#it is a problematic series with a lot of punch and good ideas

[hearsayhorizons]

Thinktober 6: Golden

The heat of the sands, the massive bulk of the mother dragon nearby, the crowds of people there to see and be seen, the little dots of Rekke’s parents in the distance.

Of the seven or so girls and women here to try their luck, only perhaps three are any sort of real possibility: the headstrong Kimara whose self-confidence will get her where kindness won't, the timid Berne whose ability to hear all dragons will probably overcome that limitation in time (not that anyone’s said anything, but Rekke sees the way dragons react to her, and her to them)... and Rekke herself.

Always dependable, always practical, keeps her head in a crisis, already has a lifetime of sacrificing the songs and freedom she wants for the greater good of her family and farmhold.

Which wouldn't be a problem, because the other two are happy to be here. But there are three golden eggs; all of them are shaking.

Across the cavern, a clumsy bronze claws its newfound partner as it tries to embrace him. People are shouting, but not at the violence as a blue tosses one boy aside to get to another behind it--no, the noise is Kimara's people, because she has Impressed the first queen hatchling. She's trying to stand tall and smug while it mews at her feet, but even from here Rekke can see her expression.

Berne becomes a sobbing mess as she embraces her new partner; the thing snuffles over her shoulder for food while she hugs it.

The last gold flexes free of its shell. Rekke tries to ignore the stab in her heart at the sight of that damp-dark hide and those whirring rainbow eyes. She plans to remain indistinguishable amongst the other white-robed candidates. Some of the girls strain toward the thing; a few others look forlornly at the greens Impressing in the distance. Others are more sensibly shrieking and backing away from its ungainly movements as it begins to approach.

It’s too late. It made eye contact, and has invaded the quiet of her mind with forlorn words: my name is Marath and I love you. And Rekke—inescapably, irrevocably, claustrophobically, loves Marath. She sinks to her knees as the other girls scatter or break into sobs or look to each other for comfort. Marath sticks her face into Rekke’s—none of the short briefings mentioned the stink—but just like everything else, just like the few girls Marath walked over and probably maimed forever in her rush to reach Rekke—it all matters so much and not at all.

She helps Marath extend her baby wings with fingers that tremble. Somewhere, far, far away, she can hear her family screaming for her. She is screaming inside, too. Her family has been talking for weeks about the prestige, the connections, maybe recruiting some lesser riders for help in getting their goods to market faster. She has been thinking since selection about... her heart outside her body. Feeling the dragon’s—Marath’s—hunger as though it is her own. Never again being alone inside her head, just like she’s never been alone in the fields or in the bedroom she shared with four siblings.

Rekke couldn’t help dwelling on the stories the weyrfolk whispered like bait or whips to the candidates during their briefings: of Ramoth’s first flight and the state her rider was in afterward, how F’lar showed her... they said it was a good time, but they talked about her injuries. How the dragons’ emotions make things different. Acceptable.

The weyrmen looked at all the girls during those talks, and the boys. Rekke wonders how many will get home. How many will want to.

Marath licks away Rekke's tears of love and revulsion.

[weaselbeaselpants]

Lindsay Ellis plagiarized a ndn author

This post isn't a callout and it's only my own post because the OP source I just learned it from, @neechees, doesn't allow rbgs at a certain point on that post.

After Hmbomberguy's expose on Illuminaughtii and James Somerton some people are giving a well deserved eye back to the leftube sphere that was kind of schism-d and held under scrutiny in what I feel was, a lot of the time, misinformed hate campaigns in response to genuine criticism; especially towards Lindsay Ellis who up left after she was canceled and hasn't returned to continuous video making publicly even after people have mostly agreed the hatedom directed for her Raya and the Last Dragon takes was stupid and was erasing actual SEA people's discussions of the culture. To hear and see a decent breakdown of that film's representation problems BEYOND the Ellis-parts because it's worth your wild regardless of if you've seen the movie, please watch the three part video series hosted by Xiran Jay Zhao.

To tl;dr the 2021 drama: people have held an ire towards Ellis for a long time feeling like her and her white-woman base talk over, steal, or just straight up don't apologize for their own racism towards women and ppl of color, and after Lindsay did a problematic by pointing out that Raya and the Last Dragon was like ATLA, people jumped on her.

Being both a longtime fan of Ellis and white as fucc, I personally feel like Lindsay kind of forgave herself and threw out the actual criticisms held against her every bit as much as people just kind of treated her like a punching bag. Or, to paraphrase @padawan-historian's old takes from then, they treated Lindsay like she was trying to be the ENTIRE conversation, not the start of one, and like every possible outcome that could happen over her videos was her fault personally. Some of Lindsay's loudest and nastiest 'critics' were, in fact, other white people or just people who have no good faith in addressing her fuck ups, like Lily Orchard, fe.

One 'Lindsay did a racism'point tho that I felt wasn't truly addressed in full though were claims by indigenous people that she was anti-native, especially in her videos about Twilight and Pocahontas, which yeah at the time I was very passive of you can 100% find post abt that. But then Neechees linked me to an article I, and I think a lot of other video essay-fans had never seen before. This article accused Lindsay of stealing half of her talking points on Disney's Pocahontas from theirs.

When people on the breadtube spectrum talk of Lindsay, even people who criticized her at the time. all kind of agree that the intensity of the backlash was uncalled for and, while not everyone agrees if her public silence is a 'canceling' or not, agree with her need to just take care of herself these days. For those curious, this is the article making this claim:

I am not saying you need to all unfollow and hate everything Lindsay ever touched, mkay? But I also genuinely hope that Lindsay addresses this+comes clean because holy fuck. Unlike Somerton, all I can tell you is I don't just 'believe Windsey wouldn't hurt nobody uwu~'. I am pretty certain that Lindsay care about the topics she covers, for whatever that's worth to say as another whiteperson. It's just that, like Contrapoints, I ALSO think she has a tendency to deflect criticism within that sphere and lump all her negative bagage together. This really sucks cuz not all of us are Lily Orchards or Vaush clones.

Most of us are/were casual watchers of Lindsay like we are Hbomber, Contra, Lady Emily, Folding Ideas, and ToddintheShadows (does he count as leftube idk?) and we really, genuinely don't want to believe that Lindsay stole from + refuses to listen to women of color when they call her out.

Where I like almost everyone in the leftoob analyst sphere that's ever growing and hopefully now weeding out Illumanaughtii-s and Sommerton-s of the world, there ARE controversies within the space that I don't agree with creators on. Some are dumb things like the exact takes Lindsay has about movies n shows that I just up and disagree with her on, Princess Weekes' proshipping apologia that I have LOTS of thoughts on. However, some matters are clearly personal and about maters that just don't involve me. Earlier this year, Folding Ideas and Lady Emily ctrl+alt+deleted some replies they made to Quinton Reviews, making clear that they very much still dislike him based on something that happened between Quinton, Lindsay and I think SarahZ. And by "dislike", I mean also still believeing his former editor over him on who was boundary pushing about who in their relationship. On the offchance any of those creators or their stans somehow see this, know that I'm not going to tell any of you guys how to feel about whatever Quinton did in private I'm not aware of; it's just that I also happen to believe Quinton on this issue and I don't like the guiltybyassociation mantra.

>>>>side note: I hate that every time someone says "I believe so and so after hearing their side now" ppl jump on the "you were just a stan from the beginning and never actually able to listen"-bs. Yeah, being more familiar with one creator over the other means there's bias, sure, but I kinda hate that that once held bias means you can't be held as any kind of source or form your own opinions. <<<

Big introvert vibes ahead: the thing about any big social circle of better-spoken people than you is they ALL seem like a scary meangirl's table from outside looking in. The kind that'll send goons after you with passive-aggressive "this is slander against me and I have the right to be upset abt it sorry if the stans eat you alive". They can also be made out by their fans to be harmless internet nobody's who YOU are at fault for getting mad and staying mad at cuz it's not like it matters on the internet and are clearly just out for drama and 'twofaced' yourself. I think the reality is the same thing that drives every community forward as well as drives them apart: these people are legitimate friends. They stick up for each other the same way we stick up for our personal internet friends whenever there's shit coming their way. The breadtube circle, whoever that is at this point, clearly know some shit we don't about themselves as much as they don't know shit about us and our true intentions. One of them has a platform and responsibility, where the other has power in masses and following them or not. We gotta all make the choices best for us.

Anyway. I guess, if any of the stuff about Lindsay ripping off that writer IS true, I really hope that she admits and apologizes for it. That's not cool to do to her indigenous audience, or even me, one of her white fans who expects actually allyship.

[demonofyork]

I feel like a lot of members of the fandom go to one of two extremes with Buckingham and Richard where it's either "They never loved each other and Buckingham is an unfeeling monster and this is the most morally bankrupt ship in the series", which kind of misses the point that the series makes that humans fuck up and they fuck up a lot, and you don't have to be a literal demon to make these mistakes, you just have to be hurt and lonely and desperate.

That or it's "They were so good for each other and everyone who dislikes the ship is misinterpreting the situation and an idiot."

I don't personally believe that liking toxic and messy relationships is morally wrong, but their relationship very much was framed as assault/grooming/coercion for a lot of it. Ignoring that is also ignoring what makes the ship so cathartic and interesting to pick apart, so I don't know why anyone would. Even Buckingham himself realizes at the end that he's been forcing this 'demon' role onto Richard as a means of controlling and 'owning' him. Like nobody should have to produce a disclaimer that they're critical of everything they ship and are so sorry for being problematic, that's dumb, but own it. Own that your favorite anime boy sucks really badly. We all love Richard and we know he sucks but almost everyone else in the series also kind of sucks. Nobody wins here this place is a freakshow and Buckingham and Richard can still have their sexy masochism tango if you acknowledge that chaining Richard up with a forced pregnancy was unquestionably fucked up.

This fandom all in all is a weird one to produce fandom morality discourse or to get a superiority complex irt shipping over because Richard's canonical love interests/pursuers are: A man who met him when he was ~8 and has a son his age, that man's son who is convinced Richard is a woman, His second-cousin who he gets trapped in a loveless neglectful marriage with, his lifelong friend/valet who he uses as an emotional punching bag, a guy who sexually assaults him, his older brother who also sexually assaults him, and arguably his own father.

Not to mention the fetishization and iffy tropes prevalent throughout the series that make it hard to recommend to people to begin with. So... dying on any of these hills is a silly idea in my opinion.

[itsclydebitches]

About Bakugo, I actually think his original characterization is partly why his arc doesn't work for me: it seems like his contempt for others and desire to hurt them is innate, because he was already insulting and humiliating Deku for fun when they were in kindergarden, and at this age I'm not sure it makes sense to blame the adults around him for this behavior. This is also why I don't buy the "childhood friends" narrative, even before the infamous river scene Bakugo was toxic to Deku.

Hard agree, anon. I'm willing to give some wiggle room to the "Bakugo had a messy childhood and that's why he's like this" argument just because I'm not caught up (and thus might be missing some flashbacks/revelations), no one's life is ever perfect, and there's a subjective line between what we read as innocuous tropes vs. realistic traumas (example: is his mom hitting him something we take seriously, or just classic anime "comedy"?), but honestly I'm... not persuaded by that stance. Largely due to what you've said about this contempt being around since the very beginning. Bakugo's cruelty is the introduction to the entire series, the very first thing we see:

First, they're young here. Maybe not kindergarten young, but as we see in the above narration, it's at age four that Bakugo acquired his "I'm the best" thinking (more on that in a second). They're kids. This is not something that developed slowly over the years until Bakugo crossed some kind of line, he's been like this since the very start. Since a kid is capable of forming thoughts, opinions, and making decisions: like attacking another. In what way does this establish them as friends? Izuku literally shaking as he tries to protect another kid Bakugo is has hurt? Bakugo calling him worthless? Gleefully attacking and punching Izuku in the face? They were never friends! Izuku followed Bakugo around because he was paid some kind of attention by him and Bakugo poisoned the well — no one else in class will befriend Izuku. We see this both by the two willing to help beat him up here and, later, when Izuku says he wants to got to U.A. the entire class laughs at both the idea and Bakugo blowing up his desk in response. The bullying is the only kind of "friendship" Izuku has, so he embraces it with a smile and a nickname. Meanwhile, Bakugo allows Izuku to tag along because he makes him feel good in comparison. All Bakugo needs for an ego boost is to look at Izuku. He's the useless, quirkless nobody whose name can be read as "Deku." What's not to like? Izuku makes Bakugo feel good because Bakugo will always come out on top — always win — when pit against him. Did they have a few good moments gushing over All Might? Yeah, but anyone who has been bullied knows that it's not a clear cut "They were consistently awful every second of every day." Sometimes, those moments of pretend or conditional friendship make everything worse.

(As a side note, I keep hearing the more intense fans of Bakugo saying that those who criticize him identify with Izuku "too much" and it's like... yes? He's the protagonist. You're supposed to identify with him. To say nothing of the question of why you'd include such an explicit bullying subplot — arguably at the heart of the narrative in regards to characterization — if you didn't want readers who had experienced bullying to relate to this story. So it's all about victims like Izuku, you're allowed to care, just don't care in a way that holds Bakugo responsible?)

"But Izuku cares about Bakugo. He tried to help him out of the river." Yeah, because Izuku cares about everyone. Overlooking his warped idea of what friendship is due to having no one but Bakugo, Izuku is the kind of person who is going to extend his hand to anyone who needs it, just like All Might would. His extreme compassion and lack of other friends is not good proof that he cares for Bakugo in any true, healthy fashion, let alone that Bakugo cares for him.

