#he was going to have a great character arc

[zutaranation]

You know, I always found it odd that Mai is just instantly taken in by the gaang. She doesn’t have a changed worldview at all from being perfectly fine with Ozai’s regime and Fire Nation imperialism. She only helped Zuko because she didn’t want him to die. Moments before, she told Zuko he was betraying the Fire Nation by going against his father and teaching the avatar to firebend to defeat him.

In my view, Mai is at least equally responsible for Aang being struck down with lightning as Zuko. She’s far more culpable than Zuko for the conquering of Ba Sing Se. She was literally a part of Azula’s coup to overthrow the EK.

So, in the finale, when the gaang is having an intimate dinner together to celebrate the end of the war, it’s bizarre they’re all fine with breaking bread with her.

It’s also bizarre for Ty Lee, of course. She is just as complicit as Mai and shows no change. Though, she doesn’t make any statements like Mai does, like when she called Zuko a traitor for standing against his father.

Ty Lee, however, is not present at the Jasmine Dragon. She is accepted into the Kyoshi Warriors, but I see that as a beginning for Ty Lee to right her wrongs and come to understand the Fire Nation’s atrocities as she will be spending time with Earth Kingdom girls and women and helping out around the world. It’s implicitly her redemption arc’s beginning, and it’s Suki who exclusively accepts her at that point, not the whole gaang.

I would have liked more lead up to this though. A scene of Ty Lee bonding with Suki in prison or something would be nice to introduce the concept. Atla always needed more female character interaction that passed the bechdel test, so it could’ve been a good opportunity. I like the idea though, it’s poetic that Ty Lee finds herself enough to be okay with being part of a matching set. Plus, her hand-to-hand combat skills make her a great fit to be a Kyoshi Warrior.

But, for Mai, it just seems odd that Katara in particular would allow for her to be at The Jasmine Dragon with them. Obviously, it’s because they were trying to extend kindness to Zuko and Zuko wanted her there to meet his new friends he’s come to love and the writers did it to solidify a pairing “endgame” message, I assume. But, from the characters’ standpoints, it doesn’t make much sense.

She’s just super desperately in need of a redemption arc if she’s going to be a logical partner for Zuko and to be friendly with the gaang in a sensical way. I feel like the writers just disregarded her character entirely, even for a side character, and she was thought to have her story wrapped up as her entire identity being sexistly tied to being Zuko’s girlfriend. Her motivations don’t really exist on screen outside of this, which was a blatantly sexist choice for her character.

[chiisana-sukima]

Hey so this post just came up on my dash and its an interesting perspective for sure. I was wondering if youd feel inclined to share your thoughts on it but no pressure ofc feel free to ignore.

https://www.tumblr.com/zudilio/648738136098275328/the-thing-is-that-i-miss-the-early-seasons?source=share

Yeah, I saw it on my dash too and considered reblogging with comments, but it's three years old and the OP has said in other posts that they're a "Sam ignorer", so I figured they wouldn't be appreciative. Also, to a certain extent, "they should've given the plot points I don't like to the character I don't care about" is just a matter of taste, so there's not a ton to say about that part anyways.

As far as the "Sam is like John because at the start of the show he's driven by anger and his need for revenge" part, my thoughts on it are here, and @ardentpoop and @aliusfrater have excellent meta here as well.

Leaving aside the piece where I think the OP is wrong about Sam though, I do agree with them that Dean's character arc was mismanaged, and I sympathize with them and all the other Dean girls (gn) who got stuck with *waves vaguely at spn in general*. I agree with OP that Dean isn't an inherently angry person. I don't believe inherently angry people exist, but even beyond that, I don't think the intended reading of spn is that Dean's story is about anger. Gamble said at some point very early on that on the inside Dean is a frightened little boy who never had the chance to grow up, and I do think spn carries that thread through the seasons pretty well all the way to s15, where it attempts (with not-great success imo) to resolve it.

