#if we had more characterization for what any of these three are like when they're grown up I'd write a fic about it

[chiropteracupola]

thinkin about the imaginary timeline where antonia sharpe and fanny and charlotte aubrey are friends again...

[crossdressingdeath]

The thing that gets me about the changes Larian keeps making is that all the things they change them to would've been perfectly fine and in-character... if it wasn't for the fact that something else had been there first. Lae'zel being a little more business-like and "You're the boss" about being left in camp would've fit her character (you are in charge, it makes sense that she'd obey without any fuss once she respected you at least a little), but because they started with "You're going to die without me" it's become them softening a strong character because people complained about a woman being slightly mean to them. Gale being less aggressive about you denying him magic items would've fit him with the way he very openly expects you to kick him out of the group when he brings up the orb, but because he was aggressive about it it feels like they're pandering to the people who throw massive temper tantrums about having to give him three of the vast pile of useless, easily-obtained magic items. And Gortash's letters to Franc being less passionate and more professional would've fit him as a consummate politician who in-game only shows any real affection to Durge (and to a lesser extent Karlach), but because we started with these very passionate and delightfully personal letters it feels like a massive blow to his characterization. Not to mention the uncomfortable fact that they cut him openly flirting with another man but as far as I'm aware left the letter regarding him seducing Lady Jannath alone; what's going on there, Larian...?

But basically it really is like... if we'd started with the changed versions they all would've been perfectly fine! They wouldn't have been a problem! The problem comes from the fact that by changing these things now when the game should be finished (and changing them from equally in-character things that give the characters more depth) it feels like Larian is pandering to the worst parts of the fandom to the detriment of everyone else.

[bonefall]

Mapleshade Discourse O'Clock

It's that time again!!! SO I just kinda want to jot down all of my various thoughts about it as a story and just generally weigh in about Mapleshade.

I like the idea of Mapleshade more than the actual Mapleshade that is used throughout the books.

She has a really good gimmick-- to haunt Applekin though the generations. I don't like how they turn her into a generic "cat satan" for Tigerclaw's Fury and keep making her appear as a vain lackey demon.

I like her characterization in Mapleshade's Vengeance the most, of all her appearances.

But, I don't think my reading of the character depicted in MV is what the author intended.

See, I like MV as a story with no hero. The only blameless characters are the kittens who drowned and Perchpaw, while everyone else is some flavor of selfish, cruel, or vengeful. Everyone thinks they're in the right, but no one truly wins in the end.

Nothing about it was noble. Every tragedy that happened was utterly avoidable. In the end, everyone bears some responsibility for the pain and suffering that happened the day those children drowned.

BUT I'm pretty certain that the intended reading was that Mapleshade would be the one clearly in the wrong the whole time, as she justifies her own actions like a villain does.

Especially knowing how poorly the writers thought of similar female characters like Squilf and Leafp lying about the three, or Nightcloud being jealous her crummy husband is acting strange around another woman.

I feel justified in assuming that when Mapleshade is not happy she's being cheated on, or when she refuses to correct Frecklewish's record knowing it's unsafe if her kits are revealed as half clan, the writer really does think you're not supposed to take her side.

Because women should just not have emotions about being cheated on or something, and lying is unspeakably bad even if the truth puts you and your children in danger.

But. Y'know. We can all use the braincell for a moment and see that this is fucking stupid

SO when the book goes on to have Mapleshade ignore all the warnings about the swollen river, show both ThunderClan and RiverClan being obscenely cruel to her, and then walk across that bridge while insisting in her head that the deaths weren't her fault, I think the implication is obvious AND SHITTY.

Ergo I reject it completely. I can see what the book wants to say, and I think it says something trashy.

In spite of how badly the writer wants it to be Mapleshade's fault the kittens died, I say it was the asshole who threw a bunch of kittens out into the rain for being mixed race, actually.

Oakstar had the power here. Ravenwing had some power as well, but he makes it clear it wasn't his suggestion to throw the babies out into the woods.

And when it comes to Bridge Discourse, it was at least the afternoon, raining heavily, and Mapleshade was trying to get to RiverClan Camp. A straight shot across the stepping stones.

I think it is ridiculous to imagine an extremely emotional parent managing three very scared children, attempting to get out of the rain and dangerous wilderness before nightfall, would be rational enough to realize a large detour would be safer.

MAYBE the distance from ThunderClan Camp to the Bridge is equal to the distance to the Stones. But the distance between the bridge and RIVERCLAN Camp is longer.

I hope this goes without saying; but Frecklewish didn't deserve the Dark Forest.

Even in Banana World logic where she was sitting on the bank watching those kids doggy-paddle. Do not fucking jump in to save drowning people if you are not trained to do that.

I'm dead serious, this is the first thing you learn in any kind of water safety course. They WILL panic, you WILL get dragged down, you WILL become another liability someone else has to save instead of helping your initial target.

And that isn't even mentioning this being a flooded river. That's POOL safety.

In spite of how I think Mapleshade was right to lie, I do think Frecklewish being that upset and angry was understandable.

You're entitled to your feelings, but not how you treat people. She still attacked Mapleshade and called the kittens a slur.

That's what makes her interesting, though.

I don't think she deserves the Dark Forest, but Frecklewish's anger is an interesting trait. I don't like how a lot of defensive interpretations of her character end up downplaying how she acted at the exile

why does a woman being rightfully angry suddenly strike people as "unsympathetic." Girls can also say things in fury they don't fully mean. OR girls can rationalize their unjustified, ballistic response post-hoc out of pride.

Idk let girls be mad. Admit they were wrong without deserving HELL. I don't like the woobification impulse.

It's not really a hot take anymore I think, but Frecklewish is definitely only in the DF because the writing team judges women characters more harshly. Oakstar threw babies out in the rain in fury, and Ravenwing didn't stop it. But somehow only Frecklewish, a normal warrior, gets DF'd.

But what really rattles around in my head about the whole story is the way that the in-universe culture is able to suddenly value ethics like peace, forgiveness, and tolerance when MAPLESHADE is ready to throw those things out, but BEFORE then, it's well established that Clan culture is violent, vengeful, and intolerant.

One of our earliest scenes is Rainfall snarling at Mapleshade that he loves the way Birchface and Flowerpaw drowned. He's threatening that he'll kill even more ThunderClan warriors.

Over in ThunderClan, everyone is itching for revenge against Appledusk for those deaths, even though it seems to have been an accident. Oakstar even hates RiverClan well into sequel books for this.

But then later on, everyone acts Shocked Pikachu that Mapleshade actually went and GOT revenge.

And like, let's be real. This is a battle culture. Yes, by OUR standards Revenge Is Bad.

But in these books, so full of war and clan conflict...?

What I'm saying is that I wish the books let Mapleshade be a little more "controversial" in-universe. Like some cats actually frame the story very differently, and you can learn a lot about a person by who they think the hero is.

And how RiverClan responds to the drowned kids bugs me a lot tbh

We just established over in ThunderClan that there are people who think the babies were born filthy for being HalfClan.

We know everyone there stood by and watched as Oakstar threw them out into the rain-- only Ravenwing even seemed uncomfortable.

AND we know very well that in a few generations, TigerClan will rise. Which openly executed a HalfClan cat and wanted to kill 2 apprentices.

We KNOW the bigotry in Clan culture is deadly and unfair.

But then they go over to RiverClan and Darkstar is sad these three kids are dead? And RC is furious with Mapleshade for that?

Again, YES, you and me with OUR morals know that this bigotry is insane and spiteful. What I'm getting at is that IN-UNIVERSE half clan kittens and their parents face extreme discrimination. Even within this book.

It's odd to me that Darkstar refuses to let Mapleshade bury their bodies, sends her away for the death of the kids while saying it's "not the season for losing warriors" to Appledusk, and it's meant to come across as delusional that Maple thinks her babies were buried dishonorably

I wish more women in WC got so pissed off at the absolute injustice of it all that they went on a girl rampage. Perhaps it's my own taste, but I like it a lot more when the villain isn't entirely wrong and there's several angles you can read the story from. If she didn't do what she did, she would have been the only one who saw any consequences for anything that happened.

Anyway in conclusion uhhh idk murder is wrong. But Mapleshade's allowed to do it because she's a silly billy. Her greatest crime was not killing Oakstar also

[hurtspideyparker]

Hi, sorry but could you recommend any of your favourite Peter Parker fics please?

For sure !!! *cracks open ao3 bookmarks*

Thirty Hours by polaroid15 - Peter doesn't take any breaks during a lengthy fight with the Avengers. The mind-melting fever that follows really should have been expected.

Hurt Peter Parker, my favourite tag <3 I love when Spider-Man is a badass and also lacks self-preservation. He's so cool fighting alongside the Avengers and we get some sweet hurt/comfort irondad!

Fitting In (Tiny Spaces) by aloneintherain - Peter's trapped beneath a collapsed building during a mission, hurt and unable to move. Luckily, his comm still works. Unluckily, the Avengers don’t realise how bad of a state Peter is in, and Peter isn’t inclined to tell them.

This fic is an icon in the fandom and for GOOD REASON. I just can not get enough of Peter Parker hiding his injuries. More heavy whump and angst!

All good things come in threes by Bergen - Peter has three secret identities: Spider-Man, the superhero who swings around the city to save people. Parker Benjamin, who gives Tony Stark unsolicited advice on his research. And NightMonkey, the Instagrammer who keeps uploading increasingly popular but embarrassing drawings of Iron Man.

And he can juggle them all just fine, thankyouverymuch.

Okay here is the fluff!!! Peter is a genius, a menace, and a sweetheart. Tony Stark runs into him (again and again) and can't help but have a soft spot for him every time. Funny and cute and an all 'round good time!

Held Together by Spiderwebs by TunaFishChris - Steve is not coping well in the twenty-first century. At all. Three months after the Chitauri invasion, he decides he's had enough.

But just as he's about to end it all, he runs into the new hero in town.

This one focuses a lot on Steve but I really like him and Peter's relationship in it, and I think this is great Peter Parker characterization. TW for discussions of depression and suicide, it gets a bit dark!

5 Times Spider-Man Saved an Avenger's Ass (and 1 Time They Saved Him) by TunaFishChris - this fic showcases how strong and capable Peter is, he's definitely a BAMF. I really like this genre where the Avengers know Spider-Man but not Peter Parker, makes Peter feel more independent and mature like in the comics.

Five Time Faculty Members Had to Call Peter's Emergency Contact + One Time He Shows Up Anyway, Five Times Tony Stark's Fabled Intern Just Showed Up + One Time He Was Invited, and Five Times Strangers Talked About Peter and Tony + One time Someone They Know Did by kingdomfaraway - I am just gonna recommend this entire series. Super fluffy, extreme irondad and spiderson. They're just adorable from an outside perspective and I love when Peter gets to just be Tony's intern and a teenager for a while :)

research and disaster by blueh - “So, uh, Mr. Stark definitely knows Roomba-Kid,” Becket says and discreetly tilts his head in the direction of the pair.

“Oh my god,” Jess says. She almost sounds gleeful. “Oh my god, he’s not just some random kid. He’s Mr. Stark’s kid.”

or: the interns at Stark Industries have some questions about Peter Parker. The answers aren’t quite what they expect.

I just love intern Peter mk? Let him be a kid genius and have fun!!! Fluffy and humorous, again with the irondad.

Captain, Oh My- Not My Captain! by uncouth_peasant - Peter swallowed hard before firing a web to swing into the fray. “Cap’s going after civilians. I’m out of time.”

Bruised and bloody men <3. Just Peter being a badass and getting beat to a pulp. Cool fighting, lots of Peter whump, and of course the Avengers being protective.

