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marley-manson · 2 years

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☕️ major ships or notps for mash? Or, if you had to write a new episode for mash to fit in anywhere in the narrative, what would it be about?

Thank you!

Ok, so ships first. Mash is kind of a unique fandom for me in that my interest in it is less about a ship and more about a character (Hawkeye) so I can ship him with almost any dude, including omcs. This is actually the only fandom I’ve ever been into where I’ve actively sought out ships with original characters lol. But that said, the two main ones are ofc Hawkeye/Trapper and Hawkeye/BJ.

And firstly, on a shallow level they’re honestly both my jam, maybe especially Hawkeye/BJ. And I don’t mean shallow in terms of what the guys look like, I mean shallow in terms of the dynamic - they both got that confident experienced emotionally secure (subby) bottom/more emotionally reticent follower (dommy) top thing going on, which I’m a giant sucker for. And Hawkeye/BJ especially lends itself to Hawkeye sort of calling the shots and being the leader to a fault, to the point where BJ might arguably resent it a bit, which is extra good - plus BJ having more issues than Trapper imo is also a bonus when it comes to the basic dynamics at play. So there’s that appeal.

But to be more detailed, wrt Hawkeye/Trapper:

Mainly I like them because they are really fun and entertaining. On the show their chemistry is fantastic, they’re funny together, they feel really compatible with similar values and worldviews and interests, and I think they’d be pretty perfect together as a couple. Plus I find them pretty refreshing compared to a LOT of other ships I’ve been into, both modern and classic, in that to me they read as a very... mature kind of relationship? I’m not sure that’s the best word, but I mean like, they seem straightforward, they know what they want, they pursue it without personal issues getting in the way. They feel like two well-rounded people who are compatible, and it’s a nicely down to earth vibe.

Like the way I see them they started fucking pre-Pilot shortly after meeting, became friends, got closer, and eventually caught real feelings. I don’t see any misunderstandings here, any hesitation, any insecurities preventing them from communicating, any pining, any self-doubt, any self-loathing, etc etc. And I’m not knocking any of those things, I love a lot of ships featuring conflict stemming from Issues the characters have lol, but sometimes it’s kind of nice to be into an exception.

The only real problem they had was the lack of note when Trapper left, and I don’t read too much into that. I enjoyed the romantic vibes obviously but I don’t find it very compatible with the rest of Trapper’s character and I find ways around it in headcanons, because the writers’ hands were forced and it was clear that they wanted both some emotional drama when Wayne Rogers left and a clean break, without actually getting the opportunity to build up to it characterization-wise.

That’s not to say I don’t think they wouldn’t ever have conflicts of course, but yk, I feel like romantic drama isn’t a major aspect of their appeal.

And for Hawkeye/BJ:

On the other hand Hawk/BJ are nothing but romantic drama to me. In my conception of them they’re one-sided pining twice over at two different points in their relationship (Hawk pining during canon, BJ pining post canon), they’re bad timing, they’re two parts of a love triangle, they’re infidelity, I think BJ is sexually and emotionally repressed, I think Hawkeye thinks BJ is straight and therefore won’t make a move, and on top of that I think BJ has a habit of taking out his feelings on Hawkeye and tearing him down to make himself feel better, which is its own weird complication.

All that is juicy and I’m into it, but I don’t ship them in a happily ever after sense where they solve all their issues and find an equalibrium, because unfortunately I find them boring when they’re chill and happy together lol. I think they’re most interesting for their incompatibilities and I really like the idea that their timing was bad - Hawkeye pined for BJ in Korea, BJ pines for Hawkeye in the states, but by the time BJ realizes what he’s feeling it’s too late and Hawkeye has moved on. I think it’s a satisfying conclusion to their whole thing.

Some people might not consider this shipping but I do lol, I think if you want to read about two people’s romantic relationship in any capacity it’s a ship. It’s just an unhappy one, and that’s the way I like it. I’m a big fan of angst and unviable relationships that eventually crash and burn and missed opportunities and that kind of thing, and I think Hawk/BJ are a shoe in for that.

And notps:

I’ll keep this answer shorter lol but I definitely have a few: Hawkeye/Margaret is the biggest one. I love them as friends but the instant romance enters into it I hate it. This can mostly be chalked up to my everlasting distaste for requisite male lead/sole female cast member, and I can’t tell you how relieved I was that the only time Hawkeye and Margaret fucked in the show it was to demonstrate how incompatible they are and affirm their platonic friendship.

There’s also Hawkeye/Radar which I’ve seen occasionally and which contains absolutely nothing I personally want from a Hawkeye ship.

Potter/anyone. He’s unshippable to me.

And Hawkeye/BJ/Peg partly because I’m not into fluffy ot3s in general and I especially don’t enjoy them when they’re framed as a happy solution to a love triangle, which is how I usually see it discussed, and partly because I find it very unbelievable based on BJ’s character in canon.

Thanks for the ask! I’m going to answer the second one in a separate post so keep an eye out for it! I’ll tag it ‘ask meme’ so it’ll be easily findable.

send me a topic + ☕️ emoji and i’ll tell my honest opinion about it!

#ask meme #marley on mash #ship hb #ship ht #lol sorry this took me a while to answer i had a bit of a busy day #and as you can see i can't help but write essays in response lol

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bigskydreaming · 4 years

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Do you have any character in any fandom that you hate so much or a character who bothers you so much that you can't look at any media without getting annoyed/ upset? Not like villain character, a normal or even fandom fave character, someone most others won't find anything wrong with but your guts hate them, that kind?

I mean, the most obvious example of this for me is definitely Stiles in Teen Wolf lol. I know that a lot of people didn’t start disliking him until later seasons but I just flat out never liked him from the get go, and like....it built and grew due to a lot of fandom attitudes towards the character?

Because like......I just do not enjoy characters who constantly seem to be making digs at or undercutting their supposed friends or family, the way Stiles was with Scott from the very pilot. Its like yeah great, I can absolutely see and recognize all the times he was there for him and did in fact do good friendship type stuff, but the problem for me lies in the way fandom tends to make that TRANSACTIONAL with the stuff I had a problem with where its almost like, well, see, since Stiles tried so hard to save Scott in this one episode Motel California, he GETS to casually insult and demoralize him all the rest of the time, and holy shit no that’s not how that works, y’know? (Especially because Scott’s shitty self-esteem was the bad guy’s way in for almost killing him in Motel California, and gee what connection could there be between shitty self-esteem and constantly being belittled and talked down to by your literal best friend in the whole world BUT I DIGRESS).

And a lot of people over the years have been like, okay but friends tease each other and give each other shit all the time, are you saying they’re all bad for doing so? And no, I’m not, but the thing people tend to gloss over here is the key phrase “each other.”

Because its one thing when you have friendships like this. Its another thing when those friendships flow entirely one way in this specific regard.

When one character is not only ‘allowed to’ but almost EXPECTED to take pot shots at their friend at every available opportunity, but any single time the other friend does the same, no matter how playfully, its fixated upon as being mean and unfriendly, like...THAT is the problem.

And while I don’t have a specific single character that answers your question here in terms of Batfandom, the exact same phenomenon rears its head there and I holy hell object to that too, lol.

Like, we see it SO often with how Dick’s brothers are habitually characterized as mocking his relationship with Bruce, work ethic, standards, jobs, apartment, fashion choices, cooking, NAME......with it just taken for granted that there’s nothing wrong with them all calling him Dickhead or saying he’s ‘really lived up to his namesake’ practically once a fic, if not once a chapter......

And again, the common refrain is “well siblings are just like that?”

And they’re not actually, is the thing. I mean, I grew up with siblings too, and YES we gave each other shit all the time, but again its that exact same key phrase: EACH OTHER.

Like in comparison to the above, how often do people read fic where Dick casually insults his brothers every time he meets up with them, or makes snide, backhanded offensive references to their own parents or memories/reminders of them, or insults their standards not even as a point of specific conflict, but just as a casual, generic expression of contempt?

Its not a two-way street there either at ALL, and THAT’S the issue.

(Also similar to the example I outlined with Motel California, a lot of people write stuff about Dick having shitty self-esteem, but again like.....when you pair this as hand in hand with Dick regularly being insulted and talked down to by his own family, who never ever seem to have anything good to say to him or about him until AFTER he has some kind of breakdown, its like......where do you think shitty self-esteem so often comes from?)

Like, I’ve had people tag fic/drabble posts where I have Dick engaging in what to my estimation is the equivalent of gently teasing Jason or Tim.....and people tag these with “I feel funny about this because Dick seems kinda mean to his brothers here”.....and then nine out of ten times, if I go onto their blog, within a PAGE or two, I see some post where Jason and Tim are calling Dick a Dickhead or mocking his intelligence with NO sign of funny feelings from that person and its like......its not the criticism I mind, lol, its that uh, one of these things (standards of behavior applied to each character) are not like the others.

Because a lot of times when pressed on this subject, people will respond with “well it wouldn’t be in character/Dick or Scott are too nice for that to be their sense of humor” and again its just kinda glossed over that uh, this is basically a tacit admission that the characterization you’re going with for everyone else is ‘not that nice, actually.’ BUT any time people call this specific kind of behavior out when these characters do it, THEN the response is not “well yeah, you’re right, its not that nice actually,” its a defensive “well okay but that’s just how these characters are, are you saying they’re assholes?”

And its like well no, actually you basically were the ones who said they were assholes when you made this a core part of their characterization, and now you’re using this weird kinda circular logic to loophole your way out of them being actually held up and acknowledged as such WHEN they’re characterized this way.

If these specific other characters never get to retaliate or return fire BECAUSE they’re too nice, then there should be no problem acknowledging that when the characters who DO engage in this behavior are actively engaging in it.....they’re being assholes, and no, its just how friends/siblings are is not actually a defensive/deviation from this if their targeted friend/sibling is never actually able to do the same without being held up specifically as stepping outside the territory of “being nice.”

Few things bug me more in terms of basic character interactions/dynamics then the tendency fandom has of building up certain characters as having free reign with how they treat other characters, while simultaneously limiting these other characters from any kind of equivalent spectrum of behavior by using their own positive traits AGAINST THEM.....but with fandom at the same time being willing to full on go to war in defense of the first kind of characters if anyone draws any kind of connecting dots between their examples of frankly asshole-ish behavior and the implication that they might, in fact, be not that awesome as a result.