As for when this all started, yeah, it was when they were even younger than in the scene above. Toddlers when Bakugo realized he had a strong quirk and Izuku was told he had none. Bakugo's reaction to these events — deciding he's better than everyone else and that justifies harming those "lesser" than him — is instantaneous. That desire was there all along. He just needed an excuse to act on it. After the conversations about the adults' influence on him, I went back to the anime scenes of Bakugo showing his quirk to his class and it's... pretty normal? I mean yes, there's praise, but in what world wouldn't there be praise? A bunch of other kids are going to ooh and ahh over mini explosions and the two teachers, unless they're entirely heartless, are going to tell this kid that he'll indeed make a wonderful hero someday. Those are standard responses for very young kids who aren't going to understand something like, "That is a powerful quirk and you could be a great hero... just don't let that potential go to your head!" There's nothing in those scenes that imply an excess of praise, at least so much that it would totally warp a kid's perspective of others to the extent Bakugo has going on. If I recall correctly, Bakugo's parents are quite disappointed in his behavior, but that never had an impact on him. And as I mentioned previously, we have incredibly talented characters like Momo (getting into U.A. on recommendation), people like Ida who come from families with other heroes they want to impress, Todoroki dealing with a crazy legacy to live up to, tied up in his abuse... yet none of them turned out like Bakugo. All of that didn't kill their compassion, but adults telling Bakugo he has a strong quirk made him into this person? Bakugo wanted to be that person, right from the start.

Honestly, I think a lot of fans latched onto Bakugo — which is awesome! — but didn't want to admit how horrible he actually is. So they took moments largely out of context and repeated them enough until they became fandom staples. Bakugo and Izuku were close childhood friends who just had a falling out they need to come back from. Bakugo was only like this because the adults in his life drove him to that behavior. Izuku loves Bakugo because he can see how good he is, deep down inside, and definitely not because he's been stuck with him since they were toddlers, unable to escape him even at U.A. It's a very sanitized look at their relationship, embraced because fans want them to be friends or lovers. Which is fine! God knows I'm into a ton of "problematic" ships, I just like acknowledging that they're problematic, not trying to sweeten the situation because fandoms have made others feel guilty for liking anything that's not squeaky clean and pure. Bakugo tormented Izuku for their entire childhood. He encouraged him to commit suicide. He tried to keep him from achieving his dream, both by undermining his confidence and outright threatening him (remember burning his shoulder?). He then reworked that obsession when they both got into U.A., trying to prove Izuku's uselessness, failing, and continually struggling with the thought that he's actually a great hero. And it's like... why do I care? This guy is a horrible person, he's been a horrible person since he was a kid, and his greatest challenge for more than half the story is acknowledging that other people aren't worthless trash. His improvement still hasn't gotten him to the standard of an average person, let alone a hero. If Bakugo were a villain, great, or if the story was going to really highlight the corruption of the hero career as a whole (we take anyone with powerful quirks, no matter how awful they are), great, but as a main character hero whose behavior is supposedly just a cover for a fantastic guy, please overlook everything he does and assume he's worthy of your respect anyway? Ehhh. Why do I care about him as a good guy when there are characters like Ida and Uraraka I could stan? To be clear, I'm not saying other fans can't enjoy whatever characters they enjoy, just that from a storytelling perspective I think it's a failure to introduce Bakugo as such an extreme, make him one of the heroes, give him such a selfish struggle, and then expect a lot of the audience to care. Bakugo either needed to be more balanced from the start — regular flaws instead of such an intense adoration for cruelty from the age of four — or the story needed to unpack his behavior in a way it never bothered to.

[mccoyyy]

moving this to my new blog so I can pin it again lol

@stregoni-benefici you are completely correct but I just wanted to expand on this a little bit - also i’m putting this under a read more cause this got a lot longer than i originally thought it would be

sexism: smeyers treatment of female characters throughout the entire series is extremely problematic. like you don’t even need to read deep into the books to see that. the backstories of all her female characters all involve some form of trauma and are significantly more violent than the male vampires (Rosalie and Esme enduring physical/sexual assault meanwhile Edward dies of the flu and Emmett gets vibe checked by a bear).

she also creates the idea that a woman isn’t complete without children/being a mother. every female vampire in the series is desperate for children yet can’t, its mentioned in pretty much every book and extreme emphasis is placed on how tragic this is. a female character wanting children isn’t wrong or sexist at all but the way its written in twilight makes it seem like its something a woman has to do in order to be happy and smeyer pretty much cements this idea by making Bella suddenly desperate to have Renesmee despite showing no interest in children/audibly voicing her thoughts against having children in eclipse and the start of breaking dawn (i’m pretty sure Bella has a line of dialogue in the books where she says something like she didn’t realise it was something she wanted/needed until it happened bit I’m not sure I try not to read/think about breaking dawn)

there’s also the way she writes female characters, specifically Rosalie. its mentioned throughout the series that Rosalie has extreme mechanical skills and multiple degrees in STEM fields but its barely ever shown, and instead her characterisation focuses on being obsessed with her looks (first couple pages of this, written by smeyer for new moon), and being a ‘stereotypical bitch’. for the first three books most of her character/dialogue is based on being cold and rude to Bella. She is unnecessarily painted as the villain for having different views on Bella (quite literally) giving up her life and future to be with a man (which is a whole other can of worms). the same is done to the character of Leah in eclipse/breaking dawn. Leah is a woman in the Quileute Tribe, she has been severely affected by the Cullen’s presence in the area and is painted as a character that the reader is supposed to dislike simply because she doesn’t like Bella/the Cullen’s despite having extremely valid reasons not to

anti-Native - smeyers treatment of native tribes is horrendous. she has profited fr years off of of native american culture for years and has done so without any acknowledgements. furthermore, she also demonises native american teens (especially in new moon) by calling them wild, violent, dangerous and out of control and then uses these stereotypes to create a contrast between the self control and patience of the Cullen’s and make them seem more like the good guys, and the wolf pack being lesser. She does this again with the treatment of Jacobs character in new moon and especially eclipse.

Jacob starts off in new moon as Bella’s best friend. he helps Bella come out of a severe depression caused when Edward left at the start of the book. however in eclipse his character makes a complete flip and he becomes moody, temperamental, argumentative and disrespectful of Bella’s boundaries. his character becomes unrecognisable and despite smeyers claims of a love triangle, it is obvious what the outcome will be. I have seen countless instances of people on this site claiming they hate Jacob because he is a dick/disrespectful/just as unhealthy as Edward. this was done on purpose by smeyer as she uses Jacob to make Edward seem like the obvious and correct choice for Bella. if you need more proof of this, take the scene where Jacob kisses Bella without her consent and she breaks her hand when punching him, Edward swoops in and almost gets into a fight with Jacob for touching Bella without her consent. this is an obvious attempt to make Jacob seem like the villain and Edward the white saviour

there’s also the treatment of the native characters by the white characters in the books. multiple times in the series, the native characters are called/compared to dogs/brutes and have a distinct unpleasant smell. I don’t think I need to explain how this is racist. the pack also helps the Cullen’s/saves Bella’s lives and never receive any acknowledgement/are treated any better by the Cullen’s/anyone really. the pack are only ever used as a way to make the Cullen’s look better.

there’s also some pretty obvious similarities to colonisation with the Cullen’s entering Quiluete lands which then forces them to start phasing into wolves (and I’m pretty sure none of the pack actually want to start phasing). also, remember Leah? the only female member of the wolf pack? because of the change she effectively can’t have children? that has implications.

and to top it all off, after doing all that, smeyer has never once addressed this or even acknowledged the Quileute Tribe.

pedophilic - I mean even without mentioning breaking dawn its pretty awful. first of all you’ve got the blatant sexualisation of minors throughout the entire series. Edward is 17 throughout the series and smeyer is writing literal paragraphs about his chiselled abs. Jacob is 16/17 when she has him running about forks topless with a 6 pack. this is way more apparent in the movies but its still a huge issue in the books and lead to Taylor Lautner being confronted by adult fans trying to get him to sign their underwear, and being forced into being shirtless for most of the movies which made him extremely uncomfortable (Elizabeth Reaser (Esme) briefly talks about this in the ID10T podcast on spotify). and just as a reminder, Taylor was 16 when the first one was filmed and 17 for the second.

Breaking Dawn is a whole other can of worms. the glaringly obvious issue is Jacob imprinting on a literal newborn baby. now the concept of imprinting itself has racist elements to it, but its heavily implied in the series that imprinting will inevitably lead to a romantic relationship. Jacob imprinting on Renesmee and waiting until she is old enough to enter into a romantic relationship (never mind the fact that shes ‘old enough’ she will still technically be 5) is pretty much grooming. The same happens with Quil and his imprint, Claire (a two year old) where I’m pretty sure there’s a scene in breaking dawn where Jacob and Leah are watching Quil play with Claire and talking about how Quil isn’t going to date anyone because he and Claire are ‘pretty much inevitable’ (i might be wrong though, like I said I try not to read/think about breaking dawn)

smeyer has also written a spin off book (its like 250 odd pages) called the short second life of Bree Tanner (Bree is that newborn vampire killed after the battle in eclipse by the Volturi btw). In this book, Bree is 15 almost 16, and another character Diego is 18 which is definitely pushing the boundaries of ok. (also as a side note, funny how Bree and Jacob are literally the same age and smeyer states multiple times how Bree deserved better and is only a child (who straight up kills people), yet when it comes to Jacob he has to be a responsible adult and is vilified for every mistake he makes)

racist - smeyer refused to let Catherine Hardwicke (director of the first twilight) have a diverse cast because she ‘imagined them a certain way’ (white) and it was a fight to get Edi Gathegi cast as Laurent and had to compromise with smeyer to make Bella’s friend group more diverse. this woman straight up refused to hire more diverse actors and only agreed to when they were side characters/villains.

Also in the official companion book/guide to twilight, smeyer literally writes that vampire venom makes you white

‘the venom leeches all pigmentation from the skin into a more indestructable vampire form…regardless of original ethnicity a vampires skin will be exceptionally pale’ (official illustrated guide pg.69)

this is a whole lot of bullshit cause she is literally whitewashing characters, but when you pair this with the idea that vampires possess inhuman levels of beauty it becomes extremely problematic and implies that being pale/white is more beautiful than darker skin tones.

also, if we go back to Laurent’s character for a second. so Laurent is one of the only characters who isn’t described as white (in the books he is described as having a pale olive skin tone) and in the first book he comes across as pretty reasonable (warning carlisle about James/Victoria, travels up to Denali and tries out the veggie lifestyle) but in new moon, his characterisation pulls a 180° (sensing a theme here) and is suddenly trying to kill Bella as a favour to Victoria and is Evil™ despite in the first book he literally says to Carlisle he didn’t particularly like travelling with James/Victoria and was only really doing it for convenience. where did this undying loyalty come from? yet again, smeyer is completely disregarding established characterisation in POC characters specifically to villainise them.

and finally, we have Jasper. for some reason (that reason being that she is racist) smeyer decides to make Jasper a confederate soldier in his human life. if you don’t have a lot of knowledge on the american civil war, the confederacy were the side of the US that seceded from the union in order to keep their slaves. Jasper was a confederate soldier, and not just any soldier, but a major. Jasper was a major in an army that fought for 4 years to keep the existence of slavery (and don’t even try to say that slavery wasn’t the root cause of the civil war. states rights aye? states rights to do what). now there’s an argument out there made by certain fans that a lot of people joined the confederate army out of pride/were forced into it cause of conscription to try and head canon the racism away but like that doesn’t matter. there was literally no need to make jasper a confederate in the first place. if she was so desperate to have a civil war vampire then she could have made him a member of the union. its been common knowledge that the confederacy was racist for a long time now, smeyer has absolutely no excuses here.

a lot of these issues overlap and I have probably missed heaps of issues (so feel free to add on) but hope this helps explain why smeyer can *ahem* get tae absolute fuck

[htmlerror]

☕ + wfa

i do not like wfa with ham, i do not like it, sam i am.

I have a lot of problems with Wayne Family Adventures. The idea for it is solid enough, but the execution is. bad. I've put my thoughts below the cut because this got long, so I hope you don't mind me going in depth on my feelings.

Duke Thomas as a POV character - I'm plagerizing heavily from my convo with @phamtai about this. Def check them out for more info and better insights than mine into the character. Duke is extremely well established in canon despite only having been around for a decade or so. Remarkably, it's taken until WFA to butcher his character. Duke in this series is too polite. He's too clueless. He's been presented as the Relatable Kid archetype that he doesn't fit. In canon, Duke has never not been self-assured. He's a relatable character, yes, but not because he doesn't know what's going on. He has experience as a hero long before the batfam became involved. And since then, he's bonded with them. WFA doesn't show his connection with Cass, his dynamic with Bruce or Jason, and completely ignores his conflicts with the family. In a supposedly family-focused product, those are damn near cardinal sins. He may as well be a totally new character. Duke has been watered down so much for the sake of this series. WFA could be a vessel to explore so many things about him that we don't see a lot of on the regular page. We could see a dive into the parallels between him and Bruce, the full psychological impact of losing his parents, epecially in contrast to Jason, how his world view and morals differ from Batman's, the daily consequences of his powers, or the fallout of his mourning independently for the friends he's lost. But those would be interesting angles WFA doesn't seem eager to explore. If you can't imagine a version Duke punching a cop just because they're a fucking cop, you're doing it wrong. Another issue is, unfortunately, Duke's role as the only Black batman member. I shouldn't need to explain why it's problematic to be showing his as constantly less knowledgeable and presumably skilled as the other bats. (No, it doesn't matter that Dick and Damian are drawn with dark skin. Dick has been written as a white man for nearly his entire existence. The person who retconned that is notoriously racist and has spent years defending her inclusion of sexual assault in her writing. I have no issue with Dick being Romani, but just changing the color of his skin is not the way to do it.) DC has recently had a push towards inclusion, on the page an behind the scenes. This is good, of course. Though if they really are committed to representation and inclusion, it needs to be an effort seen across the board. Faux pas like this paint a pretty obvious picture.

