from a ghost. His salvation doesn't even come after Non dies, because his inaction after Non's death was still an action. He still takes part in denying Non proper rest, even in death. His change came after where he learned from his wrongs and chooses to no longer do any more harm because of White. Even so, he still played a role in the complete devastation that he caused Non's family. Tee's actions caused a domino effect, where he eventually had a hand in creating New's pain, thirst and revenge.

As Tee has undergone his salvation arc, it highlights the irreversible consequences of his actions and the cycle of violence and retribution. Tee was a victim of his circumstance. Yet, victims can still create more victims. Despite Tee's efforts to change, it's a change that occurred far too late. Tee's death at New's hands would be an end to a cycle of violence and retribution that Tee inadvertently set in motion. If Tee dies in an attempt to save White, his willingness to sacrifice himself for White will represent a departure from the violence that defined his past. Ultimately, I think it underscores the harsh reality that, despite efforts to seek forgiveness or become a changed man, some sins cannot be undone.

(tagging @slayerkitty for DFF's meta roundup)

86 notes · View notes

starlight-bread-blog · 1 month

Text

My Interpetation of The Southern Raiders: Part 1 – A\ang

Warning: The views expressed in this analysis will be very critical of Aang. If you aren't critical of him in this episode, you aren't going to enjoy this post. This is your chance to leave. I probably won't have a debate for personal reasons.

——————

The Southern Raiders is probably one of the most discussed episodes in the fandom. Everyone knows Zuko Alone is great, but the discussion surrounding this episode is a war zone. In this essay I will try to answer every question posed in the discourse. This is part 1 out of three. In this part, I will discuss A\ang. I believe that understanding both Zuko and Aang's decisions in this episode will give us great insight into Katara's. Because the this episode is hers.

——————

1. Is Aang's philosophy of forgiveness valid?

(1) "Revenge is like a two-headed rat viper. While you watch your enemy go down, you're being poisoned yourself".

(2) "You do have a choice: forgiveness". // "It's easy to do nothing, but it's hard to forgive". // "Forgiveness is the first step you have to take to begin healing".

This philosophy is indeed morally sound. Revenge comes from rage, a negative emotion that causes harm in the long run. Forgiveness is letting go of that rage, which is healing. I cannot write a full thesis, this essay is not about that. But on paper, I do agree with A\ang. He's right to say that letting go of rage is a better alternative than getting consumed by it. (However, his philosophy might not help some).

——————

2. Was A\ang being insensitive when talking to Katara?

First I must reiterate, a lot of people frame the conflict of the episode as one regarding the ethics of murder. In my interpretation, it is not. During this episode Katara was in a deeply emotional place. Her rage stemmed from intense grief and those around her should treat her as a mourner - with great sensitivity.

Now, was Aang being this sensitive with Katara? Well, in my opinion, very much so.

Imagine a scenario where A\ang just happens to meet Haru, and he's about to go on a quest to find revenge on who imprisoned his father. He tries to help him with the following sentences:

(1) Um ... and what exactly do you think this will accomplish?

(2) Wait! Stop! I do understand. You're feeling unbelievable pain and rage. How do you think I felt about the sandbenders when they stole Appa? How do you think I felt about the Fire Nation when I found out what happened to my people?

(3) I don't think so. I think it's about getting revenge.

(4) Haru, you sound like Jet.

(5) The monks used to say that revenge is like a two-headed rat viper. While you watch your enemy go down, you're being poisoned yourself.

(6) Haru, you do have a choice: forgiveness.

(7) No, it's not. It's easy to do nothing, but it's hard to forgive.

(8) You did the right thing. Forgiveness is the first step you have to take to begin healing.

Everything makes sense, right? The pieces fit.He just talks about his cultura\personal values, nothing about what Katara needs at the moment. He could have had this exact conversation with Haru without changing a thing.

Therefore his lines are impersonal and thus preachy. In this conversation he doesn’t show signs of trying to convince Katara not to end her mother’s killer because she is, fundamentally, a good person and couldn’t live having committed murder. He shows signs of trying to make her obey his cultural ethos. This is highly insensitive. Katara was in a very emotional place, filled with rage and grief. And his response was, intentionally or not, to impose his own cultural principles onto her.

But his lines weren’t insensitive just because they were preachy, some of them were judgmental and even harsh. When A\ang is first confronted with Katara’s intentions, he says:

A\ang: Um ... and what exactly do you think this will accomplish?

You can tell from his tone and how the rest of the conversation plays out that he does know what Katara thinks this will accomplish. He asks the question as a form of disapproval - that he thinks that going after Yon Rha won’t accomplish anything. He’s not being genuine, he’s casting judgment on her. He’s almost looking down on her and Zuko, looking down from a moral high ground and sarcastically interrogating the two. Another line that sticks out is

A\ang: Katara, you sound like Jet.

He says she sounds like the man who wanted to flood an entire village full of innocent civilians. He’s insulting her, and greatly so, all the while wanting to keep a moral high ground. This is incredibly rude and condescending.

In the next scene, right after the intense argument concludes, it appears as though A\ang comes around to the journey Katara was about to go through.

A\ang: I wasn't planning to. This is a journey you need to take. You need to face this man.But when you do, please don't choose revenge. Let your anger out, and then let it go. Forgive him.

While he’s still discouraging Katara, it’s not outright condescending. But it’s as clear as day that he’d just preferred if she didn’t go on the journey at all. When he sees Zuko and Katara taking Appa to find Yon Rha, he says:

A\ang: So you were just gonna take Appa anyway?

Clearly disapproving of Katara. He doesn’t want her to go on the journey to find inner peace, he wants her to forgive the man who killed her mother right here and right now. He couldn’t change her mind on the subject, so he’ll advise her the next best thing. It is worth noting that in the beginning, before he advises her, he cracks a joke.

A\ang: It's okay, because I forgive you. [Pauses.] That give you any ideas?

Overall, A\ang’s behavior is unsympathetic and callous.Instead of placing his focus on Katara’s wellbeing, he preaches about Air Nomad teachings and goes as far as insulting her. Even when he comes around, it’s not because he realized his mistakes, it’s because he knew he couldn’t change her mind. And then he makes a humorous remark while giving him his supposed new found advice. The answer is: Yes. Aang was very insensitive when talking to Katara.

——————

3. Did A\ang know what Katara needed?

I don’t think he did. A\ang thought Katara needed to forgive Yon Rha, and as we previously established, without going after him. But even if we look at his second advice, she still doesn’t follow it.

A\ang: This is a journey you need to take. You need to face this man. [Katara situates herself on Appa's head.] But when you do, please don't choose revenge. Let your anger out, and then let it go. Forgive him.

Katara explicitly didn’t forgive Yon Rha, and yet the whole point of the ending is that she’s in a better place now. No matter what Zuko says, A\ang didn’t know what Katara needed. And considering that his lines in the episode were as impersonal as they were, it isn’t a surprise.

——————

In conclusion, A\ang’s behavior in The Southern Raiders is questionable at best. He might have had pure intentions, and had a good message, but the way he put out the message was degrading and preachy. And in the end, he didn’t know what was the right thing for Katara.

Continued

109 notes · View notes

multifandumbmeg · 2 months

Text

Alright SCREW IT here's my Kiara defense post:

Is it annoying to watch get paired off with everyone in the main cast? Sure. Let me explain why that's not a character flaw or terrible, unplanned writing so yall can put some respect on her name.

1. They're ALL in love with her, and literally throwing themselves at her all the time. This is so important and well-documented that John B literally tells us IN HIS INTRODUCTION TO THE GROUP in episode one. It is literally so relevant to their entire group dynamic that he brings it up in the first episode summary of who they all are. Guys actually do this I have seen this happen. One of my high school best friends was constantly manic pixie dream girled (despite being profoundly depressed) and several entire friend groups of boys fell in love with her. She dated one guy, who was a piece of shit and dumped her saying it was because of his parents but told his friends it was because she had too much baggage. The fallout was so bad, one guy from one of the friend groups tattled to her and a different guy, who was best friends with the douche, literally got into a fight with him and THE DOUCHE HAD TO CHANGE FRIEND GROUPS BECAUSE HIS BOYS KICKED HIM OUT. I'm serious about these teenage boys all having the same taste and thinking it's a competition.

2. John B kissed HER. She immediately shut him down. Immediately. Everything before that can easily be explained as Kiara being concerned about him after losing his father. Teenage boys are dumb anyhow, but it's particularly easy to see why John B and JJ, who have both been routinely neglected and grew up without mothers (read, any positive female attention/influence) would interpret this as Kiara having feelings for them. They fall in love with anyone who sincerely gives them the time of day, basically. And that's a little too relatable moving on.

3. "Mixed signals" by kissing boys on the cheek. While I would not recommend this, I think there was a very clear pattern to her behavior and I have a theory I'm 99% sure is canon, based on copious textual evidence.

Kiara was in love with JJ all along. I'll come back to this. She only kissed the boys she friendzoned on the cheek. With John B, I genuinely think she never had any sort of romantic feelings for him and just saw him as a best bro. But she was worried about him, and maybe realized he listened to her more when she did it. Nonetheless, the minute he gets with Sarah it's almost like she feels relieved and never does anything remotely mixed signals to him again. Now Pope? That is a rich text. What the hell is going on with her and Pope?