Its this annoying sleight of hand wherein certain characters can do or say anything without it being a reflection on who they are character-wise, while other characters step the SLIGHTEST toe out of the line that fandom has drawn for their character and how they’re EXPECTED to behave at all times in order to avoid active criticism.....and this then absolutely is an indication of how they’re actually flawed and gross and even abusive, because of how not nice what they’re doing is, and if people want them to NOT be perceived that way, they need to go back to characterizing them or focusing their characterization of them on all the times/ways in which they just placidly accept whatever’s dished out without any kind of reciprocation.

So yeah, Stiles was always a big example of this for me, but it was far from limited to just him. Any time a fandom is like “these characters can make fun of this character or be super critical of them but this character is never ever allowed to do the same in return, that’s against the law,” I’m like yeah no, that’s a swing and a miss for me. Hard pass on those particular fandom faves....at least so long as their fandom fave status seems to go hand in hand with their ability to inflict maximum psychic damage upon their alleged loved one any time they’re feeling down or are just in a mood, all while facing zero consequences for it....even in the simple form of their targeted ‘loved one’ ever simply being like yeah I just choose to not want to be around you when you’re being assholes to me/if you’re going to just be an asshole to me.

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boycottyashahime · 4 years

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Not sure if it's wise to stan Lindsay Ellis or emulate her in any way, because she's pretty accepting of ships like Beetlejuice (an adult) x Lydia (a child). It seems likely that she'd be cool with Sessrin too and would chastise anyone criticizing that ship.

She also defended Stephanie Meyer's Twilight by omitting most core criticisms of the franchise like its glorification of child grooming, racism, and misogyny. Lindsay Ellis has some good takes, but she'd definitely be on friendly terms with Sessrin shippers and others of their ilk.

I don't really feel like what she's talking about in the screenshots and this situation are all that comparable, though. First of all, in the Inuyasha series, Sesshoumaru and Rin aren't coded as a couple, especially not in classic RT style. There's not really a concrete definition to the relationship at all, which enables a lot of different interpretations, as opposed to the coding leading one to a certain conclusion.

Second of all, the Beetlejuice cartoon and the Beetlejuice movie resemble each other little more than name and character design - in the screenshots, LE talks about how she was initially a little taken aback by how different the characters' relationship was in the movie vs. the cartoon, and how the cartoon fans would ship them in the context of the show because that's how it was presented to them within the context. There's a discrepancy there not because the relationship is coded ambiguously in canon, but because fans are dealing with two totally separate and distinct codings that have little to do with one another. The movie and cartoon are so incompatible in tone and context that it's impossible to reconcile the two into a cohesive canon, so the shippers and anti shippers may as well be talking about two entirely separate things (which they are). In Inuyasha/Yashahime's case, however, the latter follows from the former, they're supposed to represent one long contiguous timeline, and so the dynamic between Sesshoumaru and Rin in Yashahime would have to be based upon that of what it was in Inuyasha, which is where antis in THIS sphere have a problem. It's one thing to have two different fandoms of two different stories entirely where one is very loosely based on the other warring with each other over details that were wholly different from one another (Beetlejuice). It's another to have a direct continuation of a series that may or may not imply some pretty iffy dynamics based on a grown man getting with a girl he has authority over when she's older (Inuyasha/Yashahime).

Third, LE characterizes the shippers of the Beetlejuice fandom as largely peaceful, mostly keeping to themselves until an anti wanders into their midst. In my experience, it's been the opposite in this fandom. I keep on the anti tag, have only posted once in the ship tag (to boost a post that had both ship and anti arguments on it), and don't go looking for fights. I've been getting quite a few shippers demanding in various ways that I shut up and refrain from stating my opinion on my own blog multiple times now. I may be wrong, but given the circumstances, I think that LE might have a less-than-favorable view of the shippers in this fandom for having a similarly militant pattern of behavior to the antis in the Beetlejuice fandom. It's not necessarily the opinion that I see her criticizing in the screenshots (she even says she understands how the content can be upsetting), but the way one invades spaces that are not theirs to insist that someone isn't allowed to have the opposite opinion.

And, at the risk of repeating myself yet again, I actually DO NOT have a problem with the existence of the SessRin ship. I have ignored it for years, and will continue to ignore it for years to come, no matter what Sunrise wants to validate in their sequel. I just have my blog to express my opinion, help commiserate with other antis, and assert that it isn't unreasonable for anyone to read Sesshoumaru and Rin's relationship as platonic. So, actually, I mostly agree with LE in her dismissal of people "supporting" abuse by liking a ship. My issue is with Sunrise if they decide to put positive depictions of grooming in a show for children, but as far as the shippers in the fandom go, I really have no problem with them shipping. Theirs isn't an invalid interpretation either, given all of the surrounding material in the world promoting it. We can coexist, disagree, and still be fine. At the moment. Shippers don't seem to WANT a peaceful coexistence with me, but I think eventually they'll get bored of fighting over nothing.

As for LE's defense of Stephanie Meyer, it was specifically a defense against all the unfair, misogynistic attacks on her for writing something popular with girls and women. She didn't say there's weren't VALID criticisms of Twilight; she just said she was sorry for buying into the intense unwarranted hatred of Twilight and Stephanie Meyer for nothing more than our culture's general disdain for anything that girls like. I'd like to think she really didn't need to make the video where she listed and elaborated upon all the problematic aspects of the Twilight series, because quite frankly, that video already existed in multiple iterations long before she made her own.

Finally, I think it's important to note that I'm 32 years old and not really interested in "stanning" or "emulating" anyone at this point. A couple of anon messages stated they thought there were similarities between myself and LE, and while I am flattered because I think she has some valuable and insightful opinions on fiction, I'm far past the point of trying to be like her or thinking she's flawless. I do have some disagreements with some things she's said before; I don't have much interest in listing them out here, but suffice it to say you should have no worries whatsoever that I would blindly follow her example on every little point. Nor would I suggest anyone else do so. I just like watching her videos, think she has a cool perspective, and am flattered to be compared to someone who it looks like has been pretty successful in writing and publishing a novel, as that's kind of a goal of mine.

#asks and answers #anti sessrin #i guess i was a little too gushing #at being compared to lindsay ellis #i gave the impression i was a super fan or something?#my bad lol

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tothedarkdarkseas · 3 years

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Hi, I just want to say that I adore your characterizations and your interpretation on the 2Doc dynamic — it’s refreshing to say the least, lol. Idk, I’m a sucker for bleak, unhealthy relationships. I’m not sure if you’ve ever been asked this, but I was wondering how do you address the criticisms of 2Doc as a ship, or problematic ships/characters in general? As someone who is involved in a few ships that some would deem as ‘problematic’, I find it difficult to fully articulate my stance on shipping as a concept. Of course I don’t think shipping is synonymous with believing the characters could realistically be in a healthy, productive relationship, but I still find it hard to address the (often valid) criticisms of the ships I like without fear of it verging on romanticization of an abusive or toxic relationship. Anyway, love your stuff and hope you’re doing well! ❤️

Thank you so much for your incredibly kind message! That means so much to me, thank you. And you’re not alone, I too am a sucker for bleakness! This got a bit long so it’ll be behind a cut!

This is an interesting question, and one that I fear has an unsatisfying answer. When I think back on the ships I’ve had strong feelings for, there are a few I’d call uncontroversial, but most often I am interested in human drama; it isn’t so much an obsession over the story being “dark,” but the complexity and conflict that comes from two people having problems, which they may or may not overcome. And there arises the issue: there’s a marked difference between a relationship being problematic, and being problematic. 2Doc is, in fairness, both, and I just try to steer it toward the former.

To be frank with you, the fandom has been fractured for a very long time, and I’ve always felt a bit alienated from both the glorifying of abuse, and from the “wholesome” excuses that arose counter to it. (I don’t try to position myself as an authority or very universal on this, so I apologize in advance, and hope other fans understand that we’re coming from similar places and simply have different paths there.) I think if you look through 2Doc discussions of the past few years, you’ll see a lot of the same talking points about how it was problematic but they’ve since healed, or that it is a narrative of growth and forgiveness, or a similar approach of acknowledging toxic history but refuting that their content is at all toxic. I completely understand why this is the popular argument, but it isn’t the one that resonates with me. They’re not wrong for saying it-- this is fandom, therefore authors are crafting their own narrative, that’s sort of the point of doing this, but-- do I think my narrative is about forgiveness? Not really, no. Do I think it is fair, then, to categorize it with the abuse porn which delights in removing Stu’s autonomy? No, I don’t agree that’s fair either.

I respect those who like to create and consume happier stories, but speaking purely for myself, I think you run a risk when you choose to present an unhealthy relationship as “fixed,” or navigate around valid criticism by saying they’re all better now, or worse, arguing it down. Despite good intentions, it minimizes the longterm damage that a power imbalance like this does, it disregards the responsibility of one or both parties to actually live with consequences for their actions even if those consequences are only interpersonal, and most frustrating and damning to me, it denies Stuart the right to be angry, vindictive, or hurt in a way that does not flatter the romantic tragedy of trauma. I do know that this is harsh, though. I understand that isn’t the intention, and I know it comes from a place of loving the idea of this kind-hearted martyr figure-- but idealizing forgiveness no matter the toll is not a healthy mindset and I don’t see it as fair to Stuart. I do think that in the real world people understand the dangers of guilting victims with this mindset, but this is fiction, and it’s nice to dream up a story of tilling the dead flowers from the soil and tending to it, nourishing it, and growing something beautiful from it. I completely get that, and I don’t fault people for it. It just isn’t what I’m writing for, and so this conversation never really satisfies me.