The Webtoon format is shit - Webtoon is a great platform for indie writers and artists. It's not my style of content, but I get the appeal. IMO, it's ridiculous to accept a professional comic publisher shitting out 12 page fluff pieces. Yes, the weekly comic format has been phased out for a reason. Yes, halving the workload is a possible way around that restriction. But there just isn't a good enough reason to do it. It's a pretty obvious ploy to seem "hip" and "get in with kids these days." It's lazy and frankly kind of embarrassing. For anyone who doesn't know, a standard comic book is usually 24-28 pages. This isn't an arbitrary number, it's part of the format for the art form. That length allows for necessary plot developments in a serial story line while also giving the characters, themes, and artwork time to breathe. Furthermore, it's what most comic readers have come to expect over the decades. Halving that wouldn't necessarily be a problem, there are plenty of examples of well made shorts out there, but coupling that WFA's love affair with single panels and splash pages is a major issue. Say you make a 12 page comic with 4-6 panels per page. You have 48-72 panels to work with. You can sit a compelling story into that, with or without heavy dialogue. But bring that down to 12-24 panels, and you have one of two options: either 1) ultra-compress your narrative or 2) reduce the plot to compensate. Ignoring the formatting choices, WFA is a convenient reason for DC to keep the worst of the status quo in the bat titles. There's no need to acknowledge criticism of Bruce's treatment of his family when they can simply point and say "Jason's throat hasn't been sliced open here! And look, Damian hasn't been left with the crushing guilt of his grandfather's death! We even let Tim exist as his own character!" WFA doesn't change anything, it shows that DC is aware of its problems but would rather outsource them than put in the work to fix it. There's a special kind of rejected feeling that comes with being told "I hear you, I just don't care.

Fandom isn't bad, but - Everyone is familiar with the incorrect quotes format by now. Sometimes they're funny, most of the time they tend to over-saturate. WFA is like if a incorrect batfam quotes blog was a comic. It's a steady supply of one-liners and references, sure, but it lacks any real substance. If that's what you like, I can't fault you for it, but it's not going to be everyone's cup of tea. The way the batfandom has piled onto the "this is the best thing ever" bandwagon is concerning to me. There has been good batfam content in canon, you just need to know where to look for it. The lack of critical analysis of the project and dismissal of critiques is always an alarming pattern, but the way WFA has come to be the odd face of the fandom is just bizarre. It's everywhere, as you know if you've ever tried avoiding it. Thinking about WFA being the default interpretation of these characters makes me nervous. They lack the depth their canon counterparts. I don't care if you enjoy WFA, I do understand the appeal of it, but for the love of the gods, take it down from it's pedestal.

WFA is... fine. It's yet to commit any sins too egregious, but, like all DC properties, it's a ticking timebomb. I won't be surprised when it goes off, and I can't say I'll be sad to see it go. Ao3 has better content, anyway

[oof-big-oof]

ACOTAR and Setups Part II: Tamlin and Rhysand

SPOILERS: ACOTAR series (and Macbeth too ig)

Part 1: Feyre

In "Macbeth", Macbeth and Banquo are narrative foils to each other. While Banquo is loyal to the king and uses language of growth and imagery of nature when he speaks, the traitor Macbeth's words are full of references to destruction, fire, and unholy happenings. Foils are not just good ways to explore character traits, but also excellent for setting up conflicts and exploring the thematic concerns of the world.

I think it's safe to say Tamlin and Rhysand are foils. They have opposing imagery (spring, flowers and sun for Tamlin, winter, snow and night for Rhysand) and always stand in opposition to each other when it comes to Feyre's narrative, switching in and out of being the "bad guy" and the "good guy". But the way this is handled is .... eh.

I'm going to look at shifts in Feyre, Tamlin and Rhys that work of this foil - and try to look for when and how they were set up.

1. Feyre's shift - TW: discussions of abuse, mental health issues

In the first book, Tamlin is a source of protection and love for Feyre. But by the second book, Feyre is not only struggling with her PTSD but has begun to realise that life at the Spring Court as a dolled up accessory might not be for her. By the end of the book, she has found her place in the Night Court - by Rhysand's side. And honestly? Go girl! Go live up to your potential!

The problem arises with how this is done - that is, Sarah J Mass never does the brunt work of showing us why Feyre cares. It is plausible she is motivated by a desire to protect the human lands, but we never actually see that. There isn't a moment where she realises she needs to work for a greater good, or a moment she realises that she needs to protect those more vulnerable than her - instead, the narrative has her tolerating abuse until she finally has had enough.

Which is great. I have got to admit that I really like the explicit rejection of a happily ever after storyline for Feyre because it took away her agency. But we get this radical shift in character motivation from wanting to be protected and comfortable with those she loves to desiring agency and understanding of herself in two lines:

"The girl who had needed to be protected and who had craved stability and comfort... she had died Under the Mountain"

and

"I didn't know how to go back to those things. To being docile"

hhhhhh. I mean - if you have to say it that explicitly, you're already doing something wrong. But also, why? We never see Feyre struggling with herself in her new body, and wondering why she does not want the same things as she did when she was a human, never see an impetus point for when her desires shifted.

But honestly? I don't mind Feyre's arc. I think it's a bit confused and lacks clarity or intent, and as a result, it is harder to root for her because you don't quite know what she wants, but I think it's still quite good. Where I really have problems are with Tamlin ad Rhys.

2. Tamlin - TW: discussions of abuse, mental health issues

I am not a fan of Tamlin's arc. You could argue that it is part of the thematic message of the series: that things are not as they seem. Tamlin is the wolf to the savour to the abuser, Rhysand is the "most beautiful man " Feyre had ever seen to Amarantha's monster to Feyre's eventual mate. But - the constant twists are unnecessary, more importantly, they and have little to no foreshadowing and just seem like retcons- making it seem as if they are there to keep the audience guessing rather than genuine plot progressions. This becomes even more obvious when the series abandons its core theme of "appearance vs reality" altogether, and as a result loses a lot of its cohesion: a direct consequence of having a bad setup.

His reason for doing the abusive things he does is conveyed to us in two lines, in the same monologue that Feyre's motivation is:

"Tamlin had gotten his powers back, had become whole again - become that protector and provider he wished to be"

Sure. He was much more powerful than Feyre when they first met, so I am having a hard time buying it is the return of the powers that his making him act this way. We know that his actions come from a genuine desire to protect Feyre - this is the guy that was willing to sacrifice his life multiple times and the future of his entire court to keep her safe. The only justification we have left then for the way he acts is that his PTSD, borne out of the trauma and torture he underwent and watched Feyre undergo changed him in some way.

This is why the endless villainizing of Tamlin makes me really uncomfortable. While it is true that the abused can become the abuser, and figuring out how to help them while protecting yourself is something that absolutely needs to be discussed and explored - the way it is done with Tamlin is horrendous because he is never given a chance to heal. Instead, he is thrown from plot point to plot point, an eternal punching bag for the Inner Circle and others to seem morally superior in front of.

And his treatment of Feyre is just weird. If he's so concerned about her safety - why does he not wake up when she has nightmares? Is he instead trying to pretend like everything is okay - if so why does he give Feyre an escort of guards? If his core motivation is protecting Feyre at all costs - why does he lash out at her?? And the text really tries to tell us how to feel about him in this regard, but it doesn't do it very well. For example, take the scene where Tamlin says "There is no such thing as a High Lady". Feyre a second before expressed her desire not to take on any responsibility, and Tamlin responded with this - and the text really makes us want to hate him for it, but all you can see is a person who is perhaps not the best at reading subtext trying his best.

In conclusion - Tamlin's shift to the villain of the narrative is hamhanded and underexplained, making it hard to genuinely hate him, and further confusing the narrative.

3. Rhys the foil gets the girl - TW: discussions of abuse, sexual assault mental health issues

Rhysand in the first book is interesting - he clearly has a heart and a soft spot for Feyre but is also a schemer with dubious motives that drugs and sexually harasses Feyre. There are places in the set up where we understand he cares - but never where we can begin to see he might be a genuine paragon of virtue.

And I will address this more in my post on ACOMAF, but the point I am trying to make here is: we are told through the constantly opposing imagery that Rhys and Tamlin are wolds apart - but never actually given examples of how. Rhys is said to be different from Tamlin because he respects Feyre's choice - but he drugs her in a bunch of weird scenes (that serve no clear narrative purpose by the way - like what was he trying to achieve? why he couldn't he just let Feyre in on that part of the plan?) and withholds information from her about life-threatening situations. Rhys is said to pull less rank - but we multiple times see others defer to him, especially in later books, and never actually see rank being enforced in Tamlin's court with his treatment of Lucien (many times described as his partner, and openly questioning him) and later Ianthe. Rhys is said to have less archaic laws in opposition to Tamlin's Tithe - but he abandons the Court of Nightmares to the monsters who rule it, and never takes serious actions against the Illyrian people who clip of women's wings, and a lot of Tamlin's idea of racial superiority and general superiority just come completely out of left field in the middle of ACOMAF.

Both of them are problematic - it's just that the text tells us to root for one, without actually showing us how one is better, or setting up any clear ideological difference between them. And that cheapens Feyre's character shift and lessen the efficacy of the foil - turning it into Feyre hopping from one lover to the other with little to no character consistency and no nuanced exploration of the theme of the series or trauma.

[mikanyuzu-26]

Is Chapter 139 of Attack on Titan being messed up deliberately?

*Views are my own. I barely post anything on social media but I feel the need to express my thoughts as a long-term AOT fan.

You need to be a genius in getting everything wrong. As a reader who has been following the series for 8 years, the frustration and disappointment the recent chapters brought me are beyond words. The series Attack on Titan has long been known for its well written plotline, with pieces of hints eventually leading to the reveal of mysteries, ranging from the identity of enemies to the origin of titan. Isayama the author is more than capable in building a story, as evidenced by the carefully arranged setups and successful characterization in 130+ chapters. Probably echoed by other readers, the story surprisingly went downhill since Chapter 124 (aka the alliance arc) when pacing becomes slow with no major progress in overall plot. Eren who is the supposedly main protagonist is nowhere to be found in most of the chapters, let alone his inner thought. The conclusion in Chapter 139 is even more confusing, showing clear disconnection with previous chapters and major characters being OOC. There are fans who are kind enough to summarize the inconsistencies.

Chinese netizens’ comment on the story quality

I would interpret the bad writing in Chapter 139 as intentional, with two possible reasons, or both: 1). To betray and hurt the readers as expressed in his interview. He is free! 2). To passively protest against a plot change by his editorial team

“I was a big fan of Game of Thrones, so I can relate to the feelings of those fans who were disappointed with how the series ended. But when I’m drawing, I’m expressing my own feelings, and I think as long as I’m doing that, my fans will be able to accept whatever ending I come up with for them”. The question is – was Isayama hinting at a GOT-like ending that expressed his true feeling? Looking at his response at this point of time, was he foreshadowing a disappointment?

Personally I am a believer of (2) – the plot was hijacked. I see the pacing issue starting from Chapter 124 as Isayama and the editorial team trying to buy time in reconstructing the plot. This is the period when multiple minor subplots (e.g. Connie’s mom, Aruani, conflicts with Yeagerists like Daz, formation of Alliance, Reiner’s mom & Annie’s dad) are introduced and closed off shortly after, while Eren is nowhere to be found.

Also note that Isayama did not even show up in the interview/live stream after the end of the manga in on Apr 10 and Apr 14, 2021. The editor represented him instead. It was also revealed in the most recent live stream that the editorial team had quite a lot of influence over the plot, in which they changed the last few pages of Chapter 139.

As many of you have already raised, early chapters already mentioned the “only way to put a final end to the cycle of revenge” is to do a full rumbling. I believe this is the first draft of the ending of the story as this idea has been expressed more than once directly out of the mouth of Eren.

The other possible change is the way of how Ymir is being freed. In earlier chapter, Eren clearly understands what Ymir has been waiting for 2000 years in Chapter 122, and this is also the reason why Eren is able to start the rumbling in the first place. The possibility of Mikasa freeing Ymir is not being introduced until Chapter 138 (or 139), and certainly comes out of nowhere as the only people outside of path who have seen Ymir are Armin and Ramzi.

How is Chapter 139 being intentionally messed up? The inconsistencies above suggest that at least two plot twists are only being decided at the very late stage of the story. • Eren’s true intention (Eren Requiem vs. full rumbling) and the reasons behind • What Ymir wants

Throughout Chapter 139, there are definitely better choice of words which even average Reddit/Twitter/Tumblr users were able to re-write in the past few days. However Isayama just somehow chose the worst way in presenting the story as if it is a shoutout to readers. The presentation also makes Chapter 139 memorable, though not in a way most have expected.

“Why Mikasa?” “Well…only Ymir knows that one…” When I reread Chapter 139, it seems to me that Isayama is not trying to shy away from admitting the plot change. The disbelief from Armin’s way of saying “Huh? Did you just say Mikasa?” is an analogy to the readers’ reaction due to the lack of interaction between Ymir and Mikasa before the last panel of Chapter 138. Eren is also drawn with a resigned expression. If this is an over interpretation of the frame, Eren’s next response “Well…only Ymir knows that one…” directly points out how the statement lacks a clear and sound reasoning. You can translate it into “Well…only [the company/my editor] knows that one…” or “Nothing I just want to throw this in”. Isayama clearly knows what he is writing and indeed “only Ymir knows that one” becomes a meme.

Also to add that prior to Chapter 139, Ymir has always been a parallel of Historia/Krista, not Mikasa, even as early as Chapter 51, but this plot was just somehow nowhere to be found eventually.