4. When Pope first confesses, Kiara is once again caught off-guard. She once again rightfully turns him down IMMEDIATELY and gives extremely accurate and self-aware reasons. Her rejection of him is surprisingly mature, that the life he plans on and wants is ultimately and assuredly not compatible with what she wants for herself. So why did she kinda date him? Honestly, I think it was an attempt to move on from what she believed were doomed feelings for JJ. After all the things that happen in season 1, after Pope going off the deep end a little bit by smoking weed, getting drunk, and engaging in acts of violence, as well as ditching his scholarship interview, Kiara suddenly experiences a spark of attraction towards Pope.

Because he's acting like JJ. Reckless. Using substances to cope. Chaotic. Spontaneous. She knows these things are bad for Pope, and she's at times put off by how un-Pope-like they are as his friend, but she has a type. So following a moment of attraction and the sudden supposed loss of John B (and Sarah), she decides to give it a go. Maybe Pope's different after everything that happened. And he is, but not quite the way she was expecting. To link this back to the cheek-kissing thing, honestly, I think Kiara lowkey has the ick 😂. She consistently shoves any of the boys who try to touch her at all away except for JJ, the entire series mind you, except for these little cheek kisses like that's all she can manage to do. She kisses Pope like twice and ends up sleeping with him, at which point she realizes she just can't do it. She's not consistently attracted to her, and she can't get past her feelings for JJ, so she calls it off. Again, that's a fair healthy, and kind thing to do. When you realize it's not going to work, especially if you have feelings for someone else, it is distinctly NOT dragging people around to cut it off. If Kie has a real problem, honestly? I think it's that ultimately she wants a man she can fix. And Pope's fine. So that's him out.

My proof that the writers absolutely intended Kiara to have feelings for JJ from day one:

"Did you tell JJ?" specifically. Just JJ. She doesn't want HIM to think she's taken.

Shoving away John B and Pope every time they try to hug her or put an arm around her etc. Letting JJ hug her, take her hand, sling his arm around her etc. She also goes out of her way to touch him by taking his arm, holding him when he's crying, hugging him several times and then almost kissing him. So in a way, I'd very much like you to consider, Kiara was not in fact sending everyone mixed signals, her problem was that she was so consistent. Consistently attracted to and in love with someone she thought had no real interest in her. JJ flirts with her jokingly, and from episode 1 and the convo in the bell tower between John B and Sarah, we know that he's a horny little dude. And that's not surprising either, because people who've been abused tend to go one way or the other- either very physical touch-seeking in an attempt to balance about the bad, or very touch-avoidant. JJ is clearly, demonstably in column A. Not just with Kiara, but he also initiates hugs with John B and Pope, touches their faces, and even kisses Pope on the cheek once. He's clearly a very touchy person with everyone, so I can see how Kiara would be unsure about his feelings when he very much does not communicate his wants or needs with words.

Finally, the proof that Kiara had feelings for JJ, and that Jiara was the direction the show was headed, was in their conversation in thr storage container. When JJ tells her what he wants from life and plans to do with the money, it's a direct parallel to her initial reject of Pope. He wants to travel the world and be spontaneous and non-sedentary and have no use for money. Everything she said to Pope and is always trying to explain to her parents. That was 0% accidental, that was the writers making it clear: these two are a match, they're compatible on a much deeper level.

4. So if they always planned on JJ and Kiara, why didn't those two just get together to start? The answer, my friends, is jealousyy. This is a common tactic in writing to get a couple together: force the reluctant one to acknowledge their feelings by putting the other in a relationship with someone else. Im short: every moment between Kiara and John B or Pope was to show us JJ did not like that and therefore that his feelings for Kiara were serious, unlike how she interpreted them and him being a flirty himbo with other girls. It also helped Kiara realize she wasn't getting over him any time soon, and that she couldn't avoid her feelings either. So it forced them both to give up and acknowledge to themselves that they had feelings for the other.

5. "Teenage girls don't act like her" JOKES. This is the dumbest argument I've seen, I'm sorry. I'm happy you have met such well-adjusted teenage girls but buddy... I have known some teenage girls and people who used to identify as girls at that age who would make you roll over in your grave. Some people don't know what they want, some people desperately crave attention, some people just can't seem to avoid drama or make good choices and sometimes that's even a resulted of untreated disabilities or mental illness. Sometimes it's all of the above. My point is absolutely there are teenage girls who act like Kiara and faaar worse.

6. Lastly, why not John B or Pope? Why was Kiara totally valid for not liking them romantically? Well feelings are feelings so she's valid anyways but can we talk about them both touching her/making moves at inappropriate times without consent?? It's understandable she likes JJ and feels the safest around him when he's the only who doesn't act like he wants or expects anything from her. He never kisses her without consent, let alone while running from the cops randomly. He never tries to put his arm around her or make a move in the middle of them having an emotionally intimate conversation where she is clearly seeking emotional comfort. I'm not saying John B or Pope are bad people, but with Kiara both showed a lot of immaturity and failed to read the room numerous times. They acted whenever they personally felt attraction, regardless of where she was at at the time. There's such a thing as reading body signals, and the only times JJ comes close to making an actual move on Kiara is when she comes to him, gets close to his face and leans in. In the end, he only kisses her after she looks him dead in the eyes and tells him I LOVE YOU. That's on respect. Also, John B and Pope both get their shit together and learn this with their next girlfriends! So good on them!

But Kiara confessed to JJ at a random time too! I hear you shouting. NAY. Incorrect!! JJ is actively avoiding her and having a mature conversation about how they feel about each other, and also the fact that he stole from her family, and that is on HIM. That is a result of his issues and his fear and poor coping mechanisms. Kiara forced him to address it at an inopportune time because she already attempt to address it privately TWICE and he wouldn't let her. So all she did there was clear the air and make her own feelings known, which he needed to hear. That is the last conversation they have before he attempts to apologize and confess back. That is what convinces him that Kiara's feelings for him are both genuine and serious, and that no amount of pushing her away will succeed. She loves him unconditionally, which he did not know was possible until then.

So in short!! Kiara actually behaves like a real human being. She's not crazy, extremely selfish, nor an example of writers just testing out the waters and seeing what the fans want or who has the most chemistry. She is very consistent. The only thing I can really begrudge about her behavior towards her friends (her parents are a different story) is that she's insensitive to both John B and Pope after rejecting them, which I believe is because she doesn't realize they had actual feelings for her so much as thinking she's hot.

#Anyway #If anyone wants to reblog this with gifs #Please do!!#Give us the adhd friendly version #outer banks #obx #kiara carrera #kiara obx #jiara #pope heyward #john b routledge #Kiara apologist

81 notes · View notes

morallyinept · 4 months

Text

A full character analysis on OBERYN MARTELL from the TV show GAME OF THRONES.

I've created this as a point of reference when writing for Pedro's characters, and I hope you find it useful. Even if you just want to learn more about the character. 🖤

FULL MASTERLIST OF PEDRO'S CHARACTERS ANALYSED

FULL CHARACTER STUDY:

Basic Details:

Full Name: Oberyn Nymeros Martell

Nickname(s): The Red Viper

Appears in: Game Of Thrones, 2014 (first appearance on screen in episode 1, season 4, seen at approx. 09:13)

Age (if known): Oberyn is stated to be around 42 when he died

Sexuality: Bisexual

Nationality: Dornish. According to author George R.R. Martin, Dorne is loosely inspired by Spain, particularly the south's Moorish heritage, which culturally sets it apart from the rest of the country and of Western Europe.

Family: Eight daughters (Obara Sand, Nymeria Sand, Tyene Sand, Sarella Sand, Elia Sand, Obella Sand, Dorea Sand & Loreza Sand). Younger brother of Doran Martell, younger brother of Elia Martell

Spouse/Partner: Ellaria Sand, paramour

Relationship Status: In a sexually open relationship with his paramour, Ellaria Sand

Current Living Status: Deceased, killed by The Mountain, Ser Gregor Clegane

Languages Spoken: English, Dornish

Education: Oberyn studied poisons at the Citadel, earning six links of the Maester's chain, rendering him a specialist in his field and a master at poisons. He left when he got bored of studying.

Occupation:

Job Role/Title: Prince of Dorne

Special Skill(s): Fighting, poisons, bedding many lovers

Notable Colleague(s): Ellaria Sand, Tyrion Lannister

Distinguishing Features:

Tattoo(s): None

Piercings: None

Scar(s): None notable

Other Markings: None notable

Prominent Feature(s): Slight greying in his hair, beard and moustache

Injuries: Oberyn is knocked to his feet by The Mountain unexpectedly during the fight, and punched in the mouth, resulting him losing most of his teeth. He has his eyes gouged out by The Mountain using his thumbs. Then having his skull crushed and caved in is what ultimately kills him

Eye Colour: Brown

Hair Colour: Brown

Personality:

Traits: Seductive, cunning, vengeful

Oberyn is from Dorne. Dorne is one of the nine constituent regions of the Seven Kingdoms. It is the southernmost part of the continent of Westeros, located thousands of miles from Winterfell and the North, and has a harsh desert climate. Sunspear, also known as the Old Palace, is the seat of House Nymeros Martell and the capital of the Principality of Dorne. According to author George R.R. Martin, Dorne is loosely inspired by Spain, particularly the south's Moorish heritage, which culturally sets it apart from the rest of the country and of Western Europe. Oberyn speaks with an accent reminiscent of his heritage from Dorne, of which Pedro mentioned he used his own father's Chilean accent as inspiration.