For me, I find it best not to circle around or try to disprove these points, but rather to meet them. Yes, we agree it is not an aspirational relationship or one the characters should wisely pursue. I think a critical fan reading my stories and attacking the relationship’s portrayal as unhealthy would be kind of a moot point, because I’m not presenting it as anything else-- but it is my hope that the characters are compelling and not merely an edgy, ghoulish spectacle. There are moments in my Sad Nonsequential Extended Universe where they banter playfully and where they share an intimacy that is (to their chagrin) romantic in its singularity, but at no point is the relationship whole, at no point is Murdoc apologetic in a way that Stuart is obligated to forgive. Speaking only for myself, that is the joy of writing, and that is what I come back to these characters for. I feel fulfilled by the unfulfillment, and I feel it is entirely possible to tell a story about cruelty and remorse without chaining either character to a leaden ball of either redemption or sainthood. And-- and this is the big and-- I think it’s possible to do this without reveling in trauma either.

There is a difference between appreciating human folly, codependence, and resentment as ever-present cracks in a foundation, and glorifying, romanticizing, or fetishizing a character’s lack of agency or suffering. It has been hurtful, at times, to feel there is no distinction made between bleakness in service of a story and abuse simply for its own sake.

It doesn’t thrill me to read Stuart as powerless against Murdoc, a pretty and broken thing too weak to escape, and it doesn’t thrill me to read Stuart as utterly benevolent to Murdoc, existing only as a bridge Murdoc may walk across to get to the next stage of his own story. I don’t think Murdoc wants Stuart to be that, either. I don’t think they could ever be wrapped up in each other for so long if he thought so little of him. And truth be told, I can acknowledge that this is now my narrative running away with me, this is something I’m choosing for them based on a characterization and history that doesn’t really exist, and for that reason I can’t fault anyone for finding the argument less than compelling. I can also acknowledge that this sounds a bit grand for a bunch of oneshots about bad sex and substance abuse, so, er, I’m sorry for that too.

Here’s where the unsatisfying bit comes in, about writing and discussing flawed characters without excusing or admiring their faults: I just think it’s something you know. If you ask a baker to tell you when you’ll know the dough is the right consistency, they may suggest you compare it to the softest part of your thigh, but they’ll amend that they don’t really think in those terms: they just know it when they see it. The best I can offer is that I find candor to be essential in conversation, and I think it’s a good idea to worry less about disagreeing than effectively communicating your interest in weighty storytelling. I think being able to take a step back from the impulse of defensiveness, knowing that you are a respectful and empathetic person, knowing that you have these concerns about romanticization and about invalidating fair concerns, is the absolute best thing you can do. Talking is not about winning! I hope this response was helpful at all! Thank you for your question!

#<3 #Anonymous

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fortunatelylori · 5 years

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Sandtion: The Sense and sensibility connection - a meta collab with @and-holly-goes-lightly

As some of you may have gathered, @and-holly-goes-lightly and I are salt mates (this is a tumblr term I have learned only recently and am planning to run into the ground. You have been forwarned. I don’t want any complaints down the line!)

It all started about a year ago, with this:

And progressed steadily until we ended up here:

Occasionally, between ogling pictures of naked men, we discuss serious issues as well. Those end up as metas for your consumption, most of the time.

It’s a colaboration that works well. I write long metas, she writes really good ones. We enjoy. We have fun.

Given that we both obssesively analyze tv content and that we tend to reach about the same conclusions, we have been planning on doing some project together for a while now.

I think if 2 months ago someone had told us that Sanditon would be the tv show that would see us join writing forces, we would have been more than a little shocked.

But here we are … hoplessly obssessed with Austen’s unfinished novel and ITV’s unfinished tv show (get the hint, ITV?!?! I hope you do. Chop, chop! You can’t live on Downton Abbey reruns for the rest of time, you know)

So on this most special of days, @and-holly-goes-lightly and I bring you the motherload of Sandtion metas. Two crazy writers, one tv show, one simple title:

Sandtion: The Sense and Sensibility connection

It’s no surprise to anyone, at this point, that Andrew Davies wears his Austen influences on his sleeve in Sanditon. You can find easter eggs for most of Austen’s work, from the famous Pride and Prejudice to the obscure Lady Susan.

However, Sense and Sensibility seems to be one work that hasn’t insipired much comparison from the fandom. And it’s perhaps for that reason that Sandion’s last two episodes were so hard to digest and why so many question marks were raised in regards to Charlotte’s characterization.

In this project we aim to dispel some of that confusion and attempt to put into prespective the character arcs of both Sidney and Charlotte in:

Sidlotte: A parallel journey between Sense and Sensibility by @fortunatelylori

As well as delve deeper into Charlotte’s POV through out the season finale in:

Charlotte Heywood - From Sensibility to Sense by @and-holly-goes-lightly

We hope you enjoy our take. Please don’t forget to leave us your comments in the reply section. This is a new format for us and we’d love to hear from you on how you like this kind of collaborative work.

Sidlotte: A parallel journey between Sense and Sensibility

As I was reading the now infamous Theo James interview, I was reminded of the “unusual” visual representation of Sanditon. It really does look quite different to most Austen adaptations which are defined by the sunny, sanitized domesticity of the English garden.

Sanditon doesn’t look like that. It’s rough and a little wild. It presents a world in the throes of change, with gales, nudity and darkness lurking around the corners. I think it’s those visual cues that made Theo link it to Wuthering Heights with its Yorkshire gloomy moors and harsh winds.

But that just goes to show you Mr. James has not done his proper Andrew Davies research (Tsk, tsk, me thinks he will need to do a few more nude scenes to atone for it) because the wind swept beaches, the wilderness of the English countryside, the cowboy motif? They all go back to this:

I imagine the visual style of Sense and Sensibility 2008 was in part generated by an attempt to separate it from the very famous 1995 version (the quintessential sunny English countryside film) and in part as a response to the earthier approach Joe Wright took for his now very influential version of Pride and Prejudice (2005).

But I do think Sanditon owes more to S&S 2008 than just its visuals. I’ve talked about this in the past but Sanditon, to me, is really Davies’ homage to Austen’s entire body of work so the more you dig and analyze, the more similarities and parallels you are going to find between Sanditon, its characters and the rest of the Austenverse (I really hope this is just a thing I say in a sarcastic way on tumblr. Not everything needs to be a –verse, people!).

Episode 8 really brought this theory into focus for me. In my review I said that the finale marked the tonal shift of the story from the naïve, hopeful and mostly comedic territory of Northanger Abbey and Pride and Prejudice towards the darker, more reflective tone of Persuasion and Sense and Sensibility.

Of course, comedy and witticisms are a core trait of all of Austen’s work. Her voice is so powerful that she is always an extra character in her own stories. However, Persuasion and S&S are also permeated with a sense of loss and angst that her other works don’t really have.

They’re more mature I suppose one could say. And it’s that maturity that plays a role in the shift that occurred in the season finale of Sanditon. Because Sanditon is really all about Charlotte Heywood. We enter this world with her and we follow her coming of age story throughout the season. And that story is marked by a pretty steep transition from the romantic, hopeful heroine represented by Marianne Dashwood to her restrained, sensible sister, Eleanor.

One of the things I liked the most about S&S 2008 was how much more balanced its view on Marianne and Eleanor was. In the 1995 film, it always felt as if Marianne was presented as a cautionary tale while Eleanor was the heroic nurturing woman who endures everything stoically and is rewarded for her restraint in the end.

But that’s not really, to my mind, the message Jane Austen would like us to get out of S&S. Just like with Pride and Prejudice, Austen is shining a light on the folly of both extreme sense and as well as extreme sensibility. It is not wise to jump head first into situations having only Lord Byron’s poems as your guide but it’s also equally unwise to constrain yourself to the point where you are unable to confide in anyone, to the point where you deny your feelings and end up a passive participant to your own life.

With Charlotte Heywood, we get to explore both those behavioral patterns.

The change from Marianne to Eleanor doesn’t occur in episode 8, by the way. It occurs at the end of episode 6 and carries through to the finale. That’s why people, including myself, were taken aback by Charlotte’s apparent change in demeanor in episode 7, from the girl who always spoke her mind (even when she shouldn’t) and wore her heart on her sleeve to the outwardly detached, apprehensive young woman who was waiting for the other shoe to drop even as the man she loved was about to propose to her.

It would be easy to blame this transition on poor execution and I do believe the shift was too sudden and it was a mistake to have it start off screen (in between episode 6 and episode 7). However, the arc itself is not a mistake and it’s actually very clever.

For one because it allows us to explore this story both from the naïve, romantic perspective as well as the angst filled one.

Secondly, and most importantly, because it works in tandem with Sidney’s arc, who is going through the exact opposite journey from the emotionally repressed outlier to the open hearted tormented hero, representative of the Byronic romantic ideal.

What was supposed to happen is that by the end of episode 8, Sidney and Charlotte would meet in the middle, she as a more controlled romantic, he as a warmhearted stoic. What Davies gave us instead is two ships that passed each other in the night and have, by their last scene in episode 8, completely exchanged places.

So I think it’s important to go back to the beginning and analyze how the meeting between the naïve romantic Charlotte and the world weary Sidney ended up altering them forever and how, while deeply painful for both of them at the moment, their separation and behavior shift will end up benefiting them when their eventual reunion occurs (whether or not ITV decides to renew this series, Charlotte and Sidney WILL get married and have 2 to 3 adorable children because this is an Austen story and I will accept nothing less, damn it!)

One of the most important scenes in the whole season for me was the carriage scene in episode 6. I wrote a whole meta on it that you can find here and I have to go back to it in order to reference this extremely important exchange that sits as the lynchpin of this meta:

Sidney: And what do you know of love? Apart from what you’ve read?

Charlotte: I would sooner be naïve than insensible of feeling.

We’ve spent a great deal of time analyzing this scene and how pivotal it is in the story of Sidney as the motivator behind his lowering of his emotional guard. But I don’t think we’ve spent nearly enough time asking ourselves what this exchange tells us about Charlotte.

Because this doesn’t just announce a change in Sidney, it also foreshadows one for her. Sidney is correct in implying she doesn’t really understand love because she’s never experienced it. She is, however, about to realize that she’s in love with him and thus her assertion that she’d rather be naïve than insensible of feeling is just about to be tested.

And the surprising result is … Charlotte fails at her own paradigm. For the rest of the season, she will never be as emotionally open as she is in episode 6.

