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itsclydebitches · 3 years

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The thing that feels disingenuous about Miles answer about Ironwood is that he was part of the writing staff that framed the general as a cool character to start with. I do think that the signs about Ironwood's evil were clear since V2 and in V7 he was an outright dictator from episode 1. Nonetheless, he was still consistently framed as a cool character, someone you can trust and rely. You don't get to blame the fans for liking a genocide if you was the one framed him as cool in the first place.

I actually don’t think being cool is the problem. If we’re satirizing and/or making a statement about the toxic masculinity that leads to something like a dictatorship, then being “cool” is a crucial part of that. People don’t leverage the power they have by looking lame, they do so by appearing desirable, enviable, awesome. Being in the military is supposedly “cool.” Being a white guy with a giant gun is supposedly “cool.” Having power over an entire nation is supposedly “cool,” etc. If you only make such characters look revolting — even when they are — then you miss one of the main recruitment tools for this kind of rhetoric. Any version of Ironwood that’s meant to make a point about the dangers of following someone like him needs to make him look “cool” and then deconstruct that, pointing out the ways in which this cool veneer is a lie meant to pull you in. To do otherwise is to claim that evil people are always easy to spot. Making your villains “uncool” implies that the people who do appear cool in real life must be fine then. That good looking, charismatic leader is great. Why would I look critically at his actions? He’s too cool to be evil.

My personal problem is not that “They made the dictator look cool and we can’t possibly expect the audience to tell the difference between someone who is truly good and someone who is just using various Cool Points to skate by” because that would be the point of such a character — the work the show needs to do. My problem is that RWBY didn’t do that work. At least, not to the extent they needed to. Rather than making Ironwood a truly heinous character (prior to Volume 7 ‘s shooting, I mean) and allowing the audience to learn how appearing cool can’t hide that, they just made him good person. Straight up. Flawed, absolutely, but no worse than any of the other character on screen, particularly post Volume 6 when our heroes are frequently putting people in danger, seizing power, telling lies, keeping secrets, and generally acting in the ways we’re supposedly meant to condemn Ironwood for. Since talk of Miles’ vid last night I’ve seen three separate “Ironwood was always bad, idk how people can miss the signs” posts and those people are half right. There 100% were signs we were meant to pick up on. The problem is RWBY then went and deconstructed those signs. Ironwood didn’t just bring an army to a peace festival, he brought an army to an event he had good reason to believe wasn’t peaceful — and he was right. Ironwood didn’t wrest control from Ozpin (using a series of checks and balances that exist for this very purpose...) because he has an obsession with being in control, he did so because he honestly believed Ozpin was putting people in danger — and he was right. Ironwood didn’t step up post-Fall because he arrogantly believes he’s the only one capable of saving Remnant, he did so because he’s actually the most qualified: a fully trained huntsmen leading an Academy (like Ozpin) with an army and knowledge of this secret war. What, was Ironwood supposed to read the script and wait for the group of dropout teenagers to arrive and save the world instead? To say nothing of how his power and responsibility are framed as sacrifices, not something he sought out. Ironwood doesn’t want to be the sole ruler here. His desperate relief at having allies again proves it. Good setup for the rise of a dictator would have been Ironwood being cagey with his information and exerting control over the group... not telling them everything, not giving them more power, not letting them keep the Lamp, not taking arrest off the table so as to keep them in line, and generally doing the opposite of everything he did do to share that responsibility and power. RWBY got very good at giving us the first half of these red flags — he has an army, he’s stubborn, he’s hurting Mantle, etc. — but then time and time again introduced a context that changed that flag dramatically: they are fighting literal monsters, he’s no more stubborn than our title character, hurting Mantle is a consequence of a plan he thinks will help the whole world and our heroes back this. Those who insist that Ironwood was 100% a villain in the making (or a villain already) prior to shooting Oscar are working from their assumption of what his archetype represents, not what RT actually put on screen. Because RT is just really bad at writing a dictator character. They didn’t have the skill to manage someone who only appeared good on the surface, let alone a character with the complex nuance of wielding “coolness” to their advantage, which is why in Volume 8 they had to resort to cartoon villainy with literal, evil spotlights. It’s not that the audience is too dumb to pick up on those red flags, it’s that RT couldn’t manage to plant them without continually introducing valid justifications. You can’t say, “Bringing an army is a bad thing. Look at this dictator coding!” without me going, “Yeah, except in the fictional world you created an army does not represent the problems it does in our real life societies. This isn’t a guy amassing soldiers to go after oil, he’s trying to protect people from monsters. Not even metaphoric monsters acting as stand-ins for a minority group. Literal, evil monsters!” RWBY ignores its own context and a good chunk of the fandom ignored it too.

The problem with that (besides the general frustration of someone ignoring parts of canon to forward a particular reading) is that the fandom’s go-to claim is that everything is meaningful — and it’s a reading the writers very much support. Fans do not, as the above attests, push for a simple reading of, “Don’t think too hard about it. Just take the surface reading and run with it” which, while still frustrating, would have at least been a valid stance. Rather, they insist very strongly that nuance and depth are what drive the show. From the song lyrics to a tiny detail in the opening, everything is important and if you don’t accept that then you can’t appreciate RWBY’s complexity.

“Okay,” I said. “Then in that case Ironwood coming around to Ozpin’s position is meaningful too? Glynda — one of our best and most faultless characters — supporting him is meaningful? Flipping his gun, defending Weiss, Qrow writing to him, the group working with him for months on end... all of it is meaningful to his characterization? You said so yourself.”

“No, no, no,” comes the reply. “He’s just bad. But he’s also nuanced. He’s tricked you into thinking he’s a good person by acting kind sometimes, by getting support sometimes, but none of that is true. His actions are what matter and his actions are simplistically bad.”

“Ohhhh. So then does that mean this story is really about the creation of a villain?”

“Huh?”

“Well, Ruby. She’s ‘nuanced’ in the same way. She acts kind sometimes and gets support, but her actions are terrible. She endangered an entire city because she couldn’t wait to see if Ironwood got his letter. She condemned Ozpin for keeping secrets about Salem and then kept those same secrets just two days later. When the kingdom was under attack she sat around drinking tea, crying on a staircase, just hoping someone would come fix things for her — all while actively sabotaging the one person who was trying to save people, even if that action seems silly to us (let’s fly really high). So if we’re looking at the impact of someone’s actions outside of their intent, as we just did with Ironwood, then she’s a bad guy too, yeah?”

“No! She’s the hero!”

“... these characters don’t know she’s the hero from a meta perspective. If we’re supposed to judge the meaning of RWBY based on these details — ”

“But it’s not just the details. It’s also the allusions. Everyone in RWBY is based on another person or character. It’s very complex and that inspiration drives their story, so if you don’t have that information it’s no surprise you’re confused. For example, this is why Penny had to get a human body. That’s what happened to Pinocchio!”

“Oh! So then Ironwood is destined to be a good guy!”

“What?”

“Well, you just said the allusions drive their stories, right? The whole point of the Tin Man is that he always had a heart and just needed to realize that. So clearly — “

“No! He’s supposed to be a classic dictator, he’s only bad!”

And ‘round and ‘round we go. RWBY’s writing is atrocious yet the fandom pushes this narrative that it’s all a complex, multi-layered story that requires taking every part into account to understand the “real” message... but when you try to do that with certain characters like Ozpin and Ironwood it’s, “No, actually, they’re just simple archetypes of Bad Men.” Nuance exists for the bees, but not other ships. It exists for the characters fans like, but not the ones they don’t. And RWBY’s inspirations have to predict the ending for this character... but not that other character. It’s a nonsense grab bag!

Fans are right that Ironwood had a lot of red flags to set up this downfall. Fans are also right that those red flags were severely undercut, thus reversing their impact. Fans are right that Ironwood becomes a 100% bad guy who kills because he can and threatens to bomb a city. Fans are also right that this characterization feels absurd for Ironwood, both in terms of his morality and his intelligence (how does bombing Mantle help you now??) Ironwood is badly written. He was badly written in 7 and 8, if he was always meant to be a dictator in the making then he was badly written in 2-6, and he’s conclusively badly written when it comes to lacking a backstory and a canonical semblance — two things are are supposedly driving all of this characterization. That’s the answer: not that he’s good, or bad, but that RWBY can’t write a consistent character, let alone a nuanced one, so it’s no surprise the fandom can’t decide on anything. What’s there to decide on? It’s that nonsense grab bag. In a different show I think making the dictator appear cool would be a crucial bit of commentary, but RWBY doesn’t have the skill to pull that off.

#rwby #rwde #mymetas #Anonymous

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nat-the-cat-123 · 3 years

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(this will be a VERY long post)

✨Time to criticize Yashahime ✨

First of all:

I will only criticize the writing aspects, so don't expect me to say anything about the animation since I barely know about that stuff

Because of this I also won't address anything of Sessrin or the discontent because of Moroha's and Inukag's separation because that's more of a fandom thing

And this is only the opinion of someone who isn't any kind of expert in writing or something like that

Uff, Yashahime finally ended and it was... Interesting.

So let's criticize it :)

So first of all let's tell the ✨the good things✨ because even if there are more bad things, infact there are very little good things, we have to give credit where credit is due.

Good things :D

The girls' originality

Something that I saw other fandoms have complained in their own "next generation sequel" (like in boruto) is that the kids were just a "copy paste" of their parents, and when Yashahime was just announced I saw the same concerns (specially with Setsuna and Moroha)

But in the end I think any of them ended up being just female Inuyasha/Sesshomaru, and all were able to be their very own character.

Half of their relationship

Ok, I'm specifying that only half because sometimes the twins would be a little unfair with Moroha, but then be her "new family"(?), But then they proceed to leave her behind, and then AGAIN being like bff's so there is no consistency.

But in the first episodes Sunrise got it right and we could see a pretty good and functional dynamic between the 3 that was consistent and made sense.

Each one had a defined role that worked, Towa was the "moral" one, Setsuna the "cold" one who took more drastic decisions, and Moroha intervenes mediating both and brings information that may help please both sides. (At the beginning)

Moroha

I'M SORRY, I'm sorry, I can't help it, it's just that she has so much charm and is so lovely and innocent. And you can totally ignore the fact that she's InuKag's daughter and still love her just because her personality brings so much to the story.

It's such a shame that they didn't really use all her potential but I'll get to that later.

Aaaand that's all ;-;

Now let's go to the interesting part...

The bad things D:<

Towa

This point I actually want to explore it further in another post, because there's a lot I want to talk about her to specify what exactly went wrong and how I would have managed her but here I will leave it simple.

Towa in any way possible wasn't properly used, and even if almost every character suffered of bad writing, she was the most affected one.

She honestly isn't interesting, everything that could have been done with her according to her backstory was completely wasted, because even if she was the one with the least tragic story, there was a lot to work with (I mean, just look at Kagome's case and still most of the fandom loved her)

She kept changing her personality and ideology according to what the story needed, and at some point her only trait was "Setsuna's protective older sister"

And don't even get me started with how overpowered she is without any kind of training (I get she knows how to fight with bullies, but clearly that isn't the same as fighting demons with demonic energy)

Phasing

When people argue if the phasing is too fast or too slow, I think it's both, but in the worst way possible.

They waste so much time in scenes that aren't really that necessary or could be much shorter, and rush at incredible speed things that should actually be worked slowly and carefully.

The fights

I only can remember two or three that I actually liked because most of them were just exchanging hits with the sword, sometimes an special movement and that's all.

Half of the battles didn't affect the story in the least, and the worst of all was how the villains were defeated wether because they were lame as fuck or because Towa's random power up appeared out of nowhere.

Meanwhile in Inuyasha even if we didn't always had the best fights of all anime, we did get some pretty interesting choreographies and some villains really had an impact on the characters in a natural way.

Talking about villains...

Naraku is laughing from his grave

You know? I'm not a Naraku fan, but he was a bastard that you loved to hate, he maybe wasn't the most powerful character when we talk purely about his strength, but he was intelligent as fuck, he was always one step ahead, he had some pretty interesting abilities and plans, with him he brought other AMAZING villains (or anti heroes) like Kagura, Kanna, Hakudoshi, the weird baby, or even Sesshomaru back at the beginning, and the best part was how he was written being a complex character (like when he struggled with his human feelings for Kikyo)

But on the other hand we have Kirinmaru, Zero, the four losers (I mean, perils), probably my boy Riku, and who knows what other random villains.

First of all, ONLY RIKU would be a good villain (maybe I should have put him in the good things ;-;)

But then we have the four perils who, out of them the only one who seemed to know what he was doing was the green guy that did weird witchcraft, but the rest? They are just randomly bothering people because they have nothing else to do and honestly they didn't seem to be that powerful.

I'm not sure about Kirinmaru because I don't see anything clear with him, I mean, I'm not even sure if he's a villain.

And Zero... *Sighs*

I don't get what the hell she's trying to do. Anything that she does makes sense. She's just alive because of Riku, without him she can't do anything.

Like seriously, half of the world was after Naraku's ass, even his allies, and still he could get away with it. Zero can't even get her army in order to take care of 3 fourteen years old girls.

(Sorry for letting myself go with this one ;-;)

Not using half of your characters

I guess the best example is Moroha because even with an interesting backstory, mysterious abilities, and most of the fandom's love, they just used her as comedic relief for most of the series instead of developing her character or explaining better her spiritual abilities or Beniyasha.

And not only her, Hisui and the rest of the demon slayers were more of a background character. For example, in Hisui's episode we should have gotten to meet him, Gyokuto, and Kin'u better, but they preferred to focus in the twins AGAIN and not work the MirSan family. (Guys, first season and I still can't tell Hisui's definitive personality)

Same Takechiyo, Kyubi, Yawaragi, Kohaku, the villains, some past characters, sometimes even Riku. Basically every character who isn't Towa and Setsuna are walking tools for them to use whenever the plot needs it.

And no, I'm not saying "The twins shouldn't be the protagonists", a I'm saying "SIDE CHARACTERS AREN'T JUST PLOT DEVICES, THEY ALSO DESERVE DEFINED PERSONALITIES AND CHARACTER ARCS TO MAKE THE WORLD RICHER, OTHERWISE IT FEELS LIKE THE WORLD REVOLVES AROUND THE PROTAGONISTS"

Inuyasha knew when and how to dedicate an episode to a character, Yashahime doesn't.

Lack of character development

No one, except for Setsuna who is learning to rely and trust more on the girls, has any kind of development (sorry Moroha (･ัω･ั)).

I see Towa exactly the same as in the first episode, and because of how they've barely put attention to Moroha, she has barely shown any growth as well.

And I guess Hisui learnt how to trust his dad, but again, I can barely tell which is his personality, and the rest are background characters.

Powers / Abilities / Weapons

Here they neither explained ANY of the characters abilities properly or made them more powerful making sense.

Towa, just randomly learnt how to concentrate her demon energy in a sword and just keeps getting new abilities without training, and any of them seem to have any effect on Towa like (idk) having the risk of running out of energy. And at the beginning I liked how she struggled with her other demon abilities like smelling things but then they just forgot ;-;.

Setsuna's stick just produces wind and lasers without explanation, and her sealed power doesn't really work naturally.

And Moroha... EXPLAIN BENIYASHA BETTER. SAME FOR THE SPIRITUAL POWERS, that was supposed to be impossible!!! And again they recognized that at the very beginning, why did they forgot about it later???

There barely has been any "world" expansion

Something that Inuyasha never really got into was the "demon society", because with the exception of some tribes they never mentioned anything related to that BUT...

With that thing of Inu no Taisho and Kirinmaru apparently being "royalty" I thought they would talk more about that "Demon hierarchy" or if "Setsuna's courage trial" was something like a demon tradition (damn, that was honestly pretty interesting) but NO.

The topic has been barely mentioned and let's keep saying over and over again what the audience already knows for 24 episodes.

Weird Exposition

The way they threw information at us was pretty weird, like it didn't feel "organic" because instead of the girls getting into whatever situation where "x" character tells them certain things because it is related to what is happening, again, they chose pretty weird ways.

There were like 1,000 different options to tell us what happened to InuKag and Sesshomaru and all of them, like the girls talking with Myoga or Kaede...

BUT THEY CHOSE TO BREAK THE FOURTH WALL.

Comedy

I'm not saying Moroha is a bad comedy relief, she actually came with many good jokes, but you can't leave only ONE character to take care of the comedy. Towa and Setsuna also came with some good funny moments, so why would they only reduce the comedy to Moroha????

(In Inuyasha EVERYONE gave amazing comedy moments, even Sesshomaru)

And the worst part is that they only use the same joke with her most of the time! Losing her bounty and being poor.

"Atmosphere" (?)

I Promise I don't want to sound pretentious with this one ;-;

Those scenes where we were supposed to feel sad because of someone's death, intimidated because Kirinmaru appeared or excited because of a fight didn't work out.

I don't know exactly why but I think that it is because of a combination of lazy animation, bad selection of soundtrack, weird dialogue and the characters' lack of reaction.

So now that I think I've said all the points that they got wrong, let's get to the conclusion.

They stablished side plots or mysteries everywhere and didn't really do anything with them.

The girls never advanced with the story, they just kept running in circles around the same point during 24 episodes. (And no matter how long or short a story is, you can NEVER do that or you'll lose the audience's attention).

And with or without a second season, they made terrible mistakes that won't be able to be fixed. If it is only one season, TERRIBLE, they left way to much things uncovered, and if they plan another season, ALSO TERRIBLE, they rushed essential things and if they work them again they'll repeat one of their biggest mistakes.

And honestly I really tried to love this sequel, almost up to episode 12 I really tried to appreciate the small good things but they just kept slapping me with disappointment every single episode, and if they release a second season, I'll watch it but this time only expecting the worst of it.

In resume, yo can only truly enjoy Yashahime if you completely turn off your critical sense, and expecting nothing from it, otherwise you'll only keep asking yourself "why?"

