#i’ve read a lot of i think they’re interesting) the framework just doesn’t fit

[imaginarypasta]

i want to write this fairy-medieval romance au but my medieval romance knowledge extends to necrophilia and gay werewolves and just does not fit with the fairy aspect

[robotnuts]

i dont know much and i havent really Read a lot of theory so id probably be laughed out of the room by anyone that has but even as someone who knows nothing i do think its clear that like. even if the broader political implications werent fully intended by burnie (which, considering the problems with disability rep in rvb, i sure Hope they weren’t), there’s still meat to sink your teeth into there. 

reading the AI as assistive tech in the story creates some really interesting thoughts about biopolitics and the military. there’s interesting stuff about how maine’s disability is treated and how care is forced on him that he doesn’t ask for and how york is treated of course, i just reblogged a post on it, but i think pushing the framework further to extrapolate what it means for characters who Aren't understood as disabled being provided assistive tech highlights some interesting points about disability politics. what does it mean if you consider even the able bodied freelancers being (classified as) ‘disabled’ by not living up to a superhuman standard that no one can access without modifications. 

having an ‘abled’ or ‘disabled’ body isn’t a natural inherent objective state of being but a classification produced by and given to you by sociopolitical circumstances, what is considered 'disability’ is subject to change with shifting cultural norms, etc. so in an incredibly high-control hierarchical environment like the military, with absolute control over your environment and body and goals, the standard of behavior you need to achieve to be considered 'abled’ can be pushed so far to the extreme that it falls out of the range of behaviors that can even exist without assistive tech so fantastical that can't exist in the real world. this view challenges the 'common sense' conceptualization that being abled is just the ‘natural, healthy’ condition of one’s body as an inherent physical state with no societal influences or contexts. instead, disability and ability is produced by the interaction between one's physical body and those contexts, and in extreme contexts, we get extreme conclusions. no one at club errera would consider agent carolina disabled, but under project freelancer, in order to further the aims of the people she works for, her not being able to run 50mph is a ‘disability’ that needs assistive tech in order to fix. 

and also under the control of the military, the abilities of agent carolina’s body are owned by her superiors. her assistive tech isn’t given to her in order to allow her to run fast because she wants to and thinks it would enrich her life, and being granted More Ability is not an unquestioned net good with no drawbacks**, but a material tradeoff that comes with different advantages and disadvantages for one's dayt o day life. it's not for her, it's solely because it would allow her employers to continue exerting power and maneuvering towards their political aims. in short, her own well being is completely disregarded, because, well. duh. it’s the military.

assistive tech’s designs and aims are also not apolitical and always a positive thing. using the AI has extreme physical and mental risks and harms for all the freelancers, as well as just being a MASSIVE interpersonal burden/change in how they’re expected to interact with the world on a fundamental level, which makes sense as a trade-off! in order to be able to perform the superhuman feats required by PFL the tech is fundamentally invasive on the deepest possible level. but it helps PFL look better and satisfies the director’s enigmatic whims,* so get on the operating table. 

this point reminds me of posts i’ve read about prosthetic arms and how they’re extremely difficult to learn to use and how most people give up on them because they aren’t comfortable and aren’t helpful in the long run, but people are still encouraged to be fitted with prosthetic arms, because thats the Natural state of an Abled body and wouldnt it be best if everyone could Return to that, instead of considering assistive tech that might actually treat the needs of an amputee, such as tools modified to be able to be used with only one hand (also, militaries even use soldiers who are given these devices after losing their arms as promotional fluff pieces, calling them bionic arms and showing off how high tech and cool they are, even though from what i understand, they suck! fuck the military!!!)

*(and i don’t think the director’s enigmatic whims are necessarily me being snarky about weird character writing and don’t reflect any real life phenomena either- this being the director’s Pet project and theory and people with power being able to use that power to extreme ends to get incredibly stupid ideas manifested in reality reminds me of the elizabeth holmes, the silicon valley blood girl, and how she got investors excited because they were sold on the story of the idea and not because of any real merits it had. NFTs work as another example. the director decided he’s going to do this dumb fucking AI dissociative identity disorder scheme because it seemed so clever, and there’s no checks on his power as the nepo baby in charge of the big shiny war machine, so he can totally just fucking implode his entire organization and ruin countless lives on this pipe dream fueled by his fucking dead wife angst 

**this is why this essentially just being the case and all we're given wrt wash's disability in zero drives me so crazy lol. i mean most of the stuff i find interesting here is in 6-10, its not really doing the same kind of interesting stuff in 17 either, but i do think a story about a disabled character coming to terms with what his and future will look like is an important story to tell, even if i don't have as many interesting thoughts how the plot intersects with the explicitly political environment of the military in the same way i do with 9/10

[vitaminwaterreviews]

Mos Def - Black on Both Sides

I think this is the first (American) hip hop album that I’ve ever listened to start-to-finish. It’s certainly the one where I’ve paid the most attention to the lyrics. And … To be totally honest, it’s more or less what I expected it to be. I live in America, I’m American, and hip hop has been an integral of my culture for my entire life. So musically and lyrically, it’s pretty much exactly what I expected, even though I haven’t studied much hip hop before.

That said, I think that this album was done really well. First, it’s over an hour long, but it kept me interested pretty much the whole way through. That alone is worth something. It bounced around a lot lyrically; sometimes it was about racism, sometimes it was about hip hop, sometimes it was about Brooklyn, sometimes it was about random stuff like climate change, or love. But it also all tied back into itself really well; it’s very clearly a cohesive album, and the lyrics reflect that.

I especially loved the sampling. The “and know that I love you” from Know That was so good, it fit the song so well. Another comment that I had from around there was how sensitive the album is. Like, yeah, it’s hip hop, but it’s also tender and emotional. And usually (among white people anyway) hip hop gets a reputation for only being angry and loud. So it was really nice to see that stereotype being challenged.

I don’t think he’s a poet in the same sense that I’m a poet. But at the same time, I don’t think hip hop should be poetry in the traditional sense. I think his lyrics were clever and they fit the songs well, so even if I don’t think they hold up when read purely as poetry, it doesn’t matter, because that’s not the point.

One other thing I want to mention is that it was very hard to hear the lyrics in certain parts without also having the lyrics up onscreen. Maybe that’s intentional, but for a genre so concerned with lyricism, it was kind of frustrating that I couldn’t hear the lyrics just by listening. I don’t think it made the songs any worse though, maybe just a pet peeve of mine.

It was also interesting just how relevant the album is today. This was released in 1999, and now it’s twenty five years later, and every single piece of social commentary is just as applicable to 2024. Anyway, average score of 8.1. Maybe that’s a bit low, I liked it a lot, and regardless of the score, the good parts were very good.

- Fear Not Of Men

He just shouted out the entire earth oml

Love the background vocals here, talking in the background to kind of illustrate the points that he’s making

Kinda meta, he’s literally discussing hip hop in a hip hop song

Lol they’re mocking the sirens! Genius

Mkay, three minutes into the song and we finally get some conventional singing

The organ sample here makes this feel kinda reggae actually

My guess though is that this serves the function of an album intro

And if so, then “black on both sides” and also “fear not of men” is quite a powerful message

8/10

Hip Hop

Nice, it just blends right in

This song has 32 million listens, but still no lyrics on Spotify?

The “chill for a minute” line was really well done

And actually that’s something that I appreciate, the beat reflects the lyrics really well

“Hip hop went from selling crack to smoking it,” what does this mean?

8/10

Love

Opening with applause?

Clever lyricism. I’m sure you could spend an hour figuring out this song and still not understand it

This is like, philosophy that he’s doing here

Like there’s sort of an ethical/metaphysical framework going on

8/10

Ms. Fat Booty

Not sure what the subject matter has to do with the album so far, but I think I like this beat the most out of the ones we’ve heard so far

This is great, looping the hook over his vocal interlude, I love that so much

Oh he’s dividing the song into themes, that’s neat

9/10, I really really enjoyed listening to this song, the story that it told was neat, and it was just so well done

Speed Law

7/10, not much to comment

Do It Now

Yeah, the thing is, I like music where the music is interesting

That’s why kpop is so good for me; it’s expected that the listener doesn’t know the lyrics, so they make the music itself more interesting

But that’s also why hip hop is a bit less appealing; the beat is fine, but it’s rather repetitive

And if I want poetry … I’ll read poetry lol

Not that I’m not enjoying this, I think this is really good stuff

But also it’s not totally for me

Anyway. This song is bouncy and fun, the interplay between their voices is fun

7/10

Got

“But five of them and one of you, that equals Got to me” lol

I actually like the message of this song a lot. It’s basically saying: be humble

Or at least, don’t flex too hard

“So put them egos to the side and get off them head trips / 'Fore some cats pull out them heaters and make you headless”

8/10

UMI Says

Love the drums here

The bass is cute, the chimes are cute

Where are we going though?

This feels very Childish Gambino to me for some reason

I really, really like the beat though

And actually, it’s more of a relaxed rap style, and I appreciate that, it fits the song really well

Also, he uses the Arabic “mother / father”, why is that?

Okay, he was raised Muslim at the very least

Ending with the fadeout lol

9/10 feels about right

New World Water

Lol holy shit, he’s actually talking about climate change and water conservation

That’s incredible

Also using it as a way to discuss wealth disparity and poverty and stuff

“There are places where TB is common as TV” lol John Green approves

8/10

Rock N Roll

Oh my god I love how he’s singing in the intro here, this is great

Lmao okay fine, Nmixx moment haha

Spotify says that this is one of the least-listened-to songs on the album. That’s ridiculous

10/10

Know That

Lyrically this feels like a callback to the first song on the album

Both with the “fear no man” theme and also the “everywhere” theme

The beat goes through quite the time in the Kweli verse

The “And know that I love you” is So good, what is that from?

8/10

Climb

Woah, absolutely love the soundscape here

My ears are enjoying this so much

Okay, and now we get more of a beat

I really appreciate how … sensitive a lot of this album is

9/10

Brooklyn

Didn’t we already have a song about Brooklyn?

Haha “good morning Vietnam”

Mkay, this is more of like a love song for his hometown, that’s nice

The random beat changes lmao

Maybe not so much a love song as … I dunno, an homage?

8/10

Habitat

Love the singing overtop the recitation of dictionary definitions, that’s clever

The song doesn’t really go anywhere though

The lyrics are Fine, but I kinda want more out of this one

I wonder why he calls it “Habitat” instead of “Home”

7/10

Mr. Nigga

Interesting, so it’s the contrast between being established and wealthy while also being the subject of racism

“Is there a problem officer? Damn straight, it’s called race”

8/10

Mathematics

Oh hey, something that I know something about

Well, it’s not actually about math, but it is about the kind of cold calculation that a lot of people associate with math

Yeah, what are we talking about here?

7/10

May-December

Really pretty instrumentals in the intro

Chimes, bells, piano, bass, synths

Oh it’s all instrumental

That’s an interesting way to end the album

I wonder if that’s a thing

Like, I could totally imagine him rapping over this

So maybe they do that live

And the random beat change lol

Actually I like this, it adds a lot I think

What instrument is this exactly?

It sounds like a piano almost, but Very distorted

8/10

[transmisogyny-explained]

I have some pretty mixed feelings about this article, making me somewhat hesitant to share it here, but I still think it has a lot of important things to say, and accurately but concisely covers a wide range of relevant topics. The majority of this article could easily be a great resource for TME allies looking to learn more, but I have a few (albeit minor) criticisms...

I’ve mentioned before how I don’t really think the idea of “trans male privilege” holds substantial weight, but I wouldn’t dismiss someone’s arguments on the basis of using the terminology. However, I feel like the author of this article explains the framework of male privilege which they’re working from in overly-binary terms, and they generally don’t speak enough on how TME nonbinary people fit into this framework. The rest of the article speaks about TME privilege rather broadly, so it doesn’t entirely fall into the trap of understating the privilege TME nonbinaries have over TMAs by putting too much emphasis on trans men in particular. However, I still feel like the whole section dedicated to explaining this conception of trans male privilege overstates the significance of it being male privilege by not elaborating on how TME nonbinary people are meant to relate to this (basically answering whether or not they’re also oppressed by trans men), and therefore not adequately distinguishing this type of privilege from general trans TME privilege.

On a similar note, I also feel that the author somewhat downplays just how much transphobia (or transantagonism, as they call it) impacts and affects the lives of TME trans people, and it honestly makes me just a bit uncomfortable. On the one hand, I completely get it when transfems become frustrated with TMEs (who try to use their oppression as reason for why they can’t be transmisogynistic) and end up saying something that sounds like they’re dismissing transphobia outright, when what they mean is “transfems experience transphobia on top of transmisogyny.” They aren’t trying to say that TME trans people aren’t oppressed or that transphobia isn’t real, but that’s how TMEs tend to interpret it when we explain how being TMA amplifies the transphobia we experience.

That said, personally, I feel like an article that is so otherwise thorough and well-reasoned should at least try to take a more nuanced and measured approach (this article doesn’t have a particularly frustrated tone overall, imo). Not for the purpose of coddling TMEs or to avoid upsetting them, but just to illustrate that, despite what a lot of trans TMEs will say, transfems are actually well aware of what transphobia entails and how TME trans people are affected by it. Some people genuinely don’t understand how our experiences with transmisogyny can be unique to us while other trans people’s experiences with transphobia aren’t wholly specific to them, and I think that needs to be addressed (especially when we’re explaining the fundamentals of how transmisogyny works as a separate axis of oppression from transphobia).

(The author also implicitly conflates “trans TME” with AFAB, which I find a bit aggravating, but they’re far from the only person who does this. Masc-of-center AMAB nonbinaries are extremely underrepresented in these conversations, but that of course cannot be blamed on any one individual.)

Still, I think it’s worth a read. Let me know what you think if you do decide to check it out, and also have a look at the author’s other work. They have some really interesting articles over topics like transmedicalism and bioessentialism from a TMA perspective that are most definitely worth a read.

https://purecatharsis.medium.com/on-transmisogyny-exempt-privilege-dynamics-874f3969ae1d

[panharmonium]

@dreamersscape​ please forgive me for tagging you in a post to respond to your comments; tumblr’s reply feature is hard to have an extended/coherent conversation on, and I’m so excited to talk to a kindred Naruto spirit that I knew I was gonna write too much for it all to fit in that space XD

re: hinata - Oh my gosh, YES, my sister and I were so frustrated by how they just completely never addressed that moment again.  I wasn't surprised, because it's been clear from the beginning that this show doesn't really care much about women, so the female characters' storylines getting dropped or never explored in the first place is pretty much what I've always expected, but it's still infuriating.  