Charlotte is unable to remain the open book, expansive girl in the face of first supposed unrequited love and then as she experiences loss. She, instead, withdraws inward and begins building up her walls just as Sidney did after Eliza left him.

I think Davies understands Austen’s ultimate message that you fall into the extreme of sense or sensibility at your own peril, which is why he chooses to have his main two characters traverse opposite journeys so they can be brought closer by the end of the story (in season 2 of course).

That’s because at the core of all of the fights and misunderstandings between Charlotte and Sidney sit two problems:

Sidney Parker does not believe in the good intentions of other people. He is operating from a place of hurt and feeling under attack. He is essentially under the impression that the people he comes into contact with have ulterior motives, and none of them are good. And you can’t really blame him for that distorted image of reality when you consider what the two most meaningful relationships in his life have been up until this point.

On the one hand you have Tom who weaponizes even the most benign of compliments:

Tom: At least I have your prowess on the cricket field to be thankful for.

Sidney: Well in truth you have Lord Babington to thank for that. I am here at his behest to give him support in his time of romantic need. God knows he shall need it.

Tom: You’re a good friend, Sidney … I don’t suppose you could try just one last time… [to go ask for money]

On the other hand, you have Eliza Campion who says stuff like this with a straight face:

Sidney: You didn’t have to wait for me, you know.

Eliza: I’ve waited for 10 years. What’s another quarter of an hour?

While researching this meta and also trying to figure out my Christmas fic, I’ve come to realize that both Tom and Eliza are using a victim narrative to get what they want from the people around them. What Sidney has learned from these relationships is that nothing in life comes for free. Any compliment, any sign of affection comes with a price tag or an eventual let down.

For her part, Charlotte Heywood is suspicious of Sidney because he doesn’t make himself easy to understand.

Charlotte thrives on communication and she tends to empathize and like people who share, or overshare, information with her. Her opinion on Tom shifts the moment he starts including her in his Sanditon projects. She is apprehensive of Otis for quite a bit of episode 4 but ends up completely on his side the moment he talks about his past as a slave and making innuendos about Sidney, despite neither one of those things really resolving her initial reasons for being apprehensive.

This behavior is really down to Charlotte’s upbringing in a very large but very happy family. Or as Eleanor Tilney in Northanger Abbey would put it:

Eleanor: I think you have had a quite dangerous upbringing. You’ve been brought up to believe that everyone is as pure in heart as you are.

Incidentally another Andrew Davies adaptation …

In Charlotte’s mind, people who are open emotionally and speak their mind must be good people. After all, she is this way and she certainly always has the best of intentions. When someone doesn’t do that, or worse they evade and try to manipulate, she distances herself from them, as is the case with Edward and Clara.

And since Charlotte views meaningful communication as the ultimate sign of trust, it’s this withholding of information, this emotional barrier she can sense in Sidney, that makes her mistrustful of him. She can’t understand his emotional withdrawal for what it is – a response to trauma - because she’s never experienced it. And as such she will always fundamentally misunderstand him.

We see these two character hang ups rearing their ugly heads again and again in their conflicts:

Episode 1

Sidney: And what have you observed about me upon our small acquaintance?

Charlotte: I think you must be the sensible brother of the three. I may be mistaken but it seems to me that your younger brother, Arthur, is a very … contrary nature. Alternately over lethargic and over energetic. While your elder brother, Tom, could be called over enthusiastic. I’m afraid that despite his good nature, he neglects his own happiness and his family’s in his passionate devotion to Sanditon. Don’t you agree?

Sidney: Upon my word, Miss Heywood, you are very free with your opinions. And upon what experience of the world do you form your judgments? Where have you been? Nowhere. What have you learnt? Nothing it would seem. And yet you take it upon yourself to criticize. Let me put it to you, Miss Heywood: which is the better way to live? To sit in your father’s home, with your piano and your embroidery, waiting for someone to come and take you off your parents’ hands? Or to expend your energy in trying to make a difference? To leave your mark. To leave the world in a better place than you found it. That is what my brother, Tom, is trying to do. At the expense of a great deal of effort and anxiety, in a good cause in which I do my best to help and support him. And you see fit to … to criticize him … to amuse yourself at his expense.

Fortunatelylori: … I have a theory that the reason why Sidney’s been forced into prostitution by the end of season 1 is because he used the argument of the fucking patriarchy to defend Tom The Worst Parker. Gee, Sidney, us women would love to go out there and change the world but your male friends are forcing us to stay home with our pianos and embroideries to make sure they take full advantage of our ovaries. Please take several seats!

Fortunatelylori: Also … fyi … Tom isn’t protecting England from the French or helping Warren de La Rue develop the freaking light bulb. He is trying to run a dime a dozen seaside resort and failing miserably at it so spare us the change the world one naked ass at a time speeches.

Charlotte is baited by Sidney, the emotional recluse, into oversharing which she can’t help herself from doing because even at this early stage she has a crush on him and wants to impress him with her insight. He takes that rather kind take on his brother Tom and spins it into a narrative of inexperienced superficiality and mockery because that’s what he’s conditioned himself to think about people.

Episode 2

Charlotte: Our conversation at the party … I expressed myself badly and I fear you misunderstood me. I didn’t mean to disparage your brother or to offend you. Indeed I have the greatest admiration for what you and he are doing here in Sanditon. You were right to rebuke me and indeed I am sorry. I hope you won’t think too badly of me.

Sidney: Think too badly of you? I don’t think of you at all, Miss Heywood. I have no interest in your approval or disapproval. Quite simply, I don’t care what you think or how you feel. I’m sorry if that disappoints you but there it is. Have I made myself clear?

Fortunatelylori: Badly done, Sidney! Badly done indeed!

Not much to say about Charlotte in this one as this argument is ALL on Sidney and his trust issues. In his world, this kind of earnest apology and brave taking of responsibility is always a precursor to a guilt trip or a victimization episode. So he has become very adept at shooting down any such attempt forcefully.

It’s only in episode 3, when he sees Charlotte helping Mr. Stringer without any expectations of reward and her accepting his apology without any hint of emotional blackmail that Sidney is able to lower his guard and begin to see Charlotte for the honest, kind and generous human being that she is:

Fortunatelylori: Awwww! This is Sidney essentially seeing his unborn children in Charlotte’s eyes. (that is the most romantic lyric in the English language and no one will convince me otherwise)

However, what ends up happening? Sidney lowers his guard just in time for Charlotte to reactivate her suspicions which leads to their most explosive fight to date:

Episode 4

Sidney: Did we not agree that you would look out for Georgiana? Keep her out of trouble? I should have known you weren’t to be trusted.

Charlotte: And I should have known, despite your professed concern, you care nothing for her happiness.

Sidney: I would ask you to refrain from making judgments about a situation you don’t understand.

Charlotte: I understand perfectly well!

Sidney: Of course you do! Even though you’ve known Georgiana but a handful of weeks and him but a matter of hours.

Charlotte: That was time enough to learn that Mr. Molyneux is as respectable a gentleman as I have ever had cause to meet.

Sidney: You seem to find it impossible to distinguish between the truth and your own opinion!

Charlotte: The truth? You wish to speak of the truth, Mr. Parker? The truth is you are so blinded by prejudice that you would judge a man by the color of his skin alone.

Sidney: You speak out of turn.

Charlotte: Why should I expect any better from a man whose fortune is so tainted with the stain of slavery!

Sidney: That is enough! … I do not need to justify myself to you.

They essentially spiral out of control in this scene. Sidney’s trust issues come back and his lack of feed-back to Charlotte’s accusations make her provide increasingly horrible explanations to fill in the blanks.

Because their fights tend to be very intense (they are both people with very strong personalities), it’s easy to think of the two of them as simply not being compatible.

But their issues aren’t a matter of compatibility but rather an inability to find the right channels on which to communicate with each other, despite both wanting to.

Which brings us to episode 5

I love these little acting choices Theo James makes. This sigh is so evocative because it’s pretty clear it’s not frustration or boredom, but rather Sidney still reeling from her accusations in episode 4.

On the other side, Charlotte looks at him and thinks he is distant and non-affected and because, despite being angry, she still wants to connect with him, she tries so hard to use Sidney’s acerbic wit against him and keeps attempting to poke the big grizzly bear:

Charlotte: I assume you are here for the cricket.

Sidney: Never short of assumptions, Miss Heywood.

Unable to find a chink in his cold shoulder, Charlotte tries again at the cricket match:

Charlotte: Good luck to you too, Mr. Parker. Although I imagine you don’t think you’ll need it.

Sidney: Yes more assumptions, Miss Heywood?

Sidney is so pissed at her in this episode, not even her low key flirting with James Stringer galvanizes him.

But then something quite unexpected happens … Without actually realizing it, Charlotte manages to find the right channel to communicate on:

Stringer: You haven’t got another player to replace him. We win.

Charlotte: I’ll play.

With the wide eyed enthusiasm of a true romantic, Charlotte taps into the core of what Sidney desperately needs in his life. She doesn’t just help and support him when he needs her to but crucially she doesn’t put a price tag on it.

Charlotte: Is that a smile I detected?

Sidney: Oh, I doubt it …

Charlotte doesn’t enter the cricket match because she wants to use that gesture to ask Sidney for money for her pyramid scheme or gaslight him into thinking her betrayal was actually her “waiting” for him. Charlotte does it because she wants to see him smile. And just look at him …

Unfortunately that momentary progress is derailed again when Georgiana is kidnapped which will eventually lead to the carriage scene in episode 6 where Charlotte’s need for feed-back clashes with Sidney’s trust issues in their most revealing conversation.

It’s tempting to look at this argument and think Sidney is the only one who is in the wrong and who needs to change. But that would be missing a few important aspects of the story.

Charlotte: Otis never meant to place Georgiana in harm’s way. Any more than I did.

Sidney: And yet you both did.

I think a lot of people, Charlotte included, fall into the trap of believing that if someone didn’t intend to harm someone else that means they haven’t actually done something wrong. Which is why there are still people in the Sanditon tag that are resisting the idea that Tom Parker is a villain. Surely he never meant to hurt his brother and he didn’t force him to propose to Eliza, so why is everyone so hard on him?