#inuyasha #hanyou no yashahime #moroha #hanyo no yashahime #setsuna #towa #hanyou no yashahime spoilers #sesshomaru #kagome #kirinmaru #zero #the four perils #this is a mess

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gone-series-orchid · 3 years

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I know you've said before that you think Caine and Drake are pretty one-dimensional (and I agree completely). I was wondering if there were any other villains that you wish had been explored more instead of giving those two more page time in later books. Or if there were any characters that you thought could have had villainous potential that were unexplored??

wow, interesting question! i think my main problem with caine and drake is that they’re just kind of blandly evil, one-dimensional like you said. i think, ideally, villains should feel like real people.

funnily enough, i think zil probably comes closest to embodying that in this series. he’s mean-spirited from the beginning, but it’s only under lance’s influence (from what i remember) that he becomes a real threat due to his gaining confidence. i think it would have been nice to see more of him in the series—he’s insecure in his role as leader of the human crew, which makes him fallible. he’s also kind of unnerved by lance’s neo-nazism. he’s arguably the most intelligent out of the crew aside from lance. he’s not sympathetic, per se, but he is compelling.

i would’ve liked to see him interact more directly with the protagonists—especially astrid, because i think she should get a chance to one-up him in some way after he was thinking creepy thoughts about her in hunger. also, i think astrid, being the smartie she is, would probably be most likely to try to persuade him to turn over a new leaf—she’s a normal, and a white, aryan-looking (gag) normal at that, which would probably satisfy lance, and she still has distinct power in the fayz. though zil could probably poke a hole in her argument by pointing out that she only really has that power because she’s sam’s girlfriend, which is true. anyway, they could have words about it.

i think zil is compelling because he has the potential to be redeemed. it’s a slight potential, because he’s already done some pretty evil things, but he’s not totally evil—he has to justify the violence he commits in order to accept it, which is more than caine or drake does. we never forget that, at the end of the day, he’s still an insecure, blustering twelve-year-old. he’s an anti-moof bigot, but he could change. i think lance, more than zil, represents total irredeemable evil. he represents what zil could descend into being. he’s the devil on his shoulder (astrid could potentially be the angel if she maybe switched tactics from lawful punishment to direct emotional manipulation).

i’m a sucker for human villains and natural disasters being the principal antagonists, which i think is why the first four books work so well? i think fear and light suffer from the gaiaphage taking control of the narrative, villain-wise, when i think it worked best when used sparingly. gaia is pure evil, nothing more. she’s fun to read about in her own way because she’s so villainously campy, but that’s kind of it. she’s not really interesting, imo.

i think the reason why i harp so much on the insufficient “humanity” of antagonists like caine and drake is because that’s the principal strength of books (lord of the flies, battle royale) in the “kids trapped in place and forced to survive” genre: what do the actions of the characters say about human nature? about society? about morality? in lord of the flies, the message conveyed is ultimately a bleak one: the kids all descend into savagery in one way or another, with the purest one of them all, simon (the jesus figure) being driven insane, and the intellectual (piggy) being murdered. the story is all about “the darkness in the human heart,” to paraphrase the last line of the book.

in battle royale, on the contrary, the message is ultimately one of hope. despite the characters living in a dystopian fascist society that sacrifices one class of students to a killing game, the main character shuya clings to the idea that he and his classmates can figure out an alternate way to survive the titular battle royale aside from murdering each other. his compassionate view of humanity is validated by the pov vignettes given to all his classmates. all of them are given distinct personalities; some are kind, like shuya and his allies noriko and shogo, and some are drake-esque sadists, while the majority fall somewhere in between (my personal favorite characters are the girls that team up with one another in order to protect themselves from possible sexual violence from the boys. they hole up in a lighthouse!). but all are tragic in the sense that they’re children thrust into an unfair and cruel situation. even then, though, the nobility of certain characters shines through.

for instance, there are two girls at the beginning of the game who are best friends and don’t want to kill anyone. they (foolishly or bravely) use a megaphone to call out to the other kids in hiding, asking if they can all band together. shuya and several other characters are tempted, but sadly the girls are both fatally shot soon after their announcement. they die in each other’s arms after affirming their friendship, tears in their eyes. shuya and several other kids are devastated by the girls’ deaths. while some more callous characters deride them as being stupid and naïve, the reader is ultimately meant to mourn their deaths and the lost potential of a class-wide alliance. they know that their enemy isn’t their classmates, but rather the fascist government that makes them kill each other in the first place.

anyway—tangent aside—i think those two aforementioned novels are really solid examples of the genre gone is in. gone has more of superhero vibe to it, given the focus on powers and mutations and paper-thin evil villains, but i almost think the way that’s executed almost detracts against the aforementioned “kids surviving, etc.” genre? like, that’s all about the messiness of morality and human nature and whatnot, and while superhero comics can weave that into their narratives (watchmen, the brat pack) those are usually deconstructions of the genre than straightforward examples of it. the superhero genre is usually morally black-and-white and really action-focused. this is why i think we get the strange tonal mixture of kids reacting realistically to the trauma of starving versus reacting fairly unrealistically when faced with brutal superpowered violence, such as when brianna decapitates drake like it’s nbd. or anything brianna does, really.

there’s a shift from the realistic to the unrealistic that’s fun, but tonally dissonant from each other. so there’s this sort of disconnect, at least for me. i sympathize greatly for astrid when she’s slapped by drake and forced to call little pete a slur, for instance, but how many times does drake or caine murder a kid in cold blood? at some point it gets...idk, old? as the violence gets more cartoony the less it interests me aside from morbid fascination, and there’s just so much of it. it gets desensitizing after a while. i think that’s why, even though i think it’s handled fairly believably in gone, i had a lot more trouble with the monster trilogy’s blend of absurdism (the animorphs-style mutations like dekka turning into a cat woman with medusa hair and another character turning into a praying mantis with super speed, etc.) vs. grimdark realism (ICE forcibly deports a character’s father, terrorist violence is a common theme, the san francisco bridge is destroyed, a baby boy is mutated into a giant fuzzy caterpillar and then gets blown up by the military—like this is budding dystopia-level dark and the narrative doesn’t seem to realize it). it just feels too heavy and too light at the same time. the contrast of tones does a disservice to both of them. idk what i’m saying let’s get back to your actual question lol

as for characters with villainous potential...hmmm. tbh i think astrid has villainous potential? i mean, i like the idea of her moral righteousness escalating in a way that makes her more morally gray. she’d have to probably latch onto more powerful kids in order to have any leverage over sam and the gang, given her powerlessness. maybe she could manipulate orc into being her bodyguard while she plots to usurp sam or something asgjsjk. i think she could be a powerful threat if she wanted to be! it’s fun to ponder. i heard of an au where she joins the human crew that i thought was sort of interesting!

what do you think, @goneseriesanalysis? any villains you wish had been dived into more, and/or characters with villainous potential you think would have been cool to explore?

#gone series #michael grant #the gone series #fayz

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bladekindeyewear · 4 years

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HS^2 bloggin’ mainline 2020-08-23

More homestuuuuuck

I’m a little tired today so I don’t expect much intelligent analysis out of myself, but if anything classpecty happens I doubt I’ll be able to help myself regardless.

oh, always

(EDITS: added note on horn colors, link to ask on potential Blood powers reference)

> CHAPTER 12. Really Convoluted Metaphorical Horseshit

cuuute

In the bowels of a different ship, at a moment in time that is not pinpointable in either direction from the previous interaction, another Dave raps quietly to himself.

another dave raps quietly to himself. i am glad that phrase exists it brings me joy

(LATER EDIT: A friend on Discord pointed out that throughout this entire update, Karkat's horns are #FF0000 red. They were normal candy-corn colors in previous glimpses at the ship crew, though they used a dark single-color shortcut typical of old Homestuck at one point... but THIS time it stays STARK red even when we zoom in close later. Is this just artistic liberty? Did Karkat color his horns for fashion? Does this happen to red-bloods like the Sufferer after a certain age? Just how much time has actually passed, here? We might have to wait for the commentary for this one.)

KARKAT: I WAS SAYING I THOUGHT WE MIGHT GO, I DUNNO, ANYWHERE ELSE ON THE ENTIRE SHIP WHILE THE CLOTHES WERE WASHING. KARKAT: SEEING AS THIS DECREPIT MACHINE WE WERE SO BLESSEDLY PROVIDED WITH MAKES A WHIRRING SOUND SO PANCHAFINGLY ARHYTHMIC THAT IT THREATENS TO ERADICATE THE ENTIRE CONCEPT OF TEMPO FROM THE UNIVERSE.

Karkat really has chilled out hasnt he? like this is surprisingly level for him, and that fact is hilarious.

KARKAT: AND YET SOMEHOW BASICALLY ALL THAT HAS HAPPENED SINCE WE STARTED THE LOAD IS THAT YOU’VE BEEN USING IT AS A FUCKED UP BEAT TO WHISPER TO YOURSELF ABOUT FLOWERS TO.

oh gosh that’s why he’s rapping

> ==>

DAVE: kanaya was telling me this kids story the other day about this dude who didnt cherish a flower enough until it peaced out to do flower stuff idk its not pertinent to the story DAVE: except the flower was a person DAVE: because it was a metaphor

Oh right, coming back to the Little Prince stuff I was too lazy to metaphor-deep-dive into, and literally asking the same questions we were asking about who the Little Prince’s story applies to mapped here if anyone at all, like Dirk and such, or what biases were in the retelling of it and the way Kanaya phrased it. So now we’re practically mocking it by deep diving it here, hence the last page’s “DAVE: i was just thinking through some really convoluted metaphorical horseshit”, which means we’re both about to further explore AND shit all over the existence of this story metaphor until it doesn’t mean anything and most of the meaning we drew from it earlier is made a joke~

well, not “we”, cause I was too lazy, so... y’all

DAVE: anyway what goes down in the story is that once the flower lady is out of the picture DAVE: the main character goes around making all these connections between her and everything else in the universe until every damn thing feels like a symbol for how much he fucked up and how much he will never see her again KARKAT: THIS SEEMS PRETTY FUCKING INTENSE FOR A KID'S STORY DAVE: yea thats pretty much what i said

Oh holy shit. That’s yet another way to put it. Are we doing a whole moral takedown of the Light aspect today? cause it sounds like we’re taking a dump on the Light aspect and RoboRose getting too obsessed and immersed in it, which would be excellent

DAVE: but i guess its not so much what the story was technically textually about but more like the version of it kanaya internalized and then told me when we were talkin about how she misses rose

exactly

DAVE: so like now im taking the story she told me she was projecting her feelings onto and projecting my feelings on top of that

yes absolutely, you just rephrased it a different way with that exact same bias

DAVE: this is just one big game of emotional projection telephone so feel free to go paraphrase it to roxy later and make it about whatever fuckin thing youre currently missing

perfect. i need an emoji for that Italian thing for when you pinch your thumb and forefinger together and kiss it

ah this’ll do:

its like the expression “choice” but in nonverbal form

[...] whatever fuckin thing youre currently missing KARKAT: YOUR ABILITY TO GET TO THE POINT DAVE: gotem DAVE: anyway you’re not gonna have to miss that skill of mine for long DAVE: get ready for this shit because i am about to slap you with the point so hard youll fall ass first into the washer DAVE: just scrambling around in there getting all sudsy DAVE: but your brain is gonna be so blasted from the mindfreak of a point im about to make that there wont be anything left to clean

Anytime dave is told to get to the point he is contractually obligated to spend at least 20 seconds talking about how he’ll get to the point in a way that is not getting to the point

DAVE: so its genuinely cool that kanaya can go around creating meaning that may or may not be actually present in every little thing DAVE: connecting every feeling she has to the idea of her wife existing out there DAVE: so i told her she should keep that shit up DAVE: but im having the opposite issue where im struggling to find anything to be that kind of tether because every single thing i could possibly consider about what it is were doing just reminds me of yet another thing to be afraid about

Great examples of Light being good and bad! Attaching strands of connective meaning to everything. --though, in Dave’s case AND Kanaya’s case you could argue it’s both bad in terms of effects. That it’s great for Kanaya to care, but that she should be able to divest herself and live on her own terms without idealizing Rose literally everywhere she looks, personal growth which would be useful in helping bring Rose back to her in the first place. The struggle they’re looking forward to is largely philosophical, not just physical, and until Rosebot acknowledges that she was wrong it’s not over.

DAVE: everything fuckin sucks huge cosmic donkey sack and im terrified KARKAT: OK, SO I FEEL LIKE YOU SKIPPED A COUPLE NECESSARY STEPS IN YOUR POINT CLARIFICATION PROCESS.

Pretty sure Dave was on the same page as most Epilogue and start-of-HS2 readers. This situation is pretty bleak to dump our heroes into, no matter how much we believe will be resolved in the long run.

DAVE: ok but were you going with sweet or savory please give me that much at least KARKAT: YEAH IT WAS GOING TO BE SUNDAE-BASED. DAVE: nice KARKAT: YEAH. KARKAT: DO YOU WANNA WATCH MORE GBBO AFTER THIS? DAVE: absolutely

--ah, Great British Bake-Off, can’t say I’ve indulged

do they still have that?? did they save it from old Earth? or did they go where unflooded Britain used to be and say hey, new show reboot

KARKAT: GREAT. ANYWAY, LIKE I WAS SAYING, FOR THE LOVE OF SWEET HUMAN CHRIST, PLEASE BACK UP TO WHATEVER THE FUCK YOU’RE ACTUALLY SCARED OF. KARKAT: ALSO COME HERE, IDIOT.

That last line is like, exactly as fucking sweet and awesome as we imagined their relationship to be. :)

> ==>

OH MY GOD THAT’S ADORABLE

DAVE: ok yeah this is a better position to unleash all my inner fears n anxieties from

indisputably.

DAVE: those times its like my mouth was saying words about the situation wherein our friends are AWOL and maybe dead but my brain wasnt fully letting me experience the emotion that goes along with them DAVE: man its like i cant even start genuinely thinking about how afraid i actually am for rose and john without my brain flippin its wad and whiting out DAVE: like haha fuck i hope theyre ok DAVE: now i better make a fuckin joke before i succumb to the gaping mouth of despair waiting for me to fall in it as soon as i look down and acknowledge that its there ogling how juicy my ass looks as it trembles with terror

I really hope that the writers of HS2 know full well that this feeling? the one Dave is describing here? is what many of us who got way overinvested in the well-being of Homestuck’s surviving characters felt reading the Epilogues and Homestuck^2. So I really hope they’re working through it in a way that will result in a preponderance of GOOD THINGS happening and hope-filled situations. Cause that “can’t even think about X” feeling is too familiar, and if they understand it as well as it LOOKS like they’re getting to, I’d really like them to give us a helping hand healing.

I think that’s what they’re going for? Seems hopeful for me to think so, but they HAVE been doing better as HS2 has been going forward, from an emotional standpoint anyway; definitely better than the Epilogues. And I’ve worked through some of that stuff with the help of that, because it’s MUCH easier nowadays to think about Homestuck without my gut clenching.

DAVE: i guess im just fucked up about how to worry about dirk and be angry at him at the same time DAVE: because if i get as unholy pissed at him as i sometimes wanna be i also gotta admit to myself that maybe i coulda done something different there

Mhmm, Karkat’s potentially a pretty good person to speak with here since he’s done so much work trying not to feel responsible for everything that’s ever gone wrong.

DAVE: also like DAVE: and this by the way adds a whole other layer of guilt on there that i dont really know how to fuckin reckon with but DAVE: even with all the shit hes pulled and the fact that we are more or less heading toward having to take him down DAVE: whatever that is gonna mean and whether or not he planned it like that DAVE: i just DAVE: me and him had come so far with each other and it was really cool for a while to have him and i DAVE: ugh DAVE: i dont WANT to hate him

Yeah, Dirk and Jane’s heel-turns were really shitty for anyone who was a fan of them in the fanbase, as well.

KARKAT: WELL THEN QUIT FUCKING PICKING AT THE SEAM ON MY SHORTS AND SPIT IT OUT. THEY'RE BARELY HANGING ON TO THE DEFINITION OF "SHORTS" AS IT IS.

That is an adorably real boyfriend-laying-in-boyfriend’s-lap thing to do

DAVE: the part i mentioned before about how we really have no goddamn clue how long this trip is even gonna take DAVE: i cant help but feel like its barely getting revved up DAVE: and for me and roxy and jade and callie and kan thats normal shit at best and boring at worst but we all have our immortality to thank for that DAVE: we can just dick around in space for near-eternity waiting to catch up to our friends who may or may not be our enemies now and itll be fine DAVE: i mean no itll be categorically miserable DAVE: but well survive it KARKAT: HOLD THE FUCK ON. DAVE: but you KARKAT: DAVE. DAVE: no lemme say this

Oh god damnit. Karkat’s limited lifespan. As if we hadn’t ALREADY covered a nauseatingly extensive gamut of disheartening topics of conversation. We really have to confront every shred of misery in their past, present and future one after the other after the other in the Epilogues and HS2, don’t we? >:(

I guess it had to be discussed, though.

DAVE: we dont talk about it much and i got shit to say about it DAVE: its not like i never thought about how youre mortal before but i just thought wed be able to figure it out before it mattered DAVE: come up with some kind of plan DAVE: i was just distracted being happy with you i fucking guess and so i didnt think up a way to fix it DAVE: and now thanks to dirk we have to work it out right the fuck now DAVE: because i cant spend this trip just sitting around watching you get old and die

Jesus. I mean, WE know(?) that it’s not gonna be THAT many years, but THEY don’t know that.

Unless it really IS going to be that many years and HS2 is going to shamelessly take a fucking sledgehammer to our feelings for no goddamn good reason. Which it won’t! Right??? >:T

> ==>

Dishwasher ding

> Dave: Grapple with the clean, soggy consequences of the passage of time.

Hey, don’t make it a metaphor here. --though, fuck. I suppose we are dealing with everyones dirty laundry. God damnit. SURE, deal with it all story but then GET IT OUT OF THE WAY AND PUT SOME SERIOUS FUN AND LAUGHS IN HERE so we don’t feel like we’re wading through an entire garbage dump!!! *click*

Karkat’s eyebrows-only mouthless frown is really cute.

> ==>

okay Karkat explain the nope you’re lodging

> ==>

*put*

> ==>

*foot*

> ==>

DAVE: ok go on

I mean I at least appreciate the time investment in adorable boyfriends. That’s definitely something of SOME good value they’re giving us in exchange for this misery

> ==>

That Karkat image makes me wanna do that red-shaky-gif-thing with it

KARKAT: IT'S NOT LIKE I'M NEW TO THE PARTICULAR MOOBEAST WRANGLING EVENT OF SOMEONE I PREVIOUSLY LOVED BRUTALLY TURNING ON ME AND LEAVING ME TO TRY AND CRAM MY FEELINGS ABOUT THE SITUATION BACK TOGETHER ALL ON MY OWN.

True

KARKAT: HE DID THAT ON HIS OWN. AND WE MADE THE CHOICE TO GO AFTER HIM ON OUR OWN.

Yes, and you’ll possibly convince him more of that over time, though not in this short conversation

KARKAT: I WAS FOLLOWING YOUR LITTLE TRAIL OF COOKIE CRUMB FEARS UNTIL IT LEAD TO THE BIG SNACK FINALE OF WORRY ABOUT MY FRAGILE MORTAL MEATSACK. KARKAT: IF I HAVE SOMEHOW NOT BEEN CLEAR ABOUT THIS WITH YOU YET, LET ME GO AHEAD AND RECTIFY THE SITUATION RIGHT THE FUCK NOW. KARKAT: HANGING OUT WITH YOU ON THIS LONG TRIP TO WHO THE SHITTING FUCK KNOWS WHERE IS QUITE LITERALLY THE HAPPIEST I HAVE EVER BEEN IN MY ENTIRE MEAGER EXISTENCE. KARKAT: I'M SO ABSOLUTELY BLISSED THE FUCK OUT OF MY MIND TO BE ABLE TO LOOK AT YOUR STUPID IMMORTALLY SMOOTH HUMAN FACE SKIN EVERY DAY AND NOT HAVE A COMPLEX ABOUT IT.