Unfortunately, I also think that spn's failure to resolve Dean's character arc satisfactorily was inevitable, and that the things that attract many fans like OP, who identify with Dean, are the same things that made resolving his issues impossible given the set-up. Just as Sam has a realistic case of poorly-controlled, chronic dissociative/classic PTSD (with psychosis during s7 and some CPTSD-like features) and doesn't have the resources to manage it beyond bare-bones survival, Dean has pretty realistic untreated, chronic CPTSD/BPD without the resources to even begin to manage it in a way that doesn't destroy his own life and the lives of the people around him. Dean's violence stems ultimately from his childhood environment, sure, but the person he is by the time we meet him in s1 has severe attachment issues, difficulty regulating his emotions, poor distress tolerance, black and white thinking in a job where black and white thinking results in victimizing people based on factors they have no control over, and most of all, no real concept of boundaries whatsoever. The cause was for sure his childhood, but the present of spn is just a very symptomatic adult. His mental health issues--and Sam's too--are the kinds of chronic illnesses that never go away and that people struggle with over their entire lifespans.

I don't want to be overly negative; many people with mental illnesses this severe do learn to manage them well and live full and happy lives (I am, within reasonable limits, one of them). But it's hard. And longstanding, deeply-rooted patterns of thoughts, beliefs, and behavior don't change without community resources, considerable effort, and for most people, years of trial and error. Spn's main premise is, for some wild reason, that the problems Sam and Dean encounter are metaphorically equivalent to real life problems normal people encounter all the time, but that in the spn world, all of the resources real world people have available to help them are impossible to access, except guns and torture. It's s13 before spn manages to get Sam and Dean into ONE SESSION of therapy with someone they can tell the truth to, and by then, we get this:

Dean is being a lot less unrealistic here than one might think, and yes, this picture will end badly in real life too.

Since the finale, a lot of fans have said things like "Dean deserved to go to therapy and get better" or "spn thinks if you have trauma, you should kill yourself about it", but deserving is fake. We in the real world live in a The Good Place universe. There's no fair calculus for who "deserves" anything. Everyone both deserves health and happiness and love and a comfortable life and also deserves nothing because there are other people who have nothing.

And unlike ours, the spn universe is not a The Good Place universe. It's worse. The writers of spn are and always have been profoundly ungenerous. The whole universe is built on victim-blaming and bullshit calculi of what crimes deserve what punishments and who should or shouldn't mete them out. In the spn universe, Dean is lucky. He had not one, but two BPD favorite persons, and he treated them both like shit, and they still both loved him and wanted to be with him and will be with him in the afterlife, presumably continuing to have the same intense, volatile relationships they've always semi-tolerated.

I like to pretend that maybe Sam, Dean and Cas can all read The Dialectical Behavior Therapy Skills Workbook on Heaven's version of archive.org and take it to heart, or that maybe Sam grew some boundaries in the years he lived without Dean that he can insist on hard enough and long enough for Dean to get a reparative relationship out of, and they can all after-live happily ever after. But the Dean that was alive during the 15 years of spn hadn't done that work yet, and the outcome he got was--if one subscribes to "deserving" as a concept--better than what he "deserved". If you hit your partner, you deserve to be left. If you hold a gun on them, you deserve for it to go off and kill them by mistake and you never see them again (although of course they don't deserve to die). It doesn't matter who the "angry" partner in the relationship is. Any sane person in this universe or the spn one should be angry a lot of the time, because both universes suck. Not to beat a dead horse with a flowchart but:

image source

The violence is the bastard. The emotions are not.

[maespri]

oh my i never really saw myself making a post like this, but i really wanna talk about morgana! more specifically… why i don’t really understand the hate he receives.

for starters, i know a lot of people dislike mona because he gets on ryuji’s case often. his squabbling with ryuji can get hurtful at times too, i know, but i feel like so many people conveniently leave out the fact that… ryuji returns fire? it’s not as though mona is constantly attacking poor ryuji who can’t defend himself; it’s a two-sided fight throughout most of the game. both of them are constantly fueling the fire. not to mention, it’s a fight that eventually ends. both individuals have great character development (i could talk about it for /ages/, but i digress) that ends with their fighting essentially ceasing entirely. they’re both dumb teenage boys, they both said dumb stuff to each other, and they both hurt each other, and all of that is recognized and left in the past.

the hatred toward mona in general is something i struggle to understand entirely. you hate this cat because he tells you to go to bed? the game would have told you to do that one way or another, because it’s a game. there have to be constraints, or you’d get terribly overpowered incredibly fast. i wholeheartedly agree that mona’s lacking in comparison to the other characters in many ways- but i’ve never hated him, and was surprised to see a lot of people did.