Good publicity by Bergen - Between Peter Parker barely speaking, and Spider-Man being the ultimate chatterbox, how was Tony ever supposed to figure out that they were one and the same person?

Tony Stark is secretly a softie for cute kids, especially when they're a genius and have a sense of humour to rival his own. Peter is a foster kid who ends up finding a home with Pepper and Tony, very sweet.

The Third Option by Uncertainty_Principle - When Ben is murdered Peter goes into foster care. It takes just a tiny taste of superpowers for Peter to decide he doesn’t want to put up with his horrible foster father anymore—the streets are infinitely more appealing. All he wants is to be Spider-Man anyway.

So he leaves, simple.

Simple, that is, until Iron Man needs Spider-Man’s help.

Heavy TW for this one, mind the tags. This is a popular fic and for good reason. A very mature and realistic portrayal of the foster care system and homelessness. The Peter angst is really great and I could barely put it down, that boy needs a hug so bad.

Now here's some hydra!Peter fics cuz they're my jam:

Peter is a precious chickpea by Bergen - They attack the HYDRA safe house shortly before sunrise.

The only people defending said safe house are Peter and Leo, and Leo slams his cell door open and starts spitting out orders, but then promptly gets clobbered over the head and keels sideways.

So that just leaves Peter. And he’s not even going to try to fight a whole team of Avengers. He looks up at Iron Man filling the doorway. “I surrender.”

He’s never been captured before and he’s not sure what to do. Escape, probably.

This entire series is PERFECT. I just love how adorable Peter is, and all the relationships Peter forms with the Avengers absolutely melt my heart. Peter's characterization in this is really unique and I wish there was more. The Bucky and Peter friendship is everythingggg. I love hydra!peter and bucky fics.

Indoctrination by phoenixon - The Avengers thought they were on a typical assignment: Infiltrate the Hydra base and find the weapon. What they didn't expect was the small boy raised by Hydra that they found instead. And they definitely didn't expect him to stay at Avengers Tower or how he somehow wormed his way into their lives. As for Peter, he just wants to be good and obey what the Hydra men told him so he doesn't get in trouble.

I just really love hydra Peter changing into a sweet and intelligent boy once he's rescued and safe, and how all the Avengers take up such heart-warming parental roles around him.

out there, living in the sun by Hailfire_73 - The Avengers rescue Peter from a Hydra base ran by his father, Richard Parker, except Peter doesn't really see it as a rescue, and has trouble settling into a new life away from Hydra and his father at the Avengers compound. OR - Peter learns how to be an actual teenager, live life, and put his abusive past behind him, and Tony learns how to be a father.

Hydra Peter but he's most definitely a traumatized and moody teenager. I really enjoyed Peter's character arc and the exploration of his trauma. It felt more realistic the way his journey isn't just a straight or clear path. He's more mature in this one and it was a really compelling read, balancing the angst with some humour and fluff. Loved the ending.

Tinker, Tailor, Spider by Bergen - Tony is roped into a mission to transport a teenager to safety. But when things go south, it soon becomes more and more puzzling who the teenager is and what ‘safety’ means for him.

I really enjoy that the author doesn't water Peter being hydra down. Yes he is a highly skilled assassin and a badass who's trauma pervades his every thought and decision. Made me fall in love with the Tony, Pepper, Morgan and Peter as a family dynamic. Super domestic while still highlighting Peter's troubled past.

[the-power-of-stuff]

The Live-Action Sukka Manifesto that I Just Couldn't Keep in My Head

So I've been marinating in my live-action Sukka thoughts for the past three days, and when someone sent me an anon asking if I had any thoughts about the changes, at first I went, "DO I EVER?!" and proceeded to dump my entire brain on the page.

But then I worried maybe the anon wouldn't want to see my entire brain and figured I'd make my own post with my Many, Many Thoughts, and reel it in a bit when I answer the ask. And then link here if they're interested in the dissertation.

I'll put all the excessive details and spoilery stuff under a cut, but I'll start by saying, I didn't hate it! And I was afraid that I would.

There were things that I was bummed or had mixed feelings about, but there was also a lot that I genuinely enjoyed. All the Sukka interactions were cute and still had some decent character development, and I had fun with the episode overall (I've watched it thrice mind you, and definitely have not given the rest of the series that kind of attention). And I didn't necessarily dislike the differences from the original; I think I've just taken more of a "that was an interesting interpretation" approach.

But I better start that cut now, because I'm about to go on and on about this. I'd love to know what others think, though!! Even if the opinions aren't the same as mine! Please feel free to comment, reblog, shoot me an ask. If nothing else, I'm excited that the LA has gotten people talking about ATLA again.

So, I want to start with Suki’s characterization, which overall I found to be delightful, even if it was a bit of a watered-down version of her animated self.

In the original show, Suki is confident, sassy, and doesn’t take shit from anybody. She’s proud to the point of almost being arrogant, and even a little mean. What we get in the LA is someone who’s still confident in terms of her status and her skills, and still proud of her heritage and her role in her community, but with significantly less sass. And while LA Suki still seems like someone who wouldn’t take anyone’s shit, we don’t actually see LA Suki deal with that much shit from anyone (because Sokka isn’t really giving her any). 

There is one moment in the show where her interaction with Sokka is a little contentious, which is when he tries to relate to her as a fellow guardian of his people. I think Suki’s question to Sokka about how is he protecting his village if he’s not there is meant to be a challenge to his swagger. However, the line is delivered with a softness that makes it seem as though Suki is, at least in part, genuinely curious. (This curiosity makes even more sense when we consider the fact that Suki’s eventually going to leave Kyoshi Island so she and her Warriors can take part in the war effort, and that she will have to contend with the question of “how do you do that without abandoning your people?” when coming to that decision. The LA lays a lot more of this groundwork than the animated show did: Suki outwardly expressing her desire to see the world, her mother’s secretive looks every time Suki gazes longingly at Sokka the possibilities…)

Compare these two moments, for example. These are both scenes where Suki expresses disbelief at Sokka's claims about his warrior-hood. But in the LA, Suki speaks rather quietly and mildly, in contrast to the brash sarcasm of her animated counterpart. LA Suki is also tilting her head down and away, looking at Sokka indirectly. OG Suki is leaning in close, getting in his face, smirking derisively with her hands on her hips.  

I think there’s something to be said about the LA in general smoothing away certain personality traits that could be seen as negatives but that are actually strengths that are so narratively well-developed they occasionally show up as flaws (for instance, Katara’s fury, or lack thereof). Animated Suki is prideful and stubborn; she berates Sokka until he gives her sad puppy-dog eyes and has zero hesitation about making an example of him in front of her whole class. It’s a little ruthless, but these traits are also 1) what gets through Sokka’s thick skull (he, too, is prideful and stubborn), and 2) what makes her such a dedicated ambassador of Kyoshi and such a strong leader of the island’s Warriors at such a young age. I feel like the LA writers were afraid of making any of the protagonists seem too abrasive—everyone in the LA has had their edges sanded down, including Zuko, including Aang—and in general this tends to lead to less realistic representations of humanity and conflict, less satisfying character development arcs, and fewer opportunities for reflection and learning. 

That being said! I went into watching the LA with negative expectations about what we would see in terms of character development, and thus was pleasantly surprised. 

The LA removed the need for Suki to be as ruthlessly stubborn as she is in the animated show because LA Sokka’s skull is not so thick (and I'll get into that a bit more later). So what we get instead is a sheltered Suki with a helicopter mom who is so hilariously awkward that she has no idea how to interact with other humans. And, to be honest, I enjoyed this version of her so much that I even thought to myself, “I wish I’d thought of that!”

Suki is a straight-up weirdo in the LA and I love that for her. The way she puts Sokka in a chokehold and then looks at him after she sets him free like, “That was good flirting, yes? Would you like to be my boyfriend now?” And then her disappointment when Sokka walks away as if she’s thinking, “Why didn’t that go well, I thought boys loved getting put in chokeholds?” She is so precious, I just want to put her in my pocket. And this characterization might even be more broadly relatable than a super-confident Suki brimming with sass. Who among us hasn’t made a complete fool of ourselves in front of a crush by coming on way too strong and having no idea how to flirt? I mean…real. 

And because Sokka is also mostly just making a fool of himself trying to impress a pretty and talented peer (instead of covering up his insecurities by wrapping himself in misogyny) this leaves room for the two of them to be attracted to each other right off the bat and for their interactions to be more overtly romantic throughout the entire episode. Which, avid shipper that I am, I have to admit I have been gobbling up for the past three days straight. This episode was an IV drip of romantic tropes hooked straight to every Sukka shipper’s veins. 

Shy glances from across the room? Check.

Walking in on the other person half-naked? Check. (Y’all, Suki looks Sokka up and down for a FULL TWENTY SECONDS yes I timed it from the moment she appears in the background, yes you should count it to see how long that really is. Talk about awkward.) 

Tripping so they end up falling into each other’s arms? Check.

Wide-eyed shock that turns into surprise thirst after being pinned to the ground? Check.

Shooting each other satisfied smirks as they kick ass side-by-side? Check.

Jumping in front of literal fire for each other? Check and check!

Like, I could live off this for the rest of the year. 

But look, there’s a lot that I love about the way Sokka and Suki’s relationship is portrayed in this episode besides those romantically indulgent tension-creating moments, and it has to do with Suki’s admiration and validation of Sokka. 

Suki really looked at this boy with his mouth stuffed half-full of steamed bun and went, “Must have.”

With the removal of overt sexism from this episode (for better or worse), the story focused much more heavily on Sokka’s development as a leader. He still has that sort of posturing display of self-confidence that comes from inexperience and trying too hard to prove oneself (“Ferociously…deadly tiger whales…”), and while at first Suki seems put off by this and his attempts to liken himself to her (“I’m not just a warrior, I’m a Kyoshi warrior”) it doesn’t take her long to decide (*cough*after seeing him shirtless*cough*) that she doesn’t actually mind this behavior (and in fact maybe she kind of likes it because maybe it means he likes her and maybe it means she can show him how much she likes him by slicing the tops off all those melons with her fan). She seems genuinely interested in his boomerang and impressed that he hunts, and then later, she immediately takes interest in training him in the Kyoshi Warrior style. 

After they spar, she casually refers back to the fact that he’s his village’s protector, and this time, she does it without the disbelief and defensiveness. Because he’s finally stopped posturing. He opened himself up and gave himself over to Suki’s expertise, and in that way he proved that he has the will and desire—the heart—of a warrior. And Suki tells him so while touching him gently and gazing at him longingly in the soft golden glow of the late-afternoon sun. And as a die-hard Sokka stan, I love seeing him loved and appreciated like this. Adamantly. Ardently. The Sokka cheerleader in my head is going wild. “YEESSSS!! Our boy deserves this!!” Because we know that, in the animated show, he goes through a lot more struggle and self-doubt before he receives this kind of external validation. And while we also know that this makes for an incredibly satisfying growth arc, I gotta admit that it’s a fun bit of indulgence to watch Suki talk Sokka up directly to his face and then want to kiss him really bad. Y’know. As a treat.

That said, I'm very attached to and appreciative of the way their relationship is framed in the animated series. I love that their respect and affection for each other grows even after the disaster that is their first few interactions. In the LA, they are drawn to each other immediately, and the only barrier seems to be a bit of awkward stepping-in-it-ness. In the original, they have legitimate conflict, and they both have to give a little—Sokka becomes more humble, Suki becomes more tender—before they get to that point of potential romantic interest. And I think it says a lot about Sokka’s character and his desire to learn and grow that he is willing to humble himself in front of someone who, as far as he’s seen, has very little regard for him (slash has a good deal of animosity towards him). Giving himself over to Suki’s expertise costs him more in the animated show. But once he does, he and Suki learn and grow together. He shows Suki who he really is, shows her how dedicated and determined (and fun and a quick learner) he is, to the point that, by the end of the episode, she can allow herself to be vulnerable with him. And she does validate him in the original Kyoshi Warriors episode, just less directly than the LA. Her kiss on his cheek and “...but I’m a girl, too” is about forgiveness and acceptance and acknowledgement and respect, as much as or even more than it is about affection. There’s a little bit of romance, too, but it’s just little baby seeds of it, and it feels very natural to let those seeds germinate over time until we see Suki again later in the series. 

