#i think that was partially because of just. the nature of book 5 itself. she had little room for agency yet alone CHOICES during *all that*

[falinscloaca]

honestly the worst aspect of K6BD (setting aside any like. directly moral/political/cultural sensitivity stuff) is that like... its protagonist is in such a place that whenever she does something unexpected or weird (or even "predicable-yet-still-shocking") theres a VERY low chance for my reaction to be "OH?!?!?!??!?!? YEAH THAT TRACKS!!!!" ("YOU SLY SONOFABITCH") or even "SHE WOULDN'T FUCKING DO THAT D:<" but just. "oh yeah i guess she'd do that in that situation. sure, fine, continue. its weird but it makes sense for someone in that situation to act that way".

[aro-is-gay-af]

Why do I think Resume will end up with Volturi - an attempt to explain Bella/Renesmee relationship

As within the fandom nobody likes Renee (no wonder why) I'd like to make an attempt at explaining to y'all what's like to have a parent like her (because I've got the same problem) and why this is going to cause problem over the years between Bella and Renesmee. This post will include such things as explaining:

why being in a relationship like this is so tiresome

what kind of effect has it on Bella

why Bella is just the same towards Renesmee as her mother was to her

why Bella and Renessme dynamics as mother/daughter aren't as fantastic

why is it so probable that Renesmee will eventually join the Volturi and what may be her reasons to do so.

1. Someone, who's never been in the kind of relationship that Bella and Renee have, is not going to catch up quickly with the point that I'm making in this post. Why? Because it's hard to imagine yourself being in an abusive or neglectful relationship with a person, who is a close relative of yours. You never want to acknowledge that something is wrong and instead, you're trying to find excuses for the person's abusive behavior. Fandom agrees on the fact, that Renee is, at best, neglectful of Bella, while at worst, she's downright abusive. I agree with both statements and in a moment you'll know why. You also need to know that everything I'll write here is from my experience from being in such a relationship hence it doesn't mean everyone will have the same experiences as myself. Now, why is such a relationship so tiresome and you struggle to find your true self in it? In my case, very similarly to Bella, I became responsible for things I shouldn't be responsible for at a very young age. I didn't have the time to actually be a kid because I needed to handle "adult responsibilities". When you have adults' responsibilities you lose something beyond reclaim. You'll never go back to your childhood and be a child once again. I was forced, not only to handle myself, but also my brother and mother, and our household. I didn't have time to do most things that kids do cause I was taking care of my brother, or my mother, or doing chores, or anything that was supposed to be done by adults, except it wasn't. While all of this made me extremely responsible, it also made me anxious, bitter towards my parents and I suffered from depression for a long time. I read somewhere that Bella is exaggerating and it's normal to help your parents within the house, to have responsibilities. The problem here is that Renee is Bella's responsibility in the same way my mother and brother were mine. You cannot give this up because you're too responsible but it also eats you from the insides. Also, if I remember correctly, Bella says somewhere in the book that she doesn't mind this because that's how things are for a long time. That's exactly what I'm talking about! When such responsibilities are forced on you at a very young age, you accept it and think it is natural. It isn't. Adult are adults, and kids should be kids, not kids forced into adulthood.

2. + 3. When you don't have time to be a child and you're forced into the adult world, there's always going to be some consequences that you cannot foresee prior. To Bella it ended actually sadly - we can see in the book, as well as in the movie, that Renesmee is almost as an accessory to Bella. Sure, Bella dies for her, but what else? Renesmee is described as mature and serious, she doesn't want to do things that kids usually do. Why? Smeyer made her this way, yeah, but apart from that, it's because Bella cannot handle a kid. The idea of full family appeared to her because she never had it herself. And while she admits that she doesn't even want children in Eclipse, suddenly in Breaking Dawn we see her change her mind completely. All she ever wanted was a) Edward and b) to be a vampire. So when she has these two goals achieved, why would she even bother with Renesmee? So Resume is mature enough and growing up quickly to relieve Bella from the burden of maternity.

4. Also, I'm not saying that Bella doesn't love Renesmee. Of course she does. Renesmee, also, loves her dearly. It's the same dynamics as between my and my mother, and between Bella and Renee. Bella loves Renne but needs to take care of her and be the responsible adult™. It also tires her, as she needs to think about how to handle the business in the most effective (and cheapest) way.

I think we can establish by now that love has nothing to do with this. So, because of her childhood and the poor illustrations of how relationships should work, Bella is exactly the same towards Renesmee as Renee (and partially Charlie) was to her. She thinks Renesmee is able to handle herself fine - she's constantly throwing at us proves that Renesmee is mature enough to do almost everything adults do. It's bullshit, of course, but Bella isn't aware of that. It's how she was brought up (or it's rather the lack of bringing her up by responsible adult) and she thinks it's the best way to fulfill parental duties.

As I said earlier, Bella is all smiles because she's got what she wanted - Edward and immortality. Yeah, it's great she has a daughter too, but like... hello, it's Edward and her and they have forever so why to bother with a child. It'll somehow work itself out. I will not ponder here on Edward being a father and how I see his relationship with Renesmee, however, I don't think it's pretty healthy either. Also, I need to add here, that Renesmee at least, has others (I mean other Cullens) who have probably more patience and time to actually raise a child. I think, and it's only a headcanon so take it easy, that Renesmee has excellent relationship with Rosalie. Rose will not treat her as adult - she'll prolong Renesmee's childhood as much as she's able to. She has time, patience, will and all love for her, so I think they're pretty close, and it would be a good, as well as a healthy relationship.

5. The older Renesmee will get, the more she'll be able to understand. Maybe the Cullens (and I hope it would turn out this way) would spare her this "being a premature adult" thing but her relationship with Bella will never be as close as she'd probably wish to. Sometimes, love isn't enough to keep up with the relationship and the shit that's going on around you constantly. One day, Renesmee will go to high school, then to university and then? Who the hell knows. She won't necessarily be with Bella. Sure, she'll be always her daughter, but she's not her property. At some point, Renesmee'll be mature enough to decide whether she wants to stay with her family, or travel, or join another coven. What I think, is that Bella won't be happy about it at all. Right now she has her fairy tale. She sacrificed nothing. She's living the life of her dreams with a man of her utmost desire. She has a child, even though vampires aren't suppose to have ones. What will happen if there will be a crack in her tale? Long, nasty cracks, throughout the wall. This is when I get to the point that Bella has no fucking clue what mess she got herself into (but that's for another post).

6. Holy Grail now. Lord, I'm always making this so long, this was supposed to be brief. Okay. So why do I think Renesmee will end up with the Volturi? A few reasons off the top of my head:

※ at some point Jacob will die and Charlie will die, and she'll now what's grief and how hard it is to go on. Yeah, yeah, I know that Jacob is also immortal right now, but he'll probably be killed while protecting Renesmee or Bella. I always think of their relationship as brother/sister because I cannot stand the imprinting shit Smeyer gave us. Also, I think I don't need to explain Charlie here. Renesmee will be devastated by both of these deaths and she'll have to come to terms with herself eventually. I guarantee you that she'll not be the same after that.

※ relationship with her parents. I briefly explained what I had on my mind when it comes to Bella. Renesmee loves her mother but that doesn't mean they'll have healthy and exemplary relationship. Sure, they can work on that, they have eternity but I think that at one point Renesmee will be fed up with the way how her mother is in love with eternity itself. Her relationship with Edward, as I said, is for another post, however I think with time it can get pretty hard. Could you live with the thought that your own father didn't want you? That he regretted that you exist at all? I don't think so. (Yeah, I'm simplifying, but I need to, so don't hate me for this).

※ Cullen coven can break or partially break. @therealvinelle talked about it here a little bit but that's also what I have in mind. Cullens are fairly young coven, with pretty unknown dynamics as we don't get to know them that much through saga (thanks Smeyer for not dwelling on it further). It isn't said anywhere that they'll last next century, not to think about more time passing.

※ she'll be fed up with constantly living with the humans. Imagine you need to constantly move, go to school/college and abide the rules that you didn't agree on in the first place. At first its great, Renesmee has time and reasources to flourish but she can also do that without anoyone else.

※ she has rampant hunger for knowledge. Where to find more books and more knowledge than in Volterra? Simple as it is.

※ she may not find vegetarian diet... sustainable for her. Remember how she was delighted when she drank first Bella's blood and than human blood in general? I think she can go on for some time on vegetarian diet plus/or human diet (if she was to attend i.e. med school which of course I think she would) but after some time, maybe a century, maybe less and maybe more, she'll eventually come to terms that she enjoyed drinking human blood. That's it. She's half vampire by descent. I don't think she'll be able to resist that much , also because everyone taught her from day one she could have what she asked for in a blink of an eye (remember Esme's spoons?).

AND most important (at least for me)

※ her worldview will completely change after a few/a lot of tragical experiences. Sorry, that's just common knowledge. Life is brutal, people are vicious and ruthless. She'll probably work or go somewhere, where she can see what humans are capable of (both in good and bad ways) and what one can do to achieve their goal. I think she'll go to Volturi to simply find comfort there. They've been alive for three thousand years. They can teach her things Cullen's aren't even aware of. Besides, I think it would be a great political move. We all know Aro wanted to know her so bad. If he would, she'll probably be able to influence him to some extent and spare her loved ones if it'd go that far. That's it! Of course, it's fucking long as hell. Sorry for that. Comment if you wish. I cannot wait if you think the same, similar or if you disagree completely! But no hate, please. Professionals have standards™.

[redrose-arrow]

Do you think Royal Ranger is not as good as his other books? I know a lot of people don't like Madelyn.

I honestly don’t think the Royal Ranger is a weak link in the series. I am aware that a lot of people don’t like Madelyn, and I think that’s fair and understandable, even if I don’t agree. I actually have another post up about that, so go check that out if you want to know more about why I like Madelyn and why I think many other fans do not!

In regards to the strength of the Royal Ranger itself - personally, it’s as high up there in my personal ranking as some of my other all time favourites. I’ll explain why in a bit.

For starters - I think a lot has to do with expectation management: we never would have gotten the stories we wanted. Romantic relationships - and even emotions, in some ways - don’t even reach the podium in terms of the series’ focus. I think, since I never really expected to read a book in which Will and Alyss’ relationship would be a focus, I also wasn’t that disappointed not to get that. More on that later.

Obviously, there’s the discourse surrounding Maddie. If you don’t like her, it’s already challenging to convince you to like her books. I have another long post about this, in case you’re curious :). In any case - I love her.

What I also loved was Will’s character development. Now, this is a tricky point, because I know a lot of fans do not approve of how Will’s depression was handled. Let me preface my own point by saying this: I understand. I understand that the harsh pull-back to reality is not something that works for everyone and I can understand that many fans would have liked to see something else. But here’s the thing: it works for some. It worked for a close friend of mine. It worked for me. Throughout the series, we always see Will as the hero. Even when he’s addicted to warmweed, he recovers from that quickly (ignoring the trauma is another point unrelated to this one). He almost dies - more than once - but he’s always quickly back on his feet. The Royal Ranger is the first (and so far only) book in the series that explores a different side of his character. His darker side. The side that’s hurting, that’s uncaring about anyone, least of all himself. The side that could kill him in more ways than one. The side that he needs to be saved from. Seeing that side of him shocked me, and I love the book for it. Especially to see his growth back to happiness. He laughs again, for the first time, but when he’s reminded of Gilan and Jenny’s relationship he’s sad and a little jealous. He has to physically restrain himself when he finds out he’s hunting Ruhl, but he’s also joking around with Maddie when they’re coming up with their plan. And then there’s the crying, and we read that the tears are for Alyss, finally, but they’re also for Maddie. And for him - most of all, for him. That growth was so relatable for me, that sentence so close to me, I loved it so much, I cannot help but love the entire book for it.

But. Alyss had to die. Believe me when I say that that was a shocker for me too. In my post about why I like Maddie I mentioned that I think many dislike Maddie because she’s Alyss’ replacement, and I want to include that here as well. Yes, Maddie’s pretty much a replacement for Alyss. And something in me hates it, to excuse a male author for killing off one female character to introduce another, and yet again, I cannot help but do so. In this book, Maddie has two roles: one, to be a female hero, and two, to help Will’s character development. There’s little for me to say about the first point, so let’s delve into the second. Given the fact that the Royal Ranger was initially the finale for the series as a whole, we can assume that Will’s character development (that I mentioned earlier), was the most important aspect of the book. So, his dark side needed to be brought out. If Halt would’ve died, Will would’ve been heartbroken and he might’ve gone a little crazy too, but his mentor was old, and so the impact would’ve been different. Halt getting murdered was just too unrealistic, which leaves a semi-natural death, and that’s just not interesting for this series to explore. (Not to mention that that would’ve truly made the fandom riot.) The death of Horace or Cassandra would’ve disrupted the Royal Family too much, and it would’ve required much more of a politics focus than the series likes to delve into. That leaves us with Alyss as the only viable, realistic, and simply useful character death. Yes, yes, YES, I would’ve loved for both Alyss and Will to mentor Maddie, I think she could’ve learned a lot from them together. But that situation wouldn’t have made good on Maddie’s second role. Add to this that a Will-and-Alyss relationship never would’ve been explored a lot anyhow, and her death can be seen in a different light. Hence, I don’t very much mind her being killed off as much as others (but I am still heartbroken about it). Especially since in the future books, Maddie has really come into her role as a character of her own, and since her second role then isn’t so important anymore, she doesn’t really feel as a replacement anymore.

Now that we’re on the topic of death, here’s a quick detour to Crowley’s. Yes, I would’ve loved to see more of Halt’s grieving, but again, that’s not something the series pays particular attention to in general. It would’ve been a little too Halt-focused book and honestly? Wouldn’t have really added something to the plot. So we have to make do with a short sentence that mentions Halt finding comfort in the fact that Crowley died happily. (Also, why do y’all want Crowley to have been murdered so bad?? The man was ancien, let him rest in peace after a natural death with a smile on his face.)

Then there’s the matter of Cassandra and Horace’s parenting. Again, something that not everyone approves of, and rightly so. Yeah, maybe disinheriting your daughter is not the way to go. I agree. I also think it’s a very interesting “mistake”, because it is something that happened in medieval times. Furthermore, Cassandra takes after her father and Horace admits to being a bit sexist. It’s interesting, especially when you see how much Horace and Cassandra grow as parents throughout the Royal Ranger books. Fairly, the fact that Horace and Cassandra admit to not being the best parents makes me readily excuse their actions, but I cannot help it (and, I have loads of headcanons about the Royal Family that make me love them more and more).

Another thing about the Royal Ranger that tends to be disliked is the “repetition” - by which I mean Will turning in Halt 2.0 (in more ways than one). Again, there’s a few reasons why I don’t mind, and even love it. One - why wouldn’t Will be like Halt? Everyone loves their father-son relationship, and there’s more than one son I’ve seen turn into their dad in real life. Two - Will’s confronted with acting like Halt by Jenny. He tells her he just tries to copy his mentor, and she shoots right back saying how much he always complained about that. Yes, Will’s a lot like Halt, but it’s fully backed up and admitted by the series - also when it’s said that Will was barely considered as Commandant because, like Halt, he tends to bend the rules a little too much, and again in Duel at Araluen, when Duncan expresses his faith in his granddaughter partially because Will’s her mentor and Halt was his. Third - I like the parallel between Halt and Will’s relation-/apprenticeship and the one between Will and Maddie. Again, it makes sense for Will to copy Halt in a lot of things (Gorlog knows I copied a bunch of my teachers when I was standing in front of a class). But here’s the thing - Will and Maddie already know each other. They’re close. They’re almost literally family. It’s a very interesting balance that I loved to see in the Royal Ranger 1, and again in book 4. I’m really hoping for it to be explored even further in book 5.