D’AWWW

And with that darkly angry expression too, that’s PERFECT

I mean it’s true. What exactly would they be doing DIFFERENTLY on Earth C other than enjoying each other like this? It’s pretty fucking great.

...hm. Isn’t this journey-not-the-destination stuff pretty Breathy? Karkat’s proving more balanced by the moment.

KARKAT: AND I'LL BE STRAIGHT WITH YOU. IT'S NOT LIKE I HAVEN'T BEEN EXPERIENCING SOME COMPLICATED GUILT, MYSELF. KARKAT: THE FACT THAT I'M HAVING THE TIME OF MY LIFE JUST FUCKING CHILLAXING AND BEING IN LOVE IN SPACE IS A CLEARLY INCONGRUOUS WITH THE REASON I'M ACTUALLY HERE CHILLAXING TO BEGIN WITH, AND I'M NOT LETTING MYSELF FORGET THAT, EITHER.

Pff. He feels guilty for ENJOYING IT so much. <3

KARKAT: BUT I RESENT THE IMPLICATION THAT MY HAPPINESS IS REGISTERING FOR YOU AS YOU HAVING TO JUST "SIT AROUND AND WATCH ME GET OLD," BECAUSE I KNOW YOU KNOW IT'S MORE THAN THAT.

I’m glad Karkat knows that DAVE knows somewhere in him that it’s more than that, because yeah, if Karkat thought he DIDN’T know that at some level that’d be a reason to take MUCH MORE SERIOUS offense.

KARKAT: LIKE, JESUS, DAVE. YOU KNOW I'M AFRAID FOR YOU, TOO, RIGHT? KARKAT: OR DID YOU FORGET THE WHOLE HEROIC DEATH THING? KARKAT: I WORRY ABOUT LOSING YOU FAIRLY FUCKING REGULARLY.

Hah!!! Point taken. Karkat must view Dave as practically more fragile than HIM.

KARKAT: ONE: WE'VE BEEN THROUGH SO MUCH HELLACIOUS PANWARPING TRAUMA THAT I REFUSE TO NOT ENJOY THIS SHIT WHEN I FINALLY FUCKING GET IT, NO MATTER HOW LONG IT MAY OR MAY NOT LAST. KARKAT: TWO: IT'S NOT LIKE WE'RE DOING NOTHING. WE’RE MOVING. WE’RE WORKING. WE’RE HEADED SPECIFICALLY TO A PLACE WHERE WE WILL UNDOUBTLEDLY ENDURE YET MORE FUCKING HELLACIOUS PANWARPING TRAUMA. KARKAT: AND THREE: WE'RE DOING THAT BECAUSE WE HAVE FRIENDS WHO WE CARE ABOUT THAT NEED US. THAT IS OUR FOCUS, HERE. NOT OUR FEAR. IT'S ABOUT THE PEOPLE WE HAVE TO SAVE. KARKAT: SO DON'T FUCKING WORRY ABOUT ME, DAVE. I'M FINE.

Okay, this is great and wholesome. I am now retroactively GLAD that this topic got brought up. :)

> ==>

Dave is still afraid. There is a part of him that will always be, he thinks. He has accepted this about himself. There is another feeling coursing through him too, though. It’s something he's felt before, though never quite so intensely. He looks up at Karkat and understands, viscerally, the simple power his words have. They pump through Dave’s own body, alive and warm and true.

He wonders if Karkat realizes it, or if he’s just, as always, saying what he feels as he feels it. Dave doesn’t attempt to dissect it further. There will be time for that later.

Every really loving moment like this is sort of undercut by the fact that it’s also, in some senses, part of alt!Calliope’s narration and, by extension, her fanfiction.

EDIT 2: There's also either a hint to potential Blood powers or even an explicit Blood power use here that I didn't recognize. I'm leaning towards it's-laying-the-groundwork-for-future-use-of-Blood-powers-but-isnt-magical-in-this-case.

> ==>

Smooooch!

That was nice. Still gonna wait on doing any commentary til next time or a Bonus update or two, cause I’m beat. See y’all next time!

#Homestuck #hs2 #Homestuck Liveblog #upd8 #Homestuck^2 #spoiler #spoilers #Breath and Blood #Light and Void

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kuroopaisen · 3 years

Text

@kacchand (i couldn't tag your main but i wanted to make sure you saw this fdlkjfdlkj)

hello dear! i’m sorry it took me so long to respond to this dflskjfdlkfdj i decided to answer your ask in a text post so i can link my thoughts to yours more easily! also, i know i'm going to Ramble, so i wanted to be able to keep it under a cut sdlkfjd

Hi rowan!! I've just finished the final chapter of aot and I just wanted to ask your opinion on it!

(SPOILERS THAT DEPICT MY UNDERSTANDING OF THE STORY'S MEANING AHEAD. READ ONLY IF YOU'VE FINISHED THE CHAPTER)

(FR )

(THERE'S STILL TIME TO BACK OUT)

(DO IT NOW. SPOILER ALERT)

I'd also like to ask a follow up question about it, because it seems that I've come to a different concl. from many of my friends and I'm feeling dumb abt how i feel w it.

first of all (and i say this as sincerely as possible, and if i'm coming off as condesending please let me know hh), please don't feel dumb because you've come to a different conclusion :(

we all read media at different levels (i’ve been told it’s ‘not that deep’ before fdljkfsdlkj) and identify different aspects in it, so the fact that you've had a different experience to some of your friends is absolutely not a reflection on your intelligence. and if anyone's making you feel that way, drop their @. i just want to talk :) furthermore, you’re not wrong for responding to something emotionally, especially if it really... makes you uncomfortable, you know?

i'm from the PH & I've put off determining whether i'm comfy w the manga til the last chap,,,, but is it wrong that I can't shake the feeling that it's a justification of japanese expansionism and genocide? ik this manga has always been in the grey area, and that's what I love abt it! It often shows that no choice they make is absolutely good or bad, and does such a good job at showing you how each complex character came to that understanding (role of environment, etc...) but this last chapter felt too positive abt the rumbling? Like it was justified because paradis was able to advance and there wasn't much choice? idk.

that's totally valid! some of the best think pieces on the show i read mentioned that the concern with the narrative is less "is isayama a nazi sympathiser?" (he most likely isn't), but if he's a imperial japan apologist. and...

well, let's just say that my father is british, and when i was trying to say that colonisation was bad, using british india as an example, he said "well, we gave them railroads." it's... it's uncomfortable and gross and i think it encapsulates how countries with imperial pasts tend to talk about them; even if they don't officially endorse it, there's often a lot of talk about how "well colonialism was good for this country, actually--"

and if the manga felt like it was justifying japanese expansionism, then chances are it had elements that very much did point towards that. i've had a lot of trouble grappling with reiner, annie and bertolt, because they've existed in this grey area of 'victim of oppression' and 'war criminal'; and their existence raises the question of "do people who commit war crimes simply do what needs to be done?" and by victimising them it... it plays into the whole nuremberg defense of "i was just following orders". it's making you feel bad for the people committing said war crimes (and similarly with eren, and all the awful things he's done). but i'll get more into this point later dsfkjfd

i haven't read the last chapter yet (and don't worry about spoilers! i've been approaching aot from a very... specific perspective anyway, so i actually don't mind spoilers -- i read a bunch of analyses of the series before i'd even watched it hh), but... i think if it came off as too positive about, you know... an awful thing that happened, then it absolutely makes sense that you'd feel uncomfortable?

the modernisation narrative in general is one that always skeeves me out. it's one japanese imperialists use to justify the invasion of korea (and even those infamous tweets from the one account purported to be isayama talk about how the population of korea boomed under japanese imperial occupation, which... stop.)

it's also commonly invoked in cases of development. certain members of society (usually the poor), just 'had' to die for the good of the future. who gives a damn if they consent to that? they have to.

similarly, the 'we had no choice' narrative. that's... a concerning one that crops up time and again with history apologists, the argument that "oh if x country hadn't done y, then someone else would've!" or that acts of aggression were done as pre-emptive self-defence, which is so... ugh. i just. i just hate it.

It also feels really weird w the ymir and the whole loving fritz thing. i wish we got to see more of her thought process and what conclusion she came to that led her to destroying the power of the titans.

i... hate this so much. i get that abuse is complicated and victims often have multifaceted feelings towards their abusers, but... most people would focus on that in their story? the story would be about that? but instead, it's just... a thing in the history of the world and that's... icky.

also having the genesis of the titans come from a slave girl in love with her captor... there's many levels of ick to it and i highly doubt it was handled with the appropriate level of grace and sensitivity.

honestly, this might be one of the things that pissed me off the most because of how... contradictory her backstory was with That One Chapter (you know, instead of ymir crying because she wants to be free or because she’s been trapped she........ wants to see mikasa kiss eren’s decapitated head? i guess? what the fuck?)

idk...I just think that context is sometimes everything. and i understand that media can portray incorrect things,,,, and that isayama likely didn't intend for it to become a global sensation, but i guess i'm just uncomfortable w the right wing nazis getting a comfort book ahaha.

i totally get that! even if attack on titan is meant to be anti-fascists, the fact of the matter is... a lot of fascists love it. and relate to it. which is... alarming. especially given just how popular aot is worldwide.

it’s hard because before the ending, attack on titan did feel like it was more grey; i remember saying that i wouldn’t know how to feel about it until the ending because the story was either saying “the military is corrupt and war is hell”, or it was saying “the military is corrupt and war is hell, but it is necessary.”

still sorting out my thoughts, but yeah. I think i'm having a hard time understanding what they really accomplished with the rumbling and how they gave eren a sudden lelouch role and a lot of how they made it out to be a happy thing? perhaps I'm too biased to see it fully but to me it gives a "woah. eren was a hero. he saved us from destruction. those people needed to die for us to achieve this temporary peace and new start". i suppose the rumbling gave them a levelled playing ground?

OH MY GOOOOOD okay. i haven't finished code geass. but i really don't like lelouch. i mean... i think i just don't like characters that sacrifice other people for a purported 'greater good' (i could write an Essay about how much i hate erwin smith looking at him is enough to send me into an unhinged rage), but where i'm up to in the anime, i don't like the direction they're going with eren? i mean, i've never liked eren, but... that whole "martyr for the eldians" is just. ew. especially when you see several eldian characters disagree and resist him.

why does this one guy get to make choices for everyone else? because he’s sPeCiAL? fuck off

sorry for not being coherent. maybe i'm basing this too much on feelings ahaha. trust aot to finish it's scandalous run with a scandalous end.

no omg you're being perfectly coherent :( also, if anyone's making you feel bad or stupid for how you experience media, they’re... definitely not as smart as they think they are fdslskjfdlk.

i'm of that mind that, while media consumption is in part an intellectual exercise, it is inherently very emotional; narrative media tries to make us feel as much as it makes us think. that’s what stories are for, you know? intellectual analysis is well and good but what’s the point of a story if it doesn’t make you feel anything?

that's to say, i don't believe there's such thing as basing your opinion too much on feelings :') especially since it's your personal experience with a piece of media; you don't owe anyone 'objectivity' (which is always a farce when it comes to this sort of thing) or 'logical analysis', because nobody's got any right to criticise you for engaging with media the 'wrong way'.

tl;dr I feel like the mood was too celebratory abt the rumbling, and didn't entail enough on the tragedy so much that it felt like a justification for genocide and expansionism. how do you feel abt it's ending and the message it leaves? is isayama responsible to give a morally correct answer to the cycle of hatred? you're not obligated to answer! and sorry for the rambling.

hhh yeah i guess that’s the thing at the end of the day... is isayama responsible for giving a “morally correct” answer? no, but the way the ending plays out is very telling.

like armin thanking eren? mikasa’s e n t i r e character boiling down to being in love with a mass murderer no matter how poorly he’s treated her? and one could argue that kind of ending is supposed to be unsettling, supposed to hint that the cycle will just continue, but...

framing is everything. and it’s framed like a Good, Emotional Thing, Aren’t We So Grateful Eren Did All Those Awful Things

YI think I would've been fine if we got to see more of Eren's or Yif you have a different perspective on how eren is being portrayed please do share! I just felt really yucky watching armin say "thanks for murdering all those people for us" with love,,, I suppose he was trying to make eren feel better. ach maybe I'm just overreacting. idk. im dumb ahaha . i'll send this in anyway cuz I'd love to hear your take!

HHHHHHH i just hate eren and i never got him. i felt bad for him in the beginning, but he's always been too... violent for me. there was a very short period of time in season 2 where i felt bad for him, but otherwise it’s just been... ugh. the main three have always been the weakest part of the series imo, so it’s really not surprising they’re part of the reason the ending was so. bad.

and... well, that one infamous quote pretty much sums up my issue with armin. he's supposed to be the 'intelligent' one, but he's hopelessly devoted to a homicidal maniac with whom he has a very artificial, unbelievable bond with.

at the end of the day, the "thank you for becoming our monster" thing just makes it seem like attack on titan's core message is "war is horrible, but it is necessary." it feels like it's justifying massacre. and while fiction is fiction, and sometimes it's as simple as that, i think something as politically loaded as attack on titan needs to be looked at with a critical lens when discussing what it’s trying to say or what it means.

do i think it makes someone a Bad Person for liking aot or being attached to it in some way? no, because that’s dumb, and what media someone likes =/= their Moral Goodness TM. ofc trends are a thing and certain pieces of media appeal to certain types of people, but it’s a false equivalency that misses the point.

but by that same breath, nobody is wrong or stupid or has Less Valid Opinions just because what they took away from it makes them uncomfortable.

i’m sorry this is So Long i have so many thoughts about this dskljfslkj

but at the end of the day,

levi sexy

#kacchan 💕#rowan rambles #rowan watches attack on titan #attack on titan spoilers #attack on titan tw

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sycrx · 4 years

Text

hello again it’s your backyard eldritch horror cel here with the poisonous hellfire that is Barty Jr.

( cis male | he/him | jordan connor ) —— isn’t that BARTEMIUS “BARTY” CROUCH JUNIOR ? yeah that is them, sitting there at the HUFFLEPUFF table with those other SEVENTH years. when sybill looks into that crystal ball of hers, she sees ceramic venetian masks; crafted bedheads; the fleeting feeling of emptiness; angelic faces with demonic thoughts; bitten cheeks; burning pages of coded texts; immaculate silk ties and stupidly wide grins. anyway i’ve heard they’re pretty ROGUISH, INSINCERE, and GUILEFUL. apparently they’re a VENIT TEMPESTAS and PUREBLOOD but i’m sure that’s not related. —— [ cel : akdt : 22 : she/her ]

𝑰. 𝐻𝐼𝑆𝑇𝑂𝑅𝑌 » though never dubbed ‘ deviant ’ / here lies a renegade : craving & hungry , caged . deadly / half - dead , but he’s never unleashed .

see : ( alice ) for further crouch information / bg tw ; manipulation , psychopathic tendencies

barty jr. is mr. crouch’s first and only son ; and it’s a fact that’s let him sleep easy at night for as long as he can remember. he was a favourite early on and all he had to do was the very bare minimum to keep that title, watering the soil here and there and watching it grow without struggle. it was never a question of if for him, the way it was with his sister — but of when . he knows alice would be a greater challenge to surpass in the face of his father had they been identical ; but they aren’t, and that was the end of that for him.

growing up, the idea of justice was cemented in barty’s mind in a way he could barely understand. his father would be sceptical of his endless questions on ‘ why ? ’ while his mother easily brushed it off as how selfish children could be. when rebutting alice as a prime example of understanding, it didn’t take long for barty to catch on to the safety of matching an accepted standard over his own. a mere watering of security.

in fact, bartemius snr has actually always been quite suspicious of barty, and hasn’t been nearly as easily won over as henrika. he’d been there for when barty was nothing but a sulky, quiet kid who seemed to transform overnight. ironically enough, his play to the opposite side of the spectrum even has him coming off too soft at times, something unfavourable to law enforcement. still, despite this, barty has managed to play his cards right, and still received that ministry seat over the much safer choice of his sister.

barty always had a very calculated relationship with his siblings. to come off kind and open enough to seem like he was trying without ever pushing the bar for it to actually make them close . and with their parents — it was easy. a little reminder of the favouritism to alice and her disdain was clear enough to make his distance understandable. an inclusion of his mother and she’d be shooing him away from his younger sister on her own terms, making the girl just as hesitant to reach out in turn.

—— plot related !

when alice was revealed as the founder of ‘for the light’, barty was equal parts shocked and enraged — he had no idea anything was even happening behind closed doors ( much of that thanks to alice purposefully trying to keep her siblings in the dark ), but was moreso mad at the implication of how his not being involved could look on his part. he knows only time awaits for the task of getting in as a plant — but with alice’s fed jealousy and the pull from his parents to stay out of it — he has much work to do to rid himself of a dangerous “neutral” status.

of course, barty isn’t neutral, and secretly aligns himself with the death eaters to the knowledge of very few, aiming to prove his worth to them before taking on the role. for now, though he has caught the attention of voldemort himself, he clearly isn’t to be trusted too easily by most, thus leaving them in the dark.

𝑰𝑰. 𝐴𝑁 𝐼𝑁𝑆𝐼𝐺𝐻𝑇 » the crown sits light / never fallen , the weight of its veil sitting nice on his nose , the glint in his eye hidden . behind him sits history ; and the front awaits a feast .

barty is, by all accounts, the epitome of a two-faced bastard.

he started off fully mimicking what he knew worked — and at the time that was just his sister. but while alice bloomed into her own person, her own mix of kindness and strength — barty took to the security of the former’s blanket. he became the softer one, the one who shone smiles and acted above and beyond in kindness for others, who stood for fairness and could listen and see the pain in others. because that, what he realised, was just it : he felt nothing. empathy was an entirely foreign concept for barty. he had no struggles of his own and saw everyone else’s problems as a thing they merely had to accept . but being raised in the home that he was, it was easy to learn what that empathy should be. when his father would talk about raising up walls to prevent emotions from clouding your judgement, he was making way for a game : one that helped barty create those emotions to begin with.

his mind is just constantly reeling in a way Very typical of a crouch, but it’s never exactly a noble thing and he’s learned to hide every inch of that in a face of faux - joviality.

it should probably be stressed that only a very select few would be aware that he can be anything but delightful . an intelligent character that spends enough time with him might catch on to something — especially if they’re a seer / legilimens or have another reason to just “feel it”. but know that barty would be weary of spending too much time with these types to begin with. this man goes on to fool albus dumbledore with his manipulation. not to mention sirius as well, who is still canonically hella powerful / intelligent as a wizard and v adamant in his moral compass. it’ll take a lot to suspect him, unless he fuels the fire himself.

so essentially, he will come off as a really happy, chill dude. the type who might be a solid quidditch player and dueller, but he’d never hurt a fly. he’s never lost his temper and he’s never seen taking anything too seriously. and again, this is all because everything he does is just so calculated.