Which brings me to the live-action kiss. 

I’ll be honest, I was a little on the fence about the kiss. I want Sokka and Suki to kiss as much as possible in every conceivable universe. So there’s a part of me that was banging on the table and whistling with obscene joy. But the other part of me thought it was too much too soon. However, my hesitance pre-supposes some things about the second season (not least of which that there will be one), namely that it will handle the reunion with Suki and crossing the Serpent’s Pass anything like how it was done in the original. (Of course, one thing we now know for certain can't happen in a hypothetical LA season 2 is Suki pranking Sokka at the ferry station because he doesn't recognize her without her makeup. Do I love the expression on LA Sokka's face the first time he sees Suki's? Yes. Am I sad that this completely ruins their whole "You don't remember me? Maybe you'll remember this!" game? Also yes. But truthfully, I don't know if LA Suki would've been up to the prank, anyway. Not sassy enough. ;))

The Serpent’s Pass is one of my favorite episodes of all time, and that moment on the bluffs when Sokka and Suki are talking around Sokka’s loss, with the moon shining down on them all the while, and they almost kiss with the moon hanging between them in the background, and then Sokka pulls away without any other explanation besides, “I can’t”? That scene is so absurdly powerful and beautiful and an amazing moment of character development for them both, and I feel like it loses a lot of impact if they’ve already made out once. The fact that they kiss for the first time after that moonlit moment, when Sokka realizes that Suki doesn’t need protecting the way he thought she did, and in fact she was there to protect him, and he can finally just let go of this burden that he’s been carrying with him since Suki first mentioned she was joining them (slash since his dad put him in charge of an entire village at 13), and then and only then can he open his heart to what he feels for Suki, and in fact opens it so wide that he just cannot help but jam his mouth onto hers before she’s even finished talking…? I mean. C’mon. That’s poetry. But, again…loses impact if they’ve already had a first kiss.

But who knows what, if anything, they’ll actually do with that storyline. So for now, I’ll just enjoy my live-action Sukka kiss because, honestly, dream come true.    

Or almost a dream come true. Because there's a huge camelephant in the room that I haven't addressed yet, isn't there? The lack of Sokka in the Kyoshi Warrior uniform...

And I don’t think we can talk about the omission of Sokka’s Kyoshi Warrior uniform without talking about the omission of Sokka’s sexism. Because if Sokka isn’t sexist, then why do you have to put him in the dress and makeup of traditionally female warriors to make a point about how women are strong and capable, too? So here’s what I’ll say about that (and I know there’s a lot that people have said already, so I’ll try not to belabor the point.) I don’t think leaving out Sokka’s sexism was necessarily a detriment to his character arc. I do think, however, that leaving out Sokka’s sexism was a detriment to the message the show was trying to convey about sexism. 

Now, in the Northern Water Tribe episodes, the LA still gives us a message about fighting against the kind of systemic, institutionalized sexism that you might not be surprised to encounter within a very old-fashioned society or from a very old-fashioned gray-haired man. But what about the off-the-cuff, everyday kind of sexism that you might experience from an otherwise good person who is close to you? A person who loves you and would do anything for you but who gets carried away teasing you about “girly” things because of intrinsically-held biases that they’re not even that conscious of having? 

I think it’s important and meaningful for male and female audiences alike, and everyone in between, to see these different forms of sexism and misogyny—to see them, to recognize those behaviors in others and in ourselves, to be able to name them, and to have examples of fighting against them. We see the former kind—institutionalized, systemic—in Pakku. And we did see the latter kind—familiar, personal—in Sokka. And now that’s lost.

Not only that, but there’s the form of sexism that says boys aren’t allowed to do feminine things lest they relinquish their maleness. And in the animated show, we got to see Sokka combating this form of sexism, too. Not only does Suki show him that girls can be fierce warriors as well as boys, but he learns that wearing makeup and a dress does not make him any less of a young man.  

So, yes, I think the lack of Sokka in Kyoshi Warrior garb was a missed opportunity. And not just because Sokka looked really good in uniform and we all should have had the chance to see that, including and especially Suki. 

Alright, this is more than long enough, so I'll leave off with a moment from the LA that gave me great pleasure.

I needed this moment, y'all. And I was so afraid it wouldn't happen. I needed Sokka being protective, I needed him using his newfound Kyoshi Warrior skills to fight, and I needed him jumping in front of fire for the girl who'd taught him. If we couldn't have Sokka in the Kyoshi Warrior uniform, at least we had this.

[valkyrieandstrangeridingaragorn]

I am really getting annoyed with people said "loki is just narcissistic person, strange is just arrogant doctor, Wanda is just selfish crazy", okey they are lie that more than that but somehow everyone forgetting that they have trauma and pain(not justify bad actions but still) and they keep insist that they need getting more punishment.

Then we have stark, yeah we know him and if someone say he is just arrogant selfish billionaire other standard will say he ore than that and they said stark didn't deserve punishment what he did , really?

I am have to say I have one fanfic not Wanda friendly but I take theme in MOM because how I hate Wanda in MOM (thanks Waldron make me hate Wanda) from all her on screen MOM is in my hate list.

Also you can see how many Wanda, loki and strange got punishment in fanfic rather than stark, they justify his actions.

They never cared to humanize Stark's victims. We just had that woman in CW who was written horribly and to make matters worse, Stark was framed sympathetically in that scene. Go figure! And of course that scene is followed by him claiming the entire team has to be """held accountable""" (not just him, the team) and when some of them push back he's shown to be the rational one. What a joke.

With that kind of absolute narrative protection, is it any wonder so many people claim he feeling bad for 0.2 seconds is enough?

Whereas with Wanda we know the names of the people she hurt, we heard them speak and explain how much pain they were in. (I always laugh every time I see someone claim WandaVision was on Wanda's side.. lol no).

In Loki's case, his whole past and characterization were retconned and simplified by Waldron and Feige, and those around him were framed in a positive light while he was shown as an evil character who will always have to be paying for his mistakes. Odin, Thor, Sylvie, Mobius... none of them are held accountable so the difference in framing is even clearer.

And with Stephen, he's so unlucky that he got his own movie taken from him and once again his story was simplified for some reason I do not understand. His pain, sacrifices, his story are an afterthought in MoM and ironically enough, he was written miles better in NWH than in his own film. And of course, we got other characters telling him he's evil, he's selfish, he's a villain, bla bla.

In short: he's defined (negatively) by others. Just like Loki. Ever see them defining or defending themselves? Nah. If they defend themselves they're "arrogant" and "narcissistic" 🙄

So I'm not surprised those three are treated like crap by the fandom while Stark is praised to the heavens and back.

Stephen, Wanda and Loki are not perfect. But the thing is... they don't need to be. In fact, they shouldn't be. That's what makes them so interesting, it's what sets them apart from the clear-cut heroes. What we should be getting about them is the why they're not perfect + the circumstances behind their actions and beliefs, those are crucial when it comes to morally grey characters. Otherwise we just end up with "they did x so they're y" bullshit writing.

[starplusfourletters]

I read vision of the future (hand of thrawn book 2 aka Who Scams the Scammers)

(spoilers) and once again it turned into a liveblog, apologies

Hold up are we doing Warrior Cats? Is this Warrior Cats Planet??

What base is “arm around your waist to serve as a psychic translator conduit”

Omigod I WISH my Warrior Cat name were “Jaded of Mara”

Everything I know about Soontir Fel I learned from x wing but I would not have guessed his primary motivation to be "dirt"

@ luke and mara: the girls are talkingggggg

North Barris Spaceport has me twitching

Ghent not remembering who the president is and just assuming it’s probably Leia. I mean fair

What base is "holding hands to brace yourselves over a swarm of flesh eating insects"

So we’re finally asking why Mara ISN’T actually dark side and the answer is… shrug emoji?

Man Zahn really is stuck on “character bonding hike” as a device huh. But consider I eat that shit up

Oh No Lando is racist

LMAO at “so oblivious you need a child pterodactyl to tell you to just kiss already” to “besides I don’t want my life to be like spiderman three I hated that movie” to “kissing with dubious consent” ALL ON THE SAME PAGE like Zahn finally realized he really needed to get this show on the road

LMAO at Ghent getting a free pass from Pellaeon to hack the empire. Like you’re just going to get the thing you need and not steal all of our military and political secrets right? Riiiight? Even more LMAO at the fact that that would probably not even occur to Ghent

When everyone assumes they're the protagonist so finding this one macguffin is their job personally. Like guys I like the energy but maybe we've got enough different plans to do the same thing (the exception, hilariously, being Luke) (and Oh No it turns out Luke is the one to find the macguffin because You Have to Follow Your Heart and Let the MacGuffin Come to You. I eat that shit up also)

Mara’s just... So great.

Not to make everything about my blorbo but absolutely to make everything about my blorbo I do wonder to what extent Ahsoka’s characterization post-Rebels doesn’t click for me is because a lot of the more obvious directions for Oldsoka overlap with Mara, and the powers that be didn’t want to reinvent the Mara Jade wheel. Not to say they have similar characterization – Mara has terminal sam coded dean girl syndrome – but idk, in dynamic range maybe? Calling out bullshit, weaponizing her own abrasiveness, covering insecurity with humor, being Kind of a Lot with a side of trust issues at any given moment – there are modes Mara and Youngsoka share that didn’t pass to Oldsoka apparently. Idk possibly all this is just me wanting them to TALK

Establishing that you can do evil things for selfless reasons without necessarily being in any danger of falling to the dark side is... Philosophically interesting

We interrupt this tale of political espionage to bring you Jedi Relationship Counseling (spoiler alert: communication is key)

"That part of her life [Mara’s time with Palpatine] had died unmourned" I mean mourned a little bit. Mourned for at least a book and a half

I've been willing to suspend my disbelief on everything in this book until "both Luke and Mara forget that ysalamiri exist"

I will never not be a sucker for The Movements and Transferred Ownership of Emotionally Significant Weapons

Oh No thrawn made a second foundation

The Aing-Tii seem OP but whatever

Oh No the second foundation forgot to close the garage doors

(Re: The Jade’s Fire) I know Mara’s having a Moment, and I promise I’m taking it seriously, but when the warrior cat asked “What is it you want, Mara Jade” my WHOLE BRAIN responded with "I want Hermione Granger! And a rocket ship!"

Moranda has real Kevin from home alone energy and I'm living for it

Is it bad that I’m actually kinda happy the Imperials’ Bothawui shield plan worked? Like, they had a really interesting plan and I’m happy for them. They earned it

WAIT IS MORANDA DEAD FR?

What base is “full mind meld while you’re fighting for your lives”

Who would win: ~1.5 Jedi, 2 sentinel droids droidekas, or Artoo with a sauntering gun

If I had a nickel for every time this duology explicitly established Jedi can’t go completely without oxygen, even when in a trance, I’d have two nickels. Which isn’t a lot but which makes me feel like the Ahsoka show had a weirdly specific axe to grind with the source material

Luke’s proposal to Mara is Just. The. Funniest. Thing. That’s some Anakin-level cringe and the prequels aren’t even out yet. He truly is his father’s son.