maybe i’m just weirdly empathetic toward fictional characters, but i really liked his storyline. mona’s been with the protagonist since day one, helping him out, staying with him, encouraging and supporting him in everything he does, navigating them through mementos and palaces and battles… and he’s never really appreciated for any of it. obviously, the other phantom thieves do the same and don’t require any extra praise, but morgana already has a complex stemming from the fact that he’s not human. inherently, he believes he’s not nearly as good as any of the others, and subsequently, that he isn’t good enough in general- and he’s so ashamed of that that he can’t even voice the concern to the protagonist pre-okumura’s palace. it made sense to me when he snapped and ran away; if you were constantly the black sheep of a group, unable to engage with anyone unless the guy you live with is always there as well, wouldn’t you yearn for autonomy too? (don’t even get me started on the haru parallels there; there’s a reason morgana snapped during the okumura arc.) if you felt expendable and there wasn’t ever an effort made to prove otherwise, purposeful or not, wouldn’t you also want to leave? to spare both yourself, and the people you’re leaving? i really liked his arc because it led to two realizations- that he was pivotal to the group, and it was fine if he ended up not being a human. (and honestly, he was pivotal to my group… who else would i use to heal everyone outside of battle…!)

anyway, his objectification of women was weird. didn’t like that. but this is a JRPG, and he’s not the only one who does strange things like that at times (why was ryuji looking at ann’s chest in the mona bus outside futaba’s palace man…). honestly, his flirting was also weird at times, but as long as it never got strangely sexual, i didn’t really mind? it’s not like it ever genuinely bothers ann either as far as i remember. it’s more just a stupid thing he does.

anyway… i dunno. i like the kitty. he’s silly, he kept me company, and he made my playthrough fun. life is so much more beautiful when you carry love in your heart rather than resentment

[vole-mon-amour]

and they shouldn't have 😠.

I never hoped for this. this is a mess.

x

if you recruit both, give me back the datamined dialogue of Halsin asking the player to choose between him and Minthara. the way she kidnaps and tortures him in every timeline, and the way she kills him in one of the outcomes. is he supposed to just forgive her that? she slaughters his Grove and he's supposed to just forgive that?

man, I wish Larian would have stayed true to what they originally planned. again, it's great that they support the game, lots of things were improved (that should've been done in the first place before the release but alas), but we're getting an entirely new game from what it's been when 'fully' released. at least stay true to your ideas, since it directly affects the plot and its conflict.

give me the ability to play as Halsin before the ship crashes, then. make him the original companion and let me be captured as him and tortured before our party arrives and saves Halsin (us) (or, you know, betrays us). let people learn about his very similar to Astarion trauma that is being treated like a joke and hidden behind a very optional dialogue that is very easy to miss, even if you try hard to see as much of the game as possible on your first run.

we know Minthara is in a cult and is being manipulated (which is its own topic because of the damage that she still does) and she verbalizes it. we learn about it from her and it's not a joke. we know about everyone else's trauma. why the hell is Halsin's being portrayed like this?

(and yes, I know that his comments about his slavery and abuse are victim blaming and that's he's repressing those memories, trying to convince himself it was all fun and mutual. but it wasn't!

Astarion went through a similar experience, but he knows it wasn't his fault. he knows the horrible things that he's done and that he was (still is sometimes) an asshole, but he's done those things to survive.

Karlach went through slavery, but she knows it wasn't her fault.

Wyll became a demon due to Mizora's trickery, yet it is very clearly treated like it's not Wyll's fault, it's Mizora's, his abuser.

Gale is not 100% innocent, but Mystra is clearly his abuser, too, due to the chronic pain that the orb is causing him and how it's a danger to him and everyone around him. Mystra tells him to blow himself up and treats him like he's her puppet. live or die, he's nothing to her.

like, what! the! hell! why is Halsin the only one who gets this kind of treatment of his trauma? why doesn't he get a chance to heal, the same way Astarion does? where did all the plot for Halsin's arc go, too?

Halsin deserves fucking better.)

upd: thought I made myself clear, but apparently not: this post is about Halsin. his personality, and trauma, and how they are portrayed compared to other characters. if you want to talk about Minthara, make your own post. also might block me/the anti tag while you're at it.