𝑰𝑰𝑰. 𝑆𝑈𝑀𝑀𝐴𝑅𝑌 »

i forced mhairi to make the twins geminis rising Just for this bastard and i feel like that’s a great start to establishing his Power

he’s very much just a devil in disguise, and though he will always act like nothing short of a pure cinnamon roll, he’s probably plotting your downfall for stealing his quill that one time in first year.

also generally just privileged to shit, both from being from a powerful family and being utterly babied in it. has definitely said “i mean it's one banana what could it cost? 10 galleons?”

see his stats here , and some random headcanons that didn't really fit anywhere here if you want more for some hellish reason.

𝑰𝑽. 𝑊𝐴𝑁𝑇𝐸𝐷 𝑃𝐿𝑂𝑇𝑆 »

( play mates ) ; basically the people barty can use as his friend group. those who are either willing to overlook the odd hint of who he really is, whether through lack of care themselves ( e.g. those siding neutral / venit without being so apparently evil he’d avoid them ) or just people who are as innocent / forgiving as barty pretends to be .

( exes / prospects ) ; barty is not interested in love, but he can keep up an act. his relationships would likely come off as very superficial to those involved, never rooting themselves too deep and often lasting no longer than a few months at best. being just as strategic as everything else — he’d essentially go through girlfriends ( specifically ) with the intention of finding someone who’d both help him in name and not risk asking too many questions down the line ( and could be easy to dispose of oop ) .

( a taste of it ) ; these would be the people who’ve caught a glimpse of what barty’s capable of. usually through an action affecting them directly, though jr would be relentless in his innocent denial.

( a raw look ) ; i can’t really see this as a thing with the characters we have so far yet — but anyone who would be unwaveringly venit-leaning / a death eater might have barty reveal himself in all honesty to them ; that is, as a sardonic, apathetic egomaniac. or at the very least, as somehow being on their side ( to their potential confusion, if y'all want some drama )

idk sis feel inspired ?? shoot me with it

#petrificus.intro #tbt /#there he is...... the Literal Worst

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severalspoons · 4 years

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Liveblog: Rewatching Trigun, Episode 17, Part 1

Episode 17 frustrates me immensely. All the most important facts are stated clearly. But a lot of the meaning and implications are at best found in brief hints. And while there’s a lot of symbolism, discussed in an interesting way here, it’s not enough to explain why Knives decided it was right to kill everyone except themselves and perhaps Rem. I would even argue, that’s never explained.

Get ready for a long post, because I’m going to overthink everything.

-- “I think that planet is going to be our new home!”

-- Rem is excited to create their new home, the Captain has a scientific bent, and Steve is a drunk, sexually harrassing pig. There is also a lady whose name I didn’t catch who seems to exist to be harrassed by Steve in the anime. Edit: There is also a lady named Mary who doesn’t seem to have any purpose until later.

-- Who does make the decision where they’ll land? Especially if almost everyone on the fleet except a small skeleton crew is in cold sleep.

-- Why are the twins in a separate room from the crew?

-- Knives is quietly watching the screen. Vash is wearing a party hat and a fake mustache and generally messing around. Wonder how well he understands what’s going on?

-- “Are there flowers on this planet?” Rem, you’re literally all seeing this planet for the first time and all the readings are about large-scale things like atmosphere and habitability. How would anyone know?

-- Also, is it just me or is Rem’s voice just high pitched enough to be really annoying? (Sorry). Also...is she drunk?

-- Rem, suppose there are no red flowers. Would that be a dealbreaker for you?

-- “Why don’t they wake up?” Wait. Does Vash seriously not know what cold sleep is and that these people are in cold sleep???

-- “It’s so quiet. There’s only 7 people.” I get it, it’s a big ship to be occupied by so few people, but let’s just say I’m not surprised how much time he spends in crowded bars years later.

-- Vash doesn’t know what’s written on the outside of the ship? I’d think if there were no windows from which he could view the writing, there’d be information in the ship’s computers. Does he just sit around waiting to be told about the world?

-- “If there’s a God...He must be laughing right now. Our pitiful struggle for immortality must seem like an impossible quest to Him.. “the desperate human will to survive, to carry on our species.” Even Rem, the dreamer, calls the whole thing “pitiful” and “impossible.” No wonder Knives comes to see it that way.

Rem is agnostic?

-- “We’re the caretakers...it’s our job to let them sleep in peace.” “is there anything we can do to help you?” Aww. <3

Um, she did say “our” job, Vash. That includes you. Or is this how he communicates he doesn’t see himself as part of the crew, but would still like to help? Honestly, if it was typical how they kept him and Knives in a separate room even when celebrating the discovery of a potential new home, I can see why.

-- “Oh, THAT’s where you are.” Knives sounds like he got bored with the area and moved on a long time ago. His voice sounds harsher than Vash’s from the beginning.

-- The conversation between Knives and Rem in the rec room is weird. Like Knives is judging Rem, or Rem at least feels that way. “You really like that song.” Kids would normally ask a question, like “why do you sing that song so much?” or “what is that song?”

“It pops into my head whenever I feel happy. Do you think it’s strange?” Who asks their 8 year old adopted kid if they think your everyday habits are strange?

“No, it’s a nice song,” which is a judgment even though it’s a positive one.

After hearing Knives’ voice sound like that it’s weird to see his cute wide eyes. The crew member behind him looks uncomfortable.

-- “It’s weird. Nothing moved since we’ve been here, but everything seems different for some reason.” “That’s because it’s alive!” That’s actually a profound point about the difference between something made, like a computer, and something that grows, like a person. You always know what a program is going to do because you wrote it that way, and your furniture is always going to stay in the same place unless someone moves it. But a flower or an insect or a person is constantly changing, and you can’t always predict how.

-- “Hmm?” That doesn’t make intuitive sense to Knives, I guess. Vash is smiling behind Rem. IDK if that’s because it makes sense to him, or because he just enjoys listening to what Rem says.

-- “It has its own rhythm. You can actually feel the living heartbeat of the plants.” I think Knives is thinking of a different kind of plant than you are, Rem.

-- “So this is the world you and the crew keep talking about.”

-- “We’re not just going to see it, we’re going to create it.” Vash and Knives seem to agree on that. They just will end up with very different ideas of what that Eden looks like. :(

-- “There will be nothing but peaceful days,” “with no war,” “and no stealing,” “an Eden where people can live in freedom and harmony, right?” (That’s got to be Vash at the end, asking for confirmation or approval).

Aww, those sweet little babies and their impossible dream, finishing each other’s sentences! I am crying all the tears right now.

Although, even Vash isn’t as naive as you’d think from how he talks. They know what war and stealing are. They know that freedom and harmony aren’t guaranteed. They’ve probably studied at least some of Earth’s history.

-- Here we are at the moment of no return! In the briefing room, Rem, the Captain, and the twins are sitting around a table looking at a hologram of Earth. Vash and Knives are told that Project SEEDS started because “the state of our home, Earth, was so desperate that...mankind could no longer survive there.”

-- “Judging from the data, mankind is responsible for damaging the planet,” Knives says. “Right, Captain?” He’s being objective, he’s looking at the data, he’s asking the Captain rather than Rem for help. But I bet he’s hoping it isn’t true.

-- Why SEEDS? Rem: “the need to survive.” Seems morally neutral enough.

The Captain: “the behavior of clinging to life until the verge of death is intrinsic to all organisms. Survival instincts take over, dismissing shame in order to live.” The Captain seems to be ashamed not only of humans destroying the Earth, but of their trying to survive. Knives seems to get that message loud and clear.

What Vash seemed to pick up is the idea that people should be ashamed of what they do to survive, and maybe that it’s right to hang onto that as much as you can while still living. Maybe that’s what the scars are for?

-- “But is it right to live if it means such sacrifices?” That’s...a cold way of putting it, Knives.

-- “We make the smallest sacrifice we can think of at the time.”

One could say Knives picked up this idea, but I don’t think so. He’s going to make some pretty big “sacrifices,” and I don’t think he tries to keep them small for very long.

-- Two different (and actually compatible) answers to Knives’ question:

“Unlike other organisms on this planet, we possess logic, the knowledge to minimize the sacrifice.”

“Also, as human beings, we have the ability to right our wrongs. Hopefully we can learn from our mistakes and start over again in a new home.” Hopefully. Even Rem knows there’s no guarantee.

-- After the meeting, the Captain realizes (surprisingly, before Rem does), that it didn’t go well. He believes he doesn’t know how to be an educator and he’s not cut out to be a father. He downplays his knowledge of computers and reasoning, and says what really matters is what Rem does: teach them about emotions, being kind to others, and the value of the future.

Rem, in turn, says she has no idea how to raise kids either, and what she does is no big deal, she just plays with them.

“I guess we just have a different way of looking at things,” the Captain says. And they continue respecting each other’s perspective and working together peacefully.

It’s too bad Vash and Knives weren’t present to see them model getting along with different strengths and beliefs (although they must have seen other examples). This is what the twins should have become.

***

Oh look, it’s the dichotomy between Thinking + STEM (modeled by the Captain, emulated by Knives) and Feeling + Social Intelligence (modeled by Rem, followed by Vash). This is one of my least favorite tropes. When I was a kid, I overthought like Knives while wearing my heart on my sleeve like Vash, and if this blog is any indication, not much has changed.

Humans were never going to be sufficient intellectual role models for the plant kids, so I understand why Rem and the Captain focused on their social and emotional development. But they, especially Knives, needed someone to listen to their thoughts and worries and take them seriously. Vash needed someone to model the process of looking for answers, instead of just waiting for someone to tell him what he wanted to hear. Knives needed someone to help him deal with the more disturbing implications of what he learned. The Captain sold himself short here. He could have done a good job with this.

Rem’s style was to talk about feelings and memories, and to talk as little as possible about unpleasant truths, like the reason for the SEEDS mission. She waited to talk to Vash about it until he asked, and even then her answers were incomplete and...oversimplified, to say the least. That worked for her and Vash. Knives, however, seemed to want to understand things for himself. He didn’t just need what he would’ve seen as empty words of reassurance. He needed someone to engage with what he knew.

I think Rem missed his attempts to talk about what was bothering him, because they were couched in factual rather than feeling terms. He talked about the thoughts that made him feel the way he did, not directly about the feelings themselves. For example, when he asked about humans destroying the Earth, he was horrified and seriously wondering what good humans were. The Captain addressed these implications, and realized the conversation did not go well. Rem just shared her beliefs.

Neither of them helped him feel secure or loved. Neither of them helped him deal with his feelings about not being human, his horror that humans had destroyed Earth, and his fears that they might do the same with their new home. I don’t know if either of them knew much of what was on his mind. I think Knives spent a lot of time stewing alone. He already had the angry voice of a future villain, and neither empathetic Rem nor his own twin seemed to notice. For that matter, no one seemed to know that Steve was bullying him, or at least no one was doing anything about it. Does that seem strange to anyone else?

Knives chose to become a genocidal maniac. This is the context in which he made his choices.

Instead of a single person getting split into Thinking and Feeling sides, the siblings were split into a Feeling Twin and a Thinking Twin, to the detriment of both. As they chose different beliefs, role models, and ways of life, they continued farther and farther along these polarized tracks their elders set for them.

Yet, IMO, Rem and the Captain were both right. Rem was right about good and evil, how to hope, and what to live for. The captain was right about how to make decisions in an imperfect world, and the need to accept unpleasant truths.

One thing I appreciate about the anime ending is Vash and Knives have an opportunity come to some sort of compromise, or at least a working balance. I actually like that it’s left to us to imagine how.

***

Hypothesis: In the Myers-Briggs system, Vash = ENFP and Knives = INTJ. What do you think?

#I could easily be wrong with Knives

#intj is the one n type I don’t know much about

#trigun #trigun anime #liveblog #liveblogging #rem saverem #vash the stampede #knives millions #millions knives #tropes #choices #feels #gifted kid problems #gifted problems #philosophy #good and evil #writing techniques

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faemoria-arch · 5 years

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@maenadian | | Boss Battle Music Am I - Emi Evans

larxene idk how best to put this . . . but if you seriously try and fight tooth again . . . she’s going to break you in half .

But no okay , I think this song will seem kind of weird if you listen to it without reading this , but I did actually have a strong idea of what I wanted to use once I really took a moment to think about it , and unfortunately it means this is going to be maybe the longest or second-longest explanation out of all of these ? But here we go : Larx already fought Tooth once with at least some hope or expectation that she was going to die . At least to the point of surprise when she realized she had not . And given what Tooth is like in this verse I feel like that was a fair assumption for her to make . Tooth has a much higher bar for when she feels like something is a threat that needs to be taken seriously , but she still treats those threats that are taken seriously with a very aggressive intent to get rid of them , just as my main verse . It’s just that in this verse she’s *larxene voice* über powerful , so it doesn’t happen as often .

The thing is , Tooth isn’t ignorant to the type of person Larxene is . She knows they’re sadistic , and violent , and that they don’t like losing control . She also understands however , that Larxene does not typically act that way towards Toothiana because she makes Larx feel different from what she’s used to , to an extent great enough to make her slow down for more than five seconds . I’m not saying Tooth thinks she can turn Larxene into a ‘good’ person . But she might be able to teach her to do literally anything for any reason besides destruction and self-destruction . I mean , okay she probably wants to turn Larx into a better person . She wouldn’t be hanging out with a woman who treated a young child like a punching bag if she didn’t think there was even a chance Larx could ever be a person who... doesn’t .... do that maybe , even if it’s not morals holding her back from it ? But she’s not expecting her to go around helping kids up after they fall on the ground and giving them ice cream either . She really just wants Larxene to reach a point where she finds any actual solace in life , and doesn’t merely settle for the temporary feeling of thinking she’s in control by destroying everything including herself . As per the common trend of Tooth’s interactions with former Organization XIII members in this verse , she wants to inspire emotional intelligence ; The ability to recognize and understand one’s emotions without it feeling so overwhelming they just try to detrimentally block them out instead .

Because Tooth’s been there . And she’s been partially there and partially not . Lil Tooth wanted to fight everything for the satisfaction of breaking anything she could break , and the relief of finally breaking on something that she couldn’t . Older Tooth is certainly more constructive , she’s ‘ good ’ , but she’s still an angry and violent person . Those negative traits from her youth never completely died ; She still has self-destructive habits , and a low-breaking point for lashing out at the feeling of losing control of something . She’s vengeful . She takes delight in the suffering of those she decides deserves it . Tooth is more than capable of being cruel , and it isn’t that difficult to bring it out of her as far as what you imagine from a ‘heroic’ character . She just also learned to accept having any feeling besides seething hatred and a desire to die .

So ‘ Mem , ’ you ask , ‘ what does any of this have to do with what you picked for their boss battle music ’ , and I’m happy you did because I want to stop rambling about nothing as much as you want me to .

This is the only song I picked for this meme today ( so far ) that has English lyrics , ( They’re pretty cheezy tbh but I don’t care . I like them , we’re playing pretend on the internet , everything is cheezy , i’m not changing my mind . ) as I’m not usually so into anything that might be considered ‘pop’ like for my game OSTs unless the game’s really leaning into that completely , but there are always exceptions . I didn’t pick it because the lyrics fit either Larxene or Tooth individually either , but because I feel like they make for an interesting ‘conversation’ being had between two characters who have felt the same way before . As though Tooth is finishing Larxene’s sentences because she knows what she’s thinking all too well . For example :

Tooth : Surrender this moment Larxene : I delight in this chaos Tooth : Gently wait , surrender this moment Both : For there's nowhere to hide from this passion inside engulfing me Larxene doubts that Tooth knows anything about the extent of hate she has both faced and felt herself , but she is Very Wrong™ . This goes beyond empathy and , despite Larxene’s assumption in our current thread , and Toothiana’s observation that she thinks Larxene looks pathetic , it’s also not pity . It’s sympathy . Which is coincidentally the only thing that’s going to keep Tooth from crushing Larxene into dust the next time she earnestly raises a hand towards her .

ANYWAYS besides the lyrics I also , ofc , wanted to pick a song that ‘felt’ right in the emotion it conveys through the melody alone . I think this... does that almost a little too straight-forwardly lol . It’s literally starts as a calming music with static and spark sounds scattered in . It builds into an extremely simple electronic beat like a racing pulse there’s certainly no fight between these two that isn’t going to be almost always fast paced . The echo of dripping water that sounds almost dream-like goes perfectly well with the ‘pacifying’ effect Tooth has on Larxene . It would probably work perfectly fine without the lyrics entirely . . . except that it’s so simple playing it for nearly 7 minutes would be boring .

But anyways , here’s Larxene’s boss battle against Tooth where she gets to at least ‘ win ’ so as to not be dead in the end .