I mean POV there’s this guy and for a couple years you want to kill him, and then you realize that’s more of a You Problem, so then you’re friendquaitances for a decade mostly because you don’t approve of the shit he’s getting into, and then you have one (1) honest conversation and get caught in a death trap and he’s like “so I think the next step for us is marriage”

LEIAAAAAA! Full Jedi Knight Leia is both terrifying and hot. I would run.

“So it is treason” – Some random guy

Lando needs to be on the New Republic payroll simply for being willing to speak to any of the other characters and also he needs a raise. This poor guy getting called on to command the entire New Republic fleet mid-battle and he’s like “I’ve been a civilian for 15 years and also I knew you would pull some horse piss like this steve”

Mara Jade, Imperial protege. Skills include: Identifying load-bearing walls. (Now all I want is Property Brothers: Sith Edition)

Mara please. Luke please. These absolute idiots. This is some pear scene shit. I hope nothing bad happens to them ever

The whole back half of this book has been an emotional rollercoaster for me specifically because I wanted Flim to be Thrawn FR soooooo baddddd. And now I’m sad. His name literally means scam don’t do this to me Zahn

I’ve been amused by all the Star Wars universe idioms but I gotta take a moment to specifically showcase “burned your sky-arches.” Karrde is a delight to have in class

Having an independent intelligence agency that’s supposed to work for both the New Republic and the Empire seems absolutely unhinged but go off I guess

When the New Republic and Empire sign peace accords and Luke can’t even be bothered to show up

Mara is great and her arc is fuckin hilarious to me. The narrative has identified her as The Damaged One and I’m like???? She came to terms with her troubled past, drew her own boundaries regarding the Dark Side, recognized that there are people who care about her instead of pre-emptively pushing them away, and resolved to form deeper emotional connections. Smash cut to ROTS Anakin whose physical and psychic damage has literally turned his brain into oatmeal

Again I know this was before the prequels Mad points for explicitly saying Mara needed to form attachments to become a Jedi. Zahn being pretty gangsta there

OH NO THEMB

[david-talks-sw]

Luke Skywalker in 'The Last Jedi' (2/2)

OK, so in Part 1/2 of this post, we explored why Luke's TLJ characterization isn't really inconsistent with what had previously been established in Star Wars lore. It tracks. Dare I say: it works.

And yet... something still feels off, right?

Well, the reason for this is because Luke's character development is impacted by the film's structure, which in turn is impacted by - of all things - Poe's lack of development in Episode VII! Just hear me out!

The intention: Making the audience feel the same emotions as the protagonist, deuteragonists and antagonist.

This is what most movies strive for. Unless the film is trying to go for some dramatic irony, you want your audience to be on the same page with your protagonist, emotionally-speaking.

And y'know what? Rian Johnson does this very well.

Overall, he displays a very good grasp of making us, the audience, feel the same emotions as a film’s protagonist (generally, the main character, whose POV we follow) or deuteragonist (the ‘secondary main character’).

Rey was expecting to meet the Luke from the Original Trilogy, the Luke from Legends... and instead was disappointed to meet an old jaded hermit. Just like many of the fans were.

Finn is fooled by DJ, mistaking him for an archetypal "misfit with a heart of gold". Just like the fans were.

Poe is increasingly frustrated with Holdo, just like we were.

Call it "meta", call it "subversive", the bottom line is that some of the narrative choices that a lot of fans criticize the film for are intentionally placed there to put you in the same mental state as the characters you're following, even during the film's twists.

But as a result, if a character isn’t the protagonist (Rey), or the deuteragonists (Poe or Finn), or even the antagonist (Kylo)... they'll barely get any development.

They might get one or two scenes for themselves tops, but overall secondary characters like Luke, or Holdo, or DJ will mostly be shown through the filter of Rey or Poe’s or Finn's POV.

The Problem: Luke isn't a protagonist or deuteragonist, so he isn't developed to the audience's satisfaction.

Don't get me wrong: Luke has the second-most screen time in the whole film, but that's because Rey is the one with the most screen time, and he's primarily a character in her storyline.

To be fair, he does have his own subplot, he's the spiritual center of the whole film. But concretely, he’s one step above support characters like Holdo, Leia, Rose and DJ. We're barely shown his own POV and mainly view him through Rey's lens.

Like, there's a reason why in this scene...

... we don't see what Luke witnessed in Ben’s mind, simply his reaction to it: Rey didn’t see it either.

All three "Rashomon" flashbacks are what Rey is picturing in her mind when she’s being told three different versions of the story. She doesn't see what Luke witnessed, so we don't see it either.

And you know what? On paper... this is also not really an issue. It's actually quite standard. I mean, Yoda doesn't get much backstory or an arc in Empire Strikes Back. He's just the mentor figure, and we see him through Luke's POV.

There's no arguing that Luke in TLJ receives much more development than Yoda does in ESB.

But y’know what?

Yoda was also never the protagonist of a whole other trilogy.

So if you're gonna tell an audience that "the protagonist of the previous trilogy strayed from the path and is now a completely different person" - even if they eventually make their way back with a character arc - I don’t think it’s out of order for audience members to expect more development than a regular mentor archetype.

Context is expected, and when it isn't delivered, that'll kill the suspension of disbelief, for many fans. They're not just disappointed in Luke like Rey is, they're not immersed in the movie anymore.

So how do you go for what Rian was going while also trying to keep about half the fans from jumping ship?

The Solution (?) Delving deeper into Luke.

So let’s suppose Luke was treated like a deuteragonist. Suppose we see his own POV more, rather than just seeing him through Rey’s eyes. Would that help? And what would that look like?

Firstly, we keep that deleted scene of him mourning Han’s loss.

Or we show it like in the comic adaptation of TLJ, with Luke getting angry at his decision to cut himself off from the Force, unintentionally levitating objects until Chewie consoles him.

WHAT IT DOES: Either version humanizes Luke, shows who he is beneath the jaded mask he's putting on, gives audience a chance to mourn Han with him.

We keep that deleted scene of him explaining to Rey why he thinks the Jedi were flawed, also known as the “3rd lesson scene”.

WHAT IT DOES: Spells out Luke's rationalization that the Jedi Order needs to end. Marks the beginning of Luke's wake up call.

We add one or two additional short flashbacks of Ben gradually becoming darker and unhinged. Maybe he harms one of his fellow students in a fit of rage.

WHAT IT DOES: Clarifies that Ben was going through a dark period and that's why Luke went to confront him in his hut. He didn't just saunter into Ben's hut, sabers blazing.

Maybe halfway through the film, we see Luke pack his bag as he prepares to rescue his friends with Rey, only to find her communicating with Kyloe.

After all, the novelization shows that, upon opening himself to the Force and sensing Leia, he immediately decides to get back in the game. So if that’s not just something Jason Fry added to embellish stuff, let’s see that.

WHAT IT DOES: Drives home the fact that Luke realizes his mistake. (Although, it might also take away from the subsequent scene with Yoda).

Finally, let’s actually see what Luke saw in Ben’s mind: him killing Lor San Tekka, killing Han, killing Leia, murdering Chewie and countless more innocents all with a smile on his face.

WHAT IT DOES: Provides context for Luke's extreme reaction.

Most of these things are already technically canon, the only difference is that it would be shown on screen. And if all these elements are added, then Luke’s reasons for staying away and his reaction in Ben’s hut are already more understandable.

So where’s the flaws in this solution?

Solution Flaw #1: Plot twist would be ruined.

Talking about this one:

Again, we're seeing Luke THROUGH Rey's POV, for the most part. Our reaction is - intentionally - the same reaction as Rey.

The whole point of the twist is that

we, with Rey, believe Kylo can be redeemed, because

we, like Rey, remember Luke redeemed Vader.

So when she realizes “oh shit, Luke was right, he’s too far gone”... we react that way too.

But if we had seen Ben’s turn as well, if we had seen how he was during his training, if we had seen what Luke’s saw in Ben’s mind, we would all collectively agree with Luke and think that Rey is making a mistake in trying to redeem Kylo.

So when Rey walks away from Luke, rather than hoping she succeeds, we’d just be waiting for her to inevitably fail. We'd be thinking:

"Rey, you moron, you're walking into a trap and Kylo isn't gonna turn!"

Emotionally-speaking, we would be detached from the protagonist.

Solution Flaw #2: Increase in the runtime at the cost of other scenes.

The Last Jedi is already the longest film in the franchise. Adding just three of the above-suggestions would increase that runtime, which wouldn’t work. So you’d need to take something out.

But Finn and Poe’s storylines are already stripped down to their bare bones as it is. Hell, so was the Rey/Luke storyline, for that matter.

Actually, wait... why do we have three storylines, in the first place?

After all, if we look at The Empire Strikes Back, they only have two storylines, right?

The protagonist, Luke, goes to Dagobah.

The deuteragonists, Han and Leia, evade the Empire.

Main plot & subplot. Great.

Wouldn't it be better to just have Poe and Finn do the Canto Bight storyline together? That would give us sme remaining time to focus on Luke’s past, right? Where’s the issue?

Well, Rian Johnson put it this way:

Bottom line, in The Force Awakens, Poe is a clear-cut character. Simple as that. He’s charismatic and fun, but there isn’t much room for him to grow.

A lot of people compare his character to Han, but there's an issue with that comparison (besides the obvious fact that Finn is Han and Poe is Leia)...

In ANH, Han has an arc. He's the philosophical antagonist of the film, he's only out for himself which conflicts with Luke's attempts to help others. Han goes from being a selfish irresponsible gun-slinger to taking responsibility and becoming a selfless rebel, a part of something bigger. Arc concluded.

(Hell, this very reason is why Harrison Ford didn’t wanna keep playing him and lobbied to kill him off.)

So in ESB, Leia is the one who has the arc. Han is just being himself. Leia is the one who must slowly come to terms with the fact that she does love him, despite him being a total nerf-herder. So she and Han bicker, there’s conflict there, but there’s also an underlying affection.

As such, when Poe doesn’t have an arc in TFA, and is already on great terms with Finn, then there’s no conflict if you put them together in a subplot.

And conflict is crucial, in storytelling. If it's absent, then the story becomes boring.

As a result, Rian Johnson had to create conflict and growth for Poe.

Which means that, now, a third storyline is thrown in the mix... and the pacing and development of the other two are affected by this. Some really good scenes need to be cut, some stuff needs to get shuffled around.

For example, remember this deleted scene, from further up?

In the commentary, Rian explained that the reason it wasn’t in the film is because it didn’t intercut well with the other two storylines. *Three and a half, if you wanna count Kylo's personal scenes.

As such, there’s no space to add more scenes to develop Luke's perspective.

And if Rian made more space, well, that wouldn't work either. Because while Luke is the spiritual core of the film... this isn't his movie. He's not the protagonist anymore. But he used to be, and if you show him too much (not as Rey's mentor figure, that is, but as a protagonist or deuteragonist), he'll take the spotlight off the new cast with the snap of a finger.

When Michael Arndt was working on the Sequels with George Lucas in 2012, he encountered this same issue:

“Early on I tried to write versions of the story where [Rey] is at home, her home is destroyed, and then she goes on the road and meets Luke. And then she goes and kicks the bad guy’s ass. It just never worked and I struggled with this. This was back in 2012. It just felt like every time Luke came in and entered the movie, he just took it over. Suddenly you didn’t care about your main character anymore because, ‘Oh f*ck, Luke Skywalker's here. I want to see what he’s going to do’.” - Michael Arndt, Entertainment Weekly, 2015

And I'm guessing this is a problem that JJ had to deal with too, hence why Luke was pushed to the end of Episode VII: so as to give the new characters a chance to be developed a bit more, first.