Oberyn is seeking vengeance for the murder of his sister Elia against her murderer, The Mountain, Ser Gregor Clegane. He also named his fifth daughter after his sister.

Oberyn has eight illegitimate bastard daughters (born outside of marriage), collectively known as the "Sand Snakes". Four of which he had with his current partner, his paramour, Ellaria Sand.

Whilst in love, Oberyn and Ellaria are not married as Ellaria herself is a bastard (born outside of marriage). Although Oberyn is allowed to be with her, marrying her would not be allowed as in Dorne as a Prince cannot marry a bastard.

As soon as Oberyn arrives in Kings Landing, arriving in the dawn to avoid a greeting party, he immediately goes to the brothel to indulge with Ellaria.

Oberyn's overall attitude was that life is short, and one must enjoy all of life's pleasures while one can. He would rather live life on his own terms, openly challenging his enemies and risk destruction rather than live by someone else's rules. Rather ironically, it was Oberyn's zest for life, his temper, overconfidence, love for his sister, and hatred towards Ser Gregor Clegane that ultimately led to his death.

Despite Oberyn dying at the hands of The Mountain, he was still able to extract revenge from beyond the grave. While The Mountain is being treated for his injuries, it is discovered that before the duel Oberyn had his spear blade coated with Manticore venom, which causes The Mountain's already severe wounds from the fight to putrefy horribly, leaving him in a catatonic, decaying, and agonized state.

Pedro learned Wushu to fight with a spear in the fight scene against The Mountain to enable Oberyn to move with speed and grace.

Fashion/Outfits:

Outfit 1 - (Opening scene) Golden yellow robe embellished with bronze sun studding, orange silken undershirt, leather boots, brown leather belt, brass/bronze chain with pendant

Outfit 2 - (King Joffrey's wedding ceremony and feast scenes) Cream/white robes embellished with satin, silken embellished scarf wrapped around waist, leather boots, brass/bronze chain with pendant

Outfit 3 - (In the brothel scene) Dark black embellished scarf, dark lounge pants, brass/bronze chain with pendant

Outfit 4 - (Walking with Cersei and on the council scenes) Golden yellow robe embellished with bronze sun studding, yellow silken undershirt, sand coloured pants, leather boots, brown leather belt, brass/bronze chain with pendant

Outfit 5 - (Talking with Lord Varys scene) Yellow/orange silken embroidered robe, orange silken under shirt, leather brown belt, leather boots

Outfit 6 - (Tyrion's trial and visiting Tyrion in his cell) Golden yellow robe embellished with bronze sun studding, yellow silken undershirt, sand coloured pants, leather boots, brown leather belt, brass/bronze chain with pendant

Outfit 7 - (Fighting the mountain scene) Brown leather snakeskin embossed armour, brown leather belt, brown pants, brown leather boots. Matching helmet, which he did not wear.

Accessories: Oberyn wears a brass/bronze pendant with floral detailing on the plate. He wears a gold band ring on each thumb. His belts also act as sheaths for his dagger and sword.

Weapons Used:

Weapon(s): (Exact weapons pictured below)

Oberyn has a dagger he wears on his right hip in a sheath on his belt. The dagger has a dark handle, possibly onyx, with red jewelled detailing blended into the handle.

Oberyn's spear is entwined with a golden snake and the shape of the blade is said to be modelled to represent a snake's tongue. He laced the spear head with poison. The tassels are made from snakeskin.

Oberyn's sword has a snake head handle and has the same black and red jewelled detailing as his dagger. Oberyn is not seen using his sword at all, instead favouring to use another spear when his first one is broken by The Mountain.

Modes of Transport:

Vehicle(s):

Oberyn is not seen using any forms of transport, however as a Prince he would have his own horse. Tyrion sets out to greet the cavalcade of horses, however Oberyn, in place of his brother Doran, had already arrived in the early dawn in secret. According to the book version of Oberyn, his horse is a Sand Steed, "a stallion black as sin with a mane and tail the colour of fire" when arriving in King's Landing.

Dialogue:

🗨 See Oberyn's full dialogue from the show, including deleted scenes.

Further Character Links (if any):

Oberyn Martell A Fire & Ice Wiki, Oberyn Martell A Wiki Of Westeros, Behind The Scenes The Viper & The Mountain

FULL MASTERLIST OF PEDRO'S CHARACTERS ANALYSED

#oberyn martell #pedro pascal #pedro pascal characters #oberyn martell game of thrones #game of thrones #the red viper #pedro pascal character database #oberyn martell character analysis #pedro pascal character analysis

94 notes · View notes

hesalleyes · 1 year

Text

If you're a bit confused about Rusty Quill or what's been happening, hopefully this will be a handy guide.

Hello everyone, especially all newbies to the Rusty Quill family! I thought I'd talk a little bit about the company. There's a lot of information out there, some of which may be contradictory or difficult to find, and so I compiled it into what I think is a decent timeline. I've also included some of my thoughts on what Rusty Quill has been through, and where it's going.

(check the end for associated footnotes!)

A Brief And Mostly Objective Timeline For Rusty Quill Ltd.

Alexander J. Newall wanted to start a company for creatives. His father (presumably) laid down the starting capital and Rusty Quill was founded 29th June 2015. Alex owned 99% of the company, John Newall, 1%. (1)

Alex reached out to a bunch of his improv friends and asked if they would participate in an actual-play podcast. Alex hadn't seen a fully produced actual-play with sound effects and background music and he wanted to fill that niche in the market. James Ross, Bryn Monroe, and Lydia Nicholas all agreed. Tim Meredith was otherwise engaged, but said his brother Ben would be up for it. Rusty Quill Gaming (RQG) was born and started airing episodes in June 2015.

Meanwhile, besides running, editing, producing, directing, and mastering RQG, Alex also worked nights at an extremely boring data entry job James Ross set up for him. James also helped Jonny Sims get that same job (2). At the time, Jonny was playing gigs with his band The Mechanisms, but his passion was for writing. The Mechanisms were a folk band that reimagined classic stories/myths to music with hefty narrative pieces, which has obvious applicability to a podcast company. Because of this fortuitousness, sometime in 2013-14, Alex and Jonny met and found that they were both highly creative people who desperately wanted out of this job. Jonny invited Alex to a Mechanisms show at the Edinburgh Fringe.

Alex loved The Mechs show. He was convinced he must work with Jonny on something. Jonny had a few ideas and pitched what would become The Magnus Archives, though it was first more of a Twilight Zone anthology, which is why the "narrator" had Jonny's name. Alex wanted to add more of a narrative framework and they shaped it together, all five seasons, so that it was cohesive the whole way through. Some things did, organically, pop up later. For instance, Martin started mainly as a foil to Jon, and only became the love interest after a bit of writing.

Around 2018, Patreon funding eventually allowed RQ to build a studio in Rusty Towers that enabled them to record their high-quality audio (3). Before that, they were - at various times - recording in a ‘yurt’ made of blankets and duvets for most of season one (usually at James Ross’ house or Martyn’s hallway, since Alex was - at that point - intermittently homeless due to asbestos problems).(4)

In 2016, RQ set up the Rusty Quill Forums, an official RQ fan-space where fans could interact with each other and RQ members. (5) This early arena for interaction would precipitate the more immediate (and much larger) Discord, Rusty Quill Official. Anil Godigamuwe, Community Manager, was the main force behind running and moderating the forums.

2016 was also the year that Mike Lebeau decided to gather a few people to play games and raise money for charity in what would become the predecessor to Rusty Quill Giving and Gaming. This event involved only Mike, Bryn, Ben, Anil, and Martyn Pratt (Chief Technology Officer). It only lasted twelve hours and they raised £700. (6)

Late 2017, Rusty Quill, in association with Historic Royal Palaces, released Outliers, a historical fiction podcast. Probably the least known of RQ’s podcasts, but very good and well-done. (Yes, this is a plug for Outliers. Go listen! It's great!)

In 2018, the Rusty Quill Official Discord server (RQO) went live and most of the fans from the forums moved there. (7)

February 15, 2019, Stellar Firma, the improv comedy sci-fi show starring Tim and Ben Meredith, began airing.

Mike wanted to explore more of the video side of creating. On January 25, 2020, RQ Streams launched, and soon there was a decent amount of content generated on RQ’s Twitch channel. Video content would gain traction in the form of New Player Challenge (NPC). Many RQ members would stream, including Anil, Autumn, several editors, and Helen Gould (member of Rusty Quill Gaming and later promoted to Head of Inclusion). The streams would get big enough that RQ would eventually hire a few mods specifically for the streams (30). RQ Streams wasn't fiscally sound as a primary source of income, but streaming helped encourage community engagement.

In February 2020, Alex gave an interview to Haggis and Dragons at PodUK. The host asked why, despite their success, Rusty Quill hadn't been present at many events such as PodUK before. Alex responded that the company was dedicated to making sure they took care of their people first, but now that all the finicky backend admin stuff was finished, they could do fun things like conventions. (8)

A month later, COVID-19 shut down the world.

At this point, TMA had been running for four years, and - while relatively successful and critically admired- was still a smallish podcast, especially when measured against engagement levels of other fiction podcasts at the time. Whether COVID, the whim of Tumblr, or a spark that refused dim, the fuse on TMA had been lit. It would jump sharply with the season four finale in Halloween 2019, but when season five premiered on April 2, 2020, TMA was at its second highest peak in popularity , its highest only a month away. It would maintain a high level of engagement until the series finale in March 2021. (9) Whatever the reason, TMA had exploded, and no one could've predicted it.