#maenadian #» สายใย ; maenadian | monstrous tenderness gets tangled in guilt differently from intentional cruelty . more deeply . and for longer.#» ทั่วไป ; ask meme | boss battles - the sequel !#» โลกีย์ ; Out of Character #[ somebody: larxene's an awful person so this is going to be really straight forward right?#me: ok but have you considered how gay both she and tooth are?? ]

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gayregis · 5 years

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issues with blood & wine

cdpr litcherally took away all the development that vampires got in the book series, despite blood & wine adding more vampire lore, and ill explain how

retcons & just weird differences from canon

blood & wine paints vampires as this big evil secret society and civilization whereas in the books they literally do not have more society than “a bunch of frat guys and sorority girls getting wasted every full moon”

the vampire lore they added with mentions and/or demonstrations of human cattle, bloodthirst as a form of torture, the hierarchy with unseen elders, drinking blood being seen as something much darker and sinister all together instead of a vice of vampires like alcoholism is a vice to humanity, and the whole dumbass retcon about the conjunction of the spheres.

the views on blooddrinking introduced in blood & wine lead to annoyingly misplaced dialogue with geralt and regis like geralt mentioning vampires “treating humans like cattle to slaughter” which, they dont, and which geralt learned in baptism of fire, then remarking disapprovingly that humans are more like an open bar then. this dialogue makes no sense even because that’s NOT how vampires in the witcher function

regis’s torture in la cage au fou is just basically torture porn and is pretty unnecessary. but it’s also overdone because it’s not like regis has been sober for centuries, he broke his sobriety at stygga and therefore has only been sober for 8 years, which... he spent dead. so the temptation of relapse would already be an issue for him, which should have provided enough tension and angst for all of us. the scene in la cage au fou also depicts such a visceral pain of bloodlust and doesn’t show WHY it’s such a widespread temptation and vice for vampires... which imo would be more powerful as both a plot point and statement

side note: not vampire related but geralt and regis literally dont talk about the hansa at all and it annoys me because regis seems depressed for No Specific Reason besides dettlaff’s situation when we know that he and geralt experienced great loss at stygga and are struggling to cope with that

side side note: considering regis broke his sobriety at stygga and could be struggling with thoughts of relapse already, knowing that he’s depressed about the loss of milva angouleme and cahir could provide for some more angst and tension :/

the vampire claws are ugly and not lore-friendly. why not just give them short claws on their hands. when regis and other vampires fight in the books, they barely use their claws anyways. they turn invisible, turn into bats, scream, etc.

the smoke/fog effect annoys me because there’s no mention of that in the books, only of them turning invisible. and you can SEE smoke/fog so tell me what is the point

the op-ness of vampires bothers me because vampires were already op in the books and making them moreso just is annoying because it’s unbalanced. i guess this is partially due to an issue in the books where sapkowski never explained how a vampire could truly be killed, but my interpretation is that sapkowski intended to portray regis as “truly killed” at the end of the series, just obliterated beyond his regenerative ability within the near centuries... i mean it took him half a century to grow back a head, how long would it take him to regenerate his entire body? forever, which is pretty akin to ‘death.’ there wasn’t a need to add social rules about vampires killing vampires because... vampires could ‘die’. but cdpr introduced dettlaff regrowing his hand within like, 3 days, and that was that. i don’t disagree with some of the regenerative things depicted, like regis regenerating after dettlaff spears him lol, that was pretty cool and reminiscent of the battle of the bridge where he regenerated from an arrow piercing in about 2 minutes. but for things more severe than flesh wounds........ i can’t support that because it’s too unrealistic given the canon from the books

i like dettlaff’s monster form, i really do, but seeing as how the books say that vampires turn into BATS............................. i guess it is said that all vampires are unique and have different powers, but come on, what is that, that is not even bat-like, or MAYBE do something with the MOTH aesthetic he was given?? he should have had like, locust powers or something cool, come on....

speaking of animal affinities, this is really nitpicky at this point lol, but regis’s corvids not being shown as birds of omen or some dark motif and instead as just General Helpers......... when they attack stygga in lady of the lake, the birds crowd the fort and circle around it, causing the guards outside to all stir and worry about what ill fate is to befall them. it’s intended to be super creepy and worrying. iirc when regis was around corvids also tended to perch in the trees, sort of ominously signaling that he was around... in blood & wine they’re good boys and i love them, but they’re not entirely creepy enough. think of how regis’s gwent card depicts the corvids as an example of a step in the right direction. what im saying basically is less doctor doolittle and more the birds, please.

honorable mention is regis’s hairline and facial hair. baptism of fire described him as looking middle-aged, so he should look around 45. that is all

the conjunction retcons introduced are just confusing and annoying. regis remarks about the vampires’ “home” wistfully multiple times throughout blood & wine, AS IF he actually saw it at one point. our boy’s like, 400 something years old (436, but who’s counting), so he was born in the 800s (bc the witcher saga and games take place in 1260 something). he’s fucking young compared to someone like the unseen elder, or even for example, AVALLAC’H, who’s older than him by like 2 centuries. the conjunction of the spheres occurred 1500 YEARS BEFORE THE SAGA & GAMES TAKE PLACE, in 200s BCE which is MORE THAN 3 TIMES REGIS’S AGE. so it makes no sense for regis to be talking about the vampires’ homeland before the conjunction because (if regis is considered middle aged by vampire standards) he’s like, 3rd or 4th-generation vampire.

depiction of vampires

i will say that orianna and blood simple was a good move because it shows how vampires’ addictions can manifest in ways other than raiding villages as youth... though i would have liked to see orianna shown as middle aged looking like regis is i’ll let that slide because i know cdpr can’t show a woman who is supposed to come off as attractive looking more than 30 years old

but the strictness of vampire society imposed in blood & wine, through the no killing vampires laws, tesham mutna’s whole hierarchy and structure, is inaccurate in my opinion because in the books the whole THING about the vampires is that while they’re highly intelligent and emotional, they don’t really form social structure beyond drinking parties, which i think was both a nice step away from classic “stuffy manor vampire” types and something unique for the witcher universe...

my biggest issue, though, is with dettlaff and his characterization throughout blood & wine, or should i say, lack of consistent characterization. half of the “good things” dettlaff does isn’t even shown (i.e., resurrecting regis) and is rather explained through word, so the effect on the player isn’t as big. his actual caring and protectiveness of rhenawedd/syanna is overshadowed by syanna’s huge arc about her own backstory so there’s like, NO empathy built up for dettlaff. you actually get to talk to syanna about her opinions and takes, but as for dettlaff you’re relying on regis’s secondhand guessing about his brother’s emotions. regis is also somewhat of an unreliable narrator because it’s not like he can predict everything that will happen... as much as it seems it, sometimes

but the whole point of the books dealing with vampires (and more specifically, regis) was to show that sometimes monsters are more reliable and morally upright than humans. im not saying every vampire in the witcher series should be shown as a paragon of morality, because that’s definitely not the case. but i think for a player who has just met regis, just learned about the vampires in the witcher universe, they need more context and more depictions of Good Vampires, or at least, Vampires That Employ Logic, in order to accept that vampires are NOT some savage beasts like anna and damien argue.

it also doesn’t help with... how regis is depicted. regis is always shown in his humanoid form when he’s proper and kind and geralt is friendly with him, and when he’s in a more bestial form during la cage au fou and tesham mutna, he’s shown as like, a danger [[to geralt]], which is such a slap in the face when you consider how regis and geralt fought side by side at stygga. to even think that regis is somehow untrustworthy tbh literally goes against everything in the books -- in the saga, regis is depicted as yes, a very powerful being, but one that has deep intelligence, emotions, and alliances to geralt and the hansa... when he uses his powers and fights in the saga, it was not only rare, but only ever for Good, to save ciri and yennefer. and he was completely in control of himself and his powers... even when drunk at stygga. not to mention regis was even a self-described ‘coward’ and felt it necessary to avoid battle and conflict because he disliked it so. so when in blood & wine, regis fights during capture the castle like it’s nothing, that’s so alien to his character, idk how to even describe it. he just brushes it off like “looked like you needed a hand, we thought we’d stop by” instead of like, whoa. this is a big sacrifice he’s making by putting himself into this conflict, because he loathes violence. of course there’s also the issue with la cage au fou where regis is shown as Bestially Untrustworthy because he Can’t Control His Powers but those issues have already been discussed.........

also it’s tiring how it’s lazily attempted to explain that vampires aren��t just horrific thirsty beasts of the night and then toussaint is sacked by vampires like a week later. the showing was more impactful than the telling here

back to dettlaff’s inconsistent characterization, it’s annoying how he doesn’t get a chance to explain his thoughts and worries and grievances like syanna does, but also it’s annoying how he’s shown as such a caring person for those he loves (asking syanna if shes okay, feeling guilty that he couldnt rescue her sooner, regretting not being there for her...) but then when he’s betrayed he immediately goes to “sack the city until i can murder this bitch” which is like...... okay, i get it, scorpio vibes, but it doesn’t really make sense without some kind of dialogue between dettlaff and geralt. the player would have to stop and really mull this logic over (it does make sense, but you have to think about it... dettlaff would want to murder syanna because she had him murder those close to him anyways, and dettlaff didn’t know (and never finds out, actually) that the knights were bad people deserving of death anyways). i feel like if dettlaff knew the reality about the knights, then he wouldn’t want to murder syanna....... he would be mad that she didnt communicate with him in the first place, but at least he wouldnt be assuming that he murdered innocents. from dettlaff’s perspective, syanna is a killer who killed some of his best friends, but as the player, we never get to even interact with him or his feelings about the subject. instead we’re faced with an unnecessary dichotomy between the two of them which ends in tears and bloodshed either way, and it’s unsatisfying.

#thoughts #tw3 #bw #regis #dettlaff #omfg big fucking rant goodbye lol #i spent like an hour writing this all out o h my god

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escarlatafox · 6 years

Text

@mackledberries I’m making a new post to respond since the other one was getting kinda long-ish even with the cuts :P

If someone seemed alright at one point but then went on to do something terrible, it’s more than a little hard to think much of them anymore. It’s kinda like with, say, Bill Cosby. If anything it’d be more painful trying to think on the past, knowing what they will go on to do, or already did and we didn’t know it. Or that stuff with Channel Awesome, I doubt a lot of people who were outraged at the events will be tuning into any older stuff anytime soon.

I do understand the point you’re making, and I’m going to proceed to point out a few key distinctions. But your perspective may remain unchanged, or it may not, at least we’re hearing each other’s point of view.

First off of course is that your examples are real people in real life, not cartoon characters. In the case of someone like Doug Walker, the fact is that he was always the way he is, and us learning about some unseemly stuff now doesn’t suddenly make it that way - he always was that way. I think a huge part of what would sour people on going back and enjoying the previous work of real people is this kind of “behind-the-scenes” knowledge they would have gained. It doesn’t matter how hilarious or amusing or cool whatever the stuff they did was if you know that they were far from good people the moment the cameras weren’t rolling.

You could use the example of a real person who was actually a good person behind the scenes but went on to become a bad person. That would still make enjoying their stuff hard, so that would be a better analogy to what you’re talking about.

But it would still be one cohesive whole real person you’re talking about as compared to a character handled by multiple writers over decades, on a show where the consensus says that it got worse over time and the characters, too, for the most part got worse over time, including hers.

Lisa is largely produced by the script, the writers, the people who handle her character. If you can look and find that a different set of people are handling and writing for her, if so much else about the show is distinct and different from the old one, it’s not too far a leap to say that this version of the character is distinct from the old one, too. You have

1. for the most part, different people handling the character

2. Different behaviors compared to the old character

3. Everything else about the show taking on things over the years that sets it apart from the older episodes

if so many factors are distinct, why can it not be that the character too is distinct compared to its former versions?

Besides, even if I make much of a distinction it wouldn’t make much of a difference. There’s quite a bit that actually does bother me in the older seasons [...] It’s just I don’t bring those up much because they’re not the worst examples and on some occasions there is some justification [...] I guess if things stayed more like that, I’d at least settle for “not a fan”. Because even at my most positive, I still felt that way at most.

Even if it wouldn’t make “much” of a difference, I still think it would make an important difference though. Of course, in the end that’s up for you to decide. Because even if there’s stuff that bothers you in the older stuff, you yourself admit that there is justification sometimes, AND there’s the fact that there was nothing anywhere on the level of the stuff that you complain about from later on. That still accounts for different behaviours imo.

(Bart in particular. Goodness he’s a subject for an entire essay’s worth… so many conflicts there)

I really would like to talk to you about Bart sometime too, because I think there’s a lot you could teach me! I could go on about that but I may save it for another time haha. (I don’t dislike Bart, but I only started appreciating him as a character in like... my late teens. And even then I still had a ways to go, and still do. and still aim to understand his character better)

I dunno, even with authorial favoritism I don’t know how people find enjoyment in writing characters like that.

And this here is also an interesting issue to explore where we have very different perspectives. You’re annoyed at Lisa’s lack of flaws; you don’t understand why people would a) enjoy writing such a flawless character b) could like such a flawless character so much.

I can’t fully speak for the writers but I can speak for my love of Lisa Simpson (although I will address some things from a writer/writing POV).

Do you remember me saying how as a young girl she was my role model and I idolised her, deified her? She was an inspiration and I wanted to be like her! So I wanted to be able to look up to this amazing, practically perfect character as my inspiration. I wouldn’t want this character I love to be very flawed, I wanted to idolise them for a reason. In my mind, Lisa was even MORE perfect than she actually was, and she still is to me. Real people are flawed so they will inevitably crash down from a pedestal. But Lisa is fictional, so I want(ed) to be able to place her on that pedestal and just leave her up there to look up to, to appreciate.

I completely understand how it might seem boring or pointless and such because I love love love plenty of very flawed characters, flaws make characters interesting, flaws are good!! But. I get so much mileage out of just appreciating Lisa in all her Mary Sueness.

Lisa IS “flawed”. She does have oversights and blind spots. I guess you couldn’t really count them as “flaws”; for all her intelligence, there are a lot of stuff that is characteristic of an eight year old added to her character. Her love of ponies, Malibu Stacy, things like that. And then there was stuff like the Cory hotline which was also a flaw, or a “flaw”, whichever works. Another “flaw” is her over-reliance on good grades, basing much/most of her self-worth on them. How she completely dedicates herself to and embraces the education system, when a different character may see it as flawed, another character could realise that you don’t need to get so caught up in good grades, don’t need to stress so much, don’t need to let a less-than-perfect grade bother you. And here’s a big stretch -- another “””flaw””” or rather, something that positions her character as less-than-perfect is the simple fact that the show and the writers and the greater message of a given episode are not always on her side. These instances aren’t very common lol, but SOMETIMES it happens, and then - instead of being an all-powerfully-ridiculously CONSTANTLY in the right character that cannot do any wrong mouthpiece-for-the-writers, she moves down a notch to “almost always right. Technically not Completely Perfect.” In the rare times the show isn’t on her side, she’s actually positioned as being in the wrong.

Of course, whether or not she has flaws doesn’t actually affect my love for the character at all. There’s some other things I’d like to address about this too though. Outside of Lisa Simpson, pretty much EVERY character on The Simpsons is VERY, RIDICULOUSLY flawed. I would argue that the show can get away with having this one very flawless “perfect” character because everyone else is so absolutely riddled with vices. And those vices (can) make the characters entertaining, can be funny, a source of drama/conflict/etc. Lisa is positioned on the show as the voice of reason. Her role is to serve as this kind of moral objector, the rational one, what have you. You’re right, this might make her less funny, less entertaining, or even less interesting as a character! But being the funniest and most entertaining character on the show isn’t her job. Her character is serving a different purpose. Will this, does this make her a less popular character as a result? Sure. But that’s the sacrifice that her character has to make.

I don’t see the point in complaining about Lisa being not as funny/entertaining because just about every other character on the show succeeds at that. The audience is spoiled for choice here. Sure, you might have this one Mary Sue-ish girl but if you’re looking for laughter and entertainment you can look basically just about anywhere else, at ANY other character and you’ll find it, it’s very easy. She doesn’t need to work hard at that because just about everyone else already has it covered.

Lisa’s character is supposed to play off of the characters and the environment around her.

And I think for the writers, instead of having this environment where every character is wrong and flawed and no one has a clue, you at least have this one window of truth, to reason.

And another thing is that this morality or centre of reason oftentimes gets ignored! Lisa gets to be a stand-in for the centre of reason or whatever sometimes specifically to be rejected or ignored to highlight the flaws and the lack of logic of everyone around her. Because The Simpsons satirises and whatnot. Instead of being flawed her presence further serves to highlight the flaws of the people and the world around her. Whether you like her or not she serves a clear purpose in the show, and she can pull it off whether or not she is liked (at least in the older seasons).

Because the world of The Simpsons is supposed to be fundamentally flawed, etc. etc.

So, Lisa is insightful, plays off of the other characters, and the other characters would be fun to write so there isn’t so much emphasis on her being fun to write. And a lot of really emotional episodes feature Lisa so she can be interesting to write from that angle as well where you’re going for an emotional response.

I agree that hardcore Mary Sue fic could be a huge chore to write, but people have their reasons. A lot of what I wrote above specifically applies to Lisa but maybe it can apply to that too, idk. But I also think a big driving force behind people creating mary sues is just, from a here’s-a-character-I-want-to-idolise perspective. I created a massive mary sue character when I was a kid. I just, like really intelligent, driven, outspoken girl characters that lack obvious flaws because they inspired me. They were like a positive presence in my life yknow.

I could go on and there’s bound to be points I left out but I hope you at least get an inkling of my point of view.

Also there was some point I wanted to make about how, oftentimes, men get to be individuals but girls often become a stand-in for their whole gender that this kind of touches upon:

And there’s some point embedded in there about Lisa being so perfect and being a girl and why I don’t mind that compared to her being more flawed or something. BUT. I don’t know how to properly articulate that thought to you as I haven’t fully fleshed it out myself. So here’s me, throwing you the scraps forming that idea haha.

now onto ace attorney lol

I don’t know how to feel about Betty actually being a fan of Trucy haha, because I genuinely REALLY REALLY liked her whole character and then they kinda added that curveball. I mean I like all versions of Betty but of course we get different versions of her set-up in the case which don’t turn out to be the true her, and by that point I’d already gotten attached to them. I mean you have

1. Betty being the mastermind/genuinely evil and whatever (I just loved the concept so much, so I’m all torn between “I LOVE HOW THE CASE ACTUALLY TURNED OUT, SOOOO MUCH” and “I LOVE WHAT COULD HAVE BEEN/WHERE IT SEEMED TO BE HEADING, SOOO MUCH” hahaha)

2. Betty not wanting to kill anyone but wanting to take Trucy down because she does hate Trucy

3. Betty not actually hating Trucy, it’s kinda a front.

Obviously the third one is true but it kind of takes the edge off of Betty’s attitude, y’know? And I love her attitude so much. Bonny’s sweetness, A+, Betty just... yes. But then the whole Trucy thing kinda undercuts it? idk. What’s your take on it?

Also here’s a small addendum;

One of the Lisa flaws I listed above was Lisa basing her self-worth on grades which as a kid I actually saw as the opposite of a flaw because I thought it was The Right Way To Be and really took a leaf out of her book on that front. I’m not just drawn to smart female characters but smart academic female characters. I really liked Lisa and Hermione as a kid. The Mary Sue character I made up as a kid also started off as “impossibly intelligent straight-A student”. cue me getting into ace attorney when I finished highschool and I loved Ema Skye in RFTA. Of course, Ema has her clear differences from Lisa and Hermione but what I also love is her intense passion and stuff, and a kind of innocence and all too. That’s what Hermione and Lisa also have: they’re passionate, they have things they believe in that they will stand up for. Idk I’m rambling on at this point.

I like smart intellectual characters in general, I just seem to only like/enjoy the male ones being super flawed I guess ??? going into the gender stuff I mentioned earlier. But I guess it all just depends.

I knew about the transparent gifs btw; super cool!

#long post #mackledberries #/#//#///#Lisa Simpson #the simpsons #my fear with writing up long things like this is ALWAYS that I will leave something huge out that I wanted to mention #or completely butchering one of the points I wanted to make #and just in general stuffing it up lol #so I think I'll always add disclaimers related to that #I have so much anxiety about posting things like this I need to just stop fretting over this and post it #so I'm just gonna go ahead and Do it when I finish writing this tag hahaha

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casuistor · 6 years

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Did you listen to the NY demo songs of the musical that were put online recently? Some of the songs that weren't officially released are now available. Was wondering if you have any thoughts about them... Adrienne Warren's Misa in I'm Ready sounds v different compared to Fūka Yuzuki!

I am so happy the NY Demo got leaked tbh, I’ve been listening to it nonstop for the last couple of days and lemme just say – even though I don’t fully agree with all the characterization choices, the demo is gorgeous ;~; THANK YOU for the excuse to ramble about this, haha.

I’ll outline my thoughts on the songs that weren’t released previously under the read more, but just keep in mind that these are just some quick opinions on the songs rather than my thoughts on the demo vs the final versions of the songs b/c then this would be writing for weeks and nobody wants that textwall, haha.

