ever think about the great sect madams of the generation before?
about madam yu, the violet spider, one of few in her generation to earn a title (even her husband was only ever sect leader. even wen ruohan was never regarded by a title other than sect leader wen). about yu ziyuan, about what she was like before years of jealousy and envy twisted her to only her most bitter parts? about the girl who was the third daughter of a sect leader, and then the wife of another, and yet all of her immense martial power meant nothing to the society around her.
about madam jin, known only by her title and never given a name or a natal sect, who was still somehow the closest friend to yu ziyuan. the mother of the sect heir and yet a wife who can do nothing but stand by as her husband dishonors their marriage over and over again.
about madam lan, the murderess locked up for her crimes, never seeing a trial and dying alone, only allowed to see her children once a month. who was she before she was the wife of the lan sect leader? was there a reason she killed the lan elder? did she want that marriage to qingheng-jun? did she even want the children she was kept from?
about the madams nie and wen, who only exist by implication, by the knowledge that their children exist and therefore so must they. about how so little is even implied about them?
142 notes
·
View notes
i unironically hope Eris stays in her Hive form at least physically bc im already loving how both her & Immaru are pointing out Ikora's (and humanity's) inherent dehumanization of the Hive.
Eris being all "If this form does not leave will you still view me as a friend?"
Immaru when asked where the Experiment Subjects come from and responding with "Don't act like you care."
Honestly, it's so good. I really love the Eris stuff and some of these questions being posed. A lot of people react negatively to Eris doing this, forgetting that Eris has already been part-Hive for a long time. She was just hiding it behind the eye cover.
Technically, nothing inherently changed about Eris; she just embraced that part of her. And that's super important for her arc I think because she's been on a journey of accepting her trauma and her losses for a very long time. We helped her face her fears and traumas in Shadowkeep and she came out of it victorious. And the story never treated it as her traumas being gone; she still has them, but she has the means to tackle them and handle them and live with them. Since we helped her, she became more open and more involved with what we do to save our home, even if it meant tackling dangerous things.
And the thing is, now that her traumas cannot be exploited by Darkness anymore, she's capable of involving herself in these things, knowing that she has friends to fall back to and a support system and better mental fortitude. We've seen it through her endurance beneath the Pyramid on Io, and her grasp of stasis, and her dealing with the Crown of Sorrow and egregore and the Lunar Pyramid nightmares. And now with her embracing her Hive self. It doesn't change anything about her, but people prefer when she hides it so they don't have to see it. And she knows it (Sororicide lore book, page 1):
It's a perfect example of how we inherently view the Hive as untrustworthy. Obviously, there are good reasons for it! The Hive have caused immense pain and trauma to pretty much everyone in the universe, Eris included. It must take an incredible strength of character to embrace the fact that you're physically half-Hive, creatures that traumatised you in the first place. No one else has dealt with anything similar so naturally they're afraid for Eris. But I believe in her strength. And so does Drifter and Drifter is never wrong:
He'd read the reports. He saw the theories on VanNet. He didn't trust them. He trusted her.
There's a cutscene that people skip and can cause people not to see it, I recommend replaying the thing on a different character or seeing it online, but it shows Eris taking off her bandage in front of us:
It's such a powerful image to me. A symbol of her taking off her mask. Not pretending to be the same as us anymore. Because she isn't! The Hive are a part of her and have been for centuries. And she's always been in control. Our mistrust has always hurt her, but before this, we could act with pity towards her. Now that she's fully in Hive form, people's perception of her changed, for really no good reason other than prejudice. She is still Eris.
I definitely think that eventually we will have to reconcile with the idea of the Hive not being inherently evil in totality as a whole group of people. Obviously this is going to be difficult, especially when their leaders act the way they do, but eventually I do believe we will have to accept some of them, even if it's only Eris for a start.
301 notes
·
View notes
I feel like Vaggie got little to no affection, especially physical affection, as an exorcist sooooo
Touch starved Vaggie whise practically glued to Carmillas side for the first few months if being in hell
Oh yeah, if I ever write Vaggie not being the clingiest character in the show, I've been replaced by aliens lol-
60 notes
·
View notes
I put this in the tags as a bit of a joke but the more I think about it the more it feels off: it is strange to see how much people hang on to how impossible and clearly driven by a need for approval from her friends it must be for Imogen to turn on the mother she thought was dead for most of her life, who knowingly abandoned her, and whom she first contacted about a month and a half ago in-game. It's painful to be sure, but her relationship with Liliana has always been, basically, parasocial.
It becomes particularly notable when, when Jester was heartbroken that the father she'd heard glowing stories about her whole life didn't cope well with the unexpected news that she existed, and handled it badly before sitting down and telling her the truth, a pretty prominent fandom attitude was "idk, listen to Beau: fuck that asshole."
52 notes
·
View notes
Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.
Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].
The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.
[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...]."
-Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry," "Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture"
11 notes
·
View notes
opinions on helen of sparta being compared to prey animals? blink blink
*blink blinks back* Then immediately sits like this because of the question.
It's a good question that I'm happy to answer! It just makes me mad.... I sincerely hate the wording of "prey" being used to describe her.
SHE IS A VICTIM! THAT DOES NOT MEAN SHE IS "PREY"!
I can...see how people in ancient times may have used that word and still meant it in how she is a victim... but modern-day English-speaking people calling her that??? (considering how in different languages the word "prey" could have different meanings.) I'll just say that as someone who has been "prey" herself at one point, I REALLY hate that word as a descriptor. Just say victim or survivor. 👍
Honestly to call ANY victim "prey" is so fucked up. "Prey" to me, feels like "it's meant to happen." "Prey" are part of the food chain and so that's what happens. And to compare that to abduction and SA? Almost as if "that's our place"? It also kind of implies something being "eaten" or killed... Helen SURVIVES. She's traumatized and definitely needs healing and support but it's not like she can't find joy or peace ever again. Prey just feels so fucking gross.
Also, if someone calls victims "prey", I hope they know that Moose, Elk, Boars, Bovine, ZEBRAS, etc. are technically "prey". And these are VERY aggressive animals while still being "prey" for some other animals. And also that doesn't mean that "Oh, they're powerful! Clearly they should've been able to stop it." That's victim blaming :P
She is a clever, determined, caring woman who was ripped from her home for YEARS because Paris was a dipshit who decided he needed the prettiest woman in the world despite already having a wife. He didn't care about the fact that Helen didn't want to be there and was already married. He is so selfish that he will not let her go back even when THOUSANDS have died in the war! EVEN HIS BROTHER HECTOR AND PRIAM DO NOT BLAME HER! Granted, we do not know if Aphrodite would have let him undo their deal of "I want the prettiest woman" if he DID end up feeling bad for Helen and he wished to let her go home (I doubt it based on his personality though).
"Oh, if she is so independent/strong, then why didn't she just kill Paris and leave?"
AGAIN! Victim blaming!!! First thing, people who ask that have media literacy that is piss on the poor. You also have no idea about the political implications that would have happened if she DID kill Paris. She literally cries about staying there and argues with Aphrodite about seeing Paris, only to get strongarmed by Aphrodite as, guess what? A GODDESS WILL ALWAYS OVERPOWER A DEMIGOD. (This isn't Percy Jackson where he "killed" Ares as a 12 year old (Percy, you were my childhood, but that's bullshit.))
Even confined in Troy, she ARGUED with APHRODITE about going to see Paris! She is not some meek woman who just does as she's told with no pushback! She argued with a GODDESSS! Very few survive doing that!!!
She's not "Prey to fate", she's a "VICTIM of Fate".
10 notes
·
View notes