In July 2020, Hannah Brankin, Chief Operations Officer and spouse of Alex Newall, became a director in the Rusty Quill company. (10)

In August 2020, Autumn Jarvis (longtime fan of RQ) with a history of convention organization came on as Community Assistant. (11) This role promoted her to Head Moderator of the Discord (RQO), coordinating communication between the Discord mods and RQ admin. RQ hired her to help Anil, as at this point, RQO had nearly 8000 members.

The official Rusty Quill Discord server (RQO) went from a reasonable 1000 participants to nearly 14,000 before its shutdown in September 2021. In August 2020 (a few days after Autumn took over), a group raided RQO, proclaiming issues of racism, ableism, and other accusations directed at Rusty Quill, but also at the volunteer mods. It was the only major attack, but from time to time small incursions would occur thereafter. RQO’s many mods (at least 11, at one point) were unpaid. Whether or not that was a good business decision is debatable, but mods were responsible for monitoring content that was Patreon-exclusive, so one might think a Patreon subscription should’ve been included.

April 2, 2021, Patreon-exclusive Inexplicables began airing. The show was initially met with a lot of positive feedback and excitement. The RQO channels were full of theorizing and chat, which Alex could be seen reading. While Inexplicables seemed ripe for a sequel, there have been no indications of future content.

In May of 2021, Rusty Quill launched the Rusty Quill Network. Many felt the network wasn’t explained sufficiently, but subsequent clarification from Autumn verified that RQ was not doing any of the following for the new shows that would be included under the network’s umbrella: producing, funding, editing, or creating. Apparently, the RQN was designed to act as a distribution and collective bargaining service. Unfortunately, this aspect was never made explicit to the fans by official RQ channels.

In September of 2021, Autumn was terminated. While Autumn has stated the reason she was terminated, it was on a private server and because RQ has made no official statement regarding the termination, I won’t share that information. RQ did ask if she would like to appeal the decision, but Autumn declined. Later, the mods organized a walkout in protest and quit. Only the mod known as Crunchy remained, and was the last one to close out the server. Later, he would admit that the mods actively decided not to include him in this decision. (12) While there were RQ Streams mods, they, unfortunately, didn’t have as much power as the Discord mods and were unable to assist much (30). RQ released a statement on September 15, 2021 regarding the closing of the Discord and the mod walk-out, and RQO has been dark ever since. (13)

RQ Streams, it’s worth mentioning at this point, had some mods specifically for streams, but also relied on the Discord mods to moderate the chat during streams (30). Ultimately, when the mods walked out, RQ Streams was also forced to stop.

Since the mod walkout, any events run and sponsored by RQ have been modded by volunteers, and usually small enough that it hasn’t become an issue (RQGG21 being modded by some Discord mods, with other Gather events modded mostly by RQ employees) (30).

April 26, 2022, Chapter and Multiverse, the analogous successor to Rusty Quill Gaming run by Maddy Searle, the former lead editor of Stellar Firma, began airing. It would conclude its first season in August. While RQ has indicated that C&M will continue, it has been postponed until 2023. However, Maddy Searle posted a tweet (since deleted) indicating she is no longer employed at Rusty Quill. After claims that Maddy was reprimanded and forced to take down the tweet, RQ would later clarify that they have a 48 hour confidentiality policy regarding things like that, and that's why they requested the removal of the tweet for that time. Maddy hasn't reposted the tweet, or commented publicly on her reasons for doing so.

On June 10, 2022, Mike announced he was leaving Rusty Quill. (14) Although others had also streamed on RQ’s Twitch in the past, he was the primary force driving its relevance and the channel has remained mostly unused since the aforementioned Discord mod walkout, most likely citing lack of moderation as a main concern.

August 2, 2022, the original RQ production Trice Forgotten premiered. Trice Forgotten continues to update.

As per the September 21, 2022 Patreon email, Cry Havoc! and Neon Inkwell, the other RQ original productions, have been postponed to 2023. (29)

With their three original podcasts completed and many future projects postponed, Rusty Quill had reached a quiescent stage. Patreon emails were sparse and while RQ maintained a loyal base, activity around the company had slowed.

Then -

October 10th, 2022 a string of strange letters appeared in a Patreon email. (15) Fandom quickly deduced that it wasn't a mistake, but rather a cipher. A Discord server dedicated to cracking the code sprang up almost immediately and fandom deciphered the cryptic letters in a few hours. This began a mini-ARG leading to the announcement of a Magnus Archives "side-quel": The Magnus Protocol. On a subsequent livestream, Alex confirmed the sequel and announced that the project would be fully funded by a Kickstarter. No money would be taken from Patreon, current or proposed shows, income generated through ads, agreements, merch, RQN residuals, etc. (16)

The Magnus Protocol Kickstarter launched November 22. It was fully funded in less than one minute, and as-of publishing this post is currently at £ 624,268, 4162% of their original goal. Release for the project is expected in October 2023 and is said to follow two British civil servants, Alice and Sam, as they deal with the legacy of the burned-down Magnus Institute of Manchester. Curious, as the Magnus Institute from the original series was very much based in London. (17)

On December 12, 2022, Newt Schottelkotte - marketing director for the Fable and Folly podcast network - released an opinion article on Medium detailing several allegations against Rusty Quill. (18) Schottelkotte submitted the article to several publications that declined to publish it. They decided to self-publish on Medium, which allows for independent publication. In good faith, I won’t presume this was a targeted attack by another network, but rather the opinion of a contingent of industry professionals who tried to represent those allegedly wronged by Rusty Quill as a production company (perhaps taking advantage of the timing of the new Kickstarter to gain traction for their post - but that one can only leave to speculation). The testimonies were anonymous.

December 13, 2022, after a resulting influx of polarizing social media posts, RQ released an official response to the Medium article, refuting most points raised. (19)

Now, before I get into less fact-based territory, and knowing RQ intends to announce a more recent Operations Update in the new year, I feel it's relevant going forward to mention that for all the talk surrounding both sides of the story, the composition of Rusty Quill is not as large as some might think, considering the assumptions of some of the claims. In 2021 the company conducted a voluntary internal census on company makeup and satisfaction. (20) At the time they had 28 employees. 23 responded, and here are a few interesting tidbits they had to say:

91% identify as Neurodivergent

30% identify as non-cisgender; 48% identify as female, 26% as male, and 26% as not exclusively one of those categories

30% are people of color

30% identify as bisexual, 9% pansexual, & 9% queer. 26% identify as heterosexual. These numbers may or may not include the 17% who identify as asexual.

This census doesn’t include individual contractors (which comprises most of their editors and voice actors). In the census, RQ recognized their huge deficit in hiring people of color. RQ maintains a flat pay structure across all departments (including leadership), which - thanks to Patreon funding - stands above the London cost of living rate. (21)

The Less Than Objective Part

Rusty Quill is a small company. The average number of employees for 2022 was 21. (22) This number doesn't reflect possible layoffs/terminations since then. Most of its voice actors and editors are contracted. This is intended partially to allow flexibility on both RQ and the contractors’ part as well as enable RQ to diversify their talent without the contractual obligation of employment (the UK doesn’t recognize ‘at-will’ employment; termination must be for a cause). Meaning that even if the company finds itself in the position of having to terminate employees, it maintains the possibility of working with those same people as contractors to help out RQ financially, but also to allow those employees to find more stable or long term jobs in the interim.

However, holding onto only an essential team of staff (as you find in any small company, but especially in an industry without historical regulation - often relying on a presumed integrity of nebulous industry standards, as opposed to codified protections) employees are often forced to wear many hats. Most often voluntarily, but often to their detriment. This manifested in such things as Autumn transcribing Stellar Firma, without any transcription experience, or the continual mishap of Alex or Hannah responding to delicate situations with off-the-cuff inexpertise (generally sweet and earnest, but not as diplomatic or clear as needed - something that larger companies potentially avoid with dedicated teams regarding media training), but is perhaps most apparent in the early stages of RQG and TMA where Alex, in addition to being a primary player/voice actor, did the majority of the editing and mastering until Lowri Ann Davies joined halfway through RQG. Based exclusively on the runtimes of RQG episodes/specials (not including how long it actually took to edit down recorded footage to what we hear), Alex edited a total of 217 hours of RQG, over 9 whole days, or nearly 83% of the content. (23) Early specials, behind the scenes specials, and Q&As often contain jokes about Alex needing to sleep. This sort of work-life balance should not be necessary for success, but many creatives know that it’s the unfortunate reality for many startups without the resources of a major media network backing them.

And, as evidenced here, despite its exposure and popularity Rusty Quill’s resources were limited from the start. Alex and Hannah, as directors and main shareholders in the company, are solely responsible for the company’s fiscal viability. As such, I think this has led to some decisions where one or both of them have taken over projects or refused to delegate when it would have better served that project or even themselves. But there’s also something to be said for a duty of care, and the difficulty of giving that up.