All in all, I really like the compromise of the Royal Ranger. We got another apprenticeship, without the repetition of Halt being the mentor. It’s in the future, so we get a glimpse into the later lives of our favourite characters, but the fact that there’s 15 years unaccounted for leaves enough to the imagination. We have a new main character, but the original characters play important and recognised roles. For me, that means the Royal Ranger is many of the things I love about the original series, but it’s also fresh and new and therefore a valuable addition. Getting back to a point I made earlier: it’s an addition to the series because it is a little different and a little the same. Again, if the series would’ve ended with the Lost Stories, that would’ve been perfect. But if it would’ve continued the way a lot of fans wanted it to (honestly me included, and again, a very understandable point) the series would’ve become extremely repetitive (something that it is risking now as well, I’ll admit, but it’s taken a few more books). So, to me, the Royal Ranger seems like a fair compromise between continuing the series and keeping it intact!

Again, a bit of a longer answer, sorry anon! Also, I want to stress again that no one forces you to love the Royal Ranger - least of all me. If you want to pretend none of that happened - be my guest (even I love doing that every now and then). But I hope to have shown you why I also celebrate its existence!

[fakeikemen]

The Roku/Sozin ancestry plot twist for Zuko

Like I’m sure this has been said before but the twist about Zuko being a descendant of both Roku and Sozin is actually a disservice to his character and his narrative as well? The way the narrative frames this reveal along with Iroh's dialogue, it backtracks on a lot of the story we are shown in Book 1&2 (and sometimes it even clashes with some dialogues in Book 3).

Iroh: “Because understanding the struggle between your two great-grandfathers can help you better understand the battle within yourself. Evil and good are always at war inside you, Zuko. It is your nature, your legacy. But, there is a bright side. What happened generations ago can be resolved now, by you. Because of your legacy, you alone can cleanse the sins of our family and the Fire Nation. Born in you, along with all the strife, is the power to restore balance to the world.”

1. This implies that there are equal amounts of good and evil in Zuko and his internal struggle is about choosing one of them.

The core qualities of Zuko as a character are empathy, compassion and kindness. A person who always gets upset when he sees or even thinks about other people in pain, a person who spoke out against powerful people to save lives that were being sacrificed needlessly, a person who shows mercy to people who don’t deserve it, a person who is willing to reach out a hand to save the life of the man who tried to kill him, a person who avoids fights when possible, a person who is willing to fight on behalf of a family he has known for only one night, a person who reaches out to sympathise after being yelled at— a person like this is definitely not struggling with equal parts of good and evil within them.

Zuko does have two selves, but they can be categorised as pre-scar and post-scar.

His pre-scar version is the version who was unabashedly kind and compassionate, who spoke his mind without thinking of consequences. But his post-scar version was a cover up of the pre-scar version. It was a lie that Zuko lived everyday. He convinced himself that this was how he had to be; because this was what Ozai wanted him to be and that there was no other way.

And yet, when the situation is dire and he is depending on his instincts or when he is given a free choice, we see the pre-scar Zuko spring into action. Because that’s who he really is. It’s not a struggle between good and evil within him, it is his supressed self making an appearance when he slips up and fails to maintain his facade.

Perhaps the line that describes his internal struggle the best is this:

Zuko, imitating Iroh: Zuko, you have to look within yourself to save yourself from your other self. Only then will your true self, reveal itself.

And while this dialogue was played for laughs, it is the most accurate description of how Zuko had to reach for his suppressed self, his real self, to save himself from becoming what Ozai wanted him to be.

2. It also implies that Ozai and Ursa had equal influence on Zuko's upbringing and that he struggled to chose between what was taught to him by Ursa (good) and Ozai (evil).

The idea that Zuko has equal amounts of good and evil inside himself goes hand in hand with idea that the good and evil traits in him have been passed onto him by Ursa and Ozai's upbringings respectively which are legacies of Roku and Sozin.

I don’t need to look any further than “Zuko Alone” to know that Ozai's impact on Zuko's upbringing was slim to none. The flashbacks that we see, are dominated by Ursa's presence. Ozai hardly gets any time onscreen. And when he does, he is shown as a silhouette and when he isn’t a silhouette, we only see him smile at Azula's display of skills and frown at Zuko's attempt.

Ozai was Zuko's father alright, but never in the ways that mattered. We know that Ozai abused Zuko. He constantly belittled him and compared him to Azula. Partially because Zuko lacked the natural talent that Azula had and partially because he lacked the ruthlessness and cruelty that Azula displayed even at her age.

Which made Zuko copy Azula's behaviour to get his father’s acceptance. But whenever Ursa noticed this, she immediately corrected Zuko and clearly told him that it was wrong.

Ozai is never shown to tell Zuko that whatever Ursa told him was wrong. Ozai personally never taught him anything (except that one time). He appreciated Azula's behaviour and encouraged her to keep it up but he just kept on expressing his disappointment in Zuko.

Ursa: Remember this, Zuko. No matter how things may seem to change, never forget who you are.

Zuko's innate kindness and compassion were protected by Ursa in the formative years when he was at his most pliable. And this is why no matter what happens, he never loses these qualities and is able to retain his real self even after he tried hard to suppress it.

3. It diminishes the extent of psychological damage and trauma caused by the scarring incident.

The one time Ozai did take it upon himself to teach something to Zuko:

Ozai: You will learn respect, and suffering will be your teacher.

(Notice that here too Ozai's form is silhouetted against the light behind him.)

The scar is so much more than just a scar to Zuko. It is the one lesson that Ozai taught him. The scar exists because of Zuko's innate compassion. It was put on his face in an attempt to burn out his compassion. It was put there to be a constant reminder of what would happen if he dared to do something that went against what Ozai wanted from him. The scar was Ozai’s brand on his face. It took away Zuko's autonomy to make decisions for himself. It was a constant reminder that Zuko’s opinions didn’t matter.

Post-scar Zuko is Zuko's attempt at supressing his real persona to become the person Ozai wanted him to be, because he learned the hard way that he didn’t have the choice to be anyone else.

In fact, the first time Zuko makes a deliberate choice to go against what was expected of him, (letting Appa go) he succumbed to a fever. His emotional turmoil of coming to terms with the fact that he didn’t need to listen to Ozai and abide by him; a notion that he had been force feeding himself, everyday, for the last three years, manifested itself physically in the form of a fever. That was how deep the psychological damage caused by the scar was. (I hate it when people call it an angst coma.)

Saying that Zuko was struggling with equal amounts of good and evil within him, oversimplifies the complex emotional trajectory he had about coming to terms with the abuse he went through and reclaiming his autonomy and his personal opinions and beliefs, into just a choice between two aspects of his personality.

Zuko: I wanted to speak out against this horrifying plan, but I'm ashamed to say I didn't. My whole life, I struggled to gain my father's love and acceptance, but once I had it, I realized I'd lost myself getting there. I'd forgotten who I was.

4. This implies that Zuko's destiny was pre-determined.

Iroh said in the dialogue that Zuko was born with the power to restore balance in the world and that only he could do it.

Zuko, the character who has always had to struggle to gain what he wanted is suddenly told of an advantage that he had just by the virtue of birth? Kinda defeats the purpose of: "Azula was born lucky; I was lucky to be born", if you ask me.

And even more importantly, he let go of the destiny that Ozai forced on him, only to take on another predetermined destiny; a destiny that was his to fulfil by the virtue of birth, and took steps to fulfil this other destiny, instead of making a destiny of his own and paving his own path to it by making the choices that he had been denied for so long because of Ozai. Which seems weird because all the other times Iroh talks to Zuko about this topic, he always emphasises on how it’s Zuko's choice to make his own destiny:

Lake Laogai:

Zuko: I want my destiny.

Iroh: What that means is up to you.

Lake Laogai:

Zuko: I know my own destiny, Uncle!

Iroh: Is it your own destiny, or is it a destiny someone else has tried to force on you?

Zuko: Stop it, Uncle! I have to do this!

Iroh: I'm begging you, Prince Zuko! It's time for you to look inward and begin asking yourself the big questions. Who are you, and what do you want?

Crossroads of Destiny:

Iroh: Zuko, I am begging you. Look into your heart and see what it is that you truly want.

Western Air Temple:

Iroh: You know Prince Zuko, destiny is a funny thing. You never know how things are going to work out. But if you keep an open mind, and an open heart, I promise you will find your own destiny someday.

5. It indirectly implies that the good™ in Ursa and Zuko exists because they are a part of the Avatar's legacy.

Making Ursa a daughter of a nobleman (as intended originally)* would’ve served a much better purpose for the message that the episode was trying to get across: “the Fire Nation isn’t inherently evil”.

Katara: You mean, after all Roku and Sozin went through together, even after Roku showed him mercy, Sozin betrayed him like that?

Toph: It's like these people are born bad.

Aang: Roku was just as much Fire Nation as Sozin was, right? If anything, their story proves anyone's capable of great good and great evil. Everyone, even the Fire Lord and the Fire Nation have to be treated like they're worth giving a chance.

Had Ursa not been Roku’s descendant, then there would've been people other than just Roku and his descendants, who were Fire Nation and good™. (Iroh is literally the only exception.)

Moreover, Azula is just as much a part of “Roku’s legacy” as Zuko is, and yet is completely overlooked when it comes to it. She isn’t shown to be struggling with equal amounts of good and evil. She isn’t gifted at birth with the capacity to bring balance back to the world. It appears as if she had inherited only “Sozin's legacy”.

So, not only does this Roku/Sozin twist go against Zuko's fundamental characterisation, but it also partially deconstructs the narrative that had been carefully set up for him over the course of 2 seasons.

*(I have been looking relentlessly for the post where I saw two screen caps of the two different characterisations of Ursa: 1. Ursa as we see her in "Zuko Alone"; 2. Ursa as Roku's descendant. And I can't find it now otherwise I would've linked it.)

[rumandtimes]

“Bossypants” by Tina Fey: A pre-view

Luigina Cecchina-Tarquina

Assoc. Lifestyle Contributor

When I picked up Tina Fey’s book, I knew little more of her reputation than as a female comedian. I expected a chuckle and some depiction of a woman’s take on the world of hollywood success — I would not have expected to come across a racist book that struggles to relay a single joke while recounting the life of a southern woman’s bygone teenage years, but then, what would one expect from a cast member of “saturday night live”.

For those who are even aware of Saturday Night: Live (SNL), it is common knowledge that Tina Fey, and saturday night live for that matter, are controversial figures in american media. It seems to be a split right down american society: people who find Tina Fey “L-O-L” funny, and people who find her humour unsufferable; people who tolerate the blatant racism of snl and 30rock as “satire,” and those who have had enough of the denigration, minstrels, slurs, and tropes for cheap comedic effect.

I know Tina Fey is a comedian — a clown — and sets out to prick peoples ears and widen people’s eyes. To quote another comedy critic, I do not seek to come off as someone wilfully misunderstanding humour and repeatedly not getting the joke.

Yet the illusion of that decision is for those who do not remember that Bill Murray had a sketch on snl, where he dreamed about “turning from ‘brown’ to ‘white’”, and the more recent habit of snl writers hiring minorities as comedians to attack themselves on the show with slurs, because it would look less objectionable than if the writers denigrated those actors or people themselves. In Tina Fey’s book, she states that “As a Greek,” she would “only date a ‘white’ man, such as a redneck” inexplicably fond of camouflage.

But to quote that same critic again, humour has a goal; It has an audience. When engineered to subvert expectations and play to the common denominator, jokes have a base which they are founded upon. If that baseline for the comedian or writer, like Fey, is a bedrock of deep-seated racism, which the comedian exploits rather than lampoons, it is no longer a humorous observation, but a cheap, racist ploy servicing an already receptive racist base.

Tina Fey saying she would only date in a certain imaginarily-defined group is racist. Full stop.

Fey going on to say she would date even the lowest, “redneck,” in that category, before anyone else in the world is not less racist — as Fey probably expected her statement to be received (by deprecating people of European-descent with ethnic slurs like “redneck” or “hillbilly” or “honche”, rather than solely praising their racist memes) — but it is more racist, as Fey is simultaneously using racism to make fun of her suitors, and again using racism to elevate even them above anyone and everyone else.

Not to “belabour the point,” as Fey would appreciate, or focus on one bad joke: but Fey’s joke is playing to long-festered notions of racism, colonialism, and rogue supremacism, which Fey buys into rather than challenges, where Fey herself puts (1) any “Aryans” above (2) rich Europeans, (3) Greeks above poor Europeans, and (4) poor Europeans above (5) the rest of the living world. It is inane — and stupid — but a strongly held delusion among groups (1) through (5), and probably strongest among groups (2) to (4).

Fey happily plays with this unholy flame of racism, undergirded by genocide in her native South, fuelled by the segregation in Fey’s own high school, and leaving embers of anti-marriage laws across the American East.

That is not to say racism, colonialism, genocide, holocaust, mob rule, political repression, et alia, are not to be joked about — they are the most popular comedic material in the United States (even if only in the United States). But these topics are deadly serious, and not as distant and abstract as we would like them to be.

There is a real possibility, given their frequency and recency, that anyone who read the first edition of Fey’s book, or attended same secondary school, committed a hate crime, using the exact same rhetoric Fey employs as a “joke.” Not only that, Fey never says it is a joke — there is no punchline.

The only reason I give Tina Fey the benefit-of-the-doubt and assume she was not serious about what she said is because the statements where so outrageous and absurd that someone would have to be insane to print them in sincerity, and equally as ungracious to print them even in jest.

Nonetheless, it was never expected to have to wrestle with these issues, which Fey has ill-managed, in a comedy memoir. Maybe if it had to do with Fey’s experiences or personal identity (as “German–Greek”?) it would have a more natural place. That is, if Fey had been the victim of racism, and condemned it, even through humour, that would be expected, cool, and fine. Fey calls herself “Greek,” but only tongue-in-cheek, and it’s apparent she doesn’t speak Greek. Fey calls herself “German,” but only in relation to being American, and it’s apparent she doesn’t speak German.

What we learn is not how Tina Fey suffered racism, but her experience in adopting racism itself. It offends the senses, and anchors the book.

While hardly intended to win over the intellectual crowd, some of Fey’s items over the years cannot be ignored. Conventional culture, and Fey herself, would seem to agree, after the firing of certain snl comedians and the pulling of certain 30rock episodes, that just went too damn far.

This puts Fey in the precarious position of defending her legacy of racist and baiting comedy, and that of her colleagues, as now she has been outed as admitting herself that she has crossed the line on several, several occasions. But does that mean that Fey is accommodated now that she has made a partial apology? Or is that the mere beginning of scrutiny now that critics have gotten their first concrete admission of her failure?

Fey, and many of her cultivation, say such racist things in order to just have meaningless fun, or in order to make fun of the racist. While Fey and the others may consider this to be in good fun, and an inclusive way to overcome racism, at the end of the day you have subtly racist comedians repeating the words of violently racist hate-mongers for the entertainment of an audience often apathetic to the realities of racism. That is to say, with such willingness to commonly, repeatedly, and recklessly embrace such a serious topic, they can miss the mark.

The impulse may be that racism is so at the heart of American culture and popular life that it is expected that a pop culture figure embrace it (similar to why comedians talk so much of ornery subjects such as politics), and that they should not be taken seriously as comedic plays on the feelings of the populace.

However, comedy is nothing if it does not play to the sentiments of the crowd, and the cover of the clown mask is a poor excuse for crude thinking. In Fey’s apology for racist comedy sketches on her show 30rock, she echoed a previous comedians apology, David Letterman, when she said that intent is less important than perception when that perception causes innocent people pain. In Letterman’s statement (on a different subject), Letterman also says it is not about intent but perception that forced his apology and goes so far to say that if you must explain a joke, it wasn’t that funny anyway, so there is no sense in defending it.