“In a very general sense, the original idea for Episode VII started midway through what we now know as Episode VIII...” - Pablo Hidalgo, Twitter, 2016

There's finally the fact that, while most of those ideas can make Luke's fall more understandable... his story isn't about "how he fell".

It's about how he got back up. The whole point of the film is that even when you've reached your lowest point you can still inspire and be inspired by hope.

So while adding any of the above scenes would only reinforce what was already shown in the movie, be it explicit or subtextual... they wouldn't ADD anything to the theme of learning from failure and getting back in the saddle.

Do I care about Luke’s characterization in TLJ...?

In spite of what the length and intricacy of these two posts might indicate... I don’t, really 😅

Like, sure, I wish more had been done with the character, but Luke was never really my childhood hero, Obi-Wan was.

So Luke in TLJ isn’t a gaping wound in my chest. I didn't whine about it in 2017, nor did I shed tears of joy and said “he’s finally back” when we saw him in The Mandalorian, for example.

Like, it was an awesome scene, but in my mind Luke never left.

Also I’m the type of Star Wars fan who’ll tolerate any addition to the canon by virtue of it being new Star Wars content.

So even if that addition is something I didn’t enjoy during the viewing, I still focus on the positive and roll with it, I come up with a headcanon that'll make it work.

Because you get to do that, with a transmedia franchise!

If you don’t like how it went down in the movie? There's always a comic around the corner that'll retcon it and/or retroactively make it better... that's how it was for the Prequels.

But for the Sequels, it's difficult. There's a scarcity of transmedia content, when it comes to stuff set around the Sequels era.

I mean, can you think of any

Luke-centric work

that serves as a meaningful addendum to what's seen of him in the Sequels?

A novel, a comic issue and a distantly-relevant manga.

That's it.

(The Mandalorian and Book of Boba Fett are too soon after ROTJ to have any meaningful impact on Luke's journey in the Sequels. Some people see Luke's behavior in those shows as "the beginning of his failure", but I covered why I don't think this is really the case, here.)

Instead of just three items, how about a comic mini-series focusing on the year Luke spent training Leia, or on his adventures across the galaxy as he tries to rebuild the Jedi Order? Maybe he meets Cal Kestis, or Quinlan Vos? Maybe he needs to face against an Oppo Rancisis who was consumed by the darkness, post-Order 66?

Or better yet, how about a video game centered on Luke, in the style of Fallen Order or Jedi Academy?

Get Mark Hamill to motion cap it, he's done it before.

This would also allow the fans who grew up with the powerhouse that is Legends Grandmaster Luke Skywaker to have some fun!

Many fans wanted to see Luke in action, in TLJ, and instead got a pretend-samurai fight. Which is nice, powerful and symbolic, he goes out like a true Jedi, it makes the Force more than a superpower... but it's not a lightsaber duel. In a game, though? Players can go to town.

I dunno... any additional content would've smoothed the blow for many people who didn't like what was done with Luke in TLJ. Sure, you'd always have people who just hated the whole thing, but if transmedia content helped reduce the hate for the Prequels, it could've done the same with Luke.

I'm not sure why that route wasn't taken.

[magadauthan]

Ep 17: Rem Saverem

Day 17 of @trigun98watchparty : Vash and Knives get their origin story.

The viewer has learned over the last sixteen episodes that Vash is not an ordinary human being, or a human being at all. He's prone to weeping at moments of crisis with the name "Rem" on his lips. Now we get some answers.

Rem isn't particularly well characterized in the anime, for obvious reasons; she hadn't been fully written yet. Apparently she was inspired by Ellen Ripley, which is pretty badass.

There's a lot to unpack in this ep and it's not particularly silly, except for Knives' very relatable "I am so done with my mother and brother's shit" face. So, musings.

--The theme of going to the mats to save a child runs through all of Trigun and TriMax. Both Rem and WW will selflessly put themselves in harm's way to protect the young and innocent. Their methods are different.

...their outcomes are the same.

--Rem sees the two Independents as babies in need of care instead of aberrant monsters. To her, they are angels from God, and imo at least part of that is because she likely envisioned building a home and maybe having children with her (lover? husband?) Alex in their new world before he died. Vash and Knives are gifts to her to fill that void of emptiness.

--Brought this up last post, but it's worth remembering that for all their hyperintelligence and accelerated growth, Vash and Knives don't have the human experience of a toddler in their terrible twos/threes. Kids take things as black or white. They do not do nuance; they don't have any length of experience. Everything that's happening right now is the first and only time it's ever happened. How can you consider situations or instances relative to one another, if you have no experience? Or if your experience comes from what you saw on the computer?

--Knives is very aware of his own intelligence and his non-human superiority, but his emotional quotient is zero, and even as he gains experience, he sees no reason to bother with it. Either all humans are good, or all humans are bad. They take and don't give. Even if they do give, they don't fit with the paradigm and are disregarded. He's a child, with no nuance at all.

--Rem's philosophy is that no one has the intrinsic right to deprive another being of its life. The fallacy Knives can't resolve is that everyone has to eat (except him, in Tristamp... hmmm.) He's not wrong; the spider has to eat something. But I think there's a distinction between killing something because you feel like it or think they deserve it, and killing something because you're hungry.

--Back to the black and white - Knives can't resolve that either, because it's nuance, and when it comes to people... he's perfectly fine with messing with the crew's heads to show Vash and Rem that they're wrong. Steve is a dick and an abuser and possibly a rapist (it's unclear whether he actually did rape Mary or whether Knives made her think that he did) but does he deserve to die for it?

--When it comes down to it... I don't think anyone has a black and white answer. That's as far as I'm going with that.

--Vash clearly struggles with this same question but falls on the side of not killing anyone, no matter how threatened he or his loved ones are. Does he have the right to kill anyone? Probably not. Is he justified if there's no other way out? Guess we'll find out.

On a personal note... I appreciate Rem a lot more now than I did 20 years ago, before kids. It ain't easy. She had two of them at once and she did her damn best. Give the woman her mom jeans and a lifetime of appreciation for getting in there and putting her money where her mouth was. That corn ain't gonna shuck itself.

[vylad243]

I just wanted to tell you how much I adore your writing and characterizations for Hazbin Hotel! Vox is my favorite character and radiostatic my favorite ship and I keep finding myself revisiting your fics over and over again because of how wonderfully you portray them

I wanted to ask about any radiostatic/Vox-centric headcanons you might have floating around in your head?

Thank you! Sorry it took so long to respond! I was using this ask to cheer me up while I was grieving, so thank you for sending it! Vox is my favourite too! (Hence why I torture him)

Thank you so much for reading my fics ^-^ I'm so glad you've been enjoying them. I love reading comments and asks about them. Makes me feel giddy

I have a few! I also have a few secretive ones in my fic that will be mentioned here

Vox is FTM! He gives me those vibes and my sister agreed with me.

Vox being able to reproduce is another one. I don't really do Mpreg (I did once for my friend to make her feel better. It was Lorax x Jesus and never again) so don't expect to see any mpreg Vox, but he can. My headcanon is that a select few (specifically ones who despise children or have no desire to reproduce or are trans) are able to carry. All biological males are able to reproduce

Vox had heterochromia when he was alive! One blue and one brown

Vox has three sisters. One older and two younger. They're unnamed

Vox's dead name is Valerie! His nickname was 'Ree'.

Vox is bi demisexual specifically in my AU

Vox's sexual trauma is based off of mine and my friend's sexual trauma. She used to be a lot more sexual and now hides her body, while I am now more 'slutty' and tend to show off a bit more when I used to wear baggy clothes. We swapped personalities fr. It's why Vox is so hot and cold. One minute he feels confident- the next it's the wrong kind of attention and he covers up and hides himself

Vox isn't a blueblood because he's a sinner, but sometimes his blood bleeds cyan blue if he's charged up enough. It's why all his scars and scabs are cyan blue

Vox is technically Lucifer's adopted brother in my au and that makes him Charlie's uncle!

Vox's powers are fueled by attention. It's why he's so needy and public all the time. He needs attention to keep producing electricity for all of Hell

Vox's royalty rank falls under "brings joy to hell." That is his duty and what he does

Papermint has been in Hell longer than Vox

Vox spawned into Hell on Extermination Day

Vox found Velvette fighting for her life and he helped her. That's how they met. Vox still feels the need to protect her. He did not help her rise to Overlord though. He wanted her to do it herself

I mentioned in my fic that Alastor gave Vox a knife before they grew apart! That was Alastor's first courting gift to Vox, but neither Alastor nor Vox were aware

Alastor and Vox have the similar powers! The difference is Vox embraces it while Alastor prefers to keep it on the downlow. Alastor brought radiowaves to Hell while Vox brought electricity

Vox wears tight dresses occasionally to check his weight, yes Alastor found out and promptly tore up the dresses so Vox wouldn't starve himself

Alastor fell first and fell harder while Vox is a little oblivious

Alastor rejected Vox all those years ago because he didn't like the idea of 'sharing Vox' but wasn't going to force Vox to pick between him and Valentino

Alastor regrets not making Vox pick

Vox had a scar on his eyebrow when he was alive

That's all I can think of at the top of my head!

[idkaguyorsomething]

Is it weird that I am perfectly fine with Araki giving Jodio a severe mental illness but still wish he had given Jodio a different one?

sorry it took so long to answer this one, i was trying to figure out how exactly to answer it, and it turns out there's a lot of different ways:

from a perspective of representation: mental illness is an incredibly stigmatized subject, and in mediums like manga and comic books even more so, as it is incredibly common for a lot of popular plots in those mediums to go "well, x character went crazy, that's why they're evil", as well as stories in general to associate a lack of empathy with a lack of ability to act in traditionally heroic ways. jjba itself has shown that, as part of dio's initial villainous characterization involves him showing a lack of empathy towards various figures such as dario or george (although this isn't the only way his villainy is characterized, as we're also shown right off the bat that he's very deliberately cruel). with jodio being set up as more of an anti-hero, giving him more traits that could be considered unheroic as well as a commonly stigmatized mental disorder, it makes sense to not have that sit quite right. but taking the history of the series into mind, jojo's is no stranger to exploring more shades of gray in its protagonists in its past. johnny and gappy have certainly committed far greater acts of brutality in their parts, while giorno, who jodio is set up as a parallel to, outright aspires to be a head of organized crime. even josuke, who is portrayed as one of the kindest and most pure-of-heart jojos, basically condemns a guy to a fate worse than death in his first arc. this isn't necessarily anything new the series is giving us, and the fact that the jojolands is largely portrayed from the perspective of jodio himself is a massive plus, as it gives us insight into his thought processes and helps us sympathize with a character we might not have done so otherwise (telling a story from the perspective of someone doesn't necessarily ask us to sympathize with them, but things like the goofy jokes he makes with dragona, his own insight on his diagnosis, and his clear love for his family go a long way towards making jodio likeable). one could view this as the natural progression of jojos tending towards the anti-heroic while araki explores more marginalized communities he's interested in portraying, or a poorly thought out decision that furthers stigma towards said marginalized communities. personally, i think it's still too early in the story to make any real judgements, but the way i see it it's kind of similar to the situation with jolyne. she's the only female jojo, and the only one besides jonathan who ultimately fails in her quest at the end of her part. there are narrative and thematic reasons for doing so, but it doesn't sit right with a lot of people, and that's perfectly fine.