In such an environment, it’s not surprising that a large part of smaller podcasting companies’ revenue is generated through fan-funding. The grassroots organization of a devoted fanbase can help grow a company without access to other funds or a robust marketing budget. Steady patreon subscriptions can make up for periods of instability in advertising returns, but issues begin to arise when companies encounter something like RQ did: an explosion in popularity that lacked sustainability, and the contingencies and strategies to deal with that. However, it’s a double-edged sword. The importance of Patreon and fan goodwill can help create the mentality that RQ owes the fans something. Nothing in Patreon's TOS requires artists to offer rewards; the idea behind Patreon - at least to me - is that in exchange of supporting someone making art you enjoy, you occasionally get glimpses into the creative process behind that art. This idea has evolved over the years, but I think Patreon has become, to some people, more transactional: I pay you five dollars, you give me one piece of art. This more give-take mentality can lead to feelings of ownership; fans pay for RQ to exist, therefore they should have a say in how RQ conducts its business. Whether RQ views it that way or not.

RQ has begun to diversify their income, however, with the creation of the RQN, where they get fees from providing marketing and distribution services for other podcasts. Although RQ has experienced a drop in Patrons, it has returned to subscription levels similar to those before the meteoric rise of TMA and is hopefully navigating towards finding a balance between delivering what fans want without enabling an unhealthy relationship of catering to what’s profitable instead of what they want and are excited about making. (24)

Fandom and The Illusion of Closeness

There’s no denying that many creatives have an intimate relationship with their audience, especially smaller and/or newer ventures. RQ had, for a long time, quite a close relationship with its fans. It’s still visible in the old forums, where Alex, Mike, and Anil could be seen posting with regularity. There are many images from past RQGGs (even up to RQGG19) where RQ staff and fans casually mingled.

However, there is an issue with something like Discord where the immediacy of contact creates the illusion of intimacy. The ability to ping a creator facilitates the idea that the creator is therefore available and willing to be pinged. It’s not so much an issue when there are 1000 people on a server with only a hundred or so active, and only a fraction of them irregularly contacting creatives. When that number goes up, even proportionally, it results in a huge uptick in forced contact. It’s been theorized that both Jonny Sims and Ben Meredith stepped back from the Discord server because of crossed boundaries. Another staff member had a fan harass them to the point of needing to block said fan and the fan was eventually banned from RQO by the mods.

On the other hand, Community Manager Anil continued to always be available and Alex & Hannah would occasionally hop on and respond when they were active. This apparent ease of access can trick people into believing that they are close to the creators, and the illusion of this perceived relationship can be problematic for both parties.

In these circumstances it’s natural for creators to develop a persona to protect themselves. There’s nothing wrong with this and it is, in fact, a healthy and smart thing to do; the person fans interact with is not, exactly, who that person is. Not to say they’re fake or lying, but that creators deserve a degree of privacy that comes from concealing certain things about themselves that fans aren’t - and shouldn’t be - privy to. Fans’ insistence on access to creators and their secrets can be extremely difficult and exhausting, especially for creators who don’t have a publicity or security team. For instance, Jonny was forced to reveal his past with drug abuse when people incessantly questioned and berated him about his portrayal of drug abuse in "Strung Out," a season five episode of TMA (notably also when the fandom had exploded beyond the comfortable community of its earlier seasons). Fan entitlement to knowledge about creators and access to them can be particularly egregious in this sort of setting where the creators are trying to maintain the intimate community they used to enjoy, one that (at least in the initial stages) they relied on financially, while dealing with a huge influx of new fans. Even Critical Role, arguably the largest podcast in the actual-play genre, has suffered from a similar issue, though the actors in CR have much more experience than RQ.

Rusty Quill is a business and their dealings are of proprietary interest. Like any other entertainment company, they produce a product for consumption but the way they run internally isn’t something consumers are (or should be) privy to - barring gross mistreatment which, despite claims, hasn’t been proven. When Autumn was terminated, RQ didn’t release an official statement on what led to the termination. While many fans wanted to know, RQ has no obligation to reveal internal processes like hiring/firing, especially if details of such could affect an employee’s future employment. Identifying particular employees as responsible for certain policies or potentially upsetting updates could open that employee to threats or harassment (which RQ experienced before).

The Disproportionate Critique of Small Creators

It would be ridiculous to assert that Rusty Quill has never made a mistake - sometimes repeatedly - or a misstep. They’ve issued an apology multiple times for the lack of sensitivity in their content or a miscommunication on their end. Miscommunication was, in fact, a key factor in why the Discord mods left. RQ tried to preemptively combat these issues by hiring Helen Gould as a sensitivity director to ensure their content had been looked over for things that could be harmful. Given their company makeup and the composition of their talent - both writing and on-air - RQ has tried to diversify itself so that their content doesn’t come solely from the perspective of cishet white male. Stellar Firma would be the only show to suffer from this, however, it’s worth mentioning that on the production side Maddy Searle and Katie Seaton seem to have been brought on intentionally to avoid, or at least ameliorate this issue.

There is a pervasive issue with fandom as a whole to apply a more rigorous rubric against smaller and/or indie companies producing entertainment because they’re accessible. It’s easy to see why this phenomenon exists; when a person sees that they can speak to a creator directly, that the creator might respond specifically to those critiques. It can feel as if the consumer has more power in the relationship. Complaining about Disney cutting out a lesbian kiss in Star Wars, for example, will never reach Bob Iger, but if you want to talk to James D’Amato about a choice he made in the most recent Skyjacks episodes, he’s almost certainly going to respond. By feeling more intimately connected to creators, fans can feel empowered to be more aggressive in their criticisms.

A sustainable medium must exist between the two extremes of critique. A small indie company like Rusty Quill cannot be above criticism because of its size or its intention to do better - at some point, it must actually be doing better (which, I believe, it has and is consistently endeavoring to). Conversely, it can’t be upheld to a stricter standard than a larger company purely because its creators are accessible and will directly encounter the critique aimed at them. Rusty Quill has expanded their base of collaborators - which includes having an open pitch form to allow anyone to submit ideas - and made headway on wider and more accurate representation in their shows. There are certainly other shows and companies tackling and portraying difficult issues and diversity with a better outcome than Rusty Quill. That doesn't detract from the efforts RQ is making and shouldn't invite a disproportionate level of critique.

So What Now?

While it is fair to offer critique aimed at Rusty Quill and what it does, I think the benefits of this coming from a large audience diminish due to a few factors: quantity with no control for quality, purity culture, and entitlement. These things could comprise a much much longer essay, but I’ll be brief.

One of the huge benefits RQ got out of early Patreon release on the Discord was a limited quantity of feedback. Alex would show up to ask about the sound quality: if anything seemed off or if we had comments or noticed something. Anil would collect extra content warnings if needed, and some titles even changed when fans pointed out redundancies. Both Alex and (to a much stronger degree) Helen interacted with patrons about Inexplicables, including thoughts and theories. At one point, RQ created a gaming system called Ensemble and elicited feedback from people, encouraging them to play. These comments and critique are very helpful for RQ because of their pointedness. Contrast this to the response to the s5 TMA episode “Strung Out" - or the controversy surrounding a later episode’s perceived insensitivity to current events, necessitating a warning and apology before the usual opening theme (a perception generated before the public launch of the episode, stoked by assumptions and Twitter discourse).

Fandom as a whole has veered bizarrely into an obsession with purity - if something isn’t perfect, then it shouldn’t exist. RQ will not and cannot get everything right. It’s not a format made for easy editing and revision after the fact. It can be lauded for its achievements and persuaded to do better in a way that isn’t overly aggressive or hyperbolic. People tend to forgive mistakes if they like something and focus on them if they don’t, but it’s better to avoid assigning a moral value to something like representation - the effort and commitment is important. (For clarity - I believe it is moral and ethical to do everything you can to achieve accurate and diverse representation. The morality I reference here is more in regards to labeling something, irredeemably, as bad just because it doesn’t live up to your expectations).

Not to be repetitive, but fans in smaller fandoms often feel a sense of entitlement because of their ease of access to creators. If Alex is right there talking about the Trice Forgotten schedule, why shouldn’t he answer a prod about the continuation of Chapter & Multiverse??? The answer is that he’s updating you on Trice - not Chapter. Fans are not, and shouldn’t be, part of the internal machinations of a company, however close they feel, and why certain things happen or when isn’t always going to be obvious. RQ has varying degrees of success when it comes to updating their fans about timelines or happenings in the company, and while there is definitely room for improvement, overall, it shouldn’t be a requirement or expectation. That is to say - the relentless inundation of tangential comments or questions offers no benefit and can impose an increasing feeling of frustration: for the company, for the fan asking, and for the fans witnessing. Not even mentioning the personel issue. RQ has shown a willingness to acknowledge, apologize, and modify their content when there are complaints made against it. Because RQ has acted this way, it might invite the idea that they should have the same transparency and openness to comment about the way their business runs; of which they have no obligation to do so, and in many instances, definitely should not.

For instance, several people may have been let go from Rusty Quill recently, probably because of financial issues due to the downturn in the UK economy (see RQ’s statement for more specific reasoning). Although it is tempting to be angry or upset about it, businesses make decisions involving structure and the reorganization of employees in their company all the time. For a variety of reasons. Lay-offs or terminations may be needed in order to keep a company afloat. Often these legal reasons and internal processes cannot be disclosed, and barring that the individuals involved may not have consented to their information becoming public - despite audiences wanting to see corporate due diligence. The point is that while it might be comforting to know why things happened, ultimately it isn’t reasonable to expect a company to share those details or any others that have to do with its internal running or function.