Why Rumbling? The most disastrous consequence of a plot change, from wiping all history and civilization (that has been repeated in his conversation with Historia in Chapter 130 and his internal monologue in Chapter 131) to an Eren Requiem, is that it takes away all the justification and rationale for Eren to eliminate 80% of the population in the first place. Whether or not Eren executes the rumbling and dies willingly, the world will still be in conflict and future generation will remain in the forest. If the plan is to free Ymir, a better way is probably just asking Mikasa to chop his head off. That saves humanity (Ymir likes drama, after all!).

Isayama could have easily used phrases like “I just want to move forward” but he put “I don’t know why, but…I wanted to do that…I had to”. This is also Isayama speaking from the Eren – he does not know why Eren is doing rumbling just to achieve the 80% plan. He just “had to” draw it.

“10 Years, At least!” This is probably the most debatable and dramatic part of the chapter. Eren expresses his love to Mikasa but the scene is presented in a way as if it is a kid throwing a tantrum. In addition to that there is Armin’s comment “Oh ok…I didn’t expect something that pathetic..” as if it is again, the readers’ comment. The scene is portrayed in an unbelievably comedic way, especially when you compare it with Eren’s conversation with Ramzi in Chapter 131, which is supposed to serve the same purpose in showing Eren’s human/soft side. Most importantly, freedom has always been Eren’s core value throughout the series. The outright contradiction this line shows only makes the whole idea of this panel questionable.

Character Regression Needless to say, characters’ behaviours surprisingly regress back to the first arc, wiping out all developments throughout the series. The worst thing is it even kills the hype of re-reading the manga as you know the characters never grow, after all the sufferings and hearts sacrificed. Examples include: • Eren is still a crybaby • Mikasa remains trapped by her relationship with Eren and the scarf • Historia is not living proudly for herself after the Uprising arc • Reiner sniffs Historia’s letter after going through depression and wars (there is even a petition online asking Isayama to change this! You see how problematic this is.) • Jean and the horse joke

Almost everything that could possibly go wrong is wrong in 1 chapter These are written by the man who have been writing good chapters in the past 10 years. Can you believe it is just a lack of sense?

• “Thank you. You became a mass murderer for our sake.” • The “poop” that Armin gives Eren (Isayama likes using meme right? :P) • Eren’s face when he is punched

Is this the High School AU style?

Compared to Chapter 112...You can tell the difference.

The way how the fandom views Chapter 139 is certainly very divided, but even amongst those who like it, most still think “things could have done better” (source: SNK Chapter 139 Poll), showing how awkward the style is compared to previous chapters. The inconsistencies in character portrayal and plot are too hard to ignore. It pains me to see a well-constructed and reputable series, one step away from legend even just with an average ending, closed with a chapter that almost defeats the purpose of the rest. Trust in Isayama – while he can build a legend in 10 years, he can also take it down with 1 chapter.

By the way, Levi is one of the few characters who isn’t ruined. Probably also a conscious choice.

[albino-whumpee]

The redhead

Ok, so. This story has been cooking on my head for such a long time now and Im gonna be clear with you: I´m aware this first installment and maybe the next won´t be of many people´s liking, so if you don´t like seeing the whumping of minors, I advice you to stay away from this series.

There won´t be any noncon here, but there will be lots of other hurt/comfort tropes and many creepy whumping from multiple whumpers to a pair of whumpees, one adult and one a minor.

I´m also gonna say this is the backstory of one of Albus´s story characters.

I remember sending you an ask @deluxewhump about some ideas for this story and you wanted to be tagged, But, I can´t find them and well. Wanted to give a heads up of what it could contain.

Taglist: @whumptywhumpdump @grizzlie70

CW// Pet whump, whumping of a minor, modern slavery, human trafficking, collars, dehumanization, it as a pronoun, implied death, creepy whumper, conditioning, captivity whump and angst. (ask to tag if I missed something)

House looked like an ordinary orphanage from outside. It had big halls with bunk beds and slim metal closets next to them. Shoes tossed under the beds along with any trinket the children wanted to hide from curious or severe eyes. Beds neatly made early and kids off to the classes on other rooms. There was no need for them to learn to read or write however, so there were no books that weren’t for coloring.

Many of the lessons were taken outside, along buckets and brooms they swiped dutifully, or inside kitchens learning to identify tools and vegetables and memorizing the measurements needed of each ingredient on what recipe. Children did everything under the scrutinizing eyes of teachers who were so, so difficult to appease, but yet again, tried hard to earn their comfort and approval.

So they could graduate and leave.

The very best left early and the not so good would leave bordering their 12. There were only a few that left on their mid teens, and so, the ginger kid wearing the sandy jumper of House’s uniform, coloring with a green crayon the feathers of a toucan, had decided he didnt wanna be like that a long time ago.

He would graduate and leave house and go with a loving family that would take him, that would really love him, just like the teachers told them they would sometime soon.

It was his dream. As it was every child´s wish in House. So, he did as he was told. He cast his big green eyes down when talked to, kept quiet until he was spoken to, paid attention to class and did his tasks before the day ended. He took all the punishments while training, too. Even if he tried to keep it to a minimum, there would always be something that pissed the Teachers off.

For example, dumping the trash. Having to go to the back of the one store building, close to the one beyond the thick brick wall, with its narrow barred windows -just like House´s windows were- from where phantasmagoric sobbing and pained screaming would come through, was the most loathed chore at House. Whenever he was on duty, the little boy shook like a leaf with the heavy plastic bags dragging behind, before throwing them and run back to the building.

One time, the kid saw a pair of thin hands wrapping around the window bars and saw a woman peeking from it, hands shaking with the effort when she panted a wheezy, “help me”

The little boy had never screamed so hard in his short life.

The teachers had been mad at him, but not enough for a crate training reinforcement. He was relieved, to a point, when they punished him to clean the bathrooms alone for a week instead.

As he swiped the floor in the middle of the night, he promised himself he would get out soon. Sooner than his brothers and sisters who wouldn´t dare to defend him, saying outloud how scary the other building was and how some of them couldn´t sleep because they heard the people trapped there scream and beg all night long.

Of course they wouldn’t. Excepting a few who unknowingly shared blood, nobody shared anything but the wish to get out. If you tried to fight the Teachers, it would just delay it further. Every kid knew not to get on their bad side. It was also part of their training to see them as their preliminary Masters. A drill, of how it would be once out.

So when one finally received their collar and graduated to go to the family who had chose them, only the brave ones would wave goodbye. Jealousy taking the better of some, meanwhile others would only feel fear.

He wouldnt be like that either.

The brother he had gotten the most close to, the one who actually did protect him from the other kids bullying, had graduated months ago. Taller than normal for any kid from House -the little boy had heard the teachers say once- the brown kid and black curls with a smile sitting on his face at all times, had been his best friend.

They didn’t have names and they weren´t given one until they graduated. The Teachers used nicknames like “ginger” or “mole” or “mousy”, but that hadn´t stopped them from calling each other a secret name. A name they used only for each other and secretly, considered their true names.

“Are you happy for me, Robin? That I will finally go” Hawk asked him once, while playing on a sunday. The Kid´s free day to go anywhere they wished inside the estate´s perimeter. Close to the brick fence, a river flowed through iron bars, not letting anyone in or out.

Robin shook his head, red hair bouncing at the motion. Hawk giggled with that weightless sound, throwing away the stick on his hand they had used to play as if they were two princes in duel a few minutes earlier.

Robin stopped walking when Hawk put his hand over the wall, looking at it with conflict on his face.

“I heard the Teachers say my new Master will take me over seas” Hawk admitted. Robin didn´t understand the reason for such a long face. That only meant he would see the sea! Wasn´t that cool enough? However, the small kid kept listening. “They said he specifically requested me. But…” he punched the wall suddenly, making Robin jump in reflex “They said because I was problematic, I would be getting extra training in something called WRU”

Robin didn’t know what WRU was yet. They barely knew what was beyond the brick walls surrounding House, but it couldn’t be much worse than House, could it?

“I´m sorry. You always ended up on fights because of me…” Robin started clenching the stick on his hands tight as Hawk turned to him.

“C´mon. We´ve been over this, Birdie. It´s not your fault” he said, watching the small readhead lift his glassy eyes up “Besides, you know what to do now if they pick on you, right?”

“But I´m not as strong as you!” The boy argued before feeling the big hand of his brother ruffling his hair.

“Maybe just not yet” he said with that innate warmth of him. Like the times the other kids gathered around him late at night, hearing him talk about what one of the Teachers, one that was so close and nice to him, they had thought he would take Hawk home, had taught him after class. About all the different animals that existed, about science, about the world outside of the thick walls.

It dawned on him then, no kid would have those stories anymore, nor would he laugh first thing in the morning seeing the nest his hair was.

The child jumped to hug the older boy at the waist. “But, but, even if you go, you won’t forget us, right? If I graduate soon and our Masters meet, even if I´m already an adult, you will recognize me right?” Robin asked him, feeling the other boy’s fingers card through his short hair before squeezing him tight.

“I promise I won’t, Robin”

“I will keep the name you gave me” Robin said urgently, clenching hard so Hawk wouldn’t let go just yet. Hawk sighed quietly before burying his face on the boy’s shoulder.

“They’re ours”

“Ours alone” Robin finished.

The next day, Hawk’s new Master came for him in a black suburban with polarized windows and a few scary looking men by his side. Hawk bowed to him before the teacher ordered him to, as a perfect obedient Pet from House did before graduating. The other boys were lined up in their Sandy uniform, maybe in hopes the man would take another boy or girl, but he was completely entranced by Hawk’s face. He had lifted his chin to have a better look at it and then ruffled his hair with a big smile.

Then, the man gently buckled the new collar around Hawk´s neck, clipping the leather leash with the outmost gentleness. The man only tugged on it to test if the boy would walk forward, and when he did, he passed his hand through his hair.

Robin couldn’t hear it, but Hawk glowed at the praise his new Master gave him before giving the Teachers the ceremonial thick envelope. While the transaction happened, Hawk sneaked a look back at Robin and smiled.

“Bye, Robin” he mouthed, before feeling a pull from his neck that told him to follow his Master to the black van.

Right before the car trunk’s door closed, Robin waved goodbye with tears in his eyes the other kids didn’t stop teasing him about for weeks.

Four months after Hawk’s graduation, a few weeks after his twelfth birthday, Robin was standing in front of the building again. Now, it was his turn to graduate. His new Master was an older man that came out from a car you could smell the stench of gasoline from miles away.

“Skip the formalities. Where is it?” The man asked one of the Teachers standing next to him after the boy bowed. The woman in white clothes simply pushed him forward. Robin looked down at his shoes, so old looking against the shiny, cared for shoes of his would-be Master. The man wasn’t gentle when he fisted on the ginger’s head and forcefully lifted his face for him to see. He was better trained than to let out the pained groan bobbling up on his chest. The man hummed, pleased with his silence. “Yeah. You will do. How much for it?” The man said letting him go and quickly taking out the thick envelope from his jacket.

“I see you didn’t bring your own equipment for your new Pet, Sir. Would you want me to add the collar and leash to the sum?” The Teacher asked to the man, who grunted, too annoyed, like it was a waste of his time to ask.

“Yeah, sure, whatever” the man said without looking at Robin “It´s not for me anyways”

The small boy gripped on his uniform tight. The distress of not knowing how his real owner looked like suddenly settling in with fear when suddenly his not-Master asked the Teacher for a transport crate.

“Of course, sir. We will prepare him right away” the woman said with a wide grin as two other teachers pushed Robin to the garage. The boy´s heart leaped, but he gulped down the fear and allowed himself to get dragged. As he walked through the mocking and confused stares of the other children, he heard the woman continue to speak “If you would be so kind to accompany us to the office so we take the information needed for his shipping”

The man cursed under his breath, “Make it quick. Hearst is already pissed at me for messing up his pair”

Robin didn´t hear her reply.

The next thing the boy knew was that he had wrapped around his neck the price leather collar- the one the Teachers would only put on when they had earned a people´s meal from good results on training- with a large paper tag on it. He couldn´t know it said the name and address of his new Master, but he was static as he crawled into the plastic crate with the blue blanket on the corner he quickly wrapped around himself as he was rolled to the man´s stinky car. Maybe, if he was lucky, he would be able to catch a sight from the sea. Or maybe, from the sky above, if they went on a plane.

The car´s doors closed and he was drived out of House´s property, through the bricked fence and so, as his world, that had been confined to the same three square kilometers, suddenly grew infinitely big, filled with infinite things to see.

The man´s laughter on the driver´s seat abruptly stopped his awe.

“Enjoying the view, Pet?”

“Y-Yes, sir. Very much, thank you” Robin quickly replied.

“Well, you better burn the image to your memory, because with Hearst, you won´t be seeing anything but a kitchen and dirty restrooms” the man laughed.

“Yes, sir!” Robin said before looking out through the bars on his crate. To catch the green land and the sea expanding beyond. The man rasped his throat, muttering something under his breath.

Although he could hear him say “That´s why you wanted him young?” Robin didn´t understand and put his whole mind into catching every last detail he could get of outside.

Robin held to the image of the small houses with red ceilings surrounded by a vast blanket of green even as he was processed to go back on the cargo at the airport. They took him out of his crate to check the tag hanging from his collar and stick some papers into his uniform before pushing him back inside.

Two workers in blue jumpers, loaded him with the rest of the pets. There were some cute dogs Robin had never seen but in his coloring books and even some older Pets with the same tags hanging from their necks. All of them, including him, were wrapped around a fuzzy blanket inside their crates.

Robin was dissapointed when he found out there were no windows inside the cargo, but the feeling of being lifted off the ground, of flying, even if he slammed himself against the metal door of his cage, was completely worth it.