Honestly, the only good thing about this show's general disinterest in women is that it means that I don't place any blame on in-story Naruto for never addressing what Hinata did for him, because I know the fact that we don't see him dealing with her confession isn't actually intended to communicate anything about his reaction/non-reaction/level of investment; it's literally just a function of the fact that the writer doesn't care about her story.  It's the same way I feel about how we see so much less one-on-one time between Kakashi and Sakura - her lack of screentime with him isn't something about which a person can credibly argue "Oh, this means Kakashi doesn't care about her enough and he's a bad teacher etc etc," because the imbalance isn’t a deliberate writing decision we're supposed to analyze for characterization.  It's a reflection of the fact that the entire show is super sexist. XD

re: danzo: It’s one thing to have your villain believe himself to the hero of his own story, and like, another to have Danzo basically tout having darkness in your heart being a great thing and encouraging it’s presence/cultivating it - lmao YES!  And honestly, this is why I actually find Danzo LESS infuriating than the Third Hokage.  Like, Danzo is Super Evil and every time he exploits another child I want to watch him die all over again, but at least he like....owns his horribleness?  Whereas Hiruzen is the biggest hypocrite on the planet - when I rewatched the Shonen Jump stuff a while back (my sister and I took a little break prior to Season 11 and rewatched some old stuff), I couldn't stand listening to Hiruzen go on and on about how the entire Leaf Village is his family and it's his role to protect all of them etc etc, because like - he literally covered up the genocide of Sasuke's entire family and let the perpetrator remain in power (and that was before I even knew about all these other crimes he allowed to go unpunished!!!)  Danzo may be the Worst, but at least he's not pretending to be anything other than what he is.  Hiruzen is still acting like he's everybody's sweet old grandpa, and that makes me even more angry than Danzo's straight-up horribleness.  (And I do agree with you, they definitely lean harder into the "Lord Third is amazing" stuff pre-Shippuden, I just still feel confused about what the show is ultimately trying to say about him because we haven't gotten an explicit enough condemnation of his choices yet, and I feel like it's way overdue XD )

re: minato - Hard agree that Minato is an enigma.  I don't feel like I fully understand him either - and not in a bad way, just in the sense that he's hard to read.  The toughest thing for me to parse was always how distant he seemed with his students, which was surprising to me at first, because he'd been built up as sort of this "ideal shinobi" figure for such a long time, but to me, an ideal shinobi teacher looks more like...well, Kakashi, to be honest.  And it took a while for me to reconcile with the fact that Minato and Kakashi really do just relate to their students very differently.  I think Minato has always been a soldier, and I think he sees children as soldiers, too - not in an evil way at all, just in the sense that this is how the shinobi world works, and how it has always worked.  It's not a "wrong" way to perceive shinobi kids, in the context of the story's universe.  And so when things happen to those kids, he absolutely cares, but it's also sort of just a grim fact of life for him.  It's like when Kushina tells him she doesn't want to make Naruto a jinchuriki, and she asks 'why do we have to do that to him, why does he have to suffer that way for the sake of the balance of power between nations,' and Minato's response is “Because our family is Shinobi.”  That was a really telling moment for me in terms of how he sees the world.  It's not something I'm interested in condemning him for, like you said; I don't think the story is ever asking us to do that, it’s just a philosophy that's very different from how Kakashi sees things and what he thinks children's experiences should be like.  

I guess what I ultimately think (from the material we’ve seen so far, at least) is that Minato seems to perceive the loss of his students as something that Kakashi is struggling with, not something he himself is agonizing over.  It’s a very sad thing that happened, of course, but it’s just part of the way their world works/a function of the times they live in.  It's not something Minato is tormenting himself about.  Whereas I think that if Kakashi ever lost a kid, it would have killed him.  And I don't think this fact is in any way supposed to paint Minato as a bad person.  He's not!  All it means is that there is a generational difference between the world Kakashi and Co. are trying to create and the world Minato always knew, and people like Minato are doing the best they can with the framework they have.  

I do like the guy a lot - and I wonder what he might have been like if he had lived to see a permanent peace established.

re: little Yamato - oh boy, those episodes nearly ended me.  I am already very, very, VERY weak for Kakashi and Yamato’s friendship, and seeing Kakashi rescue Yamato from that horrible place (literally and metaphorically) was too much for me to handle.  Kakashi’s silhouette replacing Danzo in Yamato’s memories of being rescued from Orochimaru’s lab - that slew me.  And the way Danzo tells Yamato “you have no past, no future, no name” juxtaposed with Kakashi introducing Yamato as Tenzo because he remembers from three years ago how Yamato once rebelled at being called Kinoe and yelled “MY NAME IS TENZO” - Kakashi just using that chosen name without hesitation, without question, without needing to be told...it all ties back into the recent thematic throughline the show is working with about Identity - the importance of the Tailed Beasts having names, Kabuto’s desperate and misguided search for “who and what he is,” Itachi reclaiming his true self by undoing the reanimation justu and declaring “I am Itachi Uchiha of the Leaf Village,” Obito claiming that his real name doesn’t matter anymore, that he’s Nobody...it’s fantastic how they’re pulling all this together.

re: Kakashi and little Naruto - oh man, the feelings.  I agree with you that Kakashi was in no place to be dealing with this, but certainly under different circumstances I think he would have loved to be a part of baby Naruto’s life.  I actually think the reasoning behind “let’s put Kakashi in a situation where he’s in close contact with someone bringing new life into the world” is sound - I think that would be a really good thing for him!  Just not in the sense of “you’re Kushina’s personal bodyguard, so if anything happens to her and the baby you can blame yourself for it.” XD  Like...Minato could have invited Kakashi in for dinner sometimes, instead of having him constantly stand guard under their window???  If it had been more “we care about you and we want you to be a part of our family”....ugh, that would have been amazing.  Kakashi is already SO good with Naruto (who is NOT by any means an easy kid to manage) - he just has such good instincts about how to talk to that kid and teach him in ways that work WITH Naruto’s particular brand of high motivation/low frustration tolerance, ping-pong emotional extremes, explosive energy levels, zero impulse control, and an inability to process more than one thing at a time.  Handling Naruto effectively would be a challenging project for any teacher, never mind taking care of Naruto and two other kids, but Kakashi is a natural at it.  It would have been awesome to see what Kakashi was like with Naruto when they were even younger...though the Feels might knocked me out.

[also, you mentioned Naruto and Obito - I cannot even tell you the Extremest Agonies I was in when the big reveal happened and I had to hear Naruto blankly go “who is he” - utterly clueless, without the faintest idea that he’s looking at the person who shaped his entire moral philosophy.  The amount of things that these kids don’t know...that fact that Naruto has been quoting this very person all his life and making all his major life decisions based on the lesson Kakashi relayed to them on Day One - Obito’s words - oh boy oh boy I was not capable of handling that even the littlest bit.]

[murasaki-murasame]

Thoughts on Higurashi Gou Ep21

Ciconia? In MY Higurashi??? It’s more likely than you’d think :)

Thoughts under the cut. Also apparently Ciconia spoiler stuff because that’s the world we live in now I guess lol

It’s kinda funny how over the course of Gou thus far I’ve seen people go from ‘there’s no way this is even going to reference Umineko, people are just reading into things’ to ‘wow I can’t believe Ryukishi’s going out of his way to tie literally all of his visual novel lore together in Gou :/’. It feels weirdly vindicating to see Gou just go the whole nine yards with bringing up unprecedented levels of When They Cry Lore [tm], lol. 

I know people basically thought [or hoped] that Ryukishi was just going to be trolling people who wanted this kind of lore stuff, but I always felt like it was going to be more straightforward and sincere than that, considering that he seems to genuinely enjoy this kind of writing, and I guess I ended up being right. If anything I underestimated just how explicit he’d be with this stuff.

Considering that they tweaked Featherine’s design a bit to be more Higurashi-y, and they avoided using that name for her, I figured they’d commit to having her fit more into the existing framework of Higurashi to avoid bringing up other When They Cry lore stuff, but then she literally just has the exact same personality as Featherine and immediately started talking about Ciconia stuff, so that was unexpected, lol.

The Umineko stuff is one thing, since we’re more or less dealing with a character who came from Umineko in the first place, but the Ciconia references throw like five different wrenches into things and make this way more confusing and interesting.

At the very least, I guess it cements the idea of Satoko being a Lambda expy, if not literally Lambda herself. It’s kinda hard to tell exactly where they’re going with this, in the grand scheme of things. If we’re going full Ciconia lore with this, then it’s possible that there’s basically just one original person who’s now a brain in a jar, and they’re basically being used as a ‘template’ for characters within simulations, which all end up looking similar to each other. 

It also raises the question of what this implies about how the timelines of the different VNs intersect, if Featherine is bringing up stuff from a story set in the future, but if we go with the whole simulation theory then they probably just all exist at the same time.

And on top of all the over-arching lore stuff that’s now being raised, this episode also gets into confusing time travel logic now that Satoko’s officially starting to do her own loops, and we all have to wrap our heads around how that meshes with Rika’s own powers and her personal timeline of events.

My best interpretation of the timeline here is that after the scene at the start of this episode, Featherine directly reset the timeline to an earlier point, rather than moving Satoko to a different fragment entirely. And because of that, the Matsuribayashi fragment played out like it did originally because Satoko was just sent back to an earlier point in that timeline, and Rika didn’t have her consciousness carry over because only Satoko got sent back, so the Rika in the next loop was basically just Matsuribayashi Rika again, and things just played out exactly the same with her.

We’ll have to see how the next episode goes, but since this loop ended with both Satoko and Rika dying, I think this will be where Rika’s consciousness also starts getting sent through the loops along with Satoko, although we know that until Nekodamashi she can’t remember how she died.

I’m really curious to see if Satoko and Rika immediately get thrown into the Onidamashi loop after that, or if there’ll be a whole series of loops that we haven’t seen yet before that. Satoko’s actions in the earlier arcs seem to imply that she has knowledge of how the original question arcs went that she shouldn’t have by this point in Gou, so maybe she spends some amount of time going through the same types of loops Rika did before Onidamashi happens, but it seems like from Rika’s perspective, she goes straight from this episode’s loop to Onidamashi, since she talked to Hanyuu about how the last thing she remembered was being at St. Lucia’s in 1988, and considering how this episode went, I don’t think Satoko would have allowed any loop after this to get to that point again in the first place. So if there’s any loops that happen between this and Onidamashi, they’d have to be ones that Rika retains no memory of. Or maybe her consciousness doesn’t start getting sent to those loops until Onidamashi.

Either way, it would imply that some sort of change might happen in the mechanics of Satoko’s looping. Which I could see happening, since she clearly doesn’t just keep repeating the same Matsuribayashi loop, so maybe at some point she also starts going to different fragments instead of just resetting the same one over and over again. Or maybe she just goes back early enough in the loop to completely change how things play out, but that’d basically just be the same thing as going to a different fragment.

I still think that Satoko’s exact motives and methods throughout the earlier Gou arcs changed over time, but this episode goes a long way to show how she’s already at the point of being willing to kill Rika. But at this point she’s only done it as a way to reset a failed loop, so I don’t think she’s progressed to the point we see in Nekodamashi where she’s literally torturing Rika as a way to try and convince her to stay in the village in the first place.

With just three episodes left [as far as we know, at least], I think we’re probably going to skim over the earlier Gou arcs to explain their individual mysteries before we go back to the end of Nekodamashi and see how that confrontation played out. One way or another it’d have to be pretty fast-paced to cover four arcs worth of answers, so they might just shove the answers all into the next episode and end it by going back to Nekodamashi.

It’d be kinda anti-climactic to spend such little time going over the answers to the earlier arcs, but at this point there probably isn’t much we need to know. We now know the ‘who’ and the ‘why’ of the mystery, so all that we need to be told is the ‘how’, and I think that’s going to end up being relatively simple. At the very least, I think Satoko used the same methods in basically every arc, so just going over one set of answers would solve most of the mysteries in each arc at the same time, and the individual mysteries in each arc would take less time to go over at that point.

Even at this point I’m still not entirely sure about a lot of this, mainly since there’s still the question of how much Satoko actually knows about the pre-Matsuribayashi loops, but I think the general answer to how she did basically everything in each arc was that she just raided the Irie Clinic to steal the syringe that makes people go L5, and then she just made people go L5 in the background of each arc.

In Onidamashi, I don’t think there’s even that much to answer. She presumably ended up doing a murder suicide with Rika at the end of the arc to reset the loop, and maybe she injected Rena with the syringe, but I still think that Rena could have easily just been doing all that without any interference from Satoko. Since that was the first Gou arc [unless there were other loops between this and Onidamashi], maybe Satoko hadn’t started injecting people yet, and only started doing that in later loops. The only other real mystery in this whole arc is what happened to Takano and Tomitake, and that was probably just them fleeing the village like we ended up seeing in Nekodamashi, which is also something that they might have done without any involvement from Satoko. I guess there’s also the question of what exactly made Takano abandon her goals, but that also might not really be directly caused by Satoko. My best guess is that, on the meta level, Lambda revoked her blessing from Takano, and she got given memories of Matsuribayashi, which ended up making her lose certainty in her goals, and choose to just give up and flee the village.

Watadamashi is still kinda confusing, but this might also just boil down to her having injected either Shion or Mion to trigger the same general scenario as Watanagashi. I don’t think it was her that killed Rika, but I think her suspicion of Keiichi was probably an act. Now that we know that by that point she was in the middle of her loops and knew exactly what was going on, I don’t think she’d genuinely suspect him of that, or that she’d even care that much. The Takano and Tomitake situation was probably just the same as all the other arcs, with them fleeing the village. I think a lot of the background stuff was basically just the same as Watanagashi, except for Mion ending up as more of a culprit this time. My biggest question about this arc is probably just why Satoko even bothered going to the Sonozaki estate at the end of the arc. Now that we know more about her motives and her level of meta knowledge, it just seems really weird that she’d bother doing that. If anything you’d think that she’d just immediately kill herself once she found out about Rika dying, since she’d have no reason to continue the loop after that.

I still like the idea that she ended up making Shion into her accomplice to help carry out a lot of the stuff she did in each loop, so that might play into the whole mystery of this arc. And maybe it’d explain why she bothered going to the Sonozaki estate.

Tataridamashi is still kinda strange and confusing, and more than the other arcs I think it really depends on how much she knows about the pre-Matsuribayashi loops. The whole situation of whether or not she was being abused by Teppei in this arc, and how much of an act she was putting on, is still pretty unclear. The stuff with Ooishi at the end of the arc is also still kinda strange. Maybe it was all intentional and she had basically just given up on that loop and used him to kill Rika, but I’m not sure. I kinda like the idea I’ve seen that maybe she was tempted by the idea of just letting the Tataridamashi timeline continue, and that she had genuinely come to some sort of peace with the events of that loop, but then Ooishi went crazy and forced her to reset the loop. Either way I feel like this arc is a turning point of some kind for Satoko, since it’s immediately after this point that her methods seem to get much more desperate and violent.