from a medical perspective: according to the dsm 5, a person must fit at least three of the criteria for antisocial personality disorder in order to be diagnosed as having it, most of which jodio does fit. failure to conform to social laws and norms (he's a teenage drug dealer), deceitfulness (when barbara ann asks him where he is and if he's hanging out with paco, he lies), impulsivity (he destroys one of the lava rocks to try and get rohan to cooperate), aggressiveness (he kicks that one fucking cop until he's a stain on the ground, twice, although he is justified in his actions and this kind of willingness to fight people is essentially a requirement to be a jojo), reckless disregard of safety (again, practically a requirement for most main characters), consistent irresponsibility (assuming what we've been shown of him is how he acts all the time, yes, although the story so far takes place over too small of a timeframe to determine that), and lack of remorse (dragona has to remind him not to get too violent in the opening chapter with the cop). so he does fit most of the criteria, but it is also a requirement that, to receive a diagnosis, a person must be eighteen or older, with evidence of having fit some of the criteria before the age of fifteen. so by real world standards, jodio would be on track to being diagnosed with antisocial personality disorder, but actually receiving it from a high school psychologist is bullshit. then again, this is the universe where the president made a cowboy race battle royale where the contestants had to collect magic body parts, so it's entirely possible that psychiatric standards in that world are just different. but you would be entirely justified in not liking his diagnosis, and there are several other disorders that fit the behavior that jodio shows. there's adhd (the impulsivity and tendency to get lost in daydreams and beating the shit out of cops), depression (the sense of emptiness he describes upon being given his diagnosis), anxiety (irritability and angry outbursts), and that's just some of the more common disorders. we haven't even gotten into some other full-on personality disorders or common comorbidities with antisocial personality disorder! from this perspective, your assessment is totally fair.

from a thematic perspective: as mentioned earlier, jojo's is no stranger to making its heroes increasingly reflected in shades of gray, and parts seven and eight especially make a point of contrasting their protagonists with their respective foils from parts one and four. johnny is a paraplegic gringo jockey twink that murders people so hard his friend the executioner had to tell him to slow down, in contrast with the jacked and kindly gentleman jonathan who impressed a stranger so much with his dignity that he immediately joined him in his quest. gappy is a quirky lil amnesiac who beats people to death with shovels while josuke has one of the more normal personalities of all the jojos and possibly the lowest kill count. at first it might seem like giorno and jodio are the most similar duo, since they're both criminals that act a-okay with murder, but while giorno's goals and reasoning for joining the criminal underground are motivated by a sense of empathy towards the people of italy and a belief in a higher ideology that passione can aspire to, jodio is a very self-centered kid. he has a very inflated idea of his own reputation, can't spot obvious traps, and the very first thing we're told about him is that he wants to be stinking rich. he also believes in the ideology of mechanisms, but it's an ideology that is explicitly centered around gain and his own material wealth, in contrast to giorno's philosophy, which involves ideals of self-improvement and certain boundaries that should not be crossed in the pursuit of power. giorno's ruthlessness stems from a place of compassion, so having his counterpart being someone who lacks the ability to feel empathy is a really interesting choice that gives the story a lot of places to go. the fact that the other criteria he fills, like impulsiveness and irresponsibility, stand in direct contrast to giorno's ambition and planning ahead, also adds further potential for the jojolands to explore a completely different sort of crime story than golden wind. so from this perspective, i'd say that your assessment is rather harsh.

tl;dr there's a lot of different angles to approach this question from. it's 90% probably that i completely misunderstood what you were trying to ask, though, so please tell me what i got wrong :P

[noodle-anime]

just! finished saiyuki og series!!! discovered the first resurrected edition volume recently and it has been. well. it's been a journey lol

oooooooooh boy there sure was some Anatomy and Proportions happening in the first volume but it was super fun to see the art style progress actually. it encouraged me to notice more complex poses and things in the later volumes, and when there was an occasional repeat panel like Sanzo and Goku's first look it was very cool to see the difference in quality.

i have a coupla favorite panels/spreads and generally tried to pay a little more attention to how things are precisely laid out and it was a fun aspect of reading. i want to do some actual breakdowns now, maybe compare early and later layouts.

also! i discovered and watched zeroin! my first intro to saiyuki was discovering reload blast forever ago. the art style in zeroin and the fact that there's a whole set of characters i'd never heard of before made it feel like an au or semi-canonical anime movie, sorta, but i enjoyed it So much and there are some specific notes on sanzo characterization that i want to dig into

sanzo is my fave and the kami-sama arc was So Very Good in that respect but it also grew my love for gojyo three sizes.

the way that they all react when gojyo leaves cracks me up so much. they're So Offended. something so funny and also so tasty that they will not under any circumstances admit out loud that they care about gojyo and miss him so instead they're like we are going to Hurt Him (because he hurt us) for Disrupting Our Daily Routine (he's a fundamental part of our lives) and FORCING us to turn this car around (he left with the full knowledge and expectation that they would follow through with actually continuing to pursue this Very Important job like they always said they would)

mmmmm gojyo's savior complex mmmm it's good.

got blasted by the idea of gojyo and hakkai starting an orphanage when they're done with the mission. hakkai was a teacher and still models himself as a "childcare professional"/co-parent to goku and gojyo wants to save somebody So Badly. also good luck resocializing goku to not be killing people/fighting for his life every other day for Two Entire Formative Teenage Years, helping kids and not having it backfire spectacularly in his face would be good for him

i just read the fourth volume so that's most of what i've got on my mind, i know i have More thoughts from the other volumes

besides the fact that sanzo's joints are gonna/have gotta be So Fucked Up. he really is a grandpa. poor guy.

feels good to nail some characterization aspects like genjyo "i'm a coldhearted bastard and you'd better stay out of my way" (developed coping mechanisms to deal with the traumatic loss of a parent and people repeatedly Attacking Him at an early age) sanzo, cho "yes i'm the wife/mother, please excuse these skeletons, the cleaver is only for special occasions" hakkai, sha "i'm the only one here who understands how to be a normal person" (he does not but he does have the highest emotional intelligence) gojyo, and son "i'm a teenager" (he's a teenager, also growing up with the aforementioned trio as parental/familial figures and starting to come into his own!!) goku

not a single one of these men has had a normal relationship or even prolonged interaction with a woman

i had no idea there was a whole brainwashing segment with kougaiji?? and i really want to see more of lirin, there are fun parallels there to explore that i really wanna dig into

i had no idea to what level sanzo was a bastard gremlin with a gun who just Happens to also be the highest of high priests before and now that i do it delights me. the very hypocrisy of his acceptance in his position disgusts him because He Is Not Priest Material but also it's what his dad wanted for him so fuck everybody who tries to take that from him. in any other situation he'd be the shady penniless vagabond gun for hire but koumyou happened. and now we all get to enjoy it.

[bonefall]

Golfy is literally one of my favorite cats of all time and I adore the way you’ve characterized her!! Any fun tidbits to share? I want to know more about the woman

There's a sketch of her floating around if you want to go on a treasure hunt! I don't have time to look for it right now (I am currently in the trunk of a clown car), but I've actually drawn a beta of her design and her big mane

Also note: BB!Goldenflower is part of the Doekin line. Speckletail's perception of herself and her family is tied strongly to being Doestar's niece. This association dies out with Thornclaw in BB!OotS as he's the last one to strongly value this legacy.

Golfy's mane is so poofy, unmanageabley poofy. She keeps it braided

Lionheart just surrendered to entrophy on that one lmao. "Dirt happens."

It's my little way of trying to show the difference between the siblings.

They're both proud and honorable, but Lionheart is more calm and patient. He's a Que Sera Sera kind of guy.

Goldenflower is more fond of the expression, "Fortune favors the prepared."

Note to self: Clanmewnize these expressions. Que Sera Sera is notably quite RiverClannish... Golfy's phrase is definitely from early ThunderClan

Not to get too distracted but I recently got this FANTASTIC idea for how to close out Book 3 of BB!DOTC on a bittersweet note, involving The First Boarhunt and Clear Sky being delightfully devious as always. Maybe it would be cool to put that phrase there... anyway.

She had three siblings total, Lionheart, Mistleclaw, and Snowkit. It's really difficult being the last one; family was extremely important to her.

Mistleclaw wasn't even a year out of apprenticeship; you're really considered an ADULT adult after being on your own for a year. Losing her was like losing a sibling who's college-aged. That was to the plague, before Firestar's arrival.

Smallear was openly the father of all four of them, but Goldenflower hesitates to call him Ba. Him and Speckletail had a really toxic on-again off-again thing.

Smallear was closest to Mistleclaw, who coincidentally looked the most like him. Goldenflower is like... "yeah thats what i expected of him, that fish-eared loser"

She's biased in favor of her mother though. Lionheart was more chill with Smallear; not CLOSE but, neutral-positive.

It wasn't entirely Smallear's fault that the relationship kept falling apart though, to be clear. I use toxic in this use very much on purpose, it wasn't abuse, they really cannot get along.

So when Goldenflower eventually picked a mate, she REALLY just wanted a stable lifepartner that would not be like that.

I would describe her relationship with Tigerclaw more in the terms of an "arrangement." Fishing for romantic information from her is VERY funny because she just like. Doesn't "get" romance.

Brambleclaw: "Mom... what did you... like about dad?"

"He was large, we were both very large. And he was a responsible warrior, respected and ambitious. Well... at the time we believed that. And he spoke with great confidence. He had a way of making you feel like you were both safe and powerful by his side."

It will not even click for her that most people don't open the answer to "why did you love x" with "he was tall like me"

(VINE BOOM AROACE FLAG)

She wanted kits and a partner. She doesn't regret the relationship, she regrets what he made her believe.

On Tigerclaw's end, it was mutual. They both liked each other as trusted Clanmates. He was attracted to her and reciprocated when she proposed a mateship, but I don't think he ever really got over Spottedleaf romantically.

Plus, getting into this family was a smart political move. Having Speckletail's approval was VERY useful.

I might stick Goldenflower as Head of Hunting through TNP to early Po3, until she trains a successor, since there's no rush. I have an allegiance list floating around but I can't remember off the top of my head if she's where she should be

She's actually super disappointed in Tawnypelt for her choice. I don't think they ever reconcile this, they're both too proud

So she's kinda iffy on that alliance with ShadowClan. Not to the point of spite, but she does easily believe stereotypes about them.

"A bunch of holdouts of TigerClan and duplicitous fiends over there."

Both Golfy and Tawnp miss each other a lot, but again. Neither one is going to apologize to the other or say the other was even slightly correct.

And Golfy wouldn't accept it if Tawnp even did. She made her choice. They're in different Clans now. She chose her father, who killed Swiftpaw and Lionheart.

And for that, Golfy will not forgive her.

If they ended up in a battle, neither would hold back. They both know this.

I'm really fond of her. She really is Speckletail's daughter and the whole family has a special flavor of pain and pride.

[difeisheng]

the thing about xiao hua in the lost tomb 2 is that i would argue he's the most ruthless of all the live-action versions (at least so far). he's the one dealing with the ugly underbelly of what it means to be head of the xies, the one onscreen telling the rest of his family to fuck off or die because he won't walk away or go down without a fight. he moves quickly and cleanly and he kills people without blinking if the situation is severe enough to warrant it.

but he's also the version of xiao hua who smiles the most and genuinely means it. whether it's at his men who've stayed by his side, or at wu xie who he beams at from the first time they're onscreen together and never stops looking out for him, or at zhai xingyao, the brother who he's kept safe enough to have his back. he's got all the gravity of the burdens he's had to carry his entire life, but he still finds enjoyment in the simplest ritual of sitting in his courtyard watching opera performances on his laptop. xiao hua has restraint and control and he can click his emotions on and off like a light switch if he must, though with the emotions he's willing to share, he's so easy with making them known.

adding onto this, there's a passage from book canon that i feel is crucial to understanding xiao hua's character, and it's from volume 7 (from wu xie's pov):

“Are you a good person or one of the bad ones?” I asked.

“What do you think?” He looked at me and sighed. “Do you think a good man, upon hearing that his childhood playmate’s life and death was uncertain, would still ignore it and finish his own business first?