Elizabeth Xenakes Fey, or Tina, has been a supporter of progressive movements in the country, but it should not be overstated to what extent, nor should the virtue of this support be overstated. Fey’s famous endorsements of Barack Obama versus John McCain, and of Hilary Clinton versus Donald Trump, and moreover her critical statements of Sarah Palin’s alliance to both McCain and Trump, have been definitive to her identity as a good liberal and progressive person who supports women’s advancements.

Yet, so too did the majority or Americans. It is not a controversial stance to support the candidate that won the popular vote of a national election — and, sadly, many racist people, both aware and unwitting, also vote for so-called “progressive” candidates for different reasons, despite their problematic stances. That is to say, being a Democrat is not exculpatory of anything. It should also be noted that Fey endorsed Clinton over Obama in the primary, and refused to endorse Bernie Sanders (or Clinton) in the next primary, and Fey describes herself and her works as “neutral,” rather than progressive.

Fey’s most famous work in comedy, the impersonation of Sarah Palin wasn’t as scathing as one might expect of a true critic, but was in many cases humanising, and even flattering. Fey was not kind in undermining the Tea Party spokesperson, but Palin was made out to be an odd yet loveable figure, rather than a contemptible one: she was written off. As Fey’s alter ego said herself, ‘it would be egotistical for saturday night live (or anyone else) to believe that a couple of jokes swung the 2008 election.’

Tina Fey has many hard questions to answer for racist depictions in her sketches, television series, and book — and it is not so easy a dodge to say that she once ‘made fun of Sarah Palin.’ Another reviewer stated, “I don’t think Fey comes off as a bad person, I just don’t think she’s funny.” Tina Fey doesn’t come off as a good person, or a bad person, but just presents as an ordinary person, and whether you find Tina Fey (or mor importantly, any of her jokes) funny is a personal and indeterminable matter.

I watched a few of Fey’s “world-famous” skits for this review, and I admit I did mistake Sarah Palin for Fey in their cross-over cameo skit; And the moment I laughed the hardest (in fact the only moment I laughed through the skits) was during the VP Debate Sketch with her fellow southerner, Jason Sudeikis, where “Biden” repeatedly attacked Scranton, Pennsylvania as “the worst place on Earth” — so again, people react to comedy in an unpredictable way, as a basis of personal experience. I don’t think all of Fey’s jokes make it, yet no one can singularly define anything as “funny,” or not, but I do see her as a professional on screen. I don’t give a pass however on bad interest jokes, especially on the mere basis of not liking Donald Trump (who, remember, is also a television celebrity who has worked in comedy, and made jokes that were blatantly racist — and sexist).

Entering Fey’s book, “Bossypants”, with this pre-review (re-preview?) in mind, it introduces to me that this memoir may turn to places unexpected, and that just because it is a celebrity-text does not mean it will be a simple, casual, or homey, ride.

[picnic-at-dreaming-rock]

Top 5 New Books of 2020

A round up of the top 5 new books that I have read this year, full 2020 reading list found here

Warning for possible spoilers below the cut.

Please Don’t Hug Me - Kay Kerr

Erin is looking forward to Schoolies, at least she thinks she is. But things are not going to plan. Life is getting messy, and for Erin, who is autistic, that’s a big problem. She’s lost her job at Surf Zone after an incident that clearly was not her fault. Her driving test went badly even though she followed the instructions perfectly. Her boyfriend is not turning out to be the romantic type. And she’s missing her brother, Rudy, who left almost a year ago.

But now that she’s writing letters to him, some things are beginning to make just a tiny bit of sense.

⭐⭐⭐⭐⭐

I cannot stress enough how much I love this book. Growing up as an autistic teen girl, I really lack a lot of representation, both real and fictional, and this books is a huge step forward in remedying that. Written by an autistic woman (yes, this is an #ownvoices novel!), Please Don’t Hug Me shows autism in a new and beautiful light as to what is most commonly shown. Erin is no genius savant that is only autistic when plot relevant or has a lack of social skills used only for comedic relief, but instead a encapsulation of the ordinary and everyday autistic experience of just wanting to get through the day with as little meltdowns as possible while still maintaining your neurotypical facade.

The Dictionary of Lost Words - Pip Williams

In 1901, the word bondmaid was discovered missing from the Oxford English Dictionary. This is the story of the girl who stole it.

Motherless and irrepressibly curious, Esme spends her childhood in the Scriptorium, a garden shed in Oxford where her father and a team of lexicographers are gathering words for the very first Oxford English Dictionary.

Esme’s place is beneath the sorting table, unseen and unheard. One day, she sees a slip containing the word bondmaid flutter to the floor unclaimed. Esme seizes the word and hides  it in an old wooden trunk that belongs to her friend, Lizzie,  a young servant in the big house. Esme begins to collect other words from the Scriptorium that are misplaced, discarded or have been neglected by the dictionary men. They help her make sense of the world.

Over time, Esme realises that some words are considered more important than others, and that words and meanings relating to women’s experiences often go unrecorded. She begins to collect words for another dictionary: The Dictionary of Lost Words.

⭐⭐⭐⭐

One of my favourite parts about this novel is how perfectly it showed both misogyny and classism/elitism, and how they intertwined. Although it is set in the mid/late 19th century and early 20th century, there is this sense of relatability to it that I think I lot of people might be able to recognise. Williams deals with a lot topics that I don’t often see in other media, such as menstruation without fancy allusions or making it into anything other than what it is, pregnancy out-of-wedlock without it being seen as a character flaw on the woman’s part, and showing characters one might consider like a hag or spinster to be good people worth celebrating because of things that deem them lesser rather than despite it or not at all. One main criticism I do have with this book, however, is how it seems like William just adds tragedy for the sake of moving the plot forward/to add shock value or drama. I will admit, it did get me crying at some parts, it did get a little tedious and lack-luster to have the last half of the novel just be death after life-altering event after death after life-altering event. 

The Book Thief - Markus Zusak

It is 1939. Nazi Germany. The country is holding its breath. Death has never been busier, and will be busier still.

By her brother's graveside, Liesel's life is changed when she picks up a single object, partially hidden in the snow. It is The Gravedigger's Handbook, left behind there by accident, and it is her first act of book thievery. So begins a love affair with books and words, as Liesel, with the help of her accordian-playing foster father, learns to read. Soon she is stealing books from Nazi book-burnings, the mayor's wife's library, wherever there are books to be found.

But these are dangerous times. When Liesel's foster family hides a Jew in their basement, Liesel's world is both opened up, and closed down.

⭐⭐⭐⭐

I read this book for my advanced literature class earlier this year and it was a great choice on the schools part. Everyone in my class enjoyed it, even if a lot of us were crying by the end of the novel. The book itself is rich with literary techniques that enrich the actual reading if you are one of those people that like to dissect what they read. I think Zusak made a really good choice with having Death narrate, as well as how he tied in his own experiences/interjections in these mini vignette-type extracts which I found really enhanced both the overall atmosphere and environment. The only qualm I have is that there were a lot of questions left unanswered that made the story feel somewhat empty.

Picnic at Hanging Rock - Joan Lindsay

It was a cloudless summer day in the year nineteen hundred.

Everyone at Appleyard College for Young Ladies agreed it was just right for a picnic at Hanging Rock. After lunch, a group of three of the girls climbed into the blaze of the afternoon sun, pressing on through the scrub into the shadows of Hanging Rock. Further, higher, till at last they disappeared.

They never returned.

Whether Picnic at Hanging Rock is fact or fiction the reader must decide for themselves.

⭐⭐⭐⭐

I watched the Foxtel miniseries first a couple years and thoroughly enjoyed it and sought out the novel very quickly afterwards. I will be honest, I picked the novel up first around 2018/19 and dropped it until earlier this year when I reread/finished it and loved it. Lindsay’s ability to create this perfect and constant juxtaposition between the natural Australian bush and the intruding colonialism is really amazing and adds this interesting aesthetic that the academia community on this site seems to enjoy. There is also a really interesting dynamic between the female characters (which is most of the characters, to be fair) and they feel complete and authentic, something that doesn’t always exist in other works of literature. There is also one canon queer character, but there is so much subtext in the novel for so many other characters that it feels purposeful. All in all, this is the gayest straight book I ever read.  

The Ballad of Songbirds and Snakes - Suzanne Collins

It is the morning of the reaping that will kick off the tenth annual Hunger Games. In the Capital, eighteen-year-old Coriolanus Snow is preparing for his one shot at glory as a mentor in the Games. The once-mighty house of Snow has fallen on hard times, its fate hanging on the slender chance that Coriolanus will be able to outcharm, outwit, and outmaneuver his fellow students to mentor the winning tribute.

The odds are against him. He's been given the humiliating assignment of mentoring the female tribute from District 12, the lowest of the low. Their fates are now completely intertwined -- every choice Coriolanus makes could lead to favor or failure, triumph or ruin. Inside the arena, it will be a fight to the death. Outside the arena, Coriolanus starts to feel for his doomed tribute... and must weigh his need to follow the rules against his desire to survive no matter what it takes.

⭐⭐⭐⭐

The Hunger Games was one of the series in primary school that rocked my literary world (joining the ranks of The Great Brain, Harry Potter and The Books of Beginning) and helped inspire my love of reading, and when I heard about a prequel I was over the moon with nostalgia. I found it a couple days after its release at Target for $16 and I loved it. I finished it in about a week and I could barely put it down. I loved reading how the hunger games came to be and how they ended up the way they were, as well as advancing Collins’ previously established and incredible world building. The book also adds upon the themes in the original trilogy of government corruption, classism, elitism, individualism and propaganda, but from those that benefit from it (e.g. Snow) instead of those that suffer (e.g. Katniss). I have seen some criticism from people about not liking it being from Snow’s perspective but I personally think that it was the perfect choice, as no other character’s story would be able to add to the story in such a meaningful way.

[koalas-koalas-everywhere]

Where did the idea that Merlin is bad at healing magic come from?

Ok, that was a clickbaity title, I know where it came from: that scene in the Crystal Cave where he can’t heal Arthur’s wound. Possibly, also his struggle to heal him from the poisoned arrow in The Coming of Arthur Part 1. However, although I understand 1) the desire to nerf him at least a bit and 2) the delicious irony of someone as good as Merlin and who would like to be gentle as much as he does being crap at healing magic but good at combat, I don’t think this is very accurate.

I mean, this belief is the farthest thing from baseless. I mentioned TCC, and I can’t explain why he’d be unable to heal Arthur other than lack of skill (beyond theorizing that the magic of the Cave was impeding him because he was supposed, destined, if you will, to ask for Taliesin’s help and agree to look at the crystal in exchange, which admittedly doesn’t have much support from canon, or Merlin’s general lack of magical  ability that caused him, for example to make a rose instead of a strawberry for Freya, although that was in the previous season). Then there’s TCoA, although that one’s a bit... complicated, for reasons I’l talk about in a minute, and, last but not least, there’s the Hollow Queen, where Merlin tries to heal himself but he can’t. Besides that, there are some instances when he didn’t try to heal people so we can extrapolate that he was unable, like when Mordred is hurt in The Beginning of the End, when Will and Freya are dying in The Moment of Truth and The Lady of the Lake* or when Arthur passes out in The Last Dragonlord. 

The one from TCoA is complicated, because as I said before, he struggles, and by the time the scene cuts off it seems like he failed, but when Arthur wakes up, he only seems to have problems with the wound itself, not the poison, and doesn’t feel the pain until he walks on it. Then, without a hint of the fever he had before, he walks all the way to Camelot, a day or more, until he can’t go on anymore, but Merlin tells Gaius the spell didn’t work, BUT then Gaius says the wound’s infected, not poisoned, which would be explained by the whole traipsing about with a wounded leg and no treatment, so... I’m not sure what to make of it. 

Then in THQ, there were the ameliorating circumstances of being... you know... dying from poison. It’s more a matter of power than healing skills (when he tries, his eyes flicker like cheap old lightbulbs when he tries to do magic). But we’ll count it.

So that makes it 5 times he would have liked to heal someone with magic but couldn’t due to what we can assume is a lack of skill (I’m not counting Mordred because I don’t think he’d dare to use magic in that case, since Morgana seemed to want to be involved and kept up to date in his treatment, proved by how she watched as he did it without magic), two of which are dubious because he seems to be at least partially successful or because there were extenuating circumstances.

Then there’s times where there were people to heal but the circumstances were... peculiar.

One was his father in The Last Dragonlord. He dies much more quickly than Will, not to mention Freya, which suggests an even worse wound than the one the woman who grew up with Druids, notable healers, said was too deep to heal. Merlin says he could save him, but Balinor cuts him off so he could give his last words, presumably because he, a man we also know possesses some healing skills, knew it was pointless. I really have to wonder if there was anything any ordinary sorcerer could have done (I mean, not to victim-blame, but I didn’t see Balinor trying to heal himself), that even Merlin himself pre-The Diamond of the Day could have done, so I’m reluctant to draw conclusions about his healing abilities from this.**

While he heals Gwen in With All My Heart, technically he does it not through any healing magic but by taking her to the Cauldron of Arianrhod and summoning the Triple Goddess, so it doesn’t help measure his skills either.

Additionally, (and here’s where I start to answer one of the most important questions in this post, which has remained unsaid until now, but which has underlined every single line to the moment: “what the fuck are you ranting about you big dumdum if all you’re going to do is agree that Merlin’s bad at healing?!” It’s about the refutation) there’s his healing of Morgana in TCC. This one’s also weird, because he does heal her, but he needed Kilgarrah’s help to do it. It’s possible that he only gave Merlin the spell, like he did with Sigan, but he has a strange sound effect in his voice when he casts it, so it could also be that he had some extra guidance from Kilgarrah to help him along, such as a power boost or an instinctual understanding of how to perform the spell. Like the last one, then, I don’t think this example gives us any reliable information on his healing skills.

But! It does start us off on the next part of this discussion, which is the times Merlin has successfully healed someone.

The earliest example of this is The Mark of Nimueh, where he heals Gwen’s father, Tom. He just sneaks in, puts a poultice under his pillow, casts the spell, sneaks out, and done! Man awake in seconds, cured by morning. Of course, success isn’t as interesting as failure (might be the reason why they continued this particular storyline by having Gwen accused of sorcery instead of just letting her live), but two things stand out about this healing. The first is that Merlin used a poultice for it, which will come up again later, so make a note of that. The second is that this happens before TCC, so it’s unlikely that Merlin just took that failure to heart and tried to improve. 

But, TCC is the next time since then that he makes an attempt at healing magic, which, whew, talk about a time gap! That’s two seasons, and at least 2 1/2 years! Make a note of this, too. The time after that is, at least, in the same season - TCoA, in which we’ve settled that Merlin seems to have partial success with Arthur’s wound. (“Yes, you’ve already said this before!” Just go with it.)

Next, there’s The Wicked Day. We know that he did the spell right because everything went to shit. Once more, he used aids for the spell, a potion and incense form sage.

The very next episode, Aithusa, without a clear idea of what they’ve been given, only that they’ve passed out and have difficulty breathing (he might have figured out what it was from the smell of the poultice that he found in the stew), he manages to save all four knights and Arthur from poisoning, this time only with an enchantment. 

Then he heals Gwen’s leg in The Hunter’s Heart. Once again, only a spell. Funnily enough, it’s the same wound he tried to heal in TCC, only in a different place.

Last but not least is the poison Gwen uses on Arthur in A Lesson in Vengeance. By the time Merlin has an opportunity to treat him, he’s moments away from death - Gaius says his heart’s nearly stopped, and Merlin himself doubts he has the power to heal him. No potions or herbs, although it’s interesting to note that he does motions similar to chest compressions.

So, to keep tally: his success rate when dealing with poisons and drugs is 100%, and it’s the same for times when he got to use aids such as potions and poultices. It also applies to all healing attempts not subject to extenuating circumstances (magical interference such as the Lamia’s spell or the blade being forged in a dragon’s breath, and when Merlin had to heal himself while he was dying) from TWD forward.