Moving Forward

Rusty Quill is in a precarious position. The unexpected juggernaut of The Magnus Archives turned them from a small, emergent company to a well-known name in the podcast community. They were unprepared for it, very few people could be, and nearly three years later they’re still struggling to find a sustainable balance. RQ has had to adjust to the influx of fans, fan opinions, money, and the resulting issues of accountability. And now that TMA is over, they’ve had some time to try to adjust to not having that same monetary inflow. Whatever outward critique can be placed on them for how they’ve handled the transition, the formation of Rusty Quill Network seems to have leveled out their income in a way that will enable them to stay solvent, even if it means occasionally stopping to restructure and reorient. There is no provable model for success.

While some detractors may claim that the Magnus sequel Kickstarter is a huge windfall, it isn't necessarily so. Money made from a Kickstarter must go toward what is promised - hence the use of clearly stated stretch goals. It is against Kickstarter policy to give funds to charity, so the KS money will be used solely for projects relating to TMP. That money is spent and should be treated as thus and not a surge of new money into RQ’s coffers. It’s not a bail out. (25)

RQ has a brand that people trust and they should lean into that reputation, heavily promoting their new shows and focusing on getting those running. RQN seems instrumental in keeping the company afloat and therefore it’s understandable that so much time is spent introducing and promoting the shows taken under that umbrella (that’s part of the incentivizing service they offer RQN shows anyway), But RQ cannot expect the ad revenue from their new shows like they did with TMA and have to adjust accordingly. I hope RQ recognizes that they’re still mostly a small indie company with a surprise hit and allow themselves the restrictions - and responsibilities - of that.

As for fans, I think RQ should capitalize on the good favor they have and reengage the fandom in an appropriate manner. Livestreams are wonderful, but should automatically have slowmode to at least 30 seconds on any stream, 60 on a huge one (like the KS promotion livestream). It not only allows the on-air talent to catch some messages, but it allows the mods to filter easier. How they reestablish a team of mods is theirs to outline, but with better communication and potential benefits (i.e. a patreon subscription) it’s likely folks would be willing.

Secondly, I believe RQ should reinstate the forums. The benefit to something more static like forums (or reddit threads or whatever is similar) is the ease of moderation and the forced expansion of time. Without the instant chat function of Discord, it isn’t as overwhelming to participate in forums or threads. These should be official RQ forums and moderated (which won’t be as difficult as a Discord). As mentioned, compensation is a tricky subject because when you start paying ‘volunteers’ they can claim employment and it opens up RQ to a whole swath of responsibilities. A “Mod Team” shirt or pin, a patreon subscription, maybe some mod-creator meetups could be provided for services rendered.

RQ could possibly look into reopening the Discord, perhaps limiting it to patrons. While that would make it more manageable, it potentially leads to issues involving classism or elitism. It could also exacerbate the earlier issue of fan entitlement. If RQ decides to reopen the Discord, they should do so with a lot of consideration.

I'm a huge fan of Rusty Quill. There are plenty of times I’ve been frustrated or disappointed with them, but at its heart, it tries to accomplish what I think to be a noble and admirable goal. Rusty Quill seeks to create good art with an emphasis on highlighting diverse voices that might not otherwise get a chance to perform. And, from what I’ve seen despite some ups and downs, tries to do their best to create sustainable income for those they bring along as collaborators. The love the team has for storycrafting is obvious and that - along with their community - is where they should focus.

EDIT:

I started this post about three weeks ago, so the Medium article was a big surprise. I won’t dissect the article because that’s not my goal, but I do have a few thoughts.

So, let's address the article on Medium.

Here is the article so you can read it for yourself. https://medium.com/@newtschott/whos-afraid-of-alex-j-newall-ae3a67f3a5e1

Here is Rusty Quill's response: https://rustyquill.com/2022/12/13/public-response-to-an-opinion-piece/

This tumblr post speaks about an inaccurate quote that the article mentions, and I think is relevant: https://www.tumblr.com/dadhuddle/703488191401984000/journalistic-integrity-re-newt-schottelkottes-rq?source=share.

Here is a link to a tumblr post from Harlan Guthrie, creator of the Malevolent podcast, which is part of the RQN. I felt it important to get a point of view of someone involved in the network. https://www.tumblr.com/malevolentcast/703493906802868224/you-probably-already-know-about-this-but-an?source=share

The issues the article raises are very important. If these allegations are true, they need to be addressed. Newt being the marketing director of a rival podcast company and failing to disclose this for several hours casts the entire article in doubt because the conflict of interest is something ethical journalists would've avoided. (26) Newt also favorably compared RQ's practices to Fable and Folly. (27) Newt and the other two editors of the piece also provided their contact information to provide help with "research, job searches, and more" to former/current employees of RQ. (28) Neither of these things are inherently wrong, but Newt's connection to F&F casts them in a different light. This could possibly be construed as encouragement for current RQ employees or network shows to leave RQ for F&F. It's unfortunate, because this conversation needed to happen, especially if the purported issues are factual. Now there is a haze over the veracity of this article because of this lack of disclosure and the conflicts of interest from the author.

There has been some talk stating that podcast networks are not rivals. They can be friendly, they can share actors, they can share spaces. They almost certainly don't share profits. Every show added to a network brings in income for that network. If one of these networks dissolves, then the shows under its umbrella can move to one of the other networks, raising its profits. It's difficult to deny that one podcast network would benefit from the dissolution of another. I would identify that as rivals, even if they're friendly.

I don't believe that Fable and Folly had anything to do with this article. I don't even think Newt intended for them to be involved at all or for people to make that connection. It's the appearance of bias that muddies the waters. Most journalistic codes of ethics tell journalists to avoid conflicts of interest, real or perceived. If it seems a journalist has a stake in the outcome of a story, it compromises the neutrality and the authenticity of the piece.

And unfortunately, despite Newt's claims of a background in journalism (unverifiable at the time of posting this blog outside of editorial publications), the necessary practices to lend credence towards these allegations weren't followed.

This post represents my own opinions, based in my involvement in the community. I've tried to provide sources whenever I could, though much of it was lost when the RQ Discord shut down, or mired in the sheer breadth of content. If there's a blatant untruth, please let me know with supporting evidence so I can correct it.

Footnotes:

1. Establishment of the company and ownership as per the foundation documents.

2. Alex & Jonny working the same job James Ross gave them (160 Q&A)

3. Patreon funding builds new studio via Studio tour video: (the video is patron-only, so here is a screencap of Alex stating that Patreon funded the studio)

4. Alex was homeless for a while, retrospective 189.5 (amongst others)

5. Rusty Quill Forums https://rustyquill.proboards.com/board/1/general-board

6. RQ Forums post celebrating the first RQGG

7. Rusty Quill Official Discord goes live, via RQ Forums.

8. Haggis and Dragons interview https://www.youtube.com/watch?v=HkYsA50Ts9M&list=FLaf41raWk5sb2VhQcEcPpsg&index=27

(Alex talking about the company stepping back from the public 12:30)

9. Popularity of the term “the magnus archives” from Google Analytics

10. Hannah becomes director, via RQ filing documentation

11. Autumn becomes Community Assistant, via Patreon email

12. Rusty Quill’s official statement about mods walkout.

Announcement - plain text 15-09-21.pdf

13. Crunchy's tweet

14. Mike LeBeau leaves RQ, via his twitter

15. The first Magnus sequel ARG prompt, via Patreon email

16. Oct 24 Pre-Kickstarter Announcement Livestream https://www.youtube.com/watch?v=bLOj5JKq-QU&t

17. The Magnus Protocol Kickstarter launch livestream https://www.youtube.com/watch?v=-Xk1hgVY2cc&t

18 Newt Schottelkotte's Medium piece: https://medium.com/@newtschott/whos-afraid-of-alex-j-newall-ae3a67f3a5e1

19 Rusty Quill's response to the Schottelkotte piece: https://rustyquill.com/2022/12/13/public-response-to-an-opinion-piece/

20. Rusty Quill internal census

21 The end of the RQ census summary:

22. Average number of employees at RQ in 2022, via RQ filing documentation

23. RQG editing stats, courtesy of the LOLOMG: A performance review by Oscar Wilde team (the team theorizes that Alex was still mastering during that early gap, but forgot to credit himself) [additional note: LOLOMG was a fan project to celebrate the end of Rusty Quill Gaming] note added 10am - incorrectly attributed, my deepest apologies to Straw and their team

24. Patreon retention stats, via Graphetron

25. Kickstarter use policy

26 The lack of disclosure on the initial posting of the Schottelkotte article.

27 Comparison of Fable and Folly's practices to Rusty Quill's.

28 Contact information for the writer and two editors given to current and ex Rusty Quill employees and network shows.

29 Patreon announcement of Cry Havoc! and Neon Inkwell postponement (I knew I had this lying around somewhere!)

30 Some additional information from Crunchy (thanks Crunchy!). sorry for the awful paint edit job (added 16/12/22 7pm)

#rusty quill #rusty quill drama #the magnus archives #rusty quill network #the magnus protocol #that's like just your opinion man

882 notes · View notes

visualtaehyun · 5 months

Text

Sooo I kinda went back through all six episodes to examine the progression of how Day and Mork speak with each other. For ease of understanding, I'm color-coding words referring to Day and Mork like this again.