During the long ride, he wondered if Hawk had gone on an airplane too. What he would´ve said of that weightless feeling as he curled tighter into his blankets. The sound of paper getting scrunched was muffled with the engine and the other pets conversations between them, but Robin closed his eyes and hoped, prayed, his new Master´s family allowed him to see even once more, the world he had dreamed of seeing.

And if his wildest dreams as he was rolled off the plane, abruptly awake when his cage was thrown around and rolled by Not-Master outside where it snowed, he hoped he could see Hawk once more.

“That´s our new addition, Charles?” a man´s voice said as he stopped rolling. They seemed to be on the parking lot now. Next to a black shiny car.

“It was a nightmare, but told you I would get a replacement for Shirley. It even has red hair” The man said patting the plastic cage´s ceiling.

The man didn´t reply immediately, but Robin had crawled slightly closer to the door, to catch some of the man´s incredule face.

The man’s low, almost amused, laughter hit him like a soft salty breeze, warm and gentle. “Well, let´s see Isaac’s new partner, Let´s see what you got us” the man said before he knelt before Robin´s crate.

The wished he could say his Master had looked kind, gentle even, that first time they locked eyes. But in reality, Robin couldn’t help but think his new Master’s eyes were so much like a cat’s. A pair of narrow, clever honey colored eyes stared at his wide greens for a moment, before he copened the door and pulled him out with a swift pull on his arm. Robin´s face scrunched at his Master´s grip, cracking a smile on the man´s as he let go “How old are you, boy?” The man asked him.

He bowed instinctively before answering, “Twelve, Sir, Master”

“I see” The man´s smile hung on his face as he said “Not old enough to be on the front then” His new Master then turned to the man “Thanks for fetching me a new one. The kids are very sad without Shirley but the worst must be Isaac. He just refuses to work now”

The man grunted as he saw Hearst open the trunk of his car. “I already apologized, Will”

“What´s one more “I´m sorry, Mr. Hearst”? My slave hasn´t even eaten because of what you did to his partner” he said before turning back on Robin, expecting “Do I have to put you in myself, boy? C´mon, up you go” he said snapping his fingers in front of his face. Robin´s body moved before he was aware he had crawled inside, then laid down on his side as the man put his hand back on the door  “Watch your head” he said before closing it, letting Robin in complete darkness.

It took a moment of hearing only his breathing to for him to finally sense the car moving. He was with his Master now… but he was shaking like a leaf. He didn´t stopped shaking, knowing deep on his bones, this Master would be the severe type.

It wouldn´t take him long to know he was right.

[miyuskye]

Idk man, if Utsumi didn't want Adam to be misunderstood then she could've written in a lot better. People like to excuse bad writing by saying its "complex" bc the fans are filling in the blanks. Makes for a big fandom, but it doesn't mean the writing is good. You can make complex characters without them being pedos, rapists or abusers.

I never said that she wrote him amazingly, though. I don't remember if I posted this here or on twitter, but I can assure you that between ep 11 and ep 12 I was a bit puzzled because I had the feeling that the story didn't want to go for a punishment route for Adam but one episode felt too short for a whole redemption arc. I am personally a fan of redemption arcs, and seeing one fitted in like 3 minutes was... Not the best example of good writing I can make. But, after all, 12 episodes pass quickly, and Utsumi said in an interview that she wanted the story to be even more convoluted (an example? Reki's first skating friend or the hinted and super rushed past of the three founders). Should she have tried to cut more and make things simpler given the short time she had? Probably, but, as a writer myself, I think it's not possible, once you have a first idea of what your characters and story is going to be.

Having said that, and especially thinking back to the whole series (which I rewatched bearing in mind that Adam wasn't supposed to be irredeemable) I think that Utsumi never actively tried to make him Bad. The whole thing with Langa has indeed a creepy vibe, but he never acts on it; he gives him flowers, he professes his love for him but, despite it arguably being an unconscious way for him to elicit a reaction in Tadashi (even outside of romantic feelings), he never actually goes to Langa's house and forces him into anything. I understand that you can say that most of my hcs for Adam are interpretation, but if we're going this way, then he has never raped anyone on screen. He has never showed Miya the same intensity he showed to Langa (not even an ounce; heck, when he gives him advice, he does it from afar in order not to touch him). With Langa, he makes sure to ask for consent. We all agree that using drones is a violation of privacy and definitely a crime, but he did it because he wanted to know why he was sad in S. Aside from that, we're not seeing him having any other footage from Langa's private life. With these, I'm not saying that he's a good guy (he's the villain for a reason), or that he doesn't have the potential to be a pedo, or a rapist. It's just that, on screen, there isn't enough evidence to certainly label him as such. There are hints, of course, but there are also clues of him just being an over the top antihero (while still being liable of crimes, like perjury - even though he was the one who sold Takano out, or invasion of privacy. Heck, he even runs an illegal skating ring, but its participants, namely everyone else in the show, are just as guilty in that context).

I believe I extensively talked about why I don't think we, as watchers, can label Adam as a pedo or rapist 100% sure. As for him being an abuser, I believe his only "victim" could arguably be Tadashi. His beefs with Reki were conducted under the S rules, after all. I am familiar with this trope, and it gave me a Fight Club vibe or, if you want a more uncultured reference, a Fast and Furious vibe: in an underground ring, everything is allowed and both participants go in fully aware of this. Shadow burns Reki's skateboard in ep 1 and throws firecrackers at people but no one is conducting a public trial for him. Everyone involved should have just refused Adam's challenges, had they not wanted to get injured. It's not like he goes to Reki's school and punches him. Same with Cherry who had been the one asking for a beef all of these years. (Also from a recent interview, it came out that the skateboard to the face is actually inspired from a real skating move but I'm afraid I don't have enough evidence in the form of irl people videos to fully back up this claim). As for Tadashi, I believe there are countless posts explaining why he's not the abused one in the relationship: he actively stands for Adam's real abusers and he wants to take away skateboarding from him. The reason for that is not because he wants to be free, but because he doesn't want Adam to be involved in a scandal. Ultimately, he does it for his sake, like everything else. Is their relationship healthy? Probably not, but co-dependence isn't really healthy. But that's another pair of shoes, and also another interpretation. Tadashi is undoubtedly happy at the end of the series, and sticks to Ainosuke's side because he wants to.

After all these words, I want to conclude that it's perfectly fine if you want to envision Adam as an irredeemable character. Utsumi hadn't written him well enough for him to be solely interpreted as an antihero (she tried to make up for it with lore pieces in interviews, but I understand it's not enough) (i.e. Zuko from atla has an enough complex and well-written redemption arc for people to more easily agree that he was meant to be an antihero and not just generally bad but that's not the case for Adam). It's perfectly fine if you hate his character, find him creepy or find it easy to label his behaviour as problematic (because it is). The thing is, there are other people entitled to their own opinions, based on Utsumi's words which keep enforcing the antihero Adam agenda. I'm not forcing anyone to see Adam as a good character (he's not). But I personally think that there is enough lore and complexity which was left out because of lack of space that shouldn't be just ignored, that is all!

Thank you for your ask!!

[demetriandelibinaryboyfriends]

AIGHT Y’ALL I wasn’t tagged but I’m doing this anyways because f u c k  i t

It's the year 2021 and you're obsessed with The Karate Kid. How are you feeling?

Deadasss weird as fuck, my dude. Like...out of all the things I could’ve predicted happening in our lord’s year 2021, it definitely was NOT getting hyperfixated on a hammy gay ship with a punk and a nerd from a goddamn karate soap opera. And yet...here we are??? I will never understand hyperfixations, my guy. But I’ve met a lot of really cool people in this fandom, so I can’t really complain.

Did you grow up with TKK or are you new to the series?

I have never seen a single Karate Kid movie in my entire life. When I was a kid, it looked kinda dumb so I never got into it XD But then I saw my roommate watching Cobra Kai on Youtube Red one day (he has every streaming service known to man) and I was hooked. And...here I am!

We gotta do the basics. Favorite character:  

Literally EVERYONE except for Kreese, Yasmine, Kyler, and Tory, sorry stans

Okay but if we gotta pick, Johnny Lawrence is my Problematic Fave. Also I love my boy Daniel, he’s trying his best!!! And Amanda LaRusso, we stan a queen!!!

Among the kids, definitely Miguel, with Demetri as a close second. I also love Sam, Aisha, Moon, and Hawk (pre- and post-Bastardization Arc, anyways XD)!

Favorite ship:  

Take a look at my username and take a WILD FUCKING GUESS lmao Yes it’s Eli/Demetri because DUH, every interaction they have is so fucking gay and Eli fucking saved him!!! And came back to him!!! And betrayed the world’s most terrifying dojo with a WAR CRIMINAL SENSEI all for Demetri!!! And how Demetri was willing to forgive him for everything at the drop of a hat because he always had faith there was still good in his best friend??? That’s TRUE LOVE motherfuckers. Please let them kiss in Season 4. I will sell you all of my limbs. Sam/Miguel is a close second because they’re cute as shit and it’s just so lovely to see two people so unapologetically smitten with each other. They are in LOVE, and I will RIOT if they break up again!!! Keep Sam and Miguel together 2k21!!!

Underrated character:

SAMANTHA LARUSSO!!! The amount of hate my girl gets for acting like a normal teenager and fucking up occasionally JUST like the rest of the cast makes me want to start punching things. She cares SO MUCH about her friends!!! And she loves the shit out of Miguel!!! She hasn’t always been the best friend but you know what??? Neither has Hawk, and we still forgave his ass!!! Also LET HER BE FEMININE but also kick utter ass, my god!!! Femininity should not be synonymous with being weak, y’all! ALSO DEMETRI, like yes, he likes to complain and occasionally run his mouth, but guess what else he likes to do??? Never give up on the love of his life his best friend Eli Moskowitz and refuse to lose faith in him no matter how much of a little shit he’s become, and I for one think that’s very badass of him. Also the way he takes care of Eli pre-Cobra Kai in his own snarky bastard way makes me absolutely Weak and needs more appreciation. Like the dude has charisma and COULD have probably made other friends and left Eli behind if he wanted, but did he??? No, he wants the weepy loser with the lip scar in the polo shirts and dorky sweaters and will protect him as much as his wimpy ass is able!!!

Underrated ship (don’t say therapy, lol):  

Among the adults, Daniel/Amanda!!! Like maybe I just don’t watch that much tv, but it seems kinda rare to me to see a happily married hetero couple, and it’s just nice to see a married couple who genuinely love each other and where there’s not like...lingering resentment or some shit. I feel like this ship gets overshadowed by Lawrusso a lot (which like--okay, fair!!! Daniel and Johnny do have a ridiculous amount of chemistry, and the gay undertones are undeniable, so I get it), and it makes me kinda sad. I do love Lawrusso, but I don’t like when Amanda has to get her heart broke for it to happen, you feel? Among the kids, honestly YasMoon. Like I really love the idea of Yasmine trying to better herself because of Moon’s influence on her and because Moon like...inspires her to be a better person, I guess? With their pretty strong friendship, it just makes more sense to me for Yasmine to get a redemption arc through Moon than through Demetri. ALSO girls DO often pull the whole “mean girl” shtick to cover up being closeted lesbians, and Moon IS canonically bi, so it could work!!! I just think this one could be a really interesting Friends to Lovers take, and could make a really nice coming-out arc for Yas. And MoonPiper too, honestly!!! Like they only got 5 seconds of screentime so I understand WHY it’s underrated, but I still love what we DID get and loved that there was a canon gay ship (even if only for 1 scene lmao). I’m really excited to potentially see more of them in Season 4!!! Please, I’m begging!!!

Wax On, Wax Off or Sweep the Leg?

Sweep the Leg because it will always be deeply hilarious to me how Demetri took note of the first move Eli ever used on him and spent presumably weeks perfecting it OUT OF SPITE just to get him back with it at the soccer game MONTHS later. Just goes to show how OBSESSED Demetri is with Eli and their little karate rivalry which is just NOT straight, I’m sorry

Which of Daniel’s dumb little outfits is your favorite?

There’s something so funny about this pretentious little fuck walking around in fancy suits once he becomes a #SuccessfulBusinessman, and still occasionally trying to do karate in a full-ass suit (take THAT, Tom Cole’s boba!!!) I’m also a big fan of how he looks in his gi with his little headband. Still killing that look as a 40-50-something!!!

Character from the films you most want to return, who’s not Terry Silver:

Tbh I have still never seen a single Karate Kid movie (they took them off of Netflix, RIP), so...I don’t really care if they bring anyone else back??? I’m invested in the characters we already have in the show, I don’t need some rando from the movies to make a cameo to have a good time XD The only character I really wanted them to bring back was Ali, and they already did, so like...I’m good??? That’s all I really needed, I can die in peace now XD

Scene that lives in your head rent-free:

Basically any fluffy Elimetri scene, but 5 in particular: ~Miguel first meeting Eli and Demetri at the lunch table, and Eli looking at Demetri like he hung every goddamn star in the sky ~Demetri going off at a terrifying, “unhinged” karate sensei on the first day of Cobra Kai because he made fun of Eli’s lip and Demetri is not about that shit ~ELI STEALING DEMETRI’S NACHO AND SMIRKING AT HIM, LIKE EXCUSE ME SIR PLEASE BE A LITTLE LESS HOMOSEXUAL IN FRONT OF YOUR GIRLFRIEND ~Eli yanking Demetri onstage during Valley Fest to hold a board, and Demetri being visibly like...extremely turned on when Eli breaks said board ~ELI SAVING DEMETRI DURING THE CHRISTMAS FIGHT, ELI APOLOGIZING, DEMETRI AND ELI KICKING COBRA ASS TOGETHER AKSBDCUWYVCBU

Will Anthony LaRusso ever be relevant?