So I think that maybe she had basically ‘given up’ in Tataridamashi and was willing to just stay in that loop and let it play out, but Featherine decided that would be boring so she forced the game to keep going by making Ooishi go on a murder spree. And then Satoko realized that she’s just as trapped in this loop as Rika is, and is going to keep going through pain and misery until she can properly succeed with her original goal, and so she becomes much more desperate after that point. There’s also the fact that this is the point where Rika is also given the ability to remember her loops, so that might be another aspect of Featherine meddling with the game in order to keep it interesting.

I get the feeling that Satoko maybe ends up having another meeting with Featherine around this point, where she gets it spelled out to her face that she’s going to have to keep looping until Rika ‘loses’, whether Satoko likes it or not. For one thing, Satoko’s talked about how she became Oyashiro-sama’s new miko, but that didn’t really come up in this episode, so maybe she has another meeting with Featherine later on where that comes up. It’d also make sense if maybe Satoko gets told by Featherine at this point that Rika is also a looper who remembers each timeline, since the way that Satoko straight up starts murdering and torturing Rika seems kinda counter-intuitive to the idea of making her choose to stay in the village, but it’d make sense if she learned about Rika’s looping and changed her methods to ‘I’m going to torture her across multiple loops so that eventually I’ll get to a loop where she’s already chosen to give up and stay in the village’.

Maybe she could have found out about Rika’s looping as early as the end of Onidamashi, though, if Rika talked about it before the murder suicide. But I wouldn’t be surprised if she didn’t.

Either way, even once we eventually get back to Nekodamashi, I’m not really sure if we’ll get a happy ending or not, lol. It feels like the only way for this to end peacefully is for Satoko to just give up, but like I said above, I think Featherine is actively interfering with things, and is refusing to let Satoko give up before she wins. So I just don’t see that happening. This is also really feeling like an origin story for both Lambda and Bern, and their violently possessive relationship, so I kinda feel like the story might just commit to them going off the deep end and embracing their unhealthy desires. I wouldn’t be surprised at this point if Featherine gives Satoko the ability to become a witch in order to achieve her goal of staying with Rika forever.

There’s also the hanging plot thread of Satoshi still being alive, but with how singularly focused Satoko seems to be with Rika, I’m not even sure if finding out that he’s alive would go much to sway her if she can’t also get Rika to stay in the village. And, again, there’s the whole potential mess of Featherine wanting to be entertained no matter what.

Of course we also might get a whole second season or something, which would open up it’s own whole list of possibilities, lol. I’m not really convinced about it yet, and I’d rather keep my expectations low, but it really does feel more and more like there’s just not enough time to wrap everything up in just three more episodes. I know they can probably go over the answers for the previous arcs in like one more episode, but this whole extended flashback has been going on for way longer than I expected, and we haven’t even gotten to Onidamashi yet. I know that once we get back to Nekodamashi there might not even be that much more that needs to be done to wrap up the story now that everything’s laid out on the table, but it might still just feel kinda rushed to only get one or two episodes of content after that.

Though on the other hand, even though everything with Satoko is being laid out in a way that makes it feel like there’s not much more we need to do to wrap up the story, it’s possible that the story will just shift to having Featherine herself be the new antagonist, so to say. If I’m right about her not being willing to let Satoko just give up and make peace with Rika, then they might have to work together to stop her, but who knows. Maybe she’ll be willing to go along with a happy ending this time.

There’s also still the possibility that this is setting up for some sort of new Umineko anime, which at this point might have it’s own original story that continues on from Gou’s story in addition to Umineko’s, so that might sort of serve as a sequel to Gou in it’s own way, depending on how they spin it. It still feels like a pipe dream, but considering how bluntly this episode threw out references to WTC lore, it’s possible that this is going to be some kind of multi-part cinematic universe thing that’s going to go all the way with tying everything together across multiple new anime projects.

Also, before I forget, we finally got the visuals for the new ED, and I was right about them choosing to wait until now to show it because it had spoilers, lol. They’re more minor than I expected, but it still spoils the chandelier scene, and I guess it also shows Featherine, but in a very subtle way.

Either way, I think the visuals they went with were extremely good. I’m not sure if I like the song itself more than the first ED song since they’re both great, but I definitely prefer the visuals for this one over the visuals for the first ED. The art for them is both great, and they’re done by the same artist so they’re not that different to begin with, but the visuals for this ED feel way more dynamic in terms of their composition and editing. The first ED’s visuals were basically just a series of still images with some slow panning effects, but this one had way more complex images that were designed to feel like 3D panoramas being spun about. So there’s just a whole lot more going on with this one, so I really liked it.

Anyway, now I’m gonna go back to being sad that Ciconia Phase 2 got delayed, lol.

[schraubd]

ACES Wild

Last we encountered the "Alliance for Constructive Ethnic Studies" (ACES), they were pushing fabricated evidence and wild screeds against "critical race theory" in a failed attempt to derail the California Ethnic Studies Model Curriculum after it was reformed in accord with tremendous efforts by a range of California Jewish (and non-Jewish) organizations.

Now they're back in action, and this time their target is California's new draft Mathematical Framework. What horrors are contained inside? Let's look!

The first draft of the California Mathematics Framework is out for review, and it includes as a resource "A Pathway to Equitable Math Instruction," a guide that labels teaching practices like "addressing mistakes" and  "focus on the right answer" as "white supremacy culture."

This is critical race theory.

This is discrimination. 

(Is this "critical race theory"? Nope, not going to get sucked into that).

Unfortunately, as was the case in the ESMC debacle, we are given only the thinnest possible citations to the primary sources for the alleged offending content. The link to the CMF draft goes to a website offering a thirteen chapter document, all in separate documents, comprised of hundreds of page, with no indication of where in the morass the "Pathway" document is included. The link to the Pathway itself, for its part, goes to a site that contains five separate documents, again totaling hundreds of pages, with nary a clue as to where this language about "addressing mistakes" might be found. All of this, I suppose, is left as an exercise for the reader.

Well, I may not be a math expert, but I have gotten familiar enough with the strategies of ACES and its friends to know better than to accept what they say on faith. So I went in search of this resource and this language, to see if it is as scary and offensive as they say.

I want to begin with some good news: unlike the Ethnic Studies case, ACES and its allies do not appear to have completely fabricated the inclusion of the putatively offensive material. Congratulations, ACES! This is a big step forward for you as an organization, and you should give yourself a hearty pat on the back.

Alas, if we ask for more than "not fabricated" and stretch all the way out to "not abjectly misleading", things get dimmer.

Start with the CMF draft. From what I can tell, the section they refer to (where the Pathway document is "included as a resource") is on page 44 of chapter two (lines 1010-13). Here, in its totality, is what's included:

Other resources for teaching mathematics with a social justice perspective include... The five strides of Equitable Math.org: https://ift.tt/3qNG3O2

That's it (The website "Equitablemath.org" is titled "A Pathway to Equitable Math Instruction"). It is mentioned, unadorned, in the "other resources" conclusion -- and as far as I can tell, nowhere else. Wowzers. I can feel the racial divisiveness cracking up from here.

One thing I'll observe on this is that often times one hears critics of "critical race theory" (or whatever random buzzword they're using today to connote "scary left-wing idea with a vaguely identity-politics kick") say that their problem isn't that the idea is included, but only that its indoctrinated -- it's not one perspective of many, it's the only perspective on offer. This protestation was always rather thin -- the many many bills banning "critical race theory" are decidedly not about ensuring viewpoint diversity -- and one sees just how hollow it is here. The raw, unadorned inclusion of the Equitable Math resource -- as part of a broader whole, not even quoted from directly -- is too much for these people to tolerate. This is not about ideological heterodoxy. This is about censoring ideas, full stop.

But maybe Equitable Math is such an awful or inane document that it would be wrong to include it, even as one resource among many. The way it's described, after all, makes it sound like Equitable Math is a group of hippies saying "2+2 = 4 is the white man's answer, man! Fight the power!" Is that what's happening? Is this a fever dream of post-modernism where nothing is true and everything is permitted?

Once again, I had to dig for myself to figure out where this content was so I could see it in context. The answer appears to be the first document on the site, titled "Dismantling Racism in Mathematics", on pages 65-68. Do they deny that there are such things as "right" answers in math? No: "Of course, most math problems have correct answers," but there are math problems (particularly word problems, but also data analysis) that can be interpreted in different ways that yield different "right" conclusions, and students and teachers should be attentive to that possibility. Do they say one should never "address mistakes"? No again, but mistakes should not simply be called out flatly but rather used as "opportunities for learning" with an emphasis on building on what the student does understand to lead them to recognize what they misapprehend.

I don't teach math, obviously, but there are many occasions where I'll say "such-and-such is the doctrinally correct answer -- but if we look at the problem from this other vantage, doesn't this other position become more plausible?" So when the Equitable Math site suggests, as an alternative to obsessive focus on the one correct answer, classroom activities like " Using a set of data, analyze it in multiple ways to draw different conclusions" -- well, that doesn't seem weird to me. Certainly, as someone who is also trained as a social scientist, I can say confidently that it's quite valuable to anyone who has seen how the same dataset can be deployed by different people with different priors to support different agendas.

Even more than that, the suggestions around "addressing mistakes" resonate with how I try to teach in my classrooms. Sometimes my students say something wrong. When they do so, for the most part I don't say "bzzzt" and move on, instead I try to guide them to the correct answer by having them unpack their own thinking. There's a lot of "I see what you mean by [X], but suppose ..." and ask questions which hone in on the problems or misunderstandings latent in what they're saying. And eventually they get there, hopefully without feeling like they've just been put inside an Iron Maiden for daring speak up. 

Admittedly, I've never thought of what I'm doing as "dismantling White supremacy" -- I just viewed it as good pedagogy. But then again, that's kind of what I've always thought when asked about such subjects -- we act as if there's this deep magic to fostering equity and inclusion in the classroom, when really it's employing the basic strategies of being a good teacher, one of which is declining to engage in a measuring contest where you prove you know more than the student does. Obviously I know more than the student does. I don't need to prove anything. So if they say something wrong, I do not gleefully pounce on them for it, I do my best to build on what they do know to get them to a position of right. Is that so outrageous?

Finally, ACES in its tweet identifies one other area of crazy-lefty-craziness in this resource: "the incorporation of 'Ethnomathematics'". What does that mean? They don't say, correctly surmising that fevered imaginations will produce something far worse than anything they might quote. So I'll do the quoting for them (this comes from page 8):

Center Ethnomathematics: 

• Recognize the ways that communities of color engage in mathematics and problem solving in their everyday lives. 

• Teach that mathematics can help solve problems affecting students’ communities. Model the use of math as a solution to their immediate problems, needs, or desires. 

• Identify and challenge the ways that math is used to uphold capitalist, imperialist, and racist views. 

• Teach the value of math as both an abstract concept and as a useful everyday tool. 

• Expose students to examples of people who have used math as resistance. Provide learning opportunities that use math as resistance.

I know, I know -- we're all going to pitch a fit about challenging "capitalist views". But apart from that, this seems ... very normal? We all know, to the point of cliche, that a barrier to getting kids interested in math is that they fail to see how it's useful to them or "in the real world". So they advise that math be taught in a way that resonates with real world experience. And likewise, sometimes, for some people "in the real world", math can feel like an enemy (think "am I just a statistic to you?"). So figure out ways to name that and challenge that. For the most part, "ethnomathematics" just reads as a particular social justice gloss on "being a good teacher", as applied to teaching in diverse communities.

Now perhaps one disagrees with these concepts as pedagogical best practice. I'm not a math teacher, I'm not going to claim direct experience here. But that goes back to the intensity of the backlash -- that these ideas need to be banned, that they are outright dangerous and unacceptable and neo-racism. Can that be right? Surely, these ideas are not so outlandish that we should pitch a fit about their being (deep breath) single elements of an 80 page document which is itself part of a five part series being incorporated as a single "see also" bullet point in the second chapter of a thirteen chapter model state framework. Seriously? That's where we're landing? That's what's going to drive us into a valley of racial division and despair?

It's wild. The people engaged in this obsessive crusade to make Everest size mountains over backyard anthills are nothing short of wild.

via The Debate Link https://ift.tt/39P79OA

[sortasirius]

“Galaxy Brain” and Chuck’s Role

I MISSED this show so MUCH.

This is long as usual lol.

Dreamhunter is canon???  Jody and Cas??  Destiel marital bonding???  Dad!Sam????  I’m weak.

But let’s talk about Chuck, and most importantly, about the role he plays in the meta of the show.

We’ve talked a lot about Chuck’s role.  Is he a writer, creator, director in the context of the meta world of the show?  I think that Glynn and Berens proved what we’ve been talking about for a little while: Chuck isn’t a creative, he’s an exec.

Like, let’s think about it: all this talk about canceling shows, not getting the outcome he wanted, the characters not doing what he wants, even the whole opening, where’s he’s looking at multiple screens, talking about what he wants to happen, what the problems are with the boys’ story. 

“Dean says I’m not going to get the ending I want.”

He sounds much less like a writer, like a creator, like a director, and much more like someone that has less of a hand in the story but likes to fancy himself as the shot caller.  Who, in the context of the show, does that fit with?  There’s only one person, and it’s a network executive.  More importantly, he’s a network executive that thinks that, even fifteen years later, Supernatural is about two brothers.  No side characters, no “failed spinoffs” the SHADE just two brothers.  Hmmmmm.

Also can we just sidebar to talk about that completely amazing scene of Dean and Cas drinking whiskey and being extremely married ok thanks for your time.

I’ve had this hunch for a while now, a hunch that I know people share with me, that Dabb’s team, especially Bobo, Glynn, and Yockey want certain things to happen with the show.  They want Destiel to be overt, they want Sam to have his peace, they want Becky’s ending, our ending.  But for years, literally years, the thing that has stood in their way time and time again is the network, crying that the fans won’t like it, that they can’t possibly pull it off, that it wouldn’t read well.  Well guess what homies, they don’t have to worry about getting renewed, “welcome to the end.”

Glynn and Berens hit on the idea of Chuck being an exec A LOT, in some subtle ways and some decidedly shady, not so subtle ways, considering the world that we see killed off is a world that would have been more thoroughly explored in Wayward Sisters, which who among us is not still bitter about that?  But all of Chuck’s actions, and the way the characters speak about Chuck, prove that he is not omniscient, but he has power that none of them can overcome.

And yet, we see the boundaries of his power getting pushed in this episode, being blocked from sight by Cas and Merle, Jack’s very presence, directly juxtaposed with Glynn and Berens bringing back Kaia, making Dreamhunter canon, allowing Kaia and Claire to reunite, even if it’s offscreen.  They push the boundaries of what the network allows as Sam, Dean, Cas, and Jack push what’s allowed by Chuck.  Much to think about.