Disclaimer: not a native speaker, still learning 🙏

Episodes 1-4

Both use ผม/คุณ /pom, khun/ - ผม = polite, formal, respectful male 1st person pronoun - คุณ = polite, formal 2nd person pronoun -> other than pronoun choices, they speak pretty casually with each other:

Neither of them uses polite ending particles but Mork sometimes uses polite male ending particle ครับ /khrap/ (and then Day uses it back sometimes) - in the beginning seriously, for example when knocking on Day's door/bringing him meals, later on playfully and affectionately -> it becomes more frequent the closer they get and thus the more he teases Day

- ชัดครับ เจ้านาย /chat khrap, jao naai/ - ไม่คิดว่าคุณเดย์ของเราจะดังขนาดนี้นะครับเนี่ย /mai khit waa khun Day kaawng rao ja dang kha naat nee na khrap niia/

Speaking of particles- จ้า /jaa/ (also จ๊ะ, จ๋า etc.) is a particle used with juniors/children/people of lower status (you can hear Day's mom use it like this, for example, in ep. 6 when she greets Mork back) and commonly between family members or among intimates as it, you guessed it, conveys intimacy:

- จ้า พ่อสุดหล่อ /jaa, por sut laaw/ - [...] ขอบคุณครับ /khaawp khun khrap/ -> พ่อสุดหล่อ /por sut laaw/ contains the same พ่อ /por/ that means father, it's not just used in that context though - it can be used like a prefix to turn a noun into its male form, like พ่อสื่อ /por seuu/ = '(male) matchmaker' aka the word that Mork uses in ep. 6 to break all our hearts, and also to affectionately call a younger male

Both use impolite ending particles วะ /wa/ and นะเว่ย /na woei/ during their first argument (also a lot of แม่ง /maaeng/, a curse word, from Day that isn't in the subs at all lol) and, outside of this fighting context, they use these same particles casually here and there (same as Day does with his friends for example):

- นี่มันชีวิตคุณนะเว้ย /nee man chee wit khun na woei/ - คุณคิดว่าผมเหมือนคุณหรอวะ /khun khit waa pom muean khun raaw wa/

During this same argument, because of Mork's trauma response, he abruptly changes from คุณ /khun/ to just เดย์ /Day/ as he's pounding on his door (the same thing also happens when Day gets lost at Chatuchak Market btw) -> Shoutout and thank you to @btwinlines for opening my eyes to this 🙏 ...and inadvertently prompting me to write this post about the entire evolution of their language use lmao

The Phi-Nong along the way to the actual Phi-Nong

ผมโตกว่าคุณละกัน ไอ้น้องเดย์ /pom dtoh gwaa khun la gan, ai nong Day/

- นอ้งครับ ไม่ไหวอย่าฝืน /nong khrap, mai waai yaa fuuen/ - พี่ครับ ไม่ถาม อย่ายุ่ง /phi khrap, mai thaam, yaa yoong/

ใจเย็น ไอ้หนุ่ม รอบต่อไปพี่ค่อยเอาจริง /jai yen, ai noom. raawp dtaaw bpai phi khaawy ao jing/

ผมว่าเสียงพี่เขาอ่ะ เหมือนกลิ่นบุหรี่ /pom waa siiang phi khao a muean glin boo ree/

- [...] พี่หมอกของมึง /phi Mork khaawng mueng/ = your Phi Mork/ that Phi Mork of yours - พี่หมอกอะไรของกูล่ะ /phi Mork a rai khaawng guu la/ = What 'Phi Mork' of mine? - ก็คนดูแลของมึงไง /gaaw khohn duu lae khaawng mueng ngai/ = Well, [he's] your caretaker! - ไม่ใช่ของมึงแล้วจะของใคร /mai chai khaawng mueng laaeo ja khaawng khrai/ = If not yours then whose [is he]? -> in the following little exchange with that fan of Day's, Mork calls himself พี่ /phi/ and Day by name

Episodes 5-6

Day->Mork: ผม /pom/ -> พี่ /phi/, พี่หมอก /phi Mork/ Mork->Day: พี่ /phi/ -> เดย์ /Day/, น้องเดย์ /nong Day/, เรา /rao/, น้อง /nong/ etc.

Their particle use has largely remained the same but they are getting sweeter, as I said before, by using ครับ /khrap/ more frequently and not just in a teasing? playful? sarcastic? manner but also genuinely sweetly:

ฐานะอะไรดีล่ะครับ น้องเดย์ /thaa na a rai dee la khrap, nong Day/

How to even explain how sweet this sounds because Mork uses ครับ /khrap/ and calls him น้องเดย์ /nong Day/ specifically, nevermind the loaded word ฐานะ /thaa na/ = status

When I catch you, P'Aof!! Having Mork say something so romantically charged and then following it up with the getting-ready scene 🤌

There's more use of ครับ /khrap/ in this scene before this exact exchange here but this is the standout:

เดย์ก็เป็นคนหล่อเหมือนกันนะเนี่ย รู้ตัวปะครับ /Day gaaw bpen khohn laaw meuuan gan na niia. ruu dtuua bpa khrap/

เวลาพี่พูดเพราะ ๆ เนี่ย พี่ก็หล่อขึ้นเยอะเลยนะครับ พี่รู้ตัวปะครับ /weh laa phi phuut praw praw niia, phi gaaw laaw khuen yuh loei na khrap. phi ruu dtuua bpa khrap?/ -> เพราะ /phraw/ describes a voice as pleasant, sweet, melodious. When Porjai asked what her voice sounds like, the first thing Day said was เสียงเพราะ /siiang praw/ = nice/pleasant voice. So this is basically "when you speak sweetly", it's about the tone of his voice as well as choosing to use polite ending particle ครับ /khrap/ to sound more gentle - so much for zero tenderness 😌

#last twilight #morkday #thai bl #local woman harps on about linguistics #finished typing in the middle of the night but queuing this for later in the day bc of the 2 (two!!) other posts from tonight #brain please shush now about their language use 🥴🙏 สาธุ

117 notes · View notes

mattmurdeaux · 2 years

Text

Disney+, Marvel Studios, Kevin Feige, New Writers— A list of bare minimums that should be in the new Daredevil show:

1. Proper representation of Matt's disability

Hammer home the idea that Matt IS blind. Don't leave any room for ambiguity regarding his blindness. Show him using visual impairment assistive technology. And good detailed touches like the Braille labels on clothes like seen on the Netflix show.

2. Maintain the good fight choreography

I'd say adopt the iconic hallway fight sequence tradition from the Netflix show but idk if you all can actually pull it off (lol). But at least put as much effort like the Netflix crew did on the action scenes. And bring back Charlie's trusty stunt double, Chris Brewster.

3. Do not be skimpy on portraying Matt's Catholicism and religiosity

One of the best parts of the Netflix show was Matt and Father Lantom (RIP 😢)'s introspective talks about God and faith. We better still see Matt on confessional booths every other episode and not just have his religion mentioned or alluded to in passing.

4. Don't butcher Matt's character and personality

These new writers better maintain the complexity of Matt's psyche. And do justice to both his lawyer and vigilante side. Definitely not hold back on his patent good guy assholeness, and most importantly to not forget his whoreness. This man better be written as a slut or else!

5. ALWAYS BE HORNY

Probably the most important part to y'all horny AF people on here including me. But yeah, these new writers/directors better be as down bad as the ones over on Netflix that managed to write in as much shirtless scenes as they can that at one point Charlie had to strike down some of them lol 💀

Y'all will actually have a point over the Netflix show if you let Charlie keep his chest hair, but I think that's expecting too much 🤷

#daredevil #matt murdock #charlie cox #now i just somehow need to transmit these ideas to the minds of the people in charge of the new dd show 🤔

2K notes · View notes

lilyginnyblackv2 · 1 year

Text

A nice write up on Buddy Daddies:

Ohh, I love this!

I just came across a Japanese article written by a father talking about how he wants all fathers in Japan to watch Buddy Daddies. The title of the article is: Buddy Daddies is a Textbook on Parenting that Fathers Nationwide Should Watch.

I’ll link to the article below, but the general gist is:

1. A summary of the basic premise of the series.

2. A breakdown of some of the episodes and how they did a great job of capturing parenting.

The article mentions how Episode 1 has Kazuki and Rei’s job being interrupted by a call from the daycare because Miri was sick. The article writer states how they cannot relate to the job the two of them have, obviously, but can relate to the times he has had to leave work to pick up their child from daycare and the like due to sickness, etc. when his wife was not able to due to work as well, etc.

The next episode they talk about is Episode 4 and how realistic that episode was with all of the paper and things that need to be prepped and prepared, the overwhelming feel of it, and Kazuki buying so much because it was so cheap. But, then he also adds a lifehack, mentioning things like “name stickers” and “name stamps” to make the “write your child’s name on everything” situation easier, and that buying clothes for kids can sometimes feel so pointless because they grow out of them so quickly at that age.

The last episode they talked about was Episode 7, the most recent one. Stating that “Rei Papa was playing with Miri, but there was unbalanced burden being placed on Kazuki Papa.” And that this is something that they have to be careful of as well, since a household is more than just the child, but also the wife (in their case, here it is the other partner - Kazuki). The strive is to do what you can to make home an enjoyable place for everyone, in this case, by pulling your weight.

They go over how the show is very grounded in these aspects that it makes acceptable some of the more outlandish aspects of the series easier to do. Then they wrap the article up by stating that all fathers should give the show a watch.