I hope not! He’s kind of a funny meme character to pop up now and again but I don’t think he deserves a serious plotline when there are so many more interesting characters to follow.

You live in The Valley and are forced into the karate gang war. Which dojo do you join?

Miyagi-Do because Cobra Kai would eat me alive. Also I’d probably straight up get stuck and die in that cement mixer, if I even made it that far XD Besides, being salty that your friend who you have a crush on likes martial arts better than you and starting martial arts to impress them but also being too lazy to join anything TOO intense is a Big Mood and I am certainly not speaking from personal experience here, no sirree

What’s your training montage song?

"Shut Up and Drive” by Rihanna for a weight-training and bicep-flexing montage, “Whatever It Takes” by Imagine Dragons for a more intense punching-and-kicking-shit montage. I don’t know why this is, I just feel it in my heart.

It’s the crossover event of the century! Which TV show are you combining with Cobra Kai for an hour-long Saturday night special?

*Briefly panics because I don’t actually watch that much TV and most of the stuff I do watch is fantasy/sci fi shit that absolutely would not work for a CK crossover*

Hmmmm okay but ACTUALLY

You know what would be fucking funny as hell would be an It’s Always Sunny In Philadelphia crossover. Allow me to elaborate: ~The Gang goes to LA on vacation during the height of the Karate Dojo Wars. They literally can get barely anything done without all these goddamn karate-fighting teenagers getting in the way. ~They are all very annoyed by this. Even the most obscure of tourist attractions is eventually intercepted by karate fights. ~Mac tries to join Cobra Kai because he sees all this karate fighting on, and wants to unquestionably prove both his badassery and masculinity. Both Johnny and Kreese are like “Wtf are you doing here? Aren’t you like 30?” ~Mac gets a planet-sized crush on Johnny after all of 5 minutes and endlessly gushes to the gang about him. The gang mercilessly roast him about this and about how much of a pathetic loser with his life together in no way whatsoever Johnny sounds like. They proceed to have exactly 0 self awareness about this. ~The Waitress is in town visiting family or something, and Charlie is stalking her, as per usual. However, every time he’s about to go up and talk to her, a pack of battling Miyagi-Dos and Cobra Kais throwing punches and kicks everywhere blocks his path. One times, Mac is among one of these packs and Charlie is like “???? He didn’t get kicked out of that teen karate dojo yet???” ~Seeing how much the Kids These Days seem to like fighting, Charlie drops by a local high school to try and sell Fight Milk to the kids doing karate. Only Kyler and Brucks buy into it, and subsequently get the entire West Valley High wrestling team sick. Charlie is inevitably arrested, as Counselor Blatt thinks he’s selling the kids drugs. ~Dennis makes a plan to have sex with every hot chick he can in Los Angeles. He meets Ali on a dating app post-divorce, and inevitably tries to bang her. It doesn’t work. ~Frank crashes the rental car, and inevitably the gang ends up at one of Daniel’s dealerships. Dee quickly takes a liking to Daniel and is like “Watch, assholes--Imma homewreck this guy’s marriage.” She starts frequenting the dealerships to attempt to flirt with Daniel, until one day she walks in on him having sex with Johnny in a back room and she’s like “Is that the guy from Mac’s goddamn dojo?!?!” ~Dennis, of course, tries to sleep with Amanda. Amanda is not having it, and rebukes him in the most snarky, Amanda-esque way possible. Dennis is just like “Oh not AGAIN--the women in this goddamn diva city have too high of standards!” ~Later on, the gang is at the beach and Dennis spots the blonde lady he went out on an ill-fate date with, and decides to give it another shot--that is, until he sees her go up and kiss another woman and he’s like “IS THAT THE LADY FROM THE CAR DEALERSHIP??? STUPID-KARATE-KICK-COMMERCIAL’S WIFE?!? YOU HAVE GOT TO BE KIDDING ME.” ~Dee complains to Dennis about her lack of luck getting laid, and Dennis is just like “Oh come ON, is everyone in Los Angeles gay???” Smash cut to Hawk and Demetri having sex, Moon and Piper making out, Bert and Nate holding hands, Chris and Mitch doing oral, and Amanda, Ali, and Carmen having a threesome. ~Frank tries to scam Kreese into buying cheaply-made karate equipment for his dojo. The gang ends up having to leave LA because Kreese is quite literally plotting all of their murders.

For tagging, uuuuhhhhhh @jackonthelongwalk @soe-leo @max-eagle-fang @cc-tinslebee @backawayfromthegay @asphodel-storm do the thing, if y’all haven’t yet!

[fandumbstuff]

The Star Wars Saga, ranked best to worst.

1. The Empire Strikes Back Directed by Irvin Kershner

Upon close consideration, I’ve come to the shocking conclusion that Empire is the best Star Wars film. There’s a wealth of world-building and character development here that in many ways makes Star Wars the living breathing universe it is now. A richly complex melodrama lies at the heart of Empire, giving a whole new meaning to the term “space opera”. The performances here are some of the strongest in the entire franchise. Mark Hamill not only fleshes out Luke’s character, but in his training with Yoda and his duel with Vader he establishes the profound nature of the force, and how every future character interacts with it. As Han and Leia, Harrison Ford and Carrie Fisher create authenticity to their characters’ relationship. Often misinterpreted as playfully hostile or sassy, there’s a real and endearing sense of affection between them, particularly in the infamous “I love you”/”I know” line- shedding their previously petty flirtation and affirming their true feelings. The emotional crux of Empire lies not in the most memorable twist, but in the moments immediately following it - In Luke and Leia reaching out to each other, reconnecting a relationship that was lost, rekindling hope in the force after we thought it was lost.

2. A New Hope  Directed by George Lucas

I’ll be the first in line to make fun of dorky George Lucas and his woeful attempts at writing dialogue or romance. However, it’s pretty damn impossible to ignore what he achieved with Star Wars in 1977. The sheer audacity of his vision and his determination in executing it despite the naysaying from producers and supposed friends. Lucas had the bold idea of using cinema for it’s absolute worth- more than just a storytelling medium but a theatrical one. A cacaphony of sight and sound that could draw mass audiences and create a lasting impression. It’s a formula that every Hollywood and Bollywood blockbuster strives and more often than not fails to follow. It’s hard to dissociate A New Hope from the cultural phenomenon it helped create, but when you do, it stands as an impressive film on it’s own. Groundbreaking in terms of it’s visual effects and nostalgic in the simplicity of it’s sci-fi serial story, Star Wars ticked all the right boxes for so many people. If I was to boil Star Wars down to an essence, i think it lies in 2 scenes: Luke looking out at the binary sunset on Tattooine, and Han Solo yahooing after the Falcon saves Luke in the Death Star trenches. Those two scenes, Wistfulness and Exuberance, are the two sides of one concept- Adventure. Star Wars ignited those emotions in every child’s imagination, and it’s a flame that’s likely to never go out. 

3. Rogue One: A Star Wars Story Directed by Gareth Evans

Hard to believe this is a Disney movie. While the house of mouse may have a reputation for emotional gut punches in kids movies, it’s never felt quite so... permanent. Rogue One is an unrelenting emotional journey barelling towards surefire tragedy. We spend moments with characters that seem to be carrying the weight of the world on their shoulders. The sense of desperation that permeates the movie almost overpowers any sense of heroism. It’s so unlike anything we’ve seen in a Star Wars movie. Their courage comes from a place that is wholly genuine and believable. We see the rebellion for the despondent group that they are. Sorely outnumbered by the Empire, their actions in this movie show a reckless, darker side to them and makes the morality of Star Wars so much more complex. The first time we meet Cassian Andor- the stand out performace of the film by Diego Luna- we see him kill another rebel to protect their secrets. It’s a movie that reframes the original Star Wars trilogy, making it a richer, complex universe and more intriguing as a result. Also, the last five minutes might be the best five minutes in any Star Wars movie.

4. Return of the Jedi Directed by Richard Marquand

The one sore spot in the original trilogy for me are the Ewoks. I realise it's ridiculous for me to complain about kid-friendly creatures in a kid's movie, but Star Wars has done this a lot more tolerably in the form of Porgs and Baby Yoda. Just something about these furry, Tibetan speaking monsters who somehow have the wherewithal to defeat an elite and well equipped empire rubs me the long way. Anyway, other than that, the movie's pretty fantastic. The culmination of Luke's journey comes to a head in an extremely emotional and effective climax. John Williams score crescendos to operatic heights and Mark Hamill's stellar performance sells Luke’s torment. It’s also worth noting that in those final moments of moral dilemma, Darth Vader is silent- it’s David Prowse’s performance entirely that sells this. His incredible presence throughout the trilogy builds to this moment and you can feel the weight of it in those closeups on Vader. Every other cast member rounds the story out perfectly- from Lando and Han’s playful rapport to Leia’s more militaristic side in planning the rebellions final moves. I still bemoan the fact that they changed the final song- an opinion that I’m apparently a minority on- but it’s a pretty incredible ending altogether and wonderfully cathartic to watch over and over again.

5. The Last Jedi Directed by Rian Johnson

With Last Jedi, Rian Johnson analyzed the universe Star Wars inhabits, and what drives it’s characters. The characters that we love are pushed to their limits, struggle against insurmountable odds and their own innate flaws. And we see all of them fail in turn. It is remarkably bleak, but not without purpose. It is out of this failure that the Resistance needs to recoup and come back stronger. The performances here, are arguably the best you’ll find in the entire franchise. Daisy Ridley has to break down Rey’s naivete and find a deeper sense of self actualization. Adam Driver hands in some of his best work, by swerving the audience into believing Kylo Ren and then creating a desperate plea in THAT throne room scene, and eventually turning him into a snivelling villain, all in the same movie. Mark Hamill’s performance here is heartbreaking- revealing the bleakest version of Luke, and struggling to find his redemption. Last Jedi is a bold deconstuction of these characters, of what they stand for, and what makes Star Wars beautiful.

6. The Force Awakens Directed by J. J. Abrams

In many ways, a safe movie to announce the return of Star Wars. But it’s hard to fault this. Disney’s decision making was shrewd here, bringing on J. J. Abrams to pay homage to George Lucas’ original vision, returning the franchise to it’s roots of practical effects and shooting on film. There was something truly special about experiencing this film in theatres, so much so that I did it eleven times. It captured a sense of wonder for fans new and old- hearing the scream of Tie Fighters, John Williams herald the return of the Millenium Falcon, and the look of awe on Rey’s face as she clutches her destiny in her hand. I’ll be honest, the film loses some of this magic without the shared experience of an audience, and it’s flaws are more noticeable. But being swept up in the excitement of adventure felt so darn good in 2015, and that’s so key to this franchise.

7. Revenge of the Sith Directed by George Lucas

This movie has risen so much in my opinion, entirely due to the animated Clone Wars series. Revenge of the Sith depicts the overwhelming tragedy that frames the original Star Wars. Watching Clone Wars explains explicitly what makes this film so tragic. But it’s more than that- it’s a catastrophic failure on behalf of the Jedi Order. Ignorance and pride allow evil to fester and grow. George Lucas took the simplicity of the moral struggle he established in 1977 and tried to give it depth and complexity with the prequels, and it pays off in Revenge of the Sith. It leads into the original trilogy quite brilliantly, with a promise of hope and resilience.

8. The Phantom Menace Directed by George Lucas

It has not aged well. While the advent of CGI I’m sure felt exciting at the time, and you almost can’t fault George Lucas for his insistence on staying at the forefront of VFX innovation as he has always done, it’s his reliance on so much of it that fails horribly. Like a kid in a candy store, Lucas stuffs the pockets of this film with so many bizarre effects for absolutely no reason. That sea monster scene is one of the worst displays I’ve ever seen and it’s absurd that it sits in a Star Wars film. Add to that the boring political plotline and ridiculous midichlorian dilemma and there’s very little redemptive about this film. However, it does have podracing, and Duel of the Fates, and it’s remarkable how much that salves the wound.

9. The Rise of Skywalker Directed by J. J. Abrams

Alright, well obviously this film has been problematic. However, I’m not about to bemoan the idea that Disney has ruined Star Wars and I have nothing left to live for. So let’s all just calm down. Ultimately J. J. Abrams was faced with the impossible task of wrapping up the Skywalker saga, with very few Skywalkers to work with. I firmly believe this would have been a very different film if Carrie Fisher was around to complete her performance. But left with nothing but the new cast, Abrams is caught between summing up the past while also looking to the future. It forces an awkward plotline with Palpatine- despite Ian McDiarmid's solid performance, the writing here seems wildly derivative of the franchise. There are some truly beautiful scenes, most notably the chemistry that Adam Driver gets to share with Harrison Ford, and Joonas Suotamo’s critically emotional outburst as Chewbacca. Some of the production design and score is so entirely different from the rest of the franchise it's inherently intriguing. But there’s very little here to save some of the poorer choices the film makes: the open plot hole with Finn, the derailing of Rey’s character development, and most crucially, the deeply perturbing culmination of Rey and Kylo’s relationship. The audience literally went “ew”.

10. Solo: A Star Wars Story Directed by Ron Howard

The biggest problem with Solo is that it operates under the presumption that people will be enamoured and invested in it. Not just in one movie, but in an entire series of movies. Solo clearly operates as a setup for further sequels. As a result, many plot lines remain unresolved, and Qi’ra winds up being a completely under-baked character. Her motivations make no sense, and a twist ending that I assume was supposed to be exciting is instead downright confusing. There’s a lot of unnecessary exposition into Han’s past too. As an origin story, I don’t need to know every aspect of Han’s past- especially not cute winks at inane things like “Why’s he called Solo?”. All this being said, The movie features some solid performances- Donald Glover is expectedly phenomenal as Lando, and Alden Ehrenreich excels as Solo, adding some welcome flavour to the character- particularly his friendship with Chewbacca, and a brilliantly executed final scene between him and Woody Harrelson’s Beckett.