Let’s break down the end with Billie especially (and I know some people have meta’d about Billie being a sort of avatar for Dabb, if anyone can find that let me know and I’ll credit, bc I think it ties in sort of seamlessly)

“That’s the difference between you and me, I see the big picture.”

Almost like........a showrunner......

“Everything dies.”

With an A+ callback to Death in season 5 telling Dean:

“In the end, I’ll reap him too.”

“Why would God write the blueprint to his own death?”

“He didn’t.  The books write themselves.  After God made the world, he couldn’t stop.  He wanted more, but he needed to create a perfect harmony, a Swiss watch so this world could keep tick tick ticking in his absence.  He had no choice but to build himself into the framework.  It’s his only weakness.”

“So Chuck doesn’t know what’s inside the book?”

“No one can read their books unless I let them.”

Hmmmmmmmmmmmmmmmm.  How interesting, the character that is most like the executive cannot control the story, and the only one that can control them seeing it is the character that is most like the showrunner.

And then we cut to Chuck watching everything burn in an armchair, eating takeout.  Canceling his shows.

“You’ll be fine, everything’s just fine.”

And then he destroys the world.

So yeah, Chuck has this power, a power over all of them, over all his “characters” but we finally understand that he doesn’t control the story, as much as he’d like to, it’s the books that control it, that control even him.  What it tells me is that the book writers are the ones in control, they’re the ones that control the ending.  And knowing this team, and with my hunch that they want certain things to happen, I have a distinct feeling that our network-exec Chuck isn’t the one with the power anymore.  Those with the power are the books, the books that only Billie can see, that’s what controls Chuck’s outcome. 

While Team Free Will is defeating Chuck, the writers are defeating the network.

I don’t mean to clown.  But who am I kidding, where’s the face paint?

[yooleestruck]

in which lee rambles about how great writers are

I don’t really know what this is. I don’t know if now is the right time to do this, or a really bad time, or if it makes any sense, but I want to talk about it! I feel like a broken record saying ‘the writing matters most, the writing matters most’ but maybe I need to show what I mean by that? So, here is an attempt. 

I’m sorry not all of these are the same length and not everyone is here, because every time I see that someone is a writer I do try to follow but I don’t always know/remember! Also I am weird about this sort of thing and don’t want to tag people in a monster-long post, so I’m just going to link. I also don’t want to make this a producers vs writers thing, it’s not, it’s just, when I say I notice writer-stuff, an explanation of what, specifically, I mean. 

Writers have a style fingerprint. I’m sure someone with an actual creative writing or English background could describe it all academic-ly, but my ex-chemist ass is just going to call it a fingerprint. 

My first game in Lovestruck was Starship Promise - I love Firefly, I’m a bisexual disaster scientist by education, it fit. But I had been REALLY put off by GIL when it first came out (this was back when they released stories in parts? And the heroine, which I will get to) and though I’d glanced at AFK, I mistrusted it after GIL and Medusa, who was who I was interested in, wasn’t out yet. So I resisted a LONG time.  I finally picked up LS and SP and played it explicitly because a friend said, you need to give this another chance, for a list of specific reasons. 

And when Atlas’s route came out, I read it a stupid number of times. I must have re-read his season 1 & 2 at least eight times apiece (he is still my most read route, despite the fact I have not read his last season because I want to leave the story open-ended)  so when I read Neil Dresner’s route, I recognized the fingerprint. Not only that, when I was reading Jett and the episodes with the paint scene (YOU KNOW THE SCENE) came out, my breath caught with how lovely it was, a particular in-between moment and touch, and even though it wasn’t a phrase I had seen, the style of it, had me re-reading (because it was gorgeous) again and again from the log for like five minutes and I thought, “I bet Melissa wrote this” AND SHE DID. 

Physical touch! (& in-betweens)

Melissa-grey has a particular way of writing about physical touch in very emotional moments that is very real and grounded and ironically the effect is just magical. It creates these so skillful “in between” moments, those little things that aren’t dialogue and aren’t metaphor but SHOW you that this closed off person is cracking for their little ray of sunshine. They are SO subtle and so beautiful, like, the heroine noticing the scent of a pillow, or a softening of an aborted hand movement.  She sets up and executes these moments of physical touch as a conduit for emotional touch with characters who aren’t ready to admit he latter and it’s DELICIOUS. Those little in-betweens are what I live for in story - and it includes all the supporting cast moments, who swell up to make the world feel lived in, and balanced (I loathe love stories where no one else exists! That’s a recipe for disaster, people need networks) I noticed when she stopped writing, and because I missed it, I went and bought the entire Midnight Girl series, as well as Rated (I hope that is flattering and not creepy!) and that style of writing is so unique, that without KNOWING, I picked it up in four separate routes (noticed in Sev’s s1, too!) 

Pacing (& friggen heartache)

Another fingerprint! Ripping your heart out! Arthoure has had me in tears, MULTIPLE TIMES and I get very grouchy about it every time because I am the least sentimental and romantic person that I know (I once MOVED STATES to avoid an ‘I love you’ conversation. I once said ‘yikes’ in response to an ‘I love you’ and I once broke up with someone because I thought he was going to propose. I’m a bitch) but I think it’s because of pacing! I know that producers play a role in that, but that actually makes it more impressive, because making each bit of story feel like it fits precisely the amount of space it needs when you don’t really get a say in how much space that is has got to take a MASSIVE amount of effort. Every little hint, every emotional beat, every character tell, they drop at a consistent build so the emotional payoff is just brutal (in a good, cathartic way?) every time a route makes me cry I wait and see and YEAH ITS ALWAYS ARTHOURE. The sweep and sentiment of Remy’s season 2 is unparalleled. Across Time is gutwrenching, and I actually stopped reading Renzei at one point because I was so emotional over it I had to like, LEGIT TAKE A BREAK to recover. Pacing and heartache. I have to stop and wonder - is it because the routes themselves are so gut-punching? OR is it because she knows how to wring every last emotional drop out of whatever story framework is handed to her? Because, Ezekiel’s villain costume is a bit silly (there I said it, it is) I get the cobra helmet shape in theory but in practice, ooof, but POINT BEING despite being skeptical I’d be able to take his story seriously as a result, I was hiccuping from crying so much (and I am gosh darn adult, in my thirties, with three degrees and a high-stress job at pretty major company. I DON’T CRY EASY)

 Dialogue (& heroines!)

Xekstrin is the gosh damn master of dialogue. Clever, witty banter that doesn’t go where you expect it to, meandering but natural topic changes that are delightful to follow and feel real, and--special shoutout for this, okay--the navigation of viscerally important topics like consent, kink, self-worth, power in relationships, self-sacrifice, and apologies in a way that is not stilted or forced at all (listen, I know Viv & Lyris are the most recent and they are amazing but I remember this first hit me when I was reading Astraeus, and I spent half the route with my jaw on the floor going, oh shit,  oh shit. The communication! The navigation of the complexity of emotion going on, chef’s kiss! Casual isn’t the right word, but, natural, maybe?). I don’t actually take that many screenshots of the app--it’s usually single lines that get me--but when I do, they are almost always conversations from one of her routes, because they’re so damn good, and often so unexpected, and yet always make such perfect sense for the characters involved. Dialogue is SO HARD OKAY. Actually try and transcribe a conversation sometime, it’s nuts how people talk vs how most people write people talking. Xekstrin also writes some of my absolute favorite MCs, and going back to fingerprints, I was reading Lyris s1 and right there in the first tavern scene, as we were following along with the heroine’s thoughts I went, ah, yes, I know who you belong to and I am SO EXCITED. Being able to give the heroine unique thoughts and quirks, to make her genuinely relatable, without overriding the necessary template of the genre dictates, is a skill all of its own. But I love her MCs! There is a beautiful balance of compassion, competence, and dash of bratty, wild, fun mischief. I can actually cheer for them. I can actually get behind them. I WANT the love interest to flop at their feet for who they are, not just because the story says so. And that comes from how the heroine’s thoughts are written, from her phrasing in conversations, how she sees situations, not just a producer saying ‘she is a strong lead who is self conscious about her ears and she’s nervous in the council meeting’ or whatever. I AM REALLY STRUGGLING to articulate this if you can’t tell from how long I have been blathering. Maybe this - the heroine is the same across every route, presumably, yes? Everyone has the same base. I NEVER question, when xekstrin is writing, why the love interest falls in love with her. Side note - I had hard written off GIL after a bad experience with the standalone app. I only read Aurora BECAUSE I learned she wrote it, and I would have SO MISSED OUT otherwise.

A complete aside in which Lee grumbles about heroines and not writers!

(Complete side vent: Often, the heroine is, if not a blank slate, a sort of collection of assigned traits, and she often remains so unless the story demands she become otherwise. Which is fine! I don’t personally, but I know a lot of folks self-insert, and so erring towards that makes sense. Almost all the otome I’ve played were originally written for a Japanese audience. When I played original Voltage games, starting back in 2014, I always had to remind myself - different culture, different culture, different culture, and it was not possible for me to relate to most of the heroines. I still enjoyed the stories, but I rarely cheered for the heroine’s romance, especially in some of the slice of life stories. I understood her, but I rarely wanted her to get with the love interest, I wanted her success to come in other ways! Another game company, Cybird, tried to ‘Americanize’ their heroine to IMO disastrous effect - it was such a stereotype, and made no sense since they didn’t also Americanize the context, so she come across as, frankly, ridiculous. And frankly, Voltage’s GIL heroine REEKED OF THAT. When they first posted her on social media I was legitimately annoyed about it, like could you lean into this more? I think not. So when I talk about being able to relate to and cheer for the heroine, it’s a big deal, because my blatant mistrust of Voltage and their ability to craft a heroine I could tolerate was a BIG factor in how long it took me to give Lovestruck a try. I was willing to tolerate it in translated stories, I was so skeptical of -en only ones.) 

Metaphors (& balance)

literacouture writes beautiful metaphors for connection between humans! I’m really bad at keeping track of who writes what, but I purposefully kept an eye out on tumblr after reading Cal’s route, because there were some lines that were pure poetry, and I wanted to keep an eye out for more. It is HARD to spin metaphors prettily without delving into trite, painful, purple prose cringe territory, and it’s navigated beautifully in Cal’s route. There’s a balance between those spin-out moments and things that are tangible and anchoring and make it feel authentic and unique to the two characters involved, instead of just ‘I am trying to make this sound romantic and this is a romantic phrase so here it is’. That balance is really necessary. You NEED the mundane alongside the metaphor or it doesn’t feel authentic. Also. Trying really hard to write this without throwing any authors or producers under the bus, but...listen. I love Sin with Me. But the world logic (or LACK THEREOF) drives me up a wall. I don’t read Cal because of his character traits or sprite or (sigh) his story. I read him because literacouture writes a beautiful romance.

 So anyway...

There are more! When I am less tired and don’t have meetings, I will try and write them up (Please know there are so many routes I love, and so many things I do recognize across chapters! I don’t even HAVE words for what theivorytowercrumbles accomplished with Helena’s story not to mention how much I adore Cyprin,  SummerLightning’s handling of Onyx’s past relationship was so deftly done when it could have so quickly become ‘milk abuse for plot’ and joidecombat gave Sev a fresh, mischievous energy and navigated the dream/reality line with SUCH skill, and so on and so on.)

I’ve written a lot of reviews. And I try to give nods where I feel they’re due - sometimes, it really is obvious that the whole team’s work came together to makes something great, the world, the plot, the arc, the art, the words, and the music all fit into place in a  well-crafted tour de force. And sometimes one piece or another is lacking, and I’ll admit I’ve left some...less than kind reviews to that end (I try and soften it, because I know there are humans on the other side of everything, but I’ve been harsh more than once with my opinions).  I’ve read routes with plots that made me want to tear my hair out because I DO value consistency and logic to a degree, even if I’m going to accept at face value that, say, space travel is a thing or demons turn to sand when stabbed. 

In the end, these are romance stories. So I will let a lot slide when it comes to plot. What sells a story are the words - not the outline.

And if Voltage doesn’t believe that - just remember that Hamlet existed long, long before Shakespeare wrote it. His was the version that lasted, because the people liked it best. The plot, the world, the characters, they all existed a hundred times over. Even just look at fan translations of manga. Why do people keep translating, even if someone else has? Because the words someone else picked don’t do the story justice. 

I don’t know. I’m talking in circles because I don’t know my own thesis! 

Maybe it’s just - the worlds these stories in are nice. But when I say I’m a fan of something, the premise is like. 10%. The rest is the writing. 

[byakuyasdarling]

for the ask game, peaches and mist?

Ah, thank you so much for the ask, Jadyn <<333 !! I hope you have a wonderful day, and stay amazing!!!

All under the cut :D (since you all know I like to ramble a lot, ahaha. I went on a lot about their relationship before they were together, ahaha. It’s long, but I sectioned it for easy reading).

—————————————————

Mist - How does your f/o help you out when you’re feeling lost?

It’s no lie that Byakuya isn’t the best with emotions... He hardly tolerates them. She was always the grand exception to this (which I’ve detailed in my next answer below as to why :D).

Anyway, the best way for him to help is to rationalise her feelings. He does make her talk about what she’s feeling if she seems off, there’s no dishonesty with him. He can be assertive, but he’s willing to hold her hand and squeeze it a little if it makes her more comfortable when talking.

He is rather cold and flat in the way he rationalises, but S/I takes a lot of comfort with that. To her, it sounds genuine and honest, there’s no sugar-coating; everything is at face value.

After she has a bit of an emotional break that he helps her through, she does becomes very snuggly and affectionate for the rest of the day. Byakuya is good with kissing, however, he’s rather rigid when it comes to his now, very snuggly girlfriend who wants his affection. He’s more of a cuddly person when he’s lethargic and tired, but considering her emotional experience she’s just had, he won’t scoff at her when she wants to cuddle-up.

Additionally, he never actually minds it. He can give a few snarks when she wants to snuggle before he’s reached a tired state when he’s more acclimated to that, but he does enjoy the fact she seems to need him so direly (because he needs her too, he won’t admit that very openly though).

Of course, this is all very much in private. They’re not too fond of PDA (however, both of them are fine with S/I clinging to his arm or holding hands under a table where they think no one’s looking, ahahaha).

Peaches - How did you and your F/O meet?

They met at their previous high school, Green Hills. I have a rather lengthy post about it and the framework of how their relationship developed but I’d certainly like to detail it a bit more!

One important thing to add that’s in that post: Her Byakuya is slightly more empathetic than canon Byakuya, however, this empathy only extends to her. I detail that more in then other post.

Their initial thoughts on each other:

They would’ve met in Grade 8 (so 14 turning 15), and oh boy, they did not get along very well. S/I tends to get excited easily over everything in school; she definitely fits “the perfect student” stereotype. She is prideful in herself and her work, but despite this, she is able to get along with most students and teachers. However, her loudness annoys the hell out of Byakuya.