But like Charlotte had to learn with Otis, just because Tom didn’t intend to cause Sidney harm doesn’t change the fact that he very much did.

In this case, Charlotte’s major mistake was not that she helped Georgiana stay in touch with Otis. Charlotte’s mistake was in assuming she had the whole 1000 piece puzzle completed when she only had about 200 pieces in place.

Charlotte: All I ever cared about was Georgiana’s happiness.

Sidney: What did you think I cared about?

Charlotte: That is anyone’s guess!

Sidney: I’ve done the best I can by Georgiana.

Charlotte: No! At every turn you have abdicated responsibility. If you truly cared for her welfare, you would have watched over her yourself.

Sidney: It is a role I neither sought or asked for.

Charlotte: Of course not! Because you are determined to remain an outlier. God forbid you give something of yourself!

Sidney: Please do not presume to know my mind, Miss Heywood.

Charlotte: How could anyone know your mind? You take pains to be unknowable. All I know is that you cannot bear the idea of two people being in love.

Despite admitting she doesn’t know his mind, Charlotte can’t help herself from filling in the blanks with what she assumes is a conscious desire to be uncaring. Because she doesn’t have the life experience to come up with another answer.

For his part, Sidney is hurt by her lack of trust in him but unwilling to trust her enough in return to tell her the whole story. Still her words do affect him enough to make him begin to lower his barrier and give Theo James one of his best acting moments:

Sidney: And what do you know of love? Apart from what you’ve read?

Charlotte: I would sooner be naïve than insensible of feeling.

Sidney: Is that really what you think of me? I’m sorry that you think that. How much easier my life would have been if I were …

Fortunatelylori: I just … he’s very good … that is all

It would be very tempting to assume that since Charlotte admits to being naïve once the whole Otis and Georgiana’s situation is revealed:

Charlotte: It’s all so overwhelming! I hardly know what to think anymore. (beat) About anything! I’ve always felt so certain of my judgment. But now I see that I have been blinded by sentiment and naivety. How could I have gotten it all so wrong? No wonder your brother has such a poor opinion of me …

and Sidney begins to show more outward concern for the people around him and validate Charlotte in ever increasingly romantic ways:

Charlotte: I know … I’m too headstrong. I’m too opinionated. I’m too …

Sidney: No. You are not too anything. Don’t doubt yourself. You’re more than equal to any woman here.

That their clashing world views are now aligned. But the truth is, Sidney isn’t the one to explain to Charlotte how it was that he became “insensible of feeling”. It’s Tom that tells her that story (and then promptly bungles whatever help he might have provided his brother). Sidney’s trust issues remain which is evident even as late as episode 8:

Babbington: I believe she’s tamed me.

Sidney: Yes … I just imagine how that might feel.

And

Sidney: I have never wanted to put myself in someone else’s power before.

Don’t get me wrong, I melt every time I hear that second line but it is indicative of the fact that love still feels like an inherently risky and dangerous thing for Sidney where he is obliged to hand over his power to someone else and pray that person doesn’t abuse it the way Eliza did.

For Charlotte’s part, Sidney beginning to reveal more of himself and show her the true man underneath the armor, makes her fall more and more in love with him. And the more she loves him, the more afraid she is of outwardly showing it. His confusion over his feelings for her and Eliza’s reappearance in his life, cause her to attempt to fill in the blanks again in episode 7. First by proxy, while talking to James Stringer:

Charlotte: You are far too sensible to form such a misguided and futile attachment.

Stringer: Why should it be futile, Miss Heywood? For all you know your feelings are repaid 5 times over.

Charlotte: I allowed myself to believe so for the briefest of moments. But I cannot deny the evidence of my own eyes.

And then directly:

Sidney: I hope you weren’t too offended by Mrs. Campion. It was only meant in jest.

Charlotte: Is that all I am to you? A source of amusement?

Sidney: No. Of course not! You’re … Forgive me.

Charlotte: On the contrary, you’ve done me a great service. I am no longer in any doubt as to how you regard me.

So what happens in episode 8? Well, they essentially trade places, going from this:

Charlotte: I hope you won’t think too badly of me.

Sidney: Think too badly of you? I don’t think of you at all, Miss Heywood.

To this:

Sidney: Tell me you don’t think too badly of me.

Charlotte: I don’t think badly of you.

In one of my metas I made the point that Sidney Parker IS Charlotte Heywood’s coming of age story: he is her first love, the first man she is sexually attracted to, her first kiss and well … unfortunately also her first (and hopefully only) heartbreak.

By being forced to deal with her own sense of loss and the pain of being separated from the person she loves, Charlotte will finally be able to understand the true nature of Sidney’s insensitivity of feeling. Instead of causing her suspicion or apprehension, she will be able to connect with it because she’s lived through it herself.

As for Sidney … I don’t think it’s a coincidence that in the end he is forced to do to Charlotte what Eliza did to him all those years ago. He chooses to marry a wealthy woman he does not love and disappoint a poor woman whom he does love.

I think given that his motives are obviously altruistic while Eliza’s were not (both per Tom’s story as well as her general character as revealed in the show so far), the point of the similarity is not to bring him closer to Eliza. Certainly not when he’s looking at Charlotte like this:

Which means that him being forced to contend with what happened 10 years ago by reliving the incident, this time in the role of the aggressor, is there to increase his level of vulnerability and put him in the place of the earnest person trying to reach out for emotional connection and having to fight to pull down the walls he himself helped put up in Charlotte.

You know what they say … If you really want to know someone, walk a mile in their shoes. No one ever said those shoes would be comfortable.

#sanditon #sanditon meta #sidlotte #sidlotte meta #jane austen adaptations #sidney parker #charlotte heywood #sense and sensibility #sanditonmetacollab

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juwelenstaat · 5 years

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a take on euclase -- post ch. 81

a long meta that kind of debates a lot of what the fandom seems to have reached an agreement on (also titled : Why Euclase Has Always Been ‘Good’)

I guess I’ll preface this by saying I’ve always been very subjective in my view of Euclase ; in the beginning, I wasn’t crazy about their character design or role, by chapter 60 I had come to really dislike and distrust them, and as soon as the night raid chapter hit, I’ve been absolutely in love with them. Now, having reread the full manga several times, I’m to the point where I have a hard time disliking Euclase at any point (even during the chapter 60 “it’s late ; go to bed” sequence).

A lot of meta posts that I’ve read that focus on Euclase really like to highlight their “shady” characteristics : they don’t patrol and are rather removed from harm by the Lunarians, they are analytical (and we’ve already seen the shadiness of Lapis’s analytical nature), they are so group-oriented that they are willing to overlook pressing issues for the sake of harmony, and they’ve confessed a striking fear of change. The fear of change is something that I often see coupled with their job’s lack of imminent danger : Euclase is situated in a position in society where they’ve been rewarded for an inherent ability, and it’s comfortable for them to allow society to maintain a constant for personal reasons. However, I can’t help but think there’s a little more to Euclase’s personality than a selfish drive for selflessness.

For someone who is often characterized by the fandom as taking a safe job that allows them to manipulate things without having to take credit, Euclase is characterized early on (chapter four early on) to be selfless. At the moment Phos is put into danger, Euc is fully prepared to run blindly into a fight that, as far as we know, has never had a similar encounter in all of gem history. They even do so before Diamond or Bort do so. If we take the stance that Euclase is at least partially aware of the mortality of gems (through their analytical stance on dates, they would at least understand that there is no coming back from the moon), then it’s hard to deny that Euclase is willing to take major risks on behalf of others.

Even so, a few chapters later, we’re told very explicitly by Euclase themself that they envy living creature’s ability to sense danger. They are afraid of unknown variables, they are afraid that their predictions could prove inaccurate and hurt themself or other gems, and they seem to hold a sadness in them that is very characteristic of the older gems. They hold an insecurity about their brittleness : knowing fully well that the limits of their immortality does not grant them the instincts that come with mortality.

When you put these two very raw instances of character side by side, I think it’s very easy to understand why the majority of gem society loved Euclase as a “kind, kind” elder. They might not be as beloved as Yellow, Padpa, or Alex, but even characters like Rutile and Jade seem to acknowledge Euclase as “kind.” They confront a very real fear with both wisdom and genuine kindness.

(Most of this, if we’re honest with ourselves, is absolutely on par with Lapis Lazuli’s own history. The main difference between these two foils, however, is that Lapis always wanted to act while Euclase always wanted to wait. Lapis sees their weakness as an opportunity for improvement, and Euclase wants to hide it. Lapis sees gem society as a test ; Euclase sees gem society as something to preserve. Lapis valued progress ; Euclase valued integrity. I could go on.)

The majority of what I’ve seen on “Euclase is shady” posts refer to chapters 58 - 60 and Euclase’s constant worrying over Phosphophyllite and the admittedly creepy imagery of Euclase constantly hovering over Phos (that, on the first reading, made me dislike them, too).

I think it’s very important to note, however, that these panels are drawn from Phosphophyllite’s perspective. Phos is an unreliable narrator, Phos has been worrying over their plot and its exposure, Phos has already been unsettled by Diamond and Yellow, and now Euclase is challenging their honesty. They have every reason to be anxious over suspicion.

But consider the exchange from Euclase’s perspective. No gem has ever returned from the moon for as long as the gemstones remember : even Yellow treats it as a completely foreign concept. Phosphophyllite’s body has changed, their pearl eye is foreboding, their clothes are foreign, and the actions that Phos is partaking in all lean towards Phos being allied with the Lunarians. Even more notably : there is no aspect of kindness in what Phos is doing. Nothing about Phos would give the assumption that they haven’t been completely transformed by the Lunarians into a new type of weapon. And analyzing threats is exactly what Euclase’s role in gem society is.

We see Euc’s shadiness vanish as soon as Phos does give evidence that they have not been stripped of their original personality. During the night raid, Phosphophyllite loses every ounce of cold composure and throws away their half-truths ; they yell the plain truth at Bort, argue in the fashion they did as a young gem, and they act rashly. Yellow still obviously cares for the earth gems and Sensei, and Padparadscha is on Phos’s side. When Euclase approaches Phos in the aftermath, you can see a notable change in how Euclase is talking to Phos. There are no threats in the conversation, and Euclase - rather than looking creepy - looks gentle and upset.