[creatingblackcharacters]

here's a threefer if that's okay, all from Codename: Kids Next Door (early 2000s cartoon network show about kids with wacky technology who fight against adult tyranny)—since their stories are pretty well intertwined, and i can't really talk about just one without including the others here's Numbuh 5/Abigail Lincoln, one of the 5 main characters (Sector V of the titular Kids Next Door organization). she's the voice of reason and the "cool" one of the group.

she's the one who holds the group together most of the time, and has great leadership skills—though she refused to be the official leader of Sector V due to an Incident when she was younger. at the end of the show, though, when the actual leader Numbuh 1 leaves for space, he requests that she become the leader of the sector again. she accepts, and eventually then goes on to become the Supreme Leader of the entire KND. love to see a girlboss winning!!

she also has an adventurous side—there's an arc where she goes on various treasure hunts for rare, mystical candies, and i think that's hella cool.

then there's her older sister, Cree. (yes, named after Cree Summer! she voices both her and Abigail.)

cree is a recurring villain—a teenager, one of the natural enemies of the KND. what's unique about her compared to the other villains is that she used to be a member of the KND herself, before betraying the organization on her 13th birthday and escaping "decommissioning" (the process through which all KND operatives have their memories of the organization removed when they turn 13, i.e. are no longer kids).

aside from being just as cool and skilled in combat as her sister, she and her sister have an incredibly compelling dynamic. back when she was a kid, she and numbuh 5 used to be good friends and partners in adult-tyranny-fighting. in fact, 5's signature hat used to be cree's, which she gave to her out of pride for 5 having completed her second mission. in the present, though, their relationship has done a complete 180˚. they're at each other's throats constantly, now that cree had grown into the very type of person she used to be fighting against, WITHOUT memory alteration to boot.

...or so it seemed. in the episode OPERATION: VIRUS when cree was infected with the KND's "unpoppable zit" virus on the night of her prom, 5 actually went to lengths to get the antidote for her because even she thought it was "too far". in 5's words, "you may be my archenemy, but you're still my sister."

so yeah! they actually still care about each other deep down. aughhhhhh. this is just a headcanon but i imagine that to numbuh 5, her hat is a reminder of the good days when she worked together with cree. perhaps she holds on to it as hope that they can reconcile someday? idk

and finally, here's numbuh 9/Maurice. he was also on abby and cree's team back in the days.

his episode literally made me cry, man. it's focused around his 13th birthday and his decommissioning, which everyone in the KND is tearful about since he was one of the greatest and most beloved operatives in the organization's history. seeing him going from a cool kid operative, dedicated to his organization's mission, to an average, kinda dickish teenager was a bit heartbreaking when i watched it at first

one thing i love about this show is how it's a satire of the childhood experience and the pains of growing up that imo is best understood by ppl who've actually gone through it. the trope of decommissioning, as well as the whole conflict between teens and kids, really hammers in the pain of the end of childhood and how fast things change for you as you grow up. how so many decomm'd operatives had unfinished business that they never get to finish. in real life it's like, there was a moment when you put down your favorite toys or hung out with that one childhood friend for the last time, but never knew it was the last at the time. it's so tragic and juicy aughhhh. a line numbuh 5 says to cree during this episode illustrates it best: "you're a teen...maurice's a teen...soon i'm gonna be a teen...why keep fighting it"

however, it turns out he wasn't actually decommissioned! but rather he kept all his memories and was brought on as a secret undercover teen operative, thanks to all he accomplished while he was in the KND. no one is supposed to know about this except the highest of the higher-ups in the KND, but he trusts numbuh 5 with this info thanks to the bond they had. so he continues his legacy as a heroic figure. i really, really love his character, his dynamics with both numbuh 5 and cree (the latter of whom he pretends to ally with and date), and all the show's themes he represents.

also fun fact he's voiced by Khary Payton, who also did Cyborg from Teen Titans!