In his eyes (at first), she is an emotional loudmouth who could never compete with him. Her intellect wad perhaps her only redeeming quality to him then, but he doesn’t recognise it much as it doesn’t exceed his own. But oh does she try to compete with him. S/I tries her absolute hardest to keep up with Byakuya, but always falls short as second best.

She thought Byakuya was an egotistical jerk who needed to be taken down a peg or two (she isn’t wrong though..). They don’t see each other as rivals (especially Byakuya), but they were a bit adversarial at times. She gladly rubbed it in Byakuya’s face that the only reason why he doesn’t participate in class Kahoots was that he is too afraid to loose to her (she is the Kahoot Queen). Of course, that didn’t bode well with Byakuya and did make him snap back at her.

It’s still important to recognise she still treated him as a human, though. She still asked if he was okay (even if that never warranted a response from him) and asked if he was going well, and still apologised when she goes too far.

She had no romantic interest in him at the time since she loved another boy from the school; even with crushes, she is loyal to the core. She becomes very attached to the boy but ends up completely heart-broken in the following year (Grade 9). Things came to a head with her: the boy she loved and exerted so much time into doesn’t like her and left her school, and her family’s pressure for her to get too marks became so much worse.

Evolution of their perceptions:

She wasn’t well; her evolution from a sunny girl to a pessimistic and emotionally distraught girl was disconcerting to say the least. That’s when their relationship changed. She no longer tries to compete wth Byakuya, it was just fun for her. She’s no longer loud-mouthed. She’s no longer recognisable as who she was. And with enough overhearing of worries teachers talking to her, Byakuya is able to put together a narrative.

I’ll quote my post (here), since I phrase the rest better there. TDLR at the bottom.

“Behind her bravado, she was extremely insecure of herself - her vulnerabilities now becoming a lot more visible.”

“He sees that she was raised to be kind and caring; however was all of a sudden being forcefully moulded into being someone like him. Someone she couldn’t possible be as she was all too emotional and kind.”

“Byakuya easily recognised he has “family pressure” a lot worse than she does - but he grew up knowing that and was raised to be capable of dealing with that. It’s very clear she wasn’t and constantly experienced emotional whip-lash from her turbulent family: loving her one second then berating her the next for unjustifiable reasons.”

“Knowing how horrible this can feel from experience: he makes an effort with her.”

TDLR: Byakuya begins to feel a responsibility for her due to her family attempting to mould her into becoming like him — something he acknowledges would be detrimental to her. This evokes a rare form of empathy from him which makes him try to rationalise her emotions and start talking to her more.

“S/I now makes a lot of effort with him now. She compliments him a lot, tries to make him smile (however futile that may be, but he appreciates the care from her), and attempts to make him feel more comfortable with his own emotions.”

“Towards the end of Grade 10, they’re still clueless to the notion of loving each other.”

At this point, Byakuya is uncomfortable with the thought of loosing her, and S/I had formed some kind of emotional connection to him.

Anyway, they attended Hope’s Peak after that, and got into a relationship in their first year then, and again after their memory was wiped in the killing game!

———————————————————————

Again, thank you so much for the ask, you’re very sweet <<333

And thank you to anyone who’s read this far (I know I write a lot and I can repeat things for the sake of readability to people who haven’t read anything about them). Thank you so much for tolerating all my posts <<<333

Have a wonderful day !! 💙💙

[faejilly]

I was tagged by @la-muerta​ & @facialteeth​ & @thedivinemissema​ for the WIP/Title Game

rules: post the names of all the files in your WIP folder, regardless of how non-descriptive or ridiculous. send me an ask with the title that most intrigues you and interests you and i’ll post a little snippet of it or tell you something about it!

AND THEN  by @shadoedseptmbr​ @msviolacea​ & @ravenclawnerd​ for the “stories you want to write... but for some reason haven’t yet”

so this will be a mish-mash of both? The WIPs will mostly have blurbs in this case (to fit the second meme) but you are still welcome to ask follow-up questions, if you’d like ;) Assuming you make it through the list, it is uh. Not Short.

Anyone who would like to play with their WIPs, please consider yourself tagged in either or both of these. :D

Misc Fic Folder:

“untitled document” - where I’m working on fictober fills so I have word-counts for my GYWO tracker. I am not working on these because Brains Are Dumb and also Going Back To Work Is Exhausting

I made a file called “YULETIDE!” which has nothing in it but I’m determined to finish this year so that is definitely technically a thing in the Unending WIP List of Doom worth mentioning. (Tho obviously that’s all I could say even if I had started, because anonymous.)

“coda-fics, rewatch!” -yes, that exclamation mark is important! it’s to keep me motivated! (it didn’t work). Much like untitled, this is for putting stuff so I can do word count tracking even if I don’t know what I’m doing. Currently I think it just says “MARYSE” because I was working on my SH 1x6 coda-fic and then got distracted and haven’t typed anything up yet. (Yay notebooks? Boo notebooks? Not even sure at this point.)

WNIP (works not in progress) Folder:

“TOG” - I had one vivid mental image of how Nicky & Joe met (blood-stained evil smiles?) but then no idea for a follow-up story and also the fandom is insane and I’m not sure I want to deal with all of *gestures vaguely* all that

“Shan Xia Notes” -for a TTRPG that never quite got off the ground; she was a semi-tragic selkie who was still in love with the evil queen/lady who stole her skin and I got to play her for like one session and she was surprisingly chaotic neutral, which wasn’t at all what I’d been expecting. But the game never really got off the ground, so I never had enough info to really delve into writing backstory fic

“post-Kruschev” -Kruschev’s List was the last episode of Scarecrow & Mrs King, and I was debating writing an epilogue in place of the s5 we never got, to try and tie up some loose ends, but the fandom’s three old-ladies in trench coats and I never quite worked up the gumption to get it anywhere

“Code Realize warm as silk sequel” -there is literally nothing in this file except “SEX! Only a little angst” because I wanted to write some “we can’t actually touch each other” smut but never actually did. 🤷‍♀️

BioWare (also all Not-In-Progress Anymore)

“seb/adelaide”, “Theia” & “DAI Erana” -these WIP folders were cannibalized for ficlets for the last few times I did fictober, and while originally I had ideas for longer epilogues for all three of them, at this point I don’t think any of the remaining bits could support a story any longer.

”whispers in the dark” -Maia Ryder never really got much fic at all; the cancellation of any further Andromeda stuff was really disheartening, and at this point I’d have to play the game again, and I don’t think I’m gonna manage that any time soon

”TSP” -a Mass Effect 3 Shepard AU collab project that kind of went off the rails, and our mutual brains/lives never quite seem to line up so we can try and rebuild it ”Ngaio & Tane” -my one truly ruthless Shepard (Alliance background, who romanced Traynor) whose father Tane Shepard was, I think, in PsyOps, and I wanted to figure out their complicated relationship but never really did know where I was going with it

”JE Zu & Yaling” -so I’ve rambled about my Tragic Sagacious Zu Romance Thoughts regarding Jade Empire more than once (#Icy Yaling should have most of it) but apparently I want to yell about it more than I want to actually write it? Whoops.

”CI sequel: 5 times fic?” -Cruel Intentions is a kinkmeme fill that I started and then it sat for like five years before I actually finished it, and I liked the ending, but it does leave a giant fucking question mark in terms of how those people got from there to where they are after the game, and I kind of wanted to write a proper h/c fic rather than just... leaving them wallowing in all that trauma?

But I didn’t. I don’t even remember for sure how I wanted to frame the 5/1 of it all, besides it being something sad about allowing people to see you or touch you in some way. (Prayers maybe, since I think there was definitely some Sebastian & Fenris & faith stuff going on in there.)

“candles” -Merribela prompt fill that I never was happy with? Not sure what I might do with it at this point, so it’s just sitting there all sad and lonely and neglected-like.

Shadowhunters

pt1: WIP LIST ONLY

“Persuasion” -so I keep trying to write Persuasion AUs in many fandoms because it’s my favorite Austen, but I think I like it too much, I have no real solid concept of how I’d transform it, and if I don’t have anything else to say about different characters within that framework, I have no push to actually write anything? Also this SH version of it suffered from MASSIVE scope creep when I started outlining and it got too big for me to handle so I like, killed it twice? Whoops. This one is really probably never gonna happen.

“oosdt sequel” -I wanted to write more about the Forest That Eats People and Magnus & Alec as Guardians Between Worlds, and also some background Magnus’ Found Family & Lightwood Family Feels (maybe some clizzy?) and I left a Madzie plot-thread dangling from the first one on purpose even but I think this one had too many ideas and not enough focus so it’s sort of sprawling all over a doc with a lot of “???” in it

“procedural-ish” -this was originally going to be a sex-farce. and then it turned more serious. and then maybe kind of copaganda which was uncomfortable in terms of the Everything That Is The News in 2020, and then maybe it was more a Mafia AU and at that point I had self-inflicted tone whiplash and I wished the voices in my head were a little more forthcoming about their plans so I stopped before I brained myself on my computer monitor in frustration.

“I had rather a rose than live forever” -I started a reverse!verse Malec (Shadowhunter!Magnus, High Warlock!Alec) for bingo last year, and I couldn’t quite get it together in time, so I made a moodboard inspired by the bits I’d started instead. I may see if one of my prompts from Bingo this year help me finish it?

“fall fright fest (practical magic  au)” -exactly what it says on the tin! almost exactly a year old & neglected! IDEK ANYMORE (I talked about this one with the WIP meme last time tho: here)

“priest!kink theology?” -I thought it was gonna be smut? I like priest!kink. I have made other people like it and yell at me even! But then I kept diverging into demon!Magnus thinking about Priest!Alec’s faith and as usual, IDEK ANYMORE *laughs*

(If they’re remotely canon-adjacent or divergent, a bunch of these are in here because I need to rewatch the show to get the pacing/timing/tone right and I haven’t, and I don’t know why, because I enjoy the show, but BRAINS! Are Dumb! So I guess that’s it?)

“I do” -I have tried to write this damnable Malec arranged marriage fic like six different times. I have signed up for fic exchanges and bangs with it, I have rewritten massive sections, trying to change tone or structure or POV or whatever, and it basically comes down to they like each other too fast and I keep not gutting it enough to get back to a useful pace, but by the time I realized that I was on take six and kind of sick of it. I may get back to it eventually

“wing!fic” -canon divergent in early s1, trying to deal with the consequences of Simon’s kidnapping as the Truly Serious Event that it should have been. It uh. Got heavier than I expected with those consequences (considering it was originally just supposed to be Alec’s wings flirting with Magnus) and also see above re: rewatching for pacing.

“2x20 aftermath/date night/pandemonium porn“ -yes that is the actual wip title. It used to be “spite fic” because I was originally inspired by fighting against a lot of fic!Alec characterization that was clearly based more on the books and ATG syndrome than the Alec in the show, which is the Alec I know and like and want to read about. BUT, pacing and etc. again, I think. Also I have somehow entirely lost my knack for writing porn, which makes it difficult to finish something originally intended to be smut!fic. Or even teasing almost!smut.

“rubbish heap” -so this is about three different fics that I realized complemented each other really well so they’re now all in the same file as I try to turn them into the sequel of “with an if in its soul”. It includes amnesia, parabatai lore shenanigans, a s3 rewrite, and some truly awful Owl adjustments that make me wince in horrified authorly delight and pain. BUT, as with the other ones in this file, the scope is large and I normally write short-fic and I kind of just threw up my hands in exasperation. I may have to break it back up into the three different fics instead, if I ever actually want to write it. Them? But also I need to take better notes on s3 to make sure I have what I need in here.

SH Pt 2: Started posting or not yet in hiatus because it’s actually almost ready to be a thing in the real world! maybe!?

“kisses (firsts)” -I actually started publishing this one, a “series of firsts” that was supposed to be kind of relationship milestones and kind of an excuse for smut, and then there wasn’t that much smut and I lost momentum and also dear lords & ladies the timeline is stupid, wtf. I may not ever add to this one, tbqh. It doesn’t stop in a terrible place, and they’re all ficlets so they stand alone all right.

“clizzy epilogue” -this is blank atm, it’s more a reminder for me to keep poking away at my “girls who can’t breathe air, only fire” collection BECAUSE I WOULD LIKE TO ACTUALLY GET TO THE CLIZZY AT SOME POINT

"mer!alec" -pts 2-4 of a series, but apparently having an actual plan gets in the way of me *writing* the thing, and I haven't managed to throw the half an outline far enough away from my brain to be able to write again. Or something like that.

"ibhww" -if broken hearts were whole is a soulmate fic I started a million years ago, and purposefully set aside to finish some other WIPs because I thought they'd be quick, and now it's just buried under two and a half years of regret and shame so it's hard to get back to it

"iafy" -i am for you is a delightful & frothy semi-epistolary fluff piece that also just lost momentum because Life & 2020 & etc. It's far and away the most popular thing I've ever posted on AO3, which also makes me feel weird sometimes, and I feel like the fact that there's no grand conclusion planned, just a bit more fluff and settling in, might end up being disappointing? Basically, it's the first time I think I've psyched myself out about reader expectations, and until I get over that I'm going to have trouble finishing the last couple chapters. (There really are probably only two more chapters though. IT’S SO CLOSE, I wish I could just... write it. And yet?)

“fake-hating” -I do not like fake dating as a trope that much, I just do not get it, but I love outside POVs and arranged marriages and there’s this delighful tumblr post about how they wished there was more fic about people who were together but had to pretend they werent’, and uh. This may be that? Eventually? I’m not exhausted by my failure to finish it yet, so it’s still in the regular folder rather than the hiatus folder, even though nothing’s been posted for it.

AND I THINK THAT’S IT?

Not as terrible as it could be, but still. MANY WORDS THAT MAY NEVER SEE THE LIGHT OF DAY. Posting the equivalent of one’s old ratty sketchbook is always a weird feeling. :D

[arecomicsevengood]

A PANEGYRIC TO THE THINGS I DO NOT UNDERSTAND

I generally don’t talk about why I write criticism; I presume no one cares. The core of my contrarianism rests on the fact that many of the things I dislike or have an aversion to I think the market is set up to reward. This holds true both for what I write about and how I choose to write about it. I’m not writing about all these Drawn And Quarterly books that seem like novelty gag gifts for people who don’t actually like comics. I’m not writing about simplistic YA material put out by major publishing houses. I’m not reading superhero trademark maintenance. To me it feels like pre-chewed food I see and know to avoid. I’m also pretty put off by work that’s self-consciously “lowbrow,” but to that stuff’s credit, I don’t think it’s particularly popular. It just seems to fit into larger trends of what’s readily digestible, due to its own willingness to dismiss itself.