…I say this is going to be abbreviated and then it turned out long-ish anyway.

Where is the Justice?

Yes I know this was released previously, but the version that was officially released cut a minute out from the song, so I’m commenting, fight me.

While I think the song is overall too focused around the issues with the criminal justice in America for a story that is supposedly set in Japan, I think the verse that was removed was more reflective of the sorts of things Light in canon might think.

That said I don’t fully agree that Light would argue that “draining the color from within until we’re back to seeing black and white and wrong and right again” is actually a good thing, especially considering canon Light does evaluate mitigating circumstances in his evaluation of who is guilty.

Overall, I think the song does a good job of establishing Light’s character as a kid who, despite having some deeply flawed views about justice, does genuinely care about fairness and has his heart in the right place.

To this day though, I’m not convinced that manga! Light is the kind of kid who would spark this debate in his classroom. He very much seems to be the kind of person who keeps his cynicism about the world to himself. If you ask me, his “ic” response would be more along the lines of “sure, the justice system isn’t perfect, but it’s our job as the next generation to keep improving it, isn’t it?” But that doesn’t make a cool song, lmao.

Hurricane

Yes, this one was also leaked before, but you’re not stopping me from talking about Weather Metaphors The Song™ now that it’s out in HQ.

Why. WHY.

I think the problem I have with this song is that there’s really not much character development during this song. Light is just immediately sucked into a power fantasy and this is really… not reflective of Light’s character in the series.

I’m Ready

LOVE. FUCKING LOVE ADRIENNE WARREN’S VOICE.

But i really don’t agree that Adrienne is a good casting choice with Misa. I LOVE her voice and her singing, but she’s… too much of a power house and Misa is just not that at all. Misa needed to be bubbly and radiate cuteness rather than maturity.

Hearing this rendition of Misa really made me understand why the Korean production went the direction they did with Jung Sun Ah’s Misa though, and it comes as much less of a headscratcher now.

I think these lyrics are also not PG enough for Misa’s idol image which sounds ridiculous b/c it’s overall a pretty tame song, lmao

Specifically it’s lines like “let me kiss you and then let me kiss you again” that are maybe not… squeaky clean enough for the image that idols in Japan have to project.

We All Need A Hero

Perfection. Absolute perfection. I love that they threw in that dumb light pun lmao.

Honestly this almost made me cry and I wish I knew who sings this song as they were the perfect Sayu singing voice. Young, sweet, optimistic, sincere sounding? Nailed it. (Edit: I am told that the singer is Laura Osnes)

I am VERY much intrigued by the fact that this song was written as a solo in the NY Demo as opposed to the odd duet that it became in the final version. This makes much more sense to me and avoids weird/creepy parallels between Sayu and Misa that the final version forced by making it a duet.

The Game Begins

I am so distracted by the line “for even the perfect crime has the perfect flaws” because this is just not logically coherent.

ON LESS GRIPEY TERRITORY – having the whole demo did put into perspective for me why the Weather Metaphors had to be, and I think it’s because they may have been going for a nature vs machine type of theme… and while I can appreciate it poetically (?) I just don’t agree that it fit thematically with the character of L and Light.

Like why… does L keep making tech metaphors? Is this supposed to be a quirk of his the same way that the posture/diet is? I think in a way this was poorly executed and characterization was ultimately sacrificed in favor of poetic analogies.

The literal first line “empty your mind of any feelings” is very unlike L to do. L is a detective who works heavily based on his intuition and his gut instincts. He did not tackle the Kira case like a super computer interested in objectivity and eliminating bias. That’s just not what happened in canon.

I stand very much corrected on these lyrics as they are “empty your mind of any theories.” My bad, I don’t have the best ear for lyrics. But that said, doesn’t this contradict the fact that he already took an action based on a theory with the LLT plan?

Overall I think this song took too many poetic liberties with L, and tried too hard to make him sound intelligent by throwing in “smart sounding words” like ~calculus~ and ~evolution~ even though those words didn’t actually make that much sense in the context he was applying them in?

“A stronger mind and evolution determines who wins the game” – for example. Evolution and adaptation aren’t synonyms, but he uses them as such anyway and this kind of clumsiness, though very lyrically pretty, is a bit… idk, not quite what I associate with L myself.

In terms of the overall performance – lovely. My issues are 100% the lyrics on this one. Jarrod Specter performs fantastically.

There Are Lines

Fight me this song is best song and I honestly did not like this song much in the final version of it.

J’ADORE how salty Soichiro is about L’s method of offering up Lind L Tailor as a decoy. His anger seems so genuine and believable in this, and I love how it’s so obvious that he has no idea that this is applicable to Light too, since they don’t force that dumb “KAMI NI NARU!!!!” line to ram the subtext down your throat. (… I say as I claim that I wasn’t going to talk about comparisons to the final Japanese songs, ahem).

That said, was Soichiro actually that salty about L’s tactics there with LLT in the manga? No. At least not to the extreme that he lost a lot of respect for L for it. In fact, manga!Soichiro seemed impressed by the results L achieved and didn’t really seem to dwell on the moral implications of L’s actions.

tl;dr not the most ic or canonically based interpretation of Soichiro, but I am standing by this man.

Personally, I think this is an improvement on the character AND LET ME JUST SAY THIS SONG MADE ME REALLY WISH THEY’D ADAPTED THE YOTSUBA ARC IN THIS MUSICAL??? Can you imagine this song as a reprise as Soichiro shoots Light while they’re in the car?

You’re welcome

Secrets and Lies

I cannot emphasize how much I love when Soichiro calls out L for his awful morals in addition to calling out Kira’s. This is so nice -w-

I am also deeply enamored with the fact that L also outright says “I don’t care who gets hurt now, as long as I get one more shot” because fucking yes – L is so brazen about this in the manga, and most adaptations try to sweeten his attitude.

I enjoy that it is constantly reinforced that neither Light nor L are in the right because there are constant parallels between the two and the two are criticized by the narrative.

Mortals and Fools

“What I see in your eyes is a counterfeit emotion” – the truest thing ever said about the manga!Misa’s feelings about love.

Admittedly, Demo!Rem annoys me as a character though. It’s not a problem with casting – Carrie’s singing is lovely and I think they made a good choice there. This is a bit of an aside I guess, but I just don’t understand how it is believable that Rem actually romantically fell in love with Misa as the song “When Love Comes” implies after all this love is for mortals and fools lark and Misa… doesn’t really seem to do anything to win Rem’s love in a romantic sense of it. Platonic love I can squint and buy certainly, but not romantic based on the contents of “Mortals and Fools”, “Borrowed Time,” and “When Love Comes.” Maybe something in the actual script/dialogue justifies it? But with the material available so far, I’m not seeing it.

I think also Demo!Rem’s fixation on the notion of love is something that’s… overexaggerated from her more subtle curiosity over the issue in the manga. I just don’t think I’d agree that the melancholy tone demo!Rem has when she says she tries and fails to really understand love as an emotion is true to the manga. Manga!Rem seems to have a more “god Misa, I get this is important to you but could you maybe slow down” kind of vibe to her. Melancholy doesn’t really seem to be it, exactly.

For the sake of clarity – the issue I have is not that Rem’s character was changed from the manga to make her develop romantic interests in Misa. That is perfectly a-okay and it’s actually pretty cool that they went this route with demo!Rem.

My issue is that from a narrative perspective, Rem’s character development in the demo seems underdeveloped and not optimally executed given that she is a) literally not human and b) as she herself points out is a shinigami who fundamentally does not understand why humans idealize romantic love.

Shinigami themselves in the context of this musical are not shown to idealize love within their own culture. Ryuk and Rem both seem to find it funny or baffling/futile indicating that this is not a culture that parallels human culture in its zealous overvaluation of romantic love as a be all end all goal of life. Shinigami, according to the musical’s own internal logic, are not amatonormative..

My pet peeve exists specifically because it is somewhat frustrating to me, an aroace person, when even non-humans who were very firm on not relating to romantic love (and yes, “Mortals and Fools” makes Rem come down more strongly on that side compared to “Zankoku na Yume”) and have no reason to inherently want to experience or idealize romantic love the same way human society normalizes it for humans, starts extolling the virtues of romantic love as the pinnacle of interpersonal relationships.

I can fully respect that this is not a pet peeve that most other people will have, or even be inclined to view from this perspective and that to many, none of these things matter and that’s fine! Just keep in mind that I would find this just as pet peeve-y if Rem were a male shinigami and would have no problems whatsoever with any of this had Rem been a human girl or if shinigami culture as a whole been portrayed differently in the musical itself. Also please note, I am only speaking for myself. I’m sure other aroace folk will have different opinions as well. Ironically enough, Rem in the final live version, I can more readily see as developing romantic feelings for Misa precisely because “Inochi no Kachi” was written the way it was and it is a damn shame that that is not the direction that was eventually taken with the character in the live productions as they seem to view Rem as having more maternal instincts. (…which, I’d again disagree is an inference of the manga, as I do think Rem’s feelings about Misa were very platonic in a ‘friends’-ish way rather than a parental way.)

tl;dr All I’m saying is that I think demo!Rem should have gotten more charater development, and it is a shame that she did not.

On a performative note – it is really odd that Rem’s voice is higher than Misa’s. I don’t think I’d make this call.

Borrowed Time

Adrienne delivers yet another killer performance!!

I know I said I wasn’t gonna make comparisons but I have to say that between “Borrowed Time” and “Inochi no Kachi” Borrowed Time is just so much more IC for manga!Misa.

I’m glad they based this song around something Misa actually said in the manga since that line “Just kill me. I was supposed to die that day anyway” is actually something that stuck with me for a very long time since it says so much about where Misa was in her life.

In the end, I guess I find it more convincing that Misa would be singing a song more centered around herself than singing a less me me me focused song about the virtues of sacrificial love as she ultimately is a person (in the manga) who is pretty selfish and focuses mostly on her own perspective.

Which is not to say that demo!Misa is really reflective of manga!MIsa because I don’t think that’s the case at all.

The Way It Ends

Blurgh more machine/tech metaphors and analogies from L…..I still don’t like this, sorry. He does not view himself as a robot in the manga, so it just comes out of left field for me.

I think the part of this song that lets me down is Jeremy’s delivery. He’s not !!!!!!! enough for what is supposed to be a victorious moment for Light. He has so much less energy and power than he did when he was singing Weather Metaphors, and it really shouldn’t be that way in my opinion.

On that last “a minute more.” Jeremy sounds weirdly remorseful, though I guess it’s hard to interpret the exact emotion behind that without an accompanying facial expression.

But speaking of delivery holy shit, Jarrod’s delivery as L is spot on. I’m kinda stunned by the range of emotion in his voice for this one: confusion, defiance, anger and that hint of regret that his life is coming to an end as he goes into “like a closing door.” It’s so… good??????

Overall I think the NY Demo is lovely and it has made me really happy to be able to listen to it after years of wondering what on earth it was like, lmao.

I know it sounds like I have a ton of gripes, but just keep in mind that a) even I consider these gripes pretty minor and they didn’t really hurt my enjoyment of the demo as a whole, and b) I think that adaptations have every right to make changes and take creative liberties with their source material. It’s important to do that in order to keep material fresh and bring in new thoughts and perspectives to the original.

#Anonymous #asks #death note musical #anonymous

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chronotopes · 7 years

Note

hi could you explain why merlin is Bad?

hi , i could! srry for not replying to this message earlier, i only realized i’d gotten it in school today.

so on the off chance that this was an “is merlin problematic? what did he do?” kind of message, i’d advise you to google it bc that’s not unnecessary - and merlin certainly can be criticized thru that lens - but it’s just… not a very interesting way to criticize media.

anyway, these are the main three reasons that i think merlin is bad

an inability to challenge its own status quo

subsequently, an inability to let its characters’ struggles pay off in any kind of meaningful way

ultimately, a fundamentally skewed morality at the heart of its conflict.

ok so what i mean is

point 1) the status quo thing is pretty clear, the most obvious example of this is the secret that is merlin having magic, but a secondary one is how, for FOUR SEASONS!! , uther just Won’t Fucking Die. but i’m going to use the former as an example; by the time the third and fourth seasons roll around, merlin’s complete inability to spill the beans about magic a) stretch all possible suspension of disbelief w/r/t arthur’s intelligence, and b) block the way for any kind of interesting/meaningful character development.

point 2) which in turn results in merlin getting mired down in a kind of tragic spiral that ultimately logically results in how the show actually ends. which is TREMENDOUSLY SAD, and not in the good way that, like, hamlet or something is sad. i’m not saying.. shows can’t end sadly… but it’s very much a senseless, unfair kind of ending. season 5 of merlin isn’t just a fantasy show, it’s a greek tragedy, and it’s miserable. part of this is that merlin WON’T TELL ANYONE ABOUT HIS MAGIC, but another part is that he listens far far too much to kilgarrah and gaius and ~destiny~

and the show seems to frame this as if he’s doing a reasonable thing when like.. he’s not. and i feel like . i don’t want to be that guy who’s like “if i rewrote this show so that everyone’s nicer, everything will automatically be better”, but in the alternate universe where merlin is a good show, he ultimately comes to the conclusion that the salvation of arthur does not lie in the death of mordred but in the restoration of magic to camelot, which is, you know, his actual job. and everyone lives.

but.

point 3) in the alternate universe where merlin’s a REALLY good show, morgana’s.. not the villain. or at least she’s not as unequivocally “evil” as the show seems to want its audience to believe she is. because morgana’s right. “but she kills people”, one might say, and , oh dear, so does merlin! all the time! yes it’s a requirement of his job, but he spends the 50% of his job that isn’t saving arthur’s ass and making up flimsy stories about how arthur saved himself PROTECTING A GENOCIDAL DICTATOR.

so like…. in the alternate universe where merlin is a really really good show, it starts off more or less the way it does but creates merlin and morgana as foils to one another on opposite sides of a genuinely complicated and challenging moral divide. (that or it plays out like it did in the show until the point where merlin isn’t a TOTAL DICK and TELLS MORGANA ABOUT HIS MAGIC, and then they like. team up or something idk.) and in this show where morgana’s the hero, she and gwen are gay and end up ruling together idk. the main point i want to make is like….. the show seems to want you to root for merlin, right up until the end, and it’s not like i’m opposed to morally gray heroes - if this show didn’t interest me, i wouldn’t be talking about it right now -

but like… it is so senseless to have half your main characters die with what they were supposed to be working for completely unrealized. season five episode five the disir genuinely feels like it’s something out of a gritty au “darkest timeline” fanfic but instead it’s just the show. the show is its own darkest timeline. that makes me sad more than anything.

however it did produce some pretty sick fanfiction so who am i to say anything

#the fic i linked is nimueh/igraine because why not #i could have linked the one where nimueh pegs her but instead i linked the babies! one because it's cute #asks #Anonymous #🤔#shitty arthurian myth show

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oxfordeliterp · 7 years

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CONGRATULATIONS, AREEJ!

You have been accepted to play the role of CHARLOTTE ZERILLI with the faceclaim of VANESSA HUDGENS. Please create your account and send it to the main in the next 24 hours. When I say that picking the player of Charlotte took me thirty whole minutes after I have read all three applications (impossibly beautiful, all three, and impossible to compare, for they were three different Charlottes that I wanted to see shifted into three different characters, all played in the roleplay group’s context), it’s not a hyperbole. I read about Charlotte being the heiress, the wasp and the strategic, and I honestly couldn’t possibly tell which I liked most, reason why I have literally written this acceptance message for two of the three versions and was ready to post it. I have changed the application under the cut three times and it haunts me how difficult of a choice you have made this for me. I am going to encourage everybody who has applied and didn’t get the role they wanted to reapply, because I would genuinely want you all, but you two (you know who you are) I feel like the roleplay group would be incomplete without. You all had the misfortune of falling in love with the same character. If the Gods love me and if you do end up reapplying, I’m going to be the happiest person alive. It’s unfair; you are all mob princesses to me, right now.

Now to focus on you, Areej. Sorry for the intro, thank you for the wonderful application. I cannot stress how much love I have for every detail you have put into this. It is obvious to me that you are a skilled writer with a capacity and understanding for the human nature that cannot go unnoticed. The para sample was so flawlessly executed that it stuck in my mind. Every little detail you have included made me eager to see your Charlotte on the dashboard. I want to meet her and see where she goes wrong. The amount of research you put into the application has not gone unnoticed. What can I say? And right then, she finally understood what godfather meant.

Name and pronouns: Areej (alternatively Queen, your fave, empress, so on and so forth) & she/her

Age: 17

Time-zone: GMT

Activity level: Right at this very moment, while procrastination is at an all time high, a lot. If I don’t get off by mid-June please kick my ass.

Triggers: removed for privacy

IN CHARACTER INFORMATION

Desired character: Charlotte Zerilli

I love her a lot. (ok duh I love her a lot or I wouldn’t be applying for her. look @ me stating the obvious.) But on a more serious and hopefully less obvious note, what I’m always drawn towards is characters’ relationships, and Charlotte’s, I feel, have the potential to be very interesting because she’s almost always superior. Not in a mean way. It’s just how it is. Charlotte Zerilli is everything, has everything, and no matter how approachable and friendly she paints herself as, lingering around her is an air of superiority she can’t seem to wash off. This is what creates chasms. Between her and whoever she’s talking to, there’s a distance. And it’s kinda sad because she longs to have close, personal relationships, but feels like she can’t because nobody understands her, and she thinks nobody can. It’ll be fun. i love making beautiful, complex characters suffer bye

Gender and pronouns of the character: Cis female (she/her)

Changes: As much as I love Shay Mitchell, I wanna request an fc change to Vanessa Hudgens! I just have more muse for her. idk idk

Traits:

CURIOUS ━ As a child, bright and starry eyed, there was a lot about the world around her that Charlotte didn’t quite understand. It wasn’t necessarily because anyone was hiding anything from her (for there weren’t many secrets in the Zerilli household. There was no shame, no need). Rather, there was so much for her to learn and so little time. She wished to know everyone and everything intimately. Twenty years on and not much has changed, although she’s become more subtle in her questions and artful in her use of information.

SECRETIVE ━ Charlotte has this curious ability of making it seem like she over-shares, is honest and straightforward, but there are worlds and worlds she hides. Mainly, what she perceives to be her weaknesses. The most obvious is prooobably the Mafia thing. While she’s become more accepting of it (or, more specifically, the softer aspects of it - i’ll explain later), it’s still not something she talks openly about. Still, it subconsciously shapes her. Behind her mercy, her kindness, is a vain attempt to balance out her family’s crimes. She overcompensates for wrongs she didn’t commit. Not only this, but she doesn’t really talk about her feelings, either, internalising emotion and stress to the point of it being physically detrimental. She’s also big on denial. Always running.