We can see him improve from TCC (season 3) to ALiV (season 5) - he actually makes significant improvement from TCC to TCoA, and from there to TWD and Aithusa. It seems like he learned from his experience in TCC and decided to make up for his lack of natural talent at healing magic by studying. And here’s where it gets really funny. Because we’ve established that there was a time, long before TCC, where he healed someone successfully, and that was Tom, in TMoN. If you’ll remember, around that time Merlin was much more likely to fail the first few (hundred) times he tried a spell, like the one to make that dog statue real and the one to enchant a weapon to fight the griffin. So, way back then, Merlin went, made a poultice, cast a spell and succeeded on his first try, when before (and after) that he’d have difficulties with new spells.

It... actually looks like he had a natural talent for healing magic. 

Okay, hang on! you might say. You spent the first half of this fucking novel talking about his healing goofs, don’t come at me with this bullshit now! you might say.

And here’s where you should pull out those notes I asked you to make. Because between TMoN and TCC there’s a world of difference.

To start off, in the first one he had preparation. He’d been able to look for and study an appropriate spell in his book shortly beforehand and, most importantly, he had a poultice. He’s had a perfect success rate when using those. Look at Dragoon - I’ve talked before about how hilarious it is that Merlin struggles to turn off a spell most have trouble achieving, let alone keeping up. In that first ep, Queen of Hearts, Merlin prepares a whole ass ritual to age up,*** but later needs a potion to go back to his own age. On the other hand, every time after that he just casts the spell and he has no trouble undoing it. While it’s conjecture, it’s a pretty solid theory to say that potions and the like, as I’ve been foreshadowing, function as aids when casting spells. They can be necessary, but sometimes they just give the sorcerer a boost. It follows, then, that any spell cast without them will be weaker, such as, say, the one in TCC.

But! He doesn’t use potions for almost any of the other times, either!

Well, that’s kind of tied into my next point: time.

As we’ve established, almost three years go by between TMoN and TCC, and Merlin doesn’t try to heal anyone in that time. He does, however develop his magic in other ways. By The Moment of Truth he can summon a tornado! By Le Morte D’Arthur he can cast the spell he so struggled over in Lancelot! He can summon a shield that can withstand dragon fire! Went against a Sidhe and a Pixie! He- okay, he got better at combat magic. You might see where I’m going with this.

But right then, he needed to heal Arthur! He’d done it before! But... he’d gone rusty. 

Honest to God. Yes, this is conjecture. No, I don’t have any proof other than what fits with canon. No, I don’t think it was intentional on the writers’ part.But in my mind and in my heart this is what happened. He was originally good or rather decent at healing magic, but after not using it and instead doing other kinds of magic for so long, during what were technically**** formative years for him as a sorcerer, that he actually lost the hang of it. To be fair, though, he makes up for it pretty quickly.

I didn’t think this through to the end before I wrote it, when I started I thought I’d just conclude there were more examples of Merlin being good at healing magic and that would be it, but putting it all together I’ve found a probably unintended pattern of Merlin having a natural talent for healing, but being forced to neglect it for the sake of combat magic. In conclusion, I’m sad.

*Scenes which I just watched to make this post and now I’m crying fucking hell what I do for stupid meta.

**I don’t apply the same logic to Freya because the length of time that must have passed between the scene in the tunnels and her death by the lake, not to mention the amount of jarring that she must have gone through in the trip, makes me think that there probably was a window of possibility there that they just didn’t have the resources to take advantage of. And. I mean. The strawberry scene. I’m just more likely to believe Merlin still had a way to go, magic-wise, but it’s also because of this that I’m not convinced that this is about him being bad at healing, specifically, as much as not being that skilled in magic overall.

*** I also rewatched the scene where he does it and ho-ho-ho-holy shit, his excitement at his idea is adorable.

****Because he was born with magic, he learned ways to use it way before going to Camelot, but this was a new stage of his studies that consisted f different things learned and different ways to learn them and different ways to apply them.

[hollywoodhangar]

5 things!

Tagged by: @silvcrreaper! thank you, dear! :’D this is a really cute meme! I’ll probably use it again in the future bc of that tbh. I’d like to do a lotta characters. Tagging: @mettatoniic / @corviudex, @wcrldlyadventures​, @tcthinecwnself, @scwewywcbbit, @wabbitseezun, @couragelinked​, @contractualsarcasm​, @heedingcalls, @bloominghands, @fairestfall, @blackstardiopside​ / @hellhogged​, & you!

doing this for red’s hardcore over-a-year fixation seriously this woman owns my ass at this point hhggh this thing got way too long!!

CLAUDIA P.

5 THINGS YOU’LL FIND ON HER PERSON.

Her mother's broken pearl necklace. It's very near and dear to her, she's held onto it like a security blanket as well as a trinket for luck & protection ever since Lord Phantomhive whisked her away to the estate. She keeps them safely tucked away in one of her hidden skirt pockets! Those of supernatural origin that are able to detect magical objects can sense there is a Divine blessing on it; it’ll never be lost to Claudia, and those who mean her ill-intent will have their hands burn when they grab at it - almost like they stuck their hand in flames. It’s a precious thing that Máire [ her mother ] has long since used in her prayers specifically to Brigid ever since she was twelve, so it’s instilled with her blessing! 

Her axe. Even when she’s retired, the Countess keeps her silver axe on her person just the same; tucked away in its renewed sheathe that’s hidden under a flap on the back of her dress [ fun headcanon: while undertaker takes his sotoba up from the top of his collar, she pulls her axe down from below ]. Divine magic also touches this weapon; a blessing from the Morrígan in which the blade is kept heinously sharp so long as she gets some sip her blood tribute, absorbing the splatter and gore through the axe’s silver surface and leaving it pristine. Should too long go by without it having a taste of blood it will begin to dull rapidly for the amount of years its gone untouched, but fortunately the Phantomhives never seem to run short of assassins, hitmen and abductors. Her Divine continues to be pleased.

An emerald poison ring. Silver, classy and adorned with the head of a wolf opening its maw to hold a shiny emerald. No one'd expect such a beautiful big gem hides such a heinous poison beneath! It looks pretty neat when she pops it open and the poison pours out of the wolf’s mouth.

[ Enchanted ] Skeleton key. A simple-looking golden key with hidden runes that activate when inserted into magical locks its made for, but it functions like a normal key as well. This key will open absolutely any door in the Phantomhive manor [ unless Sebastian’s room has the same thing going on! ] as well as the invisible locks she has guarding her forest altar. This is also the only thing that will open all doors leading into her bedroom [ the hallway and the balcony ] as those locks are spellbound to react to only the key itself. Vincent’s always tried to pick his way in but could never quite achieve it! I like to think he inherited his mother’s mischievously nosy curiosity. 

Her black choker with a deep green brooch embedded in its middle. It hides the scar paved along her throat from the attempted assassination. Don’t want anyone seeing that, especially not family. v_v

5 THINGS YOU’LL FIND IN HER ROOM.

Her bed, of course! Mahogany framed. It’s enormous, as to be expected for a Countess. It’s extremely soft, easy to sink into and piled with many lace-ended pillows. Heavy, wool-knitted beige blankets lay over the very top, plush to the touch and covering the white and green sheets beneath it. Deep green curtains with leaf embroidery are tied to the bed posts with dark brown rope, and close all around the bed when Claudia turns in for the night -- except for the curtains at the foot. Those stay partially open to absorb the heat from the fireplace. As for the back of the bed, she built it herself! It has an enormous, full-length mirror installed into its wooden frame and a long, smooth surface below for convenience. It has two lamps at both ends that are within reach. 

Lovely mannequins. Rested next to the balcony are two simple manniquens. One is the bearer of her Brigid cloak, the hood pulled up and draped over to obsfuscate the face. Its arms are stretched forwards, hands splayed up with the ceremonial cloth and ropes used for Claudia’s handfasting ceremony; the pearls that were wrapped around all that hanging from its neck. Opposite of that is the other manniquen. Covered with a deep, dark duster, a peasant blouse, tight black pants and thigh-high boots give off a familiar visage of the Countess during her Watchdog days. Around its waist hangs a very intricate rich brown leather belt with lots of slots in it, weaponized chatelaines and satchels with golden clasps - and a golden wolf head as the buckle in front center.

Secret compartments. Many secret locked compartments in the walls she installed herself [ ^ that can only be opened by aforementioned skeleton key, or a very determined and powerful supernatural force ], hidden behind landscape portraits and animal print wall tapestries. She keeps various things in them: Tonics & Poisons. These are very rare breeds of both, being highly efficient in what they’re made for specifically. There’s vials of strange-looking gnarled roots and various colored liquids stored in here as well, along with herbs (??) hanging from the top. Inheritance. The late Lord Phantomhive left Claudia a fortune, most of which she sent to charity, but kept her own sum for emergencies sake. But that is not all he left her; there’s a small pile of letters, some opened, some remaining closed with different seals. There’s also an envelope in here for Claudia specifically, opened and re-sealed. What’s inside is information concerning safe passage to a number of locations and a list of names. Near the very end, the Lord gave Claudia a way out if she ever felt the need to flee from the Phantomhive title; she’s the only blood left. He would not hold it against her to forfeit the Watchdog title, he’d be dead - he has no reason to care for anything at that point. It’s a very bittersweet gift Claudia’s gone back and forth more than once and plans to hand down to the Undertaker “if I go before he does”. She trusts him to hold onto it and give to any Phantomhive who starts feeling pushed to the brink. Altars. A small altar for each of her Goddesses exists in the walls, in twin compartments side-by-side, their doors marked with the carvings of an anvil and a raven. Brigid’s altar is warm, decorated with handmade trinkets and rolled up drawings. The Morrígan’s is dark, positively dark and dimly lit with this very small icy blue lantern that hangs from the top, and the rest of it is decorated with fans fastened from raven feathers and odd white-crimson candles -- that contain her own blood.  Memonto Mori. Death has been embraced around Claudia for so much of her life, so she’s dedicated her own reminder of that in a “.. yet I survived” way.  Mementos from the Famine in the form of mothbitten fabric from the nightgown she wore that entire time and a lock of hair that had fallen out, from the first attempt on her life by a kidnapper in the form of the rusting gun he had and the bottled flesh & muscle she tore from his throat that earned her the title “Wolf of Winchester” among the Aristocrats of Evil, from the nigh successful assassination in the form of the bloodied gown fabric and pressed white roses that wear dried crimson on their petals. There is nothing for the Phantomhive Fire. This rebuilt manor is a jarring memento mori of its own now. 

Cherry wood bookcases. It is stacked with books of worldwide mythology, folklore, natural remedies, strange leatherbacks, and lots of journals Claudia’s written personally over the years. There’s pictures of loved ones wrapped in oval-shaped, polished wooden frames, a lot of old wooden toys she made for her progeny that they’ve grown out of, a black onyx hand with all fingers lined with rings she made herself and holding an ornate athame. Currently, “Frankenstein; or, The Modern Prometheus” sits with a long brown & white feather serving as a bookmarker. 

Urns. Three very precious porcelain urns that are specifically customized to fit the lives they belonged to: Vincent, Rachel, and Claudia’s seven hounds. While she drew the designs for Vincent and her hounds, she let Rachel’s parents decide how they wanted their daughter’s urn handled. She passed the drawings to the Undertaker and he made them to perfection. They rest on the previously mentioned bookshelf, side-by-side in a very gorgeous center display, with fresh white roses, rosemary, gladiolus & lilies from the garden surrounding them and small lanterns constantly providing a low, gentle golden light. There’s candles that have been melted to their hilts and others that are brand new.

5 THINGS THAT MAKE HER HAPPY.

DOGS. 

Mythology. Mythology and folklore have always been incredibly fascinating to her! They can easily eat hours away as she delves herself into learning more and more about them and re-reading the ones she already knows.

Family. I've said it once, I've said it twice, Claudia's a woman who adores to be surrounded by family. Her attempts to convince the Midfords to join with the Phantomhive household have gone shot down by both her grandson and her daughter. One day she’ll prevail. One day. She won’t but she can dream of having a full house again, let her dream.

The countryside. Honestly, the fact they live here instead of in the city was something of an immense comfort to Claudia because it’s a little reminscent of Donegal. She regularly takes Gelert for a walk and finds a nice green pasture to just sit in for a while and enjoy the wind. It brings such a huge wash of calm and relief and what she turns to when feeling absolutely stressed, anxious or angry. Her natural dopamine hit!

Sweets. The Countess has a bad sweet tooth like her grandson and loves to eat sweet things, including things of her own baking and creating! Wave any delectable sugary sweet before her face and you have her attention - not her compliance, but her attention. [ 1v1 phantomhive discourse is continuously stealing the other’s treats. she doesn’t even recall who started it but it is an on-going War. ] 

5 THINGS SHE'S CURRENTLY INTO.

Infinite woodworking! She has several projects going on at the moment, one being a boat and another being a marionette bitter rabbit she’s eventually going to get around to painting. Both gifts!

Foraging. Sure she can easily send the servants to buy this stuff from the market, but she likes to retrieve them herself. There’s a lot of berries and edible/medicinal plants in season right now and she’s pretty happy about that. :) Mulberries galore.

Reading. Very good exercise for her brain as she’s getting a little more forgetful in her old age, so keeping it busy with things like this strengthens her mentally. At the moment she’s not only reading Frankenstein, but she’s also reading about Japan mythology! That, and about strange monsters & creatures encountered at sea, actual accounts taken down by the author of the book who interviewed many-a sailor. 

Hunting. Not only does it give her a grand excuse to get out of the manor, but she needs to keep her archery sharp and Gelert in shape. 

Summer Games. Speaking of which, she has a title to defend! Sporting events are beginning to ramp up and the Phantomhive name continues to hold first place in the Archery branch, much to the chagrin of many who try their aim & speed against the Countess And Lose. Also, the events are always a bunch of fun to take part in - she’s dragging along anyone available.

5 THINGS THINGS ON HER TO-DO LIST.

Finish the on-going "Misfortune's Way" Funtom board game with Ciel. [ Ciel: 9. Claudia: 9. Neck-to-neck. Who Will Win? ]

Continue work on the boat she's created for the Midfords. She needs to finish carving their family crest into the right side of it and hollow out the rest of the bow. So much work to be done! But four months of blood, sweat and tears are going to pay off. :)

Fix that TERRIBLY painful floorboard her foot keeps hitting. It's been on this list for about a week now. She keeps forgetting or gets sidetracked! She’s getting a bruise. :( [ have tanaka do it? no no, she lets that poor man rest now. have sebastian do it? not a chance. "Are ya daft!? I ain't about to have that damned vulture creepin' about my own private quarters." ]

Pack up Tanaka, cook some food [ avoid bard. he always offers, she always declines after he set a strawberry cobbler she requested on fire right before her own eyes, and then proceeded to catch a portion of the kitchen on fire. she was so stunned she didn’t even notice Sebastian come in and bat out the flames LMAO. ], make some tea and head out with Gelert to her favorite spot to chill in the countryside and soak up the rays of Summer. She’s been so much colder than normal lately and needs to a b s o r b s u n. It’s Summer! She shouldn’t be freezing this much! [ although it is funny to put her hand on the back of people’s necks when they complain about the heat and watch them flip ]

Commune with the Goddesses at her forest altar. Bring the landscape painting she’s done for Brigid, bring the bloodied clothes of a fallen enemy for The Morrígan.

[metalgearkong]

The Last of Us Part II - Review (PS4)

8/14/20 ***SPOILERS***

Developed by Naughty Dog, released June 19th, 2020

The Last of Us was a game I wasn’t originally a huge fan of when it came out in 2013. Despite it receiving astronomical praise by fans and critics, it took me a couple times completing the game before I fell in love with it. What truly made The Last of Us special was not necessarily its concept or gameplay, but its storytelling and characters. The depth of the interpersonal drama and raw emotion on screen was the true core of the game, with the stealth-action, zombies, and other aspects more like icing on the cake. The Last of Us ended up being one of my favorite games of all time strictly based on execution, even if the game as a whole still isn’t perfect. 