Hot Chocolate loves this show, so imma pass it off to him. Though first imma say that I do remember how as a kid I was shocked that it was allowed for your character to have your real name lol, I always thought that was so groundbreaking and taboo. Like aww! Her name is Cree, and so is her character! Now to him:

Hot Chocolate: SOMEONE GETS IT. These three black kids had me ready to join KND, kick butt, and steal ice cream. Numbuh 5 was my favorite! Always cool, and a fantastic leader. I forgot about her becoming supreme leader though, so you know what that meeeeeaans- time for a rewatch. Anyway, her relationship with Cree was so interesting and sad like come on, we were homies! It doesn't have to be this way! 😭😭 Especially because even though Cree was "evil" my young self has a crush on her 🤣.

Anyway the commentary on growing up and becoming old and boring caught me for a while, so I made sure I had as much fun as I could. But then they showed Maurice's episode and I was ready to take on the world. Anything to remain a cool agent of the KND. That being said everyone should give that show a try, it's old but still funny. Think I'll start it again for the Eleventynth time

[egophiliac]

queen of diamonds, upright + reversed 💎

I've redone this like eighty times, I have to just be done with it now and stop staring at all my mistakes oh no 🫠

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[problemswithbooks]

BNHA Ch. 429

So, I guess Toga is dead, and people are losing it.

I get why people liked her--she was actually queer, being pan/bisexual. She was representation for them and that's rare in shonen manga. But here's the thing--she was bad representation at best and insulting at worst. Nor do I think she was made queer because Hori really wanted to represent a queer girl. Himiko was always the author's poorly hidden fetish--she just was. She liked girls as much as boys because Hori wanted to draw a girl touching sexually on another girl. You can see this in how he draws her and Ochako in solo pics together.

I mean, people seem to understand this when it comes to Momo and her outfit being overly sexual or that both Himiko and Hagakure's Quirks either leave them naked or they have to be naked to use them. These are excuses to draw girls in a sexual manner. Himiko being into other girls is the same thing and that's the kindest interpretation.

Given how Himiko acts and her Quirk being heavily coded sexual desire, and therefore her use of it against someone unwilling being sexual assault, it could just being playing into harmful stereotypes of predatory gays.

As a queer person myself I just found Toga insulting. She was designed to be overly sexual and give the male author a female character that he could draw being suggestive with his other female characters. When he did flesh out her character, her backstory was eventually the trope/fear of straight people, that gay people will be so overcome with their lust that they end up sexually assaulting them.

In the end Ochako accepts this part of Toga and says she'll giver her blood forever, but as much as a lot of readers took that that as some deep lesbian confession, for me it really fell flat. Hori never really gave any of the main kids time to actually learn about their villain or show how that changed their minds toward them. Shoto only works because Touya is his brother (even though he admits he barely remembers him). But Ochako goes from not thinking of Toga at all pre-first war, to one thought about her during her speech, to suddenly caring about her so much she--given how Toga's quirk is coded, is willing to essentially fulfill Toga's kink for the rest of their lives.

It's weird and it comes out of nowhere. It's made even stranger because Toga doesn't actually change or show remorse for anything she did, which included personally hunting and murdering people before she joined the LOV. None of the death and destruction she is also partially responsible for is brought up either, something that Ochako was rightfully upset about during the first war when less people and property had been destroyed. Ochako just accepts everything about her suddenly and her past serious crimes are forgotten so they can cuddle and cry.

Am I shocked Toga died--a little. I didn't think Hori would have the guts to kill off a young girl character, especially one that he clearly got a lot of joy drawing in sexy poses. But at the same time, once he killed off Shigaraki and ended Touya's story with his slow death, I'm not surprised he went the same route with Toga.

This isn't Naruto--Hori isn't really kind to characters that do something wrong, especially if they don't try and change. Enji, Bakugo, Hawks, and Aoyama all sort of got punished for what they did. Enji is the worst off, being permanently crippled, missing an arm and burned everywhere. Bakugo's hand is damaged, his heart weaker, plus he feels bad that Izuku lost his Quirk so they can't compete the same way he wanted them to. Aoyama, despite doing way less wrong and even helping his class during the forest raid, still leaves school because he doesn't feel he earned being there yet. Hawks lost his Quirk and even though him running the HPSC could be seen as good for him, Hawks always wanted a break, but now he has one of the most time consuming and stressful jobs out there.

So, if this is what characters who actively did good things and even changed and fought to be better get, what would characters who never changed and never did anything positive for anyone but their friends/themselves get?