When it comes to criticism, I read a fair amount of other people’s writing, and collate a list of ways I don’t want to write that coincide with what I hate to read. I don’t want to read anything that’s “personal” in a way that takes the general premise of the existence of a book as an excuse for a narcissist to talk about themselves. Still, it seems like people love that. It is essentially the lingua franca for a whole type of websites, to have writers leverage their identity or trauma for the sake of hot takes. Even if no one gets paid particularly well, there is a reward in the economy of attention. People also really like writing that praises things that are already popular, because they want to be given permission to like the things they like, but no one needs that. People also like dismissive takes  based around incredibly shallow surface-level impressions of something that then becomes this shorthand “common knowledge.” if you say “Chris Ware’s boring” or “Rob Liefeld can’t draw feet” there will be no shortage of people chiming up in the comments to say the same thing. People love to be given permission to not have to think about things, and while I understand that impulse completely, I’m too far gone down the hole of obsessiveness to play along.

I wish I could say all that I dislike falls into one of a fixed number of categories, but in actuality, I am all too often reading writing that makes me ask “why won’t you just shut the fuck up?” or exclaim “jesus, this is so depressing!” and it seems new ways to garner these reactions are continually being manufactured, though in general, the innovations in this area are being done in the more lucrative world of music writing. Still, many of the things I wish to avoid have been done by writers I absolutely admire, partly because they’re more prolific I am, and so can’t allow themselves the luxury of overthinking what they’re doing for the sake of avoiding trends. (I also try to avoid writing stuff that’s just plain stupid and offensive, but lord knows that gets hate-clicks, and hate-clicks are as valued as any.)

I try to engage the work that’s on the page. The best work encourages a multiplicity of readings, I write a lot with the implicit assumption that the framework I’m bringing to bear might be wrong. I believe the work that has the most ideas present inside it will be conflicted enough in depicting multiple ideas simultaneously that it doesn’t encourage a straightforward and easy read. I relate it to the paradox that the most interesting people are those who don’t talk about themselves, but ask questions of others. Presumably, those who are disinterested in others don’t interrogate themselves in their moments alone.

I might be being reductive. So many of my own thoughts might be overly simplistic, a set of half-thought-through opinions designed to arrive at a place of dismissal so I can move on. I spend a lot of time thinking about the sort of creator-owned genre comics Image traffics in these days, because I have zero interest in them, and they don’t seem appealing at all. They don’t come close to my idea of good. I generally object to the way contemporary comics are colored, but I think the issues run deeper than that. The line generally used in reference to them is to call them movie-pitch comics. But is that why they’re bad? I don’t know. Maybe the issue is just the way their writing stands in relationship to economy, where a single issue is not a satisfying story. Maybe superhero comics work better than that stuff because there’s an explicit formula established doing the heavy lifting, and if you are doing something more “high-concept” you need to spend more time with exposition and can’t just defer to the visuals of a fight scene that superhero comics demand. I don’t know! Any answer to the question of why things don’t work is going to end up with some broad statements, because the act of artmaking involves an incalculable amount of choices, any number of which could balance out or redeem any of the others. It’s almost surprising that the history of comics isn’t littered with works that were concerned failures at the time of their release but seem prescient in their storytelling choices now.

I want to write about work that is interesting to think about. What’s interesting to think about is that which I don’t understand. Obviously, writing is an attempt to make sense of something, and much of what I write about then becomes something I understand, or at least, have a take on. But I still want to engage, in some sort of honest way, the work I don’t understand, that short-circuits my brain.

A good example of something I don’t really understand is Stella Murphy’s comic Hometime, which I ordered from Domino Books. It’s a collection of single-panel gag cartoons, kinda? Every page is meant to be taken as its own entity. It’s printed and red and yellow, it feels eye-searingly bright. There’s dialogue balloons, not captions. The visual language sort of seems like it comes from underground comics, of the way underground comics relate to older cartoon styles. I’m saying all of these things like they’re sentences but if I were speaking to you there would be no hint of certainty in my voice. Another paradox: I often feel like I don’t have the language to describe what images in a comic look like unless I have an idea of what the narrative is doing. Maybe these gags feel like they work because they’re incredibly economical in their subversion of the expectation one comes to gag cartoons with. That almost seems too simplistic an explanation to count. I’m sure, if you haven’t read Murphy’s cartoons and grappled with them, that sort of conclusion seems like I’m saying literally nothing.

I’ve been reading Krazy Kat again. It’s interesting that that’s a strip which is notably formulaic, but also is all about subverting that formula or having it play out differently or avoid it altogether. It seems pretty agreed upon that the key to successful comics writing is to have a degree of economy in terms of the words on the page. This allows the images to carry their weight, but images themselves have their own weight of meaning that’s accrued over time. Think about being born on this Earth, and all of the acclimation to one’s surroundings that occurs concurrently with the acquisition of language. Talking with a computer programmer friend, his stance on writing code was, the easier it is for you, the less lines you have to write, the more code has been written by other people before you that you’re relying on. So many of the best comics are consciously written with an awareness of expectations that are then subverted. I don’t know. Generally the argument I make, when talking about “experimental” work, is to contrast it with “formulaic” work. This is my way of asserting the obvious superiority of the former. But maybe this is wrong, and the best and most effective comics, including the ones I’m labeling “experimental,” nonetheless have a formula they’re playing with? Because the truth of the matter is my use of scientific language is a pose premised on my not actually understanding math.

I imagine that a normal person wouldn’t understand why anyone would feel compelled to write comics criticism in the first place. For all the shame I feel about the fact that this is what I’m doing, I’m proud to say I don’t know what my fucking deal is.

[silverbastardgoldenfool]

Realm of the Quarantine Reread End-of-Book Questionnaire: Assassin’s Apprentice

Any differences between your first/previous reading experience and this one?

Uhhhhh yep!! I can’t even believe how different it was. Every scene has taken on an entirely different colour and flavour in my memory. I skimmed far too much the first time, yes, but also I just went into it with the wrong framework. I think I’ve mentioned this before but my mum recommended me these books on the basis of my love of A Song of Ice and Fire. She directly compared them and said how similar they were. Because of RotE’s length I had been putting it off for years, and only finally picked up Assassin’s Apprentice because I was itching to do an ASOIAF reread but was (and am) trying to wait until Winds of Winter to do it. 

So you can imagine the difficulty settling into a book like Assassin’s Apprentice when you’re expecting Game of Thrones. I remember my overall impression on my first read being that it was a pretty standard fantasy novel with the only really exceptional thing about it being the characters and their relationships. Characters are always my top priority so it was enough to keep me invested and progressing onto the next book and the rest of the series, but I did so not having absorbed nearly as much as I should have from the first book in the series.

Now, just from revisiting that first book, my understanding of Fitz and the world he operates in has exponentially increased and I know that will transform my experience of every book going forward. I really made sure to make myself slow down and read every word; absorb descriptions and just be in each moment without racing to the next one. Overall this book (and all the Fitz books) are much more concerned with the human condition and the effects of abuse and trauma and deep loneliness than being an epic fantasy. In fact it barely reads like fantasy at all; it’s incredibly grounded and focused. Of course the elements are there, but while Assassin’s Apprentice may not be as subversive as the rest of the series, it is certainly not generic fantasy. This book just feels alive to me now in a way it didn’t before against the rest of the series. I can regard it as a beautiful piece of the puzzle in its own right instead of just the setup. I wanna reiterate I always really liked Assassin’s Apprentice but it just paled in comparison to my unholy obsession with the rest of it. Idk this reread just really shifted a lot of things into perspective for me and I’m excited!!

Something you can’t believe you forgot

So so much but most ridiculous GALEN IS QUEEN DESIRE’S BASTARD am I dumb??? I didn’t even remember until it was explicitly stated lol

Favourite character introduction moments/scenes

It’s gotta be a tie between the Fool, Kettricken and Patience (realising there is a common theme here of Fitz making an idiot of himself). I genuinely was laughing so hard when Fitz is like, actively making himself smaller and so pleased with himself trying to help the Fool, and of course the Fool’s iconic “listen you idiot” ugh it’s just chef’s kiss baby, that’s what we in the biz call a meet-cute! (I know they have seen each other before, but this is the first time the Fool talks to Fitz). Then of course we have Kettricken who poisons Fitz at their first meeting, and Patience who Fitz continuously embarrasses himself in front of before even realising who she is. The fact that all three of these people end up being some of Fitz’s only genuinely loving relationships makes it even better.

Favourite character arcs

I think I’ve gotta go with Verity and Burrich. Verity goes from kind of a bloke’s bloke (he was so different in the beginning than I remembered!) to being a proper King-in-Waiting. He is self-sacrificial but not for pride; he genuinely cares deeply for his people, as a whole and as individuals, and will do anything it takes to protect them. He is far from perfect, and he could have done a lot more for Fitz when he was younger, but once Fitz is in his eyeline and he is confronted with the life the boy has led he seems suitably shamed and tries to do his best for him. He’s a good boy and I love him!

Burrich of course is just. unlucky. His health deteriorates due to injuries. He gets saddled with some kid and is burdened to bring him up to an impossible standard he has set himself (to not shame a man he has an impossibly high opinion of). He’s deprived of a job he loved and was good at, and most importantly he’s deprived of his boyfriend I mean lover I mean “master”.

His arc is not a happy one at all but it is compelling, and I can’t help but love him and feel for him despite also disagreeing with him on almost everything :)

Favourite quote/s

Unfortunately I don’t have any tabs atm so I couldn’t really keep track, but my heart exploded when Fitz said to the Fool after going into his room, “I wish I had a place that were as much me as that place is you.”

Favourite relationships

Fitz/Fool obviously. Even though they don’t have that many interactions in this book I loved every single one of them. The Fool volunteering to care for Smithy after Fitz has endured a long day of horrendous abuse is just!!!!! Kindness! What a concept! I could really see why they develop such a deep bond so quickly.

Fitz/Burrich is just so real and so compelling and it hurts me but I love it. Fitz/Chade breaks my heart bc Chade is manipulating his way into Fitz’s heart - I think without realising it a lot of the time bc he is lonely too, but the power imbalance is not okay when he is the centre of Fitz’s world for a long time and the closest thing he has to a friend. Knowing how Chade behaves not too much later just makes it even worse when he is so nice in this book because it just shows why Fitz has such a hard time being his own person and saying no to Chade ever.

Fitz/Verity for obvious reasons. Fitz/Hands!! They’re cute but it makes me sad that Hands betrays him in AQ. Weirdly I liked Fitz/Molly way more this time but more their friendship than anything. And next is Royal Assassin and their deeply toxic romance soooooo.

And Fitz and his puppies BUT WE DON’T TALK ABOUT THAT.

Favourite setting

Do yourself a favour and read the description of the Mountain Kingdom and specifically the palace. It is STUNNING and something I completely skimmed over the first time cos I’m a dumb idiot bitch I could have been picturing a city of huge colourful tulips all this time but fuck me I guess!!

Favourite chapter

As a rereader I think I’ve gotta say chapter one. There’s just so much to pick apart all crammed into one chapter. It still holds a lot of mystery even when you’ve read the entire series.

Most loved character

At this point I’ve gotta say Fitz. That’s who my heart is with during this book and he NEEDS IT

Most hated character

Okay I found Regal a much better villain on this read and hated him A LOT but whomst I despised even more w the very fibre of my being was Galen bitch disgusting!!!!!! Verity was so like, smug?? when he killed him and it was so satisfying. It’s what she deserves!!

Raise your hand if you’ve been personally victimised by Robin Hobb (most heartbreaking and/or visceral moments)

Literally this whole book was so harsh and I was perpetually emo throughout but off the top of my head, Fitz’s depressive episode after Shrewd and Chade test his loyalty fricking broke me, as did the entirety of Galen’s abuse/training; since I was paying so much more attention this time it hit a lot harder that he is an absolute textbook abuser and the psychological torment he inflicts on Fitz is just. deeply upsetting to say the least. It really got under my skin.

Details, observations, spoilery notes made with the benefit of the full picture

Okay this is where I just dump all the notes I took while reading that don’t fit anywhere else. It’ll be long lol so strap in.

- It’s never not funny to me that Narrator Fitz comes across as like a hundred years old when in actuality he is like twenty. Also that he looks back on himself with such a sense of wisdom and superiority, yet we know there is dumbarsery aplenty to come. Amazing.

- I’ve never really registered that for the first six years of his life Fitz had a mother who loved him and I don’t know how to feel about that

- REVELATION THAT SEEMS REALLY OBVIOUS IN HINDSIGHT: Fitz most likely only spoke Chyurdan when he was abandoned, which would have played a huge role in why he was not only quiet but unresponsive to what was happening around him. He probably didn’t even understand that he wasn’t going to see his mother again until much later, and he didn’t know how to ask questions. When he goes to the Mountain Kingdom and Kettricken comments that he speaks Chyurdan like someone remembering the language he doesn’t comment on it, so it’s likely that future Fitz doesn’t register that he didn’t always speak Six Duchies(?). He mentions in the narration that the memory of being abandoned is incredibly stark but not necessarily reliable, and possibly shaped by the Skill, which to me opens up the possibility that his memory is essentially auto-translating for him things he didn’t understand at the time. We also know that at the time of writing this he’s given up his memories of his mother etc. up to the stone dragon, so obviously his recollections of these traumatic events are going to be warped by that. Anyway thanks to my sister for pointing this out and being much smarter than me.

- According to Fitz’s grandfather, Chivalry always knew about Fitz. Don’t know how trustworthy a man desperate to yeet his grandson out of his care is but there ya go.

- Weird and hilarious that Shrewd tries to see Fitz on the day he arrives but then just like. What? Forgets about him? For years? lol

- Chade literally tells Fitz that he is a king’s man now and that’s the most important thing about him YIKES

- Chade becomes the closest thing Fitz has to a friend for quite a long time and that is fucking depressing

- It’s interesting that Chade had to be convinced to teach Fitz. It’s hinted at that there was an ~incident~ the last time they tried to train someone, followed by a long period of Chade being left to rot in the walls.

- Not to be out here diagnosing fictional characters but like.Fitz. Literally has depression.

- Fitz having to turn down Fedwren’s offer of apprenticing for him is so sad. It’s the life Fitz should have had.

- The Fool’s non-binary gender is mentioned as early as Chapter Nine! (Published in 1995! We have no choice but to stan!)

- “So quickly we were all made accomplices in our own degradation.” OOF.

- I really realised this time that the reason Fitz seems so shit at things he trained his whole life for later is because all that training was interrupted by many months of isolation, deprivation and abuse. All at the age of like 13-14. He got out of the habit of subconsciously acting in a way that Burrich or Chade would approve of. For a long time the only person he needed approval from was Galen, and he became completely single-minded about it because that was his means of survival. And you don’t just recover from that - especially since neither Chade or Burrich would give him the time of day for an extended period *after* his training was done. When Chade did finally talk to him again it wasn’t to recommence training really; he just gave him a bunch of tasks to do. By the time Fitz got to the Mountain Kingdom he was completely out of practice, and still managed pretty bloody well in spite of it.