The elaborate battle that was designed to keep Phos away from Sensei must seem farfetched to Euclase at this point. After trying so hard to make earth gem society look as if they haven’t been horribly hurt by their worst fear coming true - losing beloved gems to Phos’s manipulations, Euclase now has to come to terms with the fact that they were wrong. They apologize ; they try to offer a solution that involves working together. Phos rejects this, of course, because they’ve been hurt too many times that they know it’s never so easy to move forwards. But Euclase internalizes a lot of what transpires. Speaking with the other gems, they again apologize for being horribly wrong and reinforce the same “togetherness” they had promised Phos when reassuring Cinnabar. A notable panel is Euclase smiling and telling the gems to /rest/ rather than worry, which Sensei calls wise.

That being said, their guard isn’t completely down. While the night raid revealed things about the moon and Phosphophyllite that Euclase empathizes with, three gems were still lost. Rutile, Zircon, Neptunite, and Amethyst were cut into bits. The Lunarians/Cairngorm attacked and interrupted the Euclase-Phos conversation. The earth gems still patrol. And, most importantly, the earth gems have unanimously determined Phos to be a hated enemy in the same moment that Euclase determined Phos to be horribly misunderstood and misguided.

By the time Phos returns to the earth, Euclase is shown not only to be empathetic with Phos but emotionally distressed by the earth gems’ abuse. Euclase has made their decision. They want to hear Phos out. When Phosphophyllite explains the consequences of Sensei praying and begs, Euclase is ready to listen. And it’s cut off before they can properly understand any of it.

I find it incredibly interesting how Bort’s and Cinnabar’s train of thought that is so anti-Phos is almost verbatim what Euclase had argued back in chapter 60. Euclase, despite being one of the main proponents against change, has changed the most of the earth gems. Their motives have become obsolete and recent experiences have toppled the way they used to perceive the dichotomy of the moon and earth. They are completely against the idea of hiding Phosphophyllite away, and they have come to reject their own policy of “dealing with things later.” And despite this, they’re still who they once were. They will still yield to society’s majority ruling because, much like Padparadscha in fact, they are willing to let things go for the sake of others.

This is, however, not to say that Euclase leaves things in the past. While Phosphophyllite may be buried under the wishes of the other gems, Euclase takes up the crusade of asking Sensei to pray on a daily occurrence for 220 years. They have stayed up every winter. Until, at least, Euclase backs down in chapter 79 and claims that they can no longer resist hibernation. This sort of exhaustion echoes the same tiredness with which Yellow and Padparadscha existed in the earlier stages of the manga. Euclase is becoming very much the old and tired elder of the group.

And yet Phosphophyllite haunts Euclase. Even in the chapter when every other earth gem practically hunts Phos down to presumably permanently murder them, Euclase takes no part in any violence. They don’t even move to defend Sensei in their dismay. (And, to be honest, before the leaks came out I had given up on my ‘Euclase interrupts them’ theory because the fandom made the Cinnabar theory sound so much more likely. Yes, I’m very happy that it was Euclase that interrupted them bc I love their character arc so so much.)

I think Euclase still has a very large role left to play in the series. But at some point, Ichikawa is simply going to have to end Euclase’s arc. Despite being on the Confucian side (as I like to simplify the earth gems), they’ve come to understand different definitions of harmony and empathize with different methods of achieving it. I think their reaction in the next few chapters to Rutile having Padparadscha back will be particularly noteworthy now that Euclase and Padparadscha have practically taken the same side (even though they’re not aware of it yet). I really hope that the end to Euclase’s character arc isn’t them wasting away as Yellow has ; they’ve worked very hard for others at the cost of their own happiness. They’ve earned the rest.

#i'm so impressed by how many foils ichikawa uses in her writing #everywhere you look there's a foil #euclase and phosphophyllite?#bam they're foils they want the same thing in extremely different ways #euclase and padparadscha?#bam they're foils they do the same thing from very different perspectives #euclase and yellow?#bam they use the same coping mechanisms and yet end up in entirely different places #this entire series is written to make you ache and it shows #goddamn it shows #all of euclase's sequences are just #exquisite?#it's hard for me to look at them without feeling some profound sadness #even in chapter 60 when they talk about lapis #you definitely get the feeling that euclase understood how similar they were to lapis #and you DEFINITELY get the feeling that euclase reminisces on ghosts so so much #houseki no kuni #text #euclase #mm i didn't mention euclase and lapis as foils but they have The Foiliest Energy

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bluerosesburnblue · 5 years

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Hi blue! ❤️ I've been in a lot of discords where alot of the KH fandom confirms their belief in the SRT. I have a pretty decent understanding of lore so far. I got into some nice debates where fans defended the SRT soley off an existence of a different wordline. I'd ask "So if Sora was able to pull all the guardians into a different worldline... Xehanort could've just targeted the princesses of heart - why would he follow them.. if this theory was Canon??" And I'd just watch then hit silence.

To add context to my previous, I don’t understand how Riku being Sora’s light has any reason to even be included in this theory. To me, this theory should’ve had the focal point only on the idea of multiple world-lines, but having looked at all your blogging in that regard, the clear and excessive inconsistencies in their theory shows that the sleeping realm wasn’t the focal point. I follow some of the writers of the theory… And after sharing the doc they only celebrated Riku and nothing else

Honestly, thank you for your effort in breaking it down. I knew I wasn’t crazy when I thought that something didn’t really seem right with the theory. I watch a lot of KH theory videos on YouTube from small creators with no shipping bias and they’re honestly very creative and genuine with their work. I understand how they feel about their ship, I love Kairi so much and would cry if she got her own game. I just think they should’ve left the Riku thing on its own and kept it away from this theory.

Hey there! And thank you! I’m gonna talk a lot so to keep this from clogging up everyone’s dashboard, it’s going under the cut

I think I may have touched on it a little bit when I was explaining why even if the writers say this isn’t an “it’s all a dream” theory, I still feel like it has enough similarities to be considered one and… you’re absolutely correct. There is no reason for Xehanort to follow the Guardians into a new worldline. We don’t even know if he’s capable of it. We also don’t know if his planned universal reset just works in the worldline he’s in, or if it would erase all of them. We don’t know anything about worldlines other than that it’s a term Luxu used, like, twice

If Sora and Co. hopped worldlines, Xehanort would just grab the Princesses and win. If Sora and Co. hopped into the Sleeping Worlds… then Xehanort would also just grab the Princesses because the heroes still aren’t around to stop him if they’re in the Sleeping Worlds. It might take a little extra time, especially if we go on their assumption that Kairi is dead since now he’s gotta go find Princess #7 again. Because let’s not forget that this theory also claims that Kairi did not hop worldlines and that the Kairi we see is a Chirithy she’s piloting from the other world. That she died in

(Personally, I think there’s a fundamental misunderstanding of Xehanort’s character throughout the whole theory. He’s not a master planner. If he was, none of his plans would have ever failed, and he makes very clear in DDD that the plan to use TAV was intended to succeed. He is a master opportunist who’s excellent at making sure he has just enough irons in the fire that if one plan fails, another’s already going. The issue is most prevalent in the part of the theory where they try to claim that he planned the paopu scene. And uhh… any part where they make it sound like Xehanort has big plans involving Sora. He doesn’t.

His plan in DDD was opportunistic. He never planned for Sora. Sora was this thorn in his side who was constantly messing up his plans. If you know that no matter what you do this boy is going to mess you up, then how do you remove that threat? Either kill him, which is unlikely as Sora also makes for a decent Light if need be, or bring that power onto your side. He also didn’t like… give YMX time travel powers just to get Sora. That was another opportunistic iron to add to the fire. Like, if I knew that I was going to do something that would give me time travel powers and that I could pass that on to other versions of myself, why the hell wouldn’t I go back to the earliest version of me that could make use of that? That way I have the power… literally from a very young age and continue to have it my entire life. It’s a paradox, sure, but a damn effective one. He would’ve had Ansem go back to give YMX the power regardless. Knowing where Sora was at the time was just a byproduct, and one that he later found a use for

But after the plan to force Sora to join the Darknesses fails… Xehanort doesn’t really have to do anything. He knows that Sora’s a meddler who will fight for the light and is easy to goad into emotional actions. That’s one less Light that you have to worry about getting to the battlefield, because the kid will do it himself. There’s no need to have Kairi involved at all in terms of the paopu fruit thing? There’s no need to plan literally since flinging child Kairi into the abyss out of curiosity for her to make Sora fall in love with her. Like, again... he doesn’t really have a grand plan that he’s been implementing from the start so much as he has several plans that all require roughly the same or similar pieces. Xehanort only makes extra effort for himself if he feels like it could serve multiple purposes. He doesn’t see Sora as worthy, so he’s going to expend the most minimal effort on him. That’s one of the things that I think this theory fails to understand most; Xehanort doesn’t really care about or have grand plans for Sora. So long as the boy fights for one side or another, Xehanort’s already got what he wants

So with Xehanort being such an opportunist with so many contingencies... why would he pass up the chance to do things the easy, if more time-consuming, way by just... staying in the world without the heroes and succeeding with Plan B while knowing that there’s no one around to stop you?)

But, rambling about Xehanort’s characterization aside, you bring up something that I was planning to talk about once I finished going through the theory. My plan at the end was to go over what I felt that it did right or wrong writing-wise. And one of the things it does wrong is that it’s actually several mini-theories very loosely tied together that don’t prove each other

Making a theory about what you think a worldline is is its own thing. Making a theory on KH3′s connection to the Sleeping World lore is its own thing. Making a theory that Riku is really Sora’s light is its own thing. Making a theory that Kairi’s been controlled by Xehanort this whole time is its own thing. None of them correlate

The only reason to include all of them together, and this is going to sound really jaded, is if you intend to trick people into believing that your interpretation of Riku’s and Kairi’s contributions is canon. Because if they’re presented together, then it comes with the implication that if you accept that part of their theory is true (the definition of worldlines, the connection to Sleeping Worlds), then you have to accept that all of it is (Riku is the one whose act of true love saved Sora, Kairi’s contributions were all planned by someone else and therefore less legitimate than Riku’s, etc.).