The Last of Us Part II was my most highly anticipated game of 2020, and it feels strange to be on the other side of it finally. This game has been polarizing for fans, and as it turns out, I feel conflicted on the game as well. I finished it a month or so ago, but only now getting my thoughts written out. While some aspects are daring, jaw dropping, and gorgeous, other aspects detract from what is an unexpected story not quite living up to its potential. I respect this game more than I love it, and while I do think critics have been too kind in review scores, the exceptionally low user reviews have been far more incorrect. This is a solid, epic, deep, beautiful, emotional campaign which will deliver its money’s worth, but many contentious points will dictate how much you enjoy this blockbuster of a video game.

One of the aspects I like the most about this game is how similar the gameplay is to the original. Many people I suppose would want more change or innovation in the 7 years since The Last of Us, but personally I’ve always been a fan of sequels that retain what I like about a series. If it changes too much, it becomes too detached from what I enjoyed or got used to. Changes Part II makes are subtle, but natural for the genre and world. The player can duck and go prone in waist-high grass to conceal themselves, a dodge button has also been added, and a huge addition to combat and stealth is the addition of attack dogs who patrol with their owners. Dogs can pick up your scent until you distract it, adding to a lot of tension anytime enemy K9s are around. And yes, I found it difficult to shoot the first couple of dogs I encountered as they yelp out in pain when they get hurt or die.

Part II picks up I believe 5 years after the original. Ellie and Joel live in Jackson, the town they town the become a part of at the end of The Last of Us, and seem to be thriving in a community with food, power, and systems in place for relative safety from the outside world. The story is told in a much more chopped up chronology which I found to be detrimental to the pacing. The first game had a straightforward narrative and it worked very well, and this game has to dice up its story to make it seem more complex, but just comes off as pretentious. For example, by the end of the prologue (about a hour and a half) you play as three different characters. This leads into the strange structure of this game’s story, aside from having the linearity chopped up at times. 

The most controversial moment of the game is the moment of Joel’s death and how it occurred. While this event was not unexpected for myself and others, the manner of which he died is what’s justifiably pissing people off. A brand new character is introduced named Abby (and one of the three characters we briefly play as shortly before) and without any background or indication of who she is, brutally tortures and executes Joel in front of Ellie’s eyes. It’s not difficult to see director Neil Druckmann cackling with satisfaction of his subversion of expectations. It’s simply toying with the emotions of fans, and he has to expect and stand by any criticism he’s gotten for how this scene went down. However, this moment does make more sense as the story unfolds, but its no less a heavy handed and manipulative move for the sake of auteur video game storytelling.

Ever since I witnessed the brutal death of one of my favorite video game characters of all time, my only though was “they better justify this.” It was never “this is horrible and irredeemable, and “Naughty Dog is off its rocker,” like many people seem to have reacted. It was gut wrenching, but I knew Naughty Dog has a pension for organic characters, and in the back of my mind I knew I had to give this game its fair shot, and see if and/or how Naughty Dog justified a scene liable to piss off virtually every single fan of the original game. This is a poor spot of the game, but the structure of the game itself is, for me, the biggest issue of Part II. In the end, I don’t mind Joel’s death as much seeing the context surrounding it, although it still should have been handled entirely differently. 

Neil Druckmann proudly pulls a Metal Gear Solid 2 move, and entirely switches protagonists for a huge portion of the game (about 45%). Abby turns out to be the main character once the halfway point of the game hits. Following Joel’s death is about 9-11 hours playing as Ellie on her revenge quest to find Abby and kill her. The motivation is justified, being in the room with Ellie as she watched her father figure die in agony in front of her. Ellie’s portion of the campaign makes sense, Abby’s makes less. The structure of the story comes to a high point mid way through, where Abby and Ellie finally meet to clash. After all this build up, and around the same time of the game where the first game had its conclusion, everything halts and resets. 

We are suddenly dropped into the Abby story, showing her side of things, and why she would want to kill Joel. I do think the story directly surrounding her motivation is well done, but the problem is, a large portion of Abby’s story has literally nothing to do with Joel or Ellie. We effectively see why Abby would want revenge on Joel, but then we have to tag along on a major side journey while Abby helps a trans kid and his sister escape the cult they grew up in. I get that it helps develop more empathy for Abby as a character, but Abby’s story should have been at least cut in half to keep the overall story more focused and flowing. Many times while deep into Abby’s story I honestly forgot what the point of what I was doing is, and was getting confused on which events had happened and which hadn’t. 

Abby herself is a good character, and after all has been said and done, she is the third best character in this series so far. It’s a shame though that so much of her story is a direct waste of time, despite more of an excuse for more of the same great gameplay and set-piece moments. Empathy and perspective are the two big themes of this game. The best thing I can say about Part II is it convinced me of something I thought was near inconvincible: it made me like and root for Abby after the scene of Joel’s death. However, while the theme of the game is “all of your enemies have their own backstory,” Par II doesn’t teach us anything new whatsoever. Abby’s father was the surgeon Joel killed upon saving Ellie from the Fireflies at the climax of Part I. But Joel (and Ellie) killed a lot of random enemies in the first game, most of them players won’t even remember specifically. 

The fact that we have an entire video game showing us the perspective of one single person who wants revenge on Joel is a story that doesn’t need to be told. Any NPC we killed in the first game had family or friends who would also want revenge on Joel as well. We don’t learn anything new. This whole series is just marauder against marauder. Joel has never been a good guy, and that’s never been a secret. Joel is shown as an anti-hero even before the conclusion of the first game. It’s partially what makes him such a cool character. We only rooted for Joel because we were seeing things from his perspective. If the first game was entirely about Abby and Joel was framed as the bad guy, the results would have been the same: Abby would be our point-of-view “hero” character, while Joel was clearly the villain. Part II is not the epiphany Neil Drukmann likely wanted his audience to experience.

As anyone can see, the graphics and performances of Part II are incredible. While the story and structure are nothing too special (because it ruins its great moments by long drawn out heavy handed moments), at least the game itself is engaging to play and is gorgeous to look at. Growing up in the Pacific Northwest myself, and the game mainly taking place in Seattle, I enjoyed being totally waterlogged throughout the entire experience. If the story isn’t depressing enough on its own, the weather will certainly get to you. The core characters themselves are portrayed extremely well via motion capture and voice acting as well. I’m wondering why Neil Druckmann didn’t just make a Netflix series beings he is clearly so focused on the character’s interpersonal relationships. This is especially true for Joel and Ellie once again. Side characters are well acted, but have less of an effect on the core story, which is a huge tragedy when so much effort was clearly put into bringing them to life.

There’s no doubt Naughty Dog accomplished their specific goal in making you as depressed as possible. To be honest, it reminded me of some of my favorite books about stories of conflicting emotions and ending on depressing notes. Even though Part II is far from perfect, it’s still a juggernaut of a single-player game with amazing graphics, acting, responsive gameplay. I like the ways it proved me wrong on stuff I thought was unchangeable, and for that, it has my deep respect. It may not be for everyone, not even fans of the first, but if you come at it with an honest open mind and let yourself drop your ego enough to take in this entire story, I think it’s a daring piece of media that might age very well in time.

7/10

[an-avid-reader]

Everything, Everything - Nicola Yoon

my rating: 3/5 stars

Madeline has never seen the world outside of her window--she has been diagnosed with severe combination immunodeficiency (SCID), making her allergic to virtually everything. One bad molecule and poof-dead. Her life had been nothing too out of the ordinary until a boy, Olly, and his family had moved right next door. Madeline knows that somehow, someway they will fall in love.

Link to Goodreads || Spoiler-free review below

I’m more of an adventure/fantasy type of person, but from time to time I like to pick up more light hearted books where I need to remember a whole bunch of details from the characters to the world--and this book was exactly that. The way the story is written, there aren’t any chapters, so I found myself saying ‘oh just one more page won’t hurt’ and before I knew it, I was at the end of the book! 

Quick reads are fine, but in this case, I felt like Madeline and Olly’s love story didn’t have enough time to develop. The story is very much based on the plot diagram, and I wished that the falling action after the climax was extended. Without going into too much detail, Madeline’s mother is an integral part of her life, which we can see from the beginning. However, towards the end of the story, her mother is sort of let go ?? I get that this is Madeline’s story, but it would have been nice to have a bit more closure.

One thing that sort of bothered me right away was the fact that Madeline’s mother was also partially her nurse? Carla is her other nurse, but she isn’t there 24/7. It just bothered me because irl, nurses and doctors (or any practicing job, as far as I’m aware of) cannot treat/represent their family member(s). Likewise, a doctor cannot become their own physician (doctors need to see doctors too). In addition, some of the drawings at the very beginning, like the graphs, bothered me because Carla and Madeline’s mom need to take some of her vitals every 30 minutes but the graph has coordinates at every hour ?? I think there were two or three pictures like that, but the rest of them were fine. I appreciate the fact that they were drawn by her husband--which 10/10 love the Q&A with the author at the end!

I appreciate the fact that Madeline is a mutliracial character. Again, this stems from Yoon’s inspiration--she is Jamacian-American and her husband is Korean-American; Madeline is African-American and Japanese. I’m glad that more YA characters are being represented, it helps younger audiences/POC to form connections with characters (even though Madeline’s situation is a little unique?) Nevertheless, it’s great to see!

At first I thought I wasn’t going to like Olly, but he grew onto me--at first I thought he was just going to be some boy who Madeline gushes over (which she does a bit initially). Together they were very cute, and the way Yoon lets us see through Madeline’s lense is nice. For their first kiss, for example, it’s not overly described, and it felt like it was very natural. I also really enjoyed the IM messages and the emails sent between Olly and Madeline; we got to know more about the characters in an interesting way. Once again, I wished we got to delve more into Olly’s world; I felt like there was so much potential to unpack his story, which would make his character even more realistic.

So overall for me, this book was just a bit too fast-paced, which led to some events being rushed, but the story itself is cute and the characters are quite likable, despite Madeline’s unusual circumstances. I also have to appreciate that Madeline is a huge bookworm and Carla, the nurse, is her biggest cheerleader (we love healthy relationships!)

If you’ve read this book, I’d love to know what are your thoughts/opinions? Let’s chat! =D

Thank you for reading my review, I hope you are having an easygoing day, especially under these circumstances (I hope you and your loved ones are safe!)

~ Cassandra / an-avid-reader

[eddycurrents]

Abe Sapien: The Secret Fire - “The Shadow Over Suwanee”

Words: Mike Mignola & Scott Allie | Art: Sebastián Fiumara, Tyler Crook, & Max Fiumara | Colours: Dave Stewart | Letters: Clem Robins

Originally published by Dark Horse in Abe Sapien #24-26 | July-September 2015

Collected in Abe Sapien - Volume 7: The Secret Fire | Abe Sapien: Dark and Terrible - Volume 2

Plot Summary:

Abe makes it to Suwanee, Florida, where an Ogdru Hem towers over the town and the frogs plague the shoreline. There he reminisces about the good old days and befriends a few townsfolk, while pondering his past and future.

Reading Notes:

(Note: Pagination is solely in reference to the chapter itself and is not indicative of anything within the issue or collections.)

pg. 1 - Sebastián & Max Fiumara essentially shifting the art style slightly to have solid black shadows and more angular, simple features in order to give these flashbacks the feel of Mike Mignola’s own art is very, very nice. It gives this flashback the added feel of something consistent with that time period in the comics’ publishing history. Plus it just looks awesome.

pg. 2 - Seeing Bruttenholm just before his expedition from Seed of Destruction is bittersweet. We know what’s coming right after this and it gives Abe’s reminiscences a sad tone.

pg. 3 - So is seeing Hellboy, Liz, Abe, and Kate all together. Earlier, “simpler” times. With the end looming in BPRD: Hell on Earth and Hellboy himself dead and in hell, this nostalgia is a killer.

pg. 4-5 - This bit of Abe recounting his journey and kind of driftlessness is interesting. It kind of gives a summary of what’s ideologically got us to this point, without necessarily going into minutiae.

pg. 6/7 - Gorgeous double-page spread here showing us the destruction through Suwanee and the Ogdru Hem that towers above it all. It think it’s a neat little touch that there are golden arches sticking out from the water.

pg. 9 - It’s always interesting when the townsfolk already know of Abe and the Bureau. It kind of shows how information like a government institution dedicated to hunting these monsters would spread like wildfire. No pretending that it doesn’t exist.

pg. 10 - Also, this frog attack seems to justify the gun and the stance they had when Abe initially burst forth from the water.

pg. 12 - This is just gorgeous art from Sebastián & Max Fiumara and Dave Stewart. Half a house is just chilling. And the sadness on Isaac’s face when they’re talking about nobody making it out from the sinkhole that opened up when the Ogdru Hem rose tells an endless story of loss.

pg 13 - I think it’s interesting that this one specifically made frogs. Not hammerheads or those other zombie monster things. It’s like the different Ogdru Hem release different mutations.

pg. 16 - I’m not sure tentacle fish would be very tasty. Would probably disagree with your stomach. And genetic make-up.

pg. 18 - Still a big difference between Abe and the frog people.

pg. 20 - Underwater ghosts haunting their resting place, unable to leave. Quite sad again. I like that the feeling of being lost, of weightlessness underwater, and having no fixed direction for the ghosts is also told through Clem Robins’ placement of the word balloons. They’re all at angles, making it feel weird.

pg. 22 - Abe essentially finding out that Isaac’s wife’s spirit is trapped at the bottom of the sinkhole is more sadness. I also like the slight stylistic shift again here for the photographs. 

pg. 23 - Lloyd seems to be sowing some seeds of doubt when it comes to Abe. This seems to happen a lot and is exactly what Abe was talking about earlier in regards to people consistently trying to connect him to the frogs and the Ogdru Hem.

pg. 26 - Haunting. Also, there’s an interesting bit here about why Isaac and Autumn stay in Suwanee, even though the town’s lost so much and Isaac lost his wife. That staying in town, staying in their parents’ old house is kind of an act of defiance, one of survival, saying “I’m still here” so that they don’t lose their home too.

pg. 28 - This little character moment is very nice.

pg. 31 - This is perfect. It’s great to see Tyler Crook provide the artwork for this flashback. A very nice continuation from the end of The Mysteries of Unland in Witchfinder. We wanted to know what happened between Abe and the Mere in that epilogue and here it is.

pg. 34 - That’s...different. The Mona doesn’t seem to like Abe much. Which is kind of weird. You’d think it would recognize him as the supposed father of the new race of man.

pg. 35 - It does give us an opportunity to see more eel action, though.

pg. 37 - Also, there’s a reiteration here that Abe is something else. He’s not a frog person, nor does he seem to fit in with the eelfolk. That gives us a partial answer to what the eelfolk also are, without necessarily being explicit in the telling.

pg. 38 - It’s just a bear. Nice to see normal nature at least trying to survive.

pg. 40 - Also, this petty jealousy of Lloyd over Abe getting close to Autumn is just weird. It seems to give a better perspective as to why he was thinking of Abe as connected to the frog people earlier.

pg. 44 -That can’t be good.

pg. 46 - Another mutant fish. And the gas coming.

pg. 47 - I think it’s kind of foolhardy for Abe to swim directly into the gas, just because Grace’s words haunt him.

pg. 48-50 - Abe fighting with the Ogdru Hem here from within is just neat. Also, the shift to just Max Fiumara doing line art here for Abe’s “hallucination” is interesting.

pg. 51 - Langdon Caul, holding aloft his genesis egg, speaking that Hyperborean language to fight off the Ogdru Hem is weird.

pg. 53 - This seems to hint that Autumn was taken by one of those monsters. Also weird that the ghosts actually seem to be able to communicate here. It’s almost like Abe has entered into some kind of substrate realm where the Ogdru Hem and their infection operate on a different level.

pg. 54 - Poor Isaac.

pg. 55 - Although not explicit, there’s the definitely implication here that Autumn was turned into that frog that Isaac just killed. What with the broken basket and discarded jacket. At the very least she just got eaten.

pg. 56 - The world doesn’t seem so lucky.

pg. 59 - Poor Isaac. No closure on his wife. No closure on his sister. This is just a horrible state for him to be in.

pg. 61 - Even more monsters await. Ominous to see them pick up on the occultist’s path again.

pg. 63 - I like the idea of the shaman operating in areas more than just with Howards and Panya.

pg. 64/65 - Great double-page spread again here giving us a look at what the first men after the Hyperboreans did with the power that they had.

pg. 66 - Nice warning. “Hell would be better than where you’re going” doesn’t fill me with the warm fuzzies.