(...) "Do you know how many times I did such things before? I often wondered if I didn’t listen to my grandfather and went back immediately, would those people still be alive?” He also smiled. “You can’t have friends once you think like that, because you know you can’t go back and save them. If you became friends with someone and this happened, then you’d be sad. So to prevent that and be able to abandon others with ease, I decided I couldn’t be friends with anyone. It sounds a bit melodramatic, doesn’t it?”

I didn’t know how to answer him, so I just chuckled a few times.

“But these were my thoughts when I was a child.” He said. “Now that I’m older, I’ve figured a few things out.” He sighed and raised the wine bottle and motioned to me, “So, Little Master Three. With me here, you have to take care of yourself.”

(quoted from the Merebear translation)

although tlt2 xiao hua is younger than he is in this section of the books (this exchange takes place while him and wu xie are at mount siguniang, or the last arc of ultimate note), he's a xiao hua who's already been through the change his book counterpart describes in the passage. he's made it forward in reckoning with what he does in his life, and he doesn't consider himself a saint by any means for it, but he's found what happiness he can still make room for and save despite all that. i'm glad that tlt2 gave us a xiao hua who looks like he's gone through that realization, and let him shine in who he is after coming out the other side, not only in his own sideplot but also in his interactions with the other main characters.

one of my favourite moments in tlt2 is from the last battle against the jade(?) warrior, when one of xiao hua's men dies (i'm so sorry i can't remember his name) and he's angry. how xiao hua wields his anger is typically cold, calculated, he only lets a hint of it show because the self-control is more terrifying to watch than full displeasure. this time he's fully expressing genuine rage, and i think it's the most unrestrained we ever see xiao hua with it in any adaptation. one of his people died, someone he cared about and wasn't afraid to show it, and so whoever is responsible is going to lose his life next. and it's beautiful.

tl;dr i adore how tlt2 xiao hua is characterized and how that characterization drew on his book journey, even though this adaptation introduces him at a slightly younger age. hats off to everyone involved

[jack-kellys]

welcome to: rizz's extensive uksies notes, which will discuss differences in characterization, sure, but also more important things like staging, scenic and dance changes, and directorial choices (i do talk about the principal characters at the bottom so i'll forgive you for skipping down there if you wanna). i haven't looked at anyone else's posts since i didn't want them to influence my thoughts, but i'll be whipping out the third-of-the-way-through stage management degree for this shit so buckle up. spoilers/major reveals will be in this post, and this post (among all the others relating to major reveals/moments in this version) will be tagged with #newsies spoilers!!!

lets get into it, starting with the reason this show was able to be as much of an experience as it was: the space.

i think it's very important context to this version of newsies that the troubadour theater, previously, had been housing an immersive peaky blinders (popular tv show) experience. this review gives a pretty good idea of what immersive theater is, and it is... a big feat. it's more of an experience than theater, and that same goal was at the heart of the way newsies is done, too, which worked so well. both are historical fictions and are based on real things that happened, which makes it kind of easier to involve an audience imo and lets them believe what's going on.

the stage is a sort of round thrust-style in the shape of what i'm guessing is a flash/flashbulb in reference to obviously the pics we have of the strike and how "big photos attract readers" (aka the audience in this case :)). as yall know from the photos its got the same tower/skeletal setup as bway...to an extent. for bway, that's tbh all they have, but by losing the proscenium stage and moving into a space with so much more free reign, there didn't have to be one big scenic element, and it didn't have to be the only thing to steal the show. like the "big moment" for bway is when the three towers track forward in once and for all, and there's like....at least three different moments just like that in uksies and they don't even need the towers for any of them! because they didn't rely on one thing, they did so many things, and they did them everywhere. to the walls, to the aisles, to the landings, to the air, this show made sure it used every definition of the word 'space' to its fullest. initially it sounds distracting, but making sure they're all around us and making sure that ensemble characters are able to be on their own without the principals near them really humanizes the ensemble as a group of real kids who fr went on strike. i'll come back to humanizing stuff in a bit, but since we've been talking about the theater space, lemme talk abt these scenic elements because damn...

there was a slide jack used a couple times through a hatch door to escape the delanceys thru (with a little >:) wave) and escape the strikebreakers

there were mini trap doors in the stage where items were stored and revealed, and they kind of looked like the grates that sidewalks have/used to have for like rain to drain into in cities <3

there was a rope jack used to swing through and kick a strikebreaker in the face!

the penthouse actually felt like a home rather than literally just a bare bway balcony lmao, like they had mini portraits sticking to a skeletal roof-like overhang that jack probably built on his own, his art was much more obvious and hung up and personalized.

the cart with all the papers on it actually got to be used in staging in really fun ways- it was both chariot and podium for jack and crutchie mainly but they like rode around in it it was cool

medda has a huge lit-up sign for her theater instead of like. an overhang or whatever it is for bway, which is the upgrade she deserves <3

the children's crusade banner wasn't a projection, it actually dropped as a huge literal banner from one of the line sets and jack stood as a shadow behind it with a fist raised >:)

the tables for king of new york weren't the longer bigger ones from bway, it was like actual restaurant-style table for two's like in 92sies!! and they were on wheels, so they had table-ography– this was also possible due to how much more depth, physically, the stage had, like they wouldn't have had room on a proscenium. davey was pushing les around on a table and the kid was just flying around it was super cute and rly well done

speaking of 92sies, remember at the end of their king of new york when the one newsie grabs the ceiling fan and spins around? yeah, uksies does that with these huge practical lights that fly down from above- newsies get to not only hang off of them and do some acrobatics, but they can spin on them, and they not only go insanely fast, but they also are able to go higher the faster they go. seriously one of the most insane displays i've seen in a staged musical of all things, like it felt like a show and not just a musical.

The abundance of scenic and spatial elements leaves a director/choreograoher (because this guy was both, and it is visceral even in the scenes that he's both and it's perfect) with so many options, and fuckin man, did this guy absolutely use all of them to the fullest. i hadn't realized how like....recycled the blocking had been through bway and also touring, because idt they're allowed to really change it. but guys. we'd been watching the same exact movements for years, and NOW THEY'RE ALL NEW!! everything they do, each location of the stage people move to is all different than we've ever seen as a fandom, which is major, because staging is a storytelling device– since if it wasn't, we wouldn't have it. where people are in a space, where people are in relation to others in a space is also huge. the other main thing again is that it isnt a proscenium stage, so it's much easier not to stage people "in a line". think back to the livesies staging for right before the world will know when jack is telling davey about "if your father had a union". picture where they are on the stage in relation to the cart w all the newsies. its in a fucking line, bro.

this show? abused depth beautifully. the stage pictures were extremely memorable, so choreographed, and set the dynamics for scenes so effortlessly. davey is way downstage when jack's trying to convince him to join the strike, so we can see his exact thought process before the final "i guess...you do, mr. president". (speaking of, ryan kopel is genuinely the first davey to actually make that line a weirdly emotional journey?? like davey takes so long to finally say it, like he's getting over the stakes and letting jack's words sit before finally, yes, agreeing.) or when jack has his pre-seize the day monologue (of which i might make an entire post for for personal reasons and i'll link it here if i do), the three scabs are center stage, arranged in this triangle with their backs to each other and their heads down so jack gets to circle them while addressing the stage at large- it just looks so intentional and frankly very pretty to watch since they're all dancers and their posture is so clean. even something to believe in's scene staging is more dynamic because the towers themselves aren't even in a line- they're angled downstage, so even when jack and kath are high up on a more skinny platform there's still depth and an upstage and downstage they can travel on!! it's so thought through. i'll also make a post about more individual moments, but a lot of people have done that so im making the more important post first lmao.

the staging ofc was very intentional, but the transitions were also...like seriously integral to the narrative. idk if you guys know this or not but transitions can make or fuckin break a moment fr and some directors fucking suck at them LMAO but wow. these? the newsies taking on katherine's platform with the same "mornin' miss" air to their movements and kath saying a small 'thank you' to them before she sits for watch what happens, versus the transition into the bottom line where newsies push pulitzer's platform on with heads and backs bowed down, pushing slower, with more effort, like it looks painful when they push on his platform. newsies lifting medda's footlights and sort of "working at the theater" with their movements mirroring dramatic vaudevillian theatre. it was all so fluid and nearly all of it was done by the newsies and none of it was really...hidden, either, and seeing them literally "work" onstage cemented them as "the working boys of the city" really specifically, and in a very special way. like yeah, the invisible workforce, of course they're doing the transitions. beautiful, a+.

among other added elements were the new orchestrations. newsies has never sounded like this before, even excluding the new music they added. there was more base, guitar, and drums, and the tinny trumpet was much more subdued which felt more...realized and less disney, which is for me always welcomed lol. honestly it made the music sound less disney as a whole. very grounded sound overall- ALSO the sound design was so fucking excellent like you walk into the theater and it's the sounds of the city in 1899 and it's so cool...but! yes! there was new music because guess fucking what: every single dance break was extended. every single one. they all of course had new choreo (finallyfinallyfinallyfinally) but also literal new parts to the dance breaks. each by like 3-5 mins. cemented this as a show more so than only a musical which i fucking adored. in a diff post i'll go through each song (though it might. be after i see it again) and talk about the extensions because just....come on director/choreographer!! yes!!

rounding out this post specifically, im gonna nail down some characters and relationships, since honestly they were very different than we've seen before, but there's merit to all of them for real, and i appreciate a shift from how we're used to interpreting them, and honestly i hope it changes our characterizations as a fandom and adds more depth/possibilities!

starting with the romantic hero of the year, jack kelly.

he is distinctly a romantic hero in this- not in the perceived lovesick/floaty way. he's a very raw version of himself, and he's almost a loose canon (until he's forced not to be via blackmail). he's staged very intimately with others when talking one-on-one, which i know is a usual jack trait, but at michael's jack's core is "come on, look at me." every moment with those he loves is personal to him, is treasured and valued. a baseline example is crutchie, of course, who he says "look at me" to in the prologue after crutchie gets discouraged with himself. they aren't staged outward toward the audience, because jack doesn't let it– he is in line with crutchie, really looking at him, and making sure crutchie's looking back. he does this with the scabs too, except he gets to move around them because of how that trio is staged (my god that scene looks and is so beautiful..fuck).

but i think this is very exemplified with davey, actually, because what i love about michael's jack is that the emotions he wears on his sleeve aren't only ones of love- it's all passion, which includes anger. jack and davey do not get along initially. the exchange of "well if he's the best then what's he want with me" is kind of charged, which is exciting- davey really is just there for his family, he doesn't need eyes on him, and he wants to shut it down....but it's shutting it down via undermining jack, which is made clear by jack's reaction that that isn't something that happens around here. "cause you got a little brother" really feels like an 'i don't need you,' in how it's said, and any back and forth they have through that scene is an interesting animosity... which changes the moment davey and les are in danger, when snyder appears and they run (they run SO MUCH in this show oh my god, they run everywhere across everything and up and down), and once they run to the theater and jack gets them out of that situation and davey is seriously like. 'who the fuck was that guy, we had to go through that bc of you, that wasn't okay', and the way jack explains who snyder was...for the first time, jack doesnt match davey's animosity and instead just explains, in lieu/as an apology, the details on who snyder is and to steer clear of him. and instead of saying "right" as davey normally does, he says "thanks for the advice", with the staging squared and head-on to jack. and it isnt sarcastic, it's just genuine, and from that moment on, davey gets the "look at me" treatment. and jack even holds the back of davey's head during i think seize the day and lets his hand slide down his shoulder to daveys chest and daveys hand is on jack's shoulder and they're staged square and not outward like the moment is just for them.