11. Attack of the Clones Directed by George Lucas

How in the world this film made it all the way to production and into filming, with no one pulling Lucas aside and saying “Hey George, those kids have no chemistry” is beyond me. And I’m not going to blame Hayden Christensen or Natalie Portman on this one, because the whole damn love story makes no sense. Maybe falling for a dude who admits he murdered women and children isn’t such a great idea? Then there’s the increasingly convoluted political climate set up in Phantom Menace, and the machinations of the dark side that would take the entire Clone Wars series to fully explain. All this being said, Temuera Morrison, Samuel L. Jackson, Ewan MacGregor AND Christopher Lee are all in this movie. And they’re pretty damn fantastic.

12. The Clone Wars Directed by Dave Filoni

It’s inexplicable that Dave Filoni would go on to have a hand in some of the best Star Wars content ever made in Clone Wars, Rebels and the Mandalorian. And yet he got his start in the franchise by putting up this piece of junk. And junk is being a little generous. The humour is so juvenile it’s insulting to even the youngest of audiences it’s intended for. The plotline feels way to thin to warrant a feature film, and if this was in fact intended as a pilot for the TV series, they sure picked to most uninteresting story to pique our interest. Skip the movie, watch the show. 

[st-just]

Semi-coherent thoughts on Oathbringer

So, overall probably the most even of the series so far, I’d say? Not to say I didn’t like it – I really, really loved the finale, and there were plenty of great lines, but my god were there a lot of pages spent on nothing happening (honestly it kind of reminded me of the latter volumes of ASOIF, in that sense) – then again, I suppose that is kind of just the nature of these 1000+ page fantasy epics. There were some setting reveals that really were fascinating, and legitimately a bit surprising. Going to have to take a break from the series until the friend I got Rhythm of War for is done so I can borrow it, though I suppose that’s no huge loss compared to the however many years everyone else had to wait in between them.

So in terms of pacing it’s...bad. Or, well, that’s probably a bit unfair. There’s absolutely plenty of fat to cute, but again I do think that might just come with the territory of committing to like a dozen POVs across a tree’s worth of paper (though there were absolutely like 100+ page stretches where I’m not actually sure the plot meaningfully progressed). That said, honestly the main pacing issue isn’t so much the bloat as, like – okay, Dalinar’s arc was a pretty consistent throughline, but for Kalidan and Shallan it kind of felt like there was one whole story in Urithiru, and then from the mission to Kholinar and the journey through the Cognitive Realm felt like its own separate novel? I mean, not sure if that makes any sense, but it really did kind of feel like there was a whole additional first act of table and stakes setting once they arrived in the city.

Though, to argue in favor of bloat for a moment – I was chatting with  @lifeattomsdiner​ bit back about The City We Became, and they mentioned that the size of the cast meant that you don’t actually really get to know any of the protagonists that well on their own. And I suppose that is the advantage of the 1200-page-per-volume epic cycle – even with characters you only really meet in interludes like Szeth, Vargo and Venli (incidentally three of my favorites), you spend enough pages inside of their head that you do really get to see what makes them tick and learn to love/hate them. Speaking of – props to Sanderson as an author, really – it’s vaguely astounding that he manages to keep track of that many internal monologues and actually make them seem distinct from each other.

Breaking things down by character a bit more – this book really did actually enjoy/get invested in Dalinar way more than either of the previous two, which again I’m told is more or less the expected reaction. Given the amount of tumblr brain poison I’m voluntarily exposed myself to, it’s honestly more than a bit of a nice change to see a character on a redemption arc who is actually unambiguously in need of redemption. Because holy shit, pulled, like, exactly two punches in terms of making the guy as genuinely loathsome as possible before he starts breaking. And, well, obviously he was on a redemption arc, but there was a bit near the end there where I really did think that the book was going to cut to black on an ‘end of Act 2, maximum darkness before dawn’ moment with, like, all the Skybreakers and him kneeling before Odium as the city fell. But I suppose that would be a bit much of a cliffhanger for a series with installments this weighty.

This was pretty clearly Shallan’s ‘getting over my personal bullshit’ book, like WoR was for Kaladin and WoK was for Dalinar, though spicing things up with increasingly severe DID as the book went on did make things more interesting at least. Also, I have no idea if this is actually true, but according to the friend who pestered me into reading these when someone asked Sanderson if he’d intentionally written her as bi he just kind of shrugged and said ‘sure, why not,’ which is fun. It was more than a bit, I don’t know, forced?, to have Wit just wander in from stage left and give her a desperately needed therapy session while she was in the middle of a breakdown and propel her development for most of the rest of the book, but on the other hand she’s pretty easily the main POV I’m most invested in by now, and the live triangle the text repeatedly threatened me with never actually became a thing, so I can’t really complain too much. Honestly super curious about the Ghostbloods and what they want out of her given, well, for a shadowy murderous conspiracy, everything they’ve wanted out of her so far has been pretty much entirely benign. Like, of the three major shadowy murderous conspiracies they’re easily the least problematic for the future of humanity at the moment. She should just commit and join for real imo.

As always, Kaladin’s POV is mostly good because it means we get more Syl, who is the single best character in the entire story I’ve decided. But also, I really quite liked his whole sojourn with the newly freed Parshmen and dawning realization that ‘wait these people are basically entirely right’. Also, the delicious delicious angst of spending however many dozens of pages getting to know them and then the wall guard and then the two groups killing each other in a confused melee while he has a mental breakdown. Easily best moment in the book (but then I’m a miserable person).

Adolin is honestly significantly more entertaining to follow than I really expected, though I’m still not like especially invested in him as a character. His relationship with his tailor was quite charming, though, as was the fact that he cares enough about fashion that he learned to sew. Honestly I was rather expecting/slightly dreading his main arc this book to be, like, inadequacy or insecurity over being almost literally the only member of his family that’s not a Radiant, so it’s kind of a pleasant surprise that he seems to have just accepted that (too well-adjust, I guess?). It is however extremely funny that the fact he just straight-up murdered one of the kingdom’s most important aristocrats and the major antagonist of the first two books seems to have resulted in absolutely zero consequences of any kind for him.

In terms of minor characters, the one I’m most invested in by a pretty substantial margin at this point is Venli, as she’s getting a front row seat to all the most interesting bits of the setting, ‘cultist growing increasingly disillusioned about return of ancient and terrible eldritch god’ is a really entertaining character arc just in principle, and because as of the end of the book she represents the morally objectively correct perspective and political line I’ve decided and will fight people about. Curious what sort of superpowers she’ll get. (Vargo and Szeth are still both great though, too).

The Unmade are really fun as a worldbuilding conceit/excuse for weird fucked up monsters. And it really is kind of funny that at least a third of the God of Evil’s nine generals/children/favoured beasts are, like, at conflicted or ambivalent about the whole ‘exterminate humanity and remake the world as a monument to my glory’ thing.  

Really, on an extremely shallow and entirely aesthetic level, between the evil red crystal/lightning aesthetic, the remote mountain fortress as a stronghold of the heroes in the face of the coming apocalypse, tears into the realm of spirits, the quirky evil minibosses each handling corrupting/conquering a given center of civilization, etc, the whole thing kind of reminded me of Dragon Age Inquisition. Which reminded me of how disappointing the story to that game was, which made me like the book more by comparison, but anyway. Yeah, good book.

[sepublic]

Musical Car!

           What’s interesting is that the musical has a sign advertising Jesse’s name; Did he stop by the Musical Car at some point and inspire the denizens there with a speech about empathy, and how differences are okay? We know that had to have taken place prior to him, Lake, and Alan Dracula entering the Carnival Car, meeting The Cat, etc. Either way, I’m not at all surprised that someone as open and friendly as him would say such things, especially with an unconventional friend like Lake; And obviously he stuck by his words in the end, didn’t he?

           Lemme tell you though… I was legit disturbed by that raid, as well as seeing those poor denizens get legitimately hurt and injured for no reason at all, and that ONE decapitated dude almost getting wheeled, only to be converted into Simon’s thing; Like, screw you Apex. That’s what makes Simon and Grace interesting; I’ve always imagined the concept of more problematic protagonists for this series, so it’s not much of a surprise to see Book 3 dive into this! Given how much more, well… WORSE Simon and Grace are, pehaps it’s not all-too surprise that their arc was confined to HBO Max, given the even more mature tone set by them and their actions!

           Honestly, those two rapidly switch and range from terrible, nasty jerks I want to punch, to misfits with banter and chemistry, and plenty of comradery; Especially for people they DO care about! It really drives the point home that not every bad person is PURE evil, like they don’t spend every waking moment plotting how terrible they can be, and most don’t even consider themselves as bad! It’s disconcerting, but a good look into their mindset; With Grace genuinely trying to be nice and caring to the kids and not hurting their feelings, but also repeating Amelia’s lies about the train denizens being there for the passengers’ benefit, and… More on that later.

           Also- Glad to see Grace make fun of Simon’s fashion sense and acknowledge it, but at the same time… Either he was ten when he began to wear socks with sandals, AND/OR he was ten when he first met Grace; Presumably on the Infinity Train, although the idea of two individuals knowing one another PRIOR to boarding it is also fascinating! Especially given how Book 2 discussed the idea of fate and pre-determination in one’s paths and all…

           It’s interesting to see that not all Apex kids are against the denizens, like some DO want to make friends with them (albeit in a very invasive manner), but Grace and Simon just shut them down. I have to wonder if they themselves also had a similar moment with Amelia, only to be brutally shut down; And Amelia is objectively worse than those two considering how much higher her number is, and how SHE was the one who started this dumb ideology in the first place (instead of just being taught it at a vulnerable moment in her life like everybody else)!

           What’s worth noting is that Simon has a device that can detect the presence of other passengers, which is both VERY cool and VERY useful; I have to wonder if it’ll detect Hazel in the Jungle Car however. Given the speculation of her being a train denizen, it’d serve as neat, subtle foreshadowing as to her true nature, and I can see the show touching upon this! Also, the aesthetics of that device reminds me of what The Cat would own; Given how she’ll make a return this Book and has had a run-in with at least Grace in the past, I can easily see it being something she’d own. She IS a collector of useful things, after all… And I have to wonder if maybe The Cat was even a companion of Simon or Grace; Or maybe even Amelia! Perhaps the Passenger-Detector was a ‘gift’ from Amelia…

           (I mean, they HAVE to bring her back in Book 3, given how her ideology and actions are a direct consequence of everything that happens, and would fit nicely into her eventual redemption arc. Not to mention it’d give a fascinating insight as to what was going on in her mind when she indoctrinated the Apex.)

           Neat detail seeing the Unfinished Car with those corgi diplomats, and nice joke with that one turtle talking to what’s later revealed to be a phone with a line that’s already cut anyway! Grace breaking her Harpoon Pack makes sense; She wasn’t seen with one in the trailer and posters, and I guess it’d help ‘balance’ things if only one protagonist had a Harpoon Pack; So they can’t just skip over cars on their way back!

           Speaking of a way back; We have a set number of cars leading back to the Mall Car, so in other words we have a way of keeping track of the journey’s progress! It IS worth noting that the cars could always rearrange… It’s interesting to learn that cars apparently don’t move when passengers are inside; I always assumed that sometimes they might’ve and a passenger wouldn’t notice because all the cars look identical from the outside, and also being inside a pocket-dimension kind of skews around with the sensation of what’s going on outside. It’s possible that Simon and Grace actually felt the movement because of the Unfinished Car’s unusual nature…

           Regardless, after that disturbing opening scene it makes sense that One-One is stepping in! Given how he values the passengers more than the denizens (as seen with his second and final interaction with Lake), it makes me wonder how much he actually CARES; Or if he can’t afford to have people ‘breaking equipment’, and/or is mostly doing this to lean the Apex towards becoming better people by confronting them over their actions! At this point, they may end up pushing One-One too much and he’ll have to send in his Steward…

           Getting onto some existential crisis, the cruel thing about Simon and Grace saying that the denizens are made for them is… They’re actually kind of right? NOT that this justifies at all their wanton, senseless cruelty towards the train denizens… But it ties back to Lake’s existential crisis in Book 2, the realization and likelihood that she (and maybe even the Mirror World) was made purely for the character development of people like Tulip and Jesse! One-One himself outright says in the Book 2 Finale that, YEAH; Train Denizens are supposed to stay on the train because their entire purpose, their entire means of creation was just to fulfill what the passengers need!

           …Obviously, using them for raids ISN’T what One-One (and/or whoever made the Infinity Train/the Infinity Train itself) intended… But the disturbing realization still stands that the denizens’ purpose and creation in life is for the betterment of passengers, to accompany them, aid them… In the past, I’ve speculated how some Cars and their inhabitants don’t seem to have much of a personality beyond being a basic caricature to fulfill the ‘theme’ of a car, as well as aiding in passengers’ journeys! And obviously they’re all PEOPLE, but again this ties back into just how real the pasts and worlds of denizens were, as discussed by Mace; The idea that entire histories and cultures have been fabricated, and pre-programmed into the memories of denizens.

           Needless to say, it’s very disturbing… And if Simon and Grace ever change their stance on denizens and even start vouching for them, it’d be a brilliant reversal of their beginning attitudes to have them call out One-One for making sapient people for the sole purpose of serving others; Which could be a dilemma for him given how HE may have been made for the purpose of others! Given how Amelia taught the Apex her ideals, and she was Conductor for a time and thus had rather intimate knowledge of the Infinity Train… perhaps what she says about the denizens being just ‘toys’, made for the passengers, isn’t too far a stretch from the truth; Obviously a dark, twisted, and selfish distortion. But it’s emblematic, reflecting a deeper, underlying issue that could lie with the Infinity Train itself.