Final Thoughts: 

There are many times throughout this Abe Sapien series that I’ve been reminded of the Swamp Thing run from Alan Moore, Stephen Bissette, John Totleben, and Rick Veitch. The “American Gothic” arc of Alec travelling across America and coming across horrors in particular, but it goes beyond just a similar premise. There has been a continuous tone and atmosphere throughout the Abe Sapien book of that horror laying just beneath the surface of modern America, just waiting to come out in the new world apocalypse. It’s exemplified through the dark and slightly distorted artwork of Sebastián Fiumara, Max Fiumara, Tyler Crook, and Dave Stewart. Here specifically, but also broadly across the series.

Mike Mignola and Scott Allie also give a very light Lovecraft touch here, with “The Shadow Over Suwanee” paying a kind of tribute to “The Shadow Over Innsmouth”. It’s not as overt as many Lovecraft homages, but there’s a nice nod through the ruined town and the frog people. It’s funny, though, that the shadow referenced in the title here is more a literal shadow cast by an Ogdru Hem towering over the town.

d. emerson eddy might be an unspeakable horror.

[comicteaparty]

February 10th-February 16th, 2020 CTP Archive

The archive for the Comic Tea Party week long chat that occurred from February 10th, 2020 to February 16th, 2020.  The chat focused on Betrayal by Alex Lewis.

Featured Comment:

Chat:

Comic Tea Party

BOOK CLUB START!

Hello and welcome everyone to Comic Tea Party’s Book Club~! This week we’ll be focusing on Betrayal by Alex Lewis~! (https://alexmakescomics.com/betrayal/)

You are free to read and comment about the comic all week at your own pace until February 16th, so stop on by whenever it suits your schedule! Discussions are freeform, but we do offer discussion prompts in the pins for those who’d like to have them. Additionally, remember that while constructive criticism is allowed, our focus is to have fun and appreciate the comic! Whether you finish the comic or can only read a few pages, everyone is welcome to join and chat with us!

DISCUSSION PROMPTS – PART 1

1. What did you like about the beginning of the comic?

2. What has been your favorite moment in the comic (so far)?

3. Who is your favorite character?

4. Which characters do like seeing interact the most?

5. What is something you like about the art? If you have a favorite illustration, please share it!

6. What is a theme you like that the comic explores?

7. What do you like about the comic’s story or overall related content? 8. Overall, what do you think the comic’s strengths are?

Don’t feel inspired by the prompts? Feel free to discuss anything else that interested you!

Delphina

Just finished reading! I really found the part with Aune's "book of secrets" such a heartbreaking sequence. Alex using the blue pen kind of reinforces the themes of differentness and being an outsider not only in her outside world, but even just in the context of being honest about her own feelings. https://alexmakescomics.com/2019/06/07/chapter-six/

I also really felt for her in Chapter 8, when talking about her relationship with Aune and saying "the more time I spent with her, the more of myself I lost trying to keep up with her. It didn't matter to me at all. I liked myself better when I was with her." Just again, this theme of finding something to define herself when she'd been adrift, but not always in an honest or healthy way. https://alexmakescomics.com/2019/08/11/chapter-eight/

Eilidh (Lady Changeling)

I like the art style - it's very unique!

snuffysam (Super Galaxy Knights)

I like the way the comic ends on sort of an open-ended note. It's not very often that we get completed comics here on CTP, and I think this comic's ending is weirdly satisfying in its incompleteness. Like we don't know whether Aune and Alex make up, but we know that they're both open to it, y'know? I also looked into the Harold Pinter play Betrayal (which this comic is partially based off), and it's pretty interesting the ways they're similar and different. Like the story regards a group of friends and their romantic relationships (and them betraying each other, of course), but the main group of characters is two girls and one boy rather than two men and one woman. I'm curious how many of the changes are due to it being partially a memoir of the author's life and how many are the result of just creating an interesting fictional story about high schoolers.

I also really like the comic's use of flashbacks to tell Alex's story - flashing back to her childhood contextualizes her experiences as a highschooler really well.

RebelVampire

I really like in general how the story is told with a non-linear timeline. Not a lot of stories can actually pull them off successfully, because you run a high risk of confusing the audience. However, despite this one time jumping around a lot, it was never confusing. I think I chalk this up to the fact that the focus on the comic is not the plot itself but the relationships. So you don't need to know the timeline exactly to be able to empathize, experience, and understand what is going on in the relationships. So this is something I really enjoy about the comic. I really love non-linear when it's done well, and this is done well in that regard.

What I enjoy about the beginning of the comic is just how damn awkward everything is. Like, everything about their interactions is exactly why ill never go to a high school reunion. Cause there's this expectation to be super impressed with ppl (hence shallow comments) while also being a mind reader (like knowing someone doesnt go by an old name anymore). It's embarrassing and horrible and the comic really hit at some of my deeper social anxieties that while I've grown from, never will quite be gone. So bravo for making benign horror XD(edited)

Eightfish (Puppeteer)

Woah, I was not expecting to read a completed comic here! That was a nice change of pace. I really agree with the people praising the non-linear timeline. Using a highschool reunion as a framing device was an excellent decision

I wonder if the main character was gay or asexual?

Alex_makes_comics

Hello, I'm Alex. I made this comic - and I'm crying reading your comments. I've never had people review this book before. Some of the chapters only had about two views before this week so... This is very big for me. Hooboy. In answer to ongoing questions: changes to the Betrayal script from Harold Pinter's play were made to make it fit my experiences. The play is always a question of who is betraying who in a toxic love triangle. It's a jumping off point for me to talk about my memories. I went to see it and it hit a chord, after which I immediately sat down and wrote this. I love how the title of the play conceals who is betraying who: betrayal is a flexible concept. Hiding behind Pinter's words meanwhile ,when I have to, makes it easier to share my memories with others without self censoring. I am always terrified of people I know reading this book! In answer to the question of orientation, I'm bisexual if that helps anyone

RebelVampire

My favorite moment in the comic I would say is the ending. I like that it's open-ended and that there's no clear leaning one way or another. It's kind of up to the reader to judge the events they just saw. Not to mention, I feel the open-ending nature fits the mood of the comic in that relationships aren't straight forward and constantly in a flux. So having the ending be not entirely clear suits that well. As for a favorite character, I'm honestly not sure I could pick one in this case. Everyone is so human and I feel like picking a favorite would kind of be like picking a side. Or kind of like your friends trying to ask you to rank them in terms of how much you like them. That would be a challenge I'm not up for in this case. As for interactions, definitely Alex and Aune. The relationship there is fascinating from the way the story is told, so I'm never quite sure what to make of it, especially when knowing how the relationship sours. And since its through their interactions we get to know Aune, it almost feels like a character study in a way whenever the two interact.

Before I blather too much in one day, one thing I like about the comic is how different the kid versions of the characters look as opposed to the adults. I feel it's more true to life since a lot of adults do change a ton from how they looked at kids. So while theres definitely similarities, the age progression just felt really natural.

Eightfish (Puppeteer)

I agree with what Rebel said about the age progression feeling natural. If I could describe this comic in one word, I would maybe choose "realistic."

It does a great job of protraying that feeling of growing up and leaving things behind

Emotions and drama that feel so important as a child and as a high schooler turn out to really not matter that much at all

Comic Tea Party

DISCUSSION PROMPTS – PART 2

9. Given the story’s title, in what ways do we see betrayal throughout the story, and which moment stuck out to you the most regarding the subject? What can be learned from the story in regards to dealing with it?

10. What do you think the story can teach us regarding the nature of relationships and how they change as we grow older? In what ways do these events perhaps relate to your own life or what about the storytelling makes them relatable in general?

11. What do you think the story has to say about growing up in general, both in regards to how we change and how the people around us change? If applicable, why do you think coming of age stories like this are important?

12. How do you interpret the end of chapter 10 where Alex and Aune finally interact? What do you think each character is feeling? Overall, do you think their relationship can be repaired after the damage is done?

Don’t feel inspired by the prompts? Feel free to discuss anything else that interested you!

Eightfish (Puppeteer)

12) i didbt read the ending as starting to repair a relationship. I saw it as leaving your past behind. Also she doesn't seem to understand the damage she did to their relationship, so i don't think the main character would want to reconnect

Kabocha

Oh, dang. So I just binged the entirety of this comic, and there's something about this that feels a little... close to home, I guess? I really empathize with Alex -- the feeling of having someone who you love just kind of up and ditch you like that... That hurts. Granted, her situation was a bit more complicated, but... hhh. I think at best, she might go the route of wanting to be friendly with Aune later, but it just isn't gonna work out. That pain still exists, and even if Aune is past it, Alex pretty clearly isn't. And I think it's understandable. It's not a grudge, but more like that kind of awkward avoidance because you don't wanna get hurt again. just... aaaaaaaaaa. This was a very good read. Thank you @Alex_makes_comics.

RebelVampire

I do think what @Eightfish (Puppeteer) touched onto is the comic's strength: realism. Every event in this comic is so relateable since I think everyone can say they've at least been in a similar situation at least one of those times. So it forms a real connection with the reader so easily, thus allowing it to pull on the heart strings. Let's talk about themes and stuff though! So for in regards to betrayal, the moment that stuck out to me the most was the classroom convo between Alex and Aune where Aune is kind of distant and doesn't seem to really like anyone anymore and wants Alex to do break up dirty work. The reason this stuck with me is you can so clearly see it as a betrayal, and yet at the same time, it's such a benign thing. Like nobody is being literally stabbed in the back, nobody is having money stolen, no one is stealing anybody's lover. It's just...distance and a friendship falling apart for various reasons. Which I think is really the sad part. Since rather than dealing with betrayal, I think this story shows the many different forms it can take. And that sometimes its not this overdramatic thing. Sometimes its a slow burn that just singes for hours and hours.

However, I do like the story's maturity in that it shows us relationships are hard and need active maintenance. Cause without that, they fall apart. Additionally, as we grow older, its sad but common place friendships wont last. People change all the times, especially interests. So in the end those changes will drive people apart. At the very least I certainly haven't talked to my high school friends in years since many of them moved, got married, had kids, etc. Even during high school I had friends drift away. And I think these are pretty universal experiences, which is what I think makes the storytelling as relateable as it is.

As for the end, I kind of interpret it as "not ready." From the expressions, I think both Alex and Aune clearly felt awkward. Like the elephant in the room. They both wanted to talk about it seriously, but also both didn't want to talk about it. Too many feelings still fresh, coupled with maybe not enough desire to fix everything yet. So while I do believe most relationships can be repaired given time and effort, both parties need to be ready. And I just don't see that happening yet from how things ended.

Comic Tea Party

DISCUSSION PROMPTS – PART 3

13. What are you most looking forward to seeing in regards to the comic?

14. Any final words of encouragement for the comic?

Don’t feel inspired by the prompts? Feel free to discuss anything else that interested you!

Kabocha

As I said before, I'm really glad I read this. It felt very personal, and it was kinda cathartic to read! It also was kind of nice to see someone else kinda express the awkwardness of meeting again with someone who you felt hurt by. And just... Yeah. Thank you for this comic.

Alex_makes_comics

Hi, Everybody. I'm not sure if this is the last day of Betrayal book club, or if tomorrow counts still, but I wanted to use this opportunity to thank everyone for reading and engaging with my work, before you start on the next webcomic. I have never been through a process like this. Most of the time, I make comics and release them into the internet, never to be seen again. It's a long and lonely process, full of self questioning and self doubt. You've all really restored my confidence. Just knowing that you read and genuinely got what I was trying to achieve is amazing. I was worried about the ending of chapter 11, that it might put readers off, but seeing you all bouncing ideas off each other about "will they"/ "won't they" get back together reassures me that I did the right thing. This was my first completed graphic novel,and I have learned a bit since making it. I am currently working on draft 2, which involves a full redraw. I have about half of the book done. The redraw is going to be 30% more cartoony in style, to give the book a clearer aesthetic. I am aiming for stronger lines and colour themes. I'm also adding new pages throughout. Part of this is to have Aune more visible in the background of scenes between Alex and Jonas, because they're all in one school: you can't avoid people completely in these situations. I'm also making some of the school scenes noisier to play on the "benign horror" elements - thank you for this term, Rebel Vampire! My goal is to redraw everything, update the website, then print a small batch to sell at cons. If anything bugged you about the current draft that you think I have to know, you are more than welcome to tell me. Otherwise, in case you want to know when the new version is out, I have a mailing list here: https://mailchi.mp/e64c62c2d202/alexmakescomics Thank you again for everything. You really don't know how much you've helped me these two weeks. It's been mind blowing.

RebelVampire

What I'm most looking forward to seeing in regards to the comic is just more people finding it. It's a really touching, raw, and personally gripping story. Not only is the storytelling well-done with its use of time, but just overall, its one of the few stories where I can actually say it really got me thinking about life, relationships, and other things. And not a lot of comics can do that.

Comic Tea Party

BOOK CLUB END!

Thank you everyone so much for reading and chatting about Betrayal this week! Please also give a special thank you to Alex Lewis for volunteering the comic and creating it! If you liked Betrayal, make sure to continue to support it via some of the links below!

Read and Comment: https://alexmakescomics.com/betrayal/

Alex’s Twitter: https://twitter.com/alexmakescomics

[formerlyrunephoenix6769]

Catra: Journey to Redemption.

(Long post and spoilers for Season 1 SPOP)

In the run up to the release of ‘She-Ra: Princesses of Power.’ season 2 on April 26th 2019, I have been seeing lots of posts about our resident, ‘misguided; villain and all around badass who knows damn well how to rock a suit. 

Yes, of course, I am talking about Catra!

The nature of the posts I have been seeing have all had a similar vein or sentiment. 

“Give Catra her redemption arc.”  or  “Start Catra’s redemption arc.” 

I am just as hopeful as the the next person for Catra to have a redemption arc, if that is in fact what Noelle Stevenson and the rest of the team have planned for the character. But one thing I will say, is ‘patience’ and a small warning to be prepared,  

Catra is going to get much worse before she can even begin to get better! 

Catra could not possibly even begin to start on a path of redemption by the end of S2 because at the end of S1, she hasnt even begun to explore the full depths of her villainy.  (Being we dont know exactly how many seasons are planned, or what the overall narrative end goal is when it comes to the final conflict and Good triumphing over Evil, much of this is speculative. 

We can however use Avatar Last Airbender and the industry standard of best Redemption Arc ever, in all mediums, Zuko, and their timeline, which I think Noelle Stevenson said in an interview that if a redemption arc was to occur, that they would like to do something that could stand next to Zuko’s redemption arc. 

I will also be using Joseph Campbell’s Hero With a Thousand Faces, and his hero’s journey map as a resource but try implement it for villains)  

If you would like to take a look at my thoughts on redemption arcs in general the feel free to check out the link below. 

https://formerlyrunephoenix6769.tumblr.com/post/182640410231/are-all-villains-redeemable

I’ll be covering similar sentiments here. 