And I don’t think I’m wrong to read that intent into it. From what I’ve read of the theory so far, they’ve made their shipping bias outright clear (calling the video files soriku_sleuthers as though they’re looking for evidence supporting their ship, spending an entire section on proving that Riku’s “most important person” is Sora and that the feelings are romantic...). Spending about .2 seconds on any of the creators’ Twitter accounts also makes the fact that really all they care about KH-wise is Riku’s part in the SoRiku ship (not even Riku as a character, because they get his character so totally wrong in the theory, but just what Riku contributes to the ship)

I don’t know if it was intentionally done by them or not. It’s possible that the natural ship bias clouded how they interpreted events in the game, too, to the point where they legitimately think that their interpretation is just obviously correct because the content that they interact with most and longest leads to that idea. I’ve already talked about how confirmation bias clouds the entire theory so thickly that they unintentionally discredited everything in it by that alone. But the point remains that the only reason that I can see for having an entire section on how perfect Riku is and how pure his love for Sora is, and another on how Kairi is Xehanort’s pawn trapped in another worldline, is because the easiest way to legitimize those as “canon” is to attach them to something that you think you can prove is canon

Except there’s so many holes, so much misinterpretation, and so much... I almost want to say forged evidence because that’s the only way I can describe what they did to Xigbar’s speech on Olympus, that there’s a mountain of things that can be logically and soundly proved to be incorrect and absolutely no decisive evidence so far proving that any part of what they’re saying is true

I’ll give them some credit, though. The SoRiku stuff doesn’t take up the bulk of the theory and is apparently subtle enough that even quite a few SoRiku shippers don’t think it’s even really a part of the theory. But that ignores the fact that while they have a ton of “evidence” unrelated to the ship, the inciting incident that the whole theory revolves around is the idea that Riku’s act of true love in sacrificing himself to save Sora (attributing Kairi’s sole salvation of Sora to both Riku and all of the other Princesses of Heart) allowed Sora to transfer everyone (except Kairi) over to a new worldline and also the Sleeping Worlds. It may not harp on it, but the theory absolutely pushes SoRiku as the canon ship if you want to believe that the theory is canon because they wrote it so that the events they’re describing cannot happen if it isn’t

It’s why they couldn’t keep the Riku stuff out of this theory even if they wanted to. Even if it would’ve made for a more believable theory. He’s the only part of this damn thing that they really care about

Again, I’m going to go into everything I think this theory does wrong at some point. And I’m sorry that this got so long and ranty! Seeing old followers go in and reblog the debunk stuff right now, which is attracting new followers like you is actually really fun and heartening to watch and I’m so glad that you liked the content enough to tell me! I wish the theory hadn’t become what it is. I wish this debunk wasn’t something that was even necessary. But I am grateful that it’s given me the opportunity to chat with a lot of people, yourself included, about this fandom! Up until I started this project I was relatively unknown in the KH fandom. I really hope that the upcoming debunk stuff meets everyone’s expectations!

#kxiridreams #liz answers #liz debunks the sr theory #i don't know why i started rambling about xehanort's character but that's a mini essay in this reply #honestly keep shutting supporters down by bringing up xehanort's lack of motivation to do what the theory claims he does #i love that and it's a really fresh angle on this mess #bless small theorists on youtube though #they're doing their best out there

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scorpio-karma · 5 years

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Also, I know JP hates Kat/Bonnie and didn’t want to see her thrive, but if you had things your way, which 3 characters do you wish Bonnie had more interaction with/would have liked to see her have a romantic arc with?

So I'm going to eliminate Bonkai from this because everyone under the sun knows that's my OTP and I've talked about how is write them many times before and I don't have anything new to add. Plus I really want to talk about other Bonnie ships I like since I rarely do.

Also note, these don't exist in the same AU because the potential storylines I have for them can't exist in the same storyline. For how I would weave multiple ships for her refer to this ask.

Tyler: So if you've been on my blog you may know that Tonnie is one of my all time favorite ships and the only other OTP of Bonnie's besides Bonkai. If I was reading a triangle with them I would legitimately have a hard time choosing. This was my second choice of endgame for Bonnie because he's the only other character besides Kai I see being able to relate to what Bonnie has been through and having a positive long term effect on her because their experiences are so similar. This is my fluff ship.

This is actually a ship that kinda snuck up on me. I passively shipped it at first reading fics with them like Best I've Ever Had which spawned my first fic in the TVD fandom My Discarded Men which is more of a multi ship fic but it started out as a Tonnie oneshot. Then I started reading CarlyCo's fics All Warfare is Based on Deception (which is actually a Bamon fic) and Bitten and started falling in love with them, but it wasn't until I read Stranger Then Fiction when I fell in deep and realized their full potential.

What that fic did was put Tonnie in the context the show should have been doing with all the characters, as childhood friends and established them as being close as kids, falling off when he was a douche, but finding each other again when Grams dies. And I love this concept so much because it provides more insight to the pasts of characters who aren't vampires establishing how life existed before the Salvatores showed up, and gave us the one thing we always wanted for Bonnie which was comfort her while she was grieving and provided her with someone she was willing to take comfort from. Plus I love the concept of witches and werewolves being naturally connected to each other.

So I would start with that, Tyler being there for Bonnie after Grams died. It's also a great time for Tyler development wise when they started toning him down. They wouldn't go full blown friendship yet, but they'll be on touch with each other and the the finale happens which will intrigue Bonnie more about what happened when the device went off which she already was but they passed that on to Caroline.

Then that would get into my initial hopes during season 2 rooting for them before we got Beremy and Forwood, only one of those being disappointing. While I did like Forwood's first moment it kinda had to be forced. Instead I would have Bonnie continue her investigation into Tyler and why he was triggered by the Gilbert device which would lead to the discovery of werewolves. When he first transitions she uses her magic to ease the pain. From there they would get closer. Eventually it would come to light what happened to Mason and Bonnie would explain things herself because she knows he'd need to hear it from her. This would cause a rift and he'd leave with the other werewolves where he would learn more about being a werewolf.

Here's where I kind of have the dilemma of using both of their canon storylines and having them come together years later away from Mystic Falls and live out their lives happily; or I fix it for both of them and have them get away a lot earlier. I'd lean for the first option because the main issue with what they went through in canon is that there was no pay off later, I would give them that.

Klaus: This is Bonnie's rebellion ship in season 3 after they killed her mother and Jeremy cheated. First I would continue to keep Klaus' S2 characterization with his affinity with witches. Greta's dead, he'd need a replacement. Bonnie understandably wouldn't go for this especially with what happened to Greta. I'd also change how he'd approach the werewolves. Entitled whiny bitch who causes a mass genocide out of a temper tantrum does not a good leader make.

Instead of making hybrids I would actually have him explore his werewolf side and this werewolves. I'd also have an actual friendly approach with Tyler where they learn the werewolf stuff together. Maybe stop the coffins because that got annoying as well and have the only one he keeps is Esther's.

Then have the events of S3 with Bonnie and she is pissed. When Klaus needs her help she's willing. She joins in on the torture of Damon with Rebekah. People were pissed at her for doing nothing, why not give them a real reason to be pissed. She even goes so far as to fuck Klaus and unfortunately gets the feels. When it comes time to kill him she saves him for personal reasons and Tyler is in on it.

Damon: This I would start in S1. As I noted here, a lot of Damon's actions in S1 were counterintuitive to his objective, and his worst crime, raping Caroline, was gratuitous and served the plot in no way. So the first thing i would change is him approaching Bonnie, not Caroline, and actually having to charm her because compulsion doesn't work on witches.

Basically I'd have the first part of their relationship Bonnie finding out she's a witch and him trying to con her into opening the tomb to get Katherine out. Things would get personal and he'd grow fond of her the more he learned about, but his objective would be the same. She'd eventually figure him out causing her to become hurt and shut him out completely. Absence makes the heart grow fonder, and he'd miss her, miss having a friend, which would cause the whole Vicki situation.

This is kind of a different tangent, but I would keep her alive because she would make a more interesting vampire than Caroline did; she would have had more obstacles. Weirdly, much like Caroline, she would be working on control for Matt. Due to their childhood I assume they were very close because they were all the other had.

The events at the Halloween dance would still occur but instead of her dying that would be her moment of reflection like Caroline's after she killed Carter, except she wouldn't have killed anyone. Her history as an addict would make Stefan be very relatable for her.

Tangent over, the point of that is it would also kick Damon into gear and work to get his friend back because he's dangerous otherwise and Vicki being dead would hinder that. They start over completely honest and Bonnie would eventually agree to open the tomb feeling bad for him.

When Katherine isn't there he'll spiral in booze like he dis in canon. While he's drunk and talking to Bonnie he'll have a self-deprecating moment where he'll blame himself about Katherine and Bonnie will attempt to comfort him. He'll kiss her, stunning her, but then stop realizing if that were to happen he wouldn't want it like that. After that i would develop a friends to lovers romance over the course of events from the series just now with his characterization changed to be a lot more productive and care about Bonnie.

#bonnie bennett #tonnie #tyler lockwood #klonnie #klaus mikaelson #bamon #damon salvatore

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i-am-the-entertainer · 6 years

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RevieWBY: Volume 6, Chapter 1 “Argus Limited”

Spoilers for Volume 6, Chapter 1

This is the first of what I hope are gonna be regular RWBY review posts. It’s hard, nay almost difficult to review individual episodes of RWBY considering each part is only a single piece of an overall product, but I think there’s value in giving special attention to what the show gets right in its individual episodes.

I want to emphasize a bulk of this was written in response to the premiere screenings, which is a significantly different experience from watching it on RoosterTeeth.com, considering everything is in your face and you’re watching it with fellow fans, which makes it a more visceral experience I think. I have edited this here and there after watching it again on the website, but since my first experience with the episode will always be from a giant screen, take what I say with a grain of salt.

As I suspected, it looks like the trailer is made up of footage from the first few episodes. About 50% of what we saw in the trailer came from this episode, mostly the stuff involving the action sequences. Two possible explanations for this:

The pipeline for production hasn’t changed: they’re still producing the episodes as they come out.