- Kind of related to the last point: I love that while Fitz isn’t a savant at anything he’s a pretty realistic jack of all trades. He not only has an aptitude for learning almost any skill or subject but a genuine broad curiosity too. It’s one of the few things that is just him, ya know? It’s just his personality and something he can find joy in, even if it does also factor into his being used by others.

- Imagine being Burrich and finding out that your son thought you were a dog murderer for like ten years lol ouch

- Fitz thinks about the Fool soooo often in the Mountain Kingdom, pointing out things that remind him of him, or things he would like. It’s v soft tbh I love them so much!!

- Another dumb thing I forgot is that Regal is convinced that Shrewd had Fitz poison his mother to death, which adds a rather important layer onto his motivations lol

Anyone doing a reread feel free to fill this out! You don’t have to use the tag :)

[chaoslordjoe]

RWBY - Do I Ship It #2? Ruby Rose

I’ve decided to continue this whole shebang with going over ships for individual characters each time. And for this one, we’re looking at our favorite cooking-deepthroating reaper, Ruby Rose...That may be one of my favorite character descriptions I’ve ever typed.

With introductions outta the way, let’s talk some Ruby ships.

White Rose

kinda leaves me indifferent?

overrated

would read a fic about it

Ideally, White Rose has become one of those ships that half of the FNDM loves to hate. But me, I’m not as triggered by it, let alone nowhere near as angered by it’s presence simply because it’s not Bumbleby.

Unlike BB, in which it’s presence makes me wanna slug my screen every time I see a comment thread screeching high praise about it, I can look at White Rose and just be more like: “Eh. It’s okay.” Simply because I have seen WR content that I enjoy, and that at least many WR shippers know when to shut up when they’re called out unlike Wasps.

Really, a lot of the content has a lot heart put into it to where I really can’t get mad at it. I know it’s a WLW ship. I know that’s become a thing to generally hate among RWBY fans. But I do think that WR is the lesser of two evils between that and BB not because I have a lot of friends who ship it, but because I think folks crap on it way too much compared to the demon that BB has become.

Am I saying there aren’t toxic WR fans still around? Hell no. They need to be called out on it, too. But I’m also generally more relaxed about the ship. Nothing major really.

Ladybug

I SHIP IT

CUTENESS OVERLOAD

underrated

hELL YES

Ladybug has become a recent addition to my ship list a while back. But I’ve fallen head over heels for it in such a short amount of time.

Even many folks I’ve spoken to who tend to gag at the mention of WLW ships in a fandom as egregious as RWBY’s agree that the Bugs are really harmless given soft the content of this ship often is. I’m not saying that Ladybug is all “wee-hee-we’re-a-couple-of-happy-go-lucky-dorks” because that would make it unoriginal and boring to read in many cases.

No, the reason I’ve grown to adore Ladybug so much is because I’m one of those who parrots how much of a missed opportunity (like the show is as a frigging whole) how many interactions there could be between Ruby and Blake.

Why wouldn’t they? They’re both into fantasy stories, both have darkened color schemes, and share some general views on why they fight. Really, Ladybug is just a good way for me to fill the void of just how much Rooster Teeth doesn’t give a fuck about how to organize their characters properly?

Volume 5 gets Freezerburn, and not onwards? Come on, RT.

But before I end up turning this into a rwde post, let’s just move onto the next ship.

Nuts & Dolts

I SHIP IT

CUTENESS OVERLOAD

Soulmates

I WOULD DIE FOR IT OKAY

Yeah this one was pretty obvious. But who cares?! I frigging adore Nuts & Dolts.

Let me just be clear in saying that I can ship it platonically/romantically, simply because I love the bond that Ruby and Penny share. They’re both hyperactive, kindhearted and strong-willed girls with a penchant for bladed weaponry and wanting to make the world a better place for everyone.

This initially made N&D into a guilty pleasure ship for me. But over time, I just couldn’t resist or get mad at it because I love how soft it feels. Same reason as Ladybug for the most part. But overall, I like N&D because of just how much soul there is between two people who were born differently with a set of powers that aren’t what you’d call “ordinary”.

As someone who’s been called “unique” or other labels with the disability I have, I usually find it very pretentious and downright grating to see stories that are supposed to be uplifting about being born in a different manner because that can be really damn annoying after a while.

Yeah, stuff like disability or other stuff is under-represented in pop culture. But often it’s portrayed in a very “Hollywood” fashion even if it’s not a work from that culture and work mindset.

I’m not saying N&D is one of those “unique” portrayals, but as something that shows what happens when two saviors who wanted a normal life have someone in each other that they can trust and even love for their shared experiences of being born differently.

Which is why I’ve grown to accept Ruby and Penny as the popular fan portrayal of being girlfriends or platonic friends. They have so much in common, which makes it that much more endearing for me personally.

Okay. Those are some Ruby/Other girl ships outta the way. Now let’s discuss some Ruby/guy ships...Here’s where it gets a little odd.

Lancaster

BROTP

overrated

no thanks

Oh boy. I’m probably gonna get some flak for this entry...

Let me just be clear that this is a post that is NOT meant to attack any particular shippers. This is me stating what I feel about certain ships and me occasionally talking about how I think they would turn out. 

It’s not my headcanon interpretations, per se. But instead it’s more how I picture it based on my experience with viewing relationships in my own life before I started discussing fandom ships.

Now that I have that out of the way, let’s discuss Ruby/Jaune.

When I first started watching RWBY, my first ship, like many others was Arkos (more on that when I cover Jaune). I felt that Pyrrha was just the right fit for a lovable dweeb like him with how it helped kick-start his character development and the framework for how he would improve himself overall.

Granted, I wasn’t really expecting Arkos to be canon since Pyrrha had died in V3. It was a tragic outcome for a ship that had so much buildup. And most of the FNDM agreed that Jaune needed a hug along with his friends to help him through it.

When I started to hear about the fact that Jaune was shipped with other girls in the main cast, I wasn’t really shocked since White Knight was already fairly popular. But when I found out about Lancaster, it was like: “Wait a second, people actually ship him with Ruby?”

Was more confusion than astonishment, to be honest. I didn’t really think that it would’ve been fitting despite how close and similar both team leaders were. But I decided to bite the bullet and give it a try with reading a couple of Lancaster works.

I got bored.

I’m not so much angry whenever I hear about Lancaster as I am just not impressed by how much fanon works recycle many tropes and plot elements.

Ruby is secretly in love with Jaune.

Jaune does something adorkable or manly which attracts Ruby.

Ruby makes/attempts to make a move on him with some crazy or titillating way that, while in-character for her, has been repeated one times too many in this or other ships featuring her.

Jaune is generally being a good boi throughout. I like Jaune, but I feel that he’s put in too many fanfics in which he’s overly good and pure. Again. It’s fitting for him, but sometimes a bit of difference in fan interpretation is nice. Make him angry, have him lash out at his friends at times. Just don’t make him a “perfect” boyfriend.

Both dorks often have to hide their relationship because of the possibility of Pyrrha being jealous, Yang going apeshit, or other characters reacting the way they do which is often buzzwords in a fic like that.

Lancaster shippers, I am not attacking you since this is your thing. If so, fine. But it’s not mine as I am giving an attempt to give constructive criticism about some of the ships listed here while talking about ships I like to make these posts all about even ground.

I prefer to see Ruby and Jaune as besties. Hell. I prefer to see them more like siblings considering how much Jaune acted like a big brother to Ruby on the road to Mistral with how Yang was bedridden with depression in V4. I also think that Jaune needs a friend right now rather than a love interest. The same could be said for a lot of characters right now, but that’s a different topic.

My biggest criticism for LC is that while I understand the similarities that they share, it’s the whole “opposite-gender-leads-fall-in-love” trope. This trope can be done right *coughRENORAcough* but is put in so many works that I’m not one of those fans who’s impressed with it.

The ship isn’t original, but it’s nothing to make me wanna rage-post like I’m Keemstar on Red Bull or the like. And I know people who are into it, to which I tell them: Good for all of you. It’s simply not my cup of tea.

Rosegarden

would read a fic about it

meh

not really my thing

Oh god, how I wish it wasn’t harvest season!

Kidding. Kidding. Rosegarden is legit, and all my friends in the group who ship it are wonderful people.

Another ship that I can’t really get angry at since compared to other ships that cover things like young love or ships of people who were born differently (see my Nuts & Dolts entry), RG is pretty fucking harmless and I can tolerate it more even though I’m not into it.

While I understand why it seems hypocritical of me to share and repost stuff related to RG on occasion, this is simply because I have reason to share it based on how much I’ve interacted with shippers and how I’ve actually had productive discussions with them outside of their ship.

It’s the community which I like more than the ship because of how much more chill they are. But there’s also a big reason why I know that some people crap on this one.

Ozpin.

Dude, if I had a Dollar for every “RG-is-pedophilia-because-Oscar-is-Ozpin’s-puppet” fallacy that was posted I wouldn’t be needing a stimulus check. Let me explain to y’all why that’s bullshit.

(RWDE mode online)

Is Ozpin eons of years old? Yes. He’s from Humanity 1.0 and was thrown into the bodies of men in the modern world in his war against Salem. It’s a rough situation with a lot of baggage to any relationship he puts up or wishes to even build-up and I don’t think it should be swept under the rug because there’s a lot of stuff that should be brought up about the guy.

Is Ozpin intervening on any potential interaction between Ruby and Oscar? No. Canon or no, Oz has been a neutral party in whatever interactions the two kids have because it’s not really his business. Do you honestly believe that if Ozpin would be the kind to boss his host around that he would attempt to butt in on their friendship?

As an Oz critic, I can say that while I understand both interactions, I draw the line at this ship being considered pedophilia.

I mean, come on! The FNDM ships Ruby with villains like Roman, Cinder and Salem, who are adults when she’s a teenager! And suddenly it’s okay to claim pedophilia just because Ozpin is present?! ARE YOU HIGH?

If we’re going with that logic, fine, just have Ozpin ascend from his brain after Salem is 86′d, THEN we can have a development in RG’s friendship whether it’s romantic or not. But leave the fans of this pairing out of it!

(RWDE mode offline)

The reason I don’t ship Rosegarden is because I’m not a fan of the whole “young love” trope either. I wouldn’t mind it so much if Oscar wasn’t relegated to a support role due to being an Oz host and he had more screen time rather than the old wizard.

Maybe I’m just too cynical about stuff like this to really care. But the point is, I can’t get mad at this ship either and I’m willing to read up on it in small doses.

Strawbana

I ship it

CUTENESS OVERLOAD

the sexiest pair

we need more of it

underrated

Sun Wukong, you magnificent monkey bastard! You always seem to brighten my day whenever I’m looking through critical discussions related to this show.

Much as I love BlackSun, I’m definietly curious to learn more about other ships involving my homeboy here. Solar Flare, I also like. But Sun/Ruby? Thank you sir, may I have another!

Ugh. Can’t believe I just quoted Animal House to describe my love for this painfully underrated ship. Somebody get me some soap...

Other than their VAs being married in real life, I like Strawbana/Red Sun the same reason as Nuts & Dolts with this being a ship that features two extremely upbeat characters finding love in one another with just how much they kick ass for the reasons of just being good people.

Kinda/sorta the only straight Ruby ship I’m into just because of how much they could rub off on one another, and how much I’d love to see them interact more in canon material. Not just the show but any other tie-in stuff.

Next time, we cover Weissu.

[villainever]

Eve and the Performance of Morality

The "descent into darkness" as a format for a character arc is relatively common these days, especially in prestige television, and while it's more often played out with men than women, it's not unheard of as a trajectory for female characters. What's so interesting about Eve's development is how FAST it is happening. On a poorly-written show, this would be because the writers were rushing, too caught up in Point B to plot a satisfying journey there from Point A. But Killing Eve is basically a masterclass in good screenwriting, and it leaves us with the unshakeable feeling that this is the only way it COULD happen for Eve.

Other "descending" characters are so often ordinary, but transformed by their remarkable circumstances. They are pushed by the people around them and unfortunate events into compromising on their ideals and values, slowly shifting inch by inch until they've lost sight of who they were. And often, this is where they're killed off, or a redemption begins.

But even though she changes, Eve isn't transformed. She's REVEALED. And not just to us, but to herself. She isn't surrounded by people pushing her to darkness -- in fact, Elena, Hugo, Kenny, Jess and Niko are all trying to hold her back from it. Instead, she chases darkness. She follows Villanelle further and further, around a dozen corners in the gloom, and when the light's gone entirely, Eve realises that she can still SEE. Eve is made for the darkness, and Villanelle knows it from the beginning, but Eve is still working it out.

While I don't think Eve has the same compulsion towards violence that Villanelle does, I do believe they are an example of the nature/nurture conflict. Eve was raised by good people in a good place and got a good education, then married a good man and got a good job. "Nice and normal". At every turn, she was socialised and conditioned to mimic morality and empathy, and while Villanelle often acts this out as well, for Eve, the acting is still subconscious. She believes it comes from an innate impulse, rather than years of being told what to do and how to react. Neither Villanelle nor Eve really connect with people effortlessly on an emotional level, but Villanelle accepts that about herself, while Eve can almost pretend it's been bred out of her.

Eve's stable life and her moral framework are dependent on one another, so they implode at the same time. Staying in the realm of 'normal' with Niko necessitates a certain performance of conventional morality, but when Villanelle not only doesn't demand that performance but actually demonstrates an existence without it, Eve finds it harder and harder to maintain her home life.

Once the door has been opened, it can't be closed again. Eve is realising who she is, and more importantly, who she ISN'T. In 205, Martin says, "Don't add. Take away." And this is how we're experiencing Eve's arc. We take away outside pressure to be normal. We take away moral influences. We take away the expectation of goodness. And this leaves Eve looking a lot more similar to Villanelle than she's perhaps ready to admit yet to herself.

It's worth noting how Niko has identified Eve as self-obsessed, because she definitely is. But a lot of that self-obsession manifests in her fascination with Villanelle -- not only because Eve really likes Villanelle and stops caring about what distracts her from wholeheartedly pursuing her, but because Eve RECOGNISES some part of herself in Villanelle, and almost uses her as a mechanism for self-discovery. She watches what Villanelle does, and enjoys it, while being able to maintain the distance that comes from not having physically done it herself.

As I mentioned earlier, we've seen the "descent" arc before in modern television. One that springs to mind in Piper on OITNB. In S1, Piper commits increasingly selfish acts, but still considers herself a good person -- indeed, nothing she does can be really that bad, because she's a Good Person. Over S2 and S3, she continues downwards, until by S4, she's no longer able to reconcile the two versions of herself, so she decides she must be a Bad Person. Because of her pathological need to be liked, this doesn't work for her either, and ultimately, Piper ends up trying to do good things to become a genuinely Good Person.