Before the last Arc started, when so many people said the LoV were 100% going to be redeemed I had doubts and always thought it wouldn't make sense with how the story presented redemption or treated other non-LoV villains in the past. That if the main LoV did get some happy ending where they were bffs with the main cast it would clash with how other characters had been treated.

That doesn't mean that I think how Shigaraki, Toga, and Touya ended up in the manga was well done. I think their endings fit far better then a last minute redemption would have, but at the same time you can feel how rushed everything has been since the end of the first war arc. Hori was done with this story months if not years ago, yet he was contractually obligated to finish it. Because of that I think he left out as much as possible. As much as I think he's written some pretty obsessive stuff, particularly towards women, I can't really fully blame him cutting corners or the story being shit at the end.

We know Manga authors, particularly those that work with Jump are treated like shit. That they suffer incredibly long hours at times not even getting to go home for days. We've gotten messages for Hori saying he's sick quite a few times. On top of that, weekly story telling is not a great way to tell a cohesive narrative. Ideas probably change week to week or at least month to month and you can't go back and change the last chapter no matter how much you need or want to. Then you remember he also gave a lot of ideas to the people who made the movies, which would also change his plans for how he wanted the main story to go.

The story is bad--it has been for a while, but I think a lot of people put their hopes on their favorite characters getting a happy ending, even when there were signs that probably wasn't going to be the case. I know how much it sucks when a character you love gets a shitty ending (Stain was my fav, but he got an absolute dogshit ending) but at least, knowing what I know about the industry I can't really blame Hori the way I see some other people doing. Criticize it, sure, but saying Hori hates his readers or is horrible writer isn't true. BNHA was popular for a reason--he's great with characters and the beginning of the story had some great pacing. We'll never know, but I wouldn't be surprised if BNHA could have been amazing if Hori had been treated better and the story hadn't needed a chapter every week.

If anything BNHA has taught me how much a story suffers when authors/artists are treated like crap and forced to work past burnout.

[iwritenarrativesandstuff]

Teruko and Yosano should've faced off. I think Yosano should've been posed that question that Atsushi was; that reveal of the "future war" - Teruko went along with Fukuchi out of a mix of indebtedness and being at a loss for what to do. War is all she's known; of course she doesn't know. But Yosano has been to the depths of despair and come back out of it again. She might've faltered at this horrific reminder of her trauma, but when it comes down to it, she saves the lives before her. She fought for a way back to light and life. I just think there could've been a really interesting conflict there. And it would've made Teruko's role much more tragic if she wanted desperately for there to be a third option but just didn't have enough time to sit with it and process what that third option might be before Fyodor made it all go to hell.

Also a fight between them would've been interesting, because Teruko is much physically stronger than Yosano, but Yosano can heal from any physical injury inflicted. However, since we now know Teruko can alter mental age, she could inflict psychological wounds by de-aging her, which would've been a good callback to the horrors of war in her backstory, and also been a nice bit of foreshadowing for Teruko actually being a child.

Teruko eventually allowing Yosano to leave out that door after seeing her resolve would've been a deeply bittersweet and powerful moment, I think, especially in hindsight after her backstory reveal.

[arsenicflame]

getting real worried about this one lads

[samuraipussy]

do you ever think about how mizu's name means water and taigen ran from his fate to follow in his father's footsteps as a fisherman and what does he end up chasing in the end?

[waywardsalt]

with my phantom hourglass replay, there are two things i noticed;

a possible theme you could glean from the game is action vs inaction, and i think it's especially prevalent before you even leave mercay the first time, with oshus frequently urging link to not go after the ghost ship, then to just wait until the broken bridge is fixed, and seems reluctant at every turn while link and ciela are more than eager to go and do something about this problem, and the people of mercay in general talking about things and their problems but never seeming to act on their fears or desires, as well as the mention that due to the ghost ship, very very few people are still sailing around, while linebeck is one of the only people we see in the game actively going after the ghost ship and still sailing around. i might make a longer post just talking more about the action vs inaction in phantom hourglass but i just noticed it a bit and thought it was a bit of an interesting sort of theme you could find in the game.

linebeck moves so fucking much. i think he moves more than any npc in the rest of the game. not just in his intro cutscene where he is very animated, just in how much he moves when just standing in his little idle post, it's damn near distracting when the camera is focused on him, he moves a lot. i don't think i've really acknowledged how much he moves, and it really gives the impression that he's antsy or eager to get going, both of which fit him pretty well with how he acts.