The pipeline has in fact changed but they don’t want to spoil stuff.

If it’s 1, I’m worried because I and several other people felt a rushed production timeline was why Volumes 4 and 5 had major storytelling issues. The thing is, it’s clear from the BTS stuff they showed that the general production pipeline has changed: the studio has gotten bigger, and I think production on gen:LOCK has forced them to fix the problems they already had: meaning, they’re spending more time on the finished product. And it makes sense not to spoil the latter half of the season in the trailer: considering it’s serialized storytelling, it’s a big no-no to give that kind of thing away before the show even comes out.

And this episode? They clearly had a lot of time to work on it. This is the best animation-wise the show has looked: there’s a lot of attention paid to minute details in the show. Character movements are more fluid, the choice to turn to more anime-like gags is making the show feel more like RWBY that we’re used to (which to be fair the first episodes of the last two volumes also did and did nothing with so take that with a grain of salt), and during our first big battle sequence minute things like firing effects and visuals are so much better than they’ve been: the show looks more like a cartoon/anime now more than ever before, which is coming down to the movements just as much as the visuals. But it even comes down to the little details, like how Weiss’s mouth is at a certain angle when she’s complaining about having to go back to Atlas, and how it seems like characters’ faces use more than just the mouth and eyebrows to convey emotions.

Characterization was, as usual, excellent––let’s be honest, the characters have always been at least the second best part of the show, next to the fights. The dynamic between team RWBY, despite their long separation, is the same as ever. And appropriate for what’s happened, there’s definite tension between Yang and Blake over what happened back in Vale in Volume 3. Considering this fandom’s seeming inability to accurately predict story direction (which I myself am guilty of), I don’t want to make too many calls about where I see the story go, but I think it’s safe to say they’re not going to gloss over a firm reconciliation between Yang and Blake: we get a strong hint of that in the opening.

The humor in this episode was a lot better as well: jokes didn’t seem forced, and at my screening the laughs really came from entertaining character interaction. They’re definitely trying to lean back into the anime vibe from the earlier seasons, but the jury’s out on whether that’s gonna be consistent for the rest of the season.

I don’t have much to say about how Ilia and Sun were removed from the plot other than, “Yeah, that’s a good call.” Let’s be honest, having too many characters doing too many things was a problem even during the so-called “golden age” of the show, so removing them from the equation would have had to happen or we all would have been moaning for the Volume to end sooner. And I think they got proper send-offs: Ilia’s been redeemed and gone off to her own adventures, and SSSN is back together (Neptune had everyone at my screening doubled over in laughter).

The choice to start the episode with the fight, then cut to earlier, then show a small portion of the fight before continuing the story was an interesting one, one I enjoyed. For one thing, it gives us a chance to see the whole Team RWBY in action right off the bat, and definitely sates everyone’s desire to see an action scene: we don’t need any context as to why they’re fighting, we just know for sure that they are once again a team. Honestly? After two seasons of waiting, the fan in me is relieved they didn’t waste any more time for that. Plus it would have saved the fight sequence from going on longer than it needed to with a weird pause to have Oscar tell Dudley to turn off the turrets.

So, uh, speaking of the fight...

Regarding the big battle sequence: it’s an improvement, there is absolutely no denying it. But on first viewing I didn’t think it was particularly memorable.

There was a lot going on, sure, and after watching it a few times I think we can all agree they’ve definitely improved the fight animation: characters are once again on the move constantly, they’re using their weapons in the way they were designed to, no more awkward pauses, etc. But it felt like a battle that was inserted specifically to give the show a reason to set team RWBY on its own path. Which, granted, it was, but the problem was bigger than just it didn’t have very high stakes (and I applaud them for trying by having Dee get killed off almost immediately, but killing off a character we weren’t given much time to appreciate or even given the chance to like isn’t very high stakes––same reason why Sienna Khan’s abrupt death felt more annoying than shocking). The problem was the fight scene had too much going on.

Let me explain. If you’ve seen Lindsay Ellis’s Transformers film theory series, you might have seen her video essay about why it’s so hard to remember what happens in Michael Bay’s Transformers series. Basically, the Transformers films have a whole lot going on in terms of visual: explosions! Guns! Robots that transform into cars! Cars that transform into robots! Yeah yeah, lot of spectacle, but because the action is non-stop, you don’t have the mental power to retain it all.

One could argue that madcap fight sequences have always been part of RWBY’s charm. But the thing about previous fight sequences, especially Monty’s (look, I know it’s been some years now, but it’s an inevitable comparison, he set the bar), is that nonstop visual spectacle was never really all they were: in terms of pacing, shots of action were followed by moments that gave characters time to breathe: the separation of actions would then lead to a new way of shooting the fight. For reference, look at the gunchuck fight from Volume 1: camera angles and movements changed based on what portion of the fight is happening, with appropriate breathers in between. This contrast gives the fight maximum impact: it’s why the gunchucks’ introduction was so cool. For one of the best examples from Volumes 4 and 5, look at the Qrow v. Tyrian fight for a similar rhythm.

And while the shots in Volume 6′s premiere certainly showed off the movements well, the pacing was fast, the characters’ actions made sense, I wasn’t snoozing during the fight––basically covering a lot of the problems I’ve had with the post-Monty era of fight animation––because there wasn’t a whole lot of room to breathe in the fight, I didn’t get a very big impression from it. And it’s a pity, because there are some genuinely creative things going on that I couldn’t recall after the premiere and had to actually be reminded: I especially love the split screen of Qrow and Ruby using their scythes to to attack the Grimm, and I’m guessing based on the splitscreen’s presence in the opening that we’ll be seeing it used more (once again adding a more anime-feel to the show). Last volume’s Cinder vs. Raven fight actually got the right contrast down in terms of giving the battle time to breathe, but again it was still mostly non-stop visual explosion. I’m hoping we’ll see some improvement on this front. Plus, I can understand why they may have felt obligated to do this, as they wanted to make sure the season premiere was telling you “You want action? Here’s some action!” And this was a shitton better than the Volume 4 premiere fight and basically every fight that wasn’t Qrow v. Tyrian, Yang v. Bandits, and Cinder v. Raven (...damn. They haven’t had very good fights for a while, huh?). We’ll just have to see how the other fights hold up.

So overall verdict? Genuinely optimistic. They definitely seem to be taking viewer feedback into account with the little stuff I picked up in this episode (it helps that some of the relentlessly positive RWBY reviewers that I’m sure Rooster Teeth follows got so annoyed with the last volume I think they finally realized “Huh. Maybe we aren’t doing so great after all”). I can’t make a call on whether that logic applies to the whole Volume. So we’ll just have to wait and see.

Nitpicks/Observations

The relic is inexplicably smaller. Why is the relic inexplicably smaller? Look, I get it, maybe you made it too big in Volume 5, and ultimately I can’t bring myself to care that much about it, but don’t just retcon it. Either just keep it that size and try to work the story around it, or show some sort of explanation as early as possible.

An accusation was made in the rwde tag shortly after the film screenings that claimed the shot of Ilia’s feet as she walks over to hug Blake was queerbaiting because the shot is framed as though she is going to kiss her. Look, that wasn’t the impression I got at all on first viewing, I’m still doubtful about it after rewatching the scene a few times, but the fact is queerbaiting is not an accusation that is leveled lightly. Representation is important, and I would hope the team understands that and that someone in the CRWBY would call out any moment of concern. That said, I also don’t think queerbaiting is an accusation that should just be made without some thought put into it (lest we forget the whole Lapidot thing on a show known for representation), and the thing is we haven’t gotten any signs from the show that Ilia and Blake are in any way meant to become a couple and the fact that both she and Sun (one of the characters most shipped with Blake) are leaving the show for now was enough for me to not interpret that show as romantic. But I think it’s important that the queerbaiting accusation not be just tossed aside. Have thoughts? Comment.

Look, as dramatic as “don’t let anyone else die” may have seemed, I really didn’t care that Dee died, and probably could not have been made to care.

Yet I should add––they weren’t gonna kill off a major character in the premiere. At this point I think they’ve learned deaths and major character injuries should only be done for emotional impact, if they’re done in the way where it’s just shock value (like Weiss getting impaled), it’s going to be very hard to get people to care (like everyone being like “Oh, that’s just stupid” when Weiss got impaled and there was a cliffhanger).

Like, I dunno, maybe just have the Grimm cause a significant amount of damage? That still gives them a reason to separate the relic from the rest of the car, and still gives RNJ something to do in the name of removing them from the plot.

The shot of the train crash was a little awkward. I think there was an issue with the framerate, or maybe the physics of it didn’t seem to work. I remember seeing it in theaters and thinking “Oh. That doesn’t look that great...”

Good intro to the mystery lady, who we now know is named Maria Calavera. So...when do we learn more?

Predictions

All the posts seem to be saying “Oh that hooded figure is Neo because of Torchwick’s hat floating nearby and she’s the only one without a parasol” or “Oh, that hooded figure is Cinder because of the Grimm arm and Cinder’s sword.” And the thing is: they’re two separate shots, and the latter is really darkened to hide their identity, moreso than the other. I am almost positive they’re two different people...

A note: Cinder’s return to the series is basically guaranteed. Unlike Torchwick, in public statements the writers have avoided outright confirming she’s dead. It would make sense for her survival to be revealed a couple episodes in, with her shot in the opening then brightened.

As for Neo, it’s been 3 years. If they don’t bring her back now, what exactly is the point of the character continuing to exist?

Whoever our mystery person is...they are probably the one whom Kerry claimed in the BTS bit would be the one we’d sympathize with. I don’t think he’s referring to Adam: it doesn’t feel as though Adam is being set up for a redemption arc, especially given his characterization in the character short.

The moon is whole...and then it shatters. Symbolism? Could this be another Volume 3?

Judging by the trailer and the intro, we might finally get some “Ozpin is not what he seems” explanation...

Death flags for Qrow: he already had the major injury in Volume 4. If a major character is going to die this Volume, it’s him.

#reviewby #rwby6 #rwby6 spoilers #rwby #rwby spoilers

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