Ok first. 

TIMELINE:. 

ATLAB is only 3 BOOKs long, however the number of episodes, 61 over all, containing 20 minimum in each Book is far more than SPOP’s standard 13, meaning that technically Zuko’s redemption arc played out over just under 6 SPOP seasons, meaning that Zuko’s penultimate episodes, detrimental to his redemption arc, ‘Blue Spirit’ episode 13 in Book 1 and ‘Zuko Alone’  Episode 7 of Book 2, didnt technically take place until till the end of season 1 and half way through season 3 ... going off an SPOP standard time. 

Meaning there was over a season and a half between Zuko doing something right for the wrong reasons and also then moving off to really begin the start of his redemption arc in earnest, which he continues to struggle with right the way into Book 3 ( season 5/6)  

The difference here, I would also like to point out is that Zuko at the very beginning of ATLAB is already technically way ahead of Catra due to him being physically away from his ‘abuser’ and direct control of the life long indoctrination. He also has one up on Catra at this point as he has a ‘Mentor/Guide’ helping to facilitate the transition and help him see the error of his ways.

Technically, this puts Zuko’s character development on the road to redemption (OTRTR)  at least ONE season ahead of Catra. Meaning that his moment of ‘doing something right for the wrong reasons’ in ‘Zuko Alone.’ does not take place until at least the end of season 2, SPOP standard time! 

In other words... 

It's going to take some time for a pussy riot to manifest.

Taking this into account. 

SIMILARITIES AND DIFFERENCES. 

We can not continue without addressing the fact that there are many similarities and differences between the supposed ‘villains’. 

Both were the Scape Goat to a favoured Golden Child yet their interactions with the ‘Gold Child’ are vastly different. 

For Zuko, Azula was an antagonist. For Catra, Adora was an ally. 

Both suffered abuse from their primary caregiver, both were belittled and chastised for supposedly being ‘lesser’. However the fundamental difference is their reactions, Zuko continued to attempt to receive his Father’s favour, whilst Catra, on the surface didn't care, resulting in acting rebelliously. 

Both have issues surrounding self worth and how they express it is vastly different. 

Zuko is hugely unaware of his ‘Empire’s’ indoctrination and the imperialistic rule, believing the propaganda he was raised with. 

Whilst Catra is fully aware of the Horde and its intentions. 

And I think this is worthy of note!

Their ‘villainy’ and motivations are seated in entirely different places. 

Zuko starts out  wishing to ‘reclaim his honour’, prove his worth in his father’s eyes, and reclaim his birthright as the heir to the Fire Nation throne, in the words of his sister,

  It is only as he travels over the next SPOP SDT, 4 seasons that he realises his true purpose. 

Catra, is aware the Horde is evil, is given an opportunity to leave, but chooses not to, instead she willingly sets herself on a dark path to gain power and prove her self worth to everyone around her, esp her abuser, step mom of the year, Shadow Weaver,

Thus setting up the whole shenanigans of SPOP season 1.  

CONFLICT. 

As I covered in my previous post in the link above, a redemption arc cannot occur without showing that the ‘villain’ is conflicted. 

A redemption should be a slow burn, from starting point of why/how they are villains,  also showing the seeds of discontent, inner conflict, conflict of their actions, conflict of their ideals,  whether indoctrinated/learned/or their own misguided musings, then later a larger amount of focus should be placed on how they have overcome that villainy and change of perspective culminating with coming full circle.

What makes Zuko’s particular redemption arc so good is the work that goes into showing this. The time, the attention to detail, not being shied away from by the writers, that  intentionally trickles down and infuses with the character’s essence of being. 

Yes, Catra is conflicted about her relationship with Adora and what Adora means to her. 

This conflict about her and Adora’s relationship was partially resolved with Catra taking Adora’s motivations the wrong way, due to her own issues surrounding her self worth. 

This ‘resolution’ only serves to push Catra further down the a dark path.

But we have yet to see Catra conflicted about her actions and dont expect to see that happen until after we see her fully embrace her villainy, which by the end of S1, she was nowhere near close to doing. (See Triggers and Turning points)

Meaning that “Catra Alone”  might not even occur until midway S3  and actual beginnings of feeling conflicted about her actions, until S4.  

TRIGGER A TURNING POINT.

So we have discussed conflict. Conflict about ones actions can come about in many different forms, but it must be triggered by something that is enough to shake the core foundations of a villains motivations. 

In order for it to be believable and carry weight, a villain cannot  suddenly overnight go, 

 And the protagonists accept it at face value, as the audience wont.  

 A redemption should be a slow burn, from starting point of why/how they are villains and most importantly,  focus on how they have struggled to overcome that villainy and change their perspective. 

The link below is to a previous post, with an avenue of thought of what could trigger Catra on ONRTR.

https://formerlyrunephoenix6769.tumblr.com/post/182601000156/catra-could-she-be-a-lost-princess-and-if-so

Another avenue of thought is that Adora is gravely injured. I am not normally one for such an easy and over done trope but in this instance it is highly possible, because as it stands now, Catra has never nastily physically injured Adora, only She-Ra! 

(When she raked her darn claws down She-Ra’s back. Showing that Catra see’s a difference between to two personalities and isn't as of yet willing to cross that line... Maybe crossing that line will be a stepping stone to embracing her chosen darker path?) 

In fact, Catra has gone out of her way to avoid just that, much preferring to go after Adora emotionally.  

FALLING INTO OLD PATTERNS:

Even after ‘Zuko Alone’ and the Ba Sing Say arc, Zuko begins on a false start redemption by bonding with Katara but by the next episode falls back into old patterns by choosing to side with Azula as the ties that bind and the potential to reclaim his birthright is too hard to ignore. 

Which is totally normal for a teenager. 

This adds so much depth to his inner conflict, a catalyst that later cements his realisation at his true purpose, ushering him through the gates of his redemption arc, towards trying to make amends with the protagonists before they can accept him.   

Catra strikes me as someone who will never be wholly ‘good’, in the sense of the word when it is applied to Bow, Glimmer or Adora, but rather someone who will make super dark comments and morally grey suggestions of how to deal with an issue, which is what we have been shown of her from the very beginning. 

It is hard to say is Catra will ever have this step in a redemption arc due to her already morally grey nature, this could very well be skipped over entirely. 

Narratively speaking and characterization wise, this particular part of an arc could present itself not as a ‘false start’ but could come from ‘Subterfuge and infiltration’ , whereby Catra pretends to come to their side only for her to betray them later, for her own ends. 

OR, 

We could very well have a ‘false start’, where she is trapped with any of the protagonists and they need to work together to escape, similar to the aptly named  ATLAB ep 40 ‘The Crossroads of Destiny’ and SPOPS s1e9 ‘Promise’, which would be a nice mirror, from a narrative standpoint, only for her to run off and return to the Horde once free. 

Again note, that this false start occured for Zuko the very end of S3 SPOP SDT. 

CONCLUSIONS.

Before Catra’s Redemption arc can come to fruition , we need her to go on her journey. Something akin to this, but for villains. 

On this map, if Resurrection is Catra being genuinely accepted by the protagonists as being changed and truly on their side.  I would see Catra as in between Meeting of Mentor (Hordak) and Crossing the Threshold into full blown villany 

So, we need to see her, 

1) Become a true villain. 

2) 1st Trigger.

3) baby Conflict

4)False start, falling into old patterns

5) 2nd Trigger

6)Conflict and Realisation/ (Seizing the Treasure) 

7) Through the Gates 

8) Trial of Proof.

9) Acceptance/Resurrection. 

We could be waiting for some time for a Catra redemption arc to kick in, and please dont be disappointed or frothing at the mouth if we dont see it starting in Season 2... No matter how much you want it out of the way so that ‘other’ things can occur.. 

Please keep in mind.. 

A good Redemption Arc has to be earned! And doing it well takes time!

MEANWHILE  ...

There is ALL OF THIS.... 

I dont even know where to begin starting to unwrap all this tension and awkwardness., 

Think I’m going to leave that for a an entirely different post.

[hellzyeahthewebwieldingavenger]

SPOILERS for Spider-Man PS4

Can we talk about how the end of this game, how ironic it is, how meta it is and how it just might be signifying we’re moving into a new era for Spider-Man?!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Okay so at the end of the game Aunt May is rapidly dying due to a plague unleashed by Doc Ock, a villain Peter had a direct yet inadvertent hand in creating. Peter beats Doc Ock and gets the single sample of the cure for the plague.

Problem is that with there being just one sample of the cure he has to choose between giving it to Aunt May or handing it over so that more cures can be developed which will take more time than May herself has.

Or in other words Peter has to make a decision between: 

a) Aunt May living and thus not having to live with the pain of losing her or the crushing guilt of his hand in that, but at the expense of other people and the greater good

b) Aunt May dying, living with the pain of losing her and the crushing guilt from his hand in that, but he’d have avoided other people suffering and served the greater good.

Does ANY of that maybe sound familiar to anyone?

Guess what?

Peter is sorely tempted and ALMOST gives May the serum. But then in a gut wrenching moment decides otherwise.

So Spider-Man in this game morally and thematically did the OPPOSITE of what he did in One More Day.

Now I know what you’re going to say. That it’s not the same. Nobody’s lives were on the line in OMD except for Aunt May’s and in saving her Peter wasn’t sacrificing anything beyond his personal happiness. He was just choosing to not have his wife anymore and he might even have maybe gotten her back later perhaps?

Nope.

In One More Day Mephisto explains two critically important details.

In making this deal Peter AND Mary Jane’s souls will be in a state of eternal torment. And

Making this deal screws over God

We have to consider this from an in-universe point of view.

In the world Peter inhabits he is fully aware there is an afterlife and even if he wasn’t he and Mary Jane believe in it anyway. He is also fully aware God exists, he met him shortly before OMD as did his friends and allies the Fantastic Four. He is also talking to effectively the Devil which in and of itself confirms the existence of God and btw he’s also met Thor and Ghost Rider.

Which means Peter might not have been sacrificing anyone’s lives, but he is aware that in the world he inhabits he is aware that death is not truly the end of someone’s existence and that there is a higher power of Good and Evil in play here.

And he is choosing to very directly fuck over that higher Good, help the higher objective Evil and put an innocent person, Mary Jane, through a state of suffering. What else do you think ‘torment’ means? It means suffering and this isn’t even a temporary state of suffering like the sick citizens of the PS4 game. They might slowly and painfully die but they will find peace afterwards. In OMD Peter was agreeing to allow Mary Jane to suffer for the rest of her natural life (so at least 50 years if you say she was like 30 and would live until at least 80 years old) and then continue to suffer for literally all of time thereafter.

It might only be one person specifically and directly suffering but if you are going to help someone who’s goal is to maximize suffering across the entire universe and fuck over the counterbalance of Good across the universe you are in effect helping multiple people suffer. Which isn’t even getting into you are causing suffering to the very person you are saving because they’d obviously not want you do do that.

Which is another point in favour of the PS4 game. Before OMD May made it clear she’d at peace with dying and first and foremost wants Peter to be happy and Peter just ignored this due to how HE personally felt. In the PS4 game a noticeably younger  and less (you’d think) worldly wise Peter gets a less clear and explicit message from May on her deathbed which amounts to the same thing. 

And he chooses differently. 

In fact not only does he choose differently but in a 3 month time skip after May’s death it’s clear he’s still sad about it but is getting on with life, he hasn’t been broken in two by the experience. This was partially the ‘moral’ justification for Peter’s decision in OMD.

If May died the guilt would destroy him. Which is saying to the readers ‘Hey do you WANT Spider-Man to be destroyed!’ and/or ‘If Spider-Man is emotionally devastated then he can’t be Spider-Man anymore so more people will get hurt because he wasn’t there!’ 

And yet in this game a younger Peter, who has had LESS time to deal with Uncle Ben’s death and needs to make a decision regarding the life of a very clearly YOUNGER Aunt May who in fact hasn’t lived a fully long and happy life (Comic book Aunt May had maybe 5 years left in her, PS4 Aunt May had at least 20). And he chooses the harder but mature and morally right one even at great personal cost. Whereas in OMD his decision was easy, immature, immoral and selfish but also at great personal cost.

Then you’ve got the role of MJ in all this. Whilst not involved in his decision in the video game the game ends with Peter and MJ in love and rekindling their relationship, possibly even moving in together.

If the latter is more than a possibility this is important because part of OMD was recontextualizing Peter and MJ’s marriage as (allegedly) fundamentally the same except they were just living together not married. More importantly OMD existed specifically to end their relationship.

If you go by the living together = marriage, then in the game idea then Peter and MJ possibly living together and getting back together in the aftermath of Peter making the opposite choice he did in OMD is a further deconstruction and condemnation of that story.

Honestly it still would be if they aren’t going to be living together.

And all this is highly ironic for two big reasons.

Two of the people involved in the story of this game were Dan Slott and Christos Gage. The latter has written terrible anti PeterxMJ stories (such as Superior Spider-Man #31) and the former has done that too but also publicly defended OMD. Both in terms of it being more creatively enriching and in terms of it being in character and morally justified for Spider-Man.

The game over all is chiefly based upon stories from Brand New Day and Dan Slott’s run all of which directly followed, were facilitated by and attempted to creatively justify One More Day.

The fact that this ending occurred in the game just might be significant in terms of Marvel’s attitude towards the Peter and MJ relationship and their marriage over all.

After all as big as video games were in 2007 (when OMD was published) they are even bigger now, receiving promotional campaigns and fan hype not dissimilar to films or TV shows. 

Not only has there already been merchandise produced based upon the game (such as a prequel novel) but Marvel Unlimited, Marvel’s personal online service to read their comic book library, even promoted the game when it was released by providing a reading list of relevant Spider-Man comic books. Although you could equally argue they were capitalizing upon the game and using it to promote their own comics and service. 

This equally applies to the fact that the version of Spider-Man from the PS4 game (as of this writing) has and will be featured in comic books published by Marvel and in particular will be a notable player in a Spider-Man crossover event, Spider-Geddon.

So the story directions in this game are not necessarily confined to the game or their specific version of Spider-Man alone. It is one of the most visible versions of Spider-Man and one the general public have and will be interacting with a lot. Arguably even moreso than the MCU film version since in the game audience members literally  can be Spider-Man as opposed to just watching him.

All of which means that those story directions could very well be representative of the direction Marvel over all wishes to take Spider-Man in and the message about who and what makes Spider-Man who he is. In this case hypothetically this could be a sign that Marvel as a company might be reorientating to be more accepting of Mary Jane as a character, of her and Peter relationship, of their marriage and maybe just maybe inclined towards restoring it by undoing OMD.

If nothing else this game’s ending, how it frames the Peter/MJ relationship and how it clearly undermines OMD will help to incline the public and therefore Marvel towards that.