COMPASSIONATE ━ It is perhaps this that came as the biggest surprise to her father and mother although, to be fair, they should’ve expected it. Instead of being given half the love, the Zerilli twins received double from their parents. There was not a moment Charlotte was allowed to feel alone. Her heart surges with the same affection for everyone, not just reserved for family like her father’s is.

VERSATILE ━ Multifaceted and adaptable, Charlotte can go from sleep-deprived academic, slaving away in one of Oxford’s many libraries to out-of-your-league party girl to loyal, advice-giving friend whenever it’s required of her. (Not that her heart truly fits into the moulds she creates for herself, but that’s another story.) The girl prides herself in being able to talk to anyone about pretty much any trivial topic. It is, she believes, an ode to having so many different people around to engage in idle chatter with her growing up, united by nothing but their ties to the Mafia. Her variety of talents, too, (piano, violin, dancing, tennis, painting – it goes on) showcase how her ability knows no limits.

FICKLE ━ An extension of above: because she’s everything, she’s nothing, really. Charlotte’s ephemeral and changeable. Always evolving. Indecisive. Not only about what to eat or what to wear, but about herself and her beliefs, too. For example, she no longer resents her bloodline, which was one of the strong moral stances she took as a teenager. Her perception is constantly changing. And because she’s so perceptive and intelligent, Charlotte can appreciate arguments and situations from different angles – being stubborn in a view means the exclusion of another, so she remains, like air, unsure, always hovering in between poles, restless.

SUPERIOR ━ She’s been running and running from it but, like everything, one chilling fact has caught up to her and there’s no denying it, at least not to herself: Charlotte Zerilli is lonely. How? In a room crowded with awestruck admirers, how is it possible that she feels so isolated? That’s exactly it – everyone’s just an awestruck admirer. Nobody’s really on her level (except Miles !!!! love it).

DEMANDING ━ Of herself. Of others. Her standards are about as high as the walls around her

Extras:

For the course, I was thinking something partly humanitarian – in a vain attempt to, perhaps, ask the God she desperately believed in for forgiveness (saving lives to redeem all those lost at the hands of her family) – with strong scientific elements because she’s lowkey a nerd. aka Medicine. I can go into a lot of unnecessary, extra depth about this decision if you want me to but that was the condensed version

MUSINGS: (faves are bolded) one two three four five six seven eight nine ten eleven when will i stop twelve thirteen fourteen fifteen probably never sixteen seventeen eighteen nineteen and finally twenty

PARA SAMPLE

did i accidentally write a short novella? yes. i’d apologise but i’m not sorry for making you read this

He’d been asking for years (and years and years) and, for a reason Charlotte couldn’t explain more tangibly than it felt right, on this mild Tuesday afternoon, she’d finally agreed. She’d go with him. “Yes. I’m ready,” she’d said, standing in his excessively large office that morning, voice betraying only a slight hesitation. He hadn’t picked up on it. Nobody ever really did. Rather, the light – was that pride? – Charlotte saw swimming to the surface of her father’s eyes served to remind her why she’d ever come back in the first place.

So she smiled, ducked her head and walked with him. As they weaved through the streets of Detroit, she was vaguely aware that this wasn’t a typical Don errand – not that she really knew what that was, granted, having spent the majority of her life actively not knowing. Of course, she’d heard whispers. How could she not have? She’d heard stories about how members of La Cosa Nostra beat people up, stole from them, killed them. Under her father’s orders. But Charlotte had never dared to bring it up with him. She wasn’t sure she’d be able to handle the confession. (Because, who was she kidding, it would’ve been a confession.)

If this was the case, what was she doing here and now? Staring into the eyes of the beast? God knows, she thought, kicking a can that was littering her path, adding to the little mound of rubbish piling up on the side of the road. But she sort of knew, too; it’d been, perhaps, a moment of weakness on her part. For resistance was so tiring. Running was tiring. She craved nothing more than her mother’s arms, her father’s kiss. So Charlotte did something that just a few years ago, she believed was synonymous with weakness, and maybe it was: she surrendered.

“This is it, Tesoro,” her father said at length. She glanced up to find they’d stopped in front of a house – or, she supposed, it was more of a shack. Charlotte watched as he brought his knuckles to the door, about to knock, the gold of his rings forming a stark contrast with the red, peeling paint.

Everything inside her screamed run, run, run. This wouldn’t end up well. No doubt. She was on the brink of witnessing her very first Mafia crime, about to stare into the heart of the Partnership’s – her family’s – sins. Guilt eyed her, licking its lips. It’d swallow her whole.

“N – no. Stop. Please. I can’t do this.” She felt sick. She had to get out of here.

He looked at her, eyebrows furrowed in confusion for a moment before his gaze flitted to the Capo who’d been trailing behind them. When he turned back to his daughter, his head tilted to the side, as if he understood her concern, and he smiled. In that second he was no longer the Godfather, but just her father. “Come on, Charlotte. Don’t you trust me?” But he changed back again. He always changed back again. Before she could answer (and the answer, as much as she hated it, in this moment, it would’ve probably been no), he’d already knocked at the door.

This was it.

The boy who answered couldn’t have been more than nineteen. Upon realising who it was, his eyes darkened, she guessed in fear, as she’d seen so many others’ do in his presence. They knew what he was capable of. If they even made one wrong move, they’d be, quite literally, dead. She wished it was over already.

“Boss,” he spluttered, bringing her father’s hand to his lips and kissing it.

The older Zerilli nodded in greeting. “This is my daughter, Charlotte.” As the boy moved to kiss her hand, too, her resolve faltered. Surely people didn’t introduce their kids to people they were about to murder. Then again, she didn’t know enough about Mafia customs to recognise that this wasn’t a murder mission at all, that he had people for that, and that this was a compassionate one.

“Will you come in? I can make – what d’you want? Tea? Coffee? I have Scotch.”

Her attention piqued; so she was wrong. Huh. Interesting. If not to beat this kid up, why were they here, then? Her eyes wandered inside, past the boy in the doorway, trying to pick up clues as her dad answered, “Not today. I just came to deliver this.” He handed him a thick envelope. Cash. It had to be. “How is she?”

“A lot better, Boss. Thank you so much for this. It really –”

He held up a hand to silence him. “Of course. It is our duty to help our family, at any cost.”

As they continued this conversation, it occurred to Charlotte, tuned out of the world and into her own mind for a moment, that she’d got it so very wrong. Maybe this wasn’t all bad. An odd sense of honour filled her at the scene; the same father who steadfastly looked out for her and her brother was using his position to look out for this (what she presumed was a) picciotto, too, and if there was one, there may be many more. They were – in his eyes – family. The Detroit Partnership. All the racketeering and the beating were somehow justified, at least a little bit, in her mind by this one act of compassion. How could she have been so judgmental before? It was her father’s blood that coursed through her veins, that made her strive to protect those who could not protect themselves. People like the ‘she’ he’d referred to. And who was she? Probably a sick relative. Mother, sister. It didn’t matter, really – all she knew was that it was someone who needed help. Help that the capofamiglia provided.

And right then, she finally understood what godfather meant.

#charlotte zerilli #accepted

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sleepymarmot · 7 years

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DS9 season 6

[Season index: 1 2 3 4 5 6 7 PS]

Here I get angrier and discourse-y

A Time to Stand

The Garak/Bashir scene (finally)... and Bashir looking like this... I feel blessed

when he talks about his “boyish smile” but cannot smile at all. that hit hard

aw Worf/Jadzia!

the Terok Nor dynamics are fascinating. I'm very impressed by Kira's willpower...

jesus fucking christ the Dukat/Kira scene :O D: 😨

why is Bashir doing mental calculations now, he's not Data

Rocks and Shoals

Kira's storyline about being self-conscious about collaborationism is great. In the previous episode we saw her trapped and vulnerable, especially in the viscerally horrifying scene with Dukat, and now we realize along with Kira herself that all of that is having it good.

Sons and Daughters

how did Sisko send a signal that Martok heard but the Jem'Hadar didn't?

Alexander lived on the Enterprise because Worf's parents were incapable of raising him anymore... I guess that was so inconvenient for the DS9 writers they decided to just ignore it instead of at least trying to invent an excuse.

"But the last time you defied him, he left you here to die!" "We talked about that. He admits he overreacted" bwahaha

Oh Alexander, so much secondhand embarrassment...

god, he gave her a dress, eww

oh my god, and he immediately re-gifts it to his own daughter, what a jerk

accepting Worf into the house of Martok involved much less ceremony...

why doesn't this episode address Alexander's age? did the writers assume, again, we didn't watch TNG? they could have said something about his grandparents protesting because he's about ten years old. something about Klingon children growing up very fast, and humans disapproving of child soldiers.

I don't understand how Ziyal can be so naive. Sure, she's kept unaware of the creepy sexual aspect of Dukat's advances (though I was waiting for Kira to snap and finally say "Your father keeps hitting on me, please don't force me to be in the same room with him"), but surely she must see why Kira finds his company uncomfortable and inappropriate! I do like that Ziyal is on his side again. And I enjoy seeing the continuation of Kira's storyline where she has to walk the line between keeping a polite facade and staying true to herself, gets too used to engaging Dukat&co on their own terms and has to take a step back to reassert herself.

Behind the Lines

Wait, if the Romulans have signed a non-aggression pact with the Dominion, why do they still allow Starfleet to use their cloaking device against it?

I've already been concerned about their open discussions of resistance activities, but a Founder's presence on the station makes it even worse! Sure, discuss your plans over a bar table that might well be a changeling...

Odo, for fuck's sake, she's going to learn all about the resistance from you...

"She didn't find out about the resistance, if that's why you're worried" in the same scene: "If she had some hidden motive, I would have sensed it"

Odo!.. >:(

Captain Dax!

Do the Cardassians still have the truth serum? If no, it's a giant plot hole; if yes, things are looking really bad...

Favor the Bold

oh god ewwwwww

why is Leeta making that noise

haha you go Kira

"We are way, way past sorry" good. unforgiving Kira is the best Kira

Odo's longing for his kind works so much better when the Founders are not on screen -- the things they actually say are so boring, one-dimensional and unconvincing... Though I find interesting that Odo's storyline mirrors Kira's in this arc: the female changeling manages to seduce him while Dukat fails to do the same to Kira.

Sacrifice of Angels

"DAMAR: I doubt he was working alone when he tried to sabotage the station. He must've had help. His wife Leeta, Jake Sisko, Major Kira. DUKAT: What are you proposing? DAMAR: That we arrest them. Keep them in custody, at least until the wormhole is reopened." Finally someone wakes up! I was expecting them to do this an episode ago...

"War is such thirsty work. Don't you agree?" "Perhaps if you didn't talk so much, your throat wouldn't get so dry."

Oh look! He's actually pretty shocked by the suggestion to "eradicate [an entire planet's] population"! Even this guy has standards.

"A true victory is to make your enemy see they were wrong to oppose you in the first place. To force them to acknowledge your greatness" classic Dukat. this is his ideology in a nutshell

"Then you kill them?" I'm loving the discussion of the differences between the Cardassian and Dominion approach

"Perhaps the biggest disappointment in my life is that the Bajoran people still refuse to appreciate how lucky they were to have me as their liberator. I protected them in so many ways, cared for them as if they were my own children. But to this day, is there a single statue of me on Bajor?" how is it possible to be so deluded?! fucking incredible

"Link with me, Odo. Embrace the clarity" EMBRACE ETERNITY

Where's the Enterprise during all these battles?

haha Quark & Ziyal make a great team

"The only reason they haven't killed me yet is that I'm part of their victory celebration. Seven o'clock, Dukat makes a speech. Eight thirty, cake and raktajino. Eight forty five, execute the Ferengi"

holy crap, they actually detonated the minefield! I didn't expect that

LITERALLY DEUS EX MACHINA

(I'm beginning to think this is a predestination paradox and the wormhole aliens started taking care of the Bajorans throughout history because Sisko told them to...)

Shit, I thought Dukat was about to snap and kill her, but it's even worse

I didn't expect to feel sympathy for Dukat ever again after those scenes with Kira, but this show played me again. I guess he'll completely lose it now?

Did you really had to remind us that the trainwreck that was Garak/Ziyal existed?

Wait, please tell me this isn't Dukat's last appearance and he's not about to spend the last 1,5 seasons in an asylum?

You are Cordially Invited

Why does this Klingon woman have human teeth?

Ah yes, Jadzia is too proud and independent and should follow her fiance's totally reasonable suggestion to humiliate herself to fit better in his culture. fuck you

Resurrection

am I supposed to recognize this guy?

oh no it's a Mirror episode

I... don't... care...

ugh, her again

I wish I just fast-forwarded this episode

Statistical Probabilities

How did I know from the title that this is a Bashir episode...

lol my dude when Bashir gets his look on his face you know you're fucked

I can't believe Miles pretended to have work just so he could be in the same room as Julian... romance is not dead

Don't know what to think about this episode. There are some good conversations about ableism and intelligence, but that set of stereotypes and assumptions... It's like the final Sherlock episode. And it was implausible when they could read Damar so well in the first place. And the long-term predictions are a million times worse! Do they include variables like "wormhole aliens destroy the entire enemy fleet because Sisko asked nicely"?

Plus I don't like how this season portrays Bashir's enhanced intelligence... I thought he was just made smarter than average, not make mental calculations at the same speed as Data... Where did that come from. Why.

The Magnificent Ferengi

"May I help you, gentlemen?" lmao

"Now, if you don't mind, I'm going to take a nap."

"By the time the Dominion is done with you, all you'll want is a quick death." I love his serene tone haha

This was hilarious :D I really like this show's ventures into black comedy! Also Keevan looks exactly like Orlando Bloom and it cracks me up.

Waltz

Dukat's career has been through a lot of ups and downs over the seasons, and this is the lowest point ever that brings a new dynamic: Dukat so powerless that Sisko can afford to feel pity for him. I'm glad Dukat seems sane.

"A bottle of kanar and an Orion slave girl would be nice" ew

oh, so he has hallucinations. oh well.

"From this day forward, Bajor is dead. All of Bajor" Ouch. Sisko, I think you made it worse... I might have used the same rhetoric in Sisko's place, but damn, his final statement about Dukat's evilness rings pretty hollow since it was him who dragged "kill all Bajorans" out of Dukat's subconsciousness into the light. Like, I understand, when you're injured and trapped with an armed crazy fascist who tries to force you to praise him, you'd want at least the final satisfaction of telling what you think about him to his face, in no way I blame you for it... But if someone is mentally unstable and obsessed with proving to you he's a good person, and you reject it and instead goad him into exposing and accepting his darker motivations -- then don't say he is irredeemably evil? I can see how Sisko's rhetoric could have worked as reverse psychology -- his opponent would have started the speech about killing everyone, heard himself, stopped in horror and realized the error of his ways -- but Dukat didn't have enough self-awareness for that even in better times, and certainly not now. This was just giving your enemy ideas. Nice job breaking it, hero! When Dukat sabotaged his own redemption arc by joining the Dominion, it was beautiful, but when someone else does it to him... Idk, I usually like the Batman/Joker dynamic where the bad guy is obsessed with the protagonist and defines himself in opposition to him, but I'm not sure how well it works here... On the other hand, it has been a part of Dukat's character that he has an almost fourth wall breaking awareness of his role in the story as a likeable complex antagonist, so there is some poetic sense that he turns to straight-up villainy when someone convinces him that is the better role for him and he decides to live up to it.

The sad thing is, except that strange last scene, I was absolutely with Sisko the entire episode. And contrary to his words at the end, I found it an excellent example of grey morality. I've talked about it a couple of seasons ago -- allowing the antagonist to plead his case and then explaining why he's still wrong -- and this episode dedicates a lot of time to this. We've basically already heard Dukat's self-justifications, but learning what exactly was his role during the occupation and what he has done differently that made him think he was so much better than the other Cardassians -- that's something I've wanted since the beginning of the show. Cardassians are my favourite part of the show because of their messed up ideology, and Dukat is the one character who keeps talking about it, which is why he's so interesting for me. (Initially, heavy focus on ideology was what I expected from Garak and his character arc, which is one of the reasons I was disappointed in them.) It's great how he gives a lengthy speech that does make him sound pretty reasonable and sympathetic for a minute, and then with a single line Sisko breaks the spell and makes him reveal the ugly racism under it all, the reason why Dukat is deeply wrong despite any good intentions: "From the moment we arrived on Bajor, it was clear that we were the superior race. But they couldn't accept that. They wanted to be treated as equals when they most certainly were not". But, honestly, this isn't exactly news. Dukat's always been a racist, a victim-blamer, an egomaniac, an opportunist, and this episode doesn't even touch the issue of Bajoran women. So in this episode, he says pretty much the same things as when he played a "morally grey" role, but now that suddenly means he's "not morally grey"? Because of some bat-swinging during a psychotic episode, and a final villainous speech based on an idea fed to him by Sisko? He's responsible for a genocide, that's bad enough -- you don't need to start blaming him for things he's not fully responsible for! One of my favourite things about Dukat is that his crimes mostly happened offscreen, before the events of the show, so his presence on screen was sort of a test of integrity for both other character and viewers -- can you still tell right from wrong without a visceral reaction to violence and suffering happening right now before your very eyes? The characters have always passed that test; but now, regrettably, the writers decided that the viewers cannot. At the beginning of the episode he's a war criminal half-mad from loss, and Sisko feels sorry for him; at the end of the episode he's a war criminal completely mad from loss, and Sisko thinks he's evil. I guess, this might be interpreted just as Sisko's version of Kira's stories at the beginning of the season, where she briefly forgets how much she hates Dukat, and by the end of the episode he gives her a reason to hate him even more. I guess it comes down to the first line in this liveblog that I wrote during the first minutes of the episode: when the enemy is neutralised, we can afford to feel sympathy for them, but as soon as they start posing real danger, compassion goes out of the window and our first priority is to stop them. Except, of course, that works for any enemy, they don't have to be "truly evil"... So my complaint about that line still stands. Besides, it really deflated the drama; five minutes ago we had Dukat delivering his mad king's speech with the Shakespearean levels of gravitas, and now Sisko almost looks in the camera and summarizes his experience with the dramatic equivalent of "That's as many of four tens. And that's terrible."

Alright, let's try to stop raging about the dumb final scene and say something about the actual episode... I wish this was a real courtroom episode without the madness -- but the imaginary Weyoun, Damar and Kira's arguments were very well done. Their opinions sounded authentic while the delivery was distorted by Dukat's point of view. Just look at the imaginary Kira draping herself sensually over everything... :D

Dukat has a special talent for making me feel terribly guilty. You know the parts from his final monologue about Bajoran "superstitions", how they "clustered in their temples and prayed for deliverance"? Well, as I dislike the episodes about Bajoran religion I kinda see where he's coming from, and now I feel like a Nazi...

Idk how I'd fix this episode.

I'd like to throw out the mental illness altogether but then half of the episode stops working.

If I couldn't invent a completely different ending, I'd throw out the final scene, letting Dukat's actions speak for themselves.