           (Especially since Owen Dennis said that One-One and the Infinity Train can be wrong…)

           Given how Amelia made cars with denizens that only ‘turned on’ once a car was considered ‘complete’ (or close to it), it suggests that she knows all about the artificial, pre-programmed nature of denizens because she’s made a few ones; Which when coupled with how she probably tried to make a Fake Alrick, and ultimately realized that a replica would never be the same… Eerily, it lends to the idea that part of what made Amelia realize this at the end of Book 1, was her mindset that denizens are just follow, fake copies of pre-existing things and aren’t even real to begin with.

           THAT is a cruel twist; That the very ideas that founded the Apex and caused our issues in Book 3, were low-key what helped Amelia wake up from her fantasy and realize that she needed to confront her issues! Given how high her number is, it only makes sense that while she’s making progress, she STILL has some more fundamental problems to tackle; Specifically the idea that while denizens aren’t the same or ‘real’ as the original, they’re still people and whatnot!

           All in all, a VERY fascinating watch! Just eleven minutes, but I’m hooked in; Sure this does tie a lot back to previously-established concepts, but what story-driven show doesn’t? It really recontextualizes and makes you think back about what WAS discussed already and how it changes with the more we learn and explore!

[jacksgreysays]

Author's Cut Questions 3, 4, & 14 for Hail to the Queen Uzushio remix or Family by Mother Mother for (They Call It) Soulless?

3 - What's your favorite line of narration? 4 - What's your favorite line of dialogue? 14 - Is there anything you wanted readers to learn from reading this fic?

Hail to the Queen, Uzushio remix

Favorite dialogue is definitely Kankurou's response to Shikako's question on what he's going to do after he's handed off responsibility of the Sand intel nin:

"Whatever I want? There's sand and there's sun. So it's kind of like home, except no one is bugging me to do anything."

I think mostly its because I just love writing Kankurou so much! He's got this... wry irrelevance, almost, that is sort of but not really earned? Maybe its because I hang out with/am a theater person but they're really kind of just Like That and it's great. It's such an incongruous personality in a world filled with superpowered ninja. Like. A lot of time, I write Shikako as irrelevant because in the situations I put her in, she just is that powerful despite constantly getting underestimated, so she really can do whatever she wants.

Kankurou does not have that kind of power to back up his sass. But he still does it anyway? It probably has to do with growing up with Gaara pre-heel-face turn so now his fear response is busted as shit and only registers active, massive threats. But even then, he'll probably still complain about it. What a nerd. He's great.

Favorite narration... hm... maybe:

Shikako does not nod at this. This is a bonkers way to choose a leader. Then again, Uzushio is weird enough that this might not actually be a joke.

And that's mostly because it connects to the question, if I wanted readers to learn anything from this fic, which is primarily that I have so many Uzushio feels. So many. But a lot of them are contradictory almost, so this fic was a great way to explore various options of how Uzushio would choose an Uzukage (if they even have a "kage" at all).

I know Uzushio, even the one that I headcanon, wasn't a perfect utopia. What little scraps of canon we do have about it make that impossible. Uzumaki were known for their longevity, "special chakra," and their ability to make chakra weapons. Some enterprising individual managed to make a mask that could summon the god of death. They're known for being sealing masters including but not limited to capturing and imprisoning sentient giant chakra monsters.

The role of Kage in other nations is passed along via power. For some its bloodlines, others its a series of usurpations. Konoha has the arguably least problematic of the bunch being a non-explicit teacher-student almost bloodline thing (3 out of 5 were Senju and none were Uchiha) chosen either by the preceding Hokage or by a small council of elders. Least problematic isn't really saying much.

Largely, I just like to think of Uzushio through different lenses. It could be a society entirely of scholars with a truly wild scope of subjects available (I didn't put it in the fic, but Tatsuma is the head of the elemental manipulation department). Or a voyaging society that just upped and left. Or a conglomeration of clans with weird bloodlines that were only held in check by the Uzumaki clan's general effectiveness.

I once considered running an RPG borrowing loosely from Dusk City Outlaws. It would've been called Dusk of Uzushio and followed shinobi in the last few months before whatever destroyed them. In that, Uzushio was largely insular. Their greatest international ally wasn't Konoha but Tea Country because most of their contracts came from them to bodyguard/escort merchant vessels and/or sabotage enemy merchant vessels. I mean, yes, they were still allied with Konoha and amongst the shinobi villages they were closest, but the Uzushio in that was largely like: the continent sucks, Mist is a self-cannibalizing mess, Tea Country is full of criminals but they're organized and pay well.

Even then none of those societies would necessarily want power to be the main criteria of choosing a leader. It's intelligence or diplomacy or shrewdness or actual leadership. I dunno. It's a bit of a muddle. Just, all of my messy Uzushio feels.

---

Family by Mother Mother for (They Call It) Soulless

There's not much dialogue in this one, so I guess by default my favorite line is:

"Together... My parents will be together. If not here, then elsewhere"

Mostly because it's almost literally the premise of Pre!Kako (which is the basis of (They Call It) Soulless) if you think about it in a not just romantic but also devoted sort of way and thus all the more tragic for it. Shikaku and Yoshino got together in spite of the Nara clan's protest. They stayed together even when their baby was screaming her head off and the Kinokawas wanted her to go to Danzo. They made a life for each other and prioritized their little family's happiness above all else and that's beautiful.

So to split them in death would not only be sad, but cruel. Actively vicious and malicious and almost violent.

And so Kako deciding to keep their priorities--even though, probably, that Nara uncle might have offered some kind of deal where the Nara would help with the Kinokawa siblings' living expenses if she signed away Shikaku's remains to be with the clan without Yoshino--is definitely not the most practical decision, but it is the best way to honor their memory. And that's all Kamaru will have of them. T_T

My favorite line of narration is probably:

[[Genma is a mess after the Kyuubi.]]

Many are, unsurprisingly. Loss abounds.

Mostly because I know I have a problem with run on sentences and grammar/punctuation. I find a lot of my writing is verbal almost--maybe not all that surprising considering my main contribution to the DoS fandom and, I guess, my previously mentioned sort of experience with theater--even though I'm not that good at dialogue

I talk out loud when I write and if it doesn't sound right, then I'll readjust it until it makes sense when I speak. And then I sprinkle in punctuation kind of however I please. Not often in the correct place. So I end up with run on sentences mixed with fragments and no real proper sentences.

Anyways, the reason why I like this particular line of narration is because it would be metal AF to have a line like this in a play. Five words. Two sentences. Punch in the face. THERE HAS BEEN A TRAGEDY AND EVERYONE IS AFFECTED. It's the kind of line in a play that would have a beat of silence after to let it sit before the next line stumbles away quickly as if to distance itself from the impact.

Loss abounds. So clean! So concise! I will never be able to replicate this!

Also, its a fun sort of paradox. An abundance of loss. There is too much absence! Like saying "I'm very good at fucking up." There's probably a literary term for this but I have no idea ¯\_(ツ)_/¯

Hm... I don't know if there was anything in particular I wanted readers to learn from this... 

~

A/N: Thanks for the ask, anon! It was fun to look back at those ficlets and writhe around in my Uzushio feels. :)

Ask Box Advent Calendar 2020

[sineala]

Queer novel recs

[A repost from my Patreon.]

By request of the one person who is pledging at a Patreon tier that lets them make meta/review requests of me, some recommendations for queer novels. Fiction-wise, I read pretty much exclusively science fiction and fantasy, with the occasional excursus into historical fiction, so that's what you're getting.

SF/F these days is, happily, getting queerer and queerer. As a general recommendation, a good place to start is the lists of winners and nominees of the Otherwise Award (formerly the Tiptree Award), which, according to their website, "encourages the exploration and expansion of gender." There's also the Lambda Literary Awards, which are awarded to both fiction and non-fiction LGBT books across various categories, including genre (mystery, romance, SF/F & horror). It's obviously not going to be a guarantee that you'll like any particular one of these books, but at least it means that somebody did.

A whole lot of the Hugo award nominees and winners this year coincidentally happened to be queer fiction, especially in the longer categories. The Best Novel winner, Arkady Martine's The Memory of Empire, is a sprawling space opera starring a diplomat who incidentally (very incidentally) happens to have some Feelings for her cultural liaison, and it's a really good book, anyway. I actually voted for Tamsyn Muir's Gideon the Ninth, which is billed as "lesbian necromancers in space," and it is pretty much exactly that. It's a murder mystery, which you'd think would be less mysterious in a book where half the characters are necromancers, but this doesn't actually help them much. I thought it was delightful and I have the sequel sitting here on my Kindle waiting for me to read it. But had Gideon not stolen my heart, I would have voted for Kameron Hurley's The Light Brigade. Everything else I have read by Hurley -- well, okay, that's just the Bel-Dame Apocrypha series, actually -- has starred kickass queer people, and this one's no exception. It's military SF in the vein of Starship Troopers or The Forever War with a really well-done time travel plot, in which the twists just keep coming. The narrator's gender is intentionally obscured for about 95% of the novel, and for added fun, they're bisexual. (Charlie Jane Anders' The City in the Middle of the Night also had queer characters but it didn't really grab me.)

(I have to admit I bounced off a lot of the Hugo novella nominees this year, including most of the queer ones, but Amal El-Mohtar & Max Gladstone's This Is How You Lose The Time War (lesbian time-travel agents) did win, although it wasn't really my thing, and Rivers Solomon's The Deep (lesbian mermaids) appears to have gone on to win this year's Lambda instead, although that one wasn't really my thing either. Becky Chambers's To Be Taught, If Fortunate also had some lesbians and I liked that a bit better, but none of those got my #1 vote.)

I have not read it yet and cannot vouch for it but my wife is reading N. K. Jemisin's new short story collection and she says they're very good and a lot of them are queer.

Okay. So. What about less recent queer SF/F, you ask?

I started reading SF/F in the mid-90s, and there wasn't a whole lot of queer SF/F out there in the mainstream SF market, so I imprinted pretty heavily on what there was that I could find, which was basically, at first, the blink-and-you'll-miss-it gay dragonriders of Anne McCaffrey's Pern series. Pern is what The Youth these days would probably call problematic in several ways, but there wasn't much else out there. I also then read Mercedes Lackey's Valdemar series, which is basically iddy iddy whump fic with magic telepathic animals who love you, so I'm not saying it's a complete literary masterpiece but Confused Baby Lesbian Sineala sure spent a lot of time wondering why she was identifying so very hard with Vanyel from the Last Herald-Mage trilogy. (I also really enjoyed Marion Zimmer Bradley's Darkover books, especially the ones about the Renunciates (the lesbian ones), Heritage of Hastur (the gay one), and The Forbidden Tower (the one where a telepathic orgy solves everyone's problems) but owing to the, uh, terrible things we all found out about MZB after she died, I don't think I can recommend them. Or read them ever again.

Other older queer SF/F that was beloved among my friend group: Ellen Kushner's Swordspoint and its sequels are about a duelist and his boyfriend and a lot of people liked this one, but I never liked it enough to keep up with all the sequels. The first few of Lynn Flewelling's Nightrunner books, however, punched me straight in the id; the protagonists are a pair of spies and thieves who are, more or less, this fantasy world's version of elves. There are a whole lot of grätúìtôūs dīåcrìtïcs and after the third book everything gets a little too horrific for me, but I really loved the first three.

But if I had to pick a top three list of authors who have written queer SF/F, this would be my list:

(1) Diane Duane. She is pretty much my favorite author ever, so I am biased here. I first discovered her work with her Star Trek tie-in novels (which, if you like Vulcans and Romulans, are amazing) and then her YA series Young Wizards, which is about teenagers who can do magic and use it to make the universe a better place and it's about ten thousand times more meaningful to me than Harry Potter ever was. But, anyway. She also has a fantasy series called The Tale of the Five, which is an everyone-is-bi-and-poly series started back before that kind of thing was even cool. Also there's a group marriage involving, like, six people, one of whom is a fire elemental. There are three books out in that series, she's still writing novellas set in it, and she swears that she's going to write the fourth and final book that we've been waiting about 25 years for.

(2) Melissa Scott. Everything I have ever read by Melissa Scott, either as a solo author or with her late partner Lisa Barnett, is queer as hell and has amazing worldbuilding. I first encountered her work when I randomly picked up Trouble and Her Friends (lesbian cyberpunk) at a used bookstore and ended up adoring it. Her other works include Shadow Man (set in a future where humanity has a whole lot more intersex people), The Kindly Ones (which has a protagonist whose gender is never specified), and The Armor of Light (alt-history involving Kit Marlowe and a demon). But my favorite series of hers is the Astreiant series, which is a Professionals AU with the serial numbers filed off, but they're filed off really well. It's a series of police procedural mysteries set in Fantasy Matriarchal Renaissance Netherlands, starring a m/m couple, and the fantasy gimmick here is that astrology is really real and really works. They're a lot of fun.

(3) Nicola Griffith. All of her books are about queer women. She has a few that are modern-day thrillers that I didn't so much care for, but I really love her SF. The first book of hers I read was Ammonite, about an anthropologist who gets sent to a planet of only women to try to figure out how they reproduce and ends up going native instead. I really adored it. I also remember really liking Slow River although I no longer remember the actual plot, except that the main character worked at a sewage facility. And it's historical fiction rather than SF, but she's probably most famous for Hild, a novel about Hilda of Whitby. I liked it a lot except for the part where it annoyed me that Griffith invented out of whole cloth the idea that women would have a special female companion and made up a name for it in Old English and everything, and most people who read the book probably believed it was a real thing. But, uh. I did really love Ammonite. I am so weak for planet-of-women books. (This is why I am so sad that I can't ever read the Renunciates of Darkover books again.)

That's about all I can think of right now. I hope some of those recs are, at the very least, new!