Eve, I think, originally believed that she would hit some point like this, and bounce up from the bottom. But she won't. Why? Because at first, Eve thinks she needs people to like her, but she actually doesn't. She fires Kenny -- the last of their original team, the last person who knew Old Eve (not counting Carolyn, who has layers I won't get into here) -- and doesn't really miss him, or notice he's gone (eg. calling Hugo "Kenny"; they're interchangeable and missable). She wants Villanelle's attention, but Villanelle 'liking' her is different to the way other people might -- Villanelle wants her, is attracted to the best of the worst in her, is enjoying Eve's emergence from her crucible (or cocoon, depending on how you want to frame it). Eve's primary drive is Villanelle's interest in her, and that's certainly not holding her back in her journey.

Secondly, Eve doesn't actually care about being good. She's had numerous potential "wake-up call" moments -- stabbing Villanelle, facilitating the torture of the Ghost, nearly pushing the guy at the train station, Niko leaving, Villanelle killing someone right in front of her, etc. Yes, she had a minor breakdown over knifing Villanelle, but that was more the idea of Villanelle being gone than the stabbing itself, because the way Eve later says she thinks of it "all the time" doesn't sound as black and white as regretting it in its entirety; like Villanelle, she views it as a point of significsnt connection between them and I don't believe she'd let that go. Regardless, the point is that if she had a real gut connection to her moral compass, she would've bailed. Because really, her original mission is over. She caught Villanelle. She chased her and drew level and she's done.

But Eve's not done, because she's chasing not just Villanelle, but the Eve who can keep pace with her. She's chasing what Villanelle represents -- freedom from a system that doesn't fit Eve, not really.

What we have to remember, though, is that Eve has been socially and ideologically programmed for forty-five years. Most sociopaths lead typical lives and have long-term relationships and never really dig too deep into their psychology. It's doable. This is why Eve is slipping fast but not faster -- she's had a taste of liberation from her constraints, but her skin has long since grown over those shackles, so it's hard not to see them as a part of herself, and difficult to get them off.

But they'll come off, because Eve isn't a quiet woman with an average husband and a respectable government job. Eve is a chameleon, the way Villanelle is, only she's less deliberate and has been playing her character for far longer.

Which leads me to Villanelle's speech on life being boring and why it was so important for Eve to hear it. If we look at classic "chaotic" characters like Eve and Villanelle, they're often motivated by boredom, or rather, the desire to escape it. Villanelle and Eve are stuck in a world designed for other people.

The fact is, Eve has been bored forever. Eve was bored long before the pilot, when she was stuck in a holding pattern with Niko and imagining how she'd kill him, not because she wanted him gone but because it was INTERESTING. When she started keeping track of a female assassin but not even trying to report her, because she wasn't aiming for justice but ENTERTAINMENT.

Another fascinating element of their dynamic is that we as an audience are usually positioned to root for a redemption, but with Eve, we can't imagine anything more disappointing. We don't need her to turn it all around, we need her to dive in. Not only because it makes for a fresh storyline, but because great arcs are about characters finding who they are, and we have already grasped who Eve is. Along with Villanelle, we're waiting on her to realise it and act on it. Eve returning to her normal life would be a wolf among sheep, and I think Eve has gone too far. Not in that she's committed serious crimes she'd always be guilty of -- although she's getting close -- but because Eve is coming to understand she's not who she imagined she was, and any performance after this will be a conscious one. A decision to pretend. And guess what? That'll get boring, too. We root for a darkening Eve because we want her and Villanelle to escape that boredom, and escape it together, and forgetting this ever happened is not a way to do that.

I've smashed this out on my phone because I had a lot of thoughts and I'm not going to proofread because no one will actually read this. But essentially, I think we can expect Eve to continue using Villanelle as a proxy for a little while longer, until she's ready to cut loose her parachute. She hasn't committed to this yet because she doesn't want to forfeit the possibility of her old life to go back to (which is why she was upset over splitting from Niko even though she couldn't care less when he's actually around), but once she is reminded how horribly BORING it was, there'll be nothing to hold her back anymore. Because better to flame and implode than be smothered in a kitschy kitchen with a man you imagine blending up and pouring into a thermos. Better to be true and horrible than be nothing.

If you did read this thank you and I promise I'll stop writing mini essays and go back to regularly scheduled memes in a moment. I don't really do these because they don't interest anybody, but lmao, these two always get me thinking. hmu if you wanna trade theories lol.

[metellastella]

Mao Mao Pride Week Prompts, Part 2

A continuation of the prompts put out by @maomaosmother Previous batch here: https://metellastella.tumblr.com/post/621726687992872960/hello-everyone-happy-pride-month-to-all-of-you

4. Who I am

Mao said, “You know how some people like B.C. marry the other sex and have children to ‘fit in’?”

“Yes.” Snugglemagne said. “It’s something that’s crossed my mind once or twice, to be honest.”

Mao started in surprise. “Really?”

“Yes, to continue the throne. Hard to imagine committing to someone you weren’t drawn to, but …” he shrugged. “Maybe it wouldn’t be that bad?”

Mao rubbed his chin. “I don’t think a lot of people would agree with you there. But. For my own part. A good number of Mao members choose celibacy, because of our offered teachings. Would that not simply be a form of celibacy, just on one side, not the other?”

The king thought about it. “Well, it does seem to make it more manageable, when put that way. I’ve been visited by groups of nuns traveling from their covenants, and they don’t seem to be worse off for it. But, obviously it’s easier for women than men.”

“There are friars, too,” Mao pointed out. “Wanderers. Tending to the poor. Stand-up characters. I felt lucky whenever I’d run into one. Camped out with a few of them in my time. Nice fireside chats.”

“Oh, yeah.” 

“Both of those genders we just talked about  . . . and we in the clan tend to think of all of it, more of as an option. Not a core part of who I am.”

“Hm.”

“How about yourself?”

“I’m with your battle partner on this one, Mao.” 

He nodded. “Fair enough.”

The cat chuckled. “It was kinda cute on nights when he’d pick up a partner and I wouldn’t, and he would get all anxious on my behalf, and, say, ask if they should go to a different floor and not the next room so I wouldn’t feel more ‘lonely.’ He just doesn’t get it’s not that big a deal. He never has.” he shrugged. “And, heh, I have more than enough training to block out distracting sounds from my mind, and I sleep really deeply. But, I appreciate his being concerned over me anyway.”

“I guess I might think of it a little less as a central tenet than he does. After all, I haven’t been actively courting anyone since you both got here, or a little before that, either.”

“So, nothing to do with me?” Mao quirked an eyebrow.

“Heh, unfortunately not. I’ve experienced ‘love at first sight’ before, but for your particular case, it crept up slower. Sometimes that’s just how it is.”

Mao opened a gloved hand. “Right! That’s kinda like the point I was going to make about marrying someone the spouse wasn’t drawn to. Think of the reverse! At least among us siblings, no matter whom we’re drawn to, or how strongly, we tend to seek the same sex a lot, anyway, because it’s just much less hassle and worry, you know? Somewhat because we have warrior duties that take precedent over having children and domestic life, somewhat because we’re wielders, when mixed-magic-and-non-magic opposite-sex pairings can be complicated. We do have, not only the magical blockers to consider, but we’d like to have more wielder children if we’re going to pair up and take that risk in the first place. My sisters would be … I guess a word for it might be … embarrassed? Or frustrated …? To go through an entire pregnancy and not ‘gift’ the world with a wielder. A new dragonslayer! It’s not just outside pressure, either! The bond between a wielder child and parent is just … unfortunately more satisfying than not.”

Mao paused, examining the non-magical animal’s face.

The lion carefully guarded his expression at that. It really didn’t sound like prejudice. He seemed apologetic enough. But it felt that way.

Of course, he could never understand it fully. 

If Mao was looked down on for being the weakest … what gauntlet must a non-magical child born into the clan go through??

Maybe it was sheer, pure benevolence on the womens’ part to do what they could to prevent that. 

But that in itself was kind of hard to think about. 

Mao didn’t get any hint as to his thoughts.

Another animal might have given into an angry or irritated expression, but the king’s diplomatic and political training paid off. 

Not finding anything amiss, Mao resumed. “Sometimes, we just want to let off steam. We seek the same sex. Sometimes, in the past, despite being drawn to both sexes, I’m not really all that attracted, but I want the option anyway. The ‘option’ concept goes both ways.” 

“I . . . guess I understand that, though I still have a hard time picturing being intimate with someone I wasn’t drawn to first. Despite my idle musings on the possibility.”

5. Obstacles

“What?” Mao’s sister asked. “Just because I’m up for fun, you think I’m any less controlled than you, little brother? Conscious decisions are just as fun. Get over yourself.”

His ears went all the way down. “I … I’m so sorry,” his green eyes got bigger than ever. “So sorry! I always thought you were so impulsive … How could I think so badly of my own kin…”

“Aww, it’s all right, Mao,” she backpedaled. “Oh my gosh, stop taking everything so seriously.”

But he looked genuinely grieved. “I don’t have any room to talk,” he looked at his own gloved hands. “Was it my Ego defense mechanisms kicking in? A blind spot? Or … I mean … the others don’t approve of your actions either. Was I just emulating them? They don’t care as much about my actions. Is it because I’m a man, and you’re a woman? Is it prejudice?”

“Really Mao, stop stressing over it. The elders have their penalties in place for both men and women! The social aspect of it … it is what it is. All people have got their personalized hurdles in life. Like the athletes! Tiring, sure. But. Everybody’s just gotta buck up and jump over them.”

“You think maybe that’s a reference to real bucks?” the badger wondered. “Man, imagine catching an antler to the chest.” His voice faded, losing its joy. Did the lion spot him trembling? “Think of facing an even more massive caribou or wildebeast! All antlers, all business. All genders. I mean even a bare-headed female moose with her mountain of muscles is nothing to sneeze at. I do feel sorry for any one of them who might consider themselves male, though. Antlers are hard to fake. All those dudes and dudettes are WAY scarier than predators. Preds like to make out like they’re hot stuff! Psh!” the animal shook his head. “Many bovine species outweigh them several times over … ” 

“Didn’t stop me,” the black cat said confidently.

“Yeah, yeah,” the badger waved his paws dismissively at the magically strengthened animal. 

“I guess in that case the phrase ‘buck up’ might be slightly sexist,” she hummed thoughtfully. “Deer can definitely jump hurdles, though. Way higher than bears could. Like horse jumping! I wonder if their sports earn more money because the audiences like them better? It’s more graceful, they have more natural ability? Higher stakes, too. Their legs are very slender even though they’re strong … it’s very easy, with their massive weight, to totally shatter their bones if they land wrong. Even just racing, not jumping. The same isn’t true, for, say, greyhounds. Their welfare isn’t as endangered. Enough money flows that there are always magic salves on hand, but bone still takes pretty long to heal after the initial injury. But, because they’re so graceful and skilled, they’re drawn by the money rewards. Bears, who usually do it more for status and reputation, are trundling, bumbling, and clumsy by comparison. Even though they’re half-predators. How did they ever manage to make any kills in the old days? I guess a diet of mostly fish didn’t favor their developing grace and speed, as with canines and felines.”

The badger crossed his arms. “With the other type of ‘hurdles.’ I guess even though I admire you in a lot of ways, I don’t envy you outright being a woman. I can lie about attractions and pretend that I’m never drawn to men, if the situation demands it. There is no ‘closet’ for presenting as a woman. That’s tough, though you’re a wielder, so that offsets it a lot.”

“It’s not like being an average woman. Not nearly! Even if I didn’t have powers though. Being drawn to men is a whole lot harder than my stuff, too,” she disagreed.

Snugglemagne thought it was sweet how they seemed to be mildly arguing over whom to support more.

6. LGBT+ Safety

“There was the phenomenon of ‘male daughters,’ in the ancient world,” the lion said. “They were as perfectly ordinary legal designations as a birth certificate nowadays.”

“Oh?” Mai perked his ears, interested.

“Yes, I’ll give you some material on it. They lived like men did, and inherited wealth like they did. They were treated as men in pretty much every way. No having to conceal for safety concerns, like the mess in some places in the modern world. It was just obvious, and pedestrian, to that culture and those individuals. They weren’t harassed because they looked different, nor was a body seen as gender role ‘destiny.’ The approaches and conceptual framework to this issue have varied so much from place to place, and time to time.” “Can’t wait to read about it.”  

The sister made a face. “Oh yeah, that’s Mao, always holed up with his scrolls. I’m more of a party girl.”

“Same,” the badger said.

“I told him …” Mao sighed. “I told him that you all seek the same sex often too. But it’s different for guys.”

“Why?” the lion asked. 

“Remember what I said about the ‘lower’ position,” the badger reminded him flatly. “Actually, among most adventurer circles, at least, it’s totally OK for a pair of guys to get jiggy with each other, as long as neither does that. It’s called a warrior bond.” 

“The warrior bond was something B.C. and I considered,” Mao said quietly. “Out on the road, you never knew whose nose you’d run into. Subbing is not something you can conceal. With animals who aren’t nose-blind, there is no ‘closet.’ We’ve been to places where birds could do things on the sly. But that’s a rarity. Everywhere else, there are predators, or heavyweights, or wielders who’ll take a piece out of your hide for it. Of course I’d have zero problems defending us if necessary. A random group of anti-heroes or bandits just nosing around for trouble in general didn’t have any chance against me, either. But. Just not worth the hassle. Not to mention I’d want to break the nose on whoever it was. All it would take is one good pop.” He made a lighting-swift motion-retraction with his fist. 

The smiles on both the badger and the bigger cat faltered. They looked at each other in concern.

Mao either pretended not to notice, went on because he wasn’t about to soften his feelings on the matter, or was so absorbed in his own reflection that he really didn’t see them. “And I’d enjoy it too. I always did.” He glanced up at them, expression unreadable. “I won’t apologize for thinking it. In fact, I still do. Being a wielder, though, fanning those thoughts is not a good idea. I had to learn that through trial and error.”

“That’s not healthy for anyone,” the badger shook his head, “wielder or not. You’ve managed to avoid growing more of a … like … you said Blue mentioned … a ‘martyr complex’ over it? Right?”

Mao sighed in aggravation. 

“Yeah. I was in the throes of that before. Anyway. For other normal or lesser powered people, the warrior bond provides safety.” Next:  7. Marriage 8. Self-Acceptance   V Click below V https://metellastella.tumblr.com/post/622003595371544576/mao-mao-pride-week-prompts-part-3

First chapter of the fic here: https://metellastella.tumblr.com/post/617045879413719040/piercing-the-swordsman-chapter-1