-----

I’m really happy to see Buddy Daddies bringing up discussions and articles like this one. As I’ve noted before, there is still a huge gap between men and women in Japan when it comes to childcare, so seeing a father encouraging other fathers to watch this show because of how it highlights important aspects of childcare specifically and also how the show makes us, the watchers, “cherish parenting, the home, and family” is so wonderful!

#Buddy Daddies #BD #Kazuki Kurusu #Rei Suwa #Miri Unasaka #parenting in Japan #parenting

632 notes · View notes

yfere · 1 year

Text

There were a LOT of very real, very excellent writing choices this episode, but at least one that I haven't heard spoken of yet is the way Kyu spoke to Rei and Kazuki, and the heel turn he made. Not only did he give Miri's mother all the ammunition she needed to take Miri, but he is unbelievably harsh in his language towards them, not only bringing up how they killed Miri's father and suggesting that Miri would hate them for it, but calling their current life "lies," a "dream," and playing pretend.

Which is a fascinating about face from him, considering how genuinely supportive he has been of their family (Covering for their mistakes on the job! Babysitting! Saying he understands why they did it! Commenting in a pleased way on the ways they have changed as people! His heartfelt conversation with them about how they will have to expect resistance for what they are doing! Delaying Ogino for 4 months!)

I find the contrast interesting for several reasons. 1) That Kyu's opinion and words are actually very influential on these two - Kazuki borrows his "dream" language later on in the episode, and I think they both started thinking more about change because of Kyu's previous conversations with them. But also - I wonder if either Rei or Kazuki have enough insight to understand how Kyu is being hard, not because those are his true feelings consistent with his actions, but because he wants to pressure them into giving up Miri in an effort to protect all of them?

#buddy daddies #I really enjoy characters like kyu #who are explicitly manipulative by nature #but who obviously also have a heart #and try to do the best they can

316 notes · View notes

thyandrawrites · 8 months

Text

Some language and translation trivia from episode nagi

So, I recently reread episode nagi 1-3 in japanese, and since I enjoy translation trivia a lot, I thought I would compile all my observations in a post. Please don’t take this too seriously! While I do have a language degree, I’m not a professional translator. In no way this is meant as a dig towards the professionals working on the official release! These are just some fun facts I thought I’d share.

without further ado, let’s delve into it!

On top of his already limited (kinda childish) vocabulary, Nagi’s speech bubbles often forgo complex kanji and favor writing the words out in hiragana. He sometimes does the same with (foreign) words that should be written out in katakana (example: Barou’s beloved “king”). We know this is a quirk of Nagi’s because he sometimes uses kanji for the same words. The most notable example is his favorite one, mendoukusai, “hassle”—mostly written in hiragana, sometimes shortened, sometimes elongated for dramatic, whiny emphasis, and rarely written out in kanji.

Since kanji are taught by grade in japanese schools, the foregoing them in a certain character’s lines can hint that the guy doesn’t have a higher education. However, in Nagi’s case, I think it’s meant to make him come across as unsophisticated or a bit childish. Or maybe just lazy. I think the former, though, considering how all his compliments always circle back to the same, like, 4 juvenile variations of "amazing".

(more under a cut for length):

Still on the topic of speech patterns, Nagi talks in plain form. For those who don't know what that means, it's an informal register, very common between teens. Nagi seems to use it with his elders, too, though, and that's a bit less common. You're supposed to talk in polite form to strangers and to your elders. Then again, pretty much everyone in blue lock talks that way. There's not a lot of respect for your elders in this series. Or for your peers, lol

As for Reo, he talks in male speech! Still very much informal and common, particularly between rowdy teens, but if plain form can still be acceptable in a lot of social situations, male speech is distinctly cocky, self-confident and impolite, so not what you'd expect from the distinguished heir of a billionaire who prides himself as a businessman in the making, ahah. He talks that way to Ego as well, btw.

Both of them tend not to use honorifics. Reo more so. In all three volumes, Reo used them once, to calm Nagi down while he was angry at Barou. Nagi mostly goes without too, but he sometimes uses them, when the situation calls for it, or a bit ironically. If you're curious, here's what I noticed: he uses "san" for Baa-ya when talking to her (when he leaves Choki in her care), but not when he's talking to Reo about her. He calls Zantetsu "dentist-san" when the latter drops his backstory, and "Zantetsu-kun" when the guy scores after listening to Reo's advice. And when all three finally link up, Nagi tacks on a "sama" to Reo's name while calling him a king (in the chess sense. Fun fact, it might or might not have been a pun, since Reo's name contains the kanji for king btw). That's pretty much it for epinagi so far. He just uses surnames without honorifics (or nicknames) for everyone else normally. Same for Reo.

When talking to Nagi, Reo refers to his mother as 母親 (hahaoya, "mom") and to his father as 親父 (oyaji, "old man, pops") and クソ親父 (kuso oyaji, "shitty old man") respectively. Idk if that changes when he's talking to them tho, as he hasn't yet in epinagi. But so far his contempt seems to be only directed at his father.

Upon seeing Kira, Reo describes him as "Japan's gem", but the word he uses for "gem" is 宝 (takara), treasure, pretty much the same he uses for Nagi (= 宝物 takaramono, or treasured thing, prized possession). Hence Nagi looking up, unimpressed:

To check out what the fuss was about. His face dhsvbdhdhdhsbs When Nagi thinks Reo's talking about Isagi, then, Reo corrects him by pointing his face toward Kira and saying not the dark-haired one, but that "really good looking guy". He calls him an ikemen btw, lmao.

I'm not sure if this was in the eng version too, but Reo calls Nagi and Zantetsu's team up the "neet combo". It's pretty self-explanatory how this relates to Nagi, but I wonder what about Zantetsu screamed "neet" to him.

When Zantetsu adamantly refuses to take Reo's advice, Reo gets super mad and calls him "obaka-sama", which. I can't with his pettiness ahah. Okay, let me explain. He's tacking on an honorific prefix ("o") and the highest honorific suffix ("sama") to an insult. 😂😂 Normally, you use honorifics to pay respect to and elevate the status of whatever or whoever you're tacking them on to. In this case, Reo's using them sarcastically, but he goes extra out of the way to be scathing. Zantetsu hates being called an idiot, but Reo feels he's acting unreasonable with his holier-than-thou attitude, so he upgrades his regular insult to mock that, basically. He's more or less saying, "oh great, revered moron".

Not a linguistic trivia, but. Nagi has a weekly planner for his bread eating habits. The day Reo joins his class to spy on him was a tuesday, cause tuesdays are melon bread days.

When he's making a confident remark, Reo occasionally speaks with a sing-song in his voice.

During the match against team X, Barou mocks Reo and Nagi's coordination and mutual dependence with a jab. He calls them a couple who wear matching outfits. Still laughing about this one tbh

now onto my favorite one

Ever wondered why Nagi’s response here doesn’t come across as reassuring to Reo? Well, I think I have finally figured it out!

While the translation above is 100% correct, I feel like the miscommunication lies in a matter of contextual ambiguity. When Reo says, quote, “You were supposed to team up with me,” in japanese it’s more like, “But teaming up with me is a must!” To which Nagi replies, “You and I are going to be the best in the world. That’s a must.”

The theme (=what is being talked about) of Reo’s sentence is the “must” (zettai) part. Meaning, something that is absolute, unconditional. Reo is making a conjecture, the assumption that they’ll work with each other as they promised, but he’s also implicitly expecting Nagi to agree. He’s saying our combo is the unchangeable condition here. You know this.

Nagi responds with something he means as reassuring, as a confirmation that he has their promise in mind. But since he echoes Reo’s word choice (zettai), and applies it to something else, it comes across wrong, more like he’s correcting Reo on what the “must” actually is. Not teaming up with each other until the end like Reo posits, but the simple agreement that they’ll be world class one day. With or without each other.

This miscommunication is made worse by the fact that Reo’s declared ego is making Nagi the best striker in the world. So when Nagi follows this with a remark about how their team up wasn’t the strongest, Reo of course takes the “correction” to mean “someone else can better help me become the best instead of you. bye. nice hanging out with you till now. see you at the world cup, xoxo”

Simply put, Nagi thought he was explaining himself, but what he got across was that he was rejecting Reo’s ego altogether and moving on. That’s why the art then shows Reo’s ego chains falling apart.

When Bachira asks Nagi if he’s secretly the “super cold type” right after leaving for the 3v3, in japanese it’s a neat, direct callback to the scene in chapter 2 where Nagi tells Reo he's okay with him teaming up with someone stronger than himself, and Reo calls that “heartless.” Both times the word used is the same, 薄情 (hakujou), cold-hearted, heartless, though iirc it was translated differently in english

They both say they feel lonely after their split up. Nagi in response to Bachira’s line as per the previous point (here’s a post I made about it a while back). And Reo when he thinks about Nagi’s change in chapter 13 and says he feels lonely, scared and weak. I will go down with the idea that they’re each other’s first friend.

Ending this on a less sad note, when Rin calls Bachira “bowlcut”, the original phrasing reads okappa, from the mythical creature’s hairstyle. Now please google what an okappa looks like, lmao

More epinagi language and translation trivia you might enjoy:

notes on Nagi’s line “I’m gonna say something selfish”

notes (and misconceptions) about Nagi and Reo calling each other “partner”

#Blue lock #Nagi seishirou #Mikage reo #Seishiro nagi #Reo mikage #Episode nagi #Epinagi #Bllk thoughts #I hope this is as fun to read as it was for me to compile!

112 notes · View notes