Or there would be a final scene, but similar in tone to "The Ship", where Sisko'd be like "Whoops..." and also traumatised by the experience.

Or, if it were absolutely necessary to state the moral of the story and remind the viewers that Dukat is Bad(tm), maybe he'd say something like "Yes, I gave him the idea, but everyone is responsible for his own actions, and blaming everyone but himself is what he wants and does, so I'm not going to".

Maybe I'd end the episode with Sisko killing Dukat and the final scene being like "Generally I value life but you know what? No regrets". (Of course the best outcome would be if Kira killed Dukat but I've already been informed it won't happen.)

tl;dr: There are some impressive scenes, lines and acting, but the episode is deeply compromised by its general intent, mental illness excuse and the final scene.

Who Mourns for Morn

Not the best Quark episode... Gags about Morn don't work for me because the prosthetic is so bulky the actor can barely move in it, let alone make facial expressions, and it's impossible to believe that guy becomes talkative, charming and athletic as soon as the cameras stop pointing at him.

Far Beyond the Stars

Finally, a classic episode that lives up to its reputation -- and an AU that's good enough that it does not require an explanation. (The Prophets... made an elaborate simulation of 20th century Earth... to inspire Sisko to fight on? Okay.) I feel that somehow this is the best story about Sisko as the Emissary so far, even though -- or maybe because -- it was only discussed indirectly. It works as a history episode, as an AU episode, as an issue episode, as a meta episode about Star Trek itself...

I'm a bit confused by not-Bashir's role as one of the white writers who just don't get it -- just another reminder of how little I understand the concept of race... I've never thought of him as white -- would he be, by 1950's standards? I get that the episode is specifically about antiblackness, but they did mention sexism against not-Kira, so why not him?

I tried hard and failed to recognize the artist -- turns out, it was Martok! I'd never guess...

I'm darkly amused at Odo as conservative, contemptible half-antagonist again (similar to the roles he played during both occupations and in Mirror universe). His conflict with not-Quark is still recognizable, not just superficially imitated without any of the substance (remember when Quark called Odo a fascist?).

Similarly, I almost laughed when Dukat and Weyoun showed up as racist cops -- just in case you somehow still aren't drawing parallels to the current events, the show does it for you... How sad it is though: a show filmed in 1990s about the 24th century remembering the 1950s looks like an immediate reaction to the news reports of today...

It was a pleasure to see Kasidy in both worlds! I've missed her. She's such a likeable person, and has effortless chemistry with Sisko (and Benny).

Joseph was great, a beautiful variation on his role in Homefront/Paradise Lost.

I was impressed to learn afterwards that the writers all had real prototypes. So they’re based on a group of real people and group of fictional character at the same time, and both sets of influences are recognizable. That’s incredible.

One Little Ship

"I love it. Let's go"

more enjoyable than I expected

Honor Among Thieves

ooh nice scenery

this is the kind of story I find hard to watch both because it's painful to wait for something terrible to happen, and because it's not very captivating

Change of Heart

ah yes, Bashir learned all the rules from half a second glance *eyeroll*

this is season freaking 6!!! you told us two seasons ago that Julian's crush on Jadzia is dead! what the fuck?

moral of the story: don't send married couples on dangerous missions toge -- wait, as I was typing, Sisko said the exact same thing lol

why are all Jadzia/Worf episodes so bad. why are all Jadzia episodes so bad. is this a conspiracy?! why is her every episode about almost dying? you know, at this point I'm kinda looking forward to it happening for real.

Wrongs Darker than Death or Night

What, you can easily travel back in time? Just like that?

I didn't expect this show to actually use the term "comfort women"!

Kira looks like she needs a bucket to vomit in... I may need one too...

*Dukat kisses Meru* *mine and Kira's vomiting intensifies*

let me guess, the episode will end with Kira realizing that "my mother deserves death for having Stockholm syndrome" was a bit too harsh

"Kira and collaborationism" is one of my favourite themes in this show istg

"Believe me, there's a part of me that wishes that I hadn't. But the fact is, no matter what she did, she was still my mother" I actually wanted to Kira to go through with the assassination! But then it'd create a different timeline and the episode wasn't about that.

ok, I spoiled myself about Dukat/Meru so it lost the shock value, and I can see that it's incredibly contrived, but on the other hand it somehow managed to make Dukat's harassment towards Kira even more gross and creepy which is impressive

I have so many technical questions though. If Bajor has a freaking time machine why is no one using it in the war? Why is the Dominion not trying to get its hands on it? Why does it work differently than in "Tribbles"? Is it a closed time loop or alternate timeline? -- at the start of the episode, have Meru and Dukat met the time-travelling Kira or not? Dukat said he was the Prefect only for ten years but in this episode young Nerys looks about four and she certainly isn't a teenager at the end of the occupation -- how does all of that add up? Wait, if Ziyal was 13 by the end of the occupation, it would make more sense if Dukat was in charge for about 20 years and, roughly speaking, spent seven of them with Meru (as said in this episode) and thirteen with Naprem, and the line in "Waltz" is a continuity error -- but putting it this way sounds more wholesome than he deserves, since from the words of that one dude in this episode and a scene in "Things Past" I got the impression that those unfortunate Bajoran women passed through his quarters at a much faster rate...

btw remember when I was hoping that Dukat's mentions of his children to Sisko were intentional manipulation? now I'm pretty sure they were.

wow, TvTropes: "The episode itself... which is rather a letdown. With such a name, you'd expect some sort of horrible atrocity to be happening" -- you mean, MASS SEX SLAVERY, long-term psychological manipulation, prostituting oneself to a tyrant and learning to like it, and planning the murder of one's own mother -- these things are not horrible enough??? who tf wrote that entry

(btw, kudos to this episode for handling these heavy topics without going the exploitative shock value route like "Violations" that actually showed rape scenes on screen.)

also someone mentioned that Terok Nor is very brightly lit and now I can't get it out of my mind... why, set designers, why...

Something I liked: in the opening scene Dukat says: "Captain Sisko gave me the clarity to see beyond the lies, the self-deceptions that were controlling my life. He helped me see to the truth about myself. And now I'm going to do the same for you." And that's what happens indeed, even if not exactly in the way he might have intended. Sisko made him acknowledge the violence under the pretty words and justifications, and now we get to see the ugly true face of what Dukat calls -- and genuinely believes to be -- "love".

Inquisition

"Why would the Dominion leave your runabout orbiting the camp" well I'm glad the writers are aware of their plotholes... :D

"Captain, if Doctor Bashir had been involved in one or two questionable incidents, I could understand how you might be able to dismiss it, but the sheer number of incidents form a pattern of behaviour that can't be ignored" you could say that about literally any of the main characters lmao... every episode of any Star Trek series contains a questionable incident plot twist?? let me guess, it's set up by Sloan to make him confess

Second Skin 2

"And because you didn't want billions of Federation citizens to lose their lives needlessly, you agreed to provide us with information that would help us end this war quickly" heh, nice use of Statistical Probabilities

oh wow, Weyoun and his ship are actually real! I didn't expect that

the DS9 crew are all acting so strange, I guess they're part of the simulation too

"I admit it takes exceptional people to do what we do. People who can sublimate their own ambitions to the best interests of the Federation" heh, is this the final test?

wait, they kidnapped him THAT early? Bashir really should stop going to medical conferences...

this episode was pretty predictable after so many similar stories, but I do like these types of episodes, and this one utilised well the long-running themes of Bashir and secret service, and Bashir's idealism. And he got to join the club with Data, Riker, Picard, Dax, O'Brien, Worf -- am I forgetting anyone? Oh, right, Wesley -- that was one of my favourite episodes, actually... Oh, and I just rewatched the scene is the beginning where Bashir wakes up tired in the simulation for the first time, and remembered that episode of TNG where Riker kept losing sleep because aliens kidnapped him every night.

In the Pale Moonlight

Garak saves the day! I'm glad to see him live up to his reputation.

Actually, I don't think the plan was THAT immoral. Especially how it turned out in the end. The worst part was the danger to the Federation in case the forgery was discovered, but Garak took care of that. So ultimately, my only regret would be the use of that biomimetic gel in the clearly wrong hands. Call me cynical, but I fully agree with Garak that the price they paid was very small. Sure, for a Starfleet officer all of that must feel very dishonorable, but I'm sure the secret services of all major powers in the galaxy pull this kind of crap and worse on a fairly regular basis.* Hell, I think what Sisko himself did to apprehend Eddington was worse by my standards! And how is bribing Quark worse than blackmailing him, which Sisko has been doing literally since the pilot?! I think his guilt would have worked better for me if the plan failed and all of that were for nothing.

* Actually, why WAS Sisko the one doing this? And not someone like the just-introduced Section 31?

On a less serious note, I love that Sisko isn't satisfied with the recording until someone talks shit about Dukat :D then he's like "mmm perfect"

I feel obligated to mention the quality of writing and directing! And the wonderful ambiguity of the final "I can live with it" -- I love things like this.

His Way

let me get this straight, Julian got rejected three times by the same woman but she started dating him after he asked a hologram for advice?? wtf. Miles is surprised by the latter part but I'm more concerned about "Bashir is repeatedly rejected and refuses to stop pursuing a woman" (what is this, season 1???! between that and the mention of his crush on Dax several episodes ago, certainly feels like that, and not in a good way) and also about "Bashir dates a woman offscreen because the relationship is so shallow it's apparently not worth showing but we need to remind the viewers he's Straight"

"Is that the best you can do?" "I'd like to see someone do better." "So would I."

"You're not exactly the most lovable person in the galaxy. You're not even the most lovable person in this sector, or on the station. Or even in this room"

how many of those dumbass songs must I endure?

I'm really bored...

ughhh this is embarrassing

and THIS is creepy

(at least Odo is better than Barclay and backs off...)

he can just go to any other holosuite and interrupt whatever people are doing in there? D:

oh god, he can also use the station's com line?! SOMEONE DELETE THIS PROGRAM IT'S GETTING REALLY SCARY

kill me. or kill this episode with fire

ughhhh it's finally over bye. the scene with Quark was very good, but the rest... how come Kira and Odo by themselves are probably the most interesting characters but their romance is this utter dreck?

The Reckoning

why doesn't the universal translator work here?

how did the wormhole animals get here, anyway?

(I’m keeping this typo lmao)

for once, Winn is absolutely right!!

did he actually break it?.. this is not a dream?.. Winn won't be pleased

it's episodes like this when I miss TNG, and Picard's total refusal to treat Q like a god

this is getting stupider and stupider...

take a shot every time Sisko claims to know something

you know your story is bad when Winn is the most, and probably only sympathetic character in it (and Kira spends the entire final scene talking how bad Winn is? what?) Winn is being rational and ends up saving lives while Sisko keeps justifying his shitty actions with weak babbling about how "The Prophets want this, they work in mysterious ways" -- have they switched bodies while I wasn't looking?!

Valiant

Jake has a nice stylish outfit

That's strange... Why didn't they return to the Federation space after the war began? Will that be the point of the episode -- that they continued the mission on their own out of sheer hubris?

so this poor girl and the others spend months trapped on a tiny ship inside enemy territory because that guy wants to feel adult and important and likes to play captain?

so, they finally found one specific battleship they had been looking for for 8 months? and it happened the next day after Jake and Nog come on board? is that just because Nog adjusted the warp drive?

dude! your job was to gather info! if that battleship kills you, you fail!

The First Duty 2

...but a lot more bloody D:

this episode was better than I expected

Profit and Lace

aaaalright, here we go, let's see if this really is the Worst Episode Ever

why is Ishka wearing clothes that accentuate her breasts? the clothes in the previous episodes were so baggy I assumed that Ferengi women don't have boobs

"...brilliant Ferengi female. Do you know any?" I suppose Pel wouldn't be able to get here fast enough?

okay, Quark reluctantly doing his best to advocate for female rights is actually pretty awesome

are u telling me all Quark needed to be a better person was a little estrogen?

I actually... didn't find this bad for a Ferengi episode? and it was more interesting to watch than some other episodes in this season -- I was genuinely unsure what would happen and was rooting for everything to turn out well!

Of course I'd prefer if Ishka made the case for Ferengi feminism herself -- but, at least, the narrative is on its side this time, unlike at least one previous episode. And this time she has more agency than in her previous appearances (Zek's lover/hidden mastermind and damsel in distress) -- she's using her position of power to implement a whole new progressive law, and it even seems like she made it to Zek's side for that purpose and domestic bliss was a nice side effect.

Quark as a woman is an objectively transphobic gag, of course (and yes I know that it’s my privilege that allows me not to be viscerally upset by it enough to immediately ruin the episode forever). But I didn't actually find it as nasty as the same joke in "Facets", where the narrative and other characters used it to made fun of him, and the shot of his head on Kira's body in "Meridian"; here it's for greater good, and being in a woman's shoes (literally) gives him some perspective, plus nobody seems to think sex reassignment surgery is a big deal. Other characters criticise Quark’s performance of femininity in the same tone as Worf criticised others’ performance of Klingon-ness. Like, I see that this is fundamentally Bad, but I was preparing myself to be outraged much more so it doesn’t feel that bad.

And it's gross that Quark sexually exploits his workers and the narrative doesn't punish him, but that happened before in season 1...

Unlike, say, The Reckoning, it doesn't affect the show's overall plot or lore in a negative way -- I'd even say it's the opposite because of the big win for women's rights on Ferenginar. (It shows a frustrating lack of progress in Quark's character arc, but a lot of episodes share this problem...) So, even though this episode is unfunny and largely offensive, I don't feel it's exceptionally terrible -- just another example of the problems this show has always had. I have more problems with stories that break the entire show, than isolated episodes like this which can be easily skipped and ignored.

Time's Orphan

what about the Orb of Time, wouldn't it help?

Keiko, that's a terrible decision

I guess the episode will end with both Worf and the O'Briens realizing this parenting problem is too difficult for them, and they'll do what they should have done from the start and re-rescue Molly

No, Miles, your plan is horrible. If it works I'll never forgive this episode.

I'm glad it ended well. But feral!Molly was obviously a lost cause from the beginning...

The Sound of Her Voice

Odo, are you being shitty on purpose?

I was worried when Bashir didn't want to talk at the beginning, but this is almost scary!

I suspected something like this...

Julian no...

“I really care about all of you, even if sometimes it would appear that I care more about my work” says the guy who spent two seasons running after everybody like “PLEASE BE MY FRIEND!!!11!”

This entire thing looks like Julian and Miles are about to make a public proposal to each other...

"Someday we're going to wake up and we're going to find that someone is missing from this circle" *looks directly at Jadzia*

Tears of the Prophets

*sigh* Okay, I'm emotionally prepared, here we go

*sees Jadzia on screen* no I'm not prepared

ughh why are Bashir and Quark being so gross

where has he been all this time?

"I don't hold you responsible for Ziyal's death. You may have fired the phaser, but it was Benjamin Sisko who forced your hand" ????? dude. this is a stretch even by your standards.

"You've gone from being a self important egotist to a self deluded madman" Weyoun is not wrong

(but you know acknowledging within the story that your writing is shitty doesn’t fix the problem)

Klingons and Romulans!

why must I listen to this stupid song and look at Bashir and Quark being shitty and badly written

Oh great, the wormhole aliens can somehow contact him whenever and wherever they want, no orbs or travels to the wormhole necessary. WTF?

I like how Weyoun and Damar roll their eyes at Dukat's nonsense. same

"I've immersed myself in the study of the Bajoran ancient texts, and I've come to realize that the wormhole is much more than the gateway to the Gamma Quadrant. It's the Temple of the Prophets" o rly??? truly an astonishing discovery

congrats on finally getting the Renegade eyes, Dukat

what is Garak doing here?

ugh.

Dukat went from the embodiment of the best storyline on the show to the embodiment of the worst storyline on the show

At least Weyoun and Damar keep reacting to his every word as "That's nonsense" so at least someone inside the story doesn't like this plot as well. I think Dukat has passed them the torch of being the fourth wall breaking meta character...

...but, you know, if the wormhole would really close forever I'd be glad. of course they'll find a way to reconnect with their "Prophets" somehow

I interrupt the ugly crying to ask: how the hell would Sisko's presence on the station have saved Jadzia's life?!

"for the first time in my life I've failed in my duty as a Starfleet officer" uh, how?!

this is the worst season finale in DS9

Ohhh man... The season started so strong I was overjoyed. I've always wanted more stories set on Terok Nor during the occupation, and didn't expect the show to deliver in this way! The change of status quo was exciting -- it really felt like Shit Got Real and a serious war was on and things would not be the same again! And Kira's little storyline about normalization of oppression and fighting it, first of all inside one's own heart, was great. But then it just went downhill...

Odo's betrayal made me lose all sympathy and trust towards him forever, and even without that, his character arc was greatly weakened by the presence of the Female Changeling, who is the worst combination of uninteresting and unlikeable. When the Founders are somewhere out there, Odo's longing for them is poignant, but when you see them on screen being bland and annoying, the magic just evaporates.

An underused female character fridged to make a male character's arc less interesting: he loses his Morality Chain, his mind, and complexity as an antagonist. It's just so lazy. His main redeeming quality is the love for his daughter, and we're tired of writing bad people who still have some sympathetic motivations, that's too difficult, so let's take the object of that love away from him to make him Purely Evil(tm). And since the plot requires this rationalist character to do something OOC in the finale, we need to make him crazy or it couldn't happen. He's evil because of mental illness, he's evil because he gets himself possessed by a demon, he's evil because he has red eyes -- that leaves the viewer with the impression that his previous crimes weren't bad enough, that the writers think overseeing colonisation/genocide for years is tolerable but five minutes of hate speech & one minute of glowing red -- that's the real moral event horizon! Mental illness made him evil, huh? Take that trope and throw it in the trash along with Intendant Kira's Depraved Bisexual trope. Hey, remember when this show was about dealing with the effects of war and oppression, and Dukat embodied the different ways that oppression manifests? well now he's a comicbook villain with glowing satan eyes who shoots death rays

The wormhole aliens are now suddenly Good Gods hijacking bodies and using them for Voldemort-Harry ray battles

The best-forgotten stupid tropes about hyper-intelligence are dragged from TNG and pasted onto Julian

The writers pulled out of their asses Bashir and Quark's unrequited love for Jadzia?? Bashir's crush was cute in season 1, but he got over it long ago, and Quark has always been just friends with her. Bashir had such a nice friendship with her, and now he's wishing that her marriage would fail so he'd get a shot, even though she was never interested in him in the first place? Fucking disgusting. Way to compromise his character.

And, of course, as the final insult, they fucking killed Jadzia for nothing.

So, let me count: Jadzia literally dead. Dukat's character almost completely assassinated, Bashir’s comes pretty close. Odo's character weakened. Lore and plot of the entire series fucked up. God. I have no words anymore. How do you ruin something so quickly?!

#star trek #ds9 #blah blah blah #my friend finished s6 which finally prompted me to post this #i spent two weeks hoping to make my long unbroken paragraphs a bit more coherent #it didn't work

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