[theremharths]

This is just more thoughts on The Left Hand of Darkness, but it’s under a cut bc it’s a huge incomprehensible ramble. Sorry if you’re on mobile

I was worried that Genly finally understanding and accepting that Estraven is just as much a woman as a man, which comes at the moment that he also acknowledges the sexual tension between them, would essentially frame their relationship as “well it’s okay that I’m attracted to this person who is a man, because they are also a woman so I can ignore the man aspect” but it didn’t do that at all--that this scene is the first time where Genly doesn’t switch to she/her pronouns for someone in the “female” kemmer state (like he does with Faxe during the ritual or the orgota in the prison truck with him) seems partially designed to specifically defy that interpretation as much as it’s meant to show how Genly’s developed

The question of Genly’s sexual orientation isn’t really brought up at all, really. I expected a bit of homophobic (internalized or otherwise) waffling on his part (while there are of course plenty of gay men who are misogynists, Genly’s particular brand of casual, unquestioning misogyny tends to go hand in hand w/ a certain similar kind of casual, unquestioning homophobia) along the lines of, say, categorizing any gethenian who he finds attractive as “female” or something similar, but that never occurs. The part where Genly notes that he can’t help but pay attention to Gaum bc of his attractiveness has him describe Gaum as being attractive “as either sex” without placing any more emphasis on femaleness being connected to that attractiveness than maleness

Similarly, his attraction to Estraven, while unrealized or ignored by Genly for most of the book, is fairly plain to the reader as early on as the first chapter. Every other person Genly encounters is described only by their most prominent feature. Even Faxe and Gaum’s attractiveness is largely undescribed--we don’t know what it is about them that makes them beautiful, just that they are

Estraven is described every time Genly looks at him, in great detail, to the point where he’s the only character the reader is really given a full picture of. Even Genly’s appearance is vague; we know that he’s a dark skinned Black man, that he has a wide nose, that he’s probably around six feet tall, that he’s fairly physically strong, and that’s about it. Estraven is a head shorter than Genly, his hair is long and black, his eyes are also black, his skin is dark brown but lighter than Genly’s, he has small hands, he has wide hips, he has single eyelids and heavy eyebrows, he is fairly solidly built and has a “sleek” layer of fat to him, etc etc etc. We always know what he’s wearing, we know how he looks in the light of whatever room he and Genly are in, we know how he looks when he sleeps. All of this makes the revelation of the attraction between them more meaningful to the reader than describing him in the same terms as, say, Faxe was, would have, and almost all of it is from before Genly’s Moment Of Understanding, from when he was still trying to frame Estraven as entirely a man in his mind

While Genly assigns various and frequently contradicting and almost always (to him) negative traits to femaleness--Estraven’s directness is “feminine” but so, according to Genly, is his perceived mysteriousness and manipulative nature--he distinctly never associates sexual attractiveness with women. Even in the scene where he tries (and fails) to explain what a woman is to Estraven and why, to Genly, they are so different from men, he never attempts to use language related to beauty or any sort of physical attractiveness at all

Obviously the main reason why the gethenians are all referred to using he/him pronouns is “it was 1969 and they/them wasn’t widely recognized as a non-plural pronoun and ‘he’ is considered ‘more neutral’ than ‘she’ is” but it also forces the reader to acknowledge that while you can’t describe Genly and Estraven’s relationship as a gay one, you also certainly can’t describe it as a heterosexual one. There is, undeniably, a homoerotic nature to it and to the whole of the novel and to deny that, based on the fact that Estraven isn’t just a man, is to deny that Estraven also isn’t just a woman or just neither one. To use only she/her pronouns for Estraven would be to allow the homophobic reader to do what I was relieved that Genly (and Le Guin) didn’t do--to go “well, sure, it’s telling me that this person is a man and a woman and both and neither, but I don’t want this story to be about a man falling in love with a man-woman-both-neither, so I will pretend this person is solely a woman”

(And, frankly, the need to read between the lines to grasp the attraction between two characters--the subtlety of the whole thing, pre-(and even post-)Moment Of Understanding--is homoerotic in itself. Straightness and cisness don’t generally concern themselves with with subtlety or nuance)

I’m not saying that the choice to use only he/him pronouns for the gethenians was the correct one. I’m following the example set by canon because at the end of the day, using the “wrong” pronouns for even a fictional character makes me uncomfortable--it feels like misgendering, even if it really isn’t, if I use pronouns that the character isn’t shown to use themself. I’m saying that with the options that Le Guin knew of in the 1960s--she/her or he/him--it was probably better to use he/him, at least for specifically Estraven. I genuinely don’t know how one would modernize the way pronouns are used here for a movie or series adaptation. I suppose the best thing I can think of would be to use he/him and she/her and they/them for every gethenian, which is both 1. how plenty of people use pronouns in real life and 2. a lot less confusing/chaotic in a visual medium than it would be in a written one. The issue with switching to solely they/them pronouns in an adaptation is that it could still allow for a separation from that homoeroticism, and, more importantly, that it perpetuates the novel’s fixation on "physical sex” as ruling gender identity, and that being non-binary is something for aliens and not for regular humans. Yes, they/them pronouns would be the neatest option but it wouldn’t work as a solution to the novel’s cissexism

Kosh, the babylon 5 character, is a being without “biological sex”. He is also a male character. To reboot babylon 5 and have all vorlons use they/them pronouns would be to reinforce the notion of gender being decided by sex organs and chromosomes and, in this case, whether or not you’re a sentient ball of light. It would still be adhering to the character’s assigned gender, it’s just that the assigned gender would be “none”. Kosh, as a male character who is not “””biologically male”””, is already trans. If you want to have non-binary characters in babylon 5, you would do better to look at G’Kar or Delenn or literally anyone other than a vorlon

(Of course, satisfyingly and accurately modernizing and adapting The Left Hand of Darkness in other ways would also be difficult. Keeping the themes and messages and plot while removing the implication that there are no trans and/or non-binary and/or intersex people on earth or in the whole of the Ekumen. The simple fact that I just don’t have faith in most prominent producers/directors/casting agents/etc to adhere to the novel’s complete lack of white characters, and especially to actually cast an indigenous actor as Estraven. The other simple fact that Estraven’s death at the end is something I can accept in a book from 1969, but absolutely not in a modern work)

[fifth--business-blog]

8 Budget Plan Friendly Trip Ideas for 2018

Updated: 11/8/2018 | November 8th, 2018

While many of us dream of traveling the world (or at least taking a few months off from work in pursuit of adventure), it’s not always feasible, even for those with the best of intentions. A lot of things can get in the way.

I frequently talk about long-term travel and round-the-world trips, but I know that realistically, not everyone can or wants to enjoy this style of travel. I don’t think traveling the world is hard, but I also know that what I do isn’t for everyone.

Some people just want to go on a cheap vacation for a few weeks. Not everyone has the time or luxury to take an extended trip.

So what do you do when you only have a short amount of time and a short amount of money?

What are some budget vacation ideas that aren’t about traveling the world?

Even if I won’t find you backpacking Cambodia for three months or walking the Camino de Santiago, there are many ways to get on the road and see the world without breaking the bank! Here are eight cheap travel ideas if you are cash-strapped and/or time-poor:

Cheap Vacation Idea 1: Be a Local Tourist

How often do you visit the tourist sites in your own city? Hardly ever, right? I know New Yorkers who have never seen the Statue of Liberty and Bostonians who have never walked the Freedom Trail. I once took a Dutch friend on a tour of Amsterdam because, despite growing up there, she had never seen the local attractions that lure millions of visitors to the city every year.

We’re all guilty of this. It took me five years to see the Jim Thompson House in Bangkok (even after living there), and I’ve still never been to Bunker Hill in Boston despite spending the first 24 years of my life there.

We always put it off until tomorrow, because when we live in a city, we think there is always a tomorrow.

We get so caught up in our daily lives we forget that we can have a cheap vacation in our own city. We don’t have to go anywhere!

If you’re short on time and money, there’s no better way to spend some free time than to wander your own city. No matter what its size, it has a number of wonders that you’ve never seen or even known about because you just don’t like! We’re busy leading our lives and following our routines. It’s normal but let’s look at your home with new eyes.

Be a traveler in your own town!

Important tips: When you become a local tourist, check out of your house and into a hotel, hostel, or guesthouse. It’s important to get out of your familiar environment because if you stay home, you’ll find something to do around the house and create excuses for why you can’t sightsee. Moving to a different location can help give you that feeling of adventure, excitement, and unfamiliarity.

Moreover, be sure to go to your local tourism office and get a city tourism pass. These cards allow you to see a wide range of local attractions for free or reduced prices and can be your way to see your local sites on a budget. They aren’t just for outsiders!

Cheap Vacation Idea 2: Travel Regionally

Travel brings to mind faraway and exotic destinations. It invokes images of all the places we’ve dreamed of and seen in movies. Because of that, few people look in their own backyard for adventure — as my Aussie friends always tell me before they jet off somewhere, “Mate, you’ve probably seen more of Oz than I have!” — but it offers just as many places to travel.

I could say the same thing as my Aussie friends. I grew up in Boston, and from there, I could visit New Hampshire, the woods of Maine, the bed-and-breakfasts of the Berkshires, or the farms of Vermont. New York was a four-hour car ride from home. How often did I do that? Not often enough!

Exploring your own region is an underrated and often overlooked aspect of travel. It gets the occasional lip service in magazines, but driving across the United States made me realize how much our own countries have to offer us and how often we overlook that for some foreign place.

There’s something special about being a stranger in your homeland and realizing you really don’t know much about it as you thought.

We think because we’re born in a place we understand it but every country has regional differences that make it unique and, unless we travel to see and experience them, we’ll never fully understand the place we call home.

Driving across my country (the U.S.) taught me a lot about it. It gave me a deep appreciation for it, the people, and the diversity within its borders. It broke down stereotypes and misconceptions I had about the different regions in the US. My time exploring my own backyard was just as important to my growth as any trip to a foreign country.

If you’re on a limited budget, can’t afford a flight or a trip to exotic lands, or just want to do something different, don’t forget that you can always travel your own country. It can be just as powerful as visiting another country.

Cheap Vacation Idea 3: Go to National Parks

The great outdoors present a great chance to go somewhere on the cheap. Camping, after all, costs very little money. Camping fees in national parks are as little as $15 USD per night in the United States, $15-40 CAD in Canada, $10-60 AUD in Australia, and $17-22 NZD in New Zealand. And in many places in Japan and Europe (especially Scandinavia), you can camp on public lands for free. Additionally, you go camping stocked with all your own supplies and accommodation (i.e., a tent), so you don’t have to worry about spending lots of extra money. Your food bill can be whatever you spend on groceries and nothing more.

You don’t need to love camping to spend time in the national parks, either. Personally, I hate camping. I’m not the camp-in-a-tent kind of guy; I need toilets, beds, and hot water. Luckily, many parks provide cabins. While hiking the Grand Canyon, I stayed at a national park lodge at the bottom. I had a room in a dormitory, but for a few nights, it was the cheap accommodation I needed.

There’s almost always a park nearby and spending a few days with nature is not only good for your wallet but also good for your soul.

Along these same lines, Camp in My Garden is a website that lets people camp in someone’s backyard (or garden). Got an RV that needs parking? Check out RV with Me, which finds cheap parking and overnight solutions for RV owners!

Cheap Vacation Idea 4: Book a Last-Minute Cruise (or Book Far in Advance)

Cruises are normally very expensive, affairs with a seven-day Caribbean cruise costing over $600–700 USD per person for a small interior room. And, if you’re traveling alone, you often have to pay the price of two people since not many cruise lines offer single traveler rooms!

But, if you’re the last passenger running onto that ship, you can find some sweet deals.

Cruise lines always offer incredible last-minute deals. No ship’s captain – or cruise company – wants to leave with half the cabins empty. If you wait until a few weeks before departure, you can find some really amazing deals as cruise lines scramble to find passengers. Plus, cruise operators always throw in some on-board amenities, free upgrades, and cash vouchers to sweeten the deal.

The website CruiseSheet often has cruises as low as $30 per day! (It’s the best cruise booking website in the world!)

Conversely, if you book over a year in advance, cruise lines also offer amazing low fares for early birds.

Cruises are the one form of travel for which I recommend visiting a travel agent if you’re part of a big group. They have wonderful working relationships with the operators and can score better packages than booking online.

After you book, keep an eye out on prices, because if they drop, you can often call your travel agent or the cruise company itself to get a partial refund or vouchers to use for dining and alcohol on the boat.

READ THIS —> Click here to read my guide to finding super discounted cruises (and how to save money once you are on board.)

Cheap Vacation Idea 5: Think Outside the Box

Forget Mexico and go to Guatemala. Skip Paris and head to Budapest. Forget Italy and see Greece (it’s really cheap!). Ditch Brazil and take on Bolivia instead. The list goes on and on. There are countless cheap alternatives and budget destinations around the world!

Travel counter to the prevailing trend.

Zig when everyone zags.

If people are going in the summer, you go in the spring or winter. Skip the popular destinations and head off the beaten path a bit.

Contrarian travel will save you a bundle of money. It’s like reverse commuting. While others heading into the city in the morning for work are stuck in traffic, you breeze the opposite way hassle free. The same is true for travel.

The more you are a contrarian in where – and when you go – the better off you’re wallet will be. Plus, you’ll enjoy destinations more because there will be fewer crowds. No one loves a crowd!

READ THIS –> Click here for 10 Destinations to Visit on a Budget to help give you ideas on where you to go!

Cheap Vacation Idea 6: Book a Last-Minute Tour

Just like cruises, tours are best booked last-minute. Tour companies need to fill the seats just like cruise companies, because once that trip departs, they still have the same costs. Last-minute tour bookings work the same way as cruise bookings.

Why are tours so cheap last-minute? Well, think about how people plan vacations. You get the time off work, you book your vacation, you buy your flight, and you go. Since people pre-book, prices are higher in advance because these companies understand booking patterns and then price accordingly. As departure time nears, companies know people aren’t likely to turn up and book on departure day, so they sweeten the price to increase bookings. So take the time off work, wait until the week before, see what’s cheap, and then go.

My favorite company, Intrepid Travel, often offers 15–30% discounts on last-minute tours.

Cheap Vacation Idea 7: Become a House Sitter

Accommodation can eat into the cost of a trip big-time. You might get a flight deal, but then accommodation — even if you can find it cheaply — might push the cost of your trip into unaffordable territory. A way around that is to stay somewhere for free. While I like Couchsurfing, it’s hard to do that for two weeks without annoying your host. A unique way to overcome this is to house-sit for someone while they are on vacation. You get free accommodation, a kitchen to cook in, and the chance to explore a destination in depth. It’s a pretty unique way to travel and one that I know a lot of world travelers take advantage of. You can even do this in your own region too, to cut down on transportation costs.

Cheap Vacation Idea 8: Grab a Cheap Flight

Nowadays, you don’t have to guess where the cheapest flight from your home would be. You can look up a whole list of flights (from cheapest to increasingly more expensive) using a site like Momondo or Google Flights. With those sites, you can type in “(the closest airport to you)” for your departure city and “everywhere” for your destination. Then a list of the cheapest flights appears in front of your very eyes, so you can choose where to go within your budget. This is how I decide where to go when I don’t have a specific place in mind. It’s a great tool!

Here are some other great airline booking sites where you can find deals:

Not everyone can jump overseas at the drop of a hat or spend six months backpacking around Europe or Asia. A fancy vacation to Mexico may be out of your reach. But while you might not have a lot of time or money, luckily there’s more than one way to see the world. These cheap vacation ideas may be exactly what you’re looking for!

Travel is simply the art of going somewhere new and different and exploring everything the place has to offer. It doesn’t matter if you have two days, two weeks, or two months. Use these cheap vacation ideas and go explore – on a budget!

Want more? Read these articles to get more specific destination ideas for where to have a budget vacation:

Book Your Trip: Logistical Tips and Tricks

Book Your Flight Find a cheap flight by using Skyscanner or Momondo. They are my two favorite search engines because they search websites and airlines around the globe so you always know no stone is left unturned.

Book Your Accommodation To find the best budget accommodation, use Booking.com as they consistently return the cheapest rates for guesthouses and cheap hotels. I use them all the time. You can book your hostel – if you want that instead – with Hostelworld as they have the most comprehensive inventory.

Don’t Forget Travel Insurance Travel insurance will protect you against illness, injury, theft, and cancellations. It’s comprehensive protection in case anything goes wrong. I never go on a trip without it as I’ve had to use it many times in the past. I’ve been using World Nomads for ten years. My favorite companies that offer the best service and value are:

Looking for the best companies to save money with? Check out my resource page for the best companies to use when you travel! I list all the ones I use to save money when I travel – and I think will help you too!