[lloydfrontera]

btw when i call asterion a bad parent it's not like. a complaint. i love that he's like that. i love that he's such a terrible father i love that he completely sucks when it comes to parenting i love that even when he's trying to do better he still fucks up.

i love that the first time we see him he's basically telling rakiel to give up his birthright and die quietly without making a fuss so it won't cause issues to the royal family in the long run. i love that when theo is almost begging him to change his mind so his brother won't be humiliated in front of hundreds of people he basically tells him to stop caring for something stupid like family and feelings. i love that when rakiel does an amazing feat and almost dies doing it the only thing he does is reprimand him and tell him how much of an idiot he was. i love that when theo has a breakdown after he failed at achieving the one thing he was raised for asterion did absolutely nothing and completely left him on his own. i love that even when he's proud and wants to do something for rakiel he completely ignores what rakiel actually wants and makes him prove himself again just for the right of his wishes not being ignored.

i love that he acknowledges how terrible of him it is to care for his child only now that he's doing incredible things and proving himself and tries to be a better father... while still completely ignoring the other child he has.

he just. he sucks so fucking bad. he's not even trying to be malicious he genuinely thinks he's doing the right thing and that it's for the well being of his sons but he's so awful at being a father it just makes things worse.

it's very funny. and also so fucking good. for me <3 not his kids tho they're having a terrible time someone help them pls

[sysig]

Anime good :) (Patreon)

[thatvampireenthusiast]

*shows up to the finale a day late with take out*

WOW was this. a ride. i went through. SO MANY EMOTIONS and also that boss fight was *oof* it took me a few tries though not as many tries as magical girl transformation jaania

but!!! just!!! the mage trio!!! who we have to leave behind!!! who is depending on us to get them out of there!!! aequillibria and everything it entails!!! i'll be glad to slow down with dragonfable for a bit now that i've caught up (except for everything with roirr and the first weaver stuff i didn't actually. get to that. but i will. i have Theories about what exactly happened there given it's placement in the timeline or rather, what the consequences of it were (aka i think i know what broke the magesterium or at least who broke the magesterium)), but i'm also super excited for what may come next!!!

we've got all these new tiny fissures, we've got the rift still open in the deadlands, we've got aequllibria to figure out, there's of course several open-ended side stories that still need closure like the fear saga and six heroes... and there's so much more of lore to discover! obviously there's more of the continent across the sea, but what about the lands to the south? the other side of the world where uaanta and notha come from! so many possibilities!!

but also the finale itself was so satisfying. it tied up some more threads, left other stuff open for the epilogue and for the future book 4, made me cry over the mage trio and then made me lose my mind over cysero and his big red (reset???) button (dragonfable devs please you can't keep doing stuff like this to us you've put so many mechquest references in book 3 we're gonna lose it (i still actually have to. play through mech quest. hopefully in a more sedate manner than i have torn through dragonfable). duality of video game, tonal whiplash my beloved

...i don't know where i was going with this but in conclusion i love this game and i'm still having emotions about everything

just. AHHHHHHHHHHHHHH

[randum-famdoms]

JK Rowling’s books are a building. And she stopped after creating shitty, waterlogged, deeply structurally unsound blueprints and half the scaffolding. Then left it to the elements (aka her Twitter), damaging it nearly beyond repair.

And the fandom looked at this, and put on hard hats. And they tore down that scaffolding, and took those blueprints and changed it into something that would work, and they built the most beautiful building you’ve ever seen.

The building JK Rowling designed was deeply flawed, it would never pass inspection, it would collapse under its own weight and lack of structural integrity within seconds of being built. The aesthetic design was tragic and hideous and offensive. But the fans looked at all of that, and said to themselves, “this building is fucked up, it will never be good if left like this, and everything about it is terrible and makes zero sense. But goddamnit, I have trauma and I can fix it because it must be done and no one else will.”

JK Rowling may have designed that original building. She may have had the initial idea. She may have built that unfinished scaffolding. She may have drawn those blueprints.

But this building is no longer JK Rowling’s.