jack's emotions are more visceral than they've been, he's very hot-blooded and it just makes everything hit more. the fucking seize the day monologue. poc fans we finally won. michael took so much time with it, making sure each line was heard and intentional and the audience was doing that thing they do at more serious straight plays with the little "mmhs" when they agree with something and like. he just made sure it was taken so seriously, same with the something to believe in scene. "what is this.. about, for you?" just the way michael structures jack's word is so smart and emotional. he also has this sort of break in his speaking voice that reminded me of jerjor actually, but it obv is just the way he acts and a choice for jack, this cracking of the self when he's vulnerable with someone at the expense of himself.

lemme say that again. this jack's voice literally has an emotional crack in it when speaking vulnerably at the expense of himself, which is SO FUCKIGN SPECIFIC GOD I LOVE HIM FSKDFJSDJ FUCK. it's genius. he does it with katherine during "i ain't stupid, i know that... girls like you, don't end up with.. guys like me." oh my god the FUCKING NOISE THE AUDIENCE MADE. oh it was heartbreaking, like it was genuinely crushing. made me tear up for sure, for obvious reasons lmao. michael is the jack i've always wanted- a little vain (he admires himself in a hand mirror during carrying the banner<3), absolutely turbulent, and painfully, horribly aware of his own stakes in this all. and black LMAO I WONNNNNN HAHAH I WON!!

speaking on crutchie next because he is the narrative of this production.

the fandom has sort of strayed away from the jack+crutchie team and fallen into this jack+race team, and this production makes damn sure that doesn't happen. it is so jack and crutchie, all the way, to the end of the fucking line. he is with jack, central, through all of act one's staging and major numbers- by jack's side for carrying the banner, with him on the cart when it spins around center and moves around the stage for world will know, he leads the newsies up to the world's door to make way for jack, les, and davey to enter it, he's included in seize the day choreo moments, he cries out for jack to get away ("jackie, run! run!!" im. i am. a mess) at the end of the brawl when he knows he's in a situation he can't get out of.

he also has this hug with jack and race when he returns from the refuge that nearly made me yell out loud LMAO (me and @roideny grabbing hold of each other in the theater and all), and the three of them have a personal spot of the stage together looking over the paper when davey makes his first appearance- crutchie is just staged very intentionally near anyone with leadership, cementing him as a leader and is certainly no longer jack's kid-brother anymore. any infantilization is really worked on getting completely gone in this production, the effort is apparent likely especially bc the actor (matthew duckett!! sweetheart supreme!!) is disabled himself!

another really key thing about this crutchie is how loud he is, in every way he possible could be. his color palette is the most stark right along with jack's, he's wearing overalls which no other newsie has, his speaking voice is almost abrasive- it's not rough, per say, but it's sort of coarse and nasally (he's so new yorker and im in love w it), and very distinct. he's also taller than jack (michael my beloved is 5'9", furthering my jack is 5'9" agenda) and like... most of the other newsies tbh.

this production does not give you a choice but to notice him, does not give you a choice but to look at him, does not allow you to ignore crutchie in any way. it's visually and audibly impossible, and that is spectacularly intentional.

he is also like... sunshiney in a rough-around-the-edges way, in a this-is-all-i-have way. he's so himself, he's abrasive and almost snide in how he talks. very self-aware, but choosing actively to be brighter about it even though you can tell his situation weighs on him. crutchie is genuinely so dynamic in this show and he's amazing to watch, and he is finally, finally, truly shown as equal to the rest of the newsies, and certainly to jack.

this is so specific but the "we have the right to starve, let's just get our papers" line is so decisive of him. like i'm realizing that that line hasn't given him power before, but it does in this show- he can raise a definitive solution to the group without being jack, and i.. don't think anyone else does this, at all, when they're discussing the strike. it's just crutchie who states what he believes they should do. like. that's never been emphasized before thats so fucking cool for him idk

alright davey time woooooo

davey is the king of defensiveness in this and i genuinely fucking love that choice for him. because he is trying to find a 'way out' within the text but also metaphorically within the story before world will know. so like– this production had davey try and contradict every time someone comments on what davey says. he'll start to say "i didn't say-" "that's not what i-" "i didn't mean-" before cutting back into the script's dialogue again, which is SO fascinating. since initially, davey is trying to separate himself from the newsies, so he uses ad-libs like that to break away, but then after world will know, those same ad-libs are used inversely it felt like, like he'd say something in a way that didn't quite fit and he'd try to rephrase so that it did? very interesting to watch.

he also was very nervous to speak in his first appearance when getting his papers, like he was very nervous about speaking in front of wiesel. this davey had sort of trouble finding words in a timely manner, but what he always has are the right ones, which was a good dynamic for he and jack. he does know what to say, and what he says is intentional, he just isn't great at saying it until act two which is so. cool. even in act 2 at the rally he's still finding his footing, and then when he's at pulitzer's office with jack and spot, he's in his own. he's nearly flippant about his words, since he's found his confidence in them through jack uplifting them the whole show. it almost..... like he and jack kind of have a mentor-y relationship? jack really feels like he does show davey the ropes (despite how biting the "well my father taught us [indicating that jack shouldn't lie so easily in front of les] not to lie" is), and davey learns from jack while jack learns from davey.

speaking of les though wow is mans protective as fuck. his arms are always around this kid, he rests his chin on his head really casually and les is so easy with it too like yeah they're brothers asf. and their moments in king of new york are so precious, and they have the center table together at the start of act two.

speaking of act two! can't talk about davey without discussing wwh reprise :). the way he talks to jack in this scene is so confident that jack's "have they busted up your brains or something" feels like it's more about that- davey hasn't spoken against jack since before world will know, and jack isn't used to the dynamic davey is trying to establish. he's so persistent, and urgent, and like... in it. "won the battle, jackie think about it" like this davey wants to win. at every single turn in this show, davey wants what he believes to win. he will speak against anyone, he will try and change his words' meaning ("that's not what i mean-"), and he will persuade whoever just so that he can win. he feels so competitive and it shines in different ways and everything he says really is so argumentative. maybe he's a little quieter, his voice is shyer, but davey isn't shy, and that's made clear. also ryan kopel hugged me at the stage door and i love him and he's so fucking sweet wowowow

ok katherine and we'RE DONE i promise.

staging made absolutely sure to ground her. she was watching a lot of the scenes she wasn't in, like she appeared during world will know in one of the aisles- felt very much like those moments in 92sies when we'd just see denton around takin notes, which i loved. showed her as a very active journalist. she also like... spoke like an american newscaster?? like she had a News voice lowkey? which was a fun choice.

her scene with jack when she's asking him questions is so serious for her and i love it, it really makes sure that she cares about what she's writing and who she's writing for. jack's "we both got a lot riding on you" takes her downstage as her desk gets set up, and we get to see jack's words weigh on her which is fuckin nice as hell.. like she just felt more grounded than she's been. she still got to be bubbly, but she was more aware of the situation than like... kara lindsay's katherine. she knew the stakes for the newsies i feel like, which is why the name reveal was more intense and the STBI pre-scene was... the best i've seen. she was embarrassed at herself for lying to jack- not telling him everything, and when she defends it she knows it's weak and doesn't try to back it up.. i just appreciate it bc that scene normally feels so superficial despite its context and what they're talking about, but kath and jack really did everything they could to save that scene's writing... they reeeeally fuckin tried LMAO. this katherine was more willing to put herself in the action for sure

her back and forth with jack in jacobi's was so fun, and the defining line of their arc through the show was definitely "this is entertaining...so far." because it's fun to flirt, until it isn't, and someone you care about his ruining his name at the city-wide rally, or revealed to be the daughter of the man sending cops to beat kids into submission. whew. they're really good together.

very quickly: THIS PULITZER IS >>>>>. HE IS SO GOOD. I CANT LIE LMAOOO HE'S SO EVIL I HATE HIM!! and MEDDA WAS SO. that's jack's mom. she also really does serve independence, and i love it so much.

anyway thanks for reading this far guys LMAO i now this is so extensive and i didn't even talk about the ensemble fr... but that's for the second viewing. the direction this production underwent took major precedence, since it's so different and so much more fleshed out.

hope this gave a clear picture on the vibe of the show and the principal characters/relationships!! more to come asf!!!

[theghostbunnie]

How do you see Max and Nikki’s relationship?

As siblings

I know that's like sometimes what ppl say when there's a straight pairing popular ship (makki) vs a gay popular one (maxneil) and they don't really mean it they just mean they have a uncomfortbilty or hatred towards one of the ships, but in my mind they're literally twins/hj

I have AUs where they're twins, half siblings, step siblings. I love them sm..There's even a line in one of the end credit rap songs that goes something like "we may not have the same color skin but imma treat em like my twin" and I'm like ah yes,,, something to feed into my delusions/j

((on a more srs note I feel like more ppl should look into the end credit lyrics alot of it seems specifically written to fit Max and might give people a better insight into his characterization))

But enough of my fannon delusions n self indulgence they're obviously not actually siblings they're best friends BUT they didn't start off that way no matter how sweet the "you now have three little bastards to deal with" line is bc in the first season, earlier episodes he's more of an asshole to her bc they're still getting to know each other.

He broke her instrument, quicker to basically tell her to shut up on multiple occasions, ect.

Back to the first episode, Max operates BIG on first impressions. Off the bat he's touching Neil's shoulder, he's impressed by his disrespect to authority, he wants to hotwire the bus with him. But Nikki? Hardly addressing her. Even says "why would you help us?" Bc despite biting him, she appeared to be just a 'little more violent, mini-David.' THAT was his first impression of her. Nikki didn't have his attention or respect technically until he learned her willingness to seek and cause chaos near the end of the episode. There's times at later points where she's clearly getting on his nerves.

I'm pretty sure I already wrote out a whole in depth thing about how Max has issues getting attached to people and will fight it off and deny it once it happens even at the cost of their feelings (points at camp corp episode) where as Nikki is a social person who has been denied a real friend til she came to camp campbell same as Neil, who is NOT a social person. They both start off clingy towards Max for this but Nikki works past it and makes 2 other friends while Neil doesn't.

So recap: Max builds a team of two other kids he can just share a common goal with at first, is a bit of a jerk to Nikki initially at times, but she grows on him and now he really values her as a friend n cares for her deeply.

But now onto NIKKI'S POV: She'd been bullied before, it was a traumatic experience for her yes but that's also the ONLY information we have on any past relationships she's had with peers, kids her own age. Any other time she's talking about someone she knew it's often just her mom. sometimes her dad (often not painting a good picture of him but through a childhood innocence lense) or an animal she knew.

So when she makes her first friend group in camp campbell her only prior experience with one is in the flower scouts. Nikki picked up bad habits from them bc she's a kid and doesn't have the emotional maturity to analyze her every behavior.

So when Max is being the type of person who was being quick to shut her down, who (in her own words) was micro managing her, and only ever seemed like he was having a good time when they were doing what HE planned to do, ofc she's gonna start harboring some complaints. Nikki isn't gonna sit down and talk about her feelings to him like an adult she's gonna do what the flower scouts taught her and you talk shit about the problem to OTHER friends.

This isn't to say she secretly hates him, no I firmly believe she deeply cares about him too but they're both flawed people so their friendship has flaws too that doesn't make it void of care for one another.

You can't unbiasedly hate on Nikki for that scene she's mocking him if you're not even taking into consideration WHAT her original issue was. Nikki shit talks, Max has control issues.

As episodes progress I think they really seem to work past it and become better people AND I THINK THAT'S RLLY SWEET I LOVE THEIR FRIENDSHIP ❣️❣️

The way they interact with each other throughout the series really shows that their differences might cause some clashing but they have FUN together and I think their differences and problems just